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06E0
SPECIAL MESSAGE SECTION
PRODUCT SAFETY MARKINGS: Yamaha electronic products may have either labels similar to the graphics shown below or molded/stamped facsimiles of these graphics on the enclosure.
The explanation of these graphics appears on this page. Please observe all cautions indicated on this page and those indicated in the safety instruction section.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION: TO REDUCE THE RISK OF
ELECTRIC SHOCK, DO NOT REMOVE
COVER (OR BACK). NO USER-SERVICEABLE
PARTS INSIDE. REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL.
The exclamation point within the equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product.
The lightning flash with arrowhead symbol, within the equilateral triangle, is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electrical shock.
IMPORTANT NOTICE: All Yamaha electronic products are tested and approved by an independent safety testing laboratory in order that you may be sure that when it is properly installed and used in its normal and customary manner, all foreseeable risks have been eliminated. DO NOT modify this unit or commission others to do so unless specifically authorized by Yamaha. Product performance and/or safety standards may be diminished. Claims filed under the expressed warranty may be denied if the unit is/has been modified.
Implied warranties may also be affected.
SPECIFICATIONS SUBJECT TO CHANGE: The information contained in this manual is believed to be correct at the time of printing. However, Yamaha reserves the right to change or modify any of the specifications without notice or obligation to update existing units.
ENVIRONMENTAL ISSUES: Yamaha strives to produce products that are both user safe and environmentally friendly. We sincerely believe that our products and the production methods used to produce them, meet these goals. In keeping with both the letter and the spirit of the law, we want you to be aware of the following:
Battery Notice: This product MAY contain a small nonrechargeable battery which (if applicable) is soldered in place. The average life span of this type of battery is approximately five years.
When replacement becomes necessary, contact a qualified service representative to perform the replacement.
Warning: Do not attempt to recharge, disassemble, or incinerate this type of battery. Keep all batteries away from children. Dispose of used batteries promptly and as regulated by applicable laws.
Note: In some areas, the servicer is required by law to return the defective parts. However, you do have the option of having the servicer dispose of these parts for you.
Disposal Notice: Should this product become damaged beyond repair, or for some reason its useful life is considered to be at an end, please observe all local, state, and federal regulations that relate to the disposal of products that contain lead, batteries, plastics, etc.
NOTICE: Service charges incurred due to lack of knowledge relating to how a function or effect works (when the unit is operating as designed) are not covered by the manufacturer’s warranty, and are therefore the owners responsibility. Please study this manual carefully and consult your dealer before requesting service.
NAME PLATE LOCATION: The graphic below indicates the location of the name plate. The model number, serial number, power requirements, etc., are located on this plate. You should record the model number, serial number, and the date of purchase in the spaces provided below and retain this manual as a permanent record of your purchase.
MOTIF6
CAUTION
POWER
ON OFF
MOTIF7
MOTIF8
Model
Serial No.
AC INLET
POWER
ON OFF
Purchase Date
AC INLET
POWER
ON OFF AC INLET mLAN I O EXPANSION I O EXPANSION
CAUTION
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
ATTENTION
WARNING
TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE.
THIS DEVICE COMPLIES WITH PART 15 OF THE F
THE FOLLOWING TWO CONDITIONS:
(1) THIS DEVICE MAY NOT CAUSE HARMFUL INTE
(2) THIS DEVICE MUST ACCEPT ANY INTERFEREN
THAT MAY CAUSE UNDESIRED OPERATION.
THIS CLASS B DEIGITAL APPARATUS COMPL
CET APPAREIL NUMÉRIQUE DE LA CLASSE B
DU CANADA.
92-469- 1 (rear)
IMPORTANT SAFETY INSTRUCTIONS
INFORMATION RELATING TO PERSONAL INJURY, ELECTRICAL SHOCK,
AND FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST.
WARNING-
When using any electrical or electronic product, basic precautions should always be followed. These precautions include, but are not limited to, the following:
1.
Read all Safety Instructions, Installation Instructions, Special
Message Section items, and any Assembly Instructions found in this manual BEFORE making any connections, including connection to the main supply.
2.
Do not attempt to service this product beyond that described in the user-maintenance instructions. All other servicing should be referred to qualified service personnel.
3.
Main Power Supply Verification: Yamaha products are manufactured specifically for the supply voltage in the area where they are to be sold. If you should move, or if any doubt exists about the supply voltage in your area, please contact your dealer for supply voltage verification and (if applicable) instructions. The required supply voltage is printed on the name plate. For name plate location, please refer to the graphic found in the Special
Message Section of this manual.
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!
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.
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.
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.
8.
This product was NOT designed for use in wet/damp locations and should not be used near water or exposed to rain.
Examples of wet /damp locations are; near a swimming pool, spa, tub, sink, or wet basement.
9.
This product should be used only with the components supplied or; a cart ,rack, or stand that is recommended by the manufacturer. If a cart, rack, or stand is used, please observe all safety markings and instructions that accompany the accessory product.
10.
The power supply cord (plug) should be disconnected from the outlet when electronic products are to be left unused for extended periods of time. Cords should also be disconnected when there is a high probability of lightning and/or electrical storm activity.
11.
Care should be taken that objects do not fall and liquids are not spilled into the enclosure through any openings that may exist.
12.
Electrical/electronic products should be serviced by a qualified service person when: a. The power supply cord has been damaged; or b. Objects have fallen, been inserted, or liquids have been spilled into the enclosure through openings; or c. The product has been exposed to rain; or d. The product does not operate, exhibits a marked change in performance; or e. The product has been dropped, or the enclosure of the product has been damaged.
13.
This product, either alone or in combination with an amplifier and headphones or speaker/s, may be capable of producing sound levels that could cause permanent hearing loss. DO NOT operate for a long period of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist.
IMPORTANT : The louder the sound, the shorter the time period before damage occurs.
14.
Some Yamaha products may have benches and/or accessory mounting fixtures that are either supplied as a part of the product or as optional accessories. Some of these items are designed to be dealer assembled or installed. Please make sure that benches are stable and any optional fixtures (where applicable) are well secured BEFORE using. Benches supplied by
Yamaha are designed for seating only. No other uses are recommended.
PLEASE KEEP THIS MANUAL
92-469-3
PRECAUTIONS
PLEASE READ CAREFULLY BEFORE PROCEEDING
* Please keep this manual in a safe place for future reference.
WARNING
Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following:
Power supply/Power cord
• 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.
Do not open
• This instrument contains no user-serviceable parts. Do not attempt to disassemble or modify the internal components in any way.
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.
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 power supply, see page 20.)
• When removing the electric plug from the instrument or an outlet, always hold the plug itself and not the cord. Pulling by the cord can damage it.
• Remove the electric plug from the outlet when the instrument is not to be used for extended periods of time, or during electrical storms.
• Do not connect the instrument to an electrical outlet using a multiple-connector.
Doing so can result in lower sound quality, or possibly cause overheating in the outlet.
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.
(2)-8
1/2
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.
Handling caution
• Do not insert a finger or hand in any gaps on the instrument.
• Never insert or drop paper, metallic, or other objects into the gaps on the panel or keyboard. If this happens, turn off the power immediately and unplug the power cord from the AC outlet. Then have the instrument inspected by qualified Yamaha service personnel.
• Do not place vinyl, plastic or rubber objects on the instrument, since this might discolor the panel or keyboard.
• 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.
Backup battery
• This instrument has a built-in lithium backup battery. When you unplug the power
cord from the AC outlet, the SRAM data (see page 63) is retained. However, if the
backup battery fully discharges, this data will be lost. When the backup battery is running low, the LCD display indicates “Change internal battery.” In this case, immediately save the data to a Memory Card (SmartMedia)/a SCSI disk then have qualified Yamaha service personnel replace the backup battery.
Saving data
Saving and backing up your data
For instruments with DRAM (RAM that does not retain data)
• DRAM data (see page 63) is lost when you turn off the power to the instrument.
Save the data to a Memory Card (SmartMedia)/a SCSI disk.
For instruments with SRAM (RAM that retains data by using a lithium battery)
• SRAM data (see page 63) is retained when the power is turned off, as long as the
backup battery retains a charge. However, the data could be lost due to malfunction or incorrect operation. Save important data to a Memory Card
(SmartMedia)/a SCSI disk.
Backing up the Memory Card (SmartMedia)/SCSI disk
• To protect against data loss through media damage, we recommend that you save your important data onto twoMemory Cards (SmartMedia)/SCSI disk.
Yamaha cannot be held responsible for damage caused by improper use or modifications to the instrument, or data that is lost or destroyed.
Always turn the power off when the instrument is not in use.
Make sure to discard used batteries according to local regulations.
(2)-8
2/2
FCC INFORMATION (U.S.A.)
1.
IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!
This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by
Yamaha may void your authority, granted by the FCC, to use the product.
2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA.
3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class "B" digital devices.
Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit "OFF" and "ON", please try to eliminate the problem by using one of the following measures:
Relocate either this product or the device that is being affected by the interference.
Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s.
In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable.
If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena
Park, CA90620
The above statements apply ONLY to those products distributed by
Yamaha Corporation of America or its subsidiaries.
* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.
(class B)
IMPORTANT NOTICE FOR THE UNITED KINGDOM
Connecting the Plug and Cord
WARNING: THIS APPARATUS MUST BE EARTHED
IMPORTANT. The wires in this mains lead are coloured in accordance with the following code:
GREEN-AND-YELLOW
BLUE
BROWN
:EARTH
:NEUTRAL
:LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug proceed as follows:
The wire which is coloured GREEN-and-YELLOW must be connected to the terminal in the plug which is marked by the letter E or by the safety earth symbol or colored GREEN or GREEN-and-YELLOW.
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
* This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd.
(3 wires)
ADVARSEL!
Lithiumbatteri—Eksplosionsfare ved fejlagtig håndtering. Udskiftning må kun ske med batteri af samme fabrikat og type. Levér det brugte batteri tilbage til leverandoren.
VARNING
Explosionsfara vid felaktigt batteribyte. Använd samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren. Kassera använt batteri enligt fabrikantens instruktion.
VAROITUS
Paristo voi räjähtää, jos se on virheellisesti asennettu. Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hävitä käytetty paristo valmistajan ohjeiden mukaisesti.
(lithium caution)
NEDERLAND / THE NETHERLANDS
• Dit apparaat bevat een lithium batterij voor geheugen back-up.
• This apparatus contains a lithium battery for memory back-up.
• Raadpleeg uw leverancier over de verwijdering van de batterij op het moment dat u het apparaat ann het einde van de levensduur afdankt of de volgende Yamaha Service Afdeiing:
Yamaha Music Nederland Service Afdeiing
Kanaalweg 18-G, 3526 KL UTRECHT
Tel. 030-2828425
• For the removal of the battery at the moment of the disposal at the end of the service life please consult your retailer or Yamaha Service Center as follows:
Yamaha Music Nederland Service Center
Address :Kanaalweg 18-G, 3526 KL UTRECHT
Tel :030-2828425
• Gooi de batterij niet weg, maar lever hem in als KCA.
• Do not throw away the battery. Instead, hand it in as small chemical waste.
(lithium disposal)
Introduction
Congratulations and thank you for your purchase of the Yamaha MOTIF Music Production Synthesizer!
You now own what is perhaps the best-sounding, most versatile, and certainly most powerful synthesizer and total music production instrument on the planet.
We strove to put virtually all our synthesizer technology and music making know-how into one instrument — and we succeeded. The new MOTIF not only gives you the latest and greatest sounds and rhythms (as well as the ability to create and sample your own), it gives you powerful, easy-to-use tools for playing, combining and controlling these dynamic sounds/rhythms — in real time, as you perform!
Take time to look through this manual carefully. It’s packed with important information on how to get the most from this amazing instrument.
Dive in now and enjoy!
Package Contents
The following items have been included with your MOTIF. Check to see that you have everything listed here.
• Synthesizer • AC Power cord • CD-ROM x 3
• Owners Manual (this book) • Data List • Installation Guide
About the included CD-ROM
The accompanying CD-ROM features special software for use with the MOTIF. Included is a Voice Editor, which gives you comprehensive and intuitive editing tools for the MOTIF, and a File Manager, which lets you easily transfer data between the storage device connected to your MOTIF and a computer. For details, see the separate Installation Guide or the online manuals included with the software.
Do NOT attempt to play back Track 1 (which contains the software data) on an audio CD player. Doing so may result in damage to your audio equipment and speakers, as well as your hearing.
About This Manual
This manual consists of the following sections.
■
The Controls & Connectors
■ Setting Up
Use this section to find out about all of the buttons, controls and connectors of the MOTIF.
Before going on to any other part of the manual, we strongly suggest you read this section first. It shows you how to get started playing and using your new MOTIF.
■ Basic Structure This section provides a detailed overview of all of the main functions and features of the
MOTIF, and shows how they fit together.
■ Basic Operation This section introduces you to the basic operating conventions of the MOTIF, such as editing values and changing settings.
■ Quick Start Guide In this tutorial section, youll take a guided tour through the various functions of the
MOTIF, and get some hands-on experience in playing and using it.
■ Reference The MOTIF encyclopedia. This section explains all parameters, settings, functions, features, modes and operations in full detail.
■ Appendix This section contains detailed information on the MOTIF such as Specifications and an
Alert Message List as well as instructions for installing optional equipment
(e.g., SIMM modules, AIEB2, mLAN8E interface, and Plug-in Boards).
■
Data List (separate booklet) This contains various important lists such as the Voice List, Preset Pattern Phrase List,
Effect List, MIDI Data Format, and MIDI Implementation Chart.
■
Installation Guide (separate booklet) Refer to this for instructions on installing the included software programs (on the CD-
ROM) to your computer.
●
●
●
Copying of the commercially available music sequence data and/or digital audio files is strictly prohibited, except for your own personal use.
The illustrations and LCD screens as shown in this Owner’s Manual are for instructional purposes only, and may appear somewhat different from those on your instrument.
The company names and product names in this Owner’s Manual are the trademarks or registered trademarks of their respective companies.
MOTIF Introduction 7
Important Features
■ Wide range of dynamic and authentic voices — over
512 in total, with 49 drum kits. Use the Category
Search function to quickly call up the sounds you want, based on their instrument type.
■ Performance mode lets you use four different voices together — in layers or in a keyboard split.
■ Integrated Sampling Sequencer — seamlessly combines audio and MIDI recording.
* Full Sample recording and editing features, with
4MB of memory (expandable to 64MB).
* Wide data compatibility lets you load AIFF and WAV files, as well as samples and program/voice data from other samplers.
* Convenient Resampling function lets you sample the sound of the MOTIF itself directly. Play your own melodies, riffs and rhythms — and use them as samples.
* Unique Slice feature automatically chops up your rhythms and riffs into their individual beats and notes.
This lets you manipulate the component parts of your sample loops as MIDI data — and gives you the power to easily change tempo and even the rhythmic feel, without disturbing the pitch or sound quality.
* Using the Song mode , record your music to the sequencer in conventional linear fashion, from beginning to end. Or use the phrase-based functions to assemble rhythms and patterns — “playing” your arrangements in real time.
■ Extensive effect processing , with Reverb (12 types),
Chorus (25 types), two separate Insertion sections
(total 104 types), a Variation section (25 types), and a
Master 5-band EQ.
■ Song Scene is another powerful tool that lets you take
“snapshots” of the sequencer track settings (such as pan, volume, and others). Then, during playback or recording, simply switch among the Scenes for instant, dynamic changes.
■ Master mode for using the MOTIF as a master keyboard controller (with independent Zones), and for easily reconfiguring the instrument between Voice/
Performance play and Song/Pattern play in live applications.
■ Exceptionally easy-to-understand interface with two-tiered operation buttons: [F1] - [F6] and [SF1] -
[SF5]
■ Remote Control — for operating your favorite sequencing software from the panel controls of the
MOTIF. Mute tracks, control transport (Play, Stop,
Record, etc.), mix both MIDI and audio tracks (up to
16) with the MOTIF’s knobs and sliders, pan the tracks, control EQ, and tweak effect sends — all without ever touching the mouse.
■ Three Modular Synthesis Plug-in System slots let you upgrade the MOTIF with a completely new synthesizer or sound-processing engine. These Plug-in boards give you more voices, more effects, more polyphony and more instrument parts. Plus, special
Plug-in voices have already been programmed and stored to the MOTIF, ready to be played as soon as you install the proper board.
■ Comprehensive I/O terminals — including assignable outputs, audio inputs, optical digital output,
MIDI, USB for multi-port connection to a computer,
SmartMedia card slot and SCSI terminal for data storage. There’s even an expansion bay for installing the optional AIEB board for additional ins and outs — both analog and digital.
■ Comprehensive real-time control with four knobs and four sliders — letting you adjust filter, levels, effects, EG, and more, while you play.
■ Pattern mode functions let you craft different rhythmic sections and riffs as individual elements — which you can easily and intuitively combine in real time to create full rhythm tracks.
■ The built-in Arpeggio feature not only puts a wealth of hip rhythmic sequences at your fingertips, it even has special “human” patterns — such as guitar strumming and woodwind trills.
■ Once you’ve collected all the audio samples, loops,
MIDI data, and patterns you need for your song, use
Pattern Chain to arrange the pieces in real time. This hands-on approach makes it easier than ever to come up with great ideas and amazing songs.
■ Expansion bay for optional mLAN — Yamaha’s new mLAN interface technology makes it possible to transfer all your digital audio and MIDI data via a single broad-band cable.
■ Included software — Packed with your MOTIF are two powerful software programs: Voice Editor and
File Utility . The Voice Editor puts all the comprehensive editing features and parameters of the instrument right on your computer screen for easy editing. With File Utility, you can access and organize all your important MOTIF data (stored to Memory card or SCSI device) directly from the computer.
8 MOTIF Introduction
Table of Contents
The Controls & Connectors
Front Panel ........................................................ 10
Rear Panel..........................................................16
Setting Up
Power Supply .....................................................20
Connections ....................................................... 21
Powering Up ......................................................29
Basic Structure
Mode ..................................................................30
System Overview ...............................................33
Controller block ..........................................................33
Sequencer block ..........................................................33
Tone Generator block .................................................34
Effect block..................................................................39
Main functions...................................................42
Voices and Performances ............................................42
Controllers...................................................................48
Song and Pattern (Sequencer mode) .........................51
Arpeggio ......................................................................55
Master (Master mode) ................................................56
Sampling......................................................................58
Internal Memory and File Management ...................63
Remote Control to Computer Sequence Software.....65
Basic Operation
10
20
30
67
Calling up the Operation Displays.....................67
Display-based Controls ......................................72
Quick Start Guide 77
Playing the Demos .............................................77
Playing Voices ....................................................80
Editing Voices ....................................................83
Storing edited Voices..........................................86
Playing Performances ........................................88
Editing Performances (Layer/Split) ..................89
Storing the edited Performance .........................90
Using the Arpeggio function.............................. 91
Using as a Master Keyboard ..............................93
Saving/Loading data ..........................................97
(Integrated Sampling Sequencer) ......................99
Remote Control for external sequencer
(Real-time external control surface) ............... 119
Reference 121
Voice Mode ....................................................... 121
Function Tree ...........................................................121
Voice Play mode ....................................................... 124
Voice Edit mode ....................................................... 129
Voice Job mode ......................................................... 158
Voice Store mode...................................................... 159
Performance Mode .......................................... 160
Function Tree........................................................... 160
Performance Play mode ........................................... 162
Performance Edit mode ........................................... 165
Performance Job mode ............................................. 175
Performance Store mode.......................................... 176
Song Mode ....................................................... 177
Function Tree........................................................... 177
Song Play mode ........................................................ 179
Song Record mode.................................................... 183
Song Edit mode ........................................................ 189
Song Job mode .......................................................... 193
Song Mixing mode ................................................... 205
Song Mixing Job mode ............................................. 212
Song Mixing Store mode.......................................... 214
Pattern Mode....................................................215
Function Tree........................................................... 215
Pattern Play mode .................................................... 217
Pattern Record mode................................................ 221
Pattern Edit mode .................................................... 224
Pattern Job mode ...................................................... 225
Pattern Mixing mode ............................................... 232
Sampling Mode................................................ 233
Function Tree........................................................... 233
Sampling Record mode ............................................ 234
Sampling Edit mode ................................................. 240
Sampling Job mode................................................... 241
Utility Mode .................................................... 249
Function Tree........................................................... 249
Utility mode.............................................................. 250
Utility Job mode ....................................................... 260
File Mode .........................................................261
Function Tree .......................................................... 261
File mode .................................................................. 262
Master Mode ................................................... 268
Function Tree........................................................... 268
Master Play mode..................................................... 269
Master Edit mode ..................................................... 270
Master Job mode....................................................... 273
Master Store mode ................................................... 274
Appendix 275
Information Displays ...................................... 275
Display Messages ............................................ 277
Troubleshooting .............................................. 279
Installing Optional Hardware ..........................281
Optional Plug-in Board Installation ........................ 282
Optional AIEB2 or mLAN8E Installation .............. 284
Optional SIMM Installation .................................... 287
Handling the Memory Card (SmartMedia™*). 289
Connecting external SCSI devices................... 290
About SCSI ............................................................... 290
Notes on musical copyright............................. 292
Specifications .................................................. 293
INDEX............................................................. 295
The Controls &
Connectors
Setting Up
Basic Structure
Basic Operation
Quick Start Guide
Reference
Voice mode
Performance mode
Song mode
Pattern mode
Sample mode
Utility mode
File mode
Master mode
Appendix
MOTIF Table of Contents 9
Front Panel
The Controls & Connectors
Front Panel
MOTIF6
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3
MEQLOWMID MEQ HI M ID
KN 4
MEQ HIGH
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
1 2
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB
STORE
SCENE STORE
SET LOCATE
MOTIF7
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3
MEQLOWMID MEQ HI M ID
KN 4
MEQ HIGH
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
1 2
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING
MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
10 MOTIF The Controls & Connectors
Front Panel
DEC/NO
SONG SCENE
SF 1
F1 F2
SF 2 SF 3
F3 F4
SF 4
F5
SF 5
INFORMATION
F6 EXIT
INC/YES
ENTER
EXECUTE
PRE 1
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
PRE 2 PRE 3 GM USER
SLOT 1 SLOT 2 SLOT 3
PLG 1 PLG 2 PLG 3
CATEGORY
SEARCH DRUM KITS
FAVORITES
COMMON
A. PIANO KEYBOARD ORGAN
A B C
GUITAR /
PLUCKED
D
BASS
E
STRINGS BRASS REED/PIPE
F G H
SYN LEAD
1
SYN PAD/
CHOIR
SYN COMP
2 3 4 5
SE
6
MUSICAL FX COMBI
7 8
SECTION
TRACK
SELECT
9
ELEMENT/ PERF.PART / ZONE
10
11
12 13
14
15 16 MUTE
SOLO
BANK
GROUP
NUMBER
DEC/NO
SONG SCENE
SF 1 SF 2 SF 3 SF 4 SF 5
INFORMATION
F1 F2 F3 F4 F5 F6
EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
PRE 1
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
PRE 2 PRE 3 GM
SLOT 1 SLOT 2 SLOT 3
USER PLG 1 PLG 2 PLG 3
CATEGORY
SEARCH
A. PIANO KEYBOARD ORGAN
A B C D
BASS
E
STRINGS
F
BRASS REED/PIPE
G H
SYN LEAD
1
SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
2 3
4
5
SE
6
MUSICAL FX COMBI
7 8
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
MOTIF The Controls & Connectors 11
Front Panel
MOTIF8
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
1 2
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING
UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
1
OCTAVE [UP] and [DOWN] buttons (page 127)
Use these buttons to change the note range of the keyboard. To restore the normal octave setting, press both buttons simultaneously.
n Because of its extended keyboard, the MOTIF 8 does not have OCTAVE buttons.
2
Controls the pitch bend effect. You can also assign other functions to this controller.
3
Controls the modulation effect. You can also assign other functions to this controller.
4 MASTER VOLUME
Adjusts the volume of the overall sound, as output from the rear-panel OUTPUT L/MONO and R jacks as well as the PHONES jack.
5 [KNOB CONTROL FUNCTION] button and
These four highly versatile knobs let you adjust various aspects or parameters of the current Voice.
Use the [KNOB CONTROL FUNCTION] button to change the parameter set for the knobs. The corresponding LED lights to indicate which group of parameters are active.
12 MOTIF The Controls & Connectors
Front Panel
DEC/NO
SONG SCENE
SF 1
F1 F2
SF 2 SF 3 SF 4 SF 5
INFORMATION
F3 F4 F5 F6
EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3 GM USER 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
CATEGORY
SEARCH
SECTION
SYN LEAD
1 2
SYN COMP
3 4 5
SE
6
MUSICAL FX COMBI
7 8
TRACK
SELECT
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
BANK
GROUP
NUMBER
6
[CS1] - [CS4] (Control Slider) (page 48)
Controls the volume of each part/element.
In the Master mode, the Zone setting (page 271)
allows you to assign various functions (Control
Change numbers) to these Sliders other than the volume.
7
[REMOTE CONTROL ON/OFF] button
When this is on, the following panel controls can be used to directly control mixing and transport functions on your sequencer software.
• Knobs
• Control Sliders
• [SEQ TRANSPORT] buttons
• [TRACK SELECT] button
• [MUTE] button
8
[EFFECT BYPASS] buttons
For enabling/disabling Effect Bypass. Press the button (the LED lights) to bypass effect processing of the current Voice or Performance.
The bypassed effects (Reverb, Chorus, Variation, or
Insertion) are specified in the Utility Mode
9
[ARPEGGIO ON/OFF] button (page 55)
Press this button to enable or disable playback of the Arpeggio for each Voice, Performance, Song, or
Pattern. If the Arpeggio Switch of the selected part is set to off in the Performance/Song/Pattern mode, however, pressing this button has no effect.
MOTIF The Controls & Connectors 13
Front Panel
)
SEQ TRANSPORT buttons
These buttons control recording and playback of the
Song/Pattern sequence data.
[ ](Top) button
Instantly returns to the first beginning of the current song or pattern (i.e., the first beat of the first measure).
[ ](Reverse) button
Press briefly to move back one measure at a time, or hold to continuously rewind.
[ ](Forward) button
Press briefly to move forward one measure at a time, or hold to continuously fast-forward.
[REC] (Record) button
Press this to enable recording (Song or pattern phrase). (The indicator lights.)
[ ](Stop) button
Press to stop recording or playback.
[ ](Play) button
Press to start playback from the current point in the song or pattern. During recording and playback, the indicator flashes at the current tempo.
!
These buttons select the MOTIF operating modes
(e.g., Voice mode).
@ LCD Display
The MOTIF’s large backlit LCD displays the parameters and values related to the currently selected operation or mode.
#
LCD Contrast Control
Use this control to set the LCD display for optimum legibility.
$
[F1] - [F6] (Function) buttons (page 71)
These buttons located directly below the LCD display call up the corresponding functions indicated in the display. In the display hierarchy, these functions [F] rank just below the modes.
%
[SF1] - [SF5] (Sub Function) buttons (page 71)
These buttons located directly below the LCD display call up the corresponding sub functions indicated in the display. In the display hierarchy, these sub functions [SF] rank just below the functions [F].
These buttons can be also used to store/recall the
Song Scene (page 115) in the Song Play/Song
Record/Pattern Chain Record modes.
^
[INFORMATION] button (page 73)
For calling up a special “help” feature that shows information about the currently selected mode. You can go back to the previous display by pressing this button again or pressing any other button.
&
For editing (changing the value of) the currently selected parameter. To increase the value, turn the dial right (clockwise); to decrease the value, turn the dial left (counter-clockwise). If a parameter with a wide value range is selected, you can change the value in broader strokes by quickly turning the dial.
*
For increasing the value of the currently selected parameter. Also use it to actually execute a Job or a
Store operation.
(
For decreasing the value of the currently selected parameter. Also use it to cancel a Job or a Store operation.
n When editing (changing) the value of the parameter, it is convenient to use the [INC/YES] button and the [DEC/NO] button simultaneously.
Pressing the [DEC/NO] button while holding the
[INC/YES] button increases the value by 10.
Pressing the [INC/YES] button while holding the
[DEC/NO] button decreases the value by 10.
º
The cursor buttons move the “cursor” around the
LCD display screen, highlighting and selecting the various parameters.
¡
The menus and displays of the MOTIF are organized according to a hierarchical structure.
Press this button to exit from the current display and return to the previous level in the hierarchy.
14 MOTIF The Controls & Connectors
™
[ENTER] button
Use this button to execute a Job or a Store operation. Also use this button to actually enter a number when selecting a Memory or Bank for Voice or Performance. In the File mode, use this button to go to the next lowest level in the selected directory.
£
These three lamps show the installation status of the Plug-in Boards.
If the Plug-in Board has been correctly installed, the corresponding SLOT lamp will light.
n The Vocal Harmony Plug-in Board (PLG100-VH) can be installed only to slot 1. It cannot be installed to slot 2 or 3.
n The Multi part Plug-in Board (PLG100-XG) can be installed only to slot 3. It cannot be installed to slot
1 or 2.
¢
Each button selects a Voice or Performance Bank.
When the [CATEGORY SEARCH] button is turned on, these buttons can be used to select the desired category (printed below each button). When the
[SECTION] button is turned on in the Pattern mode, these buttons are used to select the desired section.
∞
GROUP [A] - [H] buttons (page 124)
Each button selects a Voice or Performance Group.
When the [CATEGORY SEARCH] button is turned on, these buttons can be used to select the desired category (printed below each button). When the
[SECTION] button is turned on in the Pattern mode, these buttons are used to select the desired section.
Front Panel
§
NUMBER [1] - [16] buttons (page 124)
Use of these buttons differs depending on the on/off status of the [TRACK SELECT] and [MUTE] buttons.
Functions of the NUMBER [1] - [16] buttons
Voice Play mode
When [TRACK
SELECT] is on
Keyboard transmit channel setting
When [MUTE] is on
—
When both
[TRACK SELECT]
[MUTE] are off
Voice selection, according to Groups
A - H
Voice Edit mode
Element selection(1 - 4) and Element
Mute setting(9 - 12)
—
Performance Play mode
Keyboard transmit channel setting
Performance Edit mode
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
Zone selection
(1 - 4)
—
Master selection, according to Groups
A - H
Master Edit mode
Song/Pattern mode
Song/Pattern
Mixing mode
Zone selection
(1 - 4)
Zone Mute setting
(1 - 4)
—
Song/Pattern track selection
Song/Pattern part selection
Song/Pattern track Mute setting Song/Style selection, according to Groups
Song/Pattern part
A - H
Mute setting
¶
[CATEGORY SEARCH] button (page 126)
When this button is turned on in the Performance mode, the [BANK] and [GROUP] buttons can be used to select the Performance category.
When this button is turned on in another mode, the
[BANK] and [GROUP] buttons can be used to select the Voice category.
•
When this button is turned on in the Pattern mode, the [BANK] and [GROUP] buttons can be used to select the Pattern Section.
ª
[TRACK SELECT] button (page 181)
Turning this button on in the Song/Pattern mode enables the NUMBER [1] - [16] buttons for selecting corresponding Song/Pattern tracks. The on/off status of this button affects the NUMBER [1]
- [16] buttons in different ways, depending on the selected mode. (See
§
“NUMBER [1] - [16] buttons” above.)
‚
Turning this button on in the Song/Pattern mode enables the NUMBER [1] - [16] buttons for muting corresponding Song/Pattern tracks.
Press one of the NUMBER [1] - [16] buttons while holding this button to solo the corresponding track of the current selected Song/Pattern.
The on/off status of this button affects the
NUMBER [1] - [16] buttons in different ways, depending on the selected mode. (See
§
“NUMBER
[1] - [16] buttons” above.)
MOTIF The Controls & Connectors 15
Rear Panel
Rear Panel
MOTIF6
CAUTION
POWER
ON OFF AC INLET
MOTIF7
mLAN I O EXPANSION
POWER
ON OFF AC INLET
CAUTION mLAN I O EXPANSION
MOTIF8
POWER
ON OFF AC INLET
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
ATTENTION
:RISQUE DE CHOC ÉLECTRIQUE NE PAS OUVRIR.
WARNING
TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE.
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATION IS SUBJECT TO
THE FOLLOWING TWO CONDITIONS:
(1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND
(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDINGINTERFERENCE
THAT MAY CAUSE UNDESIRED OPERATION.
THIS CLASS B DEIGITAL APPARATUS COMPLIES WITH CANADIAN ICES-003.
CET APPAREIL NUMÉRIQUE DE LA CLASSE B EST CONFORME À LA NORME NMB-003
DU CANADA.
mLAN I O EXPANSION
16 MOTIF The Controls & Connectors
Rear Panel
Rear Panel
OPTICAL
OUTPUT USB
3.3V
CARD
Plug- in SLOT
3
2
1
GREEN
YELLOW
ORANGE
SCSI
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
OPTICAL
OUTPUT USB
3.3V
CARD
Plug- in SLOT
3
2
1
GREEN
YELLOW
ORANGE
SCSI
THRU
MIDI
OUT IN
FOOT
SWITCH
BREATH ASSIGNABLE SUSTAIN
FOOT
CONTROLLER
2 1
ASSIGNABLE OUTPUT
R L R
OUTPUT
L MONO PHONES
A D INPUT
R L
GAIN
OPTICAL
OUTPUT
USB
Plug- in SLOT
3
2
1
GREEN
YELLOW
ORANGE
3.3V
CARD
SCSI
THRU
MIDI
OUT IN
FOOT
SWITCH
BREATH
ASSIGNABLE SUSTAIN
FOOT
CONTROLLER
2 1
ASSIGNABLE OUTPUT
R L R
OUTPUT
L MONO PHONES
A D INPUT
R L
GAIN
MOTIF The Controls & Connectors 17
Rear Panel
1
Press to turn power ON or OFF.
2
AC Power Cord Socket (page 20)
Be sure the plug the AC power cord into this socket before plugging the power cord into an AC outlet.
Use only the AC power cord supplied with the
MOTIF. If the supplied cord is lost or damaged and needs to be replaced, contact your Yamaha dealer.
The use of an inappropriate replacement can pose a fire and shock hazard!
3 mLAN expansion board (mLAN8E) or I/O
expansion board (AIEB2) cover (page 22)
Either the mLAN expansion board (mLAN8E) or the I/O expansion board (AIEB2) sold separately can be installed to the MOTIF.
With the mLAN8E board, you can conveniently and easily hook up your MOTIF to other mLANcompatible instruments or devices. The AIEB2 board gives you additional digital I/O options, featuring both optical and coaxial connectors.
Moreover, the board also includes three stereo
ASSIGNABLE OUTPUT pairs (six analog jacks).
4
OPTICAL OUT connectors (page 22)
For output of digital audio, via optical fiber cables
(at 44.1kHz).
5
For connection to a computer having a USB interface. The USB interface provides multi-port
MIDI operation not possible with a single MIDI connection. n The USB connection can only be used for transfer of
MIDI data. No audio data can be transfered via USB.
USB
USB is an abbreviation for Universal Serial Bus. It is a serial interface for connecting a computer with peripheral devices, and enables much faster data transfer (12Mbps) compared to conventional serial port connections. Also, it allows “hot swapping”
(connecting peripheral devices while the power to the computer is on).
6
MIDI IN/OUT/THRU connectors (page 24)
MIDI IN is for receiving control or performance data from another MIDI device, such as an external sequencer.
MIDI THRU is simply for redirecting any received
MIDI data (via MIDI IN) to connected devices, allowing convenient chaining of additional MIDI instruments.
MIDI OUT is for transmitting all control, performance and playback data from the MOTIF to another MIDI device, such as an external sequencer.
7
BREATH Controller Jack (page 28)
Connect an optional Yamaha BC2 Breath Controller here for expressive breath control capability.
8
For connection of optional FC4 or FC5
Footswitches. When connected to the SUSTAIN jack, the Footswitch controls sustain. When connected to ASSIGNABLE, it can control one of various different assignable functions.
9
FOOT CONTROLLER jacks (page 28)
For connection of optional foot controllers (FC7, etc.). Each jack lets you continuously control one of various different assignable functions — such as volume, tone, pitch, or other aspects of the sound.
)
ASSIGNABLE OUT L and R jacks (page 21)
Line level audio signals are output from the MOTIF via these phone jacks (1/4" mono phone plug).
These outputs are independent of the main output
(at the L/MONO and R jacks below), and can be freely assigned to any of the Parts. This lets you route specific Voices or sounds for processing with a favorite outboard effect unit.
!
OUTPUT L/MONO and R jacks (page 21)
Line level audio signals are output via these phone jacks. For monophonic output, use just the L/
MONO jack.
@
For connection to a pair of stereo headphones.
#
External audio signals can be input via these phone jacks. These are used primarily for recording samples — either with a microphone, making the
proper Utility settings (page 250), or from other
audio equipment, such as a CD or MD player. With the optional Vocal Harmony Plug-in board
(PLG100-VH, page 35), you can also apply special
effects and harmonies to the microphone input.
$ GAIN knob
For adjusting the input gain of the audio at the A/D
INPUT jacks (above). Depending on the connected device (microphone, CD player, etc.), you may need to adjust this for optimum level.
%
This SCSI-2 50-pin connector (D-sub, half-pitch) can be used to connect to an external SCSI data storage device — allowing you to conveniently save and store large quantities of data.
18 MOTIF The Controls & Connectors
■ When the optional AIEB2 has been installed:
1 2 3
Rear Panel
^
Insert a Memory Card here to transfer various data to/from the MOTIF. Read carefully the precautions
on using a Memory Card (page 289) before
inserting a card.
&
Installing an optional Plug-in Board to the MOTIF lets you greatly expand the sonic palette of the instrument. Up to three boards can be installed to the MOTIF’s rear panel.
■ When the optional mLAN8E has been installed:
2 1
1
SERIAL I/O connector
For connecting the mLAN8E directly to a personal computer via a serial cable. Use this jack to connect the mLAN8E and the computer when using the mLAN Patchbay and mLAN Mixer in Windows.
This is not used to input or output MIDI or audio signals.
2 mLAN (IEEE1394) connector1, 2, 3
For connecting mLAN devices or IEEE1394compatible devices via IEEE1394 standard (6-pin) cables.
1
OPTICAL IN, OUT connectors (pages 22, 23)
Use these connectors to input or output digital signals over optical-fiber cable. You can use the
OPTICAL IN to record a digital signal of frequency
48kHz, 44.1kHz, or 32kHz. The OPTICAL OUT connector outputs a digital signal of frequency
44.1kHz.
2
DIGITAL IN, OUT connectors (pages 22, 23)
Use these connectors to input or output digital signals over coaxial (RCA-pin) cable. The digital signal format is CD/DAT (S/P DIF). You can use the DIGITAL IN connector to record a digital signal of frequency 48kHz, 44.1kHz, or 32kHz. The
DIGITAL OUT connector outputs a digital signal of frequency 44.1kHz.
3 ASSIGNABLE OUT jacks (AS1 to AS6)
Additional analog output jacks. Each pair (1&2,
3&4, 5&6) operates independently of all other outputs on the MOTIF.
About mLAN
“mLAN” is a digital network designed for musical applications. It uses and extends the industry standard IEEE 1394 high performance serial bus.
For details, refer to the Guide Book of the mLAN8E.
The name “mLAN” and its logo (above) are trademarks.
MOTIF The Controls & Connectors 19
Power Supply
Setting Up
This section explains how to connect your MOTIF to an AC power source, external audio and MIDI devices, and a computer system. Only switch the MOTIF on after you have made all the necessary connections.
It is recommended that you read this section before using the MOTIF.
Power Supply
rear panel
AC INLET terminal
Power cord
(included)
1
Make sure the POWER switch on the MOTIF is set to OFF.
2
Connect the supplied power cord to the AC INLET terminal on the instrument’s rear panel.
3
Connect the other end of the power cord to an AC outlet. Make sure your MOTIF meets the voltage requirement for the country or region in which it is being used.
Make sure your MOTIF is rated for the AC voltage supplied in the area in which it is to be used (as listed on the rear panel). Connecting the unit to the wrong AC supply can cause serious damage to the internal circuitry and may even pose a shock hazard!
Use only the AC power cord supplied with the MOTIF. If the supplied cord is lost or damaged and needs to be replaced, contact your Yamaha dealer. The use of an inappropriate replacement can pose a fire and shock hazard!
The type of AC power cord provided with the MOTIF may be different depending on the country in which it is purchased (a third prong may be provided for grounding purposes). Improper connection of the grounding conductor can create the risk of electrical shock. Do NOT modify the plug provided with the MOTIF. If the plug will not fit the outlet, have a proper outlet installed by a qualified electrician. Do not use a plug adapter which defeats the grounding conductor.
20 MOTIF Setting Up
Connections
Connections
Connecting to External Audio Equipment
Since the MOTIF has no built-in speakers, you’ll need an external audio system or a set of stereo headphones to properly monitor it. The following illustrations show various connection examples; use the one most similar to your intended setup.
Analog output
■
Connecting stereo powered speakers
A pair of powered speakers can accurately produce the instrument’s rich sounds with their own pan and effect settings. Connect your powered speakers to the OUTPUT L/MONO and R jacks on the rear panel.
Powered speaker (Left) Powered speaker (Right)
Headphones
PHONES
DOWN
OCTAVE
UP
OUTPUT
L /MONO R
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB CHORUS
RESONANCE
ASSIGN B
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3
MEQ HI M ID
KN 4
HIGH
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CONTROL
ON/OFF
EFFECT BYPASS ARPEGGIO
INSERTION SYSTEM ON/OFF
SEQ TRANSPORT
LOCATE
REC
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING
MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1 SF 2
F1 F2
SF 3 SF 4
F3 F4
SF 5
F5 F6
INFORMATION
EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
PRE 1
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Modular Synthesis Plug-in System
PRE 2 PRE 3 GM
SLOT 1 SLOT 2
USER PLG 1 PLG 2
SLOT 3
PLG 3
CATEGORY
SEARCH
A. PIANO KEYBOARD ORGAN
C D
BASS STRINGS BRASS
G
REED/PIPE
H
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE MUSICAL FX COMBI
SECTION
TRACK
SELECT
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
BANK
GROUP
NUMBER
MOTIF n When using just one powered speaker, connect it to the OUTPUT L/MONO jack on the rear panel.
■
Connecting to a mixer
There are extra audio outputs in addition to the OUTPUT (L/MONO and R) jacks. Connect these outputs to a mixer
for separately controlling the outputs of up to four Parts in Performance mode (page 164).
Mixer
Speaker
Amplifier
L
OUTPUT L R
R
Headphones
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 L R
PHONES
OCTAVE
DOWN UP
OUTPUT
L/MONO R
ASSIGNABLE
OUTPUT L, R
KNOB
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB CHORUS
RESONANCE
ASSIGN B
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2 REMOTE
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
VOLUME 1
KN 2 KN 3
MEQ HI M ID
KN 4
HIGH
VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1
F1 F2
SF 2 SF 3
F3
SF 4
F4 F5
SF 5 INFORMATION
F6 EXIT
INC/YES
ENTER
EXECUTE
PRE 1
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Modular Synthesis Plug-in System
PRE 2 PRE 3 GM USER
SLOT 1
PLG 1
SLOT 2 SLOT 3
PLG 2 PLG 3
CATEGORY
SEARCH DRUM KITS
FAVORITES
COMMON
A. PIANO KEYBOARD
SYN LEAD SYN PAD/
CHOIR
ORGAN
C
SYN COMP
GUITAR /
PLUCKED
D
BASS STRINGS
CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE
BRASS
G
REED/PIPE
H
MUSICAL FX COMBI
SECTION
TRACK
SELECT
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
BANK
GROUP
NUMBER
MOTIF
MOTIF Setting Up 21
Connections
■
Connecting to a mixer (with the optional AIEB2)
You can expand the MOTIF’s output capabilties with six additional OUTPUT jacks for outputting extra individual parts, by installing the optional I/O board (AIEB2).
Mixer
L
Speaker
Amplifier
OUTPUT L R
R
Headphone
PHONES
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 L R
OUTPUT
L/MONO
R
ASSIGNABLE
OUTPUT L
R
AIEB2
DOWN
OCTAVE
UP
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2 REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3
MEQ HI M ID
KN 4
MEQLOWMID MEQ HIGH
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
SYSTEM
ARPEGGIO
INSERTION
ON/OFF
SEQ TRANSPORT
LOCATE
REC
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1
F1 F2
SF 2 SF 3
F3 F4
SF 4 SF 5
F5 F6
INFORMATION
EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
PRE 1
A. PIANO
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
PRE 2
KEYBOARD
PRE 3
ORGAN
C
GM
GUITAR /
PLUCKED
D
SLOT 1 SLOT 2
PLG 1 PLG 2
SLOT 3
PLG 3 USER
BASS STRINGS BRASS
G
REED/PIPE
H
SYN LEAD SYN PAD/ SYN COMP PERCUSSION DRUM / SE MUSICAL FX COMBI
CATEGORY
SEARCH
SECTION
TRACK
SELECT
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16
BANK
GROUP
NUMBER
MUTE
SOLO
MOTIF n Connecting a pair of headphones does not affect audio output from the OUTPUT (L/MONO and R) jacks. You can monitor the same sounds via headphones and at the OUTPUT jacks.
Digital output
■
When using the OPTICAL OUTPUT connector:
This connector enables direct digital output of MOTIF playback and digital through-put.
DOWN
OCTAVE
UP
OPTICAL
OUTPUT
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
MASTER
VOLUME
KN 1
MEQ LOW
KN 2
MEQLOWMID
KN 3
MEQ HI M ID
KN 4
MEQ HIGH
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CONTROL
ON/OFF
EFFECT BYPASS ARPEGGIO
INSERTION SYSTEM ON/OFF
SEQ TRANSPORT
LOCATE
REC
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1 SF 2
F1 F2
SF 3
F3 F4
SF 4 SF 5
F5 F6
INFORMATION
EXIT
INC/YES
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Modular Synthesis Plug-in System
ORGAN
C D
SLOT 1 SLOT 2 SLOT 3
PLG 3 DRUM KITS
FAVORITES
COMMON
PRE 1
A. PIANO
PRE 2
KEYBOARD
PRE 3 GM USER PLG 1 PLG 2
BASS STRINGS BRASS
G
REED/PIPE
H
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE MUSICAL FX COMBI
CATEGORY
SEARCH BANK
SECTION GROUP
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 ENTER
EXECUTE
MUTE
SOLO
NUMBER
Record
OPTICAL
INPUT
DAT
DAT or CD recorder
MOTIF
■
When the optional AIEB2 I/O board has been installed:
The board enables direct digital output of MOTIF sound also via the coaxial cable.
For purposes of compatibility, the AIEB2 board includes two different output types: OPTICAL OUT (optical fiber) and DIGITAL OUT (coaxial cable). Note that both of these outputs always produce identical signals.
DOWN
OCTAVE
UP
Record
Optical cable
OPTICAL
OUTPUT
Coaxial cable
DIGITAL
OUTPUT
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB CHORUS
RESONANCE
ASSIGN B
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3
MEQ HI M ID
KN 4
HIGH
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CONTROL
ON/OFF
EFFECT BYPASS ARPEGGIO
INSERTION SYSTEM ON/OFF
SEQ TRANSPORT
LOCATE
REC
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1 SF 2
F1 F2
SF 3 SF 4
F3 F4
SF 5
F5 F6
INFORMATION
EXIT
INC/YES
DRUM KITS
FAVORITES
COMMON
PRE 1
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Modular Synthesis Plug-in System
PRE 2 PRE 3 GM
SLOT 1 SLOT 2
USER PLG 1 PLG 2
SLOT 3
PLG 3
CATEGORY
SEARCH
A. PIANO KEYBOARD ORGAN
C D
BASS STRINGS BRASS
G
REED/PIPE
H
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE MUSICAL FX COMBI
SECTION
BANK
GROUP
ENTER
EXECUTE
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
NUMBER
Record
DIGITAL
INPUT
DAT
DAT or CD recorder
OPTICAL
INPUT
DAT
MOTIF
22 MOTIF Setting Up
Connections
A/D input
■
Connecting a microphone or other audio equipment (analog input)
You can record or import external sounds or waveform data and use them as instrument sounds (see
to the A/D INPUT jacks.
Mic
(MONO)
L
AD INPUT
L
Audio Device (Stereo)
R
Sampling
R
AD INPUT
Apply effects to the microphone sound by using the Vocal Harmony
Plug-in board (PLG100-VH).
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2 REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1
F1 F2
SF 2 SF 3
F3
SF 4
F4 F5
SF 5 INFORMATION
F6 EXIT
INC/YES
ENTER
EXECUTE
PRE 1
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
PRE 2 PRE 3 GM USER
SLOT 1 SLOT 2
PLG 1 PLG 2
SLOT 3
PLG 3
CATEGORY
SEARCH DRUM KITS
FAVORITES
COMMON
A. PIANO KEYBOARD
SYN LEAD
ORGAN GUITAR /
PLUCKED
D
BASS STRINGS BRASS
G
REED/PIPE
H C
SYN COMP CHROMATIC DRUM / SE MUSICAL FX COMBI
SECTION
TRACK
SELECT
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
BANK
GROUP
NUMBER
DOWN
OCTAVE
UP
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
MASTER
VOLUME
KN 1
MEQ LOW
KN 2
MEQLOWMID
KN 3 KN 4
MEQ HI M ID MEQ HIGH
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1
F1 F2
SF 2 SF 3
F3 F4
SF 4 SF 5
F5 F6
INFORMATION
EXIT
INC/YES
ENTER
EXECUTE
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
SLOT 1 SLOT 2 SLOT 3
DRUM KITS
FAVORITES
COMMON
PRE 1
A. PIANO
PRE 2
KEYBOARD
PRE 3 GM
ORGAN
C
GUITAR /
PLUCKED
D
USER PLG 1 PLG 2 PLG 3
BASS STRINGS BRASS
G
REED/PIPE
H
SYN LEAD SYN PAD/ SYN COMP PERCUSSION DRUM / SE MUSICAL FX COMBI
CATEGORY
SEARCH
SECTION
TRACK
SELECT
BANK
GROUP
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
NUMBER
MOTIF MOTIF n After the above connections are complete, you are ready to set up for recording. When starting a recording, you may need to adjust the
input gain of the audio source using the GAIN knob. (page 18).
■
Connecting to mLAN-compatible audio equipment
mLAN audio device
Sampling mLAN jacks
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
REVERB
RESONANCE
ASSIGN A ASSIGN B
CHORUS
ATTACK
TEMPO
RELEASE
ASSIGN 1 ASSIGN 2
REMOTE
CONTROL
ON/OFF
KN 1
MEQ LOW
KN 2
MEQLOWMID
KN 3
MEQ HI M ID
KN 4
MEQ HIGH
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS ARPEGGIO
INSERTION SYSTEM ON/OFF
SEQ TRANSPORT
LOCATE
REC
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
VOICE
MODE
PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
MIXING UTILITY
EDIT
COMPARE
JOB STORE
DEC/NO
SONG SCENE
F1
SF 1 SF 2
F2
SF 3
F3 F4
SF 4 SF 5
F5 F6
INFORMATION
EXIT
INC/YES
ENTER
EXECUTE
PRE 1
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
PRE 2 PRE 3 GM USER
SLOT 1
PLG 1
SLOT 2
PLG 2
SLOT 3
PLG 3 DRUM KITS
FAVORITES
COMMON A. PIANO KEYBOARD
SYN LEAD
ORGAN
C D
SYN COMP CHROMATIC
BASS STRINGS BRASS
G
REED/PIPE
H
SE MUSICAL FX COMBI
SECTION
TRACK
SELECT
BANK
GROUP
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
NUMBER
MOTIF n The sound via either of the mLAN jacks and the A/D INPUT jacks can be input. You can set which jacks are used in the Utility
Digital input (when the optional AIEB2 has been installed)
By installing the optional AIEB2 I/O expansion board, you can directly record digital audio from digital sources — such as a CD player or DAT deck. For maximum compatibility and flexibility, the AIEB2 board includes two different input types: OPTICAL (optical fiber) and DIGITAL (coaxial cable).
Sampling
Optical cable
OPTICAL
INPUT
OPTICAL
OUTPUT
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2 REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2
MEQLOWMID
KN 3
MEQ HI M ID
KN 4
MEQ HIGH
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS ARPEGGIO
INSERTION SYSTEM ON/OFF
SEQ TRANSPORT
LOCATE
REC
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
VOICE
MODE
PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1 SF 2
F1 F2
SF 3
F3 F4
SF 4 SF 5
F5 F6
INFORMATION
EXIT
INC/YES
ENTER
EXECUTE
PRE 1
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
PRE 2 PRE 3 GM USER
SLOT 1
PLG 1
SLOT 2
PLG 2 DRUM KITS
FAVORITES
COMMON
A. PIANO KEYBOARD
SYN LEAD
ORGAN GUITAR /
PLUCKED
D
BASS
C
SYN COMP CHROMATIC
STRINGS
SE
BRASS
G
MUSICAL FX
SLOT 3
PLG 3
REED/PIPE
H
COMBI
CATEGORY
SEARCH
SECTION
TRACK
SELECT
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
BANK
GROUP
NUMBER
DAT
DAT or CD recorder
OCTAVE
DOWN UP
MOTIF Sampling
DIGITAL
INPUT
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
REVERB
RESONANCE
ASSIGN A ASSIGN B
CHORUS
ATTACK
TEMPO
RELEASE
ASSIGN 1 ASSIGN 2
REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2
MEQLOWMID
KN 3
MEQ HI M ID
KN 4
MEQ HIGH
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS ARPEGGIO
INSERTION SYSTEM ON/OFF
SEQ TRANSPORT
LOCATE
REC
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
VOICE
MODE
PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1 SF 2
F1 F2
SF 3
F3 F4
SF 4 SF 5
F5 F6
INFORMATION
EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
PRE 1 PRE 2 PRE 3 GM
SLOT 1
PLG 1
SLOT 2
PLG 2
SLOT 3
PLG 3 USER
BASS A. PIANO KEYBOARD ORGAN
C D
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
STRINGS BRASS
G
REED/PIPE
H
SE MUSICAL FX COMBI
CATEGORY
SEARCH
SECTION
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14
15
16
MUTE
SOLO
BANK
GROUP
NUMBER
Coaxial cable
DIGITAL
OUTPUT
DAT
DAT or CD recorder
MOTIF n Either one of the connectors (OPTICAL or DIGITAL) can be used; however, both cannot be used at the same time. Select which
connector is used for digital input in the Utility mode. See page 249.
MOTIF Setting Up 23
Connections
Connecting External MIDI Equipment
Using a standard MIDI cable (available separately), you can connect an external MIDI device, and control it from the
MOTIF. Likewise, you can use an external MIDI device (such as a keyboard or sequencer) to control the sounds on the MOTIF. Below are several different MIDI connection examples; use the one most similar to your intended setup.
■
Controlling from an external MIDI keyboard
OCTAVE
DOWN UP
CONTROL
FUNCTION
PAN
CUTOFF
REVERB
RESONANCE
ASSIGN A ASSIGN B
CHORUS
ATTACK
TEMPO
RELEASE
ASSIGN 1 ASSIGN 2 CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2
MEQLOWMID
KN 3
MEQ HI M ID
KN 4
MEQ HIGH
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS ARPEGGIO
INSERTION SYSTEM ON/OFF
SEQ TRANSPORT
LOCATE
REC
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
F1
SF 1 SF 2
F2
SF 3
F3 F4
SF 4 SF 5
F5 F6
INFORMATION
EXIT
INC/YES
PRE 1
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Modular Synthesis Plug-in System
PRE 2 PRE 3 GM USER
SLOT 1
PLG 1
SLOT 2
PLG 2
SLOT 3
PLG 3
CATEGORY
SEARCH DRUM KITS
FAVORITES
COMMON
A. PIANO KEYBOARD
SYN LEAD SYN PAD/
CHOIR
ORGAN
C
SYN COMP
D
CHROMATIC
PERCUSSION
BASS
DRUM /
PERCUSSION
STRINGS BRASS
G
REED/PIPE
H
SE MUSICAL FX COMBI
SECTION
BANK
GROUP
ENTER
EXECUTE
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
NUMBER
MIDI IN MIDI OUT
REALTIME CONTROL
EXTENDED SYNTHESIS
Extrnal MIDI keyboard or synthesizer
MOTIF
■
Controlling an external MIDI keyboard
DOWN
OCTAVE
UP
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
MASTER
VOLUME
KN 1
MEQ LOW
VOLUME 1
KN 2 KN 3
MEQ HI M ID
KN 4
HIGH
VOLUME 2 VOLUME 3 VOLUME 4
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
SYSTEM
ARPEGGIO
INSERTION
ON/OFF
SEQ TRANSPORT
LOCATE
REC
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1
F1 F2
SF 2 SF 3
F3 F4
SF 4 SF 5
F5 F6
INFORMATION
EXIT
INC/YES
ENTER
EXECUTE
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
PRE 3 GM
SLOT 1 SLOT 2
USER PLG 1 PLG 2 DRUM KITS
FAVORITES
COMMON
PRE 1 PRE 2
A. PIANO KEYBOARD ORGAN
C
GUITAR /
PLUCKED
D
SLOT 3
PLG 3
BASS STRINGS BRASS
G
REED/PIPE
H
SYN LEAD SYN PAD/ SYN COMP PERCUSSION PERCUSSION SE MUSICAL FX COMBI
CATEGORY
SEARCH
SECTION
TRACK
SELECT
BANK
GROUP
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
NUMBER
MIDI OUT MIDI IN
MUSIC SYNTHESIZER
EXTENDED SYNTHESIS
MOTIF
External MIDI keyboard or synthesizer
■
Recording and playback using an external MIDI sequencer
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
CHORUS
ATTACK
ASSIGN B ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2
MEQLOWMID
KN 3
MEQ HI M ID
KN 4
MEQ HIGH
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE SF 1
F1 F2
SF 2 SF 3
F3 F4
SF 4
F5
SF 5 INFORMATION
F6 EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS PRE 1
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
PRE 2 PRE 3 GM USER
SLOT 1 SLOT 2
PLG 1 PLG 2
SLOT 3
PLG 3
CATEGORY
SEARCH
A. PIANO KEYBOARD
SYN LEAD SYN PAD/
CHOIR
ORGAN
C
SYN COMP
D
CHROMATIC
PERCUSSION
BASS STRINGS
DRUM /
PERCUSSION
SE
BRASS
G
REED/PIPE
H
MUSICAL FX COMBI
SECTION
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14
15
16
MUTE
SOLO
BANK
GROUP
NUMBER
MIDI OUT
MIDI IN
MIDI IN
MIDI OUT
External MIDI sequencer
MOTIF
■
Controlling another MIDI device via MIDI THRU
External MIDI sequencer
MIDI OUT
MIDI IN MIDI THRU
DOWN
OCTAVE
UP
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
REVERB
RESONANCE
ASSIGN A ASSIGN B
CHORUS
ATTACK
TEMPO
RELEASE
ASSIGN 1 ASSIGN 2
KN 1
MEQ LOW
KN 2
MEQLOWMID
KN 3
MEQ HI M ID
KN 4
MEQ HIGH
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS ARPEGGIO
INSERTION SYSTEM ON/OFF
SEQ TRANSPORT
LOCATE
REC
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
VOICE
MODE
PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
MIXING UTILITY
EDIT
COMPARE
JOB STORE
DEC/NO
SONG SCENE SF 1 SF 2
F1 F2
SF 3
F3 F4
SF 4 SF 5
F5 F6
INFORMATION
EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS PRE 1
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
PRE 2 PRE 3 GM USER
SLOT 1
PLG 1
SLOT 2
PLG 2
SLOT 3
PLG 3
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
BANK
A. PIANO KEYBOARD
SYN LEAD
ORGAN
C
SYN COMP
D
BASS STRINGS BRASS
G
REED/PIPE
H
SE MUSICAL FX COMBI
SECTION
TRACK
SELECT
GROUP
NUMBER MIDI OUT
MIDI IN
External MIDI synthesizer 1
MIDI IN
MOTIF External MIDI synthesizer 2
In the above setup, Synthesizer 2 can be played from the MOTIF (via MIDI OUT), while the external sequencer plays Synthesizer 1 (via MIDI THRU).
n The MIDI cable should be no greater than 15 meters in length, and there should be no more than three devices in a MIDI chain
(chained in series via each unit’s MIDI THRU). To connect more units, use a MIDI Thru Box for parallel connections. You may encounter errors if the MIDI cables are too long or if too many devices are chained together via their MIDI THRU connectors.
■
Using an mLAN interface (when an optional mLAN8E has been installed)
OCTAVE
DOWN UP
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS TEMPO
ATTACK
ASSIGN 1
RELEASE
ASSIGN 2 CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
VOLUME 1
KN 2 KN 3
MEQ HI M ID
KN 4
HIGH
VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS ARPEGGIO
INSERTION SYSTEM ON/OFF
SEQ TRANSPORT
LOCATE
REC
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1
F1
SF 2
F2 F3
SF 3 SF 4
F4
SF 5
F5 F6
INFORMATION
EXIT
INC/YES
PRE 1
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Modular Synthesis Plug-in System
PRE 2 PRE 3 GM USER
SLOT 1
PLG 1
SLOT 2 SLOT 3
PLG 2 PLG 3
CATEGORY
SEARCH DRUM KITS
FAVORITES
COMMON
A. PIANO KEYBOARD
SYN LEAD SYN PAD/
CHOIR
ORGAN
C
SYN COMP
D
CHROMATIC
PERCUSSION
BASS STRINGS
DRUM /
PERCUSSION
SE
BRASS
G
REED/PIPE
H
MUSICAL FX COMBI
SECTION
BANK
GROUP
ENTER
EXECUTE
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
NUMBER
IEEE1394 cable
Transmit & Receive mLan keyboard
MOTIF n Any one of the these interfaces can be used for MIDI data transmission/reception: the MIDI connectors, the mLAN terminal connector, or the USB connector. However, they cannot be used at the same time. Select which connector is used for MIDI data
transfer in the Utility mode. See page 259.
24 MOTIF Setting Up
Connections
Connecting to a Personal Computer
By connecting a computer, you can transfer data between the MOTIF and the computer via MIDI, and use the computer to control, edit and organize data on the MOTIF. For example, you can use the included Voice Editor program to edit the MOTIF’s voices. There’s also a special File Utility program that lets you use your computer to manage files in the Memory Card inserted in the MOTIF’s CARD slot or files in the SCSI device connected to the
MOTIF.
■
Using an USB interface
DOWN
OCTAVE
UP
KNOB
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
MASTER
VOLUME
KN 1
MEQ LOW
VOLUME 1
KN 2
VOLUME 2
KN 3
VOLUME 3
KN 4
VOLUME 4
REMOTE
ON/OFF
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1
F1 F2
SF 2
F3
SF 3
F4
SF 4 SF 5
F5 F6
INFORMATION
EXIT
INC/YES
ENTER
EXECUTE
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
DRUM KITS
FAVORITES
COMMON
PRE 1 PRE 2
A. PIANO KEYBOARD
SLOT 1 SLOT 2 SLOT 3
PRE 3 GM
ORGAN
C
GUITAR /
PLUCKED
D
USER PLG 1 PLG 2 PLG 3
BASS STRINGS BRASS
G
REED/PIPE
H
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE MUSICAL FX COMBI
CATEGORY
SEARCH
SECTION
TRACK
SELECT
BANK
GROUP
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
NUMBER
USB cable
MOTIF Computer with a USB Interface n If you are using the Remote Control function to control operations on a computer sequencer, we recommend making connections with a USB cable.
n The USB connection can only be used for transfer of MIDI data. No audio data can be transfered via USB.
OCTAVE
DOWN UP
MOTIF
KNOB
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS TEMPO
ATTACK
ASSIGN 1
RELEASE
ASSIGN 2 REMOTE
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1
F1
SF 2
F2 F3
SF 3 SF 4
F4
SF 5
F5 F6
INFORMATION
EXIT
INC/YES
ENTER
EXECUTE
PRE 1
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
PRE 2 PRE 3 GM USER
SLOT 1
PLG 1
SLOT 2 SLOT 3
PLG 2 PLG 3
CATEGORY
SEARCH DRUM KITS
FAVORITES
COMMON
A. PIANO KEYBOARD ORGAN
C
GUITAR /
PLUCKED
D
BASS STRINGS
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE
BRASS
G
REED/PIPE
H
MUSICAL FX COMBI
SECTION
TRACK
SELECT
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
BANK
GROUP
NUMBER
MIDI IN MIDI OUT
USB cable transmission & receive
Computer with a USB interface
MIDI cable
MIDI OUT MIDI IN
External MIDI synthesizer
External MIDI sequencer n When you connect your computer to the MOTIF as illustrated above, you will need to select “USB” for MIDI data transmission in
About the USB connector
USB cables have different connectors on each end: the A type and the B type. When using the USB connection, connect the A type to your computer and the B type to the MOTIF.
Disconnecting/connecting the USB cable or turning the power off/on may cause the computer operation to hang-up, or may stop the MOTIF from functioning properly. Be careful NOT to disrupt the USB connection or turn the power on/off in the following operating conditions.
• While the MOTIF is recognizing the device or while loading the driver.
• While starting or shutting down the operating system.
• While computer operation is suspended (with power management controls such as sleep or hibernation).
• While a MIDI application is starting.
The computer may also hang up and/or the MOTIF ’s functions may stop if you do the following:
• Turn the power on/off, or connect/disconnect the cable too often.
• Enter the sleep mode while trasmitting the MIDI data, and resume operation.
• Disconnect/connect the cable while the MOTIF is on.
• Turn the MOTIF on/off, start the computer, or install driver software while a huge amount of data is being transferred.
MOTIF Setting Up 25
Connections
■
Using an IEEE1394 interface (when an optional mLAN8E has been installed)
DOWN
OCTAVE
UP
KNOB
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB CHORUS
RESONANCE ATTACK
ASSIGN B ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
REMOTE
ON/OFF
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
LOCATE
REC
SEQ TRANSPORT
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1
F1 F2
SF 2 SF 3
F3 F4
SF 4 SF 5
F5 F6
INFORMATION
EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
PRE 1
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
PRE 2 PRE 3 GM
A. PIANO KEYBOARD ORGAN
C
GUITAR /
PLUCKED
D
SLOT 1 SLOT 2
PLG 1 PLG 2
SLOT 3
PLG 3 USER
BASS STRINGS BRASS
G
REED/PIPE
H
CATEGORY
SEARCH
SECTION
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE MUSICAL FX COMBI
BANK
GROUP
TRACK
SELECT
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16
NUMBER
MUTE
SOLO
IEEE1394 cable
MOTIF
■
Using a MIDI interface
●
Using the computer’s MIDI interface
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●
Using an external MIDI interface
OCTAVE
DOWN UP
MIDI Interface
MIDI OUT
MIDI IN
MIDI IN
MIDI OUT
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
REVERB
RESONANCE
ASSIGN A ASSIGN B
CHORUS
ATTACK
TEMPO
RELEASE
ASSIGN 1 ASSIGN 2
MASTER
VOLUME
KN 1
MEQ LOW
KN 2
MEQLOWMID
KN 3
MEQ HI MID
KN 4
MEQ HIGH
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CONTROL
ON/OFF
EFFECTBYPASS ARPEGGIO
INSERTION SYSTEM ON/OFF
SEQ TRANSPORT
LOCATE
REC
CS 1 CS 2 CS 3 CS 4
ZONE1 ZONE2 ZONE3 ZONE4
VOICE
MODE
PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF1 SF2
F1 F2
SF3
F3 F4
SF4 SF5
F5 F6
INFORMATION
EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS PRE 1
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Modular Synthesis Plug-in System
PRE 2 PRE 3 GM
SLOT 1 SLOT 2
USER PLG 1 PLG 2
SLOT 3
PLG 3
A. PIANO KEYBOARD
SYN LEAD SYN PAD/
CHOIR
ORGAN
C D
SYN COMP CHROMATIC
PERCUSSION
BASS
DRUM /
PERCUSSION
STRINGS BRASS
G
REED/PIPE
H
SE MUSICAL FXCOMBI
CATEGORY
SEARCH
SECTION
ELEMENT/ PERF.PART/ ZONE
10 11 12 13 14
15
16
MUTE
SOLO
BANK
GROUP
NUMBER
Computer with a IEEE1394 interface
%$$ "
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/2 >07 %$$ $63 serial port
(modem or printerport) or USB port
MOTIF n Please use the appropriate MIDI interface for your computer.
Computer n If you are using a computer that has a USB interface, make sure to connect the computer and the MOTIF by USB. (The data transfer rate is faster than MIDI and you’ll have access to multiple MIDI ports.)
Local On/Off - When Connected to a Computer
When connecting the MOTIF to a computer, the keyboard performance data is generally sent to the computer, and then returned from the computer to play the tone generator or sound source. If the Local Switch is set to “on,” a
“double” sound may result, since the tone generator is receiving performance data from both the keyboard directly and the computer. Use the setting suggestions below as a guideline; specific instructions may differ depending on your computer and the software used.
When MIDI “Echo” is enabled on the software/computer, set the MOTIF Local Switch to “off.”
IN
USB
OUT
Computer with
Application Software
Tone
Generator
Local Off
MOTIF Local Sw=off
Keyborad
OUT
IN
Echo Back On n When transmitting or receiving System Exclusive data (such as with the Bulk Dump function), use the setting example below, making sure that MIDI “Echo” on the computer software is set to “off.”
26 MOTIF Setting Up
When MIDI “Echo” is disabled on the software/computer, set the MOTIF Local Switch to “on.”
Computer with
Application Software
USB OUT
Connections
Tone
Generator
Local On
MOTIF Local Sw=on
Keyborad
IN
Echo Back Off n Although not indicated in the illustration above, the MOTIF actually receives and responds to MIDI data from the computer application (sequencer), regardless of the Local Sw setting on the MOTIF.
* MIDI “Echo” is a function on sequencers that takes any data received via the MIDI IN and “echoes” it (or sends it as is) through the MIDI OUT. In some software, this function is also called “MIDI Thru.” n Refer to the owner's manual of your particular software for specific instructions.
Connecting to an External SCSI Device
This SCSI-2 50-pin connector (D-sub, half-pitch) can be used to connect to an external SCSI data storage device — allowing you to conveniently save and store large quantities of data. For details about SCSI and connecting SCSI
OCTAVE
DOWN UP
SCSI
KNOB
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2 REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3
MEQLOWMID MEQ HI M ID
KN 4
MEQ HIGH
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1
F1 F2
SF 2 SF 3
F3
SF 4
F4 F5
SF 5 INFORMATION
F6 EXIT
INC/YES
ENTER
EXECUTE
PRE 1
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
PRE 2 PRE 3 GM USER
SLOT 1
PLG 1
SLOT 2 SLOT 3
PLG 2 PLG 3
CATEGORY
SEARCH DRUM KITS
FAVORITES
COMMON
A. PIANO KEYBOARD ORGAN
C
GUITAR /
PLUCKED
D
BASS STRINGS BRASS
G
REED/PIPE
H SECTION
SYN LEAD SYN COMP CHROMATIC DRUM / SE MUSICAL FX COMBI
BANK
GROUP
TRACK
SELECT
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
NUMBER
Hard Disk, etc.
MOTIF n
The SCSI ID for the MOTIF and for the connected SCSI device are set in the File mode (page 265).
◆
MOTIF-compatible SCSI devices/disks
• Only DOS-format disks can be used by the MOTIF for saving data. Disks formatted by the MOTIF are formatted using DOS format.
• Disks formatted to DOS format by a personal computer can be used with the MOTIF. However, for best results, we recommend using disks formatted by the MOTIF.
• When formatted using the MOTIF, disks with a capacity of less than 2GB are formatted using FAT16 format, and larger disks are formatted using FAT32 format.
• MO disks which can be used with the MOTIF include capacities of 128 MB, 230 MB, and 540 MB. MO disks with a capacity of 640 MB and above cannot be used.
• The MOTIF can use removable media of capacities of up to 2 GB. Even if larger drives are connected, the
MOTIF can only use a maximum of 2 GB. Furthermore, all removable media are formatted using the FAT16 format, and partitioning is not possible.
• When a 31 GB disk is formatted, four 7.75 GB partitions will be created automatically.
MOTIF Setting Up 27
Connections
Connecting Various Controllers
The MOTIF features several controller jacks on the rear panel — letting you independently control various aspects of the sound and a variety of functions with optional controllers.
FOOT
SWITCH
BREATH ASSIGNABLE SUSTAIN
FOOT
CONTROLLER
2 1
BC3 FC4 or
FC5
FC4 or
FC5
FC7 FC7
28 MOTIF Setting Up
Powering Up
Powering Up
Power-on Procedure
Once you’ve made all the necessary connections between your MOTIF and any other devices, make sure that all volume settings are turned down all the way to zero. Then turn on the every device in your setup in the order of
MIDI masters (senders), MIDI slaves (receivers), then audio equipment (mixers, amplifiers, speakers, etc.). This ensures smooth signal flow from the first device to the last (first MIDI, then audio).
When powering down the setup, first turn down the volume for each audio devices, then switch off each device in the reverse order (first audio devices, then MIDI).
n If the SCSI device is connected to the MOTIF, first turn the SCSI device on and follow the instructions below. When turning the power off in this case, turn the SCSI device off after all other devices.
When using the MOTIF as MIDI receiver:
1 2 3
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Switching the MOTIF On
n Before you switch your MOTIF on or off, first turn down the volume of any audio equipment connected to it.
1
Press the POWER switch.
After a while, the default display appears (as set in the Utility parameter, Power On Mode Display).
POWER
ON OFF AC INLET
MOTIF
2
Raise the sound system volume to a reasonable level.
3
Gradually raise the VOLUME control while playing the keyboard to set the desired listening level.
MOTIF Setting Up 29
Mode
Basic Structure
Mode
The MOTIF is organized with various modes, each covering a different set of operations and functions.
Keyboard Playback mode
Voice mode
Voice Play mode
Voice Edit mode
Voice Job mode
Voice Store mode
VOICE
PERFORM
Performance mode
Performance Play mode
Performance Edit mode
Performance Job mode
Performance Store mode
Sampling mode
INTEGRATED
SAMPLING
Sampling Record mode
Sampling Edit mode
Sampling Job mode
Sequencer mode
(Multi mode)
Song mode
Song Play mode
Song Record mode
Song Edit mode
Song Job mode
SONG
Song Mixing mode
Pattern mode
Pattern Play mode
Pattern Record mode
PATTERN
Pattern Edit mode
Pattern Job mode
Pattern Mixing mode
Utility mode
Job mode
UTILITY
Master mode
MASTER
Master Play mode
Master Edit mode
Master Job mode
Master Store mode
File mode
FILE
■
Voice mode
Basic Structure (page 42) · Basic Operation (page 67)
Quick Start Guide (page 80) · Reference (page 121)
●
Voice Play mode
In this mode, Normal Voices and Drum Voices can be played. By installing an optional Plug-in Board, you can have an even greater selection of Voices.
●
Voice Edit mode
In this mode, Normal Voices and Drum Voices can be created and edited.
●
Voice Job mode
In this mode, you can copy and initialize Voices, and perform other similar operations (Jobs) on them.
●
Voice Store mode
In this mode, you can store edited voices as User
Voices in internal memory. You can also save them to Memory Card or an external SCSI device in the
File mode (below).
30 MOTIF Basic Structure
■
Performance mode
Basic Structure (page 42) · Basic Operation (page 67)
Quick Start Guide (page 88) · Reference (page 160)
●
Performance Play mode
In this mode, Performances can be played — letting you use Voice splits, layers, etc,.
●
Performance Edit mode
In this mode, Performances can be created and edited.
● Performance Job mode
In this mode, you can copy and initialize
Performances, and perform other similar operations
(Jobs) on them.
● Performance Store mode
In this mode, you can save edited Performances as
User Performances in internal memory. You can also save them to Memory Card or an external SCSI device in the File mode (below).
■
Song mode
Basic Structure (page 51) · Basic Operation (page 67)
Quick Start Guide (page 78) · Reference (page 177)
● Song Play mode
In this mode, you can use the sequencer and its various functions (e.g., Track Mute/Solo) in playing back Songs.
● Song Record mode
In this mode, you can use the sequencer to record your keyboard performance to a User Song. The
MOTIF lets you record up to 16 separate sequence tracks.
●
Song Edit mode
In this mode, you can edit the MIDI events of each track of the recorded Song.
●
Song Job mode
In this mode, you can perform a variety of operations on the Song data, such as copying and erasing. These can be done on individual measures, or on entire tracks.
● Song Mixing mode
In this mode, you can set the tone generation parameters of each part of the recorded Song.
■
Pattern mode
Basic Structure (page 51) · Basic Operation (page 67)
Quick Start Guide (page 100) · Reference (page 215)
●
Pattern Play mode
In this Mode, you can use the sequencer to play back Patterns. You can combine various Phrases (by using the Patch function) to create a Pattern.
●
Pattern Record mode
In this mode, you can use the sequencer to record your keyboard performance to a User Phrase — the basic building block for Patterns. The MOTIF lets you record up to 16 separate sequence tracks.
● Pattern Edit mode
In this mode, you can edit the MIDI events of each track of the recorded Pattern Phrase.
● Pattern Job mode
In this mode, you can perform a variety of operations on the Pattern data, such as copying and erasing. These can be done on individual measures, or on entire tracks.
●
Pattern Mixing mode
In this mode, you can set the tone generation parameters of each part of the recorded Pattern.
Mode
■
Sampling mode
Basic Structure (page 58) · Basic Operation (page 67)
Quick Start Guide (page 100) · Reference (page 233)
This mode is s sub-mode of the Voice/Performance/
Song/Pattern mode. Press the [INTEGRATED
SAMPLING] button in each mode to enter the
Sampling mode, and press the same button after sampling to go back to the previous mode.
● Sampling Record mode
In this mode, you can record sounds into the
MOTIF from a microphone or other audio source.
These sounds (Samples) can then be played back in real time via keyboard or can be saved to the Song/
Pattern track.
Moreover, you can process a recorded Sample (for example, with Chorus or another effect), then rerecord it as a new Sample — using the Resampling function.
●
Sampling Edit mode
In this mode, you can edit recorded Samples — for example, their loop points and other parameters.
●
Sampling Job mode
In this mode, you can copy and delete Samples, and perform other similar operations (Jobs) on them.
MOTIF Basic Structure 31
Mode
■
Utility mode
Basic Operation (page 67) · Reference (page 249)
This mode is a sub-mode of the Voice/Performance/
Song/Pattern mode. Press the [UTILITY] button in each mode to enter the Sampling mode and press the same button after sampling to go back to the previous mode.
In this mode, you can set parameters that apply to the entire system of the MOTIF. These include MIDI settings and global setup parameters.
●
Utility Job mode
In this Mode, you can restore the MOTIF’s factory settings.
■
Master mode
Basic Structure (page 56) · Basic Operation (page 68)
Quick Start Guide (page 93) · Reference (page 268)
This mode gives you a convenient way to register the settings that are often used in the Voice, Performance,
Song and Pattern mode to User Master, and to instantly recall them with simple operations.
For the Voice or Performance mode, you can make additional Master Keyboard function settings (e.g., separate Zone settings), and register them to a User
Master.
● Master Play mode
In this mode, you can select the desired User Master to play the MOTIF.
●
Master Edit mode
In this mode, you can edit the Master settings.
●
Master Job mode
In this mode, various jobs for Master settings are provided.
● Master Store mode
In this mode, you can store settings for each mode to the internal memory as a User Master.
■
File mode
Basic Structure (page 63) · Basic Operation (page 68)
Quick Start Guide (page 97) · Reference (page 261)
In this mode, you can save/load all your important original data to/from Memory Card (the MOTIF features a built-in Card slot) or an external SCSI storage device for future recall.
32 MOTIF Basic Structure
System Overview
System Overview
This section provides an overview of the MOTIF’s wide range of sophisticated and versatile features. The MOTIF is made up of several blocks, as shown here.
Controller block
Controllers Keyboard
MIDI out
KN 1 KN 2 KN 3 KN 4
Sequencer block
MIDI sequence data
• Song
• Pattern
• Arpeggio
MIDI data
Tone Generator block
Internal AWM2
Plug-in board
• Voice
• Performance
Sampling block
Effect block
DSP
• Reverb
• Chorus
• Variation
• Master Equalizer
Output
MIDI data
Microphone or audio equipment
MIDI data
External MIDI device
A/D Input MIDI data
Controller block
Basic Structure (pages 37, 48)
This block consists of the keyboard, Pitch Bend and Modulation Wheels, Ribbon Controller, Sound Control knobs, and so on. The keyboard itself doesn’t generate sounds, but instead sends note, velocity and other information (MIDI data) to the synthesizer’s tone generator section when you play notes. The controllers also send changes.
Information from the keyboard and controllers can be transmitted to other external MIDI devices through the MIDI
OUT connector or the USB connector.
Sequencer block
Basic Structure (page 51) · Quick Start Guide (pages 99 ~ 118) · Reference (pages 177, 215)
This block lets you create songs and patterns by recording/editing musical performances (MIDI data) recorded from the controller block, and then plays back this data, transmitting it to the tone generator block.
The sequencer block can be operated in the Song mode, in the Pattern mode, and in using the Arpeggio feature.
When a song or a pattern is played back, the musical data of each sequence track is transmitted to the tone generator block according to the Transmit Channel settings.
Track 1
Track 2
Track 3
Sequencer
Piano
Bass
Strings
Ch1
Ch2
Ch3
Tone Generator block
(example) part 1 part 2 part 3 part 4
(Receive channel 2)
(Receive channel 3)
(Receive channel 10)
(Receive channel 1)
Track 16 Percussion Ch16 part 15 part 16
(Receive channel 9)
(Receive channel 16) n
MOTIF Basic Structure 33
System Overview
Tone Generator block
The tone generator block is what actually produces sound in response to the MIDI messages received from the sequencer block, the controller block, and from the MIDI IN connector or the USB connector.
The following example illustrates the signal flow within a Voice.
Voice
Element 4
Element 3
Element 2
Element 1
LFO
Low Frequency
Oscillator
Osillator
See page 45
Pitch Filter Amplitude
PEG
Pitch Envelope
Generator
See page 46
FEG
Filter Envelope
Generator
See page 47
AEG
Amplitude Envelope
Generator
See page 47 n
For details on the Voice structure, see page 40.
Internal AWM2 Tone Generator and optional Plug-in board
The tone generator block in the MOTIF consists of the built-in AWM2 and optional Plug-in units.
Internal AWM2
Tone Generator
Plug-in board (optional)
● AWM2(Advanced Wave Memory2)
AWM2 (Advanced Wave Memory 2) is a synthesis system based on sampled waves (sound material), and is used in many Yamaha synthesizers. For extra realism, each AWM2 Voice uses multiple samples of a real instrument’s waveform. Furthermore, a wide variety of envelope generator, filter, modulation, and other parameters can be applied to the basic waveform.
You can create your own waves via microphone or from external audio equipment by using the Sampling function.
These are then stored in internal RAM and can be used just like the preseet waves.
One voice can use up to four waves (elements) in AWM2 tone generator. n AWM2 is not just limited to general musical instruments (Normal Voices). It can also be used for setting up percussive
instruments (Drum Voices). For details on Normal and Drum Voices, see page 45.
