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MOTIF7

Yamaha MOTIF7, MOTIF6, MOTIF8 Manual de usuario

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06E0
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.
The exclamation point within the equilateral triangle
is intended to alert the user to the presence of
important operating and maintenance (servicing)
instructions in the literature accompanying the
product.
The lightning flash with arrowhead symbol, within
the equilateral triangle, is intended to alert the user
to the presence of uninsulated “dangerous
voltage” within the product’s enclosure that may be
of sufficient magnitude to constitute a risk of
electrical shock.
IMPORTANT NOTICE:
All Yamaha electronic products are tested
and approved by an independent safety testing laboratory in order
that you may be sure that when it is properly installed and used in
its normal and customary manner, all foreseeable risks have been
eliminated. DO NOT modify this unit or commission others to do so
unless specifically authorized by Yamaha. Product performance
and/or safety standards may be diminished. Claims filed under the
expressed warranty may be denied if the unit is/has been modified.
Implied warranties may also be affected.
SPECIFICATIONS SUBJECT TO CHANGE:
The information
contained in this manual is believed to be correct at the time of
printing. However, Yamaha reserves the right to change or modify
any of the specifications without notice or obligation to update
existing units.
ENVIRONMENTAL ISSUES:
Yamaha strives to produce products
that are both user safe and environmentally friendly. We sincerely
believe that our products and the production methods used to
produce them, meet these goals. In keeping with both the letter and
the spirit of the law, we want you to be aware of the following:
Battery Notice:
This product MAY contain a small non-
rechargeable battery which (if applicable) is soldered in place. The
average life span of this type of battery is approximately five years.
When replacement becomes necessary, contact a qualified service
representative to perform the replacement.
Warning:
Do not attempt to recharge, disassemble, or incinerate
this type of battery. Keep all batteries away from children. Dispose
of used batteries promptly and as regulated by applicable laws.
Note: In some areas, the servicer is required by law to return the
defective parts. However, you do have the option of having the
servicer dispose of these parts for you.
Disposal Notice:
Should this product become damaged beyond
repair, or for some reason its useful life is considered to be at an
end, please observe all local, state, and federal regulations that
relate to the disposal of products that contain lead, batteries,
plastics, etc.
NOTICE:
Service charges incurred due to lack of knowledge
relating to how a function or effect works (when the unit is operating
as designed) are not covered by the manufacturer’s warranty, and
are therefore the owners responsibility. Please study this manual
carefully and consult your dealer before requesting service.
NAME PLATE LOCATION:
The graphic below indicates the
location of the name plate. The model number, serial number,
power requirements, etc., are located on this plate. You should
record the model number, serial number, and the date of purchase
in the spaces provided below and retain this manual as a
permanent record of your purchase.
Model
Serial No.
Purchase Date
SPECIAL MESSAGE SECTION
CAUTION: TO REDUCE THE RISK OF
ELECTRIC SHOCK, DO NOT REMOVE
COVER (OR BACK). NO USER-SERVICEABLE
PARTS INSIDE. REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION
POWER
ON
OFF
AC
INLET
mLAN
I
O
EXPANSION
I
O
EXPANSION
CAUTION
POWER
ON
OFF
AC
INLET
CAUTION
ATTENTION
WARNING
RISK OF ELECTRIC SHOCK
:RISQUE DE CHOC ÉLECTRIQUE NE PAS OUVRIR.
THIS DEVICE COMPLIES WITH PART 15 OF THE
F
THE FOLLOWING TWO CONDITIONS:
(1) THIS DEVICE MAY NOT CAUSE HARMFUL INT
E
(2) THIS DEVICE MUST ACCEPT ANY INTERFERE
N
THAT MAY CAUSE UNDESIRED OPERATION.
THIS CLASS B DEIGITAL APPARATUS COMPL
DU CANADA.
CET APPAREIL NUMÉRIQUE DE LA CLASSE
B
TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE.
