Yamaha | ES6 | Owner's Manual | Yamaha ES6 Owner's manual

SPECIAL MESSAGE SECTION
PRODUCT SAFETY MARKINGS: Yamaha electronic products may
Battery Notice: This product MAY contain a small non-rechargable
have either labels similar to the graphics shown below or
molded/stamped facsimiles of these graphics on the enclosure.
The explanation of these graphics appears on this page. Please
observe all cautions indicated on this page and those indicated
in the safety instruction section.
battery 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.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
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
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK.
DO NOT REMOVE COVER (OR BACK).
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
repair, or for some reason its useful life is considered to be at an end,
please observe all local, state, and federal regulations that relate to the
disposal of products that contain lead, batteries, plastics, etc.
NOTICE: Service charges incurred due to lack of knowledge relating to
how a function or effect works (when the unit is operating as designed)
are not covered by the manufacturer’s warranty, and are therefore the
owners responsibility. Please study this manual carefully and consult
your dealer before requesting service.
The exclamation point within the equilateral
triangle is intended to alert the user to the
presence of important operating and maintenance
(servicing) instructions in the literature
accompanying the product.
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.
NAME PLATE LOCATION: The graphic below indicates the location
of the name plate. The model number, serial number, power
requirements, etc., are located on this plate. You should record the
model number, serial number, and the date of purchase in the spaces
provided below and retain this manual as a permanent record of your
purchase.
MOTIF ES6
POWER
ON
OFF
USB
AC INLET
mLAN
I/O EXPANSION
TO DEVICE
THRU
TO HOST
MOTIF ES7
IMPORTANT NOTICE: All Yamaha electronic products are tested and
approved by an independent safety testing laboratory in order that you
may be sure that when it is properly installed and used in its normal and
customary manner, all foreseeable risks have been eliminated. DO NOT
modify this unit or commission others to do so unless specifically
authorized by Yamaha. Product performance and/or safety standards
may be diminished. Claims filed under the expressed warranty may be
denied if the unit is/has been modified. Implied warranties may also be
affected.
SPECIFICATIONS SUBJECT TO CHANGE: The information
contained in this manual is believed to be correct at the time of printing.
However, Yamaha reserves the right to change or modify any of the
specifications without notice or obligation to update existing units.
ENVIRONMENTAL ISSUES: Yamaha strives to produce products that
are both user safe and environmentally friendly. We sincerely believe
that our products and the production methods used to produce them,
meet these goals. In keeping with both the letter and the spirit of the law,
we want you to be aware of the following:
92-469- ➀ (rear)
POWER
ON
OFF
AC INLET
mLAN
I/O EXPANSION
MOTIF ES8
POWER
ON
OFF
AC INLET
Model
Serial No.
Purchase Date
mLAN
I/O EXPANSION
MIDI
OUT
IN
BREATH AS
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.
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.
7.
Temperature considerations: Electronic products should be
installed in locations that do not seriously contribute to their operating
temperature. Placement of this product close to heat sources such as;
radiators, heat registers etc., should be avoided.
PLEASE KEEP THIS MANUAL
92-469-3
PRECAUTIONS
PLEASE READ CAREFULLY BEFORE PROCEEDING
* Please keep this manual in a safe place for future reference.
WARNING
Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical
shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following:
Power supply/AC power adaptor
Water warning
• Only use the voltage specified as correct for the instrument. The
required voltage is printed on the name plate of the instrument.
• Check the electric plug periodically and remove any dirt or dust
which may have accumulated on it.
• Do not expose the instrument to rain, use it near water or in damp
or wet conditions, or place containers on it containing liquids
which might spill into any openings.
• Never insert or remove an electric plug with wet hands.
• Use only the supplied power cord/plug.
• Do not place the power cord near heat sources such as heaters
or radiators, and do not excessively bend or otherwise damage
the cord, place heavy objects on it, or place it in a position where
anyone could walk on, trip over, or roll anything over it.
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
Do not open
• This instrument contains no user-serviceable parts. Do not
attempt to disassemble or modify the internal components in any
way.
• 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
Location
• Always connect the three-pin attachment plug to a properly
grounded power source. (For more information about the main
power supply, see page 26.)
• 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.
(2)-8
• 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.
1/2
Connections
Saving data
• Before connecting the instrument to other electronic components,
turn off the power for all components. Before turning the power on
or off for all components, set all volume levels to minimum. Also,
be sure to set the volumes of all components at their minimum
levels and gradually raise the volume controls while playing the
instrument to set the desired listening level.
Maintenance
• When cleaning the instrument, use a soft, dry cloth. Do not use
paint thinners, solvents, cleaning fluids, or chemical-impregnated
wiping cloths.
Saving and backing up your data
• DRAM data (see page 186) is lost when you turn off the power to
the instrument. Save the data to a SmartMedia/USB storage
device.
• Never attempt to turn off the power while data is being written to
Flash ROM (while an “Executing...” or “Please keep power on”
message is shown). Turning the power off in this state results in
loss of all user data and may cause the system to freeze (due to
corruption of data in the Flash ROM). This means that this
synthesizer may not be able to start up properly, even when
turning the power on next time.
Backing up the SmartMedia/external media
Handling caution
• Do not insert a finger or hand in any gaps on the key cover or
instrument.
• Never insert or drop paper, metallic, or other objects into the
gaps on the panel or keyboard. If this happens, turn off the power
immediately and unplug the power cord from the AC outlet. Then
have the instrument inspected by qualified Yamaha service
personnel.
• To protect against data loss through media damage, we
recommend that you save your important data onto two
SmartMedia/external media.
• 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.
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.
(2)-8
2/2
Introduction
Introduction
Congratulations and thank you for your purchase of the Yamaha MOTIF ES6/MOTIF ES7/MOTIF ES8 Music
Production Synthesizer!
You now own what is perhaps the best-sounding, most versatile, and certainly most powerful synthesizer and
total music production instrument on the planet.
We strove to put virtually all our synthesizer technology and music making know-how into one instrument —
and we succeeded. The new MOTIF ES not only gives you the latest and greatest sounds and rhythms (as well
as the ability to create and sample your own), it gives you powerful, easy-to-use tools for playing, combining
and controlling these dynamic sounds/rhythms — in real time, as you perform!
Take time to look through this manual carefully. It’s packed with important information on how to get the most
from this amazing instrument.
Dive in now and enjoy!
Accessories
The following items have been included with your MOTIF ES 6/MOTIF ES 7/MOTIF ES 8. Check to see that you
have everything listed here.
• AC Power cord
• CD-ROM x 3
• Owner’s Manual (this book)
• Data List
• Installation Guide
About the included CD-ROMs
The following three CD-ROMs are included in the MOTIF ES package.
• TOOLS for MOTIF ES6/MOTIF ES7/MOTIF ES8
This CD-ROM contains special software for use with this instrument.
It includes the latest version of SQ01 (V2), a full-featured audio/MIDI sequencer/mixer for comprehensive
music production, Voice Editor, which gives you comprehensive and intuitive sound editing tools, and
Multi Part Editor, for editing the Mixing parameters of Songs and Patterns.
For details, see the separate Installation Guide or the online manuals included with the software.
• Sound Library for MOTIF ES6/MOTIF ES7/MOTIF ES8
This CD-ROM contains various types of data for use with the MOTIF ES. For information on the contents,
refer to the List file in the CD-ROM. You can use the data by loading it in the File mode. Insert the CD-ROM
into a CD-ROM drive* connected to the USB TO DEVICE connector via USB and execute the Load
operation. Alternately, you can access the data from a USB storage device (such as a hard disk) or a
SmartMedia card (inserted to the CARD slot) to which the data has been copied.
For details about how to load each type of data, refer to the following pages.
• Voice
• Pattern
• WAV file
extension: W7V
extension: W7P
extension: WAV
page 87
page 132
pages 100 and 109
* For information on what USB devices (model name, etc.) can be used with the MOTIF ES, see page 29.
n
If you are loading audio WAV files, make sure that DIMM modules are installed to the imt. (For DIMM compatibility information,
see page 289.) Also, when loading Voice data from this CD-ROM, make sure to install DIMM modules, because the Voice data
contains User Waveforms. If DIMM modules are not installed, an error message appears when you try to load a WAV file or
Voice data from this CD-ROM.
• TOOLS for Modular Synthesis Plug-in System
This CD-ROM contains a variety of computer applications, including the Voice Editor for editing Voices of
the optional Plug-in Boards. For more information, refer to the “Readme” file in the CD-ROM.
• Copying of commercially available music sequence data and/or digital audio files for any purpose other than your
own personal use is strictly prohibited.
• This product incorporates and bundles computer programs and contents in which Yamaha owns copyrights or with
respect to which it has license to use others' copyrights. Such copyrighted materials include, without limitation, all
computer software, styles files, MIDI files, WAVE data and sound recordings. Any unauthorized use of such
programs and contents outside of personal use is not permitted under relevant laws. Any violation of copyright has
legal consequences. DON'T MAKE, DISTRIBUTE OR USE ILLEGAL COPIES.
6
Owner’s Manual
Main Features
Main Features
Wide range of dynamic and authentic voices. Use
the Category Search function to quickly call up the
sounds you want, based on their instrument type.
page 60
Performance mode lets you use four different voices
together — in layers or in a keyboard split.
page 67
Integrated Sampling Sequencer — seamlessly
combines audio and MIDI recording.
page 172
• Full Sample recording and editing features, and up
to 512MB of sample memory (with optional DIMM
modules).
• Wide data compatibility lets you load AIFF and WAV
files, as well as samples and program/voice data
from other popular samplers, such as the Yamaha Aseries.
• Convenient Resampling function lets you sample
the sound of the MOTIF itself directly. Play your own
melodies, riffs and rhythms — and use them as
samples.
• Unique Slice feature automatically chops up your
rhythms and riffs into their individual beats and notes.
This lets you manipulate the component parts of your
sample loops as MIDI data, and gives you the power
to easily change tempo and even the rhythmic feel,
without disturbing the pitch or sound quality.
Extensive effect processing, with Reverb (20 types),
Chorus (49 types), eight separate Insertion blocks
each of which has two blocks (total 116 types),
Master Effect (8 types), and a digital equalizer (3-band
Part EQ and 5-band Master EQ).
Comprehensive real-time control with four knobs
and four sliders — letting you adjust filter, levels,
effects, EG, and more, while you play.
Pattern mode functions let you craft different rhythmic
sections and riffs as individual elements — which you
can easily and intuitively combine in real time to create
full rhythm tracks.
In addition to being able to create User voices in the
Voice mode, you can create special Mixing voices for
Songs and Patterns. These voices can be edited and
stored in the Song/Pattern mode, making it
exceptionally easy and convenient to create voices for
use with Songs and Patterns.
The versatile Arpeggio feature automatically plays a
variety of sequenced phrases in response to the keys you
play. This function is especially powerful with drum voices
— letting you easily call up various rhythm patterns at the
touch of a key, and providing instant inspiration for song
creation and performance. When used with normal
voices, the Arpeggio phrase changes harmonically and
melodically with the chords you play, giving you intuitive
control over the patterns as you compose or perform.
Arpeggios can be triggered not only according to the keys
you play, but also by how strongly you play them — for
even greater performance power.
page 289
pages 100, 270
Once you’ve collected all the audio samples, loops,
MIDI data, and patterns you need for your song, use
Pattern Chain to arrange the pieces in real time. This
hands-on approach makes it easier than ever to come
up with great ideas and amazing songs.
Song Scene is another powerful tool that lets you take
“snapshots” of the sequencer track settings (such as
pan, volume, track mute and so on). Then, during
playback or recording, simply switch among the
Scenes for instant, dynamic changes.
Master mode — for using the MOTIF ES as a master
keyboard controller (with independent Zones), and for
easily reconfiguring the instrument between Voice/
Performance play and Song/Pattern play in live
applications.
Exceptionally easy-to-understand interface with twotiered operation buttons: [F1] - [F6] and [SF1] - [SF5]
page 99
page 107
page 177
page 50
page 106
Remote Control — for operating your favorite
sequencing software from the panel controls. Mute
tracks, control transport (Play, Stop, Record, etc.), mix
both MIDI and audio tracks (up to 16) with this
instrument’s knobs and sliders, pan the tracks, control
EQ, and tweak effect sends — all without ever touching
the mouse.
Three Modular Synthesis Plug-in System slots let
you upgrade the MOTIF ES with a completely new
synthesizer or sound-processing engine. These Plug-in
boards give you more voices, more effects, more
polyphony and more instrument parts. Plus, special
Plug-in voices have already been programmed and
stored to the MOTIF ES, ready to be played as soon as
you install the proper board.
A full rear panel of input/output connections provides
maximum interfacing flexibility. These include
Assignable Outputs, A/D Inputs, MIDI, two USB
connectors and a memory card slot. Moreover, an
optional AIEB2 or mLAN16E board can be installed.
The mLAN interface is particularly powerful — making
it possible to transfer both digital audio and MIDI data
via a single broadband cable.
page 105
The instrument features two USB connectors — USB
TO HOST for connecting to computer, and USB TO
DEVICE for connecting to storage devices, such as a
hard disk drive or flash disk.
page 66
Included software — the CD-ROM accompanying
your instrument (Tools for MOTIF ES) features a variety
of convenient and powerful programs for using the
MOTIF ES with a computer. These include the Voice
Editor which provides comprehensive, easy-to-use
editing features and parameters, and a Multi Part
Editor for intuitive editing of Song/Pattern Mixing
parameters from your computer screen.
page 115
page 123
page 136
page 47
page 147
page 74
page 39
page 29
page 142
Owner’s Manual
7
How to use this manual
How to use this manual
The Controls & Connectors ............................................................................................... Page 16
Use this section to find out about all of the buttons, controls and connectors of this instrument.
Setting Up .......................................................................................................................... Page 26
Before going on to any other part of the manual, we strongly suggest you read this section first. It shows you how to get
started playing and using your new instrument.
Application Index ................................................................................................................ Page 9
This special index is organized not by single words, but by functions and applications — allowing you to quickly and
easily find how to perform a particular operation or explore a topic of interest.
Basic Structure ................................................................................................................. Page 154
This section provides a detailed overview of all of the main functions and features of this instrument, and shows how they
fit together.
Basic Operation.................................................................................................................. Page 45
This section introduces you to the basic operating conventions of this instrument, such as editing values and changing settings.
Quick Guide ........................................................................................................................ Page 55
In this tutorial section, you will take a guided tour through the various functions of this instrument, and get some hands-on
experience in playing and using it.
Reference ......................................................................................................................... Page 188
The MOTIF ES encyclopedia. This section explains all parameters, settings, functions, features, modes and operations in full detail.
Troubleshooting............................................................................................................... Page 279
If this instrument does not function as expected or you have some problem with the sound or operation, refer to this
section before calling your Yamaha dealer or service center. Most common problems and their solutions are covered here
in a very simple and easy-to-understand way.
Appendix .......................................................................................................................... Page 275
This section contains detailed information on this instrument such as Specifications and an Alert Message List as well as
instructions for installing optional equipment (e.g., DIMM modules, AIEB2, mLAN16E interface, and Plug-in Boards).
Data List (separate booklet)
This contains various important lists such as the Voice List, Preset Pattern Phrase List, Effect List, MIDI Data Format, and
MIDI Implementation Chart.
Installation Guide (separate booklet)
Refer to this for instructions on installing the included software programs (on the “TOOLS for MOTIF ES6/MOTIF ES7/
MOTIF ES8” CD-ROM) to your computer.
Various pages and menus appear on the LCD display of this instrument depending the selected mode or function.
Throughout this manual, arrows are used in the instructions, indicating in shorthand the process of calling up certain
displays and functions. The example instructions below indicate to 1) press the [VOICE] button, 2) select a Normal Voice,
3) press the [EDIT] button, 4) select an Element, 5) press the [F1] OSC button, and 6) press the [SF2] OUTPUT button.
[VOICE] → Normal Voice selection → [EDIT] → Element selection → [F1] OSC → [SF2] OUTPUT
n
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*
*
*
8
When a confirmation message (page 52) or Control Function window (page 50) is shown in the display, press the [EXIT] button to exit from that
condition, then execute the instructions as in the above example. Likewise, press the REMOTE [ON/OFF] button to exit from the Remote Control
mode, then execute the instructions as in the above example when the MOTIF ES is in the Remote Control mode.
Apple and Macintosh are trademarks of Apple Computer, Inc.
Windows is the registered trademark of Microsoft® Corporation.
All other trademarks are the property of their respective holders.
The illustrations and LCD screens as shown in this owner’s manual are for instructional purposes only, and may appear somewhat different
from those on your instrument.
Owner’s Manual
Application Index
Application Index
Listening to the MOTIF ES
•
•
•
•
Listening to the Demo song/pattern.....................................................................................................................................................................Page 55
Listening to Song Chain playback........................................................................................................................................................................Page 59
Listening to Pattern Chain playback ..................................................................................................................................................................Page 115
Listening to Arpeggio playback .................................................................Pages 66 (Voice mode), 70 (Performance mode), 105 (Song/Pattern mode)
Playing the keyboard
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•
•
•
•
Selecting a Voice and playing the keyboard ..................................................................................... Pages 60 (Voice mode), 102 (Song/Pattern mode)
Selecting a Voice of the Plug-in Board and playing the keyboard .................................................. Pages 75 (Voice mode), 121 (Song/Pattern mode)
Selecting a Performance and playing the keyboard ...........................................................................................................................................Page 67
Using the instrument as a Master Keyboard .....................................................................................................................................................Page 136
Sounding the metronome ..................................... [SONG] or [PATTERN] → [UTILITY] → [F3] SEQ → [SF1] CLICK → Mode = all ................Page 262
Splitting the keyboard – Setting upper and lower ranges for the Voices ..................................... Pages 70 (Performance mode), 141 (Master mode)
Layering two Voices (or Parts) together .......................................................................................... Pages 70 (Performance mode), 141 (Master mode)
Selecting programs and making settings on the MOTIF ES
• Selecting a Voice ................................................................................................................................. Pages 60 (Voice mode), 102 (Song/Pattern mode)
Using the Category Search function ....................................................................................................................................................................Page 62
• Selecting a Performance .......................................................................................................................................................................................Page 67
• Selecting a Song ....................................................................................................................................................................................................Page 56
• Selecting a Pattern .................................................................................................................................................................................................Page 57
Selecting a Section ................................................................................................................................................................................................Page 57
Selecting a Phrase and assigning it to a Pattern track.....................................................................................................................................Page 113
•
•
•
•
•
•
Selecting a Mixing template for a Song/Pattern ................................................................................................................................................Page 103
Selecting a Master................................................................................................................................................................................................Page 136
Selecting an Arpeggio type........................................................................Pages 66 (Voice mode), 70 (Performance mode), 105 (Song/Pattern mode)
Selecting a Waveform ..........................................................................................................................................................................................Page 174
Selecting a Filter type ..........................................................................................................................................................................................Page 209
Selecting an Effect type
Selecting a Reverb type/Chorus type/Insertion type
[VOICE] → Voice selection → [F3] EFFECT .........................................................................................................................................................Page 194
[PERFORM] → Performance selection → [F3] EFFECT → [SF1] CONNECT ......................................................................................................Page 215
[SONG] or [PATTERN] → Song/Pattern selection→ [MIXING] → [F3] EFFECT → [SF1] CONNECT ...................................................................Page 235
Selecting a Master Effect type
[VOICE] → [UTILITY] → [F3] VOICE → [SF2] MEF ..............................................................................................................................................Page 262
[PERFORM] → Performance selection → [EDIT] → [COMMON] → [F2] OUT/MEF → [SF3] MEF ......................................................................Page 214
[SONG] or [PATTERN] → Song/Pattern selection→ [MIXING] → [EDIT] → [COMMON] → [F2] MEQ/MEF → [SF2] MEF .................................Page 234
Selecting a Master EQ type
[VOICE] → [UTILITY] → [F3] VOICE → [SF1] MEQ .............................................................................................................................................Page 262
[PERFORM] → Performance selection→ [EDIT] → [COMMON] → [F2] OUT/MEF → [SF2] MEQ ......................................................................Page 214
[SONG] or [PATTERN] → Song/Pattern selection→ [MIXING] → [EDIT] → [COMMON] → [F2] OUT/MEF → [SF1] MEQ .................................Page 234
Using controllers ..............................................Pages 66 (Voice mode), 69 (Performance mode), 104 (Song/Pattern mode)
•
•
•
•
Understanding the organization and structure of the controllers ...................................................................................................................Page 154
Assigning functions to the controllers for each Voice (Controller Set) ..........................................................................................................Page 155
Assigning Control Change numbers to each controller...................................................................................................................................Page 156
Setting the Pitch Bend Range
[VOICE] → Voice selection→ [EDIT] → [COMMON] → [F1] GENERAL → [SF5] OTHER → PB Upper/PB Lower .............................................Page 190
[SONG] or [PATTERN] → Song/Pattern selection→ [MIXING] → [EDIT] → Part selection→ [F1] VOICE → [SF5] OTHER → PB Upper/PB Lower ..............Page 235
•
•
•
•
•
•
Checking the currently assigned parameters for knob control ................Page 81 (Voice mode), 90 (Performance mode), 129 (Song/Pattern mode)
Checking the currently assigned parameters for Control Slider (CS) control ...............................................................................................Page 140
Using a Foot Pedal as a sustain pedal .................................................................................................................................................................Page 42
Starting/stopping a song or pattern by pressing a Footswitch ................................ [UTILITY] → [F4] CTL ASN → [SF3] FT SW ................Page 263
Changing a Voice or a Performance by pressing a Footswitch ................................ [UTILITY] → [F4] CTL ASN → [SF3] FT SW ................Page 263
Turning Arpeggio playback on or off by pressing a Footswitch............................... [UTILITY] → [F4] CTL ASN → [SF3] FT SW ................Page 263
Owner’s Manual
9
Application Index
• Determining how the sound responds to a Breath Controller
[UTILITY] → [F1] GENERAL → [SF1] TG → BCCurve .........................................................................................................................................Page 260
• Keeping the effect of a controller (Modulation Wheel, etc.) the same, even when changing Voices
[UTILITY] → [F1] GENERAL → [SF4] OTHER → CtrlReset = hold ...................................................................................................................... Page 261
Sounding only the specified Part or Voice
• Turning each element on or off in the Voice Edit mode...................................................................................................................................... Page 79
• Determining whether each Element is used or not in the Voice Edit mode
[VOICE] → [EDIT] → Element selection → [F1] OSC → [SF1] WAVE → ElementSw = on/off ............................................................................. Page 195
• Determining whether each Part is used or not in the Performance mode
[PERFORM] → Performance selection→ [EDIT] → Part selection → [F1] VOICE → [SF1] VOICE → PartSw = on/off ....................................... Page 216
• Turning each track (Part) of a song/pattern on or off .........................................................................................................................................Page 58
• Turning off or muting playback of a Song/Pattern Part, by setting the receive channel to off
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → part selection → [F1] VOICE → [SF2] MODE → ReceiveCh ................. Page 235
Adjusting the volume or output level
• Overall
Adjusting the Master Volume output................................................................................................................ [MASTER VOLUME] .................. Page 18
Adjusting the entire volume of the instrument’s internal tone generator block..... [UTILITY] → [F1] GENERAL → [SF1] TG → Volume ................ Page 260
Adjusting the output gain of each Output connector....................................................... [UTILITY] → [F2] I/O → [SF2] OUTPUT ................ Page 261
• In the Voice mode
Adjusting the volume balance of the Elements of a Normal Voice with the Control Sliders
[VOICE] → Normal Voice selection → [EDIT] → Element selection→ [F4] AMP → [SF1] LVL/PAN → Level ........................................................ Page 81
Adjusting the entire volume for the selected Voice (common to all Elements/keys)
[VOICE] → Voice selection→ [EDIT] → [COMMON] → [F2] OUTPUT → Volume ............................................................................................... Page 190
• In the Performance mode
Adjusting the volume balance of the Parts of an edited Performance with the Control Sliders
[PERFORM] → Performance selection → [EDIT] → Part selection → [F2] OUTPUT → [SF1] VOL/PAN → Volume ....................................... Page 81
Adjusting the entire volume for the selected Performance (common to all Parts)
[PERFORM] → Performance selection → [EDIT] → [COMMON] → [F2] OUT/MEQ → [SF1] OUT → Volume .................................................. Page 213
Adjusting the volume of the audio input (of a microphone or external audio equipment)
[PERFORM] → Performance selection → [EDIT] → [COMMON] → [F5] AUDIO IN → [SF1] OUTPUT → Volume ............................................ Page 215
• In the Song mode/Pattern mode
Adjusting the volume balance of the Parts of an edited Song with the Control Sliders
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → Part Selection → [F1] VOL/PAN → VOLUME ................................................ Page 130
Adjusting the volume of the audio input (of a microphone or external audio equipment)
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING → [EDIT] → [COMMON] → [F5] AUDIOIN → [SF1] OUTPUT → Volume .......... Page 235
Inputting audio from a microphone, instrument or other audio device
•
•
•
•
About the organization of audio input parts .....................................................................................................................................................Page 165
Connecting a microphone to the A/D INPUT connector.......................... [UTILITY] → [F2] I/O → [SF1] INPUT → Mic/line = mic .................. Page 72
Connecting audio equipment to the A/D INPUT connector .................... [UTILITY] → [F2] I/O → [SF1] INPUT → Mic/line = line .................. Page 73
Setting audio input related parameters
[PERFORM] → Performance selection → [EDIT] → [COMMON] → [F5] AUDIO IN ............................................................................................ Page 214
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → [COMMON] → [F5] AUDIO IN ....................................................... Page 235
• Sampling (recording) audio from a microphone.................................................................................................................................................Page 94
• Sampling (recording) audio from another audio device .................................................................................................................................... Page 98
• Applying a vocal harmony effect to the microphone sound by using the Plug-in Board PLG100-VH........................................................... Page 78
Using Plug-in Boards
Installing a Plug-in Board....................................................................................................................................................................................Page 283
Checking that a Plug-in Board is properly installed ..................................................... [UTILITY] → [F6] PLUG → [SF1] STATUS .................. Page 75
Checking the receive port of the installed Plug-in Board ......................................................... [UTILITY] → PLUG → [SF2] MIDI .................. Page 75
Selecting and playing a voice of a Single Part Plug-in Board (PLG150-AN, PLG-150-PF, PLG150-DX, PLG150-VL, etc.)
.............................................................................................................................................................. Pages 75 (Voice mode), 121 (Song/Pattern mode)
• Playing an XG song by using the Multi-part Plug-in Board PLG100-XG ......................................................................................................... Page 77
• Applying a vocal harmony effect to the microphone sound by using the Plug-in Board PLG150-VH........................................................... Page 78
•
•
•
•
10
Owner’s Manual
Application Index
Creating Data
• Creating a Voice
Creating a Normal Voice in the Voice Edit mode .................................................................................................................................................Page 79
Creating a Drum Voice in the Voice Edit mode ....................................................................................................................................................Page 82
Creating a Plug-in Voice in the Voice Edit mode .................................................................................................................................................Page 84
Creating a Normal Voice/Drum Voice by using the Sampling function .............................................................................................................Page 94
Creating a Sample Voice by using the Sampling function ...............................................................................................................................Page 107
Creating a Normal/Drum Voice by importing a WAV or AIFF file......................................................................................................................Page 100
Creating a Sample Voice by importing a WAV or AIFF file................................................................................................................................Page 109
Creating a Mixing Voice especially for a Song or Pattern ................................................................................................................................Page 105
• Creating a Performance.........................................................................................................................................................................................Page 87
• Creating a Song
Recording your keyboard performance to a Song track (Realtime Recording) .............................................................................................Page 118
Recording over (replacing) existing material in a Song track — Punch-in Recording
[SONG] → [●] (Record) → [F1] SETUP → Type = punch ....................................................................................................................................Page 119
Recording additional material to an existing Song track (without erasing previous material) — Overdub Recording
[SONG] → [●] (Record) → [F1] SETUP → Type = overdub ................................................................................................................................Page 119
Sounding a metronome during recording ............................... [SONG] → [UTILITY] → [F3] SEQ → [SF1] CLICK → Mode = rec ................Page 262
Recording a Song by using a Performance ......................................................................................................................................................Page 120
Recording a Song with the sounds of a Plug-in Board ....................................................................................................................................Page 121
Using the Step Recording function .......................................................... [SONG] → [●] (Record) → [F1] SETUP → Type = step ................Page 238
Editing MIDI events for each track of an already-recorded Song ...................................... [SONG] → [EDIT] → Track selection ................Page 124
Inserting Tempo change information in the middle of the Song ............................................. [SONG] → [EDIT] → [F4] TR SEL ................Page 125
Inserting Voice change information
[SONG] → [EDIT] → Track selection → Inserting a Bank Select MSB/LSB and Program Change ....................................................................Page 225
Editing Song Mixing settings, such as the volume of each Part ................................................................. [SONG] → [MIXING] ................Page 127
Using convenient “Jobs,” such as Copy, Clear, Quantize........................................................ [SONG] → [JOB] → Job selection ................Page 126
• Creating a Pattern
Assigning a Preset Phrase to each track of a Pattern (Patch function)..........................................................................................................Page 113
Recording (Sampling) your favorite rhythm (audio) to a Pattern track to create a Phrase ...........................................................................Page 107
Importing a WAV file or an AIFF file to a Pattern track to create a Phrase .....................................................................................................Page 109
Recording your keyboard performance to a Pattern track to create a Phrase ...............................................................................................Page 110
Recording a newly found Arpeggio rhythm pattern to a Pattern track ...........................................................................................................Page 112
Sounding the metronome during recording ....................... [PATTERN] → [UTILITY] → [F3] SEQ → [SF1] CLICK → Mode = rec ................Page 262
Using the Step Recording function ..................................................... [PATTERN] → [●] (Record) → [F1] SETUP → Type = step ................Page 238
Editing MIDI events for each track of an already-recorded Pattern................................ [PATTERN] → [EDIT] → Track selection ................Page 124
Editing Pattern Mixing settings, such as the volume of each Part ......................................................... [PATTERN] → [MIXING] ................Page 127
Using convenient “Jobs,” such as Copy, Clear, Quantize................................................... [PATTERN] → [JOB] → Job selection ................Page 126
Programming a sequence of a Section to create a Pattern Chain....................................................... [PATTERN] → [F6] CHAIN ................Page 115
Converting a Pattern Chain to Song data ...................... [PATTERN] → Pattern selection → [F6] CHAIN → [EDIT] → [F3] SONG ................Page 117
• Creating a Master .................................................................................................................................................................................................Page 136
• Creating an Arpeggio ..........................................................................................................................................................................................Page 130
• Creating a Waveform .............................................................................................................................................................................................Page 94
Storing/Saving the created data
• Storing an edited Voice to internal memory (Flash ROM) and saving all the Voices in internal memory to a SmartMedia/USB storage device .............Page 85
• Storing an edited Performance to internal memory (Flash ROM) and saving all the Performances in internal memory to a
SmartMedia/USB storage device ..........................................................................................................................................................................Page 91
• Saving the Song/Pattern data
Storing Song Mixing/Pattern Mixing settings to internal memory (DRAM) ....................................................................................................Page 131
Storing the entire Song/Pattern data to SmartMedia/USB storage device .....................................................................................................Page 132
• Storing Mixing settings to internal memory (Flash ROM) as a template ........................................................................................................Page 104
• Storing an edited Master to internal memory (Flash ROM) and saving all the Masters on internal memory to a SmartMedia/USB
storage device .....................................................................................................................................................................................................Page 137
• Saving all Arpeggios in internal memory (Flash ROM) to a SmartMedia/USB storage device.....................................................................Page 269
• Saving all Samples (obtained via the Sampling function) in internal memory (DRAM) to a SmartMedia/USB storage device ..................Page 97
Owner’s Manual
11
Application Index
Naming your created data ..........................................................................................................................................Page 53
Recovering lost data
• Voice
Comparing the Voice before editing with the just-edited one (Compare function).......................................................................................... Page 80
Recalling an edited, but not-stored Voice (when another Voice has been selected) — Recall function........................................................ Page 82
• Performance
Comparing the Performance before editing with the just-edited one (Compare function)............................................................................. Page 89
Recalling an edited, but not-stored Performance (when another Performance has been selected) — Recall function .............................. Page 91
• Song/Pattern
Canceling the changes made in the recent session such as Recording and Job to restore the data to its previous status
[SONG] or [PATTERN] → [JOB] → [F1] UNDO ....................................................................................................................................................Page 127
Comparing the Mixing settings before editing with the just-edited ones (Compare function) ................................................................... Page 129
Recalling edited, but not-stored Mixing settings (when another Mixing set has been selected) — Recall function ................................. Page 129
Initializing
•
•
•
•
•
•
•
Resetting the User Memory to the Initial Factory Settings ................................................................................................................................ Page 44
Formatting a SmartMedia card ...........................................................................................................................................................................Page 268
Initializing the edited Voice ............................................................................................................... [VOICE] → [JOB] → [F1] INIT ................ Page 208
Initializing the edited Performance............................................................................................. [PERFORM] → [JOB] → [F1] INIT ................ Page 219
Initializing the edited Master.......................................................................................................... [MASTER] → [JOB] → [F1] INIT ................ Page 273
Initializing the edited Song Mixing settings ................................................................ [SONG] → [MIXING] → [JOB] → [F1] INIT ................ Page 236
Initializing the edited Pattern Mixing settings ........................................................ [PATTERN] → [MIXING] → [JOB] → [F1] INIT ................ Page 248
Pitch related settings (Tune, Note Shift, etc.)
• Overall
Changing the octave setting of the keyboard ............................................ [UTILITY] → [F1] GENERAL → [SF2] KBD → Octave
Shifting the note up or down on the keyboard ..................................... [UTILITY] → [F1] GENERAL → [SF2] KBD → Transpose
Shifting the note up or down in the tone generator block ........................ [UTILITY] → [F1] GENERAL → [SF1] TG → NoteShift
Adjusting the tuning to other instruments ........................................................ [UTILITY] → [F1] GENERAL → [SF1] TG → Tune
.................. Page 63
.................. Page 63
................ Page 260
................ Page 260
• In the Voice mode
Setting the tuning system for the voice
[VOICE] → Voice selection → [EDIT] → [COMMON] → [F1] GENERAL → [SF2] PLY MODE → M.TuningNo. ............................................ Page 190
Adjusting the pitch for each Element of the edited Voice in semitones
[VOICE] → Voice selection→ [EDIT] → Element selection→ [F2] PITCH → [SF1] TUNE → Coarse .................................................................. Page 196
Finely adjusting the pitch for each Element of the edited Voice
[VOICE] → Voice selection→ [EDIT] → Element selection→ [F2] PITCH → [SF1] TUNE → Tune ...................................................................... Page 196
Setting the all notes (keys) to the same pitch
[VOICE] → Voice selection→ [EDIT] → Element selection→ [F2] PITCH → [SF4] KEY FLW → PitchSens = 0 .................................................. Page 197
• In the Performance mode
Shifting the note up or down for each Part of the edited Performance
[PERFORM] → Performance selection → [EDIT] → Part selection → [F4] TONE → [SF1] TUNE → NoteShift ................................................... Page 218
Finely adjusting the pitch for each Part of the edited Performance
[PERFORM] → Performance selection → [EDIT] → Part selection → [F4] TONE → [SF1] TUNE → Detune ...................................................... Page 218
• In the Song mode/Pattern mode
Shifting the note up or down for each Part of the current Song/Pattern
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → Part selection → [F4] TONE→ [SF1] TUNE → NoteShift ............... Page 236
Finely adjusting the pitch for each Part of the current Song/Pattern
[SONG] or [PATTERN] → Song/Pattern selection→ [MIXING] → [EDIT] → Part selection → [F4] TONE → [SF1] TUNE → Detune ............. Page 236
• In the Master mode
Shifting the keyboard octave up or down for each zone of the edited Master
[MASTER] → Master selection → [F2] MEMORY → ZoneSwitch = on → [EDIT] → Zone selection → [F2] NOTE → Octave ............................ Page 272
Finely adjusting the keyboard pitch for each zone of the edited Master
[MASTER] → Master selection→ [F2] MEMORY → ZoneSwitch = on → [EDIT] → Zone selection → [F2] NOTE → Transpose ........................ Page 272
12
Owner’s Manual
Application Index
Connecting to a computer/external MIDI instrument
• Determining which connector (among the MIDI, USB TO HOST, mLAN) is used as a MIDI input/output connector
[UTILITY] → [F5] MIDI → [SF4] OTHER → MIDI IN/OUT .....................................................................................................................................Page 265
• Using the sounds of the MOTIF ES for song playback from a MIDI sequencer ...............................................................................................Page 36
• Setting whether or not Bulk Dump data can be received
[UTILITY] → [F5] MIDI → [SF2] SWITCH → RevBulk = on/protect ......................................................................................................................Page 264
• Sounding only the external MIDI tone generator and turning the internal tone generator off
[UTILITY] → [F5] MIDI → [SF2] SWITCH → LocalCtrl = off .................................................................................................................................Page 264
• Synchronizing with an external MIDI instrument/computer
Using the MOTIF ES as a MIDI master
[UTILITY] → [F5] MIDI → [SF3] SYNC → MIDI Sync = internal, ClockOut = on, Seqctrl = out ..........................................................................Page 36
Using the MOTIF ES as a MIDI slave
[UTILITY] → [F5] MIDI → [SF3] SYNC → MIDI Sync = MIDI, ClockOut = off, Seqctrl = in ....................................................................................Page 36
Using the MOTIF ES as a MTC slave
[UTILITY] → [F5] MIDI → [SF3] SYNC → MIDI Sync = MTC, ClockOut = off, Seqctrl = in ....................................................................................Page 37
• Disabling synchronization with the external MIDI instrument/computer
Maintaining normal playback on an external MIDI sequencer, even when starting/stopping Song/Pattern playback on the MOTIF ES
[UTILITY] → [F5] MIDI → [SF3] SYNC → MIDI Sync = internal, Seqctrl = off .................................................................................... ................Page 264
Maintaining normal Song/Pattern playback on the MOTIF ES, even when starting/stopping playback on an external MIDI sequencer
[UTILITY] → [F5] MIDI → [SF3] SYNC → Seqctrl = off ...................................................................................................................... ................Page 264
• Synchronizing the LFO wave speed of the Voice with an external MIDI instrument/computer
[UTILITY] → [F5] MIDI → [SF3] SYNC → MIDI Sync = MIDI ................................................................................................................................Page 264
[VOICE] → Normal Voice selection → [EDIT] → [COMMON] → [F5] LFO → [SF1] WAVE → TempoSync = on ................................................Page 193
• Setting which MIDI events will be transmitted or recognized via the MIDI, USB TO HOST, and mLAN connectors
[SONG] or [PATTERN] → [UTILITY] → [F3] SEQ → [SF2] FILTER .......................................................................................................................Page 262
• Setting the MIDI transmit channel
Setting the MIDI transmit channel of the keyboard in the Voice mode/Performance mode
[UTILITY] → [F5] MIDI → [SF1] CH → KBDTransCh ..............................................................................................................................................Page 64
Setting the MIDI transmit channel and port for each track of a Song/Pattern
[SONG] or [PATTERN] → Song/Pattern selection → [F3] TRACK → [SF1] CHANNEL ........................................................................................Page 221
Setting the MIDI transmit channel of Arpeggio playback
[UTILITY] → [F3] VOICE → [SF3] ARP CH → TransmitCh ...................................................................................................................................Page 262
• Setting the MIDI receive channel
Setting the MIDI receive channel of the keyboard in the Voice mode/Performance mode
[UTILITY] → [F5] MIDI → [SF1] CH → BasicRcvCh .............................................................................................................................................Page 263
Setting the MIDI receive channel for each part of a Song/Pattern
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → Part selection→ [F1] VOICE → [SF2] MODE → ReceiveCh ..................Page 235
• Setting parameters for Program Change transmission/recognition
Enabling or disabling the sending of Bank Select and Program Change messages, when selecting a Voice or Performance
[UTILITY] → [F5] MIDI → [SF2] SWITCH → BankSel, PgmChange .....................................................................................................................Page 264
Enabling or disabling selection of MOTIF ES Voices/Performances from an external MIDI device
[UTILITY] → [F5] MIDI → [SF2] SWITCH → BankSel, PgmChange .....................................................................................................................Page 264
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → Part selection→ [F5] RCV SW → BankSel, PgmChange ...............Page 235
Setting related parameters so that the MIDI messages produced by the Song/Pattern playback will not be transmitted via MIDI
[SONG] or [PATTERN] → [UTILITY] → [F3] SEQ → [SF2] FILTER ....................................................................................................................Page 262
• Setting whether each track playback sounds the internal tone generator or an external tone generator
[SONG] or [PATTERN] → Song/Pattern selection → [F3] TRACK → [SF2] OUT SW ..........................................................................................Page 222
Other tips
• Loading the specified file on the SmartMedia/USB storage device automatically when the power is turned on ......................................Page 135
• Setting the Mode set automatically when the power is turned on
[UTILITY] → [F1] GENERAL → [SF4] OTHER → PowerOnMode .........................................................................................................................Page 261
• Setting an individual Output connector for each key of the Drum Voice or for each part of the Performance/Song/Pattern......................Page 31
Owner’s Manual
13
Table of Contents
Table of Contents
Introduction.................................................................... 6
Accessories ................................................................... 6
Main Features ................................................................ 7
How to use this manual ................................................ 8
Application Index................................... 9
Quick Guide — Playing the MOTIF ES .. 55
Playing the Demo Songs/Patterns .............................55
Playing the Keyboard (in the Voice Play mode)........60
Selecting a Voice ................................................................60
Using Controllers ................................................................64
Using the Arpeggio feature ................................................66
Playing the Keyboard (in the Performance Play mode) .........67
The Controls & Connectors .................. 16
Front panel ................................................................... 16
Rear Panel .................................................................... 22
Selecting a Performance ....................................................67
Using Controllers ................................................................69
Using the Arpeggio feature ................................................70
Assigning desired Voices to each part...............................70
Using the A/D input sound..................................................72
Using the Plug-in Board ..............................................74
Setting Up ............................................. 26
Power Supply............................................................... 26
About data storage to SmartMedia cards and
USB storage devices................................................... 27
Data lost and data retained when power is turned off........27
Using the SmartMedia™* cards .........................................28
Using USB storage devices................................................29
Connections................................................................. 31
Connecting to External Audio Equipment...........................31
Connecting External MIDI Instruments ...............................34
Connecting to a Computer .................................................38
Connecting Various Controllers ..........................................42
Available Plug-in Boards ....................................................74
Using a Single Part Plug-in Board ......................................75
Using a Multi Part Plug-in Board.........................................77
Using an Effect Plug-in Board ............................................78
Quick Guide — Advanced Course ........ 79
Editing a Voice .............................................................79
Normal Voice Edit ...............................................................79
Drum Voice Edit ..................................................................82
Plug-in Voice Edit................................................................85
Storing/Saving the created Voice .......................................85
Editing a Performance.................................................87
Storing/Saving the created Performance............................91
Turning the power on/off ............................................ 43
Creating a Voice by using the Sampling function ....94
Power-on Procedure ...........................................................43
Turning the MOTIF ES on/off...............................................43
Sampling your voice with a microphone and creating a Normal
Voice ...................................................................................94
Sampling the sound of an audio device to create a Drum Voice ......98
Resetting the User Memory to the Initial Factory
Settings ........................................................................ 44
Basic Operation .................................... 45
Modes ........................................................................... 45
Mode Structure ...................................................................45
Mode table..........................................................................46
Functions and Sub-Functions.................................... 47
Selecting a Program.................................................... 47
Moving the Cursor and Setting Parameters.............. 49
Creating a Song on the MOTIF ES............................102
Recording your keyboard performance ...........................102
Creating a Pattern.............................................................106
Creating a Song................................................................117
Storing/Saving the created Song/Pattern .........................131
Using as a Master Keyboard.....................................136
Selecting a Master ............................................................136
Memorize to a Master .......................................................137
Using Zones (keyboard area)...........................................137
Quick Guide — Computer applications.... 142
Knob (KN) and Control Slider (CS) ............................ 50
Knob (KN) ...........................................................................50
Control Slider (CS) ..............................................................51
Setting up ...................................................................142
About the editing functions........................................ 51
Edit Indicator.......................................................................51
Compare Function ..............................................................52
Edit Recall Function ............................................................52
Using a sequencer to play multiple Voices on the MOTIF ES ....143
Using the Multi Part Editor to create/edit Mixing settings.144
Using the Voice Editor to create/edit a Voice ...................145
Using the TWE Wave Editor to edit Samples....................146
Confirmation Message ................................................ 52
Controlling a computer from the instrument ..........147
Information Display ..................................................... 53
Setting up for Remote Control ..........................................148
Functions assigned to the panel buttons in
the Remote Control mode.................................................150
Note (Key) settings...................................................... 53
Naming ......................................................................... 53
14
Owner’s Manual
Controlling the instrument from a computer ..........143
Table of Contents
Basic Structure ....................................154
Appendix ............................................ 275
Internal Structure (System Overview) ......................154
Information Displays ................................................. 275
Controller Block.................................................................154
Tone Generator block .......................................................157
Sequencer Block...............................................................165
Sampling Block .................................................................172
Effect Block .......................................................................177
Display Messages...................................................... 277
About MIDI ..................................................................181
MIDI channels ...................................................................181
MIDI Messages Transmitted/Recognized by this synthesizer ........181
Internal Memory and File Management....................185
Maintaining data ...............................................................185
Troubleshooting ........................................................ 279
Setting Up
Installing Optional Hardware.................................... 282
Available devices..............................................................282
Installation locations..........................................................282
Installation Precautions .....................................................282
Optional Plug-in Board Installation ...................................283
Optional AIEB2 or mLAN16E Installation ..........................285
Optional DIMM Installation................................................289
Basic Operation
Quick Guide —
Playing the MOTIF ES
Glossary ..................................................................... 290
Reference ............................................188
Specifications ............................................................ 292
Voice mode .................................................................188
Index ................................................... 294
Voice Play mode ...............................................................188
Voice Edit mode................................................................189
Voice Store mode..............................................................208
Voice Job mode ................................................................208
The Controls &
Connectors
Quick Guide —
Advanced Course
Quick Guide —
Computer
applications
Performance mode ....................................................212
Performance Play mode....................................................212
Performance Edit mode ....................................................213
Performance Job mode ....................................................219
Performance Store mode ..................................................220
Song mode..................................................................221
Song Play mode................................................................221
Song Record mode...........................................................222
Song Edit mode ................................................................225
Song Job mode.................................................................226
Song Mixing mode ............................................................233
Song Mixing Edit mode.....................................................234
Song Mixing Job mode .....................................................236
Song Mixing Store mode...................................................237
Basic Structure
Reference
Voice mode
Performance mode
Song mode
Pattern mode ..............................................................241
Pattern Play mode.............................................................241
Pattern Record mode........................................................243
Pattern Edit mode .............................................................244
Pattern Job mode..............................................................244
Pattern Mixing mode .........................................................248
Pattern Mixing Edit mode..................................................248
Pattern Mixing Job mode ..................................................248
Pattern Mixing Store mode................................................248
Mixing Voice mode.....................................................249
Mixing Voice Edit mode ....................................................249
Mixing Voice Store mode ..................................................250
Mixing Voice Job mode ....................................................250
Pattern mode
Mixing Voice mode
Sampling mode
Utility mode
Sampling mode ..........................................................251
Sampling Record mode ....................................................251
Sampling Edit mode..........................................................255
Sampling Job mode..........................................................256
File mode
Utility mode.................................................................260
Utility mode .......................................................................260
Utility Job mode ................................................................265
Master mode
File mode ....................................................................266
File mode ..........................................................................266
Master mode ...............................................................271
Master Play mode .............................................................271
Master Edit mode..............................................................271
Master Job mode ..............................................................273
Master Store mode............................................................274
Appendix
Owner’s Manual
15
Front Panel
The Controls & Connectors
The Controls & Connectors
Front Panel
7
9
! )
#
$
%
MOTIF ES6
ASSIGN A
PAN/SEND
ASSIGN
TONE
ASSIGN B
ASSIGN 1
ASSIGN 2
TEMPO
PAN
REVERB
CUTOFF
RESONANCE
ATTACK
RELEASE
SWING
GATE TIME
VELOCITY
UNITMULTIPLY
CHORUS
REMOTE
ARPEGGIO
R-AUDIO
G-MIDI
ON / OFF
KNOB
CONTROL
FUNCTION
ON / OFF
MODE
EFFECT
ARP FX
KN 1
LOW
KN 2
LOW MID
KN 3
HIGH MID
KN 4
HIGH
VOLUME 1
VOLUME 2
VOLUME 3
VOLUME 4
BYPASS
INSERTION SYSTEM
MASTER
EFFECT
VOICE
PERFORM
MASTER
EQ
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
SEQ TRANSPORT
DEMO
SCENE
SF2
SF1
LOCATE
1
COMPARE
OCTAVE
2
DOWN
SF4
INFORMATION
SF5
F1
F2
F3
F4
F5
F6
SCENE STORE
SET LOCATE
UP
6
MASTER
VOLUME
8
CS 1
CS 2
ZONE 1
ZONE 2
CS 3
CS 4
ZONE 3
ZONE 4
@
&
C1 D1 E1 F1 G1 A1 B1 C2
3
SF3
2
5
^
*
C3
C
4 1
7
9
! )
#
MOTIF ES7
ASSIGN A
PAN/SEND
ASSIGN
TONE
ASSIGN B
ASSIGN 1
CHORUS
ASSIGN 2
PAN
REVERB
CUTOFF
RESONANCE
ATTACK
RELEASE
SWING
GATE TIME
VELOCITY
UNITMULTIPLY
TEMPO
REMOTE
ON / OFF
KNOB
CONTROL
FUNCTION
ARPEGGIO
R-AUDIO
G-MIDI
ON / OFF
MODE
EFFECT
ARP FX
KN 1
LOW
KN 2
LOW MID
KN 3
HIGH MID
KN 4
HIGH
VOLUME 1
VOLUME 2
VOLUME 3
VOLUME 4
BYPASS
INSERTION SYSTEM
MASTER
EFFECT
VOICE
PERFORM
MASTER
EQ
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
SEQ TRANSPORT
DEMO
SCENE
SF2
SF1
LOCATE
1
2
COMPARE
OCTAVE
2
DOWN
MASTER
VOLUME
8
CS 1
CS 2
ZONE 1
ZONE 2
CS 3
CS 4
ZONE 3
ZONE 4
E0 F0 G0 A0 B0 C1 D1 E1 F1 G1 A1 B1 C2
16
Owner’s Manual
SCENE STORE
SET LOCATE
UP
6
3
F1
5
4 1
@
&
C3
F2
¡
(
§
º
The Controls & Connectors
Front Panel
∞
Integrated Sampling Sequencer / Modular Synthesis Plug-in System / Real-time External Control Surface
MUSIC PRODUCTION SYNTHESIZER
PRE 1
PRE 2
PRE 3
PRE 4
SLOT 1
DEC/NO
SLOT 3
PRE 5
PRE 6
USER 1
USER 2
GM
PLG 1
PLG 2
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
A
B
C
D
E
F
G
H
SYN LEAD
SYN PAD/
CHOIR
SYN COMP
1
2
3
INC / YES
DRUM/
CHROMATIC
PERCUSSION PERCUSSION
CATEGORY
SEARCH
BANK
SECTION
GROUP
SE
MUSICAL FX
COMBI
4
5
6
7
8
TRACK
SELECT
12
13
14
15
16
MUTE
9
ENTER
¢
™
¤
SOLO
EXECUTE
£
¶
•
C4
C5
n
‚
NUMBER
11
10
ª
⁄
ELEMENT/PERF. PART/ZONE
COMMON
EXIT
SLOT 2
DRUM KITS
FAVORITES
C6
When both of the [OCTAVE] buttons are turned off, each key corresponds to the note name shown in the
illustrations. Refer to this illustration when setting parameters having note name values, such as Note Limit.
$
% ¡
(
§
º
∞
Integrated Sampling Sequencer / Modular Synthesis Plug-in System / Real-time External Control Surface
MUSIC PRODUCTION SYNTHESIZER
PRE 1
PRE 2
PRE 3
PRE 4
SLOT 1
DEC/NO
F2
SF3
SF4
F4
PRE 6
USER 1
USER 2
GM
PLG 1
PLG 2
PLG 3
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
A
B
C
D
E
F
G
H
SYN LEAD
SYN PAD/
CHOIR
SYN COMP
1
2
3
INC / YES
DRUM/
CHROMATIC
PERCUSSION PERCUSSION
BANK
SECTION
GROUP
SE
MUSICAL FX
COMBI
4
5
6
7
8
TRACK
SELECT
EXIT
F6
12
13
14
15
16
MUTE
ELEMENT/PERF. PART/ZONE
9
ENTER
10
11
ª
‚
⁄
NUMBER
*
£
C4
™
¢
¤
SOLO
EXECUTE
^
CATEGORY
SEARCH
INFORMATION
SF5
F5
SLOT 3
PRE 5
A. PIANO
COMMON
F3
SLOT 2
DRUM KITS
FAVORITES
¶
•
C5
C6
Owner’s Manual
17
Front Panel
7
9
! )
#
MOTIF ES8
The Controls & Connectors
ASSIGN A
PAN/SEND
ASSIGN
TONE
ASSIGN B
ASSIGN 1
ASSIGN 2
TEMPO
PAN
REVERB
CUTOFF
RESONANCE
ATTACK
RELEASE
SWING
GATE TIME
VELOCITY
UNITMULTIPLY
CHORUS
REMOTE
ON / OFF
KNOB
CONTROL
FUNCTION
ARPEGGIO
R-AUDIO
G-MIDI
ON / OFF
MODE
EFFECT
ARP FX
KN 1
LOW
KN 2
LOW MID
KN 3
HIGH MID
KN 4
HIGH
VOLUME 1
VOLUME 2
VOLUME 3
VOLUME 4
BYPASS
INSERTION SYSTEM
MASTER
EFFECT
VOICE
PERFORM
MASTER
EQ
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
SEQ TRANSPORT
DEMO
LOCATE
1
2
COMPARE
6
MASTER
VOLUME
4
8
CS 1
CS 2
ZONE 1
ZONE 2
CS 3
CS 4
ZONE 3
ZONE 4
STORE
SCENE STORE
SET LOCATE
@
3
A-1 B-1 C0 D0 E0 F0 G0 H0 B0 C1
5
1
1 Keyboard
4 Modulation wheel
The MOTIF ES6 features a 61-key keyboard, while the
MOTIF ES7 has 76 keys and the MOTIF ES8 has 88 keys.
All are equipped with a touch response feature (both initial
touch and aftertouch). With initial touch, the instrument
senses how strongly or softly you play the keys, and uses
that playing strength to affect the sound in various ways,
depending on the selected voice. With aftertouch, the
instrument senses how much pressure you apply to the
keys while playing, and uses that pressure to affect the
sound in various ways, depending on the selected voice.
Moreover, any of a variety of functions can be assigned to
aftertouch for each voice.
2 OCTAVE [UP] and [DOWN] buttons
Because of its extended keyboard, the MOTIF ES8 does not have
OCTAVE buttons.
3 Pitch bend wheel
Page 64
Controls the pitch bend effect. You can also assign other
functions to this controller.
18
Owner’s Manual
Page 64
Controls the modulation effect. You can also assign other
functions to this controller.
5 Ribbon controller
Page 65
This Controller is touch sensitive, and is controlled by
running your finger lightly across its surface laterally.
You can also assign other functions to this controller.
6 MASTER VOLUME
Adjusts the volume of the overall sound, as output from
the rear-panel OUTPUT L/MONO and R jacks as well as
the PHONES jack.
Page 63
Use these buttons to change the note range of the
keyboard. To restore the normal octave setting, press both
buttons simultaneously.
n
C2
7 Four KNOB CONTROL FUNCTION buttons and
four Knobs
Page 50
These four highly versatile knobs let you adjust various
aspects or parameters of the current Voice. Use the
[KNOB CONTROL FUNCTION] buttons to change the
parameter set for the knobs. The corresponding LED
lights to indicate which group of parameters are active.
Front Panel
% ¡
(
§
º
∞
The Controls & Connectors
$
Integrated Sampling Sequencer / Modular Synthesis Plug-in System / Real-time External Control Surface
MUSIC PRODUCTION SYNTHESIZER
PRE 1
PRE 2
PRE 3
PRE 4
SLOT 1
DEC/NO
SF2
SF1
PRE 6
USER 1
USER 2
GM
PLG 1
PLG 2
PLG 3
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
A
B
C
D
E
F
G
H
SYN LEAD
SYN PAD/
CHOIR
SYN COMP
1
2
3
INC / YES
F2
SF3
F3
SF4
F4
SF5
F5
DRUM/
CHROMATIC
PERCUSSION PERCUSSION
EXIT
F6
SECTION
GROUP
SE
MUSICAL FX
COMBI
4
5
6
7
8
TRACK
SELECT
10
11
12
13
14
15
16
MUTE
ª
‚
⁄
NUMBER
^
C3
*
£
™
C4
¢
¤
SOLO
EXECUTE
n
BANK
ELEMENT/PERF. PART/ZONE
9
ENTER
RE
E
&
CATEGORY
SEARCH
INFORMATION
COMMON
F1
SLOT 3
PRE 5
A. PIANO
DEMO
SCENE
SLOT 2
DRUM KITS
FAVORITES
¶
•
C5
C6
C7
When [UTILITY] → [F1] GENERAL → [SF2] KBD → Octave is set to “0,” each key corresponds to the note name shown in the illustrations.
Refer to this illustration when setting a note name of a parameter like Note Limit.
8 [CS1] - [CS4] (Control Slider)
Page 51
These sliders control the volume of four elements which
make up a Normal Voice in the Voice mode, the volume of
four parts in the Performance mode, the volume of four
parts including the current part in the Song mode/Pattern
mode, and the volume of four zones in the Master mode.
n
If all of the Control Sliders are set to the minimum, you may not
hear any sound from the instrument, even when playing the
keyboard or a song/pattern. If this is the case, raise all the sliders
to a suitable level.
n
The [MASTER VOLUME] slider adjusts the output level from this
instrument. On the other hand, the Control Slider adjusts the MIDI
volume value for the corresponding element or part.
9 REMOTE buttons
Page 147
The Remote mode lets you control sequencer software on
your computer from the panel controls of the instrument.
Turn the [ON/OFF] button on to enter the Remote mode.
You can use the [R-AUDIO/G-MIDI] button to switch
control between your audio tracks (red lamp) and MIDI
tracks (green lamp), when Mode A or B is set to “General”
([UTILITY] → [F4] CTL ASN → [SF4] REMOTE).
n
When setting the MIDI IN/OUT parameter to “MIDI” ([UTILITY] →
[F5] MIDI → [SF4] OTHER) or setting both of Mode A and Mode B
to “off” ([UTILITY] → [F4] CTL ASN → [SF4] REMOTE), you
cannot enter the Remote mode even by pressing the REMOTE
[ON/OFF] button. Set these parameters to appropriate values
(page 148) then enter the Remote mode.
) EFFECT buttons
Page 177
The extensive effect section of the instrument provides
Insertion effects (eight sets, with two effect units per set),
System effects (Reverb and Chorus), and Master effects.
The effects can be applied to the keyboard-played voices
and to Song/Pattern playback. These three buttons enable
you to turn the corresponding Effect blocks (as printed on
the panel) on or off with a single touch.
Keep in mind that the [INSERTION] and [SYSTEM] buttons
are bypass switches, while the [MASTER EFFECT] button
is an on/off switch. The distinction is important — when
the lamp of the [INSERTION] or [SYSTEM] button is on,
the effect is off (or bypassed). The [MASTER EFFECT]
button is the opposite: when the lamp is on, the Master
effect is on. Also, to access the Master Effect setting
display, press and hold the [MASTER EFFECT] button for
a second or two.
! [ARPEGGIO ON/OFF] button
Page 66
Press this button to enable or disable playback of the
Arpeggio for each Voice, Performance, Song, or Pattern. If
the Arpeggio Switch of the selected part is set to off in the
Performance/Song/Pattern mode, however, pressing this
button has no effect.
Owner’s Manual
19
Front Panel
@ SEQ TRANSPORT buttons
Page 56
These buttons control recording and playback of the
Song/Pattern sequence data.
The Controls & Connectors
[ ](Top) button
Instantly returns to the beginning of the current song or
pattern (i.e., the first beat of the first measure).
[
](Reverse) button
Press briefly to move back one measure at a time, or hold
to continuously rewind.
[
](Forward) button
Press briefly to move forward one measure at a time, or
hold to continuously fast-forward.
[●] (Record) button
Press this to enable recording (Song or pattern phrase).
(The indicator lights.)
[ ](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.
Page 45
These buttons select the operating modes (e.g., Voice
mode).
$ LCD Display
The large backlit LCD displays the parameters and values
related to the currently selected operation or mode.
( Data dial
Page 43
Use this control to set the LCD display for optimum
legibility.
^ [F1] - [F6] (Function) buttons
Page 47
These buttons located directly below the LCD display call
up the corresponding functions indicated in the display. In
the display hierarchy, these functions [F] rank just below
the modes.
& [SF1] - [SF5] (Sub Function) buttons
Page 47
These buttons located directly below the LCD display call
up the corresponding sub functions indicated in the
display. In the display hierarchy, these sub functions [SF]
rank just below the functions [F].
These buttons can be also used to store/recall the
Arpeggio type in each Play mode and Song/Pattern
Record mode. They can be also used to store/recall the
Song Scene (page 123) in the Song Play/Song Record/
Pattern Chain Record modes.
20
Owner’s Manual
Page 49
For editing the currently selected parameter. To increase
the value, turn the dial right (clockwise); to decrease the
value, turn the dial left (counter-clockwise). If a parameter
with a wide value range is selected, you can change the
value in broader strokes by quickly turning the dial.
Page 49
For increasing the value of the currently selected
parameter. Also use it to actually execute a Job or a Store
operation.
¡ [DEC/NO] button
Page 49
For decreasing the value of the currently selected
parameter. Also use it to cancel a Job or a Store
operation.
n
You can also use the [INC/YES] and [DEC/NO] buttons to quickly
move through parameter values in 10-unit jumps, especially those
with large ranges. Simply hold down one of the buttons (of the
direction you want to jump), and simultaneously press the other.
For example, to jump in the positive direction, hold down the [INC/
YES] button and press [DEC/NO].
™ Cursor Buttons
% LCD Contrast Control
Page 53
For calling up a special “help” feature that shows
information about the currently selected mode. You can go
back to the previous display by pressing this button again
or pressing any other button.
Depending on the selected display, this button may be
used to call up a window for inputting characters (page
54), for inputting numbers (page 49), for selecting note
lengths (page 49), or for selecting keys or note names
(page 53).
º [INC/YES] button
[ ](Stop) button
Press to stop recording or playback.
# MODE buttons
* [INFORMATION] button
Page 49
The cursor buttons move the “cursor” around the LCD
display screen, highlighting and selecting the various
parameters.
£ [EXIT] button
Page 46
The menus and displays of this synthesizer are organized
according to a hierarchical structure.
Press this button to exit from the current display and return
to the previous level in the hierarchy.
¢ [ENTER] button
Use this button to execute a Job or a Store operation. Also
use this button to actually enter a number when selecting
a Memory or Bank for Voice or Performance. In the File
mode, use this button to go to the next lowest level in the
selected directory.
Front Panel
Page 284
These three lamps show the installation status of the Plugin Boards.
If the Plug-in Board has been correctly installed, the
corresponding SLOT lamp will light.
n
The Vocal Harmony Plug-in Board (PLG100-VH) can be installed
only to slot 1. It cannot be installed to slot 2 or 3.
n
The Multi part Plug-in Board (PLG100-XG) can be installed only to
slot 3. It cannot be installed to slot 1 or 2.
§ BANK buttons
Page 60
Each button selects a Voice or Performance Bank.
When the [CATEGORY SEARCH] button is turned on,
these buttons can be used to select the desired category
(printed below each button). When the [SECTION] button
is turned on in the Pattern mode, these buttons are used
to select the desired section.
¶ GROUP [A] - [H] buttons
Page 48
Each button selects a Voice or Performance Group.
When the [CATEGORY SEARCH] button is turned on,
these buttons can be used to select the desired category
(printed below each button). When the [SECTION] button
is turned on in the Pattern mode, these buttons are used
to select the desired section.
• NUMBER [1] - [16] buttons
Page 48
Use of these buttons differs depending on the on/off
status of the [TRACK SELECT] and [MUTE] buttons.
Functions of the NUMBER [1] - [16] buttons
When [TRACK
SELECT] is on
Keyboard
Voice Play mode transmit channel
setting
Voice Edit mode
Performance
Play mode
Performance
Edit mode
When [MUTE]
is on
—
Element selection (1 - 4) and Element
Mute setting (9 - 12)
When both
[TRACK SELECT]
[MUTE] are off
ª [CATEGORY SEARCH] button
Page 62
When this button is turned on in the Performance mode,
the lower row of [BANK] buttons (labeled A.PIANO REED/PIPE below the buttons) and the [GROUP] buttons
can be used to select the Performance category.
When this button is turned on in another mode, the lower
row of [BANK] buttons (labeled A.PIANO - REED/PIPE
below the buttons) and the [GROUP] buttons can be used
to select the Voice category.
‚ [SECTION] button
The Controls & Connectors
∞ SLOT 1-3 lamps
Page 57
When this button is turned on in the Pattern mode, the
GROUP [A] - [H] buttons can be used to select Pattern
Sections A - H and the [PRE5] - [PLG3] buttons of the
BANK buttons can be used to select Pattern Sections I - P.
⁄ [TRACK SELECT] button
Page 58
Turning this button on in the Song/Pattern mode enables
the NUMBER [1] - [16] buttons for selecting
corresponding Song/Pattern tracks. The on/off status of
this button affects the NUMBER [1] - [16] buttons in
different ways, depending on the selected mode. (See •
“NUMBER [1] - [16] buttons” above.)
¤ [MUTE] button
Page 58
Turning this button on in the Song/Pattern mode enables
the NUMBER [1] - [16] buttons for muting corresponding
Song/Pattern tracks.
Press one of the NUMBER [1] - [16] buttons while holding
this button to solo the corresponding track of the current
selected Song/Pattern.
The on/off status of this button affects the NUMBER [1] [16] buttons in different ways, depending on the selected
mode. (See • “NUMBER [1] - [16] buttons” above.)
Voice selection,
according to Groups
A-H
—
Performance or
Voice selection
Performance part
(if cursor is located
Mute setting
at Voice name),
Performance part (1 - 4)
according to Groups
selection (1 - 4)
A-H
Keyboard
transmit channel
setting
Master Play
mode
Keyboard transmit
channel setting
(when memorizing
the Voice mode or
Performance
mode to the
current Master) or
Song/Pattern track
selection (when
memorizing the
Song mode or
Pattern mode to
the current
Master)
—
Master selection,
according to Groups
A-H
Master Edit
mode
Zone selection
(1 - 4)
—
—
Song/Pattern
Play mode
Song/Pattern
track selection
Song/Pattern
track Mute
setting
Song/Pattern
Mixing mode
Song/Pattern
selection, according
Song/Pattern part Song/Pattern part to Groups A - H
selection
Mute setting
Mixing Voice
Edit mode
Element selection (1- 4) and Element
Mute setting (9- 12)
—
Owner’s Manual
21
Rear Panel
Rear Panel
The Controls & Connectors
MOTIF ES6
USB
POWER
ON
OFF
AC INLET
1
2
mLAN
I/O EXPANSION
3
TO DEVICE
THRU
TO HOST
4
5
MOTIF ES7
POWER
ON
OFF
AC INLET
1
2
mLAN
I/O EXPANSION
3
MOTIF ES8
22
POWER
ON
OFF
AC INLET
1
2
Owner’s Manual
MIDI
OUT
mLAN
I/O EXPANSION
3
IN
BREATH ASSIG
6
The Controls & Connectors
Rear Panel
$
3.3V
%
GREEN
YELLOW
ORANGE
CARD
Plug-in SLOT
FOOT
CONTROLLER
FOOT
SWITCH
2
ASSIGNABLE SUSTAIN
7
1
ASSIGNABLE OUTPUT
R
L
8
9
R
OUTPUT
L /MONO PHONES
A / D INPUT
R
L
) !
GAIN
@ #
$
3.3V
%
CARD
Plug-in SLOT
FOOT
SWITCH
USB
TO DEVICE
THRU
TO HOST
4
MIDI
OUT
5
IN
BREATH ASSIGNABLE SUSTAIN
6 7
GREEN
YELLOW
ORANGE
FOOT
CONTROLLER
2
8
1
ASSIGNABLE OUTPUT
R
L
9
R
OUTPUT
L /MONO PHONES
) !
A / D INPUT
R
L
GAIN
@ #
$
3.3V
CARD
FOOT
SWITCH
USB
TO DEVICE
TO HOST
4
Plug-in SLOT
GREEN
YELLOW
ORANGE
%
THRU
MIDI
OUT
5
IN
BREATH ASSIGNABLE SUSTAIN
6 7
FOOT
CONTROLLER
2
1
8
ASSIGNABLE OUTPUT
R
L
9
R
OUTPUT
L /MONO PHONES
) !
A / D INPUT
R
L
GAIN
@ #
Owner’s Manual
23
Rear Panel
1 POWER Switch
Page 43
Press to turn power ON or OFF.
The Controls & Connectors
2 AC INLET (AC Power Cord Socket)
6 BREATH Controller Jack
Page 26
Be sure to plug the AC power cord into this socket before
plugging the power cord into an AC outlet.
Use only the AC power cord supplied with this instrument.
If the supplied cord is lost or damaged and needs to be
replaced, contact your Yamaha dealer.
The use of an inappropriate replacement can pose a fire
and shock hazard!
7 FOOT SWITCH jacks
3 mLAN expansion board (mLAN16E) or I/O
expansion board (AIEB2) cover
Page 25
Either the mLAN expansion board (mLAN16E) or the I/O
expansion board (AIEB2) sold separately can be installed
to this instrument. With the mLAN16E board, you can
conveniently and easily hook up your MOTIF ES to other
mLAN compatible instruments or devices.
The AIEB2 board gives you additional digital I/O options,
featuring both optical and coaxial connectors. Moreover,
the board also includes three stereo ASSIGNABLE
OUTPUT pairs (six analog jacks).
Page 29
This instrument is equipped with two types of USB
connectors on the rear panel – USB TO HOST and USB
TO DEVICE. The USB TO HOST connector is used to
connect this instrument to the computer via the USB
cable. The USB connection between the instrument and
the computer can only be used for transfer of MIDI data.
No audio data can be transferred via USB. The USB TO
DEVICE connector is used to connect this instrument to a
USB storage device (hard disk drive, CD-ROM drive, MO
drive, flash disk, etc.) via the USB cable. This lets you
save the data created on this instrument to the external
USB storage device and load the data from the external
USB storage device to the instrument. Save/Load
operations can be performed in the File mode.
n
For details about USB, see Page 29.
Page 42
For connection of optional foot controllers (FC7, etc.).
Each jack lets you continuously control one of various
different assignable functions – such as volume, tone,
pitch, or other aspects of the sound.
9 ASSIGNABLE OUT L and R jacks
Page 31
Line level audio signals are output from this instrument via
these phone jacks (1/4" mono phone plug).
These outputs are independent of the main output (at the
L/MONO and R jacks below), and can be freely assigned
to any of the Drum Voice keys or the Parts. This lets you
route specific Voices or sounds for processing with a
favorite outboard effect unit.
The parts which can be assigned to these jacks are as
follows:
• Drum Voice key to which the drum/percussion
instrument is assigned
• Any part of a Performance*
• Any part of a Song*
• Any part of a Pattern*
Page 203
Page 218
Page 235
Page 235
* Including the Audio Input part
) OUTPUT L/MONO and R jacks
Page 31
Line level audio signals are output via these phone jacks.
For monophonic output, use just the L/MONO jack.
! PHONES jack
Page 31
For connection to a pair of stereo headphones.
USB
USB is an abbreviation for Universal Serial Bus. It is a serial
interface for connecting a computer with peripheral devices,
and enables much faster data transfer compared to
conventional serial port connections.
5 MIDI IN/OUT/THRU connectors
Page 34
MIDI IN is for receiving control or performance data from
another MIDI device, such as an external sequencer.
MIDI THRU is simply for redirecting any received MIDI
data (via MIDI IN) to connected devices, allowing
convenient chaining of additional MIDI instruments.
MIDI OUT is for transmitting all control, performance and
playback data from the MOTIF to another MIDI device,
such as an external sequencer.
24
Page 42
For connection of optional FC4 or FC5 Footswitches.
When connected to the SUSTAIN jack, the Footswitch
controls sustain. When connected to ASSIGNABLE, it can
control one of various different assignable functions.
8 FOOT CONTROLLER jacks
4 USB connectors
Page 42
Connect an optional Yamaha BC3 Breath Controller here
for expressive breath control capability.
Owner’s Manual
@ A/D INPUT jacks
Page 33
External audio signals can be input via these phone jacks
(1/4" mono phone plug).
Various devices such as microphone, guitar, bass, CD
player, synthesizer can be connected to these jacks and
their audio input signal can be sounded as the AUDIO IN
part of the Performance, Song, or Pattern.
In the Sampling mode, these jacks are used for capturing
audio data as samples. For stereo signals (such as from
audio equipment), use both jacks. For mono signals
(such as from a microphone or guitar), use only the L jack.
Rear Panel
Page 73
For adjusting the input gain of the audio at the A/D INPUT
jacks (above). Depending on the connected device
(microphone, CD player, etc.), you may need to adjust this
for optimum level.
$ CARD (Card slot)
1
2
3
Page 27
Insert a SmartMedia (memory) card here to transfer
various data to/from this instrument. Read carefully the
precautions on using a SmartMedia (page 28) before
inserting a SmartMedia card.
% Plug-in board cover
Page 283
Installing an optional Plug-in Board to this instrument lets
you greatly expand the sonic palette of the instrument. Up
to three boards can be installed to the rear panel.
■ When the optional mLAN16E has been
installed:
1
mLAN EXPANSION BOARD mLAN16E
2
■ When the optional AIEB2 has been
installed:
The Controls & Connectors
# GAIN knob
1 OPTICAL IN, OUT connectors
Pages 33, 34
Use these connectors to input or output digital signals
over optical-fiber cable. You can use the OPTICAL IN to
record a digital signal at frequencies of 48kHz, 44.1kHz,
or 32kHz. The OPTICAL OUT connector outputs a digital
signal of 44.1kHz.
2 DIGITAL IN, OUT connectors
Pages 33, 34
Use these connectors to input or output digital signals
over coaxial (RCA-pin) cable. The digital signal format is
CD/DAT (S/P DIF). You can use the DIGITAL IN connector
to record a digital signal at frequencies of 48kHz,
44.1kHz, or 32kHz. The DIGITAL OUT connector outputs a
digital signal of 44.1kHz.
IEEE1394
1
ACTIVE
MADE IN JAPAN
3 ASSIGNABLE OUT jacks (AS1 to AS6)
1 mLAN (IEEE1394) connector 1, 2
For connecting mLAN devices or IEEE1394-compatible
(FireWire) devices via standard IEEE1394 (6-pin) cables.
Page 31
Line level audio signals are output from this instrument via
these phone jacks (1/4" mono phone plug).
These outputs are independent of the main output (at the
L/MONO and R jacks above), and can be freely assigned
to any of the Drum Voice key or the Parts. This lets you
route specific Voices or sounds for processing with your
favorite outboard effect unit.
The parts which can be assigned to these jacks are as
follows:
About mLAN
“mLAN” is a digital network designed for musical applications.
It uses and extends the industry standard IEEE 1394 high
performance serial bus.
For details, refer to the Guide Book of the mLAN16E.
• Drum Voice key to which the drum/percussion instrument is
assigned
Page 203
• Any part of a Performance*
Page 218
• Any part of a Song*
Page 235
• Any part of a Pattern*
Page 235
* Including the Audio Input part
* The name “mLAN” and its logo (above) are trademarks.
n
The digital audio output via the mLAN connector is fixed to a
resolution of 24 bit/44.1 kHz.
n
Digital audio output via the OPTICAL OUT connector or DIGITAL
OUT connector can be changed between 20-bit and 24-bit
resolution in the [UTILITY] → [F2] I/O → [SF2] OUTPUT display.
The frequency, however, is fixed at 44.1 kHz.
Owner’s Manual
25
Power Supply
Setting Up
Setting Up
Please read this section carefully before using your new MOTIF ES.
This section explains how to connect your MOTIF ES to an AC power source, external audio and MIDI devices, and a computer
system. Only switch the MOTIF ES on after you have made all the necessary connections (page 43).
Power Supply
Rear panel
AC INLET
Power cord (included)
1
2
3
Make sure the POWER switch on the MOTIF ES is set to OFF.
Connect the supplied power cord to the AC INLET on the instrument’s rear panel.
Connect the other end of the power cord to an AC outlet. Make sure your MOTIF ES meets the voltage requirement for the
country or region in which it is being used.
WARNING
Make sure your MOTIF ES is rated for the AC voltage supplied in the area in which it is to be used (as listed on the rear panel). Connecting the unit to the
wrong AC supply can cause serious damage to the internal circuitry and may even pose a shock hazard!
WARNING
Use only the AC power cord supplied with the MOTIF ES. If the supplied cord is lost or damaged and needs to be replaced, contact your Yamaha dealer. The
use of an inappropriate replacement can pose a fire and shock hazard!
WARNING
The type of AC power cord provided with the MOTIF ES may be different depending on the country in which it is purchased (a third prong may be provided
for grounding purposes). Improper connection of the grounding conductor can create the risk of electrical shock. Do NOT modify the plug provided with
the MOTIF ES. If the plug will not fit the outlet, have a proper outlet installed by a qualified electrician. Do not use a plug adapter which defeats the
grounding conductor.
26
Owner’s Manual
About data storage to SmartMedia cards and USB storage devices
About data storage to SmartMedia cards and
USB storage devices
SmartMedia (page 28)
Setting Up
As you make music with this instrument, you’ll create a wide variety of data — such as custom Voice data (including Voices,
Performances, etc.), MIDI sequence data (Songs, Patterns, Arpeggios), and waveform data (with the Sampling function).
Naturally, you’ll want to store this data for safekeeping and future use, and the instrument is equipped with a variety of storage
options. You can save your data to SmartMedia card (inserted to the Card slot) or to a USB storage device (connected to the
USB TO DEVICE connector). To recall the data, use the Load function. (Save and Load operations are done in the File mode;
see page 266.)
Keep in mind that certain types of data are lost when you turn off the power and should be properly saved. Also keep in mind
that since there are several storage options (including SmartMedia card, hard disk, flash disk, etc.), you should always have the
proper media formatted and on hand BEFORE you start creating or editing data.
USB storage device (page 29)
USB TO DEVICE connector
MUSIC PRODUCTION SYNTHESIZER
MOTIF ES
n
The Save/Load operation in the File mode can be executed between the SmartMedia card inserted to the CARD slot on the rear panel and the instrument, or
between the USB storage device connected to the USB TO DEVICE connector and the instrument. Please keep in mind that the Save /Load operation in the
File mode cannot be executed between the SmartMedia card inserted to the CARD slot on the rear panel and the USB storage device connected to the USB
TO DEVICE connector. In short, data can be saved/loaded between the storage media and the instrument, but not between the two storage media devices.
Data lost and data retained when power is turned off
The chart below lists the data types you can create on the instrument and the internal memory locations to which they are stored,
permanently or temporarily.
CAUTION
Make sure to save any data remaining in DRAM to SmartMedia or a USB storage device before turning off the power, other wise the data will be lost.
Data types
*
Page
Voice
79
Mode in which data is created
Internal memory types to which data is stored
Voice mode
Flash ROM
DRAM ➜ Will be lost when turning the power off!
Mixing Voice
105
Mixing Voice mode
Performance
87
Performance mode
Flash ROM
Song*
117
Song mode
DRAM ➜ Will be lost when turning the power off!
Song Chain
59
Song Chain mode
DRAM ➜ Will be lost when turning the power off!
Pattern*
106
Pattern mode
DRAM ➜ Will be lost when turning the power off!
Pattern Chain
115
Pattern Chain mode
DRAM ➜ Will be lost when turning the power off!
Phrase (Pattern)
110
Pattern mode
DRAM ➜ Will be lost when turning the power off!
Arpeggio
130
Song mode, Pattern mode
Flash ROM
Master
136
Master mode
Flash ROM
Waveform**
94
Sampling mode
DIMM (DRAM) ➜ Will be lost when turning the power off!
Mixing Template***
103
Song Mixing mode, Pattern Mixing mode
Flash ROM
System settings
185
Utility mode
Flash ROM
Includes the Mixing settings (pages 103, 127)
** If you create the User Voices or Sample Voices by using the Sampling function, the corresponding Waveforms can be saved automatically by
saving the User Voice data or Song/Pattern data to the SmartMedia/USB storage device.
*** Song Mixing/Pattern Mixing can be stored as Song/Pattern data and as a Mixing Template (which are not associated with a specific Song/Pattern).
n
For details about the data types you can create on this instrument, the internal memory locations to which they are stored, and file types when saving the
created data to the SmartMedia/USB storage device, refer to “Memory Structure” on page 186.
CAUTION
Data of up to 128 MB can be saved to a SmartMedia card inserted to the CARD slot on the rear panel. Yamaha recommends the use of a large-capacity USB
storage device, since you may want to save data more 128 MB — especially if you’ve installed optional DIMMs (page 289) and are using the Sampling feature.
Owner’s Manual
27
About data storage to SmartMedia cards and USB storage devices
Using the SmartMedia™* cards
Be sure to handle SmartMedia cards with care. Follow the important precautions below.
* SmartMedia is a trademark of Toshiba Corporation.
■ Compatible SmartMedia card Type
Setting Up
3.3V (3V) SmartMedia cards can be used. 5V type
SmartMedia cards are not compatible with this instrument.
■ Memory Capacity
There are seven types of SmartMedia cards: 2MB/4MB/8MB/
16MB/32MB/64MB/128MB. Keep in mind that only
SmartMedia cards conforming to SSFDC standards (bearing
the SmartMedia logo) can be used.
■ Inserting/Removing SmartMedia cards
Inserting a SmartMedia card
With the gold-plated contact side facing down, insert the
SmartMedia card firmly but carefully into the card slot, as far
as it will go. Be careful not to insert the card upside down or
back side in. Also, do not insert anything else into the slot,
other than a proper SmartMedia card.
Removing a SmartMedia card
Before removing the SmartMedia card, be sure to confirm that
the SmartMedia card is not in use, or it is not being accessed
by the instrument. Then pull the SmartMedia card out slowly
by hand. If the SmartMedia card is being accessed*, a
message indicating that it is in use appears on the
instrument’s display.
* This includes all save, load, format, delete and create directory
operations for the SmartMedia card. Also, be aware that the
instrument will automatically access the SmartMedia card to check
the media type when it is inserted while the instrument is turned on.
■ About the SmartMedia cards
Handle SmartMedia cards with care!
• SmartMedia cards are very sensitive and can be damaged
by static electricity. Before handling a SmartMedia card,
make sure to discharge any static electricity in your body by
touching something made of metal, such as a door knob or
aluminum blinds.
• Be sure to remove the SmartMedia card from the CARD slot
when it is not in use for a long time.
• Do not expose the SmartMedia card to direct sunlight,
extremely high or low temperatures, or excessive humidity,
dust or liquids.
• Do not place heavy objects on a SmartMedia card or bend
or apply pressure to the SmartMedia card in any way.
• Never touch the gold-plated contact with your fingers or let
it come in contact with any other metallic or hard surface.
• Do not expose the SmartMedia card to magnetic fields,
such as those produced by televisions, speakers, motors,
etc., since magnetic fields can partially or completely erase
data on the SmartMedia card, rendering it unreadable.
• Do not attach anything other than the provided labels to a
SmartMedia card. Also make sure that labels are attached
in the proper location.
Protecting your data (write-protect)
To prevent important data from being inadvertently erased,
apply the write-protect seal (provided with the SmartMedia
card) to the circle spot indicated on the card. If you are
saving data to the card, make sure to remove the write-protect
seal. Do not reuse a seal that has been removed; it may not
stick properly to the card and could come off in the slot.
CAUTION
Never attempt to remove the SmartMedia card or turn the power off during
accessing. Doing so can damage the data on the instrument/SmartMedia
card and possibly the SmartMedia card itself.
■ Formatting SmartMedia cards
Before using a SmartMedia card with your instrument it must
first be formatted (page 268). Once it is formatted all data on
it will be erased. Make sure that no important data is
contained on the card beforehand.
n
The SmartMedia cards formatted with this instrument may be
unusable with other instruments or devices.
■ Data Backup
For maximum data security Yamaha recommends that you
keep two copies of important data on separate SmartMedia
cards. This gives you a backup if one SmartMedia card is lost
or damaged.
■ Burglarproof Lock
This instrument is equipped with a burglarproof lock for the
SmartMedia card. If necessity arises, install the burglarproof
lock onto the instrument.
To install the burglarproof lock:
1
2
28
Owner’s Manual
Remove the metallic part using a Phillips screwdriver.
Turn the metallic part upside down and replace it in the
new position.
About data storage to SmartMedia cards and USB storage devices
Using USB storage devices
When using USB storage devices, make sure to connect them to the USB TO DEVICE connector, and follow the important
precautions below.
■ Compatible USB devices
The MOTIF ES does not necessarily support all commercially
available USB storage devices. Yamaha cannot guarantee
operation of USB storage devices that you purchase. Before
purchasing USB storage devices, please consult your
Yamaha dealer, or an authorized Yamaha distributor (see list
at end of the Owner’s Manual) for advice, or see the following
page:
http://www.yamahasynth.com/
n
Although CD-R/W drives can be used to load data to the instrument,
they cannot be used for saving data. However, you can transfer data
to a computer and save data to a CD using the CD-R/W drive on the
computer.
■ Formatting USB storage media
When a USB storage device is connected or media is
inserted, a “Disk or card unformatted” message may appear
in the LCD display, indicating that the device or media must
be formatted for use. Execute the Format operation in the File
mode (page 268).
USB connector types
There are two different types of USB connectors, and the
rear panel of the instrument features both. Take care not
to confuse the two.
■ USB TO HOST connector
This type is used to connect the instrument to a
computer, and allows you to transfer MIDI data between
the devices. Unlike MIDI, USB can handle multiple ports
via a single cable.
USB cables have different connectors on each end: the
A type and the B type. Connect the A type to your
computer and the B type to the USB TO HOST
connector.
■ USB TO DEVICE connector
This type is used to connect the instrument to a USB
storage device, and allows you to save data you’ve
created to the connected device, as well as load data
from the connected device. Save and Load operations
are executed in the File mode.
USB cables have different connectors on each end: the
A type and the B type. Connect the A type to the USB TO
HOST connector and the B type to the USB storage
device.
Precautions when using the USB TO DEVICE
connector
MIDI data transfer
Connecting to a computer
CAUTION
Saving/Loading data in
the File mode (page 266)
• Never turn the USB device’s power on/off and never plug/unplug
the USB cable when the connected USB storage device is the selfpowered type. Doing so may result in the operation of the
synthesizer “freezing” or hanging up.
• While the instrument is accessing data (such as in the Save, Load
and Delete operations in the File mode), do NOT unplug the USB
cable, do NOT remove the media from the device, and do NOT turn
the power off to either device. Doing so may corrupt the data on
either or both devices.
Setting Up
Connect only a USB storage device (such as hard disk, CDROM, flash disk and other drives) to the USB TO DEVICE
connector. Other devices such as a computer keyboard or
mouse cannot be used.
Both bus-powered (powered by the host device) or selfpowered (battery or external power supply) types can be
used.
B type
USB TO HOST
connector
A type
USB TO DEVICE
connector
Connecting to a
USB storage device
(hard disk, CD-ROM,
flash disk and other
drives)
MUSIC PRODUCTION SYNTHESIZER
■ Protecting your data (write-protect)
To prevent important data from being inadvertently erased,
apply the write-protect provided with each storage device or
media.
If you are saving data to the USB storage device, make sure
to remove the write-protect.
MOTIF ES
n
The computer cannot access the USB storage device
connected to the MOTIF ES’s USB TO DEVICE connector, even
if connecting as shown above. Only from the File mode on the
instrument itself can you access the data on the USB storage
device connected to the USB TO DEVICE connector.
n
Though the MOTIF ES supports the USB 1.1 standard, you can
connect and use a USB 2.0 storage device with the MOTIF ES.
However, note that the transfer speed complies to USB 1.1.
Owner’s Manual
29
About data storage to SmartMedia cards and USB storage devices
Basic settings for using SmartMedia or a USB
storage device
1
2
Press the [FILE] button to enter the File mode.
Setting Up
Press the [SF1] CURRENT button to check
which device is selected.
When Current is set to “CARD”
The instrument recognizes the SmartMedia inserted to the
Card slot.
When Current is set to “USB”
The instrument recognizes the USB storage device.
Volume Label of the selected device
TIP Backing up your data to a computer
• Backing up MOTIF ES data to a computer
Once you’ve saved data to a SmartMedia card or USB
storage device, you can copy the data to the hard disk
of your computer, then archive and organize the files
as desired. Simply reconnect the device as shown
below.
Saving created data to the USB storage device in the File mode (page 266)
3
Set Current to “CARD” if you wish to access the
SmartMedia, or set Current to “USB” if you wish to
access the USB storage device.
If the USB storage device supports multiple types of media,
you’ll need to set the Slot number after setting Current to
“USB.” To check which media corresponds to which USB
number (1 or 2) and which slot number, see the Volume Label
or Partition setting in this window.
Once you’ve made the settings above, you can perform
any of the other File operations (in the bottom tabs, called
up with the [F2] - [F5] buttons).
n
When a USB storage device is connected or media is inserted, a
“Disk or card unformatted” message may appear in the LCD display,
indicating that the device or media must be formatted for use.
Execute the Format operation in the File mode (page 268).
• Loading data from a computer to the MOTIF ES
Data and files contained on the hard disk of a computer
can be loaded to the MOTIF ES by copying them first to
the storage media, then transferring them to the
instrument.
In this way, you can use data created on the computer or
another instrument with the MOTIF ES. For example, you
can load Standard MIDI files to the instrument as Song/
Pattern data, or import audio WAV or AIFF files for use as
waveform data.
Copying the files of the hard disk of the computer to the USB storage device
USB storage device
Computer
USB TO DEVICE connector
MUSIC PRODUCTION SYNTHESIZER
USB storage device
Computer
MUSIC PRODUCTION SYNTHESIZER
MOTIF ES
Disconnect the USB storage
device from the synthesizer and
connect it to the computer
MOTIF ES
Disconnect the USB storage
device from the computer and
connect it to the synthesizer
Backing up data to a computer and organizing files/folders
Loading files on the USB storage device to the synthesizer in the
File mode (page 266)
USB storage device
Computer
MUSIC PRODUCTION SYNTHESIZER
USB storage device
Computer
USB TO DEVICE connector
MUSIC PRODUCTION SYNTHESIZER
MOTIF ES
n
30
Though the example here shows the use of a connected USB
storage device, you can also back up your created data that
you’ve saved to a SmartMedia inserted to the CARD slot on
the rear panel.
Owner’s Manual
MOTIF ES
Connections
Connections
Connecting to External Audio Equipment
Setting Up
Since the MOTIF ES has no built-in speakers, you’ll need an external audio system or a set of stereo headphones to properly
monitor it. The following illustrations show various connection examples; use the one most similar to your intended setup.
Audio Output
■ Connecting stereo powered speakers (analog output)
For optimum, accurate reproduction of the instrument’s rich sounds, effects and full stereo image, use a pair of powered
speakers. Connect the powered speakers to the OUTPUT L/MONO and R jacks on the rear panel.
Powered speaker (Left)
Powered speaker (Right)
Headphones
OUTPUT L/MONO
OUTPUT R
PHONES
MUSIC PRODUCTION SYNTHESIZER
MOTIF ES
n
When using just one powered speaker, connect it to the OUTPUT L/MONO jack on the rear panel.
■ Connecting a mixer
There are extra audio outputs in addition to the OUTPUT (L/MONO and R) jacks. Connect these outputs to a mixer for separately
controlling the analog outputs of Drum keys or parts (Performance, Song, and Pattern). You can expand the output capabilities
by installing the optional I/O board (AIEB2) or the optional mLAN16E. Installing the AIEB2 adds six extra OUTPUT jacks, while
installing the mLAN16E expands the output capabilities with fourteen addition digital outputs, over a single FireWire (IEEE 1394)
connector/cable. For details on how to set the Part/output jack assignments, refer to the chart below.
Outputting separate notes
(keys) of a Drum Voice
Determined from the OutputSel parameter (as selected below) as Drum Voice data.
Page 203
[VOICE] ➞ Drum Voice selection ➞ [EDIT] ➞ Drum Key selection ➞ [F1] OSC ➞ [SF2] OUTPUT ➞ OutputSel
This setting is available for the Part for which the OutputSel parameter is set to “drum” in another mode
(e.g., Performance or Song).
Outputting separate Parts
of a Performance
Determined from the OutputSel parameter (as selected below).
Page 218
[PERFORM] ➞ Performance selection ➞ [EDIT] ➞ Part selection ➞ [F2] OUTPUT ➞ [SF3] SELECT ➞ OutputSel
Assigning an audio input Part of a Performance to an output is done from the OutputSel parameter (as selected
below).
[PERFORM] ➞ Performance selection ➞ [EDIT] ➞ [COMMON] ➞ [F5] AUDIO IN ➞ [SF1] OUTPUT ➞ OutputSel
Outputting separate Parts
of a Song
Determined from the OutputSel parameter (as selected below).
Page 235
[SONG] ➞ Song selection ➞ [MIXING] ➞ [EDIT] ➞ Part selection ➞ [F2] OUTPUT ➞ [SF3] SELECT ➞ OutputSel
Assigning an audio input Part of a Song to an output is done from the OutputSel parameter (as selected below).
[SONG] ➞ Song selection ➞ [MIXING] ➞ [EDIT] ➞ [COMMON] ➞ [F5] AUDIO IN ➞ [SF1] OUTPUT ➞ OutputSel
Outputting separate Parts
of a Pattern
Determined from the OutputSel parameter (as selected below).
Page 235
[PATTERN] ➞ Pattern selection ➞ [MIXING] ➞ [EDIT] ➞ Part selection ➞ [F2] OUTPUT ➞ [SF3] SELECT ➞
OutputSel
Assigning an audio input Part of a Pattern to an output is done from the OutputSel parameter (as selected below).
[PATTERN] ➞ Pattern selection ➞ [MIXING] ➞ [EDIT] ➞ [COMMON] ➞ [F5] AUDIO IN ➞ [SF1] OUTPUT ➞ OutputSel
Owner’s Manual
31
Connections
The following settings can be made from the parameter pages listed above.
LCD
Output jacks
Stereo/Mono
LCD
Output jacks
Stereo/Mono
Setting Up
L&R
OUTPUT L and R
Stereo
asL
ASSIGNABLE OUTPUT L
Mono
asL&R
ASSIGNABLE OUTPUT L and R
Stereo
asR
ASSIGNABLE OUTPUT R
Mono
as1&2
ASSIGNABLE OUTPUT 1 and 2
Stereo (1: L, 2: R) *
as1
ASSIGNABLE OUTPUT 1
Mono *
as3&4
ASSIGNABLE OUTPUT 3 and 4
Stereo (3: L, 4: R) *
:
as5&6
ASSIGNABLE OUTPUT 5 and 6
Stereo (5: L, 6: R) *
as6
ASSIGNABLE OUTPUT 6
Mono *
as7&8
ASSIGNABLE OUTPUT 7 and 8
Stereo (7: L, 8: R) **
as7
ASSIGNABLE OUTPUT 7
Mono **
as9&10
ASSIGNABLE OUTPUT 9 and 10
Stereo (9: L, 10: R) **
:
as11&12
ASSIGNABLE OUTPUT 11and 12
Stereo (11: L, 12: R) **
as13&14
ASSIGNABLE OUTPUT 13 and 14
Stereo (13: L, 14: R) **
as14
:
:
:
:
ASSIGNABLE OUTPUT 14
Mono **
* Available only when the optional AIEB2 board or mLAN16E board has been installed.
** Available only when the optional mLAN16E board has been installed.
Connection example when the optional AIEB2 board has been installed (analog output)
Headphones
OUTPUT L
OUTPUT L/MONO
OUTPUT R
OUTPUT R
ASSIGNABLE OUTPUT L
ASSIGNABLE OUTPUT R
Pro R3
PHONE jack
Mixer
Amplifier
AIEB2
MUSIC PRODUCTION SYNTHESIZER
Speaker
(Left)
Speaker
(Right)
MOTIF ES
Connection example when the optional mLAN16E board has been installed (analog and digital output)
Headphones
OUTPUT L
OUTPUT L/MONO
OUTPUT R
OUTPUT R
ASSIGNABLE OUTPUT L
ASSIGNABLE OUTPUT R
IEEE1394 cable
PHONE jack
Mixer
Amplifier
mLAN16E
MUSIC PRODUCTION SYNTHESIZER
Speaker
(Left)
Speaker
(Right)
MOTIF ES
n
32
About the main output jacks and the Assignable Output jacks
• Connecting a set of headphones to the PHONES jack does not affect the sound output from the OUTPUT L/MONO and R jacks. The sound monitored
through the headphones is identical to the sound of the OUTPUT L/MONO and R jacks.
• Any parts assigned to the ASSIGNABLE OUTPUT jacks (including those of the optional AIEB2 interface or mLAN16E interface) will not be output through
the OUTPUT L/MONO and R jacks or PHONES jack.
• The System Effects (Reverb, Chorus), the Master EQ, and the Master Effect are not applied to the sound output through the ASSIGNABLE OUTPUT jacks
(including those of the optional AIEB2 interface or mLAN16E interface). (Only the Part EQ and the Insertion Effect are applied.)
Owner’s Manual
Connections
■ Digital Output using the optional AIEB2
When the optional AIEB2 board has been installed to the rear panel, the sound output through the OUTPUT jacks by analog can
also be output by digital through the OPTICAL OUTPUT jack and the DIGITAL OUTPUT jack. Using these digital output jacks,
you can record the keyboard performance or Song/Pattern playback of this synthesizer to external media (e.g., an MD recorder)
with exceptionally high-quality sound.
Recording
Setting Up
Optical cable
Coaxial cable
Recording
OPTICAL OUTPUT
AIEB2
DIGITAL
INPUT
DIGITAL OUTPUT
OPTICAL
INPUT
MUSIC PRODUCTION SYNTHESIZER
DAT
DAT
DAT or CD recorder
MOTIF ES
n
The digital output resolution of the optionally installed AIEB2 board can be set in the UTILITY mode with the following operation.
[UTILITY] ➞ [F2] I/O ➞ [SF2] OUTPUT
Page 261
Audio Input
■ Connecting a microphone or other audio equipment to the A/D INPUT jacks (analog input)
External instruments and audio equipment, such as a microphone, guitar, bass, CD player or even another synthesizer/keyboard
can be connected to the A/D INPUT jacks. This audio can be used as input for the AUDIO IN Part in the Performance/Song/
Pattern mode, and can be used to create samples with the Sampling function (page 172). With the use of an optional PLG100VH Plug-in Board, you can even apply an automatic vocal harmony effect to the microphone sound.
Stereo audio equipment
(CD player, etc.)
L
Microphone (MONO)
R
L
A/D INPUT L
A/D INPUT R
MUSIC PRODUCTION SYNTHESIZER
MOTIF ES
n
Bass
Apply effects to the
microphone sound by
using the Vocal
Harmony Plug-in board
(PLG100-VH)
A/D INPUT L
MUSIC PRODUCTION SYNTHESIZER
MOTIF ES
Guitar
A/D INPUT L
MUSIC PRODUCTION SYNTHESIZER
MOTIF ES
MUSIC PRODUCTION SYNTHESIZER
MOTIF ES
Depending on the connected equipment, change the parameter settings in the Utility mode as needed, with the following operations.
• When the output level of the connected equipment (such as a microphone, guitar, bass) is low:
[UTILITY] ➞ [F2] I/O ➞ [SF1] INPUT ➞ Mic/Line = mic
• When the output level of the connected equipment (such as a synthesizer, keyboard, CD player) is high:
[UTILITY] ➞ [F2] I/O ➞ [SF1] INPUT ➞ Mic/Line = line
n
After the above connections are complete, you may need to adjust the input gain of the audio source using the GAIN knob (page 73).
n
The audio input sound is not available in the Voice mode because the Voice mode does not have an AUDIO IN Part.
Owner’s Manual
33
Connections
■ Digital Input using the optional AIEB2
By installing the optional AIEB2 I/O expansion board, you can directly record digital audio from digital sources — such as a CD
player or DAT deck. For maximum compatibility and flexibility, the AIEB2 board includes two different input types: OPTICAL
(optical fiber) and DIGITAL (coaxial cable).
Coaxial cable
Optical cable
Sampling
Setting Up
AIEB2
Sampling
OPTICAL
OUTPUT
OPTICAL INPUT
AIEB2
MUSIC PRODUCTION SYNTHESIZER
MUSIC PRODUCTION SYNTHESIZER
DAT
DAT
DAT or CD recorder
DAT or CD recorder
MOTIF ES
n
DIGITAL
OUTPUT
DIGITAL INPUT
MOTIF ES
Either one of the connectors (OPTICAL or DIGITAL) can be used; however, both cannot be used at the same time. Select which connector is used for digital
input in the Utility mode with the following operation.
[UTILITY] ➞ [F2] I/O ➞ [SF1] INPUT ➞ Digital Page 261
■ Digital Input using the optional mLAN16E
The optional mLAN16E allows you to connect this instrument to an mLAN device or computer, giving you high-speed audio and
MIDI data transfer between devices with just one IEEE 1394 cable connection.
IEEE1394 cable
mLAN device
(Data Rate S400)
Computer with an IEEE1394 interface
mLAN16E
IEEE1394
MUSIC PRODUCTION SYNTHESIZER
MOTIF ES
Connecting External MIDI Instruments
With a standard MIDI cable (available separately), you can connect an external MIDI device, and control it from the MOTIF ES.
Likewise, you can use an external MIDI device (such as a keyboard or sequencer) to control the MOTIF ES sounds. Below are
several different MIDI connection examples; use the one most similar to your intended setup.
n
Any one of the these interfaces can be used for MIDI data transmission/reception: the MIDI connectors, the mLAN connector (when an optional mLAN16E
has been installed), or the USB connector. However, they cannot be used at the same time. Select which connector is used for MIDI data transfer in the
Utility mode with the following operation.
[UTILITY] ➞ [F5] MIDI ➞ [SF4] OTHER ➞ MIDI IN/OUT Page 265
■ Controlling from an external MIDI keyboard
Use an external keyboard to remotely select and play Voices of the MOTIF ES.
MIDI IN
MIDI OUT
MUSIC PRODUCTION SYNTHESIZER
External MIDI keyboard or synthesizer, such as
the S/SY/EX series
MOTIF ES
34
Owner’s Manual
Connections
MIDI Transmit Channel and Receive Channel
Make sure match the MIDI Transmit Channel of the external MIDI instrument with the MIDI Receive Channel of the MOTIF ES. For
details on setting the MIDI Transmit Channel of the external MIDI instrument, refer to the Owner’s Manual of the MIDI instrument.
For details on setting the MIDI Receive Channel of the MOTIF ES, check the following points.
• In the Voice mode/Performance mode (using the MOTIF ES as a single timbre tone generator)
Setting Up
Check the MIDI Basic Receive Channel with the following operation.
[UTILITY] ➞ [F5] MIDI ➞ [SF1] CH ➞ BasicRcvCh
If necessary, change this parameter to the same number as the MIDI Transmit Channel of the external MIDI instrument.
• In the Song mode/Pattern mode (using the MOTIF ES as a multi-timbral tone generator)
Check the MIDI Receive Channel for each part of the Song/Pattern with the following operation.
[SONG] or [PATTERN] ➞ [MIXING] ➞ [EDIT] ➞ Part selection ➞ [F1] VOICE ➞ [SF2] MODE ➞ ReceiveCh
Change the settings of the desired parts to match the MIDI Transmit Channel settings on the external MIDI instrument. Please note that all
the parts whose MIDI Receive Channel are same as MIDI Transmit Channel of the external MIDI instrument are sounded by your keyboard
performance.
n
The functions of the internal tone generator differ depending on whether the Voice/Performance mode (single timbre, keyboard playback) or the
Song/Pattern mode (multi-timbral, sequencer playback) is selected. For details, see page 163.
■ Controlling an external MIDI keyboard from this synthesizer
This connection lets you sound an external MIDI tone generator (synthesizer, tone generator module, etc.) by playing the MOTIF
ES or playing back the Song/Pattern of the MOTIF ES. Use this connection when you wish to sound the other instrument as well
as the MOTIF ES.
MIDI OUT
MIDI IN
MUSIC PRODUCTION SYNTHESIZER
External MIDI keyboard or synthesizer, such as
the S/SY/EX series
MOTIF ES
TIP Splitting the sound between the MOTIF ES and an external tone generator by MIDI channel (Part 1)
Using the connection example shown above, you can play both instruments and have them separately sound different
parts — for example, having your keyboard performance sound the external instrument while the Song/Pattern plays the
sounds of the MOTIF ES. Check the following points.