●
Plug-in board
Plug-in Boards give you an enormous amount of additional sonic flexibility and power. When installed, they work seamlessly and transparently within the system of the MOTIF — meaning that you can use their sounds and functions just as if they were built right into the MOTIF at the factory.
The boards that are available for and can be installed to the MOTIF are described below.
Up to three Plug-in boards can be installed to the MOTIF. These boards are not simply a source of more Voices; they are also tone generators in their own right and extend the system-level specifications such as maximum polyphony.
In addition, they allow you to use synthesis systems besides AWM2. You can play Plug-in Voices just like ordinary
internal Voices and use them as Parts in a Performance (page 42).
The MOTIF is compatible with the Modular Synthesis Plug-in System (see next page). There are three types of
Modular Synthesis Plug-in System-compatible Plug-in Boards: Single Part, Multi-Part and Effect Plug-in Board. Using these, you can build your own system based on the sounds you require.
34 MOTIF Basic Structure
System Overview
Plug-in board line-up
● Single Part Plug-in Boards
Single Part Plug-in Boards let you add a completely different synthesizer or tone generator and play its voices by using a single part of the MOTIF.
• Analog Physical Modeling Plug-in Board (PLG150-AN)
Using Analog Physical Modeling (AN) synthesis, the very latest digital technology is used to accurately reproduce the sound of analog synthesizers. With this board installed, you have real-time control over the playback of vintage synthesizer sounds as well as the very latest sounds heard in today’s club-oriented music.
• Piano Plug-in Board (PLG150-PF)
A massive waveform memory is dedicated to the reproduction of piano sounds. This board offers 136 stereo sounds, including a number of acoustic and electric pianos, and up to 64-note polyphony. You can even install two of these boards to double the polyphony to 128 notes.
• Advanced DX/TX Plug-in Board (PLG150-DX)
The sounds of the DX7 are available on this Plug-in Board. Unlike PCM-based tone generators, this board uses the powerful FM Synthesis system — the same as found on DX-series synthesizers — for extraordinarily versatile and dynamic sound shaping potential. Sounds are compatible with those of the DX7, and the board can even receive DX7 data via MIDI bulk dump.
• Virtual Acoustic Plug-in Board (PLG150-VL)
With Virtual Acoustic (VA) synthesis, the sounds of real instruments are modeled (simulated) in real time, giving a degree of realism that cannot be achieved using conventional PCM-based synthesis techniques. When playing these sounds using an optional MIDI Wind Controller (WX5), you can even capture some of the physical feel of woodwind instruments.
● Effect Plug-in Board
• Vocal Harmony Plug-in Board (PLG100-VH)
With this board installed, you can add harmonies to selected parts using four types of effects.
Chorus parts for vocals can be created automatically from chords that have been prepared and stored as MIDI data. You can also use the MOTIF like a vocoder by connecting and using a microphone while playing the keyboard.
● Multi-Part Plug-in Board
Multi-Part Plug-in Boards let you expand the voice polyphony of the MOTIF by giving you a full 16 independent instrumental parts. By using this type of board to play back sequencer tracks, you can reserve the maximum polyphony of the MOTIF for your keyboard performance.
• XG Plug-in Board (PLG100-XG)
This Plug-in Board is a 16-part XG sound generator. You can play back XG/GM song files using the rich variety of sounds and effects on this board.
n Additional Plug-in Boards will be available in the future.
About MODULAR SYNTHESIS PLUG-IN SYSTEM
The Yamaha Modular Synthesis Plug-in System offers powerful expansion and upgrade capabilities for Modular
Synthesis-Plug-in-compatible synthesizers, tone generators and sound cards. This enables you to easily and effectively take advantage of the latest and most sophisticated synthesizer and effects technology, allowing you to keep pace with the rapid and multi-faceted advances in modern music production.
MOTIF Basic Structure 35
System Overview
Maximum Polyphony
The maximum sonic polyphony is 62 for AWM2, plus the polyphony of the Plug-in Board (if installed). The actual note polyphony will vary depending on the type of tone generator unit used, the number of Elements in the Voice, and the note polyphony of the Plug-in Board.
In the case of AWM2 Voices, the polyphony figure of 63 is divided by the number of Elements in the Voice.
Part structure of the Tone Generator block
The MOTIF plays its sounds (with the Tone Generator block) in response to MIDI data, received from the Controller block or Sequencer block.
MIDI data is assigned to one of sixteen channels, and the MOTIF is capable of simultaneously playing sixteen separate parts, via the sixteen MIDI channels. However, we can overcome the sixteen-channel limit by using separate MIDI “ports,” each supporting sixteen channels. The multiple sound sources of the MOTIF (internal tone generator and Plug-in Boards) take advantage of the three MIDI ports included on the instrument.
Tone Generator block
Part for Voice mode
Port 1 part 1 part 2
Port 2 part 17 part 18
Port 3 part 33 part 34 part 14 part 15 part 16 part 30 part 31 part 32 part 46 part 47 part 48
These parts are used in modes other than the
Voice mode.
As shown in the above illustration, up to 48 parts can be used in the modes (excepting the Voice mode). However, the number of parts that are actually used is a maximum of 34 in the Song and Pattern modes, as we’ll see later in some examples.
n
See page 30 for details about the modes.
n The USB cable supports up to eight separate MIDI ports. The MOTIF illustrated above, and the MOTIF
’ s Tone Generator block supports three separate ports as
’ s MIDI Thru function supports eight separate MIDI ports. n The MIDI cable and IEEE cable (when the mLAN8E has been installed) cannot handle MIDI port data.
36 MOTIF Basic Structure
System Overview
Relationship between the Part structure of the Tone Generator block and the
Controller/Sequencer block for each mode
● Voice mode
Keyboard
Controller block
Controllers
KN 1 KN 2 KN 3 KN 4
Tone Generator block
(Internal / Plug-in)
The sequencer block is not available in the Voice mode.
Part for 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 1-48 are not used.
Output part 30 part 31 part 32 part 46 part 47 part 48 part 16 n In the Voice mode, the MIDI port number is 1. n The Multi-Part Plug-in Board cannot be used in the Voice mode. However, other Plug-in Boards can be used.
● Performance mode
Keyboard
Controller block
Controllers
KN 1 KN 2 KN 3 KN 4
PLG3 part
A maximum of four parts can be used among parts 1-4 and 14-16.
Parts that are set to on in the Performance Play mode are used.
Tone Generator block (Internal / Plug-in)
Port 1 Port 2 Port 3
Part 1
Part 2
Part 3
Part 17
Part 18
Part 33
Part 34
Part 4
Part 5
The sequencer block is not available in the
Performance mode.
Parts 5-13 and 17-48 are not used.
Output
PLG2 part
Part 14
Part 15
Part 16
Part 30
Part 31
Part 32
Part 46
Part 47
Part 48
PLG1 part n In the Performance mode, the MIDI port number is 1. n The Multi-Part Plug-in Board cannot be used in the Performance mode. However, other Plug-in Boards can be used.
MOTIF Basic Structure 37
System Overview
●
Song/Pattern mode
External sequencer
MIDI cables by themselves cannot handle data from multiple ports. If a
MIDI cable is used to transmit data from an external sequencer, only the Port 1 parts are used. To take advantage of the multiple ports of the MOTIF, use a USB cable.
Sequencer block
MIDI sequence data
(Song / Pattern)
Track 1
Track 2
Track 3
Track 4
Track 15
Track 16
Each track of music (MIDI) data sounds a corresponding part on the MOTIF, according to the MIDI channel settings.
(The receive channel for each part must match the transmit channel of each track.)
Keyboard
Controller block
Controllers
KN 1 KN 2 KN 3 KN 4
In the Song / Pattern Mixing mode, the only parts that sound are the currectly selected (edited) part, and parts having the same receive channel as the selected one.
Tone Generator block (example)
When the Multi-Part Plug-in board and two Single Part Plug-in boards have been installed:
Port 1 Port 2
(Multi-Part Plug-in
Board)
Port 3
(Single Part Plug-in
Board)
Part 1
Part 2
Part 3
Part 4
Part 17
Part 18
Part 33
Part 34
Parts 33-46 are not used.
Part 15
Part 16
Part 30
Part 31
Part 32
Part 46
Part 47
Part 48
PLG1 part PLG2 part
38 MOTIF Basic Structure
System Overview
Effect block
This block of the MOTIF applies effects to the output of the tone generator, processing and enhancing the sound using sophisticated DSP (digital signal processing) technology.
Effect structure
The MOTIF’s effect processing features the following effect units.
■
System Effects (Reverb, Chorus, Variation)
System Effects are applied to the overall sound, whether it be a voice, an entire performance setup, a song, etc.
With System effects, the sound of each part is sent to the effect according to the effect Send Level for each part. The processed sound (referred to as “wet”) is sent back to the mixer, according to the Return Level, and output — after being mixed with the unprocessed “dry” sound. This arrangement lets you prepare an optimum balance of the effect sound and the original sound of the parts.
• Reverb
The Reverb effects add a warm ambience to the sound, simulating the complex reflections of actual performance spaces, such as a concert hall or a small club. A total of 12 different Reverb types are available.
• Chorus
The Chorus effects use modulation to create a rich ensemble sound — as if one part were being played by several instruments simultaneously. A total of 25 different Chorus types are available.
• Variation
The Variation effects provide a wide variety of sound transformations and enhancements. A total of 25 different
Variation types are available. Variation is not available in the Voice mode.
■
Insertion Effects (1, 2)
Insertion effects can be applied individually to each part.
Insertion effects are mainly used to directly process a single part. The depth of the effect is adjusted by setting the dry/wet balance. Since an Insertion effect can only be applied to one particular part, it should be used for sounds you want to drastically change. You can also set the balance so that only the effect sound is heard, by setting Wet to
100%.The MOTIF features two Insertion effect systems — one with a total of 104 internal effect types and the other with 25.
■
Plug-in Insertion Effects
This is a special effect system, only available when an effect-type Plug-in Board is installed. Plug-in Board effects are not available in the Voice mode.
■
Master Equalizer
Usually an equalizer is used to correct the sound output from amps or speakers to match the special character of the room. The sound is divided into several frequency bands, then by raising or lowering the level for each band, the correction is made.
Adjusting the sound you play according to the genre—classical music being more refined, pops music more crisp, and rock music more dynamic—can also serve to draw out the special characteristics of the music and make your performance more enjoyable.
The MOTIF possesses a high grade five-band digital equalizer function.
The four knobs can be used to adjust the gain of the four bands (among five).
MOTIF Basic Structure 39
System Overview
Effect connection
● In the Voice mode:
You can select the Insertion connection among three types.
Tone Generator block
Element 1
Element 2
Element 3
Element 4
This determines which Insertion system, 1 or 2, is applied to each
Element (or to each key when the
Drum voice is selected). The
Insertion effect can also be bypassed.
Insertion Effect
1
2
System Effect
Reverb
Chorus
Send Level Return Level
Master Equalizer
1 to 2
1
2
You can select the Insertion connection from the three types shown below.
2 to 1
1
parallel
1
2 2
Output n The parallel connection is not available for Plug-in voices.
● In the Performance mode:
The diagram below indicates the connection when the Vocal Harmony Plug-in Board (PLG100-VH) is installed to slot 1.
Select the part to which the
Insertion effect is applied from parts 1-4 and Plug-in parts 2-3.
The connection type depends on the setting of the Voice assigned to the selected part.
System Effect
Reverb
Chorus
Variation
Tone Generator block
Part 1-4,
Plug-in part 2-3
Insertion Effect
1
2
Send Level Return Level
Master Equalizer Output
Insertion Effect
(Plug-in)
Select the part to which the Plug-in Insertion effect is applied from parts 1-4, Plug-in parts
2-3 and A/D Input part.
A/D Input
• External audio source
• Microphone sound 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.
40 MOTIF Basic Structure
System Overview
●
In the Song/Pattern mode:
The diagram below indicates the connection when the Vocal Harmony Plug-in Board (PLG100-VH) is installed to slot 1 and the Multi part Plug-in Board (PLG-100XG) is installed to slot 3.
Tone Generator block
Part 1~16
Select the part to which the Insertion effect is applied. The connection type depends on the setting of the Voice assigned to the selected part.
Part 17-32 *
(When the Multi-part Plugin board has been installed)
Insertion Effect
1
2
Send Level
System Effect
Reverb
Chorus
Variation
Return Level
Master Equalizer Output
Plug-in Part 2
(When the Single part Plugin board has been installed)
Insertion Effect
(Plug-in)
PLG100-VH
Select the part to which the Plug-in Insertion effect is applied.
A/D Input
• External audio source
• Microphone sound
* Please note that the Insertion Effect, Insertion Effect (Plug-in), and the System Effect cannot cannot be applied to parts 17~32 (using the Multi-part Plug-in board). The signal from parts 17~32 is directly sent to the Master
Equalizer.
n The Vocal Harmony Plug-in Board (PLG100-VH) can be installed only to slot 1. It cannot be installed to slot 2 or 3. n The Multi part Plug-in Board (PLG100-XG) can be installed only to slot 3. It cannot be installed to slot 1 or 2.
MOTIF Basic Structure 41
Main functions
Main functions
Voices and Performances
Quick Start Guide (pages 80, 88) · Reference (pages 121, 160)
A Voice is the main sound of the MOTIF, made up of a variety of parameter settings. Each Voice can consist of up to four separate Elements, each of which is a high-quality wave, or basic sound.
A Performance, on the other hand, is a program in which multiple Voices (parts) are combined — in a layer, or in other configurations. Each Performance can contain up to four different Parts.
One Voice One Performance
Element 1 Element 2 Element 3
Up to four elements
+
Parameter settings
(Voice Edit)
Element 4
Voice 1 Voice 2 Voice 3
Up to four voices
+
Parameter settings
(Performance Edit)
Voice 4
Set the following parameters for each Element to create the Voice.
Parameters related to the
Tone Generator block
LFO
Low Frequency
Oscillator
Oscillator
See page 45
Pitch Filter
PEG
Pitch Envelope
Generator
See page 46
FEG
Filter Envelope
Generator
See page 47
Amplitude
AEG
Amplitude Envelope
Generator
See page 47
Parameters related to the Controller block Parameters released to the Effect block
System Effect
Reverb
Chorus
Insertion Effect
Send level
Return level 1
2
Master
Equalizer
KN 1 KN 2 KN 3 KN 4
42 MOTIF Basic Structure
Main functions
In the Voice Play mode, you can select and play any of these Voices. In the Performance Play mode, you can select and play any of these Performances.
On the previous page, the illustration shows the structure of one Voice/Performance. The illustration below shows the overall memory structure of all Voices and Performances. Taken together, these illustrations can help you better understand the structure of the MOTIF’s Voices and Performances. These two illustrations help you to understand the structure of Voice/Performance.
Preset 1
(128 Normal Voices)
Group A~H
Number 1~16
Voice
Voices
Preset Voice
(384 Normal Voices + 48 Drum Voices)
Preset 2
(128 Normal Voices)
Group A~H
Number 1~16
Voice
Preset 3
(128 Normal Voices)
Group A~H
Number 1~16
Voice
Preset 1
(48 Drum Voices)
Group A~C
Number 1~16
Voice
Performance
User
(128)
Group A~H
Number 1~16
Performance
For instructions on selecting Voices /
Performances, see pages 124 and 162.
GM Preset Voice
(128 Normal Voices +1 Drum Voices )
GM Preset
(128 Normal Voices)
Group A~H
Number 1~16
Voice
GM Preset
(1 Drum Voices)
Voice
User Voice
(128 Normal Voices +16 Drum Voices )
User
(128 Normal Voices)
Group A~H
Number 1~16
Voice
User
(16 Drum Voices)
Group A~C
Number 1~16
Voice
Indicates the separate "Banks" of Voices / Performances.
Plug-in Voice
(The maximum amount of Preset and Users Banks is three -depending on the number of Plug-in Board that are installed.)
Preset 1
(AN, PF, DX board: 64 voice VL board: 192 voice )
Number 1~16
Voice
Preset 2
(AN, PF, DX board: 64 voice VL board: 192 voice )
Number 1~16
Voice
Preset 3
(AN, PF, DX board: 64 voice VL board: 192 voice )
Number 1~16
Voice
User 1
(64 Voice)
Group A~H
Number 1~16
Voice
User 2
(64 Voice)
Group A~H
Number 1~16
Voice
User 3
(64 Voice)
Group A~H
Number 1~16
Voice
MOTIF Basic Structure 43
Main functions
Waves and Elements
Waves are the waveforms that make up the Elements, which in turn make up a Voice. A total of 1309 high-quality preset Waves are available. As shown in the following illustration, when creating a Voice, you can select the Wave to be used as an Element and then set its level, pitch, tone and other parameters.
Wave 1~1309
Velocity
Element 1
Element 3
Element 2
Element 4
One Voice
User Waves — Samples
One very powerful feature of the MOTIF is its ability to import external audio samples (such as computer WAV/
AIFF files), and record audio as well — and then use those samples as instrument sounds for playback. You can record Waves through the microphone or line level jacks, and you can load Waves saved on Memory Card or an external SCSI device.
The Waves can then be processed and assigned to notes on the keyboard. You can play them via the keyboard or you can assign them as Parts of a Song/Pattern.
CD MD
Memory Card
A/D INPUT jacks
Sampling
DIGITAL IN connector mLAN (IEEE1394) connector
When the optional AIEB2 has been installed to the
MOTIF.
When the optional mLAN8E has been installed to the MOTIF.
SCSI device
Load
Wave
Internal DRAM 4MB (Can be expanded up to 64 MB by installing optional SIMM memory modules.)
SEQ TRANSPORT
LOCATE
REC
1 2
44 MOTIF Basic Structure
Normal Voice and Drum Voice
Internally, there are two Voice Types: Normal Voices and Drum Voices. Normal Voices are mainly pitched musical instrument-type sounds that can be played over the range of the keyboard. Drum Voices are mainly percussion/drum sounds that are assigned to individual notes on the keyboard. A collection of assigned percussion/drum wave or Normal Voice is known as a Drum Kit.
Normal Voice
Main functions
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.
Voice
Element 1~4
Drum Voice
Velocity
Element 3
Element 1
Element 2
Element 4
Note Range
Key 1 Key 2 Key 3 Key 4 Key 5 Key 76
GM voice
GM is a worldwide standard for Voice organization and
MIDI functions of synthesizers and tone generators. It was designed primarily to ensure that any song data created with a specific GM device would sound virtually the same on any other GM device — no matter the manufacturer or the model. The GM Voice bank on the MOTIF is designed to appropriately play back GM song data. However, keep in mind that the sound may not be exactly the same as played by the original tone generator.
Voice structure
One voice consists of Oscillator, Pitch, Filter,
Amplitude, LFO and various parameters as shown
on page 42. You can create the basic voice character by
setting these four parameters.
■
Oscillator
This unit outputs the wave of each Element.
You can set the note range for each Element (the range of notes on the keyboard over which the Element will sound) as well as the velocity response (the range of note velocities within which the Element will sound).
MOTIF Basic Structure 45
Main functions
■
Pitch
This unit controls the pitch of each Element output from OSC. You can detune Elements, apply Pitch
Scaling and so on. Also, by setting the PEG (Pitch
Envelope Generator), you can control how the pitch changes over time.
●
PEG (Pitch Envelope Generator)
Using the PEG, you can control the transition in pitch from the moment a note is pressed on the keyboard to the point at which it is released. As illustrated at right, the Pitch Envelope consists of five Time (transition speed) parameters and five
Level (pitch) parameters. This is useful for creating automatic changes in pitch. Furthermore, different
PEG parameters can be set for each Element.
Level
Attack
Level
Decay1
Level
Sustain
Level Key off
Release
Level
Level
Cutoff frequency
Level
These resonance are
"passed" by the filter.
Resonance
Frequency (pitch)
Hold Level
0
Hold
Time
Attack
Time
Decay1
Time
Decay2
Time
Release
Time
Time
■
Filter
Quick Start Guide (page 84) · Reference (page 140)
This unit modifies the tone of each Element output from Pitch by cutting the output of a specific frequency portion of the sound. You can also set the Filter
Envelope Generator (FEG), to control how the filter works over time — letting you set up dynamic changes in tone.
● Cutoff Frequency and Resonance
Filters work by allowing the portion of the signal lower than a given frequency to pass, and cutting the portion of the signal above that frequency. This frequency is referred to as the cutoff frequency. You can produce a relatively bright or darker sound by setting the cutoff.
A parameter that boosts the level of the signal in the area of the cutoff frequency is called Resonance. By emphasizing the overtones in this area, this can produce a distinctive “peaky” tone, making the sound brighter and harder.
Frequency (pitch)
Cutoff frequency
●
About the main Filter types
The Low Pass Filter is shown in the illustration above — however, the MOTIF features other Filter types as well. This section introduces you to the four types.
• Low Pass Filter (above)
This only passes signals below the Cutoff frequency.
You can then use the Reso (Resonance) parameter to add further character to the sound.
• High Pass Filter
This only passes signals above the Cutoff frequency.
You can then use the Reso (Resonance) parameter to add further character to the sound.
Resonance
These frequencies are
"passed" by the filter.
Cutoff Frequency
46 MOTIF Basic Structure
• Band Pass Filter
This only passes a band of signals around the Cutoff frequency. The width of this band can be varied.
Level
Cutoff range Range passed Cutoff range
Main functions
●
AEG (Amplitude Envelope Generator)
Using the AEG, you can control the transition in volume from the moment a note is pressed on the keyboard to the point at which it is released. As illustrated at right, the Amplitude Envelope consists of five Time (transition speed) parameters and five
Level parameters (for the amount of filtering).
When you press a note on the keyboard, the volume will change according to these envelope settings.
Furthermore, different AEG parameters can be set for each Element.
Level
Attack
Level
Decay1
Level
Sustain
Level Key off
Release
Level
Center frequency Frequency
• Band Elimination Filter
This attenuates a band of signals around the Cutoff frequency, but passes everything else.
Level
Range passed Cutoff range Range passed
Center frequency Frequency
●
FEG (Filter Envelope Generator)
Using the FEG, you can control the transition in tone from the moment a note is pressed on the keyboard to the point at which it is released. As illustrated at right, the Filter Envelope consists of five Time (transition speed) parameters and five
Level parameters (for the amount of filtering).
When you press a note on the keyboard, the cutoff frequency will change according to these envelope settings. This is useful for creating automatic wah effects, for example. Furthermore, different FEG parameters can be set for each Element.
Level
Attack
Level
Decay1
Level
Sustain
Level Key off
Release
Level
Hold Level
0
Hold
Time
Attack
Time
Decay1
Time
Decay2
Time
Release
Time
Time
■
Amplitude
This unit controls the output level (amplitude) of each
Element output from Filter. The signals are then sent at this level to the Effect block. Also, by setting the
AEG (Amplitude Envelope Generator), you can control how the volume changes over time.
Init
Level
0
Attack
Time
Decay1
Time
Decay2
Time
Release
Time
Time
■
LFO (Low Frequency Oscillator)
As its name suggests, the LFO creates waveforms of a low frequency.
These waveforms can be used to vary the pitch, filter or amplitude of each Element to create effects such as vibrato, wah and tremolo. LFO can be set independently for each Element; it can also be set globally for all Elements.
MOTIF Basic Structure 47
Main functions
Controllers
The MOTIF gives you an amazing amount of control options. Not only is it equipped with the conventional
Pitch Bend and Modulation Wheels, it also features special knobs and sliders — and has an additional set of rear-panel jacks for connecting foot controllers and footswitches. You can connect controllers to the rear panel jacks to control various parameters by foot as well as by hand.
This section explains the basic functions of each controller.
Pitch Bend Wheel
This wheel’s prime function is to control pitch.
Move the wheel up or down to bend the pitch up or down.
Pitch Up
Pitch Down
Pitch Bend
Wheel
Modulation
Wheel n
Pitch Bend Range can be set for each Voice (page 132).
The wheel can also be assigned other parameters
n Even if a different parameter is assigned to the wheel,
Pitch Bend messages are still transmitted through MIDI
OUT when it is being used.
Modulation Wheel
The more you move this wheel up, the greater the modulation that is applied to the sound.
Deeper decrease it. You can change which particular group of functions or parameters the knobs are assigned to by pressing the [KNOB CONTROL FUNCTION] button.
Selecting the ASSIGN group (A, B, 1, 2) lets you control a group of user-assignable functions. n Common system parameters are assigned to Knobs [A]
and [B] (page 256). Voice-specific parameters are
assigned to Knobs [1] and [2] (page 132). Knobs [1] and
[2] can be assigned to Control Set Source.
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
KN 1
MEQ LOW
KN 2 KN 3
MEQLOWMID MEQ HI M ID
KN 4
MEQ HIGH n A preset of suitable parameter settings is assigned to each
Voice. By using each knobs [1] and [2], you are in effect adjusting these settings by a certain amount. If these parameters are already preset at their minimum or maximum settings, the settings cannot be exceeded.
Control Sliders (CS)
In the Voice mode, these are used to control the volume of each of the four Elements. In the Performance mode, these are used to control the volume of the four parts. In the Song/Pattern mode, these let you adjust the volume of specific tracks,(parts) depending on which group of tracks is currently selected.
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
Pitch Bend
Wheel
Modulation
Wheel n Modulation depth can also be set beforehand. Also, the wheel can be assigned to different parameters, such as
Knobs
These knobs let you change various aspects of the
Voice’s sound in real time — while you play. Turn a knob to the right to increase the value, and left to
48 MOTIF Basic Structure
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
When the selected tracks (parts) are 1-4:
When the selected tracks (parts) are 5-8:
When the selected tracks (parts) are 9-12:
When the selected tracks (parts) are 13-16:
9
13
1
5
10
14
2
6
11
15
3
7
12
16
4
8
When the Zone Switch is set to on in the Master Play mode, various functions (Control Number) can be
assigned to these Control Sliders (page 273).
Foot Controller
An optional Foot Controller (such as the FC7), connected to the FOOT CONTROLLER jacks
(page 18) on the rear panel, can be assigned to a
number of controller parameters. By using a foot controller for parameter control, both your hands are left free to play the keyboard (or to operate other controllers), — exceptionally convenient when you’re playing live. n Foot Controller parameters can be set for each Voice.
Footswitch (assignable)
An optional Yamaha FC4 or FC5 Foot Switch connected to the rear panel FOOT SWITCH
ASSIGNABLE jack (page 18) can be assigned to a
range of parameters. It is suited for switch-type (on/ off) controls, such as Portamento Switch, increment/ decrement of a Voice or Performance Number, start/ stop of the Sequencer, and holding the Arpeggiator on or off. n The parameter assigned to the Footswitch is set in the
Footswitch (sustain)
An optional FC4 or FC5 Footswitch connected to the
SUSTAIN jack on the rear panel (page 18) lets you
control sustain — particularly useful when playing piano and strings voices.
n You cannot assign a function other than Sustain to the
SUSTAIN jack.
Breath Controller
You can connect an optional Breath Controller (BC3)
to the BREATH jack (page 18) on the rear panel. Then
use it to control a large number of the MOTIF’s parameters, particularly those controlled by a wind player’s breath: dynamics, timbre, pitch and so on.
The Breath Controller is ideally suited for realistic expression with wind instrument type Voices.
n Breath Controller parameters can be set for each Voice.
Aftertouch
Aftertouch lets you change the sound (adding vibrato, for example) by applying further pressure to a note on the keyboard while it is being held down. This allows real-time expression and control. Aftertouch can be used to control a wide variety of parameters
Main functions
Control Sets
Aside from their default parameters, keyboard aftertouch, the controllers and some of the knobs on the front panel can be assigned to various parameters,
as explained on page 48. For example, you could assign
Resonance to the Modulation Wheel and set aftertouch to apply vibrato. You are free to assign parameters to suit the kind of sound being played.
These controller assignments are known as Control
Sets. As the following illustration shows, you can assign up to six different Control Sets per Voice.
Within each Control Set, the controller is known as the
Source (Src) and the parameter controlled by the
Source is known as the Destination (Dest). There are various Dest parameters available; some will apply to the Voice as a whole, while some will be specific to each of its Elements. Details are given in the Controls List of the separate Data List.
n Details about the available Dest parameter settings are given in the Destination Parameter List of the separate
Data List.
Voice
Control Sets
1~6
Source
Controller
PB,MW,etc
Destination
Control Parameters
Depth
Depth of control
Elements
ON/OFF ON/OFF ON/OFF ON/OFF
1 2 3 4 n
The Element Switches (page 134) will be disabled if the
Dest parameter setting is not specified for the Elements
(i.e., to settings 00 to 33).
■
Using one source to control several destinations
By creating Control Sets, you can change soundsin a variety of ways.
For example, set the Src (Source) parameter of Control
Set 1 to MW (Modulation Wheel) and the Dest
(Destination) parameter to ELFO-PM (Element LFO
Pitch Modulation Depth). Then set the Src parameter of Control Set 2 also to MW, but set the Dest parameter to ELM PAN (Element Pan). You will also need to specify the Element to be controlled and also the depth
(amount) of control.
In this example, when you move the Modulation Wheel upward, the amount of Pitch Modulation increases accordingly, and the Element is panned from left to right. In this way, you can have the sound change in several different ways, simply by adjusting a single controller.
MOTIF Basic Structure 49
Main functions
SET 1
Src
MW
(Modulation Wheel)
SET 2
Src
MW
(Modulation Wheel)
Moving the
Modulation Wheel changes both the amount of Pitch
Modulation and the pan position.
Dest
ELFO-PM
Dest
ELM PAN
■
Using several sources to control one destination
Continuing from the example above, now create another Control Set where Src is set to FC (Foot
Controller) and Dest is set to ELFO-PM (Element LFO
Pitch Modulation Depth). Again, specify the Element to be controlled and also the depth of control.
Now, Pitch Modulation is assigned to both the
Modulation Wheel and Foot Controller. In other words, you can also assign several Src controllers to each Dest parameter.
SET 1
Src
MW
(Modulation Wheel)
SET 3
Src
FC
(Foot Controller)
You can control the pitch modulation effect using either of
Modulation Wheel
(MW) and Foot
Controller (FC).
Dest
ELFO-PM
Dest
ELFO-PM
By assigning all six Control Sets, you will have a stunning degree of real-time control over the synthesizer’s sounds.
■
Control Sets and External MIDI Control
In a Control Set, the controllers are assigned to the internal parameters of the synthesizer. However, some controllers were originally designed for a particular purpose, and send pre-defined MIDI Control Change messages when used, regardless of their Control Set allocations within the synthesizer.
For example, the Pitch Bend Wheel, Modulation Wheel and keyboard aftertouch were originally designed to control pitch bend, modulation and aftertouch.
Therefore, when you use these controllers, pitch bend, modulation and aftertouch information is always sent to the MIDI Out.
Let’s say the Pan parameter is assigned to the Pitch
Bend Wheel in a Control Set. Now, when you move the
Pitch Bend Wheel, the internal tone generator of the synthesizer will pan the sound; however, at the same time, the original pre-defined Pitch Bend messages will still be sent to the MIDI Out.
MIDI OUT IN
MIDI Control
Pitch Bend
Wheel
Controller Set
Tone Generator
Pitch LFO1 PAN
The controllers can also send MIDI Control Change messages to control the parameters of external MIDI devices. These assignments can be set in the Utility
Mode.
n Since Pitch Bend Wheel, Modulation Wheel and keyboard aftertouch are pre-defined with specific MIDI controls, other MIDI Control Change numbers cannot be assigned to them.
You can also set up a controller such that it sends one kind of Control message to the synthesizer’s internal tone generator yet another kind to the MIDI Out.
For example, in a Control Set you could assign resonance to Assignable Knob [1]. Then, in the Utility
Mode, you could assign Control Change Number 1
(Modulation) to the same knob. Now, when you turn the knob, resonance will be applied to the sound of the internal tone generator; however, at the same time, modulation information will be sent to the external
MIDI device connected to the MIDI Out.
50 MOTIF Basic Structure
Song and Pattern
(Sequencer mode)
Basic Operation (page 67) · Reference (pages 177, 215)
Songs and Patterns are MIDI sequence data consisting of 16 tracks.
●
A Song on the MOTIF is effectively the same as a
Song on a sequencer, and playback automatically stops at the end of the recorded data.
●
In the MOTIF, the term “pattern” refers to a relatively short pattern — say, 4 to 16 measures (up to 256 measures) — which is used for looped playback. Therefore, once Pattern playback starts, it continues until you press the [
J
] button. The
MOTIF features a variety of preset Phrase data that is used as the basic material in making up Patterns.
Main functions
Track structure of Song
The following illustration shows the track structure of
Song. Songs are created by recording MIDI data to individual tracks.
Song 64
Song 63
Song 62
Song 02
Song 01
Tempo track
Scene track
Tempo change
Track mute status/Scene memory change
(including tempo, transpose etc,)
Track 1
Track 2
Track 3
MIDI sequence data
MIDI sequence data
MIDI sequence data
Track 16
Scene
1
Scene
2
MIDI sequence data
Scene
3
Scene
4
Scene
5
MIDI OUT External
Tone
Generator
Song Mixing
Tone Generator block (example)
When a Multi-Part Plug-in board and two Single part Plug-in boards have been installed:
Port 1 part 1 part 2 part 3 part 4
Port 2
(Multi-Part Plug-in board) part 17 part 18
Port 3
(Single part Plug-in board) part 33 part 34
Parts 33-46 are not used.
part 15 part 16 part 30 part 31 part 32 part 46 part 47 part 48
PLG1 part PLG2 part
Song playback uses up to 16 parts (from those shown above).
MOTIF Basic Structure 51
Main functions
Track structure of Pattern
Patterns consist of Phrases (as shown below), and you can create them by recording MIDI data for each track, and by freely arranging the various Phrases (Preset/User).
Style 64
Style 63
Style 62
Style 03
Style 02
Style 01
1 2 3 16
Track 1
Track 2
Track 3
16 Sections
Pattern
Phrase (MIDI sequence data)
Phrase (MIDI sequence data)
Phrase (MIDI sequence data) the guitar part. The MOTIF features 128 Preset
Patterns, and features memory space for 256 of your own original User Phrases.
Pattern creation by the Patch function (Pattern)
Quick Start Guide (page 105) · Reference (page 219)
The Patch function allows you to create a “composite” style by combining various Phrases from the Preset and
User Phrases as shown below.
Style 35
Style 01
1 2
16 Sections
16
User Phrases 1-256
(Created via Pattern recording.)
User Phrases 1-256
(Created via Pattern recording.)
User Phrase
Track 16 Phrase (MIDI sequence data)
MIDI OUT
External
Tone
Generator
Pattern Mixing
Tone Generator block (example)
When a Multi-Part Plug-in board and two Single part Plug-in boards have been installed:
Port 1
Part 1
Part 2
Part 3
Part 4
Port 2
(Multi-Part Plug-in board)
Part 17
Part 18
Port 3
(Single Part Plug-in board)
Part 33
Part 34
Part 33-46 are not used.
Part 15
Part 16
Part 30
Part 31
Part 32
Part 46
Part 47
Part 48
PLG1part PLG2 part
Pattern playback uses up to 16 parts (from those shown above).
■
Style and Section
A Pattern consists of a “Style” (musical style) and a
“Section” (pattern variation). You can play the Pattern by selecting a Style and its Section.
■
Phrase
This is the basic MIDI sequence data — and the smallest unit — used in creating a Pattern.
“Phrase” is a musical Pattern Phrase for a single instrument, such as a rhythm pattern for the rhythm part, a bass line for the bass part, or a chord backing for
52 MOTIF Basic Structure
Pattern
Track 1
Track 2
Track 3
Track 4
Track 5
Preset Phrases
1-128
Preset Phrase
Track 16
You can copy the desired Phrase from other styles to the currently selected Style / Section.
MIDI tracks and Sample tracks
The Song/Pattern tracks (1 - 16) of the MOTIF are divided into two groups: MIDI tracks and Sample tracks.
■
MIDI tracks
These are tracks in which the performance data (used to play the internal Voices or Plug-in Voices) is recorded as MIDI data. This is the same as sequence tracks on a MIDI sequencer.
■
Sample tracks — with Sample Voices
Voices which are automatically created and stored
using the Sampling feature (page 58) in the sequencer
(Song/Pattern) mode, are referred to as “Sample
Voices.” tracks using these Sample Voices are referred to as “Sample” tracks — to distinguish them from the
MIDI tracks.
Sample Voices are stored as original, dedicated Voices for each Song or Style. This means that you cannot take a Sample Voice belonging to one Song or Style and use it in another Song or Style. For details on Sample
Voices and the Sampling function, see page 233.
Song 01
Track 1
Track 2
Track 3
Track 16
After selecting the Song number and track
MIDI data recording
After selecting the Song number and track
Recording a Sample
(Sampling)
In this example, Track 1 is a MIDI track, and Track 3 is an Sample track.
Store as a Sample Voice
Style 03
Style 02
Style 01
Style 50
Style 49
Style 48
1 2 3
16 Sections
Pattern
Track 1
Track 2
Track 3
Track 16
16
After selecting the
Style number,
Section and track
MIDI data recording
Recording a Sample
(Sampling)
After selecting the
Style number,
Section and track
In this example, Track 1 is a MIDI track, and Track 3 is an Sample track.
Main functions
■
Replace and Overdub (Song/Pattern)
●
Replace
You can use this method when you want to overwrite an already recorded track with new data. The first recording is lost, and the new one takes its place.
●
Overdub
You can use this method when you want to add more data to a track that already contains data. The first recording is not lost, and the new one is added.
This method lets you build up a complex phrase together with Loop recording (below).
■
Loop Recording (Pattern)
Pattern repeats the rhythm pattern of several measures
(4 to 16 measures) in a “loop,” and its recording is also done using loops.
This method is convenient when recording a Pattern
Phrase using the Overdub method (above).
As shown in the example below, notes that you record will play back from the next repetition (loop), letting you record while hearing previously recorded material.
• Loop 1st round
Bass Drum
• Loop 2nd round
Snare Drum
Bass Drum
Store as a Sample Voice
MIDI track recording method
The following explanations are important points for you to keep in mind as you record your User Songs/
Patterns.
■
Realtime recording and Step recording
With realtime recording, the MOTIF functions in the same way as a tape recorder, recording the performance data as it is played. This allows you to capture all the nuances of an actual performance.
With step recording, you can compose your performance by “writing” it down one event at a time.
This is a non-realtime, step recording method — similar to writing music notation onto paper.
• Loop 3rd round
Hi-Hat
Snare Drum
Bass Drum n Loop Recording can only be used with Realtime recording.
MOTIF Basic Structure 53
Main functions
■
Punch In/Out (Song)
You can use this method when you want to re-record only over a specific area of the track. In this case, you must set the start and end points before you begin the re-recording.
In the eight-measure example below, the third measures through the fifth measure are re-recorded.
Recording start Recording stop
Sample track recording method
(Sampling)
Song Chain
This function allows songs to be “chained” together for automatic sequential playback. The MOTIF allows you to create one Song Chain data.
Punch In
●
Before re-recording
1 2 3 4 5
Punch out
6 7 8
Song 01 Song 22 Song 15
●
After re-recording
1 2 3 4 5
Newly recorded data
6 7 8 n Punch In/Out Recording can only be used with Realtime recording.
n Note that Punch In/Out method always replaces
(destroys) the original data over the specified area.
Pattern Chain
Pattern Chain allows you to string several different
Patterns together to make a single Song. You can have the MOTIF automatically change Styles and Sections by creating Pattern Chains in this way beforehand.
You can also use them when creating Songs based on a certain Pattern, since the created Pattern Chains can be converted into a Song. The MOTIF allows you to create one Pattern Chain data.
Pattern track
Scene track
Tempo track
Pattern Chain
Style/Section change
Track mute setting
Tempo change
EXAMPLE
Style 01
Section J
Style 05
Section H
Style 26
Section P
54 MOTIF Basic Structure
Arpeggio
Quick Start Guide (page 91) · Reference (page 128)
This function automatically triggers preset arpeggio phrases, according to the keys you play.
The Arpeggio function is particularly suited to dance/ techno music genres. You can assign the desired
Arpeggio Types to each Voice/Performance, and adjust the tempo. You can also set the Arpeggio playback method, Velocity range and Play Effects to create your own original grooves. What’s more, Arpeggio playback can be transmitted through the MIDI Out.
Arpeggio structure
The following illustration shows the Arpeggio structure.
Arpeggio data
•In the Voice
mode
Voice
Preset 1
(128)
Arpeggio
•In the Performance
mode
Performance
Voice Performance
Voice
Preset2
(128)
Arpeggio
Performance
Voice Performance
Voice
User
(128)
Arpeggio
Performance
Voice Performance
Each Arpeggio can assigned to each Voice/Performance.
Main functions
Four playback types of Arpeggio
Arpeggio types are divided into the four following categories.
■
Sequence
Creates a general arpeggio phrase. Mainly octave up/ down phrases.
■
Phrase
Creates phrases that are more musical than Sequence.
Starting with “Techno,” there are phrases for a wide variety of musical genres, and for creating backing tracks for guitar, piano and other instruments.
■
Drum Pattern
Creates drum pattern-type phrases. Any note produces the same drum pattern.
This type is ideal for use with drum and percussion sounds.
■
Control
Creates tonal changes by the control change data sequence. No note data is created.
Song/Pattern and Arpeggio
■
Recording Arpeggios to a Song/Pattern
You can record Arpeggio data to a Song or Pattern.
The actual note data of the Arpeggio is recorded as is to a specific track in the Song/Pattern during recording, when you set Arpeggio Record to ON.
■
Arpeggio on/off during Song/Pattern playback
Also, Arpeggio On/Off can be set individually for each part of a Song/Pattern. Just like playing Arpeggios manually from the keyboard, this inserts Arpeggios in the playback of Song/Pattern sequence data.
MOTIF Basic Structure 55
Main functions
Creating User Arpeggios
Actually, there is no direct operation for recording
Arpeggios. First, you have to record a Phrase to a Song track. Then, use the appropriate Song Job function to convert the data to Arpeggio data.
Recording
Song
Track 1
Track 2
Track 3
Converted via the Song Job.
User
(128)
Arpeggio
Track 1
Track 2
Track 3
Track 4
Track 16 n Arpeggio data consists of four tracks. However, data conversion in the Song Job is done one track at a time.
Master (Master mode)
Quick Start Guide (page 93) · Reference (page 268)
The MOTIF is loaded with such a wealth of different features, functions and operations, you may find it difficult to locate and call up the particular feature you need.This is where the
Master function comes in handy. You can use it to memorize the operations you use most often in each mode, and call them up instantly anytime you need them with a single button press. The MOTIF has space for a total of 128 of your own
User Master settings.
Master number
Master 001
Master 002
Master 003
Master 004
Voice mode
Setting examples
Voice number 102
Voice mode Voice number 88
Performance mode Performance number 043 *Zone Switch Off
Performance mode Performance number 059 *Zone Switch Off
Performance mode Performance number 077 *Zone Switch On
Master 005
MIDI ch1 MIDI ch2 MIDI ch3 MIDI ch4
Tone Generator block
Performance mode Performance number 093 *Zone Switch On
Master 006
MIDI ch8 MIDI ch9
Tone Generator block
Master 007
Master 008
Master 009
Master 010
•
•
Master 128
Song mode
Song mode
Pattern mode
Pattern mode
Song mode
Song 018
Song 008
Pattern 014
Pattern 029
Song 035
•Zone(*) is available only when you specify “Voice” or “Performance” in the Memory display in the Master Play mode and store the settings to a User Master. Details are described later.
•Parameters other than those shown above (e.g., Knob/Slider settings) can be
stored. See page 273 for details.
Keep in mind that the settings you can store to a User
Master in the Voice/Performance mode differ from those you can store in the Song/Pattern mode. Here are the main differences:
●
Storing settings in the Song/Pattern mode
In general, you can store specific Song numbers in the
Song mode, Pattern numbers in the Pattern mode.
n Operations and settings in File mode, Utility mode and Sampling mode cannot be stored to a User
Master.
●
Storing settings in the Voice/Performance mode
In addition to specific Voice or Performance numbers, you can also store master keyboard functions — such as the Zone settings, in which the MOTIF keyboard is divided into up to four different Zones.
56 MOTIF Basic Structure
Four Zones (Voice Performance mode)
In the Voice Performance mode, the keyboard can be divided into a maximum of four separate Zones (as shown below) — each with its own MIDI channel setting. In this way, you can use just a single keyboard to control several different instrument parts independently. Moreover, you can have these independent Zones control different channels on connected MIDI devices as well.
You can set these four Zones and store them as a
User Master in the Master mode.
External Tone Generator
Main functions
■
Split
You can use the Zone settings to create a “Split” — dividing the keyboard into two key ranges, at a specific note (split point).
In the example below, the keyboard is split at C3, with the lower range used to trigger Arpeggios, and the upper range used conventionally to play a Voice.
Lower
Split point
(C3)
Upper
Ch1
Part 1
For playing
Arpeggios
Ch2
Part 2
For playing a Voice
MIDI OUT
MIDI ch1
MIDI OUT MIDI OUT
Keyboard (Max 4 zone)
MIDI ch2 MIDI ch3
MIDI OUT
MIDI ch4
■
Layer
You can also use the Zone settings to create a
“Layer” — in which the keyboard is used to play two separate parts simultaneously, in unison with each other.
In the example below, the keyboard plays two Voices in unison — one an internal Voice, and the other a
Plug-in Voice.
Tone Generator block (Internal/Plug-in)
The four Zones can also be configured as Voice
“layers” — letting you have more than one Voice sound at the same time when you play within a single Zone. (See the example below.)
External Tone Generator
Layer (Upper)
Layer (Lower)
Part 1
Voice
Plug-in 1 Part
Plug-in Voice
MIDI OUT
ZONE1
MIDI ch1
MIDI OUT
ZONE2
MIDI ch2
MIDI OUT
ZONE4
MIDI ch4
ZONE3
MIDI ch3
MIDI OUT
Tone Generator block (Internal/Plug-in)
MOTIF Basic Structure 57
Main functions
Sampling
Quick Start Guide (page 99) · Reference (page 233)
Sampling is a powerful function that lets you bring your own recorded sounds — voice, instrument, rhythm, special sound effects, etc. — into the system of the MOTIF, and play those sounds just like any other MOTIF sound. Individual waveform data contained in the MOTIF is referred to as a “Sample.”
The following diagram shows the Sampling structure.
CD MD
A/D INPUT jacks
A/D converter
DIGITAL IN connector mLAN (IEEE1394) connector
Wave
Internal DRAM 4MB (Can be expanded up to 64 MB by installing optional SIMM memory modules.)
Voice / Performance mode
Key Bank setting
Song / Pattern mode
Key Bank setting
(Automatically set when the
Sampling type is set to "Slice + Seq".)
When the optional AIEB2 has been installed to the
MOTIF
When the optional mLAN8E has been installed to the MOTIF
Waveform
Store as a User Voice
Assigned to a
Performance part
By selecting the desired Song / Pattern track, it is assigned to the appropriate
Mixing part as a Sample Voice.
Is automatically stored as on original
Sample Voice for the selected Song /
When the Sampling type is set to
"Sample + Note" or "Slice + Seq"
SEQ TRANSPORT
LOCATE
REC
1 2
D/A converter
Output (sound)
58 MOTIF Basic Structure
Data created by Sampling
Regardless of the mode, the raw Sampled data is the same, of course. However, various parameters are different, depending on the particular mode or settings. Briefly, here is an explanation of what kinds of data are created in the Sampling function.
● Sampling data common to all modes
• Wave (Sample data)
This is the raw audio data stored in the MOTIF’s memory when sampling. For details on Wave, see
• Key Bank
The note range and velocity range to which the
Sample is assigned, is called the Key Bank.
• Waveform
The group of Key Banks to which sample data is assigned is called the Waveform.
For a clearer idea of the explanations above, see the following illustration. In this example, the Waveform is made up of five
Samples, assigned to a key range of D#2 - F4, in five Key Banks.
Velocity Key bank
127
Sample 1 Sample 2 Sample 4 Wave form
40
D#2 A#2
Sample 3
G#2
Sample 5
F4 Key Number
(Note Number)
Waveform
●
Data created by sampling in the Voice/
Performance mode
• User Voice
The sample data of Waves recorded or imported to the MOTIF cannot be played directly. First, they must be saved as User Voices, which when selected, can be played from the keyboard or sequencer. Also, these User Voices can be assigned as Performance parts — just as with the Preset Voices.
● Data created by sampling in the Song/
Pattern mode
• Sample Voice
Song or Pattern
Track 1
Track 2
Track 3
Specify the track.
Sampling
Track 16
Store as a Sample Voice
Main functions
Voices that are automatically stored when sampling in the
Song/Pattern mode are referred to as “Sample Voices.”
Sample Voices can be assigned to instrument parts corresponding to the track which was assigned in the
Sampling Setup display, and they can be sounded while
Song/Pattern data is being played back.
Sample Voices are original, dedicated Voices for the particular Song/Pattern that was selected when sampling.
Because of this, you cannot take a Sample Voice belonging to one Song or Pattern and use it in another Song or
PatternIn essence, Sample Voice data is the same as that of
Normal Voices or Drum Voices — with the exception that you cannot select Sample Voices in the Voice or
Performance mode. (However, you CAN select the Wave of the Sample Voice in Voice Edit.)
• Note Data (when the Sample type is set to
“Sample + Note” )
This not only stores the sampled wave as a Sample
Voice in the Song/Pattern mode, but it also records it to the assigned sequencer track.
Sample
Voice
Assigned to a specified key (note)
Sequence data
Fixed to C - 2
• Key Bank and Sequence data according to
Audio phrase (when the Sample type is set to
“Slice + Seq”)
Sample voice
Sliced into several parts and assigned to keys (notes)
Sequence data
Fixed to C - 2
MOTIF Basic Structure 59
Main functions
User Voices/Sample Voices and Waveform
●
User's Voice
(001~128)
001
002
003
004
005
When entering the Sampling mode from the Voice / Performance mode
Sampling
Waveform
(User 001~256)
007
008
009
010
001
002
003
004
005
006
When entering the Sampling mode from the Pattern mode
Style 64
1 2 3
16 section
Pattern
Track1
Track2
Track3
4
Sampling
●
Recorded to the specified track
as a Sample voice.
Track16
128
Velocity
127
40
Keybank
Sample 2 Sample 4
Sample1
C#2 A#2
Sample 3
G#3
Sample 5
F4
Key number
(Note number)
Wave form
251
252
253
254
255
256
When entering the Sampling mode from the Song mode
Song 64
Song 01
Track1
Track 2
Track 3
Track 16
Sampling
●
Recorded to the specified track
as a Sample voice.
n When using the Sampling function, samples are stored to destination waveforms in numerical order, starting from the lowest number waverform.
n Up to 128 keybanks can be assigned to a single waveform. The MOTIF allows for creation of a maximum 8192 keybanks.
n
60 MOTIF Basic Structure
Three methods of Sample Recording
Start
You can start sample recording with one of three methods. This section covers the Sample Recording
Start methods corresponding to the available Trigger modes. For information on setting the Trigger mode,
■
When Trigger mode is set to “Manual”:
Regardless of the selected mode, sampling starts soon after you press the[F6] (REC) button in the
Sampling Setup display (page 236). Sampling also
starts regardless of the playback/stop status of the
Song/Pattern.
■
When Trigger mode is set to “Level”:
After pressing the [F6] (REC) button in the
Sampling Setup display (in any mode), sampling starts as soon as a strong enough audio signal is received. The threshold for this audio-triggered start is called the Trigger Level (explained in the illustration below).
Level Sample recording start here.
Recording trigger level.
Main functions
■
When Trigger mode is set to “Meas”:
After pressing the [F6] (REC) button in the
Sampling Setup display (page 236), start and stop of
sampling is linked to playback of the Song/Pattern.
This setting is available only when the Song/Pattern mode and recording type (Rec Type) are set to
“Slice + Seq” or “Sample + Note.”
Song/Pattern start
Sampling start
Sampling stop
1 2
Punch In
3 4 5
Punch Out
6 7 8
1 2 3 4 5 6 7 8
Wave data
Sample playback types
Samples can be played back in the following three different ways.
A B C D E
Level Sample recording start here.
■
One Shot
When you press a note on the keyboard, the Sample plays from beginning to end just once. This type of playback is commonly used for drum and percussion sounds.
A B C D E
As you can see, the higher the Trigger Level setting, the louder the input audio needs to be in order to start sampling. On the other hand, if the Trigger
Level is set too low, a soft noise may be enough to inadvertently start sampling. Sampling also starts regardless of the playback/stop status of the Song/
Pattern.
Start Pont
Key on
End Point
MOTIF Basic Structure 61
Main functions
■
Loop
This is used primarily to create long continuous sounds, such as brass and strings, or instruments with naturally long decay, such as piano. An appropriate part of the sample near the end is looped to reproduce a long sustain or decay.
When you play a note on the keyboard, the Sample plays from the start point to the end point. It then returns to the loop start point and plays to the end point again, and keeps doing this until you release the note. With musical instruments in general, the characteristic part of the sound (the “attack” section) is usually at the beginning, just after the start point.
After this, the sound does not vary a great deal while the note is being held, and you can set the loop and end points at either end of this section. When playing back a Sample of an instrument that has been looped like this, the attack section of the sound is played back once and then the looped section is played back continuously until you release the note.
Looping is also way of creating usable instrument sounds without using up too much memory.
You can set each point in the Sampling mode.
Since the MOTIF is capable of displaying the entire image of the sampled audio data in the LCD (zoom in and zoom out are available), you can edit the loop points visually — making sample editing accurate and easy.
Sample Wave Loop Playback
Start Pont Top Point End Point
■
Reverse
When you press a note on the keyboard, the Sample plays from end to beginning just once. This is useful for creating reversed cymbal sounds and other special effects.
Start Point
62 MOTIF Basic Structure
End Point
Main functions
Internal Memory and File Management
Quick Start Guide (page 97) · Reference (page 261)
The MOTIF creates a variety of different kinds of data, including Voice, Performance, Song, and Pattern. In this section, how to store the various types of data and use the memory devices/media for storing them.
Memory Structure
This diagram details the relationship among the MOTIF’s functions and the internal memory, memory card, and various external storage devices/media.
Recall Buffer
Compare Buffer
(DRAM)
Other than "Master Edit"
MOTIF Internal Memory
Preset Data (ROM)
• Voice
• Plug-in Voice
• Preset Phrase (Pattern)
• Preset Arpeggio
• Demo
MIDI bulk
Edit Buffer(DRAM)
• Voice Edit
User Memory (RAM)
SRAM
• User Voice
(Normal 128, Drum 16)
*
* Please make note of the following points when using bulk transmission between
SRAM memory and an external MIDI device.
• Bulk transmission cannot be used to transfer the data of User Arpeggios and part of the System settings.
• Bulk transmission to an external MIDI device is executed only when MOTIF receives a bulk request message.
External MIDI device
Memory Card
External SCSI device
File extensions
".W2V"
• File extensions ".WAV" and
".AIF"
• A5000/4000/3000 data
• AKAI format data
• Plug-in Voice Edit
• Performance Edit
• Master Edit
• Pattern Mixing Edit
• Song Mixing Edit
• User Plug-in Voice
(64 Voices x 3 boards)
• User Performance (128)
• User Master (128)
• User Arpeggio (128)
• System setting
(Utility setting)
DRAM
• Song
• Song Chain
File extensions
".W2G"
File extensions ".W2A"
File extensions
".MID"
File extensions
".W2S"
• Song Record
• Song Chain
Store
• Pattern Record
• Pattern Patch
• Pattern Chain
• Sampling
• Pattern (Phrase)
• ˚Style
• Pattern Chain
• Waveform
(Sample Voice)
File extensions
".W2P"
Computer
• Plug-in Voice Edit using the computer IBM
PS/V
Personal System/V
Personal System/V
Plug-in board(DRUM)
• Plug-in All Bulk
File extensions
".W2W"
• File extensions ".WAV" and
".AIF"
• A5000/4000/3000 data
• SU700 data
• AKAI format data
File extensions
".W2B"
MOTIF Basic Structure 63
Main functions
Internal Memory
● ROM and RAM
ROM (Read Only Memory) is memory designed specifically for reading out of data, and as such data cannot be written to it. This is the location where preset data for the instrument is permanently stored.
On the other hand, RAM (Random Access
Memory) allows both reading and writing of data.
This is the location for the edit buffer data and data created by editing or recording.
● SRAM and DRAM
The MOTIF uses two different kinds of RAM , depending on the condition for storing the data:
SRAM (Static RAM) and DRAM (Dynamic
RAM). The data contained in SRAM is maintained indefinitely, unless the backup battery
(lithium battery; page 5) power is too low. On the
other hand, data contained in DRAM is lost when the power is turned off. Because of this, you should always store any data residing in DRAM to a memory card or an external SCSI device before turning off the power.
Edit Buffer (DRAM) and Recall
Buffer (DRAM)
●
Edit Buffer and User Memory
The edit buffer is the memory location for edited data of these types: Voice, Performance, Master,
Song, Song Mixing, and Pattern Mixing. Data edited in this location will be stored to the User
Memory.
If you select another Voice, Performance, Master,
Song, or Pattern, the entire contents of the edit buffer will be rewrittenwith the newly selected
Voice/Performance/Master/Song Mixing/Pattern
Mixing data. Make sure to store any important data before selecting another Voice, etc.
● Edit Buffer and Recall Buffer
If you’ve selected another Voice or Performance without storing the one you were editing, you can recall your original edits, since the edit buffer’s contents are stored in backup memory. Keep in mind that the recall buffer is available only in the
Voice or Performance mode.
Memory Card/External SCSI storage device
To ensure that your data stored to User Memory are maintained, it is the best way to save important data to Memory Card or external SCSI device so that you
can keep them indefinitely. See page 289 for details
about Memory Card and see page 27 for details about
SCSI device.
• Memory Card • SCSI device
SCSI
Hard disk etc.
There are two different ways to save data created on the MOTIF to memory card or an external SCSi device:
• By saving all data in the User memory as a single file (with the extension “.W2A”).
• By saving the files separately according to their specific functions (with the extensions
corresponding to each type). See page 262
for details.
64 MOTIF Basic Structure
Main functions
Remote Control to Computer Sequence Software
Quick Start Guide (page 119) · Reference (page 256)
When the [REMOTE CONTROL ON/OFF] button is turned on, the following buttons/controllers can control the Audio track mixer and sequencer transport of the computer sequence software connected to the MOTIF.
J
∆
NUMBER button[1]~[16]
These buttons are used to select the corresponding tracks of the computer sequencer software, or to turn those tracks on/off, depending on the on/off status of the [TRACK SELECT] button and [MUTE] button.
TRACK
SELECT
1
2 3
4
5
6
7 8
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14
15
16
MUTE
SOLO
NUMBER
[MUTE] button
When this is turned on, the NUMBER [1] - [16] buttons are used to turn the corresponding tracks of the computer sequence software on or off.
1 2 3 4 5 6 7 8
TRACK
SELECT
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
NUMBER
Control Sliders
Adjusts the Volume for each track of the computer sequence software.
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
Knob
Adjusts the Pan, Effect send level, and Equalizer for each track of the computer sequencer.
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
KN 1
MEQ LOW
KN 2 KN 3 KN 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
[SEQ TRANSPORT] buttons
Controls the transport functions on the computer sequence software.
SEQ TRANSPORT
2
LOCATE
REC
1
[TRACK SELECT] button
When this is turned on, the NUMBER
[1] - [16] buttons are used to select the corresponding tracks of the computer sequence software.
1 4 6
2 3 5 7 8
TRACK
SELECT
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14
15
16
MUTE
SOLO
NUMBER
MOTIF Basic Structure 65
Main functions
Computer Sequence Software
The following computer sequence software programs can be controlled via the MOTIF’s Remote Control function.
Windows
Cubase VST/32
Logic Audio Plutinum Ver4.6
Cakewalk ProAudio Ver9.0
Pro Tools V5.0
Macintosh
Cubase VST 5.0
Logic Audio Plutinum Ver4.6
Pro Tools V5.0
n The parameters to be controlled via the Remote Control function differ depending on the computer sequence software. For
details, see the Reference section on page 257.
n For certain software programs, it may be necessary to install the setting file in the included CD-ROM. For details on how to install, see the Installation Guide manual.
66 MOTIF Basic Structure
Calling up the Operation Displays
Basic Operation
In this section, we’ll take a look at the fundamental operating conventions of the MOTIF. Here, you’ll learn the basics — how to select modes, call up the various functions, change settings, and edit parameter values. Take time to familiarize yourself with these nuts-and-bolts operations, and you’ll be on your way to mastering the instrument.
Calling up the Operation Displays
To call up a desired display or parameter, first select a mode, then select one of the function menus of the mode. The section below shows you the button presses necessary to navigate through the various modes and sub-modes.
Selecting Modes
The MOTIF is organized into various modes, each covering a different set of operations and functions.
n
For more information on each mode, see page 30.
Four Main modes (Play modes) — Voice, Performance, Song, Pattern
●
Voice Play mode
MODE
●
Performance Play mode
MODE
●
Song Play mode
MODE
●
Pattern Play mode
MODE
VOICE PERFORM MASTER VOICE PERFORM MASTER VOICE PERFORM MASTER VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
SEQUENCER
SONG PATTERN FILE
SEQUENCER
SONG PATTERN FILE
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING
UTILITY
INTEGRATED
SAMPLING MIXING
UTILITY
INTEGRATED
SAMPLING MIXING
UTILITY
INTEGRATED
SAMPLING MIXING
UTILITY
EDIT JOB STORE
COMPARE
EDIT JOB STORE
SCENE STORE
SET LOCATE
COMPARE
Keyboard playback modes
SCENE STORE
SET LOCATE
To select another mode, simply press the corresponding mode button.
EDIT JOB STORE EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
COMPARE
Sequencer modes (multi-timbral operation)
SCENE STORE
SET LOCATE
Two Sub-modes — Sampling, Utility
The four main modes (Voice, Performance, Song, and Pattern) have sub-modes — Sampling mode and Utility mode.
These two sub-modes can be selected in each main mode.
Keep in mind that the particular displays and parameters in the Sampling and Utility modes differ depending on which main mode was active before calling up the sub-mode. For details on the specific differences, refer to the corresponding explanations in the Reference section.
●
Sampling mode
From the Voice mode
MODE
From the Performance mode
MODE
From the Song mode
MODE
From the Pattern mode
MODE
VOICE PERFORM MASTER VOICE PERFORM MASTER VOICE PERFORM MASTER VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
SEQUENCER
SONG PATTERN FILE
SEQUENCER
SONG PATTERN FILE
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING
MIXING UTILITY
INTEGRATED
SAMPLING
MIXING UTILITY
INTEGRATED
SAMPLING
MIXING UTILITY
INTEGRATED
SAMPLING
MIXING UTILITY
EDIT JOB STORE EDIT JOB STORE EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
COMPARE SCENE STORE
SET LOCATE
COMPARE SCENE STORE
SET LOCATE
To select another mode, simply press the corresponding mode button.
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
MOTIF Basic Operation 67
Calling up the Operation Displays
●
Utility mode
From the Voice mode
MODE
VOICE PERFORM MASTER
From the Performance mode
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
From the Song mode
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
From the Pattern mode
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT JOB STORE EDIT JOB STORE EDIT JOB STORE EDIT JOB STORE
COMPARE COMPARE COMPARE COMPARE SCENE STORE
SET LOCATE
SCENE STORE
SET LOCATE
SCENE STORE
SET LOCATE
SCENE STORE
SET LOCATE
To select another mode, simply press the corresponding mode button.
n Please note that the displays and parameters are different depending on the modes before entering the Sampling/Utility mode.
Special Modes — Master mode and File mode
In addition to the modes described above, special two modes are provided — Master mode and File mode.
●
Master Play mode ●
File mode
When the selected Master is set to the Voice mode :
When the selected Master is set to the Performance mode :
When the selected Master is set to the Song mode :
When the selected Master is set to the Pattern mode :
MODE
VOICE PERFORM MASTER
MODE
VOICE PERFORM MASTER
MODE
VOICE PERFORM MASTER
MODE
VOICE PERFORM MASTER
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
SEQUENCER
SONG PATTERN FILE
SEQUENCER
SONG PATTERN FILE
SEQUENCER
SONG PATTERN FILE
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
INTEGRATED
SAMPLING MIXING UTILITY
INTEGRATED
SAMPLING MIXING UTILITY
INTEGRATED
SAMPLING MIXING UTILITY
INTEGRATED
SAMPLING MIXING UTILITY
EDIT JOB STORE EDIT JOB STORE EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
COMPARE SCENE STORE
SET LOCATE
COMPARE SCENE STORE
SET LOCATE
To select another mode, simply press the corresponding mode button.
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
Mixing mode (in the Song/Pattern mode)
The two Sequencer modes, Song and Pattern, feature a special Mixing mode.
●
Song Mixing mode
●
Pattern Mixing mode
MODE MODE
VOICE PERFORM MASTER VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
INTEGRATED
SAMPLING MIXING UTILITY
EDIT JOB STORE EDIT JOB STORE
COMPARE COMPARE SCENE STORE
SET LOCATE
SCENE STORE
SET LOCATE
To exit from the File mode and select another mode, simply press the corresponding mode button.
(The [EXIT] button cannot be used here.)
68 MOTIF Basic Operation
Calling up the Operation Displays
Record mode (in the Song/Pattern and Sampling mode)
The MOTIF also features Record modes — one for sequencing in the Song and Pattern modes, and one for sample recording in the Sampling mode.
●
Song Record mode
●
Pattern Record mode
MODE MODE
VOICE PERFORM MASTER VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN FILE
SEQ TRANSPORT SEQUENCER
SONG
PATTERN FILE
SEQ TRANSPORT
INTEGRATED
SAMPLING MIXING UTILITY
LOCATE
REC
1 2
INTEGRATED
SAMPLING MIXING UTILITY
LOCATE
REC
1 2
EDIT JOB STORE EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
■
Press the [STOP] button to exit from Song
Record mode to the Song Play mode.
COMPARE SCENE STORE
SET LOCATE
■
Press the [STOP] button to exit from the Pattern
Record mode to the Pattern Play mode.
●
Sampling Record mode
From the Voice mode
MODE
From the Performance mode
MODE
From the Song mode
MODE
VOICE PERFORM MASTER VOICE PERFORM MASTER VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
SEQUENCER
SONG PATTERN FILE
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING
MIXING UTILITY
INTEGRATED
SAMPLING
MIXING UTILITY
INTEGRATED
SAMPLING
MIXING UTILITY
From the Pattern mode
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING
MIXING UTILITY
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
SONG SCENE
SF 1 SF 2 SF 3 SF 4 SF 5
INFORMATION
F1 F2 F3 F4 F5 F6
Press the [EXIT] button to exit from the Sampling Record mode.
MOTIF Basic Operation 69
Calling up the Operation Displays
Edit mode
The four main modes (Voice/Performance/Song/Pattern), the Sampling mode and the Master mode described above all have their own specific Edit modes.
●
Voice Edit mode
MODE
●
Performance Edit mode
MODE
●
Song Edit mode
MODE
●
Pattern Edit mode
MODE
VOICE PERFORM MASTER VOICE PERFORM MASTER VOICE PERFORM MASTER VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
SEQUENCER
SONG PATTERN FILE
SEQUENCER
SONG PATTERN FILE
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING
MIXING UTILITY
INTEGRATED
SAMPLING
MIXING UTILITY
INTEGRATED
SAMPLING
MIXING UTILITY
INTEGRATED
SAMPLING
MIXING UTILITY
EDIT JOB STORE EDIT JOB STORE
COMPARE COMPARE SCENE STORE
SET LOCATE
SCENE STORE
SET LOCATE
Press the [EXIT] button to exit from the Edit mode.
●
Sampling Edit mode
From the Voice mode
MODE
From the Performance mode
MODE
VOICE PERFORM MASTER VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING
MIXING UTILITY
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING
MIXING UTILITY
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
From the Song mode
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING
MIXING UTILITY
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
From the Pattern mode
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING
MIXING UTILITY
EDIT JOB STORE EDIT JOB STORE EDIT JOB STORE EDIT JOB STORE
SCENE STORE COMPARE COMPARE SCENE STORE
SET LOCATE
SCENE STORE
SET LOCATE
Press the [EXIT] button to exit from the Edit mode.
●
Master Edit mode
●
Song MIxing Edit mode
MODE MODE
COMPARE
SET LOCATE
VOICE PERFORM MASTER VOICE PERFORM MASTER
COMPARE SCENE STORE
SET LOCATE
●
Pattern Mixing Edit mode
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
SEQUENCER
SONG PATTERN FILE
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
INTEGRATED
SAMPLING MIXING UTILITY
INTEGRATED
SAMPLING MIXING UTILITY
EDIT JOB STORE EDIT JOB STORE
COMPARE COMPARE SCENE STORE
SET LOCATE
Press the [EXIT] button to exit from the Edit mode.
SCENE STORE
SET LOCATE
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
Job mode
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING
UTILITY
Most of the mores described above — the main modes (Voice, Performance, Song, Pattern), the two sub-modes (Sampling and Utility), the Mixing mode (in Song and Pattern), and the Master mode — have their own specific Job modes.
To call up the Job mode, press the [JOB] button while one of the modes listed above is active.
Since the [JOB] button does not have an indicator lamp, check the display to see whether the Job mode is selected or not.
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
70 MOTIF Basic Operation
Calling up the Operation Displays
Store mode
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
The Voice Play mode, Performance Play mode, Song Mixing mode, Pattern Mixing mode, and
Master Play mode have their own specific Store modes.
To call up the Store mode, press the [STORE] button while one of the modes listed above is active.
Since the [STORE] button does not have an indicator lamp, check the display to see whether the
Store mode is selected or not.
INTEGRATED
SAMPLING MIXING
UTILITY
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
Selecting Functions and Parameters
Each mode described above contains various displays, with various functions and parameters. To navigate your way through these displays and select a desired function, use the [F1] - [F6] buttons and the [SF1] - [SF5] buttons.
When you select a mode, the available displays or menus appear directly above the buttons at the bottom of the display (as shown below).
Using the Function buttons [F1] - [F6]
These functions can be selected via the corresponding button ([F1] - [F6]).
SONG SCENE
SF 1 SF 2 SF 3 SF 4 SF 5
INFORMATION
F1 F2 F3 F4 F5 F6
In this example, press the [F5] button to go to the LFO display.
Depending on the currently selected mode, up to six functions are available and can be called up with the [F1] - [F6] buttons. Keep in mind that the available functions differ depending on the selected mode.
Using the Sub-Function buttons [SF1] - [SF5]
These functions can be selected via the corresponding button ([SF1]-[SF5]).
SONG SCENE
SF 1 SF 2
F1 F2 F3
SF 3 SF 4
F4 F5
SF 5
INFORMATION
F6
In this example, press the [SF5] button to go to the SCALE display.
Depending on the currently selected mode, up to five functions (sub-functions) are available and can be called up with the [SF1] - [SF5] buttons. Keep in mind that the available functions differ depending on the selected mode.
(Some displays may not have any sub-functions for these buttons.)
MOTIF Basic Operation 71
Display-based Controls
How to leave the current display
For most operations (especially editing and Job- or Store-related), pressing the [EXIT] button will let you leave the current display and return you to the next highest level or to the normal play mode display.
DEC/NO INC/YES
EXIT ENTER
EXECUTE
Display-based Controls
Data Entry
1
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).
DEC/NO
EXIT
INC/YES
2
Changing (editing) values
Rotating the data dial to the right (clockwise) increases the value, while rotating it to the left
(counter-clockwise) decreases it.
For parameters with large value ranges, you can increase the value by 10 by simultaneously holding down the [INC/YES] button and pressing the [DEC/NO] button. To decrease by 10, do the opposite; simultaneously hold down the [DEC/NO] button and press the [INC/YES] button.
ENTER
EXECUTE
Confirmation Message
When you execute certain operations, such as those in the Job, Store, and File modes, the MOTIF shows a confirmation message. This lets you actually execute the operation or cancel it if desired.
If a confirmation message (like the one illustrated above) appears, press the [INC/YES] button to execute the operation or press the [DEC/NO] button to cancel it.
72 MOTIF Basic Operation
Display-based Controls
Information Display
This convenient function lets you call up relevant details about the selected mode — simply by pressing the
[INFORMATION] button. For example, when the Voice mode is active, you can quickly check information about which voice bank is selected, what Play mode (poly or mono) is being used, which effects are applied, and so on.
INFORMATION
In the Song Play mode, you can instantly find out how much memory is being used and how much is left over for additional recording.
INFORMATION
Control Knobs and Sliders
This extremely versatile and powerful section on the panel gives you instant, real-time control over the sound and certain functions of the MOTIF. For example, you can use these to shift the Pan position, adjust the Reverb or
Chorus effect, change the Tempo of a song or pattern, tweak the EQ, perform dynamic filter sweeps, alter the Volume balance of the elements in a voice or the tracks of a song, and do many other things as well — all in real time, as you perform. The Knobs are also assignable to various functions, letting you control virtually any aspect of the sound or
operation you desire (pages 254 and 256).
1
Select the row of functions you wish to control by pressing the [KNOB CONTROL FUNCTION] button.
The corresponding indicator lights, showing you which row is active. For example if you want to use the Knobs to control Pan, Reverb, Chorus and Tempo, press the [KNOB CONTROL FUNCTION] button (repeatedly if necessary) until the top indicator is lit.
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
KN 1
MEQ LOW
KN 2 KN 3
MEQLOWMID MEQ HI M ID
KN 4
MEQ HIGH
2
Turn the appropriate Knob ([KN1] - [KN4]) to adjust the desired function.
KNOB
CONTROL
FUNCTION
1
Pan, Effect Send. and Tempo
2 Filter and EG
3
Assign
Press this repeatedly to select each function row.
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
KN 1
MEQ LOW
KN 2 KN 3
MEQLOWMID MEQ HI M ID
KN 4
MEQ HIGH 4 Master EQ
In this example display, the Pan, Effect Send and Tempo controls have been called up.
MOTIF Basic Operation 73
Display-based Controls
The available functions are shown at the top of the display, and the value changes as you turn the corresponding
Knob. For example, to change the amount of Reverb (in the top row), turn Knob 2. To change the Pan position, turn Knob 1.
If the “Rev” knob in the display is dark, any tweaking you do to the Knob immediately affects the sound.
However, if the knob in the display is light, turning the knob will not have any effect until you reach the current setting. Once you’ve adjusted the Knob to that setting point, the display knob turns dark, and you can tweak the sound.
3
Move the appropriate Sliders ([CS1] - [CS4]) as well.
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
The Sliders are generally for controlling levels, but they have different functions depending on the selected mode.
For example, in the Voice mode, they are used to adjust the levels of the four elements in a voice. In the
Performance mode, they control the levels of the four parts. In the Song and Pattern modes, they are used to change the levels of the sixteen tracks — four at a time. (In the last case, you can select different groups of four by pressing the appropriate [NUMBER] button, [1] - [16].)
Please note that moving the slider will not have any effect until you reach the current setting.
For more information on the Knobs and Sliders, see page 48.
74 MOTIF Basic Operation
Display-based Controls
Note (Key) settings
Several MOTIF parameters let you set a key range for a function — for example, in setting up a keyboard split — by specifying certain note values. You can use the [INC/YES] and [DEC/NO] buttons or data dial to set these parameters, or you can directly enter the values from the keyboard by pressing the appropriate keys (as shown below). In the example display here, element 1 of a voice is being edited.
INFORMATION
When Note Limit is selected, the [KBD] mark appears, indicating that you can use the keyboard to set the value.
Simultaneously hold down the [INFORMATION] button and press the appropriate key.
Naming
The MOTIF allows you to create your own original data such as voices, performances, songs, and styles. You can also freely name the data as desired.
The following data types can be named.
• User voices..............................................................................page 130
• User performance ..................................................................page 166
• User songs ..............................................................................page 204
• User styles ..............................................................................page 232
• User phrases ...........................................................................page 230
• User masters...........................................................................page 271
• User waveform ......................................................................page 247
• Files saved to memory card or SCSI storage device .............page 267
The example below applies when naming a User voice (page 130).
1
Move the cursor to the first position of the name by using the Cursor button.
DEC/NO INC/YES
EXIT ENTER
EXECUTE
2
Select a character by using the [INC/YES] button, [DEC/NO] button or the data dial.
DEC/NO INC/YES
MOTIF Basic Operation 75
Display-based Controls
3
Move the cursor to the next position of the name by using the Cursor button.
DEC/NO INC/YES
EXIT ENTER
EXECUTE
4
Enter the other characters as desired by repeating steps #1 - #3 above.
Using the Character List
In steps #2 and #3 above, you can use the special Character List, which shows you all the available characters, and makes it easier to select the characters.
Press and hold down the [INFORMATION] button to display the pop-up Character List. To select a character from the list, keep holding down the [INFORMATION] button and use the [INC/YES] and [DEC/NO] buttons or data dial.
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.
INSERTION INFORMATION
1 Move the cursor to the desired position.
DEC/NO
EXIT
INC/YES
While holding the [INFORMATION] button....
2 Select a character by using the
[INC/YES] button, [DEC/NO] button or the data dial.
ENTER
EXECUTE
76 MOTIF Basic Operation
Playing the Demos
Quick Start Guide
This helpful and informative section of the manual takes you on a guided tour of the MOTIF, explaining virtually all of the important functions by example and giving you important, hands-on experience as you actually start using the instrument. Read through these practical instructions carefully — this is the best way to get to know the sophisticated functions of the MOTIF and to discover just how much it has to offer. Each set of instructions gives you the basic tools you need to master the instrument. If you’re in need of more information or details, go straight to the Reference section — the relevant page number is indicated here at the beginning of each topic.
Playing the Demos
Here’s the best place to start your explorations of the MOTIF. The Song and Master Demos have been specially programmed so you can hear just how amazing the sounds are, and find out just how powerful the instrument really is.
Auto Demo Load
The MOTIF features special Demo data (Song and Master programs) which is stored to ROM and can be loaded to DRAM by using the Auto Demo Load function. When this parameter is set to “on,” the Demo song data is automatically loaded when the power is turned on. The Auto Demo Load parameter is set to off when the MOTIF is shipped from the factory. (Under normal playing circumstances, you’ll want to use the full memory of the instrument and won’t want to have the Demo programs automatically load.) Before you can play the Demos, you’ll need to turn this function on (as described below).
1 Enter the Utility mode and call up the GENERAL display.
SEQUENCER
SONG PATTERN FILE
F1
INTEGRATED
SAMPLING
MIXING UTILITY
2 Call up the OTHER display.
SF4
3 Move the cursor to “AutoDemoLoad.”
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
4 Set “AutoDemoLoad” to ON.
DEC/NO INC/YES
5 Turn the power off by pressing the [POWER] switch.
6 Turn the power on again by pressing the [POWER] switch.
POWER
ON OFF
POWER
ON OFF
The Demo programs are now loaded to the MOTIF, and you can try them out in the instructions that follow.
MOTIF Quick Start Guide 77
Playing the Demos
Playing the Song Demo
A variety of Demo songs have been programmed to the MOTIF, showcasing its dynamic voices and giving you a taste of the sophisticated sequencing functions inside.
1 Turn the power ON.
POWER
ON OFF
3 If it isn’t currently highlighted, move the cursor to the Song number/name.
DEC/NO INC/YES
4 Select a song.
Decreases number
Increases number
2 Press the [SONG] mode button to enter the Song mode.
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING
MIXING UTILITY
EXIT ENTER
EXECUTE
Decreases number
DEC/NO INC/YES
Increases number
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
CHORUS
ATTACK
ASSIGN B ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3
MEQLOWMID MEQ HI M ID
KN 4
MEQ HIGH
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
1 2
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING
MIXING UTILITY
EDIT JOB
COMPARE
STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1 SF 2 SF 3
F1 F2 F3 F4
SF 4 SF 5
INFORMATION
F5 F6 EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
PRE 1
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
PRE 2 PRE 3 GM USER
SLOT 1 SLOT 2
PLG 1 PLG 2
SLOT 3
PLG 3
CATEGORY
SEARCH BANK
A. PIANO KEYBOARD ORGAN
A B C
GUITAR /
PLUCKED
D
BASS
E
STRINGS
F
BRASS REED/PIPE
G H
SYN LEAD
1
SYN PAD/
CHOIR
2
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
3 4 5
SE
6
MUSICAL FX COMBI
7 8
SECTION
TRACK
SELECT
GROUP
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
NUMBER
5 Start the selected song.
SEQ TRANSPORT
LOCATE
REC
1 2
6 Stop song playback manually, if you want.
Top button
SEQ TRANSPORT
LOCATE
REC
1
2
When playback of the selected song is finished, the song automatically stops.
You can stop the song anytime during playback by pressing the [ ■ ] button. This pauses the song at the current position. To resume playback of the song from that point, press the [ F ] again.
To instantly return to the beginning of the song, press the [ ] (Top) button.
For details about song control, see page 14.
78 MOTIF Quick Start Guide
Playing the Demos
Playing the Master Demo
The MOTIF has so many powerful features, functions, and modes, it may seem difficult to understand them all and grasp how they work together. One good place to start learning about the various pieces in the MOTIF puzzle is the
Master mode.
Master programs are special setups that let you work across the mode boundaries of the MOTIF (Voice, Performance,
Song, and Pattern), and let you instantly select a desired configuration for the entire instrument. We’ve programmed a variety of Master programs to show you how this powerful feature can be used. Try some of these out now. (You’ll be setting up your own Master programs later in this Guide.)
1 Enter the Master mode.
MODE
VOICE PERFORM MASTER
OCTAVE
DOWN UP
2 Select a Master.
1 2 3 4 5 6 7 8
9
10 11 12 13 14
15
16
Mode
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
TEMPO
RELEASE
ASSIGN 1 ASSIGN 2
REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
2
LOCATE
REC
1
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT JOB
COMPARE
STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
F1
SF 1
F2
SF 2
F3
SF 3 SF 4
F4 F5
SF 5
INFORMATION
F6 EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
SLOT 1 SLOT 2 SLOT 3
PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3
CATEGORY
SEARCH BANK
A. PIANO KEYBOARD ORGAN
A B C
GUITAR /
PLUCKED
D
BASS
E
STRINGS
F
BRASS
G
REED/PIPE
H SECTION GROUP
SYN LEAD
1
SYN PAD/
CHOIR
2
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
3 4 5
SE
6
MUSICAL FX COMBI
7 8
TRACK
SELECT
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16
NUMBER
MUTE
SOLO
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
REC
1 2
Decreases number
Decreases number
DEC/NO INC/YES
Increases number
Increases number
MOTIF Quick Start Guide 79
Playing Voices
Playing Voices
The Voice Play mode is where you select and play the instrument sounds (voices) of the MOTIF.
Thanks to an amazing 85MB of wave ROM and over 700 voices to choose from (even more when you install optional Plug-in boards!), the MOTIF has just about any sound you’ll ever need, no matter what kind of music you create — from luscious piano, strings, and other acoustic instruments to cutting-edge synth, dance, and electronica sounds.
