SPECIAL MESSAGE SECTION PRODUCT SAFETY MARKINGS: Yamaha electronic products may have either labels similar to the graphics shown below or molded/stamped facsimiles of these graphics on the enclosure. The explanation of these graphics appears on this page. Please observe all cautions indicated on this page and those indicated in the safety instruction section. Battery Notice: This product MAY contain a small nonrechargable battery which (if applicable) is soldered in place.
Explanation of Graphical Symbols The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.
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 Saving data • Before connecting the instrument to other electronic components, turn off the power for all components. Before turning the power on or off for all components, set all volume levels to minimum. Also, be sure to set the volumes of all components at their minimum levels and gradually raise the volume controls while playing the instrument to set the desired listening level.
Introduction Congratulations and thank you for your purchase of the Yamaha MOTIF XS6/MOTIF XS7/MOTIF XS8 Music Production Synthesizer! You now own what is perhaps the best-sounding, most versatile, and certainly most powerful synthesizer and total music production instrument on the planet. We strove to put virtually all our synthesizer technology and music making know-how into one instrument—and we succeeded.
Main Features ■ Responsive, expressive keyboard (page 12) ■ Extensive Effect Processing (page 68) The MOTIF XS6 features a 61-key keyboard, while the MOTIF XS7 has 76 keys with the high-quality FSX keyboard and the MOTIF XS8 has 88 keys with the high-quality BH (Balanced Hammer) keyboard. All are equipped with a touch response feature (both initial touch and aftertouch).
Contents Introduction ......................................................................................................................................................6 How to use the manual.....................................................................................................................................6 Accessories......................................................................................................................................................6 Main Features......
Using a Computer 43 Connecting to a Computer ..............................................................................................................................43 Creating a Song by Using a Computer ..........................................................................................................47 Integration Between Yamaha Editors and Cubase .......................................................................................49 Controlling a DAW on Your Computer from the MOTIF XS ..
The Controls & Connectors Front Panel MOTIF XS6 TONE 1 8 SELECTED PART CONTROL TONE 2 ARP FX 7 CUTOFF RESONANCE DECAY SUSTAIN RELEASE ASSIGN 1 ASSIGN 2 EQ MID Q EQ HIGH PAN REVERB CHORUS GATE TIME VELOCITY OCT RANGE UNITMULTIPLY TEMPO AT TACK EQ LOW EQ MID F EQ SWING QUANTIZE VALUE QUANTIZE STRENGTH MID 9 REMOTE ARPEGGIO ON/OFF ON/OFF # REVERB MULTI PART CONTROL @ $ ! & MASTER EFFECT EFFECT BYPASS INSERTION SYSTEM CHORUS PAN % ASSIGNABLE FUNCTION OCTAVE DOWN
The Controls & Connectors ™ º ¡ § • ¶ MODE VOICE PERFORM MASTER SEQUENCER SONG SEQ SETUP PATTERN SECTION I-P PRE 2 PRE 3 PRE 4 PRE 5 PRE 6 PRE 7 PRE 8 PIANO KEYBOARD ORGAN GUITAR BASS STRINGS BRASS SAX/ WOODWIND USER 1 USER 2 USER 3 GM GM DR PRE DR USER DR SYN LEAD PADS/ CHOIRS INTEGRATED SAMPLING MIXING SECTION A-H A B FILE UTILITY COMMON EDIT 1 2 ENTER EDIT JOB EXECUTE COMPARE MULTI PART PROGRAM PRE 1 SOUND EFX MUSICAL EFX ETHNIC D E F G H 4
The Controls & Connectors MOTIF XS8 @ $ ! SELECTED PART CONTROL 8 TONE 1 TONE 2 ARP FX 7 9 MULTI PART CONTROL CUTOFF RESONANCE ATTACK EQ LOW EQ MID F EQ SWING QUANTIZE VALUE QUANTIZE STRENGTH MID DECAY SUSTAIN RELEASE ASSIGN 1 ASSIGN 2 EQ MID Q EQ HIGH PAN REVERB CHORUS GATE TIME VELOCITY OCT RANGE UNITMULTIPLY TEMPO REMOTE ARPEGGIO ON/OFF ON/OFF # REVERB MASTER EFFECT EFFECT BYPASS INSERTION SYSTEM CHORUS PAN % ASSIGNABLE FUNCTION OCTAVE DOWN UP 1 5 SEQ T
The Controls & Connectors ™ º ¡ § • ¶ MODE & VOICE PERFORM SEQUENCER SONG PATTERN MASTER SEQ SETUP SECTION I-P MIXING FILE UTILITY ENTER EDIT JOB EXECUTE COMPARE PRE 2 PRE 3 PRE 4 PRE 5 PRE 6 PRE 7 PRE 8 PIANO KEYBOARD ORGAN GUITAR BASS STRINGS BRASS SAX/ WOODWIND USER 2 USER 3 GM GM DR PRE DR USER DR SYN LEAD PADS/ CHOIRS SYN COMP SECTION A-H A B C COMMON EDIT 1 2 MULTI PART INTEGRATED SAMPLING PRE 1 USER 1 CHROMATIC DRUM/ PERCUSSION PERCUSSION SO
The Controls & Connectors % OCTAVE [UP] and [DOWN] buttons (pages 91, 92, 138, 251 and 260) Use these buttons to change the note range of the keyboard. To restore the normal octave setting, press both buttons simultaneously. ^ SEQ TRANSPORT buttons (pages 21, 178 and 208) These buttons control recording and playback of the Song/ Pattern sequence data. [P] (Top) button Instantly returns to the beginning of the current Song or Pattern (i.e., the first beat of the first measure).
The Controls & Connectors Functions of the Number [1] – [16] buttons [PERFORMANCE CONTROL] button Mode [TRACK] button [MUTE] button [SOLO] button Voice Play — Keyboard transmit channel setting — — Normal Voice Edit — Changes the Edit mode from Common Edit to Element Edit and Element selection (1 – 8) Element Mute setting (1 – 8) Solo Element selection (1 – 8) Drum Voice Edit — Changes the Edit mode from Common Edit to Drum Key Edit — — Performance Play Performance Control (‹) Keyboard
The Controls & Connectors Rear Panel MOTIF XS6 3 4 5 USB ETHERNET TO HOST TO DEVICE LCD CONTRAST AC IN POWER ON/ OFF 1 2 7 3 MOTIF XS7 4 5 USB ETHERNET TO HOST TO DEVICE LCD CONTRAST AC IN POWER ON/ OFF 1 2 7 MOTIF XS8 3 4 5 USB ETHERNET POWER ON/ OFF 1 1 POWER switch (page 19) Press to turn power ON or OFF. 2 AC IN (AC Power Cord Socket) (page 19) Be sure to plug the AC power cord into this socket before plugging the power cord into an AC outlet.
The Controls & Connectors FOOT SWITCH MIDI DIGITAL OUT THRU 8 OUT ASSIGNABLE IN 9 MIDI DIGITAL OUT THRU 8 OUT 9 FOOT CONTROLLER 8 SUSTAIN OUT 9 2 R R ! SUSTAIN ) OUTPUT R L PH ONES FOOT CONTROLLER 1 ! 6 mLAN (IEEE1394) connector 1, 2 (only MOTIF XS8) (page 44) The MOTIF XS is equipped with two mLAN connectors to which a IEEE1394 (6-pin) cable can be plugged in. These connectors enable you to connect the MOTIF XS to IEEE1394-compatible (FireWire/i.LINK) computers.
The Controls & Connectors 8 DIGITAL OUT connector % A/D INPUT jacks (pages 40, 147, 232 and 265) Use this connector to output digital signals over coaxial (RCA-pin) cable. The digital signal format is CD/DAT (S/P DIF). This connector outputs a digital signal of 44.1 kHz/24 bit. By using this jack, you can record the keyboard performance or Song/Pattern playback of this synthesizer to external media (e.g., a CD recorder) with exceptionally high-quality sound—thanks to the direct digital connection.
Start Guide Setting Up Power Supply Rear panel Start Guide Step 1: Connecting speakers or headphones Since the MOTIF XS has no built-in speakers, you will need to monitor the sound of the instrument by using external equipment. Connect a set of headphones, powered speakers, or other playback equipment as required. AC IN Powered speaker (Left) Powered speaker (Right) Headphones Power cord (included) OUTPUT L/MONO OUTPUT R PHONES 1 Make sure the POWER switch on the MOTIF XS is set to OFF.
Step 1: Setting Up Adjusting the sound and the display contrast Start Guide Adjust the volume levels of the MOTIF XS and the connected amplifier/speaker system. If the display is not easily visible, use the Contrast control to adjust for optimum visibility. Adjust the volume with the MASTER VOLUME slider. Adjust the display contrast with the Contrast control. Max. Min. Light Dark name) registered to the current Master program. Let’s try playing the keyboard.
Step 1: Setting Up Listening to the Demo Song DEC/NO INC/YES EXIT ENTER Start Guide Try listening to the preset Demo Songs, enjoy the highquality sound, and get a taste for how you can use the MOTIF XS to create your own music. EXECUTE Playing the Demo Song n Keep in mind that the example displays shown in this manual are for instruction purposes only, and may appear somewhat different from those on your instrument.
Resetting the User Memory to the Initial Factory Settings 1 Press the [FILE] button and [UTILITY] button simultaneously. The Demo Load display appears. FILE Resetting the User Memory to the Initial Factory Settings The original factory settings of this synthesizer’s User Memory can be restored as follows.
Step 2: Selecting and Playing a Voice Selecting a Voice Voice Play mode indications Here, try selecting the Grand Piano for example. Press the [PROGRAM] button (1) so that its lamp lights, press the Bank button [PRE 1] (2) to select the Preset Bank 1, press the Group button [A] (3) then Number button [1] (4) to select a Voice “PRE: 001 (A01).
Step 2: Selecting and Playing a Voice Using the Category Search function Playing the Arpeggio Start Guide Since the MOTIF XS has such a huge variety of Voices and so many to choose from, it may be difficult or time consuming to find the Voice you want. This is where the convenient Category Search function comes in handy. It lets you select desired Voices easily, based on general instrument categories. Here for example, we’ll try selecting a Guitar Voice.
Changing the Arpeggio type Using the Controllers The Arpeggio type assigned to each of the [SF1] – [SF5] buttons can be changed as desired. The MOTIF XS gives you an amazing amount of control options. Not only is it equipped with conventional Pitch Bend and Modulation Wheels, it also features special Knobs, Sliders, Ribbon Controller, and Assignable Function buttons. 1 From the Voice Play display, press the [F4] button to call up the Arpeggio display.
Step 2: Selecting and Playing a Voice Using the Knobs Try using the Knobs with your left hand while playing the keyboard with your right with the Voice A01 “Full Concert Grand.
Step 2: Selecting and Playing a Voice Transpose When you play the MOTIF XS with other instruments, you may need to tune the overall sound of the MOTIF XS to match that of the other instruments in the group. This function allows the overall pitch of the MOTIF XS to be transposed up or down in semitone increments/ decrements. You can play the same notes on the keyboard even when the pitch of the song is shifted up or down in semitones.
Step 3: Selecting and Playing a Performance Start Guide As in the Voice Play mode, the Performance Play mode is where you select and play the instrument sounds of this synthesizer. However, in the Performance mode, you can mix several different Voices together in a layer, or split them across the keyboard, or even set up a combination layer/split. Each Performance can contain up to four different Parts. Press the [PERFORM] button to enter the Performance Play mode.
Step 3: Selecting and Playing a Performance Using the Arpeggio With this method, you can play all the parts of a band by yourself. This type of Performance also uses different Arpeggio types assigned to the individual Parts, making it even easier to sound like a full band.
Step 3: Selecting and Playing a Performance Split CAUTION •••••••••••••••••••••••••••••••••••• The preset data of the Performances is stored in the User Bank memory. Storing the Performance data you created erases the preset Performance data. If you wish to restore the preset data of the Performance, execute the Factory Set Job in the Utility mode, resulting that your original data will be erased.
Step 3: Selecting and Playing a Performance n Categories and Sub Categories can easily be selected by calling up their respective lists on the display. When moving the cursor, for example, to the Category and pressing the [SF6] button, the Category List appears at the cursor location. You can select the desired one by using the data dial, [INC/YES] and [DEC/NO] buttons. After selecting, pressing the [ENTER] button actually calls up the selected Arpeggio type.
Step 3: Selecting and Playing a Performance 5 Key On Start Switch = (on) When set to “on,” recording starts immediately when you press any note on the keyboard. Set this parameter to “on” when using the Arpeggio. n Indicates the off status, whereas on status. 1 2 3 4 5 6 7 indicates the Start Guide 6 Copy Performance Parameters = on Enter the checkmark when you wish to copy the parameter settings for Parts 1 – 4 of the Performance to Parts 1 – 4 of the Song Mixing.
Step 4: Creating Your Original Song Start Guide Now that you’ve learned some of the basic features of the MOTIF XS—including how to select Voices and Performances, play with the Arpeggios, and record your playing and Arpeggio playback to a Song or Pattern—you’re ready to create your own original Song. The MOTIF XS features a built-in multitrack sequencer for recording your keyboard performance as MIDI data.
Step 4: Creating Your Original Song Adjusting the volume of each Part •••••••••••••••••••••••••••••••••••• Track number Recording track Time Signature (Meter) Tempo You can adjust the volume for each of eight Parts, using the panel sliders. Record Type Start Guide Quantize Voice [F5] Click VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4 VOLUME 5 VOLUME 6 VOLUME 7 VOLUME 8 When one of Tracks 1 – 8 is currently selected, the eight sliders are used to adjust the volume for Parts 1 – 8.
Step 4: Creating Your Original Song Start Recording! Start Guide After completing recording setup above, press the [F] (Play) button to start recording. Press the [F] (Play) button so that its indicator flashes, then actually start recording after the count-in. When you reach the end of the above notation, press the [J] (Stop) button to stop recording. If you’ve played any wrong notes, press the [J] (Stop) button, then try recording again.
Step 4: Creating Your Original Song Repeat steps 3 and 5 to correct other wrong events. 6 After completing editing, press the [EXIT] button to return back to the Song Play mode. Start Guide n If you wish to delete an unnecessary note, move the cursor to the corresponding location, then press the [F6] button. n For details about the Event List, see page 192.
Step 5: Creating a Pattern Pattern Structure Section The MOTIF XS provides two modes for creating a Song: Song mode and Pattern mode. In the Song mode, you can record the Song from the beginning to the end by playing the keyboard. In the Pattern mode, on the other hand, you can create the accompaniment of the Song by creating several sections, such as intro, melody A, main theme and ending by recording your rhythm pattern to the different Sections, then combining them as a Pattern Chain.
Step 5: Creating a Pattern Start Guide Viewing the Demo Pattern’s Patch display Viewing the Demo Pattern’s Mixing display From the Patch display called up via the [F4] button, you can confirm what “Phrase” is assigned to each track of the Pattern Section. A “Phrase” is a short musical/rhythmic passage consisting of a single track for a single instrument, such as drum, bass, and guitar.
