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SPECIAL MESSAGE SECTION PRODUCT SAFETY MARKINGS: Yamaha electronic products may have either labels similar to the graphics shown below or molded/stamped facsimiles of these graphics on the enclosure. The explanation of these graphics appears on this page. Please observe all cautions indicated on this page and those indicated in the safety instruction section. CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK).
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.
PRECAUTIONS PLEASE READ CAREFULLY BEFORE PROCEEDING * Please keep this manual in a safe place for future reference. WARNING Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following: Power supply/Power cord Water warning • Only use the voltage specified as correct for the instrument.
Connections Backup battery • 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. • This instrument has a built-in lithium backup battery.
FCC INFORMATION (U.S.A.) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions.
Introduction Congratulations and thank you for your purchase of the Yamaha MOTIF Music Production Synthesizer! You now own what is perhaps the best-sounding, most versatile, and certainly most powerful synthesizer and total music production instrument on the planet. We strove to put virtually all our synthesizer technology and music making know-how into one instrument — and we succeeded.
Important Features ■ Wide range of dynamic and authentic voices — over 512 in total, with 49 drum kits. Use the Category Search function to quickly call up the sounds you want, based on their instrument type. ■ Performance mode lets you use four different voices together — in layers or in a keyboard split. ■ Integrated Sampling Sequencer — seamlessly combines audio and MIDI recording. * Full Sample recording and editing features, with 4MB of memory (expandable to 64MB).
Table of Contents The Controls & Connectors 10 Front Panel ........................................................ 10 Rear Panel..........................................................16 Setting Up 20 Power Supply .....................................................20 Connections ....................................................... 21 Powering Up ......................................................29 Basic Structure 30 Mode ..................................................................
Front Panel The Controls & Connectors Front Panel MOTIF6 The Control & Connectors KNOB CONTROL FUNCTION PAN REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 KN 2 KN 3 REMOTE CONTROL ON/OFF MODE KN 1 MEQ LOW MEQLOWMID MEQ HI MID KN 4 MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME VOLUME 1 VOLUME 2 VOLUME 3 ARPEGGIO SYSTEM VOICE PERFORM MASTER ON/OFF VOLUME 4 SEQUENCER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY EDIT JOB
The Control & Connectors Front Panel MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System SLOT 1 SONG SCENE SF1 SF2 SF3 SF4 SLOT 3 PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A.
Front Panel MOTIF8 The Control & Connectors KNOB CONTROL FUNCTION PAN REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 KN 2 KN 3 REMOTE CONTROL ON/OFF MODE KN 1 MEQ LOW MEQLOWMID MEQ HI MID KN 4 MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME VOLUME 1 VOLUME 2 VOLUME 3 SYSTEM ARPEGGIO VOICE PERFORM MASTER ON/OFF VOLUME 4 SEQUENCER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY EDIT JOB SEQ TRANSPORT LOCATE REC 1 2 COM
The Control & Connectors Front Panel MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System SLOT 1 SONG SCENE SF1 SF2 SF3 SF4 INC/YES SLOT 3 PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A.
Front Panel ) SEQ TRANSPORT buttons (page 78, 179, 183, 217, 221) These buttons control recording and playback of the Song/Pattern sequence data. The Control & Connectors [ ](Top) button Instantly returns to the first beginning of the current song or pattern (i.e., the first beat of the first measure). [ ](Reverse) button Press briefly to move back one measure at a time, or hold to continuously rewind.
Front Panel £ SLOT 1-3 lamps (page 282) These three lamps show the installation status of the Plug-in Boards. If the Plug-in Board has been correctly installed, the corresponding SLOT lamp will light. n The Vocal Harmony Plug-in Board (PLG100-VH) can be installed only to slot 1. It cannot be installed to slot 2 or 3. n The Multi part Plug-in Board (PLG100-XG) can be installed only to slot 3. It cannot be installed to slot 1 or 2. ¢ BANK buttons (page 124) Each button selects a Voice or Performance Bank.
Rear Panel Rear Panel MOTIF6 CAUTION The Control & Connectors POWER OFF ON AC INLET mLAN I O EXPANSION MOTIF7 CAUTION POWER OFF ON mLAN AC INLET I O EXPANSION MOTIF8 CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN ATTENTION:RISQUE DE CHOC ÉLECTRIQUE NE PAS OUVRIR. WARNING TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE. POWER OFF ON 16 AC INLET MOTIF The Controls & Connectors THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES.
Rear Panel Rear Panel CARD Plug- in SLOT 3 2 1 GREEN YELLOW ORANGE The Control & Connectors 3.3V SCSI FOOT SWITCH OPTICAL OUTPUT USB THRU MIDI OUT IN BREATH ASSIGNABLE SUSTAIN 3.3V FOOT CONTROLLER 2 1 ASSIGNABLE OUTPUT R L R OUTPUT L MONO PHONES CARD Plug- in SLOT 3 2 1 A D INPUT R L GAIN GREEN YELLOW ORANGE SCSI FOOT SWITCH OPTICAL OUTPUT USB THRU MIDI OUT IN BREATH ASSIGNABLE SUSTAIN FOOT CONTROLLER 2 1 ASSIGNABLE OUTPUT R L R OUTPUT L MONO PHONES A D INPUT R L 3.
Rear Panel 1 POWER Switch (page 29) Press to turn power ON or OFF. The Control & Connectors 2 AC Power Cord Socket (page 20) Be sure the plug the AC power cord into this socket before plugging the power cord into an AC outlet. Use only the AC power cord supplied with the MOTIF. If the supplied cord is lost or damaged and needs to be replaced, contact your Yamaha dealer.
Rear Panel ■ When the optional AIEB2 has been installed: 1 2 3 & Plug-in board cover (page 35) Installing an optional Plug-in Board to the MOTIF lets you greatly expand the sonic palette of the instrument. Up to three boards can be installed to the MOTIF’s rear panel. ■ When the optional mLAN8E has been installed: 2 1 1 SERIAL I/O connector For connecting the mLAN8E directly to a personal computer via a serial cable.
Power Supply Setting Up This section explains how to connect your MOTIF to an AC power source, external audio and MIDI devices, and a computer system. Only switch the MOTIF on after you have made all the necessary connections. It is recommended that you read this section before using the MOTIF. Power Supply Setting Up rear panel AC INLET terminal Power cord (included) 1 Make sure the POWER switch on the MOTIF is set to OFF.
Connections Connections Connecting to External Audio Equipment Since the MOTIF has no built-in speakers, you’ll need an external audio system or a set of stereo headphones to properly monitor it. The following illustrations show various connection examples; use the one most similar to your intended setup. Setting Up Analog output ■ Connecting stereo powered speakers A pair of powered speakers can accurately produce the instrument’s rich sounds with their own pan and effect settings.
Connections ■ Connecting to a mixer (with the optional AIEB2) You can expand the MOTIF’s output capabilties with six additional OUTPUT jacks for outputting extra individual parts, by installing the optional I/O board (AIEB2).
Connections A/D input ■ Connecting a microphone or other audio equipment (analog input) You can record or import external sounds or waveform data and use them as instrument sounds (see “Sampling” on page 58). When recording from an external audio source, connect a microphone or the audio source to the A/D INPUT jacks.
Connections Connecting External MIDI Equipment Using a standard MIDI cable (available separately), you can connect an external MIDI device, and control it from the MOTIF. Likewise, you can use an external MIDI device (such as a keyboard or sequencer) to control the sounds on the MOTIF. Below are several different MIDI connection examples; use the one most similar to your intended setup.
Connections Connecting to a Personal Computer By connecting a computer, you can transfer data between the MOTIF and the computer via MIDI, and use the computer to control, edit and organize data on the MOTIF. For example, you can use the included Voice Editor program to edit the MOTIF’s voices. There’s also a special File Utility program that lets you use your computer to manage files in the Memory Card inserted in the MOTIF’s CARD slot or files in the SCSI device connected to the MOTIF.
Connections ■ Using an IEEE1394 interface (when an optional mLAN8E has been installed) KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ASSIGN A CHORUS TEMPO ATTACK ASSIGN B RELEASE ASSIGN 1 REMOTE CONTROL ON/OFF ASSIGN 2 MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE KN 1 KN 2 MEQ LOW KN 3 VOLUME 1 VOLUME 2 SLOT 1 SLOT 2 SLOT 3 CATEGORY SEARCH KN 4 MEQLOWMID MEQ HI MID MEQ HIGH VOLUME 3 VOIC
Connections When MIDI “Echo” is disabled on the software/computer, set the MOTIF Local Switch to “on.” USB Computer with Application Software OUT Tone Generator Keyborad IN Local On n Although not indicated in the illustration above, the MOTIF actually receives and responds to MIDI data from the computer application (sequencer), regardless of the Local Sw setting on the MOTIF.
Connections Connecting Various Controllers Quick Start Guide (page 48) The MOTIF features several controller jacks on the rear panel — letting you independently control various aspects of the sound and a variety of functions with optional controllers.
Powering Up Powering Up Power-on Procedure n If the SCSI device is connected to the MOTIF, first turn the SCSI device on and follow the instructions below. When turning the power off in this case, turn the SCSI device off after all other devices.
Mode Basic Structure Mode The MOTIF is organized with various modes, each covering a different set of operations and functions.
Mode Basic Structure (page 42) · Basic Operation (page 67) Quick Start Guide (page 88) · Reference (page 160) ● Performance Play mode In this mode, Performances can be played — letting you use Voice splits, layers, etc,. ● Performance Edit mode In this mode, Performances can be created and edited. ● Performance Job mode In this mode, you can copy and initialize Performances, and perform other similar operations (Jobs) on them.
Mode ■ Utility mode Basic Operation (page 67) · Reference (page 249) This mode is a sub-mode of the Voice/Performance/ Song/Pattern mode. Press the [UTILITY] button in each mode to enter the Sampling mode and press the same button after sampling to go back to the previous mode. In this mode, you can set parameters that apply to the entire system of the MOTIF. These include MIDI settings and global setup parameters. ● Utility Job mode In this Mode, you can restore the MOTIF’s factory settings.
System Overview System Overview This section provides an overview of the MOTIF’s wide range of sophisticated and versatile features. The MOTIF is made up of several blocks, as shown here.
System Overview Tone Generator block The tone generator block is what actually produces sound in response to the MIDI messages received from the sequencer block, the controller block, and from the MIDI IN connector or the USB connector. The following example illustrates the signal flow within a Voice.
System Overview Plug-in board line-up ● Single Part Plug-in Boards Single Part Plug-in Boards let you add a completely different synthesizer or tone generator and play its voices by using a single part of the MOTIF. • Analog Physical Modeling Plug-in Board (PLG150-AN) Using Analog Physical Modeling (AN) synthesis, the very latest digital technology is used to accurately reproduce the sound of analog synthesizers.
System Overview Maximum Polyphony The maximum sonic polyphony is 62 for AWM2, plus the polyphony of the Plug-in Board (if installed). The actual note polyphony will vary depending on the type of tone generator unit used, the number of Elements in the Voice, and the note polyphony of the Plug-in Board. In the case of AWM2 Voices, the polyphony figure of 63 is divided by the number of Elements in the Voice.
System Overview Relationship between the Part structure of the Tone Generator block and the Controller/Sequencer block for each mode ● Voice mode Controller block Controllers Keyboard Part for Voice mode KN 2 KN 3 KN 4 The sequencer block is not available in the Voice mode. Tone Generator block (Internal / Plug-in) Port 1 Port 2 Port 3 part 1 part 17 part 33 part 2 part 18 part 34 part 30 part 46 part 31 part 47 part 32 part 48 Part 1-48 are not used.
System Overview ● Song/Pattern mode Controller block External sequencer Controllers Keyboard MIDI cables by themselves cannot handle data from multiple ports. If a MIDI cable is used to transmit data from an external sequencer, only the Port 1 parts are used. To take advantage of the multiple ports of the MOTIF, use a USB cable.
System Overview Effect block This block of the MOTIF applies effects to the output of the tone generator, processing and enhancing the sound using sophisticated DSP (digital signal processing) technology. Effect structure ■ System Effects (Reverb, Chorus, Variation) System Effects are applied to the overall sound, whether it be a voice, an entire performance setup, a song, etc. With System effects, the sound of each part is sent to the effect according to the effect Send Level for each part.
System Overview Effect connection ● In the Voice mode: Reference (page 137) You can select the Insertion connection among three types. System Effect Reverb Tone Generator block Element 1 Chorus Insertion Effect Return Level Send Level Element 2 1 Master Equalizer Element 3 Output 2 Basic Structure Element 4 You can select the Insertion connection from the three types shown below.
System Overview ● In the Song/Pattern mode: Reference (page 210) The diagram below indicates the connection when the Vocal Harmony Plug-in Board (PLG100-VH) is installed to slot 1 and the Multi part Plug-in Board (PLG-100XG) is installed to slot 3. Tone Generator block System Effect Select the part to which the Insertion effect is applied. The connection type depends on the setting of the Voice assigned to the selected part.
Main functions Main functions Voices and Performances Quick Start Guide (pages 80, 88) · Reference (pages 121, 160) A Voice is the main sound of the MOTIF, made up of a variety of parameter settings. Each Voice can consist of up to four separate Elements, each of which is a high-quality wave, or basic sound. A Performance, on the other hand, is a program in which multiple Voices (parts) are combined — in a layer, or in other configurations. Each Performance can contain up to four different Parts.