Plus, with the full 62-note polyphony, you can play fat chords and arpeggios — and sustain them without ever having to worry about the sound cutting out. The MOTIF provides several different voice banks: Preset 1 - 3, GM Preset, User, and
Plug-in 1 - 3 (when optional Plug-in boards are installed). Select a bank and try out some of these different voices right now.
Selecting a voice
1 Enter the Voice Play mode.
MODE
VOICE PERFORM MASTER
When the Voice Play mode is active, the currently selected voice is shown in huge letters — so you can easily check which voice you’re about to play.
2 Select a Voice Bank.
• Normal Voice
PRE 1 PRE 2
PRE 3 GM USER PLG 1 PLG 2 PLG 3
Bank name
STRINGS BRASS REED/PIPE A. PIANO KEYBOARD ORGAN GUITAR/
PLUCKED
BASS
Select a Normal Voice Bank. Select a Plug-in Voice Bank.
• Drum Voice n When shipped from the factory, the MOTIF contains a full set of specially programmed User voices in the User bank.
Naturally, you can edit these and overwrite them if you want. You can also restore them to the original factory set
Bank name by using the Utility Job (page
260). For details about Voice
Banks and Groups, see page
124.
DRUM KITS PRE 1 PRE 2 PRE 3
GM USER
A. PIANO KEYBOARD ORGAN GUITAR/
PLUCKED
BASS
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
REVERB
RESONANCE
ASSIGN A ASSIGN B
CHORUS
ATTACK
TEMPO
RELEASE
ASSIGN 1 ASSIGN 2
REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
1 2
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
F1
SF 1 SF 2
F2 F3
SF 3 SF 4
F4 F5
SF 5
INFORMATION
F6 EXIT
INC/YES
ENTER
EXECUTE
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
SLOT 1
PLG 1
SLOT 2 SLOT 3
PLG 2 PLG 3
CATEGORY
SEARCH DRUM KITS
FAVORITES
COMMON
PRE 1 PRE 2 PRE 3 GM USER
A. PIANO KEYBOARD
A B
ORGAN
C
GUITAR /
PLUCKED
D
BASS
E
STRINGS
F
BRASS REED/PIPE
G H
SYN LEAD
1
SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
2 3 4 5
SE
6
MUSICAL FX COMBI
7 8
SECTION
TRACK
SELECT
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
BANK
GROUP
NUMBER
3 Select a Voice Group.
Voices in each Bank are divided into Groups
[A] ~ [H]. Select a Group to display the voices that belong to the selected Group.
D
Group
E A B C F G H
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE MUSICAL FX COMBI
4 Select a Voice number.
1 2 3 4 5
10 11 12 13 9
6
14
7
15
8
16
Decreases number
DEC/NO
Decreases number
INC/YES
Increases number
Increases number
80 MOTIF Quick Start Guide
Playing Voices
Using the Category Search function
The MOTIF features a powerful Category Search function that gives you quick access to the sounds you want, irrespective of their bank locations. Simply select a voice category, such as A. PIANO or SYN LEAD, and you can browse through all related voices one by one — and audition each of them, too. Plus, you can use the special
Favorites category to store the voices you use most.
1 Turn the Category Search function on by pressing the [CATEGORY SEARCH] button.
CATEGORY
SEARCH
PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3
2 Select a Category.
• Select a Category.
Press the Category buttons to display the Category name and the voice list. The first voice in this
Category is selected.
PRE 1 PLG 3 PRE 2 PRE 3
GM USER PLG 1 PLG 2
Category names
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
• Select a Sub Category
All Categories are divided into two or three Sub Categories for further ease in selection.
The Sub Category names are displayed at the bottom of the
Category Search display. Press the [F1] - [F3] buttons to select the first voice in the corresponding Sub Category.
A. PIANO KEYBOARD
ORGAN
GUITAR /
PLUCKED
BASS STRINGS
BRASS
REED/PIPE
Category name Voice list n Press the [CATEGORY SEARCH] button again to turn
this function off.
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2 REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
2 LOCATE
REC
1
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT JOB
COMPARE
STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1 SF 2
F1 F2 F3
SF 3 SF 4 SF 5 INFORMATION
F4 F5 F6 EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
SLOT 1 SLOT 2 SLOT 3
PRE 1 PRE 2 PRE 3 GM
A. PIANO KEYBOARD
ORGAN
A B C
GUITAR /
PLUCKED
D
USER
BASS
E
PLG 1 PLG 2 PLG 3
STRINGS
BRASS
F G
REED/PIPE
H
CATEGORY
SEARCH
SECTION
BANK
GROUP
SYN LEAD
1
SYN PAD/
CHOIR
2
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
3 4 5
SE
6
MUSICAL FX COMBI
7 8
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16
TRACK
SELECT
NUMBER
MUTE
SOLO
3 Select a voice.
Step through the available voices by using the data dial. You can also use the
[INC/YES] and [DEC/NO] buttons, or use the cursor [ ]/[ ] buttons.
DEC/NO INC/YES
EXIT ENTER
EXECUTE
Favorite Category
Use this convenient function to store all your favorite, often-used voices in a single, easy-to-access location — and call them up by pressing the [FAVORITIES] button. Select any voice you want, from any desired category, and enter each to the Favorites Category. In this way, you can go directly to all the voices you use the most, without having to hop around other Categories — a great aid when playing live.
Select the desired Category, then move the cursor to your favorite voice in the Category list, and press the [F5] button to checkmark the the box next to the voice name. (You can un-checkmark it by pressing the [F5] button again.) Go on to other Categories and continue registering your favorites. After you’ve checkmarked all the voices you want, press the [DRUMKIT/FAVORITE] button to store them to the Favorites Category. All the voices you’ve checkmarked — and only those voices — will be shown in the list. To exit from the Favorites Category, simply press the
[DRUMKIT/FAVORITE] button again.
DRUM KITS
FAVORITES
F1
SF 1 SF 2
F2 F3
SF 3
F4
SF 4
F5
SF 5
F6
Pressing this toggles between the two settings:
Checkmark on
Checkmark off
MOTIF Quick Start Guide 81
Playing Voices
Keyboard Octave (MOTIF6/MOTIF7)
Sometimes when playing a voice, you may wish to play in a lower or higher pitch range. For example, you may want to shift the pitch down lower to get extra bass notes, or shift up to get higher notes for leads and solos. The Octave
Up/Down controls let you do this quickly and easily.
Each time you press the [OCTAVE UP] button on the panel, the overall pitch of the voice goes up by one octave.
Likewise, each press of the [OCTAVE DOWN] button takes the pitch down by one octave. The range is from -3 to
+3, with 0 being standard pitch. When this is set to Octave Up, the lamp of the [OCTAVE UP] button lights, and when it is set to Octave Down, the [OCTAVE DOWN] button’s lamp lights. The current octave setting is shown at the top right of the display. You can instantly restore standard pitch (0) by simultaneously pressing both the
[OCTAVE UP] button and the [OCTAVE DOWN] button (both lamps turn off).
OCTAVE
DOWN UP n
use Octave Up/Down to shift the full three octaves. n If using Octave Up/Down results in pitches outside the note range of the voice (C-2 - G8), the invalid pitches are sounded at the previous octave (down or up).
n This function can be used also in the Performance mode or Master mode.
82 MOTIF Quick Start Guide
Editing Voices
Editing Voices
The Voice Play mode not only lets you play voices, it lets you perform a variety of basic, yet powerful editing operations on them as well. For example, you can change the EG settings to give the voice a softer or harder attack, or change the release to make it sustain. You can also adjust similar settings for the filter, and change the tone of the voice. Moreover, a special set of Control knobs on the panel let you tweak the sound — including pan, EG, effects, filter, and more — in real time as
you play. Naturally, you can also store your newly created voice for future recall (page 86).
Quick Voice editing
1 Select the desired menu.
F1
SF 1 SF 2
F2 F3
SF 3
F4
SF 4
F5
SF 5
F6
2 Set the value of each parameter.
Move the cursor to the desired parameter and change the value by using the [INC/YES] and [DEC/NO] buttons or the data dial.
DEC/NO INC/YES
EXIT ENTER
EXECUTE
DEC/NO INC/YES
DEC/NO
SONG SCENE
SF 1 SF 2
F1 F2
SF 3 SF 4 SF 5 INFORMATION
F3 F4 F5 F6 EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
PRE 1
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
PRE 2 PRE 3 GM USER
SLOT 1 SLOT 2
PLG 1 PLG 2
SLOT 3
PLG 3
CATEGORY
SEARCH
A. PIANO KEYBOARD ORGAN
A B C
GUITAR /
PLUCKED
D
BASS
E
STRINGS
F
BRASS REED/PIPE
G H SECTION
BANK
GROUP
SYN LEAD SYN PAD/
CHOIR
1
2
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
4
3 5
SE
6
MUSICAL FX COMBI
7 8
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16
TRACK
SELECT
NUMBER
MUTE
SOLO
The [ ] Indicator
If you alter any parameters in the Voice Play mode, the [ ] indicator will appear in the top left of the display. This indicates that the current voice has been modified but not yet stored.
Edit indicator
F4
F5
F6
PORTA (Portamento) display
From this display you can select monophonic or polyphonic playback and set the Portamento parameters. Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to the next.
EG (Envelope Generator) display
• AEG (Amplitude Envelope Generator)
The AEG controls how the volume of the voice changes in time, from the instant you press a key to after you release it. For example, setting a small Attack value results in an instantaneous, sharp sound when you press a key.
• FEG (Filter Envelope Generator)
The FEG controls how the tonal quality of the voice changes in time, as affected by the filter. Here, you can also set the Cutoff frequency and Resonance for the filter.
ARP (Arpeggio) display
The basic Arpeggio parameters (e.g., type, tempo) are provided in this display.
Basic Structure (page 46)
Cutoff Frequency (page 46)
Resonance (page 46)
MOTIF Quick Start Guide 83
Editing Voices
Voice editing with the Control knobs
These knobs let you change various aspects of the Voice’s sound in real time — while you play. Turn a knob to the right to increase the value, and left to decrease it. If you want to keep the edits you make, you can store them to a new
n Each voice of the MOTIF has been programmed with a default or standard parameter value. Using these knobs offsets the default or standard parameter value. Regardless of the size of the offset, the minimum and maximum limits cannot be exceeded. n Using these knobs in the Performance mode affects the currently selected performance, and not the voices themselves.
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
CHORUS
ATTACK
ASSIGN B ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
2 LOCATE
REC
1
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT JOB
COMPARE
STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1 SF 2
F1 F2
SF 3 SF 4 SF 5 INFORMATION
F3 F4 F5 F6 EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
PRE 1 PRE 2 PRE 3 GM USER
SLOT 1 SLOT 2 SLOT 3
PLG 1 PLG 2 PLG 3
CATEGORY
SEARCH BANK
A. PIANO KEYBOARD ORGAN
A B C
GUITAR /
PLUCKED
D
BASS
E
STRINGS
F
BRASS REED/PIPE
G H SECTION GROUP
SYN LEAD
1
SYN PAD/
CHOIR
2
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
3 4 5
SE
6
MUSICAL FX COMBI
7 8
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16
TRACK
SELECT
NUMBER
MUTE
SOLO
Selecting the controllable functions
Functions assigned to each knob can be selected among four types as illustrated below.
Use the [KNOB CONTROL FUNCTION] button to change the parameter set for the knobs. The corresponding LED lights to indicate which group of parameters are active and the Control of the available functions appear in the LCD display as shown below.
Press the [EXIT] button to go back to the original display.
1
Pan, Effect Send, and Tempo
KNOB
CONTROL
FUNCTION
PAN REVERB
CUTOFF RESONANCE
ASSIGN A ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
KN 1
MEQ LOW
KN 2 KN 3
Press this repeatedly to select each function row.
KN 4
2 Filter and EG
3 Assign n If the “Rev” knob in the display is dark, any tweaking you do to the Knob immediately affects the sound. However, if the knob in the display is light, turning the knob will not have any effect until you reach the current setting. Once you’ve adjusted the Knob to that setting point, the display knob turns dark, and you can tweak the sound.
4 Master EQ
84 MOTIF Quick Start Guide
Editing Voices
About each assigned function
1
Pan, Effect Send, and Tempo
PAN
Determines the stereo pan position of the voice.
L R
PAN REVERB CHORUS TEMPO
KN 1 KN 2 KN 3 KN 4
TEMPO
Determines the tempo of the Arpeggio assigned to the currently selected voice.
In the Song/Pattern/Arpeggio mode, this determines the tempo of the selected song or pattern.
Signal
REVERB
Determines the amount of
Reverb effect that is applied to the voice.
CHORUS
Determines the amount of
Chorus effect that is applied to the voice.
2
Filter and EG
CUTOFF RESONANCE ATTACK RELEASE
ATTACK
Determines the attack time of the sound. For example, you can adjust a strings voice so that the sound gradually swells in volume by setting a slow attack time — simply turn the
[ATTACK] knob to the right. For a more percussive attack, turn the knob to the left.
KN 1 KN 2 KN 3 KN 4
CUTOFF
Determines the Filter cutoff frequency.
RESONANCE
Boosts the level of the signal in the area of the cutoff frequency.
Try using the Cutoff and
Resonance controls above in tandem. For example, set Resonance to a certain level, then sweep the
Cutoff control.
Attack time
Release time
Key on Key off
RELEASE
Determines the release time of the sound. Turning the knob to the right sets a long release time and (depending on the selected voice) lets the sound sustain after the key is released.
To produce a sharp release, in which the sound abruptly cuts off, set a short release time.
n When the Drum voice is selected, this is used as Decay time.
3
Assign
These knobs can be assigned to a variety of functions, letting you create your own custom set of real-time controls.
For details about Knobs A/B, see page 256. For details about Knobs 1/2, see page 254.
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
4
Master EQ
Adjusts the master (global) EQ settings for the entire voice. The settings made here are applied as offsets to the EQ settings (with the exception of “MID”) in the Utility mode, page 253.
Gain MEQ LOW MEQLOWMID MID MEQ HI M ID MEQ HIGH
0
MOTIF Quick Start Guide 85
Storing edited Voices
Storing edited Voices
Once you’ve edited a voice, you can store it to the internal memory (SRAM). Up to 128 Normal Voices and up to 16
Drum Voices can be stored. n
For details about memory structure, see page 63.
When you execute this, the settings for the destination memory will be overwritten. Important data should always be backed up
to computer, a separate Memory Card or some other storage device. (See page 64.)
1 Press the [STORE] button in the Voice mode.
Destination
2 Select the destination Voice Memory by using the [INC/YES] and
[DEC/NO] buttons or the data dial.
Decreases number
Increases number
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
Decreases number
DEC/NO INC/YES
Increases number
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
REVERB
RESONANCE
ASSIGN A ASSIGN B
CHORUS
ATTACK
TEMPO
RELEASE
ASSIGN 1 ASSIGN 2
REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
1
2
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT JOB
COMPARE
STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
F1
SF 1 SF 2
F2 F3
SF 3
F4
SF 4
F5
SF 5
INFORMATION
F6 EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
PRE 1 PRE 2 PRE 3 GM USER
SLOT 1 SLOT 2 SLOT 3
PLG 1 PLG 2 PLG 3
CATEGORY
SEARCH BANK
A. PIANO KEYBOARD ORGAN
A B C
GUITAR /
PLUCKED
D
BASS
E
STRINGS
F
BRASS REED/PIPE
G H SECTION GROUP
SYN LEAD
1
SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
2 3 4 5
SE
6
MUSICAL FX COMBI
7 8
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16
TRACK
SELECT
NUMBER
MUTE
SOLO
3 Press the [ENTER] button. (The display prompts you for confirmation.)
DEC/NO INC/YES
EXIT ENTER
EXECUTE
4 To execute the Store operation, press the [INC/YES] button. After the voice has been stored, a
“Completed” message appears and operation returns to the original display.
DEC/NO INC/YES
EXIT ENTER
EXECUTE n To cancel the Store operation, press the [DEC/NO] button.
For Store operations that take longer to process, you will see the message "Executing..." during processing. off the power of the MOTIF while this message is displayed, you risk corrupting your data.
A wider variety of detailed editing controls is also available in the Voice Edit mode.
86 MOTIF Quick Start Guide
Storing edited Voices
About Plug-in Voices
Plug-in Boards give you an enormous amount of additional sonic flexibility and power. When installed, they work seamlessly and transparently within the system of the MOTIF — meaning that you can use their sounds and functions just as if they were built right into the MOTIF at the factory. Up to three Plug-in boards can be installed to the MOTIF. If the Plug-in Board has been correctly installed, the corresponding SLOT lamp will light, the voice data appropriate for the installed board is set up automatically as Plug-in voices and you can select the Plug-in bank as well as the built-in Voice bank.
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
SLOT 1 SLOT 2 SLOT 3
PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3
CATEGORY
SEARCH BANK
KEYBOARD ORGAN GUITAR /
PLUCKED
BASS STRINGS BRASS REED/PIPE
The Plug-in voices can be edited via the MOTIF’s panel operation in much the same way as User voices. After editing, up to 64 Plug-in voices for each Plug-in board can be stored.
Editing and saving Board voices
Included among the Board voices is a special set of voices — called Board Custom voices — which can be edited by a computer connected to the MOTIF, using special editing software included with the Plug-in board.
Because the Plug-in boards do not have SRAM and the edited voice data will be lost when turning the power off, the edited Board Custom voice data should be saved to the memory card or the SCSI device connected to the MOTIF. The
Board Custom voice data saved to the memory card or SCSI device can be loaded automatically when turning the power on by using the Auto Load function.
1 Edit the Board voice by using the Voice Editor.
2 Transmit the edited data to the memory (DRAM) on the Plug-in board.
1 Edit
OCTAVE
UP
DOWN
Plug-in board
2 Transmit
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
MASTER
VOLUME
REMOTE
CONTROL
ON/OFF
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
SYSTEM
INSERTION
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT JOB
COMPARE
STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1
F1 F2
SF 2
F3
SF 3
F4
SF 4
F5
SF 5 INFORMATION
F6 EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Modular Synthesis Plug-in System
SLOT 1
PLG 1
SLOT 2
PLG 2 PRE 1
A
PRE 2
A. PIANO KEYBOARD
B
PRE 3
ORGAN
C
GM USER
GUITAR /
PLUCKED
D
BASS
E
STRINGS BRASS
G
SLOT 3
PLG 3
REED/PIPE
H
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE MUSICAL FX COMBI
CATEGORY
SEARCH
SECTION
TRACK
SELECT
BANK
GROUP
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16
NUMBER
MUTE
SOLO
Computer with application software
MOTIF
3
Save the data in the memory (DRAM) to the memory card.
Memory card
DOWN
OCTAVE
UP
Plug-in board
3 Save
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
MASTER
VOLUME
KN 1
MEQ LOW
KN 2
MEQLOWMID
KN 3
MEQ HI M ID
KN 4
MEQ HIGH
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS ARPEGGIO
INSERTION SYSTEM ON/OFF
SEQ TRANSPORT
LOCATE
REC
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
VOICE
MODE
PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
MIXING UTILITY
EDIT
COMPARE
JOB STORE
DEC/NO
SONG SCENE
SF 1
F1 F2
SF 2
F3
SF 3
F4
SF 4
F5
SF 5
INFORMATION
F6 EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
PRE 1
A. PIANO
A
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
PRE 2
KEYBOARD
B
PRE 3
ORGAN
C
GM
GUITAR /
PLUCKED
D
SLOT 1
PLG 1
SLOT 2
PLG 2 USER
BASS
E
STRINGS BRASS
G
SLOT 3
PLG 3
REED/PIPE
H
CATEGORY
SEARCH
SECTION
BANK
GROUP
SYN LEAD SYN PAD/
CHOIR
SYN COMP PERCUSSION DRUM / SE MUSICAL FX COMBI
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
NUMBER
MOTIF
4
Set Auto Load to on in the Utility mode (page 252).
Set this to on.
5
When turning the power on next time, the Board Custom voice data saved to the memory card is automatically loaded to the memory on the Plug-in board.
MOTIF Quick Start Guide 87
Playing Performances
Playing Performances
Basic Structure (page 42) · Reference (page 162)
In the Performance mode, you can select and play individual User performances.
In a performance, you can mix several different voices together in a layer, or split them across the keyboard, or even set up a combination layer/split. Each Performance can contain up to four different Parts.
n
For details about the performances and their memory (bank) structure, see page 42.
Selecting a Performance
1 Enter the Performance Play mode.
MODE
VOICE PERFORM MASTER
2 Select a Performance Group.
Performances in each Bank are divided into Groups A~H. Select a Group to display the performances that belong to the selected Group.
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
Group
Performance
When the Performance Play mode is active, the currently selected performance is shown in huge letters — so you can easily check which performance you’re about to play.
OCTAVE
DOWN UP n All performances are stored to a single bank, so you need not select a bank here.
KNOB
CONTROL
FUNCTION
PAN REVERB
CUTOFF
ASSIGN A
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2 REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3
MEQLOWMID MEQ HI M ID
KN 4
MEQ HIGH
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
1 2
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1 SF 2
F1 F2 F3
SF 3 SF 4
F4
SF 5 INFORMATION
F5 F6 EXIT
INC/YES
ENTER
EXECUTE
PRE 1
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
PRE 2 PRE 3 GM USER
SLOT 1 SLOT 2 SLOT 3
PLG 1 PLG 2 PLG 3
CATEGORY
SEARCH DRUM KITS
FAVORITES
COMMON
A. PIANO KEYBOARD
A B
ORGAN
C
GUITAR /
PLUCKED
D
BASS
E
STRINGS
F
BRASS REED/PIPE
G H
SYN LEAD
1
SYN PAD/
CHOIR
2
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
3 4 5
SE
6
MUSICAL FX COMBI
7 8
SECTION
TRACK
SELECT
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
BANK
GROUP
NUMBER
3 Select a Performance number.
1
9
2
10
3
11
4
12
5
13
6
14
7
15
8
16
Decreases number
Increases number
4 Play the keyboard.
n The Category Search function and Keyboard
Octave function can be used also in the Performance Play mode in the same way as in the Voice Play mode.
DEC/NO INC/YES
Decreases number
Increases number
Performance Part on/off
Each performance can contain a maximum of four parts, selected from a total of seven — internal Parts 1 - 4 and Plug-in Parts 1 - 3.
1 Press the [MUTE] button so that its indicator lights.
2 Press any of the [1] - [4] buttons you wish to mute. The part corresponding to the unlit indicator is muted.
3 Press the [MUTE] button again so that its indicator goes out.
1 2 3 4
9
ELEMENT/ PERF.PART / ZONE
10 11 12
5
13
6
14
7
15
8
16
TRACK
SELECT
MUTE
SOLO
NUMBER
88 MOTIF Quick Start Guide
Editing Performances (Layer/Split)
Editing Performances (Layer/Split)
Basic Structure (page 45) · Reference (page 170)
Performances can be made up of a maximum of four parts (voices), selected from the internal tone generator Parts 1 - 4 and Plug-in board Parts 1 - 3.
You can create a performance by layering several voices together, and by assigning different voices to separate ranges of the keyboard. You can then store up to 128 of your original, edited performances to internal User memory.
Layer
Built-in tone generator parts Plug-in parts
Split
Built-in tone generator parts Plug-in parts
PRE1 PRE2 PRE3 USER PL1 PL2 PL3 PRE1 PRE2 PRE3 USER PL1 PL2 PL3
1 Call up the VOICE display by pressing the
[F3] button in the Performance Play mode.
2 Assign the desired voice to each part.
Move the cursor to the desired part and select a voice by pressing the [F1] or
[F2] button.
SONG SCENE
SF 1 SF 2 SF 3 SF 4 SF 5
INFORMATION
F1 F2 F3 F4 F5 F6
DEC/NO INC/YES
SONG SCENE
SF 1 SF 2 SF 3 SF 4 SF 5
INFORMATION
F1 F2 F3 F4 F5 F6
Assign the built-in voice to the selected part.
Assign the Plug-in voice to the selected part.
Delete the voice assignment of the selected part.
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN REVERB
CUTOFF RESONANCE
ASSIGN A ASSIGN B
CHORUS TEMPO
ATTACK
ASSIGN 1
RELEASE
ASSIGN 2 REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
2 LOCATE
REC
1
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1
F1
SF 2
F2 F3
SF 3 SF 4 SF 5
F4 F5 F6
INFORMATION
EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
PRE 1
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
PRE 2 PRE 3 GM USER
SLOT 1 SLOT 2 SLOT 3
PLG 1 PLG 2 PLG 3
CATEGORY
SEARCH
A. PIANO KEYBOARD ORGAN
A B C
GUITAR /
PLUCKED
D
BASS
E
STRINGS
F
BRASS REED/PIPE
G H SECTION
SYN LEAD
1
SYN PAD/
CHOIR
2
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
3 4 5
SE
6
MUSICAL FX COMBI
7 8
TRACK
SELECT
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16
BANK
GROUP
NUMBER
MUTE
SOLO
3 Specify the note range of each part, as required.
You can set the lowest note of the range over which the voice of the selected part sounds by pressing the desired key while holding the [SF4] button. To set the highest note of the range, press the desired key while holding the [SF5] button.
This lets you create a split keyboard, with up to four different parts (voices) sounding in four different ranges. You can also overlap parts to create layers.
Note Limit Low Note Limit High
SF 4 SF 5
4 Change the volume of each part and adjust the relative balance among the four parts by using the Control sliders.
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
MOTIF Quick Start Guide 89
Storing the edited Performance
Storing the edited Performance
Once you’ve edited a performance, you can store it to the internal memory (SRAM). Up to 128 performances can be stored. n
For details about memory structure, see page 63.
When you execute this, the settings for the destination memory will be overwritten. Important data should always be backed up
to computer, a separate Memory Card or some other storage device. (See page 97.)
1 Press the [STORE] button in the Performance mode. 2 Select the destination Voice Memory by using the [INC/YES] and [DEC/NO] buttons or the data dial.
Decreases number
Increases number
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
Decreases number
DEC/NO INC/YES
Increases number
Destination
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN REVERB
CUTOFF
ASSIGN A
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2 REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
2 LOCATE
REC
1
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1 SF 2
F1 F2 F3
SF 3 SF 4 SF 5 INFORMATION
F4 F5 F6 EXIT
INC/YES
ENTER
EXECUTE
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
SLOT 1 SLOT 2 SLOT 3
DRUM KITS
FAVORITES
COMMON
PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3
A. PIANO KEYBOARD
ORGAN
A B C
GUITAR /
PLUCKED
D
BASS
E
STRINGS
F
BRASS
REED/PIPE
G H
SYN LEAD
1
SYN PAD/
CHOIR
2
SYN COMP
DRUM /
CHROMATIC
PERCUSSION PERCUSSION
3 4 5
SE
6
MUSICAL FX COMBI
7 8
CATEGORY
SEARCH
SECTION
TRACK
SELECT
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16
BANK
GROUP
NUMBER
MUTE
SOLO
3 Press the [ENTER] button. (The display prompts you for confirmation.)
DEC/NO INC/YES
EXIT ENTER
EXECUTE
4 To execute the Store operation, press the [INC/YES] button. After the voice has been stored, a “Completed” message appears and operation returns to the original display.
DEC/NO INC/YES
EXIT ENTER
EXECUTE n To cancel the Store operation, press the [DEC/NO] button.
For Store operations that take longer to process, you will see the message "Executing..." during processing.
If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data.
The Portamento, EG (Envelope Generator), and Arpeggio parameters can be edited by calling up the corresponding display via the [F4] - [F6] buttons in the same way as in the Voice mode.
90 MOTIF Quick Start Guide
Using the Arpeggio function
Using the Arpeggio function
Basic Structure (page 55) · Reference (pages 128, 165)
The MOTIF features a powerful and highly versatile arpeggiator that lets you automatically trigger preset arpeggios, phrases, rhythmic sequences and special “human” patterns — depending on the keys you play, or even the velocity with which you play them. You can assign the desired Arpeggio type to each voice or performance, and adjust the tempo in real time as the Arpeggio plays. In the Song and Pattern modes, you can assign desired Arpeggio types to each Mixing setup, for use in songs and patterns.
Arpeggio playback
1 Select a Voice/Performance.
DRUM KITS
FAVORITES
COMMON
PRE 1 PRE 2 PRE 3 GM USER 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
SYN LEAD
1
SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
2 3 4 5
SE
6
MUSICAL FX COMBI
7 8
SECTION
TRACK
SELECT
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
REVERB
RESONANCE
ASSIGN A ASSIGN B
CHORUS
ATTACK
TEMPO
RELEASE
ASSIGN 1 ASSIGN 2
REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
1 2
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT JOB
COMPARE
STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
F1
SF 1 SF 2
F2 F3
SF 3
F4
SF 4
F5
SF 5
INFORMATION
F6 EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
SLOT 1 SLOT 2
PLG 1 PLG 2
SLOT 3
PLG 3
CATEGORY
SEARCH PRE 1 PRE 2 PRE 3 GM USER
A. PIANO KEYBOARD ORGAN
A B C
GUITAR /
PLUCKED
D
BASS
E
STRINGS
F
BRASS REED/PIPE
G H SECTION
BANK
GROUP
SYN LEAD
1
SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
2 3 4 5
SE
6
MUSICAL FX COMBI
7 8
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16
TRACK
SELECT
NUMBER
MUTE
SOLO
2 Turn the Arpeggio on by pressing the ARPEGGIO [ON/OFF] button.
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
3 Play the keyboard.
While holding the key(s), the Arpeggio is played back according to the played note, Arpeggio type, tempo, note limit settings, and so on. n In the Voice Play mode, the Arpeggio is played back via the selected voice. n In the Performance/Song Mixing/Pattern Mixing mode, the Arpeggio is played back via the voice assigned to the selected part when the
Arpeggio Switch of the selected part is set to on. n When you select a voice or performance for which the Arpeggio
Switch is set to on, the ARPEGGIO [ON/OFF] button is automatically turned on. n The on/off status of the ARPEGGIO [ON/OFF] button can be stored to each voice, performance, or Mixing setup.
MOTIF Quick Start Guide 91
Using the Arpeggio function
Arpeggio Type, Tempo, and Limit
A variety of Arpeggio types are provided with the MOTIF. You can change the tempo of Arpeggio as desired.
The Arpeggio function is available in all modes.
The explanation below applies to the Performance Play mode.
1 Call up the ARP (Arpeggio) display by pressing the
[F6] button in the Performance Play mode.
2 Select an Arpeggio Bank.
Move the cursor to the Bank parameter and select.
F1
SF 1 SF 2 SF 3 SF 4
F2 F3 F4 F5
SF 5
INFORMATION
F6
DEC/NO INC/YES
3 Select an Arpeggio Type.
Move the cursor to the Type parameter and select.
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2 REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
MEQLOWMID MEQ HI M ID MEQ HIGH
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
2 LOCATE
REC
1
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT JOB
COMPARE
STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1 SF 2
F1 F2 F3
SF 3 SF 4 SF 5 INFORMATION
F4 F5 F6 EXIT
INC/YES
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
DEC/NO
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
SLOT 1 SLOT 2 SLOT 3
PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3
CATEGORY
SEARCH BANK
A. PIANO KEYBOARD ORGAN
A B C
GUITAR /
PLUCKED
D
BASS
E
STRINGS
F
BRASS
G
REED/PIPE
H SECTION GROUP
SYN LEAD
1
SYN PAD/
CHOIR
2
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
3 4 5
SE
6
MUSICAL FX COMBI
7 8
TRACK
SELECT
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
NUMBER
4 Set the Tempo for Arpeggio playback.
Move the cursor to the Tempo parameter and set.
DEC/NO INC/YES
5 Set the Velocity Limit for Arpeggio playback.
Move the cursor to the Velocity Limit parameter and set.
Low Limit High Limit
127
High
Limit
Low
Limit
0
The Arpeggio is played back only when the key is played at a velocity within this range.
6 Set the Arpeggio part switch.
You can set the Arpeggio playback on or off for each part. Move the cursor to the checkbox of the desired part and checkmark the box to on.
7 Store the Arpeggio settings to the desired User Performance.
The Arpeggio settings can be stored to a User Voice, a User
Performance, or a Song/Pattern
Mixing setup.
92 MOTIF Quick Start Guide
Using as a Master Keyboard
Using as a Master Keyboard
Basic Structure (page 56) · Reference (page 268 )
The MOTIF is loaded with such a wealth of different features, functions and operations, you may find it difficult to locate and call up the particular feature you need. This is where the Master function comes in handy. You can use it to memorize the operations you use most often in each mode, and call them up instantly anytime you need them with a single button press. The MOTIF has space for a total of 128 of your own User Master settings.
Master No.1 Voice mode: PRE1 (A10)
Master No.2 Performance mode: PRE1 (F7)
Master No.3 Voice mode: USER (B08)
Master No.4 Song mode: 05
Memorize to a Master
The selected mode and program are memorized to a Master in the Master Play mode.
1 Enter the Master mode and select a Master number (page 269).
3 Select the mode to be memorized.
Mode
2 Call up the MEMORY display by pressing the
[F2] button.
DEC/NO INC/YES
F1
SF 1 SF 2 SF 3 SF 4
F2 F3 F4 F5
SF 5
INFORMATION
F6
4 Select the desired program (voice, performance, song, or style number) to be memorized.
DRUM KITS PRE 1 PRE 2 PRE 3 USER PLG 1 PLG 2 PLG 3
GM
DEC/NO INC/YES or
FAVORITES
COMMON
A. PIANO KEYBOARD ORGAN
A B C
GUITAR /
PLUCKED
D
BASS STRINGS BRASS REED/PIPE
E 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
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16
Program
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
1 2
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT JOB
COMPARE
STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1 SF 2
F1 F2
SF 3 SF 4 SF 5 INFORMATION
F3 F4 F5 F6 EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
PRE 1 PRE 2 PRE 3 GM USER
A. PIANO KEYBOARD
ORGAN
A B C
GUITAR /
PLUCKED
D
BASS
E
SLOT 1 SLOT 2 SLOT 3
PLG 1 PLG 2 PLG 3
STRINGS
F
BRASS
REED/PIPE
G H
CATEGORY
SEARCH
SECTION
BANK
GROUP
SYN LEAD
1
SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
2 3 4 5
SE
6
MUSICAL FX COMBI
7 8
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16
TRACK
SELECT
NUMBER
MUTE
SOLO
5 Name the Master.
You can name the Master in the Master Edit mode (page 75).
You can also set the functions assigned to the Control Knobs/Sliders (page 273).
MOTIF Quick Start Guide 93
Using as a Master Keyboard
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
REVERB
RESONANCE
ASSIGN A ASSIGN B
CHORUS
ATTACK
TEMPO
RELEASE
ASSIGN 1 ASSIGN 2 REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
1 2
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1 SF 2
F1 F2 F3
SF 3 SF 4 SF 5
INFORMATION
F4 F5 F6 EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
PRE 1 PRE 2 PRE 3 GM USER
SLOT 1
PLG 1
SLOT 2 SLOT 3
PLG 2 PLG 3
CATEGORY
SEARCH BANK
FAVORITES
COMMON
A. PIANO KEYBOARD ORGAN
A B C
GUITAR /
PLUCKED
D
BASS
E
STRINGS
F
BRASS REED/PIPE
G H SECTION GROUP
SYN LEAD
1
SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
2 3 4 5
SE
6
MUSICAL FX COMBI
7 8
TRACK
SELECT
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14
15
16
MUTE
SOLO
NUMBER
6 Store the settings to a Master.
The edited Masters can be stored to the internal memory (SRAM). Up to 128 Masters can be stored. n For details about memory structure, see page 63.
When you execute this, the settings for the destination memory will be overwritten. Important data should always be backed up to computer, a separate Memory Card or some other storage device. (See page 97.)
1 Press the [STORE] button to enter the Master Store mode.
Destination
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
2 Select a destination Master.
DEC/NO INC/YES
EXIT ENTER
EXECUTE
3 Press the [ENTER] button.
DEC/NO INC/YES
EXIT ENTER
EXECUTE
4 Execute the Store operation.
DEC/NO INC/YES
EXIT ENTER
EXECUTE n To cancel the Store operation, press the [DEC/NO] button.
For Store operations that take longer to process, you will see the message “Executing…” during processing.
If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data.
94 MOTIF Quick Start Guide
Using as a Master Keyboard
Master Keyboard settings
●
Layer/Split settings using an external tone generator
The MOTIF can function as a comprehensive, versatile master keyboard, for both live and studio applications.
When a Master is set to the Voice or Performance mode, you can make settings for four independent Zones. This makes it possible to control voices of an external MIDI device over several different channels — in addition to the internal voices of the MOTIF itself. You can do this by setting the sound range of the keyboard for each Zone and assigning different MIDI channels to each range.
For example, this lets you layer several voices together, including those of a connected MIDI tone generator. Plus, you can separate the voices into different keyboard ranges, and play completely different sounds with your left and right hands. In the example below, we’ll set up three Zones as shown below. We’ll program a split at the note C3. In the lower range (B2 and lower), a bass voice and cymbal voice will sound. In the upper range (C3 and above), we’ll layer piano and vibraphone voices — played from an external MIDI tone generator. Using this sophisticated setup, you can easily sound like an entire jazz group, with just your two hands.
In the example instructions here, we’ll use the Voice mode for the Master.
Zone 1
(Bass + Cymbal)
Zone 2
(Piano)
Zone 3
(Vibraphone)
C3
1 Select a Voice in the Master Play mode.
Set the Mode to Voice, then select the PRE1 bank and voice 123.
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1
F1
SF 2
F2 F3
SF 3
F4
SF 4 SF 5 INFORMATION
F5 F6 EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
PRE 1
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
PRE 2 PRE 3 GM USER
SLOT 1 SLOT 2 SLOT 3
PLG 1 PLG 2 PLG 3
CATEGORY
SEARCH
A. PIANO
A
KEYBOARD
B
ORGAN
C
GUITAR /
PLUCKED
D
BASS
E
STRINGS
F
BRASS
G
REED/PIPE
H SECTION
SYN LEAD
1
SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
4
2 3 5
SE
6
MUSICAL FX COMBI
7 8
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16
TRACK
SELECT
BANK
GROUP
NUMBER
MUTE
SOLO
DEC/NO INC/YES
3 Enter the Master Edit mode.
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
2 Set the Zone Switch to on.
DEC/NO INC/YES
EXIT ENTER
EXECUTE
MOTIF Quick Start Guide 95
Using as a Master Keyboard
4 Call up the display for Zone editing.
Press any of the buttons.
1 2 3 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT JOB
COMPARE
STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1 SF 2 SF 3 SF 4 SF 5
INFORMATION
F1 F2 F3 F4 F5 F6 EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Surface
Modular Synthesis Plug-in System
PRE 1 PRE 2 PRE 3 GM USER
SLOT 1 SLOT 2
PLG 1 PLG 2
SLOT 3
PLG 3
CATEGORY
SEARCH BANK
A. PIANO KEYBOARD ORGAN
A B C
GUITAR/
PLUCKED
D
BASS
E
STRINGS
F
BRASS REED/PIPE
G H
SYN LEAD
1
SYN PAD/
CHOIR
2
SYN COMP
3
CHROMATIC DRUM/
PERCUSSION PERCUSSION
4 5
SE
6
MUSICAL FX COMBI
7 8
SECTION
TRACK
SELECT
GROUP
9
ELEMENT/PERF.PART/ZONE
10 11 12 13 14
15
16
NUMBER
MUTE
SOLO
7 Store the settings to a Master
(page 94).
5 Call up the TRANS display.
1 Set the TG Switch of Zone 1 to on and set those for all other Zones to off. This is for transmitting the data played only in the Zone 1 to the built-in tone generator.
2 Set the MIDI Switch of the Zone 2 and 3 to on and set the ones of the other Zones to off. This is for transmitting the data played in the Zone 2 and 3 to the external tone generator.
3 Set the MIDI transmit channel of Zone 1 to 1. Set the MIDI transmit channel of
Zone 2 and 3 to match the Receive channel of the external tone generator
(slave).
4 Make sure the external tone generator is set to multi-timbral operation (different voices for each of the 16 MIDI channels), and select the appropriate voices on the tone generator, corresponding to the
F1
SF 1 SF 2 SF 3 SF 4 SF 5
F2 F3 F5 F6
F1
SF 1 SF 2 SF 3 SF 4 SF 5
F2 F3 F5 F6
6 Call up the NOTE display.
1
2
Set the Note Limit H (High) of Zone 1 to B2. Set the Note Limit L (Low) of Zone 1 to C-2.
Set the Note Limit H (High) of Zone 2 and 3 to G8. Set the Note Limit L (Low) of Zone 2 and 3 to C3.
Each Zone will sound the assigned voice within the note range set above.
●
Control Number settings
Here in the KN/CS display of the Master Edit mode, you can set how the Control knobs and sliders will affect each
Zone. This lets you specify a MIDI Control Change number for each knob and slider. In the example below, the
Control knobs for all Zones have been set to 10 (Pan), and the sliders have been set to 11 (Expression). In this way, you can control the stereo position of each Zone with the appropriate knob, and use the sliders to adjust the relative volume balance among the Zones.
This setting is available only when the Zone Switch is set to on from the Memory display in the Master Play mode.
CUTOFF
ASSIGN A
RESONANCE
ASSIGN B
ATTACK
ASSIGN 1
RELEASE
ASSIGN 2
KN 1
MEQ LOW
KN 2 KN 3 KN 4
F1
SF 1 SF 2 SF 3 SF 4 SF 5
F2 F3 F4 F5 F6
96 MOTIF Quick Start Guide
Saving/Loading data
Saving/Loading data
Basic Structure (page 63) · Reference (page 266)
Many different types of data are created when using the MOTIF, and the following types are automatically maintained in memory, even if the power is turned off: Voice, Performance, Master, Arpeggio and System settings
(parameters set in the Utility mode). Since the other data (e.g., wave data recorded via the Sampling function, Song,
Pattern) is lost when turning the power off, you should save it to a memory card or SCSI device connected to the
MOTIF. Data created on the MOTIF can be saved to Memory card or SCSI device in a variety of file types. By selecting “All” as the file type to be saved, all your original MOTIF data can be saved to Memory card/SCSI device.
However, when loading this “All” data back to the MOTIF, you can choose a specific data type to be loaded (e.g., one voice or one song), as illustrated below.
All
Memory card Memory card
Save One song Load
Voice
Performance
Master
System
Song
Pattern
Wave
SCSI device
One voice
SCSI device n
Saving data
n Before you can use a new Memory card or external SCSI device with the MOTIF, you’ll have to format it from the MOTIF.
2 Call up the CONFIG display. 3 Select a device to which the data is to be saved.
Move the cursor to the Current parameter and select
“CARD” or “SCSI.”
Device
1 Enter the File mode by pressing the [FILE] mode.
SEQUENCER
SONG PATTERN FILE
SF 1 SF 2 SF 3 SF 4 SF 5
INFORMATION
Free space
SF 5
INFORMATION F1 F2 F3 F4 F5 F6 SF 1 SF 2 SF 3 SF 4
INTEGRATED
SAMPLING
MIXING UTILITY
F1 F2 F3 F4 F5 F6
4 Call up the SAVE display.
F1
SF 1
F2
SF 2
F3
SF 3
F4
SF 4
F5
SF 5 OCTAVE
DOWN UP
INFORMATION
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
REVERB
RESONANCE
CHORUS
ATTACK
TEMPO
RELEASE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
MASTER
VOLUME
KN 1 KN 2 KN 3
MEQ LOW MEQLOWMID MEQ HI M ID
KN 4
MEQ HIGH
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
1 2
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1 SF 2
F1 F2 F3
SF 3 SF 4
F4
SF 5 INFORMATION
F5 F6 EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
PRE 1 PRE 2 PRE 3 GM
SLOT 1 SLOT 2 SLOT 3
USER PLG 1 PLG 2 PLG 3
A. PIANO KEYBOARD
A B
ORGAN
C
GUITAR /
PLUCKED
D
BASS
E
STRINGS
F
BRASS REED/PIPE
G H
CATEGORY
SEARCH
7 Press the [ENTER] button.
BANK
DEC/NO INC/YES
SECTION GROUP
SYN LEAD
1
SYN PAD/
CHOIR
2
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
3 4 5
SE
6
MUSICAL FX COMBI
7 8
TRACK
SELECT
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
NUMBER
EXIT ENTER
F6
EXECUTE
5 Select a file type to be saved.
Here, select “All.” n For details about file type to be saved, see page 262.
6 Select a folder to which the data is to be saved.
8 Press the [INC/YES] button to execute the Save operation.
DEC/NO INC/YES
EXIT ENTER
EXECUTE n You can name the folder by using the [F4] button and create a new folder by using the [F6] button.
MOTIF Quick Start Guide 97
Saving/Loading data
Loading data
2 Call up the CONFIG display. 3 Select the device from which the data is to be loaded.
Move the cursor to the Current parameter and select “CARD” or “SCSI.”
Device Free space
1 Enter the File mode by pressing the [FILE] button.
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING
MIXING UTILITY
F1
SF 1 SF 2 SF 3 SF 4
F2 F3 F4 F5
SF 5
INFORMATION
F6 F1
SF 1 SF 2 SF 3 SF 4
F2 F3 F4 F5
SF 5
INFORMATION
F6
4 Call up the LOAD display.
F1
SF 1
F2
SF 2
F3
SF 3
F4
SF 4
F5
SF 5 OCTAVE
DOWN UP
INFORMATION
KNOB
CONTROL
FUNCTION
PAN REVERB
CUTOFF
ASSIGN A
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
MASTER
VOLUME
KN 1 KN 2 KN 3
MEQ LOW MEQLOWMID MEQ HI M ID
KN 4
MEQ HIGH
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
1 2
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1 SF 2
F1 F2 F3
SF 3 SF 4
F4
SF 5 INFORMATION
F5 F6 EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
SLOT 1 SLOT 2 SLOT 3
PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3
A. PIANO
KEYBOARD
A B
ORGAN
C
GUITAR /
PLUCKED
D
BASS
E
STRINGS
F
BRASS REED/PIPE
G H
CATEGORY
SEARCH
SECTION
SYN LEAD
1
SYN PAD/
CHOIR
2
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
3 4 5
SE
6
MUSICAL FX COMBI
7 8
TRACK
SELECT
BANK
GROUP
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
NUMBER
F6
5 Select a file type to be loaded.
Here, select “Voice.”
7 Select the destination User memory to which the data is to be loaded.
8 Press the [ENTER] button to execute the Load operation.
DEC/NO INC/YES n For details about the file types that can be loaded, see page 263.
6 Select a file to be loaded.
Here, select a file with the extension “.W2V,” press the [ENTER] button, and select the desired voice.
[ENTER] button
EXIT ENTER
EXECUTE n Loading data to the MOTIF automatically erases and replaces any existing data in the User memory. Make sure to save any important data to a Memory card/SCSI device before performing any Load operations.
98 MOTIF Quick Start Guide
Sampling with Song Playback (Integrated Sampling Sequencer)
Sampling with Song Playback (Integrated Sampling
Sequencer)
In this section, we’ll delve into one of the most important and powerful features of the MOTIF — the Integrated
Sampling Sequencer.
Today’s digital music producers and artists use a mutlitude of advanced tools to get the job done — including MIDI, sampling, audio editing and much more. Cutting and pasting beats, loops and patterns together is an integral part of the music making process. The MOTIF lets you work in the same way, fully integrating sampling with MIDI sequencing — making it easier than ever before to produce great tracks.
Below is a summary of the steps you’ll take as you create a new song.
■
Creating Rhythm track
1 Sampling to a Pattern Track
2 Recording MIDI data to a Pattern Track
3 Assigning a Preset Phrase to a Pattern Track (Patch function)
4 Using the Groove function
5 Pattern Mixing
6 Creating the Pattern Chain
■
Creating a Song
7 Copy the Pattern Chain data to the Song
8 MIDI recording to Song Tracks
9 Sampling to Song Track
10 Song Track Mute and Scene
11 Song Mixing and storing the settings as a template
12 Saving and Exporting the recorded song to external PC (File Utility)
MOTIF Quick Start Guide 99
Sampling with Song Playback (Integrated Sampling Sequencer)
1. Sampling to a Pattern Track
Basic Structure (page 52) · Reference (page 234)
First, record your favorite rhythm phrase from an audio CD (or other source) to the MOTIF via the Sampling function. n
For details about how to connect the external audio equipment to the MOTIF, see page 23 .
1 Enter the
Pattern mode.
2 Call up the PLAY display. 3 Select the Style number and Section to be recorded.
Press the [SECTION] button, then the appropriate button [A]
~ [H].
SEQUENCER
SONG PATTERN FILE
Style number Section
INTEGRATED
SAMPLING
MIXING UTILITY
SF 5
INFORMATION
F1
SF 1
F2
SF 2
F3
SF 3
F4
SF 4
F5 F6
• Selecting a Style number
Decreases number
Increases number
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN REVERB
CUTOFF
ASSIGN A
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
1 2
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1 SF 2
F1 F2 F3
SF 3 SF 4
F4 F5
SF 5 INFORMATION
F6 EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS PRE 1
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
PRE 2 PRE 3 GM USER
SLOT 1 SLOT 2 SLOT 3
PLG 1 PLG 2 PLG 3
CATEGORY
SEARCH
BANK
FAVORITES
COMMON
A. PIANO KEYBOARD
B
A
ORGAN GUITAR /
PLUCKED
D
C
BASS
E
STRINGS BRASS REED/PIPE
G
F H
SYN LEAD
1
SYN PAD/
CHOIR
2
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
3 4 5
SE
6
MUSICAL FX COMBI
7 8
SECTION
TRACK
SELECT
GROUP
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
NUMBER
DEC/NO
Decreases number
• Selecting a Section
PRE 1 PRE 2 PRE 3 GM USER
INC/YES
Increases number
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
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE MUSICAL FX COMBI
SECTION
4 Enter the
Sampling mode.
5 Call up the DEST display.
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING
MIXING UTILITY
F1
SF 1 SF 2 SF 3 SF 4
F2 F3 F4 F5
SF 5
INFORMATION
F6
6 Select a track to be recorded.
Here, select track 3.
DEC/NO INC/YES
100 MOTIF Quick Start Guide
7 Call up the SOURCE display.
Select "stereo" or "mono."
2
1
Sampling frequency
F1
SF 1 SF 2 SF 3 SF 4
F2 F3 F4 F5
SF 5
INFORMATION
F6
Sampling with Song Playback (Integrated Sampling Sequencer)
8 Enter the Sampling Standby mode.
From this display, set the Trigger mode. Here, select “manual.”
Play back the external CD player to check the Input level. You can adjust the Input level for optimum level by using the GAIN knob on the rear panel.
Trigger mode Monitor level
Input level
F1
SF 1 SF 2 SF 3 SF 4
F2 F3 F4 F5
SF 5
INFORMATION
F6
1 Select a sampling type.
For Type, select “slice+seq.”
2 Select a sampling source.
For Source, select “A/D.”
9 Start sampling.
Press the [F6] button to start sampling. Also start the external
CD player to play back the rhythm phrase to be recorded.
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
REVERB
RESONANCE
CHORUS
ATTACK
TEMPO
RELEASE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2
MEQLOWMID
KN 3
MEQ HI M ID
KN 4
MEQ HIGH
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
1 2
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1
F1
SF 2
F2 F3
SF 3
F4
SF 4 SF 5
INFORMATION
F5 F6 EXIT
INC/YES
ENTER
EXECUTE
PRE 1
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
PRE 2 PRE 3 GM USER
SLOT 1 SLOT 2 SLOT 3
PLG 1 PLG 2 PLG 3
CATEGORY
SEARCH DRUM KITS
FAVORITES
COMMON
A. PIANO KEYBOARD
A B
ORGAN
C
GUITAR /
PLUCKED
D
BASS
E
STRINGS
F
BRASS REED/PIPE
G H
SYN LEAD
1
SYN PAD/
CHOIR
2
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
3 4 5
SE
6
MUSICAL FX COMBI
7 8
SECTION
TRACK
SELECT
9
ELEMENT/ PERF.PART / ZONE
11
10
12
13
14
15 16 MUTE
SOLO
BANK
GROUP
NUMBER
F1
SF 1 SF 2 SF 3 SF 4
F2 F3 F4 F5
SF 5
INFORMATION
F6
11
Set the Slice related parameters.
The following display appears after stopping sampling since the sampling type has been set to “slice+seq” in step #7. You’ll need to trim your sample of extraneous beats, so that it will loop properly. Do this by using the Start, Loop, and End parameters in the display below. (For details, see page 237.) As you edit these parameters, press the [SF1] button (Audition) to hear the changes you’ve made.
10 Stop sampling by pressing the [F6] button again.
13 Go back to the Pattern play mode and play the Pattern to hear the recorded sample.
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
12
Execute the Slice operation.
Once you’ve edited the sample so that it loops properly, call up the SLICE display and set the parameters as needed. (For details, see page 238.)
F1
SF 1 SF 2 SF 3
F2 F3 F4
SF 4 SF 5
INFORMATION
F5 F6
MOTIF Quick Start Guide 101
Sampling with Song Playback (Integrated Sampling Sequencer)
2. Recording MIDI data to a Pattern Track
Basic Structure (page 53) · Reference (page 221)
Now that you’ve recorded a rhythm sample to a Pattern and sliced it, the next step is to record some MIDI parts and add them to the Pattern. You can record MIDI in two ways: Realtime and Step.
1 After setting the measure length and meter (time signature), enter the
Pattern Record mode.
SEQ TRANSPORT
LOCATE
REC
1
2
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
CHORUS
ATTACK
ASSIGN B ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
2 LOCATE
REC
1
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT JOB
COMPARE
STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1 SF 2
F1 F2
SF 3 SF 4 SF 5 INFORMATION
F3 F4 F5 F6 EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
PRE 1 PRE 2 PRE 3 GM USER
SLOT 1 SLOT 2 SLOT 3
PLG 1 PLG 2 PLG 3
CATEGORY
SEARCH BANK
A. PIANO KEYBOARD ORGAN
A B C
GUITAR /
PLUCKED
D
BASS
E
STRINGS
F
BRASS REED/PIPE
G H SECTION GROUP
SYN LEAD
1
SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
2 3 4 5
SE
6
MUSICAL FX COMBI
7 8
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16
TRACK
SELECT
NUMBER
MUTE
SOLO
2 Select a Recording type.
DEC/NO INC/YES
Replace
You can use this method when you want to overwrite an already recorded track with new data.
Overdub
You can use this method when you want to add more data to a track that already contains data.
Step
You can compose your performance by “writing” it down one event at a time.
102 MOTIF Quick Start Guide
Sampling with Song Playback (Integrated Sampling Sequencer)
●
Realtime recording (when selecting replace or overdub in step #2)
3 Select a track 2 to be recorded and set the tempo. 4 Call up the VOICE display.
TRACK
SELECT 1 2 3 4
9
ELEMENT/ PERF.PART / ZONE
10 11 12
5 6 7 8
13 14 15 16 MUTE
SOLO
SF 1 SF 2 SF 3 SF 4 SF 5
INFORMATION
F1 F2 F3 F4 F5 F6
Track to be recorded
5 Select the desired voice to be recorded to a track (phrase).
DEC/NO INC/YES
DEC/NO INC/YES
Meter Tempo
Measure length
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN REVERB
CUTOFF
ASSIGN A
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2 REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
1 2
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT JOB
COMPARE
STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1 SF 2
F1 F2 F3
SF 3 SF 4 SF 5 INFORMATION
F4 F5 F6 EXIT
INC/YES
ENTER
EXECUTE
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
SLOT 1 SLOT 2 SLOT 3
DRUM KITS
FAVORITES
COMMON
PRE 1 PRE 2 PRE 3 GM USER
A. PIANO
KEYBOARD ORGAN
A B C
GUITAR /
PLUCKED
D
BASS
E
PLG 1 PLG 2 PLG 3
STRINGS
F
BRASS REED/PIPE
G H
CATEGORY
SEARCH
SECTION
BANK
GROUP
SYN LEAD
1
SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
2 3 4 5
SE
6
MUSICAL FX COMBI
7 8
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16
TRACK
SELECT
NUMBER
MUTE
SOLO
6 Set the Arpeggio related parameters from the ARP display (page 223).
7 Turn the Click on.
8 Start recording.
SEQ TRANSPORT
F1
SF 1 SF 2 SF 3 SF 4
F2 F3 F4 F5
SF 5
INFORMATION
F6
LOCATE
REC
1 2
9 Play the keyboard.
10 Stop recording. 11 Press the [ ] button to hear the newly
SEQ TRANSPORT SEQ TRANSPORT
LOCATE
REC
1 2
12 Record to other tracks as desired by repeating steps #3 - 11.
LOCATE
REC
1 2
MOTIF Quick Start Guide 103
Sampling with Song Playback (Integrated Sampling Sequencer)
●
Step recording (when selecting step in step #2)
4 Call up the VOICE display. 3 Select a track 2 to be recorded and set the MIDI event type to be recorded and tempo.
TRACK
SELECT 1 2 3 4 5 6 7 8
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
F1
SF 1 SF 2 SF 3 SF 4
F2 F3 F4 F5
SF 5
INFORMATION
F6
Track to be recorded
5 Select the desired voice to be recorded to a track (phrase).
DEC/NO INC/YES
DEC/NO INC/YES
Meter Tempo
MIDI event type
Measure length
KNOB
CONTROL
FUNCTION
PAN REVERB
CUTOFF
ASSIGN A
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2 REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
1 2
CS 1 CS 2 CS 3 CS 4
OCTAVE
DOWN UP
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT JOB
COMPARE
STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1 SF 2
F1 F2 F3
SF 3 SF 4 SF 5 INFORMATION
F4 F5 F6 EXIT
6 Start recording.
SEQ TRANSPORT
LOCATE 1 2
Here, enter the Note Event.
1 Move the cursor to the Pointer and set the location to be entered.
REC
2 Set the velocity (Value), Step Time, and Gate
Time. 7 Stop recording.
3 Press the key to be recorded.
SEQ TRANSPORT
INC/YES
ENTER
EXECUTE
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
SLOT 1 SLOT 2 SLOT 3
DRUM KITS
FAVORITES
COMMON
PRE 1 PRE 2 PRE 3 GM USER
A. PIANO
KEYBOARD ORGAN
A B C
GUITAR /
PLUCKED
D
BASS
E
PLG 1 PLG 2 PLG 3
STRINGS
F
BRASS REED/PIPE
G H
CATEGORY
SEARCH
SECTION
BANK
GROUP
SYN LEAD
1
SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
2 3 4 5
SE
6
MUSICAL FX COMBI
7 8
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16
TRACK
SELECT
NUMBER
MUTE
SOLO
8 Press the [ ] button to hear the newly recorded pattern.
SEQ TRANSPORT
4 Repeat steps #1 - 3 to enter the notes one after another.
LOCATE 1 2 LOCATE 1 2
REC REC
Moves the pointer backward by one step and deletes all notes at that location.
Press this to actually delete the note events at the current cursor position.
When the [F4] button is pressed to enter a tie, the preceding note is lengthened to the full step time.
Press [F3] to enter a rest as long as the specified step time.
9 Record to other tracks as desired by repeating steps #3 - 8.
104 MOTIF Quick Start Guide
Sampling with Song Playback (Integrated Sampling Sequencer)
3. Assigning a Preset Phrase to a Pattern Track (Patch function)
Basic Structure (page 52) · Reference (page 219)
The Patch function lets you assign a Preset phrase or a User phrase (recorded in the Pattern Record mode) to each track and create a pattern that contains up to 16 tracks.
1 Call up the PATCH display. 2 Select a track to which the phrase is assigned.
TRACK
SELECT 1 2 3 4
9
ELEMENT/ PERF.PART / ZONE
10 11 12
5 6 7
13 14 15
8
16 or
MUTE
SOLO
F1
SF 1 SF 2 SF 3 SF 4
F2 F3 F4 F5
SF 5
INFORMATION
F6
DEC/NO INC/YES
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
TEMPO
RELEASE
ASSIGN 1 ASSIGN 2
REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
1 2
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING
MIXING UTILITY
EDIT
JOB
COMPARE
STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1
F1 F2
SF 2 SF 3
F3 F4
SF 4
F5
SF 5
INFORMATION
F6
EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
PRE 1
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
PRE 2 PRE 3 GM USER
SLOT 1 SLOT 2
PLG 1 PLG 2
SLOT 3
PLG 3
CATEGORY
SEARCH
A. PIANO KEYBOARD ORGAN
A B C
GUITAR /
PLUCKED
D
BASS
E
STRINGS
F
BRASS
G
REED/PIPE
H SECTION
BANK
GROUP
SYN LEAD
1
SYN PAD/
CHOIR
2
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
3 4 5
SE
6
MUSICAL FX COMBI
7 8
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16
TRACK
SELECT
NUMBER
MUTE
SOLO
3 Select a Phrase Bank and number.
Move the cursor to Bank and select “pre” or “user. ”
Then, move the cursor to the number parameter and set it.
Keep in mind that only User phrases that have been recorded to the currently selected style can be selected here. If you want to assign a phrase that has been recorded to another style, use the Phrase Copy Job (page 228).
4 Press the [ ] button to hear the pattern.
SEQ TRANSPORT
LOCATE
REC
1 2
5 Assign phrases to the other tracks as desired.
MOTIF Quick Start Guide 105
Sampling with Song Playback (Integrated Sampling Sequencer)
4. Using the Groove function
The Grid Groove function makes it possible to adjust the pitch, timing, length, and velocity of notes in a specified track on a measure-long 16th-note grid. This lets you easily come up with a wide variety of rhythmic feels and grooves that would be difficult or impossible to create using precise, yet rigid sequencer operations. Moreover, Grid
Groove is a playback-only operation, meaning that it leaves the original recorded data intact.
Grid Groove can also be applied to sample tracks that contain samples processed with the Slice function, as well as normal MIDI tracks.
1 Call up the GROOVE display.
2 Select a track.
1 2 3 4 5 6 7 8
TRACK
SELECT
9 10 11 12 13 14
15
16
MUTE
SOLO
F1
SF 1 SF 2 SF 3 SF 4 SF 5
F2 F3 F4 F5 F6
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN REVERB CHORUS
CUTOFF
ASSIGN A
RESONANCE ATTACK
ASSIGN B ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
MASTER
VOLUME
REMOTE
CONTROL
ON/OFF
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS ARPEGGIO
INSERTION SYSTEM ON/OFF
SEQ TRANSPORT
LOCATE
REC
1 2
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
VOICE
MODE
PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1 SF 2 SF 3 SF 4 SF 5 INFORMATION
F1 F2 F3 F4 F5 F6 EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Surface
Modular Synthesis Plug-in System
SLOT 1 SLOT 2 SLOT 3
PLG 3
PLG 1 PLG 2
PRE 1 PRE 2 PRE 3
GM
A. PIANO KEYBOARD ORGAN
A B C
GUITAR/
PLUCKED
D
USER
BASS STRINGS BRASS REED/PIPE
E F G H
CATEGORY
SEARCH
SECTION
BANK
GROUP
SYN LEAD
1
SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
2 3 4 5
SE
6
MUSICAL FX COMBI
7 8
TRACK
SELECT
9
ELEMENT/PERF.PART/ZONE
10 11 12 13 14 15 16 MUTE
SOLO
NUMBER
3 Set the parameters.
Move the cursor to the desired parameter and grid point and set the offset value.
This affects song playback without actually changing the sequence data.
4
Press the [ ] button to hear the edited pattern.
SEQ TRANSPORT
LOCATE
REC
1 2
DEC/NO INC/YES
NOTE OFFSET
CLOCK SHIFT
GATE OFFSET
VELO OFFSET minus 0 plus
Each aspect of the track to be offset (pitch, time, length, velocity) is indicated by a different graphic.
n Keep in mind that if you make an edit at a specific 16th note position and there is no MIDI data at that point, the track will not change.
5 Make Grid Groove settings for other tracks as desired.
106 MOTIF Quick Start Guide
Sampling with Song Playback (Integrated Sampling Sequencer)
5. Pattern Mixing
Now that you have a finished section and pattern, you can apply the Pattern Mixing controls to fine-tune it and enhance it — by adusting the levels of each track or part, selecting different voices, and tweaking the effect-related settings.
1 Enter the Pattern
Mixing mode.
2 Call up the desired display.
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
F1
SF 1 SF 2 SF 3 SF 4
F2 F3 F4 F5
SF 5
INFORMATION
F6
3 Select a part to be edited.
1 2 3 4
9
ELEMENT/ PERF.PART / ZONE
10 11 12
5 6 7
13 14 15
8
16
TRACK
SELECT
MUTE
SOLO
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN REVERB
CUTOFF
ASSIGN A
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2 REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
1 2
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1 SF 2
F1 F2 F3
SF 3 SF 4
F4 F5
SF 5 INFORMATION
F6 EXIT
INC/YES
ENTER
EXECUTE
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
SLOT 1 SLOT 2 SLOT 3
PLG 1 PLG 2 PLG 3
CATEGORY
SEARCH DRUM KITS
FAVORITES
COMMON
PRE 1 PRE 2 PRE 3 GM USER
A. PIANO KEYBOARD
A B
ORGAN
C
GUITAR /
PLUCKED
D
BASS
E
STRINGS
F
BRASS REED/PIPE
G H
SYN LEAD
1
SYN PAD/
CHOIR
2
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
3 4 5
SE
6
MUSICAL FX COMBI
7
8
SECTION
TRACK
SELECT
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
BANK
GROUP
NUMBER
6 Store the Song Mixing setup to User Memory.
EDIT JOB STORE
1
COMPARE SCENE STORE
SET LOCATE
2
EXIT ENTER
EXECUTE
3
DEC/NO INC/YES
4 Highlight the desired parameter and change the value.
DEC/NO INC/YES
5 Set the other parameters by repeating steps #2 - 4.
7 Go back to the Pattern Play mode.
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING
MIXING UTILITY n Not each section but each style has one Pattern Mixing setting.
MOTIF Quick Start Guide 107
Sampling with Song Playback (Integrated Sampling Sequencer)
6. Creating a Pattern Chain
Basic Structure (page 54) · Reference (page 219)
Now that you’ve got your audio samples, loops, MIDI data, and patterns in the MOTIF, here’s where the fun really begins. The Pattern Chain feature lets you arrange all of the pieces of your song in real time. As you record a Pattern
Chain, play back your original patterns and sections, and switch among them on the fly. This intuitive, hands-on approach to arranging lets you come up with great ideas and amazing songs — quickly and easily.
n
For details about Pattern Chain and its track and memory structure, see page 54.
1 Enter the Pattern Chain mode by pressing the [F6] button in the Pattern
Play mode.
2 Enter the Pattern Chain Record mode by pressing the [REC] button.
SEQ TRANSPORT
5 Stop recording.
SEQ TRANSPORT
LOCATE
REC
1 2
LOCATE
REC
1 2
F1
SF 1 SF 2 SF 3 SF 4 SF 5
F2 F3 F4 F5 F6
6 Press the [ ] button to hear your new pattern chain.
SEQ TRANSPORT
LOCATE
REC
1 2
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
REVERB
RESONANCE
ASSIGN A ASSIGN B
CHORUS
ATTACK
TEMPO
RELEASE
ASSIGN 1 ASSIGN 2
REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1 KN 2 KN 3 KN 4
MEQ LOW MEQLOWMID MEQ HI M ID MEQ HIGH
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
2 LOCATE
REC
1
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
F1 F2
SF 2 SF 3
F3 F4
SF 4
F5
SF 5 INFORMATION
F6 EXIT
INC/YES
ENTER
EXECUTE
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
SLOT 1 SLOT 2 SLOT 3
DRUM KITS
FAVORITES
COMMON
PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3
CATEGORY
SEARCH
A. PIANO KEYBOARD
A B
ORGAN
C
GUITAR /
PLUCKED
D
BASS
E
STRINGS BRASS
F G
REED/PIPE
H SECTION
SYN LEAD
1
SYN PAD/
CHOIR
2
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
3 4 5
SE
6
MUSICAL FX COMBI
7 8
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16
TRACK
SELECT
BANK
GROUP
NUMBER
MUTE
SOLO
3 Select a track and tempo.
Pattern Chain Track
4 Start recording.
SEQ TRANSPORT
LOCATE
REC
1 2
While recording, you can change the Section at the desired timing.
CATEGORY
SEARCH PRE 1 PRE 2 PRE 3 GM USER 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
SECTION
Tempo
108 MOTIF Quick Start Guide
Sampling with Song Playback (Integrated Sampling Sequencer)
7. Copying the Pattern Chain data to a Song
Now that you’ve created a hip Pattern Chain, you can copy it to a song track and use it as the basic rhythm track for a song. This is done from the Pattern Chain Edit mode.
1 Enter the Pattern Chain Edit mode by pressing the [EDIT] mode in the Pattern
Chain Play mode.
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
2 Call up the SONG display.
F1
SF 1 SF 2 SF 3 SF 4 SF 5
F2 F3 F4 F5 F6
3 Select a Song number to which the Pattern Chain is to be copied.
Decreases number
Increases number
Decreases number
DEC/NO INC/YES
Increases number
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN REVERB
CUTOFF
ASSIGN A
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2 REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
1 2
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT JOB
COMPARE
STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1 SF 2
F1 F2 F3
SF 3 SF 4 SF 5 INFORMATION
F4 F5 F6 EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
PRE 1 PRE 2 PRE 3 GM USER
SLOT 1 SLOT 2
PLG 1 PLG 2
SLOT 3
PLG 3
CATEGORY
SEARCH
BANK
FAVORITES
COMMON
A. PIANO KEYBOARD ORGAN
A B
GUITAR /
PLUCKED
D
C
BASS
E
STRINGS BRASS REED/PIPE
G
F H
SYN LEAD
1
SYN PAD/
CHOIR
2
SYN COMP
3
CHROMATIC
4
DRUM /
PERCUSSION PERCUSSION
5
SE
6
MUSICAL FX COMBI
7 8
SECTION
TRACK
SELECT
GROUP
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16
NUMBER
MUTE
SOLO
Destination Song number
4 Specify the measure number to which the converted data is to be copied.
5 Press the [ENTER] button.
DEC/NO INC/YES
DEC/NO INC/YES
EXIT ENTER
EXECUTE
EXIT ENTER
EXECUTE
6 Press the [INC/YES] button to execute the Copy operation.
DEC/NO INC/YES
EXIT ENTER
EXECUTE
MOTIF Quick Start Guide 109
Sampling with Song Playback (Integrated Sampling Sequencer)
8. MIDI recording to Song Tracks
Basic Structure (page 51) · Reference (page 183)
Now, take your basic building blocks and move over to the Song mode to do some more work on your song. Let’s say for the sake of example that you’ve recorded MIDI data for nearly all the tracks — except for maybe some rhythm guitar parts and some solos on piano and organ. The MOTIF gives you two methods of recording these. Realtime recording lets you record much as you would with a tape recorder, playing the parts in real time while you listen to the backing rhythm tracks you created earlier. The other method, Step recording, lets you enter each note individually, much like writing down the notes on paper.
1 Enter the Song mode.
SEQUENCER
SONG PATTERN FILE
2 Call up the PLAY display. 3 Select the song to which the Pattern Chain data has been copied.
Song number
INTEGRATED
SAMPLING
MIXING UTILITY
F1
SF 1 SF 2 SF 3 SF 4 SF 5
F2 F3 F4 F5 F6
A B C D E F G H
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE MUSICAL FX COMBI
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN REVERB
CUTOFF
ASSIGN A
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2 REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
1 2
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
VOICE
MODE
PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1 SF 2
F1 F2 F3
SF 3 SF 4 SF 5 INFORMATION
F4 F5 F6 EXIT
INC/YES
ENTER
EXECUTE
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
SLOT 1
PLG 1
SLOT 2 SLOT 3
PLG 2 PLG 3
CATEGORY
SEARCH DRUM KITS PRE 1 PRE 2 PRE 3 GM USER
FAVORITES
COMMON
A. PIANO KEYBOARD
A B
ORGAN
C
GUITAR /
PLUCKED
D
BASS
E
STRINGS BRASS REED/PIPE
G
F H
SYN LEAD
1
SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
2 3 4 5
SE
6
MUSICAL FX COMBI
7 8
SECTION
TRACK
SELECT
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
BANK
GROUP
NUMBER
1 2 3 4
9
ELEMENT/ PERF.PART / ZONE
10 11 12
5 6 7
13 14 15
8
16
4 Enter the Song Record mode.
SEQ TRANSPORT
LOCATE
REC
1 2
5 Select a Recording type.
DEC/NO INC/YES
Replace
You can use this method when you want to overwrite an already recorded track with new data.
Overdub
You can use this method when you want to add more data to a track that already contains data.
Punch
You can use this method when you want to rerecord only over a specific area of the track. In this case, you must set the start and end points before you begin the re-recording.
Step
You can compose your performance by entering it one event at a time.
110 MOTIF Quick Start Guide
Sampling with Song Playback (Integrated Sampling Sequencer)
●
Realtime recording (when selecting “replace,” “overdub,” or “punch” in step #5)
6 Select a track to be recorded and set the tempo.
TRACK
SELECT
1 2 3 4 5 6 7 8
9
ELEMENT/PERF.PART/ZONE
10 11 12 13 14
15
16
MUTE
SOLO or
1~16
7 Call up the VOICE display.
Tempo
DEC/NO INC/YES
Scene track
Tempo track
F1
SF 1 SF 2 SF 3 SF 4 SF 5
F2 F3 F4 F5 F6
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2 REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
2 LOCATE
REC
1
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1
F1 F2
SF 2
F3
SF 3 SF 4
F4 F5
SF 5
F6
INFORMATION
EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
PRE 1
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
PRE 2 PRE 3 GM USER
SLOT 1 SLOT 2 SLOT 3
PLG 1 PLG 2 PLG 3
A. PIANO KEYBOARD ORGAN GUITAR /
PLUCKED
D
A B C
BASS STRINGS BRASS REED/PIPE
E F G H
SYN LEAD
1
SYN PAD/
CHOIR
2
SYN COMP
DRUM /
CHROMATIC
PERCUSSION PERCUSSION
3 4 5
SE
6
MUSICAL FX COMBI
7 8
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16
CATEGORY
SEARCH
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
8 Select the desired voice to be recorded to a track.
TRACK
SELECT
1
2 3
4
5
6
7 8
9
ELEMENT/PERF.PART/ZONE
10 11 12 13 14
11 Start recording.
Press the [ ] button.
You will be given a one-measure count-in prior to the first measure actually recorded.
LOCATE
REC
15 16
1
MUTE
SOLO
SEQ TRANSPORT
2 or
DEC/NO INC/YES
Bank Number
10 Turn the Click on.
9 Set the Arpeggio related parameters as desired from the
ARP display
(page 189).
13 Stop recording. 14 Press the [ ] button to hear the newly recorded song.
SEQ TRANSPORT SEQ TRANSPORT
LOCATE
REC
1 2 LOCATE
REC
1 2
F1
SF 1 SF 2 SF 3 SF 4 SF 5
F2 F3 F4 F5 F6
12 Play the keyboard.
15 Record to other tracks as desired by repeating steps
#6 - 14.
MOTIF Quick Start Guide 111
Sampling with Song Playback (Integrated Sampling Sequencer)
●
Step recording (when selecting “step” in step #5)
7 Call up the VOICE display.
6 Select a track to be recorded and set the MIDI event type to be recorded.
DEC/NO INC/YES or
1 2 3 4
9
ELEMENT/ PERF.PART / ZONE
10 11 12
5 6 7
13 14
15
8
16
TRACK
SELECT
MUTE
SOLO
Tempo track
MIDI event
1-16
Tempo
Recording track
F1
SF 1 SF 2 SF 3 SF 4
F2 F3 F4 F5
SF 5
INFORMATION
F6
8 Select the desired voice to be recorded to the track.
DEC/NO INC/YES or
Bank
DRUM KITS
FAVORITES
COMMON
PRE 1 PRE 2 PRE 3
GM USER 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 SECTION
SYN LEAD
1
SYN PAD/
CHOIR
2
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
3 4 5
SE
6
MUSICAL FX COMBI
7 8
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16
TRACK
SELECT
MUTE
SOLO
Number
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN REVERB
CUTOFF RESONANCE
ASSIGN A ASSIGN B
CHORUS TEMPO
ATTACK
ASSIGN 1
RELEASE
ASSIGN 2
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
MEQLOWMID MEQ HI M ID MEQ HIGH
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
1 2
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1
F1
SF 2
F2 F3
SF 3
F4
SF 4 SF 5 INFORMATION
F5 F6 EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
PRE 1
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
PRE 2 PRE 3
GM
USER
SLOT 1 SLOT 2 SLOT 3
PLG 1 PLG 2 PLG 3
CATEGORY
SEARCH
A. PIANO KEYBOARD
A B
ORGAN
C
GUITAR /
PLUCKED
D
BASS STRINGS BRASS REED/PIPE
E F G H SECTION
BANK
GROUP
SYN LEAD
1
SYN PAD/
CHOIR
2
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
3 4 5
SE
6
MUSICAL FX COMBI
7 8
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16
TRACK
SELECT
NUMBER
MUTE
SOLO
9 Start recording.
SEQ TRANSPORT
LOCATE
REC
1 2
Here, enter the Note Event.
1 Move the cursor to the Pointer and set the location to be entered (page 185).
2 Set the velocity (Value), Step Time, and Gate
Time (page 185).
3 Press the key to be recorded.
4 Repeat steps #1 - 3 to enter notes one after another.
10 Stop recording.
SEQ TRANSPORT
2
11 Press the [ ] button to hear the newly recorded song.
SEQ TRANSPORT
LOCATE
REC
1 LOCATE
REC
1 2
Moves the pointer backward by one step and deletes all notes at that location.
Press this to actually delete the note events at the current cursor position.
When the [F4] button is pressed to enter a tie, the preceding note is lengthened to the full step time.
Press [F3] to enter a rest as long as the specified step time.
12 Record to other tracks as desired by repeating steps #6 - 12.
112 MOTIF Quick Start Guide
Sampling with Song Playback (Integrated Sampling Sequencer)
9. Sampling to a Song Track
Basic Structure (page 54) · Reference (page 234)
We’ll pay another visit to the sampling feature, and sweeten our song with some “ear candy” sound effects and background vocals. The sampling we did earlier was of a different variety; you sampled a rhythm in the Pattern mode and “sliced” it into separate pieces so that it would loop properly and automatically adjust to any tempo changes.
Here, we’ll try a different type of sampling, where the Slice operation is unnecessary — since a short sound effect doesn’t need to stay in tempo, and you can sing the background parts in time with the song as you sample them.
n
1 In the Song Play mode, specify the point
(measure) in the song at which the recorded sample will start.
2 Enter the
Sampling Record mode.
3 Call up the DEST display.
DEC/NO INC/YES
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING
MIXING UTILITY
F1
SF 1 SF 2 SF 3 SF 4 SF 5
INFORMATION
F2 F3 F4 F5 F6
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN REVERB
CUTOFF
ASSIGN A
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
MASTER
VOLUME
KN 1 KN 2 KN 3
MEQ LOW MEQLOWMID MEQ HI M ID
KN 4
MEQ HIGH
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
1 2
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1 SF 2
F1 F2 F3
SF 3 SF 4 SF 5 INFORMATION
F4 F5 F6 EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
SLOT 1 SLOT 2 SLOT 3
PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3
CATEGORY
SEARCH BANK
A. PIANO KEYBOARD ORGAN
A B C
GUITAR /
PLUCKED
D
BASS
E
STRINGS
F
BRASS REED/PIPE
G H SECTION GROUP
SYN LEAD
1
SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
2 3 4 5
SE
6
MUSICAL FX COMBI
7 8
TRACK
SELECT
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
NUMBER
4 Select a track to be recoeded.
DEC/NO INC/YES or
1
2 3
4
9
ELEMENT/PERF.PART/ZONE
10 11 12
5
6
7
13 14 15
8
16
TRACK
SELECT
MUTE
SOLO
5 Call up the SOURCE display.
Select "stereo" or "mono."
2
1
Sampling frequency
F1
SF 1 SF 2 SF 3 SF 4 SF 5
INFORMATION
F2 F3 F4 F5 F6
1 Select a sampling type.
For Type, select “sample+note.”
2 Select a sampling source.
For Source, select “A/D.”
MOTIF Quick Start Guide 113
Sampling with Song Playback (Integrated Sampling Sequencer)
6 Enter the Sampling Standby mode.
From this display, set the Trigger mode. Here, select “manual.” Play back the external CD player to check the Input level. You can adjust the
Input level for optimum level by using the GAIN knob on the rear panel.
7 Start sampling.
Press the [F6] button to start sampling. Also start the external CD player to play back the phrase to be recorded or sing into the microphone.
Trigger mode
Input level
Monitor level
F1
SF 1 SF 2 SF 3 SF 4 SF 5
INFORMATION
F2 F3 F4 F5 F6
F1
SF 1 SF 2 SF 3 SF 4 SF 5
INFORMATION
F2 F3 F4 F5 F6
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN REVERB CHORUS
CUTOFF
ASSIGN A
RESONANCE
ASSIGN B
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS ARPEGGIO
INSERTION SYSTEM ON/OFF
SEQ TRANSPORT
LOCATE
REC
1 2
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1 SF 2 SF 3 SF 4 SF 5 INFORMATION
F1 F2 F3 F4 F5 F6 EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS PRE 1
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Surface
Modular Synthesis Plug-in System
PRE 2 PRE 3 GM USER
SLOT 1 SLOT 2 SLOT 3
PLG 1 PLG 2 PLG 3
CATEGORY
SEARCH
BANK
FAVORITES
COMMON
A. PIANO KEYBOARD
A B
ORGAN GUITAR/
PLUCKED
D
C
BASS
E
STRINGS BRASS REED/PIPE
G
F H
SYN LEAD
1
SYN PAD/
CHOIR
2
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
3 4 5
SE
6
MUSICAL FX COMBI
7 8
SECTION
TRACK
SELECT
GROUP
9
ELEMENT/PERF.PART/ZONE
10 11 12 13 14 15 16 MUTE
SOLO
NUMBER
8 Stop sampling by pressing the [F6] button again.
F1
SF 1 SF 2 SF 3 SF 4 SF 5
INFORMATION
F2 F3 F4 F5 F6
9 Go back to the Song Play mode and play the song to hear the recorded sample.
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING
MIXING UTILITY
10 Record samples to other tracks as desired by repeating steps
#1 - 9.
114 MOTIF Quick Start Guide
Sampling with Song Playback (Integrated Sampling Sequencer)
10. Song Track Mute and Scene
These two powerful features give you even greater real-time arranging control. You can turn tracks on and off and switch among Song Scenes, as the song plays — and all your moves can be recorded to the special Scene track. This not only lets you hear the various song arranging possiblities, it lets you record them on the spot.
For example, sample an audio rhythm phrase to one of the tracks of your song, and turn on the Track Loop function
muting the track. To do this, enable recording and select the Scene track (as described in step #3 of MIDI recording on
track number buttons. This hands-on approach really lets you feel the changes you make — since you perform them in time with the rhythm — and gives you the power to improvise great musical arrangements on the fly.