DO NOT OPEN
POWER
ON
OFF
AC
INLET
MOTIF6
MOTIF7
MOTIF8
92-469- 1 (rear)
INFORMATION RELATING TO PERSONAL INJURY, ELECTRICAL SHOCK,
AND FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST.
WARNING-
When using any electrical or electronic product,
basic precautions should always be followed. These precautions
include, but are not limited to, the following:
1.
Read all Safety Instructions, Installation Instructions, Special
Message Section items, and any Assembly Instructions found in
this manual BEFORE making any connections, including
connection to the main supply.
2.
Do not attempt to service this product beyond that
described in the user-maintenance instructions. All other servicing
should be referred to qualified service personnel.
3.
Main Power Supply Verification: Yamaha products are
manufactured specifically for the supply voltage in the area where
they are to be sold. If you should move, or if any doubt exists about
the supply voltage in your area, please contact your dealer for
supply voltage verification and (if applicable) instructions. The
required supply voltage is printed on the name plate. For name
plate location, please refer to the graphic found in the Special
Message Section of this manual.
4.
DANGER
-Grounding Instructions: This product must be
grounded and therefore has been equipped with a three pin
attachment plug. If this product should malfunction, the ground pin
provides a path of low resistance for electrical current, reducing the
risk of electrical shock. If your wall socket will not accommodate this
type plug, contact an electrician to have the outlet replaced in
accordance with local electrical codes. Do NOT modify the plug or
change the plug to a different type!
5.
WARNING
: Do not place this product or any other objects
on the power cord or place it in a position where anyone could walk
on, trip over, or roll anything over power or connecting cords of any
kind. The use of an extension cord is not recommended! If you must
use an extension cord, the minimum wire size for a 25’ cord (or less)
is 18 AWG. NOTE: The smaller the AWG number, the larger the
current handling capacity. For longer extension cords, consult a
local electrician.
6.
Ventilation: Electronic products, unless specifically
designed for enclosed installations, should be placed in locations
that do not interfere with proper ventilation. If instructions for
enclosed installations are not provided, it must be assumed that
unobstructed ventilation is required.
7.
Temperature considerations: Electronic products should be
installed in locations that do not seriously contribute to their
operating temperature. Placement of this product close to heat
sources such as; radiators, heat registers etc., should be avoided.
8.
This product was NOT designed for use in wet/damp
locations and should not be used near water or exposed to rain.
Examples of wet /damp locations are; near a swimming pool, spa,
tub, sink, or wet basement.
9.
This product should be used only with the components
supplied or; a cart ,rack, or stand that is recommended by the
manufacturer. If a cart, rack, or stand is used, please observe all
safety markings and instructions that accompany the accessory
product.
10.
The power supply cord (plug) should be disconnected from
the outlet when electronic products are to be left unused for
extended periods of time. Cords should also be disconnected when
there is a high probability of lightning and/or electrical storm
activity.
11.
Care should be taken that objects do not fall and liquids are
not spilled into the enclosure through any openings that may exist.
12.
Electrical/electronic products should be serviced by a
qualified service person when:
a. The power supply cord has been damaged; or
b. Objects have fallen, been inserted, or liquids have been
spilled into the enclosure through openings; or
c. The product has been exposed to rain; or
d. The product does not operate, exhibits a marked change
in performance; or
e. The product has been dropped, or the enclosure of the
product has been damaged.
13.
This product, either alone or in combination with an amplifier
and headphones or speaker/s, may be capable of producing sound
levels that could cause permanent hearing loss. DO NOT operate
for a long period of time at a high volume level or at a level that is
uncomfortable. If you experience any hearing loss or ringing in the
ears, you should consult an audiologist.
IMPORTANT
: The louder the sound, the shorter the time period
before damage occurs.
14.
Some Yamaha products may have benches and/or
accessory mounting fixtures that are either supplied as a part of the
product or as optional accessories. Some of these items are
designed to be dealer assembled or installed. Please make sure
that benches are stable and any optional fixtures (where
applicable) are well secured BEFORE using. Benches supplied by
Yamaha are designed for seating only. No other uses are
recommended.