Main functions In the Voice Play mode, you can select and play any of these Voices. In the Performance Play mode, you can select and play any of these Performances. On the previous page, the illustration shows the structure of one Voice/Performance. The illustration below shows the overall memory structure of all Voices and Performances. Taken together, these illustrations can help you better understand the structure of the MOTIF’s Voices and Performances.
Main functions Waves and Elements Waves are the waveforms that make up the Elements, which in turn make up a Voice. A total of 1309 high-quality preset Waves are available. As shown in the following illustration, when creating a Voice, you can select the Wave to be used as an Element and then set its level, pitch, tone and other parameters.
Main functions Normal Voice and Drum Voice Internally, there are two Voice Types: Normal Voices and Drum Voices. Normal Voices are mainly pitched musical instrument-type sounds that can be played over the range of the keyboard. Drum Voices are mainly percussion/drum sounds that are assigned to individual notes on the keyboard. A collection of assigned percussion/drum wave or Normal Voice is known as a Drum Kit.
Main functions ■ Pitch Reference (page 138) Level Cutoff frequency This unit controls the pitch of each Element output from OSC. You can detune Elements, apply Pitch Scaling and so on. Also, by setting the PEG (Pitch Envelope Generator), you can control how the pitch changes over time. Basic Structure ● PEG (Pitch Envelope Generator) Using the PEG, you can control the transition in pitch from the moment a note is pressed on the keyboard to the point at which it is released.
Main functions • Band Pass Filter This only passes a band of signals around the Cutoff frequency. The width of this band can be varied. Level Cutoff range Range passed Cutoff range Center frequency Frequency • Band Elimination Filter This attenuates a band of signals around the Cutoff frequency, but passes everything else. ● AEG (Amplitude Envelope Generator) Using the AEG, you can control the transition in volume from the moment a note is pressed on the keyboard to the point at which it is released.
Main functions Controllers The MOTIF gives you an amazing amount of control options. Not only is it equipped with the conventional Pitch Bend and Modulation Wheels, it also features special knobs and sliders — and has an additional set of rear-panel jacks for connecting foot controllers and footswitches. You can connect controllers to the rear panel jacks to control various parameters by foot as well as by hand. This section explains the basic functions of each controller. decrease it.
Foot Controller Control Sets An optional Foot Controller (such as the FC7), connected to the FOOT CONTROLLER jacks (page 18) on the rear panel, can be assigned to a number of controller parameters. By using a foot controller for parameter control, both your hands are left free to play the keyboard (or to operate other controllers), — exceptionally convenient when you’re playing live.
Main functions SET 1 SET 2 Src Src MW (Modulation Wheel) MW (Modulation Wheel) Dest Dest ELFO-PM ELM PAN MIDI Moving the Modulation Wheel changes both the amount of Pitch Modulation and the pan position. Basic Structure ■ Using several sources to control one destination Continuing from the example above, now create another Control Set where Src is set to FC (Foot Controller) and Dest is set to ELFO-PM (Element LFO Pitch Modulation Depth).
Main functions Basic Operation (page 67) · Reference (pages 177, 215) Track structure of Song The following illustration shows the track structure of Song. Songs are created by recording MIDI data to individual tracks. Songs and Patterns are MIDI sequence data consisting of 16 tracks. ● A Song on the MOTIF is effectively the same as a Song on a sequencer, and playback automatically stops at the end of the recorded data.
Main functions Track structure of Pattern Patterns consist of Phrases (as shown below), and you can create them by recording MIDI data for each track, and by freely arranging the various Phrases (Preset/User). Style 64 the guitar part. The MOTIF features 128 Preset Patterns, and features memory space for 256 of your own original User Phrases.
Main functions ■ Replace and Overdub (Song/Pattern) Track 1 MIDI data recording Track 2 Track 3 Recording a Sample (Sampling) After selecting the Song number and track Track 16 In this example, Track 1 is a MIDI track, and Track 3 is an Sample track. Style 50 Style 49 Style 48 Style 03 Style 02 Style 01 2 3 • Loop 1st round 16 Bass Drum 16 Sections Pattern ● Overdub You can use this method when you want to add more data to a track that already contains data.
Main functions ■ Punch In/Out (Song) You can use this method when you want to re-record only over a specific area of the track. In this case, you must set the start and end points before you begin the re-recording. In the eight-measure example below, the third measures through the fifth measure are re-recorded. Recording start 2 3 Song 01 4 5 6 7 Basic Structure 2 3 Song 22 Song 15 8 Pattern Chain ● After re-recording 1 Song Chain Punch out ● Before re-recording 1 See page 58.
Main functions Arpeggio Four playback types of Arpeggio This function automatically triggers preset arpeggio phrases, according to the keys you play. The Arpeggio function is particularly suited to dance/ techno music genres. You can assign the desired Arpeggio Types to each Voice/Performance, and adjust the tempo. You can also set the Arpeggio playback method, Velocity range and Play Effects to create your own original grooves. What’s more, Arpeggio playback can be transmitted through the MIDI Out.
Main functions Master (Master mode) Creating User Arpeggios Actually, there is no direct operation for recording Arpeggios. First, you have to record a Phrase to a Song track. Then, use the appropriate Song Job function to convert the data to Arpeggio data. User (128) Song Track 1 Recording Track 2 Converted via the Song Job.
Main functions Four Zones (Voice Performance mode) In the Voice Performance mode, the keyboard can be divided into a maximum of four separate Zones (as shown below) — each with its own MIDI channel setting. In this way, you can use just a single keyboard to control several different instrument parts independently. Moreover, you can have these independent Zones control different channels on connected MIDI devices as well. You can set these four Zones and store them as a User Master in the Master mode.
Main functions Sampling Quick Start Guide (page 99) · Reference (page 233) Sampling is a powerful function that lets you bring your own recorded sounds — voice, instrument, rhythm, special sound effects, etc. — into the system of the MOTIF, and play those sounds just like any other MOTIF sound. Individual waveform data contained in the MOTIF is referred to as a “Sample.” The following diagram shows the Sampling structure.
Main functions Regardless of the mode, the raw Sampled data is the same, of course. However, various parameters are different, depending on the particular mode or settings. Briefly, here is an explanation of what kinds of data are created in the Sampling function. ● Sampling data common to all modes • Wave (Sample data) This is the raw audio data stored in the MOTIF’s memory when sampling. For details on Wave, see page 44.
Main functions User Voices/Sample Voices and Waveform When entering the Sampling mode from the Voice/Performance mode ● User's Voice (001~128) Waveform (User 001~256) When entering the Sampling mode from the Pattern mode 001 Style 64 002 001 003 Sampling 002 004 003 005 004 1 2 3 4 006 005 16 section 007 008 009 Pattern 010 Track1 Sampling Basic Structure Track2 Track3 ● Recorded to the specified track as a Sample voice.
Main functions You can start sample recording with one of three methods. This section covers the Sample Recording Start methods corresponding to the available Trigger modes. For information on setting the Trigger mode, see page 237. ■ When Trigger mode is set to “Manual”: Regardless of the selected mode, sampling starts soon after you press the[F6] (REC) button in the Sampling Setup display (page 236). Sampling also starts regardless of the playback/stop status of the Song/Pattern.
Main functions Basic Structure ■ 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.
Main functions Internal Memory and File Management Quick Start Guide (page 97) · Reference (page 261) The MOTIF creates a variety of different kinds of data, including Voice, Performance, Song, and Pattern. In this section, how to store the various types of data and use the memory devices/media for storing them. Memory Structure This diagram details the relationship among the MOTIF’s functions and the internal memory, memory card, and various external storage devices/media.
Main functions Internal Memory ● ROM and RAM ROM (Read Only Memory) is memory designed specifically for reading out of data, and as such data cannot be written to it. This is the location where preset data for the instrument is permanently stored. On the other hand, RAM (Random Access Memory) allows both reading and writing of data. This is the location for the edit buffer data and data created by editing or recording.
Main functions Remote Control to Computer Sequence Software Quick Start Guide (page 119) · Reference (page 256) When the [REMOTE CONTROL ON/OFF] button is turned on, the following buttons/controllers can control the Audio track mixer and sequencer transport of the computer sequence software connected to the MOTIF.
Main functions Computer Sequence Software The following computer sequence software programs can be controlled via the MOTIF’s Remote Control function. Windows Cubase VST/32 Logic Audio Plutinum Ver4.6 Cakewalk ProAudio Ver9.0 Pro Tools V5.0 Macintosh Cubase VST 5.0 Logic Audio Plutinum Ver4.6 Pro Tools V5.0 Basic Structure n The parameters to be controlled via the Remote Control function differ depending on the computer sequence software. For details, see the Reference section on page 257.
Calling up the Operation Displays Basic Operation In this section, we’ll take a look at the fundamental operating conventions of the MOTIF. Here, you’ll learn the basics — how to select modes, call up the various functions, change settings, and edit parameter values. Take time to familiarize yourself with these nuts-and-bolts operations, and you’ll be on your way to mastering the instrument.
Calling up the Operation Displays ● Utility mode From the Voice mode From the Performance mode From the Song mode MODE MODE MODE VOICE PERFORM MASTER VOICE SEQUENCER PERFORM MASTER VOICE SEQUENCER PERFORM From the Pattern mode MODE MASTER VOICE SEQUENCER PERFORM MASTER SEQUENCER SONG PATTERN FILE SONG PATTERN FILE SONG PATTERN FILE SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY INTEGRATED SAMPLING MIXING UTILITY INTEGRATED SAMPLING MIXING UTILITY INTEGRATED
Calling up the Operation Displays Record mode (in the Song/Pattern and Sampling mode) The MOTIF also features Record modes — one for sequencing in the Song and Pattern modes, and one for sample recording in the Sampling mode.
Calling up the Operation Displays Edit mode The four main modes (Voice/Performance/Song/Pattern), the Sampling mode and the Master mode described above all have their own specific Edit modes.
Calling up the Operation Displays Store mode MODE VOICE PERFORM MASTER SEQUENCER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY EDIT JOB COMPARE The Voice Play mode, Performance Play mode, Song Mixing mode, Pattern Mixing mode, and Master Play mode have their own specific Store modes. To call up the Store mode, press the [STORE] button while one of the modes listed above is active.
Display-based Controls How to leave the current display For most operations (especially editing and Job- or Store-related), pressing the [EXIT] button will let you leave the current display and return you to the next highest level or to the normal play mode display.
Display-based Controls Information Display This convenient function lets you call up relevant details about the selected mode — simply by pressing the [INFORMATION] button. For example, when the Voice mode is active, you can quickly check information about which voice bank is selected, what Play mode (poly or mono) is being used, which effects are applied, and so on.
Display-based Controls The available functions are shown at the top of the display, and the value changes as you turn the corresponding Knob. For example, to change the amount of Reverb (in the top row), turn Knob 2. To change the Pan position, turn Knob 1. If the “Rev” knob in the display is dark, any tweaking you do to the Knob immediately affects the sound. However, if the knob in the display is light, turning the knob will not have any effect until you reach the current setting.
Display-based Controls Note (Key) settings Several MOTIF parameters let you set a key range for a function — for example, in setting up a keyboard split — by specifying certain note values. You can use the [INC/YES] and [DEC/NO] buttons or data dial to set these parameters, or you can directly enter the values from the keyboard by pressing the appropriate keys (as shown below). In the example display here, element 1 of a voice is being edited.
Display-based Controls 3 Move the cursor to the next position of the name by using the Cursor button. DEC/NO INC/YES EXIT ENTER EXECUTE 4 Enter the other characters as desired by repeating steps #1 - #3 above. Using the Character List In steps #2 and #3 above, you can use the special Character List, which shows you all the available characters, and makes it easier to select the characters. Press and hold down the [INFORMATION] button to display the pop-up Character List.
Playing the Demos Quick Start Guide This helpful and informative section of the manual takes you on a guided tour of the MOTIF, explaining virtually all of the important functions by example and giving you important, hands-on experience as you actually start using the instrument. Read through these practical instructions carefully — this is the best way to get to know the sophisticated functions of the MOTIF and to discover just how much it has to offer.
Playing the Demos Playing the Song Demo A variety of Demo songs have been programmed to the MOTIF, showcasing its dynamic voices and giving you a taste of the sophisticated sequencing functions inside. POWER OFF ON 1 Turn the power ON. 4 Select a song. 3 If it isn’t currently highlighted, move the cursor to the Song number/name. DEC/NO INC/YES EXIT ENTER Decreases number 2 Press the [SONG] mode button to enter Increases number DEC/NO the Song mode.
Playing the Demos Playing the Master Demo The MOTIF has so many powerful features, functions, and modes, it may seem difficult to understand them all and grasp how they work together. One good place to start learning about the various pieces in the MOTIF puzzle is the Master mode. Master programs are special setups that let you work across the mode boundaries of the MOTIF (Voice, Performance, Song, and Pattern), and let you instantly select a desired configuration for the entire instrument.
Playing Voices Playing Voices Reference (page 124) The Voice Play mode is where you select and play the instrument sounds (voices) of the MOTIF. Thanks to an amazing 85MB of wave ROM and over 700 voices to choose from (even more when you install optional Plug-in boards!), the MOTIF has just about any sound you’ll ever need, no matter what kind of music you create — from luscious piano, strings, and other acoustic instruments to cutting-edge synth, dance, and electronica sounds.
Playing Voices Using the Category Search function Reference (page 126) The MOTIF features a powerful Category Search function that gives you quick access to the sounds you want, irrespective of their bank locations. Simply select a voice category, such as A. PIANO or SYN LEAD, and you can browse through all related voices one by one — and audition each of them, too. Plus, you can use the special Favorites category to store the voices you use most. 2 Select a Category.