Step 5: Creating a Pattern 6 In addition to creating a Pattern by recording your keyboard performance conventionally, you can also use the powerful Arpeggio playback features of the MOTIF XS (described below) and even record audio data from commercially available sample CDs. This section explains how to create a Pattern by using Arpeggio. 1 Press the [PATTERN] button to enter the Pattern Play mode. 2 Press the [I] (Record) button to call up the Record Setup display.
Step 5: Creating a Pattern 2 1 Set the Recording Type to “slice+seq.” Connect an audio device (CD player, etc.) to the A/D INPUT connector on the rear panel. 2 Set the Input Source to “A/D Input.” 3 Set the Stereo/Mono parameter to “stereo.” Stereo audio equipment (CD player, etc.) Start Guide A/D INPUT L 4 Set the Record Next to “off.” L 5 Set the Frequency to “44.1 kHz.” R 6 Select the destination track. A/D INPUT R 5 Press the [F6] button to call up the Standby display.
Step 5: Creating a Pattern loops. If this information is available, enter the appropriate values to the parameters above. Start the CD player. Since the Trigger Level is set to “1” here, sampling will begin automatically as soon as the audio signal is input from the CD player. In this example, record a one-measure drum pattern from the CD. 11 Press the [F6] button to stop sampling, then stop the CD player. The wave of the recorded audio signal will be shown on the display.
Step 5: Creating a Pattern 4 Press the keys to which the sliced sample are assigned in order (from C1 for the MOTIF XS6, E0 for the MOTIF XS7, and A-1 for the MOTIF XS8) to confirm whether or not the Sample has been sliced properly. Start Guide Listen carefully to the results. If you’re not satisfied, press the [SF4] Apply button again to abort the Slice operation and return the sample to the original status, then try the operation again.
Using a Computer Connecting to a Computer Although the MOTIF XS is exceptionally powerful and versatile all by itself, connecting it to a computer—via USB or IEEE1394 cable—provides even greater power and versatility. This feature lets you transfer audio data (via an IEEE1394 cable only) and MIDI data (via both USB and IEEE1394 cable) between the MOTIF XS and your computer. In this section you’ll learn how to make the connections. to call up the MIDI display (page 267).
Connecting to a Computer When connecting the MOTIF XS to a computer using a USB cable or an IEEE1394 cable, the MIDI ports are defined as follows: 1 http://www.yamahasynth.com/download/ n Information on system requirements is also available at the above web site. Port 1 The tone generator block in the MOTIF XS can recognize and use only this port.
Connecting to a Computer You can integrate the MOTIF XS with DAW software on a computer by connecting the mLAN equipped MOTIF XS (MOTIF XS6/7 to which the optional mLAN16E2 is installed or MOTIF XS8) to a computer in a peer-to-peer arrangement. For details, see below. Signal flow of audio and MIDI data via an IEEE1394 cable The illustration below shows the flow of audio signals and MIDI messages when connecting the MOTIF XS and a computer via an IEEE1394 cable.
Connecting to a Computer Audio signal reception (*4) Connecting to a Computer The mLAN IN Main Out Monitor L/R and mLAN IN Assignable Out Monitor L/R are available as well as the mLAN IN L/R as the mLAN audio input channel of the MOTIF XS. These channels can be used for monitoring the sound when using the DAW software on the computer.
Creating a Song by Using a Computer By connecting the MOTIF XS to your computer via USB or mLAN, you can use a DAW or sequence software on the computer to create your own original songs. This section contains an overview on how to use a DAW or sequence software on the computer with the MOTIF XS after connecting.
Creating a Song by Using a Computer 2 USB TO HOST connector Tone generator block (recognizing MIDI Channel 3 data) Local Control = off Connecting to a Computer Computer (Cubase, etc.) When connecting via a USB cable, set this to “Yamaha MOTIF XS6(7, 8)-3” or “YAMAHA MOTIF XS6(7, 8) Port3.” When connecting via an IEEE1394 cable, set this to “mLAN MIDI Out (3)” or “MOTIF XS MIDI OUT.
Integration Between Yamaha Editors and Cubase Yamaha and Steinberg have formed a partnership to develop a useful and convenient environment for effectively using Yamaha hardware (including the MOTIF XS) together with Steinberg software. This section explains how you can use Cubase 4 and the special joint Yamaha/Steinberg Studio Connections software. For more details, including the latest information and software downloads, refer to the following URL. http://www.yamahasynth.
Integration Between Yamaha Editors and Cubase MOTIF XS Editor Studio Connections What is MOTIF XS Editor? What is Studio Connections? Connecting to a Computer Studio Connections is a sophisticated software/hardware solution that lets you seamlessly integrate hardware synthesizers such as MOTIF XS and MO into your computer music system.
Controlling a DAW on Your Computer from the MOTIF XS The MOTIF XS features a highly convenient Remote Control mode which lets you control the DAW software on your computer the MOTIF XS panel (when the instrument is connected to the computer via USB).
Controlling a DAW on Your Computer from the MOTIF XS Cubase Logic 1 Pull down the [Devices] menu and select [Device Setup] to call up the “Device Setup” window. 1 2 Click the [+] button and add the “Mackie Control” or “Yamaha MOTIF XS.” Set the software to be controlled to “Logic” in the Utility mode, then press the [REMOTE ON/OFF] button so that its lamp lights to enter the Remote Control mode. 2 Start Logic on the computer.
Controlling a DAW on Your Computer from the MOTIF XS 4 Dial Function [SF6] INFO (Information) Indicates the function assigned to the data dial. The circle is shown at left of the active function. You can change the dial function by pressing the [SF4] button only when “Dial” is shown on the tab corresponding to the [SF4] button.
Basic Section Basic Structure Mode Structure In order to make operation of the MOTIF XS as smooth as possible, all functions and operations have been grouped in “modes,” many of which also have a number of “sub modes.” The MOTIF XS provides nine main modes which are divided into several sub modes. For details, see the mode table below.
Basic Structure Selecting Modes Mode and sub mode selection is accomplished by using the corresponding mode buttons. For details, see the Mode table above. To return back from the sub mode to the “parent” mode, press the [EXIT] button.
Basic Structure Tone Generator Block The tone generator block is what actually produces sound in response to the MIDI messages received from the Sequencer block, the Controller block, the Arpeggio block and from the external MIDI instrument via the MIDI IN connector or the USB connector. The structure of the tone generator block differs depending on the mode.
Waveform (AWM2) PITCH FILTER AMP Controls the pitch of the sound. Changes the tonal quality of the sound output from the PITCH unit. Controls the output level (amplitude) of the sound output from the FILTER unit. The signals are then sent at this level to the Effect block.
Basic Structure Amplitude related parameters can be set in the Amplitude display (pages 122 and 131), Amplitude EG display (page 123) and Amplitude Scale display (page 124) of the Voice Edit mode. LFO (Low Frequency Oscillator) As its name suggests, the LFO produces a wave of a low frequency. These waves can be used to vary the pitch, filter or amplitude of each Element to create effects such as vibrato, wah and tremolo.
Basic Structure Maximum Polyphony Maximum polyphony refers to the highest number of notes that can be sounded simultaneously from the internal tone generator of the instrument. The maximum polyphony of this synthesizer is 128. When the inter nal tone generator block receives a number of notes exceeding the maximum polyphony, previously played notes are cut off. Keep in mind this may be especially noticeable with Voices not having decay.
Basic Structure Scene track This track lets you record Scene change settings, such as the status of track mute and solo. These can be set in the Song Play display (page 178) and recalled during Song playback. During Song playback, the track mute and solo settings change automatically according to the settings you’ve recorded to the Scene track. You can record this track with using Realtime recording (page 186) and edit the recorded data in the Song Edit mode (page 192).
Basic Structure Tone Generator block Sequence data (Song, Pattern) Mixing Track 1 Part 1: Voice 1 Track 2 Part 2: Voice 2 Track 3 Part 3: Sample Voice Track 16 Part 16: Voice 16 Recording Audio recording Track 1 Changing the timing and velocity of the notes Track 2 Changing the timing and velocity of the notes : : Track 16 Changing the timing and velocity of the notes Tone Generator Block Sequencer Block applied to the Performance mode Performance Recording Output Audio data Sample V
Basic Structure Arpeggio Block This block lets you automatically trigger musical and rhythmic phrases using the current Voice by simply pressing a note or notes on the keyboard. The Arpeggio sequence also changes in response to the actual notes or chords you play, giving you a wide variety of inspiring musical phrases and ideas—both in composing and performing. Four Arpeggio types can be played back at the same time even in the Song mode and Pattern mode.
Basic Structure See page 64 for more details. n Combining these two kinds of Arpeggios types (named “***_ES” and “***_XS”) in performances when creating Songs and Patterns allows tremendous interactivity and creative freedom.
Basic Structure Using the knobs to control Arpeggios When the ARP FX lamp is turned on by pressing the [SELECTED PART CONTROL] button a few times, you can use the knobs to control Arpeggio playback. Try this out and listen for the changes in the sound. For details, see page 90. Press this button a few times so that the lamp lights.
Basic Structure or “thru+direct,” a different sequence is played back depending on the order you play the notes. n Since these types are programmed for Normal Voices, using them with Drum Voices may not give musically appropriate results. Tips for Arpeggio playback Arpeggio playback in the Voice Play mode Try out the Arpeggio playback assigned to the preset Voice. In the Voice Play mode, make sure that the [ARPEGGIO ON/OFF] button is lit, then play any note to trigger Arpeggio playback.
Basic Structure When the Arpeggio With Voice Switch parameter is set to “on,” the Voice appropriate for this Arpeggio type is automatically selected. Arpeggio playback/recording in the Performance mode Call up some of the Performances in User Banks 1 – 3, and play some of the Arpeggios assigned by default to the Performances. In the Performance mode, each of four Arpeggio types is assigned to each of four Parts. This means up to four Arpeggio types can be played back simultaneously.
Basic Structure Controller Block This block consists of the keyboard, Pitch Bend and Modulation Wheels, Ribbon Controller, Knobs, Sliders and so on. The keyboard itself doesn’t generate sounds, but instead generates/transmits note on/off, velocity and other information (MIDI messages) to the synthesizer’s tone generator block when you play notes. The controllers also generate/transmit MIDI messages.
Basic Structure Knobs and Sliders These eight knobs let you change various aspects of the Voice’s sound in real time—while you play. The eight sliders let you adjust the volume of the Voice Elements, Performance Parts and Mixing Parts. For more information about how to use the knobs and sliders in the respective modes, see page 90 (Voice mode), page 136 (Performance mode), and page 180 (Song/Pattern mode).
Basic Structure Effect connection in each mode In the Voice mode 1 Voice 2 Element or Drum Key Element EQ 3 4 Insertion A 5 6 Master Effect Master EQ Insertion B Return Level Element 1 – 8 Drum Key C0 – C6 AD Part (set in the Utility mode) Reverb Chorus To Reverb Send Level 4 Determines the Send Level/Return Level to/ from the Reverb/Chorus and the signal level sent from the Chorus to the Reverb.
Basic Structure 1 Sets the Part EQ parameters applied to each part in the EQ display (page 144) of Performance Part Edit. 3 Selects the Master Effect type and sets the Effect parameters in the Master Effect display (page 146) of Performance Common Edit. 2 Determines the Send Level/Return Level to/ from the Reverb/Chorus and the signal level sent from the Chorus to the Reverb. 4 Sets the Master EQ parameters in the Master EQ display (page 146) of Performance Common Edit.
Basic Structure ✔ Reverb emulating the acoustics of a concert hall derived from the Yamaha SPX1000. REV-X ROOM ✔ – – Reverb emulating the acoustics of a room using the REV-X technology. R3 ROOM ✔ – – Description Reverb emulating the acoustics of a room using the algorithm derived from the Yamaha ProR3. SPX ROOM ✔ ✔ ✔ Reverb emulating the acoustics of a room derived from the Yamaha SPX1000. R3 PLATE ✔ – – Reverb emulating a metal plate using the algorithm derived from the Yamaha ProR3.
Basic Structure Compressor Effect Type Compressor is an effect commonly used to limit and compress the dynamics (softness/loudness) of an audio signal. For signals that vary widely in dynamics, such as vocals and guitar parts, it “squeezes” the dynamic range, effectively making soft sounds louder and loud sounds softer. When used with gain to boost the overall level, this creates a more powerful, more consistently high-level sound.
Basic Structure VCM Equalizer 501 Preset settings can be selected here. This effect emulates the characteristics of analog equalizers used in the 1970s, recreating a warm, highquality flanger effect. VCM Flanger These effects emulate the characteristics of analog flanger used in the 1970s, recreating a warm, high-quality flanger effect. VCM Phaser Mono, VCM Phaser Stereo This effect emulates the characteristics of analog phasers used in the 1970s, recreating a warm, high-quality phaser effect.
Basic Structure Parameter name Descriptions Depth When phaser type is selected, this parameter determines the amplitude of the LFO wave which controls the cyclic change of the phase modulation. Detune Determines the amount of pitch to be detuned. Device Selects the device for changing how to distort the sound. Diffusion Determines the spread of the selected effect. Direction Determines the direction of the modulation controlled by the envelope follower.
Basic Structure Parameter name Descriptions Presence This parameter of the guitar amp effect controls high frequencies. Ratio Determines the ratio of the compressor. Meter Changes the meter. Release Determines the amount of time that elapses between the releasing of a key and the end of the compressor effect. Mic Gate Threshold Determines the threshold level of the noise gate for the microphone sound. Release Curve Determines the release curve of the envelope follower.
Basic Structure About MIDI MIDI (Musical Instrument Digital Interface) is a standard which allows electronic musical instruments to communicate with each other, by sending and receiving compatible Note, Control Change, Program Change and various other types of MIDI data, or messages. This synthesizer can control other MIDI devices by transmitting note related data and various types of controller data.
Basic Structure three events are used to select Voices, they are grouped and described here. Bank Select MSB and LSB select the Voice Bank. The program number selects a Voice from the Voice category and bank specified by the MSB and LSB. For a list of the Voices, see the separate Data List booklet. When you specify a program change as a number in the range of 0 – 127, specify a number that is one less than the program number listed in the Voice List.
Basic Structure Channel Aftertouch (CAT) Used primarily as offset values for vibrato, filter, EG and other settings. Data Entry is used to set the parameter value after specifying the parameter using the NRPN MSB and LSB. Once an NRPN is specified, the following data entry message received on the same channel is processed as the value of that NRPN. Prevent operational errors by transmitting an RPN Null message (7FH, 7FH) after using these messages to perform a control operation.
Basic Structure Non-Registered Parameter Number (NRPN) the independent control change parameters rather than the NRPN. n This MIDI event cannot be handled by the tone generator block, although it can be recorded to a Song/Pattern track. System Exclusive Data entry MSB-LSB Data Internal Memory As you use the MOTIF XS, you will create many different kinds of data, including Voices, Performances, Songs, and Patterns.