1 2 3 4 5 6 7 8
Scene track Mute on Mute on Mute on Mute on
Track 1
Song Playback
Track 1
In addition to Track Mute, the MOTIF also features a versatile Song Scene function. Song Scene lets you make various changes to the tracks (such as pan, volume, and others), and take a “snapshot” of those settings — which you can recall at any time with a single button press.
A maximum of five Scenes can be stored, to the five Scene buttons ([SF1] - [SF5]). To instantly call up a Scene and change the tracks, simply press the appropriate button [SF1] - [SF5]. Just as with Track Mute, you can record these
Scene changes as well, by “playing” your button presses along with the music.
Setting 3
TRACK
SELECT
1 2 3 4 5 6 7 8
Setting 2
1
2
3 4 5 6 7
8
9 10 11 12 13 14 15 16
TRACK
SELECT
MUTE
SOLO
Store
SONG SCENE
Store
SF 1
Setting 1
9 10 11 12 13 14 15 16
SF 2
Store
SF 3 SF 4 SF 5
MUTE
SOLO
Store
Store
Setting 4
1 2 3 4 5 6 7 8
TRACK
SELECT
Setting 5
9 10
11 12
13
14
15 16 MUTE
SOLO
You can use the Song Scene function from either the PLAY display in the Song Play mode or the SETUP display in the
Song Record mode. In the example instructions below, the PLAY display in the Song Play mode has been called up.
MOTIF Quick Start Guide 115
Sampling with Song Playback (Integrated Sampling Sequencer)
1 Select a song in the Song Play mode. 2 Make the desired settings for the Song Scene.
• Select a track and set it up as you want with the desired voice, then change the pan and volume settings by using the Control knobs and sliders. Each track can have its own independent settings.
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
1 2 3 4 5 6 7 8
TRACK
SELECT
KNOB
CONTROL
FUNCTION
9
ELEMENT/PERF.PART/ZONE
10 11 12 13 14 15 16 MUTE
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
SOLO
DEC/NO INC/YES
A B C D
SYN LEAD
1
SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
2 3 4 5 or
6
9
ELEMENT/PERF.PART/ZONE
10 11 12 13 14 15
7 8
16
TRACK
SELECT
MUTE
SOLO
SOLO
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
• You can even mute/un-mute several track together at the same time — for dramatic arrangement tricks in which several instruments drop out or come in instantaneously.
1
2 3
4
5
6
7 8
TRACK
SELECT
9
ELEMENT/PERF.PART/ZONE
10 11 12 13 14 15 16 MUTE
SOLO
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2 REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
2 LOCATE
REC
1
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1
F1
SF 2
F2 F3
SF 3 SF 4 SF 5
F4 F5 F6
INFORMATION
EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
PRE 1
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
PRE 2 PRE 3 GM USER
SLOT 1 SLOT 2 SLOT 3
PLG 1 PLG 2 PLG 3
CATEGORY
SEARCH
A. PIANO KEYBOARD ORGAN
A B C
GUITAR /
PLUCKED
D
BASS
E
STRINGS
F
BRASS REED/PIPE
G H SECTION
SYN LEAD
1
SYN PAD/
CHOIR
2
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
3 4 5
SE
6
MUSICAL FX COMBI
7 8
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16
TRACK
SELECT
BANK
GROUP
MUTE
SOLO
NUMBER
3 Store the settings to a Song Scene.
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
Simultaneously hold down the [STORE] button...
SF 1 SF 2 SF 3 SF 4 SF 5
...and press the appropriate button ([SF1] ~ [SF5]).
4 Create other Song Scenes as desired.
Change the settings again, as you did in step #2, and store the Song Scene to a different button, as you did in step #3.
You can recall the desired Song Scene settings by simply pressing any of the
Song Scene
([SF1]~[SF5]) buttons.
5 Save the Song data to a memory card or SCSI device
(page 97).
SF 1 SF 2 SF 3 SF 4 SF 5
When you call up a certain
Song Scene, the values for the Control knobs/sliders instantly jump to the settings made for the Scene
(regardless of the pysical position of the knobs/sliders).
116 MOTIF Quick Start Guide
Sampling with Song Playback (Integrated Sampling Sequencer)
11. Song Mixing and storing the settings as a template
In this final step (other than saving your precious work, which we’ll cover next), you can mix down your tracks with the Song Mixing function — adjusting the volume balance and pan setting of all the parts and tweaking the effect levels. Moreover, you can save your mixing settings as a template (up to sixteen templates can be saved), then call up the appropriate template when mixing down a song that has a similar track structure.
1 Enter the Song Mixing mode.
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
3 Select a part.
DEC/NO INC/YES
1 2 3 4 5 6 7 8
TRACK
SELECT or 9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14
15
16
MUTE
EXIT ENTER
SOLO
EXECUTE n When a Multi part Plug-in board (PLG-100XG) has been installed to slot 3, the display for Parts 17 - 32 can be called up. When a Single part Plug-in board has been installed to any of the three slots, the PLG 1~3 part display can be called up.
4
DEC/NO
Select the desired parameter and adjust it.
INC/YES
EXIT ENTER
EXECUTE
2 Call up the desired display.
6
F1
SF 1 SF 2 SF 3 SF 4
F2 F3 F4 F5
SF 5
INFORMATION
F6
OCTAVE
DOWN UP
Call up the TEMPLATE display.
KNOB
CONTROL
FUNCTION
PAN REVERB
CUTOFF RESONANCE
ASSIGN A ASSIGN B
CHORUS TEMPO
ATTACK
ASSIGN 1
RELEASE
ASSIGN 2
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
1 2
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1
F1
SF 2
F2 F3
SF 3 SF 4 SF 5
F4 F5 F6
INFORMATION
EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
PRE 1
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
PRE 2 PRE 3
GM
USER
SLOT 1 SLOT 2 SLOT 3
PLG 1 PLG 2 PLG 3
CATEGORY
SEARCH
A. PIANO KEYBOARD ORGAN
A B C
GUITAR /
PLUCKED
D
BASS STRINGS BRASS REED/PIPE
E F G H SECTION
BANK
GROUP
SYN LEAD
1
SYN PAD/
CHOIR
2
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
3 4 5
SE
6
MUSICAL FX COMBI
7 8
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16
TRACK
SELECT
NUMBER
MUTE
SOLO
5 Set the desired parameters for the other parts, repeating steps #2 - 4 above.
n A wider variety of detailed editing controls is also available in the
Song Mixing Edit mode.
7 Select the destination template number.
Move the cursor to the template number and select the number to which the settings are to be stored.
9
F1
SF 1 SF 2 SF 3 SF 4
F2 F3 F4 F5
SF 5
INFORMATION
F6
Execute the Store operation.
F1
SF 1 SF 2 SF 3 SF 4 SF 5
INFORMATION
F2 F3 F4 F5 F6 n The template stored above can be recalled by pressing the [SF4] (GET) button from this display.
DEC/NO INC/YES
EXIT ENTER
EXECUTE
8 Name the template.
Template number
Template name
DEC/NO INC/YES
EXIT ENTER
EXECUTE n For details about naming, see page 75.
MOTIF Quick Start Guide 117
Sampling with Song Playback (Integrated Sampling Sequencer)
12. Saving and Exporting the recorded song to external PC (File Utility)
Now that you’ve created your masterpiece, you’ll want to save it. You can save song data to a Memory card or SCSI
device in the File mode (page 261).
However, for safekeeping and organizational/archival purposes, you may want to store your MOTIF data to a computer. You may also want to use your computer to do further editing and recording to your MOTIF-created songs. The File Utility software (contained on the included CD-ROM) lets you do that and more — allowing you to transfer files back and forth between a computer and the MOTIF via a standard USB cable connection.
Here’s a practical example. Let’s say you want to add a long section of audio data to your song, such as a lead vocal or an extended guitar solo. Since recording that to the MOTIF may not be entirely practical or possible, you may want to transfer your song to a computer, then record and edit the new audio tracks on the computer. First, you should save the song data in Standard MIDI File (SMF) format to Memory card or a connected SCSI device, then transfer the
MIDI file to the computer with the File Utility software. Once you’ve imported the MIDI file to sequencer software on your computer, match the MIDI send and receive channels (computer-to-MOTIF) so that each track of the sequencer song data plays the appropriate part on the MOTIF. Finally, play back the song and record the desired audio parts (vocals, solos, etc.) using your audio/MIDI sequencer.
Memory card SCSI device
Save
OCTAVE
DOWN UP
KNOB
FUNCTION
MASTER
VOLUME
PAN
CUTOFF
ASSIGN A
REVERB CHORUS
RESONANCE
ASSIGN B
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2 REMOTE
CONTROL
ON/OFF
KN 1
MEQ LOW
KN 2 KN 3
MEQ HI M ID
KN 4
HIGH
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS ARPEGGIO
INSERTION SYSTEM ON/OFF
SEQ TRANSPORT
LOCATE
REC
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
MIXING UTILITY
EDIT JOB
COMPARE
STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE SF 1
F1
SF 2
F2 F3
SF 3 SF 4 SF 5
F4 F5 F6
INFORMATION
EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS PRE 1
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
PRE 2 PRE 3
GM
USER
SLOT 1
PLG 1
SLOT 2
PLG 2
FAVORITES
COMMON
A. PIANO
A
KEYBOARD
B
ORGAN
C D
BASS
E
STRINGS BRASS
G
SLOT 3
PLG 3
REED/PIPE
H
SYN LEAD SYN COMP PERCUSSION DRUM / SE MUSICAL FX COMBI
SECTION
TRACK
SELECT
BANK
GROUP
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16
NUMBER
MUTE
SOLO
Load
PC
File Utility n For details about the File Utility software, refer to the electronic documentation contained in the included CD-ROM.
118 MOTIF Quick Start Guide
Remote Control for external sequencer (Real-time external control surface)
Remote Control for external sequencer
(Real-time external control surface)
Basic Structure (page 65) · Reference (page 256)
In the last section, you saw how a computer could be used conveniently to augment the features of the MOTIF. Here, we’ll look at a feature that turns the tables and lets you conveniently use the MOTIF to control your computer.
The Remote Control function lets you use the hardware controls on the panel of the MOTIF to control a variety of fundamental operations on the sequencing software of your computer. You can mute your tracks, control the sequencer transport (Play, Stop, Record, etc.), mix both MIDI and audio tracks (up to 16) with the MOTIF’s knobs and sliders, pan the tracks, control EQ, and tweak effect sends — all without ever touching the mouse. Not only is this a more convenient and efficient way to work — since it gives you dedicated controls for the functions you use the most — it also (with the knobs and sliders) gives you finer control over crucial level parameters. If you’ve ever used a mixing console or a hardware sequencer, you’ll love being able to finally control your sequencing software with buttons, knobs, and sliders.
Setting Up
Before you can use the Remote Control function, you’ll need to set up the system as described below.
1 Connect your computer to the MOTIF via USB cable. See page 25.
2 Install the USB MIDI driver and the setup file for the sequence software (contained in the included CD-ROM) to your computer.
For details on how to install, see the Installation Guide manual.
3 1
3 2
3 3
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2 REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS ARPEGGIO
INSERTION SYSTEM ON/OFF
SEQ TRANSPORT
2 LOCATE
REC
1
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1 SF 2 SF 3 SF 4 SF 5
INFORMATION
F1 F2 F3 F4 F5 F6 EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
PRE 1
MUSIC PRODUCTION SYNTHESIZER
Real-time External Control Sur face
Modular Synthesis Plug-in System
PRE 2 PRE 3 GM USER
SLOT 1 SLOT 2
PLG 1 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
1 2
SYN COMP
PERCUSSION
DRUM /
3 4 5
SE
6
MUSICAL FX COMBI
7 8
SECTION
TRACK
SELECT
BANK
GROUP
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14
15
16
NUMBER
MUTE
SOLO
3 Select the template for your particular sequence software in the Utility mode on the MOTIF (above).
1 Enter the Utility mode.
SEQUENCER
SONG PATTERN FILE
2 Call up the OTHER display in the MIDI menu.
4 Call up the REMOTE display in the CTLASN menu.
INTEGRATED
SAMPLING MIXING UTILITY
3 Move the cursor to the
MIDI IN/OUT parameter and set to USB.
5 Select the Template type.
MOTIF Quick Start Guide 119
Remote Control for external sequencer (Real-time external control surface)
Using the Remote Control function
1 Turn the Remote Control function on by pressing the
[REMOTE CONTROL ON/OFF] button so that its lamp flashes.
REMOTE
CONTROL
ON/OFF
2 3
2 4
2 5
OCTAVE
DOWN UP
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2 REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
EFFECT BYPASS ARPEGGIO
INSERTION SYSTEM ON/OFF
SEQ TRANSPORT
2 LOCATE
REC
1
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING
MIXING UTILITY
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE
SF 1 SF 2 SF 3 SF 4 SF 5
INFORMATION
F1 F2 F3 F4 F5 F6 EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
PRE 1
MUSIC PRODUCTION SYNTHESIZER
Real-time External Control Sur face
Modular Synthesis Plug-in System
PRE 2 PRE 3 GM USER
SLOT 1 SLOT 2
PLG 1 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
1 2
SYN COMP
PERCUSSION
DRUM /
3 4 5
SE
6
MUSICAL FX COMBI
7 8
SECTION
TRACK
SELECT
BANK
GROUP
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14
15
16
NUMBER
MUTE
SOLO
2 1
2 2
2 Operate the Control knobs or sliders on the MOTIF's panel as required. n Functions to be controlled by the MOTIF differ depending on the software you use. For details, see page 256.
1 Select a track on your computer’s sequencer from the MOTIF.
The [1]~[16] buttons correspond to the respective numbered tracks on your computer’s sequence software.
1 2 3 4 5 6 7 8
TRACK
SELECT
4 Control the level of selected track of the sequencer by using the Control sliders.
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
NUMBER
2 Turn the track of the sequencer on or off (mute).
The [1]~[16] buttons correspond to the respective numbered tracks on your computer’s sequence software.
1 2 3 4 5 6 7 8
TRACK
SELECT
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16
NUMBER
MUTE
SOLO
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
When the selected tracks are 1-4:
When the selected tracks are 5-8:
When the selected tracks are 9-12:
When the selected tracks are 13-16:
9
13
1
5
2
6
10
14
3
7
11
15
12
16
4
8
3 Control the selected track of the sequencer by using the Control knobs.
For details about the parameters that can be controlled, see page 257.
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
KN 1
MEQ LOW
KN 2 KN 3
MEQLOWMID MEQ HI M ID
KN 4
MEQ HIGH
5 Control the transport functions on the sequencer.
The [SEQ TRANSPORT] buttons can be used to control Start, Stop,
Forward, Rewind, and Record on the computer sequence software.
SEQ TRANSPORT
LOCATE
REC
1 2
120 MOTIF Quick Start Guide
Function Tree
Reference
This section is devoted to explaining the function of every setting of every parameter in every display of the MOTIF. If you have questions like “I wonder what this button does...” or “How does this parameter work?” — this is the section you should refer to.The Reference section is divided according to the various modes of the MOTIF. As you use this section, please keep in mind the following points:
●
The section for each main mode (Voice, Performance, Song, Pattern, Sampling, Utility, File, and Master) begins with a Function Tree chart. Each chart shows the various menus and parameter groups for the mode — exactly as
can easily understand the relationship of the various functions and parameters as they apply to the entire operation of the MOTIF.
●
At the beginning of the section of each mode, you’ll find “Basic Procedure” instructions. These briefly show you the necessary operation steps for the relevant mode, and are applicable to all of the functions and parameters in that mode. In other words, once you’ve mastered the Basic Procedure of the mode, you’ll be able to quickly and easily work your way through any and all of the operations in the mode.
Voice Mode
Function Tree
This section is devoted to the Voice mode. To see how the Voice mode relates to the entire structure of the MOTIF
and its other modes and functions, see the simplified chart in “Basic Structure” on page 30.
The following detailed chart shows all of the display menus and parameter groups of the Voice modes — giving you a quick, easy-to-understand overview of the voice-related functions of the MOTIF.Brackets around a word or phrase
(e.g., [F1]) indicate specific button names or panel operations.
[VOICE]
[INFORMATION] VOICE INFORMATION
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 275
[F1] VOICE PLAY
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 124
[F2] PLUG-IN BANK
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 128
[F4] VOICE PORTA
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 128
[F5] VOICE EG
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 128
[F6] VOICE ARPEGGIO
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 128
[CATEGORY] VOICE CATEGORY SEARCH
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 126
[EDIT] VOICE EDIT (NORMAL)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 129
[COMMON] NORMAL COMMON
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 130
[F1] NORMAL COMMON GENERAL
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 130
[SF1] NAME
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 130
[SF2] PLAYMODE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 130
[SF3] MEQ OFFSET
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 131
[SF4] PORTA
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 131
[SF5] OTHER
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 132
[F2] NORMAL COMMON OUTPUT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 132
OUTPUT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 132
[F3] NORMAL COMMON ARPEGGIO
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 132
[SF1] TYPE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 132
[SF2] LIMIT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 133
[SF3] PLAY FX
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 133
[SF5] CLEAR USER ARPEGGIO
. . . . . . . . . . . . . . . . . . . . . P. 132
[F4] NORMAL COMMON CONTROLLER SET
[SF1] SET1/2
. . . . . . . . . . . . . . . . . . . . . . . . . . . P. 134
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 134
[SF2] SET3/4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 134
[SF3] SET5/6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 134
[F5] NORMAL COMMON LFO
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 135
[SF1] WAVE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 135
[SF2] DELAY
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 136
[SF3] DESTINATION1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 136
[SF4] DESTINATION2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 136
[SF5] DESTINATION3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 136
MOTIF Reference 121
Function Tree
[VOICE]
[F6] NORMAL COMMON EFFECT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137
[SF1] EFFECT CONNECT
. . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137
[SF2] INSERTION1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137
[SF3] INSERTION2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137
[SF4] REVERB
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137
[SF5] CHORUS
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137
[Element selection] NORMAL ELEMENT 1-4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137
[F1] NORMAL ELEMENT OSCILLATOR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137
[SF1] WAVE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137
[SF2] OUTPUT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 138
[SF3] LIMIT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 138
[F2] NORMAL ELEMENT PITCH
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 138
[SF1] TUNE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 138
[SF2] VELOCITY SENS
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 139
[SF3] PEG
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 139
[SF4] KEY FOLLOW
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 139
[F3] NORMAL ELEMENT FILETER
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 140
[SF1] TYPE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 140
[SF2] VELOCITY SENS
[SF3] FEG
. . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 142
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 143
[SF4] KEY FOLLOW
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 143
[SF5] SCALING
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 144
[F4] NORMAL ELEMENT AMPLITUDE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 145
[SF1] LEVEL/PAN
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 145
[SF2] VELOCITY SENS
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 145
[SF3] AEG
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 145
[SF4] KEY FOLLOW
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 146
[SF5] SCALING
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 146
[F5] NORMAL ELEMENT LFO
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 147
[F6] NORMAL ELEMENT EQ
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 148
[EDIT] VOICE EDIT (DRUM)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 148
[COMMON] DRUM COMMON
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
[F1] DRUM COMMON GENERAL
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
[SF1] NAME
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
[SF3] MEQ OFFSET
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
[SF5] OTHER
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
[F2] DRUM COMMON OUTPUT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
OUTPUT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
[F3] DRUM COMMON ARPEGGIO
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
[SF1] TYPE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
[SF2] LIMIT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
[SF3] PLAY FX
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
[SF5] CLEAR USER ARPEGGIO
. . . . . . . . . . . . . . . . . . . . . P. 149
[F4] DRUM COMMON CONTROLLER SET
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
[SF1] SET1/2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
[SF2] SET3/4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
[SF3] SET5/6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
[F6] DRUM COMMON EFFECT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
[SF1] EFFECT CONNECT
. . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
[SF2] INSERTION1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150
[SF3] INSERTION2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150
[SF4] REVERB
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150
[SF5] CHORUS
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150
[Key selection] DRUM KEY C0-C6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150
[F1] DRUM KEY OSCILLATOR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150
[SF1] WAVE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150
[SF2] OUTPUT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150
[SF5] OTHER
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 151
[F2] DRUM KEY PITCH
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 151
[SF1] TUNE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 151
[SF2] VELOCITY SENS
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 151
[F3] DRUM KEY FILTER
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 151
[SF1] CUTOFF
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 151
[SF2] VELOCITY SENS
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 152
[F4] DRUM KEY AMPLITUDE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 152
[SF1] LEVEL/PAN
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 152
[SF2] VELOCITY SENS
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 152
[SF3] AEG
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 152
[F6] DRUM KEY EQ
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 153
122 MOTIF Reference
[VOICE]
[EDIT] VOICE EDIT (PLUG-IN)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 153
[F1] PLUG-IN COMMON GENERAL
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
[SF1] NAME
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
[SF2] PLYMODE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
[SF3] MEQ OFFSET
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
[SF4] PORTAMENTO
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
[SF5] OTHER
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
[F2] PLUG-IN COMMON OUTPUT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
OUTPUT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
[F3] PLUG-IN COMMON ARPEGGIO
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
[SF1] TYPE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
[SF2] LIMIT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
[SF3] PLAY FX
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
[SF5] CLEAR USER ARPEGGIO
. . . . . . . . . . . . . . . . . . . . . P. 154
[F4] PLUG-IN COMMON CONTROLLER SET
. . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
[SF1] SET1/2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
[SF2] MW
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
[SF3] AT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155
[SF4] AC
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155
[F6] PLUG-IN COMMON EFFECT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155
[SF1] EFFECT CONNECT
. . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155
[SF2] INSERTION1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155
[SF3] INSERTION2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155
[SF4] REVERB
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155
[SF5] CHORUS
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155
[Element selection] PLUG-IN ELEMENT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 156
[F1] PLUG-IN ELEMENT OSCILLATOR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 156
[SF1] WAVE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 156
[SF5] OTHER
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 156
[F2] PLUG-IN ELEMENT PITCH
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 156
[F3] PLUG-IN ELEMENT FILETER
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 156
[F4] PLUG-IN ELEMENT NATIVE PARAMETER
. . . . . . . . . . . . . . . . . . . . . . . . . . P. 156
[F5] PLUG-IN ELEMENT LFO
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 157
[F6] PLUG-IN ELEMENT EQ
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 157
[EDIT] VOICE COMPARE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 129
[JOB] VOICE JOB
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 158
[F1] INITIALIZE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 158
[F2] EDIT RECALL
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 158
[F3] COPY
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 158
[F4] BULK DUMP
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 159
[STORE] VOICE STORE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 159
Function Tree
MOTIF Reference 123
Voice Play mode
Voice Play mode
Basic Structure (page 30) · Quick Start Guide (page 80)
In this mode, you can select and play individual Preset and User voices, as well as Plug-in voices (when installed).
n For details about voice types and memory (bank)
◆
Basic Procedure
1
Press the [VOICE] button to enter the Voice Play mode. (The indicator lights.)
VOICE
Indicates the Keyboard
MIDI transmit channel.
See page 127 for details.
Indicates the functions assigned to the respective
Control knobs. See pages
254 and 256 for details.
Indicates the current selected voice.
Indicates Keyboard Octave setting set via the [OCTAVE] buttons. See page 127 for details.
●
Bank and Voice Program number
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)
Bank (selected via the BANK buttons)
●
Category and Voice name
Category Voice name
2
Select a voice.
3
Set the Keyboard Octave or MIDI transmit channel.
124 MOTIF Reference
4
Select the menu you wish to edit by pressing the
[F1] - [F6] buttons and edit the parameters in each display.
n When the Plug-in voice is selected (when the
Single part Plug-in board is installed), you can press the [F2] button to call up the BANK display.
5
Store the settings edited in step #4 to the User
Memory as required.
6
Press any other mode button to exit from the Voice
Play mode.
• For detailed instructions on steps #2 - #4, see the following explanations.
• For details on step #5, refer to “Voice Store
Voice Selection
The explanations here apply to step #2 of the Basic
Procedure described above.
There are four ways in which you can select a Voice.
• Using the BANK, GROUP, NUMBER buttons
• Using the [INC/YES] and [DEC/NO] buttons
• Using the data dial
• Using the Category Search function
■
Using the BANK, GROUP, NUMBER buttons
1
2
3
DRUM KITS
FAVORITES
COMMON
PRE 1 PRE 2 PRE 3 GM USER 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
1 2 3 4 5
SE
6
MUSICAL FX COMBI
7 8
9
ELEMENT/ PERF.PART / ZONE
10
11 12
13
14
15 16
CATEGORY
SEARCH
SECTION
TRACK
SELECT
MUTE
BANK
GROUP
NUMBER
SOLO n The explanations here apply when these four button indicators are off.
1
Press any of the BANK buttons to select a Bank.
• To select a Normal voice, press any of the
[PRE1] - [USER] buttons.
PRE 3 GM PRE 1 PRE 2 USER
A. PIANO KEYBOARD ORGAN GUITAR /
PLUCKED
BASS
2
• To select a Plug-in voice, press any of the
[PLG1] - [PLG3] buttons.
PLG 1 PLG 2 PLG 3
STRINGS BRASS REED/PIPE
• To select a Drum voice, simultaneously hold the
[DRUM KITS] button and press the [PRE1],
[GM] or [USER] button.
DRUM KITS PRE 1 PRE 2 PRE 3 GM USER
FAVORITES
COMMON
A. PIANO KEYBOARD ORGAN GUITAR /
PLUCKED
BASS
The following display (or one similar) appears.
Press any of the GROUP [A] - [H] buttons to select a Group.
3
Press any of the NUMBER [1] - [16] buttons to select a Voice. The MOTIF returns back to the
Voice Play display.
Voice Play mode
●
Voice program numbers and the corresponding
Group/Numbers
055
056
057
058
059
060
061
062
063
064
047
048
049
050
051
052
053
054
039
040
041
042
043
044
045
046
031
032
033
034
035
036
037
038
023
024
025
026
027
028
029
030
015
016
017
018
019
020
021
022
Voice Program
Number
001
002
003
004
005
006
007
008
009
010
011
012
013
014
Group Number
D
D
D
D
D
D
D
D
D
D
D
D
D
D
C
C
D
D
C
C
C
C
C
C
C
C
C
C
C
C
B
B
C
C
B
B
B
B
B
B
B
B
B
B
B
B
A
A
B
B
A
A
A
A
A
A
A
A
A
A
A
A
A
A
11
12
13
14
15
16
7
8
9
10
3
4
5
6
15
16
1
2
11
12
13
14
7
8
9
10
3
4
5
6
15
16
1
2
11
12
13
14
7
8
9
10
3
4
5
6
15
16
1
2
11
12
13
14
7
8
9
10
3
4
1
2
5
6
119
120
121
122
123
124
125
126
127
128
111
112
113
114
115
116
117
118
103
104
105
106
107
108
109
110
095
096
097
098
099
100
101
102
087
088
089
090
091
092
093
094
079
080
081
082
083
084
085
086
Voice Program
Number
065
066
067
068
069
070
071
072
073
074
075
076
077
078
Group Number
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
F
F
G
G
F
F
F
F
F
F
F
F
F
F
F
F
E
E
F
F
E
E
E
E
E
E
E
E
E
E
E
E
E
E
11
12
13
14
15
16
7
8
9
10
3
4
5
6
15
16
1
2
11
12
13
14
7
8
9
10
3
4
5
6
15
16
1
2
11
12
13
14
7
8
9
10
3
4
5
6
15
16
1
2
11
12
13
14
7
8
9
10
3
4
1
2
5
6
MOTIF Reference 125
Voice Play mode
■
Using the [INC/YES] and [DEC/NO] buttons
Pressing the [INC/YES] button increases the number by 1.
Pressing the [DEC/NO] button decreases the number by 1.
DEC/NO INC/YES
Decreases number Increases number
Use the [INC/YES] and [DEC/NO] buttons to step up or down through the available voices. Naturally, this also lets you switch to the next available Group, up or down. For example, if the currently selected voice is
A16, pressing the [INC/YES] button selects Voice B01.
Hold either button down to continuously scroll through the voices.
■
Using the data dial
Rotating the data dial to the right (clockwise) increases voice number, while rotating it to the left (counterclock wise) decreases it. This control works in the same way as the [INC/YES] and [DEC/NO] buttons, but lets you scroll through the voices more quickly.
2
1
CATEGORY
SEARCH DRUM KITS
FAVORITES
COMMON
PRE 1 PRE 2 PRE 3 GM USER 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 SECTION
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
1 2 3 4 5
SE
6
MUSICAL FX COMBI
7 8
9
ELEMENT/ PERF.PART / ZONE
10
11 12
13
14
15 16
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER n The explanations here apply when these four button indicators are off.
1
Press the [CATEGORY SEARCH] button so that its indicator lights. The following Voice category display appears.
Category Voice
Sub category
2
Press any of the [PLG1] - [PLG3] and the [A] - [H] buttons to select a Category. The first voice in the selected category is called up by this operation. n The voice categories are printed below the [PLG1] -
[PLG3] and [A] - [H] buttons. n Sub categories are listed at the bottom of the Voice category display. Pressing the [F1] - [F6] buttons call up the first voice in the selected sub category.
3
Press the Cursor [
F
] button to move the cursor to the voice.
Category Voice
This convenient feature lets you select voices according to their instrument type or application. The voices are divided into sixteen different categories, and these category keywords often give you a clear idea of the characteristics of a voice that might not be apparent from its name.
■
Using the Category Search function
Category Search lets you quickly locate the type of voice you need, regardless of its bank location. For example, by specifying the A. PIANO category, you can instantly call up a list of all the available piano-type voices contained in the MOTIF, and select the desired piano voice from the list.
The MOTIF also features a “Favorites” category, to which you can assign your favorite voices. This is convenient especially in live performance situations, giving you quick access to often-used voices — no matter what their particular category or bank.
Sub category
4
Select a voice by using the data dial.
126 MOTIF Reference
●
Favorite Category
1~4
Use the same operation as in “Using the
Category Search function” above.
5
Select your favorite voice and press the [F5] button to assign it to the Favorite Category.
Category Voice
Sub category n To remove the selected voice from the Favorite
Category, simply press the [F5] button again.
6
Set other voices to the Favorite Category as required.
7
Press the [FAVORITE] button to see the voices set to the Favorite Category in steps #5 - 6.
DRUM KITS
FAVORITES
COMMON
Keyboard Octave and Keyboard
MIDI transmit channel settings
The explanations here apply to step #3 of the Basic
The two parameters set here affect all selected voices.
However, these parameters cannot be stored to the
voice by using the Voice Store mode (page 159).
Keyboard MIDI transmit channel
Voice Play mode
[UP] and the [DOWN] buttons together at the same time will return the setting to the initial value (0).
OCTAVE
DOWN UP n The MOTIF 8 has no [OCTAVE] buttons.
■
Keyboard MIDI transmit channel setting
Press the [TRACK SELECT] button so that its indicator lights, and press any of the NUMBER [1] - [16] buttons to change the Keyboard MIDI transmit channel.
1 2 3 4
9
ELEMENT/ PERF.PART / ZONE
10
11 12
5
13
6 7
14
15
8
16
TRACK
SELECT
MUTE
SOLO
NUMBER n You can set this parameter also in the Utility mode
(page 258). This parameter cannot be stored in the Voice
Store mode.
Voice editing in the Voice Play mode
The explanations here apply to step #4 of the Basic
The Voice Play mode lets you perform a variety of general editing operations on the selected voice. For more detailed and comprehensive editing operations, use the Voice Edit mode.
n When a Plug-in voice is selected, some parameters cannot be edited. n The parameters that have the same name in the Voice
Play mode and in the Voice Edit mode have the same functions and settings.
◆
The [ ] Indicator
If you alter any parameters in the Voice Play mode, the
[ ] indicator will appear in the top left of the display.
This indicates that the current voice has been modified but not yet stored.
Edit indicator
Keyboard octave setting
■
Keyboard octave setting
The [OCTAVE] buttons allow the keyboard to be transposed up or down by one octave. Pressing the
If you select another voice during editing, the [ ] indicator will disappear and all your edits will be lost.
It is a good idea to store the edited voice data from the
Voice Store mode (page 159). Even if you lose the voice
edited data, you can restore it by using the Edit Recall
MOTIF Reference 127
Voice Play mode
● [F2] Voice Play Plug-in Bank
From this display you can select the particular bank on the Plug-in board, and determine whether you will be using a Plug-in voice or a “Board” voice.
Simply put, the difference between the two types of voices is this:
• Board voices are unprocessed, unaltered voices of the Plug-in board — the “raw material” for
Plug-in voices.
• Plug-in voices are edited Board voices — voices that have been specially programmed and processed for optimum use with the MOTIF.
For more details, see page 153.
• PortaMode
Determines the Portamento mode. The behavior of the
Portamento varies depending on whether Mono/Poly is set to “mono” or “poly.”
❏ Settings fingered, fulltime
When Mono/Poly is set to “mono”:
With the “fingered” setting, Portamento is only applied when you play legato (playing the next note before releasing the previous one). With the “fulltime” setting, Portamento is always applied.
When Mono/Poly is set to “poly”:
This is the same as for “mono,” except that Portamento is applied to multiple notes.
● [F5] Voice Play EG (Envelope Generator)
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.
❏ Settings When a Plug-in voice using the Plug-in board installed to slot 1 is selected:
PLG1USR (User Plug-in voice), PLGPRE1
(Preset Plug-in voice), 032/000 ... (Indicates the Bank Select MSB/LSB of the Board voice. These values differ depending on the installed Plug-in board) n This display is available only when the Plug-in board is installed to the MOTIF and the Plug-in voice is selected.
● [F4] Voice Play Portamento
From this display you can select monophonic or polyphonic playback and set the Portamento parameters.
Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to the next.
The full names of the available parameters are shown in the chart below, as they appear in the display.
AEG
FEG
ATK
Attack time
DCY
Decay time
SUS REL DEPTH CUTOFF
Sustain level
Releas e Time
---
---
Depth
---
Cutoff frequency
RESO
---
Resonance
❏ Settings -64 ~ 0 ~ +63 (except --- above)
● [F6] Voice Play Arpeggio
This display contains the basic settings for Arpeggio playback, including Type and Tempo.
• Mono/Poly
Determines whether the Voice is played back monophonically (single notes only) or polyphonically
(multiple simultaneous notes).
❏ Settings Mono, Poly
• PortaSw
Determines whether Portamento is on or off.
❏ Settings off, on
• PortaTime
Determines the pitch transition time. Higher values result in longer transition times.
❏ Settings 0 ~127
128 MOTIF Reference
• Bank
Determines the Bank.
❏ Settings pre1, pre2, user
• Type
Determines the Arpeggio type. The two-letter prefix before the name indicates the general Arpeggio category.
• Tempo
Determines the Arpeggio Tempo. When MIDI sync
(page 258) is turned on, “MIDI” is displayed here and
cannot be set.
❏ Settings 1 ~ 300
• Velocity Limit
Determines the lowest and highest velocity in the
Arpeggio’s velocity range. The Arpeggio plays when you play the note with the velocity in this range.
❏ Settings 1 ~ 127 n Keys played outside the set limit sound normally without any Arpeggio.
• Switch
Determines whether Arpeggio is on or off. You can also turn Arpeggio on/off from the front panel with the
[ARPEGGIO ON/OFF] button.
❏ Settings off, on
• Hold
Determines whether the Arpeggio playback is “held” or not. When this is set to “on,” the Arpeggio cycles automatically, even if you release your fingers from the keys, and it continues to cycle until the next key is pressed.
❏ Settings off, on
Voice Edit mode
Voice Edit mode
In this mode, Normal Voices and Drum Voices can be created and edited.
There are three kinds of Voices: Normal Voices, Drum
Voices and Plug-in Voices (if a Plug-in board has been installed). The following section shows how to edit the different kinds of voices and explains the parameters available.
◆
The [ ] Indicator
If you alter any parameters in Voice Edit Mode, the [ ] indicator will appear in the top left of the display. This indicates that the current voice has been modified but not yet stored.
n Even if you exit to the Voice Play mode, your edited settings for the current voice will be maintained — as long as you don’t select another voice.
n The [ ] indicator is also displayed in the Voice Play mode.
◆
The Compare Function
This convenient function lets you switch between the edited voice and its original, unedited condition — allowing you to listen to the difference between the two and better hear how your edits affect the sound.
1
In the Voice Edit mode, press the [COMPARE] button so that its indicator flashes.
The [ ] indicator is shown at the top of the display (in place of the [ ] indicator), and the original, unedited voice is restored for monitoring.
EDIT
COMPARE
2
Press the [EDIT] button again to disable the
“Compare” function and restore the settings for your edited Voice.
n While Compare is active, you cannot make edits to the voice.
Normal Voice Edit
◆
Common edit and Element edit
A Voice can consist of up to four elements (page 42).
Use Common Edit to edit the settings common to all four elements. There are two types of Voice Edit displays: those for Common Edit, and those for editing individual elements.
MOTIF Reference 129
Voice Edit mode
COMMON
Element1
Element2
Element3
Element4
Indicates a Common Edit display.
Indicates a display for editing Element 1.
◆
Basic Procedure
1
Press the [VOICE] button to enter the Voice Play mode. (The indicator lights.)
2
Select a Normal voice to be edited.
3
Press the [EDIT] button to enter the Voice Edit mode. (The indicator lights.)
4
Select an element to be edited.
• To edit parameters common to all four elements, press the [DRUM KITS] button (which serves as a “COMMON” button here).
DRUM KITS
FAVORITES
COMMON
• To edit parameters of the individual elements, select the desired element with the corresponding NUMBER button ([1] - [4]).
1 2 3 4
Element selection
ELEMENT/ PERF.PART / ZONE
9 10 11 12
Element mute setting
You can mute other elements (those you aren’t editing and don’t wish to hear) by using the
NUMBER [9] - [12] buttons. Sounded elements are indicated by lit buttons; the indicator of the button corresponding to the sounded element lights.
5
Select the menu you wish to edit by pressing the
[F1] - [F6] and [SF1] - [SF5] buttons.
6
Edit the parameters for the selected voice.
7
Store the settings edited in step #6 to the User
Memory as required.
8
Press the [EXIT] button to exit from the Voice Edit mode.
• For details on step #2, refer to “Voice Play mode”
• For detailed instructions on steps #5 - #6, see the explanations below.
• For details on step #7, refer to “Voice Store
■
Common edit
● [F1]-[SF1] Normal Common General 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 Operation” on page 75.
● [F1]-[SF2] Normal Common General
Play mode
From this display you can make various settings for the tone generator of the MOTIF, and assign different Micro Tuning settings.
130 MOTIF Reference
Voice Edit mode
• Mono/Poly
Determines whether the Voice is played back monophonically (single notes only) or polyphonically
(multiple simultaneous notes).
❏ Settings Mono, Poly
• KeyAsgnMode
When this is set to “single,” double playback of the same note is prevented. This is useful when two or more instances of the same note are received nearly simultaneously, or without a corresponding note off message. To allow playback of each instance of the same note, set this to “multi.”
❏ Settings single, multi
• MicroTuning
Determines the tuning system for the voice. Normally, this should be set to 00 (Equal temperament); however thirtyone additional tuning systems are available for a variety of tuning applications and effects.
❏ Settings See below.
No.
00
01~12
13~24
25
26
27
28
29
30
31
Type
Equal temperament
Pure major
Pure minor
Werckmeister
Kirnberger
Vallotti & Young
1/4 shifted
1/4 tone
1/8 tone
Indian
Key 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.
C~B This tuning is designed so that most of the intervals (especially the major third and perfect fifth) in the major scale are pure. This means that other intervals will be correspondingly out of tune. You need to specify the key (C~B) you will be playing in.
A~G # 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 was also concerned with tempering the scale to allow performances in any key.
Francescatonio Vallotti and Thomas
Young (both mid-1700s) devised this adjustment the Pythagorean tuning which the first six fifths are lower by the same amount.
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.)
C~B Usually observed in the Indian music
(white keys [C~B] only).
● [F1]-[SF3] Normal Common General
Master EQ Offset
From this display you can adjust the master (global)
EQ settings for the entire voice. The settings made here are applied as offsets to the EQ settings (with the exception of “MID”) in the Utility mode,
KNOB
CONTROL
FUNCTION
PAN REVERB
CUTOFF RESONANCE
ASSIGN A ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
KN 1
MEQ LOW
KN 2 KN 3 KN 4
❏ Settings -64 ~ 0 ~+63
● [F1]-[SF4] Normal Common General
Portamento
This display allows you to set the Portamento related parameters. Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to the next.
• Switch
Determines whether Portamento is on or off.
❏ Settings off, on
• Time
Determines the pitch transition time. Higher values result in a longer pitch change time, when Time Mode below is set to “Time.” (When Time Mode is set to “Rate,” higher values result in a faster pitch change time.)
❏ Settings 0 ~127
• Mode
Determines the Portamento mode. With the “fingered” setting, Portamento is only applied when you play legato
(playing the next note before releasing the previous one).
With the “fulltime” setting, Portamento is always applied.
❏ Settings fulltime, fingered
• TimeMode
This determines how the Time parameter above affects the
Portamento effect. Setting this to “Time” makes the above parameter a true time scale — the higher the value, the longer the time. The “Rate” setting simply reverses this, for a rate scale — the higher the value, the faster the rate
(in other words, the shorter the time). Naturally, you should set this to your own personal preference, depending on whether you think of Portamento in terms of time or rate.
❏ Settings rate, time rate
Sets the Time parameter range to reflect “rate”:
0 (slow) - 127 (fast)
MOTIF Reference 131
Voice Edit mode time
Sets the Time parameter range to reflect “time”:
0 (fast) - 127 (slow)
● [F1]-[SF5] Normal Common General Other
From this display you can set the control functions for the Knobs, and determine the up/down range for the Pitch Bend wheel.
• Knob Assign
Determines the function for the assignable Knobs (1-4).
Pressing the [KNOB CONTROL FUNCTION] button on the panel sets the desired function row, which is automatically stored to memory with the currently selected voice.
❏ Settings
KNOB
Pan & Send
PAN
Tone
REVERB
CUTOFF RESONANCE
ASSIGN A ASSIGN B
CONTROL
FUNCTION
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
KN 1
MEQ LOW
KN 2 KN 3 KN 4
MeqGain Assign
• ChoCtrl
Determines the depth of the Chorus effect, as controlled by the Knob assigned to Chorus Send.
❏ Settings -64 ~ 63
• PBUpper, PBLower
These two parameters determine the pitch change range of the Pitch Bend wheel.
❏ Settings -48 ~ 24
• Assign A, Assign B, Assign 1, Assign 2
This lets you directly set and memorize the value for each
Assign Knob (A, B, 1, and 2), from the Knob itself. Simply tweak the knob to the desired setting.
● [F2] Normal Common Output
• Volume
Determines the output level of the Voice.
❏ Settings 0 ~ 127
• Pan
Determines the stereo pan position of the Voice. You can also adjust this parameter using the PAN knob on the front panel.
❏ Settings L63 (Left) ~ C (Center) ~ R63 (Right)
• RevSend
Determines the Send level of the signal sent from Insertion
Effect 1/2 (or the bypassed signal) to the Reverb effect.
You can also adjust this parameter using the REVERB knob on the front panel.
❏ Settings 0 ~ 127
• ChoSend
Determines the Send level of the signal sent from Insertion
Effect 1/2 (or the bypassed signal) to the Chorus effect.
You can also adjust this parameter using the [CHORUS] knob on the front panel of the MOTIF.
❏ Settings 0 ~ 127
● [F3]-[SF1] Normal Common Arpeggio
Arpeggio type
The basic parameters (e.g., type, tempo) of the
Arpeggio are provided in this display.
When user arpeggio is selected, you can clear the selected arpeggio data by using the [SF5] button.
This apppears only when user arpeggio is selected and cursor is located at Type.
• Bank
Determines the Bank.
❏ Settings pre1, pre2, user
• Type
Determines the Arpeggio type. The two-letter prefix before the name indicates the general Arpeggio category.
• Tempo
Determines the Arpeggio Tempo. When MIDI sync
(page 258) is turned on, “MIDI” is displayed here and
cannot be set.
❏ Settings 1 ~ 300
• Switch
Determines whether Arpeggio is on or off. You can also turn Arpeggio on/off from the front panel with the
[ARPEGGIO ON/OFF] button.
❏ Settings off, on
132 MOTIF Reference
• Hold
Determines whether the Arpeggio playback is “held” or not. When this is set to “on,” the Arpeggio cycles automatically, even if you release your fingers from the keys, and it continues to cycle until the next key is pressed.
❏ Settings sync-off (see below), off, on sync-off
The first time you press a key, the first note of the arpeggiator pattern is played. From the second and subsequent key presses, the arpeggiator note that is played back depends on the arpeggiator tempo and the timing of the arpeggio pattern. For example, in the case of a 1-bar arpeggio pattern, if the second key press falls on the third beat of the bar, the arpeggio pattern plays back from the third beat onward. In other words, the first key press is used to start the arpeggio pattern and thereafter you can use the key to “mute” or “un-mute” the pattern by, respectively, holding it down or releasing it. This is particularly useful when the arpeggiator is being used to generate drum patterns.
• KeyMode
Determines how the Arpeggio plays back when playing the keyboard. Three modes are available.
❏ Settings sort, thru, direct sort
Plays back notes in ascending order from the lowest key pressed to the highest.
thru
Plays back notes in the order in which the keys are pressed.
direct
Plays back the notes exactly as you play them. If changes to Voice parameters (such as Pan or Cutoff frequency) are included in the Arpeggio sequence data, they will be applied and reproduced whenever the
Arpeggio plays back.
n If the Arpeggio Category is set to Ct, you will not hear any sounds unless you select “direct” here.
n With the “sort” and “thru” settings, the order in which notes are played back will depend on the
Arpeggio sequence data.
• VelMode
This determines the playback velocity of the Arpeggio, or how it responds to your own playing strength. Two modes are available: original and thru.
❏ Settings original, thru original
The Arpeggio plays back at the preset velocities.
thru
The Arpeggio plays back according to the velocity of your playing. For example, if you play the notes strongly, the playback volume of the Arpeggio increases.
Voice Edit mode
● [F3]-[SF2] Normal Common Arpeggio
Arpeggio limit
• Note Limit
Determines the lowest and highest notes in the Arpeggio’s note range. Notes played in this range trigger the Arpeggio.
❏ Settings C -2 ~ G8 n You can also create a lower and an upper trigger range for the Arpeggio, with a “hole” in the middle, by specifying the highest note first. For example, setting a Note Limit of “C5 -C4” lets you trigger the
Arpeggio by playing notes in the two ranges of C -2 to C4 and C5 to G8; notes played between C4 and
C5 have no effect on the Arpeggio.
n You can also set the range directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired low and high keys.
• Velocity Limit
Determines the lowest and highest velocity in the
Arpeggio’s velocity range. This lets you control when the
Arpeggio sounds by your playing strength.
❏ Settings 1 ~ 127 n You can also create separate low and high trigger ranges for the Arpeggio playback, with a velocity
“ hole ” in the middle, by specifying the maximum value first. For example, setting a Velocity Limit of
93 - 34 lets you play the Arpeggio from two separate velocity ranges: soft (1 - 34) and hard (93 -
127). Notes played at middle velocities between 35 and 92 do not play the Arpeggio.
● [F3]-[SF3] Normal Common Arpeggio
Play FX (Effect)
These Play Effect parameters let you control the playback of the Arpeggio in useful and interesting ways. By changing the timing and velocity of the notes, you can change the rhythmic “feel” of the
Arpeggio.
• Unit
Adjust the Arpeggio playback time. For example, if you set a value of 200%, the playback time will be doubled and the tempo halved. On the other hand, if you set a value of
50%, the playback time will be halved and the tempo doubled. Normal playback time is 100%.
❏ Settings 50%, 66%, 75%, 100%, 133%, 150%,
200%
MOTIF Reference 133
Voice Edit mode
• Velocity Rate
Determines how much the Velocity of the Arpeggio playback is offset from the original value. For example, a setting of 100% means the original values are used.
Settings below 100% will reduce the velocity of the
Arpeggio notes, whereas settings above 100% will increase the velocities.
❏ Settings 0% ~ 200% n The Velocity cannot be decreased or increased beyond its normal range of 1 to 127; any values outside that range will automatically be limited to the minimum or maximum.
• Gate Time Rate
Determines how much the Gate Time (length) of the
Arpeggio notes is offset from the original value. A setting of 100% means the original values are used.
Settings below 100% will shorten the gate times of the
Arpeggio notes, whereas settings above 100% will lengthen them.
❏ Settings 0% ~ 200% n The Gate Time cannot be decreased beyond its normal minimum of 1; any values outside that range will automatically be limited to the minimum.
● [F4]-[SF1], [SF2], [SF3] Normal Common
Control Set Set1/2, Set3/4, Set5/6
The controllers and knobs on the front panel can be used to change and adjust a variety of parameters — in real time, and simultaneously.
For example, keyboard aftertouch can be used to control vibrato and the Modulation Wheel could be used to control Resonance. They can even be used to control parameters within individual Elements. These control assignments are called “Control Sets.” You can assign up to six different Control Sets per Voice. The six individual Control Sets are divided into pairs in the display: Sets 1/2, Sets 3/4 and Sets 5/6.
• Source
Determines which panel controller is to be assigned and used for the selected Set. This controller then is used to control the parameter set in Destination below.
❏ Settings PB (Pitch Bend Wheel), MW (Modulation
Wheel), AT (After Touch), FC1 (Foot
Controller 1), FC2 (Foot Controller2),
FS (Footswitch), BC (Breath Controller),
KN1 (Knob ASSIGN 1), KN2 (Knob
ASSIGN 2) n Keep in mind that unlike the other controllers, the
ASSIGN A and B knobs can each be assigned to one common function for the entire Voice mode, and not to different functions for each individual
voice. Also see the Utility mode (page 256).
• Dest (Destination)
Determines the parameter that is controlled by the Source controller (above).
❏ Settings For a complete list of the available parameters/controls, refer to the separate
Data List booklet.
• Depth
Determines the degree to which the Source controller affects the Destination parameter. For negative values, the controller operation is reversed; maximum controller settings produce minimum parameter changes.
❏ Settings -64 ~ 0 ~+63
Controller
Keyboard
Modulation wheel
Knob
Control Set 1~6
Set 1
Element 1
Element 2
Element 3
Element 4
• ElementSw
Determines whether or not the selected controller affects each individual element.
❏ Settings Elements 1 to 4 enabled (“1” to “4”) or disabled (“-”) n This parameter is disabled if the Destination parameter below is set to a value from 00 to 33.
134 MOTIF Reference
● [F5]-[SF1] Normal Common LFO Wave
From this display you can make a variety of LFOrelated settings, including Wave, Speed, Tempo, and sync/phase settings.
Voice Edit mode 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.
Time
Key on each-on
The LFO resets with each note you play and starts a waveform at the phase specified by the Phase parameter (below).
• Wave
Determines the LFO Wave.
❏ Settings tri, tri+, sawup, sawdwn, squ1/4, squ1/3, squ, squ2/3, squ3/4, trpzp, S/H 1, S/H 2, user
• Speed
Determines the speed of the LFO Wave modulation.
Higher values result in faster modulation speeds.
❏ Settings 0 ~ 63
Speed = fast Speed = slow
Time Time
• Tempo Sync
Determines whether or not the LFO is synchronized to the tempo of the Arpeggio or sequencer (song or pattern).
Setting this to “on” allows you to keep the LFO effects in perfect sync with the Arpeggio or sequencer playback.
❏ Settings off (not synchronized), on (synchronized)
• Tempo Speed
This parameter is available only when Tempo Sync above has been set to “on.” It allows you to make detailed note value settings that determine how the LFO pulses in sync with the Arpeggio or sequencer.
❏ Settings 16th, 8th/3 (eighth-note triplets), 16th.
(dotted sixteenth notes), 8th 4th/3 (quarternote triplets), 8th. (dotted eighth notes), 4th
(quarter notes), 2nd/3 (half-note triplets),
4th. (dotted quarter notes),
2nd (half notes), whole/3 (whole-note triplets), 2nd. (dotted half notes), 4th x 4
(quarter-note quadruplets; four quarter notes to the beat), 4th x 5 (quarter-note quintuplets; five quarter notes to the beat),
4th x 6 (quarter-note sextuplets; six quarter notes to the beat), 4th x 7 (quarter-note septuplets; seven quarter notes to the beat),
4th x 8 (quarter-note octuplets; eight quarter notes to the beat) n The actual length of the note depends on the internal or external MIDI tempo setting.
• Key On Reset
Determines whether or not the LFO is reset each time a note is pressed. The following three settings are available.
❏ Settings off, each-on, 1st-on
.
Time
Key on
(first note)
Key on
(second note)
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.
Time
Key on
(first note)
Key on
(second note)
• Phase
Determines the starting phase point for the LFO Wave when a note is played.
❏ Settings 0, 90, 120, 180, 240, 270
Phase 0
°
90
°
120
°
180
°
270
°
240
°
Time
MOTIF Reference 135
Voice Edit mode
● [F5]-[SF2] Normal Common LFO Delay
From this display you can set various delay and fade-in/-out parameters, and give the LFO a more natural sound.
• FadeOutTime
Determines the amount of time for the LFO effect to fade out (after the Delay time has elapsed). A higher value results in a slower fade-out.
❏ Settings 0 ~ 127
FadeOut
Max
Low FadeOut value
Faster fade-out
Hold
Time
• DelayTime
Determines the delay time before the LFO comes into effect. A higher value results in a longer delay time.
❏ Settings 0 ~ 127
Short delay Long delay
Max
High FadeOut value
Hold FadeOut
Time
Key on Key on
• FadeInTime
Determines the amount of time for the LFO effect to fade in (after the Delay time has elapsed). A higher value results in a slower fade-in.
❏ Settings 0 ~ 127
FadeIn
Max
Low FadeIn value
Faster fade-in
Time
Delay
Key on
Max
High FadeIn value
Slower fade-in
FadeIn
Time
Delay
Key on
• HoldTime
Determines the length of time during which the LFO is held at its maximum level. A higher value results in a longer Hold time.
❏ Settings 0 ~ 127
Hold
Max
● [F5]-[SF3], [SF4], [SF5] Normal Common LFO
Destination 1, 2, 3
From this display you can select the destination parameter for the LFO (which aspect of the sound the LFO controls), the elements to be affected by the
LFO, and the LFO Depth. Three Destinations can be assigned, and you can choose from several parameters per Destination.
• ElemSw (Element Switch)
Determines whether or not each element is to be affected by the LFO. The element number (1- 4) is shown when the
LFO is enabled; a dash (-) indicates the LFO is disabled for that element.
• Dest (Destination)
Determines the parameters which are to be controlled
(modulated) by the LFO Wave.
❏ Settings AMD, PMD, FMD, RESO (Resonance),
PAN, ELFOSpd (Element LFO Speed)
• Depth
Determines the LFO Wave Depth.
❏ Settings 0 ~ 127
Time
136 MOTIF Reference
● [F6]-[SF1] Normal Common Effect
Connection
This display gives you comprehensive control over the effects.
• EL: OUT 1-4 (Element 1-4 Effect Output)
Determines which Insertion effect (1 or 2) is used to process each individual element. The “thru” setting lets you bypass the Insertion effects for the specific element.
(This parameter is the same as “InsEFOut” in Normal
Element below. Making a setting here automatically changes the setting of that parameter as well.)
❏ Settings ins1, ins2, thru
• InsConnect (Insertion Effect Connect)
Determines the effect routing for Insertion effects 1 and 2.
The setting changes are shown on the diagram in the display, giving you a clear picture of how the signal is routed.
❏ Settings parallel, 1 to 2, 2 to 1
• Ins1Category, Ins1Type
Determines the effect type for Insertion 1.
❏ Settings Refer to the Effect Types list in the separate
Data List booklet.
• Ins2Category, Ins2Type
Determines the effect type for Insertion 2.
❏ Settings Refer to the Effect Types list in the separate
Data List booklet.
• RevType (Reverb Effect Type)
Determines the effect type for Reverb.
❏ Settings Refer to the Effect Types list in the separate
Data List booklet.
• ChoType (Chorus Effect Type)
Determines the effect type for Chorus.
❏ Settings Refer to the Effect Types list in the separate
Data List booklet.
• RevSend (Reverb Send)
Determines the level of the sound (from Insertion 1 or 2, or the bypassed signal) that is sent to Reverb effect. A setting of “0” results in no Reverb processing of the sound.
❏ Settings 0 ~ 127
• ChoSend (Chorus Send)
Determines the level of the sound (from Insertion 1 or 2, or the bypassed signal) that is sent to Chorus effect. A setting of “0” results in no Chorus processing of the sound.
❏ Settings 0 ~ 127
• RevRtn (Reverb Return Level)
Determines the Return level of the Reverb Effect.
❏ Settings 0 ~ 127
Voice Edit mode
• ChoRtn (Chorus Return Level)
Determines the Return level of the Chorus Effect.
❏ Settings 0 ~ 127
• ChoToRev (Chorus to Reverb)
Determines the Send level of the signal sent from the
Chorus Effect to the Reverb Effect.
❏ Settings 0 ~ 127
• RevPan (Reverb Pan)
Determines the pan position setting for the Reverb effect.
❏ Settings L63 (far left)~cnt (center)~R63 (far right)
• ChoPan (Chorus Pan)
Determines the pan position setting for the Chorus effect.
❏ Settings L63 (far left)~cnt (center)~R63 (far right)
● [F6]-[SF2], [SF3], [SF4], [SF5] Normal
Common Effect Parameter
Insertion 1, 2, Reverb, Chorus
The number of parameters and values available differs depending on the currently selected effect type. For more information, see the Effect Type List in the separate Data List booklet.
■
Element Edit
For instructions on selecting and editing individual elements, refer to step #4 in the Basic Procedure on
● [F1]-[SF1] Normal Element Oscillator Wave
From this display you can select the desired wave or sound used for the element.
• ElementSw (Element Switch)
Determines whether the currently selected element is on or off.
❏ Settings off (inactive), on (active)
• Bank
This determines the specific bank of waves, from which you can select the desired sound. The Preset bank features the factory programmed waves; the User bank contains any audio data you have created with the Sampling
❏ Settings preset, usr wav
• Wave No. (Wave Number), WaveCtgry (Wave
Category)
❏ Settings See the Wave list of the separate Data List.
MOTIF Reference 137
Voice Edit mode
● [F1]-[SF2] Normal Element Oscillator
Output
From this display you can set certain output parameters for the selected element.
• KeyOnDelay
Determines the time (delay) between the moment you press a note on the keyboard and the point at which the sound is played. You can set different delay times for each
Element.
❏ Settings 0 ~ 127
Short Delay Long Delay
Key on
Key on
• InsEFOut (Insertion Effect Output)
Determines which Insertion effect (1 or 2) is used to process each individual element. The “thru” setting lets you bypass the Insertion effects for the specific element.
(This parameter is the same as “EL: OUT” in Normal
Common above. Making a setting here automatically changes the setting of that parameter as well.)
❏ Settings thru, ins1 (Insertion Effect 1), ins2
(Insertion Effect 2)
● [F1]-[SF3] Normal Element Oscillator Limit
From this display you can create different key and velocity “zones” for each of the elements, and even set up a velocity crossfade between elements.
• VelocityLimit
Determines the minimum and maximum values of the velocity range within which each element will respond.
Each element will only sound for notes played within its specified velocity range.
For example, this lets you have one element sound when you play softly and have a different one sound when you play strongly.
❏ Settings 1 ~127 n You can also create separate low and high ranges for the element, with a velocity “hole” in the middle, by specifying the maximum value first. For example, setting a Velocity Limit of 93 - 34 lets you play the element from two separate velocity ranges: soft (1 - 34) and hard (93 - 127). Notes played at middle velocities between 35 and 92 do not play the selected element.
• VelCrossFade (Velocity Cross Fade)
This determines how smoothly or abruptly elements switch between each other in response to velocity. (This only applies to elements that have been set for velocity splits with Velocity Limit above.) Minimum values create an abrupt change between elements, while maximum values let you smoothly change elements depending on your playing strength.
❏ Settings 0 ~ 127
● [F2]-[SF1] Normal Element Pitch Tune
From this display you can set various pitch-related parameters for the selected element.
• NoteLimit
Determines the lowest and highest notes of the keyboard range for each element. The selected element will sound only when you play notes within this range.
❏ Settings C -2 ~ G8 n You can also create a lower and an upper range for the element, with a “hole” in the middle, by specifying the highest note first. For example, setting a Note Limit of “C5 - C4” lets you play the element from two separate ranges: C -2 to C4 and
C5 to G8. Notes played between C4 and C5 do not play the selected element.
n You can also set the range directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired low and high keys.
See “Basic Operation” on page 75.
138 MOTIF Reference
• Coarse
Determines the pitch of each element in semitones.
❏ Settings -48 ~ 0 ~+48
• Fine
Determines the fine tuning for the pitch of each element.
❏ Settings -64 ~ 0 ~+63
• Random
This lets you randomly vary the pitch of the element for each note you play. This is effective in reproducing the natural pitch variations in acoustic instruments. It is also useful for creating unusual random pitch changes. The higher the value the greater the pitch variation. A value of
“0” results in no pitch change.
❏ Settings 0 ~127
Voice Edit mode
● [F2]-[SF2] Normal Element Pitch
Velocity Sensitivity
From this display you can determine how the Pitch
EG responds to velocity. (For Pitch EG settings, see
“PEG Time, Level” below.)
• EG Time, Segment
Determines the velocity sensitivity of the PEG’s Time parameters. Select the Segment, then set its Time parameter. Positive Time settings will play back the specified Segment faster and negative values will play it back slower.
❏ Settings Time -64 ~0 ~+63
Segment ATK, ATK+DCY, DCY,
ATK+RLS, all
ATK
EG Time Value affects Attack time.
ATK+DCY
EG Time Value affects Attack/Decay1 time.
DCY
EG Time Value affects Decay time.
ATK+RLS
EG Time Value affects Attack/Release time.
all
EG Time Value affects all PEG Time parameters.
• EG Level, Curve
Determines the velocity sensitivity of the PEG Level.
Positive settings will cause the level to rise the harder you play the keyboard, and negative values will cause it to fall.
The Curve parameter lets you select from five different preset velocity curves (graphically indicated in the display), that determine how velocity affects the Pitch EG.
❏ Settings EG Level -64 ~0 ~+63
Curve 0~4
• Pitch
Determines the degree to which velocity affects the pitch change of the Pitch EG. Extreme values produce greater variation in pitch change. For positive values, the harder you play the keys, the greater the change in pitch. For negative values, the softer you play the keys, the greater the change in pitch.
❏ Settings -64 ~ 0 ~+63
● [F2]-[SF3] Normal Element Pitch
PEG Time, Level
From this display you can make all the time and level settings for the Pitch EG, which determine how the pitch of the sound changes over time.
These can be used to control the change in pitch from the moment a note is pressed on the keyboard to the moment the sound stops.
The full names of the available parameters are shown in the chart below, as they appear in the display.
TIME
HOLD
Hold time
ATK
Attack time
LEVEL Hold level Attack level
DCY1
Decay 1 time
Decay 1 level
DCY2
Decay 2 time
Decay 2 level
REL DEPTH*
Release time
Release level
Depth
Pitch
Attack
Level
Decay1
Level
Decay2
Level
Key off
Release
Level
Hold level
0
Hold
Time
Attack
Time
Decay1
Time
Decay2
Time
• TIME
❏ Settings 0 ~127
Release
Time
• LEVEL
❏ Settings -128 ~ 0 ~+127 (-4800cent ~ 0
~+4800cent)
Time
• DEPTH*
❏ Settings -64 ~ 0 ~+63
● [F2]-[SF4] Normal Element Pitch Key Follow
From this display you can set the Key Follow effect
— in other words, how the pitch of the element and its Pitch EG respond to the particular notes (or octave range) you play.
• PitchSens (Pitch Sensitivity)
Determines the degree to which the notes (specifically, their position or octave range) affect the pitch of the selected element. The Center Key (next parameter) is used as the basic pitch for this parameter.
A positive setting will cause the pitch of lower notes to change lower and that of higher notes to change higher.
Negative values will have the opposite effect.
❏ Settings -200% ~ 0 ~ +200% n For a setting of 100%, neighboring notes are pitched one semitone (100 cents) apart.
MOTIF Reference 139
Voice Edit mode
• Center Key
Determines the central note or pitch for the Key Follow effect on pitch. Depending on the Pitch Sensitivity parameter above, the further away from the Center Key the keys are played, the greater the degree of pitch change.
❏ Settings C -2 ~ G8 n You can also set the Center Key directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired key. See “Basic
Large
Amount of pitch change
+
Small
● [F3]-[SF1] Normal Element Filter Type
From this display you can make comprehensive settings for the Filter section. The available parameters differ depending on which Filter type is selected here.
Lower range Higher range
• EG Time Sens (EG Time Sensitivity)
Determines the degree to which the notes (specifically, their position or octave range) affect the Pitch EG times of the selected element. The Center Key (next parameter) is used as the basic pitch for this parameter.
A positive setting will cause the pitch of lower notes to change slower and that of higher notes to change faster.
Negative values will have the opposite effect.
❏ Settings -64 ~ 0 ~+63
• Center Key
Determines the central note or pitch for the Key Follow effect on Pitch EG. Depending on the EG Time Sensitivity parameter above, the further away from the Center Key the keys are played, the more the time of the Pitch EG deviates from the norm.
When the Center Key note is played, the PEG behaves according to its actual settings. The pitch change characteristics for other notes will vary in proportion to the EG Time settings.
❏ Settings C -2 ~ G8 n You can also set the Center Key directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired key.
Positive value
Speed of PEG pitch change
Lower range
Negative value
–
Basic pitch
+
Lower range
—
Center(basic pitch)
+
–
Basic pitch
Higher range
Speed of PEG pitch range
Higher range
• Type
Basically, there are four different Filter types: an LPF
(Low Pass Filter), an HPF (High Pass Filter), a BPF (Band
Pass Filter) and a BEF (Band Elimination Filter). Each type has a different frequency response and produces a different effect on the sound. The MOTIF also features special combination Filter types, for additional sonic control.
❏ Settings See below.
LPF24D (Low Pass Filter 24dB/oct Digital)
A 4-pole (-24db/oct) dynamic LPF with a strong resonance.
Resonance
LPF24A (Low Pass Filter 24dB/oct Analog)
A 4-pole (-24db/oct) dynamic LPF with a character similar to those found on analog synthesizers
Resonance
LPF18 (Low Pass Filter18dB/oct)
A 3-pole (-18db/oct) dynamic LPF.
LPF18s (Low Pass Filter [18dB/oct Staggered)
Also a 3-pole (-18db/oct) dynamic LPF, but with a shallower frequency curve.
Resonance
LPF18
LPF18S
140 MOTIF Reference
LPF12 (Low Pass Filter12dB/oct) A 2-pole (-12db/oct) dynamic LPF, designed to be used in combination with an HPF (High Pass Filter).
Resonance
LPF6 (Low Pass Filter 6dB/oct)
A 1-pole (-6db/oct) dynamic LPF with no resonance, designed to be used in combination with an HPF (High
Pass Filter).
HPF24D (High Pass Filter 24dB/oct Digital)
A 4-pole (-24db/oct) dynamic HPF with a strong resonance.
Resonance
HPF12 (High Pass Filter 12dB/oct)
A 2-pole (-12db/oct) dynamic HPF.
Resonance
Cutoff range
Voice Edit mode
BPFw (Band Pass Filter Wide)
Also the combination of –12dB/oct HPF and LPF, but allows a wider frequency band.
Level
Range passed Cutoff range width can be increased
Frequency
BEF12 (Band Elimination Filter 12dB/oct)
BEF6 (Band Elimination Filter 6dB/oct)
Level
Range passed Cutoff range Range passed
Center frequency Frequency
Dual LPF
A combination of two sets of –12dB/oct LPF in parallel.
Level
Frequency
Distance
The cutoff frequency can be set directly on the display.
Dual HPF
A combination of two sets of –12dB/oct HPF in parallel.
Level
BPF12D (Band Pass Filter 12dB/oct Digital)
Level
Cutoff range Range passed Cutoff range
–12db/oct
Frequency
BPF12s (Band Pass Filter 12dB/oct Staggered)
Basically same as BPF12D, but with a shallower frequency curve.
BPF6 (Band Pass Filter 6dB/oct)
Level
Cutoff range Range passed Cutoff range
–6db/oct
Frequency
Frequency
Distance
The cutoff frequency can be set directly on the display.
Dual BPF
A combination of two sets of –6dB/oct BPF in parallel.
Level
Distance
The cutoff frequency can be set directly on the display.
Frequency
MOTIF Reference 141
Voice Edit mode
Dual BEF
A combination of two sets of –6dB/oct BEF in parallel.
Level
Frequency
Distance
The cutoff frequency can be set directly on the display.
LPF12 (Low Pass Filter 12dB/oct)+ HPF12 (High
Pass Filter)
A combination of a LPF and HPF.
Level
Frequency
Distance
The cutoff frequency can be set directly on the display.
LPF12 (Low Pass Filter 12dB/oct)+ BPF6 (Band Pass
Filter)
A combination of a LPF and BPF.
Level
Frequency
HPF12 (High Pass Filter 12dB/oct)+ BPF6 (Band Pass
Filter)
A combination of a HPF and BPF.
Level
Frequency thru
The filters are bypassed and the entire signal is unaffected.
• Cutoff
Determines the cutoff frequency for the Filter, or the central frequency around which the Filter is applied.
❏ Settings 0 ~ 255
• Gain
Determines the Gain (the amount of boost applied to the signal sent to the Filter).
❏ Settings 0 ~ 255
• Reso/Width
This parameter’s function varies according to the selected
Filter Type. If the selected filter is an LPF, HPF, BPF
(excluding the BPFw), or BEF, this parameter is used to set the Resonance. For the BPFw, it is used to adjust the
Width of the band.
Resonance
This parameter is used to set the amount of Resonance
(harmonic emphasis) applied to the signal at the cutoff frequency. This can be used in combination with the cutoff frequency parameter to add further character to the sound.
Width
With the BPFw, this parameter is used to adjust the width of the band of signal frequencies passed by the filter.
❏ Settings 0 ~ 31
• Distance
Determines the distance between the Cutoff frequencies, for the Dual Filter types. (The two filters in a combination are connected in parallel fashion.)
❏ Settings 0 ~ 255
• HPF Cutoff
Determines the central frequency for the Key Follow parameter (below) of the HPF.
When a filter type “LPF12” or “LPF6” is selected, this parameter is available.
❏ Settings 0 ~ 255
• HPF KeyFlw (Key Follow)
Determines the Key Follow setting for the HPF Cutoff frequency. This parameter varies the center frequency according to the position of the notes played on the keyboard. A positive setting will raise the center frequency for higher notes and lower it for lower notes. A negative setting will have the opposite effect.
When a filter type “LPF12” or “LPF6” is selected, this parameter is available.
❏ Settings -200% ~ 0 ~ +200%
● [F3]-[SF2] Normal Element Filter
Velocity Sensitivity
From this display you can determine how the Filter and the FEG respond to velocity. (For Filter EG settings, see “FEG” below.)
142 MOTIF Reference
• EG Time, Segment
Determines the velocity sensitivity of the FEG’s Time parameters. Select the Segment, then set its Time parameter.
Positive Time settings will play back the specified Segment faster and negative values will play it back slower.
❏ Settings Time -64 ~ 0 ~ +63
Segment ATK, ATK+DCY, DCY,
ATK+RLS, all
ATK
Affects the Attack Time.
ATK+ DCY
Affects the Attack Time and Decay1 Time.
DCY
Affects the Decay Time.
ATK+ RLS
Affects the Attack Time and Release Time. all
Affects all FEG Time parameters.
• EG Level, Curve
Determines the velocity sensitivity of the Filter EG Level.
Positive settings cause greater Filter changes the harder you play the keyboard. Negative settings do the opposite; the softer you play, the more the sound changes. The
Curve parameter lets you select from five different preset velocity curves (graphically indicated in the display), that determine how velocity affects the Filter EG.
❏ Settings EG Level -64 ~ 0 ~ +63
Curve 0 ~ 4
• Cutoff
Determines the degree to which velocity affects the Cutoff frequency of the Filter EG. Extreme values produce greater variation in the Cutoff frequency. For positive values, the harder you play the keys, the greater the change in the
Cutoff frequency. Negative values do the opposite; the frequency changes more the softer you play.
❏ Settings -64 ~ 0 ~ +63
• Resonance
Determines the degree to which velocity affects the
Resonance of the Filter EG. Extreme values produce greater variation in the Resonance. For positive values, the harder you play the keys, the greater the Resonance change. Negative values do the opposite; the Resonance changes more the softer you play.
❏ Settings -64 ~ 0 ~ +63
Voice Edit mode
● [F3]-[SF3] Normal Element Filter
FEG (Filter Envelope Generator)
From this display you can make all the time and level setting for the Filter EG, which determine how the tonal quality of the sound changes over time.
The full names of the available parameters are shown in the chart below, as they appear in the display.
HOLD ATK
TIME Hold time Attack time
LEVEL Hold level Attack level
Pitch
0
Hold level
DCY1
Decay 1 time
Decay 1 level
DCY2
Decay 2 time
Decay 2 level
Attack
Level
Decay1
Level
Decay2
Level
REL
Release time
Release level
DEPTH*
Depth
Key off
Release
Level
Hold
Time
Attack
Time
Decay1
Time
Decay2
Time
Release
Time
• TIME
❏ Settings 0 ~ 127
• LEVEL
❏ Settings -128 ~ 0 ~ +127 (-9600cent ~ 0 ~
+9600cent)
• DEPTH*
❏ Settings -64~ 0 ~ 63
● [F3]-[SF4] Normal Element Filter
Key Follow
Time
From this display you can set the Key Follow effect for the Filter — in other words, how the tonal qualities of the element and its Filter EG respond to the particular notes (or octave range) you play.
n The availability of the Filter Key Follow parameter depends on the Break Point and Offset settings
MOTIF Reference 143
Voice Edit mode
• CutoffSens (Cutoff Sensitivity)
Determines the degree to which the notes (specifically, their position or octave range) affect the Filter of the selected element. A Center Key setting of C3 is used as the basic setting by the Cutoff parameter.
A positive setting will lower the Cutoff frequency for lower notes and raise it for higher notes. A negative setting will have the opposite effect.
❏ Settings -200% ~ 0 ~ +200%
• CenterKey
This indicates that the central note for Cutoff Sensitivity above is C3. At C3, the tone remains unchanged. For other notes played, the Cutoff Frequency varies according to the particular note and the Cutoff Sensitivity setting. Keep in mind that this is for display purposes only; the value cannot be changed.
Large
Amount of cutoff frequency change
+
Small
● [F3]-[SF5] Normal Element Filter Scaling
Filter Scaling controls the filter cutoff frequency according to the positions of the notes on the keyboard. You can divide the entire keyboard by four break points, and assign different offset values of Cutoff Frequency to them respectively.
Lower range
—
Center(basic frequency) Higher range
• EGTimeSens (EG Time Sensitivity)
Determines the degree to which the notes (specifically, their position or octave range) affect the Filter EG times of the selected element.
The basic speed of change for the FEG is at the note specified in the Center Key (next parameter).
A positive setting will cause slower changes for lower notes and faster changes for higher notes. A negative setting will have the opposite effect.
❏ Settings -64 ~ 0 ~ +63
• CenterKey
Determines the central note or pitch for the Key Follow effect on Filter EG. Depending on the EG Time Sensitivity parameter above, the further away from the Center Key the keys are played, the more the time of the Filter EG deviates from the norm. When the Center Key note is played, the
FEG behaves according to its actual settings. The Filter change characteristics for other notes will vary in proportion to the EG Time settings.
❏ Settings C -2 ~ G8
Positive value
Speed of FEG level change
Lower range
144 MOTIF Reference
+
Higher range
Negative value
-
Basic frequency
+ Speed of FEG level range
Lower range Higher range
-
Basic frequency n You can also set the Center Key directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired key. See “Basic
• BREAK POINT 1 ~ 4
❏ Settings C -2 ~ G8 n You can also set the Break Point directly from the
Keyboard, by holding down the [INFORMATION] button and pressing the desired key. See “Basic
• OFFSET 1 ~ 4
❏ Settings -128 ~ 0 ~ +127
The best way to understand Filter Scaling is by example. For the settings shown in the example display above, the basic Cutoff frequency value is
64, and the various Offset values at the selected
Break point settings change that basic value accordingly. The specific changes to the Cutoff frequency are shown in the diagram below. The
Cutoff frequency changes in a linear fashion between successive Break Points as shown.
81
Cutoff
Frequency
74
68
60
C#1 D#2 C3 A4
Break Point 1 Break Point 2 Break Point 3 Break Point 4
Note n BP1 to BP4 will be automatically be arranged in ascending order across the keyboard. n Regardless of the size of these Offsets, the minimum and maximum Cutoff limits (values of 0 and 127, respectively) cannot be exceeded. n Any note played below the BP1 note results in the
BP1 Level setting. Likewise, any note played above the BP4 note results in the BP4 Level setting.
● [F4]-[SF1] Normal Element Amplitude
Level/Pan
This display not only lets you make basic Level and
Pan settings for each individual element, it also gives you some detailed and unusual parameters for affecting Pan position.
• Level
Determines the output level for the selected element.
❏ Settings 0 ~ 127
• Pan
Determines the stereo Pan position for the selected element. This will also be used as the basic Pan position for the Alternate, Random and Scale settings.
❏ Settings L63 (Left) ~ C (Center) ~ R63 (Right)
• AlternatePan
Determines the amount by which the sound of the selected element is panned alternately left and right for each note you press. The Pan setting (above) is used as the basic Pan position.
❏ Settings L64 ~ 0 ~ R63
• RandomPan
Determines the amount by which the sound of the selected element is panned randomly left and right for each note you press. The Pan setting is used as the Center Pan position.
❏ Settings 0 ~ 127
• ScalingPan
Determines the degree to which the notes (specifically, their position or octave range) affect the Pan position, left and right, of the selected element. At note C3, the main
Pan setting (above) is used for the basic Pan position.
❏ Settings -64 ~ 0 ~ +63
● [F4]-[SF2] Normal Element Amplitude
Velocity Sensitivity
From this display you can determine how the
Amplitude (volume) EG responds to velocity. (For
Amplitude EG settings, see “AEG” below.)
Voice Edit mode
• EG Time, Segment
Determines the velocity sensitivity of the AEG’s Time parameters. Select the Segment, then set its Time parameter.
Positive Time settings will play back the specified Segment faster and negative values will play it back slower.
❏ Settings Time -64 ~ 0 ~ +63
Segment ATK, ATK+DCY, DCY,
ATK+RLS, all
ATK
Affects the Attack Time.
ATK+DCY
Affects the Attack Time and Decay1 Time.
DCY
Affects the Decay Time.
ATK+RLS
Affects the Attack Time and Release Time. all
Affects all AEG Time parameters.
• EG Level, Curve
Determines the velocity sensitivity of the Amplitude EG
Level. Positive settings cause greater volume changes the harder you play the keyboard. Negative settings do the opposite; the softer you play, the more the volume changes.
The Curve parameter lets you select from five different preset velocity curves (graphically indicated in the display), that determine how velocity affects the
Amplitude EG.
❏ Settings EG Level -64 ~ 0 ~ +63
Curve 0 ~ 4
● [F4]-[SF3] Normal Element Amplitude AEG
From this display you can make all the time and level settings for the Amplitude EG, which determine how the volume of the sound changes over time.
The full names of the available parameters are shown in the chart below, as they appear in the display.
TIME
INIT
---
LEVEL Initial level
ATK
Attack time
---
DCY1
Decay 1 time
DCY2
Decay 2 time
Decay 1 level
Decay 2 level
REL
Release time
---
DEPTH
---
MOTIF Reference 145
Voice Edit mode
Level
Attack
Level
Decay1
Level
Decay2
Level Key off
Init
Level
0
Attack
Time
Decay1
Time
Decay2
Time
Release
Time
• TIME
❏ Settings 0 ~ 127 (excluding --- above)
• LEVEL
❏ Settings 0 ~127
Release
Level
Time
● [F4]-[SF4] Normal Element Amplitude
Key Follow
From this display you can set the Key Follow effect for Amplitude — in other words, how the volume of the element and its Amplitude EG respond to the particular notes (or octave range) you play.
n The availability of the Amplitude Key Follow parameter depends on the Break Point and Offset settings described on see below.
• LevelSens (Level Sensitivity)
Determines the degree to which the notes (specifically, their position or octave range) affect the volume of the selected element. A Center Key setting of C3 is used as the basic setting.
A positive setting will lower the output level for lower notes and raise it for higher notes. A negative setting will have the opposite effect.
❏ Settings -200% ~ 0 ~+200%
• CenterKey
This indicates that the central note for Level Sensitivity above is C3. At C3, the volume (level) remains unchanged.
For other notes played, the volume varies according to the particular note and the Level Sensitivity setting. Keep in mind that this is for display purposes only; the value cannot be changed.
Large
Speed of AEG level change
+
Small
Lower range
–
Center(basic pitch) Higher range
• EGTimeSens (EG Time Sensitivity)
Determines the degree to which the notes (specifically, their position or octave range) affect the Amplitude EG times of the selected element. The Center Key (next parameter) is used as the basic amplitude for this parameter.
A positive setting will cause the amplitude of lower notes to change slower and that of higher notes to change faster.
Negative values will have the opposite effect.
❏ Settings -64 ~ 0 ~ +63
• CenterKey
Determines the central note or pitch for the Key Follow effect on Amplitude EG. Depending on the EG Time
Sensitivity parameter above, the further away from the
Center Key the keys are played, the more the time of the
Amplitude EG deviates from the norm.
When the Center Key is played, the AEG behaves according to its actual settings. The amplitude change characteristics for other notes will vary in proportion to the EGTime settings.
❏ Settings C -2 ~ G8
Positive value
Speed of AEG level change
+
Lower range Higher range
Negative value
—
Center (basic volume)
+ Speed of AEG level range
Lower range Higher range
—
Center (basic volume) n You can also set the Center Key directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired key.
● [F4]-[SF5] Normal Element Amplitude Scaling
Amplitude Scaling controls the output level (set in the [F4]-[SF1] display) according to the positions of the notes on the keyboard. You can divide the entire keyboard by four break points, and assign different offset values of amplitude to them respectively.
• BREAK POINT 1 ~ 4
❏ Settings C -2 ~ G8 n You can also set the Break Point directly from the
Keyboard, by holding down the [INFORMATION] button and pressing the desired key. See “Basic
• OFFSET 1 ~ 4
❏ Settings -128 ~ 0 ~ +127
146 MOTIF Reference
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.
97
Amplitude
90
84
76
Note
C1 C2 C3 C4
Break Point 1 Break Point 2 Break Point 3 Break Point 4 n BP1 to BP4 will be automatically be arranged in ascending order across the keyboard. n Regardless of the size of these Offsets, the minimum and maximum Cutoff limits (values of 0 and 127, respectively) cannot be exceeded. n Any note played below the BP1 note results in the
BP1 Level setting. Likewise, any note played above the BP4 note results in the BP4 Level setting.
● [F5] Normal Element LFO
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 squ (square wave)
• KeyOnSync
Sync off Sync on
Voice Edit mode
Determines the LFO waveform used to vary the sound.