• In the Voice mode/Performance mode
You can check the MIDI Transmit Channel at the right corner of the [F1] PLAY display in the Voice Play mode/Performance Play mode.
If necessary, you can change the MIDI Transmit Channel by turning the [TRACK SELECT] button on and entering the desired value with the
[NUMBER] buttons.
When you wish to sound only the external tone generator, set Master Volume to “0” or set Local Control to “off” with the following operation.
[UTILITY] ➞ [F5] MIDI ➞ [SF2] SWITCH ➞ LocalCtrl
About how to set the MIDI Receive Channel of the external MIDI instrument, refer to the Owner’s Manual of the external MIDI instrument.
• In the Song mode/Pattern mode
You can check the MIDI Transmit Channel for each track of the current Song/Pattern with the following operation. Change this setting as
necessary.
[SONG] or [PATTERN] ➞ [F3] TRACK ➞ [SF1] CHANNEL
Alternately, you can set the output destination (Internal or external MIDI tone generator) for each track from the following display.
[SONG] or [PATTERN] ➞ [F3] TRACK ➞ [SF2] OUTSW
In this case, you’ll need to set the external MIDI tone generator to multi-timbral operation and set the MIDI Receive Channel for each part.
For details, refer to the owner’s manual of the external MIDI tone generator.
Alternately, you can have your keyboard performance split and assigned to different MIDI channels by using the Zone settings in the
Master mode. (See page 137.)
n
The functions of the internal tone generator differ depending on whether the Voice/Performance mode (single timbre, keyboard playback) or the
Song/Pattern mode (multi-timbral, sequencer playback) is selected. For details, see page 163.
Owner’s Manual
35
Connections
■ Recording and playback using an external MIDI sequencer
In this connection example, song data on the external MIDI sequencer plays the sounds of the tone generator on the MOTIF ES.
The external song data can also be recorded to Song/Pattern tracks on the MOTIF ES.
MIDI IN
MIDI OUT
MIDI IN
MIDI OUT
Setting Up
MUSIC PRODUCTION SYNTHESIZER
Sounding the MOTIF ES tone generator from a
MIDI sequencer, such as the QX/QY series,
RM1x, RS7000
MOTIF ES
In this case, make sure that the MOTIF ES is set to the Song mode or Pattern mode. If the instrument is set to the Voice mode or
to the Performance mode in which multi-channel MIDI messages are not recognized, the external sequence data (containing
multi-channel data) will not play back properly on the MOTIF ES. In addition, you may have to make certain MIDI
synchronization settings (see below).
Synchronizing with an external MIDI instrument (Master and Slave)
The Songs and Patterns of this instrument can be synchronized to the playback of an external MIDI sequencer, To do this,
one device must be set to internal clock operation and the other (as well as all other devices to be controlled) to external
clock. The device set to internal clock serves as a reference for all connected devices, and is referred to as the “master”
instrument. The connected devices set to external clock are referred to as “slaves.”
When recording playback data of the external MIDI sequencer to a Song/Pattern of the MOTIF ES in the above connection
example, make sure to set the MIDI synchronization parameter to the use of external clock in the Utility mode with the
following operation.
[UTILITY] ➞ [F5] MIDI ➞ [SF3] SYNC ➞ MIDI Sync = MIDI
n
For details on how to record the playback data of an external MIDI sequencer to a Song on the MOTIF ES, see page 143.
■ Controlling another MIDI instrument via MIDI THRU
If you have more synthesizers and tone generators than MIDI ports, you can use the MIDI THRU jack to connect and control
additional devices. Here, the playback data of a MIDI sequencer is used to play the sounds of another MIDI instrument
(connected to the MIDI THRU connector) as well as the MOTIF ES. The MIDI THRU connector simply redirects any received
MIDI data (via MIDI IN) to connected instrument.
MIDI OUT
MIDI IN
MIDI THRU
MIDI IN
MIDI IN
MIDI OUT
C
MUSIC PRODUCTION SYNTHESIZER
MIDI tone generator
MIDI synthesizer
MIDI sequencer such as the QY/
QX series, RM1x, RS7000
MOTIF ES
In this case, make sure that the MOTIF ES is set to the Song mode or Pattern mode. If the instrument is set to the Voice mode or
to the Performance mode in which multi-channel MIDI messages are not recognized, the external sequence data (containing
multi-channel data) will not play back properly on the MOTIF ES. In addition, you may have to make certain MIDI
synchronization settings (see below). Likewise, make sure to set the MIDI tone generator (connected to the MIDI THRU
connector) to the multi-timbral mode.
Beside, you need to set the MIDI synchronization related parameters of the MOTIF ES to use of the external clock from the
following display.
[UTILITY] ➞ [F5] MIDI ➞ [SF3] SYNC ➞ MIDI Sync = MIDI
36
Owner’s Manual
Connections
TIP Splitting the sound between the MOTIF ES and an external tone generator by MIDI channel (Part 2)
In this connection example shown above, you can split the sequence playback between the MOTIF ES and another
instrument connected to MIDI THRU and have them sound different parts.
For example, on the MOTIF ES assign the Song/Pattern parts to MIDI Receive Channels 1 through 9 with the following
operation, and set the rest of the parts (not to be sounded) to off.
Setting Up
[SONG] or [PATTERN] ➞ [MIXING] ➞ [EDIT] ➞ Part selection ➞ [F1] VOICE ➞ [SF2] MODE ➞ ReceiveCh
On the connected MIDI tone generator, assign the parts to be sounded to MIDI Receive Channels 10 through 16, and set
the rest of the parts (not to be sounded) to off.
■ Using an mLAN interface (when an optional mLAN16E has been installed)
The connection example shown on page 32 lets you transfer MIDI messages as well as audio data. The mLAN connection to
computer (page 39) allows you to transfer both audio and MIDI data between your MOTIF ES and a computer.
■ Connecting to an MTR (Multi Track Recorder)
Since this synthesizer can receive the MTC (MIDI Time Code) and can transmit the MMC (MIDI Machine Control), you can
produce music by synchronizing to a MTC- or MMC-compatible multi-track.
You can use two types of MTR control (illustrated below) by setting the MIDI Sync to MTC in the Utility mode, with the following
operation.
[UTILITY] ➞ [F5] MIDI ➞ [SF3] SYNC ➞ MIDI Sync = MTC
n
MTC and MMC are available only in the Song mode.
• Synchronizing the MOTIF ES to the MTC signal from an external MTR
After receiving the MTC signal transmitted from the MTR by starting the MTR playback, the Song of the MOTIF ES will start at the
moment the MTC Start Offset time elapses (set from the display [UTILITY] ➞ [F5] MIDI ➞ [SF3] SYNC ➞ MTC StartOffset in the
Utility mode).
MIDI cable
MTC OUT
MIDI IN
MUSIC PRODUCTION SYNTHESIZER
AW4416, etc.
MOTIF ES
n
MTC (MIDI Time Code) allows simultaneous synchronization of multiple audio devices via standard MIDI cables. It includes data corresponding to hours,
minutes, seconds, and frames. The MOTIF ES does not transmit MTC. An instrument such as the Yamaha AW4416 is necessary as an MTC master.
• Controlling an MTR by using MMC transmitted from the MOTIF ES
You can control the start/stop and fast forward/rewind of the MMC-compatible MTR from the SEQ TRANSPORT buttons on the
front panel of this synthesizer, outputting MMC messages via MIDI.
MIDI cable
MIDI IN
SEQ TRANSPORT
MIDI OUT
MIDI IN
MIDI OUT
MUSIC PRODUCTION SYNTHESIZER
LOCATE
1
2
MOTIF ES
n
AW4416, etc.
MMC (MIDI Machine Control) allows remote control of multitrack recorders, MIDI sequencers, etc. A MMC-compatible multitrack recorder, for example, will
automatically respond to start, stop, fast forward, and rewind operations performed on the controlling sequencer, thus keeping playback of the sequencer
and multitrack recorder aligned.
Owner’s Manual
37
Connections
Connecting to a Computer
Connecting this instrument to a computer via MIDI opens up a whole world of musical possibilities — such as using sequencer
software to record and play back compositions with the MOTIF ES sounds or using the included Voice Editor software to create
and edit your own custom Voices.
n
Setting Up
When connecting to a Macintosh computer (with the exception of Mac OS X), make sure to install OMS to the computer as well as the desired software
(sequence software, Voice Editor, etc.). For details, refer to the separate Install Guide.
Using a USB TO HOST connector
When connecting via this method, make sure to set the following parameter to “USB.”
[UTILITY] ➞ [F5] MIDI ➞ [SF4] OTHER ➞ MIDI IN/OUT = USB
USB cable
USB TO HOST
MUSIC PRODUCTION SYNTHESIZER
Computer with a USB interface
MOTIF ES
n
USB cables have different connectors on each end: the A type and the B type. When connecting this synthesizer to the computer, connect the A type to your
computer and the B type to the USB TO HOST connector.
n
When connecting to a computer (Windows/Macintosh) via USB, make sure to install the USB-MIDI driver to the computer as well as the desired software
(sequence software, Voice Editor, etc.). For details, refer to the separate Installation Guide.
n
If you are using the Remote Control function to control operations on a computer sequencer, you should make connections with a USB cable.
MIDI channel and MIDI port
While a MIDI cable can transfer MIDI messages of 16 channels simultaneously, a USB cable can transfer MIDI messages of
more than 16 channels simultaneously.
MIDI data is assigned to one of sixteen channels, and this synthesizer is capable of simultaneously playing sixteen
separate parts, via the sixteen MIDI channels. However, the sixteen-channel limit can be overcome by using separate MIDI
“ports,” each supporting sixteen channels.
A USB cable can handle MIDI data on up to eight ports, letting you use up to 128 channels (8 ports x 16 channels) on your
computer.
38
n
This synthesizer can recognize and use up to three ports at the same time.
n
When using a USB connection, make sure to match the MIDI transmit port and the MIDI receive port as well as the MIDI transmit channel and the MIDI
receive channel.
Owner’s Manual
Connections
TIP About the Thru Port Setting
MIDI ports can be used to divide playback among multiple synthesizers, as well as expand the MIDI channel capacity
beyond sixteen.
In the example below, a separate synthesizer connected to the MOTIF ES is played by MIDI data via port 5, as set in the
ThruPort parameter with the following operation.
MIDI IN
Only MIDI data over port 5 will be
transmitted through the MOTIF ES to
this tone generator.
MIDI cable
Setting Up
[UTILITY] ➞ [F5] MIDI ➞ [SF4] OTHER ➞ ThruPort = 5
USB cable
MIDI OUT
USB TO HOST
Outputting the MIDI data
via multiple ports
MUSIC PRODUCTION SYNTHESIZER
Only MIDI data over ports 1, 2, and 3 are recognized. For details on the
relationship between the MIDI port and the tone generator block, see page 163.
Precautions when using the USB TO HOST connector
CAUTION
When connecting the computer to the USB TO HOST connector, make sure to observe the following points.
If you do not observe these points, you risk freezing the computer, corrupting the data, and losing the data. If the computer or the instrument
freezes, turn the power to the instrument off or restart the computer.
• Before connecting the computer to the USB TO HOST connector, exit from any power-saving mode (such as suspended, sleep, standby) of the
computer.
• Before turning on the power to the instrument, connect the computer to the USB TO HOST connector.
• Execute the following before turning the power to the instrument on/off or plugging/unplugging the USB cable to/from the USB TO HOST
connector.
- Quit any open applications (such as Voice Editor, Multi Part Editor, and SQ01).
- Make sure that data is not being transmitted from the instrument. (Data is transmitted only by playing notes on the keyboard or playing back a
song.)
• While a USB device is connected to the instrument, you should wait for three seconds or more between these operations: When turning the power
of the instrument off then on again, or when alternately connecting/disconnecting the USB cable.
Using an IEEE1394 interface (when an optional mLAN16E has been installed)
By installing an optional mLAN16E interface, you can connect a computer (with an IEEE 1394 interface) to this instrument via a
single cable.
When connecting via this method, make sure to set the following parameter to “mLAN.”
[UTILITY] ➞ [F5] MIDI ➞ [SF4] OTHER ➞ MIDI IN/OUT = mLAN
IEEE1394 cable
mLAN16E
mLAN connector
MUSIC PRODUCTION SYNTHESIZER
MOTIF ES
Computer with an IEEE1394 interface
The mLAN connection using an IEEE1394 cable lets you transfer both MIDI data and audio data. For example, you can record
your keyboard performance and Song/Pattern playback to hard disk of the computer as audio data (page 153).
Owner’s Manual
39
Connections
Using a MIDI interface
• Using the computer’s MIDI interface
MIDI cable
MIDI IN
MIDI OUT
Setting Up
MUSIC PRODUCTION SYNTHESIZER
MIDI IN
MIDI OUT
Computer with MIDI interface
MOTIF ES
• Using an external MIDI interface
MIDI cable
MIDI IN
MIDI interface
Serial port (modem or printer port)
or USB port
MIDI OUT
MUSIC PRODUCTION SYNTHESIZER
MOTIF ES
Computer
n
Please use the appropriate MIDI interface for your computer.
n
If you are using a computer that has a USB interface, make sure to connect the computer and this synthesizer by USB. (The data transfer rate is faster than
MIDI and you’ll have access to multiple MIDI ports.)
Selecting Voices from a computer
You can select Voices on this instrument from your computer software by specifying the following MIDI messages.
• Bank Select MSB
• Bank Select LSB
• Program Change
For details on what values are assigned to the Voice Bank/Number of this synthesizer, refer to the separate Data List.
40
Owner’s Manual
Connections
Local On/Off – when Connected to a Computer
Setting Up
When connecting this synthesizer to a computer, the keyboard performance data is generally sent to the computer, and
then returned from the computer to play the tone generator block. If the Local Control in the Utility mode is set to “on,” a
“double” sound may result, since the tone generator is receiving performance data from both the keyboard directly and the
computer. Use the setting suggestions below as a guideline; specific instructions may differ depending on your computer
and the software used.
• When MIDI “Echo” (MIDI through) is set to on the software/computer:
Computer (SQ01, etc.)
USB TO HOST
MOTIF ES
IN
OUT
OUT
Tone generator
block
Keyboard
[UTILITY] ➞ [F5] MIDI ➞ [SF2] SWITCH ➞ LocalCtrl = off
n
IN
MIDI Echo (MIDI thru) = on
When transmitting or receiving System Exclusive data (such as with the Bulk Dump function), use the setting example below, making sure that MIDI
“Echo” (MIDI through) on the computer software is set to “off.”
• When MIDI “Echo” (MIDI through) is set to off the software/computer:
Computer (SQ01, etc.)
USB TO HOST
MOTIF ES
Tone generator
block
OUT
IN
Keyboard
[UTILITY] ➞ [F5] MIDI ➞ [SF2] SWITCH ➞ LocalCtrl = on
n
MIDI Echo (MIDI thru) = off
Although not indicated in the illustration above, the MOTIF ES actually receives and responds to MIDI data from the computer application
(sequencer), regardless of the Local Control setting on the MOTIF ES.
* MIDI “Echo” is a function on sequencers that takes any data received via the MIDI IN and “echoes” it (or sends it as is) through the MIDI
OUT. In some software, this function is also called “MIDI Thru.”
n
For details about the MIDI Echo, refer to the owner’s manual of your particular software.
Owner’s Manual
41
Connections
Connecting Various Controllers
The MOTIF ES features several controller jacks on the rear panel — letting you independently control various aspects of the
sound and a variety of functions with optional controllers.
FOOT
SWITCH
Setting Up
3.3V
CARD
Plug-in SLOT
FOOT
SWITCH
USB
ON
OFF
AC INLET
mLAN
I/O EXPANSION
TO DEVICE
TO HOST
THRU
MIDI
OUT
IN
BREATH ASSIGNABLE SUSTAIN
FOOT
CONTROLLER
BREATH ASSIGNABLE SUSTAIN
GREEN
YELLOW
ORANGE
2
1
FOOT
CONTROLLER
2
1
ASSIGNABLE OUTPUT
R
L
R
OUTPUT
L /MONO PHONES
A / D INPUT
R
L
GAIN
MOTIF ES rear panel
FC7
FC4 or FC5
BC3
FC4 or FC5
FC7
■ Breath Controller
You can connect an optional Breath Controller (BC3) to the BREATH jack on the rear panel. Then use it to control a large number
of this synthesizer’s parameters, particularly those controlled by a wind player’s breath: dynamics, timbre, pitch and so on. The
Breath Controller is ideally suited for realistic expression with wind instrument type Voices.
n
Breath Controller parameters can be set for each Voice (page 192).
■ Footswitch (assignable)
An optional Yamaha FC4 or FC5 Foot Switch connected to the rear panel FOOT SWITCH ASSIGNABLE jack can be assigned to
a range of parameters. It is suited for switch-type (on/off) controls, such as Portamento Switch, increment/decrement of a Voice
or Performance Number, start/stop of the Sequencer, and holding the Arpeggiator on or off.
n
The parameter assigned to the Footswitch is set in the Utility mode (page 263).
■ Footswitch (sustain)
An optional FC4 or FC5 Footswitch connected to the SUSTAIN jack on the rear panel lets you control sustain — particularly
useful when playing piano and strings voices.
Keep in mind that some sounds may not be suitable for use in all situations with the Sustain footswitch. For example, for organ
sounds that have no natural decay, the sound continues at the same level when holding down the Sustain footswitch.
On the other hand, many sounds benefit from the use of Sustain, such as piano, which has a natural decay when a note is held.
Using Sustain with these kinds of Voices provides a smooth after-sound and gives you expressive control in your performance.
n
The sustain level of the Amplitude EG (page 162) is maintained while holding down the Sustain footswitch, even when releasing your fingers from the keys.
n
You cannot assign a function other than Sustain to the SUSTAIN jack.
■ Foot Controller
Optional Foot Controllers (such as the FC7), connected to the FOOT CONTROLLER jacks on the rear panel, can be assigned to
a number of controller parameters. By using a foot controller for parameter control, both your hands are left free to play the
keyboard (or to operate other controllers) — exceptionally convenient when you’re playing live.
n
42
Foot Controller parameters can be set for each Voice (page 192).
Owner’s Manual
Turning the power on/off
Turning the power on/off
Power-on Procedure
Setting Up
Once you’ve made all the necessary connections between your MOTIF ES and any other devices, make sure that all volume
settings are turned down all the way to zero. Then turn on the every device in your setup in the order of MIDI masters (senders),
MIDI slaves (receivers), then audio equipment (mixers, amplifiers, speakers, etc.). This ensures smooth signal flow from the first
device to the last (first MIDI, then audio). When powering down the setup, first turn down the volume for each audio devices,
then switch off each device in the reverse order (first audio devices, then MIDI).
When using the MOTIF ES as MIDI receiver:
1
2
3
POWER
ON!!
MUSIC PRODUCTION SYNTHESIZER
MUSIC SYNTHESIZER
Modular Synthesis Plug-in System
MIDI sender
MOTIF ES
Audio equipment (first mixer, then amplifier)
Turning the MOTIF ES on/off
The explanations here apply when audio equipment (amplifier and speaker) is connected to the MOTIF ES.
1
2
Make sure that the external audio equipment is connected to the MOTIF ES properly. Also be sure to set the volume of the
MOTIF ES and the external audio equipment to 0.
Press the POWER switch on the rear panel to turn the MOTIF ES on.
The Opening display (together with the message that confirms the status of the Plug-in Board installation) appears and after
a while, the Master mode display appears.
POWER
ON
OFF
AC INLET
Rear panel of the MOTIF ES
Master mode display
n
At the time this synthesizer is shipped from the factory, the Master mode display will appear when turning the power on. You can change the default display
when turning the power on with the following operation. [UTILITY] → [F1] GENERAL → [SF4] OTHER → PowerOnMode (page 261)
n
Because the Auto Load parameter (page 135) is set to on at the time this synthesizer is shipped from the factory, it takes a short amount of time before the
instrument assumes normal playing status (in which you can play the keyboard).
You can switch the on/off status of the Auto Load function from the [UTILITY] → [F1] GENERAL → [SF5] OTHER display (page 135).
3
4
5
6
Turn the power of the connected audio equipment on.
Raise the sound system volume of the audio equipment and the MOTIF ES gradually to a reasonable level.
If necessary, adjust the legibility of the LCD display by using the LCD Contrast Control.
After turning the power of the audio equipment off or turning down the volume of the audio equipment, turn the MOTIF ES’s
power off.
Owner’s Manual
43
Resetting the User Memory to the Initial Factory Settings
Resetting the User Memory to the Initial Factory Settings
The original factory setting of this synthesizer’s User Memory (page 186) can be restored as follows.
CAUTION
Setting Up
When the factory settings are restored, all the Voice, Performance, Song, Pattern, and system setting in the Utility mode you created will be erased.
Be sure to save all important data to SmartMedia or USB storage device before executing this procedure (pages 85, 91 and 131).
1
Press the [UTILITY] button to enter the Utility mode (the lamp lights).
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
DEMO
COMPARE
2
SCENE STORE
SET LOCATE
Press the [JOB] button to enter the Utility Job mode.
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
DEMO
COMPARE
3
Press the [ENTER] button. (The display prompts you for confirmation.)
n
4
SCENE STORE
SET LOCATE
To cancel the Job, press the [DEC/NO] button.
Press the [INC/YES] button to execute the Job.
After the Job has been completed, a “Completed” message appears and operation returns to the original display.
CAUTION
An “Executing...” or “Please keep power on” message is shown when it takes a short amount of time to execute the Job. Never attempt to turn off the power
while data is being written to Flash ROM (while an “Executing...” or “Please keep power on” message is shown). Turning the power off in this state results
in loss of all user data and may cause the system to freeze (due to corruption of data in the Flash ROM). This means that this synthesizer may not be able
to start up properly, even when turning the power on next time.
n
44
All settings in the Utility mode that are related to the Plug-in boards are stored only to the memory on those respective boards, and not to the User memory
of this synthesizer. Because of this, the Factory Set operation cannot be used to restore settings for those boards.
Owner’s Manual
Modes
Basic Operation
In this section, we’ll take a look at the fundamental operating conventions of the MOTIF ES. Here, you’ll learn the basics – how to
select modes, call up the various functions, change settings, and edit parameter values. Take time to familiarize yourself with
these nuts-and-bolts operations, and you’ll be on your way to mastering the instrument.
Before reading further, familiarize yourself with the basic terms used with the MOTIF ES in the chart below.
Description
Page
Voice
Musical instrument voices
Performance
A program in which multiple Voices are combined in a layer
158
158
Song
Music data consisting of MIDI events
166
Pattern
Rhythm pattern data which consist of MIDI events used for looped playback
167
Sampling
The function that lets you record the audio data (such as your own voice and CD playback sound) and play
those sounds just like any other synthesizer’s Voice.
172
Master
A program which lets you register the settings in each mode – Voice, Performance, Song, and Pattern
136
File
A collection of settings for storing and managing your created data
186
Basic Operation
Term
Modes
Mode Structure
This synthesizer is organized into various modes, each covering a different set of operations and functions.
Keep in mind that there are two basic types of modes, depending on the status of the tone generator block. The first type
includes the Voice and Performance modes, and the internal tone generator is used in single timbre operation — meaning that
only one Voice, or one channel of MIDI data is used. The second type includes the Song and Pattern modes, and the internal
tone generator is used in multi-timbral operation — meaning that several Voices, or multiple MIDI channels are used. Along with
each of these types are sub modes — the Sampling mode and the Utility mode. Remember that the particular displays and
parameters in these two modes differ depending on which type of mode (Voice/Performance or Song/Pattern) was active before
calling up the sub-mode. In addition to the above mentioned, there are two special modes. The Master mode lets you memorize
your desired settings in each mode (Voice/Performance/Song/Pattern) and recall them instantly anytime you need them with a
single button. The File mode lets you manage your created data.
Keyboard Playback mode (single timbre tone generator)
Voice mode
Voice Play mode
Voice Edit mode
Voice Job mode
Voice Store mode
VOICE
MODE
PERFORM
Performance mode
Performance Play mode
Performance Edit mode
Performance Job mode
Performance Store mode
Keyboard Playback mode
(multi-timbral tone generator)
SONG
Song mode
Song Play mode
Song Record mode
Song Edit mode
Song Job mode
Song Mixing mode
Song Mixing Edit mode
Song Mixing Job mode
Song Mixing Store mode
PATTERN
Pattern mode
Pattern Play mode
Pattern Record mode
Pattern Edit mode
Pattern Job mode
Pattern Mixing mode
Pattern Mixing Edit mode
Pattern Mixing Job mode
Pattern Mixing Store mode
VOICE
Sampling mode
Sampling Record mode
Sampling Edit mode
Sampling Job mode
Utility mode
Utility Job mode
(Mixing Voice mode)
Mixing Voice Edit mode
Mixing Voice Job mode
Mixing Voice Store mode
INTEGRATED
SAMPLING
PERFORM
MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
DEMO
UTILITY
Master mode
Master Play mode
Master Edit mode
Master Job mode
Master Store mode
MASTER
FILE
File mode
MIXING
Owner’s Manual
45
Modes
Mode table
The functions of each mode and how to enter each mode are as follows:
Mode
Voice mode
Performance mode
Basic Operation
Song mode
Pattern mode
(Mixing Voice mode)
Sampling mode
Voice Play mode
Function
Playing a Voice
How to enter the mode
[VOICE]
Voice Edit mode
Editing/Creating a Voice
[VOICE] → [EDIT]
Voice Job mode
Initializing a Voice, etc.
[VOICE] → [JOB]
Voice Store mode
Storing a Voice to internal memory
[VOICE] → [STORE]
Performance Play mode
Playing a Performance
[PERFORM]
Performance Edit mode
Editing/Creating a Performance
[PERFORM] → [EDIT]
Performance Job mode
Initializing a Performance, etc.
[PERFORM] → [JOB]
Performance Store mode
Storing a Performance to internal memory
[PERFORM] → [STORE]
Song Play mode
Playing a Song
[SONG]
Song Record mode
Recording a Song
[SONG] → [●] (REC)
Song Edit mode
Editing a Song MIDI events
[SONG] → [EDIT]
Song Job mode
Converting and transforming Song data
[SONG] → [JOB]
Song Mixing mode
Setting tone generator parameters
[SONG] → [MIXING]
Song Mixing Edit mode
Setting tone generator parameters in detail
[SONG] → [MIXING] → [EDIT]
Song Mixing Job mode
Initializing a Song Mixing, etc.
[SONG] → [MIXING] → [JOB]
Song Mixing Store mode
Storing a Song Mixing internal memory
[SONG] → [MIXING] → [STORE]
Pattern Play mode
Playing a Pattern
[PATTERN]
Pattern Record mode
Recording a Pattern
[PATTERN] → [●] (REC)
Pattern Edit mode
Editing a Pattern MIDI events
[PATTERN] → [EDIT]
Pattern Job mode
Converting and transforming Pattern data
[PATTERN] → [JOB]
Pattern Mixing mode
Setting tone generator parameters
[PATTERN] → [MIXING]
Pattern Mixing Edit mode
Setting tone generator parameters in detail
[PATTERN] → [MIXING] → [EDIT]
Pattern Mixing Job mode
Initializing a Pattern Mixing, etc.
[PATTERN] → [MIXING] → [JOB]
Pattern Mixing Store mode
Storing a Pattern Mixing internal memory
[PATTERN] → [MIXING] → [STORE]
Mixing Voice Edit mode
Editing/Creating a Voice dedicated for Song/Pattern
[SONG] or [PATTERN] → [MIXING] →
[F5] VCE ED
Mixing Voice Job mode
Initializing a Mixing Voice, etc.
[SONG] or [PATTERN] → [MIXING] →
[F5] VCE ED → [JOB]
Mixing Voice Store mode
Storing a Mixing Voice to internal memory
[SONG] or [PATTERN] → [MIXING] →
[F5] VCE ED → [STORE]
Sampling Record mode
Recording a Sample
[INTEGRATED SAMPLING]
Sampling Edit mode
Editing a sample
[INTEGRATED SAMPLING] → [EDIT]
Sampling job mode
Converting and transforming Sample data
[INTEGRATED SAMPLING] → [JOB]
Utility mode
Utility mode
Setting System related parameters
[UTILITY]
Utility Job mode
Resetting the User Memory to the Initial Factory Settings
[UTILITY] → [JOB]
Master mode
Master Play mode
Playing a Master
[MASTER]
Master Edit mode
Editing/Creating a Master
[MASTER] → [EDIT]
Master Job mode
Initializing a Master, etc.
[MASTER] → [JOB]
File mode
Master Store mode
Storing a Master to internal memory
[MASTER] → [STORE]
File mode
Managing Files and Folders (Directories)
[FILE]
■ How to leave the current display
For most operations or displays (except for the File mode, Song/Pattern Record mode, and Remote Control mode), pressing the
[EXIT] button will let you leave the current display and return you to the previous one. You can return back to any of the modes —
Voice Play, Performance Play, Song Play, Pattern Play, and Master Play — by pressing the [EXIT] button several times in the
respective mode.
DEC/NO
INC / YES
EXIT
ENTER
EXECUTE
46
Owner’s Manual
Functions and Sub-Functions
Functions and Sub-Functions
Each mode described above contains various displays, with various functions and parameters. To navigate your way through
these displays and select a desired function, use the [F1] - [F6] buttons and the [SF1] - [SF5] buttons. When you select a mode,
the available displays or menus appear directly above the buttons at the bottom of the display (as shown below).
Basic Operation
Using the Function buttons [F1] - [F6]
These functions can be selected via the
corresponding button ([F1] - [F6]).
SCENE
SF2
SF1
F1
F2
SF3
F3
SF4
F4
INFORMATION
SF5
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]).
SCENE
SF2
SF1
F1
F2
SF3
F3
SF4
F4
INFORMATION
SF5
F5
In this example, press the [SF5] button to
go to the OTHER display.
F6
Depending on the currently selected mode, up to five functions (sub-functions) are available and can be called up with the [SF1]
- [SF5] buttons. Keep in mind that the available functions differ depending on the selected mode. (Some displays may not have
any sub-functions for these buttons.)
Selecting a Program
In order to play the MOTIF ES you’ll need to call up one of its programs, i.e., a Voice, Performance, Song, Pattern, or Master.
These programs can be selected in each Play mode via the same procedure.
■ Using the [INC/YES], [DEC/NO] buttons and the data dial
The [INC/YES] and [DEC/NO] buttons let you step up or down through the program numbers in any of the Play modes (Voice,
Performance, Song, Pattern, and Master).
Rotating the data dial to the right (clockwise) increases the program number, while rotating it to the left (counter-clockwise)
decreases it. This control works in the same way as the [INC/YES] and [DEC/NO] buttons, but lets you scroll through the
programs more quickly.
Decreases number
Increases number
DEC/NO
Decreases number
INC / YES
Increases number
Owner’s Manual
47
Selecting a Program
■ Using the [GROUP], [NUMBER] buttons
As shown below, you can select a program number by pressing any of the GROUP [A] - [H] buttons and pressing any of the
NUMBER [1] - [16] buttons.
The explanations here apply when these four button indicators are off.
SLOT 1
SLOT 2
SLOT 3
Basic Operation
PRE 5
PRE 6
USER 1
USER 2
GM
PLG 1
PLG 2
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
A
B
C
D
E
F
G
H
SYN LEAD
SYN PAD/
CHOIR
SYN COMP
1
2
3
DRUM/
CHROMATIC
PERCUSSION PERCUSSION
CATEGORY
SEARCH
BANK
SECTION
GROUP
SE
MUSICAL FX
COMBI
4
5
6
7
8
TRACK
SELECT
12
13
14
15
16
MUTE
ELEMENT/PERF. PART/ZONE
9
11
10
NUMBER
SOLO
n
The convenient Category Search function (page 62) lets you easily locate and select the Voices you want by type.
The Voice program numbers and the corresponding Group/Numbers are listed below.
48
Program
Number
Group
Number
Program
Number
Group
Number
Program
Number
Group
Number
Program
Number
Group
Number
001
A
1
033
C
1
065
E
1
097
G
1
002
A
2
034
C
2
066
E
2
098
G
2
003
A
3
035
C
3
067
E
3
099
G
3
004
A
4
036
C
4
068
E
4
100
G
4
005
A
5
037
C
5
069
E
5
101
G
5
006
A
6
038
C
6
070
E
6
102
G
6
007
A
7
039
C
7
071
E
7
103
G
7
008
A
8
040
C
8
072
E
8
104
G
8
009
A
9
041
C
9
073
E
9
105
G
9
010
A
10
042
C
10
074
E
10
106
G
10
011
A
11
043
C
11
075
E
11
107
G
11
012
A
12
044
C
12
076
E
12
108
G
12
013
A
13
045
C
13
077
E
13
109
G
13
014
A
14
046
C
14
078
E
14
110
G
14
015
A
15
047
C
15
079
E
15
111
G
15
016
A
16
048
C
16
080
E
16
112
G
16
017
B
1
049
D
1
081
F
1
113
H
1
018
B
2
050
D
2
082
F
2
114
H
2
019
B
3
051
D
3
083
F
3
115
H
3
020
B
4
052
D
4
084
F
4
116
H
4
021
B
5
053
D
5
085
F
5
117
H
5
022
B
6
054
D
6
086
F
6
118
H
6
023
B
7
055
D
7
087
F
7
119
H
7
024
B
8
056
D
8
088
F
8
120
H
8
025
B
9
057
D
9
089
F
9
121
H
9
026
B
10
058
D
10
090
F
10
122
H
10
027
B
11
059
D
11
091
F
11
123
H
11
028
B
12
060
D
12
092
F
12
124
H
12
029
B
13
061
D
13
093
F
13
125
H
13
030
B
14
062
D
14
094
F
14
126
H
14
031
B
15
063
D
15
095
F
15
127
H
15
032
B
16
064
D
16
096
F
16
128
H
16
n
When selecting a Voice, it is necessary to press one of the [BANK] buttons before pressing the [GROUP] and [NUMBER] buttons.
n
The amount of numbers differ depending on the program. For example, while the selected number range of the Normal Voice, Performance, and Master is
001 - 128, the selected number range of the Song and Pattern is 001- 064.
Owner’s Manual
Moving the Cursor and Setting Parameters
Moving the Cursor and Setting Parameters
Changing (editing) parameter values
Rotating the data dial to the right (clockwise) increases the
value, while rotating it to the left (counter-clockwise)
decreases it.
DEC/NO
INC / YES
EXIT
ENTER
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.
Basic Operation
Moving the cursor
Use these four buttons to navigate the display, moving the
cursor around the various selectable items and parameters
in the screen. When selected, the relevant item is highlighted
(the cursor appears as a dark block with inverse characters).
You can change the value of the item (parameter) at which
the cursor is located by using the data dial, [INC/YES] and
[DEC/NO] buttons.
EXECUTE
■ Inputting a number directly
For parameters having large value ranges (such as the start and end points of a sample), you can also enter the value directly,
using the buttons below the LCD display as a numeric keypad. When the cursor is located on such a parameter, the [NUM] icon
appears at the lower right corner of the LCD display indicating that you can call up the number input window by pressing the
[INFORMATION] button. From this window, you can input a number directly by pressing the [F1] - [F6] buttons and the [SF1] [SF5] buttons. First, press the [F6] button so that the cursor appears at the Input Number within the bracket. Move the cursor to
the desired digit by using the Cursor buttons [>] and [<], then input the number of the selected digit. After completing the
number input, press the [ENTER] button to actually enter the number. Press the [EXIT] button to go back to the original display.
Number Input window
SCENE
SF2
SF1
F1
F2
SF3
F3
SF4
F4
INFORMATION
SF5
F5
Input Number
SCENE
SF2
SF1
F6
F1
F2
SF3
F3
SF4
F4
INFORMATION
SF5
F5
F6
■ Selecting a note type
When the cursor is located on the parameter to which the note type is set, the note icon appears at the lower right corner
indicating that you can call up the Note Type selection window by pressing the [INFORMATION] button. You can specify the note
type by pressing the [F1] - [F6] buttons and the [SF1] - [SF5] buttons. After selecting one of the note types, press the [ENTER]
button to actually enter the selection. Press the [EXIT] button to go back to the original display.
Note Type selection window
SCENE
SF2
SF1
F1
F2
SF3
F3
SF4
F4
INFORMATION
SF5
F5
F6
SCENE
SF2
SF1
F1
F2
SF3
F3
SF4
F4
INFORMATION
SF5
F5
F6
Owner’s Manual
49
Knob (KN) and Control Slider (CS)
Knob (KN) and Control Slider (CS)
Knob (KN)
You can change the brightness and tone characteristics of the current Voice or Performance in realtime by turning the knobs
while you play. Rotating it to the right (clockwise) increases the program number, while rotating it to the left (counter-clockwise)
decreases it. You can select the function set assigned to the knobs among the following seven sets by pressing the appropriate
[KNOB CONTROL FUNCTION] button.
Basic Operation
Function sets assigned to the Knobs (KN)
Button of which the
lamp is turned on
Operation
Functions controlled by each Knob
KN1 (Knob 1)
KN2 (Knob 2)
KN3 (Knob 3)
KN4 (Knob 4)
When pressing the [PAN/
SEND] button
[PAN/SEND] button
Pan (stereo position)
of the Voice/
Performance
Reverb Send Level
Chorus Send Level
Tempo of the Song/
Pattern/Arpeggio
playback
When pressing the [TONE]
button
[TONE] button
Filter Cutoff
Frequency (degree of
brightness)
Resonance (the level
of the signal in the
area of the cutoff
frequency)
Attack Time of the
sound
Release Time of the
sound (decay time
after the key is
released)*
When pressing the [ARP
FX] button
[ARP FX] button
Swing degree of the
Arpeggio playback
Gate time (length) of
the Arpeggio
playback
Velocity of the
Arpeggio playback
Arpeggio playback
time
When pressing the [EQ]
button
[EQ] button
Low band of the
Master EQ in the
Voice/Performance
mode, part EQ in the
Song/Pattern mode
Low-mid band of the
Master EQ in the
Voice/Performance
mode, Mid band of
the Part EQ in the
Song/Pattern mode
High-mid band of the
Master EQ in the
Voice/Performance
mode. (Not available
in the Song/Pattern
mode.)
High band of the
Master EQ in the
Voice/Performance
mode, part EQ in the
Song/Pattern mode
When pressing the [PAN/
SEND] button and the
[TONE] button
simultaneously
[PAN/SEND] button
[TONE] button
Function assigned from the [UTILITY] → [F4]
CTLASN → [SF2] ASSIGN display (page 263) in
the Utility mode
When pressing the [TONE]
button and the [ARP FX]
button simultaneously**
All the buttons are off
Function assigned for each Master from the [MASTER] → [EDIT] → Zone selection → [F5] KN/CS
display (page 140)
When pressing the [ARP
FX] button and the [EQ]
button simultaneously
[ARP FX] button
[EQ] button
Function assigned to the Master Effect parameters from the [UTILITY] → [F4] CTLASN → [SF5] MEF
display.
Function assigned for each Voice from the
[VOICE] → [EDIT] → [COMMON] → [F4]
CTLSET display (page 155)
* For Drum Voices, this affects the release time for all played notes, whether held or released.
** Available only when setting the Zone Switch to on in the Master Mode (page 137)
When pressing any of the [KNOB CONTROL FUNCTION] buttons, the lamp(s) of the buttons will light according to the above
table and the status of the Knobs and Control Sliders (currently assigned functions and set values) is shown on the LCD display.
The appearance of the knob in the display indicates the actual control status of the knob. When a knob indication is black, the
control knob on the panel affects the sound. When an indication is white, moving the panel knob does not affect the sound, until
the current value is reached (after which the indication turns black, indicating normal control).
Turning these Knobs will affect the sound.
ASSIGN A
PAN/SEND
ASSIGN
TONE
ASSIGN B
ASSIGN 1
ASSIGN 2
PAN
REVERB
CHORUS
TEMPO
CUTOFF
RESONANCE
ATTACK
RELEASE
SWING
GATE TIME
VELOCITY
UNITMULTIPLY
KN 1
LOW
KN 2
LOW MID
KN 3
HIGH MID
KN 4
HIGH
KNOB
CONTROL
FUNCTION
ARP FX
EQ
Turning these Knobs will not affect the sound.
50
Owner’s Manual
About the editing functions
Control Slider (CS)
You can adjust the volume of the Voice/Performance you play on the keyboard, or the volume of the specified part (track) of the
Song/Pattern by using the Control Sliders (CS). In the Master mode, various functions as well as the volume can be assigned to
the Control Sliders (CS) when the Zone Switch is set to on (page 137).
Function sets assigned to the Control Slider (CS)
Functions controlled by each Slider
Mode
Voice mode
Master mode
n
CS3
CS4
When a Normal Voice is
selected (page 60)
Element1 Volume
When a Drum Voice is
selected (page 61)
Volume of the entire Voice sound (moving any Slider produces same volume)
Element2 Volume
Element3 Volume
Element4 Volume
Part1 Volume
Part2 Volume
Part3 Volume
Part4 Volume
When tracks (Parts) 1 - 4
are selected
Track1 (Part1) Volume
Track2 (Part2) Volume
Track3 (Part3) Volume
Track4 (Part4) Volume
When tracks (Parts) 5 - 8
are selected
Track5 (Part5) Volume
Track6 (Part6) Volume
Track7 (Part7) Volume
Track8 (Part8) Volume
When tracks (Parts)
9 - 12 are selected
Track9 (Part9) Volume
Track10 (Part10)
Volume
Track11 (Part11)
Volume
Track12 (Part12)
Volume
When tracks (Parts)
13 - 16 are selected
Track13 (Part13)
Volume
Track14 (Part14)
Volume
Track15 (Part15)
Volume
Track16 (Part16)
Volume
When the Zone Switch is
set to on (page 137)
Function assigned for each Master from the [MASTER] → [EDIT] → Zone selection → [F4] KN/CS
display (page 140)
Performance mode
Song mode/Pattern mode
CS2
Basic Operation
CS1
The [MASTER VOLUME] slider adjusts the overall output level of the instrument, while the Control Sliders adjust the MIDI Volume setting of the
corresponding Element or Part.
About the editing functions
There are three types of method for creating data – Editing parameters (Voice, Performance, etc.), Recording MIDI data (Song,
Pattern, etc.), and Recording audio data (Sampling).
In this section, we’ll explain the basic operations for editing the Voice, Performance, Song Mixing, Pattern Mixing, Mixing Voice
settings.
n
For details on recording MIDI data, see pages 118 (Song) and 110 (Pattern). For details on recording audio data (for Sampling), see pages 94 and 107.
n
The Song Edit function (for editing the Song MIDI sequence data) and the Pattern Edit function (for editing the Pattern MIDI sequence data) are not
explained here. See page 124.
Edit Indicator
You can adjust or set various parameters by using the data dial, [INC/YES] button, [DEC/NO] button, Knobs, and Control Sliders
in the Voice mode (Play/Edit mode), Performance mode (Play/Edit mode), Song Mixing mode, Pattern Mixing mode, and Mixing
Voice mode. When changing the value of the parameter in these modes, the [E] (Edit Indicator) will appear on the top left corner
of the LCD display. This indicates that the current program has been modified but not yet stored. If you wish to store your sound
obtained by edit operation, be sure to store the current program to internal User memory in the Store mode before selecting
another program.
Edit Indicator
EDIT
If the Edit Indicator
appears...
Voice Edit
Performance Edit
Song Mixing Edit
Pattern Mixing Edit
Mixing Voice Edit
COMPARE
JOB
STORE
SCENE STORE
SET LOCATE
Voice Store
Performance Store
Song Mixing Store
Pattern Mixing Store
Mixing Voice Store
Owner’s Manual
51
Confirmation Message
Compare Function
This convenient function lets you switch between the edited sound and its original, unedited condition – allowing you to listen to
the difference between the two and better hear how your edits affect the sound.
For example, when editing a Voice in the Voice Edit mode, the “E” Edit indicator is shown. Pressing the [COMPARE] button in
this condition reverts to the original unedited sound (the button lamp flashes and the “C” Compare indicator is shown). Press the
[COMPARE] button again to return to the edited sound.
Edit Indicator (newly edited sound)
Changes to the Compare Indicator (original sound)
Basic Operation
EDIT
JOB
COMPARE
STORE
EDIT
SCENE STORE
SET LOCATE
COMPARE
JOB
STORE
SCENE STORE
SET LOCATE
Lamp flashes
Edit Recall Function
If you are editing a program and select a different program without storing your edited one, all the edits you’ve made will be
erased. However, the edited program is maintained in a backup memory location called the Recall buffer (page 187). To restore
the lost data with your latest edits intact, use the Edit Recall function in the Job mode.
Job mode
How to call up the Edit Recall display
Voice
[VOICE] → [JOB] → [F2] RECALL
Performance
[PERFORM] → [JOB] → [F2] RECALL
Song Mixing
[SONG] → [MIXING] → [JOB] → [F2] RECALL
Pattern Mixing
[PATTERN] → [MIXING] → [JOB] → [F2] RECALL
Mixing Voice
[SONG] or [PATTERN] → [MIXING] → [F5] VCE ED → [JOB] → [F2] RECALL
Confirmation Message
When you execute certain operations, such as those in the Job, Store, and File modes, this synthesizer shows a confirmation
message. This lets you actually execute the operation or cancel it if desired.
If a confirmation message (like the one illustrated above) appears, press the [INC/YES] button to execute the operation or press
the [DEC/NO] button to cancel it.
52
Owner’s Manual
Information Display
Information Display
This convenient function lets you call up relevant details about the selected mode – simply by pressing the [INFORMATION]
button. For example, when the Voice mode is active, you can quickly check information about which voice bank is selected, what
Play mode (poly or mono) is being used, which effects are applied, and so on.
Basic Operation
INFORMATION
For details, see page 275.
Note (Key) settings
Several parameters let you set a key range for a function – for example, in setting up a keyboard split – by specifying certain
note values. You can use the [INC/YES] and [DEC/NO] buttons or data dial to set these parameters, or you can directly enter the
values from the keyboard by pressing the appropriate keys (as shown below).
INFORMATION
When Note Limit is selected, the [KBD] mark appears,
indicating that you can use the keyboard to set the value.
Simultaneously hold down the [INFORMATION] button
and press the appropriate key.
n
About the note name assigned to each key, see page 16.
Naming
You can freely name the created data like Voice and the file saved to the SmartMedia/USB storage device. The chart below lists
the types of data that can be named along with the operations for calling up the respective naming displays.
Data types that can be named
How to call up the naming display
Voice
[VOICE] → [EDIT] → [F1] GENERAL → [SF1] NAME
Page
Performance
[PERFORM] → [EDIT] → [F1] GENERAL → [SF1] NAME
89
Song
[SONG] → [JOB] → [F6] SONG → 04: Song Name
233
Pattern
[PATTERN] → [JOB] → [F6] PATTERN → 05: Pattern Name
248
Mixing Template
[SONG] or [PATTERN] → [MIXING] → [JOB] → [F6] TEMPLATE
237
Mixing Voice
[SONG] or [PATTERN] → [MIXING] → [F5] VCEED → [F1] GENERAL →[SF1] NAME
106
Phrase
[PATTERN] → [JOB] → [F4] PHRASE → 09: Phrase Name
246
Master
[MASTER] → [EDIT] → [F1] NAME
138
Waveform
[INTEGRATED SAMPLING] → [JOB] → [F2] WAVE → 04: NAME
259
Arpeggio
[SONG] → [JOB] → [F5] TRACK → 07: Put Track To Arp
130
[PATTERN] → [JOB] → [F5] TRACK → 06: Put Track To Arp
130
Volume Label of the SmartMedia/
USB storage device
[FILE] → [F1] CONFIG → [SF3] FORMAT
266
File/Folder saved to the SmartMedia/
USB storage device
[FILE] → [F2] SAVE or [F4] RENAME
132
80
First, call up the name input display according to the above table, then, move the cursor by using the Cursor button to the
desired location and input a character. See below for details.
n
Since the name of the program is part of the data, make sure that you properly save the program after naming it.
Owner’s Manual
53
Naming
■ Basic naming operation
As shown below, you can set the name by repeating the two operations – moving the cursor to the desired location by using the
Cursor button and selecting a character by using the data dial, [INC/YES] button, and [DEC/NO] button.
Moving the cursor to the desired location on the name
Basic Operation
DEC/NO
INC / YES
EXIT
ENTER
Selecting a character at the cursor location
DEC/NO
INC / YES
EXECUTE
■ Using the character list
If you find it difficult to select the desired characters with the above method, you may want to use the following method —
selecting the characters from a list.
INFORMATION
When the cursor is located at the Name, this [LIST]
icon appears and you can call up the Character List
display by holding the [INFORMATION] button.
Release the [INFORMATION] button to return back
to the original display.
Perform the operations below while holding the [INFORMATION] button.
Select a character for the cursor location on the name.
Move the cursor to the desired location.
DEC/NO
INC / YES
INFORMATION
INFORMATION
EXIT
ENTER
DEC/NO
EXECUTE
54
Owner’s Manual
INC / YES
Playing the Demo Songs/Patterns
Quick Guide — Playing the MOTIF ES
Playing the Demo Songs/Patterns
Here’s the best place to start your explorations of the MOTIF ES. The Song and Pattern Demos have been specially programmed
so you can hear just how amazing the sounds are, and find out just how powerful the instrument really is — for music creation,
performance and production. Before you can play the Demos, you’ll need to load the Demo data (contained in ROM) to the
DRAM memory location as shown below.
Load
Song 64
Song 02
Song 02
Song 01
Song 01
Demo Pattern data
(ROM)
Memory area for Pattern playback
(DRAM)
Pattern 64
Load
Pattern 02
Pattern 02
Pattern 01
A
Pattern 01
P
A
Sections A - P
n
Quick Guide — Playing the MOTIF ES
Memory area for Song playback
(DRAM)
Demo Song data
(ROM)
P
Sections A - P
For details about ROM and DRAM, see page 187.
CAUTION
When the Demo Song/Pattern data is loaded, the memory area for playback will be overwritten and
the following Utility settings will be changed in order to play back the Demo Song/Pattern properly.
[UTILITY] → [F1] GENERAL → [SF1] TG → Volume, NoteShift, Tune
[UTILITY] → [F1] GENERAL → [SF4] OTHER → CtrlRest
[UTILITY] → [F1] GENERAL → [SF3] EF BYPAS
Important data should always be backed up to a SmartMedia/USB storage device.
In some cases such as those listed below, the Demo
Song/Pattern data will be loaded automatically when
turning the power on.
• When turning the power on with no SmartMedia card
in the CARD slot when the instrument is in its factoryshipped state or after the Factory Set (page 44) is
executed.
• When turning the power on with a SmartMedia card
containing no Auto Load files in the CARD slot when
the instrument is in its factory-shipped state or after
the Factory Set (page 44) is executed.
1
Press the [FILE] button and [UTILITY] button
simultaneously.
MODE
VOICE
PERFORM
MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
DEMO
In cases such as those listed above, steps #1-#3 are
unnecessary. Press the [SONG] button to enter the
Song mode, then perform the instructions below from
step #4.
n
This synthesizer features an Auto Load function by which the
Demo Song/Pattern data or the specified files in the
SmartMedia card inserted in the CARD slot will be loaded
automatically when turning the power on. For details about
the Auto Load function, see page 135.
Owner’s Manual
55
Playing the Demo Songs/Patterns
2
5
Set the LoadType to “All.”
You can select from the three Load Types listed below. Here,
we’ll select “All.”
All
Loads both the Demo Song and Pattern data.
Song
Loads only the Demo Song data.
Pattern
Loads only the Demo Pattern data.
Select and play another Demo Song.
Move the cursor to “Song Number: Name” (with the cursor
buttons) then select another song by using the Data Dial, or
the [INC/YES] and [DEC/NO] buttons.
Decreases number
Increases number
DEC/NO
INC / YES
Decreases number
Increases number
Quick Guide — Playing the MOTIF ES
Song Number: Name
SEQ TRANSPORT
LOCATE
1
2
Start
3
Press the [ENTER] button to load the Demo data.
Next, let’s play a Demo Pattern.
After the data is loaded, the Song Play display is
automatically called up.
6
Press the [PATTERN] button to enter the Pattern
mode.
MODE
VOICE
PERFORM
MASTER
SEQUENCER
If “Pattern” is selected in step #2 above, the Pattern Play
display is automatically called up once the data is loaded.
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
DEMO
n
4
Keep in mind that the example displays shown in this manual are for
instruction purposes only, and the contents (for example, the Demo
Song/Pattern names) may differ slightly from those on your instrument.
Press the [F] (Play) button to start Song
playback.
When playback of the selected Song is finished, the Song
automatically stops. You can stop the Song anytime during
playback by pressing the [■] (Stop) button. This pauses the
song at the current position. To resume playback of the Song
from that point, press the [F] (Play) again. To instantly
return to the beginning of the Song, press the [ ] (Top)
button.
SEQ TRANSPORT
SEQ TRANSPORT
Top button
LOCATE
1
2
LOCATE
Start
56
Owner’s Manual
1
Stop
2
Playing the Demo Songs/Patterns
n
Press the [F] (Play) button to start Pattern
playback.
There is another way to start Pattern playback – by pressing the
note son the keyboard. Move the cursor to the keyboard icon
and press the [INC/YES] button so that the F mark appears.
In this status, press any key to start the pattern playback.
Press the [DEC/NO] button with the cursor located at the
keyboard icon to turn the F mark off.
9
Some Sections of the Demo Pattern may have no data. Because of
this, selecting some Sections may result in no sound.
Press the [■] (Stop) button to stop Pattern
playback.
Unlike Song playback, Pattern playback continues in a loop
until the [■] (Stop) button is pressed.
You can stop the Pattern anytime during playback by
pressing the [■] (Stop) button. This pauses the Pattern at the
current position. To resume playback of the Pattern from that
point, press the [F] (Play) again.
To instantly return to the beginning of the Pattern, press the
[ ] (Top) button.
SEQ TRANSPORT
Quick Guide — Playing the MOTIF ES
7
SEQ TRANSPORT
Top button
8
Select different Sections of the Pattern.
LOCATE
Make sure that the [SECTION] lamp is on (press the button if
necessary), then press any of the buttons shown below to
select and play the various Sections contained in a Pattern.
Pressing the [A] - [H] buttons calls up Sections A - H and
pressing the [PRE5] - [PLG3] buttons calls up the Sections I P. Try out various rhythm variations by changing the Section.
PRE 5
PRE 6
USER 1
USER 2
GM
PLG 1
PLG 2
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
A
B
C
D
E
F
G
H
SYN LEAD
SYN PAD/
CHOIR
SYN COMP
SE
MUSICAL FX
COMBI
DRUM/
CHROMATIC
PERCUSSION PERCUSSION
CATEGORY
SEARCH
BANK
SECTION
GROUP
1
2
LOCATE
Start
10
1
2
Stop
Select and play another Demo Song.
Selecting a Pattern is done in the same way as selecting a
Song. Refer to step #5 above.
Parameters in the Song Play mode
Location settings for the selected Song
Measure : Beat
(for current playback location)
ARP1-ARP5
Tempo for the selected Song
Transpose setting
(for entire Song)
Currently selected Song
03 : New Song 1
Song number
Use the [SF1] - [SF5] buttons to call up the
Arpeggio type and Song Scene assigned
to each button (page 123).
Time signature for the selected Song
(You can change the value by
moving the cursor here and using the
[INC/YES]/[DEC/NO] buttons and
data dial.)
Song name
Indicates muted track.
Indicates soloed track (page 58).
Song track number and
track mute/solo status
Track data status
Indicates that the track has no recorded data.
Indicates a sample track (page 168)
containing a Sample Voice (page 173).
Indicates a MIDI track (page 168) containing
MIDI sequence data.
Owner’s Manual
57
Playing the Demo Songs/Patterns
Using Mute/Solo with the Song and
Pattern tracks
1
2
3
4
5
6
7
8
TRACK
SELECT
12
13
14
15
16
MUTE
ELEMENT/PERF. PART/ZONE
Try this with the Demo Songs to hear how the tracks sound
both in isolation and in various combinations.
9
10
11
NUMBER
SOLO
■ To mute a track
Quick Guide — Playing the MOTIF ES
1
Press the [MUTE] button (the lamp lights).
2
Press any of the NUMBER [1] - [16] buttons to
select the track number to be muted.
The corresponding track is set to mute (its lamp goes off) and
produces no sound. When pressing the same number button
again, the track mute is canceled (its lamp lights).
1
2
3
4
5
6
7
8
TRACK
SELECT
12
13
14
15
16
MUTE
ELEMENT/PERF. PART/ZONE
9
10
11
NUMBER
SOLO
To turn Mute off, press the [MUTE] button again (the lamp
goes off).
■ To solo a track
Simultaneously hold down the [MUTE] button and press one
of the NUMBER buttons [1] to [16] to solo the corresponding
track. Once you’ve selected a track for soloing, the [MUTE]
button’s lamp flashes, indicating the Solo function is active.
While Solo is active, you can change the soloed track simply
by pressing the corresponding NUMBER button [1] to [16].
To cancel the Solo function, press the [MUTE] button again.
1
2
3
4
5
6
7
8
TRACK
SELECT
12
13
14
15
16
MUTE
ELEMENT/PERF. PART/ZONE
9
10
11
If you want you can also mute a track and play the part of the
track yourself. To do this, select the desired track as
described, then mute the track (as explained in “To mute a
track” above).
Song Location
The Song Play mode has a convenient Location function that
lets you jump to user-specified parts of a song. This lets you
assign a specific measure number in the selected song, and
instantly jump to the assigned measure – either during
playback or when the song is stopped. Two Locations can be
assigned.
■ Assigning Locations
Select the desired measure in the recorded song for the
Location. (Highlight “MEAS” and use the [INC/YES] and
[DEC/NO] buttons or data dial.) Then, to assign the measure
to Location 1, simultaneously hold down the [SET LOCATE]
button and press the [G] (Reverse) button.
To assign Location 2, use the [H] (Forward) button.
Specify a measure number
to be registered.
NUMBER
SOLO
EDIT
COMPARE
JOB
SEQ TRANSPORT
STORE
SCENE STORE
SET LOCATE
LOCATE
Selecting a Song/Pattern track and
playing the keyboard
You can play along with the Song or Pattern using the sound
of a track — for example, playing additional drum/percussion
sounds on a drum track while the Song plays. Press the
[TRACK SELECT] button so that its lamp lights, and select a
track by pressing the one of the NUMBER buttons [1] to [16].
Owner’s Manual
2
■ Jumping to an assigned Location
To instantly jump to the assigned Location 1 or 2,
simultaneously hold down the [LOCATE] button and pressing
the [G] (Reverse) button (for Location 1) or the [H]
(Forward) button (for Location 2).
SEQ TRANSPORT
LOCATE
58
1
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.
1
2
Playing the Demo Songs/Patterns
Song Chain
In addition, the following parameters can be set in the Song
Chain.
This function allows Songs to be “chained” together for
automatic sequential playback. In this section, try using the
Song Chain features with the Demo Songs.
1
Press the [F6] CHAIN button to call up the Song
Chain display.
From this display you can program and play your own custom
Song sequences.
skip
Skips past (ignores) the selected chain number and
continues playback from the next chain number.
stop
Stops Song Chain playback at that chain number. You
can restart Song Chain playback from the next chain
number by pressing the [F] (Play) button.
end
Indicates the end mark of the Song Chain data.
3
Play the Song Chain.
Quick Guide — Playing the MOTIF ES
Move the cursor to the top of the Song Chain display, and
press the [F] (Play) button to start Song playback.
SEQ TRANSPORT
LOCATE
2
1
2
Program the desired order of the Songs.
Move the cursor to “001” by using the cursor buttons and
select the desired Song by using the Data Dial, or the [INC/
YES] and [DEC/NO] buttons. Likewise, assign the other
Songs to locations 002, 003, 004, and so on.
When the Song Chain programmed in step #2 reaches to the
end, playback stops automatically. Press the [■] (Stop) button
during playback to stop Song Chain playback.
n
The Song Chain can only be played back in the Song Chain display,
and not from any other display.
Parameters in the Pattern Play mode
When theFmark appears, pressing
any note on the keyboard starts
Pattern playback (page 57).
Measure : Beat
(for current playback location)
Currently
selected Pattern
and Section
ARP1-ARP5
Transpose setting
(for entire Pattern)
Tempo for the selected
Pattern
Time signature for the selected pattern
(You can change the value by moving
the cursor here and using the [INC/
YES]/[DEC/NO] buttons and data dial.)
Use the [SF1] - [SF5] buttons to
call up the Arpeggio type
assigned to each button (page
123).
01 : New Pattern A
Pattern number
Pattern number
Section
Indicates muted track.
Indicates soloed track (page 58).
Pattern track number and
track mute/solo status
Track data status
Indicates that the track has no
recorded data. (No Phrase is
assigned.)
Indicates a sample track (page 168)
containing a Sample Voice (page 173).
Indicates a MIDI track (page 168) containing MIDI
sequence data.
Pattern Chain
Pattern Chain allows you to string several different Sections together to make a single Song.
About the Pattern Chain structure, see page 168. For information on how to create Pattern Chain data, see page 115.
Owner’s Manual
59
Playing the Keyboard (in the Voice Play mode)
Playing the Keyboard (in the Voice Play mode)
The Voice Play mode is where you select and play the instrument sounds (voices) of this synthesizer.
Selecting a Voice
Selecting a Normal Voice
Quick Guide — Playing the MOTIF ES
Internally, there are two Voice Types: Normal Voices and Drum Voices. Normal Voices are mainly pitched musical instrument-type
sounds that can be played over the range of the keyboard. Drum Voices are mainly percussion/drum sounds that are assigned
to individual notes on the keyboard. In this section, we’ll show you how to select a Normal Voice.
You can select the desired Voice from various Voice Banks (Preset 1~6, User 1~2, GM preset, Plug-in 1~3) as shown below.
Voice Bank
PRE 1
PRE 2
PRE 3
PRE 4
PRE 5
PRE 6
USER 1
USER 2
GM
PLG 1
PLG 2
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
Preset Bank
Contains the Voices
built into this
instrument.
SLOT 1
SLOT 2
Plug-in Bank
Available when Plug-in Boards have
been installed. See page 74.
GM Bank
User Bank
Contains the voices allocated according to the
GM standard. For details, see page 160.
Contains the voices you create in
the Voice Edit mode.
1
SLOT 3
Press the [VOICE] button to enter the Voice Play mode.
In this condition, playing the keyboard sounds the Voice indicated in the display.
The parameters shown in the Voice Play mode are briefly explained below.
MODE
VOICE
PERFORM
MASTER
Indicates the Keyboard MIDI
transmit channel. See page
64 for details.
Indicates the Keyboard Octave
setting set via the [OCTAVE]
buttons. See page 63 for details.
ARP1-ARP5
Indicates the functions assigned to the respective Control
knobs. See page 81.
Use the [SF1] - [SF5] buttons to call
up the Arpeggio type assigned to
each button (page 66).
Indicates the currently selected voice.
Bank and Voice Program number
Category and Voice name
USR1 : 001 (A01)
Bank
Number
(selected via the
BANK buttons)
(selected via the NUMBER
[1]-[16] buttons)
Gt : MegaAcGtr
Category
Voice name
Group
(selected via the GROUP [A]-[H] buttons)
Voice Program number
(corresponding to Groups A to H and Numbers 01 to 16)
n
60
Keep in mind that the example displays shown in this manual are for instruction purposes only, and the contents (for example, the Voice name here) may
differ slightly from those on your instrument.
Owner’s Manual
Playing the Keyboard (in the Voice Play mode)
Selecting a Drum Voice
2
Select a Normal Voice Bank.
PRE 1
PRE 2
PRE 3
PRE 4
PRE 5
PRE 6
USER 1
USER 2
GM
PLG 1
PLG 2
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SLOT 1
Group
SLOT 2
SLOT 3
Voice
Internally, there are two Voice Types: Normal Voices and Drum
Voices. Normal Voices are mainly pitched musical instrumenttype sounds that can be played over the range of the
keyboard. Drum Voices are mainly percussion/drum sounds
that are assigned to individual notes on the keyboard. In this
section, we’ll show you how to select a Drum Voice.
1
Press the [VOICE] button to enter the Voice Play
mode.
2
Select a Drum Voice Bank.
Quick Guide — Playing the MOTIF ES
Select one of the Banks from Preset 1~6, User 1~2, and GM.
While holding the [DRUM KITS] button, press one of the
arrow-indicated buttons: [PRE5] (Preset Drum), [USER1]
(User Drum), or [GM] (GM Drum).
3
DRUM KITS
PRE 5
PRE 6
USER 1
USER 2
GM
FAVORITES
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
Select a Normal Voice Group.
Voices in each Bank are divided into Groups [A] ~ [H]. Select
a Group to display the Voices that belong to the selected
Group.
A
B
C
SYN LEAD
SYN PAD/
CHOIR
SYN COMP
D
E
DRUM/
CHROMATIC
PERCUSSION PERCUSSION
F
G
H
SE
MUSICAL FX
COMBI
SECTION
GROUP
3
This operation is basically the same as in selecting a Normal
Voice. You can select a Group from A to D when selecting the
Preset Drum Bank in step #2. You can select a Group from A
or B when selecting the User Drum Bank in step #2. You can
select only A when selecting the GM Drum Bank in step #2.
4
4
Press one of the NUMBER [1] - [16] buttons.
2
3
4
5
6
7
8
TRACK
SELECT
ELEMENT/PERF. PART/ZONE
9
10
11
NUMBER
12
13
14
15
16
Select a Drum Voice Number.
This is the same as in selecting a Normal Voice.
Select a Normal Voice Number.
1
Select a Drum Voice Group.
5
Play the keyboard and check what instrument is
assigned to each key.
n
For details about the instrument assignments for each key, refer to the
separate Data List.
MUTE
SOLO
Using the [INC/YES], [DEC/NO] buttons and data dial
You can select a Voice Number by using the [INC/YES],
[DEC/NO] buttons and data dial in steps #3 and #4.
Decreases number
5
DEC/NO
Play the keyboard.
Decreases number
n
Increases number
INC / YES
Increases number
The procedure for selecting Voices in other modes differs
from above. For details on selecting Voices in the
Performance mode, see page 71. For details on selecting
Voices in the Song/Pattern mode, see page 102.
Owner’s Manual
61
Playing the Keyboard (in the Voice Play mode)
Using the Category Search function
This synthesizer features a powerful Category Search function
that gives you quick access to the sounds you want,
irrespective of their bank locations. Simply select a Voice
category, such as A. PIANO or SYN LEAD, and you can
browse through all related Voices one by one – and audition
each of them, too. If you’ve installed a Plug-in Board to the
instrument, those Voices are automatically included in the
search as well. Plus, you can use the special Favorites
category to store the Voices you use most.
1
Turn the Category Search function on by
pressing the [CATEGORY SEARCH] button.
Quick Guide — Playing the MOTIF ES
In this condition with the button lit, you can use the BANK and
GROUP buttons to specify the Category.
Press the [CATEGORY SEARCH] button again to turn this
function off.
PRE 5
PRE 6
USER 1
USER 2
GM
PLG 1
PLG 2
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
A
B
C
D
E
F
G
H
SYN LEAD
SYN PAD/
CHOIR
SYN COMP
SE
MUSICAL FX
COMBI
DRUM/
CHROMATIC
PERCUSSION PERCUSSION
Category
CATEGORY
SEARCH
BANK
SECTION
GROUP
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.
SF1
F1
F3
An alternate way of selecting categories is to use the Cursor buttons to
select and highlight the Category name in the display, then use the
[INC/YES] and [DEC/NO] buttons or the data dial to select the
Category. Then, move the cursor to the Voice list at the right of the
display to select the Voice (see step #3 below).
n
Some Voices such as User Voices may not be registered to any
Category. You can search for these Voices by setting the Category to
“--------------.”
3
Select a Voice from the Voice List in the display.
Step through the available Voices by using the data dial. You
can also use the [INC/YES] and [DEC/NO] buttons, or use the
Cursor [ ]/[ ] buttons.
Voice
DEC/NO
INC / YES
EXIT
ENTER
Select a Category.
Press one of the BANK and GROUP buttons to call up the
selected Category name and the Voice list. The first Voice in
the Category is selected.
PRE 5
PRE 6
USER 1
USER 2
GM
PLG 1
PLG 2
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
A
B
C
D
E
F
G
H
SYN LEAD
SYN PAD/
CHOIR
SYN COMP
SE
MUSICAL FX
COMBI
DRUM/
CHROMATIC
PERCUSSION PERCUSSION
CATEGORY
SEARCH
BANK
SECTION
GROUP
Category names
Category
Voice List
Sub Category
62
F2
SF3
n
Sub Category
2
SF2
Owner’s Manual
EXECUTE
4
Press the [CATEGORY SEARCH] button to turn this
function off and go back to the original display.
n
You can also use the [ENTER] button or [EXIT] button to exit from the
Category function.
Playing the Keyboard (in the Voice Play mode)
■ Favorite Category
1
Turn the Category Search function on by
pressing the [CATEGORY SEARCH] button.
2
Specify the Category and Sub Category, then
select a Voice (page 62).
3
Register the Voice selected in step #2 to the
Favorite Category by Pressing the [F5] SET/CLR
button to checkmark the box next to the Voice
name.
You can un-checkmark it by pressing the [F5] button again.
SF1
F1
SF2
F2
SF3
F3
SF4
F4
SF5
F5
F6
Pressing the [CATEGORY SEARCH] button to exit from
the Category Search display will store the Favorite
Category settings to internal Flash ROM automatically.
7
CAUTION
Make sure to execute step #7. The settings made in steps #3 - 4 will be lost
if you turning the power off without executing step #7.
CAUTION
Never attempt to turn off the power while data (e.g., Voice) is being written
to Flash ROM (while a “Please keep power on” message is shown). Turning
the power off in this state may not only cause the system to freeze (due to
data corruption in the Flash ROM) and prevent normal startup the next
time the power is turned on, it may also result in loss of all user data.
Quick Guide — Playing the MOTIF ES
Use this convenient function to store all your favorite, oftenused Voices in a single, easy-to-access location – and call
them up by pressing the [FAVORITES] button. Select any
Voice you want, from any desired category, and enter each to
the Favorites Category. In this way, you can go directly to all
the Voices you use the most, without having to hop around
other Categories – a great aid when playing live.
Keyboard octave setting
(MOTIF ES6/MOTIF ES7)
Sometimes when playing a voice, you may wish to play in a lower or
higher pitch range. For example, you may want to shift the pitch down
lower to get extra bass notes, or shift up to get higher notes for leads
and solos. The Octave Up/Down controls let you do this quickly and
easily. Each time you press the [OCTAVE UP] button on the panel, the
overall pitch of the voice goes up by one octave.
Likewise, each press of the [OCTAVE DOWN] button takes the pitch
down by one octave. The range is from -3 to +3, with 0 being
standard pitch. When this is set to Octave Up, the lamp of the
[OCTAVE UP] button lights, and when it is set to Octave Down, the
[OCTAVE DOWN] button’s lamp lights. The current octave setting is
shown at the top right of the display. You can instantly restore
standard pitch (0) by simultaneously pressing both the [OCTAVE UP]
button and the [OCTAVE DOWN] button (both lamps turn off).
Pressing [F5]
toggles between Checkmark on
the two settings: Checkmark off
OCTAVE
DOWN
UP
To remove all the marked Voices from the Favorite
Category, simply press the [F6] CLR ALL button.
4
Set other Voices to the Favorite Category as
required by repeating step #2 - 3.
n
5
Press the [FAVORITES] button to see the Voices
set to the Favorite Category in steps #2 - 4.
You can use the [F5] SET/CLR and [F6] CLR ALL buttons also
in this display to register/remove the voices to/from the
Favorite Category.
DRUM KITS
FAVORITES
The Octave setting made here is automatically reflected in the
identical Octave parameter in the Utility mode ([UTILITY] → [F1]
GENERAL → [SF2] KBD → Octave). This setting is available in all
modes.
TIP Transpose setting of the keyboard
You can set the amount in semitones by which the range
of the keyboard is shifted up or down as well as the
octave setting.
1
Press the [UTILITY] button to enter the Utility mode.
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
DEMO
6
Press the [FAVORITES] button again to return to
the Category Search display.
COMPARE
SCENE STORE
SET LOCATE
Owner’s Manual
63
Playing the Keyboard (in the Voice Play mode)
2
Press the [F1] GENERAL button, then the [SF2]
KBD button.
Using Controllers
Pitch Bend Wheel
SCENE
SF2
SF1
SF3
SF4
INFORMATION
SF5
Use the Pitch Bend wheel to bend notes up (roll the wheel
away from you) or down (roll the wheel toward you) while
playing the keyboard. This wheel is self-centering and will
automatically return to normal pitch when released. Try out the
Pitch Bend wheel while pressing a note on the keyboard.
Pitch Up
F1
Quick Guide — Playing the MOTIF ES
3
4
5
F2
F3
F4
F5
F6
Move the cursor to “Transpose” by using the
Cursor button.
Pitch Down
Change the Transpose value by using the [INC/
YES], [DEC/NO] buttons and data dial.
Pitch Bend Wheel
n
Each preset Voice has its own default Pitch Bend Range setting. The
Pitch Bend Range setting for each Voice can be changed in the
[VOICE] → [EDIT] → [COMMON] → [F1] GENERAL → [SF5] OTHER
display and stored as a User Voice in the Voice Store mode. From this
display you can also reverse the Pitch Bend function — so that moving
the wheel up lowers the pitch, and moving it down raises the pitch.
n
Functions other than Pitch Bend can be assigned to the Pitch Bend
Wheel in the [VOICE] → [EDIT] → [COMMON] → [F4] CTL SET
display. These assignment settings can be stored as a User Voice in
the Voice Store mode. Even if a different function is assigned to this
wheel, the Pitch Bend function is available and Pitch Bend messages
are still generated when the wheel is used.
n
Using the Pitch Bend wheel generates the same MIDI message to
extend devices, regardless of the assignments made in the Voice Edit
mode.
Press the [STORE] button to store the Transpose
setting to internal Flash ROM.
CAUTION
Make sure to execute step #5. The settings made in step #4 will be
lost if you turning the power off without executing step #7.
CAUTION
Never attempt to turn off the power while data (e.g., Voice) is being
written to Flash ROM (while a “Please keep power on” message is
shown). Turning the power off in this state may not only cause the
system to freeze (due to data corruption in the Flash ROM) and
prevent normal startup the next time the power is turned on, it may
also result in loss of all user data.
n
The transpose setting is available in all modes.
Modulation Wheel
Keyboard MIDI transmit channel setting
This function is especially convenient when recording to an
external sequencer or controlling another instrument via MIDI.
It lets you easily change the transmit channel with just a
couple of button presses. Press the [TRACK SELECT] button
(the lamp lights), then press the appropriate NUMBER button
([1] - [16]). The transmit channel setting is shown at the top
right of the display.
1
2
3
4
5
6
7
8
TRACK
SELECT
12
13
14
15
16
MUTE
ELEMENT/PERF. PART/ZONE
9
10
11
Even though the Modulation wheel is conventionally used to
apply vibrato to the sound, many of the preset Voices have
other functions and effects assigned to the wheel. The more
you move this wheel up, the greater the effect that is applied
to the sound. Try out the Modulation wheel with various preset
voices while playing the keyboard.
Maximum
NUMBER
Minimum
SOLO
Modulation Wheel
n
64
You can also set the MIDI keyboard transmit channel from the Utility
mode ([UTILITY] → [F5] MIDI → [SF1] CH → KBDTransCh). This
parameter is available for the Voice mode/Performance mode but not
for the Song mode/Pattern mode.
Owner’s Manual
n
To avoid accidentally applying effects to the current Voice, make sure
the Modulation Wheel is set to minimum before you start playing.
n
Various functions can be assigned to the Modulation Wheel in the [VOICE]
→ [EDIT] → [COMMON] → [F4] CTL SET display. These assignment
settings can be stored as a User Voice in the Voice Store mode.
n
Using the Modulation wheel generates the same MIDI message to
external devices, regardless of the assignments made in the Voice
Edit mode.
Playing the Keyboard (in the Voice Play mode)
Ribbon Controller
Edit Indicator
The Ribbon Controller is touch sensitive, and is controlled by
running your finger laterally across the surface. Various
function are assigned to each preset Voice.
Try out the Ribbon Controller with various preset Voices while
playing the keyboard.
Tweaking the knobs in the Voice mode directly changes
the parameters of the Voice. When any of the Voice
parameters are changed, the [E] (Edit) Indicator
appears in the top left of the display. This indicates that
the current voice has been modified but not yet stored.
n
You can set the Ribbon Controller to control different functions on
connected external MIDI devices from the functions assigned for the
instrument itself. You can also determine whether the Ribbon
Controller value returns to the center, or stays at the point where you
released your finger. Both of these setting can be made in the Utility
mode ([UTILITY] → [F3] VOICE → [SF4] CTL ASN).
Knobs (KN)
These knobs let you change various aspects of the Voice’s
sound in real time – while you play. Turn a knob to the right to
increase the value, and left to decrease it. For each preset
Voice, various functions are assigned to four knobs. Try out
these knobs with various preset Voices while playing keyboard.
ASSIGN A
ASSIGN B
ASSIGN 1
ASSIGN 2
PAN
REVERB
CHORUS
TEMPO
CUTOFF
RESONANCE
ATTACK
RELEASE
SWING
GATE TIME
VELOCITY
UNITMULTIPLY
KN 1
LOW
KN 2
LOW MID
KN 3
HIGH MID
KN 4
HIGH
Quick Guide — Playing the MOTIF ES
Edit Indicator
If you’re satisfied with the tweaks you made and the
resulting sound, you can store the changes as a User
Voice in the Voice Store mode (page 85).
CAUTION
If you select another Voice during editing, the [E] (Edit) indicator will
disappear and all your edits will be lost.
It is a good idea to store the edited Voice data from the Voice Store
mode (page 85). Even if you lose the edited Voice data, you can
restore it by using the Edit Recall function (page 82).
Control Sliders
In the Voice mode, the four Control Sliders let you
independently adjust the levels of the Elements of a
Normal Voice or the Drum Voice keys. When Normal
Voice is selected, you can adjust the volume balance
among the four Elements.
VOLUME 1
1
VOLUME 2
VOLUME 3
1
1
VOLUME 4
CS 1
CS 2
CS 3
CS 4
ZONE 1
ZONE 1
2
ZONE 1
3
ZONE 1
4
You can change which particular group of functions or
parameters the knobs are assigned to by pressing any of the
[KNOB CONTROL FUNCTION] buttons. For details, see page
81.
n
In certain situations, using the knobs may not result in any change in
the sound. For more information, refer to page 50 in the Basic
Operation section.
n
Inadvertent use of the sliders may result in no sound. If this
occurs, move the sliders upward.
Owner’s Manual
65
Playing the Keyboard (in the Voice Play mode)
Using the Arpeggio feature
This function lets you trigger rhythm patterns, riffs and phrases using the current Voice by simply playing notes on the keyboard.
Since the preset Voices already have their own Arpeggio types pre-assigned, all you need to do is select the desired Voice and
turn on the Arpeggio function. Try selecting different Voices and check out the various Arpeggio types.
n
For details about Arpeggio, see page 169.
Register your favorite Arpeggio types to the [SF1] - [SF5] buttons
1
Press the [ARPEGGIO ON/OFF] button to turn
Arpeggio on.
For certain Voices, simply selecting the Voice will turn Arpeggio on.
REMOTE
ARPEGGIO
R-AUDIO
G-MIDI
Quick Guide — Playing the MOTIF ES
ON / OFF
You can change the default settings and assign any Arpeggio
types you like to the [SF1] - [SF5] buttons. The selected
Arpeggio indication is highlighted in white. If two buttons
share the same type, both will appear in white. The settings
can be stored as a User Voice in the Voice Store mode.
1
ON / OFF
2
2
Play a note or notes on the keyboard to trigger
the Arpeggio playback.
3
The particular rhythm pattern or phrase that plays depends on the
actual notes or chords you play, as well as on the selected Arpeggio
type. For details, refer to page 169 in the Basic Operation section.
4
5
■ Changing the Arpeggio type during keyboard
performance
A different Arpeggio type is assigned to each of the [SF1] ARP1 [SF5] ARP5 buttons for each preset Voice. When a musical note icon
appears to the right of each Arpeggio number in the display (see
below), the corresponding button is assigned an Arpeggio type. Try
out various Arpeggio types by pressing the [SF1] - [SF5] buttons.
Press the [ARPEGGIO ON/OFF] button to turn
Arpeggio on.
Select the desired Arpeggio type in the [VOICE] →
[F6] ARP display.
While holding the [STORE] button, press one of
the [SF1] - [SF5] button.
The currently selected Arpeggio type is assigned to
the pressed button. If you execute this operation with
the [ARPEGGIO ON/OFF] lamp off, no Arpeggio type
will be assigned to the pressed button.
Repeat steps #2 - 3 as necessary.
Press and release the [STORE] button to enter the
Voice Store mode and store the setting as a User
Voice (page 85).
n
Keep in mind that holding and releasing the [STORE] button
WITHOUT pressing one of the [SF1] - [SF5] buttons will
automatically enter the Voice Store mode, instead of storing the
Arpeggio type.
■ Controlling Arpeggio playback by using the knobs
You can adjust the Arpeggio related parameters such as volume
and tempo by rotating the knobs. If you are satisfied with the results,
you can store the changes as a User Voice in the Voice Store mode.
1
SF1
SF2
SF3
SF4
SF5
Press the KNOB CONTROL FUNCTION [ARP FX]
button (the lamp lights).
Selecting some voices automatically turns this lamp on.
PAN/SEND
You can confirm the currently selected Arpeggio type in the [F6] ARP
display.
ASSIGN
TONE
ASSIGN A
ASSIGN B
ASSIGN 1
PAN
REVERB
CHORUS
TEMPO
CUTOFF
RESONANCE
ATTACK
RELEASE
SWING
GATE TIME
VELOCITY
UNITMULTIPLY
KN 1
LOW
KN 2
LOW MID
KN 3
HIGH MID
KN 4
HIGH
ASSIGN 2
KNOB
CONTROL
FUNCTION
ARP FX
EQ
Arpeggio type currently selected
66
Bank
Indicates “pre (preset)” or “usr (user).”
Ctgr
See page 169.
Type
Refer to the separate Data List booklet.
Owner’s Manual
2
Tweak the knobs while the Arpeggio is playing.
For details on what functions each knob controls while the
[ARP FX] lamp is on, see page 81.
3
If you’re satisfied with the results, you can store
the changes as a User Voice in the Voice Store
mode (page 85).
Playing the Keyboard (in the Performance Play mode)
Playing the Keyboard (in the Performance Play mode)
As in the Voice Play mode, the Performance Play mode is where you select and play the instrument sounds of this synthesizer.
In a Performance, you can mix several different Voices together in a layer, or split them across the keyboard, or even set up a
combination layer/split. Each Performance can contain up to four different Parts.
Selecting a Performance
128 Performances (1 bank) are provided in internal User memory (Flash ROM). In the Performance Play mode, you can select
and play individual User performances. Since there is only one bank for Performances, you need not select a Performance Bank.
1
Quick Guide — Playing the MOTIF ES
Press the [PERFORM] button to enter the Performance Play mode.
In this condition, playing the keyboard sounds the Performance indicated in the display.
The parameters shown in the Performance Play mode are briefly explained below.
MODE
VOICE
PERFORM
MASTER
Indicates the Keyboard MIDI
transmit channel. See page 68 for
details.
Indicates the Keyboard Octave
setting set via the [OCTAVE]
buttons. See page 68 for details.
ARP1-ARP5
Use the [SF1] - [SF5] buttons to call
up the Arpeggio type assigned to
each button (page 70).
Indicates settings related to the Control knobs.
See page 90.
Indicates the currently selected Performance.
Bank and Performance Program number
Category and Performance name
USER : 001 (A01)
Ap : New Peform
Number
(selected via the NUMBER
[1]-[16] buttons)
Bank
Category
Performance name
Group
(selected via the GROUP [A]-[H] buttons)
Performance Program number
(corresponding to Groups A to H and Numbers 01 to 16)
n
2
Keep in mind that the example displays shown in this manual are for instruction purposes only, and the contents (for example, the Performance name here)
may differ slightly from those on your instrument.
3
Select a Performance Group.
Performances are divided into Groups [A] ~ [H]. Select a
Group to show a list of the Performances.
Select a Performance Number.
Press one of the NUMBER [1] - [16] buttons.
1
A
B
C
SYN LEAD
SYN PAD/
CHOIR
SYN COMP
D
E
F
G
H
SE
MUSICAL FX
COMBI
SECTION
2
3
4
5
6
7
8
TRACK
SELECT
12
13
14
15
16
MUTE
GROUP
ELEMENT/PERF. PART/ZONE
DRUM/
CHROMATIC
PERCUSSION PERCUSSION
9
10
11
NUMBER
SOLO
Group
Performance
Owner’s Manual
67
Playing the Keyboard (in the Performance Play mode)
4
Using the Category Search function
Play the keyboard.
As in the Voice Play mode, you can use the Category Search
and Favorite Category functions in the Performance Play
mode. For details on how to use the function, see page 62.
Keyboard octave setting
(MOTIF ES6/MOTIF ES7)
Using the [INC/YES], [DEC/NO] buttons and data dial
Quick Guide — Playing the MOTIF ES
Rather than using the BANK/NUMBER buttons
described in steps #2 and 3 above, you can select a
Performance by using the [INC/YES], [DEC/NO] buttons
and data dial.
Decreases number
As in the Voice Play mode, you can use the [OCTAVE UP/
DOWN] button to shift the note of the keyboard up or down in
octaves.
n
The Octave setting made here is automatically reflected in the
identical Octave parameter in the Utility mode ([UTILITY] → [F1]
GENERAL → [SF2] KBD → Octave). This setting is available in all
modes.
Increases number
DEC/NO
INC / YES
Decreases number
Increases number
TIP Transpose setting of the keyboard
As in the Voice Play mode, you can set the amount in
semitones by which the range of the keyboard is shifted
up or down in the Utility mode.
n
Performance Part mute/solo
Each performance can contain a maximum of four Parts, each
of which can be turned on or off independently.
Muting and soloing of Parts is done in the same way as that of
tracks in a Song/Pattern. See page 58.
1
2
3
4
5
6
7
8
TRACK
SELECT
12
13
14
15
16
MUTE
The transpose setting is available in all modes.
Keyboard MIDI transmit channel
setting
As in the Voice Play mode, you can change the MIDI transmit
channel for the keyboard. Press the [TRACK SELECT] button
(the lamp lights), then press the appropriate NUMBER button
([1] - [16]). The transmit channel setting is shown at the top
right of the display.
ELEMENT/PERF. PART/ZONE
9
10
11
SOLO
68
Owner’s Manual
n
You can also set the MIDI keyboard transmit channel from the Utility
mode ([UTILITY] → [F5] MIDI → [SF1] CH → KBDTransCh). This
parameter is available for the Voice mode/Performance mode but not
for the Song mode/Pattern mode.
Playing the Keyboard (in the Performance Play mode)
Using Controllers
This is basically the same as in the Voice Play mode (page
64).
n
The Pitch Bend Range setting depends on the setting (made in the
Voice mode) of the Voice assigned to each Part.
n
The functions assigned to the Pitch Bend Wheel depend on the setting
(made in the Voice mode) of the Voice assigned to each Part.
n
Even if a different function is assigned to the wheel, Pitch bend is still
available and Pitch Bend messages are still generated when the
wheel is used.
Edit Indicator
Tweaking the knobs in the Performance mode directly
changes the parameters of the Performance. When any
of the Performance parameters are changed, the [E]
(Edit) Indicator appears in the top left of the display. This
indicates that the current Performance has been
modified but not yet stored.
Edit Indicator
Quick Guide — Playing the MOTIF ES
Pitch Bend Wheel
Modulation Wheel
This is basically the same as in the Voice Play mode (page
64).
n
To avoid accidentally applying effects to the current Voice, make sure
the Modulation Wheel is set to minimum before you start playing.
n
The functions assigned to the Modulation Wheel depend on the
settings (made in the Voice mode) of the Voice assigned to each Part.
n
Using the Modulation wheel generates the same MIDI message to
external devices, regardless of the assignments made in the Voice
Edit mode.
If you’re satisfied with the tweaks you made and the
resulting sound, you can store the changes as a User
Performance in the Performance Store mode (page 91).
CAUTION
If you select another Performance during editing, the [E] (Edit)
indicator will disappear and all your edits will be lost. It is a good
idea to store the edited Performance data from the Performance
Store mode (page 91). Even if you lose the edited Performance data,
you can restore it by using the Edit Recall function (page 91).
CAUTION
Ribbon Controller
This is basically the same as in the Voice Play mode (page
65).
n
The functions assigned to the Ribbon Controller depend on the
settings (made in the Voice mode) of the Voice assigned to each Part.
n
You can set the Ribbon Controller to control a different functions on
connected external MIDI devices from the functions assigned for the
Performance on the instrument itself. You can also determine whether
the Ribbon Controller value returns to the center for each
Performance, or stays at the point where you released your finger.
Both of these setting can be made in the Performance Edit mode
([PERFORM] → Performance selection → [EDIT] → COMMON → [F4]
CTL ASN).
When shipped from the factory, this synthesizer contains a full set
of specially programmed 128 User Performances in the User bank.
You can edit and store these Performances and overwrite them in
the Performance Store mode. You can also restore them to the
original factory presets by pressing the [ENTER] button in the
[UTILITY] → [JOB] display (page 44).
Control Sliders
In the Performance mode, the four Control Sliders let
you independently adjust the levels of the Parts of a
Performance. You can adjust the volume balance
among four parts.
VOLUME 1
1
VOLUME 2
VOLUME 3
1
1
VOLUME 4
Knobs (KN)
These knobs let you change various aspects of the
Performance sound in real time – while you play. Turn a knob
to the right to increase the value, and left to decrease it. For
each Performance, various functions are assigned to four
knobs. Try out these knobs with various Performances while
playing the keyboard.
You can change which particular group of functions or
parameters the knobs are assigned to by pressing any of the
[KNOB CONTROL FUNCTION] buttons. For details, see page
90.
n
In certain situations, using the knobs may not result in any change in
the sound. For more information, refer to page 50 in the Basic
Operation section.
CS 1
CS 2
CS 3
CS 4
ZONE 1
ZONE 1
2
ZONE 1
3
ZONE 1
4
n
Inadvertent use of the sliders may result in no sound. If this
occurs, move the sliders upward.
n
In certain situations, using the Control Sliders may not result in
any change in the sound. For more information, refer to page
50 in the Basic Operation section.
Owner’s Manual
69
Playing the Keyboard (in the Performance Play mode)
Using the Arpeggio feature
As in the Voice mode, you can use the Arpeggio feature in the Performance mode.
In the Performance mode, you can make independent Arpeggio playback settings for each Part of the Performance — including
the on/off setting, as well as the Arpeggio type and related parameters. This means you can set the Performance such that any
or all Parts can be used to trigger Arpeggio playback. A useful application of this would be to assign a Drum Voice to one Part
and use Arpeggio playback on only that Part — so that you can have a rhythm pattern accompaniment playing while you play
another Voice.
Since the preset Performances already have their own Arpeggio types pre-assigned, all you need to do is select the desired
Performance and turn on the Arpeggio function. Try selecting different Performances and check out the various Arpeggio types.
n
Different Arpeggio types cannot be played back for each Part.
n
For details about Arpeggio, see page 169.
Quick Guide — Playing the MOTIF ES
■ Changing the Arpeggio type during your performance
As in the Voice Play mode (page 66), the Performance play mode lets you use the [SF1] - [SF5] buttons to assign the Arpeggio
types and recall them.
The Arpeggio type for the current Performance can be selected in the [PERFORM] → [F6] ARP display or the [PERFORM] →
[EDIT] → [COMMON] → [F3] ARP display.
If you assign the desired Arpeggio type to the [SF1] - [SF5] buttons, store the settings as a User Performance in the Performance
Store mode (page 91).
■ Controlling Arpeggio playback by using the knobs
You can tweak Arpeggio related parameters such as volume and tempo by using the knobs. If you’re satisfied with the tweaks
you made and the resulting sound, you can store the changes as a User Performance in the Performance Store mode.
For information on using the knobs, refer to the Voice Play mode (page 66).
Assigning desired Voices to each part
Performances can be made up of a maximum of four Parts (Voices), selected from the internal tone generator Parts 1 - 4 and
Plug-in board Parts 1 - 3.
You can create a Performance by layering several Voices together, and by assigning different Voices to separate ranges of the
keyboard. You can then store up to 128 of your original, edited Performances to internal User memory.
Split (example)
Layer (example)
Built-in tone
generator Parts
1
2
3
Built-in tone
generator Parts
Plug-in Parts*
4
PLG1
PLG2
PLG3
1
2
3
Plug-in Parts*
4
PLG1
PLG2
*Available when the Plug-in
Board has been installed.
70
Owner’s Manual
PLG3
Playing the Keyboard (in the Performance Play mode)
This calls up a list indicating which Voice is assigned to each
Part of the current Performance.
SCENE
SF2
SF1
F1
F2
SF3
F3
SF4
F4
PRE1 (Preset1) ~
PRE6 (Preset 6)
Preset Banks 1 - 6 of the Normal Voice. These
correspond to the [PRE1] - [PRE6] buttons in the Voice
mode.
USER1 ~ USER2
User Banks 1 - 2 of the Normal Voice. These correspond
to the [USER1] - [USER2] buttons in the Voice mode.
GM
GM Normal Voice Bank. This corresponds to the [GM]
button in the Voice mode.
PDR (Preset Drum)
Preset Bank of the Drum Voice. This corresponds to
pressing the [DRUM KITS] button and the [PRE5] button
simultaneously.
GMDR (GM Drum)
GM Drum Voice Bank. This corresponds to pressing the
[DRUM KITS] button and the [GM] button simultaneously.
UDR (User Drum)
User Bank of the Drum Voice. This corresponds to
pressing the [DRUM KITS] button and the [USER1]
button simultaneously.
INFORMATION
SF5
F5
When an internal Voice is assigned to a Part, the following
Voice Banks are available.
F6
Quick Guide — Playing the MOTIF ES
1
Press the [F2] VOICE button in the Performance
Play mode.
When a Plug-in Board Voice is assigned to a Part, the
available Voice Banks differ depending on the installed Plugin Board. For details, refer to the Owner’s Manual that came
with the Plug-in Board.
2
Assign the desired Voice to each Part.
Move the cursor to the desired Part. When a Voice has
already been assigned to the selected Part, change the Voice
Bank or Number by using the data dial, the [INC/YES] and the
[DEC/NO] button. When no Voice is assigned to the selected
Part, press the [SF1] ADD INT button or [SF2] ADD PLG
button to execute the assignment, then change the Voice
Bank or Number.
You can also select a Voice Bank/Number by using the BANK,
GROUP, and NUMBER buttons (page 60).
3
Specify the note range of each part, as required.
You can set the lowest note of the range over which the Voice
of the selected Part sounds by simultaneously holding the
[SF4] button and pressing the desired key. To set the highest
note of the range, simultaneously hold the [SF5] button and
press the desired key.
Select a Voice
Bank/Number at
the cursor location.
Note Limit Low
SF 4
DEC/NO
Voice Bank
Voice Number
SF2
SF1
F2
Assign an internal Voice
to the selected Part.
SF3
F3
SF4
F4
INFORMATION
SF5
F5
4
Change the volume of each Part and adjust the
relative balance among the four Parts by using
the Control sliders.
5
Store the settings as a User Performance in the
Performance Store mode.
F6
Delete the Voice assignment of the
selected Part.
Assign a Plug-in Voice to the selected Part.
(Available when the Plug-in Board has been installed.)
n
SF 5
INC / YES
SCENE
F1
Note Limit High
Voices of the Multi part Plug-in Board PLG100-XG cannot be assigned
to Performance parts.
Press the [STORE] button to enter the Performance Store
mode, select the destination Performance number, then press
the [ENTER] button to execute the store operation. For details
about Performance Store, see page 91.
Owner’s Manual
71
Playing the Keyboard (in the Performance Play mode)
Using the A/D input sound
One of the enormous benefits of the Performance mode is that you can have the A/D input sound — such as your voice through
a microphone, a guitar, bass, or CD player — assigned as one of the four Parts of a Performance. Various Part parameters such
as volume, pan, and effects can be set for this Part, and the sound of the Part is mixed and output together with the other Parts.
These parameters are set and stored in the Performance Store mode for each Performance.
n
The Audio Input part is available also in the Song mode/Pattern mode, but is not available in the Voice mode. The procedure and explanations here apply to
the Song and Pattern modes as well. The microphone related parameters (corresponding to step #8 below) of each Song/Pattern are edited in the Song
Mixing mode/Pattern Mixing mode.
Connecting a microphone to the A/D
INPUT jack
5
Press the [UTILITY] button to enter the Utility
mode, press the [F2] I/O button, then press the
[SF1] INPUT button.
Quick Guide — Playing the MOTIF ES
The explanation below applies in particular to low-level
equipment, such as microphones, guitars and basses.
1
Make sure to turn the power of the MOTIF ES off
and set the GAIN knob on the rear panel to the
minimum.
2
Plug the microphone to the A/D INPUT jack on
the rear panel.
SEQUENCER
n
72
3
Turn the power on.
4
Press the [PERFORM] button to enter the
Performance Play mode and select the desired
Performance.
Owner’s Manual
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
SCENE
F1
GAIN
A standard dynamic microphone is recommended. (The MOTIF ES
does not support phantom-powered condenser microphones.)
PATTERN
DEMO
SF2
SF1
A / D INPUT
R
L
SONG
6
F2
SF3
F3
SF4
F4
INFORMATION
SF5
F5
F6
Set Mic/Line to “mic.”
Move the cursor to the “Mic/Line” parameter by using the
Cursor button and set it to “mic” by using the [INC/YES]
button, [DEC/NO] button, or data dial.
n
When the output level of the connected equipment (such as a
microphone, guitar, bass) is low, set this parameter to “mic.” When the
output level of the connected equipment (such as a synthesizer
keyboard, CD player) is high, set this parameter to “line.”
n
This setting is available for all modes. If you wish to store this setting,
press the [STORE] button.
Playing the Keyboard (in the Performance Play mode)
Adjust the microphone input level by using the
GAIN knob on the rear panel.
A / D INPUT
R
L
8
4
Press the [PERFORM] button to enter the
Performance Play mode and select the desired
Performance.
5
Press the [UTILITY] button to enter the Utility
mode, press the [F2] I/O button, then press the
[SF1] INPUT button.
6
Set Mic/Line to “line.”
GAIN
Set the audio input related parameters as
necessary from the AUDIO IN display ([PERFORM]
→ [EDIT] → [COMMON] → [F5] AUDIO IN).
For details about each parameter, refer to page 214 in the
Reference section.
Move the cursor to the “Mic/Line” parameter by using the
Cursor button and set it to “line” by using the [INC/YES]
button, [DEC/NO] button, or data dial.
n
When the output level of the connected equipment (such as a
microphone, guitar, bass) is low, set this parameter to “mic.” When the
output level of the connected equipment (such as a synthesizer
keyboard, CD player) is high, set this parameter to “line.”
n
This setting is available for all modes. If you wish to store this setting,
press the [STORE] button.
When the optional AIEB2 or mLAN16E has been installed,
the [F5] AUDIO IN menu has two indications: “A/D” and
“AIEB2” or “mLAN16E.” Here, call up the A/D display by
pressing the [SF5] button.
9
Store the settings as a User Performance in the
Performance Store mode (page 91).
7
Quick Guide — Playing the MOTIF ES
7
Adjust the audio input level by using the GAIN
knob on the rear panel.
Connecting audio equipment to the A/D
INPUT jack
A / D INPUT
R
L
GAIN
The explanation below applies in particular to high-level audio
equipment, such as CD players, synthesizers, and other
keyboards.
1
Make sure to turn off the power of both the
MOTIF ES and the relevant audio equipment.
2
Plug the audio equipment cable to the A/D INPUT
jack on the rear panel.
A / D INPUT
R
L
L
8
GAIN
R
Set the audio input related parameters as
necessary from the AUDIO IN display
([PERFORM] → [EDIT] → [COMMON] → [F5]
AUDIO IN).
For details about each parameter, refer to page 214 in the
Reference section. When an optional AIEB2 or mLAN16E has
been installed, press the [SF5] button to call up the A/D display.
L
3
R
Switch the power of the connected audio
equipment on, then switch the power of the
MOTIF ES on.
9
Store the settings as a User Performance in the
Performance Store mode (page 91).
n
Audio input signals from the OPTICAL INPUT and DIGITAL INPUT
connector (when the optional AIEB2 has been installed) or the mLAN
connector (when the optional mLAN16E has been installed) can also
be handled as Audio Input Parts. For details, see page 165.
Owner’s Manual
73
Using the Plug-in Board
Using the Plug-in Board
Plug-in Boards give you an enormous amount of additional sonic flexibility and power. When installed, they work seamlessly and
transparently within the system of this synthesizer – meaning that you can use their sounds and functions just as if they were built
right into this synthesizer at the factory.
The boards that are available for and can be installed to this synthesizer are described below.
Up to three Plug-in boards can be installed to the MOTIF ES. These boards are not simply a source of more Voices; they are also
full-featured, editable tone generators in their own right and extend the system-level specifications such as maximum polyphony.
In addition, they allow you to use synthesis systems besides AWM2. You can play Plug-in Voices just like ordinary internal Voices
and use them as Parts in a Song/Pattern/Performance.
This synthesizer is compatible with the Modular Synthesis Plug-in System (see below).
Quick Guide — Playing the MOTIF ES
About MODULAR SYNTHESIS PLUG-IN SYSTEM
The Yamaha Modular Synthesis Plug-in System offers powerful expansion and upgrade capabilities for Modular SynthesisPlug-in-compatible synthesizers, tone generators and sound cards. This enables you to easily and effectively take
advantage of sophisticated synthesizer and effects technology, allowing you to keep pace with the rapid and multi-faceted
advances in modern music production.
Available Plug-in Boards
There are three types of Modular Synthesis Plug-in System-compatible Plug-in Boards: Single Part, Multi-Part and Effect Plug-in
Board. Using these, you can build your own system based on the sounds you require.
Single Part Plug-in Boards
● Drum Plug-in Board (PLG150-DR)/Percussion Plug-in
Board (PLG150-PC)
Single Part Plug-in Boards let you add a completely different
synthesizer or single timbre tone generator (page 162) and
play its voices by using a single part of this synthesizer. Some
boards allow you to use synthesis systems besides AWM2.
Once connected and installed, the PLG150-DR/PLG150-PC
becomes a seamless additional sound source of AWM2 for the host
tone generator or synthesizer – providing a total of 88 drum/
percussion voices. Thanks to the built-in effect processing power, the
PLG150-DR/PLG150-PC has two separate effect blocks – Insertion
and Reverb – that can be applied to each kit.
● 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.
74
Owner’s Manual
Multi-Part Plug-in Board
Multi-Part Plug-in Boards let you add a completely
independent multi-timbral tone generator to the MOTIF ES
(page 162) — expanding the Voice capacity and polyphony
of the instrument with a full sixteen additional instrument
parts.
● XG Plug-in Board (PLG100-XG)
This Plug-in Board is a 16-part XG sound generator. You can play
back XG/GM song files using the rich variety of sounds and effects on
this board.
Effect Plug-in Board
Effect Plug-in Boards let you add a completely different effect
block to the host synthesizer.
● Vocal Harmony Plug-in Board (PLG100-VH)
With this board installed, you can add harmonies to selected parts
using four types of effects. Chorus parts for vocals can be created
automatically from chords that have been prepared and stored as
MIDI data. You can also use this synthesizer like a vocoder by
connecting and using a microphone while playing the keyboard.
Using the Plug-in Board
Using a Single Part Plug-in Board
Install any of the Single Part Plug-in Boards such as PLG150-AN, PLG150-PF, PLG150-DX, PLG150-VL, PLG150-DR, and
PLG150-PC to the MOTIF ES and play the Plug-in Voice in the Voice Play mode.
1
After turning the power off, install a Single Part
Plug-in Board to the instrument.
4
Set the MIDI port of the installed Plug-in Board to
“2” or “3” in the [UTILITY] → [F6] PLUG → [SF2]
MIDI display.
See page 283.
2
Switch the MOTIF ES on.
SLOT 1
3
SLOT 2
PLG 2
PLG 3
STRINGS
BRASS
REED/PIPE
Check the status of the installed Plug-in Boards
in the [UTILITY] → [F6] PLUG → [SF1] STATUS
display.
5
Press the [VOICE] button to enter the Voice Play
mode and select a Plug-in Voice.
Selecting a Plug-in Voice is done in the same way as selecting a
Normal Voice (page 60) with the exception that you select one of the
PLG (Plug-in) Banks. Press the PLG button which corresponds to the
slot to which the Plug-in Board has been installed.
MODE
PERFORM
If the MIDI Port number here is set to “1” or “off,” the Plug-in Voice may
sound simultaneously with the internal Voice, when playing back
Song/Pattern data. To keep this from happening, make sure the MIDI
Port number of the Plug-in Board is set to “2” or “3” — especially when
using the Song/Pattern mode. To prevent a similar problem when
using both a Single Part Plug-in Board and a Multi Part Plug-in Board
together, set each board to a different MIDI Port number.
SLOT 3
PLG 1
VOICE
n
Quick Guide — Playing the MOTIF ES
The corresponding slot indicator at the right top of the front panel
lights. This indicates that the board has been successfully installed.