Basic Structure Memory Structure This diagram details the relationship among the functions of the MOTIF XS and the internal memory and external devices such as USB storage device and computer.
Basic Operation SF2 1 EXIT ENTER Changing (editing) parameter values Rotating the data dial to the right (clockwise) increases the value, while rotating it to the left (counter-clockwise) decreases it. For parameters with large value ranges, you can increase the value by 10 by simultaneously holding down the [INC/YES] button and pressing the [DEC/NO] button. To decrease by 10, do the opposite; simultaneously hold down the [DEC/NO] button and press the [INC/YES] button.
Basic Operation This indicates that you can call up the List by pressing the [SF6] LIST button. Naming (Inputting Characters) Basic Structure You can freely name the data you’ve created, such as Voices, Performances, Songs, Patterns and files saved to a USB storage device. When the cursor is located on such a naming parameter, the CHAR icon appears at the lower right corner of the display. When pressing the [SF6] button in this status, the Input Character window appears as shown below.
Connections n For the external connections depicted below, you will also need speakers or headphones to listen to the sound. See “Start Guide” on page 19. Connecting External MIDI Instruments With a standard MIDI cable (available separately), you can connect an external MIDI instrument, and control it from the MOTIF XS. Likewise, you can use an external MIDI instrument (such as a keyboard or sequencer) to control the sounds of the MOTIF XS.
Connections Controlling another MIDI device via MIDI THRU The playback data of an external MIDI sequencer is used to play the sounds of another MIDI instrument (connected to the MIDI THRU connector) along with the MOTIF XS. The MIDI THRU connector simply redirects any received MIDI data (via MIDI IN) to connected instrument.
Connections Controlling an MTR by using MMC transmitted from the MOTIF XS You can control the start/stop and fast forward/rewind of an MMC-compatible MTR from the SEQ TRANSPORT buttons on the front panel of this synthesizer, outputting MMC messages via MIDI. MIDI IN MIDI IN SEQ TRANSPORT LOCATE 1 MIDI OUT MIDI OUT 2 MOTIF XS AW2400, etc.
Connections Protecting your data (write-protect) To prevent important data from being inadvertently erased, apply the write-protect provided with each storage device or media. Network connection LAN connection The MOTIF XS can be connected to a LAN network via the ETHERNET cable. When the MOTIF XS is connected to the LAN network, the File mode lets you save the file created on the MOTIF XS to the computer drive connected to the same network. Connect the MOTIF XS to the router or hub with a LAN cable.
Connections parameters 5 – 9 are not necessary. Set this parameter to “off,” if your network does not use a device with the DHCP server function. below. Here, enter the User Account of your computer to the User Name box, enter the password of your computer to the Password box, then press the [ENTER] button so that the access between the MOTIF XS and the computer is established. The shared directories of the selected computer are listed in the Sharing Point box (2).
Reference Playing the Keyboard in the Voice Play Mode Voice mode The Voice mode is used for selecting, playing, and editing a desired Voice. The Voice Play mode is the main ‘portal’ by which you enter the Voice mode, and it is here where you select and play a Voice. Some of the Voice settings can also be edited in this mode. To call up the Voice Play display and enter the Voice mode, simply press the [VOICE] button. Performance mode appear on the display.
Playing the Keyboard in the Voice Play Mode 4 Register the Voice to the Favorite Category. Press the [F5] button to register the Voice and turn on the Favorite Switch. A checkmark appears in the box to the left of the Voice name, indicating that the Voice has been included in the Favorite Category. (Pressing the [F5] button again turns the checkmark off, clearing the selected Voice from the Favorite Category.
Playing the Keyboard in the Voice Play Mode Knob Functions [SELECTED PART CONTROL] button Voice mode SELECTED PART CONTROL 1TONE 1 CUTOFF 2TONE 2 EQ LOW EQ MID F EQ SWING QUANTIZE VALUE QUANTIZE STRENGTH 3ARP FX RESONANCE AT TACK MID DECAY SUSTAIN RELEASE ASSIGN 1 ASSIGN 2 EQ MID Q EQ HIGH PAN REVERB CHORUS GATE TIME VELOCITY OCT RANGE UNITMULTIPLY TEMPO REVERB CHORUS PAN Knob 1 CUTOFF Raises or lowers the Filter Cutoff Frequency (page 94) to adjust the tone brilliance.
Playing the Keyboard in the Voice Play Mode Control Slider functions Using the Arpeggio function You can set the MIDI transmit channel over which the keyboard/controller performance sends MIDI data (to an external sequencer, tone generator, or other device). The Arpeggio function lets you trigger rhythm patterns, riffs and phrases using the current Voice by simply playing notes on the keyboard. For instructions on using the Arpeggio, refer to the Start Guide on page 24.
Playing the Keyboard in the Voice Play Mode Voice mode Performance mode Sampling mode 1 Song mode Pattern mode Mixing mode Reference Sampling mode 2 Master mode Utility mode File mode 92 1 Voice Bank 3 Category (Main Category 1/Main Category 2) Indicates the Bank of the current Voice. The Voice Bank is the memory that includes data of Normal Voices and Drum Voices. There are 15 Voice Banks as follows. Indicates the Main Category of the selected Voice.
% [F6] Effect Indicates the status (active/inactive) of the eight Elements making up the current Voice. Elements that are active are indicated by their corresponding numbers. An asterisk “*” indicates the corresponding Element is muted although the Element Switch parameter is turned on. A hyphen “-” indicates the corresponding Element Switch parameter is turned off. Pressing this button calls up the Effect Connect display (page 107) of the Voice Common Edit mode.
Playing the Keyboard in the Voice Play Mode Applying the Portamento to the Voice Follow the instructions below to apply the Portamento to the current Voice you play on the keyboard. 1 AEG (Amplitude EG) Using the AEG, you can control the transition in volume from the moment the sound starts is to the moment the sound stops. Attack (Attack Time) Voice mode 1 Press the [VOICE] button to enter the Voice Play mode. Performance mode Select a Voice to which the Portamento is applied.
Playing the Keyboard in the Voice Play Mode 1 2 3 4 Settings: Gain Determines the level gain for the Frequency (set above), or the amount the selected frequency band is attenuated or boosted. The higher the value, the greater the Gain. The lower the value, the lesser the Gain. Song mode 6 7 8 9 5 Arpeggio Type Name Settings: -12.00 dB – +0.00 dB – +12.00 dB Q (Bandwidth) Determines the Q (bandwidth) for the Mid band. The higher the value, the smaller the bandwidth.
Editing a Normal Voice Voice mode “Editing” refers to the process of creating a Voice by changing the parameters that make up the Voice. This can be done in Voice Edit, a sub mode within the Voice mode. To enter the Voice Edit mode, press the [VOICE] button to first call up the Voice mode, then press the [EDIT] button.
Editing a Normal Voice When the [E] indicator is shown in the Voice Play mode, press the [EDIT] button to enter the Voice Edit mode then press the [EDIT] button again to call up the Compare mode. Convenient functions for editing Voices Compare indicator (sound prior to editing) 12 13 14 PART SELECT 9 10 11 7 PERFORMANCE CONTROL ARP ON/OFF PART MUTE 15 TRACK 8 MUTE 16 SOLO Compare the edited sound with the unedited sound as desired by repeating steps 1 and 2.
Editing a Normal Voice Common Edit parameters [VOICE] ➞ Normal Voice selection ➞ [EDIT] ➞ [COMMON EDIT] Common Edit lets you edit the parameters common to all Elements of the selected Normal Voice. Voice mode About the asterisk (*) marks For users who are new to Voice editing and may be confused by the large amount of parameters, the most basic and easy-to-understand parameters are conveniently marked with asterisks. If you are just starting out with Voice editing, try these parameters first.
Editing a Normal Voice Determines the maximum Pitch Bend range in semitones. Setting the Upper parameter to +12 would result in a maximum pitch rise of one octave when the Pitch Bend wheel is moved upwards. On the other hand, the Lower setting of -12 would result in the pitch being lowered up to a maximum of one octave (12 semitones) when the Pitch Bend wheel is moved downwards.
Editing a Normal Voice ) Key Assign Mode Voice mode When this is set to “single,” double playback of the same note is prevented. This is useful when two or more instances of the same note are received nearly simultaneously, or without a corresponding note off message. To allow playback of each instance of the same note, set this to “multi.
Editing a Normal Voice n Please keep in mind that no sound is produced when the Key Mode is set to “sort” or “thru” and notes are played outside the Note Limit setting here. Determines whether Arpeggio is on or off. When calling up a Voice for which the Common Switch is set to on, the [ARPEGGIO ON/OFF] button on the panel will be turned on automatically. 7 Key Mode Determines how the Arpeggio plays back when playing the keyboard.
Editing a Normal Voice 8 Velocity Mode % Velocity Rate Adjusts the velocity of the Arpeggio notes. The Arpeggio plays back at the preset velocities included in the Arpeggio sequence data. Determines the offset value by which the Arpeggio notes will be shifted from their original velocities. If the resultant velocity value is less than zero it will be set to 1, and if the resultant velocity is greater than 128 it will be set to 127. This parameter can be changed via the Knob directly.
5 Velocity Rate Settings: off, 1 – 127 Determines how much the velocity of the Arpeggio playback is offset from the original value. For example, a setting of 100% means the original velocities are used. Settings below 100% will reduce the velocities of the Arpeggio notes, whereas settings above 100% will increase the velocities. If the resultant velocity value is less than zero it will be set to 1, and if the resultant velocity is greater than 128 it will be set to 127.
Editing a Normal Voice Controller settings—[F4] Ctrl Set (Controller Set) Voice mode Performance mode Sampling mode 1 The controllers such as knobs on the front panel can be used to change and adjust a variety of parameters for each Voice—in real time, and simultaneously. For example, keyboard aftertouch can be used to control vibrato and the Modulation Wheel could be used to control tonal brightness.
Editing a Normal Voice 5 Graph (Indication only) 4 Phase The horizontal axis indicates the value generated via the Source of the selected Set, whereas the vertical axis indicates the degree to which the Destination parameter is affected. Determines the starting phase point for the LFO Wave when it is reset. Determines whether or not the LFO speed is synchronized to the tempo of the Arpeggio or sequencer (Song or Pattern).
Editing a Normal Voice each-on The LFO resets with each note you play and starts a waveform at the phase specified by the Phase parameter (above). Time Voice mode Key On (first note) Key On (second note) From this display you can select the destination parameter for the LFO (which aspect of the sound the LFO controls), the Elements to be affected by the LFO, and the LFO Depth. Three Destinations can be assigned, and you can choose from several parameters per Destination.
Editing a Normal Voice to 0, and if the resultant Control Depth value is greater than 127 it will be set to 127. n You can use the [SF5] Random button to call up the base wave at random. Each time you press the [SF5] Random button, a different LFO wave appears on the display randomly. Settings: 0 – 127 Determines the offset values of the Phase parameter in the [SF1] Wave display for the respective Elements.
Editing a Normal Voice Voice mode 1 Element Out 1 – 8* 5 Chorus (Chorus Category/Type)* Determines which Insertion Effect (A or B) is used to process each individual Element. The “thru” setting lets you bypass the Insertion Effects for the specified element. When INSERTION CONNECT (2) is set to “ins L,” the signal from each Element is output to the Insertion L regardless of the setting here. Selects a Chorus Effect type after selecting a category.
Editing a Normal Voice From the Category column, you can select one of the Effect Categories each of which contains similar Effect types. From the Type column, you can select one of the Effect Types listed in the selected Category. From these displays, you can set the Effect related parameters when the INSERTION CONNECT parameter (2) is set to “parallel” or “ins A F B” or “ins B F A.” Settings: Details about the Effect categories and types are described on page 70.
Editing a Normal Voice 8 Formant Shift 1 Voice mode Performance mode 2 3 4 5 6 7 8 9 ) ! @ # $ Settings: -2, -1, +0, +1, +2 % 9 Formant Offset Adjusts the cutoff frequencies of all BPFs (for the Inst Input) finely. This parameter can be used to adjust the pitch of the Vocoder sound finely. Settings: -63 – +0 – +63 1 Type Sampling mode 1 Determines whether or not the Vocoder is applied to the current Voice. When set to “Thru,” the Vocoder is not applied to the Voice.
Editing a Normal Voice 5 Input your voice to the microphone while pressing the note(s) to generate the machine-like Vocoder sound. Press the [SF2] button to call up the Insertion L display, then set the related parameters while listening to the Vocoder sound. Mic Input Creating the Formant Set the Vocoder related parameters if necessary. Robot Voice 6 Vocoder Press the [STORE] button to call up the Store window (page 97) then store the edited Voice.
Editing a Normal Voice Element Edit parameters [VOICE] ➞ Normal Voice selection ➞ [EDIT] ➞ [1] – [8] If you wish to edit the sounds that make up a Voice and the basic parameters that determine the sound, such as Oscillator, Pitch, Filter, Amplitude, and EG (Envelope Generator), call up the Element Edit display.
Editing a Normal Voice When this is selected, the Element will sound when both of the ASSIGNABLE FUNCTION buttons are turned off. AF 1 on When this is selected, the Element will sound when the ASSIGNABLE FUNCTION [1] button is turned on. AF 2 on When this is selected, the Element will sound when the ASSIGNABLE FUNCTION [2] button is turned on. Expanded Articulation (XA) features 4 Wave Bank (Waveform Bank)* Determines the Waveform Bank assigned to the Element, Preset or User.
Editing a Normal Voice ) Vel Cross Fade (Velocity Cross Fade) Voice mode Performance mode This determines how gradually the sound of an Element decreases in volume in proportion to the distance of velocity changes outside the Velocity Limit setting ()). A setting of 0 produces no sound outside the Velocity Limit. The higher the value, the more gradual the level decreases.
Editing a Normal Voice 6 Pitch Key Follow Pitch Determines the sensitivity of the Key Follow effect (the pitch interval of adjacent notes), assuming the pitch of the Center Key (7) as standard. At +100% (the normal setting), adjacent notes are pitched one semitone (100 cents) apart. At 0%, all notes are the same pitch specified as the Center Key. For negative values, the settings are reversed.
Editing a Normal Voice 7 Attack Level Determines the normal pitch of the pressed note. 8 Decay 1 Level Voice mode Determines the level which the pitch of sound reaches from the Attack Level after the Decay1 time elapses. 9 Decay 2 Level Performance mode Determines the sustain-level pitch which will be maintained while a note is held. ) Release Level Determines how the PEG transition time (speed) responds to velocity, or the strength with which the note is pressed.
Editing a Normal Voice & Center Key About Filter Types Positive value Negative value Faster speed LPF24D +63 +30 Lower range A dynamic 24 dB/oct low-pass filter with a characteristic digital sound. Compared to the LPF24A type (below), this filter can produce a more pronounced resonance effect. Higher range -40 These frequencies are “passed” by the filter.