Playing Voices Keyboard Octave (MOTIF6/MOTIF7) Sometimes when playing a voice, you may wish to play in a lower or higher pitch range. For example, you may want to shift the pitch down lower to get extra bass notes, or shift up to get higher notes for leads and solos. The Octave Up/Down controls let you do this quickly and easily. Each time you press the [OCTAVE UP] button on the panel, the overall pitch of the voice goes up by one octave.
Editing Voices Editing Voices The Voice Play mode not only lets you play voices, it lets you perform a variety of basic, yet powerful editing operations on them as well. For example, you can change the EG settings to give the voice a softer or harder attack, or change the release to make it sustain. You can also adjust similar settings for the filter, and change the tone of the voice.
Editing Voices Voice editing with the Control knobs Reference (page 132) These knobs let you change various aspects of the Voice’s sound in real time — while you play. Turn a knob to the right to increase the value, and left to decrease it. If you want to keep the edits you make, you can store them to a new voice (page 86). n Each voice of the MOTIF has been programmed with a default or standard parameter value. Using these knobs offsets the default or standard parameter value.
Editing Voices About each assigned function 1 Pan, Effect Send, and Tempo L PAN REVERB CHORUS TEMPO KN 1 KN 2 KN 3 KN 4 TEMPO Determines the tempo of the Arpeggio assigned to the currently selected voice. In the Song/Pattern/Arpeggio mode, this determines the tempo of the selected song or pattern. R Signal REVERB Determines the amount of Reverb effect that is applied to the voice. CHORUS Determines the amount of Chorus effect that is applied to the voice.
Storing edited Voices Storing edited Voices Reference (page 160) Once you’ve edited a voice, you can store it to the internal memory (SRAM). Up to 128 Normal Voices and up to 16 Drum Voices can be stored. n For details about memory structure, see page 63. When you execute this, the settings for the destination memory will be overwritten. Important data should always be backed up to computer, a separate Memory Card or some other storage device. (See page 64.) 1 Press the [STORE] button in the Voice mode.
Storing edited Voices About Plug-in Voices Basic Structure (page 34) Plug-in Boards give you an enormous amount of additional sonic flexibility and power. When installed, they work seamlessly and transparently within the system of the MOTIF — meaning that you can use their sounds and functions just as if they were built right into the MOTIF at the factory. Up to three Plug-in boards can be installed to the MOTIF.
Playing Performances Playing Performances Basic Structure (page 42) · Reference (page 162) In the Performance mode, you can select and play individual User performances. In a performance, you can mix several different voices together in a layer, or split them across the keyboard, or even set up a combination layer/split. Each Performance can contain up to four different Parts. n For details about the performances and their memory (bank) structure, see page 42.
Editing Performances (Layer/Split) Editing Performances (Layer/Split) Basic Structure (page 45) · Reference (page 170) Performances can be made up of a maximum of four parts (voices), selected from the internal tone generator Parts 1 - 4 and Plug-in board Parts 1 - 3. You can create a performance by layering several voices together, and by assigning different voices to separate ranges of the keyboard. You can then store up to 128 of your original, edited performances to internal User memory.
Storing the edited Performance Storing the edited Performance Reference (page 176) Once you’ve edited a performance, you can store it to the internal memory (SRAM). Up to 128 performances can be stored. n For details about memory structure, see page 63. When you execute this, the settings for the destination memory will be overwritten. Important data should always be backed up to computer, a separate Memory Card or some other storage device. (See page 97.
Using the Arpeggio function Using the Arpeggio function Basic Structure (page 55) · Reference (pages 128, 165) The MOTIF features a powerful and highly versatile arpeggiator that lets you automatically trigger preset arpeggios, phrases, rhythmic sequences and special “human” patterns — depending on the keys you play, or even the velocity with which you play them. You can assign the desired Arpeggio type to each voice or performance, and adjust the tempo in real time as the Arpeggio plays.
Using the Arpeggio function Arpeggio Type, Tempo, and Limit A variety of Arpeggio types are provided with the MOTIF. You can change the tempo of Arpeggio as desired. The Arpeggio function is available in all modes. The explanation below applies to the Performance Play mode. 2 Select an Arpeggio Bank. 1 Call up the ARP (Arpeggio) display by pressing the Move the cursor to the Bank parameter and select. [F6] button in the Performance Play mode.
Using as a Master Keyboard Using as a Master Keyboard Basic Structure (page 56) · Reference (page 268 ) The MOTIF is loaded with such a wealth of different features, functions and operations, you may find it difficult to locate and call up the particular feature you need. This is where the Master function comes in handy. You can use it to memorize the operations you use most often in each mode, and call them up instantly anytime you need them with a single button press.
Using as a Master Keyboard KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ATTACK ASSIGN B ASSIGN 1 KN 2 KN 3 ASSIGN A CHORUS TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System MODE KN 1 MEQ LOW MEQLOWMID MEQ HI MID EFFECT BYPASS INSERTION MASTER VOLUME VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH SYSTEM ARPEGGIO VOICE PERFORM MASTER SON
Using as a Master Keyboard Master Keyboard settings ● Layer/Split settings using an external tone generator The MOTIF can function as a comprehensive, versatile master keyboard, for both live and studio applications. When a Master is set to the Voice or Performance mode, you can make settings for four independent Zones. This makes it possible to control voices of an external MIDI device over several different channels — in addition to the internal voices of the MOTIF itself.
Using as a Master Keyboard 5 Call up the TRANS display. 4 Call up the display for Zone editing. Press any of the buttons. 1 1 Set the TG Switch of Zone 1 to on and 4 3 2 set those for all other Zones to off. This is for transmitting the data played only in the Zone 1 to the built-in tone generator. 2 Set the MIDI Switch of the Zone 2 and 3 SF 1 to on and set the ones of the other Zones to off. This is for transmitting the data played in the Zone 2 and 3 to the external tone generator.
Saving/Loading data Saving/Loading data Basic Structure (page 63) · Reference (page 266) Many different types of data are created when using the MOTIF, and the following types are automatically maintained in memory, even if the power is turned off: Voice, Performance, Master, Arpeggio and System settings (parameters set in the Utility mode). Since the other data (e.g.
Saving/Loading data Loading data 2 Call up the CONFIG display. 3 Select the device from which the data is to be loaded. Move the cursor to the Current parameter and select “CARD” or “SCSI.” Free space Device 1 Enter the File mode by pressing the [FILE] button. SF1 SEQUENCER SONG PATTERN SF2 F1 INTEGRATED SAMPLING MIXING SF3 SF4 INFORMATION SF5 SF1 SF2 SF3 SF4 INFORMATION SF5 FILE F2 F3 F4 F5 F6 F1 F2 F3 F4 F5 F6 UTILITY 4 Call up the LOAD display.
Sampling with Song Playback (Integrated Sampling Sequencer) Sampling with Song Playback (Integrated Sampling Sequencer) In this section, we’ll delve into one of the most important and powerful features of the MOTIF — the Integrated Sampling Sequencer. Today’s digital music producers and artists use a mutlitude of advanced tools to get the job done — including MIDI, sampling, audio editing and much more. Cutting and pasting beats, loops and patterns together is an integral part of the music making process.
Sampling with Song Playback (Integrated Sampling Sequencer) 1. Sampling to a Pattern Track Basic Structure (page 52) · Reference (page 234) First, record your favorite rhythm phrase from an audio CD (or other source) to the MOTIF via the Sampling function. n For details about how to connect the external audio equipment to the MOTIF, see page 23 . 1 Enter the 3 Select the Style number and Section to be recorded. 2 Call up the PLAY display.
Sampling with Song Playback (Integrated Sampling Sequencer) 8 Enter the Sampling Standby mode. 7 Call up the SOURCE display. From this display, set the Trigger mode. Here, select “manual.” Play back the external CD player to check the Input level. You can adjust the Input level for optimum level by using the GAIN knob on the rear panel. Select "stereo" or "mono.
Sampling with Song Playback (Integrated Sampling Sequencer) 2. Recording MIDI data to a Pattern Track Basic Structure (page 53) · Reference (page 221) Now that you’ve recorded a rhythm sample to a Pattern and sliced it, the next step is to record some MIDI parts and add them to the Pattern. You can record MIDI in two ways: Realtime and Step. 1 After setting the measure length and meter (time signature), enter the Pattern Record mode.
Sampling with Song Playback (Integrated Sampling Sequencer) ● Realtime recording (when selecting replace or overdub in step #2) 3 Select a track 2 to be recorded and set the tempo. 1 3 2 4 Call up the VOICE display. 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/ PERF.PART / ZONE 11 10 9 SOLO SF1 SF2 F1 SF3 F2 SF4 F3 INFORMATION SF5 F4 F5 F6 Track to be recorded 5 Select the desired voice to be recorded to a track (phrase).
Sampling with Song Playback (Integrated Sampling Sequencer) ● Step recording (when selecting step in step #2) 3 Select a track 2 to be recorded and set the MIDI event type to 4 Call up the VOICE display. be recorded and tempo. 1 3 2 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/ PERF.PART / ZONE 9 11 10 SF1 SF2 SF3 SF4 INFORMATION SF5 SOLO F1 F2 F3 F4 F5 F6 Track to be recorded 5 Select the desired voice to be recorded to a track (phrase).
Sampling with Song Playback (Integrated Sampling Sequencer) 3. Assigning a Preset Phrase to a Pattern Track (Patch function) Basic Structure (page 52) · Reference (page 219) The Patch function lets you assign a Preset phrase or a User phrase (recorded in the Pattern Record mode) to each track and create a pattern that contains up to 16 tracks. 1 Call up the PATCH display. 2 Select a track to which the phrase is assigned. 1 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE 3 2 ELEMENT/ PERF.
Sampling with Song Playback (Integrated Sampling Sequencer) 4. Using the Groove function Reference (page 218 ) The Grid Groove function makes it possible to adjust the pitch, timing, length, and velocity of notes in a specified track on a measure-long 16th-note grid. This lets you easily come up with a wide variety of rhythmic feels and grooves that would be difficult or impossible to create using precise, yet rigid sequencer operations.
Sampling with Song Playback (Integrated Sampling Sequencer) 5. Pattern Mixing Reference (page 232) Now that you have a finished section and pattern, you can apply the Pattern Mixing controls to fine-tune it and enhance it — by adusting the levels of each track or part, selecting different voices, and tweaking the effect-related settings. 1 Enter the Pattern 2 Call up the desired display. Mixing mode. 3 Select a part to be edited.
Sampling with Song Playback (Integrated Sampling Sequencer) 6. Creating a Pattern Chain Basic Structure (page 54) · Reference (page 219) Now that you’ve got your audio samples, loops, MIDI data, and patterns in the MOTIF, here’s where the fun really begins. The Pattern Chain feature lets you arrange all of the pieces of your song in real time. As you record a Pattern Chain, play back your original patterns and sections, and switch among them on the fly.
Sampling with Song Playback (Integrated Sampling Sequencer) 7. Copying the Pattern Chain data to a Song Reference (page 221) Now that you’ve created a hip Pattern Chain, you can copy it to a song track and use it as the basic rhythm track for a song. This is done from the Pattern Chain Edit mode. 1 Enter the Pattern Chain Edit mode by 2 Call up the SONG display. pressing the [EDIT] mode in the Pattern Chain Play mode.
Sampling with Song Playback (Integrated Sampling Sequencer) 8. MIDI recording to Song Tracks Basic Structure (page 51) · Reference (page 183) Now, take your basic building blocks and move over to the Song mode to do some more work on your song. Let’s say for the sake of example that you’ve recorded MIDI data for nearly all the tracks — except for maybe some rhythm guitar parts and some solos on piano and organ. The MOTIF gives you two methods of recording these.
Sampling with Song Playback (Integrated Sampling Sequencer) ● Realtime recording (when selecting “replace,” “overdub,” or “punch” in step #5) 6 Select a track to be recorded and set the tempo. 1 3 2 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/PERF.PART/ZONE 11 10 9 SOLO or 1~16 7 Call up the VOICE display.
Sampling with Song Playback (Integrated Sampling Sequencer) ● Step recording (when selecting “step” in step #5) 7 Call up the VOICE display. SF1 SF2 SF3 SF4 INFORMATION SF5 6 Select a track to be recorded and set the MIDI event type to be recorded. F1 1 3 2 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE F2 F3 F4 F5 F6 ELEMENT/ PERF.PART / ZONE DEC/NO or INC/YES 11 10 9 8 Select the desired voice to be recorded to the track.
Sampling with Song Playback (Integrated Sampling Sequencer) 9. Sampling to a Song Track Basic Structure (page 54) · Reference (page 234) We’ll pay another visit to the sampling feature, and sweeten our song with some “ear candy” sound effects and background vocals. The sampling we did earlier was of a different variety; you sampled a rhythm in the Pattern mode and “sliced” it into separate pieces so that it would loop properly and automatically adjust to any tempo changes.
Sampling with Song Playback (Integrated Sampling Sequencer) 6 Enter the Sampling Standby mode. 7 Start sampling. From this display, set the Trigger mode. Here, select “manual.” Play back the external CD player to check the Input level. You can adjust the Input level for optimum level by using the GAIN knob on the rear panel. Trigger mode Press the [F6] button to start sampling. Also start the external CD player to play back the phrase to be recorded or sing into the microphone.