MASTER
SEQUENCER
PATTERN
SONG
FILE
SLOT 1
SLOT 2
SLOT 3
PLG 1
PLG 2
PLG 3
STRINGS
BRASS
REED/PIPE
DEMO
INTEGRATED
SAMPLING
MIXING
UTILITY
You’ll also need to select a Bank within the Plug-in Board. Press the
[F2] BANK button to call up the Plug-in Board Bank selection display,
then select the desired Bank.
SCENE
SF2
SF1
F1
F2
SF3
F3
SF4
F4
INFORMATION
SF5
F5
F6
n
The name of the installed Plug-in Board is displayed.
6
n
For details about the Bank structure of each Plug-in Board, refer to the
Owner’s Manual of each Plug-in Board. Regarding the PLGPRE (Plugin Preset) bank, refer to the Plug-in Voice List. Regarding the Board
Voice bank displayed as “035/000,” refer to the Voice Map/List. The
PLGUSR (Plug-in User) banks contain the Voices you edited and
stored as User Voices.
Play the keyboard.
Playing Voices of the Plug-in User banks (PLG1USR, PLG2USR,
PLG3USR) will result in no sound, if the Plug-in Board has just been
installed. These banks become available only after you edit a Plug-in
Voice and store it as a User Plug-in Voice.
Owner’s Manual
75
Using the Plug-in Board
Plug-in Voices and Board Voices
The Voices of a Single Part Plug-in Board installed to this synthesizer can be divided into two types: Board Voices and
Plug-in Voices. Board Voices are unprocessed, unaltered Voices of the Plug-in board – the “raw material” used for the Plugin Voices. Plug-in Voices, on the other hand, are edited Board Voices – Voices that have been specially programmed and
processed for optimum use with the host synthesizer.
Since the MOTIF ES includes preset Plug-in Voices for all the Plug-in Boards, you can call up and play appropriate Voices
for each board immediately after installing it.
n
The Plug-in Voices can be edited in the Voice Edit mode.
n
The Board Voices can be edited using the computer software supplied for each Plug-in Board.
Quick Guide — Playing the MOTIF ES
TIP
Playing the PLG150-VL sound with the Breath Controller
With Virtual Acoustic (VA) synthesis, the PLG150-VL has the sounds of real instruments modeled (simulated) in real time,
giving a degree of realism that cannot be achieved using conventional PCM-based synthesis techniques. When playing
these sounds using an optional Breath Controller, you can even capture some of the physical feel of woodwind
instruments.
1
2
Install the PLG150-VL to the MOTIF ES.
6
Connect the Breath Controller BC3 to the BREATH
connector on the rear panel (page 42).
7
Press the [VOICE] button to enter the Voice Play
mode, then select a Plug-in Voice of the PLG150-VL.
Play the Voice and blow into the Breath Controller to
expressively change the sound.
FOOT
SWITCH
BREATH ASSIGNABLE SUSTAIN
You can also use the MIDI Wind Controller WX5 to play
the Plug-in Voice of the PLG150-VL. Connect the WX5 to
the MOTIF ES with a MIDI cable.
WX5
MIDI OUT connector
MIDI cable
MIDI IN connector
MUSIC PRODUCTION SYNTHESIZER
3
4
5
76
Switch the MOTIF ES power on.
Set the Plug-in Board related parameters in the
Utility mode, corresponding to steps #3 and 4 in
the instructions on the previous page.
Set the Breath Controller Curve via the [UTILITY]
→ [F1] GENERAL → [SF1] TG → BCCurve
parameter (page 260).
Owner’s Manual
MOTIF ES
Using the Plug-in Board
Using a Multi Part Plug-in Board
In this section, we’ll explain how to play back an XG for mat song, using the PLG100-XG Plug-in Board. Naturally, to get the most
out of these instructions, you should have XG song data (Standar d MIDI File) stored on a SmartMedia card or USB storage device.
After turning the power off, install the Multi Part
Plug-in Board PLG100-XG to slot 3 of this
synthesizer.
2
See page 283 for details.
3
2
Switch the MOTIF ES power on.
3
Check the status of the installed Plug-in Boards
in the [UTILITY] → [F6] PLUG → [SF1] STATUS
display.
Press the [FILE] button to enter the File mode, then
set the basic parameters.
Refer to “Basic settings for using SmartMedia or a USB
storage device” on page 30.
Set the [FILE] → [F3] LOAD → TYPE parameter to
“Song.”
Quick Guide — Playing the MOTIF ES
1
File/folder list
The name of the installed Plug-in Board is displayed.
4
4
Set the MIDI port of the PLG100-XG to “2” or “3”
in the [UTILITY] → [F6] PLUG → [SF2] MIDI
display.
5
Move the cursor to the list of files to be loaded, select
the desired file, then press the [ENTER] button.
Specify the destination Song number, then press the
[ENTER] button to execute the Load operation.
CAUTION
Loading data to this synthesizer automatically erases and replaces any
existing data in the User memory. Make sure to save any important data
to a SmartMedia/USB storage device before performing any Load
operations.
n
If the MIDI Port number here is set to “1” or “off,” the Plug-in Voice may
sound simultaneously with the internal Voice, when playing back
Song/Pattern data. To keep this from happening, make sure the MIDI
Port number of the Plug-in Board is set to “2” or “3” — especially when
using the Song/Pattern mode. To prevent a similar problem when
using both a Single Part Plug-in Board and the PLG100-XG together,
set each board to a different MIDI Port number.
5
Press the [SONG] button to enter the Song
mode, then press the [FILE] button to enter the
File mode.
6
Load the XG song file (Standard MIDI file) from
the SmartMedia/USB storage device to the
MOTIF ES in the [FILE] → [F3] LOAD display, as
described in the sub-instructions below.
7
Press the [SONG] button to enter the Song Play
mode, then select the Song number to which the
XG song file was loaded.
8
Set the MIDI transmit port of all the tracks to the
number set in step #4 from the [SONG] → [F3]
TRACK → [SF1] CHANNEL display.
Set MIDI transmit ports.
1
Insert a SmartMedia card which contains the XG
song files into the CARD slot, or use a USB storage
device (connected to the USB TO DEVICE connector)
containing appropriate XG song files.
9
F] (Play) button to play the XG
Press the [F
song.
Owner’s Manual
77
Using the Plug-in Board
Using an Effect Plug-in Board
In the example explanation below, the PLG100-VH Vocal Harmony Plug-in Board is used to apply harmony effects to the
microphone sound in the Performance mode.
n
For Songs/Patterns, the Effect Plug-in Board related parameters (which correspond to step #6 - 7 below) can be edited in the Song Mixing mode/Pattern
Mixing mode.
n
Please note that the Effect Plug-in Board cannot be used in the Voice mode.
1
After turning the power off, install the Effect
Plug-in Board PLG100-VH to slot 1.
7
Quick Guide — Playing the MOTIF ES
See page 283 for details.
Set related parameters (such as the Effect Type,
and others) from the Plug-in Effect display
([PERFORM] → [EDIT] → [COMMON] → [F6]
EFFECT → [SF3] PLG-EF).
For details, refer to the Owner’s Manual of the PLG100-VH.
2
Plug the microphone to the A/D INPUT jack on
the rear panel (page 72).
A / D INPUT
R
L
GAIN
8
Sing or talk into the microphone to check the
effect sound, and adjust the settings as
necessary.
A / D INPUT
R
L
n
3
4
A standard dynamic microphone is recommended. (The MOTIF ES
does not support phantom-powered condenser microphones.)
Turn the MOTIF ES power on.
Press the [PERFORM] button to enter the
Performance Play mode, select the desired
Performance, then set the microphone related
parameters.
For details, refer to steps #4 - 9 on page 72.
5
Check the status of the installed Plug-in Boards
in the [UTILITY] → [F6] PLUG → [SF1] STATUS
display.
6
Select “PartAD” as the Part to which the Plug-in
Insertion Effect is applied in the CONNECT
display ([PERFORM] → [F3] EFFECT → [SF1]
CONNECT).
Move the cursor here, then select the Part.
78
GAIN
Owner’s Manual
9
If desired, store the settings for the microphone
sound and PLG100-VH as a Performance in the
Performance Store mode (page 91).
Editing a Voice
Quick Guide — Advanced Course
Editing a Voice
The Voice Edit mode ([VOICE] → [EDIT]) gives you comprehensive tools for creating your own original Voices, either from
scratch by changing the basic sounds, or by tweaking the various Voice parameters. Create your custom sounds by calling up
a preset Voice and editing as desired. The actual parameters available and the methods for editing differ depending on the
Voice type.
● Normal Voice Edit
A Normal Voice can consist of up to four Elements. There are two types of Voice Edit displays: those for Common Edit to edit the
settings common to all four Elements, and those for editing individual Elements.
● Drum Voice Edit
Quick Guide — Advanced Course
Each Drum voice consists of various Waves and/or Normal voices, each assigned to notes across the keyboard, from C0 to C6.
There are two types of Drum Voice Edit displays: those for Common Edit to edit the settings that apply to all Drum keys in the
voice, and those for editing individual keys (Elements).
● Plug-in Voice Edit
This is basically the same as Normal Voice Edit. Unlike with Normal voices, the Plug-in voices only have one Element for editing.
Normal Voice Edit
1
Press the [VOICE] button to enter the Voice mode, then select a Normal Voice to be edited.
2
Press the [EDIT] button to enter the Voice Edit mode.
3
Call up the Common Edit display or Element Edit display.
EDIT
COMPARE
JOB
STORE
SCENE STORE
SET LOCATE
If you wish to edit the sounds that make up a Voice and the basic parameters that determine the sound, such as Oscillator, Pitch,
Filter, Amplitude, and EG (Envelope Generator), call up the Element Edit display. If you wish to edit more global parameters
related to the overall Voice and how it’s processed, such as Arpeggio, Controller, and Effects, call up the Common Edit display.
While in the Voice Edit mode, you can switch
between the Common Edit display and the
Element Edit display as shown below.
Calling up the Common Edit display
Press the [COMMON] button to call up the
Common Edit display.
DRUM KITS
PRE 5
PRE 6
USER 1
USER 2
FAVORITES
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
A
B
C
D
SYN LEAD
SYN PAD/
CHOIR
SYN COMP
CHROMATIC
PERCUSSION
1
2
3
4
In the Edit mode, the [DRUM KITS] button
functions as the [COMMON] button.
Calling up the Element Edit display
Press the desired element number from the ELEMENT [1]
- [4] buttons to call up the Element Edit display.
Indicates the display for editing Element 1.
Indicates a Common Edit display.
ELEMENT/PERF. PART/ZONE
COMMON
9
10
11
12
To turn each Element on or off (to hear how each affects the overall sound), use
buttons [9] - [12]. You can also isolate or solo an Element by holding down the
[MUTE] button and pressing the desired number button ([9] - [12]). To cancel the
solo, press the [MUTE] button again.
Common Edit
Element Edit 1
Element Edit 2
Element Edit 3
Element Edit 4
Owner’s Manual
79
Editing a Voice
4
Select the menu you wish to edit by pressing the
[F1] - [F6] and [SF1] - [SF5] buttons, then edit the
parameters.
The following briefly describes the main Voice parameters.
7
Store the edited Voice to internal User memory
(page 187).
The edited Voice can be stored in the Voice Store mode. See
page 85 for details.
● Basic parameters for creating a sound
Element selection → [F1] - [F6]
If you wish to edit the basic sound-generating and soundshaping parameters for the Voice, such as Oscillator, Pitch,
Filter, Amplitude, and EG (Envelope Generator), use the
Common Edit display.
[F1] OSC (Oscillator)
pages 160, 195
[F2] PITCH
pages 160, 196
[F3] FILTER
pages 161, 197
Quick Guide — Advanced Course
[F4] AMP (Amplitude)
pages 162, 199
[F5] LFO
pages 162, 201
[F6] EQ (Equalizer)
pages 178, 201
8
If desired, save the edited and stored voices to a
SmartMedia/USB storage device.
Keep in mind that edited Voice data is stored to internal User
memory (Flash ROM) and is stored even when turning the
power off. As such it is not necessary to save the data to
SmartMedia card or another device; however, you may want
to save it to another media for backup or organizational
purposes. For more information, see page 85.
Compare Function
● Effect related parameters .................... Pages 177 and 194
[COMMON] → [F6] EFFECT
The Effects use DSP (Digital Signal Processing) to alter and
enhance the sound of a Voice. Effects are applied in the final
stages of editing, letting you change the sound of the created
Voice as desired. The Common Edit display lets you edit the
Effect related parameters.
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
● Controller related parameters ........... Pages 155 and 192
In the Voice Edit mode (the [EDIT] indicator
lighting), press the [EDIT] button so that its
indicator flashes.
The [C] indicator is shown at the top of the display (in
place of the [E] indicator), and the original, unedited
voice is restored for monitoring.
For each Voice, you can assign various functions to built-in
controllers such as Pitch Bend Wheel, Modulation Wheel,
Ribbon Controller, Knobs (ASSIGN1 and 2), Keyboard
Aftertouch and optionally connected controllers such as
Footswitch, Foot Controller, Breath Controller. These settings
can be edited in the Common Edit display.
EDIT
COMPARE
JOB
STORE
SCENE STORE
SET LOCATE
● Arpeggio related parameters ............. Pages 169 and 191
[COMMON] → [F3] ARP (Arpeggio)
For each Voice, you can set the Arpeggio related parameters
such as Arpeggio type and playback tempo. These can be
edited in the Common Edit display.
5
Repeat #3 - 4 as desired.
6
Name the edited Normal Voice.
Press the [EDIT] button again to disable the
“Compare” function and restore the settings for
your edited Voice.
Compare the edited sound with the unedited sound by
repeating steps #1 and 2.
n
Enter a name for the Voice from the NAME display ([COMMON]
→ [F1] GENERAL → [SF1] NAME). For detailed instructions on
naming, refer to page 53 in the Basic Operation section.
Enter the
desired
Voice name.
80
2
Owner’s Manual
While Compare is active, you cannot make edits to the Voice.
Editing a Voice
TIP Editing a Voice by using the Knobs
The four knobs at the top left of the instrument are not only for tweaking the sound while you perform — you can also use
them to edit a Voice, either in the Voice Play mode or the Voice Edit mode.
● When the [PAN/SEND] indicator is turned on:
PAN
Determines the stereo pan position of the Voice.
[VOICE] → Voice selection → [EDIT] → [COMMON] →
[F2] OUTPUT → Pan
Page 190
REVERB
Determines the amount of Reverb effect that is applied to the Voice.
[VOICE] → Voice selection → [EDIT] → [COMMON] →
[F2] OUTPUT → RevSend
Page 191
CHORUS
Determines the amount of Chorus effect that is applied to the Voice.
[VOICE] → Voice selection → [EDIT] → [COMMON] →
[F2] OUTPUT → ChoSend
Page 191
TEMPO
Determines the tempo of the Arpeggio assigned to the currently selected Voice.
[VOICE] → Voice selection → [F6] ARP → Tempo
Page 189
CUTOFF
Raises or lowers the Filter cutoff frequency to adjust the tone brilliance.
[VOICE] → Voice selection → [F5] EG → CUTOF
Page 189
RESONANCE
Boosts or attenuates the level at the area around the Filter cutoff
frequency.
[VOICE] → Voice selection → [F5] EG → RESO
Page 189
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 this knob to the right.
[VOICE] → Voice selection → [F5] EG → ATK (AEG)
Page 189
RELEASE
Determines the release time of the sound. Turning the knob to the right
sets a long release time and (depending on the selected Voice) lets the
sound sustain after the key is released. To produce a sharp release, in
which the sound abruptly cuts off, set a short release time.
[VOICE] → Voice selection → [F5] EG → REL (AEG)
Page 189
n
Quick Guide — Advanced Course
● When the [TONE] indicator is turned on:
The settings above are applied as offsets to the AEG and FEG settings in the Voice Edit mode.
● When the [ARP FX] indicator is turned on:
SWING
Adjusts the swing feel of the Arpeggio playback.
[VOICE] → Voice selection → [EDIT] → [COMMON] →
[F3] ARP → [SF3] PLAY FX → Swing
Page 192
GATE TIME
Adjusts the Gate Time (length) of the Arpeggio notes.
[VOICE] → Voice selection → [EDIT] → [COMMON] →
[F3] ARP → [SF3] PLAY FX → GateTimeRate
Page 192
VELOCITY
Adjusts the velocity of the Arpeggio notes.
[VOICE] → Voice selection → [EDIT] → [COMMON] →
[F3] ARP → [SF3] PLAY FX → VelocityRate
Page 192
UNITMULTIPLY
Adjusts the Arpeggio playback time based on tempo.
[VOICE] → Voice selection → [EDIT] → [COMMON] →
[F3] ARP → [SF3] PLAY FX → UnitMultiply
Page 192
● When the [EQ] indicator is turned on:
LO
Determines the amount of boost or attenuation applied to the low
frequency band of the Master EQ.
[VOICE] → Voice selection → [EDIT] → [COMMON] →
[F1] GENERAL → [SF3] MEQ OFS → LOW
Page 190
LO MID
Determines the amount of boost or attenuation applied to the lowmidrange frequency band of the Master EQ.
[VOICE] → Voice selection → [EDIT] → [COMMON] →
[F1] GENERAL → [SF3] MEQ OFS → LOW MID
Page 190
HI MID
Determines the amount of boost or attenuation applied to the highmidrange frequency band of the Master EQ.
[VOICE] → Voice selection → [EDIT] → [COMMON] →
[F1] GENERAL → [SF3] MEQ OFS → HIGH MID
Page 190
HI
Determines the amount of boost or attenuation applied to the high
frequency band of the Master EQ.
[VOICE] → Voice selection → [EDIT] → [COMMON] →
[F1] GENERAL → [SF3] MEQ OFS → HIGH
Page 190
n
The settings above are applied as offsets to the EQ settings in the [VOICE] → [UTILITY] → [F3] VOICE → [SF1] MEQ display.
● When both the [PAN/SEND] and [TONE] indicators are turned on (by pressing them simultaneously):
ASSIGN A
Adjusts parameters assigned to these knobs in the [UTILITY] → [F4] CTL ASN → [SF2] ASSIGN display.
Page 263
Adjusts parameters assigned to these knobs in the [VOICE] → Voice selection → [EDIT] → [COMMON] → [F4] CTL SET display.
Page 192
ASSIGN B
ASSIGN 1
ASSIGN 2
n
In addition to above functions, Master Effect related parameters (set in the [UTILITY] → [F3] VOICE → [SF2] MEF display) can be assigned to
these four knobs by pressing the [ARP FX] and [EQ] buttons simultaneously. The particular parameters assigned to the four knobs can be set in the
[UTILITY] → [F4] CTL ASN → [SF5] MEF display.
TIP Editing a Voice by using the Control Sliders (CS)
[VOICE] → Voice selection → [EDIT] → Element selection → [F4] AMP → [SF1] LVL/PAN → Level
In the Voice mode, the four Control Sliders let you independently adjust the levels of the Elements of a Normal Voice or the
Drum Voice keys. When a Normal Voice is selected, you can adjust the level balance among the four Elements.
n
Inadvertent use of the sliders may result in no sound. If this occurs, move the sliders upward.
Owner’s Manual
81
Editing a Voice
To solo an Element for editing
Edit Recall
This feature is useful for isolating the sound of single
Element, for ease in editing.
If you are editing a Voice and select a different Voice
without storing the one you were editing, all the edits
you’ve made will be erased. If this happens, you can
use Edit Recall to restore the Voice with your latest edits
intact.
1
In the Normal Voice Edit mode, simultaneously
hold down the [MUTE] button and press one of the
NUMBER buttons [9] to [12] to solo the
corresponding Element.
Once you’ve selected an Element for soloing, the [MUTE]
button’s lamp flashes, indicating the Solo function is
active and only the selected Element can be edited.
1
Press the [JOB] button in the Voice mode to enter
the Voice Job mode.
2
Press the [F2] RECALL button to call up the
Recall display.
In this example, only Element 3 is turned on and can be edited.
1
2
3
4
5
6
7
8
TRACK
SELECT
12
13
14
15
16
MUTE
ELEMENT/PERF. PART/ZONE
9
10
11
3
Quick Guide — Advanced Course
Press the [ENTER] button. (The display prompts
you for confirmation.)
If you wish to cancel the operation, press the [DEC/
NO] button.
NUMBER
SOLO
4
2
3
Press the [INC/YES] button to execute Edit Recall
to restore the voice.
To solo another Element, simply press the
appropriate number button ([9] - [12]).
To exit from the Solo function, press the [MUTE]
button again.
Drum Voice Edit
1
Press the [VOICE] button to enter the Voice mode, then select a Drum Voice to be edited.
2
Press the [EDIT] button to enter the Voice Edit mode.
3
Call up the Common Edit display or Key Edit display.
EDIT
JOB
COMPARE
STORE
SCENE STORE
SET LOCATE
If you want to edit the sounds that make up a Drum Voice and the basic parameters that determine the sound, such as Oscillator,
Pitch, Filter, Amplitude, and EG (Envelope Generator), call up the Key Edit display. To edit more global parameters related to the
overall Drum Voice and how it’s processed, such as Arpeggio, Controller, and Effects, call up the Common Edit display.
While in the Voice Edit mode, you can switch between
the Common Edit display and the Element Edit display
as shown below.
Calling up the Common Edit display
Press the [COMMON] button to call up the
Common Edit display.
In the Edit mode, the [DRUM KITS] button
functions as the [COMMON] button.
DRUM KITS
PRE 5
PRE 6
USER 1
USER 2
FAVORITES
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
A
B
C
D
SYN LEAD
SYN PAD/
CHOIR
SYN COMP
CHROMATIC
PERCUSSION
1
2
3
4
Indicates a Common Edit
display.
Calling up the Key Edit display
Press any of the ELEMENT [1] - [4] buttons to call
up the Key Edit display, then select the key to
which the desired instrument is assigned.
Indicates the display for editing the key C0.
ELEMENT/PERF. PART/ZONE
COMMON
9
10
11
12
Common Edit
C0
C6
C1
Key Edit (1-73)
Key 1
82
Owner’s Manual
Key 5
Key 10
Key 18
Key 21
Key 73
Editing a Voice
The main parameters available are basically the same as in the
Normal Voice Edit (page 80). What is called Key Edit in the Drum
Voice corresponds to Element Edit in the Normal Voice. Please keep
in mind that the LFO parameters are not available in the Drum Voice.
5
Repeat #3 - 4 as desired.
6
Name the edited Drum Voice.
Enter a name for the Voice from the NAME display
([COMMON] → [F1] GENERAL → [SF1] NAME). For detailed
instructions on naming a voice, refer to page 53 in the Basic
Operation section.
7
Store the edited Voice to internal User memory
(page 186).
The edited Voice can be stored in the Voice Store mode. See
page 85 for details.
8
If desired, save the edited and stored voices to a
SmartMedia/USB storage device.
Keep in mind that edited Voice data is stored to internal User
memory (Flash ROM) and is stored even when turning the
power off. As such it is not necessary to save the data to
SmartMedia card or another device; however, you may want
to save it to another media for backup or organizational
purposes. For more information, see page 85.
Quick Guide — Advanced Course
Select the desired menu for editing by pressing
the [F1] - [F6] and [SF1] - [SF5] buttons, then edit
the parameters.
4
Enter the
desired Voice
name.
TIP Assigning drum/percussion instruments to individual keys
[VOICE] → Drum Voice selection → [EDIT] → Key selection → [F1] OSC → [SF1] WAVE
In the Drum Voice Edit mode, you can create your own original drum kits by assigning specific instrument sounds to
individual keys — in any desired order — and edit detailed parameters for each key’s sound.
1
2
3
Call up the Key Edit display in the Voice Edit mode.
Refer to step #3 on page 82.
4
Call up the [F1] OSC → [SF1] WAVE display.
Select the desired Waveform to be assigned.
Move the cursor to “Number” and change the value by
using the data dial, [INC/YES] button, and [DEC/NO]
button. Then, press the same key set in step #3 again to
confirm the selected instrument sound.
Press the key to which you want to assign a
sound.
The drum instrument currently assigned to the
pressed key will sound.
You can also select a different sound category (such as
Percussion, or even a Normal Voice sound), by moving
the cursor to “Category”and changing the setting.
5
6
7
Create your original drum kit by repeating steps #3 - 4.
Store the created drum kit as a Drum Voice in User
memory.
The edited Voice can be stored in the Voice Store mode.
See page 85 for details.
If desired, save the edited and stored voices to a
SmartMedia/USB storage device.
Owner’s Manual
83
Editing a Voice
TIP Setting the drum key for independent open and closed hi-hat sounds
[VOICE] → Drum Voice selection → [EDIT] → Key selection → [F1] OSC → [SF5] OTHER → AltnateGroup
In a real drum kit, some drum sounds cannot physically be played simultaneously, such as open and closed hi-hats.
You can prevent drum instruments from playing back simultaneously by assigning them to the same Alternate Group.
The preset Drum Voices have many such Alternate Group assignments to ensure the most authentic, natural sound. When
creating a Voice from scratch, you can use this feature — either to ensure authentic sound, or to create special effects,
where playing one sound cancels out a previous one.
1
2
Quick Guide — Advanced Course
3
Call up the Key Edit display in the Voice Edit mode.
Refer to step #3 on page 82.
4
Press the key which corresponds to “Hi-Hat Close”
and set it to the same Alternate Group (1) as in step #3.
Call up the [F1] OSC → [SF5] OTHER display.
Press the key which corresponds to “Hi-Hat
Open” and set the Alternate Group to “1.”
5
Confirm whether the Alternate Group has been set
properly.
Immediately after pressing the “Hi-Hat Open” key, press
the “Hi-Hat Close” key. Pressing the second key should
cut off the sound of the first.
Since the settings above are included in the Drum Voice
data, store them as a Drum Voice in the Voice Store mode.
TIP Determining how the Drum Voice responds when the key is released
[VOICE] → Drum Voice selection → [EDIT] → Key selection → [F1] OSC → [SF5] OTHER → RcvNoteOff
You can determine whether or not the selected Drum key responds to MIDI Note Off messages. Setting the Receive Note Off
parameter to “off” can be useful for cymbal sounds and other sustaining sounds. This lets you have the selected sounds
sustain to the length of their natural decay – even if you release the note, or when a Note Off message is received. If this
parameter is set to “on,” the sound will stop immediately when the note is released or a Note Off message is received.
TIP Setting the Output jack for each key (drum/percussion instrument)
[VOICE] → Drum Voice selection → [EDIT] → Key selection → [F1] OSC → [SF2] OUTPUT → OutputSel
You can change the output jack on the rear panel for the individual Drum key signal. This function is useful when you wish
to apply a connected external effect to a specific drum instrument.
For details, see page 31.
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Owner’s Manual
Editing a Voice
Plug-in Voice Edit
The Plug-in Voices (available when installing optional Plug-in Boards to the instrument) can be edited in basically the same way
as in Normal Voice Edit (page 79). Unlike with Normal voices, the Plug-in voices only have one Element for editing. In addition,
some of the other parameters may not be available. Refer to page 205 in the Reference section.
Storing/Saving the created Voice
Two steps are necessary in order to store (save) your voice – storing the edited voice to internal memory and saving the stored
voices to a SmartMedia/USB storage device.
User Drum Voice 001
User Drum Voice 002
User Drum Voice 003
STORE
User Drum Voice Bank
User Normal Voice Bank 1
SmartMedia
User Plug-in Voice 001
Plug-in
Voice
UserUser
Plug-in
Voice
002 001
User Plug-in
Voice
001
Plug-in
Voice
UserUser
Plug-in
Voice
003 002
User Plug-in Voice
002
User Plug-in Voice 003
User Plug-in Voice 003
USB storage
device
User Plug-in Voice Bank 1
User Drum Voice 32
User Plug-in Voice 064
User Plug-in Voice 064
User Plug-in Voice 064
Storing
edited Voices
individually
SAVE
User Normal Voice 128
User Normal Voice 128
All the User
Voice data in
internal
memory can
be saved as
a single file.
Quick Guide — Advanced Course
Voice Edit
Internal memory (Flash ROM)
User Normal Voice 001
User Normal Voice 002
User Normal Voice 003
File extension: W7A
File extension: W7V
File extension: W7E
The W7E file can be loaded to the
Voice Editor, computer software.
Keep in mind that edited Voice data is stored to internal User memory (Flash ROM) and is stored even when turning the power
off. As such it is not necessary to save the data to SmartMedia card or another device; however, you may want to save it to
another media for backup or organizational purposes, using the Save operation. For more information, see page 86.
Storing the edited Voice as a User Voice
to internal memory
[VOICE] → [STORE]
1
After editing the Voice, press the [STORE] button
to enter the Voice Store mode.
Make sure to execute the Store operation before selecting
another Voice.
2
Select the destination Voice memory.
Select a User Bank (“USR1” or “USR2” when storing a Normal
Voice, “UDR” when storing a Drum Voice, “P1-U” ~ “P3-U”
when storing a Plug-in Voice) and the desired Voice number
by using the data dial, [INC/YES] and [DEC/NO] button.
CAUTION
When you execute the Store operation, the settings for the destination
memory will be overwritten. Important data should always be backed up to
a separate SmartMedia/USB storage device.
3
Press the [ENTER] button.
The display prompts you for confirmation.
To cancel the Store operation, press the [DEC/NO] button.
DEC/NO
INC / YES
EXIT
ENTER
EXECUTE
Select a User Bank.
Select a Voice number.
Owner’s Manual
85
Editing a Voice
4
Press the [INC/YES] button to execute the Store
operation.
3
Set the Type parameter to “All Voice.”
After the Voice has been stored, a “Completed” message
appears and operation returns to the Voice Play display.
DEC/NO
EXIT
INC / YES
ENTER
EXECUTE
Move the cursor to TYPE, then select a file type by using the
data dial, [INC/YES] and [DEC/NO] buttons. The following
three file types are available for saving Voice data. Here,
select “All Voice.”
Quick Guide — Advanced Course
All
When this is selected, execute the Save operation to
save all the created data including the User Voices as a
single file (extension: W7A).
All Voice
When this is selected, execute the Save operation to
save all User Voices as a single file (extension: W7V).
Voice Editor
When this is selected, execute the Save operation to
save all User Voices as a single file (extension: W7E)
which can be exported to the Voice Editor software
contained in the included CD-ROM.
CAUTION
Keep in mind that the Store operation may take a short time to complete,
during which an “Executing..” or “Please keep power on” message may be
shown. Never attempt to turn off the power while data is being written to
Flash ROM while such a message is displayed. Turning the power off in this
state results in loss of all user data and may cause the system to freeze (due
to corruption of data in the Flash ROM). This may also result in the MOTIF ES
being unable to properly start up the next time the power is turned on.
4
Input a file name.
Move the cursor to the file name input location, then input a
file name. For detailed instructions on naming, refer to page
53 in the Basic Operation section.
CAUTION
If you select another Voice without storing, the currently edited Voice will
be lost. Make sure to store the edited Voice before selecting another Voice.
Saving the edited Voices to a
SmartMedia/USB storage device
[FILE] → [F2] SAVE
File name
5
Press the [ENTER] button to execute the Save
operation.
Whether you are saving data to SmartMedia or a USB storage
device, the procedure is the same. Insert a SmartMedia card
(to the CARD slot) or connect the USB device and follow the
instructions below.
1
Press the [FILE] button to enter the File mode,
then execute the basic settings.
Refer to “Basic settings for using SmartMedia or a USB
storage device” on page 30.
2
Press the [F2] SAVE button to call up the Save
display.
DEC/NO
INC / YES
EXIT
ENTER
EXECUTE
If you are about to overwrite an existing file, the display
prompts you for confirmation. Press the [INC/YES] button to
execute the Save operation to overwrite the existing file, or
press the [DEC/NO] button to cancel it.
CAUTION
While the data is being saved, make sure to follow these precautions:
• Never remove or eject the media from the device (SmartMedia or USB
storage).
• Never unplug or disconnect any of the devices.
• Never turn off the power of the MOTIF ES or the relevant devices.
86
Owner’s Manual
Editing a Performance
■ Loading Voice data from the SmartMedia/USB
storage device
When Type is set to “Voice”:
When Type is set to “Voice,” you can specify and load a
specific Voice from a file (with the extension W7V or W7A).
[FILE] → [F3] LOAD
In the previous section, we saved Voice data as an “All Voice”
file to a SmartMedia card or USB storage device. Here, we’ll
recall that Voice data and load it to the instrument with the
Load operation.
Move the cursor to the file (extension: W7V) saved
in the operation explained on the previous page.
ENTER
1
Press the [FILE] button to enter the File mode,
then execute the basic settings.
EXECUTE
Refer to “Basic settings for using SmartMedia or a USB
storage device” on page 30.
3
Select the file type to be loaded.
Select a source Voice Bank from the selected file with the following operation.
To select a User Normal Voice Bank, press one of the [USER1] and [USER2]
buttons. To select a User Drum Voice Bank, simultaneously hold the [DRUM
KITS] button and press the [USER1] button. To select a User Plug-in Voice
Bank, press one of the [PLG1], [PLG2] and [PLG3] buttons. After selecting a
source Voice Bank, all the Voices contained in the selected Bank are listed in
the display. Move the cursor to the desired Voice to be loaded.
Quick Guide — Advanced Course
2
Press the [F3] LOAD button to call up the Load
display.
ENTER
EXECUTE
The file saved in operation explained on the previous page
has all the User Voices. If you wish to load all the User Voices,
set Type to “All Voice.” If you wish to load only a specific
voice, set Type to “Voice.”
Select a destination Voice Number.
You can also change the destination Voice Bank when loading a Normal
Voice or a Plug-in Voice by moving the cursor to the location of “USR1” in the
above display and using the data dial. When loading Plug-in Voice data,
note that the Plug-in Board for the source Voice Bank should match the one
for the destination Voice Bank. When a source Voice Bank is created for the
PLG150-AN, for example, you should select the Voice Bank for the PLG150AN as the destination.
n
4
Select a file (
) to be loaded.
Move the cursor to the file (extension: W7V) saved in the
operation explained on the previous page. If you’ve set the
Type to “AllVoice” in step #3, go to step #5. If you’ve set the
Type to “Voice” in step #3, execute the operations in the
following box, then go to step #5.
If you want to change the source Voice Bank/Number, press
the [EXIT] button to return the display to the first one (shown at
the top of this box) then perform the above instructions again.
CAUTION
Loading data to this synthesizer automatically erases and replaces
any existing data in the User memory. Make sure to save any
important data to a SmartMedia/USB storage device before
performing any Load operations.
5
Press the [ENTER] button to execute the Load
operation.
After the data has been loaded, a “Completed” message
appears and operation returns to the original display.
CAUTION
While the data is being saved, make sure to follow these precautions:
• Never remove or eject the media from the device (SmartMedia or USB storage).
• Never unplug or disconnect any of the devices.
• Never turn off the power of the MOTIF ES or the relevant devices.
Editing a Performance
The Performance Edit mode ([PERFORM] → [EDIT]) lets you create your own original Performances — containing up to four different
Parts (Voices) — by editing the various parameters. The Voices can be selected from the internal tone generator or the installed Plug-in
Boards. After assigning different Voices to separate ranges of the keyboard, edit the detailed parameters in the Performance Edit mode.
Owner’s Manual
87
Editing a Performance
1
Press the [PERFORM] button to enter the Performance mode, then select a Performance to be edited.
2
Press the [EDIT] button to enter the Performance Edit mode.
3
Call up the Common Edit display or Part Edit display.
Use the Part Edit to edit the parameters for each Part. Use Common Edit to edit the parameters for all of the Parts.
While in the Voice Edit mode, you can switch between
the Common Edit display amd the Part Edit display
as shown below.
Calling up the Common Edit display
DRUM KITS
PRE 5
PRE 6
USER 1
USER 2
Press the [COMMON] button to call up the
Common Edit display.
FAVORITES
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
A
B
C
D
SYN LEAD
SYN PAD/
CHOIR
SYN COMP
CHROMATIC
PERCUSSION
1
2
3
4
In the Edit mode, the [DRUM KITS] button
functions as the [COMMON] button.
Calling up the Part Edit display
Press the desired Part number from the
PERF. PART [1] - [4] buttons to call up the
Part Edit display.
Quick Guide — Advanced Course
Indicates the display for editing Part 1.
Indicates a Common Edit
display.
COMMON
ELEMENT/PERF. PART/ZONE
To switch between the Part 1 - 4
display and the Plug-in Part 1 - 3
display, press the [F6] button.
n
You can mute or solo a Part in the Performance
Edit mode, just as in the Performance Play mode
or the Song/Pattern mode (page 68).
You can select the four Performance Parts
from this group of seven.
Part1 Edit
Part2 Edit
Part3 Edit
Common Edit
F6
Parts to which Internal
voices are assigned
Part4 Edit
Plug-in part 1 (PLG1) Edit
Plug-in part 2 (PLG2) Edit
Plug-in part 3 (PLG3) Edit
4
Select the menu you wish to edit by pressing the
[F1] - [F6] and [SF1] - [SF5] buttons, then edit the
parameters.
The following briefly describes the main Performance parameters.
● Parameters for the Voice assigned to each Part...Page 216
Part selection → [F1] VOICE
The Voice assigned to each part and its note range can be set also in
the Performance Play mode (page 71). In addition to the parameters
available in the Performance Play mode, the Performance Edit mode
also lets you set Portamento (pitch glide) and Arpeggio Switch (which
determines whether the Arpeggio plays a specific Part or not).
● Basic parameters for making sound................Page 218
Part selection → [F4] TONE
If you wish to edit the basic parameters for the synthesizer
such as Tune, Filter, and Amplitude, use the Part Edit display.
88
Owner’s Manual
Parts to which Plug-in
Board voices are
assigned
● Parameters related to the Audio Input part ........... Page 214
[COMMON] → [F5] AUDIO IN
The audio signal input from the A/D INPUT jack (or the
optional audio inputs) can be handled as an Audio Input part.
You can apply various parameters such as Volume, Pan, and
Effect settings to this Part — just as you can with the other
Parts. The parameters related to the Audio Input Part can be
edited in Common Edit for each Performance.
● Parameters related to the OUTPUT jacks for each
part................................................................................ Page 218
Part selection → [F2] OUTPUT → [SF3] SELECT →
OutputSel
You can assign each individual Part’s Voice to be output from
a specific hardware output jack on the rear panel. This
function is useful when you want to output a specific Part to a
separate speaker or process it with a favorite external effect.
Editing a Performance
● Effect related parameters ................ Pages 177 and 215
[COMMON] → [F6] EFFECT
5
Repeat steps #3 - 4 as desired.
6
Name the edited Performance.
[COMMON] → [F2] OUT/MEF → [SF3] MEF (Master Effect)
The Effects use DSP (Digital Signal Processing) to alter and
enhance the sound of a Performance. The Common Edit
display lets you edit the Effect related parameters.
● Master EQ related parameters ........ Pages 178 and 214
Enter a name for the Performance from the NAME display
([COMMON] → [F1] GENERAL → [SF1] NAME).
For detailed instructions on naming, refer to page 53 in the
Basic Operation section.
These parameters let you use the five-band Master EQ to
process the overall sound of the Performance. Master EQ
also features separate EQ shape parameters for the Low and
High bands, as well as the Frequency, Gain and Q controls for
each band.
Enter the desired Performance name.
Quick Guide — Advanced Course
● Controller related parameters ........... Pages 155 and 214
[COMMON] → [F4] CTL ASN (Controller Assign)
For each Performance, you can assign the Control Change
Number to built-in controllers such as Ribbon Controller,
Knobs (ASSIGN1 and 2), and optionally connected
controllers, such as Foot Controller and Breath Controller.
n
7
The edited Performance can be stored in the Performance
Store mode. See page 91 for details.
Functions assigned to Controllers depend on the settings of each
Part’s Voice edited in the Voice Edit mode.
● Arpeggio related parameters............. Pages 169 and 214
For each Performance, you can set the Arpeggio related
parameters, such as Arpeggio type and playback tempo.
These can be edited in the Common Edit display.
Store the edited Performance to internal User
memory (page 186).
8
If desired, save the edited and stored
Performances to a SmartMedia/USB storage
device.
Keep in mind that edited Performance data is stored to
internal User memory (Flash ROM) and is stored even when
turning the power off. As such it is not necessary to save the
data to SmartMedia card or another device; however, you
may want to save it to another media for backup or
organizational purposes. For more information, see page 91.
Compare Function
Just as in the Voice Edit mode, you can use the Compare function also in the Performance Edit mode. This convenient
function lets you switch between the edited voice and its original, unedited condition – allowing you to listen to the
difference between the two and better hear how your edits affect the sound.
1
2
In the Performance Edit mode (with the [EDIT] indicator lit), press the [EDIT] button so that its indicator flashes.
The [C] indicator is shown at the top of the display (in place of the [E] indicator), and the original, unedited Performance
is restored for monitoring.
Press the [EDIT] button again to disable the “Compare” function and restore the settings for your edited
Performance.
Compare the edited sound with the unedited sound as desired by repeating steps #1 and 2.
n
While Compare is active, you cannot make edits to the Performance.
Owner’s Manual
89
Editing a Performance
TIP Editing a Performance by using the Knobs
The four knobs at the top left of the instrument are not only for tweaking the sound while you perform — you can also use
them to edit a Performance, either in the Performance Play mode or the Performance Edit mode.
● When the [PAN/SEND] indicator is turned on:
PAN
Determines the stereo pan position of the Performance.
[PERFORM] → Performance selection → [EDIT] → [COMMON]
→ [F2] OUT/MEF → [SF1] OUT → Pan
Page 213
REVERB
Determines the amount of Reverb effect that is applied to the
Performance.
[PERFORM] → Performance selection → [EDIT] → [COMMON]
→ [F2] OUT/MEF → [SF1] OUT → RevSend
Page 213
CHORUS
Determines the amount of Chorus effect that is applied to the
Performance.
[PERFORM] → Performance selection → [EDIT] → [COMMON]
→ [F2] OUT/MEF → [SF1] OUT → ChoSend
Page 213
TEMPO
Determines the tempo of the Arpeggio assigned to the currently selected
Performance.
[PERFORM] → Performance selection → [F6] ARP → Tempo
Page 213
● When the [TONE] indicator is turned on:
Quick Guide — Advanced Course
CUTOFF
Raises or lowers the Filter cutoff frequency to adjust the tone brilliance.
[PERFORM] → Performance selection → [F5] EG → CUTOF
Page 213
RESONANCE
Boosts or attenuates the level at the area around the Filter cutoff
frequency.
[PERFORM] → Performance selection → [F5] EG → RESO
Page 213
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 this knob to the right.
[PERFORM] → Performance selection → [F5] EG → ATK (AEG)
Page 213
RELEASE
Determines the release time of the sound. Turning the knob to the right sets a
long release time and (depending on the Voice assigned to the selected
Performance) lets the sound sustain after the key is released. To produce a
sharp release, in which the sound abruptly cuts off, set a short release time.
[PERFORM] → Performance selection → [F5] EG → REL (AEG)
Page 213
n
The settings above are applied as offsets to the AEG and FEG settings in the Performance Edit mode.
● When the [ARP FX] indicator is turned on:
SWING
Adjusts the swing feel of the Arpeggio playback.
[PERFORM] → Performance selection → [EDIT] → [COMMON]
→ [F3] ARP → [SF3] PLAY FX → Swing
Page 214
GATE TIME
Adjusts the Gate Time (length) of the Arpeggio notes.
[PERFORM] → Performance selection → [EDIT] → [COMMON]
→ [F3] ARP → [SF3] PLAY FX → GateTimeRate
Page 214
VELOCITY
Adjusts the velocity of the Arpeggio notes.
[PERFORM] → Performance selection → [EDIT] → [COMMON]
→ [F3] ARP → [SF3] PLAY FX → VelocityRate
Page 214
UNITMULTIPLY
Adjusts the Arpeggio playback time based on tempo.
[PERFORM] → Performance selection → [EDIT] → [COMMON]
→ [F3] ARP → [SF3] PLAY FX → UnitMultiply
Page 214
● When the [EQ] indicator is turned on:
LO
Determines the amount of boost or attenuation applied to the low
frequency band of the Master EQ.
[PERFORM] → Performance selection → [EDIT] → [COMMON]
→ [F1] GENERAL → [SF3] MEQ OFS → LOW
Page 213
LO MID
Determines the amount of boost or attenuation applied to the lowmidrange frequency band of the Master EQ.
[PERFORM] → Performance selection → [EDIT] → [COMMON]
→ [F1] GENERAL → [SF3] MEQ OFS → LOW MID
Page 213
HI MID
Determines the amount of boost or attenuation applied to the highmidrange frequency band of the Master EQ.
[PERFORM] → Performance selection → [EDIT] → [COMMON]
→ [F1] GENERAL → [SF3] MEQ OFS → HIGH MID
Page 213
HI
Determines the amount of boost or attenuation applied to the high
frequency band of the Master EQ.
[PERFORM] → Performance selection → [EDIT] → [COMMON]
→ [F1] GENERAL → [SF3] MEQ OFS → HIGH
Page 213
n
The settings above are applied as offsets to the EQ settings in the [PERFORM] → Performance selection → [EDIT] → [COMMON] → [F2] OUT/MEF
→ [SF2] MEQ (Master EQ) display.
● When both the [PAN/SEND] and [TONE] indicators are turned on (by pressing them simultaneously):
ASSIGN A
Adjusts parameters assigned to these knobs in the [UTILITY] → [F4] CTL ASN → [SF2] ASSIGN display.
Page 263
Depends on the settings of the Voice assigned to the selected Performance.
Page 192
ASSIGN B
ASSIGN 1
ASSIGN 2
n
90
In addition to above functions, Master Effect related parameters (set in the [PERFORM] → Performance selection → [COMMON] → [F2] OUT/MEF
→ [SF3] MEF display) can be assigned to these four knobs by pressing the [ARP FX] and [EQ] buttons simultaneously. The particular parameters
are assigned to the four knobs can be set in the [UTILITY] → [F4] CTL ASN → [SF5] MEF display.
Owner’s Manual
Editing a Performance
TIP Editing a Performance by using the Con-
Edit Recall
trol Sliders (CS)
If you are editing a Performance and select a different
Performance without storing the one you were editing, all the edits
you’ve made will be erased. If this happens, you can use Edit
Recall to restore the Performance with your latest edits intact.
1
In the Performance mode, the four Control Sliders let you
independently adjust the levels of the Parts (Voices), letting you
control the overall balance of the Parts.
n
2
3
Inadvertent use of the sliders may result in no sound. If this
occurs, move the sliders upward.
4
Press the [JOB] button in the Performance mode to
enter the Performance Job mode.
Press the [F2] RECALL button to call up the Recall display.
Press the [ENTER] button. (The display prompts you
for confirmation.)
If you wish to cancel the operation, press the [DEC/NO]
button.
Press the [INC/YES] button to execute the Edit Recall
to restore the Performance.
Quick Guide — Advanced Course
[PERFORM] → Performance selection → [EDIT] →
Part selection → [F2] OUTPUT → [SF1] VOL/PAN
→ Volume
Storing/Saving the created Performance
Two steps are necessary in order to store (save) your Performance – storing the edited Performance to internal memory and saving the stored
Performances to a SmartMedia/USB storage device.
Internal memory
(Flash ROM)
STORE
Performance Edit
Storing edited
Performances individually
SmartMedia
Performance 001
Performance 002
Performance 003
SAVE
USB storage
device
All the User
Performance data in
internal memory can
be saved as a single
file.
Performance 128
File extension: W7A
Keep in mind that edited Performance data is stored to internal User memory (Flash ROM) and is stored even when turning the power off. As
such it is not necessary to save the data to SmartMedia card or another device; however, you may want to save it to another media for backup or
organizational purposes, using the Save operation.
Storing the edited Performance as a User Performance to internal memory
[PERFORM] → [STORE]
1
After editing the Performance, press the [STORE]
button to enter the Performance Store mode.
Make sure to execute the Store operation before selecting another
Performance.
2
Select the destination Performance memory.
Select a Performance number by using the data dial, [INC/YES] and
[DEC/NO] button.
CAUTION
When you execute the Store operation, the settings for the destination
memory will be overwritten. Important data should always be backed up to
a separate SmartMedia/USB storage device.
3
Press the [ENTER] button.
The display prompts you for confirmation.
To cancel the Store operation, press the [DEC/NO] button.
EXIT
ENTER
EXECUTE
Owner’s Manual
91
Editing a Performance
4
Press the [INC/YES] button to execute the Store
operation.
After the Performance has been stored, a “Completed” message
appears and operation returns to the Performance Play display.
DEC/NO
INC / YES
EXIT
ENTER
Move the cursor to TYPE, then select a file type by using the
data dial, [INC/YES] and [DEC/NO] buttons. When Type is set
to “All,” execute the Save operation to save all the created
data, including the Performances as well as the Voices
assigned to them, as a single file (extension: W7A).
4
Input a file name.
Move the cursor to the file name input location, then input a
file name. For detailed instructions on naming, refer to page
53 in the Basic Operation section.
EXECUTE
File name
Quick Guide — Advanced Course
CAUTION
Keep in mind that the Store operation may take a short time to complete,
during which an “Executing..” or “Please keep power on” message may be
shown. Never attempt to turn off the power while data is being written to
Flash ROM while such a message is displayed. Turning the power off in this
state results in loss of all user data and may cause the system to freeze (due
to corruption of data in the Flash ROM). This may also result in the MOTIF ES
being unable to properly start up the next time the power is turned on.
5
Press the [ENTER] button to execute the Save
operation.
DEC/NO
INC / YES
EXIT
ENTER
CAUTION
If you select another Performance without storing, the currently edited
Performance will be lost. Make sure to store the edited Performance before
selecting another Performance.
Saving the edited Performances to a
SmartMedia/USB storage device
EXECUTE
If you are about to overwrite an existing file, the display
prompts you for confirmation. Press the [INC/YES] button to
execute the Save operation to overwrite the existing file, or
press the [DEC/NO] button to cancel it.
CAUTION
[FILE] → [F2] SAVE
Whether you are saving data to SmartMedia or a USB storage
device, the procedure is the same. Insert a SmartMedia card
(to the CARD slot) or connect the USB device and follow the
instructions below.
1
Press the [FILE] button to enter the File mode,
then execute the basic settings.
Refer to “Basic settings for using SmartMedia or a USB
storage device” on page 30.
2
Press the [F2] SAVE button to call up the Save
display.
3
Set the Type parameter to “All.”
While the data is being saved, make sure to follow these precautions:
• Never remove or eject the media from the device (SmartMedia or USB
storage).
• Never unplug or disconnect any of the devices.
• Never turn off the power of the MOTIF ES or the relevant devices.
■ Loading the Performance data from the
SmartMedia/USB storage device
[FILE] → [F3] LOAD
In the previous section, we saved Performance data as an
“All” file (extension: W7A) to a SmartMedia card or USB
storage device. Here, we’ll recall that Performance data and
load it to the instrument with the Load operation.
1
Press the [FILE] button to enter the File mode,
then execute the basic settings.
Refer to “Basic settings for using SmartMedia or a USB
storage device” on page 30.
2
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Owner’s Manual
Press the [F3] LOAD button to call up the Load
display.
Editing a Performance
3
Select the file type to be loaded.
The file saved in operation explained on the previous page contains all the Performances.
If you wish to load all the Performances, set Type to “All.” In this case, all data that can be created on the MOTIF ES will be
loaded in step #5 below. If you wish to load only a specific Performance, set Type to “Performance.”
SmartMedia/USB storage device
Performance 128
File extension: W7A
Internal Memory
(Flash ROM)
Performance 001
Performance 002
Performance 003
All Performances are
loaded when Type is set
to “All.”
Quick Guide — Advanced Course
Performance 001
Performance 002
Performance 003
Loading a specific
Performance when Type
is set to “Performance.”
Performance 128
CAUTION
When Type (file type) is set to “All” and the Load operation is executed, all data that can be created on the instrument will be loaded. This means that any
existing data in User memory will automatically be overwritten and lost. Make sure to save any important data to a SmartMedia/USB storage device before
performing the Load operations, especially when Type is set to “All.”
n
4
When Type (file type) is set to “Performance” and the Load operation is executed, the sound of the Performances may not be reproduced properly if the
User Voices assigned to the Performances saved in the file have been changed by editing.
Select a file (
) to be loaded.
Move the cursor to the file (extension: W7A) saved in the operation explained on the previous page. If you set the Type
parameter to “All” in step #3, go to step #5. If you set the Type parameter to “Performance” in step #3, execute the operations in
the following box, then go to step #5.
When Type is set to “Performance”:
When Type is set to “Performance,” you can specify and load a specific Performance from a file (with the extension W7A).
Move the cursor to the file (extension:
W7A) saved in the operation
explained on the previous page.
ENTER
EXECUTE
All the Performances contained in
the selected file are listed on the
display. Move the cursor to the
desired Performance.
ENTER
Select the desired
Performance to be loaded.
EXECUTE
Select the destination Performance number.
CAUTION
Loading data to this synthesizer automatically erases and replaces any existing data in the User memory. Make sure to save any important data to a
SmartMedia/USB storage device before performing any Load operations.
5
Press the [ENTER] button to execute the Load operation.
After the data has been loaded, a “Completed” message appears and operation returns to the original display.
CAUTION
While the data is being saved, make sure to follow these precautions:
• Never remove or eject the media from the device (SmartMedia or USB storage).
• Never unplug or disconnect any of the devices.
• Never turn off the power of the MOTIF ES or the relevant devices.
Owner’s Manual
93
Creating a Voice by using the Sampling function
Creating a Voice by using the Sampling function
Sampling is a powerful function that lets you bring your own recorded sounds – your voice, an instrument, rhythms, special
sound effects, etc. – into the system of this synthesizer, and play those sounds just like any other voices. These sounds, the
audio data you capture with the Sampling function, are referred to as “Samples.”
The data you create by Sampling differs depending on which mode you enter the Sampling mode from — the Voice/
Performance mode or the Song/Pattern mode. In this section, we’ll describe how to use the Sampling function from the Voice/
Performance mode in creating a User Voice.
n
See page 173 for instructions on using the Sampling function in the Song mode/Pattern mode.
In order to use the Sampling function, DIMM modules must be installed to the instrument. For details on installing DIMMs, see page 289.
Depending on the size of the audio (sample) data obtained via the Sampling function, you may not be able to save all of the desired data to a SmartMedia
card (maximum capacity: 128MB). For this reason, we recommend using a large-capacity USB storage device for your Sampling data.
Sampling your voice with a microphone and creating a Normal Voice
Quick Guide — Advanced Course
1
Connect a microphone to the instrument.
4
Follow steps #1 - 8 on page 72.
2
Press the [F1] DEST button to call up the display
for setting the Sampling Destination, then set the
parameters as described below.
Press the [INTEGRATED SAMPLING] button in
the Voice mode or Performance mode to enter
the Sampling mode.
MODE
VOICE
PERFORM
MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
DEMO
3
Press the [F2] SOURCE button to call up the
display for setting the Sampling Source, then set
the parameters as shown below.
Type:
Source:
Next:
Mono/Stereo:
Frequency:
sample
A/D
off
L mono
44.1k
For details about each parameter, see page 251.
94
Owner’s Manual
Waveform
Determines the Waveform number. Select a number
which has no data ([--- : -----------] is indicated). For
details about the Waveform, see page 173.
Keybank
Here, set this parameter to “C3.” After the Sampling is
completed, you can hear the sampled sound by
pressing the note set here. For details about the
Keybank, see page 173.
Part
This is available when entering the Sampling mode
from the Performance mode. This parameter
determines the Performance Part to which the Voice
(below) created by sampling is assigned.
Voice
Set the Bank to “USR1” or “USR2” (one of the User
Normal Voice Banks), then select a User Normal Voice
Number. After the Sampling is completed, you can hear
the created Voice by selecting the Voice number set
here.
n
If the Voice parameter above is set to “off,” you won’t be able to play
the sampled sound as a Voice after completing this operation.
However, you can call up the sampled sound by selecting a
Waveform. For details on how to select a Waveform, see .
Creating a Voice by using the Sampling function
Press the [F6] REC button to call up the
Sampling Record display (Sampling Standby
status), then set the parameters as required.
F6
6
Doing this puts sample recording on standby, waiting for an
input signal that exceeds the Trigger level.
You can change the
Keybank (set in step
#4) also in this display.
Trigger Level
Press the [F6] REC button again to enable
Sampling Trigger Waiting.
F6
Indicates Sampling
Standby status.
Indicates that sample recording is waiting
for a signal of an appropriate level.
Turn the Confirm
function on or off
● Setting the Confirm function
When the [F2] CONFM (Confirm function) is turned on ( is
indicated), you can easily listen back to your just-recorded
sample and conveniently re-record it if you’re not satisfied
with the results. Here, set the [F2] CONFM button on.
● Setting the Trigger mode
7
Quick Guide — Advanced Course
5
Sing into the microphone to start sampling.
Sing into the microphone. (You may want to match the pitch
of your voice to the note C3, set in step #4 above.) The
sampling actually starts as soon as the an input signal
exceeding the specified trigger level is received.
The Trigger mode lets you determine how the Sampling
actually starts. For example, you can start the Sampling
simply by pressing the button or when the Song/Pattern
playback reaches a specified point. Here, set the TrggrMode
(Trigger mode) to “level” which lets you start sampling as
soon as the microphone level exceeds the specified Trigger
Level.
● Setting the Trigger Level
When the Trigger mode is set to “level,” you’ll also need to set
the Trigger Level. This determines when sampling actually
starts, depending on the level of the input signal (in this case,
your voice). As you sing into the microphone, notice the
movement of the level meter (bar), and when the bar crosses
the Trigger Level arrow. If necessary, select the Trigger Level
value and use the data dial to change it, moving the arrow as
low or as high as needed.
Trigger Level
Trigger Level
Indicates Sampling
Standby status.
The section of the bar exceeding
the Trigger Level becomes black.
8
Press the [F6] STOP button to stop sampling,
then check the results.
Press the [F3] AUDITION button to hear the sampled sound.
If you’re not satisfied with the results and you wish to try
again, press the [F4] CANCEL button to return to the
Sampling Standby display and try sampling from step #5
again. If you are satisfied with the results, press the [F5] OK
button to store the sampled sound as a “sample” and return
to the [F1] DEST or [F2] SOURCE display.
Keep in mind that if the Confirm function is turned off in step
#5 above, the display shown above will not appear when
stopping sampling. Instead, stopping sampling returns
directly to the [F1] DEST or [F2] SOURCE display.
Owner’s Manual
95
Creating a Voice by using the Sampling function
9
Press the [EDIT] button to enter the Sampling
Edit mode, then press the [F4] RANGE button to
call up the Range setting display.
EDIT
When you play the sample from the keyboard, the more
distant the played samples are from the original key, the less
natural the samples sound. For this reason, you should try to
make multiple samples and multiple key ranges, so that each
key range is shorter and the samples sound more natural.
COMPARE
12
F4
Save your newly created User Voice to a
SmartMedia/USB storage device.
Refer to “Saving a Sample” on page 97.
CAUTION
The recorded (edited) sample data resides temporarily in DIMM (page 187).
Because data contained in DIMM is lost when the power is turned off, you
should always save any data residing in DIMM to a SmartMedia /USB
storage device before turning off the power.
Quick Guide — Advanced Course
10
Set the key range within which the sample is
sounded.
Immediately after sampling, the sample is assigned only to
one key — the one set in step #4 as “KeyBank.” This display
lets you expand the key range within which the sample is
sounded. Here, set the key range to C2 - B3.
Indicates the original key of the currently selected sample.
If you wish to select a different sample, call up the [F1]
KEYBANK display, then press a different key while holding
the [INFORMATION] button.
Set the key
range.
Use the data
dial, [INC/YES]
and [DEC/NO]
button, or press
the key while
holding the
[INFORMATION]
button.
Play the keyboard within the key range set above.
Your sampled voice is sounded, following the pitches of the
notes you play.
11
Repeat step #4 - 10 to add another sample to the
same Voice (Waveform).
For example, in step #4 set Keybank to “G4,” sing into the
microphone as described in step #7 (matching the pitch G4, if
necessary), and set the Key Range to C4 - E5 in step #10. As a
result, the sample is assigned to the keys as illustrated below.
The sample is sounded
within this key range.
The sample is sounded
within this key range.
C3
The original sample is
assigned to this key.
96
Owner’s Manual
G4
The original sample is
assigned to this key.
About Samples, Key Banks, Waveforms, and Voices
Understanding the Sampling-related terms below will
help you better understand the Sampling function itself
and how to use it. Keep in mind the hierarchy here as it
relates to sampling — the audio source (e.g., your voice)
starts as a Sample, becomes part of a Key Bank, which
makes up a Waveform, which is used to create a Voice.
● Sample
The sound obtained via the Sampling function is
referred to as “Sample.”
● Key Bank
In order to play the sample from the keyboard, the
sample must be assigned to notes on the keyboard.
First, assign the sample to a specified key when
sampling (step #4 on page 94), then expand the key
range within which the sample is sounded (step #10 on
page 96). The Key Range and the Velocity Range within
which the sample is sounded is referred to as a “Key
Bank.” In step #10 above, you saw how to set the Key
Range. From the same display, you can also set a
Velocity Range. Using these two parameters, you can
create a Key Bank.
● Waveform
The group of Key Banks to which sample data is
assigned is referred to as a “Waveform.” The Waveform
is assigned to each Element of a Normal Voice. In step
#11 above, you saw how to add Key Banks one by one
to create a Waveform.
● Voice
After completing a Waveform, you can create an
Element by applying various sound-making parameters
such as Pitch, Filter, Amplitude and other parameters
such as Effect and EQ to it. Finally, combine four
Elements (each containing its own Waveform) to create
a Normal Voice.
n
You can select and hear the Waveforms created via the
Sampling function as well as all the preset Waveforms in the
WAVE display ([VOICE] → [EDIT] → Element selection →
[F1] OSC → [SF1] WAVE).
Creating a Voice by using the Sampling function
Saving a Sample
[FILE] → [F2] SAVE
Assign the Samples obtained via the Sampling function to specific Key Ranges to create a Waveform. Because the Waveform data
including Samples which resides temporarily in DIMM (page 187) is lost when the power is turned off, you should always save the
Waveform data or Samples to a SmartMedia/USB storage device before turning off the power. The following four methods can be used to
save a Sample that is assigned to a Waveform. Execute the Save operation in the File mode.
CAUTION
While the data is being saved, make sure to follow these precautions:
• Never remove or eject the media from the device (SmartMedia or USB storage).
• Never unplug or disconnect any of the devices.
• Never turn off the power of the MOTIF ES or the relevant devices.
When you save a User Voice that contains Samples, all the
related data — the Waveform assigned to the Voice, the
Samples assigned to the Waveform, as well as the User Voice
itself — is automatically saved together. Insert a SmartMedia
into the CARD slot or connecting the USB storage device to
this synthesizer, and follow the instructions below.
1
2
3
4
5
Press the [FILE] button to enter the File mode, then
execute the basic settings.
Refer to “Basic settings for using SmartMedia or a USB
storage device” on page 30.
2
3
4
Set the TYPE parameter to “Wav” in the [F2] SAVE display.
Input a file name.
Move the cursor to the file name input location, then input a file
name. For detailed instructions on naming, refer to page 53 in
the Basic Operation section.
Quick Guide — Advanced Course
● Saving as a User Voice
Press the [ENTER] button, then select a Sample to be saved.
When a Normal Voice is selected in step #1:
Specify the Element and Key Bank to call up the Sample
assigned to the selected Voice. You can hear the Sample by
pressing the [SF1] AUDITION button. Go through the Samples
in this way to find the desired Sample.
Press the [F2] SAVE button to call up the Save display.
Set the TYPE parameter to “All” or “AllVoice.”
When “All” is selected, execute the Save operation to save
all the created data including the User Voices as a single
file. When “AllVoice” is selected, execute the Save
operation to save all User Voices, including Waveforms
assigned to Normal Voice Elements or Drum Voice Keys, as
a single file.
This is available only when the cursor is located at
the KeyBank. Each press of the [SF2] button calls up
a different Key Bank assigned to a specific velocity
range (for the same key).
Input a file name.
Move the cursor to the file name input location, then input a
file name. For detailed instructions on naming, refer to page
53 in the Basic Operation section.
You can hear the selected sample by
pressing the [SF1] button. (Audition function)
When a Drum Voice is selected in step #1:
Specify the Note and Key Bank to call up the Sample assigned
to the selected Drum Voice. You can hear the Sample by
pressing the [SF1] AUDITION button. Go through the Samples
in this way to find the desired Sample.
Press the [ENTER] button to execute the Save
operation.
If you are about to overwrite an existing file, the display
prompts you for confirmation. Press the [INC/YES] button to
execute the Save operation to overwrite the existing file, or
press the [DEC/NO] button to cancel it.
● Saving as a Waveform
When you save a Waveform that makes up a Voice, all the
Samples that are assigned to the Waveform are automatically
saved together. The procedure for saving is the same as
described in “Saving a User Voice” above, with the exception
that Type is set to “AllWaveform” in step #3.
● Saving as a WAV file
You can select a specific Sample from a Waveform and save it
as a WAV file (Windows audio format). Insert a SmartMedia into
the CARD slot or connecting the USB storage device to this
synthesizer, and follow the instructions below.
1
Select a Voice containing the Sample to be saved in the
Voice Play mode, then press the [FILE] button to enter
the File mode, and execute the basic settings.
Refer to “Basic settings for using SmartMedia or a USB
storage device” on page 30.
You can hear the selected sample by pressing
the [SF1] button. (Audition function)
5
Press the [ENTER] button to execute the Save operation.
If you are about to overwrite an existing file, the display prompts
you for confirmation. Press the [INC/YES] button to execute the
Save operation and overwrite the existing file, or press the
[DEC/NO] button to cancel it.
● Saving as a AIFF file
You can select a specific Sample from a Waveform and save it as a
AIFF file (Macintosh audio format). The procedure for saving is the
same as described in “Saving as a WAV file” above with the
exception that Type is set to “AIFF” in step #2.
Owner’s Manual
97
Creating a Voice by using the Sampling function
Sampling the sound of an audio device to create a Drum Voice
In the previous section on page 94, you learned how to record a Sample using a microphone. Here, you’ll learn how to record
Samples from an audio device, such as a CD player or MD player, and use the Samples to create a Drum Voice.
In order to use the Sampling function, DIMM modules must be installed to the instrument. For details on installing DIMMs, see page 289.
Depending on the size of the audio (sample) data obtained via the Sampling function, you may not be able to save all of the desired data to a SmartMedia
card (maximum capacity: 128MB). For this reason, we recommend using a large-capacity USB storage device for your Sampling data.
1
Connect an audio device (CD player, etc.) to the
instrument.
Follow steps #1 - 8 on page 73.
5
Press the [F6] REC button to call up the
Sampling Record display (Sampling Standby
status), then set the parameters as required.
F6
Quick Guide — Advanced Course
2
Press the [INTEGRATED SAMPLING] button in
the Voice mode or Performance mode to enter
the Sampling mode.
3
Press the [F2] SOURCE button to call up the
display for setting the Sampling Source, then set
the parameters as shown below.
Type:
Source:
Next:
Mono/Stereo:
Frequency:
sample
A/D
on
stereo
44.1k
When creating a Drum Voice consisting of many separate
Samples, you’ll want to quickly be able to record a Sample,
assign it to a key, then move on to the next one. To do this
smoothly and easily, set the Next parameter to “on.”
You can also change the
Keybank (set in step #4)
in this display.
Indicates
Sampling
Standby status.
Turn the Confirm
function on or off
Trigger Level
● Setting the Confirm function
When the [F2] CONFM (Confirm function) is turned on ( is
indicated), you can easily listen back to your just-recorded
sample and conveniently re-record it if you’re not satisfied
with the results. Here, set the [F2] CONFM button on.
● Setting the Trigger mode
For details about each parameter, see page 251.
4
98
Press the [F1] DEST button to call up the display
for setting the Sampling Destination, then set the
parameters as described below.
Part
This is available when entering the Sampling mode from the
Performance mode. This parameter determines the Performance
Part to which the Voice (below) created by sampling is assigned.
Voice
Set the Bank to “UDR” (User Drum Voice Bank), then select a User
Drum Voice Number. After the Sampling is completed, you can
hear the created Voice by selecting the Voice number set here.
Key
Here, set this parameter to “C3.” After the Sampling is
completed, you can hear the sampled sound by pressing the
note set here.
n
If the Voice parameter above is set to “off,” you won’t be able to play
the sampled sound as a Voice after completing this operation.
However, you can call up the sampled sound by selecting a
Waveform. For details on how to select a Waveform, see page 174.
Owner’s Manual
The Trigger mode lets you determine how the Sampling
actually starts. For example, you can start the Sampling
simply by pressing the button or when the Song/Pattern
playback reaches a specified point. Here, set the TrggrMode
(Trigger mode) to “level” which lets you start sampling as
soon as the input signal from the audio device exceeds the
specified Trigger Level.
● Setting the Trigger Level
When the Trigger mode is set to “level,” you’ll also need to set
the Trigger Level. This determines when sampling actually
starts, depending on the level of the input signal of the audio
device. As the sound plays, notice the movement of the level
meter (bar), and when the bar crosses the Trigger Level arrow.
If necessary, select the Trigger Level value and use the data
dial to change it, moving the arrow as low or as high as needed.
Trigger Level
Indicates
Sampling
Standby status.
Trigger Level
The section of the bar exceeding the
Trigger Level becomes black.
Creating a Voice by using the Sampling function
6
Press the [F6] REC button again to enable
Sampling Trigger Waiting.
By repeating steps #5 - 8 above, you can create a Drum Voice
in which each key has a different sound (as shown below).
Doing this puts sample recording on standby, waiting for an
input signal that exceeds the Trigger level.
F6
Sound Effect A
Sound Effect C
Sound Effect Y
Sound Effect B
10
Save your newly created User Voice to a
SmartMedia/USB storage device.
Refer to “Saving a Sample” on page 97.
7
Start the external audio device.
The sampling actually starts as soon as the an input signal
exceeding the specified trigger level is received.
CAUTION
The recorded (edited) sample data resides temporarily in DIMM (page 187).
Because data contained in DIMM is lost when the power is turned off, you
should always save any data residing in DIMM to a SmartMedia /USB
storage device before turning off the power.
Quick Guide — Advanced Course
Indicates that sample recording is waiting
for a signal of an appropriate level.
Example Sampling sources
The examples below show you some of the different audio
sources you can use as raw material for your Samples and
Sample Voices.
● Vocals with effects
With a PLG100-VH Plug-in Board installed, you can apply a
vocal harmony effect to your voice, and sample the entire
processed sound. After setting the PLG100-VH related
parameters as required referring to “Using an Effect Plug-in
Board” on page 78, execute the Sampling operation.
8
Press the [F6] STOP button to stop sampling,
then stop the external audio device.
● The sound of an mLAN compatible instrument
After setting up referring to page 34, execute the Sampling
operation. You should set the [INTEGRATED SAMPLING] →
[F2] SOURCE → Source parameter to “mLAN1 - 4.”
● Electric guitar or bass
Instruments such as guitar and bass can also be sampled,
using the A/D INPUT jack. After setting up referring to page
33, execute the Sampling operation. You should set the
[INTEGRATED SAMPLING] → [F2] SOURCE → Source
parameter to “A/D.”
Press the [F3] AUDITION button to hear the sampled sound.
If you’re not satisfied with the results and you wish to try
again, press the [F4] CANCEL button to return to the
Sampling Standby display and try sampling from step #5
again. If you are satisfied with the results, press the [F5] OK
button to store the sampled sound as a “sample” and return
to the Sampling Standby display.
Keep in mind that if the Confirm function is turned off in step
#5 above, the display shown above will not appear when
stopping sampling. Instead, stopping sampling returns
directly to the Sampling Standby display.
9
Repeat steps #5 - 8 above to assign additional
Samples to the notes as desired to create your
Drum Voice.
In step #7, select a different sound (on a CD, for example) for
each Sample. Though the Key is automatically set to the note
name the next one higher than that just assigned, you can
change it in step #5.
● Digital audio
With an optional AIEB2 interface installed to the instrument,
you can connect to the digital out jack on your DAT deck or
CD/MD player and directly record digital audio, for the
highest possible sound quality. For details on installing the
AIEB2, refer to page 285; for details on connecting digital
audio devices to the instrument, refer to page 34. When
executing AIEB2, you should set the [INTEGRATED
SAMPLING] → [F2] SOURCE → Source parameter to
“AIEB2.”
● Resampling the MOTIF ES
You can also resample anything you play on the MOTIF ES
itself — riffs, rhythms, melodies, thick multi-layered chord
pads, etc. You should set the [INTEGRATED SAMPLING] →
[F2] SOURCE → Source parameter to “resample.”
● WAV or AIFF audio files
Audio data created and edited on a computer can also be
used for Samples. (For details, see the next page.)
Owner’s Manual
99
Creating a Voice by using the Sampling function
TIP Loading WAV or AIFF audio files to create a Waveform/Voice
Any audio data created and edited on a computer and saved in the WAV or AIFF format can also be used as material for
Samples on the MOTIF ES. Set up the media containing the desired WAV/AIFF audio files (e.g., insert a SmartMedia card
to the CARD slot or connect a USB storage device), then follow the instructions below.
In order to use the Sampling function, DIMM modules must be installed to the instrument. For details on installing DIMMs, see page 289.
Depending on the size of the audio (sample) data obtained via the Sampling function, you may not be able to save all of the desired data to a
SmartMedia card (maximum capacity: 128MB). For this reason, we recommend using a large-capacity USB storage device for your Sampling data.
n
1
Quick Guide — Advanced Course
2
3
The instructions here apply when you enter the File mode from the Voice mode. When entering the File mode from the Performance mode, the
instructions are the same with the exception that you should set the destination Performance number and Part in step #4.
In the Voice mode, press the [FILE] button to enter
the File mode, then execute the basic settings.
Refer to “Basic settings for using SmartMedia or a
USB storage device” on page 30.
When assigning a WAV file/AIFF file to a Drum Voice:
Press the [F3] LOAD button to call up the Load
display.
Select the file type to be loaded.
Set Type to “Waveform.” This setting lets you select
and load a specific Waveform from a file (extension:
W7W) saved as “AllWaveform” or load a WAV file/
AIFF file as a Waveform.
Voice
When this is set to “on,” you can load and assign a
WAV file/AIFF file to the destination Voice set below
UDR:001
(A01)
This is available when the Voice (above) is set to
“on.” Select “UDR” as the destination Drum Voice
Bank and select a destination Voice number.
Note
Determines the destination key of the Drum Voice
set above.
n
When assigning a WAV file/AIFF file to a Drum Voice, a
Sample from the WAV file/AIFF file is assigned to the empty
Waveform automatically.
CAUTION
4
Select the file ( ) to be loaded and specify the
destination.
When moving the cursor to a WAV file (extension:
WAV) or AIFF file (extension: AIF), the destination
parameter automatically appears in the display.
When assigning a WAV file/AIFF file to a Normal
Voice:
Loading data to this synthesizer automatically erases and
replaces any existing data in the User memory. Make sure to save
any important data to a SmartMedia/USB storage device before
performing any Load operations.
5
Press the [ENTER] button to execute the Load
operation.
After the data has been loaded, a “Completed” message
appears and operation returns to the original display.
CAUTION
100
Voice
When this is set to “on,” you can load and assign a
WAV file/AIFF file to the destination Voice set
below.
USR1:001
(A01)
This is available when the Voice (above) is set to
“on.” Select “USR1” or “USR2” as the destination
Normal Voice Bank and select a destination Voice
number.
Waveform
Determines the destination Waveform number.
KeyBank
Determines the destination Key Bank of the
Waveform set above.
Owner’s Manual
While the data is being saved, make sure to follow these
precautions:
• Never remove or eject the media from the device (SmartMedia
or USB storage).
• Never unplug or disconnect any of the devices.
• Never turn off the power of the MOTIF ES or the relevant
devices.
Creating a Voice by using the Sampling function
When creating a Drum Voice in steps #4 - 5
By repeating steps #5 - 8 above, you can create a Drum
Voice in which each key has a different sound (as
shown below).
After creating the Normal or Drum Voice, go on to step
#7 below.
Depending on whether you’re creating a Normal
Voice or a Drum Voice, follow the appropriate
instructions below.
When creating a Normal Voice in steps #4 - 5
After entering the Sampling Edit mode
([INTEGRATED SAMPLING] → [EDIT]), press the
[F1] KEYBANK button to call up the Key Bank
display. From this display, select a Waveform and
Key Bank. To specify the Key Bank, simultaneously
hold down the [INFORMATION] button and press the
desired note on the keyboard. To select Waveforms
assigned to different velocities, hold down the
[INFORMATION] button and press the [SF2] SELECT
button.
Sound Effect A
Sound Effect C
Sound Effect Y
Sound Effect B
7
Play the Voice created by the Load operation.
Press the [VOICE] button to enter the Voice Play mode,
then select the Voice number set in step #4.
Quick Guide — Advanced Course
6
After selecting a Waveform and Key Bank above,
press the [F4] RANGE button.
Once you’ve loaded the sample in step #5, it can
only be sounded by playing the note specified in
step #4. From this display however, you can expand
the note range over which the loaded sample will
sound.
Determine the Key Range.
Use the data dial, [INC/YES] and [DEC/NO]
buttons or press the note on the keyboard while
holding the [INFORMATION] button.
Play the keyboard within the Key Range set above.
You can hear the loaded sample following the pitches of the
notes you play.
Owner’s Manual
101
Creating a Song on the MOTIF ES
Creating a Song on the MOTIF ES
The MOTIF ES is a full-featured and enormously powerful music production machine, and all of the instrument’s advanced
features and functions come together seamlessly in the creation of a Song. Here, you’ll learn how to get the most out of the
sequencer-related functions of the MOTIF ES, using primarily the Song and Pattern modes.
This section is quite detailed and comprehensive. However, rather than following it step-by-step all the way through and trying to
use every feature in a single song, use it instead as a guide or a springboard for further exploration.
Recording your keyboard performance
Generally, you’ll start recording a Song or Pattern by playing a Voice from the keyboard. Since the instrument is set to multitimbral operation (page 162), the Voice you actually play and record depends on the Voice settings for the Song or Pattern,
made in the Mixing settings described below.
Selecting a Voice
Quick Guide — Advanced Course
Selecting a Voice for recording is different than selecting a
Voice for playing. Voice settings for the Song/Pattern mode
are handled in Song Mixing/Pattern Mixing.
1
Press the [SONG] button/[PATTERN] button to
enter the Song mode/Pattern mode, then select a
Song number/Pattern number to be created.
See page 56 for instructions on how to select a Song or
Pattern.
2
Enter the Mixing Edit mode ([MIXING] → [EDIT]),
then select a Part (track) and call up the Voice
setting display ([F1] VOICE → [SF1] VOICE).
For information on how to select a Song track or Pattern track,
see page 58.
3
Select a voice referring to the instructions below.
● Move the cursor to “Bank” and select the desired Voice
Bank by using the data dial, [INC/YES] and [DEC/NO]
buttons.
PRE1 (Preset1) ~ PRE6
(Preset 6)
Preset Banks 1 - 6 of the Normal Voice. These
correspond to the [PRE1] - [PRE6] buttons in the
Voice mode.
USER1 ~ USER2
User Banks 1 - 2 of the User Voice. These
correspond to the [USER1] - [USER2] buttons in
the Voice mode.
GM
GM Normal Voice Bank. This corresponds to the
[GM] button in the Voice mode.
PDR (Preset Drum)
Preset Bank of the Drum Voice. This corresponds
to pressing the [DRUM KITS] button and the
[PRE5] button simultaneously.
GMDR (GM Drum)
GM Drum Voice Bank. This corresponds to
pressing the [DRUM KITS] button and the [GM]
button simultaneously.
UDR (User Drum)
User Bank of the Drum Voice. This corresponds to
pressing the [DRUM KITS] button and the
[USER1] button simultaneously.
SMPL (Sample Voice)
Indicates the Bank for the Sample Voices created
via the Sampling function (page 173).
MIXV (Mixing Voice)
This bank is for the Mixing Voices (page 105)
dedicated for the Song mode/Pattern mode.
SEQUENCER
SONG
PATTERN
FILE
DEMO
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
1
2
3
4
SCENE STORE
SET LOCATE
5
6
7
TRACK
SELECT
8
ELEMENT/PERF. PART/ZONE
9
10
NUMBER
11
12
13
14
16
15
MUTE
● Move the cursor to “Number” and select the desired Voice
Number by using the data dial, [INC/YES] and [DEC/NO]
button. Refer to the separate Data List.
SOLO
Turn the [TRACK SELECT] indicator on and
select one of the [1] - [16] buttons.
SCENE
SF2
SF1
F1
F2
SF3
F3
SF4
F4
Owner’s Manual
n
With the exception of Sample Voices and Mixing Voices, you can also
use the Category Search (page 62) in this display.
n
The Voice for each Part of the current Song or Pattern can be selected
also in the [SONG] → Song selection → [MIXING] → [F2] VOICE display
or the [PATTERN] → Pattern selection → [MIXING] → [F2] VOICE
display. You can also use the Category Search (page 62) in this display.
n
For information on how to select a voice of a Plug-in Board in the Song
mode/Pattern mode, see page 121.
4
Play the keyboard to confirm the selected Voice.
5
Repeat steps #2 - 4 to set the Voice settings
(Mixing Settings) for each Part (track).
F6
Indicates the current Part number. Parts 01-16 are internal tone
generator Parts. Parts 17-32 are tone generator Parts of the
PLG100-XG Multi Part Plug-in Board. Parts PLG01-03 are tone
generator parts of the Single Part Plug-in Board. Keep in mind
that the example instructions here use the internal tone generator.
102
With the [TRACK SELECT] lamp turned off, Normal Voices can be
selected in the way described on page 60.
INFORMATION
SF5
F5
n
Press the [F6] button
to switch between
the display for Parts
01-16, 17-32, and
PLG1-3.
Creating a Song on the MOTIF ES
If desired, make a backup of the Voice (Mixing)
settings made above.
● First, store the Voice settings as Song Mixing/Pattern
Mixing. Press the [STORE] button to enter the Song Mixing
Store mode/Pattern Mixing Store mode, then press the
[ENTER] button to execute the Store operation (page 131).
3
Select a Template number by using the data dial, or the [INC/
YES]/[DEC/NO] buttons. For details, refer to the Mixing
Template list in the separate Data List booklet.
● Next, save the stored Song Mixing as a file for all Songs
created on the instrument before turning the power off.
Press the [FILE] button to enter the File mode, then execute
the Save operation by following the instructions described
on page 132.
Selecting a Mixing Template
Move the cursor to the Template number
location, then select a Mixing Template.
Template number
4
Template name
Press the [SF4] button to actually call up the
selected Mixing Template for the current Song.
Here is an exceptionally convenient Song/Pattern creation
tool. The MOTIF ES has 32 different Mixing Templates for use
with a Song or Pattern, each pre-programmed for a variety of
music styles and applications. Simply dial up the template
that comes closest to the type of Song or Pattern you wish to
create, tweak the settings as desired, then start recording. It’s
a quick, smooth and inspiring way to get your ideas down.
1
Press the [SONG]/[PATTERN] button to enter the
Song mode/Pattern mode, then select a Song/
Pattern number to be created.
2
Call up the Mixing Template selection display in
the Song Mixing Job mode ([MIXING] → [JOB] →
[F6] TEMPLATE).
Quick Guide — Advanced Course
6
SF4
EXIT
The Edit indicator appears.
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
DEMO
5
EDIT
JOB
COMPARE
STORE
SCENE STORE
SET LOCATE
F6
Play the keyboard to check the Mixing settings
— especially the Voices.
You can confirm the Voice settings for the Parts by selecting
tracks one by one and playing the keyboard with each. If you
wish to check the detailed settings, call up and view each
display in the Song Mixing mode and Song Mixing Edit mode.
6
Change the Mixing settings as desired.
Tweak and change the Mixing parameters — especially the
Voices — to fit the song you intend to create. For details about
the Mixing Edit mode, see page 127.
Owner’s Manual
103
Creating a Song on the MOTIF ES
7
If desired, make a backup of the Mixing settings made above.
● First, store the Voice settings as Song Mixing/Pattern Mixing. Press the [STORE] button to enter the Song Mixing Store mode/
Pattern Mixing Store mode, then press the [ENTER] button to execute the Store operation (page 131).
● Next, save the stored Song Mixing as a file for all Songs created on the instrument before turning the power off. Press the
[FILE] button to enter the File mode, then execute the Save operation by following the instructions described on page 132.
The Mixing settings you make can be stored as a Template — letting you create your own custom Mixing/Voice configurations for
future use in recording Songs. Press the [SF5] PUT button in step #4 above to store the settings to the destination (current)
Template number. The following illustration shows the memory structure for Mixing.
Song 01 - 64
Song 64
GET
Quick Guide — Advanced Course
Mixing Template 01 - 32
SAVE
Song 01
Mixing*
PUT
Mixing Template 32
DRAM
Mixing Template 01
Pattern 01 - 64
GET
Flash ROM
PUT
GET....Loads the Mixing template to the current Song/Pattern.
PUT....Stores the Mixing settings for each Song/Pattern to the Template.
* Mixing parameters can be edited and stored as Song/Pattern data in the Song
Mixing mode and Pattern Mixing mode.
SAVE
SmartMedia
or
USB storage
device
Pattern 64
Pattern 01
Save as Song data/Pattern data
Mixing*
DRAM
CAUTION
Whereas Mixing Template data resides in internal Flash ROM, Song data and Pattern data — including the Mixing settings — resides in DRAM. Because
data contained in DRAM is lost when the power is turned off, you should always save any data residing in DRAM to a SmartMedia/USB storage device in the
File mode before turning off the power.
CAUTION
The currently edited Mixing program will be lost when selecting a different Song/Pattern or going to a different mode without saving (putting) it to a
template or storing it to the current Song/Pattern. In addition, simply playing back the Song/Pattern or receiving any MIDI messages from an external MIDI
instrument may change the current Mixing program. Make sure to put or store the Mixing program before executing these operations.
Using Controllers
Just as in the Voice/Performance mode, the controllers of the
instrument — Pitch Bend wheel, Modulation wheel, Ribbon
Controller, Knobs, and Control Sliders — can also be used in
the Song/Pattern mode.
n
The Pitch Bend Range in the Song mode/Pattern mode can be set in
the Mixing Edit made for each Song/Pattern. This can be changed with
the PB Upper/Lower parameters ([SONG] or [PATTERN] → Song or
Pattern selection → [MIXING] → [EDIT] → Part selection → [F1]
VOICE → [SF5] OTHER → PB Upper/PB Lower).
n
The functions assigned to the Pitch Bend Wheel, Modulation Wheel,
Ribbon Controller, and Knobs (ASSIGN 1 and 2) in the Song mode/
Pattern mode depends on the setting (made in the Voice mode) of the
Voice assigned to each Mixing Part .
n
The functions assigned to the Knobs (ASSIGN A and B) can be set in
the [UTILITY] → [F4] CTL ASN → [SF2] ASSIGN display.
n
You can set the Ribbon Controller to control different functions on
connected external MIDI devices from the functions assigned in Song
Mixing/Pattern Mixing for the instrument itself. You can also determine
whether the Ribbon Controller value returns to the center, or stays at the
point where you released your finger. Both of these setting can be made
in the Song/Pattern Mixing Edit mode ([SONG] or [PATTERN] → Song or
Pattern selection → [MIXING] → [EDIT] → [COMMON] → [F4] CTL ASN).
n
104
For information on using the Control Sliders in the Song mode/Pattern
mode, see page 130.
Owner’s Manual
Edit Indicator
Tweaking the knobs in the Song or Pattern mode directly
changes the Song/Pattern Mixing parameters. When
any of the Song Mixing/Pattern Mixing parameters are
changed, the [E] (Edit) Indicator appears in the top left
of the display. This indicates that the current Song
Mixing/Pattern Mixing has been modified but not yet
stored. If you’re satisfied with the tweaks you made and
the resulting sound, you can store the changes as a
Song Mixing/Pattern Mixing in the Song Mixing/Pattern
Mixing Store mode (page 131).
n
The [E] (Edit) indicator also appears in the following situations
— even if the Mixing parameters are not edited.
• Playing back song data (either on this instrument or from a
connected MIDI sequencer) that changes the settings, such as
the Voices.
• Calling up the Mixing template.
CAUTION
If you select another Song/Pattern during editing, the [E] (Edit)
indicator will disappear and all your edits will be lost. It is a good
idea to store the edited Song Mixing/Pattern Mixing data in the Song
Mixing/Pattern Mixing Store mode (page 131). Even if you lose the
Song Mixing/Pattern Mixing edited data, you can restore it by using
the Edit Recall function (page 129).
Creating a Song on the MOTIF ES
Using the Arpeggio Function
Just as in the Voice/Performance mode, you can use
Arpeggio playback in the Song/Pattern mode.
1
2
Press the [MIXING] button (the lamp lights) to
enter the Song Mixing mode/Pattern Mixing
mode, then select the Part containing the desired
Voice.
Set the ArpSwitch parameter for the current part
to “on” ([SONG] or [PATTERN] → [MIXING] →
[EDIT] → Part selection → [F1] VOICE → [SF2]
MODE).
MIXING
This parameter can be set to “on” simultaneously for more
than one Part, but only if the Parts have the same MIDI
Receive Channel settings.
2
Select an Arpeggio type ([SONG] or [PATTERN]
→ [MIXING] → [EDIT] → [COMMON] → [F3] ARP
→ [SF1] TYPE).
1
2
3
4
5
6
7
8
TRACK
SELECT
12
13
14
15
16
MUTE
3
n
n
10
11
With the [ARPEGGIO ON/OFF] lamp turned on,
press any note on the keyboard to trigger
Arpeggio playback.
Just as in the Voice mode and Performance mode, the Song mode
and Pattern mode let you register the desired Arpeggio type to the
[SF1] - [SF5] buttons.
Quick Guide — Advanced Course
ELEMENT/PERF. PART/ZONE
9
SOLO
3
Press the [F5] VCE ED (Voice Edit) button to
enter the Mixing Voice Edit mode.
Arpeggio related parameters (such as Type, etc.) are included in
Song/Pattern Mixing data.
Using the Audio Input sound
Just as in the Performance mode, the audio input can be
used as an audio Part in the Mixing settings in the Song
mode/Pattern mode. The related parameters can be set with
the following operation: [SONG] or [PATTERN] → Song/
Pattern selection → [MIXING] → [EDIT] → [COMMON] →
[F5] AUDIO IN.
Creating Mixing Voices exclusively for
Songs/Patterns
If you assign User Voices to your Song or Pattern and then
edit them (in the Voice Edit mode), the Voices may sound
different than expected. This convenient feature lets you
create dedicated Mixing Voices for your songs and Patterns
— ensuring that the Voices will play exactly as they were
edited for the Song/Pattern.
n
1
F5
n
You can enter the Mixing Voice Edit mode only when a Normal Voice is
assigned to the current Part.
4
Call up the Common Edit or Element Edit display
as required.
These displays are the same as in the Voice mode. See page
79.
Only Normal Voices can be created/edited as Mixing Voices.
Press the [SONG] button/[PATTERN] button to
enter the Song mode/Pattern mode, then select
the desired Song/Pattern for which the Mixing
settings will be edited.
See page 56 for instructions on how to select a Song or
Pattern.
5
Select the desired menu for editing by pressing
the [F1] - [F6] and [SF1] - [SF5] buttons, then edit
the parameters.
The actual parameters and procedures for editing them are
the same as in the Voice Edit mode. See page 80.
6
Repeat steps #4 and 5 as desired.
Owner’s Manual
105
Creating a Song on the MOTIF ES
7
Name the edited Mixing Voice.
Input a name in the [COMMON] → [F1] GENERAL → [SF1]
NAME display.
For detailed instructions on naming, refer to page 53 in the
Basic Operation section.
8
Store the edited Song Mixing/Pattern Mixing to
internal User memory.
9
Press the [EXIT] button several times to return to the Song
Mixing mode/Pattern Mixing mode, press the [STORE] button
to enter the Song Mixing Store mode/Pattern Mixing Store
mode, then press the [ENTER] button to execute the Store
operation (page 131).
Store the edited Mixing Voice to internal User
memory.
1 Press the [STORE] button to enter the Mixing Voice Store mode.
2 Set the destination Voice Bank to “MIXV” and select the
destination Voice number.
Quick Guide — Advanced Course
Destination Voice Number
10
Save the Song data/Pattern data to a
SmartMedia/USB storage device in the File mode
(page 132) before turning off the power.
CAUTION
Mixing Voices are assigned to Parts of the Song/Pattern and stored to
internal DRAM. Because data contained in DRAM is lost when the power is
turned off, you should always save any data residing in DRAM to a
SmartMedia/USB storage device in the File mode before turning off the
power.
Destination Voice Bank
3 Press the [ENTER] button to execute the Store operation.
n You can store the Voice edited in the Mixing Voice Edit mode as a User
Normal Voice by setting the Voice Bank to “USER1” or “USER2.”
Creating a Pattern
When you create a Song, one of the most essential aspects is the rhythm. It is almost always the first thing you start with, and
provides a foundation for the rest of the music. The Pattern mode gives you the tools to create rhythm patterns for the
accompaniment of the Song. Here, in brief, are the basic steps in using Patterns to create a Song:
1) In the Pattern mode, create and chain together the phrases that will be used for the accompaniment and the Song.
2) Convert the Pattern data to a Song.
3) In the Song mode, record a melody on a separate track of the Song.
Here, we’ll explain in detail the first of these steps.
CAUTION
The created pattern (phrase) data resides temporarily in DRAM (page 187). Because data contained in DRAM is lost when the power is turned off, you
should always store any data residing in DRAM to a SmartMedia/USB storage device before turning off the power.
Creating a Phrase by recording a rhythm pattern to a track
In the following sections you’ll learn various different methods of creating Pattern data (also called “Phrases” — the raw material
for a Pattern) to a single track. The following five methods are explained.
●
●
●
●
●
Sampling a rhythm loop (audio data) to a Pattern track ................................................................................................ Page 107
Loading a WAV file/AIFF file to a Pattern track .............................................................................................................. Page 109
Recording your keyboard performance to a Pattern track ............................................................................................ Page 110
Recording a rhythm pattern created by Arpeggio playback to a Pattern track............................................................. Page 112
Assigning a pre-programmed Phrase to a Pattern track .............................................................................................. Page 113
The first two methods involve using both audio data (created via Sampling, or imported from another device) and MIDI data.
Keep in mind that to use audio data, DIMM modules must be installed (page 289). The other three use only MIDI data.
106
Owner’s Manual
Creating a Song on the MOTIF ES
■ Sampling a rhythm loop (audio data) to a Pattern track
With this method, you can record drum loops and rhythm patterns from CDs to the MOTIF ES by using the Sampling function, then
slice the sample into separate components and assign the slices to different keys. This powerful feature lets you match the
sampled rhythm to virtually any tempo without stretching or compressing the audio, since each “hit” becomes a separate MIDI note.
Sample Voice
Sample
Sampling
Slice
MIDI sequence data
CANCEL
1
Connect an audio device (CD player, etc.) to the
instrument.
Follow steps #1 - 8 on page 73, substituting the instructions
below for steps #4 and 8. In step #4, press the [PATTERN]
button to enter the Pattern mode, then select a pattern
number and section to be created. In step #8, set the related
parameters in the [PATTERN] → [MIXING] → [EDIT] →
[COMMON] → [F5] AUDIO display.
2
Press the [INTEGRATED SAMPLING] button in the
Pattern Play mode to enter the Sampling mode.
5
Press the [F6] REC button to call up the
Sampling Record display (Sampling Standby
status), then set the TrggrMode to “level” and set
an appropriate Trigger Level value.
Refer to step #5 on page 98.
6
Press the [F6] REC button again to enable
Sampling Trigger Waiting.
Doing this puts sample recording on standby, waiting for an
input signal that exceeds the Trigger level.
F6
3
Press the [F2] SOURCE button to call up the
display for setting the Sampling Source, then set
the parameters as shown below.
Type:
Source:
Next:
Mono/Stereo:
Frequency:
Quick Guide — Advanced Course
In order to use the Sampling function, DIMM modules must be installed to the instrument. For details on installing DIMMs, see page 289.
Indicates that sample
recording is waiting for a
signal of an appropriate level.
slice+seq
A/D
off
stereo
44.1k
7
Start the audio device (CD player, etc.).
The sampling actually starts as soon as an input signal
exceeding the specified trigger level is received.
For details about each parameter, see page 253.
4
Press the [F1] DEST button to call up the display
for setting the Sampling Destination, then set the
parameters as described below.
8
Track
This parameter determines the Pattern track to which the
Sample Voice is assigned.
Press the [F6] STOP button to stop sampling.
Press the [F6] STOP button at the point you want sample
recording to stop, and the Slice display is automatically called
up. After stopping recording, stop playback of the connected
audio device.
Owner’s Manual
107
Creating a Song on the MOTIF ES
9
Edit the sample data in the [F1] TRIM display.
4 Press the [F2] SLICE button to call up the Slice display.
A
10
B
C
D
E
F
Quick Guide — Advanced Course
A
These parameters determine the portion of the sample that will be used.
B
Press the [SF1] AUDITION button to sound the recorded sample
according to the settings in this display.
C
When the menu indication here is “LP=ST,” the Start (Start Point) and the
Loop (Loop Start Point) will share the same address, meaning that both
of them will be changed simultaneously, even if just one of them is
changed. Pressing the [SF2] button in this condition changes the menu
from “LP=ST” to “LP≠ST.” When the menu indication here is “LP≠ST,” the
Start (Start Point) and the Loop (Loop Start Point) can be changed
independently. When pressing the [SF2] button in this condition, the
address value of the Start will be copied to the one of the Loop, with the
result that both of them share the same address value. The menu
indication also changes from “LP≠ST” to “LP=ST.”
D
See below.
E
Press the [SF4] EXTRACT button to delete all unnecessary sample data
(located ahead of the Start point and located after the End point).
F
Press the [F5] and [F6] buttons to zoom in and out of the wave display.
1 Press the [SF1] AUDITION button to hear the recorded sample.
2 Set the start and end points to determine the actual portion of
the sample to be used.
The “Start” parameter determines the actual start of the sample
(letting you cut unwanted sound at the beginning), while the “End”
parameter determines the end of the sample (letting you cut
unwanted sound at the end).
Pressing [SF3] SET END calls up the following convenient display
for making rhythmically accurate End point edits.
Execute the Slice operation in the [F2] SLICE
display.
1 Set the parameters shown below.
Measure
Determines the number of measures the sample is
recognized as having.
Meter
Determines the rhythmic meter the sample is
recognized as having.
Set other parameters as necessary, referring to page 254.
2 Press the [ENTER] button (the display prompts you for
confirmation), then press the [INC/YES] button to execute the
Slice.
3 Confirm the result of the operation.
Play the assigned keys in order (C3, C#3, D3, etc.) to hear the
individual slices of the sample.
To hear how the resulting pattern would sound when played by
MIDI sequence data, press the [SF1] AUDITION button.
4 If you’re satisfied with the results of the Slice operation, press
the [F6] OK button.
If you’re not satisfied with the results and want to continue editing,
press the [F5] CANCEL button and attempt the operation again
from step #10-1 above.
Slice display (before executing Slice)
Slice display (after
executing the Slice)
Many commercially available sample/loop CDs include information
on the tempo and meter of specific loops. Use that information to
make the settings here and ensure proper playback.
After setting the parameters (above right), press the [ENTER]
button to automatically determine the proper End point. Listen
back to the edited sample by pressing the [SF1] AUDITION button.
If you’re satisfied with the results, press the [F6] OK button. If
you’re not and you want to continue editing, press [F5] CANCEL.
3 Once you’ve trimmed the sample above, you may want to
[F5] CANCEL button
11
Return to the Pattern Play mode by pressing the
[PATTERN] button or [EXIT] button.
12
F] (Play) button to play the created
Press the [F
Pattern.
13
Save the created Pattern data to a SmartMedia/
USB storage device (page 132) before turning the
power off.
delete the unneeded portions of the sound (before and after
the Start/End points), to free up memory space. Press the
[SF4] EXTRACT button to delete this excess data.
Start
Loop
End
(Start Point) (Loop Point) (End Point)
[SF4] EXTRACT
Start
Loop
End
(Start Point) (Loop Point) (End Point)
108
Owner’s Manual
[ENTER] button
Creating a Song on the MOTIF ES
■ Loading a WAV file/AIFF file to a Pattern track
Audio data you’ve created and stored in the common WAV or AIFF computer audio formats can be loaded to the instrument and
used with the Slice function to divide the sample and assign the slices to different MIDI notes — letting you match the sampled
rhythm to virtually any tempo. Set up the media containing the desired WAV/AIFF audio files (e.g., insert a SmartMedia card to
the CARD slot or connect a USB storage device), then follow the instructions below.
Sample Voice
Sample
Load
Slice
MIDI sequence data
CANCEL
1
In the Pattern mode, select a Pattern and Section
to be created, press the [FILE] button to enter the
File mode, then execute the basic settings.
Refer to “Basic settings for using SmartMedia or a USB
storage device” on page 30.
2
Press the [F3] LOAD button to call up the Load
display.
3
Select a file type to be loaded.
Set Type to “Waveform.” This setting lets you select and load
a specific Waveform from a file (extension: W7W) saved as
“AllWaveform” or load a WAV file/AIFF file as a Waveform.
Select the file (
destination.
4
Quick Guide — Advanced Course
In order to use the Sampling function, DIMM modules must be installed to the instrument. For details on installing DIMMs, see page 289.
Depending on the size of the audio (sample) data obtained via the Sampling function, you may not be able to save all of the desired data to a SmartMedia
card (maximum capacity: 128MB). For this reason, we recommend using a large-capacity USB storage device for your Sampling data.
) to be loaded and specify the
When moving the cursor to a WAV file (extension: WAV) or
AIFF file (extension: AIF), the destination parameter
automatically appears in the display.
Track
Determines the destination Track number of the current pattern.
KeyBank
Determines the key to which the loaded file is to be
assigned. Immediately after loading, you can hear the
loaded file sound by pressing the key set here.
CAUTION
Loading data to this synthesizer automatically erases and replaces any
existing data in the User memory. Make sure to save any important data to
a SmartMedia/USB storage device before performing any Load operations.
5
Press the [ENTER] button to execute the Load
operation.
After the data has been loaded, a “Completed” message
appears and operation returns to the original display.
CAUTION
While the data is being saved, make sure to follow these precautions:
• Never remove or eject the media from the device (SmartMedia or USB
storage).
• Never unplug or disconnect any of the devices.
• Never turn off the power of the MOTIF ES or the relevant devices.
6
Press the key set in step #4 for Key Bank to
confirm the loaded file sound.
7
Press the [INTEGRATED SAMPLING] button,
then the [JOB] button to enter the Sampling Job
mode.
Owner’s Manual
109
Creating a Song on the MOTIF ES
8
Call up the Slice Job display.
10
Return to the Pattern Play mode by pressing the
[PATTERN] button or [EXIT] button.
11
Press the [F] (Play) button to play the created
Pattern.
12
Save the created Pattern data to a SmartMedia/
USB storage device (page 132).
Press the [F1] KEYBANK button, move the cursor to “12:
Slice,” then press the [ENTER] button.
9
Execute the Slice Job.
1 Set the parameters shown below.
Measure
Determines the number of measures the sample is
recognized as having.
Meter
Determines the rhythmic meter the sample is recognized
as having.
LowestKey
Determines the lowest key (first MIDI note) from which the
sample slices will be assigned in order.
Quick Guide — Advanced Course
Set other parameters as necessary, referring to page 258.
■ Recording your keyboard performance to a
Pattern track
1
In the Pattern Play mode, select a Pattern and
Section to be created.
2
Set the Mixing parameters (including the Voice
settings) by following the instructions on pages
127 - 128.
2 Press the [ENTER] button (the display prompts you for
confirmation), then press the [INC/YES] button to execute
Slice.
3 Confirm the result of the operation.
Play the assigned keys in order (from the one set in step #9-1
above) to hear the individual slices of the sample.
To hear how the resulting pattern would sound when played by
MIDI sequence data, press the [SF1] AUDITION button.
4 If you’re satisfied with the results of the Slice operation, press
the [F6] OK button.
If you’re not satisfied with the results and want to continue editing,
press the [F5] CANCEL button and attempt the operation again
from step #9-1 above.
You can make changes to the Voice settings after entering the
Record mode (in step #4 below). However, if you intend to
make detailed settings to the Mixing parameters, you should
do so before enabling recording.
3
Set the meter (time signature), tempo, and length
of the pattern.
Slice display (before executing Slice)
Meter (time signature)
Indicates the Waveform and Key Bank containing the
sample for which the Job is applied. In this case, you
won’t need to change these settings since they were
set when loading the data.
[ENTER] button
Slice display (after executing Slice)
Owner’s Manual
Length of pattern
Press the [●] (Record) button to enter the Pattern
Record mode.
SEQ TRANSPORT
LOCATE
[F5] CANCEL button
110
4
Tempo
1
2
Creating a Song on the MOTIF ES
5
Press the [TRACK SELECT] button (the lamp
lights), then select the desired track from the
number buttons [1] - [16].
1
2
3
4
5
6
7
8
TRACK
SELECT
12
13
14
15
16
MUTE
ELEMENT/PERF. PART/ZONE
9
10
11
8
Press the [F] (Play) button to start recording.
When a Drum Voice is selected, for example, try recording the
rhythm pattern shown below.