Editing a Normal Voice BPF6 Dual BEF The combination of a -6 dB/oct HPF and LPF. Two -6 dB/oct band-elimination filters connected in parallel. Level Level Cutoff range Cutoff range Range passed Distance (9) Cutoff range Resonance (4) Voice mode Frequency Range passed Cutoff Frequency (2) Performance mode BPFw Cutoff Frequency Frequency Only the lower cutoff frequency is set directly on the display. A 12 dB/oct BPF that combines HPF and LPF filters to allow wider bandwidth settings.
Determines the degree to which the notes (specifically, their position or octave range) affect the Cutoff Frequency (set above) of the HPF. A positive setting will lower the Cutoff frequency for lower notes and raise it for higher notes. A negative setting will have the opposite effect. When a filter type “LPF12” or “LPF6” is selected, this parameter is available. Settings: -200% – 0% – +200% @ Center Key 6 Gain Determines the Gain of the signal sent to the filter. The lower the value, the lower the Gain.
Editing a Normal Voice 8 Decay 1 Level Pitch Determines the level which the cutoff frequency reaches from the Attack Level after the Decay1 time elapses. 7 Attack Level 8 Decay1 Level 6 Hold Level Voice mode 9 Decay2 Level 9 Decay 2 Level ) Release Level 0 Performance mode 1 Hold Time 2 Attack Time 3 Decay1 Time Pressing the key (Key on) 4 Decay2 Time 5 Release Time Time Releasing the key (Key off) Determines the cutoff frequency which will be maintained while a note is held.
Editing a Normal Voice Playing softly (Low velocity) Fast speed Slow speed % EG Time Velocity Sens Segment (EG Time Velocity Sensitivity Segment) Determines the part of the Filter EG which the EG Time Velocity Sensitivity ($) affects. Higher range -40 Slower speed Center key n You can also set the note directly from the Keyboard, by holding down the [SF6] button and pressing the desired key. See “Basic Operation” on page 82.
Editing a Normal Voice Setting example of Filter Scaling Voice mode The best way to understand Filter Scaling is by example. For the settings shown in the example display below, the basic Cutoff frequency value is 64, and the various Offset values at the selected Break point settings change that basic value accordingly. The specific changes to the Cutoff frequency are shown in the diagram below. The Cutoff frequency changes in a linear fashion between successive Break Points as shown.
Editing a Normal Voice 8 Alternate Pan Time* Determines the amount by which the sound is panned alternately left and right for each note you press, assuming the pan position set above as center. Higher values increase the width of the Pan range. The Time parameters let you set the time between the adjoining points of the level parameters below. A higher value results in a longer time until reaching the next level. Level Determines how quickly the sound decays to silence after the key is released.
Editing a Normal Voice ) Half Damper Time Voice mode Performance mode Sampling mode 1 Determines how quickly the sound decays to silence after the key is released while holding down the Foot Controller FC3 with the Half Damper Switch parameter (9) turned on. After releasing the key, you can control the decay time of the sound via the Foot Controller position, with the Half Damper Time of the AEG being the maximum decay value and the Release Time of the AEG being the minimum decay value.
Editing a Normal Voice 5 – 8 Offset 1 – 4 off Determines the offset value to the level at each Break Point. Settings: -128 – +0 – +127 The LFO cycles freely with no key synchronization. Pressing a key starts the LFO wave at whatever phase the LFO happens to be at that point. +17 +4 Determines the amount of time for the LFO effect to fade in after the Delay time has elapsed. A higher value results in a slower fade-in.
Editing a Normal Voice Equalizer (EQ) Settings—[F6] EQ From this display, you can set the EQ parameters for each Element. Voice mode 1 Type When the EQ Type is set to “PEQ” The Parametric EQ for the single band is used to attenuate or boost signal levels (gain) around the Frequency. This type features 32 different “Q” settings, which determine the frequency band width of the equalizer. Performance mode Determines the EQ Type.
“Editing” refers to the process of creating a Voice by changing the parameters that make up the Voice. This can be done in Voice Edit, a sub mode within the Voice mode. In this section, we’ll show you how to edit a Drum Voice. To enter the Drum Voice Edit mode, press the [VOICE] button to enter the Voice mode, select a Drum Voice, then press the [EDIT] button. Common Edit display Each Drum Voice can consist of up to 73 Drum Keys, assigned to notes spread across the keyboard (C0 to C6).
Editing a Drum Voice CAUTION The edited Voice will be lost when selecting the different Voice or turning the power off. Make sure to store the Voice data to the internal memory by pressing the [STORE] button before selecting a different Voice or turning the power off. Voice mode n If desired, save the edited and stored Voices to a USB storage device connected to the USB TO DEVICE connector or a computer connected to the network to which the MOTIF XS is also connected.
Editing a Drum Voice % REV SEND (Key Reverb Send) 6 ) @ Settings: 0 – 127 n When the Insertion Effect Out parameter (1) is set to “Ins A” or “Ins B,” you can determine the level of the Drum Key sound (output from Insertion Effect A or B) that is sent to the Reverb effect by setting the value of the Insertion Reverb Send parameter indicated only in this case.
Editing a Drum Voice 3 Wave Bank (Waveform Bank)* 9 Ins Effect Output (Insertion Effect Output) Determines the Waveform Bank assigned to the Drum Key, Preset or User. User Waveforms can be created based on the samples recorded in the Sampling mode. Determines which Insertion Effect (A or B) is used to process each individual Drum Key. This parameter is same as the Ins Effect Output in the Connect display (page 107) in Voice Common Edit.
Editing a Drum Voice Settings: -64 – +0 – +63 Settings: -200% – +0% – +200% 3 Resonance* Determines the emphasis given to the Cutoff Frequency to add further character to the sound. Higher values result in a more pronounced effect. Settings: 0 – 127 Normally in the Drum Voice Edit mode, pressing a note on the keyboard alternates the key (instrument) being edited automatically.
Editing a Drum Voice 4 Alternate Pan Determines the amount by which the sound is panned alternately left and right for each note you press, assuming the pan position set above as center. Higher values increase the width of the Pan range. Voice mode Settings: L64 – C – R63 5 Random Pan Performance mode Determines the amount by which the sound of the selected Drum Key is panned randomly left and right for each note you press. The Pan setting (above) is used as the Center Pan position.
Voice Job—Convenient Functions To cancel the Job, press the [DEC/NO] button. 5 Press the [INC/YES] button to execute the Job. After the Job has been completed, a “Completed” message appears and operation returns to the original display. 6 When a Normal Voice is selected: 1 Mixing mode Press the [ENTER] button. (The display prompts you for confirmation.) 2 3 4 Sampling mode 2 4 Press the [VOICE] button to return to the Voice Play mode.
Voice Job—Convenient Functions When a Drum Voice is selected: 1 Voice mode 2 5 6 7 Determines the Bank and the Voice number to be copied. The available parameters will vary depending on the type of Voice currently selected (Normal/Drum). This parameter cannot be set when the Current Voice (2) is turned on. 2 Current Voice Performance mode When this is set to on, the currently selected Voice (the one you are editing now) is selected as source.
The Solo function is the opposite of Mute, and lets you instantly solo a specific Part and mute all others. 2 4 5 6 12 13 14 PART SELECT 9 10 11 PART MUTE 1 Turning specific Parts on/off (Mute function) 16 MUTE ARP HOLD SOLO 1 Press the [SOLO] button. The SOLO lamp lights, indicating that Solo is enabled. 2 Press any of the Number buttons [1] – [4]. The lamp of the pressed button will flash and only the corresponding Part will be sounded.
Playing in the Performance Mode Turning Arpeggio playback on/off for each Part Voice mode You can turn Arpeggio playback on or off for each Part of the Performance as described below. 1 2 1 2 3 4 5 6 12 13 14 PART SELECT Performance mode 9 10 11 15 TRACK 8 PERFORMANCE CONTROL ARP ON/OFF PART MUTE 1 7 16 MUTE SOLO ARP HOLD Press the [PERFORMANCE CONTROL] button.
Playing in the Performance Mode Adjusts the pan position for Parts 1 – 4 n If the [E] (Edit) indicator appears at the top right of the display when you adjust the Knobs, the current Performance can be stored (page 142) as a new User Performance. Changing a Part to be controlled You can change a Part to be controlled by Knob operations via any of the following instruction. 1 Turn the [PERFORMANCE CONTROL] lamp on by pressing the [SELECTED PART CONTROL] button to call up the Control Function window.
Playing in the Performance Mode 6 Octave Indicates Keyboard Octave setting set via the OCTAVE buttons. This parameter determines how much higher or lower the pitch of each key is compared to normal pitch. Voice mode This display indicates the information of the current Performance. Settings cannot be changed here. 7 Control Function Indicates the status of the Knobs and Control Sliders on the panel. This is same as the Control Function window (page 136).
Playing in the Performance Mode 2 FEG (Filter EG) Determines the transition in tonal brilliance from the moment a key is pressed to the moment at which it is released. The FEG consists of four parameters: Attack time, Decay time, Release time, and Depth. For details, see page 94. Settings: -64 – +0 – +63 Determines whether the Part is used (on) or not used (off). 3 Filter 2 Voice Bank 3 Voice Number 4 Voice Name You can produce a relatively bright or darker sound by reducing or enhancing the harmonics.
Playing in the Performance Mode 2 Tempo Determines the Arpeggio Tempo. For details, refer to the Arpeggio Main display (page 154) of Part Edit. 3 Sync Quantize Value Voice mode Performance mode Determines the actual timing at which the next Arpeggio playback starts when you trigger it while the Arpeggio of a certain Part is played back. When set to “off,” the next Arpeggio starts as soon as you trigger it. Note that the number shown at right of each value indicates the resolution in clocks.
7 Key On Start Switch ) Track Status (Indication only) When set to on, recording starts immediately when you press any note on the keyboard. Indicates whether each track of the selected Song or Pattern section contains sequence data or not. Settings: on, off Indicates this display is in the Common Edit mode. Performance Edit Common Edit Part Edit 1 – 4 Lets you edit the parameters common to all Parts of the selected Performance.
Editing a Performance 6 Edit the value by using the [INC/YES], [DEC/ NO] buttons and the data dial. Compare function Voice mode 7 Repeat steps 3 – 6 as desired. The Compare function lets you switch between the justedited Performance and its original, unedited condition, allowing you to hear how your edits affect the sound. 8 Enter the desired name for the edited Performance. 1 Performance mode Use the Name display (page 143) of the Performance Common Edit mode.
Editing a Performance Press the [ENTER] button. (The display prompts you for confirmation.) For users who are new to editing and may be confused by the large amount of parameters, the most basic and easy-to-understand parameters are conveniently marked with asterisks in this section. If you are just starting out with editing a Performance, try these parameters first.
Editing a Performance Main SpLyr Voice mode FX Sub Splits & Layers FX Performance mode NoAsg No Assignment WWind Woodwind Brass Brass Guitr Guitar Bass Bass Cperc Chromatic Percussion Pad Pad NoAsg No Assignment Seq Sequence Hard Hard Soft Soft Gain 7 + 0 Sound Effect NoAsg No Assignment NoAsg No Assignment Sampling mode 1 n You can call up the list and select the desired item by pressing the [SF6] LIST button. For details, see page 82.
Editing a Performance 8 ARP Sync Quantize Value Settings: tone1, tone2, ARP FX, reverb, chorus, pan 2 Assign 1 Value 3 Assign 2 Value Indicates the level of the Knobs printed “ASSIGN1” and “ASSIGN2” at the time at which the Performance is selected with the TONE1 lamp turned on. The functions assigned to the Knobs are indicated at right of the values respectively. 1 2 3 4 1 Volume* Determines the output level of the entire Performance.
Editing a Performance Gain Master Effect settings—[SF2] MasterFX Q (frequency bandwidth) + 1 2 3 0 Voice mode Frequency – 4 5 bands Low Lo-Mid Mid Hi-Mid High Performance mode 1 Shape Sampling mode 1 Enables you to select one of two equalizer shapes: shelving or peaking. This parameter is available for Low and High. Song mode n Depending on the selected parameter, the LIST icon is shown at the tab menu corresponding to the [SF6] button.
Editing a Performance – Frequency n When the Shape parameters (1) of the Low and High are set to “shelv,” the Q parameters (4) of the Low and High are not available. 5 A. Function 1 Control No. A. Function 2 Control No. Determines the Control Change numbers generated when you press the ASSIGNABLE FUNCTION buttons. Settings: 00 – 95 6 Breath Controller Control No. 1 2 3 4 5 6 1 Ribbon Controller Control No.
Editing a Performance R mono Only the R channel of the audio input is used. L+R mono The L and R channels of the audio input are mixed and processed in mono. stereo Voice mode Both the L and R channels of the audio input are used. 4 Output Select Performance mode Determines the output jack assignment for the Audio Input Part. From this display, you can set the Insertion Effect Types applied to the Audio Input signal in the Performance mode.
Editing a Performance 4 From the Category column, you can select one of the Effect Categories each of which contains similar Effect types. From the Type column, you can select one of the Effect Types listed in the selected Category. Settings: Details about the Effect categories and types are described on page 70. 5 6 7 n Depending on the selected parameter, the LIST icon is shown at the tab menu corresponding to the [SF6] button.
Editing a Performance 6 Reverb Return 1 Type Determines the Return level of the Reverb Effect. From the Type column, you can select one of the Effect Types listed in the selected Category. Settings: 0 – 127 Settings: Details about the Effect types are described on page 70. 7 Reverb Pan Voice mode Determines the pan position of the Reverb effect sound. Performance mode You can set various parameters in order to change how the sound is affected by the selected Effect type.
Editing a Performance Part Edit parameters The display for the currently selected Part 5 6 7 4 8 9 ) ! @ # SF5 $ % 1 Part Switch* Settings: off (inactive), on (active) 2 Bank* 3 Number* Determines the Voice assigned to the current Part by specifying the Voice Bank and Number. n You can call up the list and select the desired item by pressing the [SF6] LIST button. For details, see page 82. The display for all four Parts of the current Performance 4 Param.
Editing a Performance copied when a Drum Voice is selected. However, these parameters are copied when a Normal Voice is selected. Settings: off (not copied), on (copied) # Portamento Mode Determines how Portamento is applied to your keyboard performance. Settings: fingered, fulltime 5 Volume* Voice mode Determines the volume for each Part. Use this parameter to adjust the balance between the current Part and other Parts.
Editing a Performance 3 Dry Level Determines the level of each Part which has not been processed with the System Effects (Reverb, Chorus). The higher the value, the shallower the Reverb and Chorus. Other Settings—[SF3] Other Determines the specific output(s) for the individual Part. You can assign each individual Part’s Voice to be output from a specific hardware output jack on the rear panel. 3 4 Performance mode 4 Output Select Voice mode 1 2 Settings: 0 – 127 Settings: See the table below.