Sampling with Song Playback (Integrated Sampling Sequencer) 10. Song Track Mute and Scene Reference (pages 180, 181) These two powerful features give you even greater real-time arranging control. You can turn tracks on and off and switch among Song Scenes, as the song plays — and all your moves can be recorded to the special Scene track. This not only lets you hear the various song arranging possiblities, it lets you record them on the spot.
Sampling with Song Playback (Integrated Sampling Sequencer) 2 Make the desired settings for the Song Scene. 1 Select a song in the Song Play mode. • Select a track and set it up as you want with the desired voice, then change the pan and volume settings by using the Control knobs and sliders. Each track can have its own independent settings.
Sampling with Song Playback (Integrated Sampling Sequencer) 11. Song Mixing and storing the settings as a template Reference (page 205) 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.
Sampling with Song Playback (Integrated Sampling Sequencer) 12. Saving and Exporting the recorded song to external PC (File Utility) Reference (page 262) Now that you’ve created your masterpiece, you’ll want to save it. You can save song data to a Memory card or SCSI device in the File mode (page 261). However, for safekeeping and organizational/archival purposes, you may want to store your MOTIF data to a computer.
Remote Control for external sequencer (Real-time external control surface) Remote Control for external sequencer (Real-time external control surface) Basic Structure (page 65) · Reference (page 256) In the last section, you saw how a computer could be used conveniently to augment the features of the MOTIF. Here, we’ll look at a feature that turns the tables and lets you conveniently use the MOTIF to control your computer.
Remote Control for external sequencer (Real-time external control surface) Using the Remote Control function REMOTE CONTROL ON/OFF 1 Turn the Remote Control function on by pressing the [REMOTE CONTROL ON/OFF] button so that its lamp flashes.
Function Tree Reference This section is devoted to explaining the function of every setting of every parameter in every display of the MOTIF. If you have questions like “I wonder what this button does...” or “How does this parameter work?” — this is the section you should refer to.The Reference section is divided according to the various modes of the MOTIF.
Function Tree [VOICE] Reference Voice mode [F6] NORMAL COMMON EFFECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137 [SF1] EFFECT CONNECT. . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137 [SF2] INSERTION1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137 [SF3] INSERTION2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137 [SF4] REVERB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P.
Function Tree [EDIT] VOICE EDIT (PLUG-IN) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 153 [COMMON] PLUG-IN COMMON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154 [F1] PLUG-IN COMMON GENERAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154 [SF1] NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Voice Play mode Voice Play mode Basic Structure (page 30) · Quick Start Guide (page 80) 4 Select the menu you wish to edit by pressing the [F1] - [F6] buttons and edit the parameters in each display. In this mode, you can select and play individual Preset and User voices, as well as Plug-in voices (when installed). n For details about voice types and memory (bank) structure, see page 43.
Voice Play mode PLG 1 PLG 2 STRINGS BRASS PLG 3 REED/PIPE • To select a Drum voice, simultaneously hold the [DRUM KITS] button and press the [PRE1], [GM] or [USER] button. DRUM KITS PRE 1 PRE 2 PRE 3 GM USER FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS COMMON The following display (or one similar) appears. 2 3 Press any of the GROUP [A] - [H] buttons to select a Group. Press any of the NUMBER [1] - [16] buttons to select a Voice.
Voice Play mode ■ Using the [INC/YES] and [DEC/NO] buttons Pressing the [INC/YES] button increases the number by 1. Pressing the [DEC/NO] button decreases the number by 1. 1 DRUM KITS PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A.
Voice Play mode ● Favorite Category 1~4 Use the same operation as in “Using the [UP] and the [DOWN] buttons together at the same time will return the setting to the initial value (0). OCTAVE Category Search function” above. 5 Select your favorite voice and press the [F5] button to assign it to the Favorite Category. Category Voice UP DOWN n The MOTIF 8 has no [OCTAVE] buttons.
Voice Play mode ● [F2] Voice Play Plug-in Bank From this display you can select the particular bank on the Plug-in board, and determine whether you will be using a Plug-in voice or a “Board” voice. Simply put, the difference between the two types of voices is this: • PortaMode Determines the Portamento mode. The behavior of the Portamento varies depending on whether Mono/Poly is set to “mono” or “poly.
Voice Edit mode Determines the Arpeggio Tempo. When MIDI sync (page 258) is turned on, “MIDI” is displayed here and cannot be set. ❏ Settings 1 ~ 300 • Velocity Limit Determines the lowest and highest velocity in the Arpeggio’s velocity range. The Arpeggio plays when you play the note with the velocity in this range. ❏ Settings 1 ~ 127 n Keys played outside the set limit sound normally without any Arpeggio. • Switch Determines whether Arpeggio is on or off.
Voice Edit mode You can mute other elements (those you aren’t editing and don’t wish to hear) by using the NUMBER [9] - [12] buttons. Sounded elements are indicated by lit buttons; the indicator of the button corresponding to the sounded element lights. Element1 Element2 COMMON Element3 Element4 Indicates a Common Edit display. Indicates a display for editing Element 1. 5 Select the menu you wish to edit by pressing the [F1] - [F6] and [SF1] - [SF5] buttons.
Voice Edit mode • Mono/Poly Determines whether the Voice is played back monophonically (single notes only) or polyphonically (multiple simultaneous notes). ❏ Settings Mono, Poly • KeyAsgnMode • MicroTuning Determines the tuning system for the voice. Normally, this should be set to 00 (Equal temperament); however thirtyone additional tuning systems are available for a variety of tuning applications and effects. ❏ Settings See below. No.
Voice Edit mode time Sets the Time parameter range to reflect “time”: 0 (fast) - 127 (slow) ● [F1]-[SF5] Normal Common General Other From this display you can set the control functions for the Knobs, and determine the up/down range for the Pitch Bend wheel. • Volume Determines the output level of the Voice. ❏ Settings 0 ~ 127 • Pan Determines the stereo pan position of the Voice. You can also adjust this parameter using the PAN knob on the front panel.
Voice Edit mode Determines whether the Arpeggio playback is “held” or not. When this is set to “on,” the Arpeggio cycles automatically, even if you release your fingers from the keys, and it continues to cycle until the next key is pressed. ❏ Settings sync-off (see below), off, on sync-off The first time you press a key, the first note of the arpeggiator pattern is played.
Voice Edit mode • Velocity Rate • Source 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.
Voice Edit mode ● [F5]-[SF1] Normal Common LFO Wave 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. Basic Structure (page 47) From this display you can make a variety of LFOrelated settings, including Wave, Speed, Tempo, and sync/phase settings. Time Key on each-on The LFO resets with each note you play and starts a waveform at the phase specified by the Phase parameter (below).
Voice Edit mode ● [F5]-[SF2] Normal Common LFO Delay From this display you can set various delay and fade-in/-out parameters, and give the LFO a more natural sound. • FadeOutTime Determines the amount of time for the LFO effect to fade out (after the Delay time has elapsed). A higher value results in a slower fade-out. ❏ Settings 0 ~ 127 Hold FadeOut Max Low FadeOut value Faster fade-out Time • DelayTime Determines the delay time before the LFO comes into effect.
Voice Edit mode ● [F6]-[SF1] Normal Common Connection Effect This display gives you comprehensive control over the effects. • ChoRtn (Chorus Return Level) Determines the Return level of the Chorus Effect. ❏ Settings 0 ~ 127 • ChoToRev (Chorus to Reverb) Determines the Send level of the signal sent from the Chorus Effect to the Reverb Effect. ❏ Settings 0 ~ 127 • RevPan (Reverb Pan) Determines the pan position setting for the Reverb effect.
Voice Edit mode ● [F1]-[SF2] Normal Element Output Oscillator From this display you can set certain output parameters for the selected element. • KeyOnDelay Determines the time (delay) between the moment you press a note on the keyboard and the point at which the sound is played. You can set different delay times for each Element.
Voice Edit mode ● [F2]-[SF2] Normal Element Velocity Sensitivity Pitch From this display you can determine how the Pitch EG responds to velocity. (For Pitch EG settings, see “PEG Time, Level” below.) The full names of the available parameters are shown in the chart below, as they appear in the display.
Voice Edit mode ● [F3]-[SF1] Normal Element • Center Key Determines the central note or pitch for the Key Follow effect on pitch. Depending on the Pitch Sensitivity parameter above, the further away from the Center Key the keys are played, the greater the degree of pitch change. ❏ Settings C -2 ~ G8 Filter Type Basic Structure (page 46) From this display you can make comprehensive settings for the Filter section. The available parameters differ depending on which Filter type is selected here.
Voice Edit mode LPF12 (Low Pass Filter12dB/oct) A 2-pole (-12db/oct) dynamic LPF, designed to be used in combination with an HPF (High Pass Filter). BPFw (Band Pass Filter Wide) Also the combination of –12dB/oct HPF and LPF, but allows a wider frequency band. Level Resonance Cutoff range Range passed Cutoff range width can be increased Frequency LPF6 (Low Pass Filter 6dB/oct) A 1-pole (-6db/oct) dynamic LPF with no resonance, designed to be used in combination with an HPF (High Pass Filter).
Voice Edit mode Dual BEF A combination of two sets of –6dB/oct BEF in parallel. Level Frequency Distance The cutoff frequency can be set directly on the display. LPF12 (Low Pass Filter 12dB/oct)+ HPF12 (High Pass Filter) A combination of a LPF and HPF. Level • Reso/Width This parameter’s function varies according to the selected Filter Type. If the selected filter is an LPF, HPF, BPF (excluding the BPFw), or BEF, this parameter is used to set the Resonance.
Voice Edit mode • EG Time, Segment Determines the velocity sensitivity of the FEG’s Time parameters. Select the Segment, then set its Time parameter. Positive Time settings will play back the specified Segment faster and negative values will play it back slower. ❏ Settings Time -64 ~ 0 ~ +63 Segment ATK, ATK+DCY, DCY, ATK+RLS, all ATK Affects the Attack Time.
Voice Edit mode ● [F3]-[SF5] Normal Element • CutoffSens (Cutoff Sensitivity) Determines the degree to which the notes (specifically, their position or octave range) affect the Filter of the selected element. A Center Key setting of C3 is used as the basic setting by the Cutoff parameter. A positive setting will lower the Cutoff frequency for lower notes and raise it for higher notes. A negative setting will have the opposite effect.
Voice Edit mode ● [F4]-[SF1] Normal Element Level/Pan Amplitude 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. • EG Time, Segment Determines the velocity sensitivity of the AEG’s Time parameters. Select the Segment, then set its Time parameter. Positive Time settings will play back the specified Segment faster and negative values will play it back slower.
Voice Edit mode • EGTimeSens (EG Time Sensitivity) Attack Decay1 Level Level Level Decay2 Level Release Level Key off Init Level 0 Attack Time Release Time Decay1 Decay2 Time Time Time • TIME ❏ Settings 0 ~ 127 (excluding --- above) • LEVEL ❏ Settings 0 ~127 ● [F4]-[SF4] Normal Element Key Follow Amplitude Determines the degree to which the notes (specifically, their position or octave range) affect the Amplitude EG times of the selected element.
Voice Edit mode 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.
Voice Edit mode • FMOD (Filter Modulation Depth) 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. Determines the amount (depth) by which the LFO waveform varies (modulates) the Filter Cutoff frequency. The higher the value, the greater the amount of filter modulation. ❏ Settings 0 ~ 127 thru If you select this, the equalizers are bypassed and the entire signal is unaffected.
Voice Edit mode 4 ● [F2] Drum Common Output Select a key to be edited. • To edit parameters common to the entire Drum voice (all keys), press the [DRUM KITS] button. DRUM KITS FAVORITES COMMON • To edit parameters of an individual Drum key (element), first press the NUMBER [1] button, then press the appropriate key on the keyboard. Same as in Normal Voice Common Edit. See page 132. In addition, the following two parameters are also available.
Voice Edit mode ● [F6]-[SF2], [SF3], [SF4], [SF5] Drum Common Effect Parameter Insertion 1, 2, Reverb, Chorus ● [F1]-[SF2] Drum Key Oscillator Output From this display you can set certain output parameters for the selected Drum key. 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.
Voice Edit mode ● [F1]-[SF5] Drum Key Oscillator Other From this display you can set various parameters related to how the individual notes of the Drum voice respond to the keyboard and MIDI data. n If a Normal voice has been assigned to the key, this parameter adjusts the position of its note (not its pitch) relative to note C3. For example, let’s assume the original Voice consists of a two-Element pianolike sound up to note C3 and a two-Element stringlike sound from note C#3 upwards.
Voice Edit mode ● [F3]-[SF2] Drum Key Velocity Sensitivity ● [F4]-[SF2] Drum Key Amplitude AEG Velocity Sensitivity Filter • LPFCutoff • Level Determines the velocity sensitivity of the Low Pass Filter Cutoff frequency. Positive settings will cause the cutoff frequency to rise the harder you play the keyboard and negative settings will cause it to fall.
Voice Edit mode ● [F6] Drum Key EQ (Equalizer) Same as in Normal Voice Element Edit. See page 148. 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 35.
Voice Edit mode ■ Common edit ● [F4]-[SF1] Plug-in Common Set1/2 ● [F1]-[SF1] Plug-in Common General Name Same as in Normal Voice Common Edit. See page 130. ● [F1]-[SF2] Plug-in Common Play mode Same as in Normal Voice Common Edit. See page 134. Please note that Element Switch is not available in Plug-in Voice Common Edit. General Same as in Normal Voice Common Edit. See page 130. Please note that Micro Tuning is not available in Plug-in Voice Common Edit.