As shown in the example below, notes that you record will
play back from the next repetition (loop), letting you record
while hearing previously recorded material.
SEQ TRANSPORT
SOLO
LOCATE
1
2
Recording track
Start recording
6
Quick Guide — Advanced Course
Actual recording starts
after one measure.
Set the parameters related to recording in the
[F1] SETUP display.
Set the Type to “overdub” then set the Loop to “on.” These
settings let you repeat the pattern recording in a “loop” and
record additional note events without deleting alreadyrecorded data.
Set other parameters as necessary. See page 243 for details.
Loop 1st round
Bass Drum
Loop 2nd round
7
Set the parameters related to the Voice you wish
to use during recording in the [F2] VOICE
display.
Snare Drum
Bass Drum
Call up the display for setting a Voice by pressing the [F2]
VOICE button. You won’t need to make settings in this display
if you’ve already completed Voice/Mixing settings in step #2
above.
Bank
Loop 3rd round
Hi-Hat
Snare Drum
Bass Drum
Number
9
This lets you turn the click sound (metronome)
on/off for recording. (Press the [F5] button.)
Press the [■] (Stop) button to stop recording.
This operation exits from the Pattern Record mode to the
Pattern Play mode.
10
Press the [F] (Play) button to hear your newly
recorded phrase.
11
Record different phrases to other tracks by
repeating steps #4 - 10.
12
Save the created Pattern data to a SmartMedia/
USB storage device (page 132) before turning the
power off.
Owner’s Manual
111
Creating a Song on the MOTIF ES
■ Recording a rhythm pattern created by Arpeggio
playback to a Pattern track
The Arpeggio function is a virtually endless source of creative
inspiration, putting a huge variety of rhythm patterns, riffs and
phrases at your fingertips — patterns that change depending
on the notes you play. Once you come with some patterns
you like and want to use in a Song, you can record them to a
Pattern track.
1
In the Pattern mode, select a Pattern and Section
to be created.
2
Set the Mixing parameters (including the Voice
settings) by following the instructions on pages
127 - 128.
Quick Guide — Advanced Course
You can make changes to the Voice settings after entering the
Record mode (in step #5 below). However, if you intend to
make detailed settings to the Mixing parameters, you should
do so before enabling recording.
3
Play with the Arpeggio features and find a
rhythmic pattern/phrase you like.
1 Enter the Mixing Edit mode ([MIXING] → [EDIT]), select the
desired Part (track to be recorded), then press the [F1] VOICE
button, followed by the [SF2] MODE button.
2 Set the ArpSwitch (Arpeggio Switch) parameter to “on.”
4
Go back to the Pattern Play mode, then set the
meter, tempo, and length of the current pattern.
5
Press the [●] (Record) button to enter the Pattern
Record mode.
6
Select the desired track for recording ([1] - [16]).
For details about how to select a track, see page 58.
7
Set Type to “replace” and set Loop to “off.”
Set other parameters as necessary. See page 243 for details.
8
4 Select the desired Arpeggio type in the [SF1] TYPE display,
then press the [ARPEGGIO ON/OFF] button (the lamp lights).
REMOTE
ON / OFF
R-AUDIO
G-MIDI
9
Set the parameters related to an Arpeggio you
wish to use during recording in the [F3] ARP
display.
Call up the display for setting a Voice by pressing the [F3]
ARP button. You won’t need to make settings in this display if
you’ve already completed Arpeggio settings in the Mixing Edit
mode, in step #3 above.
ARPEGGIO
ON / OFF
Select an Arpeggio Type and Bank.
Try out various Arpeggio types, and also try tweaking various
parameters in the [SF1] - [SF4] displays. When you find a
rhythm or phrase that you like and want to use, go to step #4.
112
Set the parameters related to the Voice you wish
to use during recording in the [F2] VOICE
display.
Call up the display for setting a Voice by pressing the [F2]
VOICE button. You won’t need to make settings in this display
if you’ve already completed Voice/Mixing settings in step #2
above.
3 Call up the Arpeggio Type selection display ([COMMON] → [F3]
ARP → [SF1] TYPE).
Set the parameters related to recording in the
[F1] SETUP display.
Owner’s Manual
10
Set the RecArp parameter to “on” in the [F4]
RECARP display.
When this is set to “on,” the Arpeggio playback data is
recorded to a track as MIDI sequence data.
Creating a Song on the MOTIF ES
11
Press the [F] (Play) button to start recording.
During recording, play the note or notes needed to trigger the Arpeggio you found in step #3.
Start recording
Arpeggio playback
SEQ TRANSPORT
LOCATE
1
Recording stops automatically
when Pattern playback reaches
the end, since Loop is set to “off.”
2
12
Turn the [ARPEGGIO ON/OFF] indicator off, and press the [F] (Play) button to hear your newly recorded phrase.
13
Save the created Pattern data to a SmartMedia/USB storage device (page 132) before turning the power off.
Quick Guide — Advanced Course
Actual recording
starts after one
measure.
■ Assigning a pre-programmed Phrase to a Pattern track
The Pattern mode also has a versatile Patch function that lets you assign pre-programmed one-track rhythm “Phrases” to each
track. Use the special preset Phrases already in internal memory, or create your own User Phrases — by recording, or loading
Pattern data from the included CD-ROM (Sound Library for MOTIF ES6/MOTIF ES7/MOTIF ES8). Use the Assigning Phrases
function to assemble your original Patterns, with up to 16 tracks.
1
In the Pattern Play mode, select a Pattern and Section to be created.
2
Press the [F4] PATCH button to call up the Patch display.
3
Select the desired track and assign a Phrase to the selected track.
Indicates the category
of the preset Phrases.
Indicates the Phrase
number.
SEQ TRANSPORT
1
2
3
4
5
6
7
8
TRACK
SELECT
12
13
14
15
16
MUTE
LOCATE
1
2
ELEMENT/PERF. PART/ZONE
9
11
10
DEC/NO
Play the Pattern to
confirm the
assigned Phrase.
INC / YES
SOLO
Select a track.
4
Select a Preset Phrase.
Select another track and assign a User Phrase to it.
The instrument provides a total capacity of 256 User Phrases. Keep in mind that these are originally empty and have no data,
unless you record or load data to them.
1
2
3
4
5
6
7
8
TRACK
SELECT
12
13
14
15
16
MUTE
SEQ TRANSPORT
ELEMENT/PERF. PART/ZONE
9
10
11
LOCATE
DEC/NO
INC / YES
SOLO
Select a track.
Select a User Phrase.
1
2
Play the Pattern to
confirm the
assigned Phrase.
Owner’s Manual
113
Creating a Song on the MOTIF ES
5
Select a different track and copy the User Phrase from the another pattern to the selected Pattern’s track.
The User Phrases that can be assigned with the Patch function are limited to the ones contained in the currently selected
Pattern. To copy Phrases from other Patterns for use in the current one, follow the instructions below.
1 In the [F4] PATCH display, press the [SF5] COPY button to call up the Copy Phrase display.
2 First, specify the source Pattern number and Phrase number as well as the destination (current Pattern) Phrase number and track
number. Then, press the [ENTER] button to execute the Copy operation.
When this box is checkmarked, Sample Voices
assigned to the source Phrase are copied to
the destination Phrase as Sample Voices, and
are assigned to the corresponding tracks in
the selected Pattern.
Source Pattern number, Phrase number
Destination Phrase and track of the current
edited Pattern.
F] (Play) button to
3 Press the [EXIT] button to return to the [F4] PATCH display, then check the assigned Phrase by pressing the [F
play the Pattern.
Quick Guide — Advanced Course
6
Save the created Pattern data to a SmartMedia/USB storage device (page 132) before turning the power off.
Using the Groove function
The Groove function makes it possible to adjust the pitch, timing, length, and velocity of notes in a specified track via a 1-measure
16th-note grid to create interesting, unique “grooves” that would not be possible with precise sequencer-like programming.
n
The Groove settings are applied to all measures of the current Pattern. Keep in mind that you cannot apply different Groove settings to each measure.
n
The Grid Groove function affects Pattern playback without actually changing the MIDI sequence data (created via the Recording, Sampling, File Loading,
and Patch functions). The Groove settings are handled separately from MIDI sequence data. See page 167.
1
In the Pattern Play mode, select a Pattern and Section for which the Groove is to be applied.
2
Press the [F2] GROOVE button to call up the Groove display.
3
Select the desired track and adjust the Groove parameters.
Select a track.
1
2
3
4
5
6
7
8
TRACK
SELECT
12
13
14
15
16
MUTE
n
ELEMENT/PERF. PART/ZONE
9
10
11
Move the cursor to the desired
parameter and grid point and set
the offset value.
SOLO
Set each
parameter.
Move the cursor...
DEC/NO
You can edit the Groove parameters in real time
during playback.
Set the value.
INC / YES
minus
0
plus
NOTE OFST
CLOCK SFT
GATE OFST
EXIT
ENTER
DEC/NO
VELO OFST
INC / YES
EXECUTE
Play the Pattern
to check the
result of the
Groove settings.
114
Grid
SEQ TRANSPORT
LOCATE
1
2
Owner’s Manual
NOTE OFST (Note Offset)
Raises or lowers the pitch of the note(s) on the selected grid in semitones.
CLOCK SFT (Clock Shift)
Shifts the timing of the note(s) on the selected grid forward or backward
in clock increments.
GATE OFST (Gate time Offset)
Lengthens or shortens the note(s) on the selected grid in clock
increments.
VELO OFST (Velocity Offset)
Increases or decreases the velocity of the note(s) on the selected grid.
Creating a Song on the MOTIF ES
4
Save the created Pattern data to a SmartMedia/USB storage device (page 132) before turning the power off.
TIP Using the Groove settings to change the Pattern data
Grid Groove is a playback-only feature that processes the recorded data of a Pattern without actually changing it. In other
words, the original data (created via the Recording, Sampling, File Loading and Patch functions) remains intact. If you
want to make the Grid Groove settings permanent and change the data, use Normalize Play Effect in the Pattern Jobs
([PATTERN] → [JOB] → [F5] TRACK → 04: Normalize Play Effect). From this display, specify the track to be changed
according to the Groove settings, and press the [ENTER] button to execute.
Creating a Section and Pattern Chain
■ Creating a Section
Quick Guide — Advanced Course
Each Pattern consists of 16 Sections (A~H) which can be used as Pattern variations. Create the desired rhythm pattern
variations, or Sections, that you wish to use as accompaniment and backing for your new Song. After you’ve created the
Sections, you can string these Sections together in any order desired to assemble the backing part of the Song, over which you
can record a melody line and any other parts, in the Song Record mode.
Pattern Chain.....Enter the desired Sections for the Song
Section A
Section B
Section F
Section H
........
Convert
Song
n
Pattern Mixing, Groove, and Phrase Voice (Track Voice) on/off (page 167) cannot be set independently for each Section, but apply to all Sections.
CAUTION
The same User Phrases can be assigned to different Sections within a pattern. Keep in mind, however, that the Section data will automatically be changed
if another Section sharing the same User Phrase is changed. For example, if you’ve assigned a certain User Phrase to both Section A and Section D, and
you change that User Phrase for Section A, the same Phrase will be changed for Section D as well.
■ Creating a Pattern Chain by changing a Section
while playing a Pattern
Switching of sections, track muting, scene/mute changes,
and tempo changes can all be recorded in real time as the
Pattern Chain.
1
The Pattern (“patt”) track lets you record Section changes at
the desired measure points in the Song.
Pattern Chain Play display
In the Pattern Play mode, select a Pattern for
which data has already been created.
SEQ TRANSPORT
2
Press the [F6] CHAIN button to call up the
Pattern Chain Play display.
3
Press the [●] (REC) button to enter the Pattern
Chain Record mode, then set the basic parameters.
In the Pattern Chain Record Setup display, you can set the
Recording track and tempo. Three Pattern Chain track types
are available. The Tempo track lets you record tempo
changes for the Chain, and the Scene track lets you record
track on/off changes.
LOCATE
1
2
Pattern Chain Record Setup display
Tempo
Set the recording track to “patt” and enter
the Sections to the desired measures.
Owner’s Manual
115
Creating a Song on the MOTIF ES
4
Press the [F] (Play) button to start recording
and play the Pattern.
Change the Section at the desired points, as the Pattern plays.
SEQ TRANSPORT
LOCATE
1
■ Editing a Pattern Chain
The Pattern Chain Edit mode makes it possible to edit the
order of the Sections in a chain as well as inserting tempo,
and scene/mute event data.
1
In the Pattern Play mode, select a Pattern for
which data has already been created.
2
Press the [F6] CHAIN button to call up the
Pattern Chain Play display.
3
Press the [EDIT] button to enter the Pattern
Chain Edit mode, then edit each track of the
Pattern Chain.
2
Section I-P
PRE 5
PRE 6
USER 1
USER 2
GM
PLG 1
PLG 2
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
A
B
C
D
E
F
G
H
SYN LEAD
SYN PAD/
CHOIR
SYN COMP
SE
MUSICAL FX
COMBI
CATEGORY
SEARCH
SECTION
Quick Guide — Advanced Course
EDIT
DRUM/
CHROMATIC
PERCUSSION PERCUSSION
Section A-H
Pattern Track Edit
5
Press the [■] (Stop) button to stop recording.
Operation returns to the Pattern Chain display.
6
7
Enter the desired section
(A - P) or the End mark by
using the [INC/YES] and
[DEC/NO] buttons.
Press the [F] (Play) button to hear the recorded
Pattern Chain.
[F4] button
Press the [F6] button to
clear the event at the
cursor location.
Scene Track Edit
Save the created Pattern data to a SmartMedia/
USB storage device (page 132) before turning the
power off.
[F4] button
You can also record the Tempo track and Scene track as
desired. When the recording track is set to “tempo,” move the
cursor to tempo value (during recording in step #4 above)
and use the data dial and the [INC/YES]/[DEC/NO] buttons to
change the tempo while the Chain is playing. When the
recording track is set to “scene,” press the [MUTE] button
(the lamp lights) and use the number buttons [1] - [16] to turn
each track on/off as desired during recording.
Tempo Track Edit
Press the [F5] button to insert
the event to the cursor location.
[F4] button
116
Owner’s Manual
Press the [F6] button to delete
the event at the cursor location.
4
Press the [EXIT] button to return to the Pattern
Chain Play display, then press the [F] (Play)
button to hear the edited Pattern Chain.
5
Save the created Pattern Chain as Pattern data to
a SmartMedia/USB storage device (page 132)
before turning the power off.
Creating a Song on the MOTIF ES
■ Converting a Pattern Chain to Song data
2
Press the [F6] CHAIN button to call up the
Pattern Chain Play display.
3
Press the [EDIT] button to enter the Pattern
Chain Edit mode.
4
Press the [F3] SONG button to call up the
“Convert to Song” display, then specify the
destination Song.
5
Press the [ENTER] button to execute the Convert
operation.
The Pattern Chain data is converted to Song data and copied
to the top measure of the destination Song.
CAUTION
This operation overwrites any data already existing at the destination
Song.
6
Save the Song data to a SmartMedia/USB
storage device (page 132) before turning the
power off.
CAUTION
The created Song data resides temporarily in DRAM (page 187). Because
data contained in DRAM is lost when the power is turned off, you should
always store any data residing in DRAM to a SmartMedia/USB storage
device before turning off the power.
Quick Guide — Advanced Course
1
In the Pattern Play mode, select a Pattern for
which Pattern Chain data has already been
created.
Destination Song number and
the top measure number
When this box is checkmarked, program change
messages in the MIDI sequence data are not copied.
Creating a Song
The following chart illustrates the basic procedure for creating a Song, using the various methods and functions described in this
tutorial. Now, that you’ve assembled the backing tracks for your Song (by converting the Phrases or Pattern Chain to Song data,
you can now record melody parts on top of them.
Song track
Song track 1
Song track 2
Keyboard
Performance
Song track 3
Record your keyboard performance to each track one
by one in the Song Record mode, called up via [SONG]
→ [●] (REC).
Page 118
Song track 4
Song track 5
Song track 6
Audio data
Record audio data in the Sampling mode.
Page 122
Song track 7
Song track 8
Phrase
Song track 9
Copy the Phrase to the Song in the [SONG] → [F5]
PHRASE display.
Page 222
Song track 10
Song track 11
Song track 12
Song track 13
Pattern Chain
Convert the Pattern Chain to Song data ([PATTERN]
→ [F6] CHAIN → [EDIT] → [F3] SONG).
Page 117
Song track 14
Song track 15
Song track 16
CAUTION
The created Song data resides temporarily in DRAM (page 187). Because data contained in DRAM is lost when the power is turned off, you should always
store any data residing in DRAM to a SmartMedia/USB storage device before turning off the power.
Owner’s Manual
117
Creating a Song on the MOTIF ES
Recording with the keyboard to a Song
track (in the Song Record mode)
■ Recording your keyboard performance to an
empty track (Replace)
Use the Replace recording method to record your keyboard
performance to an empty track or overwriting an already
recorded track with new data.
1
In the Song Play mode, select a Song to be created.
2
Set the Mixing parameters (including the Voice settings)
by following the instructions on pages 103 - 104.
5
Set the parameters related to recording in the
[F1] SETUP display.
Set the Type parameter to “replace.”
Set other parameters as necessary. See page 222 for details.
6
Set the parameters related to the Voice you wish
to use during recording in the [F2] VOICE display.
Call up the display for setting a Voice by pressing the [F2]
VOICE button. You won’t need to make settings in this display
if you’ve already completed Voice/Mixing settings in step #2
above.
Bank
Number
Quick Guide — Advanced Course
You can make changes to the Voice settings after entering the
Record mode (in step #3 below). However, if you intend to make
detailed settings to the Mixing parameters, you should do so
before enabling recording.
3
Press the [●] (Record) button to enter the Song
Record mode.
n
SEQ TRANSPORT
LOCATE
1
This lets you turn the click sound (metronome)
on/off for recording. (Press the [F5] button.)
2
7
Non-note settings (such as Voice, volume and pan) that are made at
the beginning of a Song are not recorded as MIDI sequence data but
rather as Mixing setup data. However, when these non-note settings
are recorded in the middle of a Song, they are recorded as part of the
MIDI sequence data.
Press the [F] (Play) button to start recording.
Listen to the playback of the already recorded tracks and play
(record) the keyboard along with them.
SEQ TRANSPORT
4
Press the [TRACK SELECT] button (the lamp
lights), then select the desired track from the
number buttons [1] - [16].
Start recording
2
3
4
5
6
7
8
TRACK
SELECT
12
13
14
15
16
MUTE
ELEMENT/PERF. PART/ZONE
9
10
11
1
2
Actual recording
starts after one
measure.
Song data is made up of three different types — Scene, Tempo and
Pattern — each of which have their own separate tracks. The Scene
track contains Song Scene (page 123) changes and the Tempo track
contains playback tempo changes. The Song tracks (1 - 16) contain
the actual note data. Since you’ll be recording a melody with the
keyboard, select one of the number tracks, using the [1] - [16] buttons.
1
LOCATE
8
Press the [■] (Stop) button to stop recording.
This operation exits from the Song Record mode to the Song
Play mode.
SOLO
tempo
scene
n
118
1-16
When the RecTrack is set to “multi,” you can simultaneously record
multiple channels of MIDI data (up to 16 channels) to all 16 tracks.
For details, see page 143.
Owner’s Manual
9
Press the [F] (Play) button to hear your newly
recorded song.
10
Record additional melody parts to the other
tracks as needed by repeating steps #3 - 9 above.
11
Save the created Song data to a SmartMedia/USB
storage device (page 132) before turning the
power off.
Creating a Song on the MOTIF ES
■ Re-recording a specific part of a Song (Punch In/Out)
Use the Punch In/Out recording method to record over only a
specific portion of the track. In the example instructions
below, you’ll see how to re-record measures three through five
of an already recorded Song.
Punch In/Out recording is available only in the Song Record mode.
This is not available in the Pattern Record mode.
In the Song Play mode, select a Song to be created.
2
Press the [●] (Record) button to enter the Song
Record mode.
3
Press the [TRACK SELECT] button (the lamp
lights), then select the desired track from the
number buttons [1] - [16].
4
n
Save the created Song data to a SmartMedia/USB
storage device (page 132) before turning the
power off.
■ Recording additional notes to an alreadyrecorded track (Overdub)
Use the Overdub recording method when you want to add
more data to a track that already contains data. This is useful
not only for recording more notes to a track; it’s also
convenient for adding non-note, sound-shaping data, such as
that of the Knobs and Ribbon Controller.
1
In the Song Play mode, select a song to be
created.
2
Press the [●] (Record) button to enter the Song
Record mode.
3
Press the [TRACK SELECT] button (the lamp
lights), then select the desired track from the
number buttons [1] - [16].
4
Set the parameters related to recording in the
[F1] SETUP display.
Set the parameters related to recording in the
[F1] SETUP display.
Set the Type parameter to “punch” and specify the area to be
re-recorded.
Set other parameters as necessary. See page 222 for details.
Punch In (Recording start measure : beat)
Playback of the recording track is turned off from this point, and
your keyboard performance will be recorded to the track.
Location setting
(page 58)
Punch Out (Recording end measure : beat)
Quick Guide — Advanced Course
1
8
Set the Type parameter to “overdub.”
Set other parameters as necessary. See page 222 for details.
Recording ends at this point and normal playback of the
recording track starts.
Press the [SF1] COPY LOC to assign the measure numbers registered to
the Locations (Loc1 and Loc2) to the Punch In and Punch Out points.
5
Press the [F] (Play) button to start recording.
SEQ TRANSPORT
LOCATE
1
5
Press the [F] (Play) button to start recording.
Playback starts, and the notes (or controller data) you play
are added to the existing data.
2
Playback start
When Song playback
reaches the Punch In
point, play the keyboard.
6
Press the [■] (Stop) button to stop recording
after the Song playback reaches the Punch Out
point.
7
Press the [F] (Play) button to hear the part
you’ve just re-recorded.
6
Press the [■] (Stop) button to stop recording
after the Song playback reaches the Punch Out
point.
7
Press the [F] (Play) button to hear the part
you’ve just re-recorded.
8
Save the created Song data to a SmartMedia/USB
storage device (page 132) before turning the
power off.
Owner’s Manual
119
Creating a Song on the MOTIF ES
TIP Rehearsing parts before recording
TIP Song Recording using a Performance
Quick Guide — Advanced Course
The MOTIF ES has a convenient Rehearsal mode in
recording, that lets you easily and temporarily disable
recording in order to practice a part or try out various
ideas (while listening to the other tracks) without actually
recording.
To temporarily disengage the record mode and enter
the “Rehearsal” mode, simply press the [●] (Record)
button during realtime recording – the [●] (Record)
indicator will flash and playback will continue
uninterrupted but no data will be recorded. To return to
the record mode press the [●] (Record) button again –
the [●] (Record) indicator will light continuously. You
can repeat this process as often as you wish, pressing
the [■] (Stop) button to cancel the Rehearsal mode.
The Record button lamp indicates the Recording/
Rehearsal status: continuously lit indicates Recording,
and flashing indicates Rehearsal.
Recording
If you have a favorite Performance or one that would fit
the Song to be recorded, you can copy certain settings
of up to four Parts of the Performance to the Song
Mixing settings currently being edited.
1
2
3
Enter the Song Mixing Job mode ([SONG] →
[MIXING] → [JOB]).
Press the [F5] PF COPY button to call up the
Performance Copy display.
Set the parameters as necessary in the [F5] PF
COPY display, then press the [ENTER] button to
execute the Copy operation.
Select a source Performance.
Checkmark the boxes of the
desired parameters.
Rehearsal mode
(playback continues)
SEQ TRANSPORT
SEQ TRANSPORT
LOCATE
1
2
LOCATE
1
The destination Mixing Parts appear automatically. The displayed
Part numbers differ depending on the source Performance. If the
source Performance contains four Parts, “1, 2, 3, 4” appears here.
2
4
TIP Insert a Tempo change event to the
middle of the Song
You can use the following three methods to change the
tempo in the middle of the already-recorded song.
● Using the Tempo track
Start recording after setting the Type parameter to
“replace,” setting RecTrack to “tempo,” and moving the
cursor to the tempo value in step #4 on page 118.
During recording, change the tempo value while
listening to Song playback.
● Song Edit
In the Song Play mode, press the [EDIT] button to enter
the Song Edit mode. Select the Tempo track (TMP) by
pressing the [F4] TR SEL button once or twice, then
change the existing tempo value or insert a new tempo
value by using the [F5] INSERT button.
For details about Song Edit, see page 124.
● Step Recording
In step #4 on page 118, set the Type parameter to
“step” and RecTrack to “tempo” then press the [F]
(Play) button to start Step recording. After moving the
cursor to “Value,” move the song pointer by using the
[H] (Forward) button and change the tempo value at
the desired point.
For details about Step Recording, see page 238.
120
Owner’s Manual
5
6
7
Press the [SONG] button to return to the Song
Play mode, then select Track 1 and play the
keyboard.
Check whether the sound you hear is the same as
that of the source Performance or not.
Record your keyboard performance to Track 1.
Store the Song Mixing in the [SONG] → [MIXING]
→ [STORE] display.
The settings copied from the Performance should be
stored as Song Mixing data.
Save the created Song data to a SmartMedia/USB
storage device (page 132) before turning the
power off.
n
The explanations above also apply to the Pattern mode.
Step Recording
The explanations in this Quick Guide have concentrated
on Realtime Recording. However, the Step Recording
method is also available, letting you record a Song by
entering notes and events individually — much like
writing them down on paper. This is especially useful for
recording passages that would be difficult or impossible
to play. The Step Recording can be executed by setting
the Type to “step” in the [F1] SETUP display in the Song
Record mode. For details on using Step Recording, see
page 238.
n
Step Recording can be used both in the Song Record mode
and the Pattern Record mode.
Creating a Song on the MOTIF ES
TIP Song Recording using Plug-in Voices
This section shows you how to use the Voices of an optional Single Part Plug-in Board (such as PLG150-AN, PLG150-PF
and PLG150-DX) in recording a Song.
Install a Single Part Plug-in Board to the
instrument, then follow steps #1 - 4 on page 75 to
set the necessary parameters.
In step #4, set PORT.NO (port number) to “2” or “3.”
Keep in mind that if you’ve also installed a PLG100XG Multi-Part Plug-in Board, the boards should be
set to different numbers.
When a Single Part Plug-in Board has been installed to
slot 1, move the cursor here then set the port number.
5
6
Enter the Song Play mode and call up the MIDI
output setting display ([SONG] → [F3] TRACK →
[SF1] CHANNEL).
Select the track for recording, making sure that
the track number is the same as that of the slot to
which the Plug-in Board is installed, and set the
port number.
The track number must match the slot number, and
the port number must be the same as set in step #4
above.
When you play the keyboard, you should be able to hear
the selected Voice of the Plug-in Board. If the Voice of the
Plug-in Board does not sound as expected, check the
following points.
● Make sure that the OUT CH of the track matches the
Receive Channel of the corresponding Part of the
tone generator.
Check the ReceiveCh (MIDI Receive Channel) in the
display called up by pressing the [SF2] MODE in the
above display, then check the OUT CH (MIDI Output
Channel) of track 1 in the display shown in step #6.
These two channels should be same.
Quick Guide — Advanced Course
1~4
● Make sure that the destination tone generator is set
to internal, not external.
Check the settings in the display called up via the [F1]
PLAY → [SF2] OUT CH button. The INT SW of the
corresponding track (1 in this case) should be set to
“on.”
8 Record your keyboard performance using the Plugin Voice to track 1.
9 Store the Song Mixing settings in the [SONG] →
When a Single Part Plug-in Board has been installed to
slot 1, move the cursor here then set the port number.
7
Select a Voice of the installed Plug-in Board.
Enter the Mixing Edit mode ([MIXING] → [EDIT] →
Part selection). Press the [F6] button once or twice to
call up the display for the Plug-in Board parts (PLG
parts) as shown below (page 164). Next, press the
[TRACK SELECT] button (the lamp lights), and select
the PLG Part of Slot 1 by pressing the [1] button.
Finally, press the [F1] VOICE button, followed by the
[SF1] VOICE button, then select the desired Voice on
the Plug-in Board.
[MIXING] → [STORE] display (page 131).
The settings related to the Plug-in Board voice should
be stored as Song Mixing data.
10 Save the created Song data to a SmartMedia/USB
storage device (page 131) before turning the
power off.
n
The explanations above apply also to the Pattern modes.
Voice Bank
Voice Number
Owner’s Manual
121
Creating a Song on the MOTIF ES
Using the Groove function
Just as in the Pattern Play mode, the Groove function is
available also in the Song Play mode.
For details, refer to the explanation of Groove in the Pattern
Play mode (page 114).
1
In the Song Play mode, select a Song for which
the Groove settings are to be applied.
2
Press the [F2] GROOVE button to call up the
Groove setting display.
3
Select a track, then adjust the Groove settings.
3
Press the [F2] SOURCE button to call up the
display for setting the Sampling Source, then set
the parameters as shown below.
Type:
Source:
Next:
Mono/Stereo:
Frequency:
sample+note
A/D
off
stereo
44.1k
For details about each parameter, see page 253.
Quick Guide — Advanced Course
4
Save the created Song data to a SmartMedia/USB
storage device (page 132) before turning the
power off.
4
Press the [F1] DEST button to call up the display
for setting the Sampling Destination, set the
parameters as described below.
CAUTION
The created Song data resides temporarily in DRAM (page 187). Because
data contained in DRAM is lost when the power is turned off, you should
always store any data residing in DRAM to a SmartMedia/USB storage
device before turning off the power.
Sampling a one-shot sound to a Song
track
The MOTIF ES conveniently lets you sample audio material,
even while a Song is playing. This allows you to quickly and
easily “fly in” samples to your Song as you need them — for
example, capturing short sound effects from a CD, or
recording background vocal phrases with a microphone.
Sounds like these can be added to the Song as desired, and
can even be aligned in time as needed after recording in the
Song Edit mode.
In order to use the Sampling function, DIMM modules must be
installed to the instrument. For details on installing DIMMs, see page
289.
1
Connect an audio device (CD player, etc.) to the
instrument.
Follow steps #1 - 8 on page 73, substituting the instructions
below for steps #4 and 8.
In step #4, press the [SONG] button to enter the Song Play
mode then select a song to be created.
In step #8, set the related parameters from the AUDIO IN
display ([SONG] → [MIXING] → [EDIT] → [COMMON] → [F5]
AUDIO IN).
2
122
Press the [INTEGRATED SAMPLING] button in
the Song mode to enter the Sampling mode.
Owner’s Manual
Track
This parameter determines the Song track to which the
Sample Voice is assigned.
Keybank
This parameter determines the note to which the sample
is assigned.
5
Press the [F6] REC button to call up the
Sampling Record display (Sampling Standby
status), then set the parameters as required.
Set the TrggrMode (Trigger Mode) to “meas” then specify the
Punch In measure (at which the Sampling starts
automatically) and the Punch Out measure (at which
Sampling stops automatically).
Punch In measure
Measure number at which
Sampling starts automatically
Punch Out measure
Measure number at which
Sampling stops
automatically
Indicates Sampling
Standby status.
Creating a Song on the MOTIF ES
Press the [F6] REC button again enable Punch In
Waiting.
Doing this puts sample recording on standby, waiting for
song/pattern playback to reach the specified Punch-in
measure.
9
Press the [F3] AUDITION button to hear the sampled sound.
If you’re not satisfied with the results and you wish to try
again, press the [F4] CANCEL button to return to the
Sampling Standby display and try sampling from step #5
again. If you are satisfied with the results, press the [F5] OK
button to store the sampled sound as a “sample” and return
to the [F1] DEST or [F2] SOURCE display.
Keep in mind that if the Confirm function is turned off in step
#5 above, the display shown above will not appear when
stopping sampling. Instead, stopping sampling returns
directly to the [F1] DEST or [F2] SOURCE display.
F6
Indicates that sample recording is waiting for song/pattern
playback to reach the specified Punch-in measure.
7
Press the [F] (Play) button to start Song
playback.
8
Start the audio equipment when the Song
reaches the Punch In point (when sampling
actually starts).
Stop the audio equipment when the Song
reaches the Punch Out point (when sampling
stops).
10
Press the [SONG] button or [EXIT] button to
return to the Song Play mode.
11
Press the [F] (Play) button to play the Song.
Quick Guide — Advanced Course
6
Listen back to the Song (the sample automatically sounds
along with playback) and check that the timing is correct. If
you’re not satisfied with the timing, you can adjust it as
needed in the Song Edit mode. For details about Song Edit,
see page 124.
Audio is recorded to the instrument.
12
Save the Song data to a SmartMedia/USB
storage device in the File mode (page 132) before
turning the power off.
Registering a Song Scene and Arpeggio type simultaneously to the [SF1] - [SF5] buttons
Song Scenes and Arpeggio types can both be registered to the [SF1] - [SF5] buttons (when the ARP1 - ARP5 menu items are shown
at the bottom of the display). These settings are stored as Song data. Song Scene is a powerful function that allows you to store five
different “snapshots” of important Song related parameters – including transpose, tempo, track mute status, and the basic sound/
mixing controls (all parameter settings controllable from the Knobs with the [PAN/SEND] or [TONE] lamp turned on, and the Control
Sliders). The Arpeggio function and Arpeggio types are discussed in detail in the Voice mode, on page 66. You can call up both the
Song Scene and Arpeggio type simultaneously by simply pressing one of the [SF1] - [SF5] buttons (when ARP1 - ARP5 are shown at
the bottom of the display in the Song mode).
● Registering a Song Scene and Arpeggio type
simultaneously to the [SF1] - [SF5] buttons
STORE
● Recalling a Song Scene and Arpeggio type
simultaneously from the [SF1] - [SF5] buttons
SCENE
SCENE
SF1
SF2
SF3
SF4
SF5
SF1
SF2
SF3
SF4
SF5
SCENE STORE
SET LOCATE
Simultaneously hold
the [STORE] button
and press one of
the [SF1] - [SF5]
buttons.
ARPEGGIO
ON / OFF
In the Song mode, you can register the Song Scene and Arpeggio
type simultaneously to the [SF1] - [SF5] buttons only when the
ARP1 - ARP5 menus appear at the bottom in the display.
Owner’s Manual
123
Creating a Song on the MOTIF ES
■ Recalling a Song Scene and Arpeggio type during recording
ARP1 - ARP5 menus appear also in the [F3] ARP display in the Song Record mode as well as the [F1] PLAY display in the Song
Play mode. These indicate that you can change the Song Scene and Arpeggio type simultaneously during Song recording from
the [F3] ARP display.
■ Recording Song Scene changes to a song
Each Song contains a Scene track to which you can record Scene changes. When the RecTrack is set to “scene” in step #4
described on page 118, you can record Scene changes from any display (even from those in which ARP1 - ARP5 are not shown)
by pressing the [SF1] - [SF5] buttons during recording.
n
The explanations on Arpeggio here also apply to the Pattern mode.
n
As in the Voice mode and Performance mode, Arpeggio types can only be registered to the [SF1] - [SF5] buttons when the [ARPEGGIO ON/OFF] button is
turned off.
n
For details on how to select an Arpeggio type in the Song mode/Pattern mode, see page 105.
Quick Guide — Advanced Course
Editing the recorded song
The Song Edit mode and Song Job mode can be used to edit or change the data of the already recorded song.
The Song Edit mode lets you change the recorded data and insert new data if needed. This includes note data as well as nonnote data, such as program (Voice) changes and MIDI control change messages. The Song Job mode on the other hand
provides a comprehensive variety of tools you can use to transform the recorded data — such as cleaning up the timing
(Quantize), transposing, changing the velocity of notes, modifying the length of notes, and other useful operations for altering the
sound. It also includes a variety of convenient operations, such as copying or erasing data. Most of these operations can be
performed on either an entire track or a selected range of measures in the track.
n
The explanations here also apply to the Pattern mode.
■ Editing the recorded Song data by MIDI event (in the Song Edit mode)
1
Press the [SONG] button to enter the Song Play mode, then select a Song to be edited.
2
Enter the Song Edit mode by pressing the [EDIT] button (the lamp lights), then press the [F1] CHANGE
button to call up the MIDI event list display.
EDIT
Song position
MIDI events
007:1-007
Measure
number Beat
124
Owner’s Manual
Clock (480 clocks
per quarter-note)
Creating a Song on the MOTIF ES
3
When changing the value, the entire line will flash on the
display indicating this is being edited and not fixed yet.
Select a track to be edited.
Select one of the three available track types by pressing the
[F4] TR SEL (Track Select) button. Each press of the button
alternates among the track types.
To select one of the Pattern tracks (1 - 16), make sure the 1-16
track edit display is selected (see below), then turn the
[TRACK SELECT] button on and press any of the [1] - [16]
buttons.
[ENTER] button
TRACK
SELECT
2
3
4
5
6
7
8
12
13
14
15
16
MUTE
ELEMENT/PERF. PART/ZONE
9
10
11
This value has been
fixed as data.
SOLO
Select a track to be edited from 1 - 16.
● 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.
1 - 16 track edit display
Scene track edit display
Press the [F6] button to delete the
event at the current location.
[F4] button
Press the [F1] button or [EXIT] button
to abort and return to the main Event
List display.
Tempo track edit display
[F5] button
[F4] button
[F1] button or
[EXIT] button
[F4] button
ENTER
EXECUTE
4
Quick Guide — Advanced Course
1
Edit the MIDI events of the Song.
Press the [F6] SET button to actually insert
the event shown in the display and remain
in display. If you wish to insert the event
type currently shown in the display several
times, use [F6] SET and press the [F1] or
[EXIT] button to return to the main Event
List display.
Press the [ENTER] button to actually insert the
event and return to the main Event List display.
● Editing/Deleting Existing Events
To edit data in the Event List, use the up/down cursor buttons
to highlight the specific event you want to edit, and use the
left/right cursor buttons to highlight the data type or
parameter to be edited. Then, change the value as needed
by using the [INC/YES] and [DEC/NO] buttons or the data
dial.
The entire line of the edited event will flash on the display.
Press the [ENTER] button to actually enter the edited data
(the entire line of the edited event will stop flashing). To abort
an edit simply highlight to a new event location without
pressing the [ENTER] button.
Press the [F6] button to delete the event at the current
location.
In the Event List display, you can edit various types of events
such as Voice, volume, and pan as well as note events. This
means that you could, for example, enter Voice changes to
the middle of a track, even if the track was recorded using
only one Voice.
n
For details about the MIDI events handled in the Event List display,
see page 225.
n
If you find the display too cluttered, you can filter out certain event
types with the View Filter. Simply press the [F2] VIEW FLT button and
select the event types you want to be displayed. For details, see page
225.
Owner’s Manual
125
Creating a Song on the MOTIF ES
5
Press the [F] (Play) button to hear your edited
data.
Since the Song can be played back from within the Song Edit
mode, you can instantly hear and check the changes you’ve
made while editing. If you want to hear just the track being
edited, use the Solo function (page 58).
6
Edit other tracks as required by repeating steps
#3 through #5 as desired.
7
After editing, press the [SONG] button to return
to the Song Play mode.
Quick Guide — Advanced Course
8
Save the edited Song data to a SmartMedia/USB
storage device (page 132) before turning the
power off.
■ Transforming the recorded data and other
operations — Song Job mode
The Song Job mode has a wide variety of operations for
changing and working with Song data. Virtually all of the Jobs
share the same procedure, so we’ll explain only one of them
here — Quantize, which lets you clean up the timing of a
previously recorded track.
In the following example, this musical passage has been
written with exact quarter-note and eighth-note values.
Even though you think you may have recorded the passage
accurately, your actual performance may be slightly ahead of
or behind the beat (or both!). Quantize allows you to align all
the notes in a track so that the timing is absolutely accurate to
the specified note value.
1
2
Press the [SONG] button to enter the Song Play
mode, then select a Song for which the Job is to
be applied.
Press the [JOB] button to enter the Song Job mode.
As shown below, the Jobs are divided into six main groups,
each of which is selected using the [F1] - [F6] buttons.
Indicates the Job List. Because all the Jobs cannot be
displayed simultaneously, you will need to use the cursor
buttons to scroll the display in order to find the desired Job.
[F1] UNDO
Undo (Canceling the executed Job)/Redo
(Restoring the executed Job) functions
[F2] NOTE
Note Data Job
[F3] EVENT
Event Job
[F4] MEAS
Measure Job
[F5] TRACK
Track Job
[F6] SONG
Song Job
3
Press the [F2] NOTE button, move the cursor to
“01: Quantize” then press the [ENTER] button to
call up the Quantize Job display.
4
Set the relevant Job parameters.
After specifying the track and range over which the Job is to
be applied, set Quantize to “ ” (8th note) according to the
notation example above. Set the Strength to “100%,”
SwingRate to “050%,” and GateTime to “100%.” Regarding
these parameters, see page 227.
Track over which the Job is applied
n
5
126
[F2]
[F3]
[F4]
Owner’s Manual
[F5]
[F6]
Set the Quantize value to correspond to the smallest value notes in the
track you are working with. For example, if the data was recorded with
both quarter notes and eighth notes, use eighth note for the quantize
value.
Press the [ENTER] button to execute the Job.
After the Job has been completed, a “Completed” message
appears and operation returns to the original display.
CAUTION
An “Executing...” message is shown when it takes a short amount of time to
execute the Job. Never attempt to turn off the power while the Job is being
executed. Turning the power off in this state results in loss of all user data.
6
Press the [SONG] button to return to the Song
Play mode, then press the [F] button to hear
the song over which the Job is applied.
If you are satisfied with the result of the Job, go to step #7.
If not, execute the UNDO Job in the [F1] UNDO display in the
Song Job mode to restore the data to its previous state, then
try out the Job (from step #4) again. For details about Undo,
see next page.
7
[F1]
Range over which the Job is applied
Save the Song data to a SmartMedia/USB
storage device in the File mode (page 132) before
turning the power off.
In addition to Quantize, you’ll find a variety of other useful and
powerful Jobs in the Song Job mode (page 226) and Pattern
Job mode (page 244).
Creating a Song on the MOTIF ES
TIP Using the Undo/Redo functions
If you’re not satisfied with the results of a just-executed Job, or you want to hear the difference of the sound before and
after using a Job, you can use the convenient Undo and Redo functions. After changing the data with a particular Job,
repeat steps #1 -4 as desired.
1
2
Press the [SONG] button to return to the Song Play mode, then press the [F] button to hear the Song as it was
changed by the Job.
This lets you check the results of the Job.
After stopping the song, press the [JOB] button followed by the [F1] UNDO button to call up the Undo display.
Press the [ENTER] button to execute Undo.
The Song data is restored to its previous state.
Indicates the operation to be affected by Undo.
3
4
Quick Guide — Advanced Course
[ENTER]
button
Changes to “Redo.”
F] (Play) button to play the song.
Press the [SONG] button to return to the Song Play mode, then press the [F
This lets you check the sound before actually making changes to it with the Job.
After stopping the song, press the [JOB] button followed by the [F1] UNDO button to call up the Undo display.
Press the [ENTER] button to execute the Redo.
This lets you “redo” the Job, restoring the Song to the changes you made before using Undo in step #2 above.
[ENTER]
button
Indicates the operation to be affected by Redo.
n
Undo/Redo is applied to the most recent operation (Job, Edit, Record, etc.).
n
The Undo/Redo Job is available also in the Pattern Job mode.
Changes to “Undo.”
Editing Mixing parameters to complete a Song (in the Mixing mode/Mixing Edit mode)
In this final step (other than saving your precious work, which we’ll cover next), you can mix down your tracks with the Song
Mixing function – adjusting the volume balance and pan setting of all the parts and tweaking the effect levels.
n
The explanations here also apply to the Pattern mode.
1
Press the [SONG] button to enter the Song Play mode, then select a Song for which Mixing edits have been made.
2
Enter the Song Mixing mode by pressing the [MIXING] button (the lamp lights).
Select the menu you wish to edit by pressing the [F1] - [F4] buttons, then edit the parameters in each display.
If you alter any parameters, the [E] indicator will appear in the top left of the display.
Press the [F6] button to switch between the display for
Parts 01-16 (for the internal tone generator), 17-32 (for
the Multi-Part Plug-in Board PLG100-XG), and PLG1-3
(for the Single Part Plug-in Board).
Press the [F5] VCE ED button to enter the Mixing
Voice Edit mode (page 105).
You can use the Song Mixing mode for Sample Mixing as well. For information on the available parameters, see page 233.
If you wish to edit more detailed Mixing parameters, enter the Song Mixing Edit mode.
Owner’s Manual
127
Creating a Song on the MOTIF ES
3
Press the [EDIT] button to enter the Song Mixing Edit mode.
EDIT
JOB
COMPARE
4
STORE
SCENE STORE
SET LOCATE
Call up the Common Edit display or Part Edit display.
Use Part Edit to edit the parameters for each Part. Use Common Edit to edit the parameters for all of the Parts.
While in the Song Mixing Edit mode, you can switch
between the Common Edit display and the Element
Edit display as shown below.
Calling up the Common Edit display
Quick Guide — Advanced Course
Press the [COMMON] button to call up the
Common Edit display.
In the Edit mode, the [DRUM KITS] button
functions as the [COMMON] button.
Calling up the Part Edit display
DRUM KITS
PRE 5
PRE 6
USER 1
USER 2
FAVORITES
A. PIANO
KEYBOARD
GUITAR/
PLUCKED
GUITAR
A
B
C
D
SYN LEAD
SYN PAD/
CHOIR
SYN COMP
CHROMATIC
PERCUSSION
1
2
3
Indicates a Common Edit
display.
Press the desired Part number from the PART [1] [16] buttons to call up the Part Edit display.
Indicates the display for editing Part 1.
8
......
ELEMENT/PERF. PART/ZONE
COMMON
9
10
11
16
......
n
To switch between the Part 1 - 16
display, Part 17 - 32, and Part PLG1
- 3 display, press the [F6] button.
F6
Part1 Edit
You can mute or solo a Part just as is done with
tracks in the Song Play mode or Pattern Play mode.
Part2 Edit
Part3 Edit
Internal Tone
Generator
.....
Part4 Edit
Part 16 Edit
Part 17 Edit
.....
Common Edit
n
5
Multi-Part Plug-in
Board PLG100-XG
Part 32 Edit
Common Edit operations cannot be
performed on the Multi-part Plug-in parts
17 - 32. The Mixing settings for the MultiPart Plug-in Part (17~32) apply not to one
individual song but to all 64 songs.
Plug-in part 1 (PLG1) Edit
Plug-in part 2 (PLG2) Edit
Plug-in part 3 (PLG3) Edit
Single Part
Plug-in
Board
Select the menu you wish to edit by pressing the [F1] - [F5] buttons and [SF1] - [SF5] buttons, then edit the
parameters in each display.
For details on the available parameters, see page 234.
6
Repeat steps #4 - 5 as desired.
7
Store the edited Song Mixing settings to internal User memory (DRAM).
After pressing the [EXIT] button to return to the Song Mixing mode, press the [STORE] button to enter the Song Mixing Store
mode, then press the [ENTER] button to execute the Store operation (page 131).
8
128
Before turning the power off, save the stored Song Mixing settings to a SmartMedia/USB storage device as
Song data in the File mode (page 132).
Owner’s Manual
Creating a Song on the MOTIF ES
TIP Editing a Mixing by using the Knobs (in the Song mode/Pattern mode)
The four knobs at the top left of the instrument can be used to tweak the Song/Pattern Mixing settings as they play (in the
Song Play/Pattern Play mode). What’s mode, you can use them to edit the Mixing settings, in the Song Mixing Edit/Pattern
Mixing Edit modes.
For details on the parameters edited by the knobs, refer to the descriptions in the Performance mode (page 90).
PAN
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → Part selection → [F2] OUTPUT →
[SF1] VOL/PAN → Pan
Page 235
REVERB
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → Part selection → [F2] OUTPUT →
[SF2] EF SEND → RevSend
Page 235
CHORUS
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → Part selection → [F2] OUTPUT →
[SF2] EF SEND → ChoSend
Page 235
TEMPO
Tempo of the current Song/Pattern
Pages 57
and 59
Quick Guide — Advanced Course
● When the [PAN/SEND] indicator is turned on:
● When the [TONE] indicator is turned on:
CUTOFF
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → Part selection → [F4] TONE → [SF2] FILTER →
Cutoff
Page 236
RESONANCE
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → Part selection → [F4] TONE → [SF2] FILTER →
Resonance
Page 236
ATTACK
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → Part selection → [F4] TONE → [SF4] AEG →
Attack
Page 236
RELEASE
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → Part selection → [F4] TONE → [SF4] AEG →
Release
Page 236
● When the [ARP FX] indicator is turned on:
SWING
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → [COMMON] → [F3] ARP → [SF3] PLAY FX →
Swing
Page 234
GATE TIME
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → [COMMON] → [F3] ARP → [SF3] PLAY FX →
GateTimeRate
Page 234
VELOCITY
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → [COMMON] → [F3] ARP → [SF3] PLAY FX →
VelocityRate
Page 234
UNITMULTIPLY [SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → [COMMON] → [F3] ARP → [SF3] PLAY FX →
UnitMultiply
Page 234
● When the [EQ] indicator is turned on:
LO
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → Part selection → [F3] EQ → Low Gain
Page 236
LO MID
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → Part selection → [F3] EQ → Mid Gain
Page 236
—
HI MID
-
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → Part selection → [F3] EQ → High Gain
HI
Page 236
● When both the [PAN/SEND] and [TONE] indicators are turned on (by pressing them simultaneously):
ASSIGN A
Adjusts parameters assigned to these knobs in the [UTILITY] → [F4] CTL ASN → [SF2] ASSIGN display.
ASSIGN 1
Depend on the settings of the voice assigned to the currently selected part.
ASSIGN 2
n
Page 263
Page 263
ASSIGN B
Page 192
Page 192
In addition to the above functions, Master Effect related parameters ([SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] →
[COMMON] → [F2] MEQ/MEF → [SF2] MEF) can be assigned to these four knobs, and the knobs can be used for these assignments by pressing
the [ARP FX] and [EQ] buttons simultaneously to turn them on. The particular parameters assigned to the four knobs can be set in the [UTILITY] →
[F4] CTL ASN → [SF5] MEF display.
Compare function and Edit Recall (in the Song mode/Pattern mode)
These are the same as in the Voice mode and Performance mode. See pages 80 and 82.
Owner’s Manual
129
Creating a Song on the MOTIF ES
TIP Editing a Mixing by using Control Sliders (in the Song mode/Pattern mode)
[SONG] → Song selection → [MIXING] → [EDIT] → Part selection → [F2] OUTPUT → [SF1] VOL/PAN → Volume
In the Song/Pattern mode, the four Control Sliders let you independently adjust the levels of the Parts (Voices), letting you
control the overall balance of the Parts.
n
Inadvertent use of the sliders may result in no sound. If this occurs, move the sliders upward.
TIP Creating an Arpeggio
In addition using the preset Arpeggios, you can also create your own original Arpeggio data.
Actually, there is no direct operation for recording Arpeggios. First, you have to record a Phrase to a Song or Pattern track.
Then, use the appropriate Song or Pattern Job function to convert the data to Arpeggio data.
Quick Guide — Advanced Course
the MIDI sequence data to be
1 Record
2
used as the basis for base of the Arpeggio
Convert the MIDI sequence data (recorded to
the Song or Pattern) as Arpeggio data.
to a Song or Pattern.
Song or Pattern
Record
Arpeggio
Track 1
User Arpeggio 256
Track 2
Track 3
Record
User Arpeggio 001
Track 4
Record
Track 5
Track 1
Track 6
Track 2
Track 7
Track 3
Track 8
Track 4
Track 9
Track 10
Track 11
Track 12
Record
Track 13
Track 14
Convert
[SONG] → [JOB] → [F5] TRACK → 07: Put Track To Arp
After setting the parameters as shown below,
press the [ENTER] button to execute Convert.
Specify the destination Arpeggio number.
Specify the source Song/
Pattern number and
measure range.
Track 15
Track 16
You can record MIDI sequence data for
the Arpeggio to any of the tracks. After
recording, select four tracks from all
sixteen and convert them to Arpeggio
data.
Select a convert type by track (see below).
Specify the tracks of the source Song or
Pattern. Set unused tracks to “off.”
Set the root note when the
convert type of any track is
set to “OrgNote.”
■ Determining how Song/Pattern data is converted to an Arpeggio — Convert Type
MIDI sequence data (of Song/Pattern tracks) can be converted to Arpeggio data in one of three ways, according to the
Convert types below. These types can also be selected independently for each destination track — providing enormous
flexibility and performance control.
130
Normal
The Arpeggio is played back using only the played note and its octave notes.
Fixed
Playing any note(s) will trigger the same MIDI sequence data.
OrgNotes (Original Notes)
Basically same as “Fixed” with the exception that the Arpeggio playback notes differ according to the played chord.
Owner’s Manual
Creating a Song on the MOTIF ES
Record the MIDI sequence data to a Song or Pattern track, referring to the previous instructions in this chapter as needed.
The examples listed below are used as reference.
● Creating a rhythm pattern (using a Drum Voice)
Track 1
Record a basic rhythm pattern using various drum instruments.
➔ Convert via “Fixed.”
Track 2 - 4
Record a different rhythm pattern using a specific drum instrument to each track.
➔ Convert via “Normal.”
● Creating a bass line (using a Normal Voice)
➔ Convert via “OrgNote” after the
OrgNotesRoot is set.
Record a bass line using a specific desired key (root).
Track 1
➔ off
Track 2 - 4
Track 1
Record a guitar backing part using a specific desired key (root).
➔ Convert via “Normal.”
Track 2
Record a different rhythm using one of the “special” sounds, such as a finger
mute or scratching noise.
➔ Convert via “Fixed.”
➔ off
Track 3 - 4
n
Quick Guide — Advanced Course
● Creating a guitar backing (using a Keyboard Mega Voice)
Up to 16 unique note numbers can be recorded to the Arpeggio track. (This does not apply to multiple instances of the same note number.) If more
than 16 different note numbers have been recorded to the MIDI sequence data, the Convert operation reduces the notes in excess of the limit.
Because of this, be careful to record only up to 16 different notes when you create an Arpeggio, especially when using all four tracks.
■ Convert type which determines how the Song/Pattern data is converted to the Arpeggio data
The Arpeggio data created via the above instructions is stored on internal Flash ROM, meaning that it will not be lost, even
if you turn the power off. When saving the Arpeggio data to a SmartMedia/USB storage device, set the file type (TYPE) to
“All” or “UsrArp” in step #3 described on page 132.
Storing/Saving the created Song/Pattern
The created Song/Pattern data resides on DRAM (page 187). Because data contained in DRAM is lost when the power is turned
off, you should always save any data residing in DRAM to a SmartMedia/USB storage device in the File mode before turning off
the power. Please note that the edited Mixing settings should be stored before saving to a SmartMedia/USB storage device.
Internal memory (DRAM)
Song/Pattern
SmartMedia
Mixing
Mixing Edit
Store
Mixing Voice Edit
Mixing Voice
Save
USB storage device
Store
Record
MIDI sequence data
Sampling
Sample
Settings in the Play mode
Groove, etc.
Save all Songs or Patterns
in internal DRAM as a
single file.
File extension: W7A
File extension: W7S
File extension: W7P
Storing the edited Song Mixing/Pattern Mixing settings to internal memory (DRAM)
[MIXING] → [STORE]
Press the [STORE] button to enter the Song Mixing Store mode/Pattern Mixing Store mode, then press the [ENTER] button to
execute the Store operation. The Mixing settings are actually stored to a Song/Pattern by executing the Store operation.
CAUTION
The currently edited Mixing program will be lost when selecting a different Song/Pattern or going to a different mode without storing it to the current Song/
Pattern. In addition, simply playing back the Song/Pattern or receiving any MIDI messages from an external MIDI instrument may change the current Mixing
program.
Make sure to store the Mixing program before executing these operations.
Owner’s Manual
131
Creating a Song on the MOTIF ES
Saving the Song/Pattern data to the
SmartMedia/USB storage device
[FILE] → [F2] SAVE
CAUTION
The recorded Song, Pattern and Sample (Waveform) data resides
temporarily in DIMM (page 187). Because data contained in DIMM is lost
when the power is turned off, you should always save any data residing in
DIMM to a SmartMedia /USB storage device before turning off the power.
After inserting a SmartMedia into the CARD slot or connecting
the USB storage device to this synthesizer, follow the
instructions below.
1
Press the [FILE] button to enter the File mode,
then execute the basic settings.
Quick Guide — Advanced Course
Refer to “Basic settings for using SmartMedia or a USB
storage device” on page 30.
2
Press the [F2] SAVE button to call up the Save display.
3
Set the TYPE parameter to “All.”
Press the [ENTER] button to execute the Save
operation.
5
If you are about to overwrite an existing file, the display
prompts you for confirmation. Press the [INC/YES] button to
execute the Save operation to overwrite an existing file, or
press the [DEC/NO] button to cancel it.
After the data has been saved, a “Completed” message
appears and operation returns to the original display.
CAUTION
While the data is being saved, make sure to follow these precautions:
• Never remove or eject the media from the device (SmartMedia or USB
storage).
• Never unplug or disconnect any of the devices.
• Never turn off the power of the MOTIF ES or the relevant devices.
Saving a Song or a Pattern Section as a
Standard MIDI File
After inserting a SmartMedia into the CARD slot or
connecting the USB storage device to the instrument,
follow the instructions below.
1
2
Move the cursor to the TYPE, then set the File type by using
the data dial, [INC/YES] and [DEC/NO] button. You can select
one of the following four file types to save the Song or Pattern
data. Here, select “All” because various kinds of data have
been created in order to complete a song.
All
3
Press the [FILE] button to enter the File mode,
then execute the basic settings.
Refer to “Basic settings for using SmartMedia or a
USB storage device” on page 30.
Press the [F2] SAVE button to call up the Save
display.
Set the TYPE parameter to “SMF” then select a
Song/Pattern to be saved.
When saving a Song as SMF:
All data in this synthesizer’s internal User Memory is treated as a
single file (extension: W7A), and can be saved to a SmartMedia/
USB storage device.
All Song All the User Song data in this synthesizer’s internal User Memory
(DRAM) is treated as a single file (extension: W7S), and can be
saved to a SmartMedia/USB storage device. Please keep in mind
that Sample Voices and assigned Waveforms created via the
Sampling function in the Song mode are also saved together.
All
Pattern
All the User Pattern data in this synthesizer’s internal User Memory
(DRAM) is treated as a single file (extension: W7P), and can be
saved to a SmartMedia/USB storage device. Please keep in mind
that Sample Voices and assigned Waveforms created via the
Sampling function in the Pattern mode are also saved together.
SMF
Sequence track (1 - 16) and Tempo track data of a Song/Pattern
created in the Song/Pattern mode can be saved to a SmartMedia/
USB storage device as Standard MIDI File (format 0) data.
Select a Song number.
When saving a Pattern as SMF:
Select a Pattern number and Section.
4
Input a file name.
Move the cursor to the file name input location, then input a
file name. For detailed instructions on naming, refer to page
53 in the Basic Operation section.
File name input
location
132
Owner’s Manual
4
Input a file name.
Move the cursor to the file name input location, then
input a file name. For detailed instructions on
naming, refer to page 53 in the Basic Operation
section.
Creating a Song on the MOTIF ES
Press the [ENTER] button to execute the Save
operation.
If you are about to overwrite an existing file, the
display prompts you for confirmation. Press the [INC/
YES] button to execute the Save operation to
overwrite an existing file, or press the [DEC/NO]
button to cancel it. After the data has been saved, a
“Completed” message appears and operation
returns to the original display.
n
When loading a SMF (Standard MIDI File), set the file type to
“Song” or “Pattern.”
n
Only the sequence track (1 - 16) and tempo track data of a
Song/Pattern created in the Song/Pattern mode can be saved
to a SmartMedia/USB storage device as Standard MIDI File
(format 0) data. The Mixing settings will not be saved to a
Standard MIDI File. If you wish to save the entire Song/Pattern
including the Mixing settings, set the file type to “All” or
“AllSong.” or “AllPattern.”
Loading a file saved to a SmartMedia/
USB storage device
[FILE] → [F3] LOAD
These instructions describe how to recall the data saved as a file type
“All (extension: W7A)” described on page 132 from the SmartMedia/
USB storage device to the instrument by using the Load operation.
CAUTION
Loading a file (extension: W7A) to this synthesizer automatically erases
and replaces all existing data in the User memory. Make sure to save any
important data to a SmartMedia/USB storage device before performing any
Load operations.
n
• Enter the Voice mode if you wish to assign the Waveform to a Voice.
• Select a Performance in the Performance mode if you wish to assign
the Waveform to a Part of the Performance.
• Select a Song in the Song mode if you wish to assign the Waveform
to a Part of the Song.
• Select a Pattern in the Pattern mode if you wish to assign the
Waveform to a Part of the Pattern.
Saving a Sample Voice as a WAV file/AIFF file
After inserting a SmartMedia into the CARD slot or
connecting the USB storage device to the instrument,
follow the instructions below.
1
2
3
In the Song mode/Pattern mode, select a Song/
Pattern including the desired Sample, press the
[FILE] button to enter the File mode, then execute
the basic settings.
Refer to “Basic settings for using SmartMedia or a
USB storage device” on page 30.
Press the [F2] SAVE button to call up the Save display.
Set the TYPE parameter to “Wav” or “Aiff,” press the
[ENTER] button, then select a sample to be saved.
Select the track containing the
sample to be saved.
If you wish to select and load a specified Waveform in the file
(extension: W7A), enter the File mode (in step #1 below) after
executing the following operations:
Quick Guide — Advanced Course
5
n
If you wish to select and load a specified Sample Voice in the file
(extension: W7A), enter the File mode (in step #1 below) after
executing the following operations:
• Select a Song in the Song mode if you wish to assign the Sample
Voice to a Song.
• Select a Pattern in the Pattern mode if you wish to assign the Sample
Voice to a Pattern.
1
Press the [FILE] button to enter the File mode,
then execute the basic settings.
Refer to “Basic settings for using SmartMedia or a USB
storage device” on page 30.
2
Press the [F3] LOAD button to call up the Load display.
3
Select a file type to be loaded.
You can load the file (extension: W7A) saved as “All” by
selecting one of the following file types.
You can hear the selected
sample by pressing the
[SF1] button.
(Audition function)
4
This is available only when the cursor is
located at KeyBank. Each press of the [SF2]
SELECT button selects, one by one, the Key
Banks assigned to specific velocity ranges
for the selected key.
Press the [ENTER] button to execute the Save
operation.
If you are about to overwrite an existing file, the
display prompts you for confirmation. Press the [INC/
YES] button to execute the Save operation to
overwrite an existing file, or press the [DEC/NO]
button to cancel it.
After the data has been saved, a “Completed”
message appears and operation returns to the
original display.
All
All data in a file that is saved to the SmartMedia/USB storage
device as an “All” type can be loaded and restored to this
instrument.
Voice
A specified Voice in a file can be individually selected and
loaded to this instrument.
Performance
A specified Performance in a file can be individually selected
and loaded to this synthesizer.
Song
A specified Song in a file can be individually selected and
loaded to this instrument.
Pattern
A specified Pattern in a file can be individually selected and
loaded to this instrument.
Waveform
A specified Waveform in a file can be individually selected and
loaded to this instrument.
Sample Voice
A specified Sample Voice in a file can be individually selected
and loaded to this instrument.
Owner’s Manual
133
Creating a Song on the MOTIF ES
4
Select a file (
) to be loaded.
Move the cursor to the file (extension: W7A) which was saved as “All” on previous page.
When Type is set to “All,” go to step #5.
When Type is set to something other than “All,” follow the instructions below then go to step #5.
● When Type is set to “Voice” or “Performance”:
You can select and load a specified Voice or Performance in the file (extension: W7A) to this instrument.
Move the cursor to the file (extension:
W7A) which was saved as “All” on
previous page.
ENTER
EXECUTE
All Voices or Performances in the
selected file are listed. Move the
cursor to the desired Voice or
Performance to be loaded.
ENTER
EXECUTE
Select the desired Voice or
Performance.
Quick Guide — Advanced Course
Select the destination Voice number
or Performance number.
● When Type is set to “Song” or “Pattern”:
You can select and load a specified Song or Pattern in the file (extension: W7A) to this instrument.
Move the cursor to the file (extension:
W7A) which was saved as “All” on
previous page.
ENTER
EXECUTE
All Songs or Patterns in the
selected file are listed. Move the
cursor to the desired Song or
Pattern to be loaded.
ENTER
EXECUTE
Select the desired Song or Pattern.
Select the destination Song number
or Pattern number.
● When Type is set to “Waveform”:
You can select and load a specified Waveform in the file (extension: W7A) to this instrument.
Move the cursor to the file (extension:
W7A) which was saved as “All” on
previous page.
ENTER
EXECUTE
All Waveforms in the selected file
are listed. Move the cursor to the
desired Waveform to be loaded.
ENTER
EXECUTE
Select the desired Waveform.
Select the destination. (See below.)
In this case, the destination differs depending on the mode selected before entering the File mode.
134
When entering the File mode from the Voice mode:
Set the Voice bank and number as the destination.
When entering the File mode from the Performance mode:
Set the Part of the current Performance then set the Voice bank/number of the Part as the
destination.
When entering the File mode from the Song mode/Pattern mode:
Set the track of the current Song/Pattern as the destination.
Owner’s Manual
Creating a Song on the MOTIF ES
● When Type is set to “Sample Voice”:
Only when entering the File mode from the Song mode/Pattern mode, you can select and load a specified Sample Voice in the
file (extension: W7A) to this instrument.
ENTER
Move the cursor to the file
(extension: W7A) which was
saved as “All” on previous page.
ENTER
Select “Pattern” or “Song.”
EXECUTE
EXECUTE
All Songs or Patterns which contain the Sample
Voices are listed.
Move the cursor to the desired Song or Pattern.
ENTER
EXECUTE
ENTER
EXECUTE
Select the track of the current
Song or Pattern as destination.
Quick Guide — Advanced Course
All Sample Voices assigned to the selected Song
or Pattern in the selected file are listed. Move the
cursor to the desired Sample Voice to be loaded.
CAUTION
Loading data to this synthesizer automatically erases and replaces any existing data in the User memory. Make sure to save any important data to a
SmartMedia/USB storage device before performing any Load operations.
5
Press the [ENTER] button to execute the Load operation.
After the data has been loaded, a “Completed” message appears and operation returns to the original display.
CAUTION
While the data is being saved, make sure to follow these precautions:
• Never remove or eject the media from the device (SmartMedia or USB storage).
• Never unplug or disconnect any of the devices.
• Never turn off the power of the MOTIF ES or the relevant devices.
TIP Setting a specific file to load automatically when the power is turned on
The MOTIF ES is very easy to use and you can create Voices, Performances, Patterns and Songs very quickly on it. However, there
may be times that creating and editing of data may be spread out over several sessions. In such a case, you may find it convenient to
have the instrument automatically load the appropriate files for you when you turn it on, so you can easily resume your editing session.
Save the data after editing.
The saved files are loaded automatically
when you turn the power on next time.
Turn the power off
Auto Load
Save
MUSIC PRODUCTION SYNTHESIZER
n
The Auto Load parameter is set to on when this synthesizer is
shipped from the factory.
n
The file types which can be loaded automatically are “All,”
“Plugin All Bulk 1,” “Plugin All Bulk 2,” and “Plugin All Bulk 3.”
1
MUSIC PRODUCTION SYNTHESIZER
2
3
Change the names of the files you wish to have load
automatically when the power is turned on as described below,
and save them together in a single folder or in the root directory.
File type
File name
All
AUTOLOAD. W7A
Plugin All Bulk 1 (for slot 1)
AUTOLD1. W7B
Plugin All Bulk 2 (for slot 2)
AUTOLD2. W7B
Plugin All Bulk 3 (for slot 3)
AUTOLD3. W7B
After you’ve finished naming the appropriate files, keep the
corresponding folder selected in the display and go to step #2.
Enter the Utility mode and call up the Auto Load display
([UTILITY] → [F1] GENERAL → [SF4] OTHER).
Set “Auto Load” to on, and press the [SF5] GET button.
The device and folder selected in step #1 (the folder
containing the desired files for auto loading) are
registered as the Auto Load path.
Set this to on.
4
Press the [STORE] button to store the Auto Load setting.
n
If the Auto Load files cannot be found (for example, a SmartMedia/USB
storage device is not installed properly or a SmartMedia/USB storage
device containing no Auto Load files is installed, etc.) when turning the
power on even with the Auto Load parameter set to on, the Demo Song/
Pattern data (page 55) in the internal ROM will be loaded automatically.
Owner’s Manual
135
Using as a Master Keyboard
Using as a Master Keyboard
This synthesizer is loaded with such a wealth of different features, functions and operations, you may find it difficult to locate and
call up the particular feature you need. This is where the Master function comes in handy. You can use it to memorize the
operations you use most often in each mode, and call them up instantly anytime you need them with a single button press. This
synthesizer has space for a total of 128 of your own User Master settings.
Master
Number
Setting examples
Memorized mode
Memorized program number
Zone Switch *
001
Voice mode
Voice number 102 (Preset 1)
Off
002
Voice mode
Voice number 088 (Preset 3)
Off
003
Voice mode
Voice number 049 (Preset 2)
Off
004
Voice mode
Voice number 092 (Preset 2)
Off
005
Performance mode
Performance number 044
Off
:
:
127
Pattern mode
Pattern number 061
On
128
Song mode
Song number 025
On
:
* See page 137 about “Zone Switch.”
:
Quick Guide — Advanced Course
Selecting a Master
The MOTIF ES features 128 specially programmed Masters, stored to internal User memory (Flash ROM). Try some of these out
now.
1
Press the [MASTER] to enter the Master Play mode.
MASTER
Mode memorized to the current Master.
Program number (Voice number in this
example) memorized to the current Master.
Indicates the Keyboard Octave setting set
via the [OCTAVE] buttons. Same as in the
Voice mode/Performance mode (page 63).
Indicates the currently
selected Master.
Use the [SF1] - [SF5] buttons to call up the
Arpeggio type assigned to each button
(page 66). Assigned types depend on the
program number memorized to the current
Master.
Indicates information related to the Control
Knobs. The settings depend on the program
number memorized to the current Master.
2
Select a Master.
Selecting a Master is done in basically the same way as selecting a Voice. Since the there is only one bank for Masters, you
need not select a Master Bank.
3
Play the selected Master program.
When the Mode is set to Voice or Performance, play the keyboard.
When the Mode is set to Song or Pattern, press the [F] (Play) button.
SEQ TRANSPORT
LOCATE
136
Owner’s Manual
1
2
Using as a Master Keyboard
Memorize to a Master
1
Select a Master to be created.
2
Press the [F2] MEMORY button to call up the
Mode setting display.
5
Store the edited Master to internal User memory.
1 Press the [STORE] button to enter the Master Store mode.
2 Select the destination Master by using the data dial,
[INC/YES] and [DEC/NO] button.
3
Set the Mode, Program number and Zone Switch
on/off (page 138) which you wish to memorize to
the Master.
Determine the mode that is called up
when the Master number is selected.
Set the Zone Switch (below) to
on or off.
CAUTION
When you execute the Store operation, the settings for the destination
memory will be overwritten. Important data should always be backed up
to a separate SmartMedia/USB storage device.
3 Press the [ENTER] button. (The display prompts you for
Quick Guide — Advanced Course
confirmation.)
To cancel the Store operation, press the [DEC/NO] button.
4 Press the [INC/YES] button to execute the Store
operation.
Determine the Program number that is
called up when the Master is selected.
When the Mode is set to Voice
Select a Voice bank and number.
When the Mode is set to Performance
Select a Performance bank and number.
When the Mode is set to Song
Select a Song number.
When the Mode is set to Pattern
Select a Pattern number.
4
Name the edited Master.
Input a name in the [EDIT] → [COMMON] → [F1] NAME
display.
For detailed instructions on naming, refer to page 53 in the
Basic Operation section.
CAUTION
Keep in mind that the Store operation may take a short time to
complete, during which an “Executing..” or “Please keep power on”
message may be shown. Never attempt to turn off the power while data
is being written to Flash ROM while such a message is displayed.
Turning the power off in this state results in loss of all user data and
may cause the system to freeze (due to corruption of data in the Flash
ROM). This may also result in the MOTIF ES being unable to properly
start up the next time the power is turned on.
CAUTION
If you select another Master without storing, the currently edited Master
will be lost. Make sure to store the edited Master before selecting
another Master.
6
As necessary, save the edited and stored
Masters to a SmartMedia/USB storage device.
For details, see page 132. Set the file type to “All.”
Input a Master name.
Using Zones (keyboard area)
In the Master mode, you can divide the keyboard into (up to) four independent areas (called “Zones”). To each Zone can be
assigned different MIDI channels and different functions of the Knobs and Control Sliders. This makes it possible to control
several parts of the multi-timbral tone generator simultaneously by a single keyboard or to control voices of an external MIDI
instrument over several different channels in addition to the internal voices of this synthesizer itself — letting you use the MOTIF
ES to effectively do the work of several keyboards. You can set the parameters related to the four Zones in the Master Edit mode
and store the settings as a User Master.
1
Select a Master to be created.
Owner’s Manual
137
Using as a Master Keyboard
2
Press the [F2] MEMORY button to call up the Mode setting display.
3
After setting the Mode and Program number which you wish to memorize to the Master, set the Zone Switch
to “on”.
Set the Zone Switch to “on.”
Determine the mode that is called
up when the Master number is
selected.
Determine the Program number that is called up when the Master is selected.
4
Press the [EDIT] button to enter the Master Edit mode.
Quick Guide — Advanced Course
EDIT
JOB
STORE
COMPARE
5
SCENE STORE
SET LOCATE
Call up the Common Edit display or Zone Edit display.
Use Zone Edit to edit the parameters for each Zone. Use Common Edit to edit the parameters for all of the Zones.
While in the Master Edit mode, you can switch
between the Common Edit display and the Zone
Edit display as shown below.
Calling up the Common Edit display
Press the [COMMON] button to call up the
Common Edit display.
In the Edit mode, the [DRUM KITS] button
functions as the [COMMON] button.
DRUM KITS
PRE 5
PRE 6
USER 1
USER 2
Calling up the Zone Edit display
FAVORITES
A. PIANO
KEYBOARD
GUITAR/
PLUCKED
GUITAR
Press the desired Zone number from the ZONE
[1] - [4] buttons to call up the Zone Edit display.
A
B
C
D
SYN LEAD
SYN PAD/
CHOIR
SYN COMP
CHROMATIC
PERCUSSION
1
2
3
4
Indicates the display for editing Zone 1.
Indicates a Common Edit
display.
ELEMENT/PERF. PART/ZONE
COMMON
9
10
11
12
Zone 1 Edit
Common Edit
Zone 2 Edit
Zone 3 Edit
Zone 4 Edit
6
Select the menu you wish to edit by pressing the [F1] - [F6] and [SF1] - [SF5] buttons, then edit the parameters.
See the next page for details and some setting examples.
7
Name the edited Master.
Input a name in the [EDIT] → [COMMON] → [F1] NAME display.
For detailed instructions on naming, refer to page 53 in the Basic Operation section.
8
Store the edited Master to internal User memory.
For details, refer to steps #5 - 6 on page 137.
138
Owner’s Manual
Using as a Master Keyboard
Using Zones effectively with external
The two examples below show how to use the Zones with both the internal tone generator and a connected external tone
generator. These instructions correspond to step #6 on the previous page.
n
Though all four Zones are used in the example below, you can use any number of Zones (two, three, or four). The settings are made with the MIDISwitch
parameter ([MASTER] → [EDIT] → Zone selection → [F1] TRANS → MIDISwitch) and the TGSwitch parameter ([MASTER] → [EDIT] → Zone selection →
[F1] TRANS → TGSwitch).
n
In these examples, the Zones are assigned to different areas of the keyboard. However, two or more Zones can also be assigned to the same area in a
layer, from the NOTE display ([MASTER] → [EDIT] → Zone selection → [F2] NOTE).
■ Master settings with the Voice mode/Performance mode (Single-timbre tone generator mode)
External tone generator (Multi-timbral)
Corresponds to step #6 on the previous page
Set the MIDI receive channel for each part.
Quick Guide — Advanced Course
For each Zone, set whether or not MIDI data is transmitted
to the external instrument.
[MASTER] → [EDIT] → Zone selection → [F1] TRANS → MIDISwitch
Determine the MIDI Transmit Channel for each zone.
MIDI Transmit
Channel 1
MIDI Transmit
Channel 2
MIDI Transmit
Channel 3
MIDI Transmit
Channel 4
[MASTER] → [EDIT] → Zone selection → [F1] TRANS → TransCh
Determine the note range of each zone.
[MASTER] → [EDIT] → Zone selection → [F2] NOTE → NoteLimitH
[MASTER] → [EDIT] → Zone selection → [F2] NOTE → NoteLimitL
For each Zone, set whether or not MIDI data is transmitted
to each Part of the internal tone generator.
[MASTER] → [EDIT] → Zone selection → [F1] TRANS → TGSwitch
Internal tone generator (Single Timbre)
[UTILITY] → [F5] MIDI → [SF1] CH → BasicRcvCh = 01
■ Master settings with the Song mode/Pattern mode (Multi-timbral tone generator mode)
External tone generator (Multi-timbral)
Set the MIDI receive channel for each part.
Corresponds to step #6 on the previous page
For each Zone, set whether or not MIDI data is transmitted
to the external instrument.
[MASTER] → [EDIT] → Zone selection → [F1] TRANS → MIDISwitch
MIDI Transmit
Channel 1
MIDI Transmit
Channel 2
MIDI Transmit
Channel 3
MIDI Transmit
Channel 4
Determine the MIDI Transmit Channel for each zone.
[MASTER] → [EDIT] → Zone selection → [F1] TRANS → TransCh
Determine the note range of each zone.
[MASTER] → [EDIT] → Zone selection → [F2] NOTE → NoteLimitH
[MASTER] → [EDIT] → Zone selection → [F2] NOTE → NoteLimitL
For each Zone, set whether or not MIDI data is transmitted
to each Part of the internal tone generator.
[MASTER] → [EDIT] → Zone selection → [F1] TRANS → TGSwitch
Part 05
Receive
Channel 1
Part 13
Receive
Channel 2
Internal tone generator (Multi-timbral)
[SONG] → [MIXING] → [EDIT] → Part selection →
[F1]VOICE → [SF2]MODE → ReceiveCh
Owner’s Manual
139
Using as a Master Keyboard
Assigning Control Change numbers to the Knobs/Sliders for each Zone
Here in the KN/CS display of the Master Edit mode, you can set how the Control Knobs and Sliders will affect each Zone. This
lets you specify a separate MIDI Control Change number for each Knob and Slider.
Set the parameters as shown below, corresponding to step #6 on page 138.
PAN/SEND
ASSIGN
TONE
ASSIGN A
ASSIGN B
ASSIGN 1
PAN
REVERB
CHORUS
TEMPO
CUTOFF
RESONANCE
ATTACK
RELEASE
SWING
GATE TIME
VELOCITY
UNITMULTIPLY
ASSIGN 2
KNOB
CONTROL
FUNCTION
ARP FX
KN 1
LOW
All indicators are turned off by setting the
[MASTER] → [EDIT] → [COMMON] → [F2] OTHER
→ Knob/Slider parameter to “zone.”
Quick Guide — Advanced Course
KN 2
LOW MID
KN 3
HIGH MID
KN 4
HIGH
VOLUME 1
VOLUME 2
1
VOLUME 3
1
VOLUME 4
1
CS 1
CS 2
CS 3
CS 4
ZONE 1
ZONE 1
2
ZONE 1
3
ZONE 1
4
EQ
MASTER
VOLUME
You can determine which Control Change numbers are used for the Knobs
and Sliders for each zone in the [MASTER] → [EDIT] → Zone selection →
[F5] KN/CS display.
In the example above, the Control Knobs for all Zones have been set to 10 (Pan), and the Sliders have been set to 11
(Expression). In this way, you can control the stereo position of each Zone with the appropriate Knob, and use the Sliders to
adjust the relative volume balance among the Zones.
140
Owner’s Manual
Using as a Master Keyboard
TIP Setting up the Master Zones to Split or Layer
This operation lets you easily determine whether the Zones of the selected Master are to be used in a Split or a Layer. The
note range settings for each Zone can be determined by setting the NoteLimitH and NoteLimitL parameters from the NOTE
display ([MASTER] → [EDIT] → Zone selection → [F2] NOTE).
n
Zones 1 and 2 are used in the explanations here.
1 In the Master Play mode, press the [JOB] button to enter the Master Job mode.
2 Press the [F1] INIT button to call up the Initialize display.
3 Uncheckmark the box of “All” by using the [DEC/NO] button and checkmark the box of “Zone.”
Quick Guide — Advanced Course
4 Set the Type to “Split” or “Layer.”
When Type is set to “Split”
Set the UpperCh (MIDI transmit channel of the upper range), LowerCh (MIDI transmit channel of the lower range), and Split
Point (which separates the keyboard into the upper range and lower range).
Lower
Split Point
(C3)
Upper
When Type is set to “Layer”
Set the UpperCh (MIDI transmit channel of Zone 1) and LowerCh (MIDI transmit channel of Zone 2).
Layer (Upper)
Layer (Lower)
5 Press the [ENTER] button. (The display prompts you for confirmation.)
To cancel the Job, press the [DEC/NO] button.
6 Press the [INC/YES] button to execute the Job.
After the Job has been completed, a “Completed” message appears and operation returns to the original display.
CAUTION
Keep in mind that the Job may take a short time to complete, during which an “Executing..” or “Please keep power on” message may be shown.
Never attempt to turn off the power while data is being written to Flash ROM while such a message is displayed. Turning the power off in this state
results in loss of all user data and may cause the system to freeze (due to corruption of data in the Flash ROM). This may also result in the MOTIF
ES being unable to properly start up the next time the power is turned on.
Owner’s Manual
141
Setting up
Quick Guide — Computer applications
Although the MOTIF ES is a powerful instrument in its own right and can effectively be used by itself for music creation and
production, it is also designed for easy and comprehensive interfacing with a computer system. In this section, we’ll show you
how set up the instrument with a computer (via USB) and how to use it with the software provided on the included CD-ROM,
“Tools for MOTIF ES.”
n
For information on how to install each software and the minimum system requirements, refer to the separate Installation Guide.
n
About how to use each software, refer to the relevant documentation (PDF manual or on-line Help).
n
By installing an optional mLAN16E board and using the mLAN connection with your computer, you can transfer both audio and MIDI data between the
devices over the same mLAN cable. See page 39.
Setting up
1
Confirm the minimum system requirements of
the software you wish to use.
6
Install the desired software to the computer.
Quick Guide — Computer applications
• For software on the included “Tools for MOTIF ES” CD-ROM
(Voice Editor, USB MIDI driver, etc.), refer to the separate
Installation Guide.
• To install software from the included “Tools for MOTIF ES”
CD-ROM (Voice Editor, SQ01, etc.), refer to the separate
Installation Guide.
• For other software, refer to the relevant manual or
documentation.
• To install other software, refer to the relevant manual or
documentation.
2
Connect the computer to the instrument with a
USB cable.
7
USB
TO DEVICE
TO HOST
USB connector
Set the MIDI IN/OUT parameter to “USB”
([UTILITY] → [F5] MIDI → [SF4] OTHER), then
press the [ENTER] button to store the Utility
settings.
USB TO HOST
connector
Rear panel
A type
n
USB cable
B type
You can also connect the instrument to a computer by using MIDI
cables (page 40) or IEEE1394 cable (page 39).
EDIT
3
Start the computer and insert the “Tools for
MOTIF ES” CD-ROM into the CD drive of the
computer.
4
Turn the power of the MOTIF ES on.
5
Install the USB MIDI driver to the computer.
• For a computer running Windows, the Add New Hardware
Wizard may appear on the computer display. In this case,
install the driver following the on-screen instructions. For
details, refer to the separate Installation Guide.
• For a Macintosh computer, install OMS then install the USB
MIDI driver. Refer to the separate Installation Guide.
n
142
If you have installed the optional mLAN16E and are connecting the
instrument to a computer with an IEEE 1394 cable, you’ll need to install
the mLAN driver.
Owner’s Manual
COMPARE
JOB
STORE
SCENE STORE
SET LOCATE
CAUTION
The settings in the Utility mode are stored as system settings to internal
Flash ROM. Never attempt to turn off the power while data is being written
to Flash ROM (while a “Please keep power on” message is shown). Turning
the power off in this state results in loss of all user data and may cause the
system to freeze (due to corruption of data in the Flash ROM). This may
also result in the MOTIF ES being unable to properly start up the next time
the power is turned on.
Controlling the instrument from a computer
Controlling the instrument from a computer
Using a sequencer to play multiple Voices on the MOTIF ES
The sequence software program SQ01 contained in the included CD-ROM lets you create and edit multi-part song data — which
can be played using the sounds of the MOTIF ES.
Follow the instructions described in “Setting up
for using a computer” (page 142) then install the
SQ01 to the computer.
Refer to the separate Installation Guide.
2
Start the SQ01 on the computer then set all MIDIrelated parameters, including synchronization.
For details on the MIDI settings, refer to the separate
Installation Guide.
For details on synchronization settings, refer to the on-line
help of the SQ01.
3
Open the desired song file on the SQ01.
From the “File” menus on the SQ01, select “Open” to call up
the dialog box. Then select the desired song file.
4
Set the MIDI Sync parameter to “MIDI” and
SeqCtrl to “in” in the SYNC display ([UTILITY] →
[F5] MIDI → [SF3] SYNC).
These settings make it possible for the Songs and Patterns on
the MOTIF ES to start, play and stop in exact synchronization
with the external controlling device (in this case, the computer
sequencer).
5
Press the [SONG] button to enter the Song mode.
6
Start the song playback on the SQ01.
Quick Guide — Computer applications
1
Click the [F] (Play) button on the SQ01 to start the selected
song.
TIP Recording sequencer song data to Song tracks on the MOTIF ES
If you have MIDI sequence data on your computer and want to use it as a Song on the MOTIF ES, you can play back the
data on a MIDI sequencer (such as the SQ01) and record it to the MOTIF ES.
1 Follow the instructions described in “Setting up for
using a computer” (page 142).
2 Start the SQ01 on the computer then set all MIDIrelated parameters, including synchronization.
For details on the MIDI settings, refer to the separate
Installation Guide.
For details on synchronization settings, refer to the online help of the SQ01.
3 Open the desired song file on the SQ01.
From the “File” menus on the SQ01, select “Open” to
call up the dialog box. Then select the desired song.
4 Set the MIDI Sync parameter to “MIDI” and the
SeqCtrl to “in” in the SYNC display ([UTILITY] → [F5]
MIDI → [SF3] SYNC).
These settings make it possible for the Songs and
Patterns on the MOTIF ES to start, play and stop in
exact synchronization with the SQ01.
5 Press the [SONG] button to enter the Song Play
mode, then select a Song to be recorded.
6 Press the [●] (Record) button to enter the Song
Record mode.
7 Set RecTrack to “multi.”
This setting makes it possible to record MIDI sequence
data to 16 tracks simultaneously.
8 Start song playback on the SQ01.
Song recording on the MOTIF ES automatically starts at
the same time.
9 Stop the song playback on the SQ01.
Song recording on the MOTIF ES automatically stops at
the same time.
10 Save the recorded song on the MOTIF ES.
Before selecting a different Song, store the Mixing
settings as Song data (page 131).
Before turning the power off, save the recorded Song to a
SmartMedia/USB storage device (page 132).
Owner’s Manual
143
Controlling the instrument from a computer
Using the Multi Part Editor to create/edit Mixing settings
The Multi Part Editor software (included on the CD-ROM) provides an intuitive way to create and edit the Mixing settings of the
currently selected Song or Pattern. Thanks to the easy-to-understand graphical interface, you can edit virtually all of the Mixing
parameters right from your computer – using the mouse to adjust the virtual knobs, sliders, and buttons and entering values from
the computer keyboard.
Edit the Mixing
Save a set of Mixing
settings as a single file.
To edit Mixing settings based on data saved to
computer, make sure to transfer the Mixing data
to the current Song/Pattern on the MOTIF ES
(with the Bulk Transmission function) before
editing.
MUSIC PRODUCTION SYNTHESIZER
To edit Mixing settings based on data
contained on the MOTIF ES, make sure to
transfer the Mixing data of the current Song/
Pattern to the computer (with the Bulk Dump
function) before editing.
After storing the Mixing settings
as a Song Mixing/Pattern Mixing,
save all the Songs/Patterns.
SmartMedia/USB
storage device
Quick Guide — Computer applications
n
If you want to assign a User Voice to a Part, make sure to transfer the User Voice data on the MOTIF ES to the computer (with the Bulk Dump function) before
editing parameters on the Multi Part Editor.
n
Parts to which Mixing Voices have been assigned cannot be edited with the Multi Part Editor.
1
Follow the instructions described in “Setting up
for using a computer” (page 142) then install the
Multi Part Editor to the computer.
For details about how to install the Multi Part Editor, refer to
the separate Installation Guide.
2
3
Enter the Song mode or Pattern mode on the
MOTIF ES, then select the desired Song or
Pattern.
Start the Multi Part Editor on the computer.
Refer to the PDF manual of the Multi Part Editor.
4
Set the MIDI related parameters on the Multi Part
Editor.
Refer to the PDF manual of the Multi Part Editor.
5
Edit the parameters on the Multi Part Editor to
create your original Mixing.
Refer to the PDF manual of the Multi Part Editor.
6
144
Check the results of your edits by playing the
Song/Pattern or playing the keyboard on the
MOTIF ES.
Owner’s Manual
7
Store the edited Mixing settings to the current
Song Mixing/Pattern Mixing.
Press the [MIXING] button then [STORE] button to enter the
Song Mixing mode/Pattern Mixing mode, then press the
[ENTER] button to execute the Store operation.
8
n
9
Save all the songs or patterns to a SmartMedia/
USB storage device.
You can store the settings as a Mixing Template. See page 132.
Also save the edited data as a Multi Part Editor
file to your computer’s hard disk.
Controlling the instrument from a computer
Using the Voice Editor to create/edit a Voice
The Voice Editor software (included on the CD-ROM) provides an intuitive way to create and edit Voices for the MOTIF ES.
Thanks to the easy-to-understand graphical interface, you can edit virtually all of the Voice parameters right from your computer
– using the mouse to adjust the virtual knobs, sliders, and buttons and entering values from the computer keyboard.
Edit the Voice
Use the Bulk Transmission function to
transfer the edited Voice data (in a Voice
bank) to the MOTIF ES.
MUSIC PRODUCTION SYNTHESIZER
Use the Bulk Receive function to
transfer the specified User Voice bank
from the MOTIF ES to the computer.
Save the result of editing
as a Library file
(extension: W7E).
Load a Voice
Editor file
(extension: W7E).
SmartMedia/USB storage device
Quick Guide — Computer applications
Save the result of
editing as a Voice Editor
file (extension: W7E).
Load a Library file
(extension: W7E).
Library file = Voice Editor file (extension: W7E)
All voices stored on internal User memory are
saved to a single file which can be loaded to
the Voice Editor on the computer.
1
Follow the instructions described in “Setting up
for using a computer” (page 142) then install the
Voice Editor to the computer.
5
Edit the parameters on the Voice Editor to create
your original Voice.
Refer to the PDF manual of the Voice Editor.
For details about how to install the Voice Editor, refer to the
separate Installation Guide.
2
Enter the Voice mode on the MOTIF ES, then
start the Voice Editor on the computer.
6
After editing the Voice, store the data, then
transfer it to the MOTIF ES with the Bulk
Transmission function on the Voice Editor.
Refer to the PDF manual of the Voice Editor.
Refer to the PDF manual of the Multi Part Editor.
CAUTION
3
Set the MIDI related parameters on the Voice
Editor.
The Bulk Transmission from the computer to the MOTIF ES will erase
(overwrite) the destination Voice Bank data on the MOTIF ES. If you wish to
maintain the voices of the destination Bank, save the Voice data to a
SmartMedia/USB storage device before executing Bulk Transmission.
Refer to the PDF manual of the Voice Editor.
4
Call up the Voice data to be edited on the Voice
Editor.
Create a new Library file or open an existing Library file. To
edit data contained on the MOTIF ES, use the Bulk Receive
function to transfer User Voice data to the computer.
For details, refer to the PDF manual of the Voice Editor.
7
Save the edited data as a Library file to your
computer’s hard disk.
8
Check the results of your edits by selecting the
User Voice and playing the keyboard in the Voice
Play mode.
Owner’s Manual
145
Controlling the instrument from a computer
Editing Plug-in Voices and Board Voices
As described on page 76, the voices of a Plug-in Board installed to the MOTIF ES can be divided into two types: Board
voices and Plug-in voices. Plug-in Voices can be edited in the Voice Edit mode on the MOTIF ES or can be edited by using
the Voice Editor on the computer. Board Voices, however, are edited using the dedicated editor software contained on the
included CD-ROM, “TOOLS for Modular Synthesis Plug-in System.”
■ Plug-in Voice
Plug-in
Preset Voice
Plug-in
User Voice
Select and call up
Edit in the Voice Play
mode/Voice Edit.
Store
Voice Play display
Use the Voice Editor contained
in the included CD-ROM,
“TOOLS for MOTIF ES6/7/8.”
or
Select
Voice Edit display
MUSIC PRODUCTION SYNTHESIZER
Plug-in Board
Quick Guide — Computer applications
Save*
SmartMedia/USB
storage device
Computer
MOTIF ES
■ Board Voice
Use the dedicated Editor
contained in the included
CD-ROM, “TOOLS for
Modular Synthesis
Plug-in System.”
Save
Board Custom
Voice
Bulk transmission/Edit
Board Preset
Voice
* Set the file type to Plugin All Bulk 1, 2 or 3 (file extension: W2B)
Using the TWE Wave Editor to edit Samples
The TWE wave editing software (included on the CD-ROM) lets you edit audio on your computer and save them as samples for
use with the MOTIF ES. Thanks to the easy-to-understand graphical interface, you can edit virtually all of the wave parameters
right from your computer.
Edit the Wave using TWE
MUSIC PRODUCTION SYNTHESIZER
Save the result of editing as
a WAV file or AIFF file.
Load a WAV file or
AIFF file (page 100).
SmartMedia/USB storage device
Load a WAV file or AIFF file.
146
Save the sample as a WAV file or
AIFF file (page 97).
n
For details on how to install TWE and the minimum system requirements, refer to the separate Installation Guide.
n
For information on how to use TWE, refer to the TWE manual (PDF format) on the CD-ROM.
Owner’s Manual
Controlling a computer from the instrument
Controlling a computer from the instrument
As you’ve seen in previous sections, the MOTIF ES can be controlled from a computer. In this section, we’ll see how it can do the
opposite — control the operation of music/audio software on the computer. This powerful feature lets you control two different
software programs by using knobs, sliders and buttons on the panel of the MOTIF ES, rather than your computer’s mouse and
keyboard. The MOTIF ES can be used to control DAW (digital audio workstation) software, such as Cubase SX and SONAR, as
well as the Multi Part Editor program (contained on the included CD-ROM). The Remote Control function emulates popular
hardware controllers such as the Yamaha 01X, letting you use the panel buttons/controllers on the MOTIF ES for controlling your
music/audio software.
As shown in the example below, the MOTIF ES uses two of the four available USB ports to control two different software
programs, while the two remaining ports handle MIDI sequence data.
Mode A- Cubase, Port 4.... Panel operations on the MOTIF ES control
sequencer (Cubase SX) functions on the
computer via MIDI port 4.
ON / OFF
R-AUDIO
G-MIDI
Panel operations on the MOTIF ES control
Mode B- General, Port 3.... mixing software (Multi Part Editor) functions
Change the software (port) to
be controlled.
on the computer via MIDI port 3. The
“General” mode setting lets you control
Yamaha software.
Quick Guide — Computer applications
Press the REMOTE [ON/
OFF] button (the lamp
flashes) to enter the Remote
Control mode. Press this
button again to exit from the
Remote Control mode.
REMOTE
USB cable
The MIDI data played back by the
Cubase SX is transferred to the MOTIF
ES via the MIDI ports 1 and 2.
USB TO HOST
connector
Multi Part Editor
(Mixing software)
MUSIC PRODUCTION SYNTHESIZER
Cubase SX
(DAW software)
Computer with a USB interface
n
SEQ TRANSPORT
LOCATE
DEC/NO
1
2
INC / YES
Among other things, the Remote Control mode
lets you start/stop the playback of the DAW
software on the computer by using the SEQ
TRANSPORT buttons and control the song
position on the DAW software by using the
data dial, [INC/YES] and [DEC/NO] buttons.
For more information about the functions
assigned to the panel buttons in the Remote
Control mode, see page 151.
As with the USB connection explained
here, Remote Control can also be used
with an IEEE1394 cable connection when
the optional mLAN16E has been installed.
Various functions are assigned to the [F1] - [F6] and [SF1]
- [SF5] buttons depending on the DAW software to be
controlled. The assigned functions are shown at the
bottom of the display. For details, see page 151 and the
separate Data List.
The functions of eight knobs/faders on the emulated hardware controllers (such as the Yamaha 01X) are
assigned to the four Knobs/Sliders on the MOTIF ES. Pressing the [SF5] button changes which group's functions
(1 - 4 or 5 - 8) are assigned to the four Knobs/Sliders.
The eight knobs on the emulated hardware controllers (such as the Yamaha 01X) can also be used as switches.
However, since the four Knobs on the MOTIF ES do not have switch capability, the [PRE1] - [PRE4] buttons are
used instead. While the eight knobs on the emulated devices have “endless” rotary control, the four Knobs on
the MOTIF ES stop at certain points. For some parameters this may mean that the value may not reach to the
minimum and maximum points. If this occurs, you can use the data dial to adjust the value as desired. The data
dial is active for the parameter corresponding to the Knob last turned.
Owner’s Manual
147
Controlling a computer from the instrument
■ Computer Software that can be controlled from the instrument
• For Windows
• For Macintosh
SQ01 V2
Logic 5.5
Cubase SX
Digital Performer 3.1
SONAR 2.0
Multi Part Editor for MOTIF-RACK
Multi Part Editor for MOTIF ES6/7/8
Setting up for Remote Control
Setting up on the MOTIF ES
1
Quick Guide — Computer applications
Set the MIDI IN/OUT parameter to “USB”
([UTILITY] → [F5] MIDI → [SF4] OTHER), When
connecting the computer to the MOTIF ES via
mLAN (with the optional mLAN16E installed), set
this parameter to “mLAN.”
2
Call up the Remote Control Setup display by
pressing the [F4] CTL ASN button, followed by
the [SF4] REMOTE button.
3
Set the software to be controlled and Port
number, referring to the illustration on the
previous page.
Setting up on the computer
1
For details on the Yamaha software contained in the included
CD-ROM, refer to the separate Installation Guide.
2
Press the [ENTER] button to actually call up the
settings made in step #3 above.
5
Press the [STORE] button to store the settings
made in steps #1 and 4 above.
CAUTION
The settings in the Utility mode are actually stored on internal User
memory (Flash ROM) by pressing the [STORE] button. Please keep in mind
that the settings will be lost if you turn off the power without executing the
Store operation.
CAUTION
The settings in the Utility mode are stored as system settings to internal
Flash ROM. Never attempt to turn off the power while data is being written
to Flash ROM (while a “Please keep power on” message is shown). Turning
the power off in this state results in loss of all user data and may cause the
system to freeze (due to corruption of data in the Flash ROM). This may
also result in the MOTIF ES being unable to properly start up the next time
the power is turned on.
148
Owner’s Manual
Enter the Song mode or Pattern mode on the
MOTIF ES, then start the software on the
computer.
For instructions on how to start the software, refer to the
relevant documentation.
3
4
After following the instructions in “Setting up for
using a computer” on page 147, install the
desired software to your computer.
Set the parameters related to MIDI and Remote
Control on the computer software.
Set the MIDI port, referring to the illustration on the previous
page.
For details, refer to the documentation of the particular
software. Instructions on how to set up the various software
follow on the next page.
Controlling a computer from the instrument
1 Pull down the [Devices] menu and select [Device Setup]
to call up the “Device Setup” window.
2 Click the [Add/Remove] tab and add the “Mackie Control.”
3 Select the added Mackie Control device and click the
[Setup] tab.
4 When setting the Port to “4,” for example, in step #3 of
“Setting up on the MOTIF ES,” set the MIDI Input to
“YAMAHA USB IN 0-4” and the MIDI Output to
“YAMAHA USB OUT 0-4.”
n
The functions of buttons on the Mackie Control are assigned to the
buttons of the MOTIF ES, with the exception of UserA and UserB
(FootSw) which are not supported by the MOTIF ES.
■ SONAR
1 Pull down the [Options] menu and select [MIDI Devices]
to call up the “MIDI Devices” window.
2 When setting the Port to “4” for example in step #3 of
“Setting up on the MOTIF ES,” add “YAMAHA USB IN
0-4” to the “Inputs” and add “YAMAHA USB OUT 0-4” to
the “Outputs.”
3 Pull down the [Options] menu and select [Control
Surfaces] to call up the Control Surface window.
4 Click the “New” icon, select “Mackie Control,” then set
the Input Port to “YAMAHA USB IN 0-4” and the Output
Port to “YAMAHA USB OUT 0-4” (for example, when
setting the Port to “4” in step #3 of “Setting up on the
MOTIF ES”).
■ Digital Performer
1 Pull down the [Basics] menu and select [Control
Surface Setup] to call up the “Control Surface” window.
2 Select “Mackie Control” in the Driver section.
If Mackie Control is not available here, see the
supplementary instructions below.
3 In the box for setting “Unit” and “MIDI,” select “Mackie
Control” in the “Unit” section and select the MIDI port in
the “MIDI” section.
■ Logic
When turning on the power of the MOTIF ES before
starting Logic:
1 Set the software to be controlled to “Logic” in the Utility
mode, then enter the Remote Control mode.
2 Start Logic on the computer.
Logic automatically recognizes the MOTIF ES and
performs the required settings.
When starting Logic before turning on the power of the
MOTIF ES:
1 Start Logic on the computer, then turn the power to the
MOTIF ES on.
If you have already set the software to be controlled to
“Logic” in the Utility mode, you need not perform step #2
because Logic automatically recognizes the MOTIF ES
when this step is performed.
2 Set the software to be controlled to “Logic” in the Utility
Quick Guide — Computer applications
■ Cubase SX
mode, then enter the Remote Control mode.
Logic automatically recognizes the MOTIF ES and
performs the required settings.
If for some reason Logic fails to recognize the MOTIF ES,
follow the instructions below.
1) Select [Option] → [Preference] → [Control Surface] →
[Install] from the menu.
2) Scan Logic Control on the window called up in step #1).
When the scanning is successful, the Logic recognizes the
MOTIF ES and performs the required settings automatically.
If Logic still fails to recognize the MOTIF ES even after
performing the above instructions, follow the instructions
below.
1) Select [Option] → [Preference] → [Control Surface] →
[Install] from the menu.
2) Add Logic Control on the window called up in step #1).
3) Specify the Input Port and Output Port on the
CONTROL SURFACE SETUP window called up in step
#2).
* Logic Control is the registered trademark of Emagic, Inc.
■ SQ01
When you cannot select “Mackie Control” in step #2:
For information about how to set the MIDI port, refer to the
separate Installation Guide. For information on using Remote
Control, follow the instructions below.
1) Download the Mackie Control Plug-in software from
“www.motu.com” and save it to your hard disk.
1 Select [Setup] → [Remote Control] to call up the
2) Move the Mackie Control file to the “Plug-ins” folder
contained in the folder to which Digital Performer has
been installed.
2 Select “01X” as mode, then set the Input Device/Output
Remote Control Setup window.
Device to the appropriate port number.
3) Start Digital Performer.
* Mackie Control is the trademark of Mackie Designs, Inc.
Owner’s Manual
149
Controlling a computer from the instrument
Functions assigned to the panel buttons in the Remote Control mode
To enter the Remote Control mode, press the REMOTE [ON/OFF] button (the lamp flashes). The REMOTE display appears (like
those shown below), and the panel controls are enabled for Remote operation of the computer software (their normal functions
are disabled).
Press this button again to exit from the Remote Control mode.
REMOTE
ON / OFF
Mode A
This button is available when the Mode is set to
“General” and is used to switch between editing audio
tracks (lamp is red) and MIDI tracks of the sequence
software (lamp is green).
R-AUDIO
G-MIDI
Changing the Mode
(Changing the software to be
controlled)
Mode B
REMOTE
F6
ON / OFF
R-AUDIO
G-MIDI
Quick Guide — Computer applications
Change the Mode by pressing the REMOTE [ON/OFF] button
while holding the [F6] SHIFT button.
Press the [KNOB
CONTROL FUNCTION]
button to change the
functions assigned to the
[F1] - [F6] and [SF1] [SF5] buttons (shown at
the bottom of the
display).
Refer to the separate
Data List.
This is the cursor which indicates the currently edited
track/part by the knob/slider.
Controlling the knob/slider moves the cursor to the
corresponding track/part automatically. You can also
move the cursor by using the Cursor [<] and [>] buttons.
Parameters and their values controlled by knobs/
sliders are shown in two rows, in the boxes.
Parameter names are shown
according to the information
transferred from the DAW
software on the computer.
The characters may be
garbled depending on the
DAW software or OS language
of your computer.