Editing a Performance When Depth (above) = 64 and Offset =32 When Depth (above) = 64 and Offset =96 127 127 Voice mode 0 64 127 Velocity with which you play a note 0 3 Change Timing* 64 127 Velocity with which you play a note Performance mode When Depth (above) = 64 and Offset =64 127 Sampling mode 1 4 Velocity Limit 64 127 Song mode Velocity with which you play a note Pattern mode Mixing mode Reference Arpeggio Settings—[F2] ARP Main (Arpeggio Main) This display determines the basic
Editing a Performance n If you are using this instrument with an external sequencer, MIDI computer, or other MIDI device, and you want to synchronize it with that device, set the MIDI sync (5) parameter in the MIDI display (page 267) of the Utility mode to “MIDI” or “auto.” In this case, the Tempo parameter here indicates “MIDI” or “auto” and cannot be changed. @ Bank* 8 Key Mode Settings: PRE, USR Note events of the Arpeggio sequence do not play; only the notes you play on the keyboard are heard.
Editing a Performance Arpeggio settings—[F3] ARP Other (Arpeggio Other) Voice mode By changing the timing and velocity of the notes, you can change the rhythmic “feel” of the Arpeggio playback. Performance mode 1 2 3 4 5 6 7 8 9 ) ! @ # $ % ^ Settings: -120 – +120 5 Velocity Rate Determines how much the velocity of the Arpeggio playback is offset from the original value. For example, a setting of 100% means the original values are used.
Editing a Performance Some preset Arpeggio types include the special sequence data called “Accent Phrase,” which will be played back only when the velocities higher than a specified value are received. This parameter determined the minimum velocity that will trigger the Accent Phrase. EG Settings—[F4] EG You can control the sound transition from the moment a key is pressed to the moment at which it is released. You can also adjust the tone brilliance by setting the Cutoff Frequency and Resonance.
Editing a Performance Release (Release Time) 1 Frequency Determines how fast the Cutoff Frequency falls from the sustain level to zero when a note is released. Determines the center frequency. Frequencies around this point are attenuated/boosted by the Gain setting below. Higher values produce higher frequencies. Depth Voice mode Determines the range over which the cutoff frequency of the Filter EG changes. A setting of 0 will cause the cutoff frequency not to change.
Performance Job—Convenient Functions Press the [ENTER] button. (The display prompts you for confirmation.) Press the [INC/YES] button to execute the Job. After the Job has been completed, a “Completed” message appears and operation returns to the original display. 6 Press the [PERFORM] button to return to the Performance Play mode. CAUTION Even if you execute the Job, selecting a different Performance or turning the power off without storing will erase the Performance data.
Performance Job—Convenient Functions Performance Copy function—[F3] Copy Voice mode Copying parameter settings from another Performance—[SF1] Part Performance mode This convenient operation lets you copy Common Edit and Part Edit settings of a certain Performance to the currently edited Performance. This is useful if you are creating a Performance and wish to use some parameter settings of another Performance.
The Sampling mode structure Sample, Key Bank and Waveform Samples are assigned and stored to Waveforms on the MOTIF XS. Before you can actually record a Sample or load a Sample from a USB storage device, you’ll need to specify a Waveform number as a destination. This Waveform then serves as the “container” for the Sample.
Creating a Voice/Performance by Using the Sampling Function Sampling Main display Voice mode The Sampling Main display, the entrance of the Sampling mode, is called up when pressing the [INTEGRATED SAMPLING] button from the current mode. Pressing the [INTEGRATED SAMPLING] button in the Voice mode or Performance mode calls up the Sampling mode dedicated to creation of Samples (Waveforms) assigned to the Voice/Performance. Press the [EXIT] button to return to the original mode, Voice or Performance.
Creating a Voice/Performance by Using the Sampling Function Sampling Record • When the Input Source is set to A/D Input, adjust the input signal level by using the GAIN knob on the rear panel. If you cannot adjust the input level appropriately, change the Mic/Line setting (page 263) in the Utility mode. • When the Input Source is set to Resample, adjust the input signal level by setting the Record Gain. • When the Input Source is set to mLAN, the input level cannot be adjusted.
Creating a Voice/Performance by Using the Sampling Function 10 Press the [F6] Stop button to stop Sampling. Voice mode If you set Confirm to on in step 7 above, the Sampling Finished display (page 167) appears. Press the [SF1] Audition button to hear the sampled sound. If you are satisfied with the results, press the [ENTER] button to store the sampled sound as a “Sample” and return to the Setup display.
Creating a Voice/Performance by Using the Sampling Function Determines the note number of the Key Bank as destination. The value set here can be changed in the Sampling Edit mode (page 167). Settings: C -2 – G8 1 2 3 n You can also set the Key directly from the keyboard, by holding down the [SF6] KBD button and pressing the desired key. For details, see page 82. 1 Used/Total (Indication only) 8 Track Indicates the amount of memory being used and the total amount available.
Creating a Voice/Performance by Using the Sampling Function Sampling Record—[F6] Standby Voice mode This display is used for executing Sampling. Press the [F6] button from the Setup display to call up this display. Press the [EXIT] button to go back to the Setup display. 1 2 3 When the Trigger Mode (8) is set to “level,” you’ll also need to set the Trigger Level. Sampling will begin as soon as an input signal exceeding the specified trigger level is received.
When the Trigger Mode (8) is set to “manual,” pressing this button starts Sampling immediately. Sampling RECORDING display Sampling mode 2 Sampling Edit [INTEGRATED SAMPLING] ➞ [EDIT] The Sampling Edit mode gives you comprehensive, detailed controls for editing the recorded Sample and changing the Sample settings. Press the [EDIT] button from the Sampling Main display to call up the Sampling Edit display. Press the [EXIT] button to go back to the Sampling Main display.
Creating a Voice/Performance by Using the Sampling Function Hint Voice mode A convenient Extract function lets you delete unneeded portions of the Sample prior to the start point and after the end point, allowing you to save memory for additional Sampling. 1 Performance mode 2 Press the [F1] Trim button to call up the Trim display. Press the [ENTER] button. (The display prompts you for confirmation.) If you wish to cancel the operation, press the [DEC/ NO] button.
Indicates the track of the current Song/Pattern. This is available only when entering the Sampling mode from the Song/Pattern mode. Indicates the available Sampling time using the available memory. The time indicated here is calculated assuming a mono signal with a sampling frequency of 44.1 kHz. The amount of memory space currently being used is shown in the display as a blue line. 5 Measure (Indication only) Indicates the measure number of the selected Song/ Pattern.
Creating a Voice/Performance by Using the Sampling Function Sample Parameter settings—[F2] Param 1 2 3 4 5 6 7 8 9 Sampling mode 1 ! ) ) Velocity (Velocity Range) Indicates the velocity range of the Key Bank to which the selected Sample is assigned. By assigning different Samples from a single Waveform to separate velocity ranges, you can create a Voice that produces different sounds depending on how strongly you play the keyboard.
Creating a Voice/Performance by Using the Sampling Function Sampling Job [INTEGRATED SAMPLING] ➞ [JOB] 05: Time-Stretch This Job lets you change the tempo of the Sample without changing the pitch. 06: Convert Pitch This Job lets you change the pitch of the Sample without changing the tempo. 07: Fade In/Out This Job lets you create a fade-in and fade-out for the Sample. 08: Half Sampling Frequency This Job lets you halve the sampling frequency of the specified Sample.
Creating a Voice/Performance by Using the Sampling Function 7 Press the [ENTER] button to fix the Job result as Sample data. CAUTION Voice mode You cannot return the modified Sample to the original after fixing the Job result. Important data should always be saved to a USB storage device connected to the USB TO DEVICE terminal or to a computer connected to the same network as the MOTIF XS (page 278). Performance mode 8 Press the [EXIT] button twice to go back to the Sampling Main display.
Creating a Voice/Performance by Using the Sampling Function 1 This Job maximizes (normalizes) the overall level of the specified Sample. This is useful for bringing up the volume of a Sample that was inadvertently recorded at a low level. Voice mode This Job deletes the specified Key Bank and its Sample. By deleting unnecessary Samples, you can increase the available memory space.
Creating a Voice/Performance by Using the Sampling Function Voice mode 1 Key Bank 2 Pitch Determines the Key Bank to which the desired Sample is assigned by specifying the Waveform number (0001 – 1024). The Key range and Velocity range of the Key Bank to which the selected Waveform is assigned are automatically shown below the Waveform number. Determines the amount and direction of pitch shift in semitone increments.
Creating a Voice/Performance by Using the Sampling Function Fade-in 09: Stereo to Mono This Job lets you convert a stereo Sample to a mono Sample. Performance mode 2 End point This Job lets you halve the sampling frequency of the specified Sample. This can be used to convert hi-fi Samples to a lo-fi sound, and reduce the Sample size by half to conserve memory. Determines the Key Bank to which the desired Sample is assigned by specifying the Waveform number (0001 – 1024).
Creating a Voice/Performance by Using the Sampling Function Voice mode 1 Key Bank 7 Lowest Key Determines the Key Bank to which the desired Sample is assigned by specifying the Waveform number (0001 – 1024). The Key range and Velocity range of the Key Bank to which the selected Waveform is assigned are automatically shown below the Waveform number. Specifies the lowest key number from which the sliced Samples are assigned in order.
Creating a Voice/Performance by Using the Sampling Function 05: Rename Voice mode Performance mode 1 2 03: Extract End point Extract 1 Waveform Determines the Waveform number to which this Job is applied. 2 Name Determines the Waveform number to be extracted. Determines the Waveform name which can contain up to 10 characters. For detailed instructions on naming, refer to “Basic Operation” on page 82.
Song Playback Voice mode The Song mode lets you record, edit and play your own original Songs. The Song Play mode is the main ‘portal’ by which you enter the Song mode, and it is here where you select and play a Song. Some of the Song settings—such as the rhythmic feel—can also be edited in this mode. To call up the Song Play display and enter the Song mode, simply press the [SONG] button.
Song Playback SF2 1 SF3 2 SF4 3 SF5 4 F3 F4 F5 F6 6 7 8 9 0 - The [SF1] – [SF5] and [F1] – [F6] buttons function as number buttons. 3 Enter the destination measure by using the [SF1] – [SF5] and [F1] – [F5] buttons. The measure number you input will appear at the top of the display. 14 PERFORMANCE CONTROL ARP ON/OFF 15 MUTE 16 ARP HOLD SOLO 1 1 Press the [SOLO] button so that its indicator lights.
Song Playback Registering the Song Scene Voice mode After making the desired settings for the Scene, simultaneously hold down the [STORE] button and press one of the [SF1] to [SF5] buttons. The 8th note icon is shown in the tab corresponding to the Sub Function button to which the Song Scene is registered. Press the [STORE] button to store the Song data including the Song Scene setting. Performance mode CAUTION 3 If you wish to stop playback in the middle of a Song Chain, press the [J] (Stop) button.
Song Playback Knob 2 Knob 3 Knob 4 TONE 1 Cutoff Reso Attack TONE 2 LowGain MidFreq MidGain MidQ ARP FX Swing Qt Val Qt Str GateT Knob 5 Knob 6 Part 1 Part 2 Part 3 : Part 16 Decay Knob 7 Knob 8 TONE 1 Sustain Release Assign1 Assign2 TONE 2 HighGain Pan Reverb Chorus ARP FX Velocity Octave UnitMlt Tempo Track View display—[F1] TrackView n For details about each function, see page 90.
Song Playback 2 Location (Indication only) 9 Mute/Solo (Indication only) Indicates the measure number assigned to Location 1 and 2. For detailed instructions on setting the Location, see page 178. Indicates the Mute/Solo status for each track. For detailed instructions on setting Mute/Solo, see page 179. m: Indicates muted track. Voice mode 3 Meas (Measure) Determines the location at which playback starts. This also indicates the current location of playback.
Song Playback You can go back to the previous display by pressing the [SF6] button or the [EXIT] button. 1 Track number (Indication only) Indicates the track number. Quantize Value 1st beat 2nd beat 3rd beat Original timing Calls up the Song Track Output Channel display (page 184). Quantize strength = 100% ™ [F4] Chain Quantize strength = 50% The notes will be moved fully to the specified Quantize value. Calls up the Song Chain display (page 185).
Song Playback Swing Vel (Swing Velocity) Voice mode Adjusts the velocity of the corresponding notes to accentuate the swing rhythmic feel. Settings below 100% reduce the velocities of notes on even-numbered beats (backbeats), and settings above 100% increase the velocities proportionately. If the result is 0 or less, the value is set to 1. If the result is higher than 127, the value is set to 127.
Song Playback end Indicates the Voice name of the Mixing Part corresponding to each track. n In the Part 1 – 16 display (page 231) of the Mixing mode, you can change the Voice of the Mixing Part corresponding to the track. Indicates the end mark of the Song Chain data. stop Stops Song Chain playback at that chain number. You can restart the song chain playback from the next chain number by pressing the [F] (Play) button. 2 Loop Determines whether or not the Loop Playback is active for each track.
Song Recording In the Song Record mode, you can use the sequencer to record your keyboard performance, track by track, to a selected Song. Press the [I] (Record) button from the Song Play mode to enter the Song Record mode. Voice mode n Recording the audio data for a Song can be executed in the Sampling Record mode (page 244).
Song Recording 5 6 º ( ¡ ™ £ Indicates the name of the currently selected Song. The Song can be selected in the Song Play display (page 178). 2 Meas (Measure) Determines the location at which playback starts. This also indicates the current location of the recording. Beat Indicates the Mute/Solo status for each track. For detailed instructions on setting Mute/Solo, see page 179. Blank: Neither Mute nor Solo are assigned to this track. m: Indicates muted track. s: Indicates soloed track.
Song Recording ! Punch In @ Punch Out Voice mode When punch (Punch In/Out) is selected as the Record Type explained above, the recording start position (Punch In position) and finish position (Punch Out position) are specified here. Settings: 001 : 01 – 999 : 16 # Record Part (Indication only) Performance mode Indicates the Mixing Part corresponding to the Record Track. Determines whether the Insertion Effect assigned to the Voice is used or not.
Parameters 1 – & are same as the ones in the Arpeggio Main display (page 101) in the Voice Common Edit mode. * Voice with ARP (Voice with Arpeggio) Each Arpeggio type is assigned a specific Voice best suited to the type. When an Arpeggio type has been assigned to a recorded track, this parameter determines whether or not the Voice assigned to the Arpeggio type will also be used for the recorded track.
Song Recording Recording Procedure for multiple tracks (“All Track” setting) 2 Voice mode The sequence data transmitted from an external MIDI instrument can be recorded simultaneously up to 16 tracks. 1 Performance mode 2 Connect an external MIDI sequencer or a computer to the MOTIF XS then switch on the power to the MOTIF XS.