Voice Edit mode ● [F4]-[SF3] Plug-in Common After Touch Control Set The MOTIF gives you a comprehensive set of after touch controls for the Plug-in voice, allowing you to change the pitch and filter settings, and produce modulation effects (pitch, filter and amplitude)simply by pressing down hard on the keys. • Source Determines the MIDI Control Change number used to control the filter, PMod, FMod, and Amod.
Voice Edit mode ● [F2] Plug-in Element ■ Element Edit ● [F1]-[SF1] Plug-in Element Oscillator Wave From this display you can select the desired Board Voice used for the element of the Plug-in voice. Keep in mind that a Plug-in voice only has one element. • Bank Determines the Board Voice Bank of the Plug-in voice. ❏ Settings (These depend on the particular Plug-in board; refer to the relevant owner’s manual for details.) • Number Determines the Board Voice Number.
Voice Edit mode ● [F5] Plug-in Element LFO Basic Structure (page 47) From this display you can set the basic LFO parameters for modulating the pitch to create vibrato and other special effects. + 0 Frequency 2 LowGain 1 LowFreq 3 HighFreq 4 HighGain 1LowFreq (Low Frequency) • Speed Determines the speed of the LFO waveform. Positive settings increase the speed and negative settings decrease it. This is applied as an offset to the same parameter in the original voice of the Plug-in board.
Voice Job mode Voice Job mode The Voice Job mode contains various convenient operations (called “Jobs”), which are useful in editing and archiving your original voices. ◆ Basic Procedure 1 2 3 4 Reference Voice mode 5 In the Voice Play mode, select a voice you wish to execute the Job on. Press the [JOB] button to enter the Voice Job Mode. Select the desired Job menu by pressing the appropriate button, [F1] - [F6]. Set the relevant Job parameters.
Voice Store mode • 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 Voice Store mode Basic Structure (page 63) This function lets you store your edited voice to User memory.
Function Tree Performance Mode Basic Structure (page 42) Function Tree This section is devoted to the Performance mode. To see how the Performance mode relates to the entire structure of the MOTIF and its other modes and functions, see the simplified chart in “Basic Structure” on page 30. The following detailed chart shows all of the display menus and parameter groups of the Performance modes — giving you a quick, easy-to-understand overview of the performance-related functions of the MOTIF.
Function Tree [F1] PART VOICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 170 [SF1] VOICE . . . . . . . . . . . . . . . . . . . . P. 170 [SF2] PLYMODE . . . . . . . . . . . . . . . . . P. 170 [SF3] LIMIT . . . . . . . . . . . . . . . . . . . . . P. 170 [SF4] PORTAMENTO . . . . . . . . . . . . . P. 171 [SF5] OTHER. . . . . . . . . . . . . . . . . . . . P. 171 [F2] PART OUTPUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 172 [SF1] VOLUME/PAN . . . . . . . . . . .
Performance Play mode Performance Play mode Basic Structure (page 31) · Quick Start Guide (page 88) In this mode, you can select and play individual User performances. n For details about the performances and their memory (bank) structure, see page 40. ◆ Basic Procedure Basic Operation (page 67) 1 Press the [PERFORMANCE] button to enter the Performance Play mode. (The indicator lights.) 5 Select the menu you wish to edit by pressing the [F2] - [F6] buttons and edit the parameters in each display.
Performance Play mode Performance Part on/off The explanations here apply to step #4 of the Basic Procedure on page 162. MUTE Press the [MUTE] button so that its indicator lights. SOLO 1 2 4 3 n In the Utility mode, you can set whether you use the A/ D INPUT jack or the mLAN8E jack as an input jack for the A/D part. See page 252. • Volume n This operation is available also in the Performance Edit mode.
Performance Play mode • OutputSel (Output Select) • [SF4] LIMIT L (Note Limit Low) Determines the output jack assignment for the A/D part. ❏ Settings See below.
Performance Edit mode ● [F6] Performance Play Arpeggio Performance Edit mode Basic Structure (page 55) This display contains the basic settings for Arpeggio playback, including Type and Tempo. In this mode, Performances can be created and edited. ◆ The [ ] Indicator If you alter any parameters in Performance Edit Mode, the [ ] indicator will appear in the top left of the display. This indicates that the current performance has been modified but not yet stored.
Performance Edit mode < Display for editing parts 1 - 4> Part1 Part2 Parts to which Internal voices are assigned Part3 Part4 Common Plug-in part 1 Plug-in part 2 Parts to which Plug-in voices are assigned [F6] button < Display for editing Plug-in parts 1 - 3 > Plug-in part 3 Indicates a Common Edit display. Indicates a display for editing Part 1. 5 6 7 ◆ Basic Procedure 1 Reference Performance mode 2 3 4 Press the [PERFORMANCE] button to enter the Performance Play mode. (The indicator lights.
Performance Edit mode With the exception of Pitch Bend, which cannot be set here, these parameters are the same as in the Voice Edit mode (page 132).
Performance Edit mode ● [F2]-[SF2] Common MEQ(Master Equalizer) From this display you can apply five-band equalization to all parts of the selected performance. • Gain Determines the level gain for the Frequency (set above), or the amount the selected frequency band is attenuated or boosted. ❏ Settings -12dB ~ 0dB ~ +12dB ˙ • Q (Frequency Characteristic) This varies the signal level at the Frequency setting to create various frequency curve characteristics. ❏ Settings 0.1 ~ 12.0 0.1 12.
Performance Edit mode ● [F6]-[SF1] Common Effect Connection • OutputSwitch When this is set to on, Arpeggio playback data is output from the MIDI terminal. ❏ Settings on, off Basic Structure (page 40) This display gives you comprehensive control over the effects. • TransmitCh Determines the MIDI transmit channel for Arpeggio playback data.
Performance Edit mode ● [F1]-[SF2] Part Voice Play Mode • Chorus to Reverb Determines the Send level of the signal sent from the Chorus Effect to the Reverb Effect. ❏ Settings 0 ~ 127 • Reverb Type Determines the Reverb effect type. ❏ Settings Refer to the Effect Types list in the separate Data List booklet. • Mono/Poly • Reverb Return Determines the Return level of the Reverb Effect. ❏ Settings 0 ~ 127 • Reverb Pan Determines the pan position of the Reverb effect sound.
Performance Edit mode ● [F1]-[SF4] Part Voice Portamento Set the Portamento parameters for each part. Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to the next. • PB (Pitch Bend) Range ... When editing Plug-in parts 1 - 3, or when a Drum voice is selected: Determines the pitch change range (in semitones) of the Pitch Bend wheel for the Plug-in part’s voice (or Drum voice).
Performance Edit mode ● [F2]-[SF1] Part Output Volume/Pan When Offset=0 127 Actual resulting velocity (affecting the tone generator) 0 64 127 Received velocity When Offset=64 127 Determines the stereo pan position for each part. ❏ Settings L64 (far left) ~ cnt (center) ~ R63 (far right) 64 127 Received velocity When Offset=127 127 Actual resulting velocity (affecting the tone generator) 0 Determines the volume for each part, giving you detailed control over the level balance among the parts.
Performance Edit mode ● [F3] Part Output Select • Detune From this display you can set certain output parameters for the selected part. Determines the fine tuning for each part. ❏ Settings -12.8Hz ~+12.7Hz ● [F4]-[SF2] Part Tone Filter Basic Structure (page 46) From this display you can set various Filter related settings, to change the tonal qualities of the selected part’s voice. • InsEF (Insertion Effect) This shows whether the Insertion effect is applied or not for each part.
Performance Edit mode ● [F5] Part Receive Switch • Release Determines the FEG Release Time for each part. ❏ Settings -64 ~ 0 ~ +63 n The FEG settings are not available for Plug-in parts or parts to which Drum voices have been assigned. ● [F4]-[SF4] Part Tone AEG Basic Structure (page 47) From this display you can set the basic AEG (Amplitude Envelope Generator) parameters for each part. The following parameters offset the same parameters in the Voice (Element) Edit mode (page 145).
Performance Job mode Performance Job mode The Performance Job mode contains various convenient operations (called “Jobs”), including initializing (resetting) performance data or recalling previous edits. ● [F1] Initialize This function lets you reset (initialize) all performance parameters to their default settings.
Performance Store mode • Source performance Select a performance and data type to be copied. ❏ Data type Part 1 ~ 4, Plug 1 ~ 3 • Data type of Destination performance (current selected performance) Set the Part of the destination Performance. ❏ Data type Part 1 ~ 4, Plug 1 ~3, Arp, Effect (Reverb, Chorus) n If you choose Arp (Arpeggio) or Effect, the Arpeggio data or Effect settings for the Voice assigned to the source Part will be copied.
Function Tree Song Mode Basic Structure (page 30) Function Tree This section is devoted to the Song mode. To see how the Song mode relates to the entire structure of the MOTIF and its other modes and functions, see the simplified chart in “Basic Structure” on page 30. The following detailed chart shows all of the display menus and parameter groups of the Song modes — giving you a quick, easy-to-understand overview of the song-related functions of the MOTIF. Brackets around a word or phrase (e.g.
Function Tree [F5] TRACK JOB LIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 201 COPY TRACK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 202 EXCHANGE TRACK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 202 MIX TRACK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Song Play mode Song Play mode Basic Structure (page 67) · Quick Start Guide (page 77) In this mode, you can select and play individual User songs. 2 Select a song. 3 Start/Stop song playback. n For details about songs and their track and memory structure, see page 51. ◆ Basic Procedure Basic Operation (page 67) 1 Press the [SONG] button to enter the Song Play mode. (The indicator lights.) Start playback 4 Make necessary or desired settings (e.g.
Song Play mode 1 Press any of the GROUP [A] - [D] buttons to select a Group. n Each letter group contains sixteen song numbers, and pressing the appropriate letter selects the first song in that letter’s group. For example, press button [A] to select song 01, press button [B] to select song 17 and so on. (See chart below.) ■ 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.
Song Play mode ● Storing the Song Scene 1 Press the [MUTE] button so that its lamp lights. 2 STORE SCENE STORE SET LOCATE Press any of the NUMBER [1] - [16] buttons to select the track number to be muted. SONG SCENE ● To solo a track 1 2 3 After making the desired settings for the Song Scene, simultaneously hold down the [STORE] button and press one of the SONG SCENE buttons [SF1] to [SF5]. SF1 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE SF2 SF3 SF4 SF5 ELEMENT/ PERF.
Song Play mode n Port data can be output only through the USB terminal. No port data is transmitted through the MIDI OUT terminal, even if the corresponding track is set to a specific port number. ● [F4] Song Play Track Loop minus 0 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.
Song Record mode 3 4 Set 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 part that is not looped is deleted ● [F5] Song Play Copy Phrase You can copy s Pattern track data (Phrase) to a Song track. You can also copy the preset phrase that does not assigned to the Pattern track by the Patch function (page 219).
Song Record mode Setting up before recording REC The explanations here apply to steps #4 - #5 of the Basic Procedure on page 183. ● [F1] Song Record Setup Basic Structure (page 51) When recording type is set to something other than “step” : Tempo n MIDI events the external MIDI devices connected to the MOTIF can be recorded to tracks 1~16.
Song Record mode ❏ Settings: off, 60 (32nd note), 80 (16th note triplet), 120 (16th note), 160 (8th note triplet), 240 (8th note), 320 (1/4 note triplet), 480 (1/4 note) • Event This parameter is available when the Recording Type is set to “step.” This lets you specify the event type to be entered. ❏ Settings: note, p.bend (pitch bend), CC#000~#119 (Control Change) • RecTrack Determines the track to be recorded.
Song Record mode 1 2 ◆ Examples of Step Recording The explanations here apply to steps #6 - #7 of the Basic Procedure on page 183, page 184. This section explains how to step-record notes, using three specific examples. 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. ● [F5] DELETE 1 Set the parameters as illustrated below.
Song Record mode SEQ TRANSPORT LOCATE 1 2 REC ●Example 2 (Using the TIE function) 1Set the parameters as illustrated below. Since the first note is a half note, set the StepTime to (960), and set the GateTime to 80%, since you don’t want the notes to play in legato. 4 Follow the instructions below to enter the next dotted half note. (2) Press and release A Enter the first note F. (3) Press [F4] twice to expand the quarter note to a dotted half note. (1) Press and release F.
Song Record mode 6 Move the pointer to the top (beginning) of the song and press the [F] button to hear the note data you just recorded in steps #1 - 5. 5 Enter the next 4th note C by following the instructions below. ●Example 3 (Using the REST function) 1 (1) Change this value to 480, since the next note is a quarter note. Set the parameters as illustrated below. Set the StepTime to 80%. 2 (2) Press and release C. (480) and the Gate Time to Enter the first note F.
Song Edit mode • Voice Determines the voice for the selected track. You can use the BANK, GROUP, NUMBER button or the Category Search function to select a voice (page 124). You can also select a Sample voice (page 58). • Voume Determines sound volume for the selected track. ❏ Settings 0~127 • Pan Determines the stereo pan position the selected track.
Song Edit mode Event Editing/Inserting/Deleting The explanations here apply to step #3 of the Basic Procedure on page 189. ■ Editing/Deleting Existing Events To edit data in the Event List, use the up/down cursor buttons to highlight the specific event you want to edit, and use the left/right cursor buttons to highlight the data type or parameter to be edited. Then, change the value as needed by using the [INC/YES] and [DEC/ NO] buttons or the data dial. The edited event will flash on the display.