When [<<BANK] and [BANK>>] are shown
here, you can use the [F4] and [F5] buttons to
change the bank of eight tracks/parts (shown
in the display) to be controlled.
PAN/SEND
ASSIGN
TONE
KNOB
CONTROL
FUNCTION
SF5
ARP FX
EQ
150
n
Controlling the knob may change the [SF4] menu to indicate [DIAL].
When [DIAL] is shown here, the function of the last operated knob is
assigned to the data dial, [INC/YES] and [DEC/NO] buttons. If you wish
to restore these to the original function (song position control), press the
[SF4] button to delete the [DIAL] menu.
Owner’s Manual
To switch the cursor
between the upper
and lower row, press
the [SF5] button.
Controlling a computer from the instrument
The following explains which sequencer functions are assigned to which panel controls in the Remote Control mode.
■ SEQ TRANSPORT buttons
■ Control Sliders
The Remote Control mode lets you start/stop playback of the
DAW software on the computer by using the SEQ
TRANSPORT buttons and control the song position on the
DAW software by using the data dial, [INC/YES] and [DEC/
NO] buttons.
The functions of eight faders on the Mackie Control, Logic
Control and 01X are assigned to the four Sliders on the MOTIF
ES. Pressing the [SF5] button changes which group’s
functions (1 - 4 or 5 - 8) are assigned to the four Sliders. When
[<<BANK] and [BANK>>] are shown in the display, you can
use the [F4] and [F5] buttons to change the bank of eight
tracks/parts (shown in the display) to be controlled.
When the cursor is shown at any track/part in the boxes of two rows of
the LCD display, the data dial, [INC/YES] and [DEC/NO] buttons
function as the last operated knob and cannot be used to control the
song position. To restore these to the original song position control,
press the Cursor [<]/[>] buttons several times or press the [SF4]
button (if the [DIAL] menu is shown) to delete the cursor.
■ Knob, Data dial, and [PRE1] - [PRE4] buttons
The functions of eight knobs on the emulated hardware
controllers (such as the Yamaha 01X) are assigned to the four
Knobs on the MOTIF ES. Pressing the [SF5] button changes
which group’s functions (1 - 4 or 5 - 8) are assigned to the four
Knobs. When [<<BANK] and [BANK>>] are shown in the
display, you can use the [F4] and [F5] buttons to change the
bank of eight tracks/parts (shown in the display) to be
controlled.
The eight knobs on the emulated hardware controllers (such
as the Yamaha 01X) can also be used as switches. However,
since the four Knobs on the MOTIF ES do not have switch
capability, the [PRE1] - [PRE4] buttons are used instead. For
convenience, the switch function corresponding to the last
Knob operated is also assigned automatically to the [ENTER]
button.
While the eight knobs on the emulated devices have
“endless” rotary control, the four Knobs on the MOTIF ES stop
at certain points. With some parameters this may mean that
the value may not reach to the minimum and maximum points.
If this occurs, you can use the data dial to adjust the value as
desired. For convenience, the data dial is active for the
parameter corresponding to the Knob last turned.
n
To restore the function of the data dial, [INC/YES] and [DEC/NO]
buttons to the original song position control, press the [SF4] button (if
the [DIAL] menu is shown) to delete the cursor.
■ [F1] - [F6] buttons and [SF1] - [SF5] buttons
The functions assigned to these buttons depends on the
selected Mode (A or B) and the particular software being
used (as set in step #3 in “Setting up on the MOTIF ES” on
page 148).
When the Mode is set to “General,” these buttons are assigned
to perform the same functions as panel buttons on the Yamaha
01X, for controlling various Yamaha music/audio software. The
corresponding names of the 01X panel buttons are also
indicated at the bottom of the display of the MOTIF ES.
Quick Guide — Computer applications
n
When the Mode is set to “Logic,” these buttons are assigned
to perform the same functions as panel buttons on the Logic
Control, for controlling Logic on the computer. The
corresponding names of the Logic Control panel buttons are
also indicated at the bottom of the display of the MOTIF ES.
When the Mode is set to “Cubase” or “SONAR” or “D.Perf,”
these buttons are assigned to perform the same functions as
panel buttons on the Mackie Control, for controlling the
corresponding software on the computer. The corresponding
names of the Mackie Control panel buttons are also indicated
at the bottom of the display of the MOTIF ES.
The function assignment can be changed by pressing the
[KNOB CONTROL FUNCTION] buttons.
The function assignment tables of the [F1] - [F6] buttons and
[SF1] - [SF5] buttons for each DAW software are contained in
the separate Data List.
n
Among the functions assigned to the [F1] - [F6] buttons and [SF1] [SF5] buttons, the functions indicated with brackets (such as [DIAL])
are not related to the Mackie Control, Logic Control and 01X but are
unique to the MOTIF ES.
■ Data dial, [INC/YES] and [DEC/NO] buttons
Although the data dial and [INC/YES]/[DEC/NO] buttons are
generally to change the song position on the DAW software,
when you turn one of the Knobs on the MOTIF ES, the control
function assigned to that Knob is automatically assigned to
these panel controls as well, and the [DIAL] menu appears (at
the [SF4] button). In this condition, these controllers cannot
be used to control the song position. To restore the function of
the data dial, [INC/YES] and [DEC/NO] buttons to the original
song position control, press the [SF4] button (if the [DIAL]
menu is shown) to delete the [DIAL] menu.
Owner’s Manual
151
Controlling a computer from the instrument
■ Cursor [<] and [>] buttons
By moving the cursor left/right, you can change the track or
part to controlled by the data dial and [INC/YES]/[DEC/NO]
buttons. For example, when the cursor is at the upper box in
the display, pressing the Cursor [>] button moves through the
columns in succession (1, 2, 3, 4...). After 4, the cursor is
hidden and wraps around to 1. When the cursor is shown in
the display, the parameter at which the cursor is located can
be edited by the data dial, [INC/YES] and [DEC/NO] buttons.
When the cursor is hidden, the data dial and [INC/YES]/[DEC/
NO] buttons can be used for their normal function —
controlling the song position.
Checking the Remote Control assignments
If you’re unsure as to which software function has been
assigned to a particular panel control on the MOTIF ES,
this convenient feature lets you quickly check it from the
display.
1
2
In the Remote Control mode, press the
[INFORMATION] button to call up the information
display, indicating the function of the last pressed
button.
Press the button for which you want to check the
assignment.
■ Cursor [ ] and [ ] buttons
Quick Guide — Computer applications
When the Mode is set to “General,” the Cursor [ ]/[ ]
buttons perform the same function as that of the DISPLAY
[ ]/[ ] buttons on the 01X.
When the Mode is set to something other than “General,” the
Cursor [ ]/[ ] buttons perform the same function as that of
the Cursor [ ]/[ ] buttons on the Mackie Control and Logic
Control.
This display shown above appears when you press
the [F] (Play) button of SEQ TRANSPORT. In this
way, you can check each button’s control assignment
simply by pressing it.
■ [EXIT] button
When the Mode is set to “General,” this button performs the
same function as that of the [PAGE SHIFT] button on the 01X.
When the Mode is set to something other than “General,” the
button has no control function.
■ BANK, GROUP and NUMBER button
These buttons are assigned to perform the same functions as
the buttons directly over the faders on the 01X, Mackie
Control and Logic Control.
152
[PRE1] - [PRE4]
buttons
The eight knobs on the 01X, Mackie Control
and Logic Control can also be used as
switches. However, since the four Knobs on
the MOTIF ES do not have switch capability,
the [PRE1] - [PRE4] buttons are used instead.
[PRE5] - [PLG3]
buttons
The functions of the eight [REC/RDY] buttons
on the Mackie Control and Logic Control are
assigned to these buttons. Please note that
these buttons are not available when the
Mode is set to “General.”
[A] - [H] buttons
The functions of the eight [SOLO] buttons on
the Mackie Control and Logic Control are
assigned to these buttons. Please note that
these buttons are not available when the
Mode is set to “General.”
[1] - [8] and [TRACK
SELECT] buttons
When the Mode is set to “General,” the
functions of the nine [SEL] buttons on the 01X
are assigned to these buttons. When the
Mode is set to something other than
“General,” the functions of the eight [MUTE]
buttons on the Mackie Control and Logic
Control are assigned to the [1] - [8] buttons.
[9] - [16] and [MUTE]
buttons
When the Mode is set to “General,” the
functions of the nine [ON] buttons on the 01X
are assigned to these buttons. When the
Mode is set to something other than
“General,” the functions of the eight [SELECT]
buttons on the Mackie Control and Logic
Control are assigned to the [9] - [16] buttons.
Owner’s Manual
3
Press the [INFORMATION] button again to return
to the Remote Control mode.
n
While the Information display is shown, the panel buttons
cannot be used to control the computer software.
Controlling a computer from the instrument
Recording the sounds of the MOTIF ES to computer via mLAN
By using the optional mLAN16E interface and an IEEE 1394 cable connection, you can record multitrack audio from the
MOTIF ES to an mLAN-compatible DAW (digital audio workstation) program on your computer. This lets you transfer the
audio data of multi-part Songs on the MOTIF ES to the DAW application for further editing and storage on your computer’s
hard disk drive.
In the example instructions below, Song playback and/or your keyboard performance in the Song mode can be recorded
to the computer, on separate tracks of the DAW application.
Audio signal of the MOTIF ES sound
mLAN16E
mLAN input
MUSIC PRODUCTION SYNTHESIZER
Computer with an IEEE1394 interface
Quick Guide — Computer applications
MOTIF ES
Setup for connecting the computer to the MOTIF ES via mLAN
Setup on the MOTIF ES
installed, these indicate the different audio channels
within the single mLAN connection.
1 Install the optional mLAN16E to the MOTIF ES (page 288).
2 After turning the power on, set the MIDI IN/OUT
parameter to “mLAN” ([UTILITY] → [F5] MIDI →
[SF4] OTHER).
3 Press the [SONG] button to enter the Song mode
and select the desired Song for playback, or the
particular Mixing settings you want to use.
4 Set the mLAN MonitorSw parameter to “on”
([UTILITY] → [F2] I/O → [SF2] OUTPUT).
When this parameter is set to on, the audio signal output
via mLAN to the computer is also output to the external
audio equipment via the main OUTPUT L/MONO and R
jacks. This allows you to monitor the sound going to the
computer with a set of headphones.
Setup on the computer
1 Connect the computer to the MOTIF ES using an
IEEE1394 cable.
2 Install all necessary software to the computer,
including the mLAN driver.
Refer to the relevant documentation for the mLAN16E.
3 Install an mLAN-compatible audio sequencer or
DAW application to the computer.
Refer to the separate Installation Guide for information
on how to install mLAN-compatible Yamaha
applications.
4 Set the audio related parameters on the DAW
5 Determine the Output connector or channel of audio
signal for each part.
Make the desired OutputSel parameter settings
([SONG] → [MIXING] → [EDIT] → Part selection → [F2]
OUTPUT → [SF3] SELECT). For example, set the
OutputSel parameter for Part 1 to “as1&2,” Part 2 to
“as3&4,” and Part 3 to “as5&6.”
These settings (as1&2, as3&4, etc.) indicate the
hardware output jacks on the optional AIEB2, when the
device has been installed. When the mLAN16E is
software.
Refer to the relevant documentation for the particular
software.
Executing the Hard Disk Recording
After completing the setup described above, try out to
record your keyboard performance to the hard disk of the
computer by using the DAW software. For details about
how to execute this, refer to the relevant document of the
software.
Owner’s Manual
153
Internal Structure (System Overview)
Basic Structure
This section gives you an easy-to-understand overview of the MOTIF ES — its wide range of sophisticated features, its MIDI
control and performance functions, and its convenient file management system for original data you’ve created with the
instrument.
Internal Structure (System Overview)
This synthesizer is made up of several blocks, as shown here.
Controller block
Keyboard
VOLUME 1
VOLUME 2
VOLUME 3
Controllers
VOLUME 4
MIDI output
CS 1
CS 2
CS 3
CS 4
ZONE 1
ZONE 2
ZONE 3
ZONE 4
SWING
GATE TIME
VELOCITY
UNITMULTIPLY
KN 1
LOW
KN 2
LOW MID
KN 3
HIGH MID
KN 4
HIGH
Basic Structure
Recording by the
keyboard performance
Sequencer block
Effect block
Tone Generator block
Playback
MIDI sequence data
• Song
• Pattern
• Arpeggio
Internal AWM2 Plug-in
board
DSP
• Reverb
• Chorus
• Master Effect
• Part Equalizer
• Master Equalizer
• Voice
• Performance
Sampling block
Recording
Operating
the panel
Keyboard performance
Microphone, Guitar, Bass,
Audio equipment, etc.
Playback
Microphone, Guitar, Bass,
Audio equipment, etc.
Audio (sound)
output
Playback
Audio signal flow
External MIDI instrument
MIDI messages flow
Controller Block
Controller supported by the MOTIF ES
This block consists of the keyboard, Pitch Bend and
Modulation Wheels, Ribbon Controller, Knobs, Control Sliders
and so on.
The keyboard itself doesn’t generate sounds, but instead
generates/transmits note on/off, velocity and other information
(MIDI messages) to the synthesizer’s tone generator block
when you play notes. The controllers also generates/transmits
MIDI messages.
The synthesizer’s tone generator block produces the sound
according to the MIDI messages transmitted from the
keyboard and controllers.
The controllers you can use on this synthesizer and the
reference pages are as follows:
● Controllers with which the MOTIF ES is equipped
Keyboard (Initial Touch, Aftertouch) ................ page 18
Pitch Bend Wheel ............................................ page 64
Modulation Wheel ............................................ page 64
Ribbon Controller............................................. page 65
Knob (KN)........................................................ page 50
Control Slider (CS)........................................... page 51
● Controllers (sold separately) that can be connected
to the rear panel of the MOTIF ES
Foot Controller ................................................. page 42
Footswitch ....................................................... page 42
Breath Controller.............................................. page 42
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Owner’s Manual
Internal Structure (System Overview)
Controller related parameters in each mode
The chart below shows the operations for calling up the Controller related parameters in each mode. Parameters for the
Footswitch and the Assign Knobs A/B apply to the entire instrument, regardless of the selected program (Voice/Performance/
Song/Pattern).
Controller Set (for each Voice)
[VOICE] → Voice selection → [EDIT] → [COMMON] → [F4] CTL SET
Assigning the Control Change number to each
Controller (for all Voices)
[VOICE] → [UTILITY] → [F3] VOICE → [SF4] CTL ASN
Page 262
Performance
mode
Assigning the Control Change number to each
Controller (for each Performance)
[PERFORM] → Performance selection → [EDIT] → [COMMON] →
[F4] CTL ASN
Page 214
Song mode
Assigning the Control Change number to each
Controller (for each Song Mixing)
[SONG] → Song selection → [MIXING] → [EDIT] → [COMMON] →
[F4] CTL ASN
Page 234
Pattern mode
Assigning the Control Change number to each
Controller (for each Pattern Mixing)
[PATTERN] → Pattern selection → [MIXING] → [EDIT] → [COMMON] →
[F4] CTL ASN
Page 248
Assigning the function and Control Change
number to the Assign Knob A/B
[UTILITY] → [F4] CTL ASN → [SF2] ASSIGN
Page 263
Assigning the function and Control Change
number to the Footswitch (connected to the
ASSIGNABLE connector)
[UTILITY] → [F4] CTL ASN → [SF3] FT SW
Page 263
All modes
[VOICE] → Voice selection → [EDIT] → [COMMON] → [F4] CTL SET
Controller Set
See below.
Page 192
Basic Structure
Voice mode
Aside from their default control parameters, the controllers of the instrument, such as the Pitch Bend wheel and the Modulation
wheel, can be freely assigned to a variety of different parameters. For example, you could assign Resonance to the Modulation
Wheel and set aftertouch to apply vibrato. These settings for all the controllers are referred to as a “Controller Set,” and up to six
Controller Sets can be created for each Voice.
Voice
Controller Set
Controller Set 1 - 6
Source = Controller
SWING
GATE TIME
KN 1
LOW
KN 2
LOW MID
Depth = Degree to which the
controller affects the sound
Element Switches
n You can set whether the controller affects each
Element by setting the Element Switch on or off as
desired. Note that this applies only to Normal Voices.
n The Element Switch parameters are not available
when a function unrelated to Elements (1 - 40) is set
as the destination.
ON/OFF
ON/OFF
ON/OFF
ON/OFF
1
2
3
4
Destination (Dest) = function
Volume, Reverb Send Level, Chorus Send Level, Filter
Cutoff Frequency, Filter Resonance, etc.
● Source and Destination
“source” refers to the hardware controller and “destination” refers to the parameter or function being controlled. An extensive
variety of destination parameters are available, far more than those listed above. For a complete list of destination parameters,
see the separate Data List.
Owner’s Manual
155
Internal Structure (System Overview)
● Using one source to control several destinations
For example, set the Source parameter of Control Set 1 to MW (Modulation Wheel) and the Destination parameter to ELFO-PM
(Element LFO Pitch Modulation Depth). Then set the Source parameter of Control Set 2 also to MW, but set the Destination
parameter to ELM PAN (Element Pan). You will also need to specify the Element to be controlled and also the depth (amount) of
control.
In this example, when you move the Modulation Wheel upward, the amount of Pitch Modulation increases accordingly, and the
Element is panned from left to right. In this way, you can have the sound change in several different ways, simply by adjusting a
single controller.
● Using several sources to control one destination
For example, set the Source parameter of Control Set 1 to MW (Modulation Wheel) and the Destination parameter to ELFO-PM
(Element LFO Pitch Modulation Depth). Then set the Source parameter of Control Set 2 to FC (Foot Controller) and set the
Destination parameter also to ELFO-PM (Element LFO Pitch Modulation Depth).
Now, Pitch Modulation is assigned to both the Modulation Wheel and Foot Controller. In this way, you can have several different
controllers affect the same aspect of the sound. This can be useful in live performance situations, letting you use any one of
several controllers depending on which is convenient at the time.
n
The Controller Set edited in the Voice Edit mode is available when the corresponding Voice is selected in the Performance mode, Song mode, and Pattern
mode.
n
The function assigned to the Controller by the Controller Set function can be applied only to the internal tone generator block. Operating the Controller will
transmit the MIDI message (Control Change Number assigned below) to the external MIDI instrument.
Basic Structure
Assigning Control Change numbers to the controllers
The functions assigned to the controllers by the Controller Set function can be applied only to the internal tone generator block.
For connected external MIDI instruments, use of the controllers generates MIDI Control Change messages, as shown in the
chart below.
Controller
Generated MIDI message
Display
Aftertouch
Channel Aftertouch (DnH)
–
Pitch Bend Wheel
Pitch Bend (EnH)
–
Modulation Wheel
Control Change (BnH, 01H)
–
Footswitch (connected to the
SUSTAIN connector)*
Control Change (BnH, 40H)
–
ASSIGN Knob A, B*
Control Change (BnH)
[UTILITY] → [F4] CTL ASN → [SF2] ASSIGN
Footswitch (connected to the
ASSIGNABLE connector)*
Control Change (BnH)
[UTILITY] → [F4] CTL ASN → [SF3] FT SW
Ribbon Controller
Control Change (BnH)
[VOICE] → [UTILITY] → [F3] VOICE → [SF3] CTL ASN
ASSIGN Knob 1, 2
[PERFORM] → Performance selection → [EDIT] → [COMMON] → [F4] CTL ASN
Foot Controller 1, 2
[SONG] → Song selection → [MIXING] → [EDIT] → [COMMON] → [F4] CTL ASN
Breath Controller
[PATTERN] → Pattern selection → [MIXING] → [EDIT] → [COMMON] → [F4] CTL ASN
* These Controllers are not used in the Controller Set function
As shown above, the keyboard Aftertouch, Pitch Bend Wheel, Modulation Wheel, Footswitch connected to the SUSTAIN
connector, were originally designed for a particular purpose, and send pre-defined MIDI Control Change messages when used,
regardless of their Control Set allocations within the synthesizer. For example, when the pan function is assigned to the Pitch
Bend Wheel with the Controller Set, using the Pitch Bend Wheel will apply the pan function to the internal tone generator and will
transmit the Pitch Bend messages to the external MIDI instrument.
Using the other controllers will transmit the Control Change messages set from the display shown above to the external MIDI
instrument while it will apply the functions set via the Controller Set to the internal tone generator block.
You can also set up a controller such that it sends one kind of Control message to the synthesizer’s internal tone generator yet
another kind to the external MIDI instrument. For example, in a Controller Set you could assign Resonance to the ASSIGN Knob
1. Then, in the Utility mode, you could assign Control Change Number 1 (modulation) to the same knob. Now, when you turn the
knob, resonance will be applied to the sound of the internal tone generator block; however, at the same time, modulation
messages will be transmitted to the external MIDI instrument.
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Owner’s Manual
Internal Structure (System Overview)
Tone Generator block
The Tone Generator block is what actually produces sound in response to the MIDI messages generated by playing the
keyboard, using the controllers, and the playback of the sequencer (Song/Pattern/Arpeggio).
Outputs the wave that
makes up the sound.
Changes the tonal quality of the
sound output from the PITCH unit.
Tone
Generator
OSC
PITCH
FILTER
Controls the pitch of the sound.
AMP
To the Effect block
Controls the output level (amplitude) of the sound
output from the FILTER unit. The signals are then
sent at this level to the Effect block.
Internal AWM2 Tone Generator and optional Plug-in boards
Internal AWM2
Tone Generator
Basic Structure
The tone generator block in this synthesizer consists of the built-in AWM2 sound source and optional Plug-in Board(s).
Plug-in boards (optional)
Up to three boards can be installed.
● AWM2 (Advanced Wave Memory 2)
AWM2 (Advanced Wave Memory 2) is a synthesis system based on sampled waves (sound material), and is used in many
Yamaha synthesizers. For extra realism, each AWM2 Voice uses multiple samples of a real instrument’s waveform. Furthermore,
a wide variety of parameters — envelope generator, filter, modulation, and others — can be applied.
You can also create your own waves (Samples) via microphone or from external audio equipment by using the Sampling
function. These are then stored in internal memory (DRAM) and can be used just like the preset waves.
● Plug-in Board
For details on using the optional Plug-in Boards for even more sounds, see page 74.
Owner’s Manual
157
Internal Structure (System Overview)
Voice, Performance, and Mixing
This instrument features three different types of programs,
that form the basis for creating and playing sounds.
“Performance.” Each Performance can contain up to four
different parts (Voices). Each Performance can be created by
editing parameters unique to each part and parameters
common to all the parts in the Performance mode (page 212).
● Voice
● Mixing
A program that contains the sonic elements for generating a
specific musical instrument sound is referred to as a “Voice.”
Each Voice consists of up to four elements (Normal Voice) or
up to 73 keys (Drum Voice). Each Voice is created by editing
parameters unique to each element/key and parameters
common to all the elements/keys in the Voice mode (page
188) or in the Mixing Voice mode (page 249).
A program in which multiple Voices are assigned to Parts for
multi-timbral play in the Song and Pattern modes is referred to
as a “Mixing.” Each Mixing can contain up to 34 parts (page
163). Each Mixing can be created by editing parameters
unique to each part and parameters common to all the parts
in the Song Mixing mode (page 233) or in the Pattern Mixing
mode (page 248).
n
● Performance
A program in which multiple Voices (parts) are combined in a
layer, or in other configurations is referred to as a
One Voice
VOICE
The Mixing belongs to the Song or Pattern.
The illustration below shows the structure and
interrelationship of the Voices, Performances, and Mixings.
Element 1 - 4
or Key C0-C6
Up to four elements (Normal Voice)
Up to 73 keys (Drum Voice)
Common Edit parameters
Arpeggio, Effects, Controller Set, etc.
Basic Structure
This synthesizer has two types of Voices – Voices created in the
Voice mode and Mixing Voices (dedicated for the Song/Pattern)
created in the Mixing Voice mode.
One Performance
PERFORM
SONG
MIXING
PATTERN
MIXING
One Part
Voice
One Mixing
• 1 - 16 parts (of the internal tone
generator)
Up to four parts
• 17 - 32 parts (of the optionally
installed PLG100-XG)
• PLG1 - 3 parts (of the optionally
installed single part Plug-in boards)
Part Edit parameters
CH1
One Part
Voice
Part Edit parameters
CH16
Common Edit parameters
Common Edit parameters
Different Voice for each part
Element Edit parameters
or Key Edit parameters
LFO
Different Voice for each part
Low Frequency
Oscillator
OSC
(Oscillator)
PITCH
Waveform
(AWM2)
AMP
(Amplitude)
FILTER
EG
PEG
FEG
AEG
Pitch Envelope
Generator
Filter Envelope
Generator
Amplitude Envelope
Generator
Set in the Voice Edit mode (page 79)
n
158
The Drum Voice Key Edit parameters do not contain LFO settings.
Owner’s Manual
Internal Structure (System Overview)
The following illustrations may help in understanding the memory structure of the Voices, Performances, and Mixings.
VOICE
Normal Voice
PRE 1
Normal Voices: 768
Drum Voices: 64
Preset 1
(128 Voices)
1
PRE 2
GM
Normal Voices: 128
Drum Voice: 1
BASS
User Voice
USER 1
Normal Voices: 256
Drum Voices: 32
ORGAN
Mixing Voice
1
...... 128
2
1
1
2
2
2
2
1
Plug-in Voice
SLOT 1
PLG 1
GUITAR/
PLUCKED
..................
...... 16
1
..................
...... 16
..................
...... 128
USER 1
ORGAN
..................
...... 128
2
...... 128
1
...... 128
2
2
SLOT 2
...... 64
PLG 2
2
1
FAVORITES
A. PIANO
DRUM KITS
GM
FAVORITES
BASS
DRUM KITS
USER 1
FAVORITES
ORGAN
1
2
...... 64
2
...... 128
GM Drum
(1 Voice)
1
User Drum
(32 Voices)
1
2
...... 32
2
...... 16
Pattern 64
(16 Voices)
2
...... 16
Song 64
(128 Voices)
2
...... 128
Pattern 64
(128 Voices)
2
...... 128
PLG2 Preset
(64 Voices)
1
2
...... 64
PLG2 User
(64 Voices)
1
2
SLOT 3
PLG 3
PLG3 Preset
(64 Voices)
1
...... 64
PLG3 User
(64 Voices)
REED/PIPE
...... 64
2
1
2
...... 64
MIXING
SONG
Preset Drum
(64 Voices)
Song 64
(16 Voices)
BRASS
...... 64
PRE 5
...... 128
User 2
(128 Voices)
1
Song 01
(16 Parts + PLG Parts)
User 1
(128 Performances)
1
2
DRUM KITS
Preset 6
(128 Voices)
1
➜
➜
1
1
PLG1 User
(64 Voices)
1
PERFORM
Preset 5
(128 Voices)
1
PLG1 Preset
(64 Voices)
STRINGS
Mixing
2
USER 2
...... 128
Pattern 01
(128 Voices)
The Sample Voices can be created by
recording the audio signal to a Song/Pattern
track via the Sampling function (page 172).
KEYBOARD
...... 128
...... 128
Song 01
(128 Voices)
The Sample Voices can be selected only in
the Song mode/Pattern mode. These cannot
be selected in the Voice mode or assigned to
each Part in the Performance mode.
PRE 6
User 1
(128 Voices)
1
(Up to 128 Voices for each Song/Pattern,
1024 Voices for all Songs/Patterns)
Performance
2
Pattern 01
(16 Voices)
Sample Voice
A. PIANO
2
GM Preset
(128 Voices)
1
The Mixing Voices can be selected only
in the Song mode/Pattern mode. These
cannot be selected in the Voice mode or
assigned to each Part in the
Performance mode.
PRE 5
...... 128
Song 01
(16 Voices)
Normal Voices: up to 256
(Up to 16 Voices for each Song/Pattern)
* When the PLG150-VL is
installed, there are three Preset
Banks and 192 Preset Voices.
2
Preset 4
(128 Voices)
1
Preset 3
(128 Voices)
1
GM Voice
...... 128
Preset 2
(128 Voices)
1
PRE 3
2
PRE 4
Basic Structure
Preset Voice
Drum Voice
..................
Song 64
(16 Parts + PLG Parts)
Template
1
2
MIXING
PATTERN
➜
Pattern 01
(16 Parts + PLG Parts)
..................
Pattern 64
(16 Parts + PLG Parts)
......
Voices
32
Owner’s Manual
159
Internal Structure (System Overview)
● Oscillator
■ Normal Voices & Drum Voices
Internally, there are two Voice Types: Normal Voices and Drum
Voices. Normal Voices are mainly pitched musical instrumenttype sounds that can be played over the range of the
keyboard. Drum Voices are mainly percussion/drum sounds
that are assigned to individual notes on the keyboard. A
collection of assigned percussion/drum waves or Normal
Voices is known as a Drum Kit.
Normal Voice
Waveform (Preset 1-1859, User 1-1024)
Element 3
Element 2
Velocity
One Voice
Element 1
Element 4
VOICE] → Voice selection → [EDIT] → Element selection/
Drum Key selection → [F1] OSC
This unit outputs the wave which determines the basic pitch.
You can assign the wave (or basic sound material) to each
Element of the Normal Voice or each Key of the Drum Voice.
In the case of the Normal Voice, you can set the note range
for Element (the range of notes on the keyboard over which
the Element will sound) as well as the velocity response (the
range of note velocities within which the Element will sound).
For example, you could set one Element to sound in an upper
range of the keyboard, and another Element to sound in a
lower range. Thus, even within the same Voice, you can have
two different sounds for different areas of the keyboard or you
can make the two Element ranges overlap so that their
sounds are layered over a set range. Furthermore, you can
set each Element to respond to different velocity ranges so
that one Element sounds for lower note velocities, whereas
another Element sounds for higher note velocities. See the
illustration at left of this page.
n
Basic Structure
Drum Voice
You can assign the wave with the following operation.
[VOICE] → Voice selection → [EDIT] → Element selection/Drum Key
selection → [F1] OSC → [SF1] WAVE
Strictly speaking, what is assigned here to an Element or Key is not a
“wave” but a “waveform.” The difference between the two terms is
explained on page 173.
● Pitch
C0
C1
C6
Individual drum
sounds (different
for each key)
Key 1
Key 5
Key 10
Key 18
Key 21
Key 73
■ GM Voices
GM (General MIDI) is a worldwide standard for Voice
organization and MIDI functions of synthesizers and tone
generators. It was designed primarily to ensure that any song
data created with a specific GM device would sound virtually
the same on any other GM device – no matter the
manufacturer or the model. The GM Voice bank on this
synthesizer is designed to appropriately play back GM song
data. However, keep in mind that the sound may not be
exactly the same as played by the original tone generator.
■ Tone generator parameters that produce the Voice sound
Among various parameters that makes up one Voice,
Oscillator, Pitch, Filter, Amplitude, LFO and three Envelope
Generators (PEG, FEG, AEG) shown in the illustration on
pages 160-162 are the basic parameters for creating the Voice
sound. Parameters about Oscillator, Pitch, Filter and Amplitude
determine the three basic elements of the sound – Pitch (how
low or high it is), Tone (or its overall sound quality), and Volume
(how loud its volume level is) of the Voice. Parameters such as
LFO and EG (Envelope Generator) determine the transition in
these three basic elements of the sound from the moment the
sound starts to the moment the sound stops.
In the sections that follow, we’ll explain in detail about the
sound-related parameters and provide an introduction to the
basics of electronic synthesis.
160
Owner’s Manual
[VOICE] → Voice selection → [EDIT] → Element selection/
Drum Key selection → [F2] PITCH
This unit controls the pitch of the sound (wave) output from
the Oscillator. In the case of the Normal Voice, you can
detune separate Elements, apply Pitch Scaling and so on.
Also, by setting the PEG (Pitch Envelope Generator), you can
control how the pitch changes over time.
PEG (Pitch Envelope Generator)
Using the PEG, you can control the transition in pitch from the
moment the sound starts the moment the sound stops. You
can create the PEG by setting parameters as illustrated
below. When you press a note on the keyboard, the pitch of
the Voice will change according to these envelope settings.
This is useful for creating automatic changes in pitch, which is
effective for the Synth Brass. Furthermore, different PEG
parameters can be set for each Element or each Key.
Attack
Level
Pitch
Decay1
Level
Hold
Level
Sustain Level
(Decay2 Level)
Release
Level
0
Hold
Time
Attack
Time
Decay1
Time
Pressing the key (Key on)
Decay2
Time
Release
Time
Time
Releasing the key (Key off)
Internal Structure (System Overview)
● Filter
• Band Pass Filter
[VOICE] → Voice selection → [EDIT] → Element selection/
Drum Key selection → [F3] FILTER
This passes only those a band of signals around the Cutoff
frequency. The width of this band can be varied.
Range passed
This unit modifies the tone of the sound output from Pitch by
cutting the output of a specific frequency portion of the sound.
Level
Cutoff Frequency and Resonance
Here’s how filters work. In the example below (a low pass
filter), a portion of the signal lower than a given frequency is
allowed to pass, and signals above that frequency are cut.
This frequency is referred to as the cutoff frequency. You can
produce a relatively bright or darker sound by setting the
cutoff. Resonance is a parameter that boosts the level of the
signal in the area of the cutoff frequency. By emphasizing the
overtones in this area, this can produce a distinctive “peaky”
tone, making the sound brighter and harder.
Frequency
Center frequency
Cutoff range
• Band Elimination Filter
This attenuates a band of signals around the Cutoff
frequency, but passes everything else.
Cutoff range
Cutoff frequency
Level
Frequency
Center frequency
These frequencies are “passed” by the filter.
Frequency (pitch)
Resonance
Level
Frequency (pitch)
Cutoff frequency
About the main Filter types
The Low Pass Filter is shown in the illustration above –
however, this synthesizer features other Filter types (four total)
as shown below.
Basic Structure
Level
Range passed
FEG (Filter Envelope Generator)
Using the FEG, you can control the transition in tone from the
moment the sound starts to the moment the sound stops. You
can create the FEG by setting parameters as illustrated
below. When you press a note on the keyboard, the cutoff
frequency will change according to these envelope settings.
This is useful for creating automatic wah or filter sweep
effects, for example. Furthermore, different FEG parameters
can be set for each Element Key.
Attack
Level
Cutoff
Frequency
Decay1
Level
Hold
Level
• Low Pass Filter (above)
Sustain Level
(Decay2 Level)
This passes only those signals below the Cutoff frequency.
You can then use the Reso (Resonance) parameter to add
further character to the sound.
Release
Level
0
Time
• High Pass Filter
This passes only those signals above the Cutoff frequency.
You can then use the Reso (Resonance) parameter to add
further character to the sound.
Hold
Time
Attack
Time
Decay1
Time
Pressing the key (Key on)
Decay2
Time
Release
Time
Releasing the key (Key off)
These frequencies are
“passed” by the filter.
Level
Resonance
Cutoff frequency
Owner’s Manual
161
Internal Structure (System Overview)
● Amplitude
[VOICE] → Voice selection → [EDIT] → Element selection/
Drum Key selection → [F4] AMP
This unit controls the output level (amplitude) of the sound
output from Filter. The signals are then sent at this level to the
Effect block. Also, by setting the AEG (Amplitude Envelope
Generator), you can control how the volume changes over time.
Single Timbre Tone Generator (Voice/
Performance mode) and Multi-timbral
Tone Generator (Song/Pattern mode)
The internal tone generator block operates in two different
ways (Single timbre and Multi-timbral) depending on the
selected mode. The difference between the two is whether
they can handle the multi-MIDI channels or not at the same
time.
AEG (Amplitude Envelope Generator)
Using the AEG, you can control the transition in volume from
the moment the sound starts is to the moment the sound
stops. You can create the AEG by setting parameters as
illustrated below. When you press a note on the keyboard, the
volume will change according to these envelope settings.
Furthermore, different AEG parameters can be set for each
Element Key.
Level
(Volume)
A MIDI tone generator that receives over a single MIDI
channel and plays a single instrument part is referred to as a
“single timbre” tone generator. This is the operating status of
the internal tone generator in the Voice and Performance
modes.
n
Attack
Level
Sustain Level
(Decay2 Level)
Basic Structure
Initial
Level
Release
Level
0
Time
Attack
Time
Decay1
Time
To set the MIDI receive channel for single timbre operation (Voice and
Performance modes), use the following operation in the Utility mode.
[UTILITY] → [F5] MIDI → [SF1] CH → BasicRcvCh
● Multi-timbral Tone Generator (Song/Pattern mode)
Decay1
Level
Decay2
Time
Pressing the key (Key on)
n
● Single Timbre Tone Generator (Voice/Performance mode)
Release
Time
Releasing the key (Key off)
When you release the key while holding the Footswitch connected to
the SUSTAIN connector, the sound will maintain at the Sustain Level
shown above. For Voices having a Sustain Level value greater than 0,
the sound continues. For Voices having a Sustain Level of 0, the
sound decays naturally to silence.
● LFO (Low Frequency Oscillator)
[VOICE] → Voice selection → [EDIT] → Element selection/
Drum Key selection → [F5] LFO
[VOICE] → Voice selection → [EDIT] → [COMMON] → [F5]
LFO
As its name suggests, the LFO produces a wave of a low
frequency.
These waves can be used to vary the pitch, filter or amplitude
of each Element to create effects such as vibrato, wah and
tremolo. LFO can be set independently for each Element; it
can also be set globally for all Elements.
A MIDI tone generator that simultaneously receives over
multiple MIDI channels and plays multiple instrument parts is
referred to as a “multi-timbral” tone generator. This allows
playback of multi-channel MIDI song data — such as on a
MIDI sequencer or computer — with each internal part being
assigned to and played by a different track or channel. This
is the operating status of the internal tone generator in the
Song and Pattern modes.
n
To set the MIDI receive channel for multi-timbral operation (Song and
Pattern modes), use the following operation in the Utility mode.
[SONG] or [PATTERN] → [MIXING] → [EDIT] → Part selection → [F1]
VOICE → [SF2] MODE → ReceiveCh
n
When using an external MIDI sequencer or computer to play this
instrument, make sure to use the Song mode or Pattern mode.
Maximum Polyphony
Maximum polyphony refers to the highest number of notes
that can be sounded simultaneously from the internal tone
generator of the instrument.
The maximum polyphony of this synthesizer is 128. When
the internal tone generator block receives a number of
notes exceeding the maximum polyphony, previously
played notes are cut off. Keep in mind this may be
especially noticeable with Voices not having decay.
Furthermore, the maximum polyphony applies to the
number of voice elements used, not the number of voices.
When the normal voices that include up to four elements
are used, the maximum number of simultaneous notes
may be less than 128.
n
162
Owner’s Manual
When the Plug-in board is installed, the maximum polyphony
increases accordingly. For details on maximum polyphony for
the Plug-in Boards, refer to the Owner’s Manual of the
particular board.
Internal Structure (System Overview)
This synthesizer plays the sounds in the tone generator block in
response to MIDI messages received from the controller or
sequencer block. The MIDI messages are assigned to sixteen
independent channels, and this synthesizer is capable of
simultaneously playing sixteen separate parts, via the sixteen
MIDI channels. However, the sixteen-channel limit can be
overcome by using separate MIDI “ports,” each supporting
sixteen channels. The multiple sound sources of this
synthesizer (internal tone generator and Plug-in Boards) take
advantage of the three MIDI ports included on the instrument.
Tone Generator block
Part for Voice mode
Parts used in modes other than the Voice mode
Port 2
Port 3
Port 1
Part 1
Part 2
Part 17
Part 18
Part 33
Part 34
Part 14
Part 15
Part 16
Part 30
Part 31
Part 32
Part 46
Part 47
Part 48
As shown in the above illustration, up to 48 parts are provided
for the modes (excepting the Voice mode). However, the
number of parts that are actually used is a maximum of 34 in
the Song and Pattern modes, as we will see later in some
examples.
n
n
The USB cable supports up to eight separate MIDI ports. The Tone
Generator block of this synthesizer supports three separate ports as
illustrated above.
A single MIDI cable/connection cannot handle data over multiple MIDI
ports.
■ Part structure of the tone generator block in the
Voice mode
In this mode, a Voice is played from the keyboard, using a
single part. This part is used also when the Plug-in Voice is
selected. The tone generator block in the Voice mode
receives MIDI data over a single channel. Keep in mind that
song data on an external sequencer consisting of multiple
MIDI channels will not play back properly in this mode. If you
are using an external MIDI sequencer or computer to play the
instrument, make sure to use the Song mode or Pattern mode.
n
The MIDI receive channel in the Voice mode can be set from the
following display in the Utility mode.
[UTILITY] → [F5] MIDI → [SF1] CH → BasicRcvCh
The MIDI port number which this synthesizer can recognize in the
Voice mode is 1.
n
The Multi-Part Plug-in Board (PLG100-XG) cannot be used in the Voice
mode.
■ Part structure of the tone generator block in the
Performance mode
This mode lets you play a Performance (which multiple Voices
(parts) are combined – in a layer, or in other configurations)
using the keyboard. While a total of seven parts are available
in this mode (as shown below), a maximum of four parts can
be used simultaneously. Although this mode lets you play
several parts at the same time, all are set to receive over the
same single MIDI channel, as in the Voice mode. For this
reason, song data on an external sequencer consisting of
multiple MIDI channels will not play back properly in this
mode. If you are using an external MIDI sequencer or
computer to play the instrument, make sure to use the Song
mode or Pattern mode.
Tone generator block
When three single part Plug-in boards
are installed to the synthesizer.
PLG3
PLG2
Port 1
Port 2
Port 3
Part 1
Part 17
Part 33
Part 2
Part 18
Part 34
Part 3
Part 4
PLG1
Part 5
Part 13
PLG3 part
Part 14
Part 30
Part 46
PLG2 part
Part 15
Part 31
Part 47
PLG1 part
Part 16
Part 32
Part 48
Parts 5-13 and 17-48 are not used.
These seven parts (1, 2, 3, 4, 14, 15, 16) are reserved for use in the
Performance mode; however, only up to four of them can be used
at the same time.
n
The MIDI receive channel in the Performance mode can be set with
the following operation in the Utility mode.
[UTILITY] → [F5] MIDI → [SF1] CH → BasicRcvCh
In the Voice mode, the instrument recognizes only data over MIDI Port 1.
n
The Multi-part Plug-in Board (PLG100-XG) cannot be used in the
Performance mode.
Tone generator block
Part for Voice mode
Basic Structure
Part structure of the tone generator block
Parts used in modes other than the Voice mode
Port 1
Port 2
Port 3
Part 1
Part 2
Part 3
Part 4
Part 5
Part 17
Part 18
Part 33
Part 34
Part 30
Part 31
Part 32
Part 46
Part 47
Part 48
Part 16
Parts 1-48 are not used.
Owner’s Manual
163
Internal Structure (System Overview)
■ Part structure of the tone generator block in the Song mode/Pattern mode
In these modes, multiple parts are provided and different voice and different melodies or phrases can be played back for each
part. Because these modes let you set the MIDI channel for each part of the tone generator block, you can use an external MIDI
sequencer as well as the sequencer block of the instrument to play the sounds.
As illustrated below, the sequence data of each track plays the corresponding parts (those having the same MIDI channel
assignment) in the tone generator block.
Sequencer block (example)
Tone Generator block (example)
When setting the Transmit Channel/Port to the
following example in the Song/Pattern mode or
on the external MIDI sequencer or on the
computer:
When a Multi-part Plug-in Board (PLG100-XG) and a two
Single part Plug-in Board are installed to this synthesizer and
setting the Receive Channel/Port to the following example:
Port 1
Track 1
Transmit Channel = 1 (Port 1)
Track 2
Transmit Channel = 2 (Port 1)
Track 3
Transmit Channel = 3 (Port 1)
Track 4
Transmit Channel = 4 (Port 1)
Track 5
Transmit Channel = 5 (Port 1)
Track 6
Transmit Channel = 6 (Port 1)
Track 7
Basic Structure
Track 8
Part 1
Receive Channel = 2
Part 2
Receive Channel = 3
Part 3
Receive Channel = 4
Part 4
Receive Channel = 1
Part 15
Receive Channel = 5
Part 16
Receive Channel = 6
Part 17
Receive Channel = 8
Transmit Channel = 7 (Port 2)
Part 18
Receive Channel = 7
Transmit Channel = 8 (Port 2)
Part 19
Receive Channel = 10
Part 20
Receive Channel = 13
Part 31
Receive Channel = 14
Part 32
Receive Channel = 15
Track 9
Transmit Channel = off (Port off)
Track 10
Transmit Channel = 10 (Port 2)
Track 11
Transmit Channel = 11 (Port 3)
Track 12 Transmit Channel = off (Port off)
Port 2
Multi-part
Plug-in Board
Port 3
Part 33
Part 34
Track 13
Transmit Channel = 13 (Port 2)
Track 14
Transmit Channel = 14 (Port 2)
Track 15
Transmit Channel = 15 (Port 2)
Track 16
Transmit Channel = 16 (Port 3)
Single part
Plug-in Board
Part 35
Part 46
Part 47
Receive Channel = 11
Part 48
Receive Channel = 16
Single part
Plug-in Board
Parts 33-46 are not used.
The MIDI Transmit Channel/Port of the Song/Pattern can be set with the following operation.
In the Song mode: [SONG] → Song selection → [F3] TRACK → [SF1] CHANNEL
In the Pattern mode: [PATTERN] → Pattern selection → [F3] TRACK → [SF1] CHANNEL
When sounding the internal tone generator block, assign the tracks to Transmit Port 1 and use Parts 1 - 16. Keep in mind that
data over Transmit Ports 2 or 3 cannot sound the internal tone generator block. The tone generator of the installed Plug-in Board
can be sounded via any of the MIDI ports 1 - 3.
The MIDI Receive Channel of the tone generator’s part can be set with the following operation.
In the Song mode: [SONG] → Song selection → [MIXING] → [EDIT] → Part selection → [F1] VOICE → [SF2] MODE → ReceiveCh
In the Pattern mode: [PATTERN] → Pattern selection → [MIXING] → [EDIT] → Part selection → [F1] VOICE → [SF2] MODE → ReceiveCh
You can set the port number assignment for the Plug-in Board with the following operation.
[UTILITY] → [F6] PLUG → [SF2] MIDI
164
n
For details about MIDI, see page 181.
n
The Plug-in Board lets you use only a single Voice at the same time. Please note that you cannot assign multiple Voices of the Plug-in Board to multiple parts
at the same time.
n
The Voice and related settings (volume, pan, etc.) are sounded by the keyboard according to the Part parameters in the Mixing settings of the current Song/
Pattern and Part. Other settings such as Controllers and Effect types correspond to the Common parameters in the Mixing settings of the current Song/
Pattern.
Owner’s Manual
Internal Structure (System Overview)
Audio Input Part (AUDIO IN)
The Performance mode, Song mode, and Pattern mode are capable of handling the audio input signal as a Part. Various
parameters such as volume, pan, and effect can be set to this Part and the sound is output together with other Parts. Other
available settings include how stereo input signals are handled, as well the output assignment of the audio Part.
These parameters are set and stored for each Performance, Song Mixing, and Pattern Mixing. Please note that the Audio
Input Part is not available in the Voice mode.
Among the following three types of Audio Input parts which this synthesizer can handle, two types (five stereo parts if the
mLAN16E has been installed) can be handled at the same time, since the optional mLAN16E and AIEB2 cannot be
installed together.
A/D Input part
This part (one stereo part) is input from the external audio equipment connected to the A/D INPUT jack.
mLAN Input parts (when the
optional mLAN16E has been
installed)
These four stereo parts are input from external mLAN-compatible audio equipment connected to the mLAN
jack via a single IEEE1394 cable.
AIEB2 parts (when the optional
AIEB2 has been installed)
This part (one stereo part) is input from external audio equipment connected to the OPTICAL INPUT or the
DIGITAL INPUT (Coaxial) connector.
Either one of the connectors (OPTICAL or DIGITAL) can be used; however, both cannot be used at the same
time. Select which connector is used for digital input with the following operation in the Utility mode.
[UTILITY] → [F2] I/O → [SF1] INPUT → Digital
In the Performance mode
[PERFORM] → Performance selection→ [EDIT] → [COMMON] → [F5] AUDIO IN
In the Song mode
[SONG] → Song selection → [MIXING] → [EDIT] → [COMMON] → [F5] AUDIO IN
In the Pattern mode
[PATTERN] → Pattern selection → [MIXING] → [EDIT] → [COMMON] → [F5] AUDIO IN
n
Basic Structure
Parameters for the above Parts can be set with the following operations.
Although the Insertion Effects of this synthesizer can be applied to the A/D Input Part, they cannot be applied to the mLAN Input part and the AIEB2
Input part.
Sequencer Block
This block lets you create songs and patterns by recording and editing your performances as MIDI data (from the controller
block), then playing it back with the tone generator block. The sequencer block can be operated in the Song mode, in the
Pattern mode, and with the Arpeggio feature. When a Song or a Pattern is played back, the musical data of each sequence track
is transmitted to the tone generator block according to the Transmit Channel settings.
n
Songs can be played back only in the Song mode. They cannot be played back in other modes.
Patterns can be played back only in the Pattern mode. They cannot be played back in other modes.
Arpeggios can be played back in any modes.
Song and Pattern
Songs and Patterns are MIDI sequence data consisting of up to 16 tracks.
A Song on this synthesizer is effectively the same as a Song on a MIDI sequencer, and playback automatically stops at the end
of the recorded data.
In the MOTIF ES, the term “Pattern” refers to a relatively short musical or rhythmic phrase — 1 to 256 measures — which is used
for looped playback. Therefore, once Pattern playback starts, it continues until you press the [■] (Stop) button. This synthesizer
features a variety of preset Phrase data that is used as the basic material in making up Patterns.
Owner’s Manual
165
Internal Structure (System Overview)
■ Song data structure
The following illustration shows the track structure of a Song. Songs are created by recording MIDI sequence data to individual
tracks and by setting tone generator related parameters (in Song Mixing).
Song 64
Song 63
Song 02
Song 01
Tempo track
Scene track
Musical performance data
Tempo change
Track mute status/Scene memory
change/Arpeggio type change
(including tempo, transpose, etc.)
Scene 1
Scene 2
Scene 3
Scene 4
Scene 5
Track 1
MIDI sequence data
Groove, Transmit Channel/Port, Track loop settings
Sample Voice
Track 2
MIDI sequence data
Groove, Transmit Channel/Port, Track loop settings
Sample Voice
Track 3
MIDI sequence data
Groove, Transmit Channel/Port, Track loop settings
Sample Voice
Track 16
MIDI sequence data
Groove, Transmit Channel/Port, Track loop settings
Sample Voice
Song Mixing (Tone Generator related settings)
Basic Structure
Part 1
Mixing settings
Part 17
Mixing settings
Part PLG1
Mixing settings
Part 2
Mixing settings
Part 18
Mixing settings
Part PLG2
Mixing settings
Part 3
Mixing settings
Part 19
Mixing settings
Part PLG3
Mixing settings
Audio Input part
Mixing settings
Part 16
Mixing settings
Part 32
Mixing settings
Mixing Common Edit Parameters
applied to all the parts
Mixing Voice 16
Mixing Voice 01
Please note that the Multi-part Plug-in Part (17-32) settings apply not to one individual Song but to all 64 Songs.
Set in the Song Play mode
Created in the Song Record mode, Song Edit mode, and Song Job mode
Set in the Song Mixing mode and Song Mixing Edit mode
Created in the Mixing Voice Edit mode
Created in the Sampling mode entered from the Song mode
● Song Mixing
● Scene
Even if you record your keyboard performance to a Song
track, the setup data (non-note events such as voice, pan,
volume) which for proper playback should be recorded at the
top of the Song will not be recorded to it. For this reason, the
setup data handled as Song Mixing settings should be stored
in the Song Mixing Store mode.
Because the Song Mixing is a collection of settings related to
the tone generator, it can be applied to the sequence data
transmitted from the external MIDI sequencer as well as this
synthesizer’s Song playback.
A Song Scene is a “snapshot” of important settings, and
contains parameter settings such as transpose, tempo, and
track mute and the tone generator related parameters
controllable from the Knobs with the [PAN/SEND] or [TONE]
lamp turned on, and the Control Sliders. Five settings can be
registered to the [SF1] - [SF5] buttons for each Song.
n
When the Multi-Part Plug-in Board PLG100-XG has been installed,
Mixing of sixteen parts (17 - 32) can be set. Please note that the Multipart Plug-in Part (17 - 32) settings apply not to one individual Song but
to all 64 Songs.
● Song Chain
This function allows songs to be “chained” together for
automatic sequential playback. The Song Chain can be created
and played back from the [SONG] → [F6] CHAIN display. This
instrument allows you to create one Song Chain data.
Song 01
166
Owner’s Manual
Song 22
Song 15
Internal Structure (System Overview)
■ Pattern data structure
The following illustration shows the track structure of a Pattern. Patterns are created by recording MIDI sequence data to
individual tracks, by assigning Phrases (Preset and User) which is material for a Pattern to individual tracks, and by setting tone
generator related parameters (in a Pattern Mixing).
Pattern 64
Pattern 01
Mixing settings
Groove, Transmit Channel/Port, Track loop, Track Voice settings
Mixing settings
Mixing settings
Pattern Mixing (Tone Generator related settings)
Mixing settings
Part 1
Mixing settings
Part 17
Mixing settings
Part PLG1
Mixing settings
Part 2
Part 3
Mixing settings
Mixing settings
Part 18
Part 19
Mixing settings
Mixing settings
Part PLG2
Mixing
settings
Mixing
Common Edit Parameters
Part PLG3
applied
to all the parts
Mixing
settings
Audio Input part
Mixing settings
Mixing settings
Part 32
Pattern Chain
A
B
Mixing settings
Mixing Common Edit Parameters User Phrase 1 - 256
(MIDI sequence data)
applied to all the parts
Mixing Voice 16
P
Mixing Voice 01
User Phrase 1 - 256
(MIDI sequence data)
User Phrase
Basic Structure
Part 16
Sample Voice
16 Sections
Track 1
MIDI sequence data
Track 2
Track 3
MIDI sequence data
MIDI sequence data
Track 16
MIDI sequence data
Copy the Phrase
recorded to a track of
another pattern
Preset Phrase 1 - 687
(MIDI sequence data)
Please note that the Multi-part Plug-in
Part (17-32) settings apply not to one
individual Pattern but to all 64 Patterns.
Preset Phrase
The Patch function lets you assign
a Phrase to each track.
Set in the Pattern Play mode
Created in the Pattern Record mode, Pattern Edit mode, and Pattern Job mode
Set in the Pattern Mixing mode and Pattern Mixing Edit mode
Created in the Mixing Voice Edit mode
Created in the Sampling mode entered from the Pattern mode
Created in the Pattern Chain mode
● Pattern Mixing
● Section
Even if you record your keyboard performance to a Pattern
track, the setup data (non-note events such as voice, pan,
volume) which for proper playback should be recorded at the
top of the Pattern will not be recorded to it. For this reason, the
setup data handled as Pattern Mixing settings should be
stored in the Pattern Mixing Store mode. Unlike the Song, only
the voice number is recorded to a track as a Track Voice
(Phrase Voice) which is used for playback normally. Because
the Pattern Mixing is a collection of settings related to the tone
generator, it can be applied to the sequence data transmitted
from the external MIDI sequencer as well as this synthesizer’s
Pattern playback.
A Pattern consists of one or more “Sections” (Pattern
variations). You can play the Pattern by specifying a Section
after selecting a Pattern.
n
When the Multi-Part Plug-in Board PLG100-XG has been installed,
Mixing of sixteen parts (17 - 32) can be set. Please note that the MultiPart Plug-in Part (17 - 32) settings apply not to one individual Pattern
but to all 64 Patterns.
● Phrase
This is the basic MIDI sequence data – and the smallest unit –
used in creating a Pattern. “Phrase” is a short musical/
rhythmic passage for a single instrument, such as a rhythm
pattern for the rhythm part, a bass line for the bass part, or a
chord backing for the guitar part. This synthesizer features
687 Preset Phrases, and features memory space for 256 of
your own original User Phrases.
Owner’s Manual
167
Internal Structure (System Overview)
● Pattern Chain
● Realtime recording and Step recording
Pattern Chain allows you to string several different Sections
(within a single Pattern) together to make a single Song. You
can have the synthesizer automatically change Sections by
creating Pattern Chains in this way beforehand.
You can create the Pattern Chain by recording a Pattern
playback with Section changes from the [PATTERN] → [F6]
CHAIN display or by editing the timing of Section changes
from the [PATTERN] → [F6] CHAIN → [EDIT] display. The
created Pattern Chain can be played back when calling up
the [PATTERN] → [F6] CHAIN display.
You can also use them when creating Songs based on a
certain Pattern, since the created Pattern Chain can be
converted into a Song from the [PATTERN] → [F6] CHAIN →
[EDIT] → [F3] SONG display. This synthesizer lets you create
one Pattern Chain for each Pattern.
Realtime recording
With realtime recording, the instrument functions in the same
way as a tape recorder, recording the performance data as it
is played. This allows you to capture all the nuances of an
actual performance. This method is used for the Recording
types explained below, such as Replace, Overdub, Loop, and
Punch In/Out.
Step recording (Type = step)
With step recording, you can compose your performance by
“writing” it down one event at a time. This is a non-realtime,
step recording method — similar to writing music notation
onto paper.
● Replace and Overdub (Song/Pattern)
Replace
Pattern Chain
Pattern track
Section change
Scene track
Track mute setting
Tempo track
Tempo change
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
Basic Structure
Example
Section J
Section H
Section P
You can use this method when you want to add more data to a
track that already contains data. The first recording is kept,
and the new one is added. This method lets you build up a
complex phrase together with Loop recording (below).
● Loop Recording (Pattern)
■ MIDI tracks and Sample tracks
The Song/Pattern tracks (1 - 16) of this synthesizer are
divided into two groups: MIDI tracks and Sample tracks.
MIDI tracks are created by recording your keyboard
performance in the Song Record mode/Pattern Record mode.
On the other hand, Sample tracks are created by recording
and obtaining a Sample in the Sampling mode.
● Sample tracks — with Sample Voices
Voices which are automatically created and stored using the
Sampling feature in the sequencer (Song/Pattern) mode, are
referred to as “Sample Voices.” Tracks using these Sample
Voices are referred to as “Sample” tracks — to distinguish
them from the MIDI tracks. Sample Voices are stored as
original, dedicated Voices for each Song or Pattern. If you
wish to use a Sample Voice of a certain song/pattern for
another song/pattern, execute the copy operation in the Song
Job mode (page 226) or in the Pattern Job mode (page 244).
[PATTERN] → [●] (Record) → [F1] SETUP → loop = on
Pattern repeats the rhythm pattern of several measures (1 to
256 measures) in a “loop,” and its recording is also done
using loops. This method is used when recording a Pattern
Phrase using the Overdub method (above). As shown in the
example below, notes that you record will play back from the
next repetition (loop), letting you record while hearing
previously recorded material.
When recording a rhythm of Bass Drum, Snare Drum,
Hi-Hat cymbal in order:
Loop 1st round
Bass Drum
Loop 2nd round
Snare Drum
■ MIDI track recording method
Bass Drum
[SONG] or [PATTERN] → [●] (Record) → [F1] SETUP → Type
The following explanations are important points for you to
keep in mind as you record your User Songs/Patterns. The
recording methods explained here should be set from the
Setup display in the Song Record mode/Pattern Record mode
before recording.
n
168
See page 173 for details about the Sample track recording method.
Owner’s Manual
Loop 3rd round
Hi-Hat
Snare Drum
Bass Drum
n
Loop Recording can only be used with Realtime recording.
Internal Structure (System Overview)
● Punch In/Out (Song)
You can use this method when you want to re-record only over a specific area of the track. You’ll need to set the start and end
points before re-recording.
In the eight-measure example below, the third measures through the fifth measure are re-recorded.
Recording start
Recording stop
After re-recording
Before re-recording
Punch Out
Punch In
1
2
3
4
5
6
1
7
2
3
8
n
Punch In/Out Recording can only be used with Realtime recording.
n
Note that the Punch In/Out method always replaces (destroys) the original data over the specified area.
4
5
6
7
8
Newly recorded data
Arpeggio
This function lets you automatically trigger musical and rhythmic phrases using the current Voice by simply pressing a note or
notes on the keyboard. The Arpeggio sequence also changes in response to the actual notes or chords you play, giving you a
wide variety of inspiring musical phrases and ideas — both in composing and performing.
n
A single Arpeggio type can be played back at the same time even in the Performance, Song, and Pattern mode, enabling you to play multiple tone
generator’s parts simultaneously.
Basic Structure
■ Category of the Arpeggio type
The Arpeggio types are divided into 18 categories as listed below.
LCD
Category Name
Description
Seq
Synth Sequence
Various arpeggio phrases suited for synth voices.
ChSq
Synth Chord Sequence
Various rhythmic chord phrases or synth voices.
HySq
Synth Hybrid Sequence
Various arpeggio types programmed so that bass phrases are played with the lower keys and chords or melodies
are played with the midrange and higher keys. These arpeggio types ar e useful for split voice combinations. In
addition, there are also Hybrid Velocity (“HybVel...”) types that feature different phrases for different velocity
ranges, letting you change the arpeggio phrase depending on how str ongly you play the keyboard.
APKb
Acoustic Piano & Keyboard
Various arpeggio types suited for piano and other keyboar d voices, such as electric piano and clav.
Orgn
Organ
Various arpeggio types suited for organ voices.
GtPl
Guitar & Plucked
Various arpeggio types suited for guitar and harp voices.
GtKM
Guitar - Keyboard Mega Voice
Various arpeggio types suited for guitar Keyboard Mega voices (see note below).
Bass
Bass
Various arpeggio types suited for bass or synth bass voices.
BaKM
Bass - Keyboard Mega Voice
Various arpeggio types suited for bass Keyboard Mega voices (see note below).
Strn
Strings
Various arpeggio types suited for strings and pizzicato voices.
Bras
Brass
Various arpeggio types suited for brass voices.
RdPp
Reed & Pipe
Various arpeggio types suited for saxophone and fl ute voices.
Lead
Synth Lead
Various arpeggio types suited for synth lead voices.
PdMe
Synth Pad & Musical FX
Various arpeggio types suited for synth pad voices and special musical ef fects voices, including percussive
sounds.
CPrc
Chromatic Percussion
Various arpeggio types suited for chromatic percussion voices.
DrPc
Drum & Percussion
Various arpeggio types suited for drum and percussion voices (drum kits).
Comb
Combination
Various arpeggio types suited for Per formances. These are combination arpeggios, with separate phrases
suitable for drum voices, bass voices, and chord/melody instruments.
Cntr
Control
Various arpeggio types programmed primarily with Control Change and Pitch Bend data. These arpeggio types
change the tone or pitch of the sound, rather than play specifi c notes. In fact, some types contain no note data at
all. When using a type of this categor y, set the KeyMode parameter to “direct” in each mode.
n
Keyboard Mega Voices
Normal voices use velocity switching to make the sound quality and/or level of a voice according to how strongly or softly you play it. This makes the voices
sound authentic and natural. However, with Keyboard Mega Voices, each velocity range (the measure of your playing strength) has a completely different
sound. For example, a guitar voice includes the sounds of various performance techniques. In conventional instruments, different voices having those
sounds would be called up via MIDI and played in combination to achieve the desired effect. However, now with Keyboard Mega voices, a convincing guitar
part can be played with just a single voice, using specific velocity values to play the desired sounds.
Owner’s Manual
169
Internal Structure (System Overview)
■ Arpeggio playback types
The MOTIF ES features a total of 1787 Arpeggio types divided into 18 categories, each with its own playback type designed for
use with particular types of Voices, as described below.
● Arpeggios for Normal Voices
Arpeggio types (belonging to the categories except for the DrPC and Cntr) created for use of Normal Voices have the following
two playback types.
Playback only of the played notes
The Arpeggio is played back using only the played note and its octave notes.
Playback of a programmed
sequence according to the played
chord
These Arpeggio types have the several sequences each of which is suited for a certain chord type. Even if you press
only one note, the Arpeggio is played back using the programmed sequence — meaning that notes other than the
ones you play may be sounded. Adding notes to those already held changes the sequence accordingly — in other
words, the arpeggio plays back according to the chord you play.
n
The two playback types above are not distinguished by the category name or type name. You’ll have to actually play the types and hear the difference.
n
Since these types are programmed for Normal Voices, using them with Drum Voices may not give musically appropriate results.
● Arpeggios for Drum/Percussion Voices — Category: DrPc
These arpeggio types are programmed specifically for use with Drum Voices, giving you instant access to various rhythm
patterns. Three different playback types are available.
Basic Structure
Playback of a drum pattern
Pressing any note(s) will trigger the same rhythm pattern.
Playback of a drum pattern, plus
additional played notes
(assigned drum instruments)
Pressing any note will trigger the same rhythm pattern. Adding notes to the one already held produces additional
sounds (assigned drum instruments) for the drum pattern,
Playback only of the played notes
(assigned drum instruments)
Playing a note or notes will trigger a rhythm pattern using only the notes played (assigned drum instruments). Keep in
mind that even if you play the same notes, the triggered rhythm pattern differs depending on the order of the notes
played. This gives you access to different rhythm patterns using the same instruments simply by changing the order
in which you play the notes.
n
The three playback types above are not distinguished by the category name or type name. You’ll have to actually play the types and hear the difference.
n
Since these types are programmed for Drum Voices, using them with Normal Voices may not give musically appropriate results.
● Arpeggios for Performances — Category: Comb
The Arpeggio types belonging to the category “Comb” are programmed so that different arpeggios are triggered — an arpeggio
for a Normal Voice and an arpeggio for a Drum Voice — depending on the played note. These types are useful in the
Performance mode in which multiple voices (Drum Voice and Normal Voice) are combined in a layer since these types enable
you trigger the arpeggio for the Normal Voice and the Drum Voice at the same time.
● Arpeggios containing mainly non-note events — Category: Cntr
These arpeggio types are programmed primarily with Control Change and Pitch Bend data. They are used to change the tone or
pitch of the sound, rather than play specific notes. In fact, some types contain no note data at all. When using a type of this
category, set the KeyMode parameter to “direct” with the following operations.
170
Voice mode
[VOICE] → Voice selection → [EDIT] → [COMMON] → [F3] ARP → [SF1] TYPE → KeyMode
Performance
[PERFORM] → Performance selection → [EDIT] → [COMMON] → [F3] ARP → [SF1] TYPE → KeyMode
Song mode
[SONG] → Song selection → [MIXING] → [EDIT] → [COMMON] → [F3] ARP → [SF1] TYPE → KeyMode
Pattern mode
[PATTERN] → Pattern selection → [MIXING] → [EDIT] → [COMMON] → [F3] ARP → [SF1] TYPE → KeyMode
Owner’s Manual
Internal Structure (System Overview)
■ Arpeggio related parameters
The Arpeggio related parameters can be set from the following displays, depending on the selected mode.
● Voice mode
[VOICE] → Voice selection → [F6] ARP
Page 189
[VOICE] → Voice selection → [EDIT] → [COMMON] → [F3] ARP
Page 191
Assigning Arpeggio types to the [SF1] - [SF5] buttons for each Voice
[VOICE] → Voice selection → [F1] PLAY
Page 188
MIDI output parameters for Arpeggio playback for all the Voices
[VOICE] → [UTILITY] → [F3] VOICE → [SF3] ARP CH
Page 262
Arpeggio type parameters called up when selecting a Voice
n
MIDI output parameters for Arpeggio playback are set for each Voice in the Voice mode. In the other modes, however, they can be set for each
Performance, Song, and Pattern.
● Performance mode
[PERFORM] → Performance selection → [F6] ARP
Page 213
[PERFORM] → Performance selection → [EDIT] → [COMMON] →
[F3] ARP
Page 214
[PERFORM] → Performance selection → [F1] PLAY
Page 212
Parameters about the Arpeggio type called up when selecting a Song
(including MIDI output parameters for Arpeggio playback)
[SONG] → Song selection → [MIXING] → [EDIT] → [COMMON] →
[F3] ARP
Page 234
Assigning Arpeggio types to the [SF1] - [SF5] buttons for each Song
[SONG] → Song selection → [F1] PLAY
Page 221
[SONG] → Song selection → [●] (Record) → [F3] ARP
Page 223
[SONG] → Song selection → [●] (Record) → [F4] REC ARP
Page 223
Arpeggio type parameters called up when selecting a Performance
(including MIDI output parameters for Arpeggio playback)
Assigning Arpeggio types to the [SF1] - [SF5] buttons for each
Performance
Arpeggio type parameters in recording
n
Basic Structure
● Song mode
Arpeggio related parameters in the Song mode belong to the Mixing. Therefore, if desired, store them to internal memory (DRAM) in the Song Mixing Store
mode and save them to the SmartMedia/USB storage device as Song data in the File mode.
● Pattern mode
Parameters about the Arpeggio type called up when selecting a Pattern
(including MIDI output parameters for Arpeggio playback)
[PATTERN] → Pattern selection → [MIXING] → [EDIT] →
[COMMON] → [F3] ARP
Page 248
Assigning Arpeggio types to the [SF1] - [SF5] buttons for each Pattern
[PATTERN] → Pattern selection → [F1] Play
Page 241
[PATTERN] → Pattern selection → [●] (Record) → [F3] ARP
Page 243
[PATTERN] → Pattern selection → [●] (Record) → [F4] REC ARP
Page 243
Arpeggio type parameters in recording
n
Arpeggio related parameters in the Pattern mode belong to the Mixing. Therefore, if desired, store them to internal memory (DRAM) in the Pattern Mixing
Store mode and save them to the SmartMedia/USB storage device as Pattern data in the File mode.
Owner’s Manual
171
Internal Structure (System Overview)
Sampling Block
Sampling is a powerful function that lets you bring your own recorded sounds – voice, instrument, rhythm, special sound effects,
etc. – into the system of this synthesizer, and play those sounds just as you would the Voices of the instrument.
In order to use the Sampling features of the instrument, you’ll need to install DIMM memory modules (sold separately) to the instrument.
n
In addition to being able to record samples directly with the MOTIF ES, you can also import existing audio data (in WAV or AIFF file format) in the File mode.
This lets you use audio you’ve recorded and edited on computer with the instrument.
Sampling Source
SmartMedia/
USB storage device
Before sampling, connect the source to the
appropriate connector.
Microphone, etc.
CD, MD, etc.
mLAN device
(Data Rate S400)
USB
3.3V
DAT
A / D INPUT
R
L
TO DEVICE
CARD
TO HOST
GAIN
OPTICAL
IN
OUT
DIGITAL
IN
OUT
USB connector
A/D INPUT jacks
OPTICAL IN connector or
DIGITAL IN connector
(when the optional AIEB2
has been installed)
mLAN connector
(when the optional
mLAN16E has been
installed)
Load
Loading the WAV file/AIFF file from
the [FILE] → [F3] LOAD display,
setting the file type to “Waveform.”
Sampling
Basic Structure
Executing from the [INTEGRATED SAMPLING] →
[F6] REC display in the Sampling mode
Sample (Wave)
Optional DIMM (up to 512MB)
Sampling Destination
Before sampling, set the appropriate location for storing the sample (Waveform, User
Voice) from the [INTEGRATED SAMPLING] → [F1] DEST display.
Velocity
Waveform
127
Sample 1
(Key bank)
40
D2
Sample 2
(Key bank)
Sample 4
(Key bank)
Sample 3
(Key bank)
Sample 5
(Key bank)
A2
User Voice
(When executing the Sampling function
in the Voice mode/Performance mode)
172
Owner’s Manual
G2
Waveform
F4
Key number (Note number)
Sample Voice
(When executing the Sampling function
in the Song mode/Pattern mode)
Internal Structure (System Overview)
Data created by Sampling
Note Data
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.
When you set the Type to “Sample + note” from the [SONG] or
[PATTERN] → [INTEGRATED SAMPLING] → [F2] SOURCE
display and execute Sampling, a Sample Voice is created
and the sampled wave is assigned to a specified note and
recorded as simple MIDI sequence data to a specified track
(as shown below).
● Sampling data common to all modes
Sample
Wave (Sample data)
This is the raw audio data stored in this synthesizer’s internal
memory when sampling.
Key Bank
The note range and velocity range to which the Sample is
assigned, is called the Key Bank.
Assign the Sample to a
specified key (note) to
create a Sample Voice.
Waveform
● Data created by sampling in the Voice/Performance
mode
User Voice
Before you can play the recorded/imported sample data
(Waves), you’ll need to save them as User Voices, after which
they can be selected and played from the keyboard or
sequencer — the same as other Voices. Also, these User
Voices can be assigned as Performance parts – just as with
the Preset Voices.
● Data created by sampling in the Song/Pattern mode
Sequence data
Key Bank and Sequence data
When you set the Type to “Sample + seq” from the [SONG] or
[PATTERN] → [INTEGRATED SAMPLING] → [F2] SOURCE
display and execute Sampling, a Sample Voice is created
and the sampled wave is “sliced” or divided into several
component samples — and each is assigned to specific
notes, with sequence data for playing the notes to recreate
the sample. This is useful with rhythmic samples, giving you
fine control over the playback, including tempo changes.
Basic Structure
The group of Key Banks to which sample data is assigned is
called the Waveform.
Sample
Sample Voice
Song or Pattern
Specify the track.
Sampling
Track 1
Record to create a
Sample Voice.
Slice the Sample and
assign the sliced Sample
to specified keys (notes)
to create a Sample Voice.
Track 2
Track 3
Track 16
Sequence data
When sampling in the Song/Pattern mode, the recorded/
imported sample data is automatically stored as a Sample
Voice.
Sample Voices can be assigned to the Mixing parts
corresponding to the track which was assigned from the
[INTEGRATED SAMPLING] → [F1] DEST display, and they
can be sounded while Song/Pattern data is being played
back. Sample Voices are original, dedicated Voices for the
particular Song/Pattern that was selected when sampling.
Because of this, you cannot take a Sample Voice belonging to
one Song or Pattern and use it in another Song or Pattern.
n
You cannot select Sample Voices in the Voice or Performance mode.
(However, you CAN select the Wave of the Sample Voice in Voice Edit.)
Owner’s Manual
173
Internal Structure (System Overview)
Waveform and User Voices/Sample Voices
Waveform
(User 001 - 1024)
Pattern 64
001
When entering Sampling mode
from Voice/Performance mode
002
Sampling
Pattern 02
Pattern 01
003
A
User Voice
B
C
P
004
16 sections
001
005
002
003
006
004
007
005
008
Pattern
Track 1
When entering Sampling mode
from Pattern mode
Sampling
Track 2
Track 3
128
009
When entering File mode from
Voice/Performance mode
010
Track 16
When entering File mode from
Pattern mode
Loading WAV/AIFF files
Loading WAV/AIFF files
Sample Voices (recorded to each track)
Basic Structure
1023
1024
Song 64
Song 02
Song 01
Waveform
Velocity
40
Track 1
Track 2
127
Sample 2
Sample 4
Sample 1 (Key bank)
(Key bank)
Waveform
(Key bank)
Sample 3
Sample 5
(Key bank)
(Key bank)
F4
D2
A2
G2
When entering Sampling mode
from Song mode
Sampling
Track 3
Track 16
When entering File mode from
Song mode
Loading WAV/AIFF files
Sample Voices (recorded to each track)
n
n
n
174
When executing the Sampling in the Sampling mode entered from the
Voice mode/Performance mode, you can specify the Waveform
number and User Voice number as a Destination (location to which the
sampled wave is stored) beforehand. Likewise, you can specify the
same parameters also when loading the WAV file/AIFF file in the File
mode entered from the Voice mode/Performance mode.
When executing the Sampling in the Sampling mode entered from the
Song mode/Pattern mode, you can specify the track number as a
Destination (location to which the sampled wave is stored)
beforehand. Likewise, you can specify the same parameters also
when loading the WAV file/AIFF file in the File mode entered from the
Song mode/Pattern mode. When creating Waveforms, sampled audio
waves are automatically stored starting from the lowest numbered
available space.
Up to 128 keybanks can be assigned to a single waveform. Up to a
maximum of 4096 key banks can be created on the instrument.
Owner’s Manual
■ How to select and hear the Waveform
You can select and hear any of Waveforms from the following
display in the Voice Edit mode.
[VOICE] → [EDIT] → Element selection → [F1] OSC → [SF1]
WAVE
If you set the Bank parameter to “usr wave,” you can select
and hear the Waveform obtained by using the Sampling
function or loading the WAV file/AIFF file.
You can also select and hear the User Waveform from the
following display in the Sampling mode.
[INTEGRATED SAMPLING] → [EDIT] → [F1] KEY BANK
Internal Structure (System Overview)
■ Start recording when the Song/Pattern playback
reaches a specified point
Trigger mode
[INTEGRATED SAMPLING] → [F6] REC → TriggerMode
The Trigger mode is a convenient feature in Sampling that lets
you determine how sample recording is started — manually
or automatically, based on the audio level.
■ Start recording manually
[INTEGRATED SAMPLING] → [F6] REC → TriggerMode
=manual
Regardless of the audio input signal level or the Song/Pattern
playback status, sampling starts soon after you press the [F6]
REC button in the Sampling Setup display. Sampling also
starts regardless of the playback/stop status of the Song/
Pattern.
■ Start recording when the input signal exceeds the
Trigger Level
[INTEGRATED SAMPLING] → [F6] REC → TriggerMode =
meas
After pressing the [F6] REC button in the Sampling Setup
display, start and stop of sampling is linked to playback of the
Song/Pattern.
This setting is available only when the Song/Pattern mode
and recording type (Rec Type) are set to “Slice + Seq” or
“Sample + Note.”
Song/
Pattern
start
Sampling stop
Sampling start
Punch In
Punch Out
1
2
3
4
5
6
7
8
1
2
3
4
5
6
7
8
After pressing the [F6] REC button in the Sampling Setup
display (in any mode), sampling starts as soon as a strong
enough audio signal is received. The threshold for this audiotriggered start is called the Trigger Level (explained in the
illustration below).
Level
Basic Structure
[INTEGRATED SAMPLING] → [F6] REC → TriggerMode
=level
Wave data
Sample recording starts here.
Recording
trigger level.
A
Level
B
C
D
E
Sample recording starts here.
A
B
C
D
E
Recording
trigger level.
As you can see, the higher the Trigger Level setting, the
louder the input audio needs to be in order to start sampling.
On the other hand, if the Trigger Level is set too low, a soft
noise may be enough to inadvertently start sampling.
Owner’s Manual
175
Internal Structure (System Overview)
Sample playback types
Sample Wave
Loop Playback
[INTEGRATED SAMPLING] → [EDIT] → [F3] PARAM →
PlayMode
Samples can be set to play back in the following three
different ways.
■ One Shot
[INTEGRATED SAMPLING] → [EDIT] → [F3] PARAM →
PlayMode = oneshot
When you press a note on the keyboard, the Sample plays
from beginning to end just once. This type of playback is
commonly used for drum and percussion sounds.
Start Point
Top Point
End Point
■ Reverse
[INTEGRATED SAMPLING] → [EDIT] → [F3] PARAM →
PlayMode = reverse
When you press a note on the keyboard, the Sample plays
from end to beginning just once. This is useful for creating
reversed cymbal sounds and other special effects.
Basic Structure
Start Point
Key on
End Point
■ Loop
[INTEGRATED SAMPLING] → [EDIT] → [F3] PARAM →
PlayMode = loop
This is used primarily to create long continuous sounds, such
as brass and strings, or instruments with naturally long decay,
such as piano. An appropriate part of the sample near the
end is looped to reproduce a long sustain or decay.
When you play a note on the keyboard, the Sample plays from
the start point to the end point. It then returns to the loop start
point and plays to the end point again, and keeps doing this
until you release the note. With musical instruments in
general, the characteristic part of the sound (the “attack”
section) is usually at the beginning, just after the start point.
After this, the sound does not vary a great deal while the note
is being held, and you can set the loop and end points at
either end of this section. When playing back a Sample of an
instrument that has been looped like this, the attack section of
the sound is played back once and then the looped section is
played back continuously until you release the note. Looping
is also way of creating usable instrument sounds without
using up too much memory.
You can set each point in the Sampling mode. Since this
synthesizer is capable of displaying the entire image of the
sampled audio data in the LCD (zoom in and zoom out are
available), you can edit the loop points visually – making
sample editing accurate and easy.
176
Owner’s Manual
Start Point
End Point
Internal Structure (System Overview)
This block applies effects to the output of the tone generator
block, processing and enhancing the sound using
sophisticated DSP (digital signal processing) technology.
Effect structure
The effect processing of this synthesizer features the System
Effects, Insertion Effects, Master Effect, Part EQ (Equalizer),
and Master EQ (Equalizer).
■ Plug-in Insertion Effects
This is a special effect system, only available when an effecttype Plug-in Board is installed. Plug-in Board effects are not
available in the Voice mode.
n
■ Master Effect
This block applies effects to the final stereo output signal of
the entire sound. A total of 8 different Master Effect types are
available.
n
■ System Effects (Reverb, Chorus)
System Effects are applied to the overall sound, whether it be
a Voice, an entire Performance, a Song, etc.
With System effects, the sound of each Part is sent to the
effect according to the effect Send Level for each Part. The
processed sound (referred to as “wet”) is sent back to the
mixer, according to the Return Level, and output – after being
mixed with the unprocessed “dry” sound. This arrangement
lets you prepare an optimum balance of the effect sound and
the original sound of the Parts.
Reverb
The Reverb effects add a warm ambience to the sound,
simulating the complex reflections of actual performance
spaces, such as a concert hall or a small club. A total of 20
different Reverb types are available.
Chorus
The Chorus effects use various types of modulation
processing, including flanger and phaser, to enhance the
sound in a variety of ways. A total of 49 types are available,
including reverb and delay effects.
n
About the System Effect related display in each mode, see pages 179
and 180.
■ Insertion Effects A, B
Insertion effects can be applied individually to each part.
Insertion effects are mainly used to directly process a single
part. The depth of the effect is adjusted by setting the dry/wet
balance. Since an Insertion effect can only be applied to one
particular part, it should be used for sounds you want to
drastically change or for sounds that use an effect unintended
for other sounds. You can also set the balance so that only the
effect sound is heard, by setting Wet to 100%.
This synthesizer features eight sets of Insertion effects (one
set has A and B units). They can be applied to all parts of the
Performance, and applied to eight parts (maximum) of the
Song/Pattern.
A total of 116 different Chorus types are available.
n
In the Voice mode, only one set of the Insertion effects is available.
n
For details on the displays related to the Insertion effects in each
mode, see pages 179 and 180.
n
Among the AUDIO IN parts, Insertion effects cannot be applied to the
mLAN parts and AIEB2 parts.
For details on the displays related to the Plug-in Insertion effects in
each mode, see pages 179 and 180.
For details on the displays related to the Master effects in each mode,
see pages 179 and 180.
EFFECT Buttons
Three EFFECT buttons on the panel let you switch each
effect block on and off.
EFFECT
BYPASS
INSERTION SYSTEM
MASTER
EFFECT
Basic Structure
Effect Block
Press the [INSERTION] button below “BYPASS” so that
the lamp lights to turn the Insertion effects off. You can
specify which Insertion effects (only the internal
Insertion effect, only the Plug-in Insertion effect, or both
of them) are bypassed from the [UTILITY] → [F1]
GENERAL → [SF3] EF BYPS display in the Utility mode.
Press the [SYSTEM] button below “BYPASS” so that the
lamp lights to turn the System effects off. You can
specify which System effects (only the Reverb effect,
only the Chorus effect, or both of them) are bypassed
from the [UTILITY] → [F1] GENERAL → [SF3] EF BYPS
display in the Utility mode.
Press the [MASTER EFFECT] button so that the lamp
lights to turn the Master effect on. Keep in mind that
pressing and holding this button calls up the Master
effect setup display in the current mode.
Controlling the Master effect by using the Knobs
When pressing the [ARP FX] button and the [EQ] button
simultaneously (both lamps light), you can control the
Knobs to adjust the Master effect related parameters
specified in the [UTILITY] → [F4] CTL ASN → [SF5]
MEF display of the Utility mode.
Owner’s Manual
177
Internal Structure (System Overview)
■ Equalizer (EQ)
● Part EQ
Usually an equalizer is used to correct the sound output from
amps or speakers to match the special character of the room,
or to change the tonal character of the sound. The sound is
divided into several frequency bands, and adjustments are
made to the sound by raising or lowering the level of each
band.
By adjusting the sound according to the genre – classical
music being more refined, pop music more crisp, and rock
music more dynamic – you can draw out the special
characteristics of the music and make your performance
more enjoyable.
Three separate EQ sections are available on the instrument:
Element EQ, Part EQ, and Master EQ.
This 3-band EQ is applied to each part of the Performance/
Song/Pattern, The high band and low band are the shelving
type. The middle band is the peaking type.
Gain
+
0
Frequency
–
3 bands
● Element EQ
n
[VOICE] → Voice selection → [EDIT] → Element selection/
Key selection → [F6] EQ
The Element EQ is applied to each element of the Normal
Voice and each key of the Drum Voice. You can specify which
shape is used among the two shapes described below and
set the related parameters.
Basic Structure
Peaking type
This type of EQ shape lets you attenuate/boost the signal at
the specified Frequency setting.
Q (frequency bandwidth)
LOW
MID
HIGH
The part EQ is not available in the Voice mode.
● Master EQ
Master EQ is applied to the final (post-effect), overall sound of
the instrument. In this EQ, all bands can be set to peaking, or
the lowest and highest bands can be set to shelving (as
shown below).
EQ for which all bands are set to peaking type
Gain
Q (frequency bandwidth)
+
Gain
+
0
0
Frequency
Frequency
–
–
3 bands
Shelving type
LOW
LOWMID
MID
HIGHMID
HIGH
EQ for which LOW and HIGH are set to shelving type
This type of EQ shape lets you attenuate/boost the signal at
frequencies above or below the specified Frequency setting.
Gain
Q (frequency bandwidth)
Gain
Low Gain
High Gain
+
+
0
Frequency
Frequency
0
–
–
Low Freq
n
178
High Freq
In addition to the individual gain controls, there is also an overall level
parameter that attenuates/boosts the entire frequency range.
Owner’s Manual
5 bands
LOW
LOWMID
MID
HIGHMID
HIGH
Internal Structure (System Overview)
Effect connection in each mode
● In the Voice mode
The Effect parameters in the Voice mode are set for each Voice and the settings are stored to internal flash ROM as a User Voice.
Please note that the Master Effect and Master EQ parameters are set for all the Voices in the Utility mode and stored to internal
flash ROM as System settings by pressing the [STORE] button also in the Utility mode.
[VOICE] → Voice selection → [EDIT] → [COMMON]
→ [F6] EFFECT → [SF1] CONNECT
Insertion Effect
Send Level
Return Level
Element or Key
Element EQ
[VOICE] → [UTILITY] → [F3] VOICE → [SF2] MEF
(for all Voices)
Master Effect
Output
[VOICE] → [UTILITY] → [F3] VOICE →
[SF1] MEQ (for all Voices)
You can select the Insertion connection
from the three types shown below.
You can set which Insertion system, A or B,
is applied to each Element (or to each key
when the Drum voice is selected). The
Insertion effect can also be bypassed.
Master EQ
A to B
B to A
parallel
A
A
A
B
B
B
n
The parallel connection is not available for Plug-in voices.
n
The Plug-in Insertion effect (when the Effect Plug-in board has been installed) is not available in the Voice mode.
[VOICE] → Voice selection → [EDIT] →
[COMMON] → [F1] GENERAL → [SF3]
MEQ OFS
Basic Structure
Tone Generator block
System Effect
Reverb (REV), Chorus (CHO)
● In the Performance mode
The Effect parameters in the Performance mode are set for each Performance and the settings are stored to internal flash ROM
as User data.
[PERFORM] → Performance selection → [EDIT] →
[COMMON] → [F6] EFFECT → [SF1] CONNECT
The Insertion connection type
depends on the setting of the Voice
assigned to the selected part.
System Effect
Reverb (REV), Chorus (CHO)
*4
Part 1
B
Part 1
Part EQ *3
Master EQ
Output
[PERFORM] → Performance selection → [EDIT] →
[COMMON] → [F2] OUT/MEF → [SF3] MEF
only to the A/D Input Part.
Plug-in Insertion Effect
(PLG-EF)
*1
*5
Master Effect
*1 Among all of the audio input Parts, the Insertion effect can be applied
*2
Audio Input part
Return Level
Insertion Effect
(VCE INS)
A
Tone Generator
block
Send Level
*2 Select the part to which the Plug-in Insertion effect is applied from Parts 1-4,
Plug-in Parts 1-3, and the audio input Part in the following display.
[PERFORM] → Performance selection → [EDIT] → [COMMON] → [F6]
EFFECT → [SF1] INS SW
*3 [PERFORM] → Performance selection → [EDIT] → Part selection → [F3] EQ
*2
When the PLG100-VH
has been installed
*4 [PERFORM] → Performance selection → [EDIT] →
[COMMON] → [F2] OUT/MEF → [SF1] OUT
*5 [PERFORM] → Performance selection → [EDIT] →
[COMMON] → [F2] OUT/MEF → [SF2] MEQ
[PERFORM] → Performance selection → [EDIT] →
[COMMON] → [F1] GENERAL → [SF3] MEQ OFS
Owner’s Manual
179
Internal Structure (System Overview)
● In the Song mode/Pattern mode
The Effect parameters in the Song mode/Pattern mode are set for each Song/Pattern. The Effect settings are stored to internal
DRAM in the Song Mixing mode/Pattern Mixing mode and saved to the SmartMedia/USB storage device in the File mode.
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING]
→ [EDIT] → [COMMON] → [F6] EFFECT → [SF1] CONNECT
System Effects
Reverb (REV), Chorus (CHO)
*5
Send Level
Tone Generator block
*3
Insertion Effects
(VCE INS)
Part 1-16
Part 1
Part EQ
*6
*4
A
Master EQ
Output
[SONG] or [PATTERN] → Song/Pattern
selection → [MIXING] → [EDIT] → [COMMON]
→ [F2] MEQ/MEF → [SF2] MEF
*1
Basic Structure
Audio Input part
Master Effect
B
Plug-in Part 1-3
(When the Single part
Plug-in board has
been installed)
*2
Return Level
Part 1
Plug-in Insertion Effect
(PLG-EF)
*1
When the PLG100-VH
has been installed
*1 Select the part to which the Plug-in Insertion effect is applied from Parts 1-4, Plug-in Parts 1-
3, and the audio input Part.
*2 Among all of the audio input Parts, the Insertion effect can be applied only
to the A/D Input Part.
*3 The Insertion effects can be applied to up to eight Parts, selectable from Parts 1-4, Plug-in
Parts 1-3, and the A/D input Part in the following display.
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → [COMMON] →
[F6] EFFECT → [SF2] INS SW
The connection type depends on the setting of the Voice assigned to the selected part.
*4 [SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] →
Part selection → [F3] EQ
*5 [SONG] or [PATTERN] → Song/Pattern selection → [F4] EF SEND
*6 [SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → [COMMON] →
[F2] MEQ/MEF → [SF1] MEQ
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → [COMMON] →
[F1] GENERAL → [SF1] MEQ OFS
Tone Generator block
Part 17-32
(When the Multi-part Plug-in Board
PLG100-XG has been installed)
180
n
The Insertion Effect, Plug-in Insertion Effect, and the System Effect cannot be applied to Parts 17-32 (using the Multi-part Plug-in board PLG100-XG).
n
The Part EQ cannot be applied to parts of the Plug-in Board.
n
The System Effects (Reverb, Chorus), the Master EQ, and the Master Effect are not applied to the sound output through the ASSIGNABLE OUTPUT jacks
(including those of the AIEB2) or the mLAN connector of the mLAN16E board. (Only the Part EQ and the Insertion Effect are applied.)
Owner’s Manual
About MIDI
About MIDI
MIDI (Musical Instrument Digital Interface) is a standard which allows electronic musical instruments to communicate with each
other, by sending and receiving compatible Note, Control Change, Program Change and various other types of MIDI data, or
messages.
This synthesizer can control other MIDI devices by transmitting note related data and various types of controller data. It can also
be controlled by incoming MIDI messages which automatically determine the tone generator mode, select MIDI channels,
voices and effects, change parameter values, and of course play the voices specified for the various Parts.
Many MIDI messages are expressed in hexadecimal or binary numbers. Hexadecimal numbers may include the letter “H” as a
suffix. The letter “n” indicates a certain whole number.
The chart below lists the corresponding decimal number for each hexadecimal/binary number.
MIDI channels
MIDI performance data is assigned to one of sixteen MIDI channels. Using these channels, 1 - 16, the performance data for
sixteen different instrument parts can be simultaneously sent over one MIDI cable.
Think of the MIDI channels as TV channels. Each TV station transmits its broadcasts over a specific channel.
Your home TV set receives many different programs simultaneously from several TV stations and you select the appropriate
channel to watch the desired program.
News
1
Basic Structure
Weather Report
2
News
2
MIDI operates on the same basic principle.
The transmitting instrument sends MIDI data on a specific MIDI channel (MIDI Transmit Channel) via a single MIDI cable to the
receiving instrument. If the receiving instrument’s MIDI channel (MIDI Receive Channel) matches the Transmit Channel, the
receiving instrument will sound according to the data sent by the transmitting instrument.
For information on how to set the MIDI transmit channel and the MIDI receive channel, see page 35.
MIDI
cable
MIDI Transmit channel 2
MIDI Receive channel 2
MIDI data is assigned to one of sixteen channels. However, we can overcome the sixteen-channel limit by using separate MIDI
“ports,” each supporting sixteen channels. For details, see page 38.
MIDI Messages Transmitted/Recognized by this synthesizer
MIDI messages can be divided into two groups: Channel messages and System messages. Below is an explanation of the various
types of MIDI messages which this synthesizer can recognize/transmit. The messages transmitted/recognized by this synthesizer
are shown in the MIDI Data Format and MIDI Implementation Chart of the separate Data List.
n
This synthesizer’s tone generator and sequencer blocks handle different MIDI events. These are listed separately in the MIDI Data Format as well as in the
MIDI Implementation Chart.
Owner’s Manual
181
About MIDI
CHANNEL MESSAGES
Data Entry MSB (Control #006)
Data Entry LSB (Control #038)
Channel messages contain data related to the performance
on the keyboard for the specific channel.
Messages which set the value for the parameter specified by
RPN MSB/LSB (page 183) and NRPN MSB/LSB (page 183).
Parameter value is determined by combining the MSB and
LSB.
■ Note On/Note Off (Key On/Key Off)
Messages which are generated when the keyboard is played.
Reception note range = C-2 (0) - G8 (127), C3 = 60
Velocity range = 1 - 127 (Only the Note On velocity is
received)
Note On: Generated when a key is pressed.
Note Off: Generated when a key is released.
Each message includes a specific note number which
corresponds to the key which is pressed, plus a velocity value
based on how hard the key is struck.
■ Control Change
Control Change messages let you select a voice bank, control
volume, panning, modulation, portamento time, brightness
and various other controller parameters, through specific
Control Change numbers which correspond to each of the
various parameters.
Basic Structure
Bank Select MSB (Control #000)
Bank Select LSB (Control #032)
Messages which select variation voice bank numbers by
combining and sending the MSB and LSB from an
external device. The functions of MSB and LSB messages
differ depending on the tone generator mode. MSB numbers
select voice type (Normal Voice or Drum Voice), and LSB
numbers select voice banks.
(For more information about Banks and Programs, see Voice
List in the separate Data List.)
A new bank selection will not become effective until the next
Program Change message is received.
Messages which control the volume of each Part.
Setting the value to 127 produces maximum volume and 0
results in volume off.
Pan (Control #010)
Messages which control the stereo panning position of each
Part (for stereo output).
Setting the value to 127 positions the sound to the far right
and 0 positions the sound to the far left.
Expression (Control #011)
Messages which control intonation expression of each Part
during performance.
Setting the value to 127 produces maximum volume and 0
results in volume off.
Hold1 (Control #064)
Messages which control sustain on/off.
Setting the value between 64 - 127 turns the sustain on,
between 0 - 63 turns the sustain off.
Portamento Switch (Control #065)
Messages which control portamento on/off.
Setting the value between 64 -127 turns the portamento on,
between 0 - 63 turns the portamento off.
Sostenuto (Control #066)
Messages which control vibrato depth using the Modulation
Wheel.
Setting the value to 127 produces maximum vibrato and 0
results in vibrato off.
Messages which control sostenuto on/off.
Holding specific notes and then pressing and holding the
sostenuto pedal will sustain those notes as you play
subsequent notes, until the pedal is released.
Setting the value between 64 -127 turns the sostenuto on,
between 0 - 63 turns the sostenuto off.
Portamento Time (Control #005)
Harmonic Content (Control #071)
Messages which control the duration of portamento, or a
continuous pitch glide between successively played notes.
When the parameter Portamento Switch (Control #065) is set
to on, the value set here can adjust the speed of pitch
change.
Setting the value to 127 produces maximum portamento time
and 0 results in minimum portamento time.
Messages which adjust the filter resonance set for each Part.
The value set here is an offset value which will be added to or
subtracted from the voice data. Higher values will result in a
more characteristic, resonant sound. Depending on the voice,
the effective range may be narrower than the range available
for adjustment.
Modulation (Control #001)
182
Main Volume (Control #007)
Owner’s Manual
About MIDI
Release Time (Control #072)
Messages which adjust the AEG release time set for each
Part.
The value set here is an offset value which will be added to or
subtracted from the voice data.
Attack Time (Control #073)
Messages which adjust the AEG attack time set for each Part.
The value set here is an offset value which will be added to or
subtracted from the voice data.
Brightness (Control #074)
Messages which adjust the filter cutoff frequency set for each
Part.
The value set here is an offset value which will be added to or
subtracted from the voice data. Lower values result in a softer
sound.
Depending on the voice, the effective range may be narrower
than the range available for adjustment.
RPN (Registered Parameter Number) LSB (Control #100)
RPN (Registered Parameter Number) MSB (Control #101)
Messages which offset, or add or subtract values from a
Part’s pitch bend sensitivity, tuning, or other parameter
settings. First send the RPN MSB and RPN LSB to specify the
parameter which is to be controlled. Then use Data
Increment/Decrement (page 183) to set the value of the
specified parameter. Note that once the RPN has been set for
a channel, subsequent data entry will be recognized as the
same RPN’s value change. Therefore after you use the RPN,
you should set a Null (7FH, 7FH) value to avoid unexpected
results.
The following RPN numbers can be received.
RPN MSB
RPN LSB
PARAMETER
00
00
Pitch Bend Sensitivity
00
01
Fine Tune
00
02
Coarse Tune
7F
7F
Null
Decay Time (Control #075)
■ Channel Mode Messages
The following Channel Mode Messages can be received.
2nd BYTE
3rd BYTE
Effect1 Depth (Reverb Send Level) (Control #091)
120
0
All Sounds Off
Messages which adjust the send level for the Reverb effect.
121
0
Reset All Controllers
123
0
All Notes Off
126
0 - 16
127
0
Effect3 Depth (Chorus Send Level) (Control #093)
Messages which adjust the send level for the Chorus effect.
Data Increment (Control #096)
Decrement (Control #097) for RPN
Messages which increase or decrease the MSB value of pitch
bend sensitivity, fine tune, or coarse tune in steps of 1. You will
need to assign one of those parameters using the RPN in the
external device in advance. The data byte is ignored. When
the maximum value or minimum value is reached, the value
will not be incremented or decremented further. (Incrementing
the fine tune will not cause the coarse tune to be
incremented.)
NRPN (Non-Registered Parameter Number)
LSB (Control #098) (Plug-in Board only)
NRPN (Non-Registered Parameter Number)
MSB (Control #099) (Plug-in Board only)
Messages which adjust a voice’s vibrato, filter, EG, drum
setup or other parameter settings.
First send the NRPN MSB and NRPN LSB to specify the
parameter which is to be controlled. Then use Data Entry
(page 182) to set the value of the specified parameter.
Note that once the NRPN has been set for a channel,
subsequent data entry will be recognized as the same
NRPN’s value change. Therefore, after you use the NRPN, you
should set a Null (7FH, 7FH) value to avoid unexpected
results.
For details, refer to the owner’s manual of the relevant Plug-in
Board.
Basic Structure
Messages which adjust the AEG decay time set for each Part.
The value set here is an offset value which will be added to or
subtracted from the voice data.
MESSAGE
Mono
Poly
All Sounds Off (Control #120)
Clears all sounds currently sounding on the specified
channel. However, the status of channel messages such as
Note On and Hold On is maintained.
Reset All Controllers (Control #121)
The values of the following controllers will be reset to the
defaults.
CONTROLLER
VALUE
Pitch Bend Change
0 (center)
Aftertouch
0 (off)
Polyphonic
Aftertouch
0 (off)
Modulation
0 (off)
Expression
127 (max)
Hold1
0 (off)
Portamento
0 (off)
Sostenuto
0 (off)
Soft Pedal
0 (off)
Portamento Control
Cancels the Portamento source key number
RPN
Number not specified; internal data will not change
NRPN
Number not specified; internal data will not change
All Notes Off (Control #123)
Clears all notes currently on for the specified channel.
However, if Hold1 or Sostenuto is on, notes will continue
sounding until these are turned off.
Owner’s Manual
183
About MIDI
Mono (Control #126)
Master Volume
Performs the same function as when an All Sounds Off
message is received, and if the 3rd byte (mono number) is in
the range of 0 - 16, it sets the corresponding channel to Mono
Mode (Mode 4: m = 1).
When received, the Volume MSB will be effective for the
System Parameter.
Poly (Control #127)
■ System Realtime Messages
Performs the same function as when an All Sounds Off
message is received, and sets the corresponding channel to
Poly Mode.
These messages control the sequencer, that is to say Song
and Pattern.
■ Program Change
Messages that determine which voice to select for each Part.
With a combination of Bank Select, you can select not only
basic voice numbers, but also variation voice bank numbers.
For a list of the Voices, see the separate Data List.
■ Pitch Bend
Pitch Bend messages are continuous controller messages
that allow the pitch of designated notes to be raised or
lowered by a specified amount over a specified duration.
■ Channel Aftertouch
Basic Structure
Messages which let you control the sounds by the pressure
you apply to the keys after the initial striking of the keys, over
the entire channel.
This synthesizer does not transmit this data from the
keyboard; however, this synthesizer does properly respond to
this data when received from an external device.
■ Polyphonic Aftertouch
Messages which let you control the sounds by the pressure
you apply to the keys after the initial striking of the keys, for
each individual key. This synthesizer does not transmit this
data from the keyboard; however, the data is transmitted from
the internal sequencer.
SYSTEM MESSAGES
System messages are the data related to the overall system of
the device.
■ System Exclusive Messages
System Exclusive messages control various functions of this
synthesizer, including master volume and master tuning, tone
generator mode, effect type and various other parameters.
General MIDI (GM) System On (Song mode/Pattern only)
When “General MIDI system on” is received, the MOTIF ES
will receive the MIDI messages which are compatible with GM
System Level 1, and consequently will not receive NRPN and
Bank Select messages.
F0 7E 7F 09 01 F7 (Hexadecimal)
n
184
Make sure that the interval between this message and the first note
data of the song is at least a quarter note or greater in length.
Owner’s Manual
F0 7F 7F 04 01 ll mm F7 (Hexadecimal)
* mm (MSB) = appropriate volume value, ll (LSB) = ignored
Active Sensing (FEH)
Once FEH (Active Sensing) has been received, if no MIDI
data is subsequently received for longer than an interval of
approximately 300 msec, the MOTIF ES will perform the same
function as when All Sounds Off, All Notes Off, and Reset All
Controllers messages are received, and will then return to a
status in which FEH is not monitored
Timing Clock (F8H)
This message is transmitted with a fixed interval (24 times per
1/4 note) to synchronize connected MIDI instruments.
You can select whether the sequencer block uses the internal
Timing Clock, or external Timing Clock messages received
via MIDI IN by setting the MIDI Sync parameter: [UTILITY] →
[F5] MIDI → [SF3] SYNC → MIDI Sync.
Start (FAH)
This message lets the MIDI sequence data start playing back
from the beginning. This message will be transmitted when
pressing the [F] (Play) button at the top of the Song or
Pattern.
Continue (FBH)
This message lets the MIDI sequence data start playing back
from the current song position. This message will be
transmitted when pressing the [F] (Play) button at the
middle of the Song or Pattern.
Stop (FCH)
This message causes MIDI sequence data (song) to stop
playing back. This message will be transmitted when
pressing the [■] (Stop) button during playback.
n
You can select whether this synthesizer will transmit Timing Clock,
Start, Continue, and Stop messages by setting the SeqCtrl parameter:
[UTILITY] → [F5] MIDI → [SF3] SYNC → SeqCtrl.
■ System Common Message
System Common messages also control the sequencer,
including Song Select and Song Position Pointer messages.
Internal Memory and File Management
Internal Memory and File Management
As you use the MOTIF ES, you’ll create many different kinds of data, including Voices, Performances, Songs, and Patterns. This
section describes how to maintain the various types of data and use the memory devices/media for storing them.
Maintaining data
You can maintain the data you’ve created via the following three methods.
● Store
This is a process of transferring or saving the created data of this synthesizer to a dedicated location (User Memory) in the
internal memory. Each type of data can be stored with the following operations.