PLEASE KEEP THIS MANUAL
IMPORTANT SAFETY INSTRUCTIONS
92-469-3
(2)-8
1/2
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:
• Only use the voltage specified as correct for the instrument. The required voltage
is printed on the name plate of the instrument.
• Check the electric plug periodically and remove any dirt or dust which may have
accumulated on it.
• Use only the supplied power cord/plug.
• Do not place the power cord near heat sources such as heaters or radiators, and
do not excessively bend or otherwise damage the cord, place heavy objects on it,
or place it in a position where anyone could walk on, trip over, or roll anything
over it.
• This instrument contains no user-serviceable parts. Do not attempt to
disassemble or modify the internal components in any way.
• Do not expose the instrument to rain, use it near water or in damp or wet
conditions, or place containers on it containing liquids which might spill into any
openings.
• Never insert or remove an electric plug with wet hands.
• Do not put burning items, such as candles, on the unit.
A burning item may fall over and cause a fire.
• If the power cord or plug becomes frayed or damaged, or if there is a sudden loss
of sound during use of the instrument, or if any unusual smells or smoke should
appear to be caused by it, immediately turn off the power switch, disconnect the
electric plug from the outlet, and have the instrument inspected by qualified
Yamaha service personnel.
CAUTION
Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to
the instrument or other property. These precautions include, but are not limited to, the following:
• Always connect the three-pin attachment plug to a properly grounded power
source. (For more information about the main power supply, see page 20.)
• When removing the electric plug from the instrument or an outlet, always hold the
plug itself and not the cord. Pulling by the cord can damage it.
• Remove the electric plug from the outlet when the instrument is not to be used for
extended periods of time, or during electrical storms.
• Do not connect the instrument to an electrical outlet using a multiple-connector.
Doing so can result in lower sound quality, or possibly cause overheating in the
outlet.
• Do not expose the instrument to excessive dust or vibrations, or extreme cold or
heat (such as in direct sunlight, near a heater, or in a car during the day) to prevent
the possibility of panel disfiguration or damage to the internal components.
• Do not use the instrument in the vicinity of a TV, radio, stereo equipment, mobile
phone, or other electric devices. Otherwise, the instrument, TV, or radio may
generate noise.
• Do not place the instrument in an unstable position where it might accidentally fall
over.
• Before moving the instrument, remove all connected cables.
• Do not place objects in front of the instrument's air vent, since this may prevent
adequate ventilation of the internal components, and possibly result in the
instrument overheating.
Power supply/Power cord
Do not open
Water warning
Fire warning
If you notice any abnormality
Power supply/Power cord Location
(2)-8
2/2
• 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.
• When cleaning the instrument, use a soft, dry cloth. Do not use paint thinners,
solvents, cleaning fluids, or chemical-impregnated wiping cloths.
• Do not insert a finger or hand in any gaps on the instrument.
• Never insert or drop paper, metallic, or other objects into the gaps on the panel or
keyboard. If this happens, turn off the power immediately and unplug the power
cord from the AC outlet. Then have the instrument inspected by qualified Yamaha
service personnel.
• Do not place vinyl, plastic or rubber objects on the instrument, since this might
discolor the panel or keyboard.
• Do not rest your weight on, or place heavy objects on the instrument, and do not
use excessive force on the buttons, switches or connectors.
• Do not operate the instrument for a long period of time at a high or uncomfortable
volume level, since this can cause permanent hearing loss. If you experience any
hearing loss or ringing in the ears, consult a physician.
• This instrument has a built-in lithium backup battery. When you unplug the power
cord from the AC outlet, the SRAM data (see page 63) is retained. However, if the
backup battery fully discharges, this data will be lost. When the backup battery is
running low, the LCD display indicates “Change internal battery.” In this case,
immediately save the data to a Memory Card (SmartMedia)/a SCSI disk then have
qualified Yamaha service personnel replace the backup battery.
Saving and backing up your data
For instruments with DRAM (RAM that does not retain data)
• DRAM data (see page 63) is lost when you turn off the power to the instrument.