Song Edit mode ■ Program Change These events determine the selected voice for the note data. Keep in mind that Program Change events can be inserted at any point in a song track, letting you change voices in the middle of a song. n For details on using Control Change numbers (including those above), refer to the separate Data List booklet. ■ Channel Aftertouch (CAT) This event is generated when pressure is applied to a key after the note is played.
Song Edit mode • RPN MSB-LSB ❏ Settings 000~127 • Data Entry MSB-LSB ❏ Settings 000~127 n Normally three types of control change data are sent: RPN MSB (101), RPN LSB (100), and Data Entry MSB (6). In the MOTIF, Data Entry LSB (38) is added to this and the resulting group of control change events is handled as one in this display. For a complete list of the available RPN and NRPN numbers and their corresponding controls, refer to the MIDI Data Format in the separate Data List booklet.
Song Job mode The Song Job mode contains a comprehensive set of editing tools and functions you can use to change the sound of the song. It also includes a variety of convenient operations, such as copying or erasing data. Most of these operations can be performed on either an entire track or a selected range of measures in the track. ◆ Basic Procedure 1 Inexecute the Song Play mode, select a song you wish to the Job on. 2 Press the [JOB] button to enter Song Job Mode.
Song Job mode ● [F2]-01 Quantize Quantization is the process of adjusting the timing of note events by moving them closer to the nearest exact beat. You can use this feature, for example, to improve the timing of a performance recorded in real time. Track If the quantize value is , , , :50%~75% A setting of 100% is equivalent to twice the length of the specified quantize value. A setting of 50% produces exact timing and therefore no swing feel.
Song Job mode ● [F2]-02 Modify Velocity ● [F2]-03 Modify Gate Time 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. 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.
Song Job mode ● [F2]-04 Crescendo ● [F2]-06 Glide This Job lets you create a crescendo or decrescendo over the specified range of notes. (Crescendo is a gradual increase in volume, and decrescendo is a gradual decrease.) Track 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.
Song Job mode ● [F2]-08 Sort Chord Roll Step (Clock) In this example, the space between individual notes gradually becomes shorter over the time of the roll. Start Step EndStep This job sorts chord events (simultaneous note events) by order of pitch. The sort affects the order of the notes in the Event List display (page 190), but does not change the timing of the notes.
Song Job mode ● [F2]-09 Separate Chord Track Range This job slightly separates notes in chords within the specified range, inserting a specified number of clocks between each note. Use this job after the Chord Sort Job above, to create guitar-like upstroke or downstroke effects. Track Range Original data Quarter-note length Clock=000:1:000 Direction=Delay Clock=000:1:000 Direction=Advance • Clock Determines the number of clock cycles inserted between adjacent chord notes.
Song Job mode ● [F3]-03 Erase Event ❏ Settings This Job clears all specified events from the specified range, effectively producing a segment of silence. Track Range Note (Note : Note number), PC (Program Change), PB (Pitch Bend), CC: 000-127, all (Control Change, Control Change number), CAT (Channel Aftertouch), PAT (Polyphonic Aftertouch), EXC (System Exclusive) • Destination track ❏ Settings 01~16 ● [F3]-05 Create Continuous Data Determines the event type to be erased.
Song Job mode • Event Type • Number Of Times Determines the number of times the data creation is to be repeated. For example, if data is created in the range M001:1:000 ~ M003:1:000 and this parameter is set to 03, the same data will be created at M003:1:000 ~ M005:1:000 and M005:1:000 ~ M007:1:000. This Job lets you to insert continuous volume or filter cutoff variations to create tremolo or wow effects.
Song Job mode [F4] Measure Job Press the [F4] button in step #3 of the Basic Procedure on page 193 so that the Measure Job list appears on the display. Scroll the cursor to the desired Job and press the [ENTER] button to go to the display of the selected Job. n If the insert point is set after the last measure containing data, only the meter data at that point is set without actually inserting the measures. ● [F4]-02 Delete Measure This Job deletes the specified measures.
Song Job mode ● [F5]-01 Copy Track • Target tracks for the Exchange operation This Job copies all data from a specified source track to the specified destination track. Source Song and Track Destination Song and Track Data Type to be copied • Source Song and Track ❏ Settings Song 01~64 Track 01~16 • Destination Song and Track ❏ Settings ❏ Settings 01~16 • Data Type to be exchanged Determines the type(s) of data to be exchanged. Select the desired type by checkmarking the appropriate box.
Song Job mode Source Song track and range Undo/Redo cannot be used to undo/redo a Clear operation for tracks that contain sample data. ● [F5]-05 Normalize Play Effect This job rewrites the data in the selected track so that it incorporates the current Grid Groove settings. Destination Arpeggio number and its track • Source Song track and range ❏ Settings Track 01~16 Range 000~999 • Destination Arpeggio number and its track This parameter allows you also to name a Destination Arpeggio.
Song Job mode • Source song ❏ Settings ● [F6]-04 Song Name 01~64 Basic Operation (page 75) • Destination Song This Job lets you assign a name to the selected song. ❏ Settings 01~64 ● [F6]-02 Split Song To Pattern This Job allows you to copy a part of the current song — all 16 tracks over a specific range of measures — to a specific section and style, letting you use song data to create a pattern.
Song Mixing mode Song Mixing mode Song Mixing mode (Simple Mixer functions) In this mode, you can set up and save mixing data for your songs, and set various parameters for the tone generator parts — including the desired voice, as well as its level, pan, EQ, effect and other settings. How the Song Mixing mode affects the tone generator parts, and how it is affected by other elements is made clear by the following diagram.
Song Mixing mode 6 Press the [SONG] button to exit from the Song Mixing mode and return to the Song Play mode. • For detailed instructions on steps #4, see the following explanations. • For details on step #5, refer to “Song Mixing Store mode” on page 214. ● [F3] VOICE Basic Structure (page 43) · Reference (page 124) From this display you can select a voice for each part. ● [F1] VOL/PAN From this display you can set the Pan and Volume for each part (track).
Song Mixing mode • Template number Determines the template number. Up to 16 templates can be created. ❏ Settings 1~16 • Template name ◆ Common edit and Part edit Use Common Edit to edit the settings common to all parts. There are two types of Song Mixing displays: those for Common Edit, and those for editing individual parts. Determines the name of the template. For details about naming, see “Basic Operation” on page 75.
Song Mixing mode • To edit parameters of the individual parts, select the desired part with the corresponding NUMBER button ([1] - [16]). You can select parts for the Plug-in board by using the [F6] button (as shown below). 1 2 3 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/ PERF.
Song Mixing mode ● [F3]-[SF2] Song Mixing Common Arpeggio Arpeggio Limit pan tone KNOB CONTROL FUNCTION PAN REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 KN 2 KN 3 KN 1 MEQ LOW MEQLOWMID MEQ HI M ID KN 4 MEQ HIGH assign meqofs • ChoCtrl (Chorus Control) Determines the depth of the Chorus effect, as controlled by the Knob assigned to Chorus Send. ❏ Settings -64~+63 Same as in Voice Normal Common Edit. See page 133.
Song Mixing mode ● [F6]-[SF1] Song Mixing Common Effect Connection Basic Structure (page 41) This display gives you comprehensive control over the effect connections. • Mono/Poly Determines whether the voice for the selected part is played back monophonically (single notes only) or polyphonically (multiple simultaneous notes). ❏ Settings Mono, Poly n This parameter is not available for the part to which the Drum Voice is assigned.
Song Mixing mode ● [F2]-[SF1] Song Mixing Part Output Volume/Pan ● [F4]-[SF2] Song Mixing Part Tone Filter Basic Structure (page 46) From this display you can set various Filter related settings, to change the tonal qualities of the selected part’s voice. Same as in Performance Part Edit. See page 172. n The Voice Pan setting is not available for Plug-in voice parts. Same as in Performance Part Edit. See page 173.
Song Mixing Job mode ● [F5] Song Mixing Part Receive Switch From this display you can set how each individual part responds to various MIDI data, such as Control Change and Program Change messages. When the relevant parameter is set to “on,” the corresponding part responds to the appropriate MIDI data. Note that two different display types (below) are provided. • Display showing four parts This display type shows the Receive Switch status for four parts at a time.
Song Mixing Job mode • Data type of Destination song (current selected song) Set the Part of the destination song. ❏ Data type Part 1~32, Plug 1~3, Arp, Effect (Reverb, Chorus) ❏ Type of parameter to be initialized ALL All settings for the selected Song Mixing are initialized. Common Common parameter settings for the selected Song Mixing program are initialized. Part 1~16, PLG 1~3 Part parameter settings for the selected Song Mixing program are initialized.
Song Mixing Store mode Song Mixing Store mode Basic Structure (page 63) This function lets you store your edited Song Mixing program to User memory. When you execute this, the settings for the destination memory will be overwritten. Important data should always be backed up to a memory card or SCSI device. ◆ Basic Procedure 1 After editing the Song Mixing, press the [STORE] button to enter the Song Mixing Store mode. 2 Press the [ENTER] button. (The display prompts you for confirmation.
Function Tree Pattern Mode Basic Structure (page 51) Function Tree This section is devoted to the Pattern mode. To see how the Pattern mode relates to the entire structure of the MOTIF and its other modes and functions, see the simplified chart in “Basic Structure” on page 30. The following detailed chart shows all of the display menus and parameter groups of the Pattern modes — giving you a quick, easy-to-understand overview of the patternrelated functions of the MOTIF.
Function Tree [SONG] [F5] TRACK JOB LIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230 COPY TRACK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230 EXCHANGE TRACK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230 CLEAR TRACK. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Pattern Play mode Pattern Play mode Basic Structure (page 67) In this mode, you can select and play individual User patterns. 2 Select a style and its section. 3 Start/Stop pattern playback. n For details about patterns and their track and memory structure, see page 51. ◆ Basic Procedure Basic Structure (page 67) 1 Press the [PATTERN] button to enter the Pattern Play mode. (The indicator lights.) PATTERN Stop playback Start playback 4 Make necessary or desired settings (e.g.
Pattern Play mode ● Style numbers and the corresponding Group/ Numbers Same as in the Song Play mode. See page 179. 1 2 3 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/ PERF.PART / ZONE NUMBER 9 10 11 Section Selection SOLO The explanations here apply to step #2 of the Basic Procedure on page 217. PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 A.
Pattern Play mode ● Measure : Beat (for current playback location) The buttons can be used to change the location (in measures/beats), even during playback. ● [SF4] Patch Clear n The Phrase Voice embedded in the Pattern phrase can be specified from the Voice display in the Pattern Record mode (page 223). ● [F6] Pattern Play Chain Play/Edit Explained later. See below.
Pattern Play mode ■ Creating Pattern Chains with Realtime Playback (Pattern Chain Recording) This function makes it possible to specify a sequence of patterns for pattern chain playback. Switching of styles/sections, track muting, scene/ mute changes, and tempo changes can all be recorded in real time. 1 In the Pattern Play mode, press the [F6] button to enter the Pattern Chain Play mode as shown below. Details about parameters in this display are same as in step #1 of the Basic Procedure on page 217.
Pattern Record mode The methods for editing each event in the display above and for inserting/deleting events (by using the [F5]/[F6] buttons) are the same as in the Song Edit mode. See page 190. ● [F6]-[EDIT]-[F2] Copy Pressing the [SF3] button in the Pattern Chain Edit mode calls up the Copy display below, letting you copy all pattern chain events from a specified range of measures (source) to a destination location. Keep in mind that this overwrites any existing events at the destination.
Pattern Record mode n Please note that the time signature can be set in the Pattern Play display. See page 217. n The method for selecting the recording track is the same as in Pattern track selection (page 218). 4 Change the display by pressing the [F2] - [F3] buttons and set various parameters for recording. 5 Press the [F] button to start recording.
Pattern Record mode • Quantize This convenient feature lets you automatically quantize the notes in real time, as you record. Quantize aligns the timing of note events to the nearest beat. This parameter determines whether real-time Quantize is on or not, and the resolution to which the notes will be aligned.
Pattern Edit mode Pattern Edit mode This mode gives you comprehensive, detailed controls for editing the MIDI events of each phrase of the recorded pattern. MIDI events are messages (such as note on/off, note number, program change number, etc.) that make up the data of a recorded pattern. ◆ Basic Procedure Basic Operation (page 70) 1 Into betheedited. Pattern Play mode, select a style and phrase 2 Press the [EDIT] button to enter the Pattern Edit mode. (The indicator lights.
Pattern Job mode Pattern Job mode The Pattern Job mode contains a comprehensive set of editing tools and functions you can use to change the sound of your original pattern, as created by the Pattern Patch function or from the Pattern Record mode. It also includes a variety of convenient operations, such as copying or erasing data. Most of these operations can be performed on either an entire track or a selected range of measures in the track.
Pattern Job mode ● [F2]-02 Modify Velocity Same as in the Song Job mode. See page 195. Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied. ● [F2]-03 Modify Gate Time Same as in the Song Job mode. See page 195. Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied. ● [F2]-04 Crescendo Same as in the Song Job mode. See page 196. Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied.
Pattern Job mode ● [F3]-03 Erase Event [F3] Event Job Press the [F3] button in step #3 of the Basic Procedure on page 225 so that the Event Job list appears on the display. Scroll the cursor to the desired Job and press the [ENTER] button to go to the display of the selected Job. Same as in the Song Job mode. See page 199. Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied. The following explanations apply to step #6 of the Basic Procedure on page 225.