Voice
[VOICE] → Voice selection → [STORE]
Page 85
Performance
[PERFORM] → Performance selection → [STORE]
Page 91
Song Mixing
[SONG] → Song selection → [MIXING] → [STORE]
Page 131
Pattern Mixing
[PATTERN] → Pattern selection → [MIXING] → [STORE]
Page 131
Mixing Voice
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [F5] VCE ED → [STORE]
Page 106
Master
[MASTER] → Master selection → [STORE]
Page 137
System settings
[UTILITY] → [STORE] *
Page 260
* Please note that pressing the [STORE] in the Utility mode starts the Store operation of the System settings immediately.
Basic Structure
CAUTION
Since Song Mixing, Pattern Mixing, and Mixing Voice data is stored to DRAM (page 187), all such data is lost when turning off the power — even if the data
has been stored with the operations above. Make sure to save this data to the SmartMedia/USB storage device in the File mode after storing.
CAUTION
Never attempt to turn off the power while data (e.g., Voice) is being written to Flash ROM (while an “Executing...” or “Please keep power on” message is
shown). Turning the power off in this state may cause the system to freeze (due to corruption of data in the Flash ROM) and prevent normal startup the next
time the power is turned on, as well as resulting in the loss of all user data.
● Save
[FILE] → [F2] SAVE
This is a process of transferring or saving the created data of this synthesizer to an external memory device (SmartMedia/USB storage device).
This process can be done in the File mode. The Save operation can be done via various methods, such as saving all data as a single file or
saving a specified type of data (e.g., only Voices) as a single file. For details, see Memory Structure (page 186) and Reference (page 188). The
saved data as files can be recalled by loading them in the File mode.
● Bulk Dump
This function lets you save the data in the Edit buffer (DRAM) or Flash ROM by transmitting it as Bulk data (system exclusive message) to an
external MIDI instrument or sequence software on a computer. This can be done with the following operations.
[VOICE] → Voice selection → [JOB] → [F4] BULK
Voice
Performance
[PERFORM] → Performance selection → [JOB] → [F4] BULK
Song Mixing
[SONG] → Song selection → [MIXING] → [JOB] → [F4] BULK
Pattern Mixing
[PATTERN] → Pattern selection → [MIXING] → [JOB] → [F4] BULK
Master
[MASTER] → Master selection → [JOB] → [F4] BULK
n
Mixing Voice data cannot be transmitted as Bulk data via panel operations.
n
User Arpeggio data and some of the System settings are not handled as Bulk data.
n
The data in the User Memory of Flash ROM can be transmitted to an external MIDI instrument or computer upon reception of a bulk request message. For
details about the bulk request message and bulk dump format, see the separate Data List.
Voice and Plug-in Voice data can be transmitted to a computer for editing with the Voice Editor software (on the included CD-ROM). The edited
Voice data can then be transmitted back to the instrument in banks as bulk data. Similarly, Voice data created in the Voice Edit mode can be
sent to the computer in banks as bulk data.
Song Mixing and Pattern Mixing data can also be transmitted to a computer for editing, using the Multi Part Editor software (on the included CDROM). The edited Mixing data can then be transmitted back to the instrument as bulk data. Mixing data created in the Song Mixing Edit and
Pattern Mixing modes can also be sent to the computer in banks as bulk data.
Owner’s Manual
185
Internal Memory and File Management
Memory Structure
This diagram details the relationship among the functions of the MOTIF ES and the internal memory and SmartMedia/USB storage device.
Internal Memory
Internal data communication
Recall Buffer
Compare Buffer
(DRAM)
Data communication between this
synthesizer and the external device
Preset Data (ROM)
• Voice
• Plug-in Voice
• Preset Phrase (Pattern)
• Preset Arpeggio
• Demo
Excluding Master and
Utility settings
MIDI instrument or computer
Sequence software
Voice Editor in the included CD-ROM
Multi Part Editor in the included
CD-ROM
Bulk Dump *1
Edit Buffer
(DRAM)
User Memory
B
ul
k
D
um
p*
1
*2
SmartMedia/USB storage device
Flash ROM
• Voice Edit
• User Voice (Normal, Drum)
File extensions “.W7V” and “.W7E”
• File extensions “.WAV” and “.AIF”
• A5000/4000/3000 data
• AKAI format data
• Plug-in Voice Edit
• Performance Edit
• User Plug-in Voice
• User Performance
• Master Edit
• User Master
• Utility settings
• User Arpeggio
• Pattern Mixing Edit
*3
• System settings
(Utility settings
+ Mixing Template)
• Song Mixing Edit
*3
DRAM
Store
*1
*4
• Song Record
• Song
• Song Chain
• Song Chain
Store *1
• Pattern Record
• Phrase
• Pattern Patch
• Pattern
• Pattern Chain
• Pattern Chain
• Sampling
• Waveform
File extensions “.W7G”
Load/Save (executed in the File mode) *1
Basic Structure
Store *1
• Mixing Voice Edit
File extensions “.W7A”
(including all the data on the User Memory)
File extensions “.MID”
File extensions “.W7S”
File extensions “.W7P”
File extensions “.W7W”
*5
• File extensions “.WAV” and “.AIF”
• A5000/4000/3000 data
• SU700 data
• AKAI format data
Computer
Editing the Board Voice
(page 76) using the
software Plug-in Board
Editor supplied with
each Plug-in Board
Plug-in board (DRAM)
File extensions “.W2B”
• Plug-in All Bulk
*1 For details on the Bulk Dump, Save, and Store operations, see page 185.
*2 Only the currently edited data can be transmitted as Bulk data. Note that the Mixing Voice cannot be transmitted as Bulk data.
*3 The Mixing settings can be stored/recalled as a template in the Song Mixing Job mode/Pattern Mixing Job mode.
*4 You can convert the MIDI sequence data recorded in the Song Record mode/Pattern Record mode to Arpeggio data. This can be executed with the following
operations: • [SONG] → [JOB] → [F5] TRACK → 07: Put Track to Arp • [PATTERN] → [JOB] → [F5] TRACK → 06: Track to Arp
*5 In order to create a Waveform by sampling or importing an audio file, optional DIMM modules must be installed.
186
Owner’s Manual
Internal Memory and File Management
Internal Memory
Below are explanations of the basic terms used in the Memory Structure illustration on the previous page.
● Flash ROM
ROM (Read Only Memory) is memory designed specifically for reading out of data, and as such data cannot be written to it.
Unlike conventional ROM, Flash ROM can be overwritten – allowing you to store your own original data. The contents of Flash
ROM are maintained even when the power is turned off.
● DRAM
RAM (Random Access Memory) is memory designed specifically for data writing and data reading operations. There are two
different kinds of RAM, depending on the condition for storing the data: SRAM (Static RAM) and DRAM (Dynamic RAM).
The created data stored on DRAM is lost when the power is turned off. Because of this, you should always store any data
residing in DRAM to the SmartMedia/USB storage device before turning off the power.
● DIMM
DIMM modules must be installed in order to use the Sampling function or to load audio data (Waveform/WAV file/AIFF file) to the
instrument. As with DRAM described above, the created data stored on DIMM is lost when the power is turned off. Because of
this, you should always store any data residing in DIMM to the SmartMedia/USB storage device before turning off the power.
● Edit Buffer and User Memory
Basic Structure
The edit buffer is the memory location for edited data of these types: Voice, Performance, Master, Song Mixing, and Pattern
Mixing. Data edited in this location will be stored to the User Memory.
If you select another Voice, Performance, Master, Song, or Pattern, the entire contents of the edit buffer will be rewritten with the
newly selected Voice/Performance/Master/Song Mixing/Pattern Mixing data. Make sure to store any important data before
selecting another Voice, etc.
● Edit Buffer and Recall Buffer
If you’ve selected another Voice/Performance/Song/Pattern without storing the one you were editing, you can recall your original
edits, since the edit buffer’s contents are stored in backup memory.
n
Keep in mind that the recall buffer is not available in the Master Edit mode.
Owner’s Manual
187
Voice Play mode
Reference
Voice mode
■ Creating Voices — basic procedure
You can create and edit your original Voices by setting various parameters in both the Voice Play mode and Voice Edit mode, while the Voice Job
mode provides some basic parameter-related tools, such as Initialize and Copy. Once you’ve edited a Voice, you can store it to a User Bank in
internal memory (Flash ROM) and save all edited Voices to a SmartMedia/USB storage device in the File mode.
[VOICE] → Voice selection
Voice Play mode
The Voice Play mode lets you perform a variety of general editing operations on the selected voice. For more detailed and comprehensive
editing operations, use the Voice Edit mode.
n
In the Voice Play mode and Voice Edit mode, you can set the parameters for each Voice. The parameters for all the Voices such as Master EQ and Master
Effect can be set from the [UTILITY] → [F3] VOICE display in the Utility mode.
n
The parameters that have the same name in the Voice Play mode and in the Voice Edit mode have the same functions and settings.
n
When a Plug-in voice is selected, certain parameters are not available for editing, even if they’re described here.
[F1] PLAY
Reference Voice Mode
TCH (Transmit Channel)
Indicates the Keyboard MIDI transmit channel.
You can change the Keyboard MIDI transmit channel by pressing the [TRACK SELECT] button so that its indicator
lights and pressing any of the NUMBER [1] - [16] buttons. The Keyboard MIDI transmit channel can be changed
also with the following operation: [UTILITY] → [F5] MIDI → [SF1] CH → KBDTransCh.
OCT (Octave)
Indicates Keyboard Octave setting set via the [OCTAVE] buttons.
This can be changed also with the following operation: [UTILITY] → [F1] GENERAL → [SF2] KBD → Octave.
ASA (ASSIGN A),
ASB (ASSIGN B)
Indicates the functions assigned to the respective Knobs (printed “ASSIGN A” and “ASSIGN B”) when the lamps of
both the [PAN/SEND] and [TONE] buttons are turned on. The functions are assigned with the following operation:
[UTILITY] → [F4] CTL ASN → [SF2] ASSIGN.
n
TCH (Transmit Channel), OCT (Octave), ASA (ASSIGN A), and ASB (ASSIGN B) settings do not belong to each Voice. Because of this, these are not stored as an individual
Voice in the Voice Store mode (page 208).
Indicates the functions assigned to the respective Knobs (printed “ASSIGN 1” and “ASSIGN 2”) when the lamps of
both the [PAN/SEND] and [TONE] buttons are turned on. The functions are assigned by setting the Voice Edit
common parameters with the following operation: [VOICE] → [EDIT] → [COMMON] → [F4] CTL SET.
AS1 (ASSIGN 1),
AS2 (ASSIGN 2)
[SF1] ARP1 (Arpeggio 1) - [SF5]
ARP5 (Arpeggio 5)
You can register the desired Arpeggio types to these buttons and call them up any time during your keyboard
performance. Refer to page 66 in the Quick Guide section.
[F2] BANK
This display is available only when a Plug-in Board has been installed and a Voice of the Plug-in Board is selected.
From this display you can select the particular bank on the Plug-in board, and determine whether you will be using a Plug-in voice or a “Board” voice. Board
voices are unprocessed, unaltered voices of the Plug-in board – the “raw material” for Plug-in voices. Plug-in voices are edited Board voices – voices that have
been specially programmed and processed for optimum use with this synthesizer. For more details, see page 74.
Settings: The following selections are available, for example, when a Plug-in voice using the Plug-in board installed to slot 1 is selected: PLG1USR (User Plug-in voice), PLGPRE1 (Preset
Plug-in voice), 032/000 ... (Indicates the Bank Select MSB/LSB of the Board voice. These values differ depending on the installed Plug-in board.)
[F3] EFFECT
Pressing the [F3] EFFECT button in the Voice Play mode calls up the same EFFECT display in the Voice Edit mode ([VOICE] → [EDIT] → [COMMON] → [F6]
EFFECT). From this display, you can set the effect related parameters for the current Voice. See page 194.
[F4] PORTA (Portamento)
From this display you can select monophonic or polyphonic playback and set the Portamento parameters.
Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to the next.
Determines whether the Voice is played back monophonically (single notes only) or polyphonically (multiple
simultaneous notes).
Mono/Poly
Settings: mono, poly
n When pressing the second note while holding the first note with the PortaSw set to on and the Mono/Poly set to on, the second
note sound starts succeeding the transition of the first note, or the second note starts not from the EG (AEG/PEG/FEG) start
point but from the EG (AEG/PEG/FEG) point the first note reaches. This realizes the legato performance. This legato degree
can be set with the following operation: [VOICE] → [EDIT] → [COMMON] → [F1] GENERAL → [SF4] PORTA → LegatoSlope
(page 190).
PortaSw (Portamento Switch)
Determines whether Portamento is applied to the current Voice or not.
Settings: off, on
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Owner’s Manual
Voice Edit mode
Normal Voice Edit
Common Edit
PortaTime (Portamento Time)
Determines the pitch transition time. Higher values result in longer transition times.
PortaMode (Portamento Mode)
Determines the Portamento mode. The behavior of the Portamento varies depending on whether Mono/Poly is set to
“mono” or “poly.”
Settings: 0 ~ 127
Settings: fingered, fulltime
fingered ........... Portamento is only applied when you play legato (playing the next note before releasing the previous one).
fulltime ............. Portamento is always applied.
[F5] EG (Envelope Generator)
This display contains the basic EG settings, both volume and filter, for the voice, as well as the filter’s cutoff frequency and resonance settings. The settings made
here are applied as offsets to the AEG and FEG settings in the Voice Edit mode.
The full names of the available parameters are shown in the chart below, as they appear in the display.
AEG
FEG
ATK
DCY
Attack time
Decay time
SUS
Sustain level
---
REL
Release Time
DEPTH
--Depth
CUTOFF
--Cutoff frequency
RESO
--Resonance
Settings: -64 ~ 0 ~ +63 (except --- above)
[F6] ARP (Arpeggio)
This display contains the basic settings for Arpeggio playback, including Type and Tempo. About the [SF1] - [SF5] buttons, see the explanation of the [F1] PLAY
display.
Bank,
Ctgr (Category),
Type
These three parameters determine the Arpeggio Type. The three-letter prefix number before the Type name
indicates the number within the selected Category.
Tempo
Determines the Arpeggio Tempo. When MIDI Sync ([UTILITY] → [F5] MIDI → [SF3] SYNC → MIDI Sync) is set to
“MIDI,” “MIDI” is displayed here and cannot be set.
Settings: Refer to the separate Data List.
Settings: 1 ~ 300
VelLimit (Velocity Limit)
Determines the lowest and highest velocity which can trigger the Arpeggio playback. The Arpeggio plays when you
play notes at velocities within in this range.
Switch
Reference Voice Mode
Settings: 1 ~ 127
n Keys played outside the set limit sound normally without any Arpeggio.
Determines whether Arpeggio is on or off. You can also turn Arpeggio on/off from the front panel with the
[ARPEGGIO ON/OFF] button.
Settings: off, on
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............ When set to “sync-off,” the Arpeggio playback continues to run silently, even when you release the keys. Pressing any
key turns the Arpeggio playback on again. In other words, you can use the key to “un-mute” or “mute” (not start or stop)
the Arpeggio playback by, respectively, holding it down or releasing it.
Voice Edit mode
[VOICE] → Voice selection → [EDIT]
There are three kinds of Voices: Normal Voices, Drum Voices and Plug-in Voices (if a Plug-in board has been installed). The following section
shows how to edit the different types of voices and explains the parameters available. Note that available parameters to be edited differ
depending on the Voice types (Normal Voice, Drum Voice, Plug-in Voice).
Normal Voice Edit
When a Normal Voice is selected, the Voice Edit parameters are divided into Common Edit (parameters common to all four Elements), and
Element Edit (parameters of individual Elements).
Common Edit
[VOICE] → Normal Voice selection → [EDIT] → [COMMON]
These parameters are for making global (or common) edits to all four Elements of the selected Normal Voice.
[F1] GENERAL
[SF1] NAME
From this display you can assign the category (sub and main) of the selected voice, and create a name for the
voice. The voice name can contain up to 10 characters. For detailed instructions on naming a voice, see “Basic
Operation” on page 53.
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189
Voice Edit mode
Normal Voice Edit
[SF2] PLY MODE (Play mode)
Common Edit
From this display you can make various settings for the tone generator of this synthesizer, and assign different Micro
Tuning settings.
Determines whether the Voice is played back monophonically (single notes only) or polyphonically multiple
simultaneous notes).
Mono/Poly
Settings: mono, poly
KeyAsgnMode
(Key Assign Mode)
When this is set to “single,” double playback of the same note is prevented. This is useful when two or more
instances of the same note are received nearly simultaneously, or without a corresponding note off message. To
allow playback of each instance of the same note, set this to “multi.”
Settings: single, multi
M. TuningNo.
(Micro Tuning Number)
Determines the tuning system for the voice. Normally, this should be set to 00 (Equal temperament); however
additional tuning systems are available for a variety of tuning applications and effects.
Settings: See the Micro Tuning List on page 209.
M. TuningRoot
(Micro Tuning Root)
[SF3] MEQ OFS
(Master EQ Offset)
Determines the root note of the Micro Tuning set above.
Settings: C ~ B
From this display you can adjust the master (global) EQ settings for the entire Voice. The settings made here are
applied as offsets to the EQ settings (with the exception of “MID”) from the Utility mode, with the following operation:
[VOICE] → [UTILITY] → [F3] VOICE → [SF1] MEQ. You can edit these parameters by using the Knobs.
Settings: -64 ~ 0 ~ +63
[SF4] PORTA (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.
Determines whether Portamento is applied to your keyboard performance using the current Voice or not.
Switch
Settings: off, on
Determines the pitch transition time. Higher values result in a longer pitch change time, when Time Mode below is
set to “Time.”
Time
Settings: 0 ~ 127
Determines how the Portamento is applied to your keyboard performance.
Mode
Reference Voice 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.
This determines how the pitch changes in time.
TimeMode
Settings: rate1, time1, rate2, time2
rate1.................Pitch changes at the specified rate.
time1 ................Pitch changes in the specified time.
rate2.................Pitch changes at the specified rate within a octave.
time2 ................Pitch changes in the specified time within a octave.
Determines the speed of the attack of legato notes, when Switch above is set to on and Mono/Poly is set to mono.
(Legato notes “overlap” each other, the next being played before the previous is released.) The higher the value, the
slower the attack rate.
LegatoSlope
Settings: 0 ~ 7
[SF5] OTHER
From this display you can set the control functions for the Knobs, and determine the up/down range for the Pitch
Bend wheel.
Determines the function for the assignable Knobs (1-4). Pressing the [KNOB CONTROL FUNCTION] button on the
panel sets the desired function row, which is automatically stored to memory with the currently selected voice.
Knob Assign
Settings: pan, tone, assign, MEQofs, MEF, arpFx
These two parameters determine the pitch change range of the Pitch Bend wheel.
PB Upper
(Pitch Bend range Upper),
PB Lower
(Pitch Bend range Lower)
Settings: -48 ~ 24
AssignA, AssignB,
Assign1, Assign2
Simply tweaking the knob with setting the Knob Assign (above) to “assign” to the desired value, which is
automatically stored to memory with the currently selected voice.
[F2] OUTPUT
Determines the output level of the Voice.
Volume
Settings: 0 ~ 127
Determines the stereo pan position of the Voice. You can also adjust this parameter using the PAN knob on the front
panel.
Pan
Settings: L63 (Left) ~ C (Center) ~ R63 (Right)
n When a stereo Voice is selected, this parameter setting may not be effective. Voices with Elements set to opposite Pan settings
(set in [F4] AMP → [SF1] LVL/PAN → Pan) — i.e., one at L63 and another at R63 — are considered stereo Voices.
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Voice Edit mode
RevSend
Normal Voice Edit
Common Edit
Determines the Send level of the signal sent from Insertion Effect A/B (or the bypassed signal) to the Reverb effect.
You can also adjust this parameter using the REVERB knob on the front panel.
Settings: 0 ~ 127
ChoSend
Determines the Send level of the signal sent from Insertion Effect A/B (or the bypassed signal) to the Chorus effect.
You can also adjust this parameter using the CHORUS knob on the front panel.
Settings: 0 ~ 127
n
See page 179 for the Effect connection in the Voice mode.
[F3] ARP (Arpeggio)
[SF1] TYPE
Bank,
Ctgr (Category),
Type
The basic Arpeggio parameters (e.g., type, tempo) are provided in this display.
These three parameters determine the Arpeggio Type. The three-letter prefix number before the Type name
indicates the number within the selected Category. When user arpeggio is selected here, you can clear the selected
arpeggio data by using the [SF5] button.
Settings: Refer to the separate Data List.
Tempo
Determines the Arpeggio Tempo. When MIDI Sync ([UTILITY] → [F5] MIDI → [SF3] SYNC → MIDI Sync) is set to
“MIDI,” “MIDI” is displayed here and Tempo cannot be set.
Settings: 1 ~ 300
ChgTiming (Change Timing)
Determines the actual timing at which the Arpeggio type is switched when you select another type during Arpeggio
playback.
Settings: realtime, measure
realtime............ The Arpeggio type is switched immediately when you select another type.
measure........... The Arpeggio type is switched at the top of the next measure after you select another type.
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.
KeyMode
Reference Voice Mode
Settings: sync-off (see below), off, on
sync-off............ When set to “sync-off,” the Arpeggio playback continues to run silently, even when you release the keys. Pressing any
key turns the Arpeggio playback on again. In other words, you can use the key to “un-mute” or “mute” (not start or stop)
the Arpeggio playback by, respectively, holding it down or releasing it.
Determines how the Arpeggio plays back when playing the keyboard.
Settings: sort, thru, direct, sortdirect, thrudirect
sort .................. When you play specific notes (for example, the notes of a chord), the same sequence plays, no matter what order you
play the notes.
thru .................. When you play specific notes (for example, the notes of a chord), the resulting sequence differs depending on the order
of the notes.
direct ............... Note events of the Arpeggio sequence do not play; only the notes you play on the keyboard are heard. This setting is
for use with non-note Arpeggio data, such as Control Change or Pitch Bend. When the Arpeggio plays back, these
events are applied to the sound of your keyboard performance. Use this setting when the Arpeggio types includes nonnote data or when the Category type “Ctrl” is selected.
sortdirect ......... The Arpeggio is played back according to the “sort” setting here, and the note pressed is also sounded.
thrudirect ......... The Arpeggio is played back according to the “thru” setting here, and the note pressed is also sounded.
n Some Arpeggio types belonging to the “Cntr” Category may not have note evemts (page 170). When such an Arpeggio type
is selected and the KeyMode is set to “sort” or “thru,” no sound is produced even if you press the note on the keyboard.
n With the “sort” and “thru” settings, the order in which notes are played back will depend on the Arpeggio sequence data.
VelMode (Velocity Mode)
This determines the playback velocity of the Arpeggio, or how it responds to your own playing strength.
Settings: original, thru
original............. The Arpeggio plays back at the preset velocities included in the Arpeggio sequence data.
thru .................. The Arpeggio plays back according to the velocity of your playing. For example, if you play the notes strongly, the
playback volume of the Arpeggio increases.
[SF2] LIMIT
NoteLimit
Determines the lowest and highest notes in the Arpeggio’s note range. Notes played in this range trigger the Arpeggio.
Settings: C -2 ~ G8
n You can also create a lower and an upper trigger range for the Arpeggio, with a note range “hole” in the middle, by specifying
the highest note first. For example, setting a Note Limit of “C5 - C4” lets you trigger the Arpeggio by playing notes in the two
ranges of
C -2 to C4 and C5 to G8; notes played between C4 and C5 have no effect on the Arpeggio.
n You can also set the range directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired
low and high keys.
n Please keep in mind that no sound is produced when the KeyMode is set to “sort” or “thru” and notes are played outside the
Note Limit setting here.
VelocityLimit
Determines the lowest and highest velocity in the Arpeggio’s velocity range. This lets you control when the Arpeggio
sounds by your playing strength.
Settings: 1 ~ 127
n You can also create separate low and high trigger ranges for the Arpeggio playback, with a velocity “hole” in the middle, by
specifying the maximum value first. For example, setting a Velocity Limit of 93 - 34 lets you play the Arpeggio from two
separate velocity ranges: soft (1 - 34) and hard (93 - 127). Notes played at middle velocities between 35 and 92 do not play
the Arpeggio.
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Voice Edit mode
Normal Voice Edit
[SF3] PLAY FX
Common Edit
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.
UnitMultiply (Unit Multiply)
Adjust the Arpeggio playback time. For example, if you set a value of 200%, the playback time will be doubled
(tempo is halved). On the other hand, if you set a value of 50%, the playback time will be halved (tempo is doubled).
Normal playback time is 100%.
Settings: 50%, 66%, 75%, 100%, 133%, 150%, 200%
Delays notes on even-numbered beats (backbeats) to produce a swing feel.
Swing
Settings: -120 ~ +120
QuntValue (Quantize Value)
Determines to what beats the note data in the Arpeggio sequence data will be aligned, or determines to what beats
in the Arpeggio sequence data the swing is applied.
Settings: 32nd note
16th note triplet
16th note
QuntStrength
(Quantize Strength)
8th note triplet
8th note
1/4 note triplet
1/4 note
The Strength value sets the “strength” by which note events are pulled toward the nearest quantize beats. A setting
of 100% produces exact timing set via the QuntValue parameter above. A setting of 0% results in no quantization.
Settings: 0% ~ 100%
Determines how much the Velocity of the Arpeggio playback is offset from the original value. For example, a setting
of 100% means the original values are used. Settings below 100% will reduce the velocity of the Arpeggio notes,
whereas settings above 100% will increase the velocities.
VelocityRate
Settings: 0% ~ 200%
n The Velocity cannot be decreased or increased beyond its normal range of 1 to 127; any values outside that range will
automatically be limited to the minimum or maximum.
Determines how much the Gate Time (length) of the Arpeggio notes is offset from the original value. A setting of
100% means the original values are used. Settings below 100% will shorten the gate times of the Arpeggio notes,
whereas settings above 100% will lengthen them.
GateTimeRate
Settings: 0% ~ 200%
n The Gate Time cannot be decreased beyond its normal minimum of 1; any values outside that range will automatically be
limited to the minimum.
[F4] CTL SET (Controller Set)
Reference Voice Mode
[SF1] SET1/2 - [SF3] SET5/6
Since up to six Controller Sets can be assigned to each Voice, three pages (Sets 1/2, Sets 3/4 and Sets 5/6) are
provided. For more information on Controller Sets, see page 155.
Determines whether or not the selected controller affects each individual Element.
ElementSw
Settings: Elements 1 to 4 enabled (“1” to “4”) or disabled (“-”)
n This parameter is disabled when the Dest (Destination) described below is set to a parameter unrelated to the Voice Elements.
Determines which panel controller is to be assigned and used for the selected Set. This controller then is used to
control the parameter set in Destination below.
Source
Settings: PB (Pitch Bend Wheel), MW (Modulation Wheel), AT (After Touch), FC1 (Foot Controller 1), FS (Footswitch),
RB (Ribbon Controller), BC (Breath Controller), AS1 (Knob ASSIGN 1), AS2 (Knob ASSIGN 2), FC2 (Foot Controller2)
n Keep in mind that unlike the other controllers, the ASSIGN A and B knobs can each be assigned to one common function for the
entire system of this synthesizer, and not to different functions for each individual voice. Also refer to the Utility mode (page 263).
Determines the parameter that is controlled by the Source controller (above).
Dest (Destination)
Settings: For a complete list of the available parameters/controls, refer to the separate Data List booklet.
Determines the degree to which the Source controller affects the Destination parameter. For negative values, the
controller operation is reversed; maximum controller settings produce minimum parameter changes.
Depth
Settings: -64 ~ 0 ~+63
[F5] LFO (Low Frequency Oscillator)
From these displays, you can make a variety of LFO related settings. As its name suggests, the LFO creates waveforms of a low frequency. These waveforms can
be used to vary the pitch, filter or amplitude to create effects such as vibrato, wah and tremolo.
[SF1] WAVE
Determines the LFO Wave.
Wave
Settings: tri, tri+, sawup, sawdwn, squ1/4, squ1/3, squ, squ2/3, squ3/4, trpzp, S/H 1, S/H 2, user
Determines the speed of the LFO Wave modulation. Higher values result in faster modulation speeds.
Speed
Settings: 0 ~ 63
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Voice Edit mode
Normal Voice Edit
Common Edit
TempoSync
Determines whether or not the LFO is synchronized to the tempo of the Arpeggio or sequencer (song or pattern).
TempoSpeed
This parameter is available only when TempoSync above has been set to “on.” It allows you to make detailed note
value settings that determine how the LFO pulses in sync with the Arpeggio or sequencer.
Settings: off (not synchronized), on (synchronized)
Settings: 16th, 8th/3 (eighth-note triplets), 16th. (dotted sixteenth notes), 8th, 4th/3 (quarter-note triplets), 8th. (dotted eighth notes), 4th
(quarter notes), 2nd/3 (half-note triplets), 4th. (dotted quarter notes), 2nd (half notes), whole/3 (whole-note triplets), 2nd.
(dotted half notes), 4th x 4 (quarter-note quadruplets; four quarter notes to the beat), 4th x 5 (quarter-note quintuplets; five
quarter notes to the beat), 4th x 6 (quarter-note sextuplets; six quarter notes to the beat), 4th x 7 (quarter-note septuplets;
seven quarter notes to the beat), 4th x 8 (quarter-note octuplets; eight quarter notes to the beat)
n The actual length of the note depends on the internal or external MIDI tempo setting.
KeyOnReset
Determines whether or not the LFO is reset each time a note is pressed. The following three settings are available.
Settings: off, each-on, 1st-on
off..................... The LFO cycles freely with no key synchronization. Pressing a key starts the LFO wave at whatever phase the LFO
happens to be at that point.
each-on ........... The LFO resets with each note you play and starts a waveform at the phase specified by the Phase parameter (below).
1st-on .............. The LFO resets with every note you play and starts the waveform at the phase specified by the Phase parameter
(below). However, if you play a second note while the first is being held, the LFO continues cycling according to the
same phase as triggered by the first note. In other words, the LFO only resets if the first note is released before the
second is played.
1st-on
off
each-on
Time
Key on
RandomSpeed
Time
Time
Key on
(first note)
Key on
(first note)
Key on
(second note)
Key on
(second note)
Determines the degree to which the LFO speed changes at random. A setting of “0” results in the original speed.
Higher values result in a larger degree of speed change.
Settings: 0 ~ 127
[SF2] DELAY
Determines the delay time before the LFO comes into effect. A higher value results in a longer delay time.
Reference Voice Mode
Delay (Delay Time)
Settings: 0 ~ 127
FadeIn (Fade In Time)
Determines the amount of time for the LFO effect to fade in (after the Delay time has elapsed). A higher value results
in a slower fade-in.
Settings: 0 ~ 127
Low FadeIn value
Faster fade-in
High FadeIn value
Slower fade-in
FadeIn
FadeIn
Max
Max
Time
Time
Delay
Delay
Key on
Hold (Hold Time)
Key on
Determines the length of time during which the LFO is held at its maximum level. A higher value results in a longer
Hold time.
Settings: 0 ~ 127
Hold
Max
Time
FadeOut
Determines the amount of time for the LFO effect to fade out (after the Delay time has elapsed). A higher value
results in a slower fade-out.
Settings: 0 ~ 127
Low FadeOut value
Faster fade-out
Hold
Low FadeOut value
Faster fade-out
FadeOut
Hold
Max
FadeOut
Max
Time
Time
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Voice Edit mode
Normal Voice Edit
Common Edit
[SF3] PHASE
Determines the starting phase point for the LFO Wave when it is reset.
Phase
Settings: 0, 90, 120, 180, 240, 270
Time
Phase 0°
Offset EL1 - EL4 (Phase Offset
Element1 - Element4)
[SF4] BOX1 - 3
90°
180° 270°
120°
240°
Determines the offset values of the Phase parameter (above) for the respective Elements.
Settings: +0, +90, +120, +180, +240, +270
From this display you can select the destination parameter for the LFO (which aspect of the sound the LFO controls),
the Elements to be affected by the LFO, and the LFO Depth. Three pages (boxes) provided for setting the
destination let you assign multiple destinations.
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)
Determines the LFO Wave Depth.
Depth
Settings: 0 ~ 127
DptRatio EL1 - EL4 (Depth Offset
Element1 - Element4)
[SF5] USER
Determines the offset values of the Depth parameter (above) for the respective Elements.
Settings: 0 ~ 127
This menu is available only when the User LFO wave is selected. You can create a custom LFO wave consisting of
up to sixteen steps.
You can select a pre-programmed template for the LFO wave. The selected template's wave graph appears on the
display and you can create the LFO wave by viewing it. Each time pressing the [SF1] random button, different LFO
wave is appears on the display randomly.
Reference Voice Mode
Template
Settings:
all0 ...................Values of all the steps are set to 0.
all64 .................Values of all the steps are set to 64.
all127 ...............Values of all the steps are set to 127.
saw up .............Creates a saw shaped upward wave.
saw down.........Creates a saw shaped downward wave.
even step .........Values of all even steps are set to 127, and values of all odd steps are set to 0.
odd step...........Values of all odd steps are set to 127, and values of all even steps are set to 0.
Determines the slope or ramp characteristics of the LFO wave.
Slope
Settings: OFF (no slope), up, down, up&down
Edits the value for each step.
Value
Settings: 0 ~ 127
Selects the step number of the LFO wave.
Step
Settings: 1 ~ 16
[F6] EFFECT
n
For details on the Effect connections in the Voice mode, see page 179. For details on the Effect Types, refer to the Effect Type list in the separate Data List booklet.
[SF1] CONNECT
This display gives you comprehensive control over the effects.
EL: OUT 1-4
(Element 1-4 Effect Output)
Determines which Insertion effect (A or B) is used to process each individual Element. The “thru” setting lets you
bypass the Insertion effects for the specific Element.
Settings: insA, insB, thru
InsEF Connect
(Insertion Effect Connect)
Determines the effect routing for Insertion effects A and B. The setting changes are shown on the diagram in the
display, giving you a clear picture of how the signal is routed.
Settings: Para, InsAtoB, InsBtoA (See page 179.)
InsA Ctgry
(Insertion A Category),
InsA Type (Insertion A Type)
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Determines the effect type for Insertion A.
Voice Edit mode
Normal Voice Edit
Element Edit
InsB Ctgry
(Insertion B Category),
InsB Type (Insertion B Type)
Determines the effect type for Insertion B.
Reverb Type
Determines the effect type for Reverb.
Chorus Ctg
(Chorus Effect Category),
Chorus Typ (Chorus Effect Type)
Determines the effect type for Chorus.
Reverb Send
Determines the level of the sound (from Insertion A or B, or the bypassed signal) that is sent to Reverb effect. A
setting of “0” results in no Reverb processing of the sound.
Settings: 0 ~ 127
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
Reverb Return
Determines the Return level of the Reverb Effect.
Settings: 0 ~ 127
Chorus Return
Determines the Return level of the Chorus Effect.
Settings: 0 ~ 127
Chorus to Reverb
Determines the Send level of the signal sent from the Chorus Effect to the Reverb Effect.
Settings: 0 ~ 127
Reverb Pan
Determines the pan position setting for the Reverb effect.
Settings: L63 (far left) ~ cnt (center) ~ R63 (far right)
Chorus Pan
Determines the pan position setting for the Chorus effect.
Settings: L63 (far left) ~ cnt (center) ~ R63 (far right)
[SF3] INS B (Insertion A)
[SF4] REVERB
These are for adjusting the various parameters of the Effect blocks.
The number of parameters and values available differs depending on the currently selected effect type. For more
information, see the Effect Type List in the separate Data List booklet.
Note that the menu of the corresponding Effect block disappears when the “thru” type is selected.
Reference Voice Mode
[SF2] INS A (Insertion A)
[SF5] CHORUS
Element Edit
[VOICE] → Normal Voice selection → [EDIT] → Element selection
These parameters are for editing the individual Elements that make up a Normal Voice.
[F1] OSC (Oscillator)
[SF1] WAVE
ElementSw (Element Switch)
From this display you can select the desired waveform or sound used for the Element.
Determines whether the currently selected Element is on or off.
Settings: off (inactive), on (active)
Bank
Determines whether the Preset Waveform or User Waveform is used.
Settings: preset, usr wav
n The User Waveform contains audio data you have created with the Sampling function or imported (as WAV or AIFF files) from
a SmartMedia/USB storage device.
Wave No. (Waveform Number),
WaveCtgry (Waveform Category)
[SF2] OUTPUT
KeyOnDelay
Determines the Waveform for the selected Element. See the Waveform list in the separate Data List.
From this display you can set certain output parameters for the selected Element.
Determines the time (delay) between the moment you press a note on the keyboard and the point at which the sound
is played. You can set different delay times for each Element.
Settings: 0 ~ 127
DelayTempoSync
Determines whether or not the KeyOnDelay is synchronized to the tempo of the Arpeggio or sequencer (song or
pattern).
Settings: off (not synchronized), on (synchronized)
DelayTempo
Determines the timing of the KeyOnDelay when the DelayTempoSync is set to on.
Settings: 16th, 8th/3 (eighth-note triplets), 16th. (dotted sixteenth notes), 8th, 4th/3 (quarter-note triplets), 8th. (dotted eighth notes), 4th
(quarter notes), 2nd/3 (half-note triplets), 4th. (dotted quarter notes), 2nd (half notes), whole/3 (whole-note triplets), 2nd.
(dotted half notes), 4th x 4 (quarter-note quadruplets; four quarter notes to the beat), 4th x 5 (quarter-note quintuplets; five
quarter notes to the beat), 4th x 6 (quarter-note sextuplets; six quarter notes to the beat), 4th x 7 (quarter-note septuplets;
seven quarter notes to the beat), 4th x 8 (quarter-note octuplets; eight quarter notes to the beat)
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Voice Edit mode
Normal Voice Edit
InsEffectOut
(Insertion Effect Output)
Element Edit
Determines which Insertion effect (1 or 2) is used to process each individual Element. The “thru” setting lets you
bypass the Insertion effects for the specific Element. (This parameter is the same as “EL: OUT” on the [F6] EFFECT
→ [SF1] CONNECT display in Normal Common Edit. Making a setting here automatically changes the setting of that
parameter as well.)
Settings: thru, insA (Insertion Effect A), insB (Insertion Effect B)
[SF3] LIMIT
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.
NoteLimit
Settings: C -2 ~ G8
n You can also create a lower and an upper range for the Element, with a note range “hole” in the middle, by specifying the
highest note first. For example, setting a Note Limit of “C5 - C4” lets you play the Element from two separate ranges: C -2 to C4
and C5 to G8. Notes played between C4 and C5 do not play the selected Element.
n You can also set the range directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired
low and high keys. Refer to the Basic Operation section, page 53.
Determines the minimum and maximum values of the velocity range within which each Element will respond. Each
Element will only sound for notes played within its specified velocity range. For example, this lets you have one
Element sound when you play softly and have a different one sound when you play strongly.
VelocityLimit
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 gradually the sound of an Element decreases in volume in proportion to the distance of velocity
changes outside the Velocity Limit setting (above). The practical application of this parameter is to create naturalsounding velocity crossfades, in which different Elements change gradually depending on how strongly or softly you
play. The higher the value, the more gradual the level change.
Settings: 0 ~ 127
[F2] PITCH
[SF1] TUNE
From this display you can set various pitch-related parameters for the selected Element.
Determines the pitch of each Element in semitones.
Coarse
Reference Voice Mode
Settings: -48 ~ 0 ~ +48
Determines the fine tuning for the pitch of each Element.
Fine
Settings: -64 ~ 0 ~ +63
Determines the degree to which the notes (specifically, their position or octave range) affect the pitch in fine tuning
(set above) of the selected Element, regarding C3 as the basic pitch.
A positive setting will cause the pitch of lower notes to change lower and that of higher notes to change higher.
Negative values will have the opposite effect.
FineScaling
Settings: -64 ~ 0 ~+63
This lets you randomly vary the pitch of the Element for each note you play. This is effective in reproducing the
natural pitch variations in acoustic instruments. It is also useful for creating unusual random pitch changes. The
higher the value, the greater the pitch variation. A value of “0” results in no pitch change.
Random
Settings: 0 ~127
[SF2] VEL SENS
(Velocity Sensitivity)
From this display you can determine how the Pitch EG responds to velocity.
Determines the velocity sensitivity of the PEG’s Time parameters. Select the Segment first, then set its Time
parameter. Positive Time settings will play back the specified Segment faster in proportion to the played velocity and
negative values will play it back slower.
EGTime,
Segment
Settings: EGTime -64 ~0 ~+63
Settings: Segment: atk, atk+dcy, dcy, atk+rls, all
atk (attack) .............................EG Time Value affects Attack time.
atk+dcy (attack + decay) ......EG Time Value affects Attack/Decay1 time.
dcy (decay)............................EG Time Value affects Decay time.
atk+rls (attack + release).......EG Time Value affects Attack/Release time.
all ..........................................EG Time Value affects all PEG Time parameters.
Determines the velocity sensitivity of the PEG Level. Positive settings will cause the pitch change to rise the harder
you play the keyboard, and negative values will cause it to fall. The Curve parameter lets you select from five
different preset velocity curves (graphically indicated in the display), that determine how velocity affects the Pitch
EG Depth.
EGDepth,
Curve
Settings: EGDepth: -64 ~ 0 ~ +63
Settings: Curve: 0 ~ 4
Determines the velocity sensitivity of the Pitch. Extreme values produce greater variation in PEG Depth. For positive
values, the harder you play the keys, the greater the change in PEG Depth. For negative values, the softer you play
the keys, the greater the change in PEG Depth.
Pitch
Settings: -64 ~ 0 ~ +63
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Voice Edit mode
[SF3] PEG
(Pitch Envelope Generator)
Normal Voice Edit
Element Edit
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
LEVEL
HOLD
Hold time
Hold level
ATK
Attack time
Attack level
DCY1
Decay1 time
Decay1 level
DCY2
Decay2 time
Decay2 level
REL
Release time
Release level
DEPTH
Depth
Settings: TIME: 0 ~ 127
LEVEL: -128 ~ 0 ~ +127
DEPTH: -64 ~ 0 ~ +63
n For details on the PEG, see page 160.
[SF4] KEY FLW (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.
Determines the sensitivity of the Key Follow effect (the pitch interval of adjacent notes).
At +100 (the normal setting), adjacent notes are pitched one semitone (100 cents) apart. At 0, all notes are the same
pitch. At +50, one octave is stretched out over twenty-four notes. For negative values, the settings are reversed.
PitchSens (Pitch Sensitivity)
Settings: -200 ~ 0 ~ +200
n This parameter is useful for creating alternate tunings, or for use with sounds that do not need to be spaced in semitones,
such as pitched drum sounds in a Normal Voice.
FCenterKey
Determines the central note or pitch for the Key Follow effect on pitch. The note number set here is the same pitch as
normal regardless of the Pitch Sensitivity setting. Depending on the Pitch Sensitivity parameter above, the further
away from the Center Key the keys are played, the greater the degree of pitch change.
Settings: C -2 ~ G8
n You can also set the Center Key directly from the keyboard, by holding down the [INFORMATION] button and pressing the
desired key. Refer to the Basic Operation section, page 53.
Determines the degree to which the notes (specifically, their position or octave range) affect the Pitch EG times of
the selected Element. The Center Key (next parameter) is used as the basic pitch for this parameter.
A positive setting will cause the pitch of lower notes to change slower and that of higher notes to change faster.
Negative values will have the opposite effect.
EGTimeSens
(EG Time Sensitivity)
FCenterKey
Reference Voice Mode
Settings: -64 ~ 0 ~+63
Determines the central note or pitch for the Key Follow effect on Pitch EG.
When the Center Key note is played, the PEG behaves according to its actual settings. The pitch change
characteristics for other notes will vary in proportion to the EG Time settings.
Settings: C -2 ~ G8
n You can also set the Center Key directly from the keyboard, by holding down the [INFORMATION] button and pressing the
desired key. Refer to the Basic Operation on page 53.
EG Time Sensitivity and Center Key
Pitch Sensitivity and Center Key
When Pitch Sensitivity is set to 100
Positive value
Large
Amount of
pitch change
Negative value
+
Small
Faster speed
+63
+30
Lower range
Higher range
-40
–
Lower
range
Center key
Slower speed
Higher
range
Center key
[F3] FILTER
[SF1] TYPE
Type
From this display you can make comprehensive settings for the Filter unit. The available parameters differ
depending on which Filter type is selected here. For more information on the Filter types as well as illustrations of
each type, refer to page 161.
Basically, there are four different Filter types: an LPF (Low Pass Filter), an HPF (High Pass Filter), a BPF (Band Pass
Filter) and a BEF (Band Elimination Filter). Each type has a different frequency response and produces a different
effect on the sound. This synthesizer also features special combination Filter types, for additional sonic control.
Settings: Refer to page 209.
Gain
Determines the Gain (the amount of boost applied to the signal sent to the Filter).
Settings: 0 ~ 255
Cutoff
Determines the cutoff frequency for the Filter, or the central frequency around which the Filter is applied.
Settings: 0 ~ 255
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Voice Edit mode
Normal Voice Edit
Element Edit
This parameter’s function varies according to the selected Filter Type. If the selected filter is an LPF, HPF, BPF (excluding
the BPFw), or BEF, this parameter is used to set the Resonance. For the BPFw, it is used to adjust the Width of the band.
Resonance is used to set the amount of Resonance (harmonic emphasis) applied to the signal at the cutoff frequency.
This can be used in combination with the cutoff frequency parameter to add further character to the sound. The Width
parameter is used to adjust the width of the band of signal frequencies passed by the filter with the BPFw.
Resonance/Width
Settings: 0 ~ 127
Determines the distance between the Cutoff frequencies, for the Dual Filter types (which feature two identical filters
combined in parallel, and the LPF12 + BPF6 type).
Distance
Settings: 0 ~ 255
Determines the central frequency for the Key Follow parameter (below) of the HPF. When a filter type “LPF12” or
“LPF6” is selected, this parameter is available.
HPFCutoff
Settings: 0 ~ 255
HPFKeyFlw (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
[SF2] VEL SENS
(Velocity Sensitivity)
From this display you can determine how the Filter and the FEG respond to velocity.
Determines the velocity sensitivity of the FEG’s Time parameters.
Select the Segment first, then set its Time parameter. Positive Time settings will play back the specified Segment
faster in proportion to the played velocity and negative values will play it back slower.
EGTime,
Segment
Settings: EG Time -64 ~0 ~+63
Settings: Segment: atk, atk+dcy, dcy, atk+rls, all
atk (attack) .............................EG Time Value affects Attack time.
atk+dcy (attack + decay) ......EG Time Value affects Attack/Decay1 time.
dcy (decay)............................EG Time Value affects Decay time.
atk+rls (attack + release).......EG Time Value affects Attack/Release time.
all ..........................................EG Time Value affects all FEG Time parameters.
Reference Voice Mode
Determines the velocity sensitivity of the FEG Level.
For positive settings, the more strongly you play the keyboard, the more Filter changes the sound. Negative settings
do the opposite; the more softly you play, the more the sound changes. The Curve parameter lets you select from
five different preset velocity curves (graphically indicated in the display), that determine how velocity affects the
Filter EG.
EGDepth,
Curve
Settings: EGDepth: -64 ~ 0 ~ +63
Settings: Curve: 0 ~ 4
Determines the degree to which velocity affects the Cutoff frequency of the Filter EG. For positive values, the more
strongly you play the keys, the greater the change in the Cutoff frequency. Negative values do the opposite; the
more softly you play, the greater the change in frequency.
Cutoff
Settings: -64 ~ 0 ~ +63
Determines the degree to which velocity affects the Resonance of the Filter EG. For positive values, the more
strongly you play the keys, the greater the Resonance change. Negative values do the opposite; the more softly you
play, the greater the change in Resonance.
Resonance
Settings: -64 ~ 0 ~ +63
[SF3] FEG
(Filter Envelope Generator)
From this display you can make all the time and level settings for the Filter EG, which determine how the tonal quality
of the sound changes over time. These can be used to control the change in Cutoff Frequency from the moment a
note is pressed on the keyboard to the moment the sound stops.
The full names of the available parameters are shown in the chart below, as they appear in the display.
TIME
LEVEL
HOLD
Hold time
Hold level
ATK
Attack time
Attack level
DCY1
Decay1 time
Decay1 level
DCY2
Decay2 time
Decay2 level
REL
Release time
Release level
DEPTH
Depth
Settings: TIME: 0 ~ 127
LEVEL: -128 ~ 0 ~+127
DEPTH: -64 ~ 0 ~+63
n For details on the FEG, see page 161.
[SF4] KEY FLW (Key Follow)
CutoffSens (Cutoff Sensitivity)
From this display you can set the Key Follow effect for the Filter – in other words, how the tonal qualities of the
Element and its Filter EG respond to the particular notes (or octave range) you play.
Determines the degree to which the notes (specifically, their position or octave range) affect the Filter of the selected
Element. A Center Key setting (next parameter) of C3 is used as the basic setting by the Cutoff parameter. A positive
setting will lower the Cutoff frequency for lower notes and raise it for higher notes. A negative setting will have the
opposite effect.
Settings: -200 ~ 0 ~ +200
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Owner’s Manual
Voice Edit mode
FCenterKey
Normal Voice Edit
Element Edit
This indicates that the central note for Cutoff Sensitivity above is C3. At C3, the tone remains unchanged. For other
notes played, the Cutoff Frequency varies according to the particular note and the Cutoff Sensitivity setting. Keep in
mind that this is for display purposes only; the value cannot be changed.
Settings: C -2 ~ G8
Determines the degree to which the notes (specifically, their position or octave range) affect the Filter EG times of the
selected Element. The basic speed of change for the FEG is at the note specified in the Center Key (next
parameter). A positive setting will cause slower changes for lower notes and faster changes for higher notes.
A negative setting will have the opposite effect.
EGTimeSens
(EG Time Sensitivity)
Settings: -64 ~ 0 ~ +63
FCenterKey
Determines the central note or pitch for the Key Follow effect on Filter EG. Depending on the EG Time Sensitivity
parameter above, the further away from the Center Key the keys are played, the more the time of the Filter EG
deviates from the normal. When the Center Key note is played, the FEG behaves according to its actual settings.
The Filter change characteristics for other notes will vary in proportion to the EG Time settings.
Settings: C -2 ~ G8
n You can also set the Center Key directly from the keyboard, by holding down the [INFORMATION] button and pressing the
desired key. Refer to the Basic Operation section, page 53.
Cutoff Sensitivity and Center Key
When Cutoff Sensitivity is set to 100
EG Time Sensitivity and Center Key
Positive value
Large
Amount of cutoff
frequency change
Negative value
+
Small
Faster speed
+63
+30
Lower range
Higher range
-40
–
Lower
range
Center key
Slower speed
Higher
range
Center key
Reference Voice Mode
[SF5] SCALE (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. Refer to the setting example on page 211.
Settings: BREAK POINT 1 ~ 4: C-2 ~ G8
OFFSET 1 ~ 4: 128 ~ 0 ~ +127
n You can also set the Break Point directly from the Keyboard, by holding down the [INFORMATION] button and pressing the
desired key. Refer to the Basic Operation section, page 53.
[F4] AMP (Amplitude)
[SF1] LVL/PAN (Level/Pan)
Level
This display not only lets you make basic Level and Pan settings for each individual Element, it also gives you some
detailed and unusual parameters for affecting Pan position.
Determines the output level for the selected Element.
Settings: 0 ~ 127
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
[SF2] VEL SENS
(Velocity Sensitivity)
EG Time,
Segment
From this display you can determine how the Amplitude (volume) EG responds to velocity.
Determines the velocity sensitivity of the AEG’s Time parameters.
Select the Segment first, then set its Time parameter. Positive Time settings will play back the specified Segment
faster in proportion to the played velocity and negative values will play it back slower.
Settings: EG Time -64 ~0 ~+63
Settings: Segment: atk, atk+dcy, dcy, atk+rls, all
atk (attack) ............................ EG Time Value affects Attack time.
atk+dcy (attack + decay)...... EG Time Value affects Attack/Decay1 time.
dcy (decay) ........................... EG Time Value affects Decay time.
atk+rls (attack + release) ...... EG Time Value affects Attack/Release time.
all .......................................... EG Time Value affects all AEG Time parameters.
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Voice Edit mode
Normal Voice Edit
Element Edit
Determines the velocity sensitivity of the Amplitude EG Level. For positive settings, the more strongly you play the
keyboard, the more the volume changes. Negative settings do the opposite; the more softly you play, the more the
volume changes. The Curve parameter lets you select from five different preset velocity curves (graphically
indicated in the display), that determine how velocity affects the Amplitude EG.
Level,
Curve
Settings: Level: 64 ~ 0 ~ +63
Curve: 0 ~ 4
[SF3] AEG
(Amplitude Envelope Generator)
From this display you can make all the time and level settings for the Amplitude EG, which determine how the
volume of the sound changes over time. These can be used to control the change in volume from the moment a note
is pressed on the keyboard to the moment the sound stops.
The full names of the available parameters are shown in the chart below, as they appear in the display.
TIME
LEVEL
INIT
--Initial level
ATK
Attack time
Attack level
DCY1
Decay1 time
Decay1 level
DCY2
Decay2 time
Decay2 level
REL
Release time
---
DEPTH
---
Settings: TIME: 0 ~ 127
LEVEL: 0 ~ 127
n For details on the AEG, see page 162.
[SF4] KEY FLW (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.
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.
LevelSens (Level Sensitivity)
Settings: -200 ~ 0 ~+200
FCenterKey
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.
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.
Reference Voice Mode
Settings: -64 ~ 0 ~ +63
FCenterKey
Determines the central note or pitch for the Key Follow effect on Amplitude EG. Depending on the EG Time
Sensitivity parameter above, the further away from the Center Key the keys are played, the more the time of the
Amplitude EG deviates from the norm.
When the Center Key is played, the AEG behaves according to its actual settings. The amplitude change
characteristics for other notes will vary in proportion to the EGTime settings.
Settings: C -2 ~ G8
n You can also set the Center Key directly from the keyboard, by holding down the [INFORMATION] button and pressing the
desired key. Refer to the Basic Operation section, page 53.
Level Sensitivity and Center Key
EG Time Sensitivity and Center Key
When Level Sensitivity is set to 100
Positive value
Large
Amount of AEG
level change
Negative value
+
Small
Faster speed
+63
+30
Lower range
Higher range
-40
–
Lower
range
Center key
Slower speed
Higher
range
Center key
Amplitude Scaling controls the output level (set in the [F4] AMP → [SF1] LVL /PAN display) according to the
positions of the notes on the keyboard. You can divide the entire keyboard by four break points, and assign different
offset values of amplitude to them respectively. Refer to the setting example on page 211.
[SF5] SCALE
(Amplitude Scaling)
Settings: BREAK POINT 1 ~ 4: C-2 ~ G8
Settings: OFFSET 1 ~ 4: -128 ~ 0 ~ +127
n You can also set the Break Point directly from the Keyboard, by holding down the [INFORMATION] button and pressing the
desired key. Refer to the Basic Operation section, page 53.
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Owner’s Manual
Voice Edit mode
Normal Voice Edit
Element Edit
[F5] LFO (Low Frequency Oscillator)
This display gives you a comprehensive set of controls over the LFO for each individual Element. The LFO can be used to create vibrato, wah, tremolo and other
special effects, by applying it to the pitch, filter and amplitude parameters.
Determines the LFO waveform used to vary the sound.
Wave
Settings: saw, tri, squ
tri (triangle wave)
saw (sawtooth wave)
squ (square wave)
Determines the speed of the LFO waveform. The higher the value, the faster the speed.
Speed
Settings: 0 ~ 63
Determines whether or not the LFO is reset each time a note is played.
KeyOnReset
Settings: off, on
Off
On
Time
Time
Key on
Key on
Determines the delay time between the moment you play a note on the keyboard and the moment the LFO comes
into effect. A higher value results in a longer delay time.
KeyOnDelay
Settings: 0 ~ 127
Determines the amount (depth) by which the LFO waveform varies (modulates) the pitch of the sound.
The higher the value, the greater the amount of pitch modulation.
PMod
(Pitch Modulation Depth)
Reference Voice Mode
Settings: 0 ~ 127
Determines the amount (depth) by which the LFO waveform varies (modulates) the Filter Cutoff frequency. The
higher the value, the greater the amount of filter modulation.
FMod
(Filter Modulation Depth)
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
Determines the amount of time for the LFO effect to fade in (after the KeyOnDelay time has elapsed).
A higher value results in a slower fade-in.
FadeInTime
Settings: 0 ~ 127
[F6] EQ (Equalizer)
Determines the Equalizer Type. This synthesizer features a wide selection of various equalizer types, which can be
used not only to enhance the original sound, but even completely change the character of the sound. The particular
parameters and settings available depend on the specific Equalizer Type that is selected.
Type
Settings: EQ L/H, P.EQ, boost6, boost12, boost18, thru
EQ L/H (Low/High) ................ This is a “shelving” equalizer, which combines separate high and low frequency bands.
P.EQ (Parametric EQ) ............ The Parametric EQ is used to attenuate or boost signal levels (gain) around the Frequency. This type
features 32 different “Q” settings, which determine the frequency band width of the equalizer.
boost6 (boost 6dB)/boost12 (boost 12dB)/boost18 (boost 18dB)
These can be used to boost the level of the entire signal by 6dB, 12dB and 18dB, respectively.
thru ........................................ If you select this, the equalizers are bypassed and the entire signal is unaffected.
When set to EQ L/H
When set to P.EQ
Low Freq
Settings: 50.1Hz – 2.00kHz
Gain
High Freq
Setttings: 503.8Hz – 10.1kHz
Q (Frequency characteristic)
Settings: 0 – 31
+
0
Gain
+
0
Gain
–
–
Frequency
Frequency
Settings: -32 – 0 – +32
Low Gain
High Gain
Freq
Settings: -32 – 0 – +32
Settings: -32 – 0 – +32
Settings: 139.7Hz – 12.9kHz
Owner’s Manual
201
Voice Edit mode
Drum Voice Edit
Common Edit
Drum Voice Edit
When a Drum Voice is selected, Voice Edit parameters are divided into Common Edit (parameters common to all keys, up to 73), and Key Edit
(parameters of individual keys).
[VOICE] → Drum Voice selection → [EDIT] → [COMMON]
Common Edit
These parameters are for making global (or common) edits to all keys of the selected Drum Voice.
[F1] GENERAL
[SF1] NAME
Same as in Normal Voice Common Edit. See page 189.
[SF3] MEQ OFS (Master EQ Offset)
[SF5] OTHER
[F2] OUTPUT
Same as in Normal Voice Common Edit. See page 190. In addition, the following two parameters are also available.
Determines the Send level for the entire Drum voice (all keys), sent from Insertion Effect A/B to the Reverb effect.
InsRevSend
(Insertion Reverb Send)
Settings: 0 ~ 127
InsChoSend
(Insertion Chorus Send)
Settings: 0 ~ 127
n
Determines the Send level for the entire Drum voice (all keys), sent from Insertion Effect A/B to the Chorus effect.
Send level (to Reverb and Chorus) cannot be set independently for each Drum key; the value is fixed at 127 (maximum).
[F3] ARP (Arpeggio)
[SF1] TYPE
Same as in Normal Voice Common Edit. See page 191.
[SF2] LIMIT
[SF3] PLAY FX
Reference Voice Mode
[F4] CTL SET (Controller Set)
Same as in Normal Voice Common Edit. See page 192.
Please note that the Element Switch parameter is not available in Drum Voice Common edit.
[F6] EFFECT
Same as in Normal Voice Common Edit. See page 194.
The only difference here is that “KEY: OUT” appears in the [SF1] CONNECT display instead of “EL: OUT” (in Normal Common Effect).
[VOICE] → Drum Voice selection → [EDIT] → Key selection
Key Edit
These parameters are for editing the individual keys that make up a Drum Voice.
[F1] OSC (Oscillator)
[SF1] WAVE
From this display you can select the desired wave or Normal voice used for the individual Drum key.
Determines whether a Wave or a Normal voice is to be used for the selected key. Also, use the Bank, Number and
Category parameters below to specify the desired Wave or Normal voice.
Type
Settings: pre wav (Preset wave), voice, usr wav (User wave)
n When the Type is set to “voice” here, some parameters in the Drum Voice Edit mode cannot be edited.
ElementSw (Element Switch)
This parameter is available when Type (above) is set to “pre wav” or “user wav.” This determines whether the
currently selected key is on or off, or in other words, whether the wave for the key is active or inactive.
Settings: on, off
This parameter is available when Type (above) is set to “voice.” Any of the Normal voice banks can be selected.
Bank
n
Plug-in voices cannot be selected for Drum keys.
Determines the Wave/Voice number. The number differs depending on the selected Type. For details about available
Waves and Voices, refer to the separate Data List booklet.
Number
Settings: When Type is set to “pre wav”: 001 ~ 1859
When Type is set to “voice”: 001 ~ 128
When Type is set to “usr wav”: 001 ~1024
202
Owner’s Manual
Voice Edit mode
Category
InsEFOut
(Insertion Effect Output)
Key Edit
Determines the Category of the Wave/Normal Voice. If you switch to another Category, the first Wave/Normal Voice in
that Category will be selected.
n
[SF2] OUTPUT
Drum Voice Edit
For more information about the Categories, refer to the separate Data List booklet.
From this display you can set certain output parameters for the selected Drum key.
Determines which Insertion effect (A or B) is used to process each individual Drum key. The “thru” setting lets you
bypass the Insertion effects for the specific key.
Settings: thru, insA (Insertion Effect A), insB (Insertion Effect B)
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. This is available only when Insertion Effect
Output (above) is set to “thru.”
Settings: See page 31.
[SF5] OTHER
AssignMode
From this display you can set various parameters related to how the individual notes of the Drum voice respond to
the keyboard and MIDI data.
When this is set to “single,” double playback of the same note is prevented. This is useful when two or more
instances of the same note are received nearly simultaneously, or without a corresponding note off message. To
allow playback of each instance of the same note, set this to “multi.”
Settings: single, multi
RcvNoteOff (Receive Note Off)
Determines whether or not the selected Drum key responds to MIDI Note Off messages.
AlternateGroup
Reference Voice Mode
Settings: off, on
n This parameter is available when the Type is set to “pre wav” or “usr wav” in the [F1] OSC → [SF1] WAVE display (page 202).
Set the Alternate Group to which the key is assigned. In a real drum kit, some drum sounds cannot physically be
played simultaneously, such as open and closed hi-hats.You can prevent keys from playing back simultaneously by
assigning them to the same Alternate Group. Up to 127 Alternate Groups can be defined. You can also select “off”
here if you wish to allow the simultaneous playback of sounds.
Settings: off, 1 ~ 127
[F2] PITCH
[SF1] TUNE
Coarse
From this display you can set various pitch-related parameters for the selected key.
Determines the pitch of each Drum Key Wave (or Normal Voice) in semitones.
Settings: -48 ~ +48
n If a Normal voice has been assigned to the key, this parameter adjusts the position of its note (not its pitch) relative to note C3.
Fine
Determines the fine tuning for the pitch of each Drum Key Wave (or Normal Voice).
Settings: -64 ~ +63
[SF2] VEL SENS
(Velocity Sensitivity)
Pitch
Determines how the pitch of the selected Drum key responds to velocity. For positive values, the more strongly you
play the key, the higher the pitch becomes. For negative values, the more strongly you play the key, the lower the
pitch.
Settings: -64 ~ +63
[F3] FILTER
[SF1] CUTOFF
This synthesizer lets you apply a low pass filter and high pass filter to each individual Drum key — giving you
exceptionally detailed and comprehensive sonic control over the Drum voice.
Settings: This parameter is available when the Type is set to “pre wav” or “usr wav” in the [F1] OSC → [SF1] WAVE display (page 202).
LPFCutoff
Determines the Cutoff frequency of the Low Pass Filter.
Settings: 0 ~ 255
LPFReso
Determines the amount of Resonance (harmonic emphasis) applied to the signal at the Cutoff frequency.
Settings: 0 ~ 127
HPFCutoff
Determines the Cutoff frequency of the High Pass Filter.
Settings: 0 ~ 255
Owner’s Manual
203
Voice Edit mode
Drum Voice Edit
Key Edit
[SF2] VEL SENS
(Velocity Sensitivity)
Determines the velocity sensitivity of the Low Pass Filter Cutoff frequency. For positive settings, the more strongly
you play the keyboard, the higher the cutoff frequency becomes. For negative settings, the more strongly you play,
the lower the cutoff frequency.
LPFCutoff
Settings: -64 ~ 0 ~ +63
[F4] AMP (Amplitude)
[SF1] LVL/PAN (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.
Determines the output for the selected Drum key (Wave). This lets you make detailed balance adjustments among
the various sounds of the Drum voice.
Level
Settings: 0 ~ 127
Determines the stereo Pan position for the selected Drum key (Wave). This will also be used as the basic Pan
position for the Alternate and Random settings.
Pan
Settings: L63 (Left) ~ C (Center) ~ R63 (Right)
Determines the amount by which the sound of the selected Drum key is panned alternately left and right for each
note you press. The Pan setting (above) is used as the basic Pan position.
AlternatePan
Settings: L64 ~ 0 ~ R63
n This parameter is available when the Type is set to “pre wav” or “usr wav” in the [F1] OSC → [SF1] WAVE display (page 202).
Determines the amount by which the sound of the selected Drum key is panned randomly left and right for each note
you press. The Pan setting (above) is used as the Center Pan position.
RandomPan
Settings: 0 ~ 127
n This parameter is available when the Type is set to “pre wav” or “usr wav” in the [F1] OSC → [SF1] WAVE display (page 202).
[SF2] VEL SENS
(Velocity Sensitivity)
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.
Level
Reference Voice Mode
Settings: -64 ~ 0 ~ +63
[SF3] AEG
(Amplitude Envelope Generator)
AttackTime
Settings: 0 ~ 127
Decay1Time
Settings: 0 ~ 127
Decay1Lvl (Level)
Settings: 0 ~ 127
Decay2Time
Settings: 0 ~ 126, hold
Decay2Time=hold
Decay2Time=0 – 126
Level
Attack level
Level
Attack level
Decay1 level
Attack
time
Key on
Decay1
time
Decay2
time
Decay1 level
Time
Attack
time
Key on
[F6] EQ (Equalizer)
Same as in Normal Voice Element Edit. See page 201.
n
204
This parameter is available when the Type is set to “pre wav” or “usr wav” in the [F1] OSC → [SF1] WAVE display (page 202).
Owner’s Manual
Decay1
time
Decay2
time
Time
Voice Edit mode
Plug-in Voice Edit
Common Edit
Plug-in Voice Edit
These parameters are basically the same as in Normal Voice Edit. Unlike with Normal voices, the Plug-in voices only have one Element for
editing.
n
Depending on the particular Plug-in board you are using, some of the parameters described here may not be available. For details, refer to the relevant
owner's manual of the Plug-in board.
n
For details on the current lineup of available Plug-in boards, see page 74.
Common Edit
[VOICE] → Plug-in Voice selection → [EDIT] → [COMMON]
[F1] GENERAL
[SF1] NAME
Same as in Normal Voice Common Edit. See page 189.
[SF2] PLY MODE (Play mode)
Same as in Normal Voice Common Edit. See page 190.
Please note that Micro Tuning is not available in Plug-in Voice Common Edit.
[SF3] MEQ OFS
(Master EQ Offset)
Same as in Normal Voice Common Edit. See page 190.
[SF4] PORTA (Portamento)
Same as in Normal Voice Common Edit. See page 190.
Please note that Portamento Mode and Time Mode are not available in Plug-in Voice Common Edit.
[SF5] OTHER
Same as in Normal Voice Common Edit. See page 190.
Unlike with Normal Voice Edit, the Upper and Lower ranges cannot be independently set here.
[F2] OUTPUT
Same as in Normal Voice Common Edit. See page 190.
[F3] ARP (Arpeggio)
[SF1] TYPE
Same as in Normal Voice Common Edit. See page 191.
Reference Voice Mode
[SF2] LIMIT
[SF3] PLAY FX
[F4] CTL SET (Controller Set)
[SF1] SET1/2
Same as in Normal Voice Common Edit. See page 192.
Please note that Element Switch is not available in Plug-in Voice Common Edit.
[SF2] MW (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
[SF3] AT (After Touch)
Pitch
This synthesizer gives you a comprehensive set of after touch controls for the Plug-in voice, allowing you to change
the pitch and filter settings, and produce modulation effects (pitch, filter and amplitude) — simply by pressing down
hard on the keys.
Determines the depth of control of keyboard aftertouch over pitch. You can set a value (in semitones) of up to two
octaves.
Settings: -24 ~ 0 ~ +24
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
Owner’s Manual
205
Voice Edit mode
Plug-in Voice Edit
FMod (Filter Modulation Depth)
Element Edit
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
[SF4] AC (Assignable Control)
From this display you can assign MIDI Control Change numbers (as Src) and determine the degree to which
the assigned controllers affect the filter and the modulation effects (pitch, filter and amplitude).
Determines the MIDI Control Change number used to control the filter, PMod, FMod, and AMod.
Src (Source)
Settings: 0 ~ 95
Determines the depth of control the Control Change numbers (set in the Src parameter above) have over the filter
cutoff frequency.
Filter
Settings: -64 ~ 0 ~ +63
PMod (Pitch Modulation Depth)
Determines the depth of control the Control Change messages (set in the Src parameter above) have over pitch
modulation. The larger the setting, the greater the depth of control.
Settings: 0 ~ 127
FMod (Filter Modulation Depth)
Determines the depth of control the Control Change messages (set in the Src parameter above) have over filter
cutoff modulation. The larger the setting, the greater the depth of control.
Settings: 0 ~ 127
AMod
(Amplitude Modulation Depth)
Determines the depth of control the Control Change messages (set in the Src parameter above) have over amplitude
modulation. The larger the setting, the greater the depth of control.
Settings: 0 ~ 127
[F6] EFFECT
Same as in Normal Voice Common Edit. See page 194.
Please note that the EL: OUT settings are not available in the [SF1] CONNECT display and the parallel setting (Insertion Connection) is not available in the [SF1]
CONNECT display.
Reference Voice Mode
[VOICE] → Plug-in Voice selection → [EDIT] → Element selection
Element Edit
[F1] OSC (Oscillator)
[SF1] 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.
Determines the Board Voice Bank.
Bank
Settings: These depend on the particular Plug-in board; refer to the relevant owner’s manual for details.
Determines the Board Voice Number.
Number
Settings: These depend on the particular Plug-in board; refer to the relevant owner’s manual for details.
[SF5] OTHER
Determines the velocity sensitivity of the Plug-in Voice. For higher values, the harder you play the keyboard, the
louder the voice becomes.
VelocityDepth
Settings: 0 ~ 127
This lets you specify an offset value for Velocity Depth (above). In other words, you can increase the relative velocity
(or level) of the voice by a set amount – so that all the notes you play have the added velocity.
VelocityOffset
Settings: 0 ~ 127
Determines the transpose setting for the Plug-in voice, or the amount (in semitones) by which the pitch is raised or
lowered. The pitch range is two octaves, up or down.
NoteShift
Settings: -24 ~ 0 ~ +24
206
Owner’s Manual
Voice Edit mode
[F2] PITCH
From this display you can make various time and level settings for the Pitch EG, which determine how the pitch of the Plug-in Voice changes over time.
The full names of the available parameters are shown in the chart below, as they appear in the display.
TIME
LEVEL
INIT
--Initial level
ATK
Attack time
---
DCY1
-----
DCY2
-----
REL
Release time
Release level
DEPTH
Original pitch
Pitch
Initial level
---
Release level
Settings: -64 ~ 0 ~ +63
0
Attack time
Release time
Key off
Time
[F3] FILTER
HPFCutoff (High Pass Filter
Cutoff frequency)
Determines the Cutoff frequency for the High Pass Filter.
Settings: -64 ~ 0 ~ +63
[F4] NATIVE
With a Plug-in board installed to this synthesizer, you can create a Plug-in Voice by editing both native parameters (those parameters exclusive to the particular
board) and unique parameters (related specifically to this synthesizer).
Pressing [F4] gives you access to the native parameters of the Plug-in board. The parameters will vary depending on the Plug-in Board. For details about each
parameter and its functions, refer to the Owner’s Manual or the on-line help that came with your Plug-in Board.
[F5] LFO (Low Frequency Oscillator)
From this display you can set the basic LFO parameters for modulating the pitch to create vibrato and other special effects.
Speed
Determines the speed of the LFO waveform. Positive settings increase the speed and negative settings decrease it.
Settings: -64 ~ 0 ~ +63
Delay
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.
PMod (Pitch Modulation Depth)
Reference Voice Mode
Settings: -64 ~ 0 ~ +63
Determines the amount by which the LFO waveform controls the pitch. Positive settings increase the amount and
negative settings decrease it.
Settings: -64 ~ 0 ~ +63
[F6] EQ (Equalizer)
From this display you can apply equalizer settings to the Plug-in Voice. This is a shelving equalizer with
two bands; one for high frequencies and the other for low frequencies.
n
Gain
+
LowFreq
HighFreq
For details on the EQ, see page 178.
Frequen
0
-
LowFreq (Low Frequency)
LowGain
HighGain
Determines the shelving point for the low frequencies. The levels of signals below this frequency will be boosted/
attenuated by the amount set in the LowGain parameter.
Settings: 32Hz ~ 2.0kHz
LowGain (Low Gain)
Determines the amount by which signals below the LowFreq frequency will be boosted/attenuated.
Settings: -64 ~ 0 ~ +63
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 HighGain parameter.
Settings: 500Hz ~ 16.0kHz
HighGain (High Gain)
Determines the amount by which signals above the HighFreq frequency will be boosted/attenuated.
Settings: -64 ~ 0 ~ +63
Owner’s Manual
207
Voice Job mode
[VOICE] → Voice selection → [JOB]
Voice Job mode
The Voice Job mode features several basic operations, such as Initialize and Copy. After setting parameters as required from the selected
display, press the [ENTER] button to execute the Job.
[F1] INIT (Initialize)
This function lets you reset (initialize) all Voice parameters to their default settings. It also allows you to selectively initialize certain parameters, such as Common
settings, settings for each Element/Drum key, and so on – very useful when creating a completely new voice from scratch.
Type of parameter to be initialized
When a Normal Voice is selected: ALL, Common, EL1 ~ 4, without Wave
When a Drum Voice is selected: ALL, Common, EL, without Wave
When a Plug-in Voice is selected: ALL, Common, EL, without Wave
n If you turn the check mark on when a Drum voice is selected, you can select a Drum key. For details on selecting a key, refer
to page 53 in the Basic Operation section.
[F2] RECALL (Edit Recall)
If you are editing a Voice and select a different Voice without storing your edited one, all the edits you’ve made will be erased. If this happens, you can use Edit
Recall to restore the Voice with your latest edits intact.
[F3] COPY
From this display you can copy Common and Element/Drum Key parameter settings from any Voice to
the Voice you are editing. This is useful if you are creating a Voice and wish to use some parameter
settings from another Voice.
Source Voice
Destination Voice (Current Voice)
Source voice
Determines the Voice and data type to be copied.
Reference Voice Mode
Data type
When a Normal voice is selected: Common, Element 1 ~ 4
When a Drum voice is selected: Common, Drum key C0 ~ C6
When a Plug-in voice is selected: Common, Element
n If the source Voice type (Normal/Drum/Plug-in) differs from one of the Voice you are currently editing (destination), you will only
be able to copy Common parameters.
Data type of Destination voice
(current selected voice)
If the source is a Normal or Drum Voice and data type is set to Element or Drum Key, you can set the data type of the
destination Voice.
Data type
When a Normal voice is selected: Common, Element 1 ~ 4
When a Drum voice is selected: Common, Drum key C0 ~ C6
n If you choose to copy Common parameters from the source, this display will change to “Common.”
[F4] BULK (Bulk Dump)
This function lets you send all your edited parameter settings for the currently selected Voice to a computer or another MIDI instrument for data archiving.
For details, see page 185.
n
In order to execute Bulk Dump, you’ll need to set the correct MIDI Device Number, with the following operation: [UTILITY] → [F5] MIDI → [SF1] CH → DeviceNo.
Voice Store mode
[VOICE] → Voice selection → [STORE]
This function lets you store your edited voice to User memory (Flash ROM).
For details, refer to page 85 in the Quick Guide section.
208
Owner’s Manual
Supplementary infomation
■ Supplementary information
Micro Tuning List
[VOICE] → [EDIT] → [COMMON] → [F1] GENERAL → [SF2] PLY MODE → M.TuningNo./M.TuningRoot (page 190)
M.TuningNo.
Type
M.TuningRoot
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.
Equal Temp (Equal temperament)
00
PureMaj (Pure major)
01
02
03
04
05
06
07
PureMin (Pure minor)
Werckmeist (Werckmeister)
Kirnberger
Vallot&Yng (Vallotti & Young)
1/4 Shift (1/4 shifted)
1/4 tone
C~B
The same as Pure Major, but designed for the minor scale.
C~B
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.
C~B
Johann Philipp Kirnberger, an 18th century composer, created this tempered scale to
allow performances in any key.
C~B
Francescatonio Vallotti and Thomas Young (both mid-1700s) devised this adjustment to
the Pythagorean tuning, in which the first six fifths are 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.)
08
1/8 tone
--
09
Indian
--
10
Arabic 1
11
Arabic 2
12
Arabic 3
Usually observed in Indian music (white keys only).
Usually observed in Arabic music.
Reference Voice Mode
C~B
Filter Type List
[VOICE] → [EDIT] → Element selection → [F3] FILTER → [SF1] TYPE → Type (page 197)
LPF24D (24dB/oct Digital Low Pass Filter)
A dynamic 24dB/oct low-pass filter with a
characteristic digital sound. Compared to the
LPF24A type (below), this filter can produce a more
pronounced resonance effect.
LPF18 (18dB/oct Low Pass Filter)
3-pole 18dB/oct low-pass filter.
LPF18s (18dB/oct Staggered Low Pass Filter)
3-pole 18dB/oct low-pass filter. This filter has a
smoother cutoff slope than the LPF18 type.
LPF6 (6dB/oct low-pass Filter)
1-pole 6dB/oct low-pass filter. No resonance. This
filter is designed to be used in conjunction with a
high-pass filter.
Resonance
Resonance
These frequencies are
“passed” by the filter.
LPF24A (24dB/oct Analog Low Pass Filter)
A digital dynamic low-pass filter with characteristics
similar to a 4-pole analog synth filter.
Resonance
LPF18
LPF18s
LPF12 (12dB/oct Low Pass Filter)
12dB/oct low-pass filter. This filter is designed to be
used in conjunction with a high-pass filter.
HPF24D (24dB/oct Digital High Pass Filter)
A dynamic 24dB/oct high-pass filter with a
characteristic digital sound. This filter can produce
a pronounced resonance effect.
Resonance
Resonance
Owner’s Manual
209
Supplementary
HPF12 (12dB/oct High Pass Filter)
12dB/oct dynamic high-pass filter.
BEF12 (12dB/oct Band Elimination Filter)
BEF6 (6dB/oct Band Elimination Filter)
Level
Dual BPF (Dual Band Pass Filter)
Two 6dB/oct band-pass filters connected in
parallel.
Cutoff range
Resonance
Level
Distance
Frequency
Range passed
Range passed
Frequency
The lower cutoff frequency is set
directly on the display.
Center frequency
BPF12D (12dB/oct Digital Band Pass Filter)
Resonance
Level
Cutoff range
Cutoff range
Dual LPF (Dual Low Pass Filter)
Two 12dB/oct low-pass filters connected in parallel.
Level
Dual BEF (Dual Band Elimination Filter)
Two 6dB/oct band-elimination filters connected in
serial.
Distance
12db/oct
Level
Distance
Frequency
Range passed
Frequency
BPFw (Wide Band Pass Filter)
A 12dB/oct BPF that combines HPF and LPF filters
to allow wider bandwidth settings.
Level
Cutoff range
Cutoff range
The lower cutoff frequency is set
directly on the display.
Frequency
The lower cutoff frequency is set
directly on the display.
Dual HPF (Dual High Pass Filter)
Two 12dB/oct high-pass filters connected in
parallel.
Level
Distance
Width can be
increased
Level
Reference Voice Mode
Frequency
Range passed
Frequency
The lower cutoff frequency is set
directly on the display.
BPF6 (6dB/oct Band Pass Filter)
Cutoff range
Frequency
Distance
The lower cutoff frequency is set
directly on the display.
Resonance
Level
Cutoff range
thru
The filters are bypassed and the entire signal is
unaffected.
6db/oct
Frequency
Range passed
210
LPF12 + BPF6 (12dB/oct Low Pass Filter + 6dB/
oct Band Pass Filter)
A combined low-pass and high-pass filter.
Owner’s Manual
Voice Store mode
Setting example of Filter Scaling
Setting example of Amplitude Scaling
[VOICE] → [EDIT] → Element selection → [F3] FILTER → [SF5] SCALE
(page 199)
The best way to understand Filter Scaling is by example. For the
settings shown in the example display below, the basic Cutoff
frequency value is 64, and the various Offset values at the selected
Break point settings change that basic value accordingly. The
specific changes to the Cutoff frequency are shown in the diagram
below. The Cutoff frequency changes in a linear fashion between
successive Break Points as shown.
Cutoff Frequency
81
[VOICE] → [EDIT] → Element selection → [F4] AMP → [SF5] SCALE
(page 200)
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
74
90
68
84
76
Note
C1
D2
C3
A4
Break
Point 1
Break
Point 2
Break
Point 3
Break
Point 4
Note
C1
C2
Break
Point 1
Break
Point 2
C3
Break
Point 3
C4
Break
Point 4
Reference Voice Mode
60
Owner’s Manual
211
Performance Play mode
Performance mode
■ Creating Performances — basic procedure
You can create and edit your original Performances by setting various parameters in both the Performance Play mode and Performance Edit
mode, while the Performance Job mode provides some basic parameter-related tools, such as Initialize and Copy. Once you’ve edited a
Performance, you can store it to a User Bank in internal memory (Flash ROM) in the Performance Store mode and save all the edited
Performances to a SmartMedia/USB storage device in the File mode.
Performance Play mode
[PERFORM] → Performance selection
The Performance Play mode lets you perform a variety of general editing operations on the selected Performance. For more detailed and
comprehensive editing operations, use the Performance Edit mode.
n
The parameters that have the same name in the Performance Play mode and in the Performance Edit mode have the same functions and settings.
[F1] PLAY
TCH (Transmit Channel)
OCT (Octave)
Same as in Voice Play mode.
These parameters are available both in the Voice mode and the Performance mode regardless of the selected Voice
or Performance.
ASA (ASSIGN A),
ASB (ASSIGN B)
n
TCH (Transmit Channel), OCT (Octave), ASA (ASSIGN A), and ASB (ASSIGN B) settings do not belong to each Performance. Because of this, these are not stored as an
individual Performance in the Performance Store mode (page 220).
Indicates the values obtained by controlling the respective Knobs (printed “ASSIGN 1” and “ASSIGN 2”) when the
lamps of both the [PAN/SEND] and [TONE] buttons are turned on. The functions assigned to these knobs depend on
the setting of the Voice assigned to each Part of the Performance.
AS1 (ASSIGN 1),
AS2 (ASSIGN 2)
[SF1] ARP1 (Arpeggio 1) - [SF5]
ARP5 (Arpeggio 5)
You can register the desired Arpeggio types to these buttons and call them up any time during your keyboard
performance. Refer to page 70 in the Quick Guide section.
[F2] VOICE
From this display you can select a Voice for each Part and determine the note range it can be played from.
Reference Performance Mode
[SF1] ADD INT
(Add Internal Voice)
Press this button to assign an internal Voice to the selected Part.
[SF2] ADD PLG
(Add Plug-in Voice)
Press this button to assign a Plug-in Voice to the selected 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.
[F3] EFFECT
Pressing the [F3] EFFECT button in the Performance Play mode calls up the same EFFECT display in the Performance Edit mode ([PERFORM] → [EDIT] →
[COMMON] → [F6] EFFECT). From this display, you can set the effect related parameters for the current Performance. See page 215.
[F4] PORTA (Portamento)
From this display you can set the Portamento parameters. Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to
the next.
PortaSw (Portamento Switch)
Determines whether Portamento is on or off for all Parts. (This is a global switch and overrides the individual Part
settings in Part Switch below.)
Settings: off, on
PortaTime (Portamento Time)
Determines the pitch transition time. This parameter offsets the same parameter in Part Edit (page 216). Higher
values result in longer transition times.
Settings: -64 ~ 0 ~ +63
Determines whether Portamento is on or off for each individual Part. This is available only when the PortaSw (above)
is set to on.
PartSwitch
212
Owner’s Manual
Performance Edit mode
Common Edit
[F5] EG (Envelope Generator)
This display contains the basic EG settings, both volume and filter, for the Performance, as well as the filter’s cutoff frequency and resonance settings. The settings
made here are applied as offsets to the AEG and FEG settings in the Performance Edit mode (pages 218, 219).
The parameters are same as in Voice Play mode. See page 189.
[F6] ARP (Arpeggio)
This display contains the basic settings for Arpeggio playback, including Type and Tempo. Note that the Performance mode lets you independently enable or
disable Arpeggio playback for each Part.
The parameters are same as in the Voice Play mode (page 189) except for the following one.
PartSw
Determines whether Arpeggio is on or off for the selected Part. The Parts for which boxes are checkmarked are
enabled for Arpeggio play.
Performance Edit mode
[PERFORM] → Performance selection → [EDIT]
Voice Edit parameters are divided into Common Edit (parameters common to all four Parts), and Part Edit (parameters of individual Parts).
Common Edit
[PERFORM] → Performance selection → [EDIT] → [COMMON]
[F1] GENERAL
[SF1] NAME
From this display you can assign the category (sub and main) of the selected Performance, and create a name for
the Performance. The Performance name can contain up to 10 characters. For detailed instructions on naming a
Performance, see “Basic Operation” on page 53.
[SF3] MEQ OFS
(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. Editing by Knobs can be done in the Performance Play mode.
[SF4] PORTA (Portamento)
This display allows you to set the Portamento related parameters.
The parameters are the same as in the Performance Play mode. See page 212.
[SF5] OTHER
From this display you can set the control functions for the Knobs and related parameters.
With the exception of Pitch Bend, which cannot be set here, these parameters are the same as in the Voice Edit
mode (page 190).
Reference Performance Mode
Settings: -64 ~ 0 ~+63
[F2] OUT/MEF (Output/Master Effect)
[SF1] OUT (Output)
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 setting. You can also adjust this parameter using the PAN knob (with the [PAN/SEND] lamp turned on) on
the front panel. Editing by using the Knobs can be done also in the Performance Play mode.
Settings: L63 (Left) ~ C (Center) ~ R63 (Right)
n A setting of “C” (center) maintains the individual Pan settings of each Part.
RevSend
Determines the Send level of the signal sent from Insertion Effect A/B (or the bypassed signal) to the Reverb effect.
You can also adjust this parameter using the REVERB knob (with the [PAN/SEND] lamp turned on) on the front panel.
Editing by using the Knobs can be done also in the Performance Play mode.
Settings: 0 ~ 127
ChoSend
Determines the Send level of the signal sent from Insertion Effect A/B (or the bypassed signal) to the Chorus effect.
You can also adjust this parameter using the [CHORUS] knob (with the [PAN/SEND] lamp turned on) on the front
panel. Editing by using the Knobs can be done also in the Performance Play mode.
Settings: 0 ~127
n For details on Effect connections in the Performance mode, see page 179.
Owner’s Manual
213
Performance Edit mode
Common Edit
[SF2] MEQ (Master EQ)
From this display you can apply five-band equalization to all Parts of the selected Performance. You can raise or
lower the signal level at the Frequency of each band (LOW, LOWMID, MID, HIGHMID, HIGH).
Determines whether the equalizer type used is Shelving or Peaking. The Peaking type attenuates/boosts the signal
at the specified Frequency setting, whereas the Shelving type attenuates/boosts the signal at frequencies above or
below the specified Frequency setting. This parameter is available only for the LOW and HIGH frequency bands.
SHAPE
Settings: shelv (Shelving type), peak (Peaking type)
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
LOWMID, MID, HIGHMID: 100Hz ~ 10.0kHz
HIGH: 500Hz ~ 16.0kHz
Determines the level gain for the Frequency (set above), or the amount the selected frequency band is attenuated or
boosted.
GAIN
Settings: -12dB ~ 0dB ~ +12dB
Q (Frequency Characteristic)
This varies the signal level at the Frequency setting to create various frequency curve characteristics.
Settings: 0.1 ~ 12.0
n
For details on the EQ, see page 178.
[SF3] MEF (Master Effect)
From this display you can set the Master Effect related parameters. This display can be called up by pressing and
holding the [MASTER EFFECT] button on the front panel.
Switch
Determines whether Master Effect is applied or not to the selected Performance. You can turn it on or off by pressing
the [MASTER EFFECT] button on the front panel.
Type
Determines the Master effect type.
Settings: off, on
Settings: Refer to the Effect Types list in the separate Data List booklet.
n
The available parameters except for the above two differ depending on the currently selected effect type. For more information, refer to the separate Data List booklet.
[F3] ARP (Arpeggio)
From this display you can set the Arpeggio related parameters.
[SF1] TYPE
Same as in Normal Voice Common Edit. See page 191.
[SF2] LIMIT
Reference Performance Mode
[SF3] PLAY FX (Play Effect)
[SF4] OUT CH (Output Channel)
From this display you can set a separate MIDI output channel for the Arpeggio playback data, letting you have the
Arpeggio sound from an external tone generator or synthesizer.
When this is set to on, Arpeggio playback data is output via MIDI.
OutputSwitch
Settings: on, off
Determines the MIDI transmit channel for Arpeggio playback data. When set to “KbdCh,” the Arpeggio playback
data is output via the MIDI Keyboard Transmit Channel ([UTILITY] → [F5] MIDI → KBDTransCh).
TransmitCh
Settings: 1 ~ 16, KbdCh (Keyboard Channel)
[F4] CTL ASN (Controller Assign)
You can assign Control Change numbers to the controllers listed below, letting you use the hardware controllers on the keyboard to alter the sound of external
MIDI devices, via the appropriate MIDI messages. When the MOTIF ES receives Control Change data corresponding to the settings here, the internal tone
generator responds as if the instrument's controllers were used.
BC (Breath Controller)
Determines the Control Change number generated when you apply breath pressure to the Breath Controller
connected to the BREATH connector.
RB (Ribbon Controller)
Determines the Control Change number generated when you run your finger across the surface of the Ribbon
Controller.
RBMode
(Ribbon Controller Mode)
Determines whether the Ribbon Controller value returns to a center value when you release your finger from the
Ribbon Controller (reset), or the value is retained at the value at the last point of contact (hold).
AS1 (Assign 1),
AS2 (Assign 2)
Determines the Control Change number generated when you control the KN3 (Knob3) and the KN4 (Knob4) with
both the [PAN/SEND] and [TONE] lamp turned on.
FC1 (Foot Controller 1),
FC2 (Foot Controller 2)
Determines the Control Change number generated when you use the Foot Controller connected to the FOOT
CONTROLLER jack.
n
Keep in mind that the functions of these controllers set here are not changed for the internal tone generator. The controller assignments for the MOTIF ES itself depend on
the settings of the Voices assigned to each Part.
[F5] AUDIO IN
The audio signal input from the A/D INPUT jack, mLAN connector (when the optional mLAN16E has been installed to this synthesizer), DIGITAL IN or OPTICAL IN
connector (when the optional AIEB2 has been installed to this synthesizer) can be handled as an Audio Input Part. You can apply various parameters such as
Effect settings to this Part, just as with the other Parts.
n
214
For details about the Audio Input Parts, see page 165.
Owner’s Manual
Performance Edit mode
Common Edit
[SF1] OUTPUT
Determines the output level of the Audio Input Part.
Volume
Settings: 0 ~ 127
Determines the stereo pan position of the Audio Input Part.
Pan
Settings: L63 (Left) ~ C (Center) ~ R63 (Right)
RevSend
Determines the Send level of the Audio Input Part signal sent to the Reverb effect.
Settings: 0 ~ 127
ChoSend
Determines the Send level of the Audio Input Part signal sent to the Chorus effect.
Settings: 0 ~ 127
DryLevel
Determines the level of the Audio Input Part which has not been processed with the System Effects (Reverb,
Chorus).
Settings: 0 ~ 127
n
For details about Effect connection in the Performance mode, see page 179.
Mono/Stereo
Determines the signal configuration for the Audio Input Part, or how the signal or signals are routed (stereo or mono).
Settings: stereo, L mono, R mono, L+R mono
stereo............... Both the L and R channels of the audio input are used.
L (left) mono .... Only the L channel of the audio input is used.
R (right) mono . Only the R channel of the audio input is used.
L+R mono........ The L and R channels of the audio input are mixed and processed in mono.
OutputSel (Output Select)
Determines the output jack assignment for the Audio Input Part.
Settings: See page 31.
[SF2] INS TYPE (Insertion Type)
InsEF Connect
(Insertion Effect Connection)
This display is available only when the AD (A/D Part) is set to on from the [F6] EFFECT → [SF2] INS SW display. The
type and connection of the Insertion Effect applied to the A/D Part can be set from this display.
Same as in the CONNECT display in the Voice Edit mode ([VOICE] → [EDIT] → [COMMON] → [F6] EFFECT → [SF1]
CONNECT). Please note that the InsEF Connect cannot be set to “parallel” here.
InsA Ctgry (Insertion A Category)
InsA Type (Insertion A Type)
InsB Ctgry (Insertion B Category)
InsB Type (Insertion B Type)
Insertion effects can be applied only to the A/D Part, among the Audio Input Parts.
Reference Performance Mode
n
[F6] EFFECT
This menu gives you comprehensive control over the effects. For details about the Effect connections in the Performance mode, see page 179.
[SF1] CONNECT (Connection)
EF PART → PLG-EF
(Plug-in Insertion Effect)
Determines the Part to which the Insertion effect is applied. This parameter is available only when a special Effect
Plug-in board (PLG100-VH) has been installed.
Settings: Part 1~4, PartP2~P3, AD, off
Chorus Ctg (Category),
Chorus Type
Chorus Return (Level)
Determines the Chorus effect type.
Settings: Refer to the Effect Types list in the separate Data List booklet.
Determines the Return level of the Chorus Effect.
Settings: 0 ~ 127
Chorus Pan
Determines the pan position of the Chorus effect sound.
Settings: L63 (far left) ~ C (center) ~ R63 (far right)
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: L63 (far left) ~ C (center) ~ R63 (far right)
Owner’s Manual
215
Performance Edit mode
Part Edit
[SF2] INS SW (Insertion Switch)
The Insertion Effects can be applied to up to eight Parts. This display lets you set to which Parts the Insertion Effects
are applied.
[SF3] PLG-EF (Plug-in Effect)
This display lets you set the Plug-in Insertion Effect related parameters when the Effect Plug-in Board PLG100-VH
has been installed to this synthesizer. For details on each parameter, refer to the Owner’s Manual included with the
PLG100-VH.
[SF4] REVERB
The number of parameters and values available differs depending on the currently selected effect type. For more
information, see the Effect Type List in the separate Data List booklet.
[SF5] CHORUS
[PERFORM] → Performance selection → [EDIT] → Part selection
Part Edit
These parameters are for editing the individual Parts that make up a Performance.
To switch between the display for Parts 1 - 4 to which the internal Voices are assigned and the display for Plug-in Parts (PLG1 - 3) to which the
Plug-in Voices are assigned, press the [F6] button.
n
When a Plug-in Voice is assigned to a Part of the selected Performance, some parameters may not be available depending on the installed Plug-in board.
[F1] VOICE
[SF1] VOICE
PartSw (Part Switch)
Determines whether each Part is on or off. Since a Performance can consist of up to four Parts, you can select four
Parts from Parts 1 - 4 and the Plug-in Parts 1 - 3.
Settings: on, off
Determines the Voice Bank (page 60) for each Part.
For details about the Plug-in Voice Bank, refer to the Owner’s Manual included with your Plug-in Board.
Bank
n
When the cursor is located on the Bank, you can select a Voice via the way explained on page 60.
Determines the Voice Program number for each Part.
For details about the Plug-in Voice Program number, refer to the Owner’s Manual included with your Plug-in Board.
Number
[SF2] MODE
Determines the playback method of the Voice for each Part — monophonic (single notes only) or polyphonic
(multiple notes).
Mono/Poly
Reference Performance Mode
Settings: mono, poly
n This parameter is not available for the Part to which a Drum Voice is assigned.
ArpSwitch (Arpeggio Switch)
Determines whether Arpeggio is on or off for the currently selected Part.
Settings: on, off
[SF3] LIMIT
NoteLimitH (Note Limit High)
NoteLimitL (Note Limit Low)
VelLimitH (Velocity Limit High)
VelLimitL (Velocity Limit Low)
[SF4] PORTA (Portamento)
Determines the lowest and highest notes of the keyboard range for each Part. Each Part will only sound for notes
played within its specified range.
Settings: C -2~G8
n If you specify the highest note first and the lowest note second, for example “C5 to C4,” then the note range covered will be
“C-2 to C4” and “C5 to G8.”
n You can set the note by pressing the keyboard while holding the [INFORMATION] button.
Determines the minimum and maximum values of the velocity range within which each Part will respond. Each Part
will only sound for notes played within its specified velocity range.
Settings: 1~127
n If you specify the maximum value first and the minimum value second, for example “93 to 34,” then the velocity range covered
will be “1 to 34” and “93 to 127.”
Determines the Portamento parameters for each Part. Portamento is used to create a smooth transition in pitch from
the first note played on the keyboard to the next.
Determines whether Portamento is on or off.
Switch
Settings: off, on
Determines the pitch transition time. Higher values mean longer transition times.
Time
Settings: 0 ~127
Determines the Portamento mode.
Mode
Settings: fingr (fingered), full (full time)
fingr (fingered) ......... Portamento is only applied when you play legato (playing the next note before releasing the previous one).
full (full time)............. Portamento is always applied.
n The Mode setting is not available for the Plug-in Part.
n These Portamento parameters above are not available for the Part to which the Drum Voice is assigned.
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Owner’s Manual
Performance Edit mode
Part Edit
[SF5] OTHER
PB (Pitch Bend) Upper,
PB (Pitch Bend) Lower
These two parameters are available for Parts 1 - 4 to which the internal Normal Voices are assigned. These
determine the pitch change range (in semitones) of the Pitch Bend wheel for the Part’s Voice. For example, a Lower
setting of -12 would result in the pitch being lowered up to a maximum of one octave (12 semitones) when the Pitch
Bend wheel is moved downwards. Similarly, setting the Upper parameter to +12 would result in a maximum pitch
rise of one octave when the wheel is moved upwards.
Settings: -48 ~0 ~+24
PB (Pitch Bend) Range
This parameter is available for Parts 1 - 4 to which the internal Drum Voices are assigned and Plug-in Parts 1 - 3. This
determines the pitch change range (in semitones) of the Pitch Bend wheel. Unlike the Pitch Bend setting for Parts 1
- 4 to which the internal Normal Voices are assigned described above, the Upper and Lower ranges of the Drum
Voice Parts and Plug-in Parts cannot be set independently.
Settings: -24 ~ 0 ~ +24
VelSensDpt
(Velocity Sensitivity Depth)
Determines the degree to which the resulting volume of
the tone generator responds to your playing strength.
The higher the value, the more the volume changes in
response to your playing strength (as shown at right).
When Offset (below) is set to 64:
Depth = 127
127
Depth = 64
Settings: 0 ~ 127
Actual resulting
velocity (affecting the
tone generator)
Depth = 32
Depth = 0
0
127
Velocity with which you play a note
VelSensOfst
(Velocity Sensitivity Offset)
Determines the amount by which played velocities are adjusted for the actual resulting velocity effect. This lets you
raise or lower all velocities by the same amount — allowing you to automatically compensate for playing too strongly
or too softly.
Settings: 0 ~ 127
When Depth (above) = 64 and Offset = 32
127
127
When Depth (above) = 64 and Offset = 96
When Depth (above) = 64 and Offset = 64
127
0
64
127
0
64
127
Velocity with which you play a note
0
64
Reference Performance Mode
Actual resulting
velocity (affecting
the tone generator)
127
[F2] OUTPUT
[SF1] VOL/PAN (Volume/Pan)
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: L63 (far left) ~ C (center) ~ R63 (far right)
VoiceELPan (Voice Element Pan)
Determines whether the individual pan settings for each Voice (made via [VOICE] → [EDIT] → Element selection →
[F4] AMP → [SF1] LVL/PAN → Pan) are applied or not. When this is set to “off,” the basic pan position for the
selected Part is set to center.
Settings: on, off
n This parameter is not available for the Plug-in Parts.
[SF2] EF SEND (Effect Send)
RevSend (Reverb Send)
From this display you can set the Send Level and Dry Level sent to the System Effects for each Part. For details
about the Effect connection in the Performance mode, see page 179.
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
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
Owner’s Manual
217
Performance Edit mode
Part Edit
[SF3] SELECT (Output Select)
OutputSel (Output Select)
From this display you can assign individual Parts to sound from independent output connectors (jacks).
Determines the specific output(s) for the individual Part. You can assign each individual Part’s Voice to be output
from a specific hardware output jack on the rear panel.
Settings: See page 31.
InsEF (Insertion Effect)
Determines whether the Insertion effects are applied to individual Parts or not.
Settings: on, off
[F3] EQ (Equalizer)
From this display you can adjust the EQ settings for each Part. Note that two different display types listed below are provided and you can switch between them
by pressing the [SF5] button. Each display type features the same settings in a different format; use the type you feel most comfortable with.
• Display showing four Parts
• Display showing all parameters for one Part
Keep in mind that since all the available parameters cannot be simultaneously displayed in the four-Part display, you will need to use the cursor controls to scroll
the display in order to see and set the other parameters.
For details about the Effect connection including the EQ in the Performance mode, see page 179.
n
This display is not available for the Plug-in Part.
LowFreq (Low Frequency)
Determines the center frequency of the low EQ band that is attenuated/boosted.
Settings: 50.1 ~ 2.00K
LowGain (Low Gain)
Determines the amount of boost or attenuation applied to the low EQ band.
Settings: -32 ~ +32
MidFreq (Middle Frequency)
Determines the center frequency of the middle EQ band that is attenuated/boosted.
Settings: 139.7 ~ 10.1K
MidGain (Middle Gain)
Determines the amount of boost or attenuation applied to the middle EQ band.
Settings: -32 ~ +32
MidReso (Middle Resonance)
Determines the resonance applied to the center frequency of the middle EQ band.
Settings: 0 ~ 31
HighFreq (High Frequency)
Determines the center frequency of the high EQ band that is attenuated/boosted.
Settings: 503.8 ~ 14.0K
HighGain (High Gain)
Determines the amount of boost or attenuation applied to the high EQ band.
Settings: -32 ~ +32
Reference Performance Mode
[F4] TONE
You can set parameters related to the pitch and tone for each Part. Keep in mind that the settings made here are applied as offsets to the Voice Edit settings.
[SF1] TUNE
Determines the pitch (key transpose) setting for each Part in semitones.
NoteShift
Settings: -24 ~ +24
Determines the fine tuning for each Part.
Detune
Settings: -12.8Hz ~+12.7Hz
[SF2] FILTER
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.
Cutoff
Settings: -64 ~ 0 ~ +63
Determines the amount of filter resonance or emphasis of the Cutoff Frequency for each Part. The setting here
attenuates/boosts the resonance applied to the element of the Voice assigned to each Part.
Resonance
Settings: -64 ~ 0 ~ +63
Determines the Filter Envelope Generator depth (amount of cutoff frequency) for each Part.
FEGDepth
Settings: -64 ~ 0 ~ +63
n The FEG Depth setting is not available for the Plug-in Parts.
n For details about Filter, see page 161.
[SF3] FEG
(Filter Envelope Generator)
Attack (Attack Time)
Decay (Decay Time)
Sustain (Sustain Level)
Release (Release Level)
218
Owner’s Manual
From this display you can set the FEG (Filter Envelope Generator) parameters for each Part.
n
The FEG settings are not available for Plug-in Parts.
Determines each parameter of the FEG for each Part.
For details about FEG, see page 161.
Settings: -64 ~ 0 ~ +63
Performance Job mode
[SF4] AEG
(Amplitude Envelope Generator)
Attack (Attack Time)
Decay (Decay Time)
Sustain (Sustain Level)
From this display you can set the AEG (Amplitude Envelope Generator) parameters for each Part.
Determines each parameter of the AEG for each Part. Please note that Sustain Level is not available for the Plug-in
Part.
For details about AEG, see
.
Settings: -64 ~ 0 ~ +63
Release (Release Level)
[F5] RCV SW (Receive Switch)
From this display you can set how each individual Part responds to various MIDI data, such as Control Change and Program Change messages. When the
relevant parameter is set to “on,” the corresponding Part responds to the appropriate MIDI data.
Note that two different display types listed below are provided and you can switch between them by pressing the [SF5] button. Each display type features the
same settings in a different format; use the type you feel most comfortable with.
• Display showing four Parts
• Display showing all parameters for one Part
Keep in mind that since all the available parameters cannot be simultaneously displayed in the four-Part display, you will need to use the cursor controls to scroll
the display in order to see and set the other parameters.
Settings: See below. Parameters marked with * are not available for the Plug-in Part.
CtrlChange (Control Change)
Indicates all the Control Change messages.
PB (Pitch Bend)
MIDI messages generated by using the Pitch Bend Wheel.
MW (Modulation Wheel)
MIDI messages generated by using the Modulation Wheel.
RB (Ribbon Controller)*
MIDI messages generated by using the Ribbon Controller.