Song Recording 2 Set the Recording type to “punch.” 3 Move the cursor to the punch in and punch out, then set their points respectively by entering measure and beat. Except for setting the punch in and punch out, perform the same procedure as the Replace Recording procedure. Pattern mode Overdub Recording Mixing mode [SONG] ➞ [I] (Record) ➞ Record track selection ➞ Type=overdub ➞ [F] (Play) Sampling mode 2 This method allows material to be added to existing material on a track.
Editing MIDI Events (Song Edit) Voice mode The Song Edit mode lets you edit the already recorded Songs or insert the new data to the Songs. It can be used to correct mistakes as well as add dynamics or effects such as vibrato to refine and finish the Song. Press the [EDIT] button from the Song Play mode to go to the Song Edit mode. n The Song Edit mode gives you comprehensive, detailed controls for editing the MIDI events of individual Song tracks.
Editing MIDI Events (Song Edit) 2 Press [EXIT] to go back to the Song Play mode. 4 2 From the Event List display, press the [F5] Insert button to call up the Insert Event window. Specify the event type to be inserted, the insertion point (measure, beat, and clock), and parameter value of the event. For details about each event and parameter, see page 76. Event type 5 6 7 8 n Depending on the selected parameter, the NUM icon is shown at the tab menu corresponding to the [SF6] button.
Editing MIDI Events (Song Edit) 2 [F5] Clear All When TR is set to “scn” (Scene): Scene Memory Track Mute Pressing this button removes the checkmarks of all events. If you wish to indicate specific events, it is a good idea to press the [F5] button to first remove the checkmarks of all events, then enter the checkmarks of your desired events. When TR is set to “tmp” (Tempo): Tempo Change Voice mode 5 [F3] ViewFilter Calls up the View Filter setting display (below).
Quantization is the process of adjusting the timing of note events by moving them closer to the nearest exact beat. You can use this feature, for example, to improve the timing of a performance recorded in real time. 02: Modify Velocity This Job alters the velocity values of the specified range of notes, letting you selectively boost or cut the volume of those notes. 03: Modify Gate Time This Job alters the gate times of the specified range of notes.
Song Job Song Job Procedure Press the [JOB] button to enter the Song Job mode. 2 Select the desired Job menu by pressing one of the [F1] – [F6] buttons. 3 Sampling mode 1 Move the cursor to the desired Job by using the data dial, cursor buttons, [INC/DEC] and [DEC/NO] buttons, then press the [ENTER] button to call up the Job display. 4 Song mode Move the cursor to the desired parameter, then set the value by using the data dial, [INC/YES] and [DEC/NO] buttons.
Song Job 1/4 note 1/16 note and 1/16 note triplets 1/8 note and 1/8 note triplets n You can call up the list and select the desired one by pressing the [SF6] LIST button. For details, see page 82. 3 Strength Sets the “strength” by which note events are pulled toward the nearest quantize beats. A setting of 0% results in no change, whereas a setting of 100% moves note events exactly to the quantize beats. A setting of 50% results in the note events being pulled halfway between 0% and 100%.
Song Job produces no change. When the Set All parameter (above) is set to other than “off,” this parameter cannot be set. 04: Crescendo Settings: 000% – 200% 4 Offset Voice mode Performance mode Determines the offset value by which the target notes will be shifted from their original velocities. Settings below 0 reduce the velocities, and settings above 0 increase the velocities. A setting of 0 produces no change.
Song Job 1 2 3 1 Track and range Determines the Song track (01 – 16, all) and range (Measure : Beat : Clock) over which the Job is applied. 2 Glide Time Determines the time of the glide. Higher values produce a longer and smooth glide between notes. Settings: 000 – 100 3 PB (Pitch Bend) Range The Pitch Bend Range value indicates the maximum range of pitch controlled via the Pitch Bend event in semitones.
Song Job 08: Sort Chord Voice mode This job sorts chord events (simultaneous note events) by order of pitch. The sort affects the order of the notes in the Event List display (page 193), but does not change the timing of the notes. When used to pre-process chords before using the Separate Chord Job (below), Chord Sort can be used to simulate the “stroke” or strumming sound of guitars and similar instruments.
Song Job 3 Direction 2 Event Type Determines the direction in which the data will be shifted. Advance moves the data toward the beginning of the sequence, while Delay shifts the data toward the end of the sequence. Determines the event type to be erased. All events are cleared when “all” is selected. Individual Control numbers can be specified when erasing CC & Ch.Mode events.
Song Job 6 Number of Times 05: Create Continuous Data This Job creates continuous pitch bend or control change data over the specified range. Voice mode 1 Settings: x 01 – x 99 Performance mode 2 3 4 5 6 06: Thin Out Sampling mode 1 This Job thins out or selectively removes the specified type of continuous data in the specified range—allowing you to free up memory space for other data or further recording.
Song Job Voice mode This Job performs time-expansion or compression over the selected range. Modified value = (original value x Rate) + Offset. 1 Performance mode 2 Determines the Song track (01 – 16, tempo, all) and range (Measure : Beat : Clock) over which the Job is applied. 2 Event Type Determines the event type to be modified. Settings: When the Track is set to one of 01 – 16 and all: Pitch Bend, CC & Ch. Mode (Control Change and Channel Mode Message)*, Ch.
Song Job 1 Insertion point Determines the insert point (measure number) at which the newly created blank measures will be inserted. [F5] Track Jobs Settings: 001 – 999 01: Copy Track Voice mode 2 Number of measures to be inserted Determines the number of empty measures to be created and inserted. This Job copies all data of the selected type from a specified source track to a specified destination track.
Song Job 1 Track Determines the tracks (01 – 16) to which the Job is applied. 2 Data Type Determines the type(s) of data to be exchanged. Select the desired type by checkmarking the appropriate box. Settings: Sequencer Event (all events in the track), Play Effect, Mix Part Parameters 05: Normalize Play Effect This job rewrites the data in the selected track so that it incorporates the current Play Effect settings.
Song Job Voice mode 1 Track 3 ARP No. (Arpeggio number/name) Determines the Song track (01 – 16) to which the Job is applied. Determines the User Arpeggio number (001 – 256) and name as destination. The Arpeggio name can contain up to 20 characters. You can call up the Character List display by pressing the [SF6] CHAR button and enter the name. For detailed instructions in naming, refer to “Basic Operation” on page 82. Track 1 Bass Drum Track 2 Click, Bass Drum, Snare Drum, etc.
Song Job Determines the destination Pattern and Section (A – P). CAUTION Sampling mode 1 This Job overwrites any data including the Mixing setup already existing in the destination Pattern and section. 03: Clear Song Pattern mode 1 1 Mixing mode This Job copies all data from a selected source Song to a selected destination Song. This job deletes all data (including the Sample Voices and Mixing Voices) from the selected Song or all Songs.
Pattern Playback Voice mode The Pattern mode lets you play, record, edit and play your own original rhythm patterns. The Pattern Play mode is the main ‘portal’ by which you enter the Pattern mode, and it is here where you select and play a Pattern. You can also create your own Patterns by assembling Phrases—short rhythmic passages and ‘building blocks’—and create Pattern Chains in which Patterns can be combined together in custom order. To enter the Pattern Play mode, simply press the [PATTERN] button.
Pattern Playback Press the [P] button. Jumping to a specific location in the Pattern This operation is the same as in the Song Play mode. See page 179. Changing the Section during playback To change Sections during playback, press the [TRACK] button (the lamp lights), then use the SECTION [A] – [H] buttons, [USER1] – [USER DR] buttons and [ETHNIC] button. When selecting a different Section during Pattern playback, “NEXT” and the next Section name appear in the Section column at the top of the display.
Pattern Playback 3 Measure Mixing Setup for each track Voice mode In the Pattern mode as well as in the Song mode, you can set the Mixing parameters such as Voice, volume and pan for each part (track). The structure and parameters are the same as in the Song mode. See page 181. Determines the location at which playback starts. This also indicates the current location of playback. The Measure can be set via the SEQ TRANSPORT buttons. For details, see page 178.
Pattern Playback Track Settings—[F3] Track This display lets you set the MIDI Transmit Channel for each track. 1 Regarding parameters with no number, refer to the Play display (page 210). ( [F3] Track 1 Pattern name (Indication only) Calls up the Track display. Indicates the name of the current Pattern. º [F4] Patch 2 3 4 5 Calls up the Patch display (page 212). ¡ [F5] Chain (Pattern Chain) Calls up the Pattern Chain display (page 213).
Pattern Playback Pattern Creating—[F4] Patch Voice mode This display lets you assign a Phrase to each track to create a Pattern. 16 Sections named A – P can be created for each Pattern. You can assign a User Phrase created with the current Pattern selected. If you wish to use User phrases recorded to tracks of other Patterns, use the Phrase Data Copy function, selected with the [SF5] button.
• Recording the new phrase using the Pattern Record function (page 218) 1 • Copying the Phrase from another Pattern by using the [SF5] button. 2 3 45 6 n It is a good idea to use the Copy Pattern Job (page 227) if you wish to create a Section that is based on or sounds similar to an already existing Section. 7 Press the [STORE] button to store the Pattern. For detailed instructions on storing a Pattern, see page 218.
Pattern Playback 5 Tempo Indicates the tempo currently assigned to the Pattern. During playback, the current tempo is shown here. Settings: 5.0 – 300.0 For details on parameters indicated with numbers above, refer to the Chain display (page 213). For details on all other parameters, refer to the Pattern Play display (page 210). Voice mode 6 Keyboard Start When Keyboard Start is set to on, Pattern Chain playback begins as soon as you press a key on of the keyboard.
Pattern Playback 1 2 3 4 5 [SF2] Copy Voice mode The function of this display lets you copy events from a specified range to another range. 1 3 Determines the number of times the data is copied. CLOCK: 000 – 479 (The available range may change depending on the Meter.) Settings: 01 – 99 4 Event Type 5 Setting Values [SF3] Song (Convert to Song) Section Change timing of Sections A – P and End event of the data. TrackMute The “m” indicates the corresponding track is muted. Tempo 005.0 – 300.
Pattern Playback 3 CAUTION Voice mode Move the cursor to each of parameters, then set the value by using the data dial, [INC/YES] and [DEC/NO] buttons. To make it easier to find desired parameters, use the View Filter display called up via the [SF1] button. You can use the Copy function called up via the [SF2] button to copy the events from a specified range to another range.
2nd beat 3rd beat 4th beat Type=1 4 5 Type=2 5 Interval diagram 6 7 1 Type Determines how a single measure is divided. The dividing point and the amount differ depending on the Type setting here. The diagram of the selected Type will be shown. See below (4). Settings: 1 – 16 2 Variation Determines how the segments divided by Type (1) will be rearranged. The division and rearrangement rules differ depending on the Variation setting.
Pattern Recording Voice mode In the Pattern Record mode, you can record your keyboard performance to create a Phrase as a basic material of the Pattern data. The created Phrase is assigned to the specified track automatically. Press the [I] (Record) button from the Pattern Play mode to enter the Pattern Record mode. n Recording of audio data can be done in the Sampling Record mode (page 242).
Pattern Recording # $ % ^ & * ( º 8 9 @ REC TR (Record Track) Determines the track to be recorded. Move the cursor to the desired track or press any of the Number buttons [1] – [16] with the TRACK lamp turned on so that the red circle is shown in the corresponding column of the REC TR. Settings: 1 – 16 # Record Type Determines the Recording method. ¡ Settings: replace, overdub ∞ replace Indicates the name of the current Pattern. The Pattern can be selected in the Pattern Play display (page 210).
Editing MIDI Events (Pattern Edit) ¢ [F4] Erase Voice mode This menu appears as soon as Recording starts. During Pattern recording, pressing the key while holding the [F4] button erases all the note events of the pressed key. This is useful in loop recording since it allows you to quickly delete wrong notes played for a specific key. ∞ [F5] Click Performance mode This is the same as in the Song Record mode. See page 188.
Editing MIDI Events (Pattern Edit) Inserting the New Event From the Event List display, press the [F5] Insert button to call up the Insert Event window. Performance mode Insertion point Parameter Specify the event type to be inserted, the insertion point (measure, beat, and clock), and parameter value of the event. Song mode 2 Sampling mode 1 Event type Press the [F6] Set button to insert the specified event at the specified location.
Pattern Jobs Voice mode The Pattern Job mode contains a comprehensive set of editing tools and data transform functions you can use to change the sound of the Pattern or Phrase. It also includes a variety of convenient operations, such as copying or erasing data. 36 Pattern Jobs are available. Function Description Performance mode [F1] Undo/Redo Undo Job cancels the changes made by the most recent operation, restoring the data to its previous state. Redo Job cancel Undo and restores the changes.
Pattern Jobs Move the cursor to the desired parameter, then set the value by using the data dial, [INC/YES] and [DEC/NO] buttons. 5 After setting, press the [ENTER] button to execute the Job. “Completed” will appear when the Job is done. n In “05: Create Continuous Data Job” and “07: Modify Control Data Job,” “Tempo Change” cannot be selected as Event Types, unlike in the Song Job mode.
Pattern Jobs CAUTION 04: Append Phrase Any previous data in the copy destination will be overwritten. CAUTION Voice mode Undo/Redo cannot be used to undo/redo a Sample Voice copy operation. This Job appends one Phrase (1) to the end of another (2) to create one longer Phrase. 1 02: Exchange Phrase Performance mode This Job exchanges or “swaps” the contents of two specified Phrases. This is useful if you wish to exchange two Phrases each of which is assigned to a different Pattern.
Pattern Jobs 2 Voice mode Determines the destination Song number (01 – 64), Track number (01 – 16) and measure range (001 – 999). CAUTION The copy operation overwrites any data previously existing on the destination track and measure range. 1 Source Song, Track and Measures 3 Copy Sample Voice Determines the source Song number (01 – 64), Track number (01 – 16) and measure range (001 – 999) of the Song.
Pattern Jobs 2 Clear Sample Voice When the checkbox is checked, the Sample Voice used in the Phrase specified above will also be cleared. 02: Exchange Track This is the same as in the Song Job mode. See page 205. CAUTION Voice mode Undo/Redo (page 196) cannot be used to undo/redo a Delete sample operation. This is the same as in the Song Job mode. See page 205. Performance mode [F5] Track Jobs 04: Clear Track Sampling mode 1 This Job deletes all data of the selected type from the selected track.
Pattern Jobs Determines the range which will be converted to the arpeggio data by specifying the Section (A – P) and Measure (001 – 256). Other parameters are the same as in the Song Job mode. See page 206. [F6] Pattern Jobs 01: Copy Pattern This Job copies all data from a selected source Pattern to a selected destination Pattern.
Pattern Jobs 5 Copy Sample Voice 03: Split Pattern Voice mode This Job splits a selected Pattern (1) into two separate Patterns (1 and 2). The Pattern 1 is divided at the Split Point (3). Actually, the Phrases making up the source Pattern (1) will be divided and the divided Phrases after the Split Point will be assigned to the tracks of the destination Pattern. 04: Clear Pattern Performance mode This Job clears specified Pattern. You can also clear only the specified Section of the selected Pattern.