Pattern Job mode ● [F3]-07 Modify Control Data Same as in the Song Job mode. See page 200. Any previous data in the copy destination will be overwritten. Undo/Redo (page 225) cannot be used to undo/redo a sample voice copy operation. Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied. n Unlike in the Song Job mode, you cannot select “Tempo” as an Event Type. ● [F3]-08 Beat Stretch Same as in the Song Job mode. See page 200.
Pattern Job mode ● [F4]-04 Append Phrase ● [F4]-06 Get Phrase From Song This Job appends one phrase to the end of another to create one longer phrase. This Job copies a segment of sequence-track data from a song into the designated destination phrase. Destination phrase Source song, track, and range of measures to be copied Phrase A Phrase B n If this job is applied to phrases which use sample voices, the sample voices will not be appended.
Pattern Job mode ● [F4]-08 Clear Phrase ● [F5]-01 Copy Track This Job deletes all data from the selected phrase. Phrase to be cleared This Job copies all data of the selected type from specified source track to specified destination track. Source style, ection, and track When this box is checkmarked, sample data assigned to the selected phrase will be deleted. This parameter has no effect when no sample voice is used by the selected phrase.
Pattern Job mode ● [F5]-05 Divide Drum Track Separates the note events in a drum performance assigned to a specified track, and places the notes corresponding to different drum instruments in separate tracks (tracks 1 through 8). One useful application for this would be to use Quantize (page 225) and Shift Clock (page 227) to independently adjust the timing of different drum parts in the rhythm, to tighten up the timing and yet create a more natural sounding feel. Same as in the Song Job mode.
Pattern Mixing mode Pattern Mixing mode The job overwrites any data already existing in the destination pattern. n When the KEEP ORIGINAL PHRASE checkbox is checked, this job requires twice the number of empty user phrases as the number of tracks containing data in which to store the appended phrase data. If the required phrases are unavailable the alert message will appear and the job will be aborted. If this occurs use the Clear Phrase Job (page 230) to delete unused phrases and try again.
Function Tree Sampling Mode Basic Structure (page 58) Function Tree This section is devoted to the Sampling mode. To see how the Sampling mode relates to the entire structure of the MOTIF and its other modes and functions, see the simplified chart in “Basic Structure” on page 30. The following detailed chart shows all of the display menus and parameter groups of the Sampling modes — giving you a quick, easy-to-understand overview of the sampling-related functions of the MOTIF.
Sampling Record mode Sampling Record mode Basic Operation (page 58) In this mode, you can record sounds to the MOTIF (for example, your voice, a guitar, or sounds from a CD), edit them, and use them to create special Sample voices you can play from the keyboard. Or, if you enter this mode from the Song or Pattern mode, the sounds you record can be assigned to the tracks and played back automatically with the song or pattern.
Sampling Record mode When Trigger mode is set to Meas : Sampling Standby Press the [F6] button. • Waveform Determines the Waveform number to which the recorded sample is assigned. ❏ Settings 001~256 Punch-in Waiting Start playback of the song or pattern. When the appropriate Punch-in measure is reached, sampling starts. Sampling Start When the appropriate Punch-out measure is reached, sampling stops. Otherwise, to stop sampling, press the [F6] button.
Sampling Record mode ■ [F2] Sampling Source settings The explanations here apply to step #5 of the Basic Procedure on page 234. Sample Voice Assigned to a specified key Sequence data • Type Determines the Sampling type. When entering the Sampling mode from the Song/Pattern mode, the data created by the Sampling varies depending on this setting. Keep in mind that this parameter is fixed to “sample” when entering the Sampling mode from the Voice/ Performance mode.
Sampling Record mode Sampling Standby Trigger Waiting The explanations here apply to step #6 of the Basic Procedure on page 234. The following display applies to step #7 of the Basic Procedure on page 234. The following display is available when the Trigger mode is set to “level.” In this case, sample recording is on standby, waiting for an input signal that exceeds the Trigger level. Indicates the MOTIF is in the Sampling Standby mode.
Sampling Record mode Press the [F5] and [F6] buttons to zoom in and out of the wave display. Tempo Press the [SF2] button so that the address of the Start Point is changed to the one of the Loop Start Point. Press the [SF1] button to sound the recorded sample according to the settings in this display. the [SF1] (AUDITION) button in the Trim display to loop the sample and precisely set the Start and End points as required. Press the [ENTER] button. (The display prompts you for confirmation.
Sampling Record mode The Meter parameter sets the basic slice unit, and SubDivide specifies even finer resolution for phrases containing regions with shorter notes. For the following phrase, for example, the Meter should be set to 4/4 and SubDivide to 1/2.
Sampling Edit mode BEAT1 BEAT2 BEAT3 PHRASE1 PHRASE2 PHRASE3 PHRASE4 QUICK : Original wave size X N + (0.3 : Original wave size X N + (0.2 : Original wave size X N + (0.3 : Original wave size X N + (5.8 : Original wave size X N + (1.4 : Original wave size X N + (0.4 : Original wave size X N + (1.4 : Original wave size X 3 + (0.
Sampling Job mode 3 Press the [SF2] button to call up the Samples assigned to the selected Key Bank in order. n Step #3 above as well as the Audition function can be used with any of the displays called up via the [F2] - [F4] buttons. Sample Edit The explanations here apply to step #5 of the Basic Procedure on page 59. • Fine Tune Determines the fine tuning for the pitch of the sample.
Sampling Job mode 3 Select the desired Job menu by pressing the appropriate button, [F1] - [F3]. 4 Use the CURSOR buttons to scroll to the desired Job. 5 Press the [ENTER] button to go to the selected Job display. ENTER EXECUTE 6 Set the relevant Job parameters. 7 Press the [ENTER] button. (The display prompts you for confirmation.) 8 Press the [INC/YES] button to execute the Job. After the Job has been completed, a “Completed” message appears and operation returns to the original display.
Sampling Job mode ● [F1]-05 Normalize This Job maximizes (normalizes) the overall level of the specified sample. The “100” (100%) setting is a quick and convenient way to boost the level of an entire sample, to make it as loud as possible without distorting. Waveform and Key Bank containing the sample to be deleted Set the Waveform and Key Bank containing the sample to be normalized. n If all the samples of the specified Waveform are deleted, the Waveform itself is deleted.
Sampling Job mode ● [F1]-06 Time-Stretch ● [F1]-07 Convert Pitch This Job lets you change the length of the sample without changing the pitch. This Job lets you change the pitch of the sample without changing the length. Set the Waveform and Key Bank containing the sample to be time-stretched. Set the Waveform and Key Bank containing the sample to be pitch-converted. Press the [ENTER] button to execute the Job. Press the [ENTER] button to execute the Job.
Sampling Job mode ● [F1]-08 Fade In/Out ● [F1]-09 Convert Freq This Job lets you create fade-ins and fade-outs for the sample. Set the Waveform and Key Bank containing the esired sample. This Job lets you halve the sampling frequency of the specified sample. This can be used to convert hifi samples to a lo-fi sound, and reduce the sample size by half to conserve memory. Set the Waveform and Key Bank containing the sample to be converted. Press the [ENTER] button to execute the Job.
Sampling Job mode ● [F1]-12 Slice • Type Determines which channel, or both channels, of the stereo sample will be converted to a mono sample. ❏ Settings L+R>mono The left and right channels of the stereo sample are mixed and converted to a mono sample. L>mono The left channel of the stereo sample is converted to a mono sample. R>mono The right channel of the stereo sample is converted to a mono sample.
Sampling Job mode [F2] Waveform Job Press the [F2] button in step #3 of the Basic Procedure on page 240 so that the Waveform Job list appears on the display. Scroll the cursor to the desired Job and press the [ENTER] button to go to the display of the selected Job. • Octave Determines the amount in octaves by which the Key Bank is transposed. When you want to transpose by less than one octave, set this to “0” and use the Note parameter below.
Sampling Job mode ● [F3]-02 Optimize Memory This Job optimizes the memory (DRAM) for sampling. ● [F3]-03 Delete All This Job deletes all the waveforms. ● [F3]-04 Convert to Drum Voice This Job lets you convert the selected waveform to a specific Drum voice. Since the Sampling function allows creation of only Normal voices, this Job makes it possible to create a Drum voice with your recorded samples.
Function Tree Utility Mode Function Tree This section is devoted to the Utility mode. To see how the Utility mode relates to the entire structure of the MOTIF and its other modes and functions, see the simplified chart in “Basic Structure” on page 30. The following detailed chart shows all of the display menus and parameter groups of the Utility mode — giving you a quick, easy-to-understand overview of the global, system-wide functions of the MOTIF. Brackets around a word or phrase (e.g.
Utility mode Utility mode In this mode, you can set parameters that apply to the entire system of the MOTIF. These include MIDI settings and global setup parameters. This mode is actually a sub-mode of the Voice/ Performance/ Song/Pattern mode. Press the [UTILITY] button in each mode to enter the Utility mode and press the [EXIT] button after making settings to go back to the previous mode. ◆ Basic Procedure 1 Press the [UTILITY] button to enter the Utility mode. (The indicator lights.
Utility mode hard This curve effectively lessens the overall response compared to the “norm” curve. Use this curve if you tend to play strongly and want the sound change to be less sensitive. Actual response Actual Velocity Received Breath Control ● [F1]-[SF2] General Keyboard From this display you can set the keyboard-related parameters for the MOTIF. Keyboard velocity wide This setting provides opposite response curves for lower and higher velocities.
Utility mode ● [F1]-[SF3] General Effect Bypass From this display you can select the specific effect(s) to be bypassed when the [EFFECT BYPASS] button (page 13) is turned on. EFFECT BYPASS INSERTION SYSTEM Performance When you switch the MOTIF on, the Performance Play mode is entered and the first program number (USER: 001) is selected automatically.
Utility mode • Mic/Line When using the A/D INPUT jacks, this determines the input source, microphone (mic) or line. ❏ Settings mic, line To initialize all the mLAN settings above, use the following procedure. • Digital When the optional AIEB2 board is installed, the MOTIF features two different input connections for transferring digital audio from an external device: coaxial or optical. One or the other must be set; the two cannot be used at the same time.
Utility mode [F3] Sequencer settings • Freq (Frequency) Set the center frequency. Frequencies around this point are attenuated/boosted by the Gain setting. ❏ Settings LOW (Low range) Peaking 63Hz ~ 2.0kHz Shelving 32Hz ~ 2.0kHz LOW MID (Low middle range) 100Hz~10kHz MID (Middle range)100Hz~10kHz HIGH MID (High middle range) 100Hz ~10kHz HIGH (High range)500Hz~16kHz • Gain Determines the level gain for the Frequency (set above), or the amount the selected frequency band is attenuated or boosted.
Utility mode ● [F3]-[SF2] Sequencer MIDI Filter From this display you can set which MIDI events will be recognized/transmitted via the MIDI IN/ OUT terminal or the USB terminal. The settings made here apply only to song/pattern playback data; they do not affect the MIDI events generated by your keyboard polaying or panel operations in the Voice and Performance modes.
Utility mode ● [F4]-[SF2] Controller Assign Knob ASSIGN A, B From this display you can assign specific functions to the ASSIGN A and B knobs. ◆ Remote Control of Computer Sequence Software Using the Remote Control function lets you control computer sequence software by using the buttons or controllers on the MOTIF. Turn the Remote Control function on by pressing the [REMOTE CONTROL ON/OFF] button so that its lamp flashes.
Utility mode ◆ Remote Control Assignments Functions to be controlled by the MOTIF differ depending on the software you use. When the appropriate template is selected, the following functions on the corresponding software can be controlled. • Logic Audio Plutinum Ver4.6 When the template is set to “Logic,” the following functions can be controlled by the MOTIF. • Cakewalk ProAudio Ver9.0 When the template is set to “Cakewalk,” the following functions can be controlled by the MOTIF.
Utility mode [F5] MIDI settings ● [F5]-[SF1] MIDI Channel From this display you can make basic MIDI settings. • PgmChange (Program Change) This switch enables or disables Program Change messages, both in transmission and reception. When this is set to “on,” the MOTIF responds to incoming Program Change messages, and it also transmits appropriate Program Change messages (when using the panel).
Utility mode n The MTC Sync function is available only in the Song mode. The Pattern playback (in the Pattern mode) and the Arpeggio playback (in the Voice/ Performance mode) cannot be synced to MTC. n MTC (MIDI Time Code) allows simultaneous synchronization of multiple audio devices via standard MIDI cables. It includes data corresponding to hours, minutes, seconds, and frames. The MOTIF does not transmit MTC. A device such as the Yamaha AW4416 is necessary in order to the MOTIF as an MTC master.
Utility Job mode ● [F6]-[SF2] Plug-in board MIDI From this display you can set various MIDI-related parameters for the Plug-in board. • DevNo (Device Number) Determines the MIDI Device Number of the Plug-in Board. This number must match the Device Number of the external MIDI device when transmitting/receiving bulk data, parameter changes or other system exclusive messages to/from it. ❏ Settings 1~16, all, off • PORT NO.
Function Tree File Mode Basic Structure (page 63) Function Tree This section is devoted to the File mode. To see how the File mode relates to the entire structure of the MOTIF and its other modes and functions, see the simplified chart in “Basic Structure” on page 30. The following detailed chart shows all of the display menus and parameter groups of the File mode — giving you a quick, easy-to-understand overview of the data storage and file-related functions of the MOTIF.