ChAT (Channel After Touch)
MIDI messages generated by pressing and holding the note on the keyboard.
FC1 (Foot Controller 1)*
MIDI messages generated by using the optional Foot Controller connected to the rear panel.
Sus (Sustain)
MIDI messages generated by using the optional Footswitch connected to the SUSTAIN jack on the rear panel.
FS (Footswitch)*
MIDI messages generated by using the optional Footswitch connected to the ASSIGNABLE jack on the rear panel.
AS1 (Assign1)*, AS2 (Assign2)*
MIDI messages generated by using the ASSIGN1 and ASSIGN2 Knobs with both the [PAN/SEND] and [TONE]
lamps turned on.
BC (Breath Controller)*
MIDI messages generated by using the optional Breath Controller connected to the BREATH jack on the rear panel.
Exp (Expression)
MIDI messages generated by using the optional Foot Controller connected to the rear panel.
Performance Job mode
Reference Performance Mode
FC2 (Foot Controller 2)*
[PERFORM] → Performance selection → [JOB]
The Performance Job mode features several basic operations, such as Initialize and Copy. After setting parameters as required from the
selected display, press the [ENTER] button to execute the Job.
n
Among the Audio Parts shown in the Job display, Audio 1 indicates the A/D Input Part. When the optional AIEB2 has been installed to this synthesizer,
Audio 2 indicates the AIEB2 Input Part. When the optional mLAN16E has been installed, Audio 2, 3, 4, and 5 indicate the mLAN Input Parts.
[F1] INIT (Initialize)
This function lets you reset (initialize) all Performance parameters to their default settings. It also allows you to selectively initialize certain parameters, such as
Common settings, settings for each Part, and so on — very useful when creating a completely new Performance from scratch.
Type of parameter to be initialized
All (all settings for the selected Performance are initialized)
Common (Common parameter settings for the selected Performance are initialized)
Part 1 - 4, PLG 1 - 3 (Plug-in Part 1 - 3), Audio 1 - 5
[F2] RECALL (Edit Recall)
If you are editing a Performance and select a different Performance without storing your edited one, all the edits you’ve made will be erased. If this happens, you
can use Edit Recall to restore the Performance with your latest edits intact.
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219
Performance Store mode
[F3] COPY
From this display you can copy Part parameter settings from any Performance including the currently
edited (but not yet stored) one to a particular Part of the Performance you are editing. This is useful if you
are creating a Performance and wish to use some parameter settings from another Performance.
Source Performance/Part
Data type of Destination Performance (currently selected
Performance)/Part
Source Performance/Part
Determines the Performance and Part to be copied. You can specify “Current” (the Performance you are editing but
have not yet stored) as a Source Performance.
Type: Part 1 - 4, PartP1 - P3 (Plug-in Part 1 - 3), PartA1 - A5 (Audio Part 1 - 5)
Data type of Destination
Performance (currently selected
Performance)/Part
Determines the Part of the destination Performance.
Type: Part 1 - 4, PartP1 - P3, PartA1 - A5, Arp, Effect (Reverb, Chorus)
n If you choose Arp (Arpeggio) or Effect, the Arpeggio data or Effect settings for the Voice assigned to the source Part will be
copied.
[F4] BULK (Bulk Dump)
This function lets you send all your edited parameter settings for the currently selected Performance to a computer or another MIDI instrument for data archiving.
For details, see page 185.
n
In order to execute Bulk Dump, you’ll need to set the correct MIDI Device Number, with the following operation: [UTILITY] → [F5] MIDI → [SF1] CH → DeviceNo.
Performance Store mode
[PERFORM] → Performance selection → [STORE]
This function lets you store your edited Performance to User memory (Flash ROM).
For details, refer to page 91 in the Quick Guide section.
Reference Performance Mode
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Owner’s Manual
Song Play mode
Song mode
■ Creating Songs — basic procedure
Songs consist of the following three types of data:
• MIDI sequence data (created in the Song Record mode, Song Edit mode, and Song Job mode)
• Setup data (created in the Song Play mode)
• Mixing data (created in the Song Mixing mode/Mixing Edit mode and stored in the Song Mixing Store mode)
After creating the data in these modes described above, store the Mixing settings in the Song Mixing Store mode to archive it as Song data and
save the entire Song to the SmartMedia/USB storage device in the File mode.
n
Non-note MIDI events (such as Voice number, volume, pan, and effect send level) which are necessary at the start of a Song are not recorded as MIDI
sequence data, but are stored instead as Mixing data.
CAUTION
Because Song data (MIDI sequence data, Setup data, and Mixing data) is recorded to DRAM (page 187), it will be lost when turning the power off. Make sure
to save any Song data created via the Record, Edit, Job, and Mixing setting to the SmartMedia/USB storage device in the File mode before turning the
power off. For details on saving Song data, see page 132.
[SONG] → Song selection
Song Play mode
[F1] PLAY
See page 55.
Loc1 (Location1),
Loc2 (Location 2)
Indicates the measure number to which the Song playback can be jumped by using the Location feature (page 58).
Trans (Transpose)
Determines the key transpose setting for the entire Song, and can be adjusted in semitones.
Settings: -36 ~ +36
n If Transpose is applied to a Drum Voice, the results may not be musically appropriate. To ensure proper playback of a Drum
Voice, set the Note Shift parameter for the Drum Voice Part to an appropriate value ([SONG] → [MIXING] → [EDIT] → Part
selection → [F4] TONE → [SF1] TUNE → NoteShift).
MEAS (Measure)
[SF1] ARP1 (Arpeggio 1) - [SF5]
ARP5 (Arpeggio 5)
Indicates the current measure number and beat for the current Song. During playback, this indication changes
automatically according to the Song playback. You can input the desired measure number directly by using the
Number Input window called up via the [INFORMATION] button.
You can register the desired Arpeggio types to these buttons and call them up any time during your keyboard
performance. Refer to page 105 in the Quick Guide section.
Reference Song Mode
[F2] GROOVE (Grid 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.
–
0
+
NOTE OFST (Note Offset)
CLOCK SFT (Clock Shift)
GATE OFST (Gate Time Offset)
VELO OFST (Velocity Offset)
NOTE OFST (Note Offset)
Raises or lowers the pitch of the note(s) on the selected grid in semitones.
Settings: -99 ~ +99
CLOCK SFT (Clock Shift)
Shifts the timing of the note(s) on the selected grid forward or back ward in clock increments.
Settings: -120 ~ +120
GATE OFST (Gate time Offset)
Lengthens or shortens the note(s) on the selected grid in clock increments.
Settings: -120 ~ +120
VELO OFST (Velocity Offset)
Increases or decreases the velocity of the note(s) on the selected grid.
Settings: -127 ~ +127
[F3] TRACK
[SF1] CHANNEL
OUT CH (Output Channel)
From this display you can set the MIDI output channel/port for each of the sixteen tracks of the corresponding
internal/external tone generator.
Sets up the MIDI output channel for each track. Tracks set to “Off” will not sound.
Settings: off, 01 ~ 16
n In the Song/Pattern mode, the MIDI message created by playing the keyboard/knobs/wheels is sent to the tone generator
block or the external MIDI instruments via the MIDI output channel of the currently selected track.
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221
Song Record mode
Song Record Standby mode
Determines the MIDI transmission port for the corresponding track. Playback data of tracks set to off is output
without Port signal via MIDI.
When using the internal tone generator block, the Port setting here is available for the tracks assigned to the Plug-in
Parts 1-3 (when the single Plug-in Board has been installed) and Multi Plug-in Parts 17-32 (when the PLG100-XG
has been installed) are assigned. Tracks using the internal tone generator parts of this synthesizer are automatically
fixed to Port 1.
PORT
Settings: off, 1 ~ 3
n Port data can be output only through the USB terminal. No port data is transmitted through the MIDI OUT terminal, even if the
corresponding track is set to a specific port number.
[SF2] OUT SW (Output Switch)
Determines whether playback data is transmitted to the internal tone generator block or not.
INT SW (Internal Switch)
Settings: on, off
Determines whether playback data is output to the external MIDI tone generator via MIDI or not.
EXT SW (External Switch)
Settings: on, off
[SF3] TR LOOP (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. For details, see page 238.
Settings: off, on
[F5] PHRASE
Source Phrase
Specify the destination track and
measure of the current selected
song.
If sample data is included in the original
Phrase and you want to copy all of the
data, make sure to checkmark this box.
You can copy Pattern track data (Phrase) to a Song track. You can also copy preset
phrases that are not assigned to the Pattern track by using the Patch function (page
241). For details, refer to page 113 in the Quick Guide section.
After completing the settings,
press the [ENTER] button to
execute Copy Phrase.
[F6] CHAIN
This function allows Songs to be “chained” together for automatic sequential playback. For details, refer to the Quick Guide on page 59.
skip..................Skips past (ignores) the selected chain number and continues playback from the next chain number.
stop .................Stops Song chain playback at that chain number. You can restart the Song chain playback from the next chain number by pressing the [F] (Play) button.
end...................Indicates the end mark of the Song chain data.
Reference Song Mode
[SONG] → Song selection → [I] (Record)
Song Record mode
Song Record Standby mode
[F1] SETUP
Type (Recording Type)
Determines the recording method. For details on each method, refer to page 168 in the Basic Structure section.
Settings: When the RecTrack is set to any of 1-16: replace, overdub, punch, step
When the RecTrack is set to tempo: replace, punch, step
When the RecTrack is set to scene: replace, punch
When the RecTrack is set to multi: replace, overdub, punch
n When “punch” is selected, “Punch-in measure: beat” and “Punch-out measure: beat” appear in the display and should be set.
If you’ve set the Locate 1 and 2 points (Loc1, Loc2; see page 58), the punch-in/out points can be set with a single button
press. Move the cursor to the punch-in/out value, and notice that a “COPYLOC” menu item appears. Press the [SF1]
COPYLOC button, and the punch-in/out settings are automatically assigned to the existing Locate points.
n When “step” is selected, you should specify the event type to be entered.
This parameter is available when the Recording Type is set to something other than “step.” Record quantize aligns
the timing of notes automatically, as you record.
You can set this parameter also by using the Note Type selection window called up via the [INFORMATION] button.
For details, see page 49.
Quantize
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)
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Song Record mode
Event
Song Record Standby mode
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 ~300.0
Meas (Measure)
Determines the measure from which Song recording will be started.
[F2] VOICE
In this display you can set the voice related parameters for the recording track. The settings here affect the Part for which the receive channel (set in the Mixing
mode) matches the transmit (output) channel of the recording track.
Voice
Volume
Determines the voice used in the recording track. When the cursor is located here, you can select a voice by using
the BANK, GROUP, NUMBER buttons and the Category Search function (page 62). You can also select a Sample
Voice obtained via the Sampling function.
Determines the volume of the recording track.
Settings: 0 ~ 127
Pan
Determines the stereo pan position of the recording track.
Settings: L63 (Left) ~ C (Center) ~ R63 (Right)
InsEF
(Insertion Effect Part Switch)
(Tempo)
Determines whether the Insertion effects are applied to the recording track or not.
Settings: on, off
Determines the Song tempo.
Settings: 001.0 ~300.0
Meas (Measure)
Determines the measure from which Song recording will be started.
[F3] ARP (Arpeggio)
From this display you can set parameters related to the Arpeggio of the recording track.
Bank, Ctgr (Category), Type
These three parameters determine the Arpeggio Type. The three-letter prefix number before the Type name
indicates the number within the selected Category.
VelLimit (Velocity Limit)
Determines the lowest and highest velocity which can trigger the Arpeggio playback. The Arpeggio plays when you
play notes at velocities within this range.
Settings: Refer to the separate Data List.
Hold
Reference Song Mode
Settings: 1 ~ 127
Determines whether the Arpeggio playback is “held” or not. When this is set to “on,” the Arpeggio cycles
automatically, even if you release your fingers from the keys, and it continues to cycle until the next key is pressed.
Settings: sync-off, off, on
n About sync-off, see page 191.
PartSw (Part Switch)
Determines whether Arpeggio is on or off for the tone generator Part corresponding to the recording track.
Settings: off, on
Meas (Measure)
[SF1] ARP1 (Arpeggio 1) - [SF5]
ARP5 (Arpeggio 5)
Determines the measure from which Song recording will be started. This parameter is same as the Meas parameter
in the [F1] SETUP display.
You can register the desired Arpeggio types to these buttons and call them up any time during your keyboard
performance. Refer to page 123 in the Quick Guide section.
[F4] RECARP (Record Arpeggio)
RecArp (Record Arpeggio)
Determines whether the sequence data played by Arpeggio is recorded to the Song track or not. When this is set to
on, the played sequence data is recorded.
Settings: off, on
OutputSwitch
Determines whether the sequence data played by Arpeggio during recording is output via MIDI or not. When this is
set to on, the played sequence data by Arpeggio during recording is output via MIDI.
Settings: off, on
TransmitCh (Transmit Channel)
Determines the MIDI transmit channel of the Arpeggio playback during recording.
Settings: 1 ~ 16, KbdCh
[F5] CLICK
Pressing the [F5] button lets you turn the click sound (metronome) on/off for recording.
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Song Record mode
During Song Recording
Step Recording
[F6] ALL TR (All Track)/1TR (1 track)
Pressing the [F6] button lets you switch between Single Track recording and All Track recording.
During Song Recording
[SONG] → Song selection → [I] (Record) → [F] (Play)
Realtime Recording
Refer to page 118 in the Quick Guide section.
Step Recording
Examples of Step Recording are described on page 238.
[F1] SETUP
Pointer indicating the current note position.
Beat Graph
Beat Graph
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
above right will appear.
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 ([F1] SETUP → Event) is set to “note,” this value specifies the velocity with which the
note will be entered.
Reference Song Mode
Settings: When the Event is set to “note”: 1 ~ 127, kbd, rnd1 ~ rnd4
When the Event is set to “p.bend”: -8192 ~ +8191
When the Event is set to “CC (Control Change 001 - 119)”: 000 ~ 127
When the Event is set to “tempo” with the RecTrack = tempo: 001 ~ 300
n You can select “kbd” (keyboard) and “rnd1” - “rnd4” (random1 - 4) as well as the values 1 - 127 when the Event to be entered
is set to “note.” When “kbd” is selected, the actual playing strength will be entered as the velocity value. When one of the
random settings is selected, a random velocity value will be entered.
The “size” of the current recording step time for the next note to be entered. This determines to what position the
pointer will advance after a note has been entered.
StepTime
Settings: 0001 - 0059, 32nd note, 16th note triplet, 16th note, 8th note triplet, 8th note, 1/4 note triplet, 1/4 note, half note, whole note
Sets the gate time to produce slurs, staccato notes, etc. “Gate time” refers to the actual length of time the note
sounds. For the same 1/4 note, for example, a long gate time will produce a slur while a short gate time will produce
a staccato effect. Gate time is indicated as a percent value of the step time. A setting of 50% produces a staccato
sound, values between about 80% and 90% produce normal note length, and a value of 99% will produce a slur.
GateTime
Settings: 1% ~ 200%
[F3] REST
Press [F3] to enter a rest as long as the specified step time. The point will move ahead to the next data-entry position. Rests do not appear on the display.
n
There is no actual data representing rests in the MIDI sequencer. When a “rest” is entered the pointer simply moves ahead to the next data-entry position, effectively leaving a rest.
[F4] TIE
1
When the [F4] button is pressed to enter a tie, the preceding note is lengthened to the full step time.
For example, in the phrase shown at left, note 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.
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.
2
n This display is available only when the Event to be entered is set to “note.”
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Song Edit mode
[F5] DELETE
Press this to actually delete the note events at the current cursor position.
[F6] BAK DEL (Back Delete)
Moves the pointer backward by one step and deletes all notes at that location.
n
Mistakenly entered notes can be erased by pressing [F6] immediately after they are entered (before changing the step time value).
[SONG] → Song selection → [EDIT]
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.
[F1] CHANGE
Shows the Event List of the selected Song track. For information on how to edit the Event List, see page 124.
[F2] VIEW FLT (View Filter)
The Event View Filter lets you select the event types that appear on the Event List display ([F1] CHANGE display). For example, if you wish to edit only note events,
place a checkmark in the box next to “Note” so that only the note events appear in the Event List display.
Settings: Note, PitchBend, ProgramChange, ControlChange, Ch.AfterTouch, PolyAfterTouch, RPN (Registered Parameter Number), NRPN (Non Registered Parameter Number), Exclusive
[F5] CLR ALL (Clear All)
Press the [F5] button to remove all checkmarks at once.
[F6] SET ALL
Press the [F6] button to set checkmarks into all boxes.
[F4] TR SEL (Track Select)
You can switch between the display for 1 - 16 tracks, SCN (Scene) track, and TMP (Tempo) track by pressing this button.
[F5] INSERT
When the cursor is located at the desired position in the [F1] CHANGE display (Event List), pressing this button calls up the display for inserting new MIDI events
in the Song mode or Pattern mode.
Note
This is the most common and prevalent type of data — the individual notes of a Song.
FNOTE (Note name)
Determines the note name or the specific keyboard pitch of the note.
FGATE (Gate time)
Reference Song Mode
Settings: C -2 ~ G8
Determines the length of time that a note actually sounds in beats and clocks.
Settings: 00:001 ~ 999:479
n On this synthesizer, one clock is 1/480th of a quarter note.
FVELO (Velocity)
Determines how strongly the selected note sounds.
Settings: 1 ~ 127
PitchBend
These are the events that define continuous changes in pitch and these events are generated by Pitch Bend Wheel
operation.
FDATA
Determines the Pitch Bend data.
Settings: -8192 ~ +8191
ProgramChange
These events determine the Voice for the selected track.
FBANK
Determines the Voice bank.
Settings: 000 ~ 127, ***
n Bank select MSB and LSB are actually part of the Control Change set of messages (below). However, since they apply
specifically to Voice selection, they are grouped and described here.
FPC NO
(Program Change Number)
Determines the specific Voice (from the bank selected by MSB and LSB above).
Settings: 000 ~ 127
n For a complete list of the available voice banks and numbers, refer to the Voice List in the separate Data List booklet.
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225
Song Job mode
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).
ControlChange
FCTRL NO (Control Number)
Determines the Control Change number.
Settings: 000 ~ 127
n For details on the specific functions assigned to each of the numbers, see page 182.
FDATA
See page 182.
Settings: 000 ~ 127
Ch.AfterTouch
(Channel After Touch)
This event is generated when pressure is applied to a key after the note is played.
FDATA
This represents the amount of pressure applied to the key.
Settings: 000 ~127
PolyAfterTouch
(Polyphonic Aftertouch)
FNOTE (Note name)
This event is generated when pressure is applied to a key after the note is played. Unlike Channel Aftertouch above,
this is recorded and applied independently for each key pressed.
Determines the key to which aftertouch is applied.
Settings: C -2 ~ G8
FDATA
This represents the amount of pressure applied to the key.
Settings: 000 ~ 127
RPN
(Registered Parameter Number)
FMSB-LSB
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.
See page 183.
Settings: 000 ~ 127
FDATA (Data Entry MSB-LSB)
See page 182.
Settings: 000 ~ 127, ***
n
Normally three types of control change data are sent: RPN MSB (101), RPN LSB (100), and Data Entry MSB (6). In this synthesizer, Data Entry LSB (38) is added to this and
the resulting group of control change events is handled as one in this display.
NRPN (Non Registered
Parameter Number)
These events are used to change the parameter values for each tone generator Part. They can be is used to edit
sounds via MIDI, allowing you to edit filter or EG settings, or adjust the pitch or level for each instrument of a drum
voice.
FMSB-LSB
See page 183.
Settings: 000 ~ 127
FDATA (Data Entry MSB-LSB)
See page 182.
Settings: 000 ~ 127, ***
Reference Song Mode
n
Normally three types of control change data are sent: NRPN MSB (99), NRPN LSB (98), and Data Entry MSB (6). In this synthesizer, this group of control change events is
handled as one in this display. For a complete list of the available RPN and NRPN numbers and their corresponding controls, refer to the MIDI Data Format in the separate
Data List booklet.
Exclusive (System Exclusive)
FDATA (HEX)
A type of MIDI message used to exchange data unique to a specific model or type of device.
Unlike other MIDI events, these events differ depending on the manufacturer/device, and are incompatible among
different devices.
See page 184.
Settings: 00 ~7F, F7 (Data must be entered in hexadecimal format.)
Song Job mode
[SONG] → Song selection → [JOB]
The Song Job mode contains a comprehensive set of editing tools and data transform functions you can use to change the sound of the Song.
It also includes a variety of convenient operations, such as copying or erasing data.
After setting parameters as required from the selected display, press the [ENTER] button to execute the Job.
CAUTION
An “Executing...” message is shown when it takes a short amount of time to execute the Job. Never attempt to turn off the power while an “Executing...”
message is shown. Turning the power off in this state results in loss of all user data.
[F1] UNDO/REDO
The Undo Job cancels the changes you made in your most recent recording session, editing session, or Job, restoring the data to its previous state. This allows
you to recover from accidental data loss. Redo is available only after using Undo, and lets you restore the changes you made before undoing them.
CAUTION Undo/Redo does not work with Sample Voice and Mixing Voice operations.
[F2] NOTE (Note data Job)
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Song Job mode
n
Before executing the Note data Job, make sure that you specify the track (01~16, all) and range (measure : beat : clock) to which the Job is applied.
01: Quantize
Quantization is the process of adjusting the timing of note events by moving them closer to the nearest exact beat.
You can use this feature, for example, to improve the timing of a performance recorded in real time.
TR (Track)
001 : 1 : 000 - 999 : 4 : 479
Determines the track (01-16, all) and range of measures/beats/clocks over which the Job is applied.
Quantize (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%
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
even-numbered, beats will be delayed.
Settings: See below.
If the quantize value is 1/4 note, 8th note, 16th note, 32nd note: 50%~75%
A setting of 100% is equivalent to twice the length of the specified quantize value. A setting of 50% produces exact timing and
therefore no swing feel. Settings above 51% increase the amount of swing, with 75% being equivalent to a dotted-note delay.
If the quantize value is 1/4 note triplet, 8th note triplet, 16th note triplet: 66%~83%
A setting of 100% is equivalent to three times the length of the specified quantize value. A setting of 66% produces exact
timing and therefore no swing feel. Settings above 67% increase the amount of swing, with 83% being equivalent to a
sextuplet delay.
If the quantize value is 8th note + 8th note triplet, 16th note + 16th note triplet: 50%~66%
A setting of 100% is equivalent to twice the length of a 8th note or 16th note. A setting of 50% produces exact timing and
therefore no swing feel. Settings above 51% increase the amount of swing, with 66% being equivalent to a triplet delay.
n If a swing value other than 100% results in notes being positioned after other non-swing notes, the latter notes are delayed
accordingly.
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 8th note + 8th note triplet or 16th note + 16th note triplet, the gate time of the evennumbered 8th note or 16th note beats will be adjusted. A setting of 100% leaves the original gate time unchanged.
If an adjusted gate time value is less than 1, the value is rounded off to 1.
Settings: 000%~200%
This Job alters the velocity values of the specified range of notes, letting you selectively boost or cut the volume of
those notes. Velocity changes are calculated as follows:
Adjusted velocity = (original velocity x Rate) + Offset
If the result is 0 or less, the value is set to 1. If the result is higher than 127, the value is set to 127.
TR (Track)
001 : 1 : 000 - 999 : 4 : 479
Determines the track (01-16, all) and range of measures/beats/clocks over which the Job is applied.
SetAll
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.
Reference Song Mode
02: Modify Velocity
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%, ***
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, ***
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 rounded off to 1.
TR (Track)
001 : 1 : 000 - 999 : 4 : 479
Determines the track (01-16, all) and range of measures/beats/clocks over which the Job is applied.
SetAll
Sets the gate times of all target notes to the same fixed value. When set to “off” the Set All parameter has no effect.
When set to a value other than “off,” the Rate and Offset parameters are unavailable and appear as “***” on the
display.
Settings: off (0), 0001 ~ 9999
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227
Song Job mode
Determines the percentage by which the gate time of the target notes will be changed.
Settings below 100% shorten the notes, and settings above 100% lengthen the notes proportionately. When the Set
All parameter (above) is set to something other than “off,” this parameter appears as “***” and cannot be changed.
Rate
Settings: 000% ~ 200%, ***
Adds a fixed value to the Rate-adjusted gate time values. A setting of 0 produces no change. Settings below 0
shorten the gate time, and settings above 0 lengthen the gate time. When the Set All parameter (above) is set to
something other than “off,” this parameter appears as “***” and cannot be changed.
Offset
Settings: -9999 ~ +9999, ***
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.)
TR (Track)
001 : 1 : 000 - 999 : 4 : 479
Determines the track (01-16, all) and range of measures/beats/clocks over which the Job is applied.
VelocityRange
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
05: Transpose
Transpose lets you change the key or pitch of the notes in the specified range.
TR (Track)
001 : 1 : 000 - 999 : 4 : 479
Determines the track (01-16, all) and range of measures/beats/clocks over which the Job is applied.
Note
Determines the range of note pitches over which the Job is applied. You can also set the Note directly from the
Keyboard, by holding down the [INFORMATION] button and pressing the desired key (page 53).
Settings: C-2 ~ G8
Transposes notes in the specified range (in semitones). A setting of +12 transposes up one octave, while a setting of
-12 transposes down an octave. A setting of 0 produces no change.
Transpose
Settings: -127 ~ +127
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.
TR (Track)
001 : 1 : 000 - 999 : 4 : 479
Determines the track (01-16, all) and range of measures/beats/clocks over which the Job is applied.
GlideTime
Determines the length of the glide. Higher values produce a longer glide between notes.
Settings: 000~100
PBRange (Pitch Bend Range)
Determines the maximum pitch bend range to be applied by the Glide Job (in semitones).
Reference Song Mode
Settings: 01~24
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.
TR (Track)
001 : 1 : 000 - 999 : 4 : 479
Determines the track (01-16) and range of measures/beats/clocks over which the Job is applied.
StartStep (Starting Step)
EndStep (Ending 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 during the roll.
Settings: StartStep: 001~999, EndStep: 001~999
Determines the specific note (or instrument in Drum voices) for the roll effect. You can also set the note directly from
the Keyboard, by holding down the [INFORMATION] button and pressing the desired key (page 53).
Note
Settings: C-2~G8
StartVelo (Starting Velocity)
EndVelo (Ending 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: StartVelo: 001~127, EndVelo: 001~127
08: Sort Chord
228
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 124), but does not change the timing of the notes. When used to pre-process chords
before using the Separate Chord Job (below), Chord Sort can be used to simulate the “stroke” or strumming sound
of guitars and similar instruments.
Owner’s Manual
Song Job mode
TR (Track)
001 : 1 : 000 - 999 : 4 : 479
Determines the track (01-16, all) and range of measures/beats/clocks over which the Job is applied.
Type
Determines how the chord note data is sorted.
Settings: up, down, up&down, down&up
up .................... The notes are sorted in ascending order. After executing this Job with this setting, execute the Separate Chord Job to
create a guitar-like upstroke strum.
down................ The notes are sorted in descending order. After executing this Job with this setting, execute the Separate Chord Job to
create a guitar-like downstroke strum.
up&down ......... Sorts chord notes on downbeats in ascending order and chord notes on upbeats in descending order, based on the
Grid setting (below).
down&up ......... Sorts chord notes on downbeats in descending order and chord notes on upbeats in ascending order, based on the
Grid setting (below).
Determines the type of note that serves as the basis for the Chord Sort Job.
Grid
Settings: 32nd note, 16th note triplet, 16th note, 8th note triplet, 8th note, 1/4 note triplet, 1/4 note
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.
TR (Track)
001 : 1 : 000 - 999 : 4 : 479
Determines the track (01-16, all) and range of measures/beats/clocks over which the Job is applied.
Clock
Determines the number of clock cycles inserted between adjacent chord notes.
Settings: 000 ~999
n Note that there are 480 clock cycles per quarter note.
n It is not possible to separate chords so that they cross the next chord or they overstep the range (set above).
[F3] EVENT (Event Job)
n
Before executing the Event Job, make sure that you specify the track and range (measure : beat : clock) to which the Job is applied. Please note that the track to be specified
varies depending on the Job.
01: Shift Clock
This Job shifts all data events in the specified range forward or backward by the specified number of clocks.
TR (Track)
001 : 1 : 000 - 999 : 4 : 479
Determines the track (01-16, TMP, SCN, all) and range of measures/beats/clocks over which the Job is applied.
Clock
Determines the amount by which the data will be delayed or advanced in measures, beats, and clocks.
Settings: 000:0:000 ~ 999:3:479
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
Source track and range in measures, beats, and clocks
Destination track and the top (measure, beat, and clock)
of the destination.
NumberOfTimes
This Job copies all data from a specified source
range to a specified destination location.
Execute this Job after setting:
• Source track (01-16, TMP, SCN, all)
• Source range (measure : beat : clock)
• Destination track (01-16, TMP, SCN, all)
• Destination range (measure : beat : clock)
• Top measure of destination
• Count (number of times data is to be copied)
Reference Song Mode
02: Copy Event
Determines the number of times the data is copied.
Settings: 01 ~ 99
CAUTION When Copy Event is executed, any data already existing at the Destination location will be overwritten.
03: Erase Event
This Job clears all specified events from the specified range, effectively producing a segment of silence.
TR (Track)
001 : 1 : 000 - 999 : 4 : 479
Determines the track (01-16, TMP, SCN, all) and range of measures/beats/clocks over which the Job is applied.
Event Type
Determines the event type to be erased. All events are cleared when ALL is selected. Individual control change
numbers can be specified when erasing control change events.
Settings:
When TR is set to 01~16: Note (Note events), PC (Program Change), PB (Pitch Bend), CC (Control Change)*, CAT (Channel Aftertouch),
PAT (Polyphonic Aftertouch), EXC (System Exclusive), All (all events)
When TR is set to “TMP” (Tempo): TMP (tempo)
When TR is set to “SCN” (Scene): SceneMemory (Scene change information), TrackMute (Track mute setting change information)
* You can also specify the CC No. (Control Change number).
n
Keep in mind that applying this Job to a track with Sample Voices erases the events that trigger the samples, but it does not erase the actual samples themselves.
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229
Song Job mode
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.
TR (Track)
001 : 1 : 000 - 999 : 4 : 479
Determines the track (01 - 16) and range of measures/beats/clocks over which the Job is applied.
EventType
Selects the event type to be extracted. Specific note and control change numbers can also be specified as required.
Settings: Note, PC (Program Change), PB (Pitch Bend), CC (Control Change), CAT (Channel Aftertouch), PAT (Polyphonic Aftertouch),
EXC (System Exclusive)
→ TR
Determines the destination track (01 - 16).
05: Create Continuous Data
This Job creates continuous pitch bend or control change data over the specified range.
TR (Track)
001 : 1 : 000 - 999 : 4 : 479
Determines the track (01 - 16, TMP, all) and range of measures/beats/clocks over which the Job is applied.
EventType
Determines the event type to be created.
Settings: PB (Pitch Bend), CC (Control Change)*, CAT (Channel Aftertouch), EXC (System Exclusive), TMP (Tempo)
* You can also specify the CC No. (Control Change number).
Data (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
Determines the number of clocks to be inserted between each created event.
Clock
Settings: 001~999
Determines the “curve” of the continuous data.
Refer to the graph for approximate curve shapes.
Curve
Curve = +16
Curve = 0 (linear)
Curve = -16
Settings: -16 ~+16
End point
Start point
This distance specified by Clock
Determines the number of times the data creation is to be repeated.
For example, if data is created in the range M001:1:000 ~ M003:1:000 and this parameter is set to 03, the same data
will be created at M003:1:000 ~ M005:1:000 and M005:1:000 ~ M007:1:000. This Job lets you insert continuous
volume or filter cutoff variations to create tremolo or wah effects.
NumberOfTimes
Settings: 01~99
Reference Song Mode
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.
TR (Track)
001 : 1 : 000 - 999 : 4 : 479
Determines the track (01 - 16, TMP, all) and range of measures/beats/clocks over which the Job is applied.
EventType
Determines the event type to be thinned.
Settings: PB (Pitch Bend), CC (Control Change)*, CAT (Channel Aftertouch), PAT (Polyphonic Aftertouch), TMP (Tempo)
* You can also specify the CC No. (Control Change number).
n The Thin Out Job will not work on continuous data that has a clock interval of greater than 60 clocks per event.
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.
TR (Track)
001 : 1 : 000 - 999 : 4 : 479
Determines the track (01 - 16, TMP, all) and range of measures/beats/clocks over which the Job is applied.
EventType
Determines the event type to be modified.
Settings: PB (Pitch Bend), CC (Control Change)*, CAT (Channel Aftertouch), PAT (Polyphonic Aftertouch), TMP (Tempo)
* You can also specify the CC No. (Control Change number).
Sets all target events to the same fixed value. When set to “off,” the Set All parameter has no effect. When set to a
value other than “off,” the Rate and Offset parameters are unavailable and appear as “***” on the display.
SetAll
Settings: off, 000 ~127 (-8192 ~ +8191 for pitch bend, 0.1 ~ 300.0 for tempo)
Determines the percentage by which the target events will be shifted from their original values. When the Set All
parameter (above) is set to something other than “off,” this parameter appears as “***” and cannot be changed.
Rate
Settings: 000% ~ 200%, ***
Adds a fixed value to the Rate-adjusted event values. When the Set All parameter (above) is set to something other
than “off,” this parameter appears as “***” and cannot be changed.
Offset
Settings: -127~127 (-8192 ~ +8191 for pitch bend, -275 ~ +275 for tempo), ***
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Owner’s Manual
Song Job mode
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.
TR (Track)
001 : 1 : 000 - 999 : 4 : 479
Determines the track (01 - 16, all) and range of measures/beats/clocks over which the Job is applied.
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 data itself is not affected.
[F4] MEAS (Measure Job)
01: Create Measure
This Job creates empty measures at the specified location in all tracks.
Meter (time signature) of
measures to be inserted
Number of measures
to be inserted
Source data
001 – 004 005
–
016
8 measures inserted at measure 5
001 – 004
Insertion point (measure number)
Meter of measures to be inserted
005
–
012 013
–
024
The inserted 8 measures
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
Determines the insert point (measure number) at which the newly created blank measures will be inserted.
Insertion point
(Measure number)
Settings: 001~999
Number of measures to be
inserted
Settings: 01~99
n
n
Determines the number of empty measures to be created and inserted.
When empty measures are inserted, measure and meter data following the insert point are moved forward accordingly.
If the insert point is set after the last measure containing data, only the meter data at that point is set without actually inserting the measures.
02: Delete Measure
This Job deletes the specified measures. Measure and meter data following the deleted measures are moved
backward accordingly.
Source data
005
–
012 013
–
024
Reference Song Mode
001 – 004
Measures M006 – M012 deleted
001 – 004 005
–
016
Delete range
Delete Range
Settings: 001~999
n Keep in mind that applying this Job to a range of measures with Sample Voices erases the events that trigger the samples, but
it does not erase the actual samples themselves.
[F5] TRACK (Track Job)
01: Copy Track
Source Song and Track
Destination Song and Track
This Job copies all data from a specified source track
to the specified destination track.
CAUTION The copy operation overwrites any data
previously existing on the destination
track.
CAUTION Undo/Redo cannot be used to undo/
redo a sample voice copy operation.
Data Type to be copied
Data Type to be copied
Determines the type(s) of data to be copied. Select the desired type by checkmarking the appropriate box.
Settings: Seq Event (all events in the track), Grid Groove (for the selected track), Mix Part Param (all Mixing Part parameters), Sample
(all samples used by the track)
n
When there is no memory available in the destination Song for sample voice data, an alert message will appear on the display and the Sample Voice data will not be
copied. If this occurs, use Sample Job 02 “Delete” (page 256) to delete any unused samples, then attempt the operation again.
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231
Song Job mode
02: Exchange Track
Target tracks for the Exchange operation (01-16)
This Job exchanges or “swaps” the specified type of
data between two specified tracks in the current Song.
Data Type to be exchanged
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)
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 (01-16)
Track B (01-16)
Track A
Track B
Mix Track
Track B
Target tracks for the Mix
operation
04: Clear Track
Settings: 01~16
n Keep in mind that applying this Job to tracks with Sample Voices does not mix the Sample Voices.
Track for which data will be cleared (01-16, TMP, SCN, all)
This Job deletes all data of the selected type from the
selected track, or from all tracks.
CAUTION Undo/Redo cannot be used to undo/redo
a Clear operation for tracks that contain
sample data.
Data to be cleared
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)
05: Normalize Play Effect
This Job rewrites the data in the selected track so that it incorporates the current Grid Groove settings.
Determines the Song track to which the Job is applied.
TR (Track)
Reference Song Mode
Settings: 01~16, all
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).
Determines the Song track to which the Job is applied.
TR (Track)
Settings: 01 ~ 16
07: Put Track To Arp
This Job copies data in the specified measures of a track for creating Arpeggio data. For details, refer to page 130
in the Quick Guide section.
[F6] SONG (Song Job)
01: Copy Song
Source Song
This Job copies all data from a selected source Song to
a selected destination Song. The Sample Voice and
Mixing Voice used by the source Song are also copied.
CAUTION This Job overwrites any data already
existing in the destination Song.
Destination Song
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Owner’s Manual
Song Mixing mode
02: Split Song To Pattern
Source Song range (in measures)
This Job allows you to copy a part of the current Song –
all 16 tracks over a specific range of measures – to a
specific Pattern, letting you use Song data to create a
Pattern.
CAUTION This Job overwrites any data already
existing in the destination Pattern and
section.
Destination Pattern and section
Copy Sample
When this box is checkmarked, sample voices assigned to each track in the source Song are copied to the split
destination Pattern as Sample Voices and are assigned to the corresponding tracks in that Pattern. This checkbox
has no effect if no Sample Voices are assigned to the tracks in the source Song.
03: Clear Song
This Job deletes all data from the selected Song or all Songs, including the Sample Voices and Mixing Voices.
04: Song Name
This Job lets you assign a name to the selected Song. See “Basic Operation” on page 53.
Song Mixing mode
[SONG] → Song selection → [MIXING]
In this mode, you can set up mixing data for your songs, and set various parameters for the tone generator parts — including the desired Voice,
as well as its level, pan, EQ, effect and other settings.
Pressing the [F6] button can switch between the display for the Parts 1 - 16 to which the internal Voices are assigned, the display for Multi Plugin Parts (17 - 32) to which the PLG100-XG voices are assigned and the display for Plug-in Parts (PLG1 - 3) to which the Plug-in Voices of the
single part Plug-in board are assigned.
Song Mixing parameters are not actually part of the Song sequence data in each track, but rather are settings for the tone generator, as it is
played back by the Song data. As such, the Song Mixing parameter settings are not recorded to the Song tracks.
CAUTION
Parameter settings made in the Song Mixing mode and Song Mixing Edit mode should be stored to internal memory (DRAM) as part of the Song data. In
addition, make sure to save the entire Song data (including the Mixing settings) to the SmartMedia/USB storage device, since the data in DRAM is stored
only temporarily (page 187).
n
Parameter settings in the Song Mixing mode and Song Mixing Edit mode can be stored as a template to internal Flash ROM, as well as being stored as part
of a Song. See page 104 for details.
[F1] VOL/PAN
n
Reference Song Mode
From this display you can set the Pan and Volume for each Part (track).
You can select a Part by moving the cursor or by using the NUMBER buttons while the [TRACK SELECT] indicator is on (page 58).
PAN
Determines the stereo pan position for each part.
Settings: L63 (far left)~C (center)~R63 (far right)
VOLUME
Determines the volume for each Part, allowing you to set the optimum level balance of all the Parts.
Settings: 0~127
n You can also adjust the Volume by using the Control Sliders. See page 130 for details.
[F2] VOICE
From this display you can select a voice for each Part. Sample Voices and Mixing Voices can also be selected.
n
n
You can select a Part by moving the cursor or by using the NUMBER buttons while the [TRACK SELECT] indicator is on (page 58).
The Category Search function can also be used to select Voices here, except for Voices of the Multipart Plug-in Parts 17 - 32 (when the PLG100-XG has been installed), Sample
Voices, and Mixing Voices.
[F3] EFFECT
Pressing the [F3] EFFECT button in the Song Mixing mode calls up the [SONG] → [MIXING] → [EDIT] → [COMMON] → [F6] EFFECT display in the Song Mixing
Edit mode. From this display, you can set the effect related parameters for the current Song. See page 235 for details.
[F4] EF SEND (Effect Send)
From this display you can make basic effect settings for each Part — Send Level for the System Effect (Reverb, Chorus) as well as the Dry Level for Insertion
Effects.
n
For information on the effect connections in the Song mode, see page 180.
[F5] VCE ED (Mixing Voice Edit)
Press the [F5] VCE ED button in the Song Mixing mode to enter the Mixing Voice Edit mode. Press the [EXIT] button to return to the original display in the Song
Mixing mode. For details, see page 105.
Normal Voices can be edited specifically for use with the Song/Pattern modes, creating a dedicated “Mixing Voice.” Refer to “Mixing Voice mode” on page 249 for
details.
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233
Song Mixing Edit mode
Common Edit
[F6] 17-32/PLG1-3/1-16
You can switch between the displays for three types of parts by pressing this button. 1 - 16 are Parts of the internal tone generator, 17 - 32 are Multi Plug-in Parts
of the optionally installed PLG100-XG, and PLG1 - 3 are Plug-in Parts of the optionally installed Single Part Plug-in board.
n
n
Please note that the Multi-Part Plug-in Part (17~32) settings apply not to one individual Song but to all 64 Songs.
If you wish to edit more detailed Mixing parameters, you can enter the Song Mixing Edit mode by pressing the [EDIT] button.
Song Mixing Edit mode
[SONG] → Song selection → [MIXING] → [EDIT]
This mode provides more detailed Mixing parameters than in the Song Mixing mode.
Keep in mind that Song Mixing parameters are not actually part of the Song sequence data in each track, but rather are settings for the tone
generator, as it is played back by the Song data. As such, the Song Mixing parameter settings are not recorded to the Song tracks.
CAUTION
Parameter settings made in the Song Mixing mode and Song Mixing Edit mode should be stored to internal memory (DRAM) as part of the Song data. In
addition, make sure to save the entire Song data (including the Mixing settings) to the SmartMedia/USB storage device, since the data in DRAM is stored
only temporarily (page 187).
n
Parameter settings in the Song Mixing mode and Song Mixing Edit mode can be stored as a template to internal Flash ROM, as well as being stored as part
of a Song. See page 104 for details.
[SONG] → Song selection → [MIXING] → [EDIT] → [COMMON]
Common Edit
Use Common Edit to edit the settings common to all Parts.
n
Common Edit operations cannot be performed on the Multi-part Plug-in Parts 17 - 32.
[F1] GENERAL
[SF1] MEQ OFS
(Master EQ Offset)
The Song Mixing parameters feature global EQ settings for all Parts of the selected Song (see “MEQ,” below). The
settings made here in this display are applied as offsets to those MEQ settings.
Settings: -64~+63
[SF5] OTHER
Determines the function for the assignable Knobs (1 - 4). Pressing any of the [KNOB CONTROL FUNCTION] buttons
on the panel sets the desired function row, which is automatically stored to memory with the currently selected Song.
KnobAssign
Reference Song Mode
Settings: pan, tone, assign, partEQ, MEF, arpFx
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 ~ 0 ~+63
[F2] MEQ/MEF (Master EQ/Master Effect)
[SF1] MEQ (Master EQ)
From this display you can apply five-band equalization to all Parts of the selected Song.
The parameters are the same as in Performance Common Edit. See page 214.
[SF2] MEF (Master Effect)
From this display you can set parameters related to the Master Effect (page 177).
The parameters are the same as in Performance Common Edit. See page 214.
[F3] ARP (Arpeggio)
[SF1] TYPE
The basic parameters (e.g., type) of the Arpeggio are provided in this display.
This is the same as in Normal Voice Common Edit (page 191), except that the Tempo setting is not available here,
since the Arpeggio plays according to the Song tempo.
[SF2] LIMIT
Same as in Normal Voice Common Edit. See page 191.
[SF3] PLAY FX (Play Effect)
Same as in Normal Voice Common Edit. See page 192.
[SF4] OUT CH (Output Channel)
Same as in Performance Common Edit. See page 214.
[F4] CTL ASN (Controller Assign)
From this display, you can assign Control Change numbers to the hardware controllers of the instrument (such as the Knobs), for each Song.
The parameters are the same as in Performance Common Edit. See page 214.
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Owner’s Manual
Song Mixing Edit mode
Part Edit
[F5] AUDIO IN
From this display, you can set parameters related to the Audio Input Part in the Song mode.
The parameters are the same as in Performance Common Edit. See page 214.
[F6] EFFECT
n
For information on the effect connections in the Song mode, see page 180.
[SF1] CONNECT
This display gives you comprehensive control over the effect connections.
The parameters are the same as in Performance Common Edit. See page 215.
[SF2] INS SW (Insertion Switch)
The Insertion Effects can be applied to up to eight parts. This display lets you set to which parts the Insertion Effects
are applied.
[SF3] PLG EF (Plug-in Effect)
This display lets you set the Plug-in Insertion Effect related parameters when the Effect Plug-in Board PLG100-VH
has been installed. For details on each parameter, refer to the Owner’s Manual included with the PLG100-VH.
[SF4] REVERB
The number of parameters and values available differs depending on the currently selected effect type. For more
information, see the Effect Type List in the separate Data List booklet.
[SF5] CHORUS
Part Edit
[SONG] → Song selection → [MIXING] → [EDIT] → Part selection
These parameters are for editing the individual Parts that make up a Song Mixing. Press the [F6] button to switch among the various Part
displays — the display for Parts 1 - 16 to which the internal Voices are assigned, the display for Multi-part Plug-in Parts (17 - 32) to which the
PLG100-XG voices are assigned, and the display for Plug-in Parts (PLG1 - 3) to which the Plug-in Voices of the single part Plug-in board are
assigned.
n
Please note that the Multi-Part Plug-in Part (17~32) settings apply not to one individual Song but to all 64 Songs.
[F1] VOICE
[SF1] VOICE
Determines the Voice for each Part. For details, see page 102.
n
When the cursor is located on the Bank, you can select a Voice (with the exception of Sample Voices, Mixing Voices, and
Voices of Multi-part Plug-in Parts) via the method explained in the Quick Guide on page 102.
[SF2] MODE
Mono/Poly
Determines the playback method of the Voice for each Part — monophonic (single notes only) or polyphonic
(multiple notes).
ArpSwitch (Arpeggio Switch)
Reference Song Mode
Settings: mono, poly
n This parameter is not available for the part to which a Drum Voice is assigned.
Determines whether Arpeggio is on or off for the currently selected Part.
Settings: on, off
n Arpeggio Switch is applied to only one Part at the same time. It cannot be applied to multiple Parts simultaneously.
n Arpeggio Switch is not available for the Multi-part Plug-in Parts 17~32.
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
[SF3] LIMIT
From this display you can determine the note range and velocity range for each Part.
The parameters are the same as in Performance Part Edit. See page 216.
[SF4] PORTA (Portamento)
Determines the Portamento parameters for each Part.
The parameters are the same as in Performance Part Edit. See page 216.
n
[SF5] OTHER
The Mode setting is not available for the Multi Plug-in parts 17-32 and the Plug-in parts 1-3.
Same as in Performance Part Edit. See page 217.
n
For Multi-part Plug-in Parts 17 - 32 and Plug-in Parts 1 - 3, Pitch Bend Upper and Lower become a single parameter: PB
Range. Upper and Lower values cannot be set independently for Plug-in Parts. See page 164.
[F2] OUTPUT
[SF1] VOL/PAN (Volume/Pan)
Same as in Performance Part Edit. See page 217.
n
The Voice Element Pan setting is not available for Multi-part Plug-in Parts 17 - 32 and Plug-in Parts 1 - 3.
[SF2] EF SEND (Effect Send)
Same as in Performance Part Edit. See page 217.
[SF3] SELECT (Output Select)
From this display you can assign individual Parts to sound from independent output connectors (jacks).
The parameters are the same as in Performance Part Edit. See page 218.
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235
Song Mixing Job mode
[F3] EQ (Equalizer)
From this display you can set parameters related to the Part EQ (page 178).
The parameters are the same as in Performance Part Edit. See page 218.
[F4] TONE
[SF1] TUNE
Same as in Performance Part Edit. See page 218.
[SF2] FILTER
Same as in Performance Part Edit. See page 218.
n
[SF3] FEG
(Filter Envelope Generator)
From this display you can set the FEG (Filter Envelope Generator) parameters for each Part. The parameters offset
the same parameters of the assigned Voice set in the Voice (Element) Edit mode (page 198).
The parameters are the same as in Performance Part Edit. See page 218.
n
[SF4] AEG
(Amplitude Envelope Generator)
The FEG Depth setting is not available for Multi-part Plug-in Parts 17 - 32 and Plug-in Parts 1 - 3.
The FEG setting is not available for Multi-part Plug-in Parts 17-32, Plug-in Parts 1-3, or Parts to which Drum Voices have been
assigned.
From this display you can set the AEG (Amplitude Envelope Generator) parameters for each Part. The parameters
offset the same parameters of the assigned Voice set in the Voice (Element) Edit mode (page 200).
The parameters are the same as in Performance Part Edit. See page 219.
n
n
The Sustain setting is not available for Multi-part Plug-in Parts 17 - 32, Plug-in Parts 1 - 3 or Parts to which Drum Voices have
been assigned.
The Release setting is not available for Parts to which Drum Voices have been assigned.
[F5] RCV SW (Receive Switch)
From this display you can set how each individual Part responds to various MIDI data, such as Control Change and Program Change messages. When the
relevant parameter is set to “on,” the corresponding Part responds to the appropriate MIDI data.
Note that two different display types listed below are provided and you can switch between them by pressing the [SF5] button. Each display type features the
same settings in a different format; use the type you feel most comfortable with.
• Display showing four Parts
This display type shows the Receive Switch status for four Parts at a time. Set the desired Part on or off, for the corresponding MIDI data type. To view and edit
another set of four Parts, press the appropriate [NUMBER] button, [1] to [16].
Keep in mind that since all the available parameters cannot be simultaneously displayed, you will need to use the cursor controls to scroll the display in order to
see and set the other parameters.
• Display showing all parameters for one Part
This display type shows all of the Receive Switch settings for a single selected Part. Set the desired MIDI data type on or off for the selected Part. To select other
Parts, use the NUMBER [1] - [16] buttons (making sure that the [TRACK SELECT] button is on).
Song Mixing Job mode
[SONG] → Song selection → [MIXING] → [JOB]
Reference Song Mode
The Song Mixing Job mode features several basic operations, such as Initialize and Copy. After setting parameters as required from the
selected display, press the [ENTER] button to execute the Job.
n
Among the Audio Parts shown in the Song Mixing Job display, Audio Part 1 indicates the A/D Input Part. When the optional AIEB2 has been installed, Audio
Part 2 indicates the AIEB2 Input Part. When the optional mLAN16E has been installed, Audio Parts 2 - 5 are mLAN Input Parts.
[F1] INIT (Initialize)
This function lets you reset (initialize) all Song Mixing parameters to their default settings. It also allows you to selectively initialize certain parameters, such as
Common settings, settings for each Part, and so on — very useful when creating a completely new Song Mixing program from scratch.
Type of parameter to be initialized: All, Common (Common parameter settings for the selected Song Mixing), Part 1~16, PLG 1~3, Audio1~5
[F2] RECALL (Edit Recall)
If you are editing a Song Mixing program and select a different program without storing your edited one, all the edits you’ve made will be erased. If this happens,
you can use Edit Recall to restore the Song Mixing program with your latest edits intact.
[F3] COPY
Source song and part
From this display you can copy Part parameter settings from any Song Mixing program including the
currently edited (but not yet stored) one to a particular Part of the Song Mixing program you are
editing. This would come in handy when you want to use some settings from another program.
Destination song (current song) and part
Select a Song and Part to be copied. You can specify “Current” (the Song Mixing program you are editing and have
not yet stored) as a Source Song.
Source song
Part to be copied (Type): Part 1~16, PartP1~P3 (Plug-in Part 1~3), PartA1~A5 (Audio Part 1~5)
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Owner’s Manual
Song Mixing Store mode
Data type of Destination Song
(current selected song)
Set the Part of the destination Song.
Destination part (Type): Part 1~16, PartP1~P3 (Plug-in Part 1~3), PartA1~A5 (Audio Part 1~5), Arp, Effect (Reverb, Chorus)
n If you choose Arp (Arpeggio) or Effect, the Arpeggio data or Effect settings for the Voice assigned to the source Part will be
copied.
[F4] BULK (Bulk Dump)
This function lets you send all your edited parameter settings for the currently selected Song Mixing program to a computer or another MIDI instrument for data
archiving.
n
In order to execute Bulk Dump, you’ll need to set the correct MIDI Device Number. For details, see page 264.
[F5] PF COPY (Performance Copy)
This convenient operation lets you copy certain settings of the four Parts in a performance to the Song Mixing program currently being edited. This would come in
handy when a certain performance has settings that you want to use in your Song Mixing program. Use this Job to simply copy the settings you need.
The MIDI receive channel settings are set to match the basic channel settings (page 263). 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.
[F6] 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 saved as part of the System data (page 186) in the Utility
mode and not as data for each song.
After inputting a Template number and name, press the [SF5] PUT button to save the
current setting to the Template. After selecting the desired Template number, press the
[SF4] GET button to call it up.
Pressing the [SF4] button lets you
call up the template selected at left.
Template
Number
Template
Name
Press the [SF5] button lets you save the current
setting to the template selected at left.
Song Mixing Store mode
n Since the Mixing templates are stored as System data (page 186) in Flash ROM, the data is
maintained even when the power is turned off. The Mixing template stored here can be called
up in the Pattern mode as a Pattern Mixing program.
[SONG] → Song selection → [STORE]
Reference Song Mode
This function lets you store your edited Song Mixing program to User memory (DRAM).
For details, refer to page 131 in the Quick Guide section.
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237
Supplementary information
■ Supplementary information
Song Track Loop — setting example
[SONG] → [F3] TRACK → [SF3] TR LOOP (Track Loop)
Step Recording — examples
page 222
In the example below, a 40-measure song has been recorded and
Track 1 is set to play back normally over the 40 measures. Track 2 has
been set to loop, and will repeat until the [J] (Stop) button is
pressed.
Playback
Track1
(40 measures of data)
[SONG] or [PATTERN] → [I] (Record) → [F1] SETUP
→ Type = step
page 224
This section explains how to step-record notes, using three specific
examples.
n
The explanations here using the Song mode display apply also to the
Pattern mode.
• Example 1
Track2
(40 measures of data)
The four-measure data is repeated ten times
When Track Loop has been set to on, you can specify the range to be
looped. (Only the end point can be set; the start point of looped
playback is fixed to the beginning of the song.)
1
Set the parameters as illustrated below.
Press the Record button to call up the display below. Here, we'll
set the Step Time to (480) so that quarter notes will be entered,
and set the GateTime to 100% to have the notes play in legato.
CAUTION
Please note that changing the Track Loop from off to on will delete the data
of the area that is not looped.
1
Press [F1] to call up the Song Play display. Here, change
the change the current measure — this will be used for the
last measure of the loop.
2
Play the keys C, D, E, F, G, A, B and C in order.
In this example, set to “004.”
Reference Song Mode
2
3
4
Call up the [F3] TRACK → [SF3] TR LOOP display and
move the cursor to the track to be looped.
Set the selected track to on by using the [INC/YES] and
[DEC/NO] buttons or the data dial. (The display prompts
you for confirmation.)
Press the [INC/YES] button. The Loop is set to on and the
data after the loop end is deleted
Each time you press a key and release it, the pointer moves
forward by one step and the played note is recorded.
3
Move the pointer to the top (beginning) of the song and
press the [F] (Play) button to hear the note data you just
recorded in steps #1 and 2.
SEQ TRANSPORT
If you want to restore the deleted data and return the selected
track to off, press the [SF5] UNDO button.
CAUTION
The Undo function can only be used on the last Track Loop operation.
If you’ve set other tracks to loop, the data of those previous tracks cannot be recovered.
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Owner’s Manual
LOCATE
1
2
Supplementary information
• Example 2 (Using the Tie function)
4
Follow the instructions below to enter the next dotted half
note.
1 Change this to a quarter
note (480).
1
2 Press and release A.
Set the parameters as illustrated below.
Since the first note is a half note, set the StepTime to the half-note
icon (a value of 960), and set the GateTime to 80%, since you
don't want the notes to play in legato.
3 Press the [F4] button twice to expand the quarter note to
a dotted half note.
2
Enter the first note F.
5
1 Press and release F.
2 Change this to an eighth
note (240).
3 Press the [F4] button to tie the two F notes (half note and
8th note).
6
Enter the last quarter note by pressing and releasing F.
Move the pointer to the top (beginning) of the song and
press the [F] (Play) button to hear the note data you just
recorded in steps #1 - 5.
LOCATE
3
1
Reference Song Mode
SEQ TRANSPORT
2
Enter the next 8th notes.
Keep the display settings unchanged for the remaining notes in
the measure, and press/release each key one by one as shown
below.
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239
Supplementary information
• Example 3 (Using the Rest function)
5
Enter the next 4th note C as shown below.
1 Change this value to 480, since the rest value
is a quarter note.
1
Set the parameters as illustrated below.
Set the StepTime to a quarter note (480) and the Gate Time to
80%.
2 Press and release C.
2
Enter the first note, F.
Press and release A.
3
Enter the next 8th rest as shown below.
1 Change this to an eighth note (240), since we’ll
be entering an eighth-note rest.
6
Enter the next 8th rest as you did in step #3 above.
7
Enter the last 8th note, F.
Press and release F.
2 Enter the selected rest value (eighth note) by
pressing the [F3] button
Reference Song Mode
8
4
Enter the next 8th note A.
Move the pointer to the top (beginning) of the song and
press the [F] (Play) button to hear the note data you just
recorded in steps #1 - #7.
SEQ TRANSPORT
Press and release A.
LOCATE
1
2
TIP Entering a chord
In Step recording, you can also enter chords. Press and hold
down each note of the chord in succession, then release them
all together to record them as a chord. Keep in mind that notes
are not actually recorded to a track until they are released.
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Owner’s Manual
Pattern Play mode
Pattern mode
■ Creating Patterns — basic procedure
Patterns consist of the following three types of data:
• MIDI sequence data (created in the Pattern Record mode, Pattern Edit mode, and Pattern Job mode)
• Setup data (created in the Pattern Play mode)
• Mixing data (created in the Pattern Mixing mode/Mixing Edit mode and stored in the Pattern Mixing Store mode)
After creating the data in these modes described above, store the Mixing settings in the Pattern Mixing Store mode to archive it as Pattern data
and save the entire Pattern to the SmartMedia/USB storage device in the File mode.
n
Non-note MIDI events (such as Voice number, volume, pan, and effect send level) which are necessary at the start of a Pattern are not recorded as MIDI
sequence data, but are stored instead as Mixing data.
CAUTION
Because Pattern data (MIDI sequence data, Setup data, and Mixing data) is recorded to DRAM (page 187), it will be lost when turning the power off. Make
sure to save any Pattern data created via the Record, Edit, Job, and Mixing setting to the SmartMedia/USB storage device in the File mode before turning
the power off. For details on saving Pattern data, see page 132.
[PATTERN] → Pattern selection
Pattern Play mode
[F1] PLAY
Trans (Transpose)
Refer to page 56 in the Quick Guide section.
Determines the key transpose setting for the Pattern, and can be adjusted in semitones.
Settings: -36 ~ +36
n If Transpose is applied to a Drum Voice, the results may not be musically appropriate. To ensure proper playback of a Drum
Voice, set the Note Shift parameter for the Drum Voice Part to an appropriate value ([PATTERN] → [MIXING] → [EDIT] → Part
selection → [F4] TONE → [SF1] TUNE → NoteShift).
MEAS (Measure)
[SF1] ARP1 (Arpeggio 1) - [SF5]
ARP5 (Arpeggio 5)
Indicates the current measure number and beat for the current Pattern. During playback, this indication changes
automatically according to the Pattern playback. You can input the desired measure number directly by using the
Number Input window called up via the [INFORMATION] button.
You can register the desired Arpeggio types to these buttons and call them up any time during your keyboard
performance.
[F2] GROOVE (Grid Groove)
Same as in the Song Play mode. See page 221.
[SF1] CHANNEL
Same as in the Song Play mode. See page 221.
[SF2] OUT SW (Output Switch)
Same as in the Song Play mode. See page 222.
[SF3] TR VCE (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 set in the Mixing mode.
n
[F4] PATCH
Reference Pattern Mode
[F3] TRACK
The Phrase Voice embedded in the Phrase can be specified from the Voice display in the Pattern Record mode (page 243).
Refer to page 113 in the Quick Guide section.
From this display, you can assign a Preset phrase or a User phrase (recorded in the Pattern Record mode) to each track and create a Pattern that contains up to
16 tracks.
n
The Patch function allows you to use only User phrases recorded to a track of the currently selected Pattern. If you wish to use User phrases recorded to tracks of other Patterns,
use the Phrase Data Copy function, selected with [SF5] button.
Section
Shows the current edited section. For details about how to change sections, see page 57.
Meas
Shows Measure : Beat for current playback location.
[SF4] CLEAR
This clears the Phrase assignment to the currently selected track and leaves the track empty.
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241
Pattern Play mode
[SF5] COPY
Source Pattern number,
phrase number
When this box is checkmarked, Sample Voices
assigned to the source phrase are copied to
the destination phrase as Sample Voices, and
are assigned to the corresponding tracks in the
selected Pattern.
The User phrases that can be assigned with
the Patch function are limited to the ones
contained in the currently selected Pattern.
This function lets you copy phrases in another
Pattern to the selected one. Press the [SF5]
button to call up the display shown at left. After
setting the parameters as needed, press the
[ENTER] button to copy the phrase data.
CAUTION
Destination phrase and track
of the current edited Pattern
The copy operation overwrites any data
previously existing in the destination
phrase.
After setting, press the
[ENTER] button to copy
the phrase.
[F5] REMIX
This function gives you a variety of semi-random presets for dividing the MIDI sequence data and altering the note lengths, letting you create completely new
variations of a Pattern. This function is particularly effective when used on a track which contains a sample voice created by using the Sampling feature with the
SLICE+SEQ sample type or samples sliced using the Sample Slice Job.
Set the parameters below, then press the [ENTER] button to execute the Remix operation. You can press the Play button at this point to hear the results of the
Remix. If you’re not satisfied with the results, try another Type/Variation and press [ENTER]. If you want to keep the changes, press [SF5] OK. (Undo cannot be
used with Remix.) To return to the original display without altering the data, press the [SF4] CANCEL button.
n
Since the remixed data is stored as a new phrase and assigned to the current track, the original phrase data remains as an unassigned phrase.
Determines how the data in the selected track will be divided and rearranged. The division and rearrangement rules
are different for each remix type. The type is also shown graphically in the display.
Type
Settings: 1~16
Determines how the original MIDI sequence data will be modified.
Variation
Settings: Normal1~16, Reverse1~16, Break 1~16, Pitch 1~16, Roll 1~16
Normal 1~16 ....The original data is only divided and rearranged. 16 variations are provided.
Reverse1~16 ...In addition to division and rearrangement, some portions of the data may be played in reverse. 16 variations are
provided.
Break 1~16 ......In addition to division and rearrangement, some portions of the data may be deleted to create breaks. 16 variations are
provided.
Pitch 1~16........In addition to division and rearrangement, some portions of the data may be pitch-shifted. 16 variations are provided.
Roll 1~16..........In addition to division and rearrangement, some portions of the data may be played with a roll effect. 16 variations are
provided.
[F6] CHAIN
Refer to page 115 in the Quick Guide section.
Pattern Chain Play mode
[PATTERN] → [F6]
This mode lets you play the programmed section chain sequence created in the Pattern Record mode and Pattern
Edit mode. The parameters are the same as in the [F1] PLAY display.
Pattern Chain Record mode
[PATTERN] → [F6] → [I] (Record)
Recording Standby mode
Recording track
You can select one of the following tracks for recording.
Reference Pattern Mode
• patt (Pattern): Records section changes during
playback
• tempo: Records tempo change information during
playback
• scene: Records track mute settings during playback
During Recording [PATTERN] → [F6] → [I] (Record) → [F] (Play)
When recording the tempo track, you can change the tempo value.
When recording the scene track, you can change the track mute setting.
When recording the Pattern track, you can change the section.
Pattern Chain Edit mode
242
[PATTERN] → [F6] → [EDIT]
[F1] CHANGE
The Pattern Chain Edit mode makes it possible to edit the order of the sections in a chain, as well as insert tempo,
and scene/mute event data.
Call up the desired track display by pressing the [F4] TR SEL button to edit the selected track.
Pattern Track Edit
From this display, you can edit the section changes for each measure. Move the cursor to the “Section” column for
the desired measure, and enter the desired section. To set the end of the chain, enter an END mark at the
appropriate measure. (For more information, see page 116.)
To clear the event at the currently selected location, press the [F6] CLEAR button.
Scene Track Edit
You can edit the track mute change in beats. Use the [F5] INSERT and [F6] DELETE button to insert/delete the event.
Tempo Track Edit
You can edit the tempo change in beats. Use the [F5] INSERT and [F6] DELETE button to insert/delete the event.
Owner’s Manual
Pattern Record mode
[F2] COPY
Source range
Top measure of destination
Pattern Record Standby mode
This display lets you copy all Pattern chain events from
a specified range of measures (source) to a destination
location.
After specifying the source range in measures, the top
measure of the destination location, and
NumberOfTimes (number of times the data is copied),
press the [ENTER] button to execute the Copy
operation.
CAUTION This operation overwrites any events already existing at the destination.
[F3] SONG
This function converts the Pattern chain data to Song data (standard MIDI format) and places the results in the
normal Song tracks.
After specifying the desired destination Song and measure number to which the converted data is to be copied,
then press the [ENTER] button to execute.
CAUTION This operation overwrites any data already existing at the destination range.
[PATTERN] → Pattern selection → [I] (Record)
Pattern Record mode
Pattern Record Standby mode
[F1] SETUP
Type (Recording Type)
Determines the recording method.For information on each method, refer to page 168 in the Basic Structure section.
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
(page 168), allowing you to add different instruments on each pass.
When OFF recording stops after one pass through the phrase.
Settings: on, off
Quantize
Same as in the Song Record mode. See page 222.
Event
Same as in the Song Record mode. See page 223.
(Tempo)
Determines the Pattern tempo.
Settings: 001.0 ~300.0
n Unlike in Songs, Scene track and Tempo track are not available for Patterns.
Determines the measure from which Pattern recording will be started.
Reference Pattern Mode
Meas (Measure)
[F2] VOICE
From this display you can set Voice-related parameters for the selected track. The settings made here affect the tone generator parts whose MIDI receive
channels match the MIDI transmit channel of the song track. The Voice set here becomes the phrase Voice (page 167).
Parameters are the same as in the Song Record mode. See page 223.
[F3] ARP (Arpeggio)
From this display you can set parameters related to the Arpeggio of the recording track.
Parameters are the same as in the Song Record mode. See page 223.
[F4] REC ARP (Record Arpeggio)
From this display you can determine whether the sequence data played by Arpeggio is recorded to the Pattern track or not.
Parameters are the same as in the Song Record mode. See page 223.
[F5] CLICK
Pressing the [F5] button lets you turn the click sound (metronome) on/off for recording.
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243
Pattern Edit mode
During Pattern Recording
[PATTERN] → Pattern selection → [I] (Record) → [F] (Play)
Realtime Recording
Refer to page 110 in the Quick Guide section.
Step Recording
Examples of Step Recording are described on page 238.
Parameters in the displays are the same as in the Song Record mode. See page 224.
[PATTERN] → Pattern selection → [EDIT]
Pattern Edit mode
Same as in the Song Edit mode. See page 225.
[PATTERN] → Pattern selection → [JOB]
Pattern Job mode
The Pattern Job mode contains a comprehensive set of editing tools and functions you can use to change the sound of the Pattern. It also
includes a variety of convenient operations, such as copying or erasing data.
After setting parameters as required from the selected display, press the [ENTER] button to execute the Job.
CAUTION
An “Executing...” message is shown when it takes a short amount of time to execute the Job. Never attempt to turn off the power while an “Executing...”
message is shown. Turning the power off in this state results in loss of all user data.
[F1] UNDO/REDO
The Undo Job cancels the changes you made in your most recent recording session, editing session, or Job, restoring the data to its previous state. This allows
you to recover from accidental data loss.
Redo is available only after using Undo, and lets you restore the changes you made before undoing them.
CAUTION Undo/Redo does not work with Sample Voice and Mixing Voice operations.
[F2] NOTE (Note data Job)
The Note data Jobs in the Pattern mode are basically same as in the Song Job mode. However, unlike
in the Song Job mode, Pattern Note data Jobs are applied to the phrases (001 - 256) and a selected
range in the phrase (measure : beat : clock).
Reference Pattern Mode
Specify the phrase and the range (in measures/beats/clocks)
over which the Job is applied.
01: Quantize
Same as in the Song Job mode. See page 227.
02: Modify Velocity
Same as in the Song Job mode. See page 227.
03: Modify Gate Time
Same as in the Song Job mode. See page 227.
04: Crescendo
Same as in the Song Job mode. See page 228.
05: Transpose
Same as in the Song Job mode. See page 228.
06: Glide
Same as in the Song Job mode. See page 228.
07: Create Roll
Same as in the Song Job mode. See page 228.
08: Sort Chord
Same as in the Song Job mode. See page 228.
09: Separate Chord
Same as in the Song Job mode. See page 229.
[F3] EVENT (Event Job)
The Event Jobs in the Pattern mode are basically same as in the Song Job mode. However, unlike in the Song Job mode, Pattern Event Jobs are applied to the
phrases (001 - 256) and a selected range in the phrase (measure : beat : clock).
01: Shift Clock
244
Same as in the Song Job mode. See page 229.
Owner’s Manual
Pattern Job mode
02: Copy Event
Same as in the Song Job mode. See page 229.
03: Erase Event
Same as in the Song Job mode. See page 229.
n
Unlike in the Song Job mode, “Tempo,” “Scene Memory,” or “Track Mute” cannot be selected as Event Types.
04: Extract Event
Same as in the Song Job mode. See page 230.
05: Create Continuous Data
Same as in the Song Job mode. See page 230.
n
Unlike in the Song Job mode, “Tempo” cannot be selected as an Event Type.
06: Thin Out
Same as in the Song Job mode. See page 230.
07: Modify Control Data
Same as in the Song Job mode. See page 230.
n
08: Beat Stretch
Unlike in the Song Job mode, “Tempo” cannot be selected as an Event Type.
Same as in the Song Job mode. See page 231.
[F4] PHRASE (Phrase Job)
01: Copy Phrase
Selects the Pattern and phrase to be copied.
(Preset phrase also can be selected.)
Specify the destination Pattern and phrase.
n
This Job copies a selected phrase to the designated
destination phrase.
After specifying the source Pattern and phrase, the
destination Pattern and phrase, and setting the
checkbox of Copy Sample, press the [ENTER] button to
execute this Job.
When the Copy Sample box is checkmarked, Sample
Voices used by the source phrase are copied to the
destination Pattern as Sample Voices, and are assigned
to the destination phrase. This is available only when
the Sample Voice is used in the source phrase.
When there is no memory available in the destination Pattern 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.
CAUTION Any previous data in the copy destination will be overwritten.
CAUTION Undo/Redo (page 244) cannot be used to undo/redo a Sample Voice copy operation.
02: Exchange Phrase
This Job exchanges or “swaps” the contents of two specified phrases (“A” and “B”).
n
03: Mix Phrase
If this Job is applied to phrases which use Sample Voices, the Sample Voices will not be exchanged.
This Job mixes all data from two selected user phrases (“A” and
“B”), and places the result in phrase B.
n
Phrase B
Phrase A
Keep in mind that applying this Job to phrases with Sample Voices
does not mix the Sample Voices.
Mix Phrase
Phrase B
This Job appends one phrase (A) to the end of another (B) to
create one longer phrase (B).
n
Phrase A
If this Job is applied to phrases which use Sample Voices, the
Sample Voices will not be appended.
Reference Pattern Mode
04: Append Phrase
Append Phrase
Phrase B
05: Split Phrase
This Job splits a selected phrase (A) into two separate phrases (A
and B).
The data before the split point is stored to the original phrase A
and the data after the split point is moved and stored to another
phrase B. You can also set the Meter of the phrase B after the Split
Phrase Job.
n
n
When either Pattern or Phrase is set to “off,” the split Phrase B data
is erased.
If this Job is applied to phrases which use Sample Voices, the
Sample Voices will not be split.
Phase A is divided at the Split Point
Phrase A
Phrase A
Phrase B
CAUTION The Job overwrites any data already existing in destination phrase B.
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245
Pattern Job mode
06: Get Phrase From Song
This Job copies a segment of sequence-track data from
a Song into the designated destination phrase.
After specifying the source Song/track/range of
measures to be copied, the destination phrase, and
setting the checkbox of Copy Sample, press the
[ENTER] button to execute this Job.
When the Copy Sample box is checkmarked, Sample
Voices used by the source track are copied to the
destination Pattern as Sample Voices, and are assigned
to the destination phrase. This parameter has no effect when no Sample Voice is used by the source track.
Source Song, track, and range of measures
Destination phrase
to be copied.
n
When there is no memory available in the destination Pattern 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.
CAUTION The Job overwrites any data already existing in the destination phrase.
CAUTION Undo/Redo (page 244) cannot be used to undo/redo a Sample Voice copy operation.
07: Put Phrase To Song
This Job copies a selected user phrase into a specified
area of a selected song.
After specifying the source phrase, destination Song/
track/top measure, and setting the Copy Sample
checkbox, press the [ENTER] button to execute this
Job.
When the Copy Sample box is checkmarked, Sample
Voices used by the source phrase are copied to the
destination Song as Sample Voices, and are assigned
to the destination Song track. This parameter has no effect when no Sample Voice is used by the source phrase.
Source phrase
n
Destination Song, track,
and top measures
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.
CAUTION The Job overwrites any data already existing in the destination track.
CAUTION Undo/Redo (page 244) cannot be used to undo/redo a Sample Voice copy operation.
08: Clear Phrase
This Job deletes all data from the selected phrase.
When the Delete Sample 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.
CAUTION Undo/Redo (page 244) cannot be used to undo/redo a Delete Sample operation.
09: Phrase Name
This Job lets you assign a name (of up to eight characters) to the selected phrase.
For instructions on naming, refer to page 53 in the Basic Operation section.
[F5] TRACK (Track Job)
01: Copy Track
This Job copies all data from a specified source track to
the specified destination track.
The types of data to be copied are the same as in the
Song Job mode. See page 231.
Source Pattern, section, and track
Reference Pattern Mode
Types of data to be copied
02: Exchange Track
Destination Pattern, section,
and track
Target tracks for the Exchange operation
This Job exchanges or “swaps” the specified type of
data between two specified tracks in the current Pattern
and section. The types of data to be exchanged are the
same as in the Song Job mode. See page 232.
Types of data to be exchanged
03: Clear Track
Section and track from which data is to be cleared
Types of data to be cleared
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Owner’s Manual
This Job deletes all data of the selected type from the
selected Pattern track.
The types of data to be cleared are the same as in the
Song Job mode. See page 232.
Pattern Job mode
04: Normalize Play Effect
This Job rewrites the data in the selected track so that it incorporates the current Grid Groove settings.
After specifying a track (TR 01-16) to which this Job is applied, press the [ENTER] button to execute this Job.
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).
After specifying a track (TR 01-16) to which this Job is applied, press the [ENTER] button to execute this Job.
n
06: Put Track To Arp
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 246) to delete tracks 1 - 8, then try the Job again.
This Job copies data in the specified measures of a section/track for creating Arpeggio data. For details, refer to
page 130 in the Quick Guide section.
[F6] PATTERN (Pattern Job)
01: Copy Pattern
n
Source Pattern and section
Destination Pattern and section
This Job copies all data from a selected source Pattern
to a selected destination Pattern.
After specifying the source Pattern/section, and the
destination Pattern/section, as well as setting the
checkboxes as necessary, press the [ENTER] button to
execute this Job.
If you set the source section to “all,” the destination section is also set to “all” automatically. With this status, execute this Job to copy the entire source Pattern data to the
destination.
Preset Phrase → User
When this box is checkmarked, Preset Phrases (if included in the source Pattern) are copied to the User Phrase,
which will be assigned to the destination Pattern.
Duplicate User Phrase
When this box is checkmarked, User Phrases (if included in the source Pattern) are copied to another User Phrase,
which will be assigned to the destination Pattern.
Chain
When this box is checkmarked, Pattern chain data (if included in the source Pattern) is copied to the destination
Pattern.
02: Append Pattern
Source Pattern
and section
Destination Pattern and section
Appends one Pattern to the end of another to create
one longer Pattern with all 16 tracks.
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.
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.
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 space is unavailable, an alert
message will appear and the Job will be aborted. If this occurs use the Clear Phrase Job (page 246) to delete unused phrases
and try again.
03: Split Pattern
Source Pattern and section
Destination Pattern
and section
Reference Pattern Mode
Keep Original Phrase
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.
CAUTION The Job overwrites any data already
existing in the destination Pattern.
Split Point
Determines the Split Point by setting a measure number.
Keep Original Phrase
When this box is checkmarked, the original Source Pattern data is retained in memory and the results of the Split Job
are written to empty phrases. When this box is not checkmarked, the original Source Pattern is erased and replaced
with the newly created data.
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247
Pattern Mixing mode
When this box is checkmarked, Sample Voices (if included in the source pattern) are copied to the destination
Pattern.
Sample
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 space is unavailable, an alert message will appear and the job will be aborted. If this occurs use the Clear Phrase Job
(page 246) to delete unused phrases and try again.
04: Clear Pattern
This Job deletes all data from the selected Pattern, or from all Patterns. When the specific section is selected to be cleared, you can unmark the Chain box.
If the Chain box is not checkmarked, the Pattern Chain data will be kept even though the Clear Pattern Job is executed.
05: Pattern Name
This Job lets you assign a name to the selected Pattern.
For instructions on naming, refer to page 53 in the Basic Operation section.
Pattern Mixing mode
[PATTERN] → Pattern selection → [MIXING]
In this mode, you can set up 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.
Pattern Mixing parameters are not actually part of the Pattern sequence data in each track, 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.
Mixing operations and parameters are the same as those of the Song Mixing mode. See page 236.
CAUTION
Parameter settings made in the Pattern Mixing mode and Pattern Mixing Edit mode should be stored to internal memory (DRAM) as part of the Pattern data.
In addition, make sure to save the entire Pattern data (including the Mixing settings) to the SmartMedia/USB storage device, since the data in DRAM is
stored only temporarily (page 187).
n
Parameter settings in the Pattern Mixing mode and Pattern Mixing Edit mode can be stored as a template to internal Flash ROM, as well as being stored as
part of a Pattern. See page 104 for details.
Pattern Mixing Edit mode
[PATTERN] → Pattern selection → [MIXING] → [EDIT]
This mode provides more detailed Mixing parameters than in the Pattern Mixing mode.
Keep in mind that Pattern Mixing parameters are not actually part of the Pattern sequence data in each track, 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.
Mixing operations and parameters are the same as those of the Song Mixing mode. See page 234.
CAUTION
Reference Pattern Mode
Parameter settings made in the Pattern Mixing mode and Pattern Mixing Edit mode should be stored to internal memory (DRAM) as part of the Pattern data.
In addition, make sure to save the entire Pattern data (including the Mixing settings) to the SmartMedia/USB storage device, since the data in DRAM is
stored only temporarily (page 187).
n
Parameter settings in the Pattern Mixing mode and Pattern Mixing Edit mode can be stored as a template to internal Flash ROM, as well as being stored as
part of a Pattern. See page 104 for details.
Pattern Mixing Job mode
[PATTERN] → Pattern selection → [MIXING] → [JOB]
Same as in the Song Mixing Job mode. See page 236.
Pattern Mixing Store mode
[PATTERN] → Pattern selection → [MIXING] → [STORE]
This function lets you store your edited Pattern Mixing to User memory (DRAM).
For details, refer to page 131 in the Quick Guide section.
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Owner’s Manual
Mixing Voice Edit mode
Common Edit
Mixing Voice mode
■ Creating Mixing Voices — basic procedure
The Mixing Voice mode provides most of the same Normal Voice editing parameters as the Voice mode, with the main exception that these
Voices are dedicated for use with the Songs and Patterns, and are stored specifically as Mixing Voices.
The Mixing Voice Job mode lets you use the supplementary functions like Copy and Delete. After completing the Mixing Voice editing, you can
store the edited Voice to a User Bank to internal memory (Flash ROM) or you can store it as a part of the current Song/Pattern data to internal
memory (DRAM). When storing the edited Mixing Voice as a part of the current Song/Pattern data, make sure to save the data to a SmartMedia/
USB storage device in the File mode.
Mixing Voice Edit mode
[SONG] or [PATTERN] → [MIXING] → [F2] VOICE →
Normal Voice selection → [F5] VCE ED
The Mixing Voice Edit mode is divided into Common Edit, for setting parameters common to all four Elements, and Element Edit, for setting
parameters of individual Elements.
Common Edit
[SONG] or [PATTERN] → [MIXING] → [F2] VOICE → Normal Voice selection → [F5] VCE ED → [COMMON]
These parameters are for making global (or common) edits to all four Elements of the selected Normal Voice.
n
The Mixing Voice Edit parameters are basically the same as those in the Voice Edit mode. However, some parameters having the same name as those in the
Song Mixing/Pattern Mixing Part Edit mode are not available in the Mixing Voice Edit mode.
[F1] GENERAL
Same as in the Normal Voice Common Edit mode. See page 189.
Please note that the [SF3] MEQ OFS (Master EQ Offset) display is not available in the Mixing Voice Edit mode.
[F2] OUTPUT
Same as in the Normal Voice Common Edit mode. See page 190.
[F4] CTL SET (Controller Set)
Same as in the Normal Voice Common Edit mode. See page 192.
[F5] LFO
Same as in the Normal Voice Common Edit mode. See page 192.
[F6] EFFECT
Same as in the Normal Voice Common Edit mode. See page 194.
Please note that the [SF4] REVERB and [SF5] CHORUS displays are not available in the Mixing Voice Edit mode.
Element Edit
[SONG] or [PATTERN] → [MIXING] → [F2] VOICE → Normal Voice selection → [F5] VCE ED →
Element selection
Reference Mixing Voice Mode
These parameters are for editing the individual Elements that make up a Normal Voice.
[F1] OSC (Oscillator)
Same as in the Normal Voice Element Edit mode. See page 195.
[F2] PITCH
Same as in the Normal Voice Element Edit mode. See page 196.
[F3] FILTER
Same as in the Normal Voice Element Edit mode. See page 197.
[F4] AMP (Amplitude)
Same as in the Normal Voice Element Edit mode. See page 199.
[F5] LFO (Low Frequency Oscillator)
Same as in the Normal Voice Element Edit mode. See page 201.
[F6] EQ (Equalizer)
Same as in the Normal Voice Element Edit mode. See page 201.
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Mixing Voice Job mode
Mixing Voice Job mode
[SONG] or [PATTERN] → [MIXING] → [F5] VCE ED → [JOB]
The Mixing Voice Job mode features two basic operations, Copy and Delete. After setting parameters as required from the selected display,
press the [ENTER] button to execute the Job.
[F2] RECALL
If you are editing a Mixing Voice and select a different Mixing Voice, Mixing program, Song or Pattern without storing your edited one, all the edits you’ve made will
be erased. Edits are also erased if the current part to which the edited Mixing Voice is assigned receives a program change from an external MIDI instrument.
If this happens, you can use Edit Recall to restore the Mixing Voice with your latest edits intact by pressing the [ENTER] button from the [F2] RECALL display.
n
Since a Recall Buffer for the Mixing Voice is prepared for each Part of the current Song or Pattern, you can specify the Part to which the Mixing Voice to be recalled is assigned
before executing the Edit Recall.
[F3] COPY
Source song/pattern and part
This Job lets you copy the Mixing Voice stored to a specified Part in one Song/Pattern to a Part in
another Song/Pattern.
Destination song/pattern and part
[F5] DELETE
This Job lets you delete a Mixing Voice assigned to a specified Song/Pattern’s Part.
Mixing Voice Store mode
[SONG] or [PATTERN] → [MIXING] → [F5] VCE ED → [STORE]
This function lets you store your edited Mixing Voice to User memory (Flash ROM or DRAM).
For details, refer to page 106 in the Quick Guide section.
Reference Mixing Voice Mode
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Owner’s Manual
Sampling Record mode
When entering the Sampling mode from the Voice mode/Performance mode
Sampling mode
■ Creating samples — basic procedure
In the Sampling mode, the following three types of data can be created.
• Waveform: Created by recording a sample.
• Sample Voice: Created by recording a sample (depending on the settings before recording) in the Sampling mode entered from the Song
mode/Pattern mode. The resulting Waveform can be assigned to a Sample Voice.
• User Voice: Created by recording a sample (depending on the settings before recording) in the Sampling mode entered from the Voice
mode/Performance mode. The resulting Waveform can be assigned to a User Voice.
After creating the data described above, save them to a SmartMedia/USB storage device in the File mode. Sample Voices that are assigned to
Song tracks can be saved along with Song data. When saving Song data (that includes Sample Voices) or User Voice data, all Waveforms
assigned to the data will be saved automatically. Waveforms assigned to the Sample Voices or User Voices will be saved together automatically.
Waveforms which are not assigned to any Song or Voice data should be saved individually as Waveforms.
IMPORTANT:
The Sampling mode is available only when optional DIMMs (page 289) have been installed to the MOTIF ES.
CAUTION
The waveforms created in the Sampling mode reside temporarily in the optionally installed DIMMs (page 187). Because data contained in DIMM is lost when
the power is turned off, you should always save the waveforms created by recording, editing, and using Jobs to a SmartMedia/USB storage device before
turning off the power. For information on how to save, see page 97.
Sampling Record mode
[INTEGRATED SAMPLING]
In this mode, you can record sounds to this synthesizer (for example, your voice, a guitar, or sounds from a CD), edit them, and use them to
create voices you can play from the keyboard. Or, if you enter this mode from the Song or Pattern mode, the sounds you record (commonly
called “sample”) 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 this synthesizer itself.
When entering the Sampling mode from the Voice mode/Performance mode
In this case, you can create a Waveform or User Voice by recording sounds input from external devices such as a microphone and audio
equipment.
[F1] DEST (Destination)
From this display you can determine the destination location to which the recorded sample will be stored.
Waveform
Determines the Waveform number to which the recorded sample is assigned.
Settings: 001~1024
Keybank
Determines the note number located at the center of the Key Bank.
Settings: C-2 ~G8
n
For details about Waveform and Key Bank, see page 173.
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. When set to “off,” only the Voice will be created by sampling.
Settings: off, 1~ 4
The recorded sample can be stored as a User voice. This parameter determines the User voice bank and number to
which the recorded sample is assigned.
n
Key
Reference Sampling Mode
Voice
When this is set to “---,” 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, go to the WAVE display ([VOICE] → Voice
selection → [EDIT] → Element selection → [F1] OSC → [SF1] WAVE) or KEYBANK display ([INTEGRATED SAMPLING] →
[EDIT] → [F1] KEYBANK) and search through the User Waveforms to find the desired sample.
Available only when the User voice bank is set to UDR (User Drum). This parameter lets you determine the key to
which the sample obtained via the Sampling feature will be assigned.
Settings: C0 ~ C6
[F2] SOURCE
From this display you can set parameters related to the audio source.
Type
Determines the Sampling type. Keep in mind that this parameter is fixed to “sample” when entering the Sampling
mode from the Voice/Performance mode.
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251
Sampling Record mode
When entering the Sampling mode from the Voice mode/Performance mode
Determines the recording source.
Source
Settings: A/D, resample, AIB2, mLAN1~4
A/D ...................Analog audio from the A/D INPUT jacks is recognized as the recording source.
resample ..........The audio signal produced from the instrument when you play the keyboard along with the Audio Input part (in other
words all the audio signals output from the OUTPUT jacks) is recognized as a recording source and “resampled.”
AIEB2 ...............Digital audio from the DIGITAL IN terminal or OPTICAL IN terminal (with optional AIEB2) is recognized as the recording
source.
mLAN1~4.........The mLAN connector (with optional mLAN16E) is recognized as the recording source.
Determines whether multiple samples can be recorded without exiting from the Record mode (on) or not (off). When
you wish to assign individual samples to the keys one by one to create a Drum Voice, set this parameter to on.
Keep in mind that the Next parameter may be fixed to “off” and cannot be changed. This occurs when you enter the
Sampling mode from the Voice mode/Performance mode, set the Voice to something other than “off” in the [F1]
DEST display, and set the Source (above) to “resample” in the [F2] SOURCE display.
Next
Determines whether new samples will be recorded as stereo or mono samples.
Mono/Stereo
Settings: monoL, monoR, monoL+R, stereo
L mono .............The L-channel signal will be recorded as a mono sample.
R mono.............The R-channel signal will be recorded as a mono sample.
L+Rmono .........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, but use up more memory.
Settings: 44.1k (44.1 kHz), 22.0kLo (22.05 kHz Lo-Fi), 11.0kLo (11.025 kHz Lo-Fi), 5.5kLo (5.5125 kHz Lo-Fi)
n When the Source is set to any of mLAN1~4 and the mLAN terminal is used as an audio 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.
[F6] REC
Even if you press the [F6] REC button, recording (sampling) will not start immediately. Set various parameters such as Trigger Mode in the Sampling Standby
display, then start the actual sampling according to the settings.
STANDBY (Sampling Standby)
TrggrMode (Trigger Mode)
Press the [REC] button to enter the Sampling Standby display. From this display you can turn the Confirm function on
or off by pressing the [F2] CONFM button as well as set parameters listed below. For details on the Confirm function,
refer to page 95 in the Quick Guide section.
Specifies the method by which sampling will be triggered.
Settings: level, manual
level..................When this is selected, press the [F6] REC button to enable the Trigger Waiting condition. Sampling will then begin as
soon as an input signal exceeding the specified trigger level is received. When this is selected, you need also set the
Trigger Level (1~127).
manual .............When this is selected, sampling will begin as soon as the [F6] START button is pressed, regardless of the input signal
level.
Key
This is the same parameter as Keybank in the [F1] DEST display.
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
Reference Sampling Mode
252
WAITING (Trigger Waiting)
When Trigger Mode is set to “level” in the Sampling Standby display, press the [F6] REC button again to enter the
Trigger Waiting condition; the [F6] menu changes to “STOP.” In this status, sampling will begin as soon as an input
signal exceeding the specified trigger level is received. Before recording starts, press the [F6] STOP button or
[EXIT] button to return to the Sampling Standby display.
Keep in mind that the Confirm function can also be turned on or off by using the [F2] CONFM button in the Trigger
Waiting condition.
RECORDING
During recording, press the [F6] STOP button or [EXIT] button to stop the sampling.
After sampling (recording) stops:
The following menus appear only when the Confirm function is turned on.
[F3] AUDITION
Pressing this lets you hear the sample obtained by recording (sampling).
[F4] CANCEL
Pressing this deletes the sample obtained by recording (sampling) and return to the Sampling Standby display.
[F5] OK
Pressing this stores the sample obtained by recording (sampling) to the specified destination.
Owner’s Manual
Sampling Record mode
When entering the Sampling mode from the Song mode/Pattern mode
When entering the Sampling mode from the Song mode/Pattern mode
In this case, you can create a Waveform or Sample Voice by recording sounds input from external devices such as a microphone and audio
equipment.
[F1] DEST (Destination)
From this display you can determine the destination location to which the recorded sample will be stored.
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
[F2] SOURCE
From this display you can set parameters related to the audio source.
Type
Determines the Sampling type. When entering the Sampling mode from the Song/Pattern mode, the data created by
Sampling varies depending on this setting.
Settings: sample, sample+note, slice+seq
sample.................. Only sample (wave) data is created.
sample+note ........ In addition to sample data, the appropriate note data for playing the sample is created and recorded to the track
specified in the [F1] DEST display.
slice+seq.............. The recorded sample is automatically divided into “slices,” and these are assigned to successive notes on the
keyboard.
n Detailed settings (meter, measure number etc,) are specified in the Slice display after sampling.
Source
Determines the recording source.
Same as in the Sampling mode from the Voice mode/Performance mode. See above.
Next
Determines whether multiple samples can be recorded without exiting from the Record mode (on) or not (off). When
you wish to assign individual samples to the keys one by one to create a Drum Voice, set this parameter to on.
Keep in mind that this parameter is fixed to off when the Source is set to “slice + seq.”
Mono/Stereo
Determines whether new samples will be recorded as stereo or mono samples.
Same as in the Sampling mode from the Voice mode/Performance mode. See above.
Frequency
(Sampling Frequency)
Specifies the sampling frequency.
Same as in the Sampling mode from the Voice mode/Performance mode. See above.
[F6] REC
Even if you press the [F6] REC button, recording (sampling) will not start immediately. Set various parameters such as Trigger Mode in the Sampling Standby
display, then start the actual sampling according to the settings.
STANDBY (Sampling Standby)
TrggrMode (Trigger Mode)
Press the [REC] button to enter the Sampling Standby display. From this display you can turn the Confirm function on
or off by pressing the [F2] CONFM button as well as set parameters listed below. For details about the Confirm
function, refer to page 95 in the Quick Guide section.
Please keep in mind that the Confirm function is not available when the Type in the [F2] SOURCE display is set to
“slice+seq.”
Specifies the method by which sampling will be triggered.
Key
This appears when Type in the [F2] SOURCE display is set to something other than “slice+seq.” This is the same
parameter as Keybank in the [F1] DEST display.
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.
Reference Sampling Mode
Settings: level, meas, manual
level ...................... Same as in the Sampling mode from the Voice mode/Performance mode. See above.
meas (measure) ... This 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 [J] (Stop) button.
manual.................. Same as in the Sampling mode from the Voice mode/Performance mode. See above.
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
Owner’s Manual
253
Sampling Record mode
When entering the Sampling mode from the Song mode/Pattern mode
WAITING (Trigger Waiting or
Punch-in Waiting)
When Trigger Mode is set to “level” in the Sampling Standby display, press the [F6] REC button again to enter the
Trigger Waiting condition; the [F6] menu changes to “STOP.” In this condition, sampling will begin as soon as an
input signal exceeding the specified trigger level is received.
When the Trigger Mode is set to “meas” in the Sampling Standby display, press the [F6] REC button again to enter
the Punch-in Waiting condition; the [F6] menu changes to “STOP.” In this condition, sampling will begin as soon as a
song or pattern playback reaches the punch-in measure.
Before recording starts in either condition, press the [F6] STOP button or [EXIT] button to return to the Sampling
Standby display. Keep in mind that the Confirm function can be tuned on or off by using the [F2] CONFM button also
in the Trigger Waiting or Punch-in Waiting condition if the Sampling type is set to other than “slice+seq.”
RECORDING
During recording, press the [F6] STOP button or [EXIT] button to stop sampling.
After sampling (recording) stops:
The following menus appear when the Sampling type is set to “sample” or “sample+note” and the Confirm function
is turned on.
[F3] AUDITION
Pressing this lets you hear the sample obtained by recording (sampling).
[F4] CANCEL
Pressing this deletes the sample obtained by recording (sampling) and return to the Sampling Standby display.
[F5] OK
Pressing this stores the sample obtained by recording (sampling) to the specified destination.
TRIM/SLICE display after
sampling stops
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 Slice related parameters after the Sampling stops.
Please note that the Confirm function is not available in this case.
[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 also specify the tempo for
the range of the looped playback and determine its beat.
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
Indicates the (beat) and tempo of the range from the Loop Start Point to the End Point.
[SF1] AUDITION
Press the [SF1] button to sound the recorded sample according to the settings in this display.
[SF2] LP=ST
When the menu indication here is “LP=ST,” the Start (Start Point) and the Loop (Loop Start Point) will share the same
address, meaning that both of them will be changed simultaneously, even if just one of them is changed. Pressing
the [SF2] button in this condition changes the menu from “LP=ST” to “LP≠ST.” When the menu indication here is
“LP≠ST,” the Start (Start Point) and the Loop (Loop Start Point) can be changed independently. When pressing the
[SF2] button in this condition, the address value of the Start will be copied to that of the Loop, with the result that
both of them will have the same address value. The menu indication also changes from “LP≠ST” to “LP=ST.”
[SF3] SET END
Pressing this calls up the display for determining the End Point, from which you can set the tempo, beat, and
measure for the sample. Press the [ENTER] button to actually set End Point. If you are satisfied with the results
(press [SF1] to audition the sample), press the [F6] OK button to return to the original display. Doing this stores your
edited sample to the DIMM memory. To return to the original display without changing the data, press the [F5]
CANCEL button.
[SF4] EXTRACT
Delete all unnecessary sample data located ahead of the Start point and located after the End point) by pressing the
[SF4] button.
[F5] ZOOM[F6] ZOOM+
Press the [F5] and [F6] buttons to zoom in and out of the wave display.
[F2] SLICE
Reference Sampling Mode
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.
n
Before executing the Slice operation, you’ll need to accurately adjust the length of the sample. Use the [SF1] AUDITION button in the [F1] TRIM display to loop the sample
and precisely set the Start and End points as required.
After specifying the following parameters, 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 samples by pressing the [SF1] AUDITION button. If you are satisfied with the result of the operation, press the
[F6] OK button to store the result of the Slice operation and go back to the Sampling Setup display. If not, press the [F5] CANCEL button to go back to the
Sampling Setup display without storing the result.
Specifies how the sample is sliced, and to some extent determines the resulting sound quality. Select the type that
best suits the original phrase.
Type (Slice Type)
Settings: beat1~3, phrase1~4, quick
beat1~3 ...........This slice type is suited for percussive phrases such as drums or bass with a fast attack and short decay. Three
variations are provided.
phrase1~4 .......Ideal for phrases containing cymbals or other instruments with a long decay. Four variations are provided.
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
259.
254
Owner’s Manual
Sampling Edit mode
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 which sampling is started.
Settings: 1~8
Specifies the meter (time signature) of the sample. The setting here is the basic slice unit.
Meter
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 phrase shown at right, 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), 32nd note (1/8), 16th 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 1~3.
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.
Sampling Edit mode
[INTEGRATED SAMPLING] → [EDIT]
This mode gives you a variety of sample editing tools, with which you can change the samples you’ve recorded in the Sampling Record mode,
and customize them for your applications as needed.
n
For samples that have been recorded in stereo (with Stereo Sampling), both the left and right waves of the sample are edited together. 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.
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.
[F1] KEYBANK
Waveform
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.
To select the desired Key Bank, simultaneously hold down the [INFORMATION] button and press the appropriate
key on the keyboard. Press the [SF2] SELECT button to call up in order the Samples assigned to the selected Key
Bank.
Keybank
Indicates information about the selected Key Bank. The Key Range and Velocity Range (which cannot be edited
here) can be edited in the [F4] RANGE display.
[SF1] AUDITION
You can hear (audition) the selected sample by pressing the [SF1] button.
[SF2] SELECT
Press the [SF2] button to call up in order the Samples assigned to the selected Key Bank.
n
Reference Sampling Mode
From this display you can determine the destination location to which the recorded sample will be stored.
The [SF1] AUDITION and [SF2] SELECT buttons can be used in the same way also with other displays in the Sampling Edit mode and the Sampling Job mode.
[F2] TRIM
This operation is the same as in the Sampling Record mode (when Sampling Type is set to “slice+seq”). See page 253.
[F3] PARAM (Parameter)
Level
Determines the output level of the selected sample.
Settings: -94.5dB ~ -0.0dB
Pan
Determines the stereo position of the selected sample. Please note that this is not available for samples recorded in
stereo.
Settings: L64 (far left) ~ C (center) ~ R63 (far right)
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255
Sampling Job mode
Determines how the selected sample is to be played back.
PlayMode
Settings: oneshot, reverse, loop
oneshot ............The Sample plays back one time from Start point to End point.
reverse .............The Sample plays back one time in reverse from End point to Start point.
loop ..................Sample playback begins from the Start point, continues to the Loop point, then repeats indefinitely between the Loop
point and End point.
n For details on the above settings, see page 176.
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.
OriginalKey
Settings: C - 2 ~ G8
Determines the fine tuning for the pitch of the sample.
FineTune
Settings: -100 cent ~ 0 cent ~ 99 cent
[SF1] AUDITION
You can hear (audition) the selected sample by pressing the [SF1] button.
[SF2] SELECT
Press the [SF2] button to call up in order the Samples assigned to the selected Key Bank.
[F4] 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.)
[SF1] AUDITION
You can hear (audition) the selected sample by pressing the [SF1] button.
[SF2] SELECT
Press the [SF2] button to call up in order the Samples assigned to the selected Key Bank.
[INTEGRATED SAMPLING] → [JOB]
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.
After setting parameters as required in the selected display, press the [ENTER] button to execute the Job.
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.
[F1] KEYBANK (Key Bank Job)
Before executing the Key Bank Job by pressing the [ENTER] button, you’ll need to specify the Waveform and Key Bank.
First, select the desired Waveform by moving the cursor to the 4-digit number in the display and change it by using the [INC/YES] and [DEC/NO] buttons or the
data dial. Second, move the cursor to the Key value, select the desired key by using the [INC/YES] and [DEC/NO] buttons or the data dial, then use the [SF2]
SELECT button to select in order the Key Bank (sample) assigned to the selected key. You can select the desired key also by pressing the note on the keyboard
directly while holding the [INFORMATION] button. As in the Sampling Edit mode, the [SF1] AUDITION button lets you hear the sample assigned to the selected
Key Bank.
01: Copy
Source Waveform and Key Bank
Reference Sampling Mode
This Job copies the data of a sample contained in a
specified Key Bank to another Key Bank. After
specifying the source Waveform and Key Bank as well
as the destination Waveform and Key Bank, press the
[ENTER] button to execute the Copy Job.
Destination Waveform and Key Bank
02: Delete
This Job deletes the specified Key Bank and its sample. After specifying the Waveform and Key Bank, press the
[ENTER] button to execute the Delete Job. If the Key Bank is set to “all” and the Job is executed, all the samples of
the selected Waveform are deleted.
n
03: Extract
256
If all the samples of the specified Waveform are deleted, the Waveform itself is deleted.
This Job deletes all unnecessary sample data
Start Point
End Point
End Point
Start Point
(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.
Extract
After specifying the Waveform and Key Bank, press
the [ENTER] button to execute the Extract Job. 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.
Owner’s Manual
Sampling Job mode
04: Move
Source Waveform and Key Bank
Destination Waveform and Key Bank
05: Normalize
Set the Waveform and Key Bank containing
the sample to be normalized.
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.
After specifying the source Waveform and Key Bank as
well as the destination Waveform and Key Bank, press
the [ENTER] button to execute the Move Job.
n If the last remaining sample is moved from the source
Waveform, the source Waveform itself is deleted.
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.
After specifying the Waveform and Key Bank, then press
the [ENTER] button to execute the Normalize Job.
Ratio = less than 100%
Press the [ENTER] button to execute the job.
Source Wave
Press the [F5] (CANCEL) button
to cancel the operation.
Ratio = 100%
Ratio = more than 100%
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 are 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%
06: Time-Stretch
Ratio
This Job lets you change the length of the sample without changing the pitch.
The basic steps in using this Job are the same as in 05: Normalize explained above.
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: 0~400%
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: sound4 - sound1, normal, rhythm1 - rhythm 2
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.
Pitch
This Job lets you change the pitch of the sample without changing the length.
The basic steps in using this Job are the same as in 05: Normalize explained above.
Reference Sampling Mode
07: Convert 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
08: Fade In/Out
Type
This Job lets you create fade-ins and fade-outs for the sample.
The basic steps in using this Job are the same as in 05: Normalize explained above.
Determines the type of level fade: fade-in or fade-out.
Settings: in (fade-in), out (fade-out)
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257
Sampling Job mode
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.
Length
Fade In
Length
Start point
Settings: 0000000 ~ End point
Fade Out
Length
Start point
09: Convert Freq
(Convert Frequency)
This Job lets you halve the sampling frequency of the specified sample. This can be used to convert hi-fi samples to
a lo-fi sound, and reduce the sample size by half to conserve memory.
The basic steps in using this Job are the same as in 05: Normalize explained above.
10: Stereo to Mono
This Job lets you convert a stereo sample to a mono sample.
The basic steps in using this Job are the same as in 05: Normalize explained above.
Determines which channel, or both channels, of the stereo sample will be converted to a mono sample.
Type
Settings: L+R>mono, L>mono, R>mono
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.
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.
The basic steps in using this Job are the same as in 05: Normalize explained above.
Determines the degree to which the looped portion of the sample will be sliced.
Type
Settings: 1~4
Determines how the original sample is varied by the this Job.
Variation
Settings: normal1~2, reverse1~2
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.
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.)
The basic steps in using this Job are the same as in 05: Normalize explained above.
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 254).
Specifies the lowest key number from which the sliced samples are assigned in order.
Lowest Key
Settings: C - 2 ~ G8
n In the Slice display of the Sampling Record mode (page 254), this parameter is fixed to “C-1” for the MOTIF ES6, “E0” for the
MOTIF ES7, and “A-1” for the MOTIF ES8, and cannot be set.
[F2] WAVEFORM (Waveform Job)
01: Copy
Source Waveform
Reference Sampling Mode
This Job lets you copy the data of one Waveform to
another.