❏ Settings saw, tri, squ saw (sawtooth wave)
• Speed
Determines the speed of the LFO waveform. The higher the value, the faster the speed.
❏ Settings 0 ~ 63
Speed = Fast Speed = Slow
Time Time
When this is set to on, the LFO waveform is reset every time a note is played.
❏ Settings off, on
Time tri (triangle wave)
Time
Key on Key on
• KeyOnDelay
Determines the delay time before the LFO comes into effect. A higher value results in a longer delay time.
❏ Settings 0 ~ 127
Short delay Long delay
Key on Key on
• PMOD (Pitch Modulation Depth)
Determines the amount (depth) by which the LFO waveform varies (modulates) the pitch of the sound. The higher the value, the greater the amount of pitch modulation.
❏ Settings 0 ~ 127
MOTIF Reference 147
Voice Edit mode
• FMOD (Filter Modulation Depth)
Determines the amount (depth) by which the LFO waveform varies (modulates) the Filter Cutoff frequency.
The higher the value, the greater the amount of filter modulation.
❏ Settings 0 ~ 127
• AMOD (Amplitude Modulation Depth)
Determines the amount (depth) by which the LFO waveform varies (modulates) the amplitude or volume of the sound. The higher the value, the greater the amount of amplitude modulation.
❏ Settings 0 ~ 127
● [F6] Normal Element EQ (Equalizer)
• Type
Determines the Equalizer Type. The MOTIF features a wide selection of various equalizer types, which can be used not only to enhance the original sound, but even completely change the character of the sound. The particular parameters and settings available depend on the specific Equalizer Type that is selected.
❏ Settings EQ L/H, P.EQ, Boost6, Boost12, Boost18, thru
Gain
+
EQ L/H (Low/High)
This is a “shelving” equalizer, which combines separate high and low frequency bands.
Boost6 (Boost 6dB)/Boost12 (Boost 12dB)/Boost18
(Boost 18dB)
These can be used to boost the level of the entire signal by 6dB, 12dB and 18dB, respectively. thru
If you select this, the equalizers are bypassed and the entire signal is unaffected.
Drum Voice Edit
◆
Common edit and Drum Key edit
Each Drum voice consists of various Waves and/or
Normal voices, each assigned to notes across the
keyboard, from C0 to C6 (page 45). Use Drum
Common Edit to edit the settings that apply to all
Drum keys in the voice. There are two types of Drum
Voice Edit displays: those for Common Edit, and those for editing individual keys (elements).
COMMON
Drum Key
Indicates a Common Edit display.
Indicates a display for editing a single key
(in this case, C 0)
0
Frequency
-
Low Gain
❏ Settings
-32 ~ 0 ~ +32
Low Freq
❏
Settings
50.1Hz ~ 2.00kHz
High Freq
❏ Settings
503.8Hz ~ 10.1kHz
High Gain
❏ Settings
-32 ~ 0 ~ +32
P.EQ (Parametric EQ)
The Parametric EQ is used to attenuate or boost signal levels (gain) around the Frequency. This type features
32 different “Q” settings, which determine the frequency band width of the equalizer.
+
0
–
Frequency
Gain
❏ Settings
-32 ~ 0 ~ +32
Freq
❏ Settings 139.7Hz ~ 12.9kHz
Q (Frequency Characteristic)
❏ Settings 0 ~ 31
◆
Basic Procedure
1
Press the [VOICE] button to enter the Voice Play mode. (The indicator lights.)
2
Select a Drum voice to be edited.
3
Press the [EDIT] button to enter the Voice Edit mode. (The indicator lights.)
148 MOTIF Reference
Voice Edit mode
4
Select a key to be edited.
• To edit parameters common to the entire Drum voice (all keys), press the [DRUM KITS] button.
DRUM KITS
FAVORITES
COMMON
• To edit parameters of an individual Drum key
(element), first press the NUMBER [1] button, then press the appropriate key on the keyboard.
5
Select the menu you wish to edit by pressing the
[F1]-[F6] and [SF1]-[SF5] buttons.
6
Edit the parameters for the selected voice.
7
Store the settings edited in step #6 to the User
Memory as required.
8
Press the [EXIT] button to exit from the Voice Edit mode.
• For detailed instructions on steps #5 - #6, see the explanations below.
• For details on step #7, refer to “Voice Store
■
Common (to all keys) edit
● [F1]-[SF1] Drum Common General Name
Same as in Normal Voice Common Edit. See
● [F1]-[SF3] Drum Common General
Master EQ Offset
Same as in Normal Voice Common Edit. See
● [F1]-[SF5] Drum Common General Other
Same as in Normal Voice Common Edit. See
● [F2] Drum Common Output
Same as in Normal Voice Common Edit. See
page 132. In addition, the following two parameters
are also available.
• InsRevSend (Insertion Reverb Send)
Determines the Send level for the entire Drum voice (all keys), sent from Insertion Effect 1/2 to the Reverb effect.
• InsChoSend (Insertion Chorus Send)
Determines the Send level for the entire Drum voice (all keys), sent from Insertion Effect 1/2 to the Chorus effect.
❏ Settings 0 ~ 127 n Send level (to Reverb and Chorus) cannot be set independently for each Drum key; the value is fixed at 127 (maximum).
● [F3]-[SF1] Drum Common Arpeggio
Arpeggio type
Same as in Normal Voice Common Edit. See
● [F3]-[SF2] Drum Common Arpeggio
Arpeggio limit
Same as in Normal Voice Common Edit. See
● [F3]-[SF3] Drum Common Arpeggio
Play FX (Effect)
Same as in Normal Voice Common Edit. See
● [F4]-[SF1], [SF2], [SF3] Drum Common
Control Set Set1/2, Set3/4, Set5/6
Same as in Normal Voice Common Edit. See
Please note that the Element Switch parameter is not available in Drum Voice Common edit.
● [F6]-[SF1] Drum Common Effect Connection
Same as in Normal Voice Common Edit. See
The only difference here is that “KEY: OUT” appears in the Drum Common Effect display instead of “EL: OUT” (in Normal Common Effect).
MOTIF Reference 149
Voice Edit mode
● [F6]-[SF2], [SF3], [SF4], [SF5] Drum Common
Effect Parameter Insertion 1, 2, Reverb,
Chorus
The number of parameters and values available differs depending on the currently selected effect type. For more information, see the Effect Type List in the separate Data List booklet.
■
Drum Key Edit
● [F1]-[SF1] Drum Key Oscillator Wave
From this display you can select the desired wave or
Normal voice used for the individual Drum key.
● [F1]-[SF2] Drum Key Oscillator Output
From this display you can set certain output parameters for the selected Drum key.
• Type
Determines whether a Wave or a Normal voice is to be used for the selected key. Also, use the Bank, Number and
Category parameters below to specify the desired Wave or
Normal voice.
❏ Settings pre wave (Preset wave), voice, usr wave
(User wave) n When the Type is set to “ voice ” here, some parameters in the Drum Voice Edit mode cannot be edited.
• ElementSw (Element Switch)
This parameter is available when Type (above) is set to
“pre wave” or “user wave.” This determines whether the currently selected key is on or off, or in other words, whether the wave for the key is active or inactive.
❏ Settings on, off
• Bank
This parameter is available when Type (above) is set to
“voice.” Any of the Normal voice banks can be selected.
n Plug-in voices cannot be selected for Drum keys.
• Number
Determines the Wave/Voice number. The number differs depending on the selected Type.
❏ Settings
When Type is set to “pre wave”: 001 ~ 1309
When Type is set to “voice”: 001 ~ 128
When Type is set to “usr wave”: 001 ~ 256
For more information about available Waves and
Voices, refer to the separate Data List booklet.
• Category
Determines the Category of the Wave/Normal Voice. If you switch to another Category, the first Wave/Normal Voice in that Category will be selected.
❏ Settings For more information about the Categories, refer to the separate Data List booklet.
• InsEFOut (Insertion Effect Output)
Determines which Insertion effect (1 or 2) is used to process each individual Drum key. The “thru” setting lets you bypass the Insertion effects for the specific key.
❏ Settings thru, ins1 (Insertion Effect 1), ins2
(Insertion Effect 2)
• RevSend (Reverb Send)
Determines the level of the Drum key sound (the bypassed signal) that is sent to Reverb effect. A setting of “0” results in no Reverb processing of the Drum key sound. This is available only when Insertion Effect Output (above) is set to “thru.”
❏ Settings 0 ~ 127
• ChoSend (Chorus Send)
Determines the level of the Drum key sound (the bypassed signal) that is sent to Chorus effect. A setting of “0” results in no Chorus processing of the Drum key sound. This is available only when Insertion Effect Output (above) is set to “thru.”
❏ Settings 0 ~ 127
• OutputSel (Output Select)
Determines the specific output(s) for the individual Drum key signal. You can assign each individual Drum key sound to be output from a specific hardware output jack on the rear panel. By installing the optional AIEB2 board, you can expand the number of assignable outputs.
❏ Settings See below.
LCD
L&R asL&R as1&2 as3&4
Output jacks
OUTPUT L and R
ASSIGNABLE OUTPUT L and R
ASSIGNABLE OUTPUT 1 and 2 on the AIEB2
ASSIGNABLE OUTPUT 3 and 4 on the AIEB2 as5&6 ASSIGNABLE OUTPUT 5 and 6 on the AIEB2 asL asR as1 as2 as3
ASSIGNABLE OUTPUT L
ASSIGNABLE OUTPUT R
ASSIGNABLE OUTPUT 1 on the AIEB2
ASSIGNABLE OUTPUT 2 on the AIEB2
ASSIGNABLE OUTPUT 3 on the AIEB2 as4 as5
ASSIGNABLE OUTPUT 4 on the AIEB2
ASSIGNABLE OUTPUT 5 on the AIEB2
Mono
Mono as6 ASSIGNABLE OUTPUT 6 on the AIEB2 Mono
* Available only when the optional AIEB2 board has been installed.
Stereo
5 : L
6 : R
Mono
Mono
Mono
Mono
Mono
Stereo/
Mono
Stereo
Stereo
Stereo
1 : L
2 : R
Stereo
3 : L
4 : R
*
*
*
*
*
*
*
*
*
150 MOTIF Reference
● [F1]-[SF5] Drum Key Oscillator Other
From this display you can set various parameters related to how the individual notes of the Drum voice respond to the keyboard and MIDI data.
• AssignMode
When this is set to “single,” double playback of the same note is prevented. This is useful when two or more instances of the same note are received nearly simultaneously, or without a corresponding note off message. To allow playback of each instance of the same note, set this to “multi.”
❏ Settings single, multi n When the Alternate Group (AltGrp) parameter is set to a setting other than “off,” this parameter is unavailable, and “---” is shown in the display.
• RcvNoteOff (Receive Note Off)
Determines whether or not the selected Drum key responds to MIDI Note Off messages. Setting this to “off” can be useful for cymbal sounds and other sustaining sounds. This lets you have the selected sounds sustain to the length of their natural decay — even if you release the note, or a Note Off message is received.
❏ Settings off, on n This parameter is effective for Waves selected in the [F1] - [SF1] Drum Key Oscillator Wave display
• AltGrp (Alternate Group)
Set the Alternate Group to which the Wave is assigned. In a real drum kit, some drum sounds cannot physically be played simultaneously, such as open and closed hi-hats.
You can prevent Waves from playing back simultaneously by assigning them to the same Alternate Group. Up to 127
Alternate Groups can be defined. You can also select “off” here if you wish to allow the simultaneous playback of sounds.
❏ Settings off, 1 ~ 127
● [F2]-[SF1]Drum Key Pitch Tune
Voice Edit mode n If a Normal voice has been assigned to the key, this parameter adjusts the position of its note (not its pitch) relative to note C3. For example, let’s assume the original Voice consists of a two-Element pianolike sound up to note C3 and a two-Element stringlike sound from note C#3 upwards. Adjusting this
Coarse setting by +1 would not change the pitch of the piano-like sound to C#3. Instead, note C#3 of the original Voice (i.e., the string-like sound) would be used.
• Fine
Determines the fine tuning for the pitch of each Drum Key
Wave (or Normal Voice).
❏ Settings -64 ~+63
● [F2]-[SF2] Drum Key Pitch
Velocity Sensitivity
From this display you can determine how the pitch of the Drum key responds to velocity.
• Pitch
Determines how the pitch of the selected Drum key responds to velocity. For positive values, the harder you play the key, the higher the pitch becomes. For negative values, the harder you play the key, the lower the pitch.
❏ Settings -64 ~+63
● [F3]-[SF1] Drum Key Filter Cutoff
The MOTIF lets you apply a low pass filter and high pass filter to each individual Drum key — giving you exceptionally detailed and comprehensive sonic control over the Drum voice.
n This parameter is effective for Waves selected in the [F1] - [SF1] Drum Key Oscillator Wave display
• Coarse
Determines the pitch of each Drum Key Wave (or Normal
Voice) in semitones.
❏ Settings -48 ~+48
• LPF Cutoff
Determines the Cutoff frequency of the Low Pass Filter.
❏ Settings 0 ~ 255
• LPF Reso
Determines the amount of Resonance (harmonic emphasis) applied to the signal at the Cutoff frequency.
❏ Settings 0 ~ 31
• HPF Cutoff
Determines the Cutoff frequency of the High Pass Filter.
❏ Settings 0 ~ 255
MOTIF Reference 151
Voice Edit mode
● [F3]-[SF2] Drum Key Filter
Velocity Sensitivity
● [F4]-[SF2] Drum Key Amplitude
AEG Velocity Sensitivity
• LPFCutoff
Determines the velocity sensitivity of the Low Pass Filter
Cutoff frequency. Positive settings will cause the cutoff frequency to rise the harder you play the keyboard and negative settings will cause it to fall.
❏ Settings -64 ~ 0 ~ +63
● [F4]-[SF1] Drum Key Amplitude Level/Pan
This display not only lets you make basic Level and
Pan settings for the sound of each individual Drum key, it also gives you some detailed and unusual parameters for affecting Pan position.
• Level
Determines the velocity sensitivity of the Amplitude
Envelope Generator’s output level. Positive settings will cause the output level to rise the harder you play the keyboard and, conversely, negative values will cause it to fall.
❏ Settings -64 ~ 0 ~ +63
● [F4]-[SF3] Drum Key Amplitude AEG
• Level
Determines the output for the selected Drum key (Wave).
This lets you make detailed balance adjustments among the various sounds of the Drum voice.
❏ Settings 0 ~ 127
• Pan
Determines the stereo Pan position for the selected Drum key (Wave). This will also be used as the basic Pan position for the Alternate and Random settings.
❏ Settings L63 (Left) ~ C (Center) ~ R63 (Right)
• AlternatePan
Determines the amount by which the sound of the selected
Drum key is panned alternately left and right for each note you press. The Pan setting (above) is used as the basic Pan position.
❏ Settings L64 ~ 0 ~ R63 n This parameter is effective for Drum keys whose
Type parameter (in the Oscillator Wave display,
page 150) has been set to “Preset wave” or “User
wave.”
• RandomPan
Determines the amount by which the sound of the selected
Drum key is panned randomly left and right for each note you press. The Pan setting (above) is used as the Center
Pan position.
❏ Settings 0 ~ 127 n This parameter is effective for Drum keys whose
Type parameter (in the Oscillator Wave display,
page 150) has been set to “Preset wave” or “User
wave.”
152 MOTIF Reference
• AttackTime
❏ Settings 0 ~ 127
• Decay1Time
❏ Settings 0 ~ 127
• Decay1Lvl (Level)
❏ Settings 0 ~ 127
• Decay2Time
❏ Settings 0 ~ 126, hold
Decay2 Time = 0~126
Level
Attack
Level
Decay1
Level
Key on
Attack
Time
Decay2 Time = hold
Level
Attack
Level
Decay1
Time
Decay1
Level
Decay2
Time
Time
Key on
Attack
Time
Decay1
Time
Decay2
Time
Time
● [F6] Drum Key EQ (Equalizer)
Same as in Normal Voice Element Edit. See
n This parameter is effective for Drum keys whose
Type parameter (in the Oscillator Wave display,
page 150) has been set to “Preset wave” or “User
wave.”
Plug-in Voice Edit
◆
Common edit and Element edit
Same as Normal Voice Edit. See page 129.
Unlike with Normal voices, the Plug-in voices only have one element for editing.
◆
About Plug-in voices and Board voices
The voices of a Plug-in Board installed to the MOTIF can be divided into two types: Board voices and Plug-in voices. Board voices are unprocessed, unaltered voices of the Plug-in board — the “raw material” used for the
Plug-in voices. Plug-in voices, on the other hand, are edited Board voices — voices that have been specially programmed and processed for optimum use with the
MOTIF.
Included among the Board voices is a special set of voices — called Board Custom voices — which can be edited by a computer connected to the MOTIF, using special editing software included with the Plug-in
Plug-in voice
Plug-in preset voice
Plug-in user voice
Copy
Store
Plug-in
Voice Edit
MOTIF voice parameter
Board voice
Board preset voice
Board custom voice
Save
Cannot be eited
Bulk send/ edit
Computer
(Voice Editor in CD-ROM supplied with the Plug-in board)
Voice Edit mode 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
◆
Basic Procedure
1
Press the [VOICE] button to enter the Voice Play mode. (The indicator lights.)
2
Select a Plug-in voice to be edited.
3
Press the [EDIT] button to enter the Voice Edit mode. (The indicator lights.)
4
Select an element to be edited.
• To edit the Common parameters, press the
[DRUM KITS] button (which serves as a
“COMMON” button here).
DRUM KITS
FAVORITES
COMMON
• To edit the Element parameters, press any one of the NUMBER buttons ([1] - [4]). (Editing is the same, no matter which NUMBER button you press.)
1 2 3 4
ELEMENT/ PERF.PART / ZONE
5
Select the menu you wish to edit by pressing the
[F1] - [F6] and [SF1] -[SF5] buttons.
6
Edit the parameters for the selected voice.
7
Store the settings edited in step #6 to the User
Memory as required.
8
Press the [EXIT] button to exit from the Voice Edit mode.
• For detailed instructions on steps #5 - #6, see the explanations below.
• For details on step #7, refer to “Voice Store
MOTIF Reference 153
Voice Edit mode
■
Common edit
● [F1]-[SF1] Plug-in Common General Name
Same as in Normal Voice Common Edit. See
● [F1]-[SF2] Plug-in Common General
Play mode
Same as in Normal Voice Common Edit. See
Please note that Micro Tuning is not available in
Plug-in Voice Common Edit.
● [F1]-[SF3] Plug-in Common General
Master EQ Offset
Same as in Normal Voice Common Edit. See
● [F1]-[SF4] Plug-in Common General
Portamento
Same as in Normal Voice Common Edit. See
Please note that Portamento Mode and Portamento
Time are not available in Plug-in Voice Common
Edit.
● [F1]-[SF5] Plug-in Common General Other
Same as in Normal Voice Common Edit. See
Unlike with Normal Voice Edit, the Upper and
Lower ranges cannot be independently set here.
● [F2] Plug-in Common Output
Same as in Normal Voice Common Edit. See
● [F3]-[SF1] Plug-in Common Arpeggio
Arpeggio type
Same as in Normal Voice Common Edit. See
● [F3]-[SF2] Plug-in Common Arpeggio
Arpeggio limit
Same as in Normal Voice Common Edit. See
● [F3]-[SF3] Plug-in Common Arpeggio
Play FX (Effect)
Same as in Normal Voice Common Edit. See
154 MOTIF Reference
● [F4]-[SF1] Plug-in Common Control Set
Set1/2
Same as in Normal Voice Common Edit. See
Please note that Element Switch is not available in
Plug-in Voice Common Edit.
● [F4]-[SF2] Plug-in Common Control Set
Modulation Wheel
From this display you can set how the Plug-in voice responds to the Modulation wheel, by changing the control depth for the filter, pitch and amplitude
(volume).
• Filter
Determines the depth of control of the Modulation Wheel over the filter cutoff frequency. Negative settings result in reversed Modulation wheel operation (i.e., moving the wheel up results in less modulation).
❏ Settings -64 ~ 0 ~ +63
• PMod (Pitch Modulation Depth)
Determines the depth of control the Modulation Wheel has over pitch modulation. The higher the setting, the greater the depth of control.
❏ Settings 0 ~ 127
• FMod (Filter Modulation Depth)
Determines the depth of control the Modulation Wheel has over filter cutoff modulation. The higher the setting, the greater the depth of control.
❏ Settings 0 ~ 127
• AMod (Amplitude Modulation Depth)
Determines the depth of control the Modulation Wheel has over amplitude modulation. The higher the setting, the greater the depth of control.
❏ Settings 0 ~ 127
● [F4]-[SF3] Plug-in Common Control Set
After Touch
The MOTIF gives you a comprehensive set of after touch controls for the Plug-in voice, allowing you to change the pitch and filter settings, and produce modulation effects (pitch, filter and amplitude)- simply by pressing down hard on the keys.
• Pitch
Determines the depth of control of keyboard aftertouch over pitch. You can set a value (in semitones) of up to two octaves.
❏ Settings -24 ~ 0 ~ +24
• Filter
Determines the depth of control of keyboard aftertouch over the filter cutoff frequency.
❏ Settings -64 ~ 0 ~ +63
• PMod (Pitch Modulation Depth)
Determines the depth of control that keyboard aftertouch has over pitch modulation. The higher the setting, the greater the depth of control.
❏ Settings 0 ~ 127
• FMod (Filter Modulation Depth)
Determines the depth of control that keyboard aftertouch has over filter cutoff modulation. The higher the setting, the greater the depth of control.
❏ Settings 0 ~ 127
• AMod (Amplitude Modulation Depth)
Determines the depth of control that keyboard aftertouch has over amplitude modulation. The higher the setting, the greater the depth of control.
❏ Settings 0 ~ 127
● [F4]-[SF4] Plug-in Common Control Set
AC (Assignable Controls)
From this display you can assign MIDI Control
Change numbers and determine the degree to which the assigned controllers affect the filter and the modulation effects (pitch, filter and amplitude). For details on using Control Change numbers and the
Assignable Controls, see page 191.
Voice Edit mode
• Source
Determines the MIDI Control Change number used to control the filter, PMod, FMod, and Amod.
❏ Settings 0 ~ 95
• Filter
Determines the depth of control the Control Change numbers (set in the Source parameter above) have over the filter cutoff frequency.
❏ Settings -64 ~ 0 ~ +63
• PMod (Pitch Modulation Depth)
Determines the depth of control the Control Change messages (set in the Source parameter above) have over pitch modulation. The larger the setting, the greater the depth of control.
❏ Settings 0 ~ 127
• FMod (Filter Modulation Depth)
Determines the depth of control the Control Change messages (set in the Source parameter above) have over filter cutoff modulation. The larger the setting, the greater the depth of control.
❏ Settings 0 ~ 127
• AMod (Amplitude Modulation Depth)
Determines the depth of control the Control Change messages (set in the Source parameter above) have over amplitude modulation. The larger the setting, the greater the depth of control.
❏ Settings 0 ~ 127
● [F6]-[SF1] Plug-in Common Effect
Connection
This is the same as in Normal Voice Common
Edit (page 137), with the exception of the following
points.
• EL: OUT settings are not available in Plug-in
Voice Common Edit.
• The parallel setting (Insertion Connection) is not available in Plug-in Voice Common Edit.
● [F6]-[SF2], [SF3], [SF4], [SF5] Plug-in Common
Effect Parameter Insertion 1, 2, Reverb,
Chorus
The number of parameters and values available differs depending on the currently selected effect type. For more information, see the Effect Type List in the separate Data List booklet.
MOTIF Reference 155
Voice Edit mode
■
Element Edit
● [F1]-[SF1] Plug-in Element Oscillator Wave
From this display you can select the desired Board
Voice used for the element of the Plug-in voice. Keep in mind that a Plug-in voice only has one element.
● [F2] Plug-in Element Pitch PEG Time, Level
From this display you can make various time and level settings for the Pitch EG, which determine how the pitch of the Board voice changes over time.
• Bank
Determines the Board Voice Bank of the Plug-in voice.
❏ Settings (These depend on the particular Plug-in board; refer to the relevant owner’s manual for details.)
• Number
Determines the Board Voice Number.
❏ Settings (These depend on the particular Plug-in board; refer to the relevant owner’s manual for details.)
● [F1]-[SF5] Plug-in Element Oscillator Other
From this display you can set how the Plug-in voice responds to velocity, and transpose the key (pitch) for the voice.
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
Attack time
DCY1
---
DCY2
---
-------
REL
Release time
Release time
---
Pitch
Initial
Level
Original
Pitch
Release
Level
0
Attack
Time
Time
Key off
Release
Time
❏ Settings -64 ~ 0 ~ +63
● [F3] Plug-in Element Filter Cutoff
• Velocity Depth
Determines the velocity sensitivity of the Board voice. For higher values, the harder you play the keyboard, the louder the voice becomes.
❏ Settings 0 ~ 127
• Velocity Offset
This lets you specify an offset value for the velocity sensitivity of the Board voice. In other words, you can increase the relative velocity (or level) of the voice by a set amount — so that all the notes you play have the added velocity.
❏ Settings 0 ~ 127
• Note Shift
Determines the transpose setting for the Board voice, or the amount (in semitones) by which the pitch is raised or lowered. The pitch range is two octaves, up or down.
❏ Settings -24 ~ 0 ~ +24
• HPFCutoff (High Pass Filter Cutoff frequency)
Determines the Cutoff frequency for the High Pass Filter.
❏ Settings -64 ~ 0 ~ +63
● [F4] Plug-in Element Native
With a Plug-in board installed to the MOTIF, you can create a Board voice by editing both native parameters
(those parameters exclusive to the particular board) and unique parameters (related specifically to the MOTIF).
Pressing [F4] gives you access to the native parameters of the Plug-in board.The parameters will vary depending on the Plug-in Board. For details about each parameter and its functions, refer to the Owner’s Manual or the on-line help that came with your Plug-in Board.
n For details on the current lineup of available Plug-
156 MOTIF Reference
Voice Edit mode
● [F5] Plug-in Element LFO
From this display you can set the basic LFO parameters for modulating the pitch to create vibrato and other special effects.
Key on Key on
• PMod (Pitch Modulation Depth)
Determines the amount by which the LFO waveform controls the pitch. Positive settings increase the amount and negative settings decrease it. This is applied as an offset to the same parameter in the original voice of the
Plug-in board.
❏ Settings -64 ~ 0 ~ +63
● [F6] Plug-in Element EQ (Equalizer)
From this display you can apply equalizer settings to the Board voice. This is a shelving equalizer with two bands; one for high frequencies and the other for low frequencies.
+
• Speed
Determines the speed of the LFO waveform. Positive settings increase the speed and negative settings decrease it. This is applied as an offset to the same parameter in the original voice of the Plug-in board.
❏ Settings -64 ~ 0 ~ +63
Speed=slow Speed=fast
Time Time
• Delay
Determines the delay time between the moment you press note on the keyboard and the moment the LFO comes into effect. Positive settings lengthen the delay and negative settings shorten it. This is applied as an offset to the same parameter in the original voice of the Plug-in board.
❏ Settings -64 ~ 0 ~ +63
Short Delay Long Delay
0
Frequency
-
2
LowGain
1
LowFreq
3
HighFreq
4
HighGain
1 LowFreq (Low Frequency)
Determines the shelving point for the low frequencies.
The levels of signals below this frequency will be boosted/ attenuated by the amount set in the LoGain parameter.
❏ Settings 32Hz ~ 2.0kHz
2 LowGain (Low Gain)
Determines the amount by which signals below the
LoFreq frequency will be boosted/attenuated.
❏ Settings -64 ~ 0 ~ +63
3 HighFreq (High Frequency)
Determines the shelving point for the high frequencies.
The levels of signals above this frequency will be boosted/ attenuated by the amount set in the HiGain parameter.
❏ Settings 500Hz ~ 16.0kHz
4 HighGain (High Gain)
Determines the amount by which signals above the HiFreq frequency will be boosted/attenuated.
❏ Settings -64 ~ 0 ~ +63
◆
About Board Custom Voice Editing
You can edit Board Custom voices of the Plug-in Board by using the Voice Editor software included with the board. n Select the Part Number of the Editor software to “1” when using the software with the Voice mode. Also make sure to match the basic MIDI receive channel of the
MOTIF (page 258) to the MIDI channel of the Editor
software.
The original Board Custom voices you’ve edited can be saved and controlled from the computer.
Make sure to save the edited data to a memory card or connected SCSI device from the MOTIF, since any edited data in the DRAM of the Plug-in board will be lost when you turn off the power on the MOTIF. n For details about how to use the Voice Editor software included with the Plug-in board, refer to the Online help of the Voice Editor. n Editing the above parameters may or may not have much effect on the sound, depending on the particular Plug-in board you've installed.
MOTIF Reference 157
Voice Job mode
Voice Job mode
The Voice Job mode contains various convenient operations (called “Jobs”), which are useful in editing and archiving your original voices.
◆
Basic Procedure
1
In the Voice Play mode, select a voice you wish to execute the Job on.
2
Press the [JOB] button to enter the Voice Job
Mode.
3
Select the desired Job menu by pressing the appropriate button, [F1] - [F6].
4
Set the relevant Job parameters.
5
Press the [ENTER] button. (The display prompts you for confirmation.)
6
Press the [INC/YES] button to execute the Job.
After the Job has been completed, a “Completed” message appears and operation returns to the original display.
n To cancel the Job, press the [DEC/NO] button.
❏ Type of parameter to be initialized
When a Normal voice is selected:
ALL, Common, EL1 ~ 4
When a Drum voice is selected:
ALL, Common, EL n If you turn the check mark on, you can select a
Drum key. For details on selecting a key, see “Basic
When a Plug-in voice is selected:
ALL, Common, EL
● [F2] Edit Recall
If you are editing a voice and select a different voice without storing your edited one, all the edits you’ve made will be erased. If this happens, you can use
Edit Recall to restore the voice with your latest edits intact.
● [F3] Copy
From this display you can copy Common and
Element/Drum Key parameter settings from any
Voice to the Voice you are editing. This is useful if you are creating a Voice and wish to use some parameter settings from another Voice.
For Jobs that take longer to process, you will see the message “Executing…” during processing. If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data.
7
Press the [VOICE] button to exit from Voice Job mode and return to Voice Play mode.
• For detailed instructions on steps #3 - #4, see the explanations below.
● [F1] Initialize
This function lets you reset (initialize) all voice parameters to their default settings. It also allows you to selectively initialize certain parameters, such as Common settings, settings for each Element/
Drum key, and so on — very useful when creating a completely new voice from scratch.
• Source voice
Select a Voice and data type to be copied.
❏ Data type
When a Normal voice is selected:
Common, Element 1 ~ 4
When a Drum voice is selected:
Common, Drum key C0 ~ C6
When a Plug-in voice is selected:
Common, Element n If the source Voice type (Normal/Drum/Plug-in) differs from one of the Voice you are currently editing (destination), you will only be able to copy
Common parameters.
158 MOTIF Reference
• 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:
Element 1 ~ 4
When a Drum voice is selected:
Drum key C0 ~ C6 n If you choose to copy Common parameters from the source, this display will change to “Common.”
● [F4] Bulk Dump
This function lets you send all your edited parameter settings for the currently selected voice to a computer or another MIDI device for data archiving.
n You must set the correct MIDI Device Number in order to execute a Bulk Dump. For details, see
Voice Store mode
Voice Store mode
This function lets you store your edited voice to User memory.
When you execute this, the settings for the destination memory will be overwritten. Important data should always be backed up to computer, a separate Memory Card or some other storage device.
◆
Basic Procedure
1
After editing the voice, press the [STORE] button to enter the Voice Store mode.
2
Select the destination Voice Memory.
3
Press the [ENTER] button. (The display prompts you for confirmation.)
4
To execute the Store operation, press the [INC/
YES] button. After the voice has been stored, a
“Completed” message appears and operation returns to the original display.
n To cancel the Store operation, press the [DEC/NO] button.
For Store operations that take longer to process, you will see the message “Executing…” during processing. If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data.
MOTIF Reference 159
Function Tree
Performance Mode
Function Tree
This section is devoted to the Performance mode. To see how the Performance mode relates to the entire structure of
The following detailed chart shows all of the display menus and parameter groups of the Performance modes — giving you a quick, easy-to-understand overview of the performance-related functions of the MOTIF.
Brackets around a word or phrase (e.g., [F1]) indicate specific button names or panel operations.
[PERFORMANCE]
[INFO] PERFORMANCE INFO
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 275
[PERFORM] PERFORMANCE PLAY
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 162
[F1] PERFORMANCE PLAY
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 162
[F2] PERFORMANCE AD
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 163
[F3] PERFORMANCE VOICE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 164
[SF1] ADD INTERNAL VOICE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 164
[SF2] ADD PLUG-IN VOICE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 164
[SF4] SET NOTE LIMIT LOW
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 164
[SF5] SET NOTE LIMIT HIGH
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 164
[CATEGORY] PERFORMANCE CATEGORY SEARCH
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 124
[FAV] CATEGORY SEARCH
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 126
[F1] SUB CATEGORY1 SELECT
. . . . . . . . . . . . . . . . . . . . . . . . P. 126
[F2] SUB CATEGORY2 SELECT
. . . . . . . . . . . . . . . . . . . . . . . . P. 126
[F3] SUB CATEGORY3 SELECT
[F4] SET TO FAVORITE
. . . . . . . . . . . . . . . . . . . . . . . . . P. 126
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 126
[F5] CLEAR 1 FAVORITE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 126
[F6] CLEAR ALL FAVORITE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 126
[FAV] FAVORITE SELECT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 127
[F5] CLEAR 1 FAVORITE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 127
[F6] CLEAR ALL FAVORITE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 127
[EDIT] PERFORMANCE EDIT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 165
[COMMON] COMMON
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 165
[F1] COMMON
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 166
[SF1] NAME
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 166
[SF3] MEQ OFFSET
[SF4] PORTA
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 166
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 167
[SF5] OTHER
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 167
[F2] COMMON OUTPUT/MASTER EQ
[SF1] OUTPUT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 167
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 167
[SF2] MEQ
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 168
[F3] COMMON ARPEGGIO
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 168
[SF1] TYPE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 168
[SF2] LIMIT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 168
[SF3] PLAY
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 168
[SF4] OUTPUT CHANNEL
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 168
[SF5] CLEAR USER ARPEGGIO
[F4] COMMON CONTROLLER ASSIGN
. . . . . . . . . . . . . . . . . . . . . . . . P. 132
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 169
CONTROLLER ASSIGN
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 169
[F6] COMMON EFFECT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 169
[SF1] EFFECT CONNECT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 169
[SF2] PLG-EF
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 170
[SF3] VARIATION
[SF4] REVERB
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 170
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 170
[SF5] CHORUS
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 170
160 MOTIF Reference
[PART SELECTION] PART 1-4
[F6]
[F1] PART VOICE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 170
[SF1] VOICE
. . . . . . . . . . . . . . . . . . . . P. 170
[SF2] PLYMODE
. . . . . . . . . . . . . . . . . P. 170
[SF3] LIMIT
. . . . . . . . . . . . . . . . . . . . . P. 170
[SF4] PORTAMENTO
. . . . . . . . . . . . . P. 171
[SF5] OTHER
. . . . . . . . . . . . . . . . . . . . P. 171
[F2] PART OUTPUT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 172
[SF1] VOLUME/PAN
. . . . . . . . . . . . . . P. 172
[SF2] EFFECT SEND
. . . . . . . . . . . . . P. 172
[F3] PART OUTPUT SELECT
. . . . . . . . . . . . . . . . . . . . . . . . P. 173
OUTPUT SELECT
. . . . . . . . . . . . . . . . P. 173
[F4] PART TONE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 173
[SF1] TUNE
. . . . . . . . . . . . . . . . . . . . . P. 173
[SF2] FILTER
. . . . . . . . . . . . . . . . . . . P. 173
[SF3] FEG
. . . . . . . . . . . . . . . . . . . . . . P. 173
[SF4] AEG
. . . . . . . . . . . . . . . . . . . . . . P. 174
[F5] PART RECEIVE SWITCH
. . . . . . . . . . . . . . . . . . . . . . . P. 174
[PART SELECTION] PART PLG1-PLG3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 170
[F6]
[F1] PART VOICE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 170
[SF1] VOICE
. . . . . . . . . . . . . . . . . . . . P. 170
[SF2] PLYMODE
. . . . . . . . . . . . . . . . . P. 170
[SF3] LIMIT
. . . . . . . . . . . . . . . . . . . . . P. 170
[SF4] PORTAMENTO
. . . . . . . . . . . . . P. 171
[SF5] OTHER
. . . . . . . . . . . . . . . . . . . P. 171
[F2] PART OUTPUT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 172
[SF1] VOLUME/PAN
. . . . . . . . . . . . . . P. 172
[SF2] EFFECT SEND
. . . . . . . . . . . . . P. 172
[F3] PART OUTPUT SELECT
. . . . . . . . . . . . . . . . . . . . . . . . P. 173
[F4] PART TONE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 173
[SF1] TUNE
. . . . . . . . . . . . . . . . . . . . . P. 173
[SF2] FILTER
. . . . . . . . . . . . . . . . . . . . P. 173
[SF4] AEG
. . . . . . . . . . . . . . . . . . . . . . P. 174
[F5] PART RECEIVE SWITCH
. . . . . . . . . . . . . . . . . . . . . . . P. 174
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 165
[EDIT] PERFORMANCE COMPARE
[JOB] PERFORMANCE JOB
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 175
[F1] INITIALIZE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 175
[F2] EDIT RECALL
[F3] COPY
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 175
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 175
[F4] BULK DUMP
[STORE] PERFORMANCE STORE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 176
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 176
Function Tree
MOTIF Reference 161
Performance Play mode
Performance Play mode
Basic Structure (page 31) · Quick Start Guide (page 88)
In this mode, you can select and play individual User performances.
n For details about the performances and their memory
(bank) structure, see page 40.
◆
Basic Procedure
1
Press the [PERFORMANCE] button to enter the
Performance Play mode. (The indicator lights.)
PERFORM
Indicates the Keyboard
MIDI transmit channel.
See page 162 for details.
Indicates the functions assigned to the respective
Control knobs. See page
256 for details.
Indicates Keyboard Octave setting set is the [OCTAVE] buttons.
See page 82 for details.
Indicates the current selected Performance.
Bank
Performance Program number
(corresponding to Groups A
to H and Numbers 01 to 16)
Number
(selected via the
NUMBER [1]-[16] buttons)
Group
(selected via the GROUP
[A]-[H] buttons)
5
Select the menu you wish to edit by pressing the
[F2] - [F6] buttons and edit the parameters in each display.
6
Store the settings edited in step #5 to the User
Memory as required.
7
Press any other mode button to exit from the
Performance Play mode.
• For detailed instructions on steps #2 - #5, see the following explanations.
• For details on step #6, refer to “Performance
Performance Selection
The explanations here apply to step #2 of the Basic
Procedure above.
Selecting performances is done in basically the same
way as selecting voices (page 124), except for the
following point.
• Since the MOTIF has no Preset performances and provides only one User bank, selecting a bank is not necessary.
Keyboard Octave and Keyboard
MIDI transmit channel settings
The explanations here apply to step #3 of the Basic
The two parameters set here affect all selected performances. Setting these parameters is the same as
in the Voice Play mode (page 127). Keep in mind that
these parameters cannot be stored to the performance
by using the Performance Store mode (page 176).
Keyboard MIDI transmit channel
Category Performance name
2
Select a performance.
3
Set the Keyboard Octave or MIDI transmit channel.
4
Turn individual parts of the performance on or off
(mute) as desired.
Keyboard octave setting
162 MOTIF Reference
Performance Play mode
Performance Part on/off
The explanations here apply to step #4 of the Basic
MUTE Press the [MUTE] button so that its indicator lights.
SOLO
1 2 3 4
Press any of the [1] - [4] buttons you wish to mute.
n This operation is available also in the Performance Edit mode.
Performance editing in the
Performance Play mode
The explanations here apply to step #5 of the Basic
The Performance Play mode lets you perform a variety of general editing operations on the selected performance. For more detailed and comprehensive editing operations, use the Performance Edit mode.
n The parameters that have the same name in the
Performance Play mode and in the Performance Edit mode have the same functions and settings.
◆
The [ ] Indicator
If you alter any parameters in the Performance Play mode, the [ ] indicator will appear in the top left of the display. This indicates that the current performance has been modified but not yet stored.
Edit indicator n If you select another performance during editing, the [ ] indicator will disappear and all your edits will be lost.It is a good idea to store the edited performance data from the
Performance Store mode (page 176). Even if you lose the
performance edited data, you can restore it by using the
Edit Recall function (page 175).
● [F2] Performance Play A/D
From this display you can make settings for the A/
D input parts. The A/D input feature lets you input external audio (such as from a microphone or guitar), then process and mix it with the other sounds of the MOTIF. The audio signal can be input via the A/D INPUT jack or the mLAN terminal (if an optional mLAN8E has been installed).
n In the Utility mode, you can set whether you use the A/
D INPUT jack or the mLAN8E jack as an input jack for
• Volume
Determines the output level of the A/D part.
❏ Settings 0 ~ 127
• Pan
Determines the stereo pan position of the A/D part.
❏ Settings L63 (Left) ~ C (Center) ~ R63 (Right)
• RevSend
Determines the Send level of the A/D part signal sent to the Reverb effect. For details about effect connection, see
❏ Settings 0 ~ 127
• ChoSend
Determines the Send level of the A/D part signal sent to the Chorus effect. For details about effect connection, see
❏ Settings 0 ~ 127
• VarSend(Variation Send)
Determines the Send level of the A/D part signal sent to the Variation effect. For details about effect connection,
❏ Settings 0 ~ 127
• DryLevel
Determines the level of the A/D part which has not been processed with the System Effects (Reverb, Chorus,
❏ Settings 0 ~ 127
• Mono/Stereo
Determines the signal configuration for the the A/D input audio, or how the signal or signals are routed (stereo or mono). When the mLAN terminal (with the optional mLAN8E installed) is set as the input source for the A/D part, this parameter cannot be set.
❏ Settings stereo, L mono, R mono, L+R mono stereo
Audio received via both A/D INPUT jacks is processed in stereo.
L (left) mono
Audio received via the L (left) A/D INPUT jack is processed in mono.
R (left) mono
Audio received via the R (right) A/D INPUT jack is processed in mono.
L+R mono
Audio received via both A/D INPUT jacks is mixed and processed in mono.
MOTIF Reference 163
Performance Play mode
• OutputSel (Output Select)
Determines the output jack assignment for the A/D part.
❏ Settings See below.
LCD
L&R as1&2 AIEB2 ASSIGNABLE OUTPUT 1&2 as3&4 AIEB2 ASSIGNABLE OUTPUT 3&4 as5&6 AIEB2 ASSIGNABLE OUTPUT 5&6 as1 as2 as3 as4 as5 as6
Output jack
OUTPUT L&R
AIEB2 ASSIGNABLE OUTPUT 1
AIEB2 ASSIGNABLE OUTPUT 2
AIEB2 ASSIGNABLE OUTPUT 3
AIEB2 ASSIGNABLE OUTPUT 4
AIEB2 ASSIGNABLE OUTPUT 5
AIEB2 ASSIGNABLE OUTPUT 6
Stereo
5 : L
6 : R
Mono
Mono
Mono
Mono
Mono
Mono
Stereo/
Mono
Stereo
Stereo
1 : L
2 : R
Stereo
3 : L
4 : R
*
*
*
*
*
*
*
*
*
* Available only when the optional AIEB2 board has been installed.
● [F3] Performance Play Voices
From this display you can select a voice for each part and determine the note range it can be played from.
1
Move the cursor to the desired part, then move it to the voice bank or number you wish to set for the part.
2
If the part is blank (i.e., no voice has been assigned), use these to enable a voice (Internal or Plug-in) for the part. Once a voice is assigned, select the specific bank and voice with the [INC/YES] and [DEC/NO] buttons, or the data dial. You can also use the BANK, GROUP and
NUMBER buttons to select a voice (page 124).
4
Use this to delete the assigned voice, if desired.
3
Use these to set the note range, low and high, for the part’s voice.
• [SF1] ADD INT (Add Internal Voice)
If no voice has been assigned and the selected part is blank, press this to enable an Internal voice for the part.
• [SF2] ADD PLG (Add Plug-in Voice)
If no voice has been assigned and the selected part is blank, press this to enable a Plug-in voice for the part.
• [SF3] DELETE
Pressing this button deletes the voice assignment for the selected part, leaving the part blank.
• [SF4] LIMIT L (Note Limit Low)
This sets the lowest note of the range over which the voice of the selected part sounds. Simultaneously hold down this button and press the desired key on the keyboard to set the note.
• [SF5] LIMIT H (Note Limit High)
This sets the highest note of the range over which the voice of the selected part sounds. Simultaneously hold down this button and press the desired key on the keyboard to set the note.
● [F4] Performance Play Portamento
From this display you can set the Portamento parameters for each part. Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to the next.
• PortaSw (Portamento Switch)
Determines whether Portamento is on or off for all parts.
(This is a global switch and overrides the individual part settings in Part Switch below.)
❏ Settings off , on
• Time
Determines the pitch transition time.
This parameter offsets the same parameter in the part edit
(page 171). Higher values result in longer transition times.
❏ Settings -64 ~ +63
• PartSwitch
Determines whether Portamento is on or off for each individual part.
●
[F5] Performance Play
EG(Envelope Generator)
This display contains the basic EG settings, both volume and filter, for the performance, as well as the filter’s cutoff frequency and resonance settings.
The settings made here are applied as offsets to the
AEG and FEG settings in the Performance Edit
Same as in Voice Play mode. See page 127 .
164 MOTIF Reference
● [F6] Performance Play Arpeggio
This display contains the basic settings for Arpeggio playback, including Type and Tempo.
The parameters are same as in the Voice Play
mode (page 127) except for the following one.
• PartSwitch
Determines whether Arpeggio is on or off for the selected part.
Performance Edit mode
Performance Edit mode
In this mode, Performances can be created and edited.
◆
The [ ] Indicator
If you alter any parameters in Performance Edit Mode, the [ ] indicator will appear in the top left of the display. This indicates that the current performance has been modified but not yet stored. n Even if you exit to the Performance Play mode, your edited settings for the current performance will be maintained — as long as you don’t select another performance.
n The [ ] indicator is also displayed in the Performance
Play mode.
◆
The Compare Function
This convenient function lets you switch between the edited performance and its original, unedited condition
— allowing you to listen to the difference between the two and better hear how your edits affect the sound.
1
In the Performance Edit mode, press the
[COMPARE] button so that its indicator flashes.
The [ ] indicator is shown at the top of the display (in place of the [ ] indicator), and the original, unedited performance is restored for monitoring.
EDIT
COMPARE
2
Press the [EDIT] button again to disable the
“Compare” function and restore the settings for your edited Performance. While Compare is active, you cannot make edits to the performance.
◆
Common (to all parts) edit
and Part edit
Each performance can contain a maximum of four parts, selected from a total seven parts — four parts from the Internal tone generator, and three from the installed Plug-in boards. Use Common Edit to edit the settings for all of the parts. There are two types of
Voice Edit displays: those for Common Edit, and those for editing individual parts.
MOTIF Reference 165
Performance Edit mode
Common
Part1
Part2
Part3
Part4
Plug-in part 1
Plug-in part 2
Plug-in part 3
Parts to which
Internal voices are assigned
Parts to which
Plug-in voices are assigned
Indicates a Common Edit display.
< Display for editing parts 1 - 4>
< Display for editing Plug-in parts 1 - 3 >
[F6] button
Indicates a display for editing Part 1.
◆
Basic Procedure
1
Press the [PERFORMANCE] button to enter the
Performance Play mode. (The indicator lights.)
2
Select a Performance to be edited.
3
Press the [EDIT] button to enter the Performance
Edit mode. (The indicator lights.)
4
Select a Part to be edited.
• To edit parameters common to all of the parts, press the [DRUM KITS] button (which serves as a “COMMON” button here).
DRUM KITS
FAVORITES
COMMON
• To edit parameters of the individual parts, select the desired part with the corresponding
NUMBER button ([1] - [4], or in the case of the
Plug-in parts, [1] - [3]).
1 2 3 4
ELEMENT/ PERF.PART / ZONE
To switch between the Part 1 - 4 display and the
Plug-in Part 1 - 3 display, press the [F6] button.
5
Select the menu you wish to edit by pressing the
[F1] - [F6] and [SF1] -[SF5] buttons.
6
Edit the parameters for the selected performance.
7
Store the settings edited in step #6 to the User
Memory as required.
8
Press the [EXIT] button to exit from the
Performance Edit mode.
• For details on step #2, refer to “Performance Play
• For detailed instructions on steps #5 - #6, see the explanations below.
• For details on step #7, refer to “Performance
■
Common edit
●
[F1]-[SF1] Common General Name
From this display you can create a name for the performance. The performance name can contain up to 10 characters. For detailed instructions on
naming, see “Basic Operation” on page 75.
●
[F1]-[SF3] Common General
Master EQ Offset
From this display you can adjust the master (global)
EQ settings for all parts of the selected performance.
The level of each of the four bands (with the exception of “MID”) can be adjusted. Moreover, you can also tweak these settings directly from the four Knobs on the front panel.
166 MOTIF Reference
Performance Edit mode
With the exception of Pitch Bend, which cannot be set here, these parameters are the same as in the
●
[F2]-[SF1] Common Output
KNOB
CONTROL
FUNCTION
PAN REVERB
CUTOFF RESONANCE
ASSIGN A ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
KN 1
MEQ LOW
KN 2 KN 3
MEQLOWMID MEQ HI M ID
KN 4
MEQ HIGH
❏ Settings -64 ~ +63
●
[F1]-[SF4] Common General Portamento
From this display you can set the Portamento parameters for all parts of the selected performance.
Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to the next.
• Switch
Determines whether Portamento is on or off for the entire performance. Keep in mind that this is a global control; you can also switch Portamento on and off for individual parts in Part Switch below.
❏ Settings off, on
• Time
Determines the pitch transition time.
This parameter offsets the same parameter in the part edit
settings (page 170). Higher values result in longer
transition times.
❏ Settings -64 ~ +63
• PartSwitch
Determines whether Portamento is on or off for each individual part.
●
[F1]-[SF5] Common General Other
From this display you can set the control functions for the Knobs and related parameters.
• Volume
Determines the output level of the selected performance.
You can adjust the overall volume, keeping the balance between all parts .
❏ Settings 0 ~ 127
• Pan
Determines the stereo pan position of the selected performance.
This parameter offsets the same parameter in the part edit
You can also adjust this parameter using the PAN knob on the front panel.
❏ Settings L63 (Left) ~ C (Center) ~ R63 (Right) n A setting of “C” (center) maintains the individual
Pan settings of each Part.
• RevSend
Determines the Send level of the signal sent from Insertion
Effect 1/2 (or the bypassed signal) to the Reverb effect.
You can also adjust this parameter using the REVERB knob on the front panel.
❏ Settings 0 ~ 127
• ChoSend
Determines the Send level of the signal sent from Insertion
Effect 1/2 (or the bypassed signal) to the Chorus effect.
You can also adjust this parameter using the [CHORUS] knob on the front panel.
❏ Settings 0 ~127
MOTIF Reference 167
Performance Edit mode
● [F2]-[SF2] Common MEQ(Master Equalizer)
˙
From this display you can apply five-band equalization to all parts of the selected performance.
Gain
Q(Frequency Characteristic)
• Gain
Determines the level gain for the Frequency (set above), or the amount the selected frequency band is attenuated or boosted.
❏ Settings -12dB ~ 0dB ~ +12dB
• Q (Frequency Characteristic)
This varies the signal level at the Frequency setting to create various frequency curve characteristics.
❏ Settings 0.1 ~ 12.0
0.1
12.0
Frequency
0
Freq
(Frequency )
5 bands
LOW LOWMID MID HIGHMID HIGH
• Shape
Determines whether the equalizer type used is Shelving or
Peaking. The Peaking type attenuates/boosts the signal at the specified Frequency setting, whereas the Shelving type attenuates/boosts the signal at frequencies above or below the specified Frequency setting.
This parameter is available for LOW, MID, and HIGH.
❏ Settings shelv (Shelving type), peak (Peaking type) shelv (Shelving)
+
0
–
EQ Low
Freq1
EQ Low
Freq2
Frequency peak (Peaking)
+
Gain
0
Frequency
–
Freq
• Freq (Frequency)
Determines the center frequency. Frequencies around this point are attenuated/boosted by the Gain setting.
❏ Settings
LOW: Shelving 32Hz ~ 2.0kHz
Peaking 63Hz ~ 2.0kHz
LOW MID, MID, HIGH MID: 100Hz ~ 10.0kHz
High: 500Hz ~ 16.0kHz
Freq
●
[F3]-[SF1] Common Arpeggio
Arpeggio type
Same as in Normal Voice Common Edit. See
●
[F3]-[SF2] Common Arpeggio
Arpeggio limit
Same as in Normal Voice Common Edit. See
●
[F3]-[SF3] Common Arpeggio
Play FX (Effect)
Same as in Normal Voice Common Edit. See
●
[F3]-[SF4] Common Arpeggio
Output channel
From this display you can set a separate MIDI output channel for the Arpeggio playback data, letting you have the Arpeggio sound from an external tone generator or synthesizer.
168 MOTIF Reference
• OutputSwitch
When this is set to on, Arpeggio playback data is output from the MIDI terminal.
❏ Settings on, off
• TransmitCh
Determines the MIDI transmit channel for Arpeggio playback data.
❏ Settings 1 ~ 16
●
[F4] Common Controller Assign
The controllers and knobs on the front panel can be used to change and adjust a variety of parameters — in real time, and simultaneously.
For example, you could use the ASSIGN 1 and 2 knobs to control effect depth for two different effects, while using the Foot Controller to control modulation. These control assignments are called
“Controller Assign.” You can have independent
Controller Assign settings for each performance.
Set the Control Change number for the Breath Controller.
The function set here can be controlled by the Breath Controller connected to the BREATH CONTROLLER (page 28) jacks on the rear panel.
Determines the Control
Change numbers for the
ASSIGN 1 and 2 knobs on the front panel.
Determines the Control Change numbers for Foot Controllers 1 and 2. To control these functions, connect Foot Controllers to the FOOT CONTROLLER jacks on the rear panel (page 28).
❏ Settings (See chart below)
16
17
18
19
06
07
10
11
00
01
02
04
05
Control Change Numbers
LCD off
ModWheel
Breath
FootCtrl
PortTime
Data Ent
MainVol
Panpot
Express
General 1
General 2
General 3
General 4
91
92
93
72
74
75
84
32
64
65
66
67
LCD off
Sustain
PortaSw
Sostenut
Soft
Release
Bright
Decay
PortaCtl
Effect 1
Effect 2
Effect 3
Performance Edit mode
●
[F6]-[SF1] Common Effect Connection
This display gives you comprehensive control over the effects.
• EF PART (Effect part) ➡ VCE INS (Voice
Insertion)
Determines the part to which the Insertion effect is
applied. The Insertion connection type (page 40) depends
on the voice of the selected part.
❏ Settings Part 1 ~ 4, Plug-in Part 1 ~ 3, off
• EF PART (Effect part) ➡ PLG-EF (Plug-in
Efect)
Determines the part to which the Insertion effect is applied. This parameter is available only when a special
Effect Plug-in board (VH) has been installed.
❏ Settings Part 1~4, Plug-in Part 1~3, A/D, off
• Variation Type
Determines the Variation effect type.
❏ Settings Refer to the Effect Types list in the separate
Data List booklet.
• Variation Return
Determines the Return level of the Variation Effect.
❏ Settings 0 ~ 127
• Variation Pan
Determines the pan position of the Variation effect sound.
❏ Settings L64 (far left) ~cnt (center) ~ R63 (far right)
• Variation To Reverb
Determines the Send level of the signal sent from the
Variation Effect to the Reverb Effect.
❏ Settings 0 ~ 127
• Variation To Chorus
Determines the Send level of the signal sent from the
Variation Effect to the Chorus Effect.
❏ Settings 0 ~ 127
• Chorus Type
Determines the Chorus effect type.
❏ Settings Refer to the Effect Types list in the separate
Data List booklet.
• Chorus Return Level)
Determines the Return level of the Chorus Effect.
❏ Settings 0 ~ 127
• Chorus Pan
Determines the pan position of the Chorus effect sound.
❏ Settings L64 (far left) ~ cnt (center) ~ R63 (far right)
MOTIF Reference 169
Performance Edit mode
• Chorus to Reverb
Determines the Send level of the signal sent from the
Chorus Effect to the Reverb Effect.
❏ Settings 0 ~ 127
• Reverb Type
Determines the Reverb effect type.
❏ Settings Refer to the Effect Types list in the separate
Data List booklet.
• Reverb Return
Determines the Return level of the Reverb Effect.
❏ Settings 0 ~ 127
• Reverb Pan
Determines the pan position of the Reverb effect sound.
❏ Settings L64 (far left) ~ cnt (center) ~ R63 (far right)
●
[F6]-[SF2], [SF3], [SF4], [SF5]
Common Effect Parameter
Plug-in Insertion, Reverb, Chorus,
Variation
The number of parameters and values available differs depending on the currently selected effect type. For more information, see the Effect Type List in the separate Data List booklet.
■
Part edit
●
[F1]-[SF1] Part Voice Voice
You can select a voice for each part. When the cursor is located at the Bank, you can select a voice by using the BANK, GROUP, NUMBER button
with the [TRACK SELECT] indicator off (page 124
● [F1]-[SF2] Part Voice Play Mode
• Mono/Poly
Select monophonic or polyphonic playback for each part.
Select whether the Voice is played back monophonically
(single notes only) or polyphonically (multiple simultaneous notes).
❏ Settings Mono, Poly n This parameter is not available for the part to which the Drum Voice is assigned.
• ArpeggioSw (Arpeggio Switch)
Switch the Arpeggio for the currently selected Part on or off.
❏ Settings on, off
● [F1]-[SF3] Part Voice Limit
• Part Switch
Set each part to on or off.
❏ Settings on, off
• Bank
Select a Voice Bank (page 124) for each part. For details
about the Plug-in Voice Bank, refer to the Owner’s Manual for your Plug-in Board.)
• Number
Select a Voice Program number (page 124) for each part.
For details about the Plug-in Voice Program number, refer to the Owner’s Manual for your Plug-in Board.)
• Note Limit H, L (High, Low)
Set the lowest and highest notes of the keyboard range for each Part. Each Part will only sound for notes played within its specified range.
❏ Settings C -2~G8 n If you specify the highest note first and the lowest note second, for example “C5 to C4,” then the note range covered will be “C-2 to C4” and “C5 to G8.” n You can set the note by pressing the keyboard while holding the [INFORMATION] button. n When a Plug-in voice is assigned to a part of the selected Performance, some parameters may not be available depending on the installed Plug-in board.
• Velocity Limit H, L (High, Low)
Set the minimum and maximum values of the velocity range within which each Part will respond. Each Part will only sound for notes played within its specified velocity range.
❏ Settings 1~127 n If you specify the maximum value first and the minimum value second, for example “93 to 34,” then the velocity range covered will be “1 to 34” and “93 to 127.”
170 MOTIF Reference
● [F1]-[SF4] Part Voice Portamento
Set the Portamento parameters for each part.
Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to the next.
• Switch
Switch Portamento on or off.
❏ Settings off,on
• Time
Set the pitch transition time. Higher values mean longer transition times.
❏ Settings 0 ~127
• Mode
Set the Portamento mode.
❏ Settings fingered, fulltime fingered
Portamento is only applied when you play legato (playing the next note before releasing the previous one). fulltime
Portamento is always applied. n The Mode setting is not available for the Plug-in part. n These Portamento parameters above are not available for the part to which the Drum voice is assigned.
● [F1]-[SF5] Part Voice Other
Performance Edit mode
• PB (Pitch Bend) Range
... When editing Plug-in parts 1 - 3, or when a
Drum voice is selected:
Determines the pitch change range (in semitones) of the
Pitch Bend wheel for the Plug-in part’s voice (or Drum voice). Unlike the Pitch Bend setting for parts 1 - 4 above, the Upper and Lower ranges for the Plug-in parts cannot be set independently.
❏ Settings -24 ~ 0 ~ +24
• VelSensDpt (Velocity Sensitivity Depth)
Determines the velocity sensitivity of the part’s voice, or how much the level of the voice changes in response to your playing strength (velocity). The higher the value, the more the voice changes in response to changes in your playing strength.
❏ Settings 0~127
Changes to actual velocity for different
Velocity Sensitivity Depth settings depth=127 offset=64 depth=64 offset=64 Actual resulting velocity (affecting he tone generator) depth=32 offset=64 offset=64 depth=0 offset=64
Received velocity n The settings here apply when Velocity Sensitivity Offset
(below) is set to a median or neutral value of “64.”
• VelSensOfst (Velocity Sensitivity Offset)
Determines the amount by which received velocities are adjusted for the actual velocity effect. This lets you raise or lower all velocities by the same amount — allowing you to automatically compensate for playing too strongly or too softly.
❏ Settings 0 ~ 127
Changes to actual velocity for different Velocity
Sensitivity Offset settings.
n The settings here apply when Velocity Sensitivity Depth
(above) is set to a median or neutral value of “64.”
• PB (Pitch Bend) Upper, Lower
... When editing part s 1 - 4:
These two parameters determine the pitch change range
(in semitones) of the Pitch Bend wheel for the part’s voice.
For example, a Lower setting of -12 would result in the pitch being lowered up to a maximum of one octave (12 semitones) when the Pitch Bend wheel is moved downwards. Similarly, setting the Upper parameter to
+12 would result in a maximum pitch rise of one octave when the wheel is moved upwards.
❏ Settings -48 ~0 ~+24
MOTIF Reference 171
Performance Edit mode
When Offset=0
127
Actual resulting velocity (affecting the tone generator)
● [F2]-[SF1] Part Output Volume/Pan
0
When Offset=64
127
Actual resulting velocity (affecting the tone generator)
64
Received velocity
127
0
When Offset=127
127
64
Received velocity
127
Actual resulting velocity (affecting the tone generator)
0 64
Received velocity
127
In the first example, Offset is set to “0,” lowering all received velocities by 64. This creates a lower velocity
“plateau” — all of your softer playing (up to a velocity of 64) results in the same actual velocity. Also no matter how strongly you play, the actual velocity value never exceeds 64.
In the second example, Offset is set to a neutral value of
“64,” creating a linear relationship between received and actual velocity. In other words, the velocity at which you play is relayed to the tone generator as is — with no offset.
In the third example, Offset is at the maximum of
“127,” which raises all received velocities by 64. This creates a “clipping” effect in the higher velocities — no matter how strongly you play (past a velocity of 64), the actual velocity value will always be 127
(maximum).
• Volume
Determines the volume for each part, giving you detailed control over the level balance among the parts.
❏ Settings 0~127
• Pan
Determines the stereo pan position for each part.
❏ Settings L64 (far left) ~ cnt (center) ~ R63 (far right)
• Voice Pan
Determines whether the individual pan settings for each voice (made in the Voice Edit mode) are applied or not.
Keep in mind that the settings made in Pan above are applied as offsets to the Voice Edit settings. When this is set to “off,” the basic pan position for the selected part is set to center.
❏ Settings on, off n This parameter is not available for the Plug-in parts.
● [F2]-[SF2] Part Output Effect Send
• RevSend (Reverb Send)
Determines the send level for the Reverb effect of the selected part, giving you detailed control over the Reverb balance among the parts.
❏ Settings 0~127
• ChoSend (Chorus Send)
Determines the send level for the Chorus effect of the selected part, giving you detailed control over the Chorus balance among the parts.
❏ Settings 0~127
• VarSend (Variation Send)
Determines the send level for the Variation effect of the selected part, giving you detailed control over the Variation balance among the parts.
❏ Settings 0~127
• Dry Level
Determines the level of the unprocessed (dry) sound of the selected part, letting you control the overall effect balance among the parts.
❏ Settings 0~127
172 MOTIF Reference
● [F3] Part Output Select
From this display you can set certain output parameters for the selected part.
• Detune
Determines the fine tuning for each part.
❏ Settings -12.8Hz ~+12.7Hz
Performance Edit mode
● [F4]-[SF2] Part Tone Filter
From this display you can set various Filter related settings, to change the tonal qualities of the selected part’s voice.
• InsEF (Insertion Effect)
This shows whether the Insertion effect is applied or not for each part. This is for display purposes only and cannot be set here. To set this, see “EF PART” (Effect Part) on
• OutputSel (Output Select)
Determines the specific output(s) for the individual part.
You can assign each individual part’s voice to be output from a specific hardware output jack on the rear panel. By installing the optional AIEB2 board, you can expand the number of assignable outputs.
❏ Settings See below.
LCD Output jacks
L&R OUTPUT L and R asL&R ASSIGNABLE OUTPUT L and R as1&2 ASSIGNABLE OUTPUT 1 and 2 on the AIEB2 as3&4 ASSIGNABLE OUTPUT 3 and 4 on the AIEB2 as5&6 ASSIGNABLE OUTPUT 5 and 6 on the AIEB2 asL ASSIGNABLE OUTPUT L asR ASSIGNABLE OUTPUT R as1 ASSIGNABLE OUTPUT 1 on the AIEB2 as2 ASSIGNABLE OUTPUT 2 on the AIEB2 as3 ASSIGNABLE OUTPUT 3 on the AIEB2 as4 ASSIGNABLE OUTPUT 4 on the AIEB2 as5 ASSIGNABLE OUTPUT 5 on the AIEB2 as6 ASSIGNABLE OUTPUT 6 on the AIEB2 drum
This setting is for Drum voice parts. When this is selected, the output destination settings for each
Drum key (made in Drum Key Oscillator Output,
Mono
*Available only when the optional AIEB2 board has been installed.
● [F4]-[SF1] Part Tone Tune
Mono
Mono
Mono
Mono
Mono
Mono
Mono
Mono
Stereo/
Mono
Stereo
Stereo
Stereo
1 : L
2 : R
Stereo
3 : L
4 : R
Stereo
5 : L
6: R
*
*
*
*
*
*
*
*
*
• Cutoff
Determines the cutoff frequency for each part.
This parameter is available for the LPF when the filter used by the part is a combination type of LPF and HPF.
❏ Settings -64 ~ 0 ~ +63
• Resonance
Determines the amount of filter resonance or emphasis of the Cutoff Frequency for each part.
❏ Settings -64 ~ 0 ~ +63
• FEG Depth
Determines the Filter Envelope Generator depth (amount of Cuttoff frequency) for each part.
❏ Settings 0 ~ 127 n The FEG Depth setting is not available for the
Plug-in parts.
● [F4]-[SF3] Part Tone FEG
From this display you can set the FEG (Filter Envelope
Generator) parameters for each part. The following parameters offset the same parameters in the Voice
(Element) Edit mode (page 142).
• NoteShift
Determines the pitch (key transpose) setting for each part in semitones.
❏ Settings -24~+24
• Attack
Determines the FEG Attack Time for each part.
❏ Settings -64 ~ 0 ~ +63
• Decay
Determines the FEG Decay Time for each part.
❏ Settings -64 ~ 0 ~ +63
• Sustain
Determines the FEG Sustain Level for each part.
❏ Settings -64 ~ 0 ~ +63
MOTIF Reference 173
Performance Edit mode
• Release
Determines the FEG Release Time for each part.
❏ Settings -64 ~ 0 ~ +63 n The FEG settings are not available for Plug-in parts or parts to which Drum voices have been assigned.
● [F4]-[SF4] Part Tone AEG
From this display you can set the basic AEG
(Amplitude Envelope Generator) parameters for each part. The following parameters offset the same parameters in the Voice (Element) Edit
● [F5] Part Receive Switch
From this display you can set how each individual part responds to various MIDI data, such as Control
Change and Program Change messages. When the relevant parameter is set to “on,” the corresponding part responds to the appropriate MIDI data.
Note that two different display types are provided
(see below). Each display type features the same settings in a different format; use the type you feel most comfortable with.
[SF5]button
• Attack
Determines the AEG Attack Time for each part.
❏ Settings -64~0~+63
• Decay
Determines the AEG Decay Time for each part.
❏ Settings -64~0~+63
• Sustain
Determines the AEG Sustain Level for each part.
❏ Settings -64~0~+63 n The Sustain level setting is not available for Plug-in parts or parts to which Drum voices have been assigned.
• Release
Determines the AEG Release Time for each part.
❏ Settings -64~0~+63 n The Release Time setting is not available for the part to which the Drum Voice is assigned.
174 MOTIF Reference
Performance Job mode
The Performance Job mode contains various convenient operations (called “Jobs”), including initializing (resetting) performance data or recalling previous edits.
◆
Basic Procedure
1
In the Performance Play mode, select a performance you wish to execute the Job on.
2
Press the [JOB] button to enter the Performance
Job Mode.
3
Select the desired Job menu by pressing the appropriate button, [F1] - [F4].
4
Set the relevant Job parameters.
5
Press the [ENTER] button. (The display prompts you for confirmation.)
6
Press the [INC/YES] button to execute the Job.
After the Job has been completed, a “Completed” message appears and operation returns to the original display.
n To cancel the Job, press the [DEC/NO] button.
For Jobs that take longer to process, you will see the message “Executing…” during processing. If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data.
7
Press the [PERFORMANCE] button to exit from
Performance Job mode and return to Performance
Play mode.
• For detailed instructions on steps #3 - #4, see the explanations below.
Performance Job mode
● [F1] Initialize
This function lets you reset (initialize) all performance parameters to their default settings. It also allows you to selectively initialize certain parameters, such as Common settings, settings for each part, and so on — very useful when creating a completely new performance from scratch.
❏ Type of parameter to be initialized
ALL
All settings for the selected performance are initialized.
Common
Common parameter settings for the selected performance are initialized.
Part 1 ~ 4, PLG 1 ~ 3
Part parameter settings for the selected performance are initialized.
● [F2] Edit Recall
If you are editing a performance and select a different performance without storing your edited one, all the edits you’ve made will be erased. If this happens, you can use Edit Recall to restore the performance with your latest edits intact.
● [F3] Copy
From this display you can copy Common and Part parameter settings from any performance to the performance you are editing. This is useful if you are creating a performance and wish to use some parameter settings from another performance.
Source performance
Destination performance
(currently selected performance)
MOTIF Reference 175
Performance Store mode
• Source performance
Select a performance and data type to be copied.
❏ Data type Part 1 ~ 4, Plug 1 ~ 3
• Data type of Destination performance
(current selected performance)
Set the Part of the destination Performance.
❏ Data type Part 1 ~ 4, Plug 1 ~3, Arp, Effect (Reverb,
Chorus) n If you choose Arp (Arpeggio) or Effect, the
Arpeggio data or Effect settings for the Voice assigned to the source Part will be copied.
● [F4] Bulk Dump
This function lets you send all your edited parameter settings for the currently selected performance to a computer or another MIDI device for data archiving.
n You must set the correct MIDI Device Number in order to execute a Bulk Dump. For details, see
Performance Store mode
This function lets you store your edited performance to
User memory.
When you execute this, the settings for the destination memory will be overwritten. Important data should always be backed up to computer, a separate memory card or some other storage device.
◆
Basic Procedure
1
After editing the performance, press the [STORE] button to enter the Performance Store mode.
2
Select the destination Performance memory
(number).
3
Press the [ENTER] button. (The display prompts you for confirmation.)
4
To execute the Store operation, press the [INC/
YES] button. After the performance has been stored, a “Completed” message appears and operation returns to the original display.
n To cancel the Store operation, press the
[DEC/NO] button.
For Store operations that take longer to process, you will see the message “Executing…” during processing. If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data.
176 MOTIF Reference
Function Tree
Song Mode
Function Tree
This section is devoted to the Song mode. To see how the Song mode relates to the entire structure of the MOTIF
and its other modes and functions, see the simplified chart in “Basic Structure” on page 30.
The following detailed chart shows all of the display menus and parameter groups of the Song modes — giving you a quick, easy-to-understand overview of the song-related functions of the MOTIF.
Brackets around a word or phrase (e.g., [F1]) indicate specific button names or panel operations.
[SONG]
[INFORMATION] SONG INFORMATION
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 275
[SONG] SONG PLAY
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 179
[F1] SONG PLAY
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 179
[F2] SONG GRID GROOVE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 181
[F3] SONG TRACK OUTPUT CHANNEL
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 182
[F4] SONG TRACK LOOP ON/OFF
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 182
[F5] COPY PHRASE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 183
[F6] SONG CHAIN PLAY/EDIT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 183
[REC] SONG RECORD
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 183
SONG REC SETUP
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 184
[F1] SETUP
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 184
[F2] VOICE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 188
[F3] ARP
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 189
[PLAY] SONG RECORDING
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 183
[F2] VOICE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 188
[EDIT] SONG EDIT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 189
[F1] CHANGE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 189
[F5] INSERT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 190
[F6] DELETE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 190
[F2] VIEW FILTER
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 192
[F5] CLEAR ALL
. . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 192
[JOB] SONG JOB
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 193
[F2] NOTE JOB LIST
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 193
QUANTIZE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 194
MODIFY VELOCITY
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 195
MODIFY GATE TIME
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 195
CRESCENDO
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 196
TRANSPOSE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 196
GLIDE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 196
SORT CHORD
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 197
SEPARATE CHORD
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 198
[F3] EVENT JOB LIST
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 198
SHIFT CLOCK
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 198
COPY EVENT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 198
ERASE EVENT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 199
EXTRACT EVENT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 199
CREATE CONTINUOUS DATA
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 199
THIN OUT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 200
MODIFY CONTROL DATA
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 200
BEAT STRETCH
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 200
[F4] MEASURE JOB LIST
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 201
CREATE MEASURE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 201
MOTIF Reference 177
Function Tree
178 MOTIF Reference
[F5] TRACK JOB LIST
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 201
COPY TRACK
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 202
EXCHANGE TRACK
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 202
MIX TRACK
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 202
CLEAR TRACK
. . .. . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 202
NORMALIZE PLAY EFFECT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 203
DIVIDE DRUM TRACK
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 203
PUT PHRASE TO ARP
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 203
[F6] SONG JOB LIST
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 203
COPY SONG
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 203
SPLIT SONG TO PATTERN
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 204
CLEAR SONG
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 204
SONG NAME
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 204
[MIX] SONG MIX
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 205
[INFORMATION] MIX INFORMATION
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 205
[MIX] MIX PART
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 205
[F1] MIX VOLUME/PAN
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 206
[F2] MIX AD
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 206
[F3] MIX VOICE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 206
[F4] MIX EFFECT SEND
[F5] MIX TEMPLATE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 206
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 206
[EDIT] MIXING EDIT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 207
[COMMON]
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 207
[F1] COMMON GENERAL
. . . . . . . . . . . . . . . . . . . . . . . . . . . P. 208
[SF1] MEQ OFFSET
. . . . . . . . . . . . . . P. 208
[SF5] OTHER
. . . . . . . . . . . . . . . . . . . . P. 208
[F2] COMMON MASTER EQ
. . . . . . . . . . . . . . . . . . . . . . . . P. 209
[F3] COMMON ARPEGGIO
. . . . . . . . . . . . . . . . . . . . . . . . . . P. 209
[SF1] TYPE
. . . . . . . . . . . . . . . . . . . . . P. 209
[SF2] LIMIT
. . . . . . . . . . . . . . . . . . . . . P. 209
[SF3] PLAY FX
. . . . . . . . . . . . . . . . . . . P. 209
[SF4] OUTPUT CHANNEL
. . . . . . . . . . P. 209
[SF5] CLEAR USER ARPEGGIO
. . . . P. 209
[F4] COMMON CONTROLLER ASSIGN
. . . . . . . . . . . . . . . P. 209
[F6] COMMON EFFECT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 210
[SF1] EFFECT CONNECT
. . . . . . . . . . P. 210
[SF3] VARIATION
. . . . . . . . . . . . . . . . P. 210
[PART SELECTION]
[SF5] CHORUS
. . . . . . . . . . . . . . . . . . P. 210
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 210
[F1] PART VOICE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 210
[SF1] VOICE
. . . . . . . . . . . . . . . . . . . . P. 210
[SF2] PLAYMODE
. . . . . . . . . . . . . . . . P. 210
[SF3] LIMIT
. . . . . . . . . . . . . . . . . . . . . P. 210
[SF4] PORTAMENTO
. . . . . . . . . . . . . P. 210
[SF5] OTHER
. . . . . . . . . . . . . . . . . . . . P. 210
[F2] PART OUTPUT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 211
[SF1] VOLUME/PAN
. . . . . . . . . . . . . . P. 211
[SF2] EFFECT SEND
. . . . . . . . . . . . . . P. 211
[F3] PART OUTPUT SELECT
. . . . . . . . . . . . . . . . . . . . . . . . P. 211
[F4] PART TONE
OUTPUT SELECT
. . . . . . . . . . . . . . . . . P. 211
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 211
[SF1] TUNE
. . . . . . . . . . . . . . . . . . . . . P. 211
[SF2] FILTER
. . . . . . . . . . . . . . . . . . . . P. 211
[SF3] FEG
. . . . . . . . . . . . . . . . . . . . . . P. 211
[SF4] AEG
. . . . . . . . . . . . . . . . . . . . . . P. 211
[F5] PART RECEIVE SWITCH
. . . . . . . . . . . . . . . . . . . . . . . P. 212
[EDIT] MIX COMPARE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 212
[JOB] MIX JOB
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 212
[F1] INITIALIZE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 212
[F2] EDIT RECALL
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 213
[F3] COPY
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 213
[F4] BULK DUMP
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 213
[F5] COPY FROM PERFORMANCE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 213
[STORE] MIX STORE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 214
Song Play mode
Song Play mode
Basic Structure (page 67) · Quick Start Guide (page 77)
In this mode, you can select and play individual User songs.
n For details about songs and their track and memory
◆
Basic Procedure
1
Press the [SONG] button to enter the Song Play mode. (The indicator lights.)
Song track number and data status
No data has been recorded.
MIDI sequence data has been recorded.
(Indicates a MIDI track.)
In addition to MIDI sequence data, the sample data has been recorded.
(Indicates ansample track.)
SONG
Location setting for the selected song
Tempo for the selected song
❒ Setting 001.0~300.0
Time signature for the selected song
❒ Setting 1/16 ~ 16/16, 1/8 ~ 16/8, 1/4 ~ 8/4
Measure : Beat
(for current playback location)
❒ Setting Depends on the song data
Transpose setting (for entire song)
Can be adjusted in semitones.
For example, when a value of +12 is set, the pitch of all of the data becomes one octave higher.
❒
Setting -36 ~ +36
Currently selected song
Song number Song name
Song track on/off status
Indicates muted track.
Indicates soloed track (page 180).
2
Select a song.
3
Start/Stop song playback.
Stop playback Start playback
4
Make necessary or desired settings (e.g., transpose, tempo, location, individual track on/off status, and so on) in the above display.
5
Select the menu you wish to edit by pressing the
[F2] - [F6] buttons and edit the parameters in each display.
6
Set a Song Scene.
7
Repeat steps #3 through #6 as desired.
8
Press any other mode button to exit from the Song
Play mode.
• For detailed instructions on steps #2, 4, 5, and 6, see the following explanations.
• For details on step #3, refer to “Quick Start
Song Selection
The explanations here apply to step #2 of the Basic
Procedure above.
DRUM KITS
FAVORITES
COMMON
1
PRE 1 PRE 2 PRE 3 GM USER 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
1
SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
2 3 4 5
SE
6
MUSICAL FX COMBI
7 8
CATEGORY
SEARCH
SECTION
TRACK
SELECT
2
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
BANK
GROUP
NUMBER
SOLO n The explanations here apply when
these four button indicators are off.
MOTIF Reference 179
Song Play mode
1
Press any of the GROUP [A] - [D] buttons to select a Group. n Each letter group contains sixteen song numbers, and pressing the appropriate letter selects the first song in that letter’s group. For example, press button [A] to select song 01, press button [B] to select song 17 and so on. (See chart below.)
2
Press any of the NUMBER [1] - [16] buttons to select a Song and return to the Song Play display.
●
Song numbers and the corresponding Group/
Numbers
023
024
025
026
027
028
029
030
031
032
015
016
017
018
019
020
021
022
Song Number Group
001
002
A
A
003
004
005
006
A
A
A
A
007
008
009
010
011
012
013
014
A
A
A
A
A
A
A
A
B
B
B
B
B
B
B
B
B
B
B
B
B
B
A
A
B
B
11
12
13
14
7
8
9
10
15
16
5
6
3
4
15
16
1
2
11
12
13
14
7
8
9
10
Number
1
2
5
6
3
4
055
056
057
058
059
060
061
062
063
064
047
048
049
050
051
052
053
054
Song Number Group
033
034
C
C
035
036
037
038
C
C
C
C
039
040
041
042
043
044
045
046
C
C
C
C
C
C
C
C
D
D
D
D
D
D
D
D
D
D
D
D
D
D
C
C
D
D
You can also select a song by moving the cursor to the song number location and using the [INC/YES] and
[DEC/NO] buttons or the data dial.
11
12
13
14
7
8
9
10
15
16
5
6
3
4
15
16
1
2
11
12
13
14
7
8
9
10
Number
1
2
5
6
3
4
Location
The explanations here apply to step #4 of the Basic
The Song Play mode has a convenient Location function that lets you jump to user-specified parts of a song. This lets you assign a specific measure number in the selected song, and instantly jump to the assigned measure — either during playback or when the song is stopped. Two Locations can be assigned.
■
Assigning Locations
Select the desired measure in the recorded song for the
Location. (Highlight “MEAS” and use the [INC/YES] and [DEC/NO] buttons or data dial.) Then, to assign the measure to Location 1, simultaneously hold down the [SET LOCATE] button and press the [
G
] button.
To assign Location 2, use the [
H
] button.
INTEGRATED
SAMPLING MIXING UTILITY
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
Specify a measure number to be registered.
SEQ TRANSPORT
LOCATE
REC
1 2
In this example, the selected measure is assigned to Location
1. The current settings for
Locations 1 and 2 are shown at the top right of the display.
■
Jumping to an assigned Location
You can instantly jump to the assigned Location 1 or 2 by simultaneously holding down the [LOCATE] button and pressing the [ G ] button (for Location 1) or the
[ H ] button (for Location 2).
LOCATE 1 2
Song track on/off — Solo and Mute
The explanations here apply to step #4 of the Basic
●
To mute a track
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
180 MOTIF Reference
1
Press the [MUTE] button so that its lamp lights.
2
Press any of the NUMBER [1] - [16] buttons to select the track number to be muted.
●
To solo a track
1 2 3 4
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13
5 6
14 15
7
16
8
TRACK
SELECT
MUTE
SOLO
NUMBER
Simultaneously hold down the [MUTE] button and press one of the NUMBER buttons [1] to [16] to solo the corresponding track.
Once you’ve selected a track for soloing, the [MUTE] button’s lamp flashes, indicating the Solo function is active. While Solo is active, you can change the soloed track simply by pressing the corresponding NUMBER button [1] to [16].
To exit from the Solo function, press the [MUTE] button again.
Song track selection
The explanations here apply to step #5 of the Basic
In order to edit the Song data, you’ll need to select a track for editing.