File mode File mode File/Folder selection Basic Structure (page 63) In this mode, you can save data to and load data from memory cards and SCSI storage devices, such as hard disks and removable cartridges. The File mode also provides various functions for managing your data and SCSI devices.
File mode Extension: .W2A All data in the MOTIF’s internal User Memory are treated as a single file, and can be saved to the memory card/SCSI storage device. • All Voice Extension: .W2V All the User Voice data in the MOTIF's internal User Memory are treated as a single file, and can be saved to the memory card/SCSI storage device. • All Song Extension: .
File mode • Wav Extension: .WAV A WAV file (Windows audio format) can be loaded to the MOTIF and can be used as a User Wave. • Aif (AIFF file) Extension: .AIF 5 6 An AIFF file (Macintosh audio format) can be loaded to the MOTIF and can be used as a User Wave. n In addition to the file types above, Yamaha A5000/ A4000/A3000/SU700 files and AKAI S1000/ S3000 files can be loaded to the MOTIF.
File mode ● [F1]-[SF2] CONFIG SCSI ID • Type Determines the type of the device to be formatted. ❏ Settings See below. From this display you can specify the ID number for all the devices in the SCSI chain, including the host (the MOTIF itself). card When this is set, the Memory card inserted to the Card slot is formatted. all (SCSI) When this is set, all the SCSI devices connected to the MOTIF are formatted.
File mode [F2] Save • After the data has been saved, a “Completed” message appears and operation returns to the original display. This operation lets you save files to a memory card or SCSI device.The explanations here apply to step #2 of the Basic Procedure on page 262. 1 While the data is being saved, never eject the Memory card or turn off the power to the SCSI device or MOTIF itself. Select the file type to be saved in the Save display.
File mode When the file (data) type is set to Song, Pattern, Waveform or All Voice for Editor, an “imaginary” file appears — just as with Voice above. Select the imaginary file and press the [ENTER] button to call up the list of songs, styles, or waveforms. Then select the desired song, style, or waveform and specify the destination User memory location. [F4] Rename From this display you can rename files in the selected memory card/SCSI device, using up to eight alphabetic and numeric characters.
Function Tree Master Mode Basic Structure (page 56) Function Tree This section is devoted to the Master mode. To see how the Master mode relates to the entire structure of the MOTIF and its other modes and functions, see the simplified chart in “Basic Structure” on page 30. The following detailed chart shows all of the display menus and parameter groups of the Master mode — giving you a quick, easy-to-understand overview of the Master-related functions of the MOTIF. Brackets around a word or phrase (e.g.
Master Play mode Master Play mode Basic Structure (page 56) · Quick Start Guide (page 93) In this mode, you can select and play individual Masters. n For more information on Masters, their structure, and how they are used, see page 56. ◆ Basic Procedure 1 Press the [MASTER] button to enter the Master Play mode. (The indicator lights.) MASTER Indicates Keyboard Octave setting set via the [OCTAVE] buttons. See page 127 for details.
Master Edit mode ● [F2] Master Play Memory From this display you can set basic parameters for the Master, including the mode that is called up with the Master and the program number. Master Edit mode Basic Structure (page 56) · Quick Start Guide (page 95) In this mode, you can create and edit Masters. ◆ Common edit and Zone edit (Voice Performance mode) This parameter is available only when the Mode is set to Performance. • Mode Determines the mode that is called up when the Master number is selected.
Master Edit mode ◆ Basic Procedure ■ Common edit 1 Press the [MASTER] button to enter the Master Play mode. (The indicator lights.) ● [F1] Common Name 2 Select a Master to be edited. 3 Press the [EDIT] button to enter the Master Edit mode. (The indicator lights.) From this display you can create a name for the Master. For detailed instructions on naming, see “Basic Operation” on page 75. ● [F2] Common Other From this display you can set which row of Knob/ Slider functions will be lit and selected.
Master Edit mode • TransmitCh (Transmit Channel) Determines the MIDI Transmit Channel for each zone. ❏ Settings 1~16 • TGSwitch (Tone Generator Switch) Determines whether or not to transmit MIDI messages for each zone to each Part’s tone generator block. ❏ Settings on, off • MIDISwitch Determines whether or not to transmit MIDI messages for each zone to an external MIDI device via the MIDI or USB terminal. ❏ Settings on, off • This display type shows the Transmit Switch status for all of the zones.
Master Job mode ● [F5] Zone Knob/Slider Master Job mode From this display you can determine which Control Change numbers are used for the Knobs and Sliders for each zone. These settings are available only when the Knob/Slider parameter (in Common Edit Other; page 271) is set to “zone.” KNOB CONTROL FUNCTION Above settings are vailable only if these indicators are all unlit (in the Master mode).
Master Store mode ● [F1] Initialize This function lets you reset (initialize) all Master parameters to their default settings. It also allows you to selectively initialize certain parameters, such as Common settings, settings for each zone, and so on — very useful when creating a completely new Master from scratch. Master Store mode Basic Structure (page 56) This function lets you store your edited performance to User memory.
Information Displays Appendix Information Displays The convenient Information displays let you see at-aglance some of the more important settings relevant to each mode. Select the desired mode, then press the [INFORMATION] button to call up the Information display for that mode. To exit from the display, press the button again (or any other panel button).
Information Displays ■ Pattern mode ■ Utility mode ● Pattern Play mode Indicates the amount of currently unused (available) memory (DRAM) for Pattern Phrase recording. ● Pattern Mixing mode • PlugInfo/Port (Plug-in board installation status) Indicates the Plug-in board name and its MIDI port number (page 260) at the right of the slot number. When PolyExpand (page 259) is set to on in the Utility mode, “P” is indicated at the left of the slot number.
Display Messages Display Messages Information Failed to process the MIDI data because too much data was received at one time. MIDI data error. An error occurred when receiving MIDI data. MIDI checksum error. An error occurred when receiving bulk data. Bulk protected. Bulk data or a SCSI message was received when RcvBulk was set to “protect.” (See page 258.) Device number is off. Bulk data cannot be transmitted/received since the device number is off. Device number mismatch.
Display Messages Messages Information Plug-in 1 type mismatch. The User Voice created by using the Plug-in board previously installed to slot 1 (but now removed from slot 1) has been selected. Plug-in 2 type mismatch. The User Voice created by using the Plug-in board previously installed to slot 2 (but now removed from slot 2) has been selected. Plug-in 3 type mismatch. The User Voice created by using the Plug-in board previously installed to slot 3 (but now removed from slot 3) has been selected.
Troubleshooting Troubleshooting No sound? Wrong sound? When a problem like this occurs, please check the following points before assuming that the product is faulty. In many cases you’ll find the solution to your problem here. If the problem persists, then contact your Yamaha dealer or service center (page 299). No sound.
Troubleshooting Pitch or intervals are wrong.
Installing Optional Hardware Installing Optional Hardware ◆ Optional units that can be installed to the MOTIF The following optional units can be installed to the MOTIF. ● Plug-in Boards ● AIEB 2 or mLAN8E ● SIMM ◆ Locations to which the optional units are installed ● Plug-in Boards MOTIF6 MOTIF7 MOTIF8 SLOT Plug-in Plug-in Board cover Plug-in Board cover Plug-in Board cover Up to three boards can be installed to the rear panel.
Installing Optional Hardware Optional Plug-in Board Installation MOTIF8 A variety of optional Plug-in boards sold separately let you expand the voice library of your instrument. The following types of Plug-in boards can be used with your instrument. • PLG150-AN • PLG150-DX • PLG150-PF • PLG100-XG Plug-in SLOT 3 2 1 GREEN YELLOW ORANGE Plug-in SLOT 3 2 1 GREEN YELLOW ORANGE • PLG150-VL • PLG100-VH The MOTIF provides three slots for the Plug-in board.
Installing Optional Hardware 4 Insert the board along the guide rails about twothirds of the way inside the MOTIF, with the connector side face up and toward you. Plug- in SLOT 3 2 1 6 Insert the Plug-in board the rest of the way into the expansion bay. Carefully put the the ribbon cable back into the MOTIF, making sure that no part of the cable sticks out of the instrument.
Installing Optional Hardware Either the mLAN expansion board (mLAN8E) or the I/O expansion board (AIEB 2) sold separately can be installed to the MOTIF. With the mLAN8E board, you can conveniently and easily hook up your MOTIF to other mLANcompatible instruments or devices. The AIEB 2 board gives you additional digital I/O options, featuring both optical and coaxial connectors. Moreover, the board also includes three stereo ASSIGNABLE OUTPUT pairs (six analog jacks).
Installing Optional Hardware 5 Remove the AIEB2 power cables from the hookshaped cable clip in the MOTIF. 7 MOTIF6 / MOTIF7 Connect the flat ribbon cable coming from AIEB2 to the circuit board of the MOTIF. Be careful to connect in the proper direction as shown. Make sure that the direction is correct and do not try to force the connection. Top (keyboard side) of the MOTIF Underside of the MOTIF Flat ribbon cable of the AIEB2 Align the connectors as shown.
Installing Optional Hardware Flip over the AIEB2 taking care not to bend or damage the flat ribbon cable. Installing the mLAN8E 1 Using the same procedure as in steps 1 - 4 of “Installing the AIEB2” above, remove the cover on the underside of the MOTIF, then remove the cover of the mLAN/I/O expansion bay. AIEB2 2 Remove the mLAN8E from its package and connect the included flat ribbon cable. Securely fasten the flat ribbon cable to the rear panel of the mLAN8E.
Installing Optional Hardware 4 Fasten the mLAN8E to the MOTIF. Flip the unit over, so that each connector section of the mLAN8E can be seen from the back side of MOTIF. Supporting the unit with one hand, attach it to the rear of the MOTIF with the three screws you removed earlier. If you start replacing the screws from the center screw, it will be easy to replace the remaining screws.
Installing Optional Hardware 4MB X 2 Installing the SIMM modules to the sockets 8MB X 2 Tilt the SIMM and insert it into the socket. Internal memory 4MB Internal memory 4MB 12MB can be used for sampling. Push the SIMM up vertically. 20MB can be used for sampling. 16MB X 2 Cutout 32MB X 2 Internal memory 4MB Internal memory 4MB 36MB can be used for sampling. n Make sure that the SIMM is securely inserted in the socket of the MOTIF.
Handling the Memory Card (SmartMedia™*) (SmartMedia™*) Be sure to handle Memory Cards with care. Follow the important precautions below. * SmartMedia is a trademark of Toshiba Corporation. ■ Compatible Memory Card Type 3.3V(3V) Memory Cards can be used. 5V type Memory Cards are not compatible with this instrument. ■ Memory Capacity There are five types of Memory Cards: 2MB/4MB/ 8MB/16MB/32MB.
Connecting external SCSI devices Connecting external SCSI devices This section explains how to connect external devices such as external hard disk drives, MO drives, or CD-ROM drives. About SCSI SCSI (pronounced “scuzzy”) stands for Small Computer System Interface, and is a data transmission interface standard used by personal computers and other devices.
Connecting external SCSI devices 4 5 6 Attach the terminator to the SCSI connector (whichever one of the two is not connected) of the last device in the daisy-chain. Alternatively, turn on the terminator switch of that device. Make sure that the terminator switch is turned OFF for all other devices in the daisy-chain (i.e., all devices other than the last device). Turn on the power of the external SCSI device(s), and after waiting several seconds, turn on the power of the MOTIF.
Notes on musical copyright Notes on musical copyright The MOTIF supports SCMS (Serial Copy Management System) to protect the copyrights of music software. Data that was digitally sampled from a CD or other source cannot be saved on a memory card or SCSI disc in WAV/AIFF format, and cannot be transmitted by using the TWE software. If you wish to save this data, you must save it in the MOTIF’s own format.
Specifications MOTIF8 MOTIF7 MOTIF6 Tone Generator block Tone Generator Sampling block 88 keys, Balanced Hammer Effect Keyboard (Initial Touch/Aftertouch) 76 keys, FS Keyboard (Initial Touch/Aftertouch) 61 keys, FS Keyboard (Initial Touch/Aftertouch) AWM2 (complying with the Modular Synthesis Plug-in System) Polyphony 62 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 Pl
Specifications Sequencer block Others Note Capacity Approx.
Index 1st-on ................................................................................... 135 A AC (Assignable Controls) ....................................................155 AC INLET ............................................................................. 18 Accuracy ..............................................................................244 AC ........................................................................................155 AC Power Cord Socket...............................
DRUM ...................................................................................42 Drum Key Edit .............................................................148, 150 Drum Pattern ..........................................................................55 Drum Voice Edit ..................................................................148 DryLevel ......................................................................163, 172 Dual BEF ................................................................
N Name............................................ 130, 149, 154, 166, 247, 271 Naming................................................................................... 75 Native................................................................................... 156 Native System Parameter..................................................... 260 New Folder Creation............................................................ 262 No effect is applied. ..........................................................
Appendix Section ................................................................................... 52 Section Selection.................................................................. 218 Segment ............................................................... 139, 143, 145 Selecting a Performance ........................................................ 88 Selecting Functions and Parameters ...................................... 71 Selecting Modes.........................................................
For details of products, please contact your nearest Yamaha or the authorized distributor listed below. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. NORTH AMERICA CANADA Yamaha Canada Music Ltd. 135 Milner Avenue, Scarborough, Ontario, M1S 3R1, Canada Tel: 416-298-1311 U.S.A. Yamaha Corporation of America 6600 Orangethorpe Ave., Buena Park, Calif. 90620, U.S.A.
202MWAP15.