After specifying the source Waveform and destination
Waveform, press the [ENTER] button to execute the
Copy Job.
Destination Waveform
02: Delete
This Job lets you delete a specific Waveform from memory.
03: Transpose
This Job lets you transpose the Key bank setting of a specified Waveform.
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.
Octave
Settings: -3~ 0 ~+3
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.
Note
Settings: -11~ 0 ~+11
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Owner’s Manual
Sampling Job mode
04: Name
This Job lets you assign a name to the selected Waveform.
For specific instructions on naming, refer to page 53 in the Basic Operation section.
[F3] OTHER
01: Clean Up Memory
This Job deletes all the waveforms to which User voices or Sample voices are not assigned.
02: Optimize Memory
This Job optimizes the memory (DRAM) for sampling.
03: Delete All
This Job deletes all the waveforms.
04: Convert to Drum Voice
This Job lets you convert the selected waveform to a specific Drum voice.
■ Supplementary
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 adjust the slice resolution, and make final
adjustments with the Envelope Sensitivity parameter.
Wave Memory Required for Slice Operations
Individual wave data slices created through slice operations require
approximately 1.5 times the original memory because a tail section is
automatically added and fade-in and fade-out sections are
automatically created at the beginning and end of the wave data.
This helps to maintain maximum sound quality when the tempo is
increased, and results in smoother connections between slices (no
tail section is created when the “quick” slice type is selected).
Source
Waveform
Fade section
Sliced
Waveform
• Slicing phrases having long decays
Tail section
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 adjust the slice
resolution, and make final adjustments with the Envelope Sensitivity
parameter.
A memory work area is required for the processing calculations
carried out for each slice operation, as well as sufficient memory to
hold the completed waveforms. When the sampling frequency is
44.1 kHz, the approximate amount of memory (expressed in
kilobytes) required for each slice type is listed below.
beat1:
beat2:
beat3:
phrase1:
phrase2:
phrase3:
phrase4:
quick:
Original wave size x N + (0.3 x number of slices)
Original wave size x N + (0.2 x number of slices)
Original wave size x N + (0.3 x number of slices)
Original wave size x N + (5.8 x number of slices)
Original wave size x N + (1.4 x number of slices)
Original wave size x N + (0.4 x number of slices)
Original wave size x N + (1.4 x number of slices)
Original wave size x 3 + (0.7 x number of slices)
Reference Sampling Mode
If after using “phrase1” the points between the slices sounds rough
and the overall feel is choppy, try again using “phrase3” or “phrase4”
and set 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. The “phrase4” setting is generally best for sustained
strings or brass type sounds with vibrato, as well as vocal phrases.
For monaural samples N = 5.5, and for stereo samples N = 8.
Also, the number of slices is doubled for stereo samples.
Owner’s Manual
259
Utility mode
Utility mode
The Utility mode features a variety of important settings related to overall operation of the MOTIF ES. These settings can also be stored — simply
press the [STORE] button from any mode (with the exception of the Utility Job mode), and store the data to internal Flash ROM as system
settings (page 186). You can also save the settings to a SmartMedia/USB storage device in the File mode.
Utility mode
[UTILITY]
In this mode, you can set parameters that apply to the entire system of the MOTIF ES.
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.
[F1] GENERAL
[SF1] TG (Tone Generator)
From this display you can make overall settings for the internal tone generator. Settings here do not affect MIDI
messages transmitted to the external MIDI instrument.
Determines the overall volume of the instrument.
Volume
Settings: 0~127
Determines the amount (in semitones) by which the pitch of all notes is shifted.
NoteShift
Settings: -24~0~+24
Determines the fine tuning (in 0.1 cent steps) of the internal tone generator’s overall sound.
Tune
Settings: -102.4~+102.3
BCCurve
(Breath Controller Curve)
These four curves determine how the sound of the internal tone generator responds to use of a Breath Controller.
The setting here affects the Destination parameters when the Source is set to “BC,” both of which can be set in the
CTL SET displays ([VOICE] → [EDIT] → [COMMON] → [F4] CTL SET).
The graph shown in the display indicates the controller response curve. (The horizontal line represents the received
breath control values, while the vertical line represents the actual response of the internal tone generator.)
Settings: thru, soft, hard, wide
[SF2] KBD (Keyboard)
From this display you can set the keyboard-related parameters. The settings here affect the MIDI messages
generated by playing the keyboard.
Determines the amount in octaves by which the range of the keyboard is shifted up or down. This setting can be
changed also by pressing any of the [OCTAVE] buttons.
Octave
Settings: -3~0~+3
Determines the amount in semitones by which the range of the keyboard is shifted up or down.
Transpose
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)
These five curves determine how the actual velocity will be generated and transmitted according to the velocity
(strength) with which you play notes on the keyboard.
The graph shown in the display indicates the velocity response curve. (The horizontal line represents the received
velocity values (strength of your playing), while the vertical line represents the actual velocity values transmitted to
the internal/external tone generators.)
Reference Utility Mode
Settings: norm, soft, hard, wide, fixed
norm (normal) .......This linear “curve” produces one-to-one correspondence between the strength of your keyboard playing (velocity)
and the actual sound change.
soft ........................This curve provides increased response, especially for lower velocities. In other words, playing softly results in
higher response than the “norm” curve.
hard.......................This curve provides increased response, especially for higher velocities. In other words, playing hard results in
higher response than the “norm” curve.
wide ......................This setting provides opposite response curves for lower and higher velocities. It widens the apparent dynamic
range of the controller, producing less sound change in the softer range and more change in the higher range.
fixed ......................This setting produces the same amount of sound change (set in Fixed Velocity below), no matter what your playing
strength.
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.
FixedVelocity
Settings: 1 ~ 127
[SF3] EF BYPS (Effect Bypass)
From this display you can select the specific effect(s) to be bypassed when the [INSERTION] or [SYSTEM] button of
EFFECT BYPASS buttons is turned on.
Insertion
260
FInternal
When this is set to on and the [INSERTION] button is turned on, the internal Insertion effect is bypassed.
FPLG-EF (Plug-in Effect)
When this is set to on and the [INSERTION] button is turned on, the PLG100-VH Insertion effect is bypassed. This is
available only when the PLG100-VH has been installed.
Owner’s Manual
Utility mode
System
FReverb
When this is set to on and the [SYSTEM] button is turned on, the Reverb effect is bypassed.
FChorus
When this is set to on and the [SYSTEM] button is turned on, the Chorus effect is bypassed.
n
For details about the Effects, see page 177.
[SF4] OTHER
AutoLoad
Determines whether the Auto Load function is on or off. When this is on, the instrument will automatically load the
specified files (from SmartMedia/USB storage device) to User memory — whenever the power is turned on.
For details about the Auto Load function, see page 135.
Settings: on, off
PowerOnMode
This determines the default power-on mode (and memory bank) — letting you select which condition is automatically
called up when you turn the power on.
Settings: performance, voice (USR1), voice (PRE1), GM, last, master
performance.... When turning the power on next time, the Performance Play mode is entered and the first program number (USER: 001)
is selected automatically.
voice (USR1) ... When turning the power on next time, the Voice Play mode is entered and the first program number of the User Voices
(USR1: 001) is selected automatically.
voice (PRE1).... When turning the power on next time, the Voice Play mode is entered and the first program number of the Preset Voices
(PRE 1: 001) is selected automatically.
GM................... When turning the power on next time, the Voice Play mode is entered and the first program number of the GM Voices
(GM: 001) is selected automatically.
last ................... When turning the power on next time, the mode and program number (Voice/Performance/Song/Pattern/Master)
registered the last time before turning the power off are called up. For information on how to register the mode and
program number for “last,” see page 265.
master ............. When turning the power on next time, 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, Foot Controller, Breath Controller, Knobs,
etc.) when switching between voices. When this is set to “hold,” the controllers are kept at the current setting. When
this is set to “reset,” the controllers are reset to the default states (below).
Settings: reset, hold
If you select “reset,” the controllers will be reset to the following states/positions:
Pitch Bend .....................Center
Modulation Wheel..........Minimum
Aftertouch .....................Minimum
Foot Controller ..............Maximum
Breath Controller ..........Maximum
Foot Switch ...................Off
Expression ....................Maximum
Foot Volume ..................Maximum
Sustain ..........................Off
[F2] I/O (Input/Output)
[SF1] INPUT
Mic/Line
From this display you can set parameters related to audio input.
When using the A/D INPUT jacks, this determines the input source, microphone (mic) or line.
Settings: mic, line
mic................... Intended for low output equipment, such as a microphone, electric guitar or bass.
line ................... Intended for high output equipment, such as a keyboard, synthesizer, or CD player.
Digital
When the optional AIEB2 board is installed, two separate input connections for digital audio transfer are available:
coaxial and optical. One or the other must be set; the two cannot be used at the same time.
Settings: coaxial, optical
L&RGain
Assign Gain L&R, 1&2, 3&4, 5&6,
7&8, 9&10, 11&12, 13&14
Digital
From this display you can set parameters related to audio output.
Set the output gain of each jack.
Settings: 0dB, +6dB
Specify the digital output resolution of the optionally installed AIEB2 board (page 25).
Reference Utility Mode
[SF2] OUTPUT
Settings: 20bit, 24bit
mLAN MonitorSw
When this is set to on, the audio signal of the instrument output via an IEEE1394 cable to a computer will be output
also via the main OUTPUT L/MONO and R jacks. When this is set to on, the audio signal sent from a computer to the
instrument will be output via the main OUTPUT L/MONO and R jacks directly, bypassing the Effect block.
Settings: on, off
[F3] VOICE
[VOICE] → [UTILITY] → [F3]
These special voice-related settings are available only when entering the Utility mode from the Voice mode, letting you set parameters related to all the Voices.
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261
Utility mode
[SF1] MEQ (Master EQ)
From this display you can apply five-band equalization to all Voices, raising or lowering the level of each frequency
band (LOW, LOWMID, MID, HIGHMID, HIGH).
The parameters are the same as in the Performance Common Edit. See page 214.
Settings: For details about EQ, see page 178.
[SF2] MEF (Master Effect)
From this display you can set the Master Effect related parameters applied to all the Voices. This display can be
called up by pressing and holding the [MASTER EFFECT] button on the front panel in the Voice mode.
The parameters are the same as in the Performance Common Edit. See page 214.
[SF3] ARP CH
(Arpeggio Channel)
From this display you can set parameters related to output of the Arpeggio MIDI data in the Voice mode.
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.
OutputSwitch
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
[SF4] CTL ASN
(Controller Assign)
Sets the parameters related to the controllers in the Voice mode.
Details on each parameter are the same as in Performance Common Edit. See page 214.
[F3] SEQ (Sequencer)
[SONG] or [PATTERN] → [UTILITY] → [F3]
These special song- and pattern-related settings are available only when entering the Utility mode from the Song or Pattern mode.
[SF1] 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.
Determines whether and when the metronome click will sound.
Mode
Settings: off, rec, rec/play, all
off .....................The click will not sound.
rec....................The click will sound during song/pattern recording only.
rec/play ............The click will sound during song/pattern recording and playback.
all .....................The click will always sound.
Determines on which beats the metronome click will sound.
Beat
Settings: 16 (16th notes), 08 (8th notes), 04 (quarter notes), 02 (half notes), 01 (whole notes)
Determines the click sound volume.
Volume
Settings: 0 ~ 127
Determines the click sound type.
Type
Settings: 1 ~ 10
Sets the number of count-in measures provided before recording actually starts after pressing the [F] (Play)
button in the Record standby mode.
RecCount
Settings: off (Recording starts as soon as the [F] button is pressed), 1 meas ~ 8 meas
SmplPrCnt (Sampling pre-count)
n
This is available when entering the Sampling mode from the Song mode/Pattern mode, setting the Type to
“sample+note” then setting the Trigger mode to “meas.” This parameter sets the number of count-in measures
provided before a song/pattern starts after starting sampling.
Since the click sound is created with the internal tone generator, using click playback affects the overall polyphony of this synthesizer.
[SF2] FILTER (MIDI Filter)
From this display you can set which MIDI events will be recognized/transmitted via MIDI. The settings made here
apply only to Song/Pattern playback data; they do not affect the MIDI events generated by your keyboard playing or
panel operations in the Voice and Performance modes.
MIDI events to which the Filter is applied:
Note, PgmChange (Program Change), CtrlChange (Control Change), PB (Pitch Bend), ChAt (Channel Aftertouch), PolyAT (Polyphonic
Aftertouch), Exclusive
[SF3] OTHER
Reference Utility Mode
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 Pattern when a new
Pattern is selected during playback. When set to “on,” the tempo will be retained when Patterns are switched. When
set to “off,” the tempo will switch to that stored with the new Pattern when Patterns are switched.
Settings: on, off
n The tempo setting data in the Pattern Chain is not affected by this parameter.
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Owner’s Manual
Utility mode
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)
n Keep in mind that settings other than “off” may result in slower operation — for example, a pause before starting playback, or
slower rewind/fast forward speed.
n When this is set to “all,” an excessive amount of MIDI data may be generated, possibly resulting in a MIDI error on the
connected device.
DumpInterval (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 this synthesizer 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/Pattern number is changed.
Settings: off, on
n This setting affects the Song/Pattern change during Song/Pattern chain playback.
SendXGOn
ToMultiPartPB
Determines whether an XG reset message is sent to the Multi-part Plug-in board tone generator block (on) or not
(off) when starting an XG song or changing the Song/Pattern number.
Settings: on, off
[F4] CTL ASN (Controller Assign)
[SF1] ARP (Arpeggio)
Switch
Determines the Control Change Number that controls on/off status of Arpeggio playback.
Settings: 00~95
Hold
Determines the Control Change Number that controls on/off status of Arpeggio Hold (page 189).
Settings: 00~95
[SF2] ASSIGN
ASA (Assign A)
Dest (Destination)
From this display you can assign specific functions to the ASSIGN A and B knobs (when the [PAN/SEND] and
[TONE] lamps are on).
Two parameters are available here. The first (ASA) determines the Control Change number generated by the
ASSIGN A knob. The second, Destination (Dest), determines what parameter or aspect of the sound is affected by
the knob. Keep in mind that if the same MIDI Control Change messages as set here are received from an external
device, the internal tone generator also responds to those messages.
Settings: Refer to the separate Data List booklet.
ASB (Assign B)
Dest (Destination)
Two parameters are available here. The first (ASB) determines the Control Change number generated by the
ASSIGN B knob. The second, Destination (Dest), determines what parameter or aspect of the sound is affected by
the knob. Keep in mind that if the same MIDI Control Change messages as set here are received from an external
device, the internal tone generator also responds to those messages.
Settings: Refer to the separate Data List booklet.
[SF3] FT SW (Footswitch)
From this display you can determine the Control Change number generated by using the Footswitch connected to
the ASSIGNABLE jack. Keep in mind that if the same MIDI Control Change messages as set here are received from
an external device, the internal tone generator also responds to those messages as if the Footswitch of the
instrument was used.
[SF4] REMOTE
Two different computer sequencer control modes can be selected here, as well as the respective MIDI port settings
for control. When you’ve made the desired settings, press the [ENTER] button to actually call up the preset control
templates for the software. For details, refer to the Quick Guide on page 147.
[SF5] MEF (Master Effect)
From this display you can set the parameters related to the Master Effect Knob operations. (Press both the [ARP FX]
and [EQ] buttons so that their lamps light.)
Knob1 ~ Knob4
Reference Utility Mode
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)
Assigns a parameter of the Master Effect to each knob. Available parameters differ depending on the selected
Master Effect type.
[F5] MIDI
[SF1] CH (Channel)
BasicRcvCh
(Basic Receive Channel)
From this display you can make basic MIDI settings.
Determines the MIDI receive channel when this synthesizer is set to single-timbre tone generator mode (Voice/
Performance modes).
Settings: 1~16, omni (all channels), off
n In the multi-timbral tone generator mode (Song/Pattern modes), each Part receives MIDI data according to its assigned MIDI
receive channel ([SONG] or [PATTERN] → [MIXING] → [EDIT] → Part selection → [F1] VOICE → [SF2] MODE → ReceiveCh).
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263
Utility mode
KBDTransCh
(Keyboard Transmit Channel)
Determines the MIDI channel over which the instrument sends MIDI data (to an external sequencer, tone generator,
or other device). This parameter is available in the single-timbre tone generator mode (Voice/Performance modes).
Settings: 1~16, off
n In the multi-timbral tone generator mode (Song/Pattern modes), MIDI data generated by playing the keyboard (and its
controllers) is sent to the internal tone generator and external devices via the MIDI output channel, set from the CHANNEL
display ([SONG] or [PATTERN] → [F3] TRACK → [SF1] CHANNEL).
DeviceNo. (Device Number)
Determines the device number used by this synthesizer in receiving or transmitting data. This number must match
the Device Number of the external MIDI device when transmitting/receiving bulk data, parameter changes or other
system exclusive messages.
Settings: 1~16, all, off
[SF2] SWITCH
This switch enables or disables Bank Select messages, both in transmission and reception. When this is set to “on,”
this synthesizer responds to incoming Bank Select messages, and it also transmits appropriate Bank Select
messages (when using the panel).
BankSel
Settings: off, on
PgmChange (Program Change)
This switch enables or disables Program Change messages, both in transmission and reception. When this is set to
“on,” this synthesizer responds to incoming Program Change messages, and it also transmits appropriate Program
Change messages (when using the panel).
Settings: off, on
CtrlChange
(Control Change mode)
Determines how this synthesizer receives and recognizes the AEG Sustain MIDI message. When set to mode1, it is
received as a Parameter Change. When set to mode2, it is received as a Control Change message.
Settings: mode1, mode2
LocalCtrl (Local Control On/Off)
This determines whether or not the tone generator of the instrument responds to your keyboard playing. Normally,
this should be set to “on” — since you’ll want to hear the sound of the MOTIF ES 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 instrument 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 via MIDI. Also, the internal tone generator block will respond to
messages received via MIDI.
Settings: off, on
RcvBulk (Receive Bulk)
Determines whether or not Bulk Dump data can be received.
Settings: protect (not received), on (received)
[SF3] SYNC (Synchronization)
From this display you can set various parameters related to MIDI clock and synchronization.
Determines whether Song/Pattern/Arpeggio playback will be synchronized to the instrument’s internal clock or an
external MIDI clock.
MIDI Sync
Settings: internal, MIDI, MTC
internal ..............................Synchronization to internal clock. Use this setting when this synthesizer is to be used alone or as the master
clock source for other equipment.
MIDI ..................................Synchronization to a MIDI clock received from an external MIDI instrument via MIDI.
MTC (MIDI Time Code).....Synchronization to an MTC signal received via MIDI. MMC signals are transmitted via MIDI. Use this setting
when this synthesizer is to be used as a MIDI slave, such as when synchronized to an MTC-capable MTR.
The MTC Sync function is available only in the Song mode.
n Please keep in mind that the song or pattern will not start even if you press the [F] (Play) button when the MIDI Sync is set to
other than “internal.”
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. This synthesizer does not transmit MTC. A device such as the
Yamaha AW4416 is necessary in order to use this synthesizer 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.
Determines whether MIDI clock (F8) messages will be transmitted via MIDI.
ClockOut
Settings: on (transmitted), off
SeqCtrl (Sequencer Control)
Reference Utility Mode
Determines whether Sequencer Control signals – start, continue, stop, and song position pointer – will be received
and/or transmitted via MIDI.
Settings: off, in, out, in/out
off .....................Not transmitted/recognized.
in ......................Recognized but not transmitted.
out ....................Transmitted but not recognized.
in/out ...............Transmitted/recognized.
Determines the specific time code point from which sequence playback starts, when MTC is received. This feature
can be used to accurately align playback of this synthesizer with an external MTC-compatible device.
MTC StartOffset
Settings: Hour : Minute : Second : Frame
Hour ................00~23
Minute .............00~59
Second ............00~59
Frame ..............00~29
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Owner’s Manual
Utility Job mode
[SF4] OTHER
MIDI IN/OUT
Determines which physical output terminal(s) will be used for transmitting/receiving MIDI data: MIDI IN/OUT, USB, or
mLAN (when the optional mLAN16E 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 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 or mLAN terminal (when the optional mLAN16E has been installed) for
MIDI transmission/reception, you can have this synthesizer respond to MIDI data over one port, while relaying the
data for another port number (you can set here) to a separate tone generator (connected to the MIDI OUT terminal).
In this way, 16 channels of data can be played on this synthesizer and another 16 can be played on the connected
MIDI device.
Settings: 1~8
n When the mLAN16E has been installed and the MIDI IN/OUT is set to mLAN, ports 5 ~ 8 are not available even if you set them
here.
[F6] PLUG
[SF1] STATUS
Plug1: ~ Plug3:
Indicates the name of the Plug-in Board which has been installed to this synthesizer.
PolyExpand
This parameter is accessible only when you have two or three identical Plug-in boards installed. The “off” setting
enables two or three boards to work separately (you can select them for 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
[SF2] MIDI
DEVNO. (Device Number)
From this display you can set various MIDI-related parameters for the Plug-in board.
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.
Settings: 1~16, all, off
PORTNO. (Port number)
Determines the MIDI Port number over which the Plug-in board receives MIDI data in the multi-timbral tone
generator mode (Song/Pattern modes). One port can be set for a Multi-part Plug-in board and two ports can be set
for a Single part Plug-in board.
Settings: off, 1~3
n The Port number for the Effect Plug-in board (VH) is fixed to 1.
n For information on the Plug-in board and the internal tone generator block, see page 163.
GM/XG
Determines whether “GM on” and “XG on” messages are recognized (on) or not (off). This parameter is available
only when a Multi-part Plug-in board has been installed to slot 3.
Settings: on, off
[SF3] NATIVE1
From this display you can set the Native System parameters of the Plug-in board installed to slot 1.
For details on the parameters, refer to the owner’s manual of your particular Plug-in board.
[SF4] NATIVE2
From this display you can set the Native System parameters of the Plug-in board installed to slot 2.
For details on the parameters, refer to the owner’s manual of your particular Plug-in board.
[SF5] NATIVE3
From this display you can set the Native System parameters of the Plug-in board installed to slot 3.
For details on the parameters, refer to the owner’s manual of your particular Plug-in board.
Utility Job mode
[UTILITY] → [JOB]
In this Mode, you can restore this synthesizer’s User memory (page 186) to the factory default settings (Factory Set). For details, see page 44.
Since the settings of the Plug-in Boards in the Utility mode are stored not to internal User memory but to the memory on the respective boards themselves,
the data cannot be restored with this Job.
Reference Utility Mode
n
■ Supplementary
Setting the default display when turning the power on
[UTILITY] → [F1] GENERAL → [SF4] OTHER → PowerOnMode
1
2
3
4
5
Enter the desired mode and the program number you wish to call up first when turning the power on.
Press the [ENTER] button while holding the [STORE] button to register the mode and program number set in step #1.
Set the PowerOnMode parameter to “last” in the [UTILITY] → [F1] GENERAL → [SF4] OTHER display.
Press the [STORE] button to store the Utility setting made in step #3 above.
Turn the power off and turn the power on again to call up the mode/program number set in step #2 to the display.
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File mode
File mode
The File mode provides tools for transferring data between the instrument and various storage media and devices, such as SmartMedia cards,
hard disk drives and compact flash devices.
n
For details about SmartMedia and USB storage devices, see page 27.
n
For details about the relationship between the data created on this synthesizer and the files for saving, see page 186.
File mode
n
[FILE]
For information on how to select a file/folder and how to create a new folder, see page 268.
[F1] CONFIG
[SF1] CURRENT
From this display you can set the parameters about the currently recognized device (SmartMedia/USB storage
device).
In this display you can select the device to be recognized by this synthesizer — a SmartMedia inserted to the Card
slot or a properly USB storage device connected to the USB TO DEVICE connector.
When Current is set to CARD, the Volume Label is shown on the second line. When Current is set to USB, the
partition information is shown on the second line. If the connected USB storage device supports multiple media, set
the slot number at the right corner of the display.
Current
Settings: CARD, USB
Status
Indicates the status of the storage device recognized by this synthesizer.
FFree
Indicates the amount of unused (free) memory on the current device.
FTotal
Indicates the amount of total memory on the current device.
[SF2] MOUNT
From this display you can select specific partitions for saving/loading data, within the device mounted in the [SF1]
CURRENT display (above).
[SF3] FORMAT
Before you can use a new SmartMedia/USB storage device with this synthesizer, you will need to format it. Use this
operation to format the SmartMedia/USB storage device and assign a Volume Label to it. For instructions on
formatting, see page 268.
Format
Determines the storage device to be formatted. When set to “USB,” “Slot” appears at the right corner of this display.
Select a slot to be accessed when the connected USB storage device supports multiple media.
Type
This is available when Format (above) is set to “USB.” Specify the partition to be formatted.
Settings: CARD, USB
Settings: all, partition1 ~ 4
Names the Volume Label. For instructions on naming, refer to page 53 in the Basic Operation section.
Volume Label
[F2] SAVE
File/Folder name
File/Folder selection box
This operation lets you save files to a SmartMedia/USB storage device.
For instructions on saving files of the various data types, refer to the following pages:
page 86 (Voices), page 92 (Performances), page 97 (Waveforms), page 132 (Songs/Patterns).
Press the [F6] NEW button to create a new folder.
Current
Indicates the current directory (folder). This indication is automatically changed according to the current directory
(folder) specified in the File/Folder selection box.
TYPE
Among the various types of data created on this synthesizer, you can save all of them or only a specific type of data
to a single file. This parameter determines which specific type of data will be saved to a single file.
Settings: Refer to “Supplementary information” on page 268.
[F3] LOAD
Reference File Mode
This operation lets you load files from a SmartMedia/USB device to this synthesizer.
Current
Indicates the current directory (folder). This indication is automatically changed according to the current directory
(folder) specified in the File/Folder selection box.
TYPE
Among the various types of data saved in a single file on a SmartMedia/USB storage device, you can load all of
them or only a specific type of data to this synthesizer. This parameter determines which specific type of data will be
loaded from a single file.
Settings: Refer to “Supplementary information” on page 268.
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Owner’s Manual
File mode
[F4] RENAME
Select the desired file type.
Select the file/folder to be renamed.
From this display you can rename files or folders in the selected SmartMedia/USB storage device,
using up to eight alphabetic and numeric characters.
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.
Rename the selected file/folder here.
See “Basic Operation” on page 53.
Press the [F6] NEW button to create a new folder.
[F5] DELETE
From this display you can delete files/folders from the selected SmartMedia/USB storage device.
Select the desired file or folder as shown below, then press the [ENTER] button.
Select the desired file type.
n When you wish to delete a folder, delete all the files and folders contained in the folder beforehand.
Please keep in mind that only folders that contain no files or other nested folders can be deleted.
Reference File Mode
Select the file or folder to be deleted.
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267
Supplementary information
■ Supplementary information
4
File ( )/Folder ( ) selection
Move the cursor to the desired file or folder by using the [INC/YES] and
[DEC/NO] buttons or the data dial.
5
To return to the next
highest level, press
the [EXIT] button.
To call up the contents of a
desired folder, highlight the
folder and press the [ENTER]
button.
Select the media to be formatted.
Move the cursor to the Format value location and select “CARD”
or “USB.” When selecting “USB,” specify the slot number at the
right top of the display as necessary and select the partition to
be formatted at the Type value location in the second line of the
display.
The illustrations and instructions below show you how to select files
and folders on the SmartMedia/USB storage devices within the File
mode.
Set the Volume Label.
Move the cursor to the “Volume Label” and input a Volume Label.
For instructions on naming, refer to page 53 in the Basic
Operation section.
6
Press the [ENTER] button. (The display prompts you for
confirmation.)
Press the [DEC/NO] button to cancel the Format operation.
Move the cursor to the desired file or folder by using the [INC/YES]
and [DEC/NO] buttons or the data dial.
7
Press the [INC/YES] button to execute the Format.
After formatting has been completed, a “Completed” message
appears and operation returns to the original display.
CAUTION
While formatting is in process, make sure to follow these precautions:
• Never remove or eject the media from the device (SmartMedia or
USB storage).
• Never unplug or disconnect any of the devices.
• Never turn off the power of the MOTIF ES or the relevant devices.
Formatting a SmartMedia/USB storage device
Before you can use a new SmartMedia/USB storage device with this
synthesizer, you will need to format it. Follow the instructions below.
8
CAUTION
If data is already saved on the SmartMedia/USB storage device, be careful
not to format it. If you format the SmartMedia/USB storage device, all the
previously recorded data will be deleted.
1
Press the [SF1] CURRENT button and check whether the
currently recognized device is “CARD” (SmartMedia in
the CARD slot) or “USB” (USB storage device connected
to this synthesizer).
Volume Level of the selected partition.
Insert a SmartMedia into the CARD slot or connect a USB
storage device to the USB TO DEVICE connector.
If necessary, insert the proper media into the slot of the USB
storage device.
2
3
Press the [FILE] mode to enter the File mode.
n
Press the [F1] CONFIG button, then [SF3] FORMAT
button to call up the Format display.
Reference File Mode
268
Change the Current setting as needed.
Owner’s Manual
By executing the Format operation in the File mode, the SmartMedia/
USB storage device will be formatted to MS-DOS or Windows format.
The formatted SmartMedia/USB storage device may not be
compatible with other devices such as a Macintosh computer or
digital camera.
Supplementary information
File types that can be handled by the MOTIF ES
File types that can be saved from the instrument to the SmartMedia/USB storage device [FILE]
TYPE
File
extension*
Dir
→ [F2] SAVE → TYPE
Description
When this is set to “TYPE,” only the directories (folders) are displayed in the File/Folder selection box and the Save operation
cannot be executed.
All
.W7A
All data in this synthesizer’s internal User Memory (Flash ROM) is treated as a single file, and can be saved to the SmartMedia/
USB storage device.
AllVoice
.W7V
All the User Voice data in this synthesizer’s internal User Memory (Flash ROM) is treated as a single file, and can be saved to
the SmartMedia/USB storage device. Also the Waveforms obtained via the Sampling function and assigned to any of the
voices are saved together.
PluginAllBulk1, 2, 3
.W2B
All the data in a Plug-in board (Board Voice data created by using the editor software that comes with the Plug-in Board and
the Board related settings in the Utility mode) is treated as a single file, and can be saved to the SmartMedia/USB storage
device. The numbers 1, 2, and 3 correspond to the Plug-in slots.
UserARP
.W7G
All the User Arpeggio data in this synthesizer’s internal User Memory (Flash ROM) is treated as a single file, and can be saved
to the SmartMedia/USB storage device.
AllSong
.W7S
All the User Song data in this synthesizer’s internal User Memory (DRAM) is treated as a single file, and can be saved to the
SmartMedia/USB storage device.
AllPattern
.W7P
All the User Pattern data in this synthesizer’s internal User Memory (DRAM) is treated as a single file, and can be saved to the
SmartMedia/USB storage device.
SMF
.MID
Sequence track (1 - 16) and Tempo track data of Songs or Patterns created in the Song/Pattern mode can be saved to the
SmartMedia/USB storage device as Standard MIDI File (format 0) data.
AllWaveform
.W7W
All the User Wave and Sample data in this synthesizer’s internal User Memory (DRAM) is treated as a single file, and can be
saved to the SmartMedia/USB storage device.
Wav
.WAV
Sample data created in the Sampling mode can be saved to the SmartMedia/USB storage device as a WAV file (Windows
audio format).
Aiff
.AIF
Sample data created in the Sampling mode can be saved to the SmartMedia/USB storage device as an AIFF file (Macintosh
audio format).
Voice Editor
.W7E
All the User Voice data stored on User Banks (Flash ROM) is handled as a single file and saved to the SmartMedia/USB
storage device. The saved file can be loaded to the Voice Editor software (included in the CD-ROM) on your computer.
* Automatically assigned to the saved file.
n
When selecting “AllSong” or “AllPattern” as a file type, Sample Voices and assigned Waveforms created via the Sampling function in the Song/Pattern mode
are also saved together.
File types that can be loaded from SmartMedia/USB storage device to the instrument [FILE]
File
extension*
Dir
All
Description
When this is set to “TYPE,” only the directories (folders) are displayed in the File/Folder selection box and the Load operation
cannot be executed.
.W7A
Files of the “All” type saved to SmartMedia/USB storage device can be loaded and restored to the instrument. When the box at
the left of “without System” is checkmarked, only the Utility mode settings will not be loaded.
AllVoice
.W7V
Files of the “All Voice” type saved to SmartMedia/USB storage device can be loaded and restored to the instrument.
Voice
.W7A
.W7V
A specified voice in a file that is saved to the SmartMedia/USB storage device as “All” or “All Voice” type can be individually
selected and loaded to the instrument. Please note that the file icons
of “W7A” and “W7V” are changed to
(as virtual
folders) when this file type is selected (Quick Guide on page 87).
Performance
.W7A
A specified performance in a file that is saved to the SmartMedia/USB storage device as “All” type can be individually selected
and loaded to the instrument. Please note that the file icon
of “W7A” is changed to
(as a virtual folder) when this file type
is selected (Quick Guide on page 92).
PluginAllBulk 1, 2, 3
.W2B
A file that is saved to the SmartMedia/USB storage device as “Plugin All Bulk 1, 2, 3” type can be loaded and restored to the
Plug-in board installed to the instrument. Please note that the same Plug-in Boards should be installed to the same slot as when
the file was saved.
UserARP
.W7G
Files of the “Usr ARP” type saved to SmartMedia/USB storage device can be loaded and restored to the instrument.
AllSong
.W7S
Files of the “All Song” type saved to SmartMedia/USB storage device can be loaded and restored to the instrument.
Song
.W7A
.W7S
.MID
A specified Song in a file that is saved to the SmartMedia/USB storage device as “All” or “All Song” type can be individually
selected and loaded to the instrument. Please note that the file icons
of “W7A” and “W7S” are changed to
(as virtual
folders) when this file type is selected (Quick Guide on page 133). In addition, selecting this file type lets you load the Standard
MIDI file (format 0, 1) to a specific Song.
AllPattern
.W7P
Files of the “All Pattern” type saved to SmartMedia/USB storage device can be loaded and restored to the instrument.
Pattern
.W7A
.W7P
.MID
A specified Song in a file that is saved to the SmartMedia/USB storage device as “All” or “All Pattern” type can be individually
selected and loaded to the instrument. Please note that the file icons
of “W7A” and “W7P” are changed to
(as virtual
folders) when this file type is selected (Quick Guide on page 133). In addition, selecting this file type lets you load the Standard
MIDI file (format 0, 1) to a specific section of a Pattern.
Owner’s Manual
Reference File Mode
TYPE
→ [F3] LOAD → TYPE
269
Supplementary information
TYPE
File
extension*
Description
AllWaveform
.W7W
Files of the “All” or “All Waveform” types saved to SmartMedia/USB storage device can be loaded and restored to the
instrument.
Waveform
.W7A
.W7W
.WAV
.AIF
A specified Waveform in a file that is saved to the SmartMedia/USB storage device as “All” or “All Waveform” type can be
individually selected and loaded to the instrument. Please note that the file icons
of “W7A” and “W7W” are changed to
(as virtual folders) when this file type is selected (Quick Guide on page 133). In addition, selecting this file type lets you load
the WAV file and AIFF file to the specified destination, which differs depending on the mode before entering the File mode
(Quick Guide on pages 100 and 109).
SampleVoice
.W7A
.W7S
.W7P
A specified Sample Voice in a file that is saved to the SmartMedia/USB storage device as “All” or “All Song” or “All Pattern”
type can be individually selected and loaded to the instrument. Please note that the file icons
of “W7A” and “W7S” and
“W7P” are changed to
(as virtual folders) when this file type is selected (Quick Guide on page 133). This file type is
available only when entering the File mode from the Song mode/Pattern mode.
Voice Editor
.W7E
The Voice data edited via the included Voice Editor software on your computer can be loaded to the instrument.
* Assigned to the file which can be loaded.
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 ES.
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 (voice related 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 ES, 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 ES. Extra
samples are not loaded.
Data Compatibility with the MOTIF 6/MOTIF 7/MOTIF 8
Among the data created on the MOTIF 6/MOTIF 7/MOTIF 8, Voices, Waveforms, Sample Voices can be loaded to the MOTIF ES6/MOTIF ES7/
MOTIF ES8.
• Voices
A specified Voice in a file (extension: W2A, W2V) that is saved to the storage device as “All” or “AllVoice” type on the MOTIF can be individually
selected and loaded to the MOTIF ES. Set the TYPE in the [F3] LOAD display to “Voice” and execute the Load procedure.
Likewise, a file (extension: W2V) that is saved to the SmartMedia/USB storage device as “AllVoice” type on the MOTIF can be loaded to the
MOTIF ES. Set the TYPE in the [F3] LOAD display to “AllVoice” and execute the Load procedure.
In addition, Voice Editor files (extension: W2E) can be loaded to the MOTIF ES. Set the TYPE in the [F3] LOAD display to “Voice Editor” and
execute the Load procedure.
n
The Voices loaded to the MOTIF ES 6/7/8 may not produce the exact same sound as those on the original MOTIF 6/7/8, since the contents of the preset
Waveforms and the Effect structure are different between the two instrument series.
• Waveforms
A specified Waveform in a file (extension: W2A, W2W) that is saved to the storage device as “All” or “AllWaveform” type on the MOTIF can be
individually selected and loaded to the MOTIF ES. Set the TYPE in the [F3] LOAD display to “Waveform” and execute the Load procedure.
Likewise, a file (extension: W2W) that is saved to the storage device as “AllWaveform” type on the MOTIF can be loaded to the MOTIF ES. Set
the TYPE in the [F3] LOAD display to “AllWaveform” and execute the Load procedure.
• Sample Voices
A specified Sample Voice (extension: W2A, W2S, W2P) in a file that is saved to the storage device as “All” or “AllSong” or “AllPattern” type on the
MOTIF can be individually selected and loaded to the MOTIF ES. Set the TYPE in the [F3] LOAD display to “SampleVoice” and execute the Load
procedure.
Reference File Mode
270
Owner’s Manual
Master Play mode
Master mode
■ Creating Masters — basic procedure
The Master mode lets you play and edit special program combinations called “Masters.” A Master can contain up to four different Voices or
Performances, each assigned to a separate MIDI “Zone.” Alternately, it can contain specific Songs or Patterns. As such, it lets you set up the
instrument just as you need for live performance, switching through the Masters in order as you need them.
To create a Master, set the various parameters below in the Master Play and Master Edit modes. Use the Master Job mode to initialize data or
transfer it to another device.
Once you’ve edited a Master, you can store it to a User Bank in internal memory (Flash ROM) and save all the edited Masters to a SmartMedia/
USB storage device in the File mode.
[MASTER] → Master selection
Master Play mode
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. Edited parameters with the exception of some parameters are stored to internal Flash ROM as a
User Master.
[F1] PLAY
OCT (Octave)
Indicates Keyboard Octave setting set via the [OCTAVE] buttons.
This can be changed also with the following operation: [UTILITY] → [F1] GENERAL → [SF2] KBD → Octave.
ASA (ASSIGN A),
ASB (ASSIGN B)
Indicates the functions assigned to the respective Knobs (printed “ASSIGN A” and “ASSIGN B”) when the lamps of
both the [PAN/SEND] and [TONE] buttons are turned on. The functions are assigned from the [UTILITY] → [F4] CTL
ASN → [SF2] ASSIGN display.
n
OCT (Octave), ASA (ASSIGN A), and ASB (ASSIGN B) settings are not independently assignable for each Master. Because of this, these are not stored as an individual
Master in the Master Store mode (page 137).
AS1 (ASSIGN 1),
AS2 (ASSIGN 2)
[SF1] ARP1 (Arpeggio 1) - [SF5]
ARP5 (Arpeggio 5)
Indicates the values obtained by controlling the respective Knobs (printed “ASSIGN 1” and “ASSIGN 2”) when the
lamps of both the [PAN/SEND] and [TONE] buttons are turned on. The functions assigned to these knobs depend on
the setting of the Voice selected as a Master program.
You can call up the Arpeggio types by pressing these buttons to which the Arpeggio types are assigned.
The Arpeggio type assigned to each button depends on the program (Voice, Performance, Song, Pattern) selected
as a Master.
[F2] 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.
Mode
Determines the mode that is called up when the Master number is selected.
Settings: Voice, Performance, Pattern, Song
Memory
Determines the Program number that is called up when the Master is selected.
Settings:
When the Mode is set to Voice: Select a Voice bank and number. Refer to the instructions page 60.
When the Mode is set to Performance: Select a Performance bank and number. Refer to the instructions on page 67.
When the Mode is set to Pattern: Select a Pattern and section. Refer to the instructions on page 57.
When the Mode is set to Song: Select a Song number. Refer to the instructions on page 56.
ZoneSwitch
Determines whether the Zone function is used (on) or not (off). See page 137 for details about the Zone function.
n
Master Edit mode
When the Mode is set to “Voice” or “Performance” and the Zone Switch is turned on, only Zone 1 can be used in the default
setting (playing Zones 2-4 will produce no sound). You can use these Zones by setting various parameters in the Master Edit
mode.
[MASTER] → Master selection → [EDIT]
Reference
Master Mode
The Master Edit is divided into Common Edit, for setting parameters common to all four Zones, and Zone Edit, for setting parameters of
individual Zones.
When Zone Switch is set to on in the [F2] MEMORY display in the Master Play mode, only the Common Edit is available.
Owner’s Manual
271
Master Edit mode
Common Edit
[MASTER] → Master selection → [EDIT] → [COMMON]
Common Edit
These parameters are for making global (or common) edits to all four Zones of the selected Master.
[F1] NAME
From this display you can create a name for the Master. For instructions on naming, refer to page 53 in the Basic Operation section.
[F2] OTHER
From this display you can set which row of Knob/Slider functions will be lit and selected.
Knob/Slider
Settings:
pan ...........................Selecting the Master lights the [PAN/SEND] lamp, for control over the Pan/Send row.
tone ..........................Selecting the Master lights the [TONE] lamp, for control over the Tone row.
assign .......................Selecting the Master lights the [PAN/SEND] and [TONE] lamps, for control over the Assign row.
MEQofs or partEQ ....Selecting the Master lights the [EQ] lamp, for control over the EQ row. When the Mode is set to Voice, MEQofs is
available. When the Mode is set to Performance, Song, or Pattern, partEQ is available.
MEF ..........................Selecting the Master lights the [ARP FX] and [EQ] lamps, for control over the Master Effects row.
arpFx ........................Selecting the Master lights the [ARP FX] lamp, for control over the Arpeggio FX row.
zone..........................Selecting the Master lights no lamp and automatically calls up the Knob/Slider functions specifically set for each
respective Zone (page 137). This is available only when the Zone Switch is set to on in the [F2] MEMORY display
in the Master Play mode.
[MASTER] → Master selection → [EDIT] → Zone selection
Zone Edit
These parameters are for editing the individual Zones that make up a Master. Zone Edit is available only when the Zone Switch is turned on in the
[F2] MEMORY display in the Master Play mode.
[F1] TRANS (Transmit)
From this display you can set how each Zone transmits MIDI messages when you play the keyboard.
TransCh (Transmit Channel)
Determines the MIDI Transmit Channel for each Zone.
Settings: 1 ~ 16
TGSwitch
(Tone Generator Switch)
Determines whether or not MIDI data for each Zone is transmitted to the internal tone generator.
Settings: on, off
Determines whether or not MIDI data for each Zone is transmitted to an external MIDI device.
MIDISwitch
Settings: on, off
[F2] 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.
Determines the amount in octaves by which the range of the Zone is shifted up or down.
Octave
Settings: -3 ~ 0 (Default) ~ +3
Determines the amount in semitones by which the range of the Zone is shifted up or down.
Transpose
Settings: -11 ~ 0 (Default) ~ +11
NoteLimitH, 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] TX SW (Transmit Switch)
From this display you can set how the playing of each individual Zone affects transmission of various MIDI messages, 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 messages.
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.
• Display showing four Zones
• Display showing all parameters for one Zone
Keep in mind that since all the available parameters cannot be simultaneously displayed in the four-Zone display, you will need to use the cursor controls to scroll
the display in order to see and set the other parameters.
Settings:
Reference
Master Mode
272
Bank (TG)
Determines whether or not to transmit Bank Select MSB/LSB messages to the internal tone generator.
PC (TG)
Determines whether or not to transmit Program Change messages to the internal tone generator.
Bank (MIDI)
Determines whether or not to transmit Bank Select MSB/LSB messages to the external tone generator via MIDI.
PC (MIDI)
Determines whether or not to transmit Program Change messages to the external tone generator via MIDI.
PB (Pitch Bend)
Determines whether or not to transmit Pitch Bend messages to the internal and external tone generator.
Owner’s Manual
Master Job mode
Zone Edit
MW (Modulation Wheel)
Determines whether or not to transmit MIDI messages generated by using the Modulation Wheel to the internal and
external tone generator.
RB (Ribbon Controller)
Determines whether or not to transmit MIDI messages generated by using the Ribbon Controller to the internal and
external tone generator.
ChAT (Channel Aftertouch)
Determines whether or not to transmit Channel Aftertouch messages generated by pressing the keys to the internal
and external tone generator.
FC1 (Foot Controller1)
FC2 (Foot Controller2)
Determines whether or not to transmit MIDI messages generated by pressing the optional Foot Controller to the
internal and external tone generator.
Sus (Sustain)
Determines whether or not to transmit Sustain messages generated by pressing the Footswitch connected to the
SUSTAIN jack to the internal and external tone generator.
FS (Footswitch)
Determines whether or not to transmit MIDI messages generated by pressing the Footswitch connected to the
ASSIGNABLE jack to the internal and external tone generator.
Knob
Determines whether or not to transmit MIDI messages generated by using the Knobs to the internal and external
tone generator.
Slider
Determines whether or not to transmit MIDI messages generated by using the Sliders to the internal and external
tone generator.
BC (Breath Controller)
Determines whether or not to transmit MIDI messages generated by using the Breath controller connected to the
BREATH connector to the internal and external tone generator.
Vol (Volume)
Determines whether or not to transmit Volume messages to the internal and external tone generator.
Pan
Determines whether or not to transmit Pan messages to the internal and external tone generator.
[F4] 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 settings 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.
Determines the output level of the Voice in each Zone.
Volume
Settings: 0 ~ 127
Determines the stereo pan position of the Voice in each Zone.
Pan
Settings: L64 (Left) ~ C (Center) ~ R63 (Right)
[F5] KN/CS (Knob/Control 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 the [F2] OTHER display in Common Edit) is set to “zone.”
Settings: off, 1~95
Master Job mode
[MASTER] → [JOB]
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.
After setting parameters as required from the selected display, press the [ENTER] button to execute the Job.
[F1] INIT (Initialize)
This function lets you reset (initialize) all 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.
Parameter Types (for Initializing): All, Common, Zone
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
Splits the keyboard range using Zone 1 and Zone 2. “UpperCh” determines the MIDI transmit channel of the upper range of the keyboard, “LowerCh” determines
the MIDI transmit channel of the lower range of the keyboard, and “SplitPoint” determines the note (C2 ~ G8) number which separates the upper range and lower
range of the keyboard.
4Zone
Initializes all four Zones.
Layer
Lets you layer two parts using Zone 1 and Zone 2. “UpperCh” and “LowerCh” determine the MIDI transmit channels of the two Zones respectively.
Owner’s Manual
Reference
Master Mode
ALL
273
Master Store mode
Zone Edit
[F4] BULK (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. For details,
see page 185.
n
In order to execute Bulk Dump, you’ll need to set the correct MIDI Device Number, with the following operation: [UTILITY] → [F5] MIDI → [SF1] CH → DeviceNo.
Master Store mode
[MASTER] → Master selection → [STORE]
This function lets you store your edited Master to User memory (Flash ROM).
For details, refer to page 137 in the Quick Guide section.
Reference
Master Mode
274
Owner’s Manual
Information Displays
Appendix
Information Displays
The convenient Information displays let you see at-a-glance 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).
Voice mode
Rev (Reverb), Cho (Chorus)
Indicates the currently selected effect type for each effect
block (page 179).
Song mode
● Song Play mode
Bank
Indicates the Bank/Number (page 60) of the currently
selected Voice.
EL 1234
Indicates the currently selected Voice, on/off status of the four
Elements and mono/poly (page 79) status.
Indicates the amount of currently unused (available) memory
(DRAM) for song recording.
Porta (Portamento)
Indicates the Portamento switch on/off status of the currently
selected Voice.
● Song Mixing mode
PB (Pitch Bend)
Indicates the Upper/Lower setting of the Pitch Bend range.
InsA (Insertion A), InsB (Insertion B), Rev (Reverb),
Cho (Chorus)
Indicates the currently selected effect type for each effect
block (page 179).
Performance mode
PlugInfo/Port (Plug-in board installation status)
Indicates the Plug-in board name and its MIDI port number
page 265) at the right of the slot number. When PolyExpand
(page 265) is set to on in the Utility mode, “P” is indicated at
the left of the slot number.
Ins (Insertion), InsPLG (Plug-in Insertion)
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)
Bank
Indicates the Bank/Number (page 67) of the currently
selected Performance.
Indicates the currently selected effect type for each effect
block (page 180).
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 265) is set to
on in the Utility mode, “P” is indicated at the left of the slot number.
Ins (Insertion), InsPLG (Plug-in Insertion)
Appendix
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).
Owner’s Manual
275
Information Displays
Pattern mode
File mode
● Pattern Play mode
Indicates the amount of currently unused (available) memory
(DRAM) for Pattern Phrase recording.
● Pattern Mixing mode
Same as in the Song Mixing mode.
● Mixing Voice Edit mode
Card Free/USB Free
Indicates the amount of currently available (unused) memory
of the SmartMedia inserted to the Card slot or the USB
storage device connected to the MOTIF ES.
Partition
Same as in the Voice mode.
Indicates the mounted partition of the connected USB storage
device.
Sampling mode
Current Dir (Current Directory)
Indicates the currently selected directory.
● Sampling mode
Master mode
SampleMemory
Indicates the amount of memory used by Sampling.
RecordableSize
Mode
Indicates the amount of the available sampling memory
(unused memory) and the available sampling time.
Indicates the mode and program number memorized to the
currently selected Master.
n
Keep in mind that 320 KB of memory in the installed DIMMs is needed
for wave (sample) management, even if no actual samples are
contained in memory.
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).
Utility mode
Remote Control mode
PlugInfo/Port (Plug-in board installation status)
Indicates the Plug-in board name and its MIDI port number
(page 265) at the right of the slot number. When PolyExpand
(page 265) 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 mLAN16E has been installed).
Appendix
276
Owner’s Manual
For details, see page 152.
Display Messages
Display Messages
Explanation
Confirms whether you want to execute a specified operation or not. Press [INC/YES] or [DEC/NO] as required.
Arp memory full
The internal memory for Arpeggio data is full, preventing storing the recorded sequence data as an Arpeggio.
Arpeggio type stored
The current Arpeggio type has been stored to one of the [SF1] - [SF5] buttons.
Bad disk or card.
The SmartMedia or USB storage device is unusable. Format the SmartMedia or USB storage device and try again.
Bulk protected.
Bulk data was received when RcvBulk was set to “protect.” (See page 264.)
Can’t find associated files.
The related voice file cannot be found when loading an AKAI S1000/S3000 format file.
Can’t undo OK? [YES]/[NO]
When certain Song/Pattern Jobs are executed, internal memory becomes too full for use of the Undo operation. Press
[INC/YES] if this is OK, or [DEC/NO] to abort the operation. Try again after erasing unwanted Songs, Patterns, or User
phrases.
Choose user phrase.
You have attempted to record a Pattern track to which a preset phrase is assigned. If you wish to use a preset phrase as
raw material for Pattern recording, copy it to a User phrase before recording.
Completed.
The specified load, save, format, or other Job has been completed.
Copy protected.
You have attempted to export or save a copy-protected digital audio source.
Device number is off.
Bulk data cannot be transmitted/received since the device number is off.
Device number mismatch.
Bulk data cannot be transmitted/received since the device numbers don’t match.
Digital in unlocked.
Digital input signal of the AIEB2 is unlocked (not properly received or recorded).
Disk or card full.
The SmartMedia or USB storage device is full and no more data can be saved. Use a new SmartMedia or USB storage
device, or make space by erasing unwanted data from the SmartMedia or USB storage device.
Disk or card not ready.
A SmartMedia or USB storage device is not properly inserted in or connected to the MOTIF ES.
Disk or card read/write error.
An error occurred while reading or writing to/from a SmartMedia or USB storage device.
Disk or card write protected.
The SmartMedia or USB storage device is write protected, or you have attempted to write to a read-only medium such as
CD-ROM.
Effect plug-in is not in slot 1.
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.
Executing...
A format operation or Job is being executed. Please wait.
File already exists.
A file having the same name as the one you are about to save already exists.
File not found.
The file of the specified type cannot be found on the SmartMedia/USB storage device
Folder is too deep.
Directories below this level cannot be accessed.
Illegal check box.
No check boxes have been checked in a Sequencer track Job which requires a check box selection. Check the
appropriate check box.
Illegal file
The file specified for loading is unusable by the MOTIF ES or cannot be loaded in the current mode.
Illegal file name.
The specified file name is invalid. Try entering a different name.
Illegal input.
An invalid input or value has been specified. Check the input method or value.
Illegal measure.
An invalid measure number has been specified in the Song/Pattern mode. Select the measure again.
Illegal phrase number.
An invalid phrase number has been specified in the Pattern mode. Select the phrase again.
Illegal sample data.
The sample file specified for loading is unusable by the MOTIF ES.
Illegal track number.
An invalid track number has been specified in the Song/Pattern mode. Select the track again.
Incompatible USB device
A USB device which cannot be used with the MOTIF ES has been connected to the USB TO DEVICE connector.
Meter mismatch
In the Pattern Job mode, the meter (time signature) of the destination Pattern is different from the meter of the source
Pattern.
MIDI buffer full.
Failed to process the MIDI data because too much data was received at one time.
MIDI checksum error.
An error occurred when receiving bulk data.
MIDI data error.
An error occurred when receiving MIDI data.
Mixing stored
In the Song/Pattern mode, the Mixing settings have been loaded from the file.
Mixing Voice full
The Mixing Voice cannot be stored because the number of Voices already stored has exceeded the maximum capacity.
Multi plug-in is not in slot 3.
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.
No data.
When a Song/Pattern Job is executed, the selected track or range contains no data. Select an appropriate track or
range. In addition, this message appears when a Job related to a Mixing Voice cannot be executed because the
specified Mixing Voice is not available.
No DIMM Memory Installed.
An appropriate pair of expansion DIMMs is not properly installed, or the pair is not properly matched (page 289).
No F7 (End of Exc.)
Exclusive data has been entered or changed without the necessary “End of Exclusive” byte (F7). Make sure F7 is included.
Owner’s Manual
Appendix
LCD Indication
Are you sure ? [YES]/[NO]
277
Display Messages
LCD Indication
Appendix
278
Explanation
No response from USB device
There is no response from the USB device connected to the USB TO DEVICE terminal.
No sample data.
This message appears when a sample-related Job cannot be executed because the specified sample is not available.
Not empty folder
You have attempted to delete a folder that contains data.
Now checking plug-in board.
The MOTIF ES is checking the Plug-in board installation status during power-on.
Now loading... (xxxx)
Indicates that a file is being loaded.
Now saving... (xxxx)
Indicates that a file is being saved.
Now scanning auto loaded files
Scanning for the files specified for Auto Load.
Now working...
Executing the memory arrangement after finishing Sampling or canceling the Load/Save operation by pressing the
[EXIT] button.
Overwrite? [YES]/[NO]
A save operation will overwrite data on the SmartMedia/USB storage device, and this message confirms whether it is OK
to continue or not. Press [INC/YES] or [DEC/NO] as required.
Pattern length mismatch.
A Pattern Job will result in the length of a Pattern being greater than 256 measures.
Phrase length mismatch
A Pattern Job will result in the length of a phrase being greater than 256 measures.
Phrase number overflow
The maximum number of phrases (256) has been exceeded when recording, executing a Pattern Job, or editing.
Please keep power on.
The data is being written to Flash ROM.
Never attempt to turn off the power while data is being written to Flash ROM. Turning the power off while this message is
shown results in loss of all user data and may cause the system to freeze (due to corruption of data in the Flash ROM).
This may also result in the MOTIF ES being unable to properly start up the next time the power is turned on.
Please stop sequencer.
The operation you’ve attempted to execute cannot be done during Song/Pattern playback.
PLG100 not supported.
The Plug-in All Bulk Save function does not apply to the PLG100 series boards.
Plug-in1 communication error.
The Plug-in board that has been installed to slot 1 does not work.
Plug-in1 type mismatch.
The User Voice created by using the Plug-in board previously installed to slot 1 (but now removed from the slot) has been
selected.
Plug-in2 communication error.
The Plug-in board that has been installed to slot 2 does not work.
Plug-in2 type mismatch.
The User Voice created by using the Plug-in board previously installed to slot 2 (but now removed from the slot) has been
selected.
Plug-in3 communication error.
The Plug-in board that has been installed to slot 3 does not work.
Plug-in3 type mismatch.
The User Voice created by using the Plug-in board previously installed to slot 3 (but now removed from the slot) has been
selected.
Power on mode stored
The setting of the program number automatically selected when turning the power on has been stored.
Receiving MIDI bulk
The MOTIF is receiving MIDI bulk data.
Sample freq is too low.
The sampling frequency is too low and the Frequency Convert Job cannot be executed.
Sample is protected.
The sample cannot be overwritten because it is protected.
Sample is too long.
The sample size is too large and the Time Stretch Job cannot be executed.
Sample is too short.
The sample length is too short and the Frequency Convert Job cannot be executed.
Sample memory full.
The sample memory is full and further sampling operations, Jobs, or load operations cannot be executed.
Scene & Arpeggio type stored
The Song Scene and current Arpeggio type has been stored to one of the [SF1] - [SF5] buttons.
Seq memory full.
The internal memory for Sequence data is full, preventing any further operation (such as recording, editing, Job
execution, MIDI reception/transmission, or loading from the SmartMedia/USB storage device). Try again after erasing
unwanted Song, Pattern, or User phrase data.
System memory crashed.
Writing data to Flash ROM has failed.
This performance uses user voices.
The performance you have loaded includes User voice data. Check whether the voice you saved exists at the
appropriate User voice bank.
Too many favorites
You’ve attempted to assign more than 257 voices to the Favorite category.
Too many fixed notes
When converting the song or pattern data to the Arpeggio data, the amount of different notes in the data to be converted
has exceeded sixteen.
Too many samples.
The maximum overall number of samples (8192) has been exceeded.
Transmitting MIDI bulk
The MOTIF ES is transmitting MIDI bulk data.
USB connection terminated. Press
[ENTER].
A break in the connection with the USB storage device has occurred because of an abnormal electric current.
Disconnect the USB storage device from the USB TO DEVICE connector, then press the [ENTER] button.
USB device connecting
Recognizing the USB storage device connected to the USB TO DEVICE terminal.
USB power consumption exceeded.
The power consumption of the USB storage device connected to the USB TO DEVICE connector exceeds the regulated
value.
USB transmission error
An error occurs when communicating with the USB storage device.
Utility stored
The settings in the Utility mode have been stored.
Owner’s Manual
Troubleshooting
Troubleshooting
No sound is produced even when playing the keyboard
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
Are all four Sliders set to appropriate levels (other than zero or minimum)? ............................................................................................................ page 51
Check the value of the [UTILITY] → [F1] GENERAL → [SF1] TG → Volume parameter. ...................................................................................... page 260
Check the setting of the [UTILITY] → [F5] MIDI → [SF2] SWITCH → LocalCtrl parameter. If this is set to off, the internal tone generator will not sound. ....... page 264
Is the power of the MOTIF ES and any external equipment connected to the MOTIF ES turned on?
Have you made all the appropriate level settings – including the Master Volume on the MOTIF ES and the volume settings on any connected external
equipment?
Is the Foot Controller pressed down (when it is connected to the FOOT CONTROLLER jack)?.............................................................................. page 42
Is the MOTIF ES properly connected to related external equipment (e.g., amplifier or speaker) via audio cables?
When the Voice produces no sound, are the effect and filter settings appropriate? (Inappropriate filter cutoff frequency settings can result in no sound.) ...... page 197
When the Voice produces no sound, are all four Elements properly turned on?...................................................................................................... page 79
When the Voice produces no sound, is the volume parameter set appropriately in the Voice Common Edit?...................................................... page 190
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?......................................................................................................................................................................................... page 195
When the Performance produces no sound, has a Voice been assigned to each Part? Check this in the [PERFORM] → [F2] VOICE display. ...... page 71
When the Performance produces no sound, are the Note Limit, volume, and output parameters of each Part set appropriately?........................ page 71
When playing the keyboard in the Song/Pattern mode produces no sound, check whether or not the Sample Voice or Mixing Voice is assigned to the
current Part. ........................................................................................................................................................................................................... page 102
When the Song/Pattern playback produces no sound, are any or all of the tracks muted? .................................................................................... page 58
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? ............................................................................................................................................................................. page 164
When the Song/Pattern playback produces no sound, is the volume or output setting of each Part in the Mixing mode set appropriately?....... page 233
When the Song/Pattern playback produces no sound, is the MIDI filter set so that note-on messages are blocked in the [SONG] or [PATTERN] →
[UTILITY] → [F3] SEQ → [SF2] FILTER display? .................................................................................................................................................... page 262
Playback continues without stopping
• When the [ARPEGGIO ON/OFF] button is turned on, press it so that its lamp is turned off. .................................................................................. page 19
• When in the Song mode or Pattern mode, press the [■] (Stop) button. .................................................................................................................. page 20
• When the click sound continues, set the [SONG] or [PATTERN] → [UTILITY] → [F3] SEQ → [SF1] CLICK → Mode parameter to something other than “all.” ..... page 262
Sound level is too low
• Are the MIDI volume or MIDI expression settings too low (by using the Foot Controller)?....................................................................................... page 42
• Is the cutoff frequency of the filters set too high/low?............................................................................................................................................. page 161
• When the Song/Pattern playback produces a soft sound, is the velocity offset in the Groove display set too low?.............................................. page 114
Distorted sound
•
•
•
•
Are the effect settings appropriate?........................................................................................................................................................................ page 177
Are the filter settings appropriate? (Excessively high filter resonance settings can cause distortion.).................................................................. page 161
Is the MASTER VOLUME set so high that clipping is occurring? ............................................................................................................................. page 18
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? ..................................................................................................................................................................................... page 213
Sound is cut off
• Are you exceeding the maximum polyphony of the MOTIF ES? ............................................................................................................................ page 162
Only one note sounds at a time
Appendix
• When this situation occurs in the Voice mode, is the [VOICE] → [F4] PORTA → Mono/Poly parameter set to “mono” ? If you wish to play the chord, set
this parameter to “poly.” ......................................................................................................................................................................................... page 188
• When this situation occurs in the Song mode/Pattern mode, is the Mono/Poly parameter set to “mono” in the [SONG] or [PATTERN] → [MIXING] →
[EDIT] → Part selection → [F1] VOICE → [SF2] MODE display? If you wish to play chords, set this parameter to “poly.” ................................. page 235
Owner’s Manual
279
Troubleshooting
Pitch or intervals are wrong
•
•
•
•
•
•
•
Is the Master Tune parameter in the [UTILITY] → [F1] GENERAL → [SF1] TG display set to a value other than “0”?.......................................... page 260
Is the Note Shift parameter in the [UTILITY] → [F1] GENERAL → [SF1] TG display set to a value other than “0”?.............................................. page 260
When the Voice produces a wrong pitch, check the Micro Tuning setting in the [VOICE] → [EDIT] → [COMMON] → [F1] GENERAL → [SF2] PLY MODE display. .... page 190
When the Voice produces a wrong pitch, is the LFO Pitch Modulation Depth in the Voice Edit mode set too high? ............................................ page 201
When the Performance produces a wrong pitch, is the Note Shift parameter of each Part set to a value other than “0”? ................................... page 218
When the Performance produces a wrong pitch, is the Detune parameter of each Part set to a value other than “0”? ....................................... page 218
When the Song/Pattern playback produces a wrong pitch, is the Note Offset parameter in the Groove display set to a value other than “0”? .................... page 114
No effect is applied
•
•
•
•
•
Is the [EFFECT BYPASS] button turned off? ........................................................................................................................................................... page 177
Have the [REVERB] and [CHORUS] knobs been turned fully counter-clockwise (to the minimum)? ...................................................................... page 50
Have any or all of the Elements’ Effect Output parameters been set to “thru” in the effect setting display in the Voice Edit mode? .................... page 194
Have any or all of the effect types been set to “thru” or “off”?................................................................................................................................ page 179
When this occurs in the Performance mode/Song mode/Pattern mode, check whether the Insertion Switch (INS SW) parameters are set properly or not. ........pages 216, 235
The Edit Indicator appears, even when parameters are not being edited
• Keep in mind that even though the Voice Play mode or Performance Play mode is active, simply moving a Knob or Slider changes the current Voice or
Performance, automatically displaying the Edit indicator. ................................................................................................................................pages 65, 69
• In the Song Mixing mode or Pattern Mixing mode, keep in mind that simply playing back a Song or Pattern may change the Mixing parameters of the
current Song/Pattern, automatically displaying the Edit indicator. ......................................................................................................................... page 104
Arpeggio problems
■ Cannot start the Arpeggio
Check whether the [ARPEGGIO ON/OFF] button is turned on or off. When the Arpeggio doesn’t start even though the button is
turned on, check the following points.
• When the User Arpeggio type is selected, does the currently selected Arpeggio actually contain data?............................................................ page 189
• Are the Arpeggio related parameters such as Note Limit and Velocity Limit set appropriately? ........................................................................... page 191
• When this situation occurs in the Performance mode, check the ArpSwitch parameters for all Parts in the [PERFORM] → [EDIT] → Part selection → [F1]
VOICE → [SF2] MODE display. If parameters of all Parts are turned off, the Arpeggio will not be played back even if the [ARPEGGIO ON/OFF] button is
turned on. ............................................................................................................................................................................................................... page 216
• When this situation occurs in the Song mode/Pattern mode, check the ArpSwitch parameter in the [SONG] or [PATTERN] → [MIXING] → [EDIT] → Part
selection → [F1] VOICE → [SF2] MODE display. If this parameter for the current Part is turned off, Arpeggio playback will not be triggered by your
keyboard performance even if the [ARPEGGIO ON/OFF] button is turned on. .................................................................................................... page 235
■ Cannot stop the Arpeggio
• When Arpeggio playback does not stop even if you release the key, set the Arpeggio Hold parameter to “off.” ................................................ page 191
n
For details and a list of the Arpeggio related functions, see page 169.
Song/Pattern problems
■ The Song/Pattern cannot be started even when pressing the [F] (Play) button.
• Does the selected Song or Pattern (phrase) actually contain data? .................................................................................................................pages 57, 59
• Is the Remote Control feature turned on? ............................................................................................................................................................... page 147
• Is the MIDI sync parameter set to internal (using internal clock) in the [UTILITY] → [F5] MIDI → [SF3] SYNC display? ..................................... page 264
■ Song/Pattern (Phrase) cannot be recorded.
• Is there enough free memory for recording? The total MOTIF ES 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. ........................................................................................................................... page 275
• 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. .............................................................................................................................................................................................. page 113
■ Cannot enter the Pattern Job mode even when pressing the [JOB] button in the Pattern mode.
• Check whether the MOTIF ES is in the Patter n Chain mode or not. If so, exit from the Pattern Chain mode, then press the [JOB] button . .................. page 115
Appendix
■ Cannot enter the Pattern Mixing mode even when pressing the [MIXING] button in the Pattern mode.
• Check whether the MOTIF ES is in the Patter n Chain mode or not. If so, exit from the Pattern Chain mode, then press the [MIXING] button. ........................ page 115
280
Owner’s Manual
Troubleshooting
■ The drum sound is wrong or unexpected when changing the transpose value.
• This is normal. Changing the transpose setting while playing a Drum Voice will produce different sounds for the same keys played.
Microphone does not work properly
• Check the current mode. In the Voice mode and Voice Edit mode, the A/D part which handles the microphone sound cannot be recognized. ......... page 165
• Check whether the Mic/Line parameter is set to “mic” or not in the [UTILITY] → [F2] I/O → [SF1] INPUT display. ............................................. page 261
• Check whether the Gain Knob on the rear panel is set to minimum position or not. ............................................................................................... page 25
Can’t record samples
• If you cannot enter the Sampling mode, check whether DIMMs have been installed or not. In order to enter the Sampling mode and record Samples,
DIMM modules must be installed. .......................................................................................................................................................................... page 289
• Have you exceeded the maximum allowable number of samples (key banks)? ................................................................................................... page 174
• Is there enough sample memory available? ........................................................................................................................................................... page 276
• Is the Sampling Source setting appropriate?.......................................................................................................................................................... page 172
• Is the Trigger mode set appropriately? ................................................................................................................................................................... page 175
Plug-in Board problems
■ A Plug-in Voice cannot be selected even if the Plug-in Board has been installed.
• Check whether the SLOT lamp (from SLOT1 - 3) corresponding to the selected PLG button ([PLG1] - [PLG3]) is turned on or off. .................... page 21
• If the User bank is selected in the [VOICE] → [F2] BANK display, select the preset bank. ................................................................................. page 188
• Check whether the PLG which corresponds to the PLG100-XG slot is selected or not. The Voice on the PLG100-XG cannot be selected in the Voice
mode or Performance mode. ................................................................................................................................................................................. page 163
• Check whether the PLG which corresponds to the PLG100-VH slot is selected or not. The PLG100-VH contains no Voices for selection, since it is an
Effect Plug-in Board. ................................................................................................................................................................................................ page 74
■ Plug-in board does not work.
• Is the lamp of the corresponding slot number to which the Plug-in board has been installed lit? ........................................................................... page 21
• Has the PLG100-VH been installed to slot 2 or 3? (The PLG100-VH should be installed to slot 1.) ........................................................................ page 78
• Has the PLG100-XG been installed to slot 1 or 2? (The PLG100-XG should be installed to slot 3.)........................................................................ page 77
Computer/MIDI instrument problems
■ Data communication between the computer and the MOTIF ES does not work properly.
• Check whether the Port setting on the computer is appropriate or not.
• Check whether the MIDI IN/OUT parameter is set properly in the [UTILITY] → [F5] MIDI → [SF4] OTHER display. Set this parameter to “USB” when
using a USB cable to connect to the computer. Set this parameter to “mLAN” when using an IEEE 1394 cable to connect to the computer.
Set this parameter to “MIDI” when using MIDI cables to connect to the computer. .............................................................................................. page 265
■ Data communication between the MIDI instrument and the MOTIF ES does not work properly.
• Check whether the MIDI IN/OUT parameter is set to “MIDI” or not in the [UTILITY] → [F5] MIDI → [SF4] OTHER display. ................................ page 265
■ The MOTIF ES does not sound properly even when playing back the song data on the computer or the MIDI instrument
connected to the MOTIF ES.
• Make sure to set the MOTIF ES to the Song mode or Pattern mode. The Voice mode or Performance mode may not produce the proper sound even
when playing back the Song data on the MIDI instrument or the computer connected to the MOTIF ES. ............................................................. page 36
■ MIDI bulk data transmission/reception does not work properly.
• When reception does not work properly, is the Receive Bulk parameter set to “protect” in the [UTILITY] → [F5] MIDI → [SF2] SWITCH display? .................. page 264
• When transmission does not work properly, is the device number of the MIDI instrument connected to the MOTIF ES set to match the DeviceNo.
parameter in the [UTILITY] → [F5] MIDI → [SF1] CH display? ............................................................................................................................. page 263
Can’t save data to the SmartMedia card or the USB storage
• Is the SmartMedia/USB storage device being used write protected? (Write-protect should be set to off for saving data.).................................... page 28
• Is the SmartMedia/USB storage device being used properly formatted? .............................................................................................................. page 268
Appendix
Can’t enter the Edit mode
• Is the Category Search function turned on? After exiting from the Category Search function, press the [EDIT] button. ....................................... page 62
• Is the MOTIF ES in the File mode? After exiting from the File mode, press the [EDIT] button. ............................................................................. page 266
Owner’s Manual
281
Installing Optional Hardware
Installing Optional Hardware
Available devices
The following optional devices can be installed to the MOTIF ES.
● Plug-in Boards
● AIEB 2 or mLAN16E
● DIMM
Up to three boards can be installed.
Installation locations
● Plug-in Boards
MOTIF ES6
MOTIF ES7
MOTIF ES8
Plug-in
Board cover
Plug-in
Board cover
Plug-in Board
cover
● AIEB2, mLAN16E, DIMM
MOTIF ES6
Bottom cover for
optional units
Rear cover for the
AIEB2 or mLAN16E
MOTIF ES7
Rear cover for the
AIEB2 or mLAN16E
Bottom cover for
optional units
MOTIF ES8
Bottom cover for
optional units
Rear cover for the
AIEB2 or mLAN16E
Installation Precautions
Before installing the optional hardware, make sure you have a Philips screwdriver and ample space to work. Protective cushions
or supports for the instrument may also be needed.
WARNING
• Before beginning installation, switch off the power to the instrument and connected peripherals, and unplug them from the power outlet. Then remove all
cables connecting the instrument to other devices. (Leaving the power cord connected while working can result in electric shock. Leaving other cables
connected can interfere with work.) Installation or removal of any devices should be started ONLY after the instrument (and the optional hardware)
returns to normal room temperature.
• 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.
CAUTION
Appendix
• 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.
282
Owner’s Manual
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. For details about the
Plug-in Board line up which can be used with the MOTIF ES, see page 74.
The MOTIF ES provides three slots on the rear panel for Plug-in Boards, allowing you to install up to three boards for
simultaneous use.
n
The Vocal Harmony Plug-in board (PLG100-VH) can be installed only to slot 1.
n
The Multi part Plug-in board (PLG-100XG) can be installed only to slot 3.
n
The Single part Plug-in board can be installed to any of three slots.
Installing the Plug-in Board
1 Turn the power of the MOTIF ES off, and disconnect the
AC power cord. Also, make sure to disconnect the
MOTIF ES 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 reattaching the cover to the instrument.
ASSIGNABLE OUTPUT
L
R
R
3
2
1
the Plug-in board from the inside of the MOTIF ES.
The slots are assigned to the color-coded cables as
follows:
Slot 3 – Green
Slot 2 – Yellow
Slot 1 – Orange
Cable for Slot 3
(Green)
Plug- in SLOT
3
2
1
GREEN
YELLOW
ORANGE
Slot 3
Cable for Slot 2
(Yellow)
Cable for Slot 1
(Orange)
MOTIF ES6 / MOTIF ES7
Plug-in SLOT
3 Remove the ribbon cables that are to be connected to
Slot 2
Slot 1
ASSIGNABLE OUTPUT
R
L
R
OUTPUT
L MONO PHONES
A D INPUT
R
L
GAIN
GREEN
YELLOW
ORANGE
OUTPUT
L MONO PHONES
A D INPUT
R
L
GAIN
4 Insert the board along the guide rails about two-thirds
of the way inside the MOTIF ES, with the connector side
face up and toward you.
Plug-in SLOT
3
2
1
GREEN
YELLOW
ORANGE
Plug-in SLOT
ASSIGNABLE OUTPUT
L
R
R
OUTPUT
L MONO PHONES
A D INPUT
R
L
3
2
1
GREEN
YELLOW
ORANGE
GAIN
ASSIGNABLE OUTPUT
R
L
R
OUTPUT
L MONO PHONES
A D INPUT
R
L
GAIN
MOTIF ES8
Slot 3
Plug-in SLOT
GREEN
YELLOW
ORANGE
Slot 2
Slot 1
Securely insert the board into the appropriate slot,
taking care that the board isn’t jammed between slots.
GREEN
YELLOW
ORANGE
Appendix
Plug-in SLOT
Owner’s Manual
283
Installing Optional Hardware
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 too
strongly on the cable as you connect it to the board.
Plug-in Connector
Press the connectors together until
the two notches lock into the sockets.
Notch
Connector from MOTIF ES
7 Replace the cover with the screw you removed in step 2
above.
8 Check that the installed Plug-in board is functioning
properly.
After connecting the AC power cord to the MOTIF ES, 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 the cable is not connected properly (refer to the notes
above) or firmly, the indicator will not light.
Plug-in board
In this example, a Plug-in board has
been installed to slot 1.
Plug-in SLOT
3
2
1
GREEN
YELLOW
ORANGE
Slot indicator lit
Integrated Sampling Sequencer / Modular Synthesis Plug-in System / Real-time External Control Surface
MUSIC PRODUCTION SYNTHESIZER
PRE 1
PRE 2
PRE 3
PRE 4
DRUM KITS
PRE 5
PRE 6
USER 1
USER 2
GM
PLG 1
PLG 2
PLG 3
FAVORITES
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
D
E
SLOT 1
ASSIGNABLE OUTPUT
R
L
R
OUTPUT
L MONO PHONES
A D INPUT
R
L
GAIN
n
The Vocal Harmony Plug-in board (PLG100-VH) can be installed only
to slot 1.
n
The Multi part Plug-in board (PLG-100XG) can be installed only to slot 3.
6 Insert the Plug-in board the rest of the way into the
expansion bay.
Carefully put the ribbon cable back into the MOTIF ES,
making sure that no part of the cable sticks out of the
instrument.
Plug-in SLOT
ASSIGNABLE OUTPUT
R
L
R
3
2
1
GREEN
YELLOW
ORANGE
OUTPUT
L MONO PHONES
Appendix
284
Owner’s Manual
A D INPUT
R
L
GAIN
A
B
C
SYN LEAD
SYN PAD/
CHOIR
SYN COMP
DRUM/
CHROMATIC
PERCUSSION PERCUSSION
SLOT 2
SLOT 3
F
G
H
SE
MUSICAL FX
COMBI
CATEGORY
SEARCH
BANK
SECTION
GROUP
Installing Optional Hardware
Optional AIEB2 or mLAN16E Installation
By installing an optional mLAN expansion board (mLAN16E) or an I/O expansion board (AIEB2), you can increase the input/output
capability and interfacing options of the MOTIF ES.
Installing the AIEB2
MOTIF ES6 / MOTIF ES7
1 Turn the power of the MOTIF ES off, and disconnect the
AC power cord. Also, make sure to disconnect the
MOTIF ES from any connected external devices.
2 Turn over the MOTIF ES so that the keyboard faces
down, giving you direct access to the underside of the
instrument.
To protect the Knobs, Wheels and Sliders from damage,
place the keyboard so the four corners are supported by
something that provides sufficient support like magazines
or cushions.
Bottom
↓ Rear side
Slide the cover
away to remove.
Bottom
↓ Rear side
View of the keyboard
from the bottom
MUSIC PRODUCTION SYNTHESIZER
MOTIF ES8
Place supports at all four corners, taking care
not to touch the Knobs, Wheels and Sliders.
Bottom
↓ Rear side
CAUTION
Since the instrument — particularly the MOTIF ES8 — is very heavy, this
procedure should not be done alone, but by two or three people.
3 Remove the cover from the bottom.
With the rear panel of the instrument facing you, remove the
screws from the cover and slide the cover away to remove
it. (The MOTIF ES6 and MOTIF ES7 have seven screws,
while the MOTIF ES8 has five.) On the MOTIF ES6/7, slide
the cover away from you (toward the front of the instrument,
as shown). On the MOTIF ES8, slide the cover to the right.
Bottom
Slide the cover
away to remove.
↓ Rear side
Appendix
Keep the removed screws in a safe place. They will be used when reattaching the cover to the instrument after installing the AIEB2.
Owner’s Manual
285
Installing Optional Hardware
4 Remove the three screws from the rear cover while
holding it from inside the MOTIF ES with your left hand.
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 ES, you
can remove them from the AIEB2.
AIEB2
Rear side of the
MOTIF ES
Remove the two
power cables.
Keep the removed screws in a safe place. They will be used when
re-attaching the cover to the instrument after installing the AIEB2.
5 Remove the AIEB2 power cables from the hook shaped
cable clip in the MOTIF ES.
7 Connect the flat ribbon cable coming from AIEB2 to the
MOTIF ES6 / MOTIF ES7 ↑ Top (keyboard side) of the MOTIF ES
circuit board of the MOTIF ES.
Be careful to connect the cable in the proper direction as
shown.
Underside
Flat ribbon cable
of the AIEB2
Align the connectors
as shown.
Connector on the circuit
board of the MOTIF ES
↓ Rear panel
MOTIF ES8
↑ Top (keyboard side)
of the MOTIF ES
Unlatch the cable clip by
pulling out the tab as
shown. Replace the clip
after pulling out the
power cable.
↓ Rear panel
AIEB2
Underside
↓ Rear panel
Appendix
286
Owner’s Manual
Installing Optional Hardware
8 Connect the power cable coming from MOTIF ES to the
AIEB2.
Connect the 3-pin cable to the CN3 connector of the
AIEB2, and the 4-pin cable to the CN1 connector.
10 Let the ribbon cable fall into place between the AIEB2
and the circuit board of the MOTIF ES.
Underside of the MOTIF ES
Slide the flat ribbon cable in
the space between the
MOTIF ES and the AIEB2.
AIEB2
↓ Rear panel of
the MOTIF ES
Connect the 4-pin
cable to the CN1
connector
Connect the 3-pin
cable to the CN3
connector
↓ Rear panel
Underside of the MOTIF ES
* Make sure to properly match the cables and connectors.
Avoid applying excessive force when connecting.
9 Fasten the AIEB2 to the MOTIF ES.
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 (rear) side of MOTIF ES. Supporting the
unit with one hand, attach it to the rear of the MOTIF ES 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.
Flip over the AIEB2 taking care not to
bend or damage the flat ribbon cable.
AIEB2
↓ Rear panel
11 Re-install the cover you removed in step #3, in reverse
order.
Bottom of
the AIEB2
Appendix
If you start replacing the
screws from the center screw,
it will be easy to replace the
remaining screws.
Owner’s Manual
287
Installing Optional Hardware
Installing the mLAN16E
7 Fasten the mLAN16E to the MOTIF ES.
1~4
Using the same procedure as in steps 1 - 4 of “Installing
the AIEB2” above, remove the cover on the underside
of the MOTIF ES, then remove the cover of the mLAN-I/
O expansion bay on the rear panel.
Flip the unit over, so that each connector section of the
mLAN16E can be seen from the back side of MOTIF ES.
Supporting the unit with one hand, attach it to the rear of
the MOTIF ES with the two screws you removed in step #4,
as shown below.
5 Remove the mLAN16E from its package.
mLAN16E
6 Insert the connector on the other end of the flat ribbon
cable to the circuit board of the MOTIF ES.
8 Separate the cover you removed in step #4 into two
parts (A and B shown below), then attach part A to the
rear panel of the MOTIF ES, covering the empty space
left by the installation of the mLAN16E.
Remove the screw to separate
the cover into two parts.
↓ Rear panel of the MOTIF ES
Flip over the mLAN16E and
fasten it to the MOTIF ES.
B
A
Underside of
mLAN16E
↓ Rear panel of the MOTIF ES
9 Let the flat ribbon cable fall into place between the
mLAN16E and the circuit board of the MOTIF ES.
10 Re-install the cover you removed in step #3, in reverse
Appendix
order.
288
Owner’s Manual
Installing Optional Hardware
Optional DIMM Installation
This section explains how to install DIMM memory modules to the MOTIF ES.
Compatible DIMMs
Location for DIMM installation
The MOTIF ES does not necessarily support all commercially
available DIMMs. Yamaha cannot guarantee operation of
DIMMs that you purchase. Before purchasing DIMMs, please
consult your Yamaha dealer, or an authorized Yamaha
distributor (see list at end of the Owner’s Manual) for advice,
or see the following page:
DIMM sockets
http://www.yamahasynth.com/
DIMM Type and DIMM Configuration
• Yamaha recommends that you purchase DIMMs that
conform to the JEDEC* standard. Please be aware,
however, that conformance to this standard does not
constitute a guarantee that the DIMMs will operate correctly
on the MOTIF ES.
Underside of the MOTIF ES
↓ Rear panel
Installing the DIMM modules to the sockets
Make sure that the DIMM module is
aligned correctly before you install it.
* JEDEC (Joint Electron Device Engineering Council) sets standards for
terminal configurations within electronic devices.
Notch for alignment
Ejector
lever
• Use only 168-pin DIMMs of 64, 128 or 256 MB capacity
(synchronized DRAM; PC100 or PC133).
• When installing DIMMs, make sure to install them in a
matched pair of the same capacity. You cannot install only
one module and leave the second memory socket open.
Also make sure each DIMM in the pair is of the same
manufacturer and the same type. DIMMs of different
makers and configurations may not work together.
• When purchasing DIMMs, make sure that the DIMM design
does not utilize more than 18 memory chips per module.
(DIMMs comprised of more than 18 chips do not operate
correctly on the MOTIF ES.)
64MB x 2 = 128MB
128MB x 2 = 256MB
256MB x 2 = 512MB
Insert the DIMM vertically
in the socket.
5 Re-install the cover you removed in step #3, in reverse
order (page 285).
6 Check that the installed DIMMs are functioning properly.
Set the MOTIF ES 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 by pressing the
[INTEGRATED SAMPLING] button, and press the
[INFORMATION] button (page 276). If the DIMMs have
been installed properly, the appropriate available memory
size is indicated in the display.
n
DIMM Installation
Press it in firmly until it
“snaps” or locks in place.
If the DIMMs have not been installed properly, the MOTIF ES may
freeze when you press the [INTEGRATED SAMPLING] button. If
this occurs, turn the power off, perform the instructions above
again, and make sure to install the DIMMs firmly in step #4.
Removing DIMMs
1~3
Use the same operation as in “Installing the AIEB2.”
4 Insert the two DIMMs into the DIMM sockets.
Press the ejector lever
until the DIMM unlocks.
Pull the DIMM vertically
out of the socket.
Appendix
168-pin DIMMs
Owner’s Manual
289
Glossary
Glossary
This section explains in detail various words and terms that were not covered in the manual. Another resource for looking up
unfamiliar technical terms related to music, synthesis and audio is a special website we’ve prepared, the Glossary for Electronic
Musical Instruments. If you come across a musical or technical term you don’t know, click on the following URL.
■ Glossary for Electronic Musical Instruments
http://www2.yamaha.co.jp/manual/english/word/index.html (This URL and title may be changed without notice.)
A
Directory
The function or process of hearing the edited sample (in the
Sampling function).
This is a path created on a data storage device (such as SmartMedia
card or hard disk), allowing a tree-like hierarchical organization of data
files and folders. Effectively a virtual file cabinet, this is the place
where files are stored and arranged according to type or application.
C
F
Channel
Filter
There are two types of channels: MIDI channels, which are used to
transmit MIDI messages, and audio channels, which are used to
send audio signals. You can set the MIDI channel in the display of the
MOTIF ES.
The MOTIF ES provides the following three types of Filter.
Clock
[2] A function (referred to as “Event View Filter”) that lets you select
the event types that appear on the Event List display in the Song
Edit/Pattern Edit display (page 225).
Audition
[1] A unit of note resolution for MIDI Sequence data.
The sequencer determines the playback position of the Song or
Pattern (MIDI sequence data) by using the units Measure, Beat,
and Clock.
[1] A circuit or processor that modifies tone by blocking or passing a
specific frequency range of the sound. This is one of the Voice
parameters (page 161).
[3] A function (referred to as “MIDI Filter”) that determines which MIDI
events will be transmitted/recognized via the MIDI IN/OUT (page 262).
[2] Also referred to as “MIDI Clock” or “Timing Clock” defined as
System Realtime Message in MIDI.
This message is transmitted at a fixed interval (24 times per 1/4
note) to synchronize connected MIDI instruments.
On the MOTIF ES, the Utility mode lets you select whether the
instrument’s internal clock will be used as the Timing Clock, or
external Timing Clock messages received via MIDI IN will be
used.
This is an organizational feature on a data storage device (such as
SmartMedia card or hard disk), allowing you to group data files
together according to type or application. Folders can be nested in
hierarchical order for organizing data. (Also see “Directory.”)
L
Common
LSB
This edit related term refers to the editing of parameters that affect all
Elements or Parts of a program. For each program, this term is used
as listed below.
[1] An abbreviation for Least Significant Byte, referring to the lower byte of
data when MIDI control change data (such as Bank Select and Data
Entry) is divided into two bytes (the MSB and LSB) for transmission.
•
•
•
•
•
•
•
[2] An abbreviation for Least Significant Bit, referring to the lowest bit
among eight bits that make up one byte.
Normal Voice.................Common Edit and Element Edit
Plug-in Voice .................Common Edit and Element Edit
Drum Voice....................Common Edit and Key Edit
Performance .................Common Edit and Part Edit
Song Mixing ..................Common Edit and Part Edit
Pattern Mixing ..............Common Edit and Part Edit
Master ...........................Common Edit and Zone Edit
D
Destination
The MOTIF ES provides the following three types of destination.
[1] In copy operations, this refers to the location to which the original
“source” data or file is to be copied.
[2] In sampling operations, this refers to the internal memory area to
which the external audio “source” is to be recorded.
[3] In the Controller Set function, this refers to the parameter adjusted
by the controller defined as “Source.”
Appendix
290
Folder
Owner’s Manual
M
MSB
[1] An abbreviation for Most Significant Byte, referring to the upper byte of
data when MIDI control change data (such as Bank Select and Data
Entry) is divided into two bytes (the MSB and LSB) for transmission.
[2] An abbreviation for Most Significant Bit, referring to the uppermost
bit among the eight bits that make up one byte. In MIDI, this “bit”
is very important because it determines whether the byte to which
this “bit” belongs is a status byte or data byte.
O
Offset
A type of editing in which a specified value (the “offset”) is added to
or subtracted from the current parameter value. Unlike normal
editing, in which the parameter is given a specific, new value, offset
editing changes the parameter relative to its current value.
Glossary
P
Parameter
A setting or data item which you can edit in the various mode and sub
mode displays.
Part
This refers to sound producing sections in the tone generator block
that make up a Song, Pattern or Performance. In the Performance
mode, all four Parts are set to the same MIDI channel; in the Song/
Pattern mode, each Part can be independently assigned to a spceifc
MIDI receive channel.
[1] In copy operations, this refers to the original file or data which is to
be copied.
[2] In sampling operations, this refers to external audio which is to be
recorded (to the internal memory “destination” area) (page 172).
[3] In the Controller Set function, this refers to the controller that is
assigned to adjust a particular parameter (the “destination”)
(page 155).
Synchronization
Refers to the function or process of “locking” the timing of two
devices (for example, two sequencers connected via MIDI), using the
timing clock of one to control the other.
Preset
This refers to pre-programmed data supplied with the internal
memory of the instrument as shipped from the factory. There are
various types of Preset data, such as Preset Voices and Preset
Phrases. The other type of data, User, is for data you’ve created or
edited on the instrument (or computer), such as User Voices and
User Phrases.
T
Track
A memory location on the sequencer where musical performance
(MIDI event) and audio data is recorded.
Tune/Tuning
Quantize
A function that lets you “clean up” or “tighten” the timing of notes. The
MOTIF ES provides three different Quantize functions:
[1] One of the Jobs provided in the Song Job mode/Pattern Job
mode, which lets you “clean up” or “tighten” the timing of notes
you’ve recorded in Realtime recording (page 227).
[2] A function in the Song Record mode/Pattern Record mode, which
aligns the timing of notes automatically as you record (page 222).
[3] A parameter that determines the timing (such as measure, 1/2
note, and 1/4 note) by which the pattern actually switches when
changing a pattern during playback (page 262).
R
Record
A process of matching the pitch of two or more instruments when
playing in an ensemble. Normally, A3 is tuned to 440 Hz. There are
two types of tune: Coarse Tune that adjusts the tuning in semitones
and Fine Tune that adjusts the tuning in cents. In addition, the MOTIF
ES has a Voice parameter (Micro Tuning) that lets you set the tuning
of each individual note of the keyboard.
U
User
Refers to the data you create via various functions on the MOTIF ES
(or computer).
There are various types of User data, such as User Voices and User
Phrases. The other type of data, Preset, refers to data that has been
created or pre-programmed for the instrument at the factory, such as
Preset Voices and Preset Phrases.
V
On the MOTIF ES, this term refers to the following operations.
Velocity
[1] Recording of your musical performance using the keyboard or
controllers to a Song track as MIDI events.
Song Record mode ....................................................page 118
A parameter within the MIDI Note On message that conveys the force
of the note.
[2] Recording of your musical performance using the keyboard or
controllers to a Pattern track as MIDI events.
Pattern Record mode .................................................page 110
[3] Recording the audio signal from a microphone or an external
audio source (played back via the audio equipment such as a CD
player) to the internal memory as a Sample (Audio data).
Sampling Record mode ................................ pages 94 and 107
S
Sequencer
Voice
A musical instrument sound built into the MOTIF ES. The following
types of Voices are available on the instrument.
•
•
•
•
•
•
•
Normal Voice ................ page 160
Drum Voice ................... page 160
Plug-in Voice................. page 76
Board Voice .................. page 76
Mixing Voice ................. page 105
Sample Voice................ page 173
Phrase Voice................. page 167
An instrument or function that records, edits, modifies, and plays
back a musical performance in the form of MIDI messages. You can
use the MOTIF ES as a sequencer in the Song mode and Pattern
mode.
Voice data that is supplied with the internal memory of the instruments
shipped from the factory is referred to as a “Preset Voice.” Voice data
you create or edit via the Voice Edit or the Sampling function, using
the preset waves supplied with the instrument or the wave obtained
via the Sampling function is referred to as a “User Voice.”
Source
Volume Label
On the MOTIF ES, “source” has three different meanings or uses:
This refers to the name you can assign to storage devices such as a
SmartMedia and hard disk.
Owner’s Manual
Appendix
Q
291
Specifications
Specifications
Keyboards
MOTIF ES8
MOTIF ES7
MOTIF ES6
88 keys, Balanced Hammer Effect Keyboard (Initial Touch/Aftertouch)
76 keys, FS Keyboard (Initial Touch/Aftertouch)
61 keys, FS Keyboard (Initial Touch/Aftertouch)
Tone Generator block
Tone Generator
AWM2 (complying with the Modular Synthesis Plug-in System)
Polyphony
128 notes + the polyphony of the Plug-in Board (if installed)
Multi Timbral Capacity
16 parts (internal) + 3 or more Plug-in Board parts (1 for each Single Plug-in Board;
16 for Multi Plug-in Board), Audio Input parts (A/D, AIEB2, mLAN*) * 4 stereo parts
Wave
175MB (when converted to 16- bit linear format), 1859 waveforms
Voice
Preset: 768 normal voices + 64 drum kits
GM: 128 normal voices + 1 drum kit
User: 128 x 2 (Bank1: Original, Bank2: Picked up from Preset)
Normal Voice + 32 drum kits
Plug-in Voice
Preset for the PLG150-AN/DX/PF/DR/PC: 64
Preset for the PLG-150VL: 192
User: 64 for each Plug-in slot
Performance
User: 128 (up to 4 parts)
Filter
18 types
Effect System
Reverb x 20 types, Chorus x 49 types, Insertion (A, B) x 116 types x 8 blocks, Master
Effect x 8 types, Master Equalizer (5 bands), Part EQ (3 bands, stereo),
Plug-in Insertion (available when the PLG100-VH has been installed to slot 1)
Expandability
3 Slots for Modular Synthesis Plug-in Boards
Samples
Up to 1024 Waveforms (Multi Samples)
Up to 128 Key Banks per Waveform
Up to 4096 Key Banks
Sampling Source
Analog input L/R, Stereo output (Resampling), Digital/Optical (available when the AIEB2
has been installed), mLAN (available when the mLAN16E has been installed)
A/D Conversion
20-bit, 64 x oversampling
D/A Conversion
24-bit, 128 x oversampling
Sample Data Bits
16
Sampling Frequency
44.1kHz, 22.05kHz, 11.025kHz, 5.5125kHz (Stereo/Mono)
Sampling block
(Available when DIMMs
have been installed.)
• Digital Sampling Frequency (when the AIEB2 has been installed)
48kHz, 44.1kHz, 32kHz
* Can be input, with converted to the Sampling Frequency of the MOTIF ES.
• Sampling Frequency via the mLAN (when the mLAN16E has been installed)
44.1kHz (fixed)
Sampling Memory
Optionally installed, expandable to 512MB (256MB DIMM x 2 slots)
* DIMMs are not installed to the instrument when shipped from the factory.
Sample Length
Mono: 32 MB
Stereo: 64 MB
Sampling Time
44.1kHz: 6 min. 20 sec., 22.05kHz: 12 min. 40 sec., 11.025kHz: 25 min. 20 sec.,
5.0125kHz: 55 min. 40 sec.
* Mono/Stereo
Sample Format
Original format, WAV, AIFF, A3000/4000/5000/SU700 format (loadable only),
AKAI S1000/S3000 format (loadable only)
Appendix
292
Owner’s Manual
Specifications
Sequencer block
Others
Note Capacity
Approx. 226,000 notes
Note Resolution
480 ppq (parts per quarter note)
Maximum Polyphony
124 notes
Tempo
1 - 300
Recording type
Real time replace, Real time overdub (with the exception of the Pattern Chain),
Real time punch (Song only), Step (with the exception of the Pattern Chain)
Tracks
Pattern Mode: 16 phrase tracks
Pattern Chain Mode: Pattern track, Tempo track, Scene track
Song Mode: 16 sequence tracks (Loop on/off can be set for each track), Tempo track,
Scene track
Patterns
64 patterns (x 16 sections)
Measures: 256 maximum
Phrases
Preset Phrases: 687 phrases
User Phrases: 256 per pattern
Songs
64 songs
Arpeggio
Preset x 1787 types
User x 256 types
* MIDI Sync, MIDI transmit/receive channel, Velocity Limit, and Note Limit can be set.
Scene Memory
5 per Song
Scequence Format
Original format, SMF format 0, 1 (Format 1 load only)
Master
User: 128
* 4 Zones (Master keyboard settings), Assignable Knob/Slider settings, Program Change Table
Sequence Software compatible with the Remote Control function
• For Windows ®
SQ01 V2, Cubase SX, SONAR 2.0, Multi Part Editor for MOTIF-RACK,
Multi Part Editor for MOTIF ES
• For Macintosh ®
Logic 5.5, Digital Performer 3.1
Controllers
Pitch Bend wheel, Modulation wheel, Ribbon Controller, Assignable Control Sliders (4),
Assignable Knobs (4), Data dial
Display
240 x 64 dot graphic backlit LCD
External Memory
SmartMedia™ (3.3V)
* Up to 128MB can be used.
Connectors
OUTPUT L/MONO, R (standard phone jack)
ASSIGNABLE OUTPUT L, R (standard phone jack)
AD INPUT L, R (standard phone jack)
PHONES (standard stereo phone jack)
FOOT CONTROLLER 1, 2
FOOT SWITCH x 2 (SUSTAIN, ASSIGNABLE)
BREATH, MIDI IN/OUT/THRU, USB (TO HOST, TO DEVICE), AC INLET
Power Consumption
38W
Dimensions, Weight
MOTIF ES8: 1,458 (W) x 465 (D) x 167.4 (H)mm, 28.3kg
MOTIF ES7: 1,255 (W) x 394 (D) x 136.4 (H)mm, 19.2kg
MOTIF ES6: 1,048 (W) x 394 (D) x 136.4 (H)mm, 16.5kg
Accessories
AC Power cord, CD-ROM x 3, Owner’s Manual (this book), Data List, Installation Guide
Owner’s Manual
Appendix
* Specifications and descriptions in this owner's manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products
or specifications at any time without prior notice. Since specifications, equipment or options may not be the same in every locale, please check with
your Yamaha dealer.
293
Index
Index
1/4 Shift (1/4 shifted) ........................................................ 209
1/4 tone ............................................................................ 209
1/8 tone ............................................................................ 209
1st-on ............................................................................... 193
A
A/D Input .......................................................................... 165
A/D INPUT jacks ................................................................ 24
AC (Assignable Control) .................................................. 206
AC INLET (AC Power Cord Socket) ................................... 24
Accuracy .......................................................................... 257
ADD INT ..................................................................... 71, 212
ADD PLG ................................................................... 71, 212
Advanced DX/TX Plug-in Board ........................................ 74
AEG (Amplitude Envelope Generator) ... 162, 200, 204, 219, 236
Aftertouch ........................................................................ 184
AIEB2 ......................................................................... 25, 285
Aiff (AIFF) ......................................................................... 269
All ..................................................................................... 269
AllPattern .......................................................................... 269
AllSong ............................................................................. 269
AllVoice ............................................................................ 269
AllWaveform ............................................................. 269, 270
AlternateGroup ................................................................ 203
AlternatePan ............................................................ 199, 204
AltnateGroup ...................................................................... 84
AMod ....................................................................... 205, 206
Amplitude ......................................................................... 162
Amplitude Envelope Generator ....................................... 162
analog output ............................................................... 31, 32
Analog Physical Modeling Plug-in Board .......................... 74
Append Pattern ................................................................ 247
Append Phrase ................................................................ 245
Arabic .............................................................................. 209
ARP (Arpeggio) ................................ 189, 191, 213, 214, 223
ARP CH (Arpeggio Channel) ........................................... 262
ARP FX ................................................................. 81, 90, 129
Arpeggio .............................................. 66, 70, 105, 130, 169
[ARPEGGIO ON/OFF] button ............................................. 19
Arpeggio type .................................................................. 169
ArpSwitch (Arpeggio Switch) ................................... 216, 235
AS1 (ASSIGN 1) ............................................... 188, 212, 271
AS1 (Assign 1) ................................................................. 214
AS2 (ASSIGN 2) ............................................... 188, 212, 271
AS2 (Assign 2) ................................................................. 214
ASA (ASSIGN A) .............................................. 188, 212, 271
ASB (ASSIGN B) .............................................. 188, 212, 271
ASSIGN ............................................................................ 263
ASSIGNABLE OUT ...................................................... 24, 25
AssignMode ..................................................................... 203
AT (After Touch) ............................................................... 205
ATTACK ............................................................... 81, 90, 129
Attack Time .............................................. 160, 161, 162, 183
AUDIO IN ......................................................................... 214
Audio Input ........................................................................ 33
Audio Input Part ............................................................... 165
Audition ............................................................................ 290
Auto Load ........................................................................ 135
AutoLoad ......................................................................... 261
AWM2 (Advanced Wave Memory 2) ............................... 157
B
Appendix
BAK DEL .......................................................................... 225
Band Elimination Filter ..................................................... 161
Band Pass Filter ............................................................... 161
BANK buttons .................................................................... 21
Bank Select ................................................................ 40, 182
BankLSB .......................................................................... 273
BankMSB ......................................................................... 273
BankSel ............................................................................ 264
BasicRcvCh (Basic Receive Channel) ............................ 263
BC (Breath Controller) ..................................... 214, 219, 273
BCCurve ............................................................................ 76
BCCurve (Breath Controller Curve) ................................. 260
Beat .............................................................................. 57, 59
Beat Graph ...................................................................... 224
Beat Stretch ............................................................. 231, 245
BEF12 .............................................................................. 210
BEF6 ................................................................................ 210
Board Voice ..................................................................... 146
BPF12D ............................................................................ 210
BPF6 ................................................................................ 210
BPFw ................................................................................ 210
294
Owner’s Manual
BREAK POINT ..................................................199, 200, 211
Breath Controller ..........................................................42, 76
BREATH Controller Jack ....................................................24
Brightness ........................................................................183
BULK (Bulk Dump) ...................................208, 220, 237, 274
Bulk Dump .......................................................................185
Burglarproof Lock ..............................................................28
C
CARD (Card slot) ...............................................................25
CAT (Channel Aftertouch) ........................................229, 230
Category Search ................................................................62
[CATEGORY SEARCH] button ...........................................21
CD-ROM ...............................................................................6
CenterKey ........................................................197, 199, 200
Chain ................................................................................247
Channel ............................................................................290
Channel Aftertouch ..........................................................184
ChAT (Channel Aftertouch) ..............................................273
ChgTiming (Change Timing) ............................................191
CHORUS ......................................81, 90, 129, 195, 216, 235
Chorus ..............................................................................177
Chorus Ctg (Category) .....................................................215
Chorus Ctg (Chorus Effect Category) ..............................195
Chorus Pan ..............................................................195, 215
Chorus Return ..........................................................195, 215
Chorus Send ....................................................................195
Chorus to Reverb .....................................................195, 215
Chorus Typ (Chorus Effect Type) ....................................195
Chorus Type .....................................................................215
ChoSend ..........................................191, 203, 213, 215, 217
Clean Up Memory ............................................................259
Clear Pattern ....................................................................248
Clear Phrase ....................................................................246
Clear Song .......................................................................233
Clear Track ...............................................................232, 246
Clock ................................................................229, 230, 290
CLOCK SFT ..............................................................114, 221
ClockOut ..........................................................................264
Coarse ......................................................................196, 203
Common ...........................................................................290
Common Edit (Drum Voice) .............................................202
Common Edit (Master) .....................................................138
Common Edit (Normal Voice) ....................................79, 189
Common Edit (Performance) .............................................88
Common Edit (Plug-in Voice) ...........................................205
Common Edit (Song Mixing/Pattern Mixing) ....................128
Compare ............................................................................52
CONFIG ...........................................................................266
Confirmation Message .......................................................52
Connections ...................................................................5, 31
Control Change ................................................................182
Control Change numbers .........................................140, 156
Controller ....................................................................42, 154
Controller Block ................................