The setting of the tone generator block for Song/Pattern playback is referred to as Mixing. The Mixing mode lets you change the Voice and effect settings for each Part. To enter the Mixing mode, press the [MIXING] button in the Song mode or Pattern mode. Performance mode n The Mixing mode cannot be called up from the Voice mode, Performance mode, or Master mode.
Multi-timbral Tone Generator Settings for Song/Pattern Playback (Mixing mode) Insertion Effect in the Mixing mode Voice mode Performance mode Sampling mode 1 In addition to the three Effect blocks above, special Insertion Effects are available in the Mixing mode. Keep in mind that Insertion Effects cannot be applied to all 16 parts simultaneously. The MOTIF XS features eight Insertion Effects, allowing you to independently process up to eight Parts from among the 1 – 16 parts and the A/D Input part.
Multi-timbral Tone Generator Settings for Song/Pattern Playback (Mixing mode) Mixing Voice Common Edit (page 241) In the Song Play mode, press the [STORE] button to call up the Song Store window or Pattern Store window. For detailed instructions on storing, see page 186. [JOB] Mixing Voice Job (page 240) [STORE] Mixing Voice Store (page 240) Voice mode Performance mode Mixing mode Press the [SONG] or [PATTERN] button to exit from the Mixing mode to the previous mode.
Multi-timbral Tone Generator Settings for Song/Pattern Playback (Mixing mode) 4 Bank 5 Number Voice mode These determine the selected Voice. Press the [PROGRAM] button (the lamp lights), then the desired Voice by using the [PRE 1] – [USER DR] buttons, [A] – [H] buttons and the [1] – [16] buttons. The name of the selected Voice is shown at the right top of the display. $ [F6] Vce Edit (Mixing Voice Edit) Enters the Mixing Voice Edit mode, letting you edit the Voice assigned to the current Part.
Multi-timbral Tone Generator Settings for Song/Pattern Playback (Mixing mode) Mixing Edit You can turn individual Parts on/off by using the Mute function. 11 13 14 PERFORMANCE CONTROL ARP ON/OFF PART MUTE 15 ARP HOLD SOLO 1 2 1 MUTE 16 Compare function Press the [MUTE] button. The [MUTE] lamp lights, indicating that each Part can be turned on/off.
Multi-timbral Tone Generator Settings for Song/Pattern Playback (Mixing mode) Master Effect and Master EQ settings— [F2] MasterFX (Master Effect) [SF2] MasterFX (Master Effect) Voice mode Performance mode This display lets you set the type and parameters of the Master Effect. The function is the same as the one in the Master Effect display (page 146) in the Performance Common Edit mode.
Multi-timbral Tone Generator Settings for Song/Pattern Playback (Mixing mode) Determines the MIDI receive channel for the selected Part. Since MIDI data may be coming from many channels at once, you should set this to match the particular channel over which the desired controlling data is being sent Selected Part display/Four-Part display Just as with the Performance Part Edit mode, you can use two types of display in the Mixing Part Edit mode.
Multi-timbral Tone Generator Settings for Song/Pattern Playback (Mixing mode) Equalizer (EQ) Settings—[F5] EQ (Equalizer) Voice mode You can apply 3-band parametric EQ to each Part to adjust the sound. The function is the same as the one in the EQ display (page 158) in the Performance Part Edit mode. Performance mode From this display you can set how each individual Part responds to various MIDI data, such as Control Change and Program Change messages.
Multi-timbral Tone Generator Settings for Song/Pattern Playback (Mixing mode) 4 Initialize selected Parts to GM Destination setup When this box is checked, executing the Job resets the selected Parts to standard GM tone generator settings. When the checkbox of All Parameters (1) is marked, all parameters will be reset to the GM settings. When the checkbox of All Parameters (1) is not marked, checked parameters (from Common, 1 – 16, AD and mLAN) will be reset to the GM settings.
Multi-timbral Tone Generator Settings for Song/Pattern Playback (Mixing mode) 1 Bank, Performance number 1 Template Determines the Bank and the Performance number to be copied. The name of the selected Performance is shown at right. Determines the Mixing Template to be stored or recalled. Pressing the [SF5] button to store the current Mixing while pressing the [SF4] button to recall the Mixing Template stored to User Memory.
Multi-timbral Tone Generator Settings for Song/Pattern Playback (Mixing mode) Voice and the basic parameters that determine the sound, such as Oscillator, Pitch, Filter, Amplitude, and EG (Envelope Generator), call up the Element Edit display. Editing Mixing Voices Press the [MIXING] button in the Song mode or Pattern mode to call up the Mixing Play display (page 231) in the Mixing mode.
Multi-timbral Tone Generator Settings for Song/Pattern Playback (Mixing mode) You can store the Voice edited in the Mixing Voice Edit mode also as a User Normal Voice by setting the Voice Bank to “USR1,” “USR2,” and “USR3.” Useful functions in the Mixing Voice Edit mode 3 Voice mode The display prompts you for confirmation. To cancel the Store operation, press the [DEC/NO] button. Switching an Element on/off This is the same as in the Voice Element Edit mode (page 97).
Multi-timbral Tone Generator Settings for Song/Pattern Playback (Mixing mode) Determines the Mixing Voice to be erased. Settings: This is the same as in the Normal Voice Common Edit mode. See page 98. However, some parameters having the same name as those in the Voice Common Edit mode are not available in the Mixing Voice Edit mode. 1 Element Edit parameters 2 1 Source Mixing Voice [MIXING] ➞ [F6] Vce Edit ➞ Element selection from [1] – [8] This is the same as in the Normal Voice Element Edit mode.
Audio Recording to Song/Pattern (Sampling mode) Voice mode In addition to its use in the Voice and Performance modes, the Sampling mode can also be entered from the Song and Pattern modes. This lets you record audio (such as vocals, electric guitar, or audio from an external device), and use it directly on a Song/Pattern track as a Sample Voice. This section covers the Sampling functions when entering the Sampling mode by pressing the [INTEGRATED SAMPLING] button in the Song mode or the Pattern mode.
Audio Recording to Song/Pattern (Sampling mode) The second benefit is that you can quickly and easily create variations of the original Sample by changing the playback of the sliced Samples. 2 3 4 5 6 7 8 Voice mode 1 Performance mode For example, you could change the velocities and timing points of the note events to which the sliced Samples are assigned. This lets you create accents in the playback or change the rhythm of the Sample to a swing feel, for example.
Audio Recording to Song/Pattern (Sampling mode) Sampling Record [INTEGRATED SAMPLING] ➞ [F6] Rec Voice mode The Sampling Record function lets you record sounds—such as vocals from a connected microphone, the signal from an electric guitar, or audio from an external CD or MP3 player—and store the audio as a Sample Voice, which is used in the tracks of a Song/Pattern. See page 39 for instructions on using the Sampling function in the Song mode/Pattern mode.
Audio Recording to Song/Pattern (Sampling mode) 6 7 @ Recordable Time (Indication only) # Indicates the available Sampling time using the available memory. The time indicated here is calculated assuming a mono signal with a sampling frequency of 44.1 kHz. The amount of memory space currently being used is shown in the display as a blue line. 8 9 ) ! @ $ % 1 Waveform (Indication only) Indicates the number and name of the selected Waveform.
Audio Recording to Song/Pattern (Sampling mode) 8 Key Indicates the Key Bank (page 244) set in the Sampling Record Setup display. The Key Bank can be changed both here and in Sampling Edit (page 250) after the Recording is finished. Sampling RECORDING display During Sampling, a graphic representation of the recorded audio appears in the display. Voice mode Settings: C -2 – G8 n You can also set the Key directly from the keyboard, by holding down the [SF6] KBD button and pressing the desired key.
Audio Recording to Song/Pattern (Sampling mode) 1 Set the Start Point to the point at which the actual sound of the recorded Sample starts. 3 1 2 4 5 6 7 8 9 ) ! @ ( You can use the [SF1] Audition button to listen to the Sample and [SF4] Zoom Out/[SF5] Zoom In button to view the wave of the Sample. 2 % ^ & * Parameters 1 – 5 are the same as the ones in the Standby display (page 245). Set the Tempo (9), Meter ()), and Measure (!) for Sample playback.
Audio Recording to Song/Pattern (Sampling mode) ) Meter Determines the meter (time signature) of Sample playback. Setting the Meter changes the End Point (8) so that the length between the Start Point and the End Point matches the settings of the Tempo and Measure. Voice mode Settings: 1/16 – 16/16, 1/8 – 16/8, 1/4 – 8/4 ! Measure Performance mode Determines the amount of measures for Sample playback.
Audio Recording to Song/Pattern (Sampling mode) 1/2. This parameter has no effect when the Slice Type parameter is set to beat 1 – 2. Settings: $ Parameters 1 – 5 are the same as the ones in the Standby display (page 245). 6 Type Select the type that best suits the original phrase. Specifies how the Sample is sliced, and to some extent determines the resulting sound quality. Further adjusts the sub-divisions specified by the Sub Divide parameter.
Audio Recording to Song/Pattern (Sampling mode) Tips for using the Slice Types Slicing percussive phrases having short decays Voice mode Performance mode First, try slicing using “beat1.” If the result has a weak attack or the release portions of the phrase seem to overlap, try again using “beat2.” Try adjusting the envelope sensitivity for finer control. If after using “beat1” the attack portions overlap or the overall rhythmic feel is degraded, try again using “beat3.
Performance mode This synthesizer is loaded with such a wealth of different features, functions and operations, you may find it difficult to locate and call up the particular feature you need. This is where the Master function comes in handy. You can use it to memorize the operations you use most often in each mode, and call them up instantly anytime you need them with a single button press. The MOTIF XS has space for a total of 128 of your own User Master settings.
Using as a Master Keyboard (Master mode) 6 Knobs 1 – 8 Voice mode Indicates the parameters to which respective Knobs 1 – 8 are assigned and their current values. Pressing the [SELECTED PART CONTROL] button repeatedly switches among the parameter sets (indicated by the lamps). For information about the parameters, see below. Master Information—[SF6] INFO (Information) This window indicates the information of the current Master. Settings cannot be changed here.
Using as a Master Keyboard (Master mode) Master Edit Common Edit display 5 7 8 ARP ON/OFF Zone Edit display 5 Call up the Edit display including the parameters you wish to edit by pressing the [F1] – [F5] buttons and [SF1] – [SF2] buttons. For information about the parameters, see pages 254 and 255. Master Edit Procedure 6 Move the cursor to the desired parameter. Press the [MASTER] button to enter the Master Play mode, then select a Master.
Using as a Master Keyboard (Master mode) The [E] Indicator Common Edit parameters Voice mode When changing the value of the parameter in the Master Edit mode, the [E] (Edit Indicator) will appear on the top right corner of the display. This gives a quick confirmation that the current Master has been modified but not yet stored. To store the current edited status, follow the instructions below.
Using as a Master Keyboard (Master mode) Sampling mode 1 5 [F6] Get Name 1 Octave Determines the amount in octaves by which the range of the Zone is shifted up or down. You can adjust the offset up or down over a maximum range of three octaves. Settings: -3 – +0 (Default) – +3 [MASTER] ➞ [EDIT] ➞ [1] – [8] These parameters are for editing the individual Zones that make up a Master.
Using as a Master Keyboard (Master mode) 2 Int Prog Change (Internal Program Change) 8 Foot Switch Determines whether or not to transmit Program Change messages to the internal tone generator. MIDI messages generated by using the optional Footswitch connected to the ASSIGNABLE jack on the rear panel. Voice mode Determines whether or not to transmit Bank Select MSB/ LSB messages to the external tone generator via MIDI.
Using as a Master Keyboard (Master mode) 5 Pan Determines which Control Change numbers are transmitted when you use the Knobs for each Zone. The function name is automatically shown below the number you select. Settings: 0 – 95 2 Control Slider No. Determines which Control Change numbers are transmitted when you use the Control Sliders for each Zone. The function name is automatically shown below the number you select.
Using as a Master Keyboard (Master mode) Initializing the Master—[F1] Init Voice mode This function lets you reset (initialize) all Master parameters to their default settings. It also allows you to selectively initialize certain parameters, such as Common settings and Zone settings. Determines the MIDI transmit channels of Zone 1 and Zone 2 respectively when the Initialize Type is set to “layer” or “split.
2 Network Information Indicates the network settings. The related parameters can be set in the Network display (page 260). CAUTION When “Press [ENTER] to set” is shown on the display, make sure to press the [ENTER] button before going to the next step. If you do not, the settings will not be stored, even if you press the [STORE] button in the next step. 4 Press the [STORE] button to store the Utility setting and Sequencer Setup to internal memory.
System Settings (Utility mode, etc.) Voice mode Performance mode 4 Sustain Pedal 8 Fixed Velocity Determines which model of an optional Foot Controller connected to the FOOT SWITCH SUSTAIN jack is recognized. When you connect an optional FC3 (equipped with the halfdamper feature) for producing a “half-damper” effect (as on a real acoustic piano), set this parameter to “FC3 (half on)” and set the Half Damper Switch parameter to “on” in the Amplitude EG display (page 123) of Voice Element Edit.
Determines the address for the Domain Name server. Up to two servers (primary DNS1 and secondary DNS2) can be set. When you do not use the Domain Name server, set both of the DNS1 and DNS2 to “0.0.0.0.” When you use only the DNS1, set the DNS2 to “0.0.0.0.” When the MOTIF XS is connected to the network which the DHCP server covers and the DHCP Client parameter above is set to “on,” this parameter is automatically set, and you will not need to input it manually.
System Settings (Utility mode, etc.) % [SF5] Password Voice mode Pressing this button calls up the Password display that lets you set or change the password necessary for accessing the MOTIF XS from an online device connected to the network. When shipped from the factory, the password is not set. Make sure to set the password if you wish to access the MOTIF XS from an external computer via the LAN network.
System Settings (Utility mode, etc.) 3 [SF5] Select 2 L&R Gain Pressing this button calls up the Select Auto Load File display. From this display you can specify the file (in the external storage device) to be loaded automatically when turning the power on (when Auto Load is set to on). Determines the output gain of the OUTPUT L/MONO and R jacks. 3 Assign L&R Gain Determines the output gain of the ASSIGNABLE OUTPUT L and R jacks.
System Settings (Utility mode, etc.) Master Effect Settings—[SF1] MasterFX (Master Effect) Voice mode This display lets you set Master Effect parameters in the Voice mode. This display can be called up by pressing and holding the [MASTER EFFECT] button on the front panel in the Voice mode. Performance mode 1 Controller Settings—[SF3] Control From this display you can set parameters related to output of the Arpeggio MIDI data and the controller assignment in the Voice mode.
System Settings (Utility mode, etc.) 2 Micro Tuning Name 1 Volume Enters the desired name for the Micro Tuning. For detailed instructions on naming, see page 82. Determines the output level of the Audio Input Part. 3 Tuning Offset 2 Pan Lets you tune the individual notes of the keyboard in cents to create your original Micro Tuning. Settings: 0 – 127 Determines the stereo pan position of the Audio Input Part.