Press the [TRACK SELECT] button so that its indicator lights and press any of the NUMBER [1] -
[16] buttons to select a track to be edited.
TRACK
SELECT 1 2 3 4
9
ELEMENT/ PERF.PART / ZONE
10 11 12
5
13
6 7
14 15
8
16 MUTE
SOLO
NUMBER n Selecting another song resets the selected track to 1.
Song Scene
The explanations here apply to step #6 of the Basic
Song Scene is a powerful function that allows you to save five different “snapshots” of important songrelated parameters — including transpose, tempo, track mute status, and the basic sound/mixing controls
(all parameter settings controllable from the Knobs and
CS sliders). n The Song Scene settings can be set independently for each song.
●
Storing the Song Scene
STORE
SCENE STORE
SET LOCATE
After making the desired settings for the Song Scene, simultaneously hold down the [STORE] button and press one of the SONG SCENE buttons [SF1] to [SF5].
Song Play mode
SONG SCENE
SF 1 SF 2 SF 3 SF 4 SF 5
●
Recalling the Song Scene
Simply press any of the [SF1] - [SF5] buttons to recall the setting.
SONG SCENE
SF 1 SF 2 SF 3 SF 4 SF 5
One of the convenient advantages of Song Scene is that it lets you instantly and automatically execute parameter settings that normally require many button presses or controller operations. Use it during song recording or playback to make instantaneous setting changes.
Song editing in the Song Play mode
The explanations here apply to step #5 of the Basic
The Song Play mode lets you perform a variety of general editing operations on the selected song. For more detailed and comprehensive editing operations, use the Song Edit and Song Mixing modes.
● [F2] Song Play Groove
The Grid Groove function makes it possible to adjust the pitch, timing, length, and velocity of notes in a specified track via a 1-measure 16th-note grid to create “grooves” that would not be possible with precise sequencer-like programming. The Grid
Groove function affects song playback without actually changing the sequence data.
MOTIF Reference 181
Song Play mode n Port data can be output only through the USB terminal. No port data is transmitted through the
MIDI OUT terminal, even if the corresponding track is set to a specific port number.
● [F4] Song Play Track Loop
From this display you can determine whether the data in the selected track loops or not in playback.
Using Loop can be an effective way to repeat short patterns and phrases throughout the song.
minus 0 plus
NOTE OFST
CLOCK SFT
GATE OFST
VELO OFST
• NOTE OFFSET
Raises or lowers the pitch of the note(s) on the selected grid in semitones.
❏ Settings 99 ~ +99
• CLOCK SHIFT
Shifts the timing of the note(s) on the selected grid forward or back ward in clock increments.
❏ Settings 120 ~ +120
• GATE OFFSET (Gate time Offset)
Lengthens or shortens the note(s) on the selected grid in clock increments.
❏ Settings 120 ~ +120
• VELO OFFSET (Velocity Offset)
Increases or decreases the velocity of the note(s) on the selected grid.
❏ Settings 127 ~ +127
● [F3] Song Play Output Channel
From this display you can set the MIDI output channel for each of the sixteen tracks, and determine which MIDI port the track data is sent to.
❏ Settings on, off
In the example below, a 40-measure song has been recorded and Track 1 is set to play back normally over the 40 measures. Track 2 has been set to loop, and will repeat until the [ ■ ] button is pressed.
Playback
Track 1
(40 measures of data)
Track 2
(4 measures of data)
The four-measure data is repeated ten times.
When set to on, you can specify the range to be looped. (Only the end point can be set, the start point of looped playback is fixed to the beginning of the song.) Please note that the part that is not looped is deleted after setting to on.
1
Press [F1] to call up the Song Play display. Change the current measure that is to be a last measure of looped playback.
• OUT CH (Output Channel)
Sets up channel transmission to the MIDI OUT terminal.
Tracks set to “Off” will not sound.
❏ Settings off, 01 ~ 16 n In the Song/Pattern mode, the MIDI data created by playing the keyboard/knobs/wheels is sent to the tone generator block or the external MIDI devices via the
MIDI output channel of the currently selected track.
• Port
Determines the MIDI transmission port for the corresponding track. This is useful for sending data to external tone generators over multiple MIDI ports in an extended MIDI setup. Keep in mind that this parameter can only be set for tracks having assignments to Plug-in parts 1 - 3
(for installed single-part boards) or Plug-in parts 17 -32 (for installed multi-part boards). Tracks using the internal tone generator parts of the MOTIF are automatically fixed at port 1.
❏ Settings off, 01 ~ 03
182 MOTIF Reference
In this example, set to "004."
2
Press [F4] to call up the Track Loop display and move the cursor to the desired track.
3
Set to on by using the [INC/YES] and [DEC/NO] buttons or the data dial. (The display prompts you for confirmation.)
4
Press the [INC/YES] button. The Loop is set to on and the part that is not looped is deleted
● [F5] Song Play Copy Phrase
You can copy s Pattern track data (Phrase) to a Song track. You can also copy the preset phrase that does not assigned to the Pattern track by the Patch
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.
Song Record mode
Song Record mode
In this mode, you can use the sequencer to record your keyboard performance in real time to each track of a
User Song. n
For details about recording methods, see page 53.
◆
Basic Procedure
1
In the Song Play mode, select a User Song to be recorded.
2
If necessary, set a Song Scene (page 115).
3
Press the [REC] button to enter the Song Record mode. (The indicator lights.) The Song Record
Setup display shown below appears.
REC
Specify the source track and measure of the current selected song.
After completing the settings, press the [ENTER] button to execute the Copy
Phrase.
● [F6] Song Play Chain Play/Edit
This function allows songs to be “chained” together for automatic sequential playback.
This is particularly convenient in live performance situations, letting you have your song backing play automatically in “jukebox” fashion while you perform over it. Highlight the desired point in the chain, then use the [INC/YES] and [DEC/NO] buttons or data dial to set the desired song number or parameter below.The MOTIF allows you to create one Song Chain setting.
Parameters other than the song number are explained here.
• skip
Skips past (ignores) the selected chain number and continues playback from the next chain number.
• stop
Stops the song chain playback at that chain number. You can restart the song chain playback from the next chain number by pressing the [ F ] button.
• end
Indicates the end mark of the song chain data.
4
Set basic parameters for recording (e.g., recording type, track, tempo, and so on). n Please note that the time signature can be set in the
Song Play display. See page 179.
5
Change the display by pressing the [F2] - [F3] buttons and set various parameters for recording. n Your performance on the keyboard and the controllers (Knobs, Pitch Bend wheel, Modulation wheel, and so on) is recorded to tracks 1 - 16. The
Tempo (“TMP”) track is for recording tempo changes, while the Scene track is for changes to the
Song Scene numbers and Track Mute settings.
6
Press the [ F ] button to start recording.
•When any of the Realtime recording methods
(any setting other than “step”) is selected in step
#4, your keyboard playing and controller moves are automatically recorded.
• When “step” is selected in step #4, compose your performance by entering a note one by one.
MOTIF Reference 183
Song Record mode
REC
Setting up before recording
The explanations here apply to steps #4 - #5 of the
● [F1] Song Record Setup
When recording type is set to something other than “step” :
Tempo n MIDI events the external MIDI devices connected to the MOTIF can be recorded to tracks 1~16.
7
After completing your performance (in Realtime recording) or completing Step recording, press the
[
■
] button to stop recording.
8
Record additional tracks as required. Repeat steps #3 through #7 as desired.
9
Press the [
F
] button to hear your newly recorded performance.
10
Save the recorded data to the Memory Card or the SCSI device connected to the MOTIF.
Punch-in measure : beat
Punch-out measure : beat
Time signature
(set in the Song Play display)
This lets you turn the click sound
(metronome) on/off for recording.
(Press the [F5] button.)
This lets you switch between Single Track recording and All Track recording. (Press the [F6] button.) n “Punch-in measure : beat” and “Punch-out measure : beat” are available when the Recording Type is set to
“Punch.”
When recording type is set to “step” :
The recorded (edited) song data resides temporarily in
DRAM (page 64). Because data contained in DRAM is
lost when the power is turned off, you should always store any data residing in DRAM to a memory card or an external SCSI device before turning off the power.
• For detailed instructions on steps #4 - #7, see the following explanations.
• For details on step #10 refer to “File mode” on
n The following explanations apply to MIDI data recording (creating MIDI tracks). For instructions on recording audio data (creating sample tracks),
see “Sampling mode” on page 233.
Time signature
(set in the Song Play display)
Tempo
• Type (Recording type)
Determines the recording method.
❏ Settings:
RecTrack is set to 1 ~ 16: replace, overdub, punch, step
RecTrack is set to “tempo” : replace, punch, step
RecTrack is set to “scene” : replace, punch
RecTrack is set to “multi” : replace , overdub, punch n When “punch” is selected, “Punch-in measure : beat” and “Punch-out measure : beat” appear in the display and should be set. n When “step” is selected, you should specify the event type to be enetered.
• Quantize
This parameter is available when the Recording Type is set to something other than “step.” Record quantize aligns the timing of notes which are not exactly on the beat onthe-fly as you record.
184 MOTIF Reference
❏ Settings: off, 60 (32nd note), 80 (16th note triplet), 120
(16th note), 160 (8th note triplet), 240 (8th note), 320 (1/4 note triplet), 480 (1/4 note)
• Event
This parameter is available when the Recording Type is set to “step.” This lets you specify the event type to be entered.
❏ Settings: note, p.bend (pitch bend), CC#000~#119
(Control Change)
• RecTrack
Determines the track to be recorded.
Pressing the [F6] button lets you switch between Single
Track recording and All Track recording.
❏ Settings: tempo, scene, 1~16, multi
• Tempo
Determines the Song tempo.
❏ Settings: 001.0
Song Recording
The explanations here apply to steps #6 - #7 of the
Basic Procedure on page 183, page 184.
■
Realtime Recording
See “Quick Start Guide” (page 110)
■
Step Recording
If you press the [ F ] button in step #6 of the Basic
Procedure on page 183, the following display appears
and you can input the specified events one by one.
● Entering the Note Event
When the event to be entered is set to “note” , you can input the note events one by one.
Pointer indicating the current note position.
Beat Graph
• Beat Graph
This is the display in which notes are “placed” during step recording.When the meter is 4/4, the display is divided into four beats (one measure). Each diamond-shaped marker in the display represents one 32nd beat (each 1/4 note division is divided into eight 32nd beats).
For example, if the following rhythmic pattern
“ ” is entered in 4/4 time, a display like the one shown below will appear.
Song Record mode
• Pointer
Determines the data-entry position.
The triangular pointer above the beat graph indicates the data-entry position.
To move the pointer right or left, use the [INC/YES] and
[DEC/NO] buttons or the data dial.
• Value
When the event to be entered is set to “note” , this value specifies the velocity with which the note will be entered.
❏ Settings:
001~127
The set value (1 ~ 127) corresponds to the MIDI velocity value entered.
RND1 ~RND4
When one of the random settings is selected, a random velocity value will be entered.
• StepTime
The “size” of the current recording step time for the next note to be entered. This determines to what position the pointer will advance after a note has been entered.
❏ Settings:
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
• GateTime
Sets the gate time to produce slurs, staccato notes, etc.
“Gate time” refers to the actual length of time the note sounds. For the same 1/4 note, for example, a long gate time will produce a slur while a short gate time will produce a staccato effect.
Gate time is indicated as a percent value of the step time.
A setting of 50% produces a staccato sound, values between about 80% and 90% produce normal note length, and a value of 99% will produce a slur.
❏ Settings: 001%~200%
● [F3] REST
Press [F3] to enter a rest as long as the specified step time.
The point will move ahead to the next data-entry position.
Rests do not appear on the display. n There is no actual data representing rests in the
MIDI sequencer. When a “rest” is entered the pointer simply moves ahead to the next data-entry position, effectively leaving a rest.
● [F4] TIE
When the [F4] button is pressed to enter a tie, the preceding note is lengthened to the full step time. For example, in the following phrase, note
1
is entered with
1/4 note step time. If the step time is then changed to an
8th note and [F4] is pressed, note
2
is entered.
MOTIF Reference 185
Song Record mode
1 2
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.
◆
Examples of Step Recording
The explanations here apply to steps #6 - #7 of the
Basic Procedure on page 183, page 184.
This section explains how to step-record notes, using three specific examples.
● [F5] DELETE
Press this to actually delete the note events at the current cursor position.
● [F6] BCK DEL
Moves the pointer backward by one step and deletes all notes at that location.
n Mistakenly entered notes can be erased by pressing
[F6] immediately after they are entered (before changing the step time value).
● Entering other events
When entering non-note events (such as control change data), the display is basically the same as that for note data.
1
Set the parameters as illustrated below.
Here, we’ll set the Step Time to (480) so that quarter notes will be entered, and set the GateTime to 100% to have the notes play in legato.
2
Play the keys C, D, E, F, G, A, B and C in order.
The TIE function is not available for non-note events.
The following descriptions apply to non-note events.
• Value
When the event to be entered is something other than
“note,” this determines the value of the specified non-note event.
❏ Settings:
When event is set to to “p.bend” :
- 8192 ~+8191
When event is set to “CC (Control Change) #001~119” :
000 ~127
When event is set to “tempo” (RecTrack is set to “tempo” ):
001 ~300
Each time you press a key and release it, the pointer moves forward by one step and the played note is recorded.
3
Move the pointer to the top (beginning) of the song and press the [
F
] button to hear the note data you just recorded in steps #1 and 2.
186 MOTIF Reference
Song Record mode
SEQ TRANSPORT
LOCATE
REC
1 2
●
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 (960), and set the GateTime to 80%, since you don’t want the notes to play in legato.
4
Follow the instructions below to enter the next dotted half note.
(2) Press and release A (1) Change this to 480.
2
Enter the first note F.
(3) Press [F4] twice to expand the quarter note to a dotted half note.
(1) Press and release F.
(2) Change this value to 240, since the next note is an 8th note.
(3) Press the [F4] button to tie the
two F notes (half note and 8th note).
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.
5
Enter the last quarter note by pressing and releasing F.
MOTIF Reference 187
Song Record mode
6
Move the pointer to the top (beginning) of the song and press the [
F
] button to hear the note data you just recorded in steps #1 - 5.
●
Example 3 (Using the REST function)
5
Enter the next 4th note C by following the instructions below.
1
Set the parameters as illustrated below.
Set the StepTime to (480) and the Gate Time to
80%.
(1) Change this value to 480, since the next note is a quarter note.
(2) Press and release C.
2
Enter the first note F.
Press and release F.
3
Enter the next 8th rest by following the instructions below.
6
Enter the next 8th rest via the same procedure as in step #3
7
Enter the last 8th note F.
Press and release F.
4
(2) Enter an 8th note rest by pressing the [F3] button.
(1) Change this value to 240, since the rest value is the same as an
8th note.
Enter the next 8th note A.
Press and release A.
8
Move the pointer to the top (beginning) of the song and press the [
F
] button to hear the note data you just recorded in steps #1 - 7.
● [F2] Song Record Voice
From this display you can set voice-related parameters for the selected track. The settings made here affect the tone generator parts whose
MIDI receive channels match the MIDI transmit channel of the song track.
188 MOTIF Reference
• Voice
Determines the voice for the selected track.
You can use the BANK, GROUP, NUMBER button or the
Category Search function to select a voice (page 124). You
can also select a Sample voice (page 58).
• Voume
Determines sound volume for the selected track.
❏ Settings 0~127
• Pan
Determines the stereo pan position the selected track.
❏ Settings L63 (Left) ~ C (Center) ~ R63 (Right)
• InsEF (Insertion Effect Part Switch)
Determines whether the Insertion effect (page 39) for the
selected track is on or off.
❏ Settings on, off
● [F3] Song Record Arpeggio
From this display you can set various Arpeggiorelated parameters for the selected track.
Song Edit mode
Song Edit mode
This mode gives you comprehensive, detailed controls for editing the MIDI events of individual song tracks.
MIDI events are messages (such as note on/off, note number, program change number, etc.) that make up the data of a recorded song.
◆
Basic Procedure
1
In the Song Play mode, select a User Song to be edited.
2
Press the [EDIT] button to enter the Song Edit mode. (The indicator lights.) The Song event List display shown below appears.
EDIT
Determines whether Arpeggio playback data is recorded to the track or not. (Press the [F4] button.)
• Bank
Determines the specific Arpeggio Bank. For details, see
❏ Settings pre1, pre2, user
• Type
Determines the Arpeggio type. The two-letter prefix before the
name indicates the general Arpeggio category. (page 55 )
• Velocity Limit
Determines the lowest and highest velocity in the
Arpeggio’s velocity range. While recording, this lets you control when the Arpeggio sounds by your playing strength.
❏ Settings 1~127
• Switch
Determines whether Arpeggio playback is on or off. You can also turn this on or off from the front panel with the
[ARPEGGIO ON/OFF] button.
❏ Settings off, on
• Hold
Determines whether the Arpeggio playback is “held” or not. When this is set to “on,” the Arpeggio cycles automatically, even if notes are released, and it continues to cycle until the next note data is received.
❏ Settings sync-off, off, on
• PartSwitch
Determines whether Arpeggio playback is on or off for the
tone generator part (page 55) that corresponds to the
recorded track.
❏ Settings off, on
Events
Measure number
Clock
(480 clocks per quarter-note)
Beat
3
Revise, insert or delete the MIDI events as needed.
If you find the display too cluttered, you can filter out certain event types with the View Filter.
Simply press the [F2] button and select the event types you want to be displayed.
4
After completing editing, press the [SONG] button to return back to the Song Play mode.
5
Press the [ F ] button to hear your edited data.
6
Edit other tracks as required. Repeat steps #2 through #5 as desired.
7
After editing, save your song data to the Memory
Card or the SCSI device connected to the MOTIF in the File mode.
• For detailed instructions on step #3, see the following explanations.
• For details on step #7, refer to “File mode” on
MOTIF Reference 189
Song Edit mode
Event Editing/Inserting/Deleting
The explanations here apply to step #3 of the Basic
■
Editing/Deleting Existing Events
To edit data in the Event List, use the up/down cursor buttons to highlight the specific event you want to edit, and use the left/right cursor buttons to highlight the data type or parameter to be edited. Then, change the value as needed by using the [INC/YES] and [DEC/
NO] buttons or the data dial.
The edited event will flash on the display. Press the
[ENTER] button to actually enter the edited data (the event will stop flashing). To abort an edit simply highlight to a new event location without pressing the
[ENTER] button. Press the [F6] button to delete the event at the current location.
MIDI events that can be inserted
(edited)
The following explanations apply to the MIDI events that can be inserted (edited) in step #3 of the Basic
The following displays are called up by pressing the
[F5] button in step #3 of the Basic Procedure on
■
Note
This is the most common and prevalent type of data — the individual notes of a song.
You can also move the selected event to another location by specifying different values for measure, beat, and clock.
Press the [F6] button to delete the event at the current location.
■
Inserting New Events
To insert an event, use the up/down cursor buttons to highlight an event at the desired point in the track
(measure, beat, clock) — this is the location to which the new event will be inserted. Then, follow the steps below.
Press the [F1] button to abort and return to the main Event List display.
Press the [F5] button.
Note name Gate time Velocity
• Note name
Determines the note name or the specific keyboard pitch of the note.
❏ Settings C -2 ~ G8
• Gate time (beat : clock)
Determines the length of time that a note actually sounds in beats and clocks.
❏ Settings 00:001 ~ 999:479 n On the MOTIF, one clock is 1/480th of a quarter note.
• Velocity
Determines how strongly the selected note sounds.
❏ Settings 1 ~ 127
■
Pitch Bend
These are the events that define continuous changes in pitch and these events are generated by pitch bend wheel operation.
Press the [ENTER] button to actually insert the event.
ENTER
EXECUTE
• Data
❏ Settings -8192 ~ +8191
Data
190 MOTIF Reference
■
Program Change
These events determine the selected voice for the note data. Keep in mind that Program Change events can be inserted at any point in a song track, letting you change voices in the middle of a song.
Song Edit mode n For details on using Control Change numbers
(including those above), refer to the separate Data
List booklet.
■
Channel Aftertouch (CAT)
This event is generated when pressure is applied to a key after the note is played.
Bank Select MSB Program number
Bank Select LSB Voice name
• Bank Select MSB, LSB
Determines the voice bank.
❏ Settings ***~127 n Bank select MSB and LSB are actually part of the
Control Change set of messages (below).
However, since they apply specifically to voice selection, they grouped and described here.
• Program number
Determines the specific voice (from the bank selected by
MSB and LSB above).
❏ Settings 001~128 n For a complete list of the available voice banks and numbers, refer to the Voice List in the separate
Data List booklet.
■
Control Change
These events control the sound and certain response characteristics of the voice, and are usually generated/ recorded by moving a controller (such as a modulation wheel, knob, slider or foot controller).
Data
• Data
This represents the amount of pressure applied to the key.
❏ Settings 000~127
■
Polyphonic Aftertouch (PAT)
This event is generated when pressure is applied to a key after the note is played. Unlike Channel Aftertouch above, this is recorded and applied independently for each key pressed.
Control number Data
• Control number
Determines the Control Change number. (See chart below.)
❏ Settings 000~127
Control
Number
001
005
007
010
011
064
065
066
067
071
074
084
120
Function
Modulation Wheel
Portamento Time
Volume
Pan (Stereo position)
Expression
Sustain (Hold 1)
Portamento on/off
Sostenuto pedal on/off
Soft Pedal on/off
Harmonic Content (controls Filter Resonance)
Brightness (controls Filter Cutoff Frequency)
Portamento Source Note Number
All Sound Off
Note name Data
• Note name
Determines the key to which aftertouch is applied.
❏ Settings C -2~G8
• Data
This represents the amount of pressure applied to the key.
❏ Settings 000~127
■
Registered Parameter Number (RPN)
This event changes parameter values for each tone generator part.
This event is used to set part settings such as Pitch
Bend Sensitivity or Tuning.
For a complete list of the available RPN numbers and their corresponding controls, refer to the MIDI Data
Format in the separate Data List booklet.
RPN MSB-LSB Data Entry
MSB-LSB
MOTIF Reference 191
Song Edit mode
• RPN MSB-LSB
❏ Settings 000~127
• Data Entry MSB-LSB
❏ Settings 000~127 n Normally three types of control change data are sent: RPN MSB (101), RPN LSB (100), and Data
Entry MSB (6). In the MOTIF, Data Entry LSB
(38) is added to this and the resulting group of control change events is handled as one in this display. For a complete list of the available RPN and NRPN numbers and their corresponding controls, refer to the MIDI Data Format in the separate Data List booklet.
■
Non Registered Parameter Number (NRPN)
This event changes parameter values for each tone generator part.
This event is used to edit sounds via MIDI, allowing you to edit filter or EG settings, or adjust the pitch or level for each instrument of a drum voice.
For a complete list of the available NRPN numbers and their corresponding controls, refer to the MIDI Data
Format in the separate Data List booklet.
■
System Exclusive (Exc)
A type of MIDI message used to exchange data unique to a specific model or type of device.
Unlike with other MIDI events, these events differ depending on the manufacturer/device, and are incompatible among different devices.
Data
• Data
❏ Settings 00 ~7F, F7 (Data must be entered in hexadecimal format.
Event View Filter
The explanations here apply to step #3 of the Basic
The MOTIF’s “Event View Filter” lets you select the event types that appear on the Event List display. For example, if you wish to edit only note events, place a checkmark in the box next to “Note” as shown below so that only the note events appear in the Event List display.
RPN MSB-LSB Data Entry
MSB-LSB
• NRPN MSB-LSB
❏ Settings 000~127
• Data Entry MSB-LSB
❏ Settings 000~127 n Normally three types of control change data are sent: NRPN MSB (99), NRPN LSB (98), and Data
Entry MSB (6). In the MOTIF, this group of control change events is handled as one in this display. For a complete list of the available RPN and NRPN numbers and their corresponding controls, refer to the MIDI Data Format in the separate Data List booklet.
When the Control Change box is checkmarked, you can specify the desired Control Change number.
Press the [F5] button to remove all checkmarks at once.
Press the [F6] button to set checkmarks into all boxes.
192 MOTIF Reference
Song Job mode
The Song Job mode contains a comprehensive set of editing tools and functions you can use to change the sound of the song. It also includes a variety of convenient operations, such as copying or erasing data.
Most of these operations can be performed on either an entire track or a selected range of measures in the track.
◆
Basic Procedure
1
In the Song Play mode, select a song you wish to execute the Job on.
2
Press the [JOB] button to enter Song Job Mode.
3
Select the desired Job menu by pressing the appropriate button, [F2] - [F6].
4
Use the CURSOR buttons to scroll to the desired
Job.
5
Press the [ENTER] button to go to the selected Job display.
6
Set the relevant Job parameters.
7
Press the [ENTER] button. (The display prompts you for confirmation.)
8
Press the [INC/YES] button to execute the Job.
After the Job has been completed, a “Completed” message appears and operation returns to the original display.
n To cancel the Job, press the [DEC/NO] button.
9
If you wish to undo the changes made in the steps above, press the [F1] button and (to select Undo/
Redo) and use the Undo function.
Song Job mode
10
Press the [SONG] button to exit from Song Job mode and return to Song Play mode.
• For detailed instructions on steps #3 - #9, see the explanations below.
[F1] Undo/Redo
The explanations here apply to step #9 of the Basic
Procedure (see above).
The Undo Job cancels the changes you made in your most recent patch session, recording session, editing session, or Job, restoring the data to its previous state.
This allows you to recover from accidental data loss.
Redo is available only after using Undo, and lets you restore the changes you made before undoing them.
Indicates the current Job: Undo or Redo.
Indicates the operation to be affected by Undo or Redo.
Press the [ENTER] button to execute the Undo/Redo operation.
Undo/Redo does not work with sample voice operations.
[F2] Note data Job
Press the [F2] button in steps #3 of the Basic Procedure
(see above). so that the Note data Job list appears on the display. Scroll the cursor to the desired Job and press the [ENTER] button to go to the display of the selected Job.
The following explanations apply to step #6 of the
Basic Procedure (see above). n Before executing the Note data Job, make sure that you specify the track (01~16, all) and range (measure : beat : clock) to which the Job is applied.
MOTIF Reference 193
Song Job mode
● [F2]-01 Quantize
Quantization is the process of adjusting the timing of note events by moving them closer to the nearest exact beat. You can use this feature, for example, to improve the timing of a performance recorded in real time.
Track Range
If the quantize value is
, , ,
:50%~75%
A setting of 100% is equivalent to twice the length of the specified quantize value. A setting of 50% produces exact timing and therefore no swing feel. Settings above 51% increase the amount of swing, with 75% being equivalent to a dotted-note delay.
Front beat Back beat
• Quantize Value (Resolution)
Determines to what beats the note data in the specified track will be aligned.
❏ Settings
32nd note
16th note triplet
16th note
8th note triplet
8th note
1/4 note triplet
1/4 note
16th note + 16th note triplet
8th note + 8th note triplet
• Strength
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 %
Quarter-note length
Original data
(assuming 4/4 meter)
Quantizing strength =100
Quantizing strength =50
• SwingRate
Delays notes on even-numbered beats (backbeats) to produce a swing feel.
For example, if the meter is 4/4 and the quantize value is quarter notes, the 2nd and 4th beats of the measure will be delayed.
When a triplet quantize value is used, the last note of each triplet is delayed.
When the quantize value is or , even-numbered
or beats will be delayed.
❏ Settings See below.
0% 50% 75% 100%
Specified range
If the quantize value is , , :66%~83%
A setting of 100% is equivalent to three times the length of the specified quantize value. A setting of 66% produces exact timing and therefore no swing feel. Settings above
67% increase the amount of swing, with 83% being equivalent to a sextuplet delay.
Front beat Back beat
0% 33%
3
66% 83% 100%
Specified range
If the quantize value is , :50%~66%
A setting of 100% is equivalent to twice the length of a d or d note. A setting of 50% produces exact timing and therefore no swing feel. Settings above 51% increase the amount of swing, with 66% being equivalent to a triplet delay.
Front beat Back beat
0% 33%
3
50% 66%
Specified range
100% n If a swing value other than 100% results in notes being positioned after other non-swing notes, the latter notes are delayed accordingly.
• GateTime
Determines the gate time (the length of time a note sounds) of the even-numbered backbeat notes to enhance the swing feel.
When a triplet quantize value is used, the gate time of the last note of each triplet is adjusted.
When the quantize value is or , the gate time of the even-numbered or beats will be adjusted.
A setting of 100% leaves the original gate time unchanged.
If an adjusted gate time value is less than 1, the MOTIF sets the value to 1.
❏ Settings 000%~200%
194 MOTIF Reference
● [F2]-02 Modify Velocity
This job alters the velocity values of the specified range of notes, letting you selectively boost or cut the volume of those notes.
Velocity changes are calculated as follows:
Adjusted velocity
= (original velocity x Rate) + Offset.
If the result is 0 or less, the value is set to 1. If the result is higher than 127, the value is set to 127.
Track Range
Song Job mode
● [F2]-03 Modify Gate Time
This job alters the gate times of the specified range of notes. Gate time changes are calculated as follows:
Adjusted gate time
= (original gate time x Rate) + Offset.
If the result is 0 or less, the value is set to 1.
Track Range
• Set All
Sets the velocities of all target notes to the same fixed value
(1 to 127). When set to “OFF” the Set All parameter has no effect. When set to a value other than “OFF” the Rate and Offset parameters are unavailable and appear as “***” on the display.
❏ Settings OFF(0), 001~127
• Rate
Determines the percentage by which the target notes will be shifted from their original velocities.
Settings below 100% reduce the velocities, and settings above 100% increase the velocities proportionately. When the Set All parameter is not “OFF” this parameter appears as “***” and cannot be changed.
❏ Settings 000% ~ 200%, ***
Original velocity (Vel)
96
Rate = 50% (Vel)
48
64 48 32
32 24 16
Rate = 150% (Vel)
127 96 72 48
• Offset
Adds a fixed value to the Rate-adjusted velocity values.
A setting of 0 produces no change. Settings below 0 reduce the velocities, and settings above 0 increase the velocities.
When the Set All parameter is not “OFF” this parameter appears as “***” and cannot be changed.
❏ Settings -127 ~ +127, ***
Original velocity (Vel)
96
Offset = -20
Offset = +20
(Vel)
76
(Vel)
116
64 48 32
44 28 12
84 68 52
• SetAll
Sets the gate times of all target notes to the same fixed value. When set to “OFF” the Set All parameter has no effect. When set to a value other than “OFF” the Rate and
Offset parameters are unavailable and appear as “***” on the display.
❏ Settings Off (0), 0001 ~ 9999
• Rate
Determines the percentage by which the gate time of the target notes will be changed.
Settings below 100% shorten the notes, and settings above
100% lengthen the notes proportionately. When the Set
All parameter is not “OFF” this parameter appears as
“***” and cannot be changed.
❏ Settings 000% ~ 200%, ***
Original gate time (Gate)
32 32 32 48
Gate time rate = 50% (Gate)
16 16 16 24
Gate time rate = 150% (Gate)
48 48 48 72
• Offset
Adds a fixed value to the Rate-adjusted gate time values.
A setting of 0 produces no change. Settings below 0 shorten the gate time, and settings above 0 lengthen the gate time. When the Set All parameter is not “OFF” this parameter appears as “***” and cannot be changed.
❏ Settings -9999 ~ +9999, ***
Original gate time
Offset = -20
Offset = +20
(Gate)
32 32 32
(Gate)
12 12 12
(Gate)
52 52 52
48
28
68
MOTIF Reference 195
Song Job mode
● [F2]-04 Crescendo
This Job lets you create a crescendo or decrescendo over the specified range of notes. (Crescendo is a gradual increase in volume, and decrescendo is a gradual decrease.)
Track Range
● [F2]-06 Glide
The Glide Job replaces all notes following the first note in the specified range with pitch bend data, producing smooth glides from note to note. This is ideal for producing guitar-like slide or note-bending effects.
Track Range
• Velocity Range
Determines the intensity of the crescendo or decrescendo.
The velocity values of the notes in the specified range are gradually increased or decreased starting at the first note in the range. The velocity of the last note in the range becomes the original velocity of the note plus the Velocity
Range value. If the resultant velocity is outside the 1 ~
127 range it is set to 1 or 127 accordingly. Settings greater than 0 produce a crescendo, and settings less than 0 produce a decrescendo. A setting of 0 produces no effect.
❏ Settings -127 ~ +127
● [F2]-05 Transpose
Transpose lets you change the key or pitch of the notes in the specified range.
Track Range
• GlideTime
Determines the length of the glide. Higher values produce a longer glide between notes.
❏ Settings 000~100
• PB Range (Pitch Bend Range)
Determines the maximum pitch bend range to be applied by the glide job (in semitones).
❏ Settings 01~24
● [F2]-07 Create Roll
This Job creates a series of repeated notes (like a drum roll) in the specified range with the specified continuous changes in clock step and velocity. This is ideal for creating fast staccato rolls and special stuttering effects.
Track Range
• Note
Determines the range of note pitches over which the job is applied.You can set this parameter by pressing the desired key while holding the [INFORMATION] button.
❏ Settings C-2 ~ G8
• Transpose
Transposes notes in the specified range (in semitones). A setting of +12 transposes up one octave, while a setting of
-12 transposes down an octave. A setting of 0 produces no change.
❏ Settings -127 ~ +127
Roll Step Roll Velocity
• Roll Step
Determines the size of the step (i.e. the number of clocks) between each note in the roll. Both the starting and ending clock values can be specified, making it easy to create rolls in which the step size varies from note to note.
❏ Settings Start Step 001~999
End Step 001~999
196 MOTIF Reference
Roll Step (Clock)
Start
Step
In this example, the space between individual notes gradually becomes shorter over the time of the roll.
EndStep
004:1:240
Roll Step (Clock)
006:3:120 measure
In this example, the space between individual notes gradually becomes longer over the time of the roll.
Start
Step
EndStep
004:1:240 006:3:120 measure
• Roll Velocity
Determines the velocity of the notes in the roll. Both the starting and ending velocity values can be specified, making it easy to create rolls in which the velocity increases or decreases.
This lets you create rolls that gradually increase or decrease in volume (crescendo/decrescendo) — a technique often used in dance music.
❏ Settings Start Velo 001~127
End Velo 001~127
Roll Velocity
Start
Velo
Roll Crescendo
EndVelo
004:1:240
Roll Velocity
Roll Crescendo
Start
Velo
006:3:120 measure
EndVelo
004:1:240 006:3:120 measure
• Note
Determines the specific note (or instrument in Drum voices) for the roll effect.
❏ Settings C-2~G8 n You can also set the Note directly from the Keyboard, by holding down the [INFORMATION] button and pressing the desired key. See “Basic Operation” on
Song Job mode
● [F2]-08 Sort Chord
This job sorts chord events (simultaneous note events) by order of pitch. The sort affects the order
of the notes in the Event List display (page 190), but
does not change the timing of the notes.
When used to pre-process chords before using the
Chord Separate job (described later), Chord Sort can be used to simulate the “stroke” or strumming sound of guitars and similar instruments.
Track Range
• Type
Determines how the chord note data is sorted.
❏ Settings up, down, up&down, down&up up
The notes are sorted in ascending order. down
The notes are sorted in descending order.
up&down
Sorts chord notes on downbeats in ascending order and chord notes on up beats in descending order, based on the
Grid setting, below.
down&up
Sorts chord notes on downbeats in descending order and chord notes on up beats in ascending order.
• Grid
Determines the type of note that will serve 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
16th note + 16th note triplet
8th note + 8th note triplet
MOTIF Reference 197
Song Job mode
● [F2]-09 Separate Chord
This job slightly separates notes in chords within the specified range, inserting a specified number of clocks between each note. Use this job after the
Chord Sort Job above, to create guitar-like upstroke or downstroke effects.
Track Range
Track Range
• Clock
Determines the number of clock cycles inserted between adjacent chord notes.
❏ Settings 000 ~999 n Note that there are 480 clock cycles per quarter note.
n It is not possible to separate chords so that they cross the next measure boundary or chord.
[F3] Event Job
Press the [F3] button in step #3 of the Basic Procedure
on page 193 so that the Event Job list appears on the
display. Scroll the cursor to the desired Job and press the [ENTER] button to go to the display of the selected Job.
Original data
Clock=000:1:000
Direction=Delay
Clock=000:1:000
Direction=Advance
Quarter-note length
• Clock
Determines the amount by which the data will be delayed or advanced in measures, beats, and clocks.
❏ Settings 000:0:000 ~ 999:16:479
• Direction
Determines the direction in which the data will be shifted.
ADVANCE moves the data toward the beginning of the sequence, while DELAY shifts the data toward the end of the sequence.
❏ Settings Advance, Delay
● [F3]-02 Copy Event
This Job copies all data from a specified source range to a specified destination location.
Source track and range in measures, beats, and clocks
The following explanations apply to step #6 of the
n Before executing the Event Job, make sure that you specify the track and range (measure : beat : clock) to which the job is applied. Please note that the track to be specified varies depending on the Job.
● [F3]-01 Shift Clock
This Job shifts all data events in the specified range forward or backward by the specified number of clocks.
One useful application for this would be to change the rhythmic feel of a drum track or bass track, subtly shifting it in time relative to the other tracks
— to create a rushed feel or a laid-back feel.
Destination track and range in measures, beats, and clocks
• Source track and range, Destination track and range
❏ Settings
Track
Range
01~16, tmp (tempo), scn (scene), all
001:1:000 ~ 999:16:479
• NumberOfTimes
Determines the number of times the data is copied.
❏ Settings 01 ~ 99
When Copy Event is executed, any data already existing at the Destination location will be overwritten.
198 MOTIF Reference
● [F3]-03 Erase Event
This Job clears all specified events from the specified range, effectively producing a segment of silence.
Track Range
• 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: 000-127, all (Control Change, Control
Change number), CAT (Channel Aftertouch), PAT
(Polyphonic Aftertouch), EXC (System Exclusive), All
(all events)
When TR is set to “tmp” (Tempo): tmp (tempo)
When TR is set to “scn” (Scene):
Scene Memory (Scene change information), Track
Mute (Track mute setting change information) n Keep in mind that applying this Job to a track with sample voices erases the events that trigger the samples, but it does not erase the actual samples themselves.
● [F3]-04 Extract Event
This Job moves all instances of specified event data from a specified range of a track to the same range in a different track.
One useful application for this would be to extract all instances of a certain note out of a track, and send them to a new track for separate editing.
Track and range in which data is extracted
Song Job mode
❏ Settings Note (Note : Note number), PC (Program
Change), PB (Pitch Bend), CC: 000-127, all
(Control Change, Control Change number),
CAT (Channel Aftertouch), PAT
(Polyphonic Aftertouch), EXC (System
Exclusive)
• Destination track
❏ Settings 01~16
● [F3]-05 Create Continuous Data
This Job creates continuous pitch bend or control change data over the specified range.
Track Range
• Event Type
Determines the event type to be created.
❏ Settings PB (Pitch Bend), CC: 000-127, all (Control
Change, Control Change number), CAT
(Channel Aftertouch), EXC (System
Exclusive), tmp (Tempo)
• Data Range
Determines the lower and upper limits for the data range to be created. The left value is the lower limit, and the right value is the upper limit.
❏ Settings When Event Type is set to PB
-8192~+8191
When Event Type is set to tmp:1.0~300.0
When Event Type is set to other :0~127
• Clock
Determines the number of clocks to be inserted between each created event.
❏ Settings 001~999
• Curve
Determines the “curve” of the continuous data.
Refer to the graph below for approximate curve shapes.
❏ Settings -16 ~+16
Curve=+16 Curve=0((linear) Curve=-16
Destination track
• Track and range in which data is extracted
❏ Settings Track 01~16
Range 001:1:000~999:16:479
• Event Type
Selects the event type to be extracted.
Specific note and control change numbers can also be specified as required.
Start point
End point
This distance specified by Clock
MOTIF Reference 199
Song Job mode
• Number Of Times
Determines the number of times the data creation is to be repeated.
For example, if data is created in the range M001:1:000 ~
M003:1:000 and this parameter is set to 03, the same data will be created at M003:1:000 ~ M005:1:000 and
M005:1:000 ~ M007:1:000.
This Job lets you to insert continuous volume or filter cutoff variations to create tremolo or wow effects.
❏ Settings 01~99
● [F3]-06 Thin Out
This Job thins out the specified type of continuous data in the specified range — allowing you to free up memory space for other data or further recording.
Track Range
• Event Type
Determines the event type to be thinned.
❏ Settings PB (Pitch Bend), CC: 000-127, all (Control
Change, Control Change number), CAT
(Channel Aftertouch), PAT (Polyphonic
Aftertouch) n The Thin Out Job will not work on continuous data that has a clock interval of greater than 60 clocks per event.
● [F3]-07 Modify Control Data
This Job lets you change the values of a specified type of control change data — pitch bend, control change, aftertouch, etc. — in the specified range.
Data changes are calculated as follows:
Modified value
= (original value x Rate) + Offset.
The modified value cannot exceed the minimum/ maximum limits of the parameter. Any result lower than the minimum is set to the minimum; any result higher than the maximum is set to the maximum.
Track Range
• Event Type
Determines the event type to be modified.
❏ Settings PB (Pitch Bend), CC: 000-127, all (Control
Change, Control Change number), CAT
(Channel Aftertouch), PAT (Polyphonic
Aftertouch), tmp (Tempo)
• Set All
Sets all target events to the same fixed value. When set to
“OFF” the Set All parameter has no effect. When set to a value other than “OFF” the Rate and Offset parameters are unavailable and appear as “***” on the display.
❏ Settings OFF, 000 ~127 (-8192 ~ +8191 for pitch bend, 0.1 ~ 300.0 for tempo)
• Rate
Determines the percentage by which the target events will be shifted from their original values.
When the Set All parameter is not “OFF” this parameter appears as “***” and cannot be changed.
❏ Settings 000% ~ 200%, ***
• Offset
Adds a fixed value to the Rate-adjusted event values.
When the Set All parameter is not “OFF” this parameter appears as “***” and cannot be changed.
❏ Settings -127~127, *** (-8192 ~ +8191 for pitch bend, ***)
● [F3]-08 Beat Stretch
This Job performs time-expansion or compression over the selected range.
Keep in mind that this operation affects all event timing, note step times, and note gate times.
Track Range
• Rate
Determines the amount of time expansion or compression as a percentage.
Settings higher than 100% produce expansion, and settings below 100% produce compression.
❏ Settings 025%~400% n Only MIDI data is affected by this job. Sample voices are not expanded or compressed. However, for samples recorded using the Slice+Seq feature, the Beat Stretch job expands or compresses the timing of the note data, step times, and gate times that control playback of the sliced samples. The sample voice itself is not affected.
200 MOTIF Reference
[F4] Measure Job
Press the [F4] button in step #3 of the Basic Procedure
on page 193 so that the Measure Job list appears on the
display. Scroll the cursor to the desired Job and press the [ENTER] button to go to the display of the selected
Job.
Song Job mode n If the insert point is set after the last measure containing data, only the meter data at that point is set without actually inserting the measures.
● [F4]-02 Delete Measure
This Job deletes the specified measures.
Measure and meter data following the deleted measures are moved backward accordingly.
The following explanations apply to step #6 of the
● [F4]-01 Create Measure
This Job creates empty measures at the specified location in all tracks.
Original data
Delete Range
001 ~ 004 005 ~ 012 013 ~ 024
Measures M005 ~ M012 deleted
001 ~ 004 005 ~ 016
Meter (time signature) of measures to be inserted
Number of measures to be inserted
Insertion point (measure number)
Original data
001~ 004 005 ~ 016
001~ 004
8 measures inserted at measure 5
005 ~ 012 013 ~ 024
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.
• Delete Range
❏ Settings 001~999 n Keep in mind that applying this Job to a range of measures with sample voices erases the events that trigger the samples, but it does not erase the actual samples themselves.
[F5] Track Job
Press the [F5] button in step #3 of the Basic Procedure
on page 193 so that the Track Job list appears on the
display. Scroll the cursor to the desired Job and press the [ENTER] button to go to the display of the selected
Job.
The following explanations apply to step #6 of the
MOTIF Reference 201
Song Job mode
● [F5]-01 Copy Track
This Job copies all data from a specified source track to the specified destination track.
Source Song and Track Destination Song and Track
Data Type to be copied
• Source Song and Track
❏ Settings Song 01~64
Track 01~16
• Destination Song and Track
❏ Settings Song 01~64
Track 01~16
• Data Type to be copied
Determines the type(s) of data to be copied. Select the desired type by checkmarking the appropriate box.
❏ Settings Seq Event (all events in the track), Grid
Groove (for the selected track), Mix Part
Param (all Mixing Part parameters), Sample
(all samples used by the track)
• Target tracks for the Exchange operation
❏ Settings 01~16
• Data Type to be exchanged
Determines the type(s) of data to be exchanged. Select the desired type by checkmarking the appropriate box.
❏ Settings Seq Event (all events in the track), Grid
Groove (for the selected track), Mix Part
Param (all Mixing Part parameters)
● [F5]-03 Mix Track
This job mixes all data from two selected tracks
(“A” and “B”), and places the result in track B. One useful application for this would be to free up the data in track A, letting you record new data to it.
Track a Track b
Track A Track B
Track B
Mix Track
The copy operation overwrites any data previously existing on the destination track.
Undo/Redo cannot be used to undo/redo a sample voice copy operation. n When there is no memory available in the destination song for sample voice data, the alert message will appear on the display and the sample voice data will not be copied. If this occurs, use
Sample Job 02 “Delete” to delete any unused samples, then try again.
● [F5]-02 Exchange Track
This Job exchanges or “swaps” the specified type of data between two specified tracks in the current song.
Target tracks for the Exchange operation
• Target tracks for the Mix operation
❏ Settings 01~16 n Keep in mind that applying this Job to tracks with sample voices does not mix the sample voices.
● [F5]-04 Clear Track
This Job deletes all data of the selected type from the selected track, or from all tracks.
Track for which data will be cleared
Data type to be cleared
• Track for which data will be cleared
❏ Settings 01~16, tmp(tempo), scn(scene), all
• Data type to be cleared
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)
Data Type to be exchanged
202 MOTIF Reference
Song Job mode
Source Song track and range
Undo/Redo cannot be used to undo/redo a Clear operation for tracks that contain sample data.
● [F5]-05 Normalize Play Effect
This job rewrites the data in the selected track so that it incorporates the current Grid Groove settings.
• TR (Track)
Determines the song track to which the Job is applied.
❏ Settings 01~16, all
● [F5]-06 Divide Drum Track
Separates the note events in a drum performance assigned to a specified track, and places the notes corresponding to different drum instruments in separate tracks (tracks 1 through 8).
One useful application for this would be to use
Quantize (page 194) and Shift Clock (page 198) to
independently adjust the timing of different drum parts in the rhythm, to tighten up the timing and yet create a more natural sounding feel.
Destination Arpeggio number and its track
• Source Song track and range
❏ Settings Track 01~16
Range 000~999
• Destination Arpeggio number and its track
This parameter allows you also to name a Destination
Arpeggio. For details about the naming function, see
❏ Settings Track 1~4
• Fixed Note Mode
When this box is checkmarked, the resulting Arpeggio
(first 16 notes) is played back no matter which key is played. Checkmark this when creating rhythm Arpeggios containing only drum/percussion sounds.
[F6] Song Job
Press the [F6] button in step #3 of the Basic Procedure
on page 193 so that the Song Job list appears on the
display. Scroll the cursor to the desired Job and press the [ENTER] button to go to the display of the selected
Job.
• TR (Track)
Determines the song track to which the job is applied.
❏ Settings 01~16 n In order to use this Job, tracks 1 - 8 must be empty.
If there aren’t enough empty tracks, an error message appears. If this happens, use the Clear
Track Job (page 202) to delete tracks 1 - 8, then try
the Job again.
● [F5]-07 Put Phrase To ARP
This Job copies data in the specified measures of a track for creating Arpeggio data. Note that
Arpeggio data can be made up of data from four separate tracks; however, the Job must be performed separately on each track, one by one.
The following explanations apply to step #6 of the
● [F6]-01 Copy Song
This Job copies all data from a selected source song to a selected destination song.
Source Song
Destination Song
❏ Settings 01~64
MOTIF Reference 203
Song Job mode
• Source song
❏ Settings 01~64
• Destination Song
❏ Settings 01~64
● [F6]-02 Split Song To Pattern
This Job allows you to copy a part of the current song — all 16 tracks over a specific range of measures — to a specific section and style, letting you use song data to create a pattern.
Source song range (in measures)
● [F6]-04 Song Name
This Job lets you assign a name to the selected song.
See “Basic Operation” on page 75.
Destination pattern (style and section)
• Source song range (in measures)
❏ Settings 001~999
• Destination pattern (style and section)
❏ Settings Style 01~64
Section A~H
• Copy Sample
When this box is checkmarked, sample voices assigned to each track in the source song are copied to the split destination style as sample voices and are assigned to the corresponding tracks in that pattern. This checkbox has no effect if no sample voices are assigned to the tracks in the source song.
This Job overwrites any data already existing in the destination pattern.
● [F6]-03 Clear Song
This job deletes all data from the selected song or all songs.
Song(s) from which data is to be cleared
• Song(s) from which data is to be cleared
❏ Settings 01~64, all
204 MOTIF Reference
Song Mixing mode
In this mode, you can set up and save mixing data for your songs, and set various parameters for the tone generator parts — including the desired voice, as well as its level, pan, EQ, effect and other settings.
How the Song Mixing mode affects the tone generator parts, and how it is affected by other elements is made clear by the following diagram.
Sequencer block
Song Data
Tone Generator block
Playback of song data affects the
Song Mixing settings.
MIDI data from external devices affects the Song
Mixing settings.
Song Mixing
Editing in the Song
Mixing mode determines the Song
Mixing settings.
Tone Generator
Song Mixing parameters are not actually part of the song data, but rather are settings for the tone generator, as it is played back by the song data. As such, the Song Mixing parameter settings are not recorded to the song tracks.
n Even if the selected song has no sequence data, this
Mixing data can be stored to User memory as song data.
Playing back such song data transmits the mixing setup to the external MIDI instrument.
◆
The [ ] Indicator
If you alter any parameters in the Song Mixing mode, the [ ] indicator will appear in the top left of the display. This indicates that the current Song Mixing settings have has been modified but not yet stored.
Edit indicator
Song Mixing mode
Song Mixing mode
(Simple Mixer functions)
n The parameters that have the same name in the Song
Mixing mode and in the Song Mixing Edit mode have the same functions and settings.
◆
Basic Procedure
1
In the Song Play mode, select a User Song to be mixed.
2
Press the [MIXING] button to enter the Song
Mixing mode. (The indicator lights.)
3
Select a display for the parts you wish to mix by using the [F6] button.
Internal Tone Generator Parts 1~16
[F6]
Multi Part Plug-in Parts 17~32
(When the Multi Part Plug-in board has been installed)
[F6]
Single Part Plug-in Parts 1~3
When the Single Part Plug-in board has been installed)
The [ ] indicator will disappear when you select another song and all edited data will be lost. It is a good idea to store the edited song data in the Song Mixing Store mode
(page 214). Even if you lose the Song Mixing edited data, you
can restore it by using the Edit Recall function (page 158).
n As shown above, the Song Mixing settings can be affected or overridden by song playback and external MIDI data. Keep in mind that because of this, the [ ] indicator may appear in the display
— even though you’ve made no changes or edits to the Song Mixing settings yourself.
[F6] n Please note that the Muti-Part Plug-in Part
(17~32) settings apply not to one individual song but to all 64 songs.
4
Select the menu you wish to edit by pressing the
[F1] - [F5] buttons, then edit parameters in each display. n If you wish to edit more detailed Mixing parameters, you can enter the Song Mixing Edit mode by pressing the [EDIT] button. For details,
refer to “Song Mixing Edit mode” on page 207.
5
Store the settings edited in step #4 to the User
Memory as required.
MOTIF Reference 205
Song Mixing mode
6
Press the [SONG] button to exit from the Song
Mixing mode and return to the Song Play mode.
• For detailed instructions on steps #4, see the following explanations.
• For details on step #5, refer to “Song Mixing
● [F1] VOL/PAN
From this display you can set the Pan and Volume for each part (track).
● [F3] VOICE
Basic Structure (page 43) · Reference (page 124)
From this display you can select a voice for each part. n You can select a part by moving the cursor or by using the NUMBER buttons while the [TRACK
SELECT] indicator is on (page 181).
• PAN
Determines the stereo pan position for each part.
❏ Settings L64 (far left)~C (center)~R63 (far right)
• VOLUME
Determines the volume for each part.
❏ Settings 0~127 n You can also adjust the Volume by using the
Control Sliders. See page 48 for details.
● [F2] AD
From this display you can set various mixing parameters for the A/D part, input via the A/D
INPUT jack or the mLAN terminal (when the optional mLAN8E has been installed).
Sample voices can also be selected (page 52).
n You can select a part by moving the cursor or by using the NUMBER buttons while the [TRACK
SELECT] indicator is on (page 181).
n The Category Search function can also be used to select voices here (with the exception of the Multipart Plug-in parts 17 - 32).
● [F4] SEND (Effect Send)
From this display you can make basic effect settings for each track — the Reverb, Chorus and Variation
Send levels, as well as the Dry Level.
❏ Settings 0~127
● [F5] TEMPLATE
This convenient function lets you store your mixing settings as a template — allowing you to easily set up similar mixes by calling up the proper template, then tweaking it as needed. Templates are part of
the System data (page 63) in the Utility mode and
not as data for each song.
Same as in the Performance Play mode. See
Template Number
Template Name
Pressing the [SF4] button lets you call up the template selected at left.
Press the [SF5] button lets your save the current setting to the template selected at left.
n Since the Song Mixing templates are stored as
System data (page 64) in the SRAM, the data is
maintained even when the power is turned off.
206 MOTIF Reference
• Template number
Determines the template number. Up to 16 templates can be created.
❏ Settings 1~16
• Template name
Determines the name of the template. For details about
naming, see “Basic Operation” on page 75.
Song Mixing Edit mode
(Detailed Mixer functions)
◆
The Compare Function
This convenient function lets you switch between the edited mixing setting and its original, unedited condition — allowing you to listen to the difference between the two and better hear how your edits affect the song.
1
In the Song Mixing Edit mode, press the
[COMPARE] button so that its indicator flashes.
The [ ] indicator is shown at the top of the display (in place of the [ ] indicator), and the original, unedited Song Mixing settings are restored for monitoring.
EDIT
COMPARE
2
Press the [EDIT] button again to disable the
“Compare” function and restore the settings for your edited Song. n While Compare is active, you cannot make Song
Mixing edits.
Song Mixing mode
◆
Common edit and Part edit
Use Common Edit to edit the settings common to all parts. There are two types of Song Mixing displays: those for Common Edit, and those for editing individual parts.
Part 1
Part 2
Part 3
COMMON Part 16
Plug-in Part 1
Plug-in Part 2
Indicates a Common Edit display.
Plug-in Part 3
Indicates a display for editing Part(s).
n Common Edit operations cannot be performed on the Multi-part Plug-in parts 17 - 32.
◆
Basic Procedure
1
In the Song Play mode, select a User Song to be mixed.
2
Press the [MIXING] button to enter the Song
Mixing mode. (The indicator lights.)
3
Press the [EDIT] button to enter the Song Mixing
Edit mode. (The indicator lights.)
4
Select a part to be edited.
• To edit parameters common to all parts, press the
[DRUM KITS] button (which serves as a
“COMMON” button here).
DRUM KITS
FAVORITES
COMMON
MOTIF Reference 207
Song Mixing mode
• To edit parameters of the individual parts, select the desired part with the corresponding
NUMBER button ([1] - [16]). You can select parts for the Plug-in board by using the [F6] button (as shown below).
1 2 3 4 5 6 7 8
TRACK
SELECT
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
NUMBER
Internal Tone Generator Parts 1~16
■
Common edit
● [F1]-[SF1] Song Mixing Common General
Master EQ Offset
The Song Mixing parameters feature global EQ settings for all parts of the selected song (see
“MEQ” , page 209). The settings made here in this
display are applied as offsets to those MEQ settings
(with the exception of “MID”). You can set the parameters below by using the four Knobs on the panel.
[F6]
Multi Part Plug-in Parts 17~32
(When the Multi Part Plug-in board has been installed)
[F6]
Single Part Plug-in Parts 1~3
(When the Single Part Plug-in board has been installed)
[F6] n Please note that the Muti-Part Plug-in Part
(17~32) settings apply not to one individual song but to all 64 songs.
5
Select the menu you wish to edit by pressing the
[F1] - [F5] buttons and edit parameters in each display.
6
Store the settings edited in step #5 to the User
Memory as required.
7
Press the [SONG] button to exit from the Song
Mixing mode and return to the Song Play mode.
• For detailed instructions on steps #5, see the following explanations.
• For details on step #6, refer to “Song Mixing
KNOB
CONTROL
FUNCTION
PAN REVERB
CUTOFF RESONANCE
ASSIGN A ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
KN 1
MEQ LOW
KN 2 KN 3
MEQLOWMID MEQ HI M ID
KN 4
MEQ HIGH
❏ Settings -64~+63
● [F1]-[SF5] Song Mixing Common General
Other
From this display you can set the control functions for the Knobs.
• Knob Assign
Determines the function for the assignable Knobs (1 - 4).
Pressing the [KNOB CONTROL FUNCTION] button on the panel sets the desired function row, which is automatically stored to memory with the currently selected song.
❏ Settings pan, tone, assign, MEQofs
208 MOTIF Reference
Song Mixing mode
● [F3]-[SF2] Song Mixing Common Arpeggio
Arpeggio Limit
KNOB
CONTROL
FUNCTION pan tone
PAN REVERB
CUTOFF RESONANCE
ASSIGN A ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
KN 1
MEQ LOW assign meqofs
KN 2 KN 3 KN 4
• ChoCtrl (Chorus Control)
Determines the depth of the Chorus effect, as controlled by the Knob assigned to Chorus Send.
❏ Settings -64~+63
• Assign A, Assign B, Assign 1, Assign 2
This lets you directly set and memorize the value for each
Assign Knob (A, B, 1, and 2), from the Knob itself. Simply tweak the knob to the desired setting.
❏ Settings -64~+63
● [F2] Song Mixing Common
MEQ (Master Equalizer)
From this display you can apply five-band equalization to all parts of the selected song.
Same as in Voice Normal Common Edit. See
● [F3]-[SF3] Song Mixing Common Arpeggio
Play FX (Effect)
●
Same as in Voice Normal Common Edit. See
[F3]-[SF4] Song Mixing Common Arpeggio
Output channel
Same as in Performance Common Edit. See page 165.
● [F3]-[SF1] Song Mixing Common Arpeggio
Arpeggio type
The basic parameters (e.g., type) of the Arpeggio are provided in this display.
When a User Arpeggio is selected, you can clear the selected Arpeggio data by using the [SF5] button.
Same as in Performance Common Edit. See
● [F4] Song Mixing Common
Controller Assign
The controllers and knobs on the front panel can be used to change and adjust a variety of parameters for each song — in real time, and simultaneously.
This appears only when
User Arpeggio is selected.
This is the same as in Voice Normal Common Edit
(page 132), except that the Tempo setting is not
available here, since the Arpeggio plays according to the song tempo.
Same as in Performance Common Edit. See
MOTIF Reference 209
Song Mixing mode
● [F6]-[SF1] Song Mixing Common Effect
Connection
This display gives you comprehensive control over the effect connections.
Same as in Performance Common Edit. See
● [F6]-[SF2], [SF3],[SF4],[SF5]
Common Effect Parameter
Plug-in Insertion, Reverb, Chorus, Variation
The number of parameters and values available differs depending on the currently selected effect type. For more information, see the Effect Type List in the separate Data List booklet.
■
Part Edit
n Please note that the Muti-Part Plug-in Part (17~32) settings apply not to one individual song but to all 64 songs.
● [F1]-[SF1] Song Mixing Part Voice
From this display you can select the voice for each part. When the cursor is located at the Bank parameter, you can directly select a voice by using the appropriate BANK, GROUP and NUMBER buttons on the panel (as long as the [TRACK
SELECT] indicator is off). (pages 124~125)
• Mono/Poly
Determines whether the voice for the selected part is played back monophonically (single notes only) or polyphonically (multiple simultaneous notes).
❏ Settings Mono, Poly n This parameter is not available for the part to which the Drum Voice is assigned.
• ArpeggioSw (Arpeggio Switch)
Determines whether Arpeggio is on or off for the selected part.
❏ Settings on, off n ArpeggioSw is not available for the Multi Part
Plug-in Parts 17~32.
• ReceiveCh (Receive Channel)
Determines the MIDI receive channel for the selected part.
Since MIDI data may be coming from many channels at once, you should set this to match the particular channel over which the desired controlling data is being sent.
❏ Settings 01~16, off
● [F1]-[SF3] Song Mixing Part Voice Limit
Same as in Performance Part Edit. See page 170.
● [F1]-[SF4] Song Mixing Part Voice
Portamento
Same as in Performance Part Edit. See page 171.
n The Mode setting is not available for Plug-in voice parts.
● [F1]-[SF5] Song Mixing Part Voice Other
● [F1]-[SF2] Song Mixing Part Voice
Play Mode
Same as in Performance Part Edit. See page 171.
n For all Plug-in voice parts, Pitch Bend Upper and
Lower become a single parameter: PB Range.
Upper and Lower values cannot be set
independently for Plug-in parts. (See page 171.)
210 MOTIF Reference
● [F2]-[SF1] Song Mixing Part Output
Volume/Pan
Song Mixing mode
● [F4]-[SF2] Song Mixing Part Tone Filter
From this display you can set various Filter related settings, to change the tonal qualities of the selected part’s voice.
Same as in Performance Part Edit. See page 172.
n The Voice Pan setting is not available for Plug-in voice parts.
● [F2]-[SF2] Song Mixing Part Output
Effect Send
Same as in Performance Part Edit. See page 173.
n The FEG Depth setting is not available for Plug-in voice parts.
● [F4]-[SF3] Song Mixing Part Tone FEG
From this display you can set the FEG (Filter
Envelope Generator) parameters for each part. The following parameters offset the same parameters in
the Voice (Element) Edit mode (page 143).
Same as in Performance Part Edit. See page 172.
● [F3] Song Mixing Part Output Select
From this display you can determine the specific jack or terminal to which the selected part is to be output.
●
Same as in Performance Part Edit. See page 173.
[F4]-[SF1] Song Mixing Part Tone Tune
Same as in Performance Part Edit. See page 173.
n The FEG setting is not available for Plug-in voice parts or parts to which Drum voices have been assigned.
● [F4]-[SF4] Song Mixing Part Tone AEG
From this display you can set AEG (Amplitude
Envelope Generator) parameters for each part. The following parameters offset the same parameters in
the Voice (Element) Edit mode (page 145).
Same as in Performance Part Edit. See page 173.
Same as in Performance Part Edit. See page 174.
n The Sustain setting is not available for Plug-in voice parts or parts to which Drum voices have been assigned.
n The Release setting is not available for parts to which Drum voices have been assigned.
MOTIF Reference 211
Song Mixing Job mode
● [F5] Song Mixing Part Receive Switch
From this display you can set how each individual part responds to various MIDI data, such as Control
Change and Program Change messages. When the relevant parameter is set to “on,” the corresponding part responds to the appropriate MIDI data. Note that two different display types (below) are provided.
• Display showing four parts
This display type shows the Receive Switch status for four parts at a time. Set the desired part on or off, for the corresponding MIDI data type. To view and edit another set of four parts, press the appropriate [NUMBER] button,
[1] to [16].
Keep in mind that since all the available parameters cannot be simultaneously displayed, you will need to use the cursor controls to scroll the display in order to see and set the other parameters.
• Display showing all parameters for one part
This display type shows all of the Receive Switch settings for a single selected part. Set the desired MIDI data type on or off for the selected part. To select other parts, use the NUMBER [1] - [16] buttons (making sure that the
[TRACK SELECT] button is on).
The two display types are linked and feature the same settings, only in different formats. Use the type you feel most comfortable with.
[SF5] button
Song Mixing Job mode
◆
Basic Procedure
1
In the Song Play mode, select a Song you wish to execute the Job on.
2
Press the [MIXING] button to enter the Song
Mixing mode.
3
Press the [JOB] button to enter the Song Mixing
Job mode.
4
Select the desired Job menu by pressing the appropriate button, [F1] - [F5].
5
Set the relevant Job parameters.
6
Press the [ENTER] button. (The display prompts you for confirmation.)
7
Press the [INC/YES] button to execute the Job.
After the Job has been completed, a “Completed” message appears and operation returns to the original display.
n To cancel the Job, press the [DEC/NO] button.
For Jobs that take longer to process, you will see the message “Executing…” during processing. If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data.
8
Press the [MIXING] button to exit from Song
Mixing Job mode and return to Song Mixing mode.
• For detailed instructions on steps #3 - #5, see the explanations below.
● [F1] Initialize
This function lets you reset (initialize) all Song
Mixing parameters to their default settings. It also allows you to selectively initialize certain parameters, such as Common settings, settings for each part, and so on — very useful when creating a completely new Song Mixing program from scratch.
212 MOTIF Reference
❏ Type of parameter to be initialized
ALL
All settings for the selected Song Mixing are initialized.
Common
Common parameter settings for the selected Song Mixing program are initialized.
Part 1~16, PLG 1~3
Part parameter settings for the selected Song Mixing program are initialized.
● [F2] Edit Recall
If you are editing a Song Mixing program and select a different program without storing your edited one, all the edits you’ve made will be erased. If this happens, you can use Edit Recall to restore the Song
Mixing program with your latest edits intact.
● [F3] Copy
From this display you can copy part parameter or effect settings from any Song Mixing program to the one you are editing. This would come in handy when you want to use some settings from another program.
Source song
Song Mixing Job mode
• Data type of Destination song (current selected song)
Set the Part of the destination song.
❏ Data type Part 1~32, Plug 1~3, Arp, Effect (Reverb,
Chorus) n If you choose Arp (Arpeggio) or Effect, the
Arpeggio data or Effect settings for the Voice assigned to the source Part will be copied.
● [F4] Bulk Dump
This function lets you send all your edited parameter settings for the currently selected Song
Mixing program to a computer or another MIDI device for data archiving.
n You must set the correct MIDI Device Number in order to execute a Bulk Dump. For details, see
● [F5] Performance Copy
This convenient operation lets you copy certain settings of the four parts in a performance to the
Song Mixing program currently being edited. This would come in handy when a certain performance has settings that you want to use in your Song
Mixing program. Use this Job to simply copy the settings you need.
The MIDI receive channel settings are set to match
the basic channel settings (page 260). When the
basic channel is set to “omni,” the receive channel here is set to 1. To select a group of parameters for copying, checkmark the appropriate box in the display.
Destination song (current selected song)
• Source song
Select a song and Mixing data type to be copied.
❏ Data type Part 1~32, PLG 1~3
MOTIF Reference 213
Song Mixing Store mode
Song Mixing Store mode
This function lets you store your edited Song Mixing program to User memory.
When you execute this, the settings for the destination memory will be overwritten. Important data should always be backed up to a memory card or SCSI device.
◆
Basic Procedure
1
After editing the Song Mixing, press the [STORE] button to enter the Song Mixing Store mode.
2
Press the [ENTER] button. (The display prompts you for confirmation.)
3
To execute the Store operation, press the [INC/
YES] button. After the Song Mixing program has been stored, a “Completed” message appears and operation returns to the original display.
n To cancel the Store operation, press the [DEC/NO] button.
For Store operations that take longer to process, you will see the message “Executing…” during processing. If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data. n The stored settings are recalled automatically when the corresponding song is selected.
214 MOTIF Reference
Function Tree
Pattern Mode
Function Tree
This section is devoted to the Pattern mode. To see how the Pattern mode relates to the entire structure of the MOTIF and its
display menus and parameter groups of the Pattern modes — giving you a quick, easy-to-understand overview of the patternrelated functions of the MOTIF. Brackets around a word or phrase (e.g., [F1]) indicate specific button names or panel operations.
[PATTERN]
[INFORMATION] PATTERN INFORMATION
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 276
[PATTERN] PATTERN PLAY
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 217
[F1] PATTERN PLAY
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 217
[F2] PATTERN GRID GROOVE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 218
[F3] PATTERN TRACK OUTPUT CHANNEL
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 218
[F4] PATTERN PATCH
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 219
[SF4] CLEAR PHRASE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 219
[SF5] COPY PHRASE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 219
[F5] TRACK VOICE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 218
[F6] PATTERN CHAIN PLAY
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 219
[EDIT] PATTERN CHAIN EDIT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 220
[SF1] INSERT MEASURE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 220
[SF2] DELETE MEASURE
. . . . . . . . . . . . . . . . . . . . . . . . . . . P. 220
[SF3] COPY EVENT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 220
[SF4] CONVERT TO SONG
. . . . . . . . . . . . . . . . . . . . . . . . . . P. 220
[SF5] TRACK SELECT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 220
[REC] PATTERN CHAIN RECORD
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 220
[REC] PATTERN RECORD
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 221
PATTERN REC SETUP
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 222
[F1] SETUP
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 222
[F2] VOICE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 223
[CATEGORY] VOICE CATEGORY SEARCH
. . . . . . . . . . . . . P. 223
[F3] ARP
. . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 223
[PLAY] PATTERN RECORDING
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 223
[EDIT] PATTERN EDIT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 224
[F1] CHANGE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 224
[F5] INSERT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 224
[F6] DELETE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 224
[F2] VIEW FILTER
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 224
[F5] CLEAR ALL
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 224
[JOB] PATTERN JOB
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 225
[F2] NOTE JOB LIST
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 225
QUANTIZE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 225
MODIFY VELOCITY
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226
MODIFY GATE TIME
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226
CRESCENDO
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226
TRANSPOSE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226
GLIDE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226
CREATE ROLL
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226
SORT CHORD
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226
SEPARATE CHORD
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226
[F3] EVENT JOB LIST
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 227
SHIFT CLOCK
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 227
COPY EVENT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 227
ERASE EVENT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 227
EXTRACT EVENT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 227
CREATE CONTINUOUS DATA
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 227
THIN OUT
.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 227
MODIFY CONTROL DATA
BEAT STRETCH
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 228
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 228
[F4] PHRASE JOB LIST
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 228
COPY PHRASE
. . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 228
EXCHANGE PHRASE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 228
MIX PHRASE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 228
APPEND PHRASE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 229
SPLIT PHRASE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 229
GET PHRASE FROM SONG
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 229
PUT PHRASE TO SONG
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 229
CLEAR PHRASE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230
PHRASE NAME
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230
MOTIF Reference 215
Function Tree
[SONG]
[F5] TRACK JOB LIST
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230
COPY TRACK
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230
EXCHANGE TRACK
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230
NORMALIZE PLAY EFFECT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230
DIVIDE DRUM TRACK
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 231
[F6] PATTERN JOB LIST
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 231
COPY PATTERN
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 231
APPEND PATTERN
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 231
SPLIT PATTERN
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 231
CLEAR PATTERN
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
STYLE NAME
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
[MIXING] PATTERN MIXING
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
[INFORMATION] MIX INFORMATION
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
[MIX] MIXING PART
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
[F1] MIX VOLUME/PAN
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
[F2] MIX AD
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
[F3] MIX VOICE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
[EDIT] MIXING EDIT
[F4] EFFECT SEND
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
[F5] MIX TEMPLATE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
[COMMON]
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
[F1] COMMON GENERAL
. . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
[SF1] MEQ OFFSET
[SF5] OTHER
. . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . P. 232
[F2] COMMON MASTER EQ
. . . . . . . . . . . . . . . . . . . . . . . . P. 232
[F3] COMMON ARPEGGIO
. . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
[SF1] TYPE
. . . . . . . . . . . . . . . . . . . . . P. 232
[SF2] LIMIT
. . . . . . . . . . . . . . . . . . . . . P. 232
[SF3] PLAY FX
. . . . . . . . . . . . . . . . . . P. 232
[SF4] OUTPUT CHANNEL
. . . . . . . . . P. 232
[SF5] CLEAR USER ARPEGGIO
[F4] COMMON CONTROLLER ASSIGN
. . . . P. 232
. . . . . . . . . . . . . . . P. 232
CONTROLLER ASSIGN
. . . . . . . . . . . P. 232
[F6] COMMON EFFECT
. . . . . . . . . . . . . . . . . .. . . . . . . . . . . P. 232
[SF1] EFFECT CONNECT
. . . . . . . . . . P. 232
[SF2] PLG-EF
. . . . . . . . . . . . . . . . . . . P. 232
[SF3] VARIATION
. . . . . . . . . . . . . . . . P. 232
[SF4] REVERB
. . . . . . . . . . . . . . . . . . P. 232
[SF5] CHORUS
. . . . . . . . . . . . . . . . . . P. 232
[PART SELECTION]
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
[F1] PART VOICE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
[SF1] VOICE
. . . . . . . . . . . . . . . . . . . . P. 232
[SF2] PLYMODE
. . . . . . . . . . . . . . . . . P. 232
[SF3] LIMIT
. . . . . . . . . . . . . . . . . . . . . P. 232
[SF4] PORTAMENTO
[SF5] OTHER
. . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . P. 232
[F2] PART OUTPUT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
[SF1] VOLUME/PAN
. . . . . . . . . . . . . . P. 232
[SF2] EFFECT SEND
. . . . . . . . . . . . . P. 232
[F3] PART OUTPUT SELECT
. . . . . . . . . . . . . . . . . . . . . . . . P. 232
OUTPUT SELECT
. . . . . . . . . . . . . . . . P. 232
[F4] PART TONE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
[SF1] TUNE
. . . . . . . . . . . . . . . . . . . . P. 232
[SF2] FILTER
. . . . . . . . . . . . . . . . . . . . P. 232
[SF3] FEG
. . . . . . . . . . . . . . . . . . . . . . P. 232
[SF4] AEG
[F5] PART RECEIVE SWITCH
. . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
[JOB] MIXING JOB
[F1] INITIALIZE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
[F2] EDIT RECALL
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
[F3] COPY
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
[F4] BULK DUMP
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
[F5] COPY FROM PERFORMANCE
[STORE] MIX STORE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
216 MOTIF Reference
Pattern Play mode
Pattern Play mode
In this mode, you can select and play individual User patterns.
n For details about patterns and their track and memory
◆
Basic Procedure
1
Press the [PATTERN] button to enter the Pattern
Play mode. (The indicator lights.)
PATTERN
Pattern track number and data status
No data has been recorded.
(A Phrase has not been assigned.)
MIDI sequence data has been recorded. (Indicates a MIDI track.)
In addition to MIDI sequence data, the sample data has been recorded.
(Indicates an sample track.)
Tempo for the selected style
❒ Setting 010.0 ~ 300.0
Time signature for the selected style
❒ Setting 1/16 ~16/16, 1/8 ~16/8, 1/4 ~8/4
Measure : Beat
(for current playback location)/
Total length of the selected pattern
Transpose setting (for all style data)
Can be adjusted in semitones.
For example, when a value of +12 is set, the pitch of all of the data becomes one octave higher.
❒ Settings -36 ~ +36
Currently selected pattern (style and section)
Style number Style name
Pattern track on/off status
Indicates muted track.
Indicates soloed track (page 218).
Section
2
Select a style and its section.
3
Start/Stop pattern playback.
Stop playback Start playback
4
Make necessary or desired settings (e.g., transpose, tempo, individual track on/off status, and so on) in the above display.
5
Select the menu you wish to edit by pressing the
[F2] - [F6] buttons and edit the parameters in each display. n Creating patterns is done with the Patch function,
selected with the [F4] button. (See page 219.)
n The Pattern Chain function, selected with the [F6] button, lets create a song by chaining together
several different patterns. (See page 219.)
6
Repeat steps #3 through #5 as desired.
7
Press any other mode button to exit from the
Pattern Play mode.
• For detailed instructions on steps #2, 3, 4, and 5, see the following explanations.
Style Selection
The explanations here apply to step #2 of the Basic
Procedure see above.
The method for selecting a style is the same as that for
selecting songs (page 179), as shown below.
DRUM KITS PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3
CATEGORY
SEARCH BANK
1
FAVORITES
COMMON
A. PIANO KEYBOARD ORGAN
A B C
GUITAR /
PLUCKED
D
BASS
E
STRINGS BRASS REED/PIPE
F G H
SYN LEAD
1
SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
2 3 4 5
SE
6
MUSICAL FX COMBI
7 8
2
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16
SECTION
TRACK
SELECT
GROUP
NUMBER
MUTE
SOLO n
The explanations here apply when
these four button indicators are off.
You can also select a style by moving the cursor to the style number location and using the [INC/YES] and
[DEC/NO] buttons or the data dial.
MOTIF Reference 217
Pattern Play mode
●
Style numbers and the corresponding Group/
Numbers
Same as in the Song Play mode. See page 179.
Section Selection
The explanations here apply to step #2 of the Basic
CATEGORY
SEARCH PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 BANK
A. PIANO KEYBOARD ORGAN
A B C
GUITAR /
PLUCKED
D
BASS
E
STRINGS BRASS REED/PIPE
F G H SECTION GROUP
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE MUSICAL FX COMBI
1
Press the [SECTION] button. (The indicator lights.)
2
Press any of the [PRE1]~[PLG3], [A]~[H] buttons to select a section from the 16 available sections
Pattern track on/off — Solo and
Mute
The explanations here apply to step #4 of the Basic
Details are same as “Song track on/off — Solo and
Mute” on page 180, as illustrated below.
● To mute a track
TRACK
SELECT 1 2 3 4 5 6 7 8
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
NUMBER
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
Pattern editing in the Pattern Play mode
The explanations here apply to step #5 of the Basic
● [F2] Pattern Play Groove
Same as in the Song Play mode. See page 181.
● [F3] Pattern Play Output Channel
Same as in the Song Play mode. See page 182.
● To solo a track
1 2 3 4
9
ELEMENT/ PERF.PART / ZONE
10 11 12 13
5 6
14 15
7 8
16
TRACK
SELECT
MUTE
SOLO
NUMBER
Pattern track selection
The explanations here apply to step #4 of the Basic
In order to edit the Song data, you’ll need to select a track for editing.
Details are same as “Song track selection” on page 181
as illustrated below.
218 MOTIF Reference
● [F4] Pattern Play Patch
Explained later. See page 219.
● [F5] Pattern Play Track Voice
Determines whether the program change data contained in the phrase data is effective or not. For most purposes, this should be set to “off.” For example, if a phrase has embedded voice changes
(program change messages) but you don’t want the voice to change in the middle of the phrase, set this to “off.” Tracks that are set to “off” here automatically play back with the voice number assigned to the part.
n The Phrase Voice embedded in the Pattern phrase can be specified from the Voice display in the Pattern Record
● [F6] Pattern Play Chain Play/Edit
Explained later. See below.
[F4] Patch Function
Basic Structure (page 52) · Quick Start Guide (page 105)
The explanations here apply to step #5 of the Basic
In the following display, you can assign a Preset phrase or a User phrase (recorded in the Pattern Record mode) to each track and create a pattern that contains up to
16 tracks.
Track number, Data status (page 217),
Phrase bank : number
Phrase name, Time Signature, and length of the Phrase assigned to the selected track
Pattern Play mode
●
Measure : Beat (for current playback location)
The buttons can be used to change the location (in measures/beats), even during playback.
● [SF4] Patch Clear
You can clear the Phrase assignment to the currently selected track by pressing the [SF4] button. As a result, the track becomes empty.
● [SF5] Phrase Data Copy
The User phrases that can be assigned with the
Patch function are limited to the ones contained in the currently selected pattern style. This function lets you copy phrases on other pattern styles to the selected one.
Press the [SF5] button to call up the following display. After setting the parameters as needed, press the [ENTER] button to copy the phrase data.
Source style number, phrase number
Destination phrase and track of the current edited style.
After setting, press the [ENTER] button to copy the phrase.
When this box is checkmarked, sample voices assigned to the source phrase are copied to the destination phrase as sample voices, and are assigne to the corresponding tracks in the selected pattern.
Section
Measure : Beat (for current playback location)/Total length of the selected pattern
[SF5] Phrase Data Copy
[SF4] Patch Clear
● Track number, Data status, Phrase bank/ number
For details about the Track number and Data status, see the illustration in step #1 of the Basic Procedure
The phrase bank and number can be selected via the data dial, [INC/YES] button, or [DEC/NO] button and assigned to the selected track. The assigned phrase name, its time signature and length are indicated at the top right of the display.
n The Patch function allows you to use only User phrases recorded to a track of the currently selected style. If you wish to use User phrases recorded to tracks of other styles, use the Phrase Data Copy function, selected with [SF5] button.
● Section
Shows the current edited section. For details about how to change sections, refer to “Section selection”
The copy operation overwrites any data previously existing in the destination phrase.
[F6] Pattern Chain
Basic Structure (page 52) · Quick Start Guide (page 108)
The explanations here apply to step #5 of the Basic
Pattern Chain allows you to string several different
Patterns (Style and Section) together to make a single
Song. The created Pattern Chain data can then be converted into a Song.
n For details about Pattern Chain and its track and memory
MOTIF Reference 219
Pattern Play mode
■
Creating Pattern Chains with Realtime
Playback (Pattern Chain Recording)
This function makes it possible to specify a sequence of patterns for pattern chain playback.
Switching of styles/sections, track muting, scene/ mute changes, and tempo changes can all be recorded in real time.
1
In the Pattern Play mode, press the [F6] button to enter the Pattern Chain Play mode as shown below. Details about parameters in this display are same as in step #1 of the Basic Procedure on
2
Press the [REC] button to enter the Pattern Chain
Record mode. The indicator lights and the Record
Setup Display appears.
REC
REC
5
Press the [
■
] button to stop recording.
■
Pattern Chain Editing
The Pattern Chain Edit mode makes it possible to edit the order of the patterns in a chain as well as inserting tempo, and scene/mute event data.
Call up the desired display by following the instructions below and edit the events (Style/Section changes, Scene/
Mute changes, and Tempo changes) in each display.
Pattern Chain Edit mode
[PATTERN] button
Pattern Chain Edit mode
Pattern Track Edit
[EDIT] button
3
Set basic parameters for recording (e.g., Style number/Section, Recording Type, Track, Tempo and so on).
• The Recording Type, Time Signature and Tempo settings are same as in the Song Record mode.
• To record a track, select the desired track from
“TMP” (Tempo), “SCN” (Scene), and “PTN”
(Pattern). For details about the Pattern Chain
4
Press the [
F
] button to start recording and play the pattern as you like.
• When a Pattern track (1 - 16) is selected, you can record style and section changes.
• When the Tempo track is selected, you can record tempo changes.
• When the Scene track is selected, you can record track muting settings.
220 MOTIF Reference
Scene Track Edit
Tempo Track Edit
[F4] button
[F4] button
[F4] button
The methods for editing each event in the display above and for inserting/deleting events (by using the
[F5]/[F6] buttons) are the same as in the Song Edit
● [F6]-[EDIT]-[F2] Copy
Pressing the [SF3] button in the Pattern Chain Edit mode calls up the Copy display below, letting you copy all pattern chain events from a specified range of measures (source) to a destination location. Keep in mind that this overwrites any existing events at the destination.