Save the data to a Memory Card (SmartMedia)/a SCSI disk.
For instruments with SRAM (RAM that retains data by using a lithium
battery)
• SRAM data (see page 63) is retained when the power is turned off, as long as the
backup battery retains a charge. However, the data could be lost due to
malfunction or incorrect operation. Save important data to a Memory Card
(SmartMedia)/a SCSI disk.
Backing up the Memory Card (SmartMedia)/SCSI disk
•To protect against data loss through media damage, we recommend that you save
your important data onto twoMemory Cards (SmartMedia)/SCSI disk.
Yamaha cannot be held responsible for damage caused by improper use or modifications to the instrument, or data that is lost or destroyed.
Always turn the power off when the instrument is not in use.
Make sure to discard used batteries according to local regulations.
Connections
Maintenance
Handling caution
Backup battery
Saving data
FCC INFORMATION (U.S.A.)
1.
IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!
This product, when installed as indicated in the instructions contained in this
manual, meets FCC requirements. Modifications not expressly approved by
Yamaha may void your authority, granted by the FCC, to use the product.
2. IMPORTANT:
When connecting this product to accessories and/or another
product use only high quality shielded cables. Cable/s supplied with this
product MUST be used. Follow all installation instructions. Failure to follow
instructions could void your FCC authorization to use this product in the USA.
3. NOTE:
This product has been tested and found to comply with the
requirements listed in FCC Regulations, Part 15 for Class "B" digital devices.
Compliance with these requirements provides a reasonable level of
assurance that your use of this product in a residential environment will not
result in harmful interference with other electronic devices. This equipment
generates/uses radio frequencies and, if not installed and used according to
the instructions found in the users manual, may cause interference harmful to
the operation of other electronic devices. Compliance with FCC regulations
does not guarantee that interference will not occur in all installations. If this
product is found to be the source of interference, which can be determined
by turning the unit "OFF" and "ON", please try to eliminate the problem by
using one of the following measures:
Relocate either this product or the device that is being affected by the
interference.
Utilize power outlets that are on different branch (circuit breaker or fuse)
circuits or install AC line filter/s.
In the case of radio or TV interference, relocate/reorient the antenna. If the
antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type
cable.
If these corrective measures do not produce satisfactory results, please
contact the local retailer authorized to distribute this type of product. If you
can not locate the appropriate retailer, please contact Yamaha Corporation
of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena
Park, CA90620
The above statements apply ONLY to those products distributed by
Yamaha Corporation of America or its subsidiaries.
* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.
(class B)
IMPORTANT NOTICE FOR THE UNITED KINGDOM
Connecting the Plug and Cord
WARNING:
THIS APPARATUS MUST BE EARTHED
IMPORTANT. The wires in this mains lead are coloured in accordance with
the following code:
GREEN-AND-YELLOW :EARTH
BLUE :NEUTRAL
BROWN :LIVE
As the colours of the wires in the mains lead of this apparatus may not
correspond with the coloured markings identifying the terminals in your
plug proceed as follows:
The wire which is coloured GREEN-and-YELLOW must be connected to
the terminal in the plug which is marked by the letter E or by the safety
earth symbol or colored GREEN or GREEN-and-YELLOW.
The wire which is coloured BLUE must be connected to the terminal which
is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal
which is marked with the letter L or coloured RED.
* This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd.
(3 wires)
NEDERLAND / THE NETHERLANDS
• Dit apparaat bevat een lithium batterij voor geheugen back-up.
• This apparatus contains a lithium battery for memory back-up.
• Raadpleeg uw leverancier over de verwijdering van de batterij op het
moment dat u het apparaat ann het einde van de levensduur afdankt of
de volgende Yamaha Service Afdeiing:
Yamaha Music Nederland Service Afdeiing
Kanaalweg 18-G, 3526 KL UTRECHT
Tel. 030-2828425
• For the removal of the battery at the moment of the disposal at the end
of the service life please consult your retailer or Yamaha Service Center
as follows:
Yamaha Music Nederland Service Center
Address :Kanaalweg 18-G, 3526 KL UTRECHT
Tel :030-2828425
• Gooi de batterij niet weg, maar lever hem in als KCA.