System Settings (Utility mode, etc.) 4 Output Select Determines the output jack assignment for the Audio Input Part. Insertion Effect Connection Settings— [SF2] Connect Settings: See the table below.
System Settings (Utility mode, etc.) From the Category column, you can select one of the Effect Categories, each of which contains similar Effect types. From the Type column, you can select one of the Effect Types listed in the selected Category. Details about the Effect categories are described on page 70. 3 Preset This lets you call up pre-programmed settings for each Effect Type, designed to be used for specific applications and situations.
System Settings (Utility mode, etc.) 2 Keyboard Transmit Ch Determines the MIDI channel over which the instrument sends MIDI data (to an external sequencer, tone generator, or other device). This parameter is available in the singletimbre tone generator mode (Voice/Performance modes).
System Settings (Utility mode, etc.) Determines the status of the controllers (Modulation Wheel, Aftertouch, Foot Controller, Breath Controller, Knobs, etc.) when switching between voices. When this is set to “hold,” the controllers are kept at the current setting. When this is set to “reset,” the controllers are reset to the default states (below).
System Settings (Utility mode, etc.) Metronome Settings—[F1] Click From this display you can set the parameters related to the click sound (metronome) that is used during recording or playback in the Song/Pattern/Performance mode. Voice mode n Since the click sound is created with the internal tone generator, using click playback affects the overall polyphony of this synthesizer.
2 Recording internal sequencer to computer This setup is useful when you transmit the Song or Pattern playback data to an external computer and record it to an application software on the computer. 3 Recording to computer This setup is useful when you record your keyboard performance to an application software on the computer.
File Management (File mode) Voice mode The File mode provides tools for transferring data (such as Voice, Performance, Song, Pattern and Waveform) between the MOTIF XS and external storage devices such as USB storage device and hard disk unit connected to the USB TO DEVICE connector. By mounting the hard disk drive of the computer connected to the MOTIF XS via the network, you can also transfer data between the MOTIF XS and an online computer. To enter the File mode, press the [FILE] button.
File Management (File mode) .X0V All the User Voice data in this synthesizer’s internal User Memory (Flash ROM) is treated as a single file, and can be saved to the USB storage device. Also the Waveforms obtained via the Sampling function and assigned to any of the Voices are saved together. All Arpeggio .X0G All the User Arpeggio data in this synthesizer’s internal User Memory (Flash ROM) is treated as a single file, and can be saved to the USB storage device. All Song .
File Management (File mode) Type Voice File extension* .X0A .X0V Description Voice mode A specified Voice in a file that is saved to the USB storage device as “All” or “All Voice” type can be individually selected and loaded to the instrument. Please note that the file icons F of “X0A” and “X0V” are changed to G (as virtual folders) when this file type is selected (page 280).
File Management (File mode) When you wish to transfer a Song to an external MIDI sequencer or computer: SMF Pattern When User Voices are used in the Patterns: All When User Voices are not used in all the Patterns: All Pattern When you wish to transfer a Pattern to an external MIDI sequencer or computer: SMF Sampling data All waveforms All Waveform When you wish to transfer a Sample to a computer: WAV, AIFF File Management—[F1] File The directory name is shown on the Directory line while the
File Management (File mode) 8 [SF3] Rename Pressing this button calls up the window for entering the new name of the selected file. The File name can contain up to 20 characters. For detailed instructions on naming, refer to “Basic Operation” on page 82. Voice mode Follow the instructions below to change the name of the file. Performance mode Sampling mode 1 1 Select a file to be renamed by moving the cursor in the Directory/File list. 2 Press the [SF3] button to call up the Input Character window.
File Management (File mode) If the desired computer name is not shown in the Host (1) parameter, you can call up the Character List by pressing the [SF5] CHAR button and enter the computer name manually. For detailed instructions on naming, refer to “Basic Operation” on page 82. If you select a computer which has not been accessed by the MOTIF XS, “Press [ENTER] to access” appears on the display. When pressing the [ENTER] button, the display prompts you to enter the password as illustrated below.
File Management (File mode) Voice mode Formatting a Device—[SF3] Format Saving a file From this display, you can format memory storage devices such as a hard disk connected to the USB TO DEVICE connector. The saving procedure differs depending on the file type to be saved and the mode selected before calling up the File window. This section explains the procedure relevant to following three cases.
File Management (File mode) Press the [SF1] Save button to call up the window for selecting a Key Bank. Key Bank n Keep in mind that some parameter settings, such as Start Point, are not saved when saving the Sample of a specific Voice as WAV or AIFF format. This means that the WAV file or AIFF file saved in the File mode will be played back from the top (including the section before the Start Point) on an external device, such as a computer. 3 Select the source data.
File Management (File mode) 3 Select the source data. 1 Voice mode n The available source memory differs depending on the mode selected before entering the File mode. When you want to save a Song, enter the File mode from the Song mode. When you want to save a Pattern, enter the File mode from the Pattern mode. Performance mode 4 Press the [ENTER] button to call up the window for entering the file name.
File Management (File mode) The Load operation overwrites any data previously existing in the destination internal memory. Important data should always be saved to a USB storage device connected to the USB TO DEVICE terminal or to a computer connected to the same network as the MOTIF XS (page 278). n In this step, the Load menu corresponding to the [SF2] button is not shown in the display. The Load menu appears when selecting a Voice to be loaded in step 6.
File Management (File mode) 5 Press the [ENTER] button so that the Waveforms in the selected file are listed on the display. 2 Set the Type to “performance.” Only available files according to the Type are listed in the Directory/File list box on the display. n In this step, the Load menu corresponding to the [SF2] button is not shown in the display. The Load menu appears when selecting a Performance to be loaded in step 6.
File Management (File mode) Move the cursor to the desired Song or Pattern. 2 Select a device and directory as source by following “Basic Procedure in the File mode” on page 276. Set the Type to “song” or “pattern.” Only available files according to the Type are listed in the Directory/File list box on the display. n In this step, the Load menu corresponding to the [SF2] button is not shown in the display. The Load menu appears when selecting a Song or Pattern to be loaded in step 6.
File Management (File mode) 4 Select the file to be loaded. Loading a WAV file or an AIFF file You can select any of the files listed in the Directory/File list box on the display. Voice mode 5 Press the [ENTER] button so that the Songs or Patterns in the selected file are listed on the display. Performance mode Songs Sampling mode 1 1 Select a device and directory as source by following “Basic Procedure in the File mode” on page 276. Song mode 2 Set the Type to “WAV” or “AIFF.
File Management (File mode) Loading a SMF file (Standard MIDI file) 2 Set the Type to “SMF.” Only available files according to the Type are listed in the Directory/File list box on the display. Specify the destination memory location in the User memory. Mixing mode 3 Select a Song number or Pattern Number/Section to which the Standard MIDI File is to be loaded. Master mode 4 Sampling mode 2 n When you want to load the SMF file to a Song, enter the File mode from the Song mode.
Appendix Display Messages LCD Indication Appendix 286 Description Are you sure? Confirms whether you want to execute a specified operation or not. Arpeggio memory full. The internal memory for Arpeggio data is full, preventing storing the recorded sequence data as an Arpeggio. Bad disk or memory. The external storage device connected to this synthesizer is unusable. Format the external storage device and try again. Bulk data protected.
Display Messages LCD Indication Description Now saving... Indicates that a file is being saved. Now scanning autoload file. Scanning for the files specified for Auto Load. Now transmitting MIDI bulk data... Indicates this synthesizer is transmitting MIDI bulk data. Overwrite. Are you sure? A save operation will overwrite data on the external storage device as destination, and this message confirms whether it is OK to continue or not. Press [INC/YES] or [DEC/NO] as required. Password is invalid.
Troubleshooting No sound? Wrong sound? When a problem like this occurs, please check the following points before assuming that the product is faulty. You may solve your problem by executing the Factory Set (page 22) after backing up your data to an external storage device. If the problem persists, consult your Yamaha dealer. No Sound. ■ Are all eight sliders set to appropriate levels (other than zero or minimum)? ■ Is the MOTIF XS properly connected to related external equipment (e.g.
Troubleshooting ■ When the Element to which “AF1 on,” “AF2 on,” or “all AF off” of the XA Control parameter is assigned does not sound, is the corresponding ASSIGNABLE FUNCTION button pressed? ■ Is “Vocoder” selected as the Insertion Effect Type of the Voice? If so, set the parameters related to the AD Part and A/D INPUT connector to the appropriate values then play the keyboard while inputting your voice into the microphone connected to the MOTIF XS.
Troubleshooting Only one note sounds at a time. ■ When this situation occurs, the Mono/Poly parameter in the current mode is set to “mono.” If you wish to play chords, set this parameter to “poly.” [VOICE] → [F2] Porta → Mono/Poly Mode (page 93) [PERFORM] → [EDIT] → Part selection → [F1] Voice → [SF1] Voice → Mono/Poly (page 152) [SONG]/[PATTERN] → [MIXING] → [EDIT] → Part selection → [F1] Voice → [SF1] Voice → Mono/Poly (page 235) Pitch or intervals are wrong.
Troubleshooting ■ When this situation occurs in the Performance/Song/Pattern mode, check the Arpeggio Switch parameter. If this parameter for the current Part is set to off, Arpeggio playback will not be triggered by your keyboard performance even if the [ARPEGGIO ON/ OFF] button is turned on.
Troubleshooting Data communication via MIDI/USB/mLAN between the computer and the MOTIF XS does not work properly. ■ Check whether the Port settings on the computer are appropriate or not. ■ Check whether or not the MIDI IN/OUT parameter is set to the appropriate value. [UTILITY] → [F5] Control → [SF2] MIDI → MIDI In/Out (page 268) The MOTIF XS does not sound properly even when playing back the Song data on the computer or the MIDI instrument connected to the MOTIF XS.
Installing Optional Hardware Available devices Installation Precautions The following optional devices can be installed to the MOTIF XS. Before installing the optional hardware, make sure you have a Philips screwdriver and ample space to work.
Installing Optional Hardware mLAN16E2 4 Replace the cover with the two screws you removed in step 2 above. The optionally available mLAN expansion board (mLAN16E2) can be installed to the MOTIF XS6 and MOTIF XS7. The MOTIF XS8 is equipped with two mLAN connectors equivalent to the mLAN16E2 by default. Installing the mLAN16E2 1 2 Turn the power of the MOTIF XS off, and disconnect the AC power cord. Also, make sure to disconnect the MOTIF XS from any connected external devices.
Installing Optional Hardware Optional DIMM Installation This section explains how to install DIMM memory modules to the MOTIF XS. DIMM Installation 1 Turn the power of the MOTIF XS off, and disconnect the AC power cord. Also, make sure to disconnect the MOTIF XS from any connected external devices. 2 Turn over the MOTIF XS so that the keyboard faces down, giving you direct access to the underside of the instrument.
Installing Optional Hardware 4 Insert the two DIMMs into the DIMM sockets. 5 Re-install the cover you removed in step 3, in reverse order. 6 Check that the installed DIMMs are functioning properly. Location for DIMM installation DIMM sockets Set the MOTIF XS right-side up, and connect the power cord to the rear-panel AC IN jack and an AC outlet. Turn on the power, go to the Sampling display by pressing the [INTEGRATED SAMPLING] button, and press the [F6] Rec button then [SF6] INFO button (page 165).
Specifications Keyboards MOTIF XS8 MOTIF XS7 MOTIF XS6 88 keys, Balanced Hammer Effect Keyboard (Initial Touch/Aftertouch) 76 keys, FSX Keyboard (Initial Touch/Aftertouch) 61 keys, FSX Keyboard (Initial Touch/Aftertouch) Tone Generator block Tone Generator AWM2, with Expanded Articulation Polyphony 128 notes Multi Timbral Capacity 16 Parts (internal), Audio Input Parts (A/D, mLAN*) Wave 355MB (when converted to 16-bit linear format), 2,670 waveforms Voice Preset: 1,024 Normal Voices + 64 Drum K
Specifications Sequencer block Others Scene Memory 5 per Song Sequence Format Original format, SMF format 0, 1 (Format 1 load only) Master User: 128 *8 Zones (Master keyboard settings), Assignable Knob/Slider settings, Program Change Table Sequence Software compatible with the Remote Control function For Windows®: Cubase 4, SONAR 5.2 For Macintosh®: Cubase 4, Logic 7.2, Digital Performer 5.1 *Functions to be controlled differ depending on the software.
Index .AIF ..........................................................273, 274 .MID .........................................................273, 274 .WAV ........................................................273, 274 .X0A .........................................................273, 274 .X0E .................................................................274 .X0G ........................................................273, 274 .X0P .........................................................273, 274 .X0S .
Index Control Sliders .............................13, 68, 137, 180 function .......................................................91 Control Sliders 1 – 8 ........................................252 Controller Assign .............................................264 Controller Block .................................................67 Controller Reset ...............................................269 Controller Set ...................................................104 Convert Pitch ......................
Index G Gain .................................................119, 146, 158 GAIN knob .............................................18, 39, 40 Gate Switch .....................................................110 GATE TIME ........................................................90 Gate Time ........................................................197 Gate Time Rate ...............102, 103, 155, 156, 184 Gateway ..........................................................261 General .............................
Index Appendix 302 MEAS .......................................................193, 215 Meas ........................................................182, 187 meas (measure) ..............................................246 Measure ..........................141, 169, 176, 193, 207, .........................210, 213, 219, 243, 245, 248, 249 Measure Jobs ..................................................203 Measure number .............................................182 Mega Voice ..........................
[F] (Play) button ...............................................14 Play Effect (Play FX) ..........................................61 Play FX ....................................................183, 211 Play Mode .................................98, 105, 128, 170 Polyphonic Aftertouch (PAT) .............................78 Porta ..........................................................93, 144 Portamento ........................................................93 apply to Voice ..............................
Index Start Point ................................................169, 247 Start Step .........................................................199 Start Velocity ....................................................199 Stereo to Mono ................................................175 Stereo/Mono ....................................162, 164, 244 Stop .................................................................167 stop ..................................................................
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This material was originally written and compiled by Wietse Venema at Eindhoven University of Technology, The Netherlands, in 1990, 1991, 1992, 1993, 1994 and 1995. Permission is granted to anyone to use this software for any purpose, including commercial applications, and to alter it and redistribute it freely, subject to the following restrictions: Redistribution and use in source and binary forms are permitted provided that this entire copyright notice is duplicated in all such copies. 1.
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.
For details of products, please contact your nearest Yamaha representative 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.
Yamaha Web Site (English only) http://www.yamahasynth.com/ Yamaha Manual Library http://www.yamaha.co.jp/manual/ U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation © 2007 Yamaha Corporation This document is printed on chlorine free (ECF) paper with soy ink. WG97440 811MWDH68.