Source range
Destination range
• Source range, Destination range (Measure)
❏ Settings 001~999
• NumberOfTimes
Specifies the number of times the data is copied.
❏ Settings 01~99
This operation overwrites any events already existing at the destination.
● [F6]-[EDIT]-[F3] Convert
This function converts the pattern chain data to song data (standard MIDI format) and places the results in the normal song tracks.
Pressing the [SF4] button in the Pattern Chain Edit mode calls up the Convert display below. Specify the desired destination song and measure number to which the converted data is to be copied, then press the [SF5] button to execute.
Pattern Record mode
Pattern Record mode
The MOTIF features a wealth of preset phrases in a variety of music genres. It also features comprehensive phrase recording functions, that let you create your own phrases and use them to build your own original patterns.
n
For details about recording methods, see page 53 .
◆
About the recording track
When recording patterns, you’ll need to specify the track to be recorded — just as is done in Song recording. The operations differ depending on the specific phrase assignments, as described below.
• If the preset phrase is assigned to the track...
You cannot record. Even if you specify the track to which the preset phrase is assigned and try to record, an error message will appear.
• If the user phrase is assigned to the track...
The data of the user phrase assigned to the specified track is overwitten by recording.
• If the phrase is not assigned to the track...
Recording is donw to an empty user phrase. The newly created phrase is automatically assigned to the recording track.
◆
Basic Procedure
1
In the Pattern Play mode, select a pattern (style and section) to be recorded.
2
Press the [REC] button to enter the Pattern Record mode. (The indicator lights.) The Pattern Record
Setup display shown below appears.
REC
This operation overwrites any data already existing at the destination range.
3
Set basic parameters for recording (e.g., recording track, type, tempo, and so on).
MOTIF Reference 221
Pattern Record mode n Please note that the time signature can be set in the
Pattern Play display. See page 217.
n The method for selecting the recording track is the
same as in Pattern track selection (page 218).
4
Change the display by pressing the [F2] - [F3] buttons and set various parameters for recording.
5
Press the [
F
] button to start recording.
• When any of the Realtime recording methods
(any setting other than “step”) is selected in step
#3, your keyboard playing and controller moves are automatically recorded.
• When “step” is selected in step #3, compose your recording by entering each note individually.
REC
• For detailed instructions on steps #3 - #4, see the following explanations.
• For details on steps #5 - #6, refer to “Quick Start
• For details on step #8, refer to “File mode” on
n The following explanations apply to MIDI data recording (creating MIDI tracks). For instructions on recording audio data (creating sample tracks),
see “Sampling mode” on page 233.
Setting up before recording
The explanations here apply to steps #3 - #4 of the
Basic Procedure on page 221, page 222.
● [F1] Pattern Record Setup
When recording type is set to something other than “step”:
Time signature (set in the Pattern Play display)
To erase specific notes from the recording, simultaneously hold down the [F6] button and press the note you wish to delete. This is especially convenient when erasing specific instruments in a selected Drum voice.
6
After completing your performance (in Realtime recording) or completing step recording, press the
[ ■ ] button to stop recording.
7
Press the [ F ] button to hear your newly recorded phrase.
8
Save the recorded phrase data to a memory card or a SCSI device connected to the MOTIF.
This lets you determine whether the Arpeggio playback data is recorded to the Pattern track or
Tempo not. (Press the [F4] button.) When is indicated, the Arpeggio playback data is recorded to the
Song track.
This lets you turn the click sound
(metronome) on/off for recording.
(Press the [F5] button.) When is indicated, the click sounds.
When recording type is set to “step”:
The recorded (edited) phrase data resides temporarily in
DRAM (page 64). Because data contained in DRAM is
lost when the power is turned off, you should always store any data residing in DRAM to a memory card or an external SCSI device before turning off the power.
Time signature
(set in the Pattern Play display).
Tempo
• Type (Recording type)
Determines the recording method.
❏ Settings: replace, overdub, step n Unlike in the Song Record mode, Punch recording is not available for pattern recording.
• Loop
Turns loop recording ON or OFF.
When ON, the phrase will play repeatedly during real-time recording. This can be handy when recording drum parts, allowing you to add different instruments on each pass.
When OFF recording stops after one pass through the phrase.
❏ Settings: on,
222 MOTIF Reference
• Quantize
This convenient feature lets you automatically quantize the notes in real time, as you record. Quantize aligns the timing of note events to the nearest beat. This parameter determines whether real-time Quantize is on or not, and the resolution to which the notes will be aligned.
❏ Settings: off, 60 (32nd note), 80 (16th note triplet), 120
(16th note), 160 (8th note triplet), 240 (8th note), 320 (1/4 note triplet), 480 (1/4 note)
• Event
This parameter is available when the Recording Type is set to “step.” This lets you specify the event type to be entered.
❏ Settings: note, p.bend (pitch bend), CC#000~#119
(Control Change)
• Tempo
Determines the Pattern tempo.
❏ Settings: 001.0
● [F2] Pattern Record Voice
From this display you can set voice-related parameters for the selected track. The settings made here affect the tone generator parts whose
MIDI receive channels match the MIDI transmit channel of the song track. The voice set here
becomes the phrase voice (page 52).
Pattern Record mode
Pattern Recording
The explanations here apply to steps #5 - #6 of the
■
Realtime Recording
See “Quick Start Guide” on page 103.
■
Step Recording
If you press the [ F ] button in step #5 of the Basic
Procedure on page 222 , the Event display appears and
you can input individual events one by one. The method for inputting events is the same as in Step
recording in the Song mode. See pages 183 ~ 186.
Parameters are the same as in the Song Record
● [F3] Pattern Record Arpeggio
From this display you can set various Arpeggiorelated parameters for the selected track.
Determines whether Arpeggio playback data is recorded to the track or not.
(Press the [F4] button.)
Parameters are the same as in the Song Record mode.
MOTIF Reference 223
Pattern Edit mode
Pattern Edit mode
This mode gives you comprehensive, detailed controls for editing the MIDI events of each phrase of the recorded pattern. MIDI events are messages (such as note on/off, note number, program change number, etc.) that make up the data of a recorded pattern.
◆
Basic Procedure
1
In the Pattern Play mode, select a style and phrase to be edited.
2
Press the [EDIT] button to enter the Pattern Edit mode. (The indicator lights.) The Pattern Event
List display shown below appears.
EDIT
MIDI events that can be edited
All MIDI events and parameters (edited in step #3 of the Basic Procedure above) are the same as those in the
Song Edit mode. For details, see page 190.
Event Editing/Inserting/Deleting
All event editing operations and parameters (done in step #3 of the Basic Procedure above) are the same as
those in the Song Edit mode. For details, see page 190.
Event View Filter
All Event View Filter operations and settings (done in step #3 of the Basic Procedure above) are the same as
those in the Song Edit mode. For details, see page 192.
Measure number
Events Beat Clock
(480 clocks per quarter-note)
3
Revise, insert or delete the MIDI events as needed.
If you find the display too cluttered, you can filter out certain event types with the View Filter.
Simply press the [F2] button and select the event types you want to be displayed.
4
After completing editing, press the [PATTERN] button to return back to the Pattern Play mode.
5
Press the [ F ] button to hear your edited data.
6
Edit other Phrases as required. Repeat steps #2 through #5 as desired.
7
After editing, save your pattern data to a memory card or a SCSI device connected to the MOTIF in the File mode.
• For detailed instructions on step #3, see the following explanations.
• For details on step #7, refer to “File mode” on
224 MOTIF Reference
Pattern Job mode
The Pattern Job mode contains a comprehensive set of editing tools and functions you can use to change the sound of your original pattern, as created by the
Pattern Patch function or from the Pattern Record mode. It also includes a variety of convenient operations, such as copying or erasing data. Most of these operations can be performed on either an entire track or a selected range of measures in the track.
◆
Basic Procedure
1
In the Pattern Play mode, select a style and section you wish to execute the Job on.
2
Press the [JOB] button to enter Pattern Job Mode.
3
Select the desired Job menu by pressing the appropriate button, [F2] - [F6].
4
Use the CURSOR buttons to scroll to the desired
Job.
5
Press the [ENTER] button to go to the selected Job display.
6
Set the relevant Job parameters.
7
Press the [ENTER] button. (The display prompts you for confirmation.)
8
Press the [INC/YES] button to execute the Job.
After the Job has been completed, a “Completed” message appears and operation returns to the original display.
n To cancel the Job, press the [DEC/NO] button.
Pattern Job mode
10
Press the [PATTERN] button to exit from the
Pattern Job mode and return to the Pattern Play mode.
• For detailed instructions on steps #3 - #9, see the explanations below.
[F1] Undo/Redo
The explanations here apply to step #9 of the Basic
Procedure on see below.
The operations are the same as in the Song Job mode.
Undo/Redo does not work with sample voice operations.
[F2] Note data Job
Press the [F2] button in step #3 of the Basic Procedure
(see below), so that the Note data Job list appears on the display. Scroll the cursor to the desired Job and press the [ENTER] button to go to the display of the selected Job.
The following explanations apply to step #6 of the
Basic Procedure see above. n The Note data Jobs in the Pattern mode are basically same as in the Song Job mode. However, unlike in the
Song Job mode, Pattern Note data Jobs are applied to the phrases (001 - 256) and a selected range in the phrase
(measure : beat : clock).
● [F2]-01 Quantize
For Jobs that take longer to process, you will see the message “Executing…” during processing. If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data.
9
If you wish to undo the changes made in the steps above, press the [F1] button and (to select Undo/
Redo) and use the Undo function.
Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied.
Same as in the Song Job mode. See page 194.
MOTIF Reference 225
Pattern Job mode
● [F2]-02 Modify Velocity
Same as in the Song Job mode. See page 195.
● [F2]-06 Glide
Same as in the Song Job mode. See page 196.
Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied.
● [F2]-03 Modify Gate Time
Same as in the Song Job mode. See page 195.
Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied.
● [F2]-07 Create Roll
Same as in the Song Job mode. See page 196.
Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied.
● [F2]-04 Crescendo
Same as in the Song Job mode. See page 196.
Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied.
● [F2]-08 Sort Chord
Same as in the Song Job mode. See page 197.
Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied.
● [F2]-05 Transpose
Same as in the Song Job mode. See page 196.
Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied.
● [F2]-09 Separate Chord
Same as in the Song Job mode. See page 198.
Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied.
Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied.
226 MOTIF Reference
[F3] Event Job
Press the [F3] button in step #3 of the Basic Procedure
on page 225 so that the Event Job list appears on the
display. Scroll the cursor to the desired Job and press the
[ENTER] button to go to the display of the selected Job.
Pattern Job mode
● [F3]-03 Erase Event
Same as in the Song Job mode. See page 199.
The following explanations apply to step #6 of the
n The Event Jobs in the Pattern mode are basically same as in the Song Job mode. However, unlike in the Song Job mode, Pattern Event Jobs are applied to the phrases (001 -
256) and a selected range in the phrase (measure : beat : clock).
● [F3]-01 Shift Clock
Same as in the Song Job
Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied.
n Unlike in the Song Job mode, you cannot select
“Tempo,” “Scene Memory,” or “Track Mute” as
Event Types.
● [F3]-04 Extract Event
Same as in the Song Job mode. See page 199.
Specify the phrase and the range (in measures/ eats/clocks) over which the Job is applied.
Select the destination phrase.
● [F3]-05 Create Continuous Data
Same as in the Song Job mode. See page 199.
Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied.
● [F3]-02 Copy Event
This job copies all data from a specified source range to a specified destination location.
Set the range (in measures/beats/ clocks) from which the data will be copied.
Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied.
n Unlike in the Song Job mode, you cannot select
“Tempo” as an Event Type.
● [F3]-06 Thin Out
Same as in the Song Job mode. See page 200.
Specify the phrase to which the job is applied.
Specify the location to which the data will be copied.
• Number Of Times
Specifies the number of times the data is copied.
❏ Settings 01~99
When Copy Event is executed any data already existing at the Destination location will be overwritten.
Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied.
n Unlike in the Song Job mode, you cannot select
“All” as an Event Type.
MOTIF Reference 227
Pattern Job mode
● [F3]-07 Modify Control Data
Same as in the Song Job mode. See page 200.
Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied.
n Unlike in the Song Job mode, you cannot select
“Tempo” as an Event Type.
● [F3]-08 Beat Stretch
Same as in the Song Job mode. See page 200.
Any previous data in the copy destination will be overwritten.
Undo/Redo (page 225) cannot be used to undo/redo a
sample voice copy operation.
n When there is no memory available in the destination style for sample voice data, an error message will appear on the display and the sample voice data will not be copied. If this occurs, use
Sample Job 02 “Delete” to delete any unused sample voices, then try again.
● [F4]-02 Exchange Phrase
This Job exchanges or “swaps” the contents of two specified phrases.
Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied.
[F4] Phrase Job
Press the [F4] button in step #3 of the Basic Procedure
on page 225 so that the Phrase Job list appears on the
display. Scroll the cursor to the desired Job and press the
[ENTER] button to go to the display of the selected Job.
Target phrases for the Exchange operation n If this Job is applied to phrases which use sample voices, the sample voices will not be exchanged.
● [F4]-03 Mix Phrase
This Job mixes all data from two selected user phrases (“A” and “B”), and places the result in phrase B. One useful application for this would be to free up the data in phrase A, letting you record new data to it.
The following explanations apply to step #6 of the
● [F4]-01 Copy Phrase
This Job copies a selected phrase to the designated destination phrase.
Specify the destination style and phrase.
Selects the style and phrase to be copied.
(Preset phrase also can be selected.)
Phrase A Phrase B
Phrase B
Mix Phrase n Keep in mind that applying this Job to phrases with sample voices does not mix the sample voices.
When this box is checkmarked, sample voices used by the source phrase are copied to the destination style as sample voices, and are assigned to the destination phrase.
228 MOTIF Reference
● [F4]-04 Append Phrase
This Job appends one phrase to the end of another to create one longer phrase.
Pattern Job mode
● [F4]-06 Get Phrase From Song
This Job copies a segment of sequence-track data from a song into the designated destination phrase.
Destination phrase
Source song, track, and range of measures to be copied
Phrase A
Append Phrase
Phrase B n If this job is applied to phrases which use sample voices, the sample voices will not be appended.
● [F4]-05 Split Phrase
This Job splits a selected phrase into two separate phrases.
Phrase A is divided at the Split Point (the measure number set in the above display).
Phrase A
When this box is checkmarked, sample voices used by the source track are copied to the destination style as sample voices, and are assigned to destination phrase. This parameter has no effect when no sample voice is used by the source track.
The job overwrites any data already existing in the destination phrase.
Undo/Redo (page 225) cannot be used to undo/redo a
sample voice copy operation.
n When there is no memory available in the destination style for sample voice data, an error message will appear on the display and the sample voice data will not be copied. If this occurs, use
Sample Job 02 “Delete” to delete any unused samples, then try again.
● [F4]-07 Put Phrase To Song
This Job copies a selected user phrase into a specified area of a selected song.
Destination phrase
Source song, track, and range of measures to be copied
Phrase A Phrase B n When either Style or Phrase is set to “off”, the split
Phrase B data is erased.
• Meter
Sets the meter of phrase B after the split operation.
❏ Settings 1/16~16/16, 1/8~16/8, 1/4~16/4
The job overwrites any data already existing in destination phrase B.
n If this job is applied to phrases which use sample voices, the sample voices will not be split.
When this box is checkmarked, sample voices used by the source track are copied to the destination style as sample voices, and are assigned to destination phrase. This parameter has no effect when no sample voice is used by the source track.
The job overwrites any data already existing in the destination track.
Undo/Redo (page 225) cannot be used to undo/redo a
sample voice copy operation.
n When there is no memory available in the destination song for sample voice data, an error message will appear on the display and the sample voice data will not be copied. If this occurs, use
Sample Job “Delete” to delete any unused samples, then try again.
MOTIF Reference 229
Pattern Job mode
● [F4]-08 Clear Phrase
This Job deletes all data from the selected phrase.
Phrase to be cleared
● [F5]-01 Copy Track
This Job copies all data of the selected type from specified source track to specified destination track.
Source style, ection, and track
When this box is checkmarked, sample data assigned to the selected phrase will be deleted.
This parameter has no effect when no sample voice is used by the selected phrase.
Undo/Redo (page 225) cannot be used to undo/redo a
Delete Sample operation.
● [F4]-09 Phrase Name
This Job lets you assign a name (of up to eight characters) to the selected phrase.
Types of data to be copied Destination style, section, and track
Same as in the Song Job mode. See page 202.
● [F5]-02 Exchange Track
This Job exchanges or “swaps” the specified type of data between two specified tracks in the current style and section.
Target tracks for the Exchange operation
See “Basic Operation” on page 75.
[F5] Track Job
Press the [F5] button in step #3 of the Basic Procedure
on page 225 so that the Track Job list appears on the
display. Scroll the cursor to the desired Job and press the [ENTER] button to go to the display of the selected
Job.
Types of data to be exchanged
Same as in the Song Job mode. See page 202.
● [F5]-03 Clear Track
This Job deletes all data of the selected type from the selected pattern track.
Section and track from which data is to be cleared
Types of data to be cleared
Same as in the Song Job mode. See page 202.
● [F5]-04 Normalize Play Effect
This job rewrites the data in the selected track so that it incorporates the current Grid Groove settings.
The following explanations apply to step #6 of the
Same as in the Song Job mode. See page 203.
230 MOTIF Reference
● [F5]-05 Divide Drum Track
Separates the note events in a drum performance assigned to a specified track, and places the notes corresponding to different drum instruments in separate tracks (tracks 1 through 8).
One useful application for this would be to use
Quantize (page 225) and Shift Clock (page 227) to
independently adjust the timing of different drum parts in the rhythm, to tighten up the timing and yet create a more natural sounding feel.
Pattern Job mode
● [F6]-02 Append Pattern
Appends one pattern to the end of another to create one longer pattern with all 16 tracks.
Source pattern
(style and Section)
Destination pattern
(style and section)
Same as in the Song Job mode. See page 203.
[F6] Pattern Job
Press the [F6] button in step #3 of the Basic Procedure
on page 225 so that the Pattern Job list appears on the
display. Scroll the cursor to the desired Job and press the [ENTER] button to go to the display of the selected
Job.
The following explanations apply to step #6 of the
● [F6]-01 Copy Pattern
This job copies all data from a selected source pattern to a selected destination pattern.
Source style and section Destination style and section
When this box is checkmarked, the original Destination pattern data is retained in memory, along with the new appended pattern data. If the box is not checkmarked, the original Destination pattern is erased and replaced with the newly created data.
When this box is checkmarked, Sample Voices
(if included in the source style) are copied to the
Destination Style.
n When the KEEP ORIGINAL PHRASE checkbox is checked, this job requires twice the number of empty user phrases as the number of tracks containing data in which to store the appended phrase data. If the required phrases are unavailable the alert message will appear and the job will be aborted. If this occurs use the Clear Phrase Job
(page 230) to delete unused phrases and try again.
n If this job is applied to patterns which use sample voices, the sample voices will not be appended.
n If the pattern length becomes greater than 256 measures as a result of the Append Pattern Job, an error message will be displayed and the Job will be aborted.
● [F6]-03 Split Pattern
This Job splits a selected pattern (all 16 tracks data) into two patterns.
After the Split Pattern operation, the part of the pattern before the specified Split Point will remain, and the part following the Split Point will be moved to the destination pattern.
Source pattern
(style and section)
Destination pattern
(style and section)
When this box is checkmarked, sample voices
(if included in the source style) are copied to
the destination style.
When this box is checkmarked, Preset Phrases (if included in the source style) are copied to the User Phrase.
Undo/Redo (page 225) cannot be used to undo/redo a
sample voice copy operation.
When this box is checkmarked, the original Source pattern data is retained in memory, along with the new appended pattern data. If the box is not checkmarked, the split portion of the original Source pattern is erased and moved to the Destination pattern.
MOTIF Reference 231
Pattern Mixing mode
The job overwrites any data already existing in the destination pattern.
n When the KEEP ORIGINAL PHRASE checkbox is checked, this job requires twice the number of empty user phrases as the number of tracks containing data in which to store the appended phrase data. If the required phrases are unavailable the alert message will appear and the job will be aborted. If this occurs use the Clear Phrase Job
(page 230) to delete unused phrases and try again.
● [F6]-04 Clear Pattern
This job deletes all data from the selected pattern, or from all patterns.
Pattern (style and section) to be cleared
● [F6]-05 Style Name
This Job lets you assign a name to the selected style.
Pattern Mixing mode
In this mode, you can set up and save mixing data for your patterns, and set various parameters for the tone generator parts — including the desired voice, as well as its level, pan, EQ, effect and other settings.
How the Pattern Mixing mode affects the tone generator parts, and how it is affected by other elements, is made clear by the following diagram.
Sequencer block
Pattern Data
Tone Generator block
Playback of pattern data affects the Pattern Mixing settings.
MIDI data from external devices affects the Pattern
Mixing settings.
Pattern Mixing
Tone Generator
Editing in the
Pattern Mixing mode determines the Pattern Mixing settings.
Pattern Mixing parameters are not actually part of the pattern data, but rather are settings for the tone generator, as it is played back by the pattern data. As such, the Pattern Mixing parameter settings are not recorded to the pattern tracks.
Even though the modes are different, the actual Pattern
Mixing operations and parameters are the same as
those of the Song Mixing mode. See page 205.
See “Basic Operation” on page 75.
232 MOTIF Reference
Function Tree
Sampling Mode
Function Tree
This section is devoted to the Sampling mode. To see how the Sampling mode relates to the entire structure of the
MOTIF and its other modes and functions, see the simplified chart in “Basic Structure” on page 30.
The following detailed chart shows all of the display menus and parameter groups of the Sampling modes — giving you a quick, easy-to-understand overview of the sampling-related functions of the MOTIF.
Brackets around a word or phrase (e.g., [F1]) indicate specific button names or panel operations.
[SAMPLE]
[INFORMATION] SAMPLE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 276
[SAMPLE] SAMPLE REC SETUP
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 235
[F1] DESTINATION
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 235
[F2] SOURCE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 236
[F6] SAMPLE RECORD
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 234
[F6] SAMPLE RECORDING
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 234
RECORDING (Slice+Seq)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 236
[F1] TRIM
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 237
[INFO] TRIM INFORMATION
. . . . . . . . P. 276
[SF1] AUDITION
. . . . . . . . . . . . . . . . . . P. 238
[SF2] START-LOOP
. . . . . . . . . . . . . . . P. 238
[SF3] GET TEMPO
. . . . . . . . . . . . . . . . P. 238
[SF4] EXTRACT
. . . . . . . . . . . . . . . . . . P. 238
[F5] ZOOM OUT
. . . . . . . . . . . . . . . . . . P. 238
[F6] ZOOM IN
. . . . . . . . . . . . . . . . . . . . P. 238
[F2] SLICE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 238
RECORDING (Sample, Sample+Note)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 236
[F6] SAMPLE REC SETUP
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 237
[EDIT] SAMPLE EDIT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 240
[F1] KEYBANK SELECT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 240
[F2] TRIM
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241
[INFO] TRIM INFO
. . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241
[SF1] AUDITION
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241
[SF2] START-LOOP
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241
[SF3] GET TEMPO
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241
[SF4] EXTRACT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241
[F5] ZOOM OUT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241
[F6] ZOOM IN
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241
[F3] PARAMETER
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241
[F4] RANGE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241
[JOB] SAMPLE JOB
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241
[F1] KEYBANK JOB LIST
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 242
COPY
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 242
DELETE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 242
EXTRACT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 243
MOVE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 243
NORMALIZE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 243
TIME-STRETCH
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 244
CONVERT PITCH
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 244
FADE IN/OUT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 245
CONVERT FREQUENCY
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 245
STEREO TO MONO
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 245
LOOP-REMIX
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 246
SLICE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 246
[F2] WAVEFORM JOB LIST
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 247
DELETE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 247
TRANSPOSE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 247
NAME
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 247
[F3] OTHER JOB LIST
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 247
CLEAN UP MEMORY
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 247
OPTIMIZE MEMORY
. . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 248
DELETE ALL
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 248
CONVERT TO DRUM VOICE (User Drum Voice Number, Name)
. . . . . . . . . . . . . . P. 248
MOTIF Reference 233
Sampling Record mode
Sampling Record mode
In this mode, you can record sounds to the MOTIF (for example, your voice, a guitar, or sounds from a CD), edit them, and use them to create special Sample voices you can play from the keyboard. Or, if you enter this mode from the Song or Pattern mode, the sounds you record can be assigned to the tracks and played back automatically with the song or pattern. What’s more, by using the Resampling function, you can create new samples from your edits, or make samples from the sounds of the MOTIF itself.
◆
Data created by Sampling
Regardless of the mode, the raw Sampled data is the same, of course. However, various parameters are different, depending on the particular mode or settings.
See page 59 for details on the kinds of data that are
created in the Sampling function.
◆
Basic Procedure
1
To use a microphone or external audio source, make all the appropriate connections. For details,
see “Analog input” and “Digital input” on page 23.
n If you want to use the sound of the MOTIF as a recording source (with the Resampling function), step #1 above is unnecessary.
2
Depending on how you want to use your created sample, there are two ways you should proceed:
• To create a normal (User) voice —
Enter the Voice or Performance mode. To use the sound of the MOTIF as a recording source (with the Resampling function), select the desired voice or performance.
• To create a Sample track in a song or pattern —
Enter the Song or Pattern mode and select the desired song or pattern.
3
Press the [INTEGRATED SAMPLING] button to call up the Setup display in the Sampling Record mode. (The indicator lights.) n Even when you enter the Sampling Record mode, the indicator of the previous mode’s button remains lit, allowing you to confirm which mode you entered from.
4
Press the [F1] button and set the destinationrelated parameters for the sample. (These determine the memory location to which the sample will be recorded and assigned.) n When entering the Sampling Record mode from the
Voice/Performance mode, the recorded sample is automatically stored to the Waveform and User voice set in this display. n When entering the Sampling Record mode from the
Song/Pattern mode, the recorded sample is automatically stored to the track set in this display as a Sample voice.
5
Press the [F2] button and set the source-related parameters for the audio input.
6
Press the [F6] button to go to the Sampling standby display and set the Trigger mode in this display.
7
Press the [F6] button again to start sampling, and play the input source at the proper time. How and when you should play the source depends on the settings made in step #5 above (and described
on page 236), and the process you use (described
briefly below).
• When the Source is set to “A/D” or “digital”:
Any of the following audio input jacks/terminals on the
MOTIF can be used for sample recording:
- A/D INPUT jacks
- mLAN terminals (when the optional mLAN8E has been installed)
- DIGITAL IN jack (when the optional AIEB2 has been installed)
- OPTICAL IN jack (when the optional AIEB2 has been installed)
• When the Source is set to “resample”:
The sound generated by the MOTIF itself (Song/Pattern playback, keyboard performance) can be recorded as a sample.
How sampling actually starts depends on the
Trigger mode setting made in step #6 above (and
described on page 237), and the process you use
(described briefly below).
When Trigger mode is set to “Manual”:
Sampling Standby
Press the [F6] button.
When Trigger mode is set to “Level”:
Sampling Standby
Press the [F6] button.
Sampling Start Trigger Waiting
When the level of the input signal exceeds the Trigger level, sampling starts.
Sampling Start
234 MOTIF Reference
When Trigger mode is set to Meas :
Sampling Standby
Press the [F6] button.
Punch-in Waiting
Start playback of the song or pattern.
When the appropriate Punch-in measure is reached, sampling starts.
Sampling Start
When the appropriate Punch-out measure is reached, sampling stops. Otherwise, to stop sampling, press the [F6] button.
Sampling Stop
8
Stop the Sampling following the instructions above and stop the recording source playback.
9
Set the Slice parameters as needed— if you’ve entered the Sampling Record mode from the Song/
Pattern mode, and you’ve set the Sampling type to
“slice+seq” in step #5 above.
10
Save the recorded sample to the memory card/
SCSI storage device as a Waveform, User voice, or
Sample voice, as required.
The recorded (edited) phrase data resides temporarily in
DRAM (page 64). Because data contained in DRAM is
lost when the power is turned off, you should always save any data residing in DRAM to a memory card or an external SCSI device before turning off the power.
• The operations corresponding to steps #4 - 9 are covered in the following explanations.
• For details on step #10, refer to “File mode” on
Sampling Setup
The explanations here apply to steps #4 and #5 of the
■
[F1] Sampling Destination settings
The explanations here apply to step #4 of the Basic
●
When entering the Sampling mode from the
Voice/Performance mode
Sampling Record mode
• Waveform
Determines the Waveform number to which the recorded sample is assigned.
❏ Settings 001~256
• Keybank
Determines the note number located at the center of the
Key Bank.
❏ Settings C-2 ~G8 n For details about the Waveform and Key Bank, see
• Part
Determines the performance part to which the recorded sample is assigned. This is available only when entering the Sampling mode from the Performance mode.
❏ Settings off, 1~ 4
• Voice
The recorded sample can be stored as a User Normal voice.
This parameter determines a User Normal voice number to which the recorded sample is assigned.
❏ Settings off, 1~128 n When this is set to “off,” only a Waveform is created; the sample is not stored as a User voice.
The sample is stored to the smallest numbered
Waveform available. If you wish to hear the new sample and later assign it to a User voice, go to the
Element Oscillator display ([F1]-[SF1]) in the
Voice Edit mode and search the User Waveforms
to find the sample. For details, see page 135.
●
When entering the Sampling mode from the
Song/Pattern mode
• Track
Determines the track number to which the recorded sample is assigned.
❏ Settings 1~16
• Keybank
Determines the note number located at the center of the
Key Bank. This parameter is available only when the
Sampling type is set to “sample” or “sample+note” (in the
Type parameter below).
❏ Settings C-2~G8 n The MOTIF can transfer wave data to and from the computer (with TWE software) only when this display is called up.
MOTIF Reference 235
Sampling Record mode
■
[F2] Sampling Source settings
The explanations here apply to step #5 of the Basic
Sample Voice
• Type
Determines the Sampling type. When entering the
Sampling mode from the Song/Pattern mode, the data created by the Sampling varies depending on this setting.
Keep in mind that this parameter is fixed to “sample” when entering the Sampling mode from the Voice/
Performance mode.
❏ Settings sample, sample + note, slice + seq sample
Only the sample (wave) data is created. sample + note
In addition to the sample data, the appropriate note data for playing the sample is created and recorded to the specified track.
Sample Voice
Assigned to a specified key
Sequence data slice + seq
The recorded sample is automatically divided into “slices,” and these are assigned to successive notes on the keyboard.
These notes are then automatically arranged in sequence data (to the specified track) for playback.
This is especially useful for rhythm samples. For example, if you’ve recorded a drum part, each beat of the rhythm is converted to a separate slice and a separate note, and the notes are made into a sequence. In this way, playing back the sequence data plays the entire rhythm sample. The advantage to this is that you can then adjust the tempo of the sequencer over a wide range, and still keep the rhythm perfectly in sync with the other tracks.
Assigned to a specified key
Sequence data n Detailed settings (meter, measure number etc,) are specified in the Slice display after sampling.
• Source
Determines the recording source.
❏ Settings
A/D
Analog audio from the A/D INPUT jacks or mLAN terminal (with optional mLAN8E) is recognized as the recording source.
resample
The signal (already recorded sample or preset wave) output from the MOTIF's OUTPUT jacks is recognized as a recording source and “resampled”.
Digital
Digital audio from the DIGITAL IN terminal or OPTICAL
IN terminal (with optional AIEB2) is recognized as the recording source.
• Mono/Stereo
Determines whether new samples will be recorded as stereo or mono samples.
❏ Settings monoL
The L-channel signal will be recorded as a mono sample.
monoR
The R-channel signal will be recorded as a mono sample.
monoL+R
The L-channel and R-channel signals will be mixed and recorded as a mono sample.
stereo
A stereo sample will be recorded.
• Frequency (Sampling Frequency)
Specifies the sampling frequency. The rate at which digital readings are taken is referred to as the sampling frequency.
Higher sampling frequencies result in higher quality sound.
❏ Settings
44.1k (44.1 kHz), 22kLo (22.05 kHz Lo-Fi), 11kLo
(11.025 kHz Lo-Fi), 5kLo (5.5125 kHz Lo-Fi) n When the Source is set to A/D and the mLAN terminal is used as an analog input, the Frequency is fixed to 44.1 kHz and cannot be changed. n At settings other than 44.1 kHz, the sound monitored during recording may be different from the recorded sound, depending on the source signal.
236 MOTIF Reference
Sampling Standby
The explanations here apply to step #6 of the Basic
Sampling Record mode
Trigger Waiting
The following display applies to step #7 of the Basic
Procedure on page 234. The following display is
available when the Trigger mode is set to “level.” In this case, sample recording is on standby, waiting for an input signal that exceeds the Trigger level.
Indicates the MOTIF is in the Sampling Standby mode.
• TriggerMode
Specifies the method by which sampling will be triggered.
❏ Settings level
Sampling will begin as soon as an input signal exceeding the specified trigger level is received after the [F6]
(START) button is pressed.
When this is selected, you need also set the Trigger Level
(1~127). meas
This is available only when entering the Sampling mode from the Song/Pattern mode and should be set together with the Punch-in/out measure.
After the [F6] (START) button is pressed, sampling will begin at the specified punch-in measure, and end at the specified punch-out measure. Sampling will also stop when the Song/Pattern is stopped by pressing the [ ■ ] button. manual
Sampling will begin as soon as the [F6] (START) button is pressed, regardless of the Song/Pattern playback status.
• RecMonitor (Recording Monitor)
Determines the output level of the monitor for the input signal.
This monitor signal is output from the PHONES jack or the OUTPUT R and L/MONO jacks. This has no effect on the recording level.
❏ Settings 0~127
• RecGain (Recording Gain)
Determines the recording gain when resampling.
This parameter is available only when the Source is set to
“resample.”
❏ Settings -12dB~+12dB
Indicates that sample recording is waiting for a signal of an appropriate level.
Punch-in Waiting
The following display applies to step #7 of the Basic
The following display is available when entering the
Sampling mode from the Song/Pattern mode and when the Trigger mode is set to “meas.” In this case, sample recording is on standby, waiting for song/pattern playback to reach the specified Punch-in measure.
Indicates that sample recording is waiting for a signal of an appropriate level.
Slice setting after sampling
The explanations here apply to step #9 of the Basic
If you’ve entered the Sampling Record mode for the
Song or Pattern mode and you’ve set the sampling type to “slice+seq,” you should set the following Slicerelated parameters.
■ [F1] Trim
The trim function makes it possible to specify the beginning and end points to be played back within an entire sample. You can delete all unnecessary sample data (located ahead of the Start point and located after the End point) by pressing the [SF5] button (Extract function). This function is especially useful in creating drum loops, since it helps you isolate only the beats you need for your loop.You can also specify the tempo for the range of the looped playback to determine its beat.
MOTIF Reference 237
Sampling Record mode
Tempo
Press the [F5] and [F6] buttons to zoom in and out of the wave display.
the [SF1] (AUDITION) button in the Trim display to loop the sample and precisely set the Start and
End points as required.
Press the [SF2] button so that the address of the Start Point is changed to the one of the
Loop Start Point.
Delete all unnecessary sample data
(located ahead of the Start point and located after the End point) by pressing the [SF4] button.
Press the [SF1] button to sound the recorded sample according to the settings in this display.
Press the [SF3] button to calculate the tempo/beat when the Sample data playback of the range from the Loop Start Point to the End
Point is treated as one measure. The result of the calculation appears at the left in this display.
• Start (Start Point)
Determines the Start point for the sample playback.
• Loop (Loop Start Point)
Determines the Top point of the loop playback (the point where the loop begins) within the range of the entire sample.
• End (End Point)
Determines the End point of the loop playback within the range of the entire sample.
• Beat
The Beat of the range from the Loop Start Point to the End
Point is automatically displayed according to the Tempo
(below). This is displayed only and cannot be changed.
If you use the GET TMP (Get Tempo) function by pressing the [SF4] button, this Beat value is automatically changed to match the extracted tempo.
• (Tempo)
Execute the GET TMP (Get Tempo) operation by pressing the [SF4] button to calculate the tempo when the Sample data playback of the range from the Loop Start Point to the
End Point is treated as one measure. The result of the calculation appears here.
You can also change the tempo by using the [INC/YES] and [DEC/NO] buttons, or the data dial.
■ [F2] Slice
This powerful feature lets you automatically divide the recorded sample into separate “slices.” These slices are then assigned to successive notes and arranged as sequence data. This effectively lets you recreate the original sample by playing back its slices in order, in any tempo — perfect for matching samples of different original tempos. This is also useful for melodic samples, such as bass parts, since it lets you play back the sample at any tempo without changing the overall pitch.
n It is necessary to accurately adjust the length of the sample before executing the slice operation. Use
238 MOTIF Reference
Press the [ENTER] button. (The display prompts you for confirmation.) Press the
[INC/YES] button to execute the Slice.
You can hear and confirm the sliced
Press the [F5] button to go back to the Sampling Setup display without amples by pressing the
[SF1] button.
storing the result.
Press the [F6] button to store the result of the Slice operation and go back to the Sampling Setup display.
• Type (Slice Type)
Specifies how the sample is sliced, and to some extent determines the resulting sound quality. Select the type that best suits the original phrase.
❏ Settings beat1~3
This slice type is suited for percussive phrases such as drums or bass with a fast attack and short decay. Three variations are provided.
phrase1~4
Ideal for phrases containing cymbals or other instruments with a long decay. Four variations are provided.
quick
Regardless of the phrase content, the sample is divided at the specified note sub-divisions. The number of slices per measure is calculated by multiplying the top number of the
Meter (time signature) parameter by the bottom number of the SubDivide parameter. n For helpful hints on getting the Slice Type parameter to work for different samples, see “Tips
for using the Slice Types” on page 239.
• Measure
Determines the number of measures in the sample to be sliced.
When the slice operation is executed, sequence data corresponding to the specified number of measures is created. The sequence data is created from the beginning of the current measure at the point at which sampling is started.
❏ Settings 1~8
• Meter
Specifies the meter (time signature) of the sample. The setting here is the basic slice unit.
❏ Settings 1/16 ~ 16/16, 1/8 ~ 16/8, 1/4 ~ 8/4
• SubDivide
The Meter parameter sets the basic slice unit, and
SubDivide specifies even finer resolution for phrases containing regions with shorter notes.
For the following phrase, for example, the Meter should be set to 4/4 and SubDivide to 1/2.
❏ Settings
When Meter is set to 1 ~ 8/4: quarter note (1/1), 8th note (1/2), 4th note triplet (1/3),
16th note (1/4), 8th note triplet (1/6), 16th note 1/8),
32nd note triplet (1/12)
When Meter is set to 1 ~ 16/8:
8th note (1/1), 16th note (1/2), 8th note triplet (1/3),
32nd note 1/4), 16th note triplet (1/6)
When Meter is set to 1 ~ 16/16:
16th note (1/1), 32nd note 1/2), 16th note triplet (1/3) n This parameter has no effect when the Slice Type parameter is set to beat 1~2.
n The maximum slice resolution for stereo samples is 64 slices, and for mono samples 128 slices.
• Sens (Envelope Sensitivity)
Further adjusts the sub-divisions specified by the
SubDivide parameter. Higher values result in higher resolution, allowing even finer notes and smaller sounds to be detected and sliced.
Use the Audition function (press [SF1]) to hear the results, and if you’re not satisfied with them, change the setting and try again.
❏ Settings 1~5 n This parameter has no effect when the “quick” slice type is selected.
◆
Tips for using the Slice Types
● Slicing percussive phrases having short decays
• First, try slicing using “beat1.”
• If the result has a weak attack or the release portions of the phrase seem to overlap, try again using “beat2.”
Try adjusting the envelope sensitivity for finer control.
• If after using “beat1” the attack portions overlap or the overall rhythmic feel is degraded, try again using
“beat3.” Use the SubDivide parameter to adust the slice resolution, and make final adjustments with the
Envelope Sensitivity parameter.
Sampling Record mode
●
Slicing phrases having long decays
• First, try slicing using “phrase1.”
• If the result has a weak attack or the release portions of the phrase seem to overlap, try again using
“phrase2.” Use the SubDivide parameter to adust the slice resolution, and make final adjustments with the
Envelope Sensitivity parameter.
• If after using “phrase1” the points between the slices sounds rough and the overall feel is choppy, try again using “phrase3” and set SubDivide to a finer resolution. Make final adjustments with the
Envelope Sensitivity parameter. The “phrase3” setting is generally best for sustained strings or brass type sounds with no vibrato — in other words, the pitch remains constant. It can also produce echo-like effects when applied to percussive phrases with short decay.
• If after using “phrase1” the points between the slices sounds rough and the overall feel is choppy, try again using “phrase4” and set SubDivide to a finer resolution. Make final adjustments with the
Envelope Sensitivity parameter. The “phrase4” setting is generally best for sustained strings or brass type sounds with vibrato, as well as vocal phrases.
◆
Wave Memory Required for Slice
Operations
Individual wave data slices created through slice operations require approximately 1.5 times the original memory because a tail section is automatically added and fade-in and fade-out sections are automatically created at the beginning and end of the wave data. This helps to maintain maximum sound quality when the
BPM is increased, and results in smoother connections between slices (no tail section is created when the
QUICK slice type is selected).
Original waveform
Sliced waveform
Fade section
Tail section
A memory work area is required for the synthesis calculations carried out for each slice operation, as well as sufficient memory to hold the completed waveforms.
When the sampling frequency is 44.1 kHz, the approximate amount of memory (expressed in kilobytes) required for each slice type is listed below.
MOTIF Reference 239
Sampling Edit mode
BEAT1
BEAT2
: Original wave size X N + (0.3 X number of slices)
: Original wave size X N + (0.2 X number of slices)
BEAT3 : Original wave size X N + (0.3 X number of slices)
PHRASE1 : Original wave size X N + (5.8 X number of slices)
PHRASE2 : Original wave size X N + (1.4 X number of slices)
PHRASE3 : Original wave size X N + (0.4 X number of slices)
PHRASE4 : Original wave size X N + (1.4 X number of slices)
QUICK : Original wave size X 3 + (0.7 X number of slices)
For monaural samples N = 5.5, and for stereo samples
N = 8. Also, the number of slices is doubled for stereo samples.
With the memory expanded to the maximum 64 megabytes, for example, if the entire memory is empty and a 44.1 kHz sample is sliced to 32 slices, the longest possible sampling time will be approximately:
BEAT1~3, PHRASE1~4: approx. 138 seconds
(mono), 47 seconds (stereo.) QUICK: approx. 253 seconds (mono), 126 seconds (stereo).
Sampling Edit mode
This mode gives you a variety of sample eding tools, with which you can change the samples you’ve recorded in the Sampling Record mode, and customize them for your applications as needed.
◆
Editing Stereo Samples
For samples that have been recorded in stereo (with
Stereo Sampling), both the left and right waves of the sample are edited together by the MOTIF. in the actual process, any edits made to the left channel wave are duplicated exactly in the right channel. The exception to this, of course, is Pan — since the sample already is in stereo.
◆
Basic Procedure
1
Press the [INTEGRATED SAMPLING] button to enter the Sampling mode. (The indicator lights.) n Unlike in the Sampling Record mode, all parameters and functions of the Sampling Edit mode are the same, no matter which mode was previously selected.
n All Sampling Edit operations apply to the
Waveform (actual sample), not the voice.
2
Press the [EDIT] button to enter the Sampling Edit mode. (The indicator lights.)
3
Select the desired sample for editing from the Key
Bank display. (Press the [F1] button.)
4
Select the menu you wish to edit by pressing the
[F2] - [F6] buttons.
5
Edit parameters for the selected sample.
6
Press the [EXIT] button to exit from the Sampling
Edit mode.
• The operations corresponding to steps #3 - 4 are covered in the following explanations.
Sample selection and Audition function
The explanations here apply to step #3 of the Basic
Procedure see above.
For details about the relationship between the
parameters below, see page 241.
1
3
Indicates information about the selected Key Bank.
You can hear the selected sample by pressing the [SF1] button. (Audition function)
2
1
Select a Waveform that contains a Sample you wish to edit. Move the cursor to the Waveform number and select the desired number by using the [INC/
YES] button, [DEC/NO] button, or the data dial.
2
To select the desired Key Bank, simultaneously hold down the [INFORMATION] button and press the appropriate key on the keyboard. The information about the selected Key Bank appears on the display and the sample assigned to the Key
Bank is called up.
240 MOTIF Reference
3
Press the [SF2] button to call up the Samples assigned to the selected Key Bank in order. n Step #3 above as well as the Audition function can be used with any of the displays called up via the
[F2] - [F4] buttons.
Sample Edit
The explanations here apply to step #5 of the Basic
● [F2] Sample Edit Trim
This operation is the same as in the Sampling
Record mode (when Sampling Type is set to
Sampling Job mode
• Fine Tune
Determines the fine tuning for the pitch of the sample.
❏ Settings -100 ~99 cents
● [F4] Sample Edit Range
From this display you can set the Key Range and the
Velocity Range for the sample assigned to the selected Key Bank. Note that both the Key range and Velocity range values are graphically indicated in the display.
n When the cursor is at one of the Key Range values, you can directly set the Key Range parameter from the keyboard. (Simultaneously hold down the
[INFORMATION] button and press the appropriate key on the keyboard.)
● [F3] Sample Edit Parameter
• Level
Determines the output level of the selected sample.
❏ Settings -94.5dB~0dB
• Pan
Determines the stereo position of the selected sample.
❏ Settings L63 (far left) ~ C (center) ~ R63 (far right)
• PlayMode
Determines how the selected sample is to be played back.
❏ Settings forward
The Sample playback begins from the Start point to the
End point. reverse
The Sample playback begins from the End point to the
Start point in reverse. loop
The Sample playback begins from the Start point, moves to the Loop point and then repeats continuously from the
Loop point to the End point. n
For details about these settings above, see page 61.
• Original Key
Determines the base key for the sample. Since the sample will be pitched shifted for keys played around this base key, this should be set as close as possible to the original pitch or note value of the actual sample.
❏ Settings C - 2 ~ G8
Sampling Job mode
The Sampling Job mode contains a comprehensive set of editing tools and functions you can use to change the sound of the sample you’ve created and edited in the
Sampling Edit mode. It also includes a variety of convenient operations, such as copying or erasing data.
◆
Basic Procedure
1
Press the [INTEGRATED SAMPLING] button to enter the Sampling mode. (The indicator lights.) n Unlike in the Sampling Record mode, all parameters and functions of the Sampling Job mode are the same, no matter which mode was previously selected. The only exception to this is the Slice Job ([F1]-12 below), which varies depending on whether the previously selected mode was Voice/Performance or Song/Pattern.
n All Sampling Job operations apply to the Waveform
(actual sample), not the voice.
2
Press the [JOB] button to enter the Sampling Job mode.
MOTIF Reference 241
Sampling Job mode
3
Select the desired Job menu by pressing the appropriate button, [F1] - [F3].
4
Use the CURSOR buttons to scroll to the desired Job.
5
Press the [ENTER] button to go to the selected Job display.
6
Set the relevant Job parameters.
7
Press the [ENTER] button. (The display prompts you for confirmation.)
8
Press the [INC/YES] button to execute the Job.
After the Job has been completed, a “Completed” message appears and operation returns to the original display.
n To cancel the Job, press the [DEC/NO] button.
n The actual procedures in steps #7 and #8 above may differ depending on the specific Job. Refer to the explanantions in each Job for details.
For Jobs that take longer to process, you will see the message “Executing…” during processing. If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data.
9
Press any other mode button to exit from the
Sampling Job mode.
• For detailed instructions on steps #3 - #6, see the explanations below.
[F1] Key Bank Job
Press the [F1] button in step #3 of the Basic Procedure see above, so that the Key Bank Job list appears on the display. Scroll the cursor to the desired Job and press the
[ENTER] button to go to the display of the selected Job.
ENTER
EXECUTE
◆
Audition function and Key Bank
(sample) selection
For the Key Bank Jobs that follow, the Audition function and Key Bank selection are the same as in the
Sampling Edit mode (page 241). Here, you can call up
and perform Jobs on the sample data assigned to the selected Key Bank. To audition the currently selected sample, press the [SF1] button (AUDITION).
Also, note that for Jobs 01 - 04, the Keyboard control
(“KBD”) is available — letting you directly change the
Key Bank from the keyboard. (Simultaneously hold down the [INFORMATION] button and press the appropriate key on the keyboard.)
● [F1]-01 Copy
This Job copies the data of a sample contained in a specified Key Bank to another Key Bank.
Source Waveform, Key Bank
Destination Waveform, Key Bank
● [F1]-02 Delete
This Job deletes the specified Key Bank and its sample.
If the Key Bank is set to “all” and the Job is executed, all the samples of the selected Waveform are deleted.
242 MOTIF Reference
Waveform and Key Bank containing the sample to be deleted n If all the samples of the specified Waveform are deleted, the Waveform itself is deleted.
● [F1]-03 Extract
This Job deletes all unnecessary sample data
(located ahead of the Start point and located after the End point). In effect, it extracts only the sample data you want to use, trimming all unneeded sound from the start and end of the sample.
If the Key Bank is set to “all” and the Job is executed, this Job is applied to all the samples of the selected Waveform.
Sampling Job mode
● [F1]-05 Normalize
This Job maximizes (normalizes) the overall level of the specified sample. The “100” (100%) setting is a quick and convenient way to boost the level of an entire sample, to make it as loud as possible without distorting.
Set the Waveform and Key Bank containing the sample to be normalized.
Press the [ENTER] button to execute the Job.
●
Start Point
Waveform and Key Bank containing the sample to be extracted
End Point Start Point
Extract
End Point
[F1]-04 Move
This Job lets you move a sample contained in a specified Key Bank to another Key Bank. This would be useful for creating a new Waveform from the samples of various other existing Waveforms.
Source Waveform and Key Bank
Press the [F5] (CANCEL) button to cancel the operation.
Press the [F6] (OK) button to assign the normalized sample to the specified Key Bank.
Press the [ENTER] button to execute the operation. If you re not satisfied with the results, change the Ratio value and press the
[ENTER] button again.
This automatically reverts back to the original settings and executes the operation again with the new settings.
• Ratio
Specifies the post-normalization sample level.
A setting of 100% maximizes the level so that the highest peak level in the sample is just below clipping (maximum digital signal level).
Settings below 100% reduce the level of the sample accordingly.
Settings higher than 100% will raise the sample level above the maximum, producing deliberate clipping.
❏ Settings 001-800%
Lower than 100%
Original Wave 100%
Higher than 100%
Destination Waveform and Key Bank n If the last remaining sample is moved from the source Waveform, the source Waveform itself is deleted.
MOTIF Reference 243
Sampling Job mode
● [F1]-06 Time-Stretch
This Job lets you change the length of the sample without changing the pitch.
Set the Waveform and Key Bank containing the sample to be time-stretched.
● [F1]-07 Convert Pitch
This Job lets you change the pitch of the sample without changing the length.
Set the Waveform and Key Bank containing the sample to be pitch-converted.
Press the [ENTER] button to execute the Job.
Press the [ENTER] button to execute the Job.
Press the [F5] (CANCEL) button to cancel the operation.
Press the [F6] (OK) button to assign the time-stretched sample to the specified
Key Bank.
Press the [ENTER] button to execute the operation. If you're not satisfied with the results, change the Ratio and Accuracy values and press the [ENTER] button again. This automatically reverts back to the original settings and executes the operation again with the new settings.
• Ratio
Determines the length of post-process sample as a ratio of the length of the original sample (100%). Lower values compress the sample, while higher values expand the sample.
❏ Settings 25~400%
• Accuracy
Determines the quality of the resulting sample by specifying which aspect of the original is to be emphasized: sound quality or rhythmic feel.
❏ Settings 25~400%
Sound4-Sound1
These settings place emphasis on sound quality, with the
“SOUND 4” setting producing the highest sound quality.
Normal
Produces an optimum balance of sound quality and rhythmic feel.
Rhythm1-Rhythm 2
These settings place emphasis on rhythmic feel, with the
“Rhythm 2” setting producing the most accurate rhythmic feel.
Press the [F5] (CANCEL) button to cancel the operation.
Press the [F6] (OK) button to assign the pitchconverted sample to the specified Key Bank.
Press the [ENTER] button to execute the operation.
If you’re not satisfied with the results, change the
Pitch and Fine values and press the [ENTER] button again. This automatically reverts back to the original settings and executes the operation again with the new settings.
• Pitch
Determines the amount and direction of pitch shift in semitone increments.
❏ Settings -12 ~ 0 ~+12
• Fine
Determines the amount and direction of fine pitch shift in cent increments (1 cent = 1/100th of a semitone).
❏ Settings -50~0~+50
244 MOTIF Reference
● [F1]-08 Fade In/Out
This Job lets you create fade-ins and fade-outs for the sample.
Set the Waveform and Key Bank containing the esired sample.
Sampling Job mode
● [F1]-09 Convert Freq
This Job lets you halve the sampling frequency of the specified sample. This can be used to convert hifi samples to a lo-fi sound, and reduce the sample size by half to conserve memory.
Set the Waveform and Key Bank containing the sample to be converted.
Press the [ENTER] button to execute the Job.
Press the [ENTER] button to execute the Job.
Press the [F5] (CANCEL) button to cancel the operation.
Press the [F6] (OK) button to assign the edited sample to the specified Key Bank.
Press the [ENTER] button to execute the operation. If you re not satisfied with the results, change the Type and Length values and press the [ENTER] button again. This automatically reverts back to the original settings and executes the operation again with the new settings.
• Type
Determines the type of level fade: fade-in or fade-out.
❏ Settings in (fade-in), out (fade-out)
• Length
Determines the length of the fade-in or fade-out.
When a fade-in is selected, this parameter specifies the length of the fade starting at the specified Start point.
When a fade-out is selected, this parameter specifies the length of the fade starting at the beginning of the fade and ending at the specified End point.
❏ Settings 0000000~End point
Fade In
Press the [F5] (CANCEL) button to cancel the operation.
Press the [F6] (OK) button to assign the converted sample to the specified Key Bank.
Press the [ENTER] button to execute the operation.
If you re not satisfied with the results, change the Type and Length values and press the [ENTER] button again.
This automatically reverts back to the original settings and executes the operation again with the new settings.
● [F1]-10 Stereo to Mono
This Job lets you convert a stereo sample to a mono sample.
Set the Waveform and Key Bank containing the sample to be converted.
Press the [ENTER] button to execute the Job.
Length
Start point
Fade Out
Length
End point
Press the [F5] (CANCEL) button to cancel the operation.
Press the [F6] (OK) button to assign the converted sample to the specified Key Bank.
Press the [ENTER] button to execute the operation.
If you’re not satisfied with the results, change the Type value and press the [ENTER] button again. This automatically reverts back to the original settings and executes the operation again with the new settings.
MOTIF Reference 245
Sampling Job mode
• Type
Determines which channel, or both channels, of the stereo sample will be converted to a mono sample.
❏ Settings
L+R>mono
The left and right channels of the stereo sample are mixed and converted to a mono sample.
L>mono
The left channel of the stereo sample is converted to a mono sample.
R>mono
The right channel of the stereo sample is converted to a mono sample.
● [F1]-11 Loop-Remix
This Job lets you automatically cut the sample into separate “slices” and randomly rearrange the slices for special effects and unusual rhythmic variations.
A variety of audio transform operations are also included for even greater changes in the sound.
Set the Waveform and Key Bank containing the sample to be Loop-remixed.
● [F1]-12 Slice
This Job lets you divide the sample into separate
“slices,” the number of which is determined by the note length (with Measure, Meter, and SubDivide).
When entering this Job from the Song/Pattern mode, note data for playing the slices in sequence is also created. (Keep in mind that the results of this
Job vary depending on the previously selected mode: Voice/Performance or Song/Pattern.)
Set the Waveform and Key Bank containing the sample to be sliced.
Press the [ENTER] button to execute the Job.
Press the [ENTER] button to execute the Job.
Press the [F5] (CANCEL) button to cancel the operation.
Press the [F6] (OK) button to assign the
Loop-remixed sample to the specified Key Bank.
Press the [ENTER] button to execute the operation.
If you re not satisfied with the results, change the Type and Variation values and press the [ENTER] button again.
This automatically reverts back to the original settings and executes the operation again with the new settings.
• Type
Determines the degree to which the looped portion of the sample will be sliced.
❏ Settings 1~4
• Variation
Determines how the original sample is varied by the this
Job.
❏ Settings normal1, 2
These settings slice and rearrange the sample data, without performing any other audio changes.
reverse1, 2
In addition to slicing and rearranging, these settings reverse the playback of some of the slices.
246 MOTIF Reference
Press the [F5] (CANCEL) button to cancel the operation.
Press the [F6] (OK) button to assign the sliced sample to the specified Key Bank.
Press the [ENTER] button to execute the operation. If you re not satisfied with the results, edit the various parameters and press the [ENTER] button again. This automatically reverts back to the original settings and executes the operation again with the new settings.
With the exception of the parameter below, all parameters and settings are the same as in the Slice
display of the Sampling Record mode (page 238).
• Lowest Key
Specifies the lowest key number from which the sliced samples are ordered.
❏ Settings C - 2 ~G8 n In the Slice display of the Sampling Record mode
(page 238), this parameter is fixed to “C-1” for the
MOTIF6, “E0” for the MOTIF7, “A-1” for the
MOTIF8, and cannot be set.
[F2] Waveform Job
Press the [F2] button in step #3 of the Basic Procedure
on page 240 so that the Waveform Job list appears on
the display. Scroll the cursor to the desired Job and press the [ENTER] button to go to the display of the selected Job.
● [F2]-01 Copy
This Job lets you copy the data of one waveform to another.
Select the source waveform.
Sampling Job mode
• Octave
Determines the amount in octaves by which the Key Bank is transposed. When you want to transpose by less than one octave, set this to “0” and use the Note parameter below.
❏ Settings -3~ 0 ~+3
• Note
Determines the amount in semitones by which the Key
Bank is transposed. When you want to transpose by exact octaves, set this to “0” and use the Octave parameter above.
❏ Settings -11~ 0 ~+11
● [F2]-04 Name
This Job lets you assign a name to the selected waveform.
Select a waveform to be named.
Select the destination waveform.
● [F2]-02 Delete
This Job lets you delete a specific waveform from memory.
Select the waveform to be deleted.
For specific instructions on naming, see “Basic
[F3] Other Jobs
Press the [F3] button in step #3 of the Basic Procedure
on page 240 so that the following Job list appears on
the display. Scroll the cursor to the desired Job and press the [ENTER] button to go to the display of the selected
Job.
● [F2]-03 Transpose
This Job lets you transpose the Key bank setting of a specified waveform.
Select the desired waveform for which the
Key Bank setting is to be transposed.
● [F3]-01 Clean Up Memory
This Job deletes all the waveforms to which User voices or Sample voices are not assigned.
MOTIF Reference 247
Sampling Job mode
● [F3]-02 Optimize Memory
This Job optimizes the memory (DRAM) for sampling.
● [F3]-03 Delete All
This Job deletes all the waveforms.
● [F3]-04 Convert to Drum Voice
This Job lets you convert the selected waveform to a specific Drum voice. Since the Sampling function allows creation of only Normal voices, this Job makes it possible to create a Drum voice with your recorded samples.
248 MOTIF Reference
Function Tree
Utility Mode
Function Tree
This section is devoted to the Utility mode. To see how the Utility mode relates to the entire structure of the MOTIF
and its other modes and functions, see the simplified chart in “Basic Structure” on page 30.
The following detailed chart shows all of the display menus and parameter groups of the Utility mode — giving you a quick, easy-to-understand overview of the global, system-wide functions of the MOTIF.
Brackets around a word or phrase (e.g., [F1]) indicate specific button names or panel operations.
[UTILITY]
[INFORMATION] UTILITY INFORMATION
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 276
[F1] SYSTEM GENERAL
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 250
[SF1] TG
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 250
[SF2] KEYBOARD
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 251
[SF3] EFFECT BYPASS
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 252
[SF4] OTHER
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 252
[F2] SYSTEM I/O
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 252
[SF1] Input
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 252
[SF2] Output
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 253
[SF3] mLAN CONNECTION
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 253
[F3] SYSTEM VOICE ( available only when entering Utility mode from Voice mode )
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 253
[SF1] MASTER EQ
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 253
[SF2] ARPEGGIO CHANNEL
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 254
[SF3] CONTROLLER ASSIGN
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 254
[F3] SYSTEM SEQ ( available only when entering Utility mode from Song/Pattern modes )
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 254
[SF1] CLICK
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 254
[SF2] MIDI FILTER IN/OUT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 255
[SF4] OTHER
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 255
[F4] SYSTEM CONTROLLER ASSIGN
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 255
[SF1] ARPEGGIO
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 255
[SF2] ASSIGNABLE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 256
[SF3] FOOT SWITCH
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 256
[SF4] EXTERNAL SEQ REMORT CONTROL TEMPLATE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 256
[F5] SYSTEM MIDI
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 258
[SF1] CHANNEL
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 258
[SF2] SWITCH
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 258
[SF3] SYNC
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 258
[SF4] OTHER
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 259
[F6] SYSTEM PLUG-IN BOARD
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 259
[SF1] STATUS
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 259
[SF2] MIDI
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 260
[SF3] NATIVE SYSTEM PARAMETER for Slot1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 260
[SF4] NATIVE SYSTEM PARAMETER for Slot2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 260
[SF5] NATIVE SYSTEM PARAMETER for Slot3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 260
MOTIF Reference 249
Utility mode
Utility mode
In this mode, you can set parameters that apply to the entire system of the MOTIF. These include MIDI settings and global setup parameters.
This mode is actually a sub-mode of the Voice/
Performance/ Song/Pattern mode. Press the [UTILITY] button in each mode to enter the Utility mode and press the [EXIT] button after making settings to go back to the previous mode.
◆
Basic Procedure
1
Press the [UTILITY] button to enter the Utility mode. (The indicator lights.) n For example, if you press the [UTILITY] button while in the Performance mode, you enter the
Utility mode as a sub-mode of the Performance mode — allowing you to select and play performances while in the Utility mode.
n Even after you enter the Utility mode, the indicator of the previous mode’s button remains lit, letting you see at-a-glance which mode you’ve entered from.
2
Select the desired menu by pressing the [F1] - [F6] buttons and set the parameters in each display. n The display called up via the [F3] button varies according the previous mode (before entering the
Utility mode).
3
Press the [EXIT] button to exit from the Utility mode back to the previous mode.
• For detailed instructions on steps #2, see the explanations below.
[F1] System settings
● [F1]-[SF1] General TG (Tone Generator)
From this display you can make overall settings for the MOTIF’s tone generator, including volume and pitch, as well as Breath Control response.
• Volume
Determines the MOTIF’s overall volume.
❏ Settings 0~127
• NoteShift
Determines the amount (in semitones) by which the note pitch is shifted. This parameter only affects the MOTIF’s internal tone generator block. It does not affect information transmitted via the MIDI terminal.
❏ Settings 24~0~+24
• Tune
Determines the fine tuning (in 0.1 cent steps) of the
MOTIF’s overall sound.
❏ Settings 102.4~+102.3
• BCCurve (Breath Controller Curve)
These four curves determine how the sound of the MOTIF responds to use of a Breath Controller.
The specific aspect of the sound that is affected by Breath
Control and the selected curve is set in the Controller Set
display (page 134) in the Normal Voice Element Edit mode.
❏ Settings thru, soft, hard , wide thru
This linear “curve” produces one-to-one correspondence between the power of your breath and the actual sound change.
Actual response
Received Breath Control soft
This curve provides increased response, especially for lower breath power. In other words, soft blowing results in higher response than the “thru” curve. Use this curve if you want greater control in the soft breath range.
Actual response
Received Breath Control hard
This curve effectively lessens the overall response compared to the “thru” curve. Use this curve if you tend to blow strongly and want the controller effect to be less sensitive.
Actual response
Received Breath Control wide
This setting provides opposite response curves for lower and higher breath powers. It widens the apparent dynamic range of the controller, producing softer response in the lower breath range and harder response in the higher range.
250 MOTIF Reference
Actual response
Utility mode hard
This curve effectively lessens the overall response compared to the “norm” curve. Use this curve if you tend to play strongly and want the sound change to be less sensitive.
Actual
Velocity
From this display you can set the keyboard-related parameters for the MOTIF.
Received Breath Control
● [F1]-[SF2] General Keyboard
Keyboard velocity wide
This setting provides opposite response curves for lower and higher velocities. It widens the apparent dynamic range of the controller, producing less sound change in the softer range and more change in the higher range.
Actual
Velocity
• Octave
Determines the amount in octaves by which the range of the keyboard is shifted up or down.
❏ Settings -3~0~+3
• Transpose
Determines the amount in semitones by by which the range of the keyboard is shifted up or down. Keep in mind that this also affects outgoing MIDI data.
❏ Settings -11~ 0 ~+11 n If you transpose beyond the note range limits (C-2 and G8), notes in the adjacent octaves will be used.
For example, a transposed note of F9 will be changed to F8.
• VelCurve (Velocity Curve) norm (normal)
This linear “curve” produces one-to-one correspondence between the strength of your keyboard playing (velocity) and the actual sound change. The harder you play, the greater the sound change.
Actual
Velocity
Keyboard velocity fixed
This setting produces the same amount of sound change
(set in Fixed Velocity below), no matter what your playing strength. For example, you can use this to emulate the key response of conventional organs, or ensure that the sound change is absolutely uniform, no matter how hard or softly you play.
Actual velocity
Keyboard velocity n Actual velocity is output to the external MIDI device via the MIDI or USB connector, as well as to the internal tone generator block.
• Fixed Velocity
This parameter is only available if you select the “fixed”
Velocity Curve above.
The velocity of the note you play is fixed at the value set here.
❏ Settings 1~127
Keyboard velocity soft
This curve provides increased response, especially for lower velocities. In other words, playing softly results in higher response than the “norm” curve. Use this curve if you want greater control in the low velocity range.
Actual
Velocity
Keyboard velocity
MOTIF Reference 251
Utility mode
● [F1]-[SF3] General Effect Bypass
From this display you can select the specific effect(s) to be bypassed when the [EFFECT
BYPASS] button (page 13) is turned on.
EFFECT BYPASS
INSERTION SYSTEM
❏ Settings on (bypassed), off
● [F1]-[SF4] General Other
!
" n
• Auto Load
Determines whether the Auto Load function is on or off.
When this is on, the MOTIF will automatically load the specified files (from memory card or SCSI storage device) to User memory — whenever the power is turned on. (See above illustration for additional explanations.)
❏ Settings on, off
• Auto DemoLoad
The MOTIF features special Demo song data, which is stored to ROM and should be loaded to DRAM for proper
operation (page 64). When this parameter is set to “on,”
the Demo song data is automatically loaded when the power os turned on. This parameter determines whether the Demo song data is automatically loaded (on) or not
(off) when turning the power on.
❏ Settings on, off n When Auto Load is set to on, the Auto Demo Load parameter cannot be set.
If this parameter is set to on, all User Voice, Performance,
Master, and System settings will be initialized to the
Factory settings when switching the power on the next time. Important data should always be backed up to a separate Memory Card or some other storage device.
• PowerOnMode
This determines the default power-on mode (and memory bank) for the MOTIF — letting you select which condition is automatically called up when you turn the power on.
❏ Settings See below.
252 MOTIF Reference
Performance
When you switch the MOTIF on, the Performance Play mode is entered and the first program number (USER:
001) is selected automatically.
Voice (User)
When you switch the MOTIF on, the Voice Play mode is entered and the first program number of the User Voices
(USER: 001) is selected automatically.
Voice (PRE1)
When you switch the MOTIF on, the Voice Play mode is entered and the first program number of the Preset Voices
(PRE 1: 001) is selected automatically.
GM
When you switch the MOTIF on, the Voice Play mode is entered and the first program number of the GM Voices
(GM: 001) is selected automatically. last
When you switch the MOTIF on, the Voice/Performance
Program Number selected before you switched the power off is recalled.
Master
When you switch the MOTIF on, the Master Play mode is entered and the first program number (001) is selected automatically.
• CtrlReset (Controller Reset)
Determines the status of the controllers (Modulation
Wheel, Aftertouch, Knobs, etc.) when switching between voices. When this is set to “off,” the controllers are kept at the current setting. When this is set to “on,” the controllers are reset to the default states (below).
❏ Settings on, off
If you select “on,” the controllers will be reset to the following states/positions:
Pitch Bend
Modulation Wheel
Aftertouch
Foot Controller
Breath Controller
Foot Switch
Expression
Foot Volume
Sustain
Center
Minimum
Minimum
Maximum
Maximum
Off
Maximum
Maximum
Off
[F2] Interface settings
● [F2]-[SF1] I/O Input
From this display you can set parameters related to audio input.
• A/DSource
The MOTIF features two different input connections for transferring analog audio from an external device: the A/
D INPUT jacks or the mLAN terminal (when an optional mLAN8E is installed). One or the other must be set; the two cannot be used at the same time.
❏ Settings analog (A/D INPUT jack), mLAN
• Mic/Line
When using the A/D INPUT jacks, this determines the input source, microphone (mic) or line.
❏ Settings mic, line
• Digital
When the optional AIEB2 board is installed, the MOTIF features two different input connections for transferring digital audio from an external device: coaxial or optical.
One or the other must be set; the two cannot be used at the same time.
❏ Settings coaxial, optical
● [F2]-[SF2] I/O Output
From this display you can set parameters related to audio output.
Specify the digital output resolution of the optionally installed AIEB2 board (page 19).
❒ Settings 20bit, 24bit
Utility mode
To initialize all the mLAN settings above, use the following procedure.
[EXIT] button [SF5] button
Press the [ENTER] button to actually initialize the mLAN settings.
Set the output gain of each jack.
❒ Settings 0dB, +6dB, +12dB, +18dB n The digital output resolution of the MOTIF itself is set to 16 bit (fixed).
● [F2]-[SF3] I/O mLAN connection
From this display you can set parameters related to
connection of an optional mLAN8E (page 18). The
following display is available only when the optional mLAN8E has been installed.
For details on this parameter, refer to the owner’s manual of the mLAN8E.
Vendor Name Nickname
[F3] Voice settings
These special voice-related settings are available only when entering the Utility mode from the Voice mode.
● [F3]-[SF1] Voice Master Equalizer
From this display you can apply five-band equalization to all parts of the selected voice.
Gain
Q (Frequency Characteristic)
0
Freq
(Frequency)
[EXIT] button [SF4] button
Assign a nickname for the connection. For specific instructions on naming, see Basic Operation on page 75.
For details about the Nickname parameter, refer to the owner’s manual of the mLAN8E.
• Shape
Determines whether the equalizer type used is Shelving or
Peaking. The Peaking type attenuates/boosts the signal at the specified Frequency setting, whereas the Shelving type attenuates/boosts the signal at frequencies above or below the specified Frequency setting.
❏ Settings shelv (Shelving), peak (Peaking) n For details about the shapes of the Shelving and
Set the Word Clock. For details, refer to the owner’s manual of the mLAN8E.
Press the [ENTER] button to actually set the value.
n All mLAN8E-related settings in the Utility mode are stored only to the memory on the mLAN8E itself, and not to the User memory of the MOTIF.
MOTIF Reference 253
Utility mode
• Freq (Frequency)
Set the center frequency. Frequencies around this point are attenuated/boosted by the Gain setting.
❏ Settings LOW (Low range) Peaking 63Hz ~ 2.0kHz
Shelving 32Hz ~ 2.0kHz
LOW MID (Low middle range)
100Hz~10kHz
MID (Middle range)100Hz~10kHz
HIGH MID (High middle range)
100Hz ~10kHz
HIGH (High range)500Hz~16kHz
• Gain
Determines the level gain for the Frequency (set above), or the amount the selected frequency band is attenuated or boosted.
❏ Settings -12dB~0dB~+12dB
• Q (Frequency Characteristic)
This varies the signal level at the Frequency setting to create various frequency curve characteristics.
❏ Settings 0.1~12.0
● [F3]-[SF2] Voice Arpeggio Channel
From this display you can set parameters related to output of the Arpeggio MIDI data.
[F3] Sequencer settings
These special song- and pattern-related settings are available only when entering the Utility mode from the
Song or Pattern mode.
● [F3]-[SF1] Sequencer Click (MIDI Click)
From this display you can set the parameters related to the click sound (metronome) that is used during recording or playback in the Song/Pattern mode.
• OutputSwitch
This enables or disables MIDI data output for the
Arpeggio function. When this is set to “on,” Arpeggio data is sent via MIDI — allowing you to send the Arpeggio data to an external sequencer or play back the Arpeggios on connected MIDI tone generators.
❏ Settings on (enable), off (disable)
• TransmitCh (Transmit channel)
Determines the MIDI channel through which Arpeggio playback data will be sent (when Output Switch above is on).
❏ Settings 1~16
● [F3]-[SF3] Voice Controller Assign
Sets the parameters related to the controllers in the
Voice mode.
Details about each parameter are same as in
Performance Common Edit. See page 169 .
Knob Assign 1, 2 Foot Controller 1, 2
• Mode
Determines whether and when the metronome click will sound.
❏ Settings off, rec, rec/play, all off
The click will not sound.
rec
The click will sound during recording only.
rec/play
The click will sound during recording and playback.
all
The click will always sound.
• Beat
Determines on which beats the metronome click will sound.
❏ Settings 16 (16th notes), 08 (8th notes), 04 (quarter notes), 02 (half notes), 01 (whole notes)
• Volume
Determines the click sound volume.
❏ Settings 0~127
• Rec Count
Sets the number of count-in measures provided before actually recording starts after pressing the [ F ] button in the Record standby mode .
❏ Settings off (Recording starts as soon as the [ F ] button is pressed ), 1meas~8meas n Since the click sound is created with the internal tone generator, using click playback affects the overall polyphony of the MOTIF.
Breath Controller
❏ Settings off, 0~95
254 MOTIF Reference
● [F3]-[SF2] Sequencer MIDI Filter
From this display you can set which MIDI events will be recognized/transmitted via the MIDI IN/
OUT terminal or the USB terminal.
The settings made here apply only to song/pattern playback data; they do not affect the MIDI events generated by your keyboard polaying or panel operations in the Voice and Performance modes.
● [F3]-[SF3] Sequencer Other
• PtnQuantize (Pattern Quantize)
Determines the quantize value for pattern switching during playback. When set to “1,” patterns (sections) will always switch on the first beat of the measure during playback. When “1/16” is selected, patterns (sections) can be switched on any 16th beat during playback.
❏ Settings 1 (1 measure), 1/2 (Half note), 1/4(Quarter note), 1/8(8th note), 1/16 (16th note)
• PtnTempoHold (Pattern Tempo Hold)
Determines whether or not the tempo setting will switch to the tempo value stored with each style when a new style is selected during playback.
When set to “on,” the tempo will be retained when styles are switched.
When set to “off,” the tempo will switch to that stored with the new style when styles are switched.
❏ Settings on, off n The tempo setting data in the Pattern Chain is not affected by this parameter.
• SongEventChase
Event Chase allows you to specify which non-note data types are properly recognized during fast-forward and rewind operations. Normally, if a song or pattern is played back from mid-point and/or fast-forward or rewind are used, certain data types (such as Program Change, Pitch
Bend, and Control Change) may not play back as expected.
Setting this to a specific event ensures the playback
“integrity” of the event, even when fast-forwarding or rewinding.
❏ Settings Off, PC (Program Change), PC+PB+Ctrl
(Program Change+Pitch Bend+Control
Change), All (All events)
Utility mode n Keep in mind that settings other than “off” may result in slower operation — for example, a pause before starting playback, or slower rewind/fastforward speed.
n When this is set to “All,” an excessive amount of
MIDI data may be generated, possibly resulting in a
MIDI error on the connected device.
• DumpExIntrval (Bulk Dump Exclusive
Interval Time)
When playing back system exclusive data (bulk data) that is recorded on the sequence tracks, this sets the interval that is inserted for each 1KB.
When sending bulk data from the MOTIF to a connected
MIDI device, a MIDI error may result if the device cannot handle large amounts of data in a short time. This parameter compensates for that by setting an interval that provides enough time for the receiving device to process the bulk data.
❏ Settings 0~900 (msec) n The playback may be a little slower depending on the currently set interval. Also when a MIDI error occurs, try to set the interval a little higher and send the data again.
• LoadMix
Determines whether the Mixing settings are loaded (on) or not (off) when the Song/Style number is changed.
❏ Settings off, on n This setting affects the Song/Pattern change during the Song/Pattern chain playback.
• SendXGon
Determines whether the XG reset message is sent to the
Multi-part Plug-in board tone generator block (on) or not
(off) when starting the XG song or changing the Song/
Style number.
❏ Settings on, off
[F4] Controller settings
● [F4]-[SF1] Controller Assign Arpeggio
• Switch
Determines the Control Change Number that controls the
Arpeggio playback on/off.
❏ Settings off, 01~95
• Hold
Determines the Control Change Number that controls the
Arpeggio Hold (page 129) on/off.
❏ Settings off, 01~95
MOTIF Reference 255
Utility mode
● [F4]-[SF2] Controller Assign
Knob ASSIGN A, B
From this display you can assign specific functions to the ASSIGN A and B knobs.
◆ Remote Control of Computer Sequence
Software
Using the Remote Control function lets you control computer sequence software by using the buttons or controllers on the MOTIF. Turn the Remote Control function on by pressing the [REMOTE CONTROL
ON/OFF] button so that its lamp flashes.
REMOTE
CONTROL
ON/OFF
• ASA, ASB (Assignable A, B)
Determines the Control Change number to be controlled by the ASSIGN knobs A and B.
❏ Settings 000~095 (Refer to the separate Data List booklet. )
• Dest (Control Destination)
Determines the function to be controlled by the Control
Change number set above.
❏ Settings Refer to the separate Data List booklet.
● [F4]-[SF3] Controller Assign Footswitch
From this display you can assign a specific function to the Footswitch.
❏ Settings 000~100 (000, 032 : off, 096 : Arpeggio
Switch, 097 : Arpeggio Hold, 098 : Song/
Pattern playback start/stop, 099/100 :
Program Change INC/DEC 101 : Octave
Rest)
● [F4]-[SF4] Controller Assign Remote
The MOTIF gives you convenient remote control over major functions in several popular sequencer programs. This lets you automatically configure the
MOTIF for use with your particular sequencer program, by specifying the template to be used.
[Press the [ENTER] button to call up the template provided for the selected software.
❏ Settings Cubase, Logic, Cakewalk, ProTools
EFFECT BYPASS ARPEGGIO
INSERTION SYSTEM ON/OFF
• Setup
Before you can use the Remote Control function, you’ll need to follow the setup instructions below.
1
Connect the MOTIF to your computer via a USB
cable. For details, see page 25.
2
Install the USB MIDI driver and the setup file for the sequence software (contained in the included CD-ROM) to your computer. For details on how to install, see the Installation Guide manual.
3
Select the template for your particular sequence software in the Utility mode on the MOTIF
(above).
4
Set the MIDI IN/OUT setting to “USB” in the
Utility mode on the MOTIF (page 259).
• Compatible Software
The following computer sequence software programs can be controlled via the MOTIF’s
Remote Control function.
Windows
Cubase VST/32
Logic Audio Plutinum Ver4.6
Cakewalk ProAudio Ver9.0
Pro Tools V5.0
Macintosh
Cubase VST 5.0
Logic Audio Plutinum Ver4.6
Pro Tools V5.0
256 MOTIF Reference
◆
Remote Control Assignments
Functions to be controlled by the MOTIF differ depending on the software you use. When the appropriate template is selected, the following functions on the corresponding software can be controlled.
• Logic Audio Plutinum Ver4.6
When the template is set to “Logic,” the following functions can be controlled by the MOTIF.
Knobs
Sliders
SEQ
TRANS-
PORT
TRACK
MUTE
TRACK
SELECT
These control the track selected via the NUMBER [1] - [16] buttons.
Set via
[KNOB
CONTROL
FUNCTION]
KN1 KN2 KN2 KN4
1st row
2nd row
3rd row
4th row
PAN
PAN
PAN
PAN
SEND1
EQ1 Freq
EQ2 Freq
EQ3 Freq
SEND2
EQ1 Gain
EQ2 Gain
EQ3 Gain
SEND3
EQ1 Q
EQ2 Q
EQ3 Q
These control the four tracks selected via the NUMBER [1] - [16] buttons.
Selected tracks
1 ~ 4
CS1
VOLUME1
CS2
VOLUME2
CS3
VOLUME3
CS4
VOLUME4
5 ~ 8
9 ~ 12
VOLUME5
VOLUME9
VOLUME6
VOLUME10
VOLUME7
VOLUME11
VOLUME8
VOLUME12
13 ~ 16 VOLUME13 VOLUME14 VOLUME15 VOLUME16
These control PLAY, REC, STOP, G , H of the computer sequence software. The [ ] (TOP) button controls STOP of the computer sequence software.
When the [MUTE] buttonon the MOTIF is turned on, the NUMBER [1] -
[16] buttons control the track mute settings of the computer sequence software.
When the [TRACK SELECT] butt on on the MOTIF is turned on, the
NUMBER [1] - [16] buttons select the track of the computer sequence software.
• Cubase VST/32, Cubase VST 5.0
When the template is set to “Cubase, ” the following functions can be controlled by the MOTIF.
Knobs
Sliders
These control the track selected via the NUMBER [1] - [16] buttons.
Set via
[KNOB
CONTROL
FUNCTION]
KN1 KN2 KN2 KN4
1st row
2nd row
PAN
PAN
SEND1 SEND2
EQLo Freq EQLo Gain
SEND3
EQLo Q
3rd row
4th row
PAN
PAN
EQMidLo Fre EQMidLo Gai EQMidLo Q
EQHi Freq EQ3Hi Gain EQ3Hi Q
These control the four tracks selected via the NUMBER [1] - [16] buttons.
Selected tracks
CS1 CS2 CS3 CS4
1 ~ 4
5 ~ 8
9 ~ 12
VOLUME1
VOLUME5
VOLUME2
VOLUME6
VOLUME3
VOLUME7
VOLUME4
VOLUME8
VOLUME9 VOLUME10 VOLUME11 VOLUME12
13 ~ 16 VOLUME13 VOLUME14 VOLUME15 VOLUME16
These control PLAY, REC, STOP,TOP,
G
,
H
of the computer sequence software.
SEQ
TRANS-
PORT
TRACK
MUTE
TRACK
SELECT
When the [MUTE] button on the MOTIF is turned on, the NUMBER [1] -
[16] buttons control the track mute settings of the computer sequence software.
When the [TRACK SELECT] button on the MOTIF is turned on, the
NUMBER [1] - [16] buttons select the track of the computer sequence software.
Utility mode
• Cakewalk ProAudio Ver9.0
When the template is set to “Cakewalk,” the following functions can be controlled by the
MOTIF.
Knobs
Sliders
These control the track selected via the NUMBER [1] - [16] buttons.
Set via
[KNOB
CONTROL
FUNCTION]
KN1 KN2 KN2 KN4
1st row
2nd row
3rd row
4th row
PAN
---
---
---
SEND1
---
---
---
SEND2
---
---
---
SEND3
---
---
---
These control the four tracks selected via the NUMBER [1] - [16] buttons.
Selected tracks
1 ~ 4
CS1
VOLUME1
CS2
VOLUME2
CS3
VOLUME3
CS4
VOLUME4
5 ~ 8
9 ~ 12
13 ~ 16
VOLUME5 VOLUME6 VOLUME7 VOLUME8
VOLUME9 VOLUME10 VOLUME11 VOLUME12
VOLUME13 VOLUME14 VOLUME15 VOLUME16
These control PLAY, REC, STOP,TOP, G , H of the computer sequence software.
SEQ
TRANS-
PORT
TRACK
MUTE
TRACK
SELECT
When the [MUTE] button on the MOTIF is turned on, the NUMBER [1] -
[16] buttons control the track mute settings of the computer sequence software.
When the [TRACK SELECT] button son the MOTIF is turned on, the
NUMBER [1] - [16] buttons select the track of the computer sequence software.
• Pro Tools V5.0
When the template is set to “ProTools,” the following functions can be controlled by the
MOTIF.
Knobs
Sliders
Not available.
These control the four tracks selected via the NUMBER [1] - [16] buttons.
Selected tracks
CS1 CS2 CS3 CS4
1 ~ 4
5 ~ 8
9 ~ 12
13 ~ 16
VOLUME1
VOLUME5
VOLUME9
VOLUME13
VOLUME2
VOLUME6
VOLUME10
VOLUME14
VOLUME3
VOLUME7
VOLUME11
VOLUME15
VOLUME4
VOLUME8
VOLUME12
VOLUME16
These control PLAY, REC, STOP,TOP, G , H of the computer sequence software.
SEQ
TRANS-
PORT
TRACK
MUTE
TRACK
SELECT
When the [MUTE] button on the MOTIF is turned on, the NUMBER [1] -
[16] buttons control the track mute settings of the computer sequence software.
When the [TRACK SELECT] button on the MOTIF is turned on, the
NUMBER [1] - [16] buttons select the track of the computer sequence software.
MOTIF Reference 257
Utility mode
[F5] MIDI settings
● [F5]-[SF1] MIDI Channel
From this display you can make basic MIDI settings.
• BasicRcvCh (Basic Receive Channel)
Determines the MIDI channel over which the MOTIF receives MIDI data (from an external sequencer, MIDI controller, or other device). This parameter is available for the Voice / Performance mode.
❏ Settings 1~16, omni (all channels), off
• KBDTransCh (Keyboard Transmit Channel)
Determines the MIDI channel over which the MOTIF sends MIDI data (to an external sequencer, tone generator, or other device). This parameter is available for the Voice /
Performance mode.
❏ Settings 1~16, off n
In the Song/Pattern mode, the MIDI data created by playing the keyboard/knobs/wheels is sent to the tone generator block or the external MIDI devices via the MIDI output
channel of the currently selected track (page 38).
• DeviceNo. (Device Number)
Determines the device number used by the MOTIF in receiving or transmitting data. This number must match the Device Number of the external MIDI device when transmitting/receiving bulk data, parameter changes or other system exclusive messages to/from it.
❏ Settings 1~16, all, off
• FileUtilID (File Utility ID)
This determines the ID number used in conjunction with file transfers using the special File Utility software in the included CD-ROM. This File Utility ID number and the
Device Number (above) must match the ones of the the
File Utility software in order to properly transfer files between the MOTIF and a connected computer.
❏ Settings: 1~128
● [F5]-[SF2] MIDI Switch
From this display you can determine which types of
MIDI data the MOTIF transmits and responds to.
• PgmChange (Program Change)
This switch enables or disables Program Change messages, both in transmission and reception. When this is set to
“on,” the MOTIF responds to incoming Program Change messages, and it also transmits appropriate Program
Change messages (when using the panel).
❏ Settings off, on
• CtrlChange (Control Change mode)
This parameter lets you set the MOTIF to properly respond to either type of GM System data, Level 1 or Level
2 — particularly regarding AEG Sustain. When using GM
Level 2, set this to Mode 1, and the MOTIF responds to the messages as parameter change data. When using GM
Level 1, set this to Mode 2, and the MOTIF responds to the messages as control change data.
❏ Settings mode1, mode2
• LocalCtrl (Local Control On/Off)
This determines whether or not the tone generator of the
MOTIF responds to your keyboard playing. Normally, this should be set to “on” — since you’ll want to hear the sound of the MOTIF as you play it. However, for external sequencer applications, you may need to set this to “off” to avoid getting “double” notes, in which the tone generator of the MOTIF is played twice — once by the keyboard and once again by the keyboard data routed through the sequencer.
Even if this is set to “off,” the data will be transmitted through the MIDI OUT or USB terminal. Also, the
MOTIF’s tone generator block will respond to messages received via the MIDI IN or USB terminal.
❏ Settings off, on
• RcvBulk (Receive Bulk)
Determines whether or not Bulk Dump data can be received.
❏ Settings protect (not received), on (received)
● [F5]-[SF3] MIDI Sync
From this display you can set various parameters related to MIDI clock and synchronization.
• BankSel
This switch enables or disables Bank Select messages, both in transmission and reception. When this is set to “on,” the MOTIF responds to incoming Bank Select messages, and it also transmits appropriate Bank Select messages
(when using the panel).
❏ Settings off, on
258 MOTIF Reference
• MIDI Sync
Determines whether Song/Pattern/Arpeggio playback will be synchronized to the MOTIF’s internal clock or an external MIDI clock.
❏ Settings internal, MIDI, MTC internal
Synchronization to internal clock. Use this setting when the MOTIF is to be used alone or as the master clock source for other equipment.
MIDI
The MOTIF is synchronized to a MIDI clock received from an external MIDI device via the MIDI IN or USB terminal.
MTC (MIDI Time Code)
The MOTIF is synchronized to an MTC signal received via the MIDI IN or USB terminal. MMC signals are transmitted via the MIDI OUT or USB terminal. Use this setting when the MOTIF is to be used as a MIDI slave, such as when synchronized to an MTC-capable MTR. n The MTC Sync function is available only in the
Song mode. The Pattern playback (in the Pattern mode) and the Arpeggio playback (in the Voice/
Performance mode) cannot be synced to MTC. n MTC (MIDI Time Code) allows simultaneous synchronization of multiple audio devices via standard MIDI cables. It includes data corresponding to hours, minutes, seconds, and frames. The MOTIF does not transmit MTC. A device such as the Yamaha AW4416 is necessary in order to the MOTIF as an MTC master. n MMC (MIDI Machine Control) allows remote control of multitrack recorders, MIDI sequencers, etc. A MMC-compatible multitrack recorder, for example, will automatically respond to start, stop, fast forward, and fast reverse operations performed on the controlling sequencer, thus keeping playback of the sequencer and multitrack recorder aligned.
• ClockOut
Determines whether MIDI clock (F8) messages will be transmitted via the MIDI OUT/USB terminal.
❏ Settings on (transmitted), off
• SeqCtrl (Sequencer Control)
Determines whether Sequencer Control signals — start, continue, stop, and song position pointer — will be received and/or transmitted via the MIDI OUT/USB terminal.
❏ settings off, in, out, in/out off in out in/out
Not transmitted/recognized.
Recognized but not treansmitted.
Transmitted but not recognized.
Transmitted/recognized.
• MTC StartOffset
Determines the specific time code point from which sequence playback starts, when MTC is received. This feature can be used to accurately align playback of the
RS7000 with an external MTC-compatible device.
❏ Settings Hour : Minute : Second : Frame
Hour
Minute
Second
Frame
00 ~23
00 ~59
00 ~59
00 ~29
● [F5]-[SF4] MIDI Other
From this display you can set parameters related to the MIDI terminals and port number.
Utility mode
• MIDI IN/OUT
Determines which physical output terminal(s) will be used for transmitting/receiving MIDI data:
MIDI IN/OUT/THRU, USB, or mLAN (when the optional mLAN8E has been installed).
❏ Settings MIDI, USB, mLAN n Three types of terminals above cannot be used at the same time. Only one of them can be used to transmit/receive the MIDI data.
• ThruPort (Through Port)
Many computer sequencers are capable of transmitting data over several MIDI ports, effectively breaking the 16channel barrier. When using the USB terminal for MIDI transmission/reception, you can have the MOTIF respond to MIDI data over one port, while relaying the data for another port number to a separate tone generator
(connected to the MIDI OUT terminal). In this way, 16 channels of data can be played on the MOTIF and another
16 can be played on the connected device. Plug-in boards installed to the MOTIF can also be independently
addressed via separate MIDI ports (page 38), further
expanding the amount of channels.
Make sure to set Thru Port to the intended port number of the connected device.
❏ Settings 1~8
[F6] Plug-in board settings
When a Plug-in board is installed, the following displays and parameters are available. The particular parameters available depends on the type of Plug-in board that is installed.
n An Effect Plug-in board can only be installed to slot 1, while a Multi-part Plug-in board can only be installed to slot 3. Single Part Plug-in boards can be installed to any of the three slots.
● [F6]-[SF1] Plug-in board Status
The name of the Plug-in Board is displayed.
• PolyExpand
This parameter is accessible only when you have two or three identical Plug-in boards installed on the MOTIF.
The “off” setting enables two or three boards to work separately (you can select them in two or three different
Parts). When this is set to “on,” the two boards effectively function together as one board (used in a single part) — giving you double the amount of polyphonic notes you can play at one time.
❏ Settings on, off
MOTIF Reference 259
Utility Job mode
● [F6]-[SF2] Plug-in board MIDI
From this display you can set various MIDI-related parameters for the Plug-in board.
• DevNo (Device Number)
Determines the MIDI Device Number of the Plug-in
Board. This number must match the Device Number of the external MIDI device when transmitting/receiving bulk data, parameter changes or other system exclusive messages to/from it.
❏ Settings 1~16, all, off
• PORT NO. (Port number)
Determines the MIDI Port number over which the Plug-in board receives MIDI data.One port can be set for the
Multi-part Plug-in board and two ports can be set for the
Single part Plug-in board.
❏ Settings off, 1~3 n The Port number for the Effect Plug-in board (VH) is fixed to 1.
• GM/XG
Determines whether “GM on” and “XG on” messages are recognized (on) or not (off) . This parameter is available only when the Multi-part Plug-in board has been installed to slot 3.
❏ Settings on, off
● [F6]-[SF3] Plug-in board
Native System Parameters (Slot 1)
From this display you can set the Native System parameters of the Plug-in board installed to slot 1.
Utility Job mode
In this Mode, you can restore your MOTIF’s User
memory (SRAM, see page 64 ) to the factory default
settings (Factory Set).
When you restore the factory default settings, all the current settings for all the User voices and performances on the User Memory will be overwritten with the factory defaults.
Make sure you are not overwriting any important data.
You should back up any important data to memory card/SCSI device beforehand.
◆
Factory Set (Restore Factory
Defaults)
1
In the Utility mode, press the [JOB] button to enter the Utility Job mode.
2
Press the [ENTER] button. (The display prompts you for confirmation.)
3
Press the [INC/YES] button to execute the Job.
After the Job has been completed, a “Completed” message appears and operation returns to the original display.
n To cancel the Job, press the [DEC/NO] button.
4
Press the [UTILITY] button to exit from the
Utility Job mode back to the Utility mode. n All settings in the Utility mode that are related to the Plug-in boards and the mLAN8E are stored only to the memory on those respective devices, and not to the User memory of the MOTIF.
Because of this, the Factory Set operation cannot be used to restore settings for those devices.
For details on these parameters, refer to the owner’s manual of your particular Plug-in board.
● [F6]-[SF4] Plug-in board
Native System Parameters (Slot 2)
From this display you can set the Native System parameters of the Plug-in board installed to slot 2.
For details on these parameters, refer to the owner’s manual of your particular Plug-in board.
● [F6]-[SF5] Plug-in board
Native System Parameters (Slot 3)
From this display you can set the Native System parameters of the Plug-in board installed to slot 3.
For details on these parameters, refer to the owner’s manual of your particular Plug-in board.
260 MOTIF Reference
Function Tree
File Mode
Function Tree
This section is devoted to the File mode. To see how the File mode relates to the entire structure of the MOTIF and
its other modes and functions, see the simplified chart in “Basic Structure” on page 30.
The following detailed chart shows all of the display menus and parameter groups of the File mode — giving you a quick, easy-to-understand overview of the data storage and file-related functions of the MOTIF.
Brackets around a word or phrase (e.g., [F1]) indicate specific button names or panel operations.
[FILE]
[INFORMATION] FILE INFORMATION
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 276
[F1] CONFIGURATION
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 264
[F2] SAVE
[SF1] CURRENT DRIVE
[SF2] SCSI ID
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 264
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 265
[SF3] MOUNT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 265
[SF4] FORMAT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 265
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266
[F6] MAKEDIR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266
[ENTER] WAV/AIFF
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266
[ENTER] MID
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266
[F3] LOAD
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266
[ENTER] VOICE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266
[ENTER] SONG
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266
[ENTER] PATTERN
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266
[ENTER] WAVEFORM
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266
[F4] RENAME
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 267
[F6] MAKEDIR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 267
[F5] DELETE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 267
MOTIF Reference 261
File mode
File mode
In this mode, you can save data to and load data from memory cards and SCSI storage devices, such as hard disks and removable cartridges. The File mode also provides various functions for managing your data and
SCSI devices.
With the File Utility software (on the included CD-
ROM), you can use a computer to manage data stored to memory cards or SCSI devices — even use it to transfer data between the computer and the memory card/SCSI device.
Memory card
SCSI connector
SCSI device (hard disk, removable cartridge, etc.)
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Modular Synthesis Plug-in System
SONG SCENE
REC
File/Folder selection
The illustrations and instructions below show you how to select files and folders on the memory card or SCSI devices within the File mode.
Move the cursor to the desired file or folder by using the
[INC/YES] and [DEC/NO] buttons or the data dial.
To return to the next highest level, press the
[EXIT] button.
To go to the next lowest level, highlight the desired folder and press the [ENTER] button.
Move the cursor to the desired file or folder by using the
[INC/YES] and [DEC/NO] buttons or the data dial.
MOTIF
◆
Basic Procedure
1
Press the [FILE] button to enter the File mode.
(The indicator lights.)
2
Select the desired menu by pressing the [F1] - [F6] buttons and execute each operation (Save, Load, and so on).
3
Press any other mode button to exit from the File mode.
• For detailed instructions on step #2, see the explanations below.
New Folder Creation
From the Save display (called up via the [F2] button) and the Rename display (called up via the [F4] button), you can create new folders. This function lets you conveniently and easily organize the numerous important data files you create on the MOTIF.
You can create the new folder by pressing the [F6] button and naming.
File types that can be handled by the MOTIF
■
File types that can be saved from the
MOTIF to the memory card/SCSI storage device
When you save your original data to User memory
(page 63), the MOTIF organizes your data according
to its type (as listed below), and automatically assigns a special three-letter extension to the file name corresponding to the type.
262 MOTIF Reference
• All Extension: .W2A
All data in the MOTIF’s internal User Memory are treated as a single file, and can be saved to the memory card/SCSI storage device.
• All Voice Extension: .W2V
All the User Voice data in the MOTIF's internal User
Memory are treated as a single file, and can be saved to the memory card/SCSI storage device.
• All Song Extension: .W2V
All the User Song data in the MOTIF's internal User
Memory are treated as a single file, and can be saved to the memory card/SCSI storage device.
• All Pattern Extension: .W2P
All the User Pattern data in the MOTIF's internal User
Memory are treated as a single file, and can be saved to the memory card/SCSI storage device.
• All Waveform Extension: .W2W
All the User Wave and Sample data in the MOTIF's internal User Memory are treated as a single file, and can be saved to the memory card/SCSI storage device.
• Usr ARP (User Arpeggio) Extension: .W2G
All the User Arpeggio data in the MOTIF's internal User
Memory are treated as a single file, and can be saved to the memory card/SCSI storage device.
• Plugin All Bulk 1, 2, 3 Extension: .W2B
All the data in a Plug-in board are treated as a single file, and can be saved to the memory card/SCSI storage device.
• SMF Extension: .MID
Sequence track (1 - 16) and Tempo track data of songs or patterns created in the Song/Pattern mode can be saved to the memory card/SCSI storage device as Standard MIDI
File (format 0) data.
• Wav Extension: .WAV
Sample data created in the Sampling mode can be saved to the memory card/SCSI storage device as a WAV file
(Windows audio format).
• Aif (AIFF file) Extension: .AIF
Sample data created in the Sampling mode can be saved to the memory card/SCSI storage device as an AIFF file
(Macintosh audio format).
• all voice without waveform (Voice data for
Voice Editor) Extension: .W2E
All the User Voice data (with the exception of waveform data) can be treated as a single file and saved to the memory card/SCSI storage device. The saved file can be loaded to the Voice Editor software (included in the CD-
ROM) on your computer.
■ File types that can be loaded from the Memory
Card/SCSI storage device to the MOTIF
Any data saved to a memory card/SCSI device from the
User memory of the MOTIF can be loaded back to the
MOTIF. Naturally, all the file types that can be saved
(listed above) can be loaded; however, there are some additional types available for loading. (Refer to the list below.)
File mode
• All Extension: .W2A
A file that is saved to the Memory Card/SCSI storage device as “All” type can be loaded and restored to the
MOTIF.
• All Voice Extension: .W2V
A file that is saved to the Memory Card/SCSI storage device as “All Voice” type can be loaded and restored to the
MOTIF.
• Voice Extension: .W2V
A specified voice in a file that is saved to the Memory
Card/SCSI storage device as “All” or “All Voice” type can be individually selected and loaded to the MOTIF.
• Plugin All Bulk 1, 2, 3 Extension: .W2B
A file that is saved to the Memory Card/SCSI storage device as “Plugin All Bulk 1, 2, 3” type can be loaded and restored to the Plug-in board installed to the MOTIF.
• Usr ARP (User Arpeggio) Extension: .W2G
A file that is saved to the Memory Card/SCSI storage device as “Usr ARP” type can be loaded and restored to the MOTIF.
• All Song Extension: .W2S
A file that is saved to the Memory Card/SCSI storage device as “All Song” type can be loaded and restored to the
MOTIF.
• Song Extension: .W2S
A specified song in a file that is saved to the Memory Card/
SCSI storage device as “All” or “All Song” type can be individually selected and loaded to the MOTIF.
• All Pattern Extension: .W2P
A file that is saved to the Memory Card/SCSI storage device as “All Pattern” type can be loaded and restored to the MOTIF.
• Pattern Extension: .W2P
A specified pattern in a file that is saved to the Memory
Card/SCSI storage device as “All” or “All Pattern” type can be individually selected and loaded to the MOTIF.
• All Waveform Extension: .W2W
A file that is saved to the Memory Card/SCSI storage device as “All” or “All Waveform” type can be loaded and restored to the MOTIF.
• Waveform Extension: .W2W
A specified waveform in a file that is saved to the Memory
Card/SCSI storage device as “All” or “All Waveform” type can be individually selected and loaded to the MOTIF.
• All Voice for Editor Extension: .W2E
The Voice data edited via the included Voice Editor software on your computer can be loaded to the MOTIF.
• SMF (Standard MIDI file) Extension: .MID
The Standard MIDI file (format 0, 1) can be loaded to the
MOTIF and can be played back in the Song/Pattern mode.
MOTIF Reference 263
File mode
• Wav Extension: .WAV
A WAV file (Windows audio format) can be loaded to the
MOTIF and can be used as a User Wave.
• Aif (AIFF file) Extension: .AIF
An AIFF file (Macintosh audio format) can be loaded to the MOTIF and can be used as a User Wave.
n In addition to the file types above, Yamaha A5000/
A4000/A3000/SU700 files and AKAI S1000/
S3000 files can be loaded to the MOTIF.
■
File types that can be loaded from the
Memory Card/SCSI storage device to the
MOTIF when turning the power on (Auto
Load file)
Among the file types described on page 262, “All”,
“Plugin All Bulk 1”, “Plugin All Bulk 2” and
“Plugin All Bulk 3” can be loaded from the Memory card/SCSI storage device to the MOTIF's User
Memory automatically when turning the power on.
1
Name the files you wish to have load automatically when the power is turned on as described below, and save them together in a single folder.
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.W2A
AUTOLD1.W2B
AUTOLD2.W2B
AUTOLD3.W2B
n After you’ve finished naming the appropriate files, keep the corresponding folder selected in the display and go to step #2.
2
Press the [UTILITY] button to enter the Utility mode.
3
Press the [F1] button, then press the [SF4] button to show the Auto Load file display.
4
Set “Auto Load” to on, and press the [SF5] button.
Set this to on.
5
Turn the power off.
6
Before turning the power on next time, make sure that the appropriate data is available to the
MOTIF. In other words, make sure memory card specified in step #1 is properly inserted, or that the
SCSI device specified in step #1 is properly connected.
7
Turn the power on. The MOTIF searches the device and specified folder for the auto-load files
(the files you named and saved in step #1), and automatically loads them to User memory.
n Any files in the device and folder registered in step
#4 that do not have appropriate auto-load names are ignored.
■
File names
Files are named according to the MS-DOS naming convention. If the file name contains spaces and other characters unrecognized in MS-DOS, these characters will automatically be replaced by “_” (underscore) characters when saving.
For specific instructions on naming files, see page 267.
[F1] Configuration
The explanations here apply to step #2 of the Basic
● [F1]-[SF1] CONFIG Currently recognized device
Volume label of the device
Amount of unused (free) memory on the device
Amount of total memory on the device
• Current
In this display you can select the device to be recognized by the MOTIF — a memory card inserted to the Card slot or a properly connected SCSI device.
❏ Settings Card, SCSI
Press the [SF5] button to register the device and folder selected in step #1 (the folder containing the desired files for auto loading).
264 MOTIF Reference
● [F1]-[SF2] CONFIG SCSI ID
From this display you can specify the ID number for all the devices in the SCSI chain, including the host
(the MOTIF itself).
The SCSI devices connected to and in use by the MOTIF are shown at the corresponding ID numbers, set on the devices themselves.
• SELF
Determines the ID number (0 - 7) for the MOTIF, as the
SCSI host. If you change this setting, you’ll need to turn the power off and on again for the new setting to take effect.
• SCAN
This control lets you mount each device in the SCSI chain, making sure that the MOTIF properly recognizes it. Move the cursor to the appropriate SCAN circle in the display, and press the [INC/YES] button to mark the circle and mount the corresponding device.
● [F1]-[SF3] CONFIG Mount
From this display you can select specific partitions for saving/loading data, within the device mounted in the SCSI ID display (above).
Volume label of the selected partition
● [F1]-[SF4] CONFIG Format
Before you can use a new Memory Card/SCSI device with the MOTIF, you will need to format it.
Use this operation to format the memory card or
SCSI device and assign a Volume Label to it.
File mode
• Type
Determines the type of the device to be formatted.
❏ Settings See below. card
When this is set, the Memory card inserted to the Card slot is formatted. all (SCSI)
When this is set, all the SCSI devices connected to the
MOTIF are formatted. partition 1 ~ 4 (SCSI)
When this is set, one partition (specified at the bottom of the display) of the SCSI device connected to the MOTIF is formatted.
• Format
This parameter is available when the Type is set to “all
(SCSI).” A hard disk (or any similar storage media) must be physically formatted before it can be logically formatted. Physical formatting (also called “low-level” formatting) arranges the disk into physical elements such as tracks and sectors.
Physical formatting is usually done by the manufacturer; you may not need to do it yourself. Logical formatting places a file system on the disk, allowing the MOTIF to access the disk.
You’ll need to logically format any media you use before you can use it with the MOTIF.
❏ Settings physical, logical
• Volume Label
Names the Volume Label. Refer to “Basic Operation” for
instructions on naming on page 73.
n Make sure to enter the Volume Label. An error message appears if you press the [ENTER] button without entering the Volume Label.
1
After setting the relevant parameters above, press the [ENTER] button. (The display prompts you for confirmation.)
2
After formatting has been completed, a
“Completed” message appears and operation returns to the original display.
n To cancel the Format operation, press the
[DEC/NO] button.
While formatting is in progress, never eject the Memory card or turn off the power to the MOTIF.
If data is already saved on the memory card/SCSI device, be careful not to format it. If you format the memory card/
SCSI device, all the previously recorded data will be deleted.
MOTIF Reference 265
File mode
[F2] Save
This operation lets you save files to a memory card or
SCSI device.The explanations here apply to step #2 of
the Basic Procedure on page 262.
1
Select the file type to be saved in the Save display.
If you wish to create a new file, move the cursor to this position and enter the desired name. For instructions on naming, see "Basic
Operation" on page 75.
If you wish to create a new folder on the desitination device (to which the data is saved), press the [SF6] button to name a new folder. For instructions on naming, see "Basic Operation" on page 75.
• When the file type “SMF” (Standard MIDI file) is selected, press the [ENTER] button to show the following display and select a Song or a
Style/Section to be saved.
• After the data has been saved, a “Completed” message appears and operation returns to the original display.
While the data is being saved, never eject the Memory card or turn off the power to the SCSI device or MOTIF itself.
n Waveform data is not saved when the file type “All
Voice for Editor” is selected.
[F3] Load
This operation lets you load files from a memory card or SCSI device to the MOTIF.
The explanations here apply to step #2 of the Basic
1
Select a file type (page 264) and a file to be loaded.
• When the file type is set to All, All Voice,
Plugin All Bank 1~3, Usr ARP, All Song, All
Pattern, All Waveform or All Voice for Editor, go to step #3. For any other file types, go to step #2.
• When the file type “Wav” (WAV file) or “Aif”
(AIFF format) is selected, press the [ENTER] button to show the following display and select a
Wave to be saved.
When Key Bank is highlighted, you can select successive Key Banks by pressing the [SF2] button.
2
Specify the data to be loaded and the destination location in the User memory of the MOTIF.
When the file (data) type is set to Voice, for example, follow the instructions as shown below.
This is an imaginary folder, shown in the display to contain the file(s) you ll be loading.
To hear the selected wave, press the [SF1] button.
2
If you wish to overwrite the existing file, move the cursor to the desired file to which the data is saved by using the Cursor buttons or the data dial.
3
Press the [ENTER] button to execute the Save operation.
• If you are about to overwrite an existing file, the display prompts you for confirmation. Press the
[INC/YES] button to execute the Save operation, or press the [DEC/NO] button to cancel it.
266 MOTIF Reference
[ENTER] button
Specify the destination location in the User memory of the MOTIF.
Select a voice number to be loaded.
When the file (data) type is set to Song,
Pattern, Waveform or All Voice for Editor, an
“imaginary” file appears — just as with Voice above. Select the imaginary file and press the
[ENTER] button to call up the list of songs, styles, or waveforms. Then select the desired song, style, or waveform and specify the destination User memory location.
n If several Key Banks (comprised of waveform/
WAV/AIFF files or recorded samples) are assigned to the same key/velocity range, only the first two assigned Key Banks will be used.
n When files of the Yamaha A series samplers
(A5000/4000/3000) are loaded, an “S” mark by the file name indicates the file contains only sample data and a “P” mark indicates program data (voicerelated parameters and so on). When entering the
File mode from the Voice/Performance mode, the
“P” marked file can be loaded and the following two types can be selected instead of Waveform or
Key Bank.
• Type 1 :
Only one sample is imported to a certain waveform. This type utilizes the various settings of the MOTIF, and the parameters corresponding to the four elements are also loaded. Extra samples are not loaded.
• Type 2 :
Several samples are imported to a certain waveform. Parameters corresponding to the four elements are not loaded to the MOTIF. Extra samples are not loaded. n When “All” is selected as a file type to be loaded,
“ without System” appears in the display. If this box is checked and the Load is executed, all data with the exception of the system settings in the
Utility mode are loaded.
3
Press the [ENTER] button to execute the Load operation. After the data has been loaded, a
“Completed” message appears and operation returns to the original display.
File mode
[F4] Rename
From this display you can rename files in the selected memory card/SCSI device, using up to eight alphabetic and numeric characters.
Select the desired file type.
Rename the selected file here. See
"Basic Operation" on page 75.
Select the file to be renamed.
If you wish to create a new folder on the desitination device (to which the data is saved), press the [F6] button to name a new folder. For instructions on naming, see "Basic Operation" on page 75. n Files are named according to the MS-DOS naming convention. If the file name contains spaces and other characters unrecognized in MS-DOS, these characters will automatically be replaced by “_” (underscore) characters when saving.
[F5] Delete
From this display you can delete files from the selected memory card/SCSI device. Select the desired file as shown below, then press the [ENTER] button.
Select the desired file type.
Select the file to be deleted.
While the data is being loaded, never eject the Memory card or turn off the power to the SCSI device or MOTIF itself.
Loading data to the MOTIF automatically erases and replaces any existing data in the User memory. Make sure to save any important data to a memory card/SCSI device
BEFORE performing any Load operations.
n The MOTIF features a convenient Auto-load function that automatically loads user-specified files when you
turn the power on. For details, see page 264.
MOTIF Reference 267
Function Tree
Master Mode
Function Tree
This section is devoted to the Master mode. To see how the Master mode relates to the entire structure of the MOTIF
and its other modes and functions, see the simplified chart in “Basic Structure” on page 30.
The following detailed chart shows all of the display menus and parameter groups of the Master mode — giving you a quick, easy-to-understand overview of the Master-related functions of the MOTIF.
Brackets around a word or phrase (e.g., [F1]) indicate specific button names or panel operations.
[MASTER]
[INFORMATION] MASTER INFORMATION
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 276
[MASTER] MASTER PLAY
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 269
[F1] MASTER PLAY
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 269
[F2] MASTER MEMORY
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 270
[EDIT] MASTER EDIT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 270
[COMMON] COMMON
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 271
[F1] NAME
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 271
[F2] OTHER
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 271
[1]-[4] ZONE 1-4 (Performance Mode only)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 271
[F1] ZONE TRANSMIT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 271
[F2] ZONE NOTE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 272
[F3] ZONE TRANSMIT SWITCH
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 272
[F4] ZONE PRESET
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 272
[F5] ZONE KNOB/SLIDER ASSIGN
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 273
[JOB] MASTER JOB
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 273
[F1] INITIALIZE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 274
[F4] BULK DUMP
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 274
[STORE] MASTER STORE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 274
268 MOTIF Reference
Master Play mode
Basic Structure (page 56) · Quick Start Guide (page 93)
In this mode, you can select and play individual
Masters.
n For more information on Masters, their structure, and
how they are used, see page 56.
◆
Basic Procedure
1
Press the [MASTER] button to enter the Master
Play mode. (The indicator lights.)
MASTER
Indicates Keyboard Octave setting set via the
[OCTAVE] buttons. See page 127 for details.
Indicates the functions assigned to the espective Control knobs (page 48).
Indicates the currently selected Master.
2
Select a Master.
3
Set the Keyboard Octave or MIDI transmit channel.
4
Press the [F2] button to show the Memory display and set the basic parameters for Master play. n Zone edit is available only when the Zone Switch is set to on in the [F2] MEMORY display in the
Master Play mode.
5
Store the settings edited in step #4 to the User memory as required. n If the Zone Switch is not set to on in the [F2]
MEMORY display in the Master Play mode, the
Number buttons [1]~[4] are not available.
6
Press any other mode button to exit from the
Master Play mode.
• For detailed instructions on steps #2 - #4, see the following explanations.
• For details on step #5, refer to “Master Store
Master Play mode
Master Selection
The explanations here apply to step #2 of the Basic
Procedure, see above.
Selecting Masters is done in basically the same way as
selecting voices (page 124), except for the following
point.
• Since the MOTIF has no Preset Masters and provides only one User bank, selecting a bank is not necessary.
Keyboard Octave and Keyboard
MIDI transmit channel setting
The explanations here apply to step #3 of the Basic
These two parameters can be set for the selected
Master. Setting these parameters is the same as in the
Voice Play mode (page 124). Keep in mind that these
parameters cannot be stored to the Master by using the
Master editing in the Master Play mode
The explanations here apply to step #4 of the Basic
Procedure, see above.
The Master Play mode lets you perform a variety of general editing operations on the selected Master. For more detailed and comprehensive editing operations, use the Master Edit mode.
MOTIF Reference 269
Master Edit mode
● [F2] Master Play Memory
From this display you can set basic parameters for the Master, including the mode that is called up with the Master and the program number.
This parameter is available only when the Mode is set to Performance.
• Mode
Determines the mode that is called up when the Master number is selected. Setting to Off here means that the mode is not changed even if the Master is selected.
❏ Settings Off, Voice, Performance, Pattern, Song
• Memory
Determines the Program number that is called up when the Master is selected.
❏ Settings: See below.
When the Mode is set to Voice
When the Mode is set to
Performance
When the Mode is set to Pattern
When the Mode is set to Song
Select a voice bank and number. Refer to
Select a performance bank and number.
Refer to the instructions on page 162
Select a style and section. Refer to the
Select a song number. Refer to the
• Zone Switch
This is available only when the Mode is set to
Performance.
This parameter determines whether the Zone function is
used (on) or not (off). See page 272 for details about the
Zone function.
❏ Settings on, off
Master Edit mode
Basic Structure (page 56) · Quick Start Guide (page 95)
In this mode, you can create and edit Masters.
◆
Common edit and Zone edit
(Voice Performance mode)
When memorizing Voice or Performance mode settings to a Master, you can add the zone-related settings to the existing voice or performance settings. For details on
the zone features, see page 57.
The Master Edit functions can be divided into two types: Common Edit (settings for all four of the zones), and Zone Edit (settings for each individual zone).
Voice Performance mode
Zone 1
Parameters common to all modes
Common
Zone 2
Zone 3
Zone 4
Indicates a Common Edit display.
Indicates a Zone Edit display.
(Performance mode only) n
For details about recording methods, see page 57.
270 MOTIF Reference
◆
Basic Procedure
1
Press the [MASTER] button to enter the Master
Play mode. (The indicator lights.)
2
Select a Master to be edited.
3
Press the [EDIT] button to enter the Master Edit mode. (The indicator lights.)
• When the Mode parameter in the Master Play
Memory display is set to Song or Pattern, go to step #5.
• When the Mode parameter in the Master Play
Memory display is set to Voice or Performance, go to step #4.
4
Select a zone to be edited.
• To edit parameters common to all of the zones, press the [DRUM KITS] button (which serves as a “COMMON” button here).
DRUM KITS
FAVORITES
COMMON
• To edit parameters of the individual zones, select the desired zone with the corresponding
NUMBER button, [1] - [4].
1 2 3 4
ELEMENT/ PERF.PART / ZONE
5
Select the menu you wish to edit by pressing the
[F1] - [F6] buttons.
6
Edit the parameters for the selected Master.
7
Store the settings edited in step #6 to the User
Memory as required.
8
Press the [EXIT] button to exit from the Master
Edit mode.
• For details on step #2, refer to “Master Play
• For detailed instructions on steps #5 - #6, see the explanations below.
• For details on step #7, refer to “Master Store
Master Edit mode
■
Common edit
● [F1] Common Name
From this display you can create a name for the
Master. For detailed instructions on naming, see
● [F2] Common Other
From this display you can set which row of Knob/
Slider functions will be lit and selected.
❏ Settings pan, tone, assign, MEQofs, zone
When set to pan, calling up the Master lights and selects this row.
When set to tone, calling up the Master lights and selects this row.
When set to assign, calling up the Master lights and selects this row.
KNOB
CONTROL
FUNCTION
MASTER
VOLUME
When set to MEQofs, calling up the Master lights and selects this row.
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
KN 1
MEQ LOW
KN 2 KN 3
MEQLOWMID MEQ HI M ID
KN 4
MEQ HIGH
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
When set to zone, calling up the Master automatically calls up the Knob/Slider functions specifically set for each respective zone
(page 57).
CS 1
ZONE 1
CS 2
ZONE 2
CS 3
ZONE 3
CS 4
ZONE 4 n The setting “zone” above is available only when the Zone Switch is set to on in the [F2] MEMORY display in the Master Play mode.
■
Zone Edit (Voice/Performance mode only)
n Use the following Zone Edit functions to create your own sophisticated four-way splits and layers.
● [F1] Zone Transmit
From this display you can set how each zone transmits MIDI data when you play the keyboard.
MOTIF Reference 271
Master Edit mode
• TransmitCh (Transmit Channel)
Determines the MIDI Transmit Channel for each zone.
❏ Settings 1~16
• TGSwitch (Tone Generator Switch)
Determines whether or not to transmit MIDI messages for each zone to each Part’s tone generator block.
❏ Settings on, off
• MIDISwitch
Determines whether or not to transmit MIDI messages for each zone to an external MIDI device via the MIDI or USB terminal.
❏ Settings on, off
● [F2] Zone Note
From this display you can set the pitch- and keyboard-related parameters for each zone — allowing you to set up zone splits and determine the pitch range for each zone.
• This display type shows the Transmit Switch status for all of the zones.
Set the desired zone on or off, for the corresponding MIDI data type. Keep in mind that since all the available parameters cannot be simultaneously displayed, you will need to use the cursor controls to scroll the display in order to see and set the other parameters.
• This display type shows all of the Transmit
Switch settings for a single selected zone.
Set the desired MIDI data type on or off for the selected zone. To select other zone, use the NUMBER [1] - [4] buttons
(making sure that the [TRACK SELECT] button is on).
[SF5] button [SF5] button
• Octave
Determines the amount in octaves by which the range of the zone is shifted up or down.
❏ Settings -3~0 (Default)~+3
• Transpose
Determines the amount in semitones by by which the range of the zone is shifted up or down.
❏ Settings -11 ~ 0 (Default) ~ +11
• NoteLimit H, L (High, Low)
Determines the lowest and highest notes of the range for each zone. The selected zone will sound only when you play notes within this range.
❏ Settings C -2 ~G8 n You can also set the range directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired low and high keys.
● [F3] Zone Transmit Switch
From this display you can set how the playing of each individual zone affects transmission of various
MIDI data, such as Control Change and Program
Change messages. When the relevant parameter is set to “on,” playing the selected zone will transmit the corresponding MIDI data.
Note that two different display types are provided
(see below). Each display type features the same settings in a different format; use the type you feel most comfortable with.
272 MOTIF Reference
● [F4] Zone Preset
From this display you can make the voice-related settings for each zone, in the selected Master program number. In this way, selecting a different Master automatically calls up a completely different set of voices and voice-related setttings for the four zones.
• BankMSB, BankLSB, PgmChange (Program
Change)
Determines the voice assignment for each zone in the selected Master.
❏ Settings Refer to the Voice List in the separate Data
List booklet.
• Volume
Determines the output level of each zone.
❏ Settings 0~127
• Pan
Determines the stereo pan position of each zone.
❏ Settings L64 (Left) ~ C (Center) ~ R63 (Right)
● [F5] Zone Knob/Slider
From this display you can determine which Control
Change numbers are used for the Knobs and Sliders for each zone. These settings are available only when the Knob/Slider parameter (in Common Edit
Other; page 271) is set to “zone.”
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB
RESONANCE
ASSIGN B
CHORUS
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
Above settings are vailable only if these indicators are all unlit (in the Master mode).
MASTER
VOLUME
MEQ LOW MEQLOWMID MEQ HI M ID MEQ HIGH
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
❏ Settings off, 1~95
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
Master Job mode
Master Job mode
The Master Job mode contains two convenient operations (called “Jobs”) — one letting you initialize
(reset) the Master data, and the other letting you transmit your edited Master data to an external MIDI device or computer.
◆
Basic Procedure
1
In the Master Play mode, select a Master you wish to execute the Job on.
2
Press the [JOB] button to enter Master Job Mode.
3
Select the Job menu you wish to execute by pressing the [F1] or [F4] button.
4
Set the parameters for executing the Job.
5
Press the [ENTER] button. (The display prompts you for confirmation.)
6
Press the [INC/YES] button to execute the Job.
After the Job has been completed, a “Completed” message appears and operation returns to the original display.
n To cancel the Job, press the [DEC/NO] button.
For Jobs that take longer to process, you will see the message “Executing…” during processing. If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data.
7
Press the [MASTER] button to exit from Master
Job mode and return to Master Play mode.
• For detailed instructions on steps #3 - #4, see the explanations below.
MOTIF Reference 273
Master Store mode
● [F1] Initialize
This function lets you reset (initialize) all Master parameters to their default settings. It also allows you to selectively initialize certain parameters, such as Common settings, settings for each zone, and so on — very useful when creating a completely new
Master from scratch.
Master Store mode
This function lets you store your edited performance to
User memory.
❏ Parameter Type (for Initializing)
ALL
All settings for the selected Master are initialized.
Common
Common parameter settings for the selected Master are initialized.
Zone
You can initialize the zone setting to one of the following three types.
• Split . . . . . . . . . page 57
• Layer . . . . . . . . page 57
❏ Parameters available when the Type parameter to be Initialized is set to Split or Layer.
UpperCh, LowerCh
When the Parameter Type above is set to “Zone - Split,” you can set separate MIDI transmit channels for the upper and lower keyboard sections (right of Split Point and left of
Split Point, respectively).When the Parameter Type above is set to “Zone - Layer,” you can set separate MIDI transmit channels for two layers.
SplitPoint
This is available when the Type of parameter to be
Initialized is set to Split. The range is C - 2~G8.
● [F4] Bulk Dump
This function lets you send all your edited parameter settings for the currently selected Master to a computer or another MIDI device for data archiving.
n You must set the correct MIDI Device Number in order to execute a Bulk Dump. For details, see
When you execute this, the settings for the destination memory will be overwritten. Important data should always be backed up to computer, a separate memory card or SCSI storage device.
◆
Basic Procedure
1
After editing the Master, press the [STORE] button to enter the Master Store mode.
2
Select the destination Master memory (number).
3
Press the [ENTER] button. (The display prompts you for confirmation.)
4
To execute the Store operation, press the [INC/
YES] button. After the Master has been stored, a “Completed” message appears and operation returns to the original display.
n To cancel the Store operation, press the [DEC/NO] button.
For Store operations that take longer to process, you will see the message “Executing…” during processing. If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data.
274 MOTIF Reference
Information Displays
Appendix
Information Displays
The convenient Information displays let you see at-aglance some of the more important settings relevant to each mode. Select the desired mode, then press the
[INFORMATION] button to call up the Information display for that mode. To exit from the display, press the button again (or any other panel button).
• InsPart (Insertion part), PLG (Plug-in Insertion part)
Indicates the part number to which the Insertion effect is applied and the part number to which the Plug-in Insertion effect is applied (when the PLG100-VH is installed).
• Rev (Reverb), Cho (Chorus), Var (Variation)
Indicates the currently selected effect type for each effect
■
Voice mode
■
Song mode
● Song Play mode
• Bank
Indicates the Bank/Number (page 124) of the currently
selected Voice.
• EL 1234
Indicates the currently selected voice, on/off status of four
elements and mono/poly (page 128) status.
• Porta (Portamento)
Indicates the Portamento switch on/off status of the currently selected voice.
• PB (Pitch Bend)
Indicates the Upper/Lower setting of the Pitch Bend range.
• Ins1 (Insertion 1), Ins2 (Insertion 2), Rev
(Reverb), Cho (Chorus)
Indicates the currently selected effect type for each effect
■
Performance mode
Indicates the amount of currently unused (available) memory (DRAM) for song recording.
● Song Mixing mode
• PlugInfo/Port (Plug-in board installation status)
Indicates the Plug-in board name and its MIDI port number (
page 260 ) at the right of the slot number. When
PolyExpand ( page 259 ) is set to on in the Utility mode,
“P” is indicated at the left of the slot number.
• InsPart (Insertion part), PLG (Plug-in
Insertion part)
Indicates the part number to which the Insertion effect is applied and the part number to which the Plug-in
Insertion effect is applied (when the PLG100-VH is installed).
• Rev (Reverb), Cho (Chorus), Var
(+Variation)
Indicates the currently selected effect type for each effect
• Bank
Indicates the Bank/Number (page 162) of the currently
selected Performance.
• 1 (Plug-in board 1), 2 (Plug-in board 2), 3
(Plug-in board 3)
Indicates the installation status of the respective Plug-in board. The Plug-in board name is displayed at the right of the corresponding slot number. When PolyExpand
(
page 259 ) is set to on in the Utility mode, “P” is
indicated at the left of the slot number.
MOTIF Appendix 275
Information Displays
■
Pattern mode
● Pattern Play mode
■
Utility mode
Indicates the amount of currently unused (available) memory (DRAM) for Pattern Phrase recording.
● Pattern Mixing mode
Same as in the Song Mixing mode.
■
Sampling mode
● Sampling mode
• PlugInfo/Port (Plug-in board installation status)
Indicates the Plug-in board name and its MIDI port
number (page 260) at the right of the slot number. When
PolyExpand (page 259) is set to on in the Utility mode, “P”
is indicated at the left of the slot number.
• MIDI IN/OUT
Indicates which physical output terminal(s) will be used for transmitting/receiving MIDI data: MIDI IN/OUT/
THRU, USB, or mLAN (when the optional mLAN8E has been installed).
• (USB firm Ver)
Indicates the USB interface firmware version.
■
File mode
• SampleMemory
Indicates the amount of memory used by Sampling.
• Recordable Size
Indicates the amount of the available sampling memory
(unused memory) and the available sampling time.
● Sampling mode (Trim display only)
• Card Free
Indicates the amount of currently available (unused) memory of the Memory card inserted to the Card slot.
• SCSI Partition, Free
Indicates the mounted partition of the SCSI device connected to the MOTIF and its unused memory.
• Current Dir (Current Directory)
Indicates the currently selected directory.
■
Master mode
• SampleMemory
Same as above.
• Recordable Size
Same as above.
• Current Tempo
Indicates the calculated tempo when the Sample data playback of the range from the Loop Start Point to the End
Point is treated as one measure.
• Mode
Indicates the mode and program number memorized to the currently selected Master.
• ZoneSwitch
Indicates the on/off status of the Zone switch.
• ZoneTCH (Zone Transmit Channel)
Indicates the MIDI transmit channel of each zone (when the Zone Switch is set to on).
276 MOTIF Appendix
Display Messages
Display Messages
Messages
MIDI buffer full.
MIDI data error.
MIDI checksum error.
Bulk protected.
Device number is off.
Device number mismatch.
Change internal battery.
Disk or card full.
File not found.
Bad disk or card.
Disk or card not ready.
Disk or card unformatted.
Disk or card write protected.
Illegal disk or card.
Illegal file.
Illegal file name.
Read only file.
Can't make folder.
Folder is too deep.
Unknown file format.
SCSI error.
Disk or card read/write error.
Can't find associated files.
Folder not empty
Unsupported disk
Seq memory full.
Choose user phrase.
No data.
Illegal check box.
No F7 (End of Exc.)
Pattern length mismatch.
Phrase length mismatch
Phrase number overflow
Illegal input.
Illegal track number.
Illegal phrase number.
Illegal measure.
Meter mismatch
Sample memory full.
Too many samples.
Sample is too short.
Sample freq is too low.
Illegal sample data.
No sample data.
Sample is too long.
SIMM configuration error.
Multi plug-in is not in slot 3.
Effect plug-in is not in slot 1.
Plug-in 1 communication error.
Plug-in 2 communication error.
Plug-in 3 communication error.
Information
Failed to process the MIDI data because too much data was received at one time.
An error occurred when receiving MIDI data.
An error occurred when receiving bulk data.
Bulk data or a SCSI message was received when RcvBulk was set to “protect.” (See page 258.)
Bulk data cannot be transmitted/received since the device number is off.
Bulk data cannot be transmitted/received since the device numbers don't match.
The internal backup battery has no remaining power. Replace the battery.
The card or disk is full and no more data can be saved. Use a new card or disk, or make space by erasing unwanted data from the card or disk.
The specified file was not found on the card or disk during a load operation. Try again after re-inserting/re-connecting the card or disk.
The card or disk is unusable. Format the card or disk and try again.
A card or disk is not properly inserted in or connected to the MOTIF.
The card or disk is not formatted, or the format is unusable by the MOTIF. Check the card/disk contents.
The card or disk is write protected, or you have attempted to write to a read-only medium such as CD-ROM.
The format type of the SCSI disk or Memory card is wrong.
The file specified for loading is unusable by the MOTIF.
The specified file name is unacceptable. Try entering a different name.
You have attempted to delete, rename, or overwrite a read-only file.
No more directories can be created below the current level.
Directories below this level cannot be accessed.
The file format type is not supported by the MOTIF.
A SCSI error has occurred. Check the SCSI connections and termination.
An error occurred while reading or writing to/from SCSI disk or Memory card.
The file associated with the file to be loaded cannot be found.
You attempt to delete a folder that contains data.
The disk (memory card or SCSI device connected to the MOTIF) is not supported by the MOTIF.
The internal memory for Sequence data is full. The internal memory for Sequence data is full, preventing any further operation (such as recording, editing, Job execution, MIDI reception/transmission, or loading from Memory card or SCSI drive). Try again after erasing unwanted song, pattern, or user phrase data.
You have attempted to record a pattern track to which a preset phrase is assigned. If you wish to use a preset phrase as a starting data for pattern recording, copy it to a user phrase before recording.
When a Song/Pattern Job is executed, the selected track or range contains no data. Select an appropriate track or range.
No check boxes have been checked in a Sequencer track Job which requires a check box selection. Check the appropriate check box.
Exclusive data has been entered or changed without the necessary “End of Exclusive” byte (F7). Make sure F7 is included.
A Pattern Job will result in the length of a Pattern being greater than 256 measures.
A Pattern Job will result in the length of a phrase being greater than 256 measures.
The maximum number of phrases (256) has been exceeded when recording, executing a Pattern Job, or editing.
An unacceptable input or value has been specified. Check the input method or value.
An unacceptable track number has been specified in the Song/Pattern mode. Select the track again.
An unacceptable phrase number has been specified in the Pattern mode. Select the phrase again.
An unacceptable measure number has been specified in the Song/Pattern mode. Select the measure again.
In the Pattern Job mode, the meter (time signature) of the destination pattern is different from the meter of the source pattern.
The sample memory is full and further sampling operations, Jobs, or load operations cannot be executed.
The maximum overall number of samples (8192) has been exceeded.
The sample length is too short and the Frequency Convert Job cannot be executed.
The sampling frequency is too low and the Frequency Convert Job cannot be executed.
The sample file specified for loading is unusable by the MOTIF.
The linked sample files cannot be found during a load operation.
The sample size is too large and the Time Stretch Job cannot be executed.
The Multi-Part Plug-in board does not work because it has not been installed to slot 3. The Multi-Part Plug-in board should be installed to slot 3.
The Effect Plug-in board does not work because it has not been installed to slot 1. The Effect Plug-in board should be installed to slot 1.
The Plug-in board that has been installed to slot 1 does not work.
The Plug-in board that has been installed to slot 2 does not work.
The Plug-in board that has been installed to slot 3 does not work.
MOTIF Appendix 277
Display Messages
Messages
Plug-in 1 type mismatch.
Plug-in 2 type mismatch.
Plug-in 3 type mismatch.
PLG100 not supported.
mLAN network error.
mLAN connection error.
mLAN now in Mixer mode.
mLAN error (xxx).
Copy protected.
Digital in unlocked.
Too many favorites
Executing...
Now working...
Now loading... (xxxx)
Now saving... (xxxx)
Now checking plug-in board.
Recording stopped.
Receiving sample...
Transmitting sample...
MIDI bulk receiving...
MIDI bulk transmitting...
Completed.
Becomes valid after power on.
Scene stored
Mixing stored
Are you sure ? [YES]/[NO]
Overwrite? [YES]/[NO]
Can't undo. OK? [YES]/[NO]
Information
The User Voice created by using the Plug-in board previously installed to slot 1 (but now removed from slot 1) has been selected.
The User Voice created by using the Plug-in board previously installed to slot 2 (but now removed from slot 2) has been selected.
The User Voice created by using the Plug-in board previously installed to slot 3 (but now removed from slot 3) has been selected.
The Plug-in All Bulk Save function does not apply to the PLG100 series boards.
Indicates a problem in the mLAN8E network. Check the on/off status of the LED lamps on the mLAN8E and refer to the
Owner's Manual of the mLAN8E.
Indicates a problem in the mLAN8E connection. Check the on/off status of the LED lamps on the mLAN8E and refer to the Owner's Manual of the mLAN8E.
The mLAN8E board is set to the Mixer mode by your computer, and the MOTIF cannot control the mLAN8E.
Indicates an unspecified problem related to the mLAN8E.
You have attempted to export or save a copy-protected digital audio source.
Digital input signal of the AIEB2 is unlocked.
You've attempted to assign more than 256 voices to the Favorite category.
A format operation or job is being executed. Please wait.
Indicates that the MOTIF is currently engaged in some operation, such as writing to/reading from the disk, etc.
Indicates that a file is being loaded.
Indicates that a file is being saved.
The MOTIF is checking the Plug-in board installation status when powering the MOTIF on.
The Song/Pattern (phrase) recording is automatically stopped because the memory becomes full.
The MOTIF is receiving sample data from Wave Editor.
The MOTIF is transmitting sample data to Wave Editor.
The MOTIF is receiving MIDI bulk data.
The MOTIF is transmitting MIDI bulk data.
The specified load, save, format, or other job has been completed.
The newly entered SCSI ID number will take effect only by turning the power of the MOTIF off and on again.
A Song scene has been stored.
In the Song/Pattern mode, the Mixing settings have been automatically stored.
Confirms whether you want to execute a specified operation or not. Press [INC/YES] or [DEC/NO] as required.
A save operation will overwrite data on the Memory card or SCSI disk, and this message confirms whether it is OK to continue or not. Press [INC/YES] or [DEC/NO] as required.
When some jobs of the Song/Pattern are executed, the internal memory becomes full and undo cannot be used. Press
[INC/YES] if this is OK, or [DEC/NO] to abort the operation. Try again after erasing unwanted songs, patterns, or user phrases.
278 MOTIF Appendix
Troubleshooting
Troubleshooting
No sound? Wrong sound? When a problem like this occurs, please check the following points before assuming that the product is faulty. In many cases you’ll find the solution to your problem here. If the problem persists, then contact
your Yamaha dealer or service center (page 299).
No sound.
• Is the power of the MOTIF and any external equipment connected to the MOTIF turned on?
• Have you made all the appropriate level settings — including the Master Volume on the MOTIF and the volume settings on any connected external equipment?
• Is the Foot Controller pressed down (when it is connected to the FOOT CONTROLLER jack)?
• Is the MOTIF properly connected to related external equipment (e.g., amplifier or speaker) via audio cables?
• When the voice produces no sound, is the volume in the Voice common edit set appropriately?
• When the voice produces little or no sound, have you changed any of the CS slider settings?
(The CS 1 - 4 sliders control the element levels in the voice. If all these are set to “0,” the voice will not sound.)
• When the voice produces no sound, are the parameters in the Voice element edit
(e.g., element switch, note limit, velocity limit) set appropriately in the Voice common edit?
• When the voice produces no sound, are the effect and filter settings appropriate?
(Inappropriate filter cutoff frequency settings can result in no sound.)
• When the performance produces no sound, has a voice been assigned to each part?
• When the performance produces no sound, is the note limit of each part set appropriately?
• When the performance produces no sound, is the volume of each part set appropriately?
• When the performance produces little or no sound, have you changed any of the CS slider settings?
(The CS 1 - 4 sliders control the part levels in the performance. If all these are set to “0,” the performance will not sound.)
• When the performance produces no sound, is the output select of each part set appropriately?
• When the song/pattern playback produces no sound, are any or all of the tracks muted?
• When the song/pattern playback produces no sound, are the output channel of each track in the play mode
and the receive channel of each part in the Mixing mode set appropriately?
• When the song/pattern playback produces no sound, is the volume of each part in the Mixing mode set appropriately?
• When the song/pattern playback produces no sound,
is the output select of each part in the Mixing mode set appropriately?
• When the song/pattern playback produces no sound, is the MIDI filter set so that note-on messages are blocked in the Utility mode?
• When the arpeggio produces no sound, is the switch set to on?
• When the arpeggio produces no sound, are the note limit and velocity limit set appropriately?
• When the arpeggio produces no sound and the assigned arpeggio is a user one, does it have data?
• Isn't MIDI Local set to off in the Utility mode?
Distorted sound.
• Are the effect settings appropriate?
• Are the filter settings appropriate? (Excessively high filter resonance settings can cause distortion.)
• Is the MASTER VOLUME set so high that clipping is occurring?
• Is the volume of each element in the Voice mode or the volume of each part in the Performance mode or the volume of each track/part in the Song/Pattern mode set too high?
Sound level is too low.
• Are the MIDI volume or MIDI expression settings too low (by using the Foot Controller)?
• Is the cutoff frequency of the filters set too high/low?
• When the song/pattern playback produces the small sound, is the velocity offset in the Groove display set too low?
Sound is cut off.
• Are you exceeding the maximum polyphony of the MOTIF?
MOTIF Appendix 279
Troubleshooting
Pitch or intervals are wrong.
• Is the Master Tune parameter in the Utility mode set at a value other than “0”?
• Is the Note Shift parameter in the Utility mode set at a value other than “0”?
• When the voice produces a wrong pitch, is the appropriate tuning system selected from Micro Tuning parameter in the Voice Edit mode?
• When the voice produces a wrong pitch, is the LFO Pitch Modulation Depth in the Voice Edit mode set too high?
• When the performance produces a wrong pitch, is the Note Shift parameter of each part set at a value other than “0”?
• When the performance produces a wrong pitch, is the Detune parameter of each part set at a value other than “0”?
• When the song/pattern playback produces a wrong pitch, is the Note Offset parameter in the Groove display set
at a value other than “0”?
Only one note sounds at a time.
• Is the Mono/Poly parameter in the Voice mode set to “mono”?
No effect is applied.
• Is the [EFFECT BYPASS] button turned off?
• Have the [REVERB] and [CHORUS] buttons been turned fully counter-clockwise (to the minimum)?
• Have any or all of the elements’ Effect Output parameter been set to “thru”?
• Have any or all of the effect types been set to “thru” or “off” (in the Effect display of the Voice Edit mode)?
Song/Pattern cannot be started.
• Does the selected song or pattern (phrase) contain data?
• Is the Remote Control turned on?
• Is the MIDI sync parameter set to MIDI (using external clock) in the Utility mode?
Song/Pattern (Phrase) cannot be recorded.
• Is there enough free memory for recording? The total MOTIF memory capacity determines the number of songs/patterns (phrases) that can be recorded. For example, if the memory contains songs/patterns (phrases) that use up a large amount of memory, the memory may become full even though the available pattern or song numbers are not all used.
• In the Pattern Record mode, does the specified track to which the Phrase is assigned have preset data?
Recording cannot be done to a track that contains preset data.
Can’t record samples.
• Have you exceeded the maximum allowable number of samples (key banks)?
• Is there enough free sample memory?
• Is the Sampling Source setting appropriate?
• Is the Trigger mode set appropriately?
Can’t save data to the Memory card or the SCSI disk.
• Is the Memory card or SCSI disk being used write protected? (Write-protect should be set to off for saving data.)
• Is the Memory card or SCSI disk being used properly formatted?
MIDI bulk data transmission/reception won’t work properly.
• Is the Receive Bulk parameter set to “protect” in the Utility mode?
Plug-in board does not work.
• Is the lamp of the corresponding slot number to which the Plug-in board has been installed lit?
• Has the Vocal Harmony Plug-in board been installed to slot 2 or 3 ? (The VH board should be installed to slot 1.)
280 MOTIF Appendix
Installing Optional Hardware
◆
Optional units that can be installed to the MOTIF
The following optional units can be installed to the MOTIF.
● Plug-in Boards ● AIEB 2 or mLAN8E ● SIMM
Installing Optional Hardware
◆
Locations to which the optional units are installed
●
Plug-in Boards
MOTIF6 MOTIF7 MOTIF8
Plug-in Board cover
Plug-in Board cover
Plu g-in SLO
Plug-in Board cover
Up to three boards can be installed to the rear panel.
● AIEB2, mLAN8E, SIMM
MOTIF6
Bottom cover for optional units
MOTIF7
Bottom cover for optional units
MOTIF8
Bottom cover for
AIEB2, mLAN8E, SIMM
Rear cover for the
AIEB2 or mLAN8E
Rear cover for the
AIEB2 or mLAN8E
Rear cover for the
AIEB2, mLAN8E, SIMM
◆
Installation Precautions
Before installing the optional hardware, make sure you have a Philips screwdriver.
• Before beginning installation, switch off the power to the MOTIF and connected peripherals, and unplug them from the power outlet.
Then remove all cables connecting the MOTIF to other devices. (Leaving the power cord connected while working can result in electric shock. Leaving other cables connected can interfere with work.)
• Be careful not to drop any screws inside the instrument during installation (this can be prevented by keeping the optional units and cover away from the instrument while attaching). If this does happen, be sure to remove the screw(s) from inside the unit before turning the power on. Loose screws inside the instrument can cause improper operation or serious damage. If you are unable to retrieve a dropped screw, consult your Yamaha dealer for advice.
• Install the optional units carefully as described in the procedure below. Improper installation can cause shorts which may result in irreparable damage and pose a fire hazard.
• Do not disassemble, modify, or apply excessive force to board areas and connectors on optional units. Bending or tampering with boards and connectors may lead to electric shock, fire, or equipment failures.
• Before handling the optional units, you should briefly touch the metal surface to which the optional unit cover is attached (or other such metallic area — be careful of any sharp edges) with your bare hand so as to drain off any static charge from your body. Note that even a slight amount of electrostatic discharge may cause damage to these components.
• It is recommended that you wear gloves to protect your hands from metallic projections on optional units and other components.
Touching leads or connectors with bare hands may cause finger cuts, and may also result in poor electrical contact or electrostatic damage.
• Handle the optional units with care. Dropping or subjecting them to any kind of shock may cause damage or result in a malfunction.
• Be careful of static electricity. Static electricity discharge can damage the IC chips on the Plug-in board. Before you handle the optional
Plug-in board, to reduce the possibility of static electricity, touch the metal parts other than the painted area or a ground wire on the devices that are grounded.
• Do not touch the exposed metal parts in the circuit board. Touching these parts may result in a faulty contact.
• When moving a cable, be careful not to let it catch on the circuit Plug-in board. Forcing the cable in anyway may cut the cable, cause damage, or result in a malfunction.
• Be careful not to misplace any of the screws since all of them are used.
• Do not use any screws other than what are installed on the instrument.
MOTIF Appendix 281
Installing Optional Hardware
Optional Plug-in Board
Installation
A variety of optional Plug-in boards sold separately let you expand the voice library of your instrument.
The following types of Plug-in boards can be used with your instrument.
• PLG150-AN • PLG150-PF
• PLG150-DX • PLG100-XG
• PLG150-VL
• PLG100-VH
The MOTIF provides three slots for the Plug-in board.
Therefore, up to three boards can be installed to the rear panel.
n The Vocal Harmony Plug-in board (PLG100-VH) can installed only to slot 1.
n The Multi part Plug-in board (PLG-100XG) can installed only to slot 3.
n The Single part Plug-in board can installed to any of three slots.
1
Turn the MOTIF power off, and disconnect the
AC power cord. Also, make sure to disconnect the
MOTIF from any connected external devices.
2
Remove the large screw from the expansion bay cover on the rear panel using a Phillips screwdriver.
Keep the removed screw in a safe place. It will be used when attaching the cover to the MOTIF again.
MOTIF6 / MOTIF7
Plug- in SLOT
3
2
1
GREEN
YELLOW
ORANGE
MOTIF8
Plug- in SLOT
3
2
1
GREEN
YELLOW
ORANGE
Plug- in SLOT
3
2
1
GREEN
YELLOW
ORANGE
3
Remove the ribbon cables that are to be connected to the Plug-in board from the inside of the MOTIF.
The slots are assigned to the color-coded cables as follows:
Slot 1 — Orange
Slot 2 — Yellow
Slot 3 — Green
Cable for Slot 3
(Green)
Cable for Slot 2
(Yellow)
Cable for Slot 1
(Orange)
Plug- in SLOT
3
2
1
GREEN
YELLOW
ORANGE
ASSIGNABLE OUTPUT
R L R
OUTPUT
L MONO PHONES
Slot 3
Slot 2
Slot 1
R
A D INPUT
L
GAIN
ASSIGNABLE OUTPUT
R L R
OUTPUT
L MONO PHONES R
A D INPUT
L
GAIN
Plug- in SLOT
3
2
1
GREEN
YELLOW
ORANGE
ASSIGNABLE OUTPUT
R L R
OUTPUT
L MONO PHONES R
A D INPUT
L
GAIN
282 MOTIF Appendix
4
Insert the board along the guide rails about twothirds of the way inside the MOTIF, with the connector side face up and toward you.
Plug- in SLOT
3
2
1
GREEN
YELLOW
ORANGE
Installing Optional Hardware
6
Insert the Plug-in board the rest of the way into the expansion bay. Carefully put the the ribbon cable back into the MOTIF, making sure that no part of the cable sticks out of the instrument.
Plug- in SLOT
3
2
1
GREEN
YELLOW
ORANGE
ASSIGNABLE OUTPUT
R L R
OUTPUT
L MONO PHONES
A D INPUT
R L
GAIN
Slot 3
Slot 2
Slot 1
Securely insert the board into the appropriate slot, taking care that the board isn't jammed between slots.
5
With the board still protruding slightly from the expansion bay, bring the cable end around and connect it to the board. Make sure to connect the proper cable, matching the color of the cable to the slot used. Also, take care not to pull on the cable too forcefully as you connect it to the board.
Plug-in Connector Press the connectors together until the two notches lock into the sockets.
Notch
ASSIGNABLE OUTPUT
R L R
OUTPUT
L MONO PHONES R
A D INPUT
L
GAIN
7
Replace the cover with the screw you removed in step 2 above. The Plug-in board is held in place by replacing the cover.
8
Check that the installed Plug-in board is functioning properly. Turn on the power.
• A message appears indicating that the installed Plug-in
Board is being checked. The main display then appears and the corresponding slot indicator at the right top of the front panel lights. This indicates that the board has been successfully installed.
• If an error message appears, the MOTIF freezes after a while, indicating that the installation was not successful. If this happens, turn off the power and carefully go through the installation procedure again.
In this example, a Plug-in board has been installed to slot 1.
Slot indicator lamps
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
SLOT 1 SLOT 2 SLOT 3
DRUM KITS PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3
CATEGORY
SEARCH BANK
FAVORITES
COMMON
A. PIANO KEYBOARD ORGAN GUITAR /
PLUCKED
A B C D
BASS
E
STRINGS BRASS REED/PIPE
F G H SECTION
GROUP
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE MUSICAL FX COMBI
Connector from MOTIF Plug-in board
Plug- in SLOT
3
2
1
GREEN
YELLOW
ORANGE
ASSIGNABLE OUTPUT
R L R
OUTPUT
L MONO PHONES R
A D INPUT
L
GAIN n The Vocal Harmony Plug-in board (PLG100-VH) can installed only to slot 1.
n The Multi part Plug-in board (PLG-100XG) can installed only to slot 3.
Optional AIEB2 or mLAN8E Installation
MOTIF Appendix 283
Installing Optional Hardware
Either the mLAN expansion board (mLAN8E) or the
I/O expansion board (AIEB 2) sold separately can be installed to the MOTIF.
With the mLAN8E board, you can conveniently and easily hook up your MOTIF to other mLANcompatible instruments or devices. The AIEB 2 board gives you additional digital I/O options, featuring both optical and coaxial connectors. Moreover, the board also includes three stereo ASSIGNABLE
OUTPUT pairs (six analog jacks).
Installing the AIEB2
1
Turn the MOTIF power off, and disconnect the
AC power cord. Also, make sure to disconnect the
MOTIF from any connected external devices.
2
Turn over the MOTIF so you can have direct access to the underside. To protect the Knobs and
Wheels, place the keyboard so the four corners are supported by something that provides sufficient support like magazines or cushions.
MOTIF6 / MOTIF7
MOTIF8
Bottom
Underside of the MOTIF
Slide the cover away to remove.
Bottom
Underside of the MOTIF
Do not remove this black screw.
Bottom
Underside of the MOTIF
View of the keyboard from the bottom.
DOWN
OCTAVE
UP
KNOB
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB CHORUS
RESONANCE
ASSIGN B
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
REMOTE
ON/OFF
EFFECT BYPASS
INSERTION SYSTEM
ARPEGGIO
ON/OFF
SEQ TRANSPORT
LOCATE
REC
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT JOB
COMPARE
STORE
DEC/NO
SONG SCENE
F1
SF 1 SF 2
F2 F3
SF 3
F4
SF 4 SF 5
F5 F6
INFORMATION
EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS
FAVORITES
COMMON
PRE 1
A. PIANO
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Modular Synthesis Plug-in System
PRE 2
KEYBOARD
PRE 3
ORGAN
C
GM
GUITAR /
PLUCKED
D
SLOT 1 SLOT 2
PLG 1 PLG 2
SLOT 3
PLG 3 USER
BASS STRINGS BRASS
G
REED/PIPE
H
CATEGORY
SEARCH
SECTION
SYN LEAD SYN PAD/ SYN COMP PERCUSSION DRUM / SE MUSICAL FX COMBI
BANK
GROUP
TRACK
SELECT
ELEMENT/ PERF.PART / ZONE
10 11 12 13 14 15 16 MUTE
SOLO
NUMBER
Please the supports at all four corners without touching the Knobs and the Wheels.
Be careful not to drop or bump the keyboard and make sure that it is well balanced before proceeding.
3
Remove the cover of the bottom. Unscrew the screws on the bottom using the driver by placing the back sides of the ripped over body facing to you
(MOTIF6/ MOTIF7 has 7 screws and MOTIF 8 has 7 yellow screws.). Remove the cover from the body after unscrewing all the screws. For
MOTIF6/MOTIF7 place the back side facing to you and slide the over toward front to remove the cover.
Keep the removed screws in a safe place. They will be used when attaching the cover to the MOTIF again after installing the AIEB2.
Bottom
Underside of the MOTIF
4
Remove the three screws from the rear cover while holding it from inside the MOTIF with your left hand.
Underside of the MOTIF
Keep the removed screws in a safe place. They will be used when attaching the cover to the MOTIF again when the AIEB2 is removed in the future.
284 MOTIF Appendix
5
Remove the AIEB2 power cables from the hookshaped cable clip in the MOTIF.
MOTIF6 / MOTIF7
Top (keyboard side) of the MOTIF
Underside of the MOTIF
Installing Optional Hardware
7
Connect the flat ribbon cable coming from AIEB2 to the circuit board of the MOTIF. Be careful to connect in the proper direction as shown.
Make sure that the direction is correct and do not try to force the connection.
Flat ribbon cable of the AIEB2
Align the connectors as shown.
Connector on the circuit board of the MOTIF m-LAN CN5
Rear panel of the MOTIF
MOTIF8
Top (keyboard side) of the MOTIF
Unlatch the cable clip by pulling out the tab as shown.
Replace the clip after pulling out the power cable.
Underside of the MOTIF
Rear panel of the MOTIF
AIEB2
8
Connect the power cable coming from MOTIF to the AIEB2. Connect the 3-pin cable to the CN3 connector of the AIEB2, and the 4-pin cable to the
CN1 connector. m-LAN CN5
Rear panel of the MOTIF
6
Remove the AIEB2 from its package. The AIEB2 has one flat ribbon cable and two power cables.
Since these two power cables are used for the main body and are not needed when installing to the
MOTIF, you can remove them from the AIEB2.
AIEB2 Remove the two power cables.
Connect the 4-pin cable to the CN1 connector
Connect the 3-pin cable to the CN3 connector
* Make sure to properly match the cables and connectors.
Avoid applying excessive force when connecting.
9
Fasten the AIEB2 to the MOTIF. Flip the unit over, so that the bottom of the plate can be seen, and that each connector section of the AIEB2 can be seen from the back side of MOTIF. Supporting the unit with one hand, attach it to the rear of the
MOTIF with the three screws you removed in step
4. If you start replacing the screws from the center screw, it will be easy to replace the remaining screws.
MOTIF Appendix 285
Installing Optional Hardware
Flip over the AIEB2 taking care not to bend or damage the flat ribbon cable.
AIEB2
Installing the mLAN8E
1
Using the same procedure as in steps 1 - 4 of
“Installing the AIEB2” above, remove the cover on the underside of the MOTIF, then remove the cover of the mLAN/I/O expansion bay.
2
Remove the mLAN8E from its package and connect the included flat ribbon cable. Securely fasten the flat ribbon cable to the rear panel of the mLAN8E. Make sure that the ribbon is at the bottom, as shown.
Top of mLAN8E
10
Let the ribbon cable fall into place between the
AIEB2 and the circuit board of the MOTIF.
Slide the flat ribbon cable in the space between the MOTIF and the AIEB2.
Underside of the MOTIF
Make sure that flat ribbon cable is at bottom of connector.
Rear panel of mLAN8E m-LAN CN5
AIEB2
Rear panel of the MOTIF
Underside of the MOTIF m-LAN CN5
AIEB2
Rear panel of the MOTIF
11
Re-install the cover you removed in earlier steps, in reverse order.
Front panel of mLAN8E
Make sure the flat ribbon cable sticks out from the bottom and that the panel printing "mLAN8E" can be seen.
3
Hold the mLAN8E upside down, and insert the connector on the other end of the flat ribbon cable, to the circuit board of the MOTIF.
m-LAN CN5
Align the connectors as shown.
Underside of the MOTIF
Underside of mLAN8E
Rear panel of the MOTIF
Front panel of mLAN8E
(This example illustration shows the MOTIF6/MOTIF7.)
286 MOTIF Appendix
4
Fasten the mLAN8E to the MOTIF. Flip the unit over, so that each connector section of the mLAN8E can be seen from the back side of
MOTIF. Supporting the unit with one hand, attach it to the rear of the MOTIF with the three screws you removed earlier. If you start replacing the screws from the center screw, it will be easy to replace the remaining screws.
Underside of the MOTIF
Rear panel of the MOTIF
5
Let the ribbon cable fall into place between the mLAN8E and the circuit board of the MOTIF.
Slide the flat ribbon cable in the space between the MOTIF and the mLAN8E.
Underside of the MOTIF m-LAN CN5 mLAN8E
Rear panel of the MOTIF
(This example illustration shows the MOTIF6/MOTIF7.)
6
Re-install the cover you removed in earlier steps, in reverse order.
Installing Optional Hardware
Optional SIMM Installation
You can increase the MOTIF’s sampling memory by installing commercially available SIMMs (single in-line memory modules). This section explains how to carry out the installation.
Important Information about
Purchase of Expansion SIMMs for the MOTIF
The MOTIF does not necessarily support all commercially available SIMMs. Before purchasing
SIMMs, please consult your Yamaha dealer or an authorized Yamaha distributor (see list at end of the
Owner’s Manual) for advice.
Note that Yamaha cannot assume responsibility for
SIMM malfunctions.
SIMM Type and SIMM Configuration
• You need to use 72-pin SIMMs with access time of
70ns or less. The SIMM module size may be 4MB,
8MB, 16MB, or 32MB. The MOTIF is designed for use with 32-bit (parity non-type) SIMMs, but can also accept installation of 36-bit (parity-type) SIMMs.
• When purchasing SIMMs, make sure that the SIMM design does not utilize more than 18 memory chips per module. (SIMMs comprised of more than 18 chips do not operate correctly on the MOTIF.)
• SIMMs must be installed in pairs: you can install two
SIMMs.
• The MOTIF ships with 4MB of sampling memory installed, and is capable of accessing up to 64MB. See the following illustrations for details. For example, if you add a pair of 16MB SIMMs, for example, you increase the available sampling memory to a total of
(4 + 16 x 2 =) 36MB. If you install a pair of 32MB
SIMMs, however, the sampling memory size becomes
64MB (and the original 4MB are effectively disabled).
MOTIF Appendix 287
Installing Optional Hardware
4MB X 2 8MB X 2 Installing the SIMM modules to the sockets
Tilt the SIMM and insert it into the socket.
Internal memory
4MB
12MB can be used for sampling.
16MB X 2
Internal memory
4MB
20MB can be used for sampling.
32MB X 2
Cutout
Push the SIMM up vertically.
Internal memory
4MB
Internal memory
4MB
36MB can be used for sampling.
64MB can be used for sampling.
• Yamaha recommends that you purchase SIMMs that conform to the JEDEC* standard. Please be aware, however, that conformance to this standard does not constitute a guarantee that the SIMMs will operate correctly on the MOTIF.
• JEDEC (Joint Electron Device Engineering Council) sets standards for terminal configurations within electronic devices.
SIMM Installation
1
Use the same operation as in “Installing the AIEB2.”
2
On the SIMM, there is a cut in the board next to the 1PIN. Insert the board into the socket so that the 1PIN lines up with the 1PIN mark ( ▲ ) printed on the board.
72PIN SIMM
Cutout
Location for SIMM Installation
4
CN24 to PNA
11 to JK
CN25 4 to PS
CN23
1PIN mark
SIMM sockets
Underside of the MOTIF
Rear panel of the MOTIF n Make sure that the SIMM is securely inserted in the socket of the MOTIF. Inserting the SIMM improperly or incompletely may result in faulty operation.
* To remove the SIMM, gently but firmly pull the fastening clips open, then tilt the SIMM back and pull it out.
Pull open these clips.
Pull open these clips.
Tilt the SIMM module and pull it out.
3
Set the SIMM into the socket at an angle as shown in the illustration above (1). Then push the SIMM upright until it clicks into the position shown in figure
4
Insert the remaining SIMM into the remaining socket.
5
Re-install the cover you removed in earlier steps, in reverse order.
6
Check that the installed SIMMs are functioning properly. Set the MOTIF right-side up, and connect the power cord to the rear-panel AC INLET jack and an AC outlet. Turn on the power, go to the
SAMPLING display, and press the
[INFORMATION] button (page 276). If the SIMMs
have been installed properly, the appropriate available memory size is indicated in the display.
288 MOTIF Appendix
Handling the
Memory Card
(SmartMedia™*)
Be sure to handle Memory Cards with care. Follow the important precautions below.
* SmartMedia is a trademark of Toshiba Corporation.
■
Compatible Memory Card Type
3.3V(3V) Memory Cards can be used. 5V type Memory
Cards are not compatible with this instrument.
■
Memory Capacity
There are five types of Memory Cards: 2MB/4MB/
8MB/16MB/32MB. A Memory Card with the memory capacity exceeding 32MB can also be used if it conforms to the standards of SSFDC (Solid State
Floppy Disk Card: another name of SmartMedia)
Forum.
■
Inserting/Removing Memory Cards
• To insert a Memory Card:
Hold the Memory Card so that the connector section (gold) of the Memory Card is facing downward and forward, towards the Memory
Card slot. Carefully insert the Memory Card into the slot, slowly pushing it all the way in until it is fitted in place.
n Don’t insert the Memory Card in wrong direction.
Don’t insert anything other than a Memory Card in the slot.
• To remove a Memory Card:
Before removing the Memory Card, be sure to confirm that the Memory Card is not in use, or it is not being accessed by the instrument. Then pull the Memory Card out slowly by hand. If the
Memory Card is being accessed*, a message indicating that it is in use appears on the instrument's display.
* It includes saving, loading, formatting, deleting and making directory. Also, be aware that the instrument will automatically access the Memory Card to check the media type when it is inserted while the instrument is turned on.
Never attempt to remove the Memory Card or turn the power off during accessing. Doing so can damage the data on the instrument/Memory Card and possibly the
Memory Card itself.
Handling the Memory Card (SmartMedia™*)
■
Formatting Memory Cards
Before using a Memory Card with your instrument it must first be formatted. Once it is formatted all data on it will be erased. Be sure to check if the data is unnecessary for you or not, beforehand.
n The Memory Cards formatted with this instrument may become unusable with other instruments.
■
About the Memory Cards
• To handle Memory Cards with care:
There are times when static electricity affects
Memory Cards. Before you handle Memory Cards, to reduce the possibility of static electricity, touch the metal parts such as a door knob and aluminum sash. Be sure to remove the Memory Card from the
Memory Card slot when it is not in use for a long time.
Do not expose the Memory Card to direct sunlight, extremely high or low temperatures, or excessive humidity, dust or liquids.
Do not place heavy objects on a Memory Card or bend or apply pressure to the Memory Card in any way.
Do not touch the metal part (gold) of the Memory
Card or put any metallic plate onto the metal part.
Do not expose the Memory Card to magnetic fields, such as those produced by televisions, speakers, motors, etc., since magnetic fields can partially or completely erase data on the Memory
Card, rendering it unreadable.
Do not attach anything other than the provided labels to a Memory Card. Also make sure that labels are attached in the proper location.
• To protect your data (Write-protect):
To prevent inadvertent erasure of important data, stick the write-protect seal (provided in the
Memory Card package) onto the designated area
(within a circle) of the Memory Card. Conversely speaking, to save data on the Memory Card, make sure to remove the write-protect seal from the Card.
Do not reuse the seal that is peeled off.
■
Data Backup
For maximum data security Yamaha recommends that you keep two copies of important data on separate
Memory Cards. This gives you a backup if one Memory
Card is lost or damaged.
■
Burglarproof Lock
This instrument is equipped with a burglarproof lock for the Memory Card. If necessity arises, mount the burglarproof lock onto the instrument.
To mount the burglarproof lock:
1 Remove the metallic part using a Phillips screwdriver.
2 Turn the metallic part upside down and then mount it again.
MOTIF Appendix 289
Connecting external SCSI devices
Connecting external SCSI devices
This section explains how to connect external devices such as external hard disk drives, MO drives, or CD-ROM drives.
About SCSI
SCSI (pronounced “scuzzy”) stands for Small Computer System Interface, and is a data transmission interface standard used by personal computers and other devices.
Since the MOTIF has a SCSI interface, you can connect and use hard disk drives, MO disk drives, CD-ROM drives, and other SCSI-compatible devices that have a 50-pin SCSI connector. Up to 7 SCSI devices can be connected.
Most external SCSI devices have two SCSI terminals, allowing a number of devices to be “chained” together. Devices chained together in this way can normally be connected in any order.
The last device in the chain must be “terminated,” either with a terminator unit plugged into the open SCSI connector, or by turning the device's internal terminator on (if available). The first device in the chain must also be terminated, but in the case of the MOTIF this is accomplished by the terminator inside the MOTIF.
OCTAVE
DOWN UP
External SCSI device
External SCSI device
T
KNOB
CONTROL
FUNCTION
PAN
CUTOFF
ASSIGN A
REVERB CHORUS
RESONANCE
ASSIGN B
ATTACK
ASSIGN 1
TEMPO
RELEASE
ASSIGN 2
MASTER
VOLUME
KN 1
MEQ LOW
KN 2 KN 3 KN 4
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS ARPEGGIO
INSERTION SYSTEM ON/OFF
SEQ TRANSPORT
LOCATE
REC
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
EDIT JOB
COMPARE
STORE
SCENE STORE
SET LOCATE
DEC/NO
SONG SCENE SF 1 SF 2
F1 F2 F3
SF 3 SF 4 SF 5 INFORMATION
F4 F5 F6 EXIT
INC/YES
ENTER
EXECUTE
DRUM KITS PRE 1
MUSIC PRODUCTION SYNTHESIZE