• Do not throw away the battery. Instead, hand it in as small chemical
waste.
(lithium disposal)
ADVARSEL!
Lithiumbatteri—Eksplosionsfare ved fejlagtig håndtering. Udskiftning må
kun ske med batteri af samme fabrikat og type. Levér det brugte batteri
tilbage til leverandoren.
VARNING
Explosionsfara vid felaktigt batteribyte. Använd samma batterityp eller en
ekvivalent typ som rekommenderas av apparattillverkaren. Kassera använt
batteri enligt fabrikantens instruktion.
VAROITUS
Paristo voi räjähtää, jos se on virheellisesti asennettu. Vaihda paristo
ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hävitä käytetty paristo
valmistajan ohjeiden mukaisesti.
(lithium caution)
7
MOTIF Introduction
Introduction
Congratulations and thank you for your purchase of the Yamaha MOTIF Music Production Synthesizer!
You now own what is perhaps the best-sounding, most versatile, and certainly most powerful synthesizer and total music
production instrument on the planet.
We strove to put virtually all our synthesizer technology and music making know-how into one instrument — and we
succeeded. The new MOTIF not only gives you the latest and greatest sounds and rhythms (as well as the ability to create
and sample your own), it gives you powerful, easy-to-use tools for playing, combining and controlling these dynamic
sounds/rhythms — in real time, as you perform!
Take time to look through this manual carefully. It’s packed with important information on how to get the most from this
amazing instrument.
Dive in now and enjoy!
Package Contents
The following items have been included with your MOTIF. Check to see that you have everything listed here.
• Synthesizer • AC Power cord • CD-ROM x 3
• Owners Manual (this book) • Data List • Installation Guide
About the included CD-ROM
The accompanying CD-ROM features special software for use with the MOTIF. Included is a Voice Editor, which gives you
comprehensive and intuitive editing tools for the MOTIF, and a File Manager, which lets you easily transfer data between
the storage device connected to your MOTIF and a computer. For details, see the separate Installation Guide or the online
manuals included with the software.
Do NOT attempt to play back Track 1 (which contains the software data) on an audio CD player. Doing so may result in damage
to your audio equipment and speakers, as well as your hearing.
About This Manual
This manual consists of the following sections.
■
The Controls & Connectors
Use this section to find out about all of the buttons, controls and connectors of the MOTIF.
■
Setting Up
Before going on to any other part of the manual, we strongly suggest you read this section
first. It shows you how to get started playing and using your new MOTIF.
■
Basic Structure
This section provides a detailed overview of all of the main functions and features of the
MOTIF, and shows how they fit together.
■
Basic Operation
This section introduces you to the basic operating conventions of the MOTIF, such as
editing values and changing settings.
■
Quick Start Guide
In this tutorial section, youll take a guided tour through the various functions of the
MOTIF, and get some hands-on experience in playing and using it.
■
Reference
The MOTIF encyclopedia. This section explains all parameters, settings, functions,
features, modes and operations in full detail.
■
Appendix
This section contains detailed information on the MOTIF such as Specifications and an
Alert Message List as well as instructions for installing optional equipment
(e.g., SIMM modules, AIEB2, mLAN8E interface, and Plug-in Boards).
■
Data List (separate booklet)
This contains various important lists such as the Voice List, Preset Pattern Phrase List,
Effect List, MIDI Data Format, and MIDI Implementation Chart.
■
Installation Guide (separate booklet)
Refer to this for instructions on installing the included software programs (on the CD-
ROM) to your computer.
●
Copying of the commercially available music sequence data and/or digital audio files is strictly prohibited, except for
your own personal use.
●
The illustrations and LCD screens as shown in this Owner’s Manual are for instructional purposes only, and may
appear somewhat different from those on your instrument.
●
The company names and product names in this Owner’s Manual are the trademarks or registered trademarks of their
respective companies.
8
MOTIF Introduction
Important Features
■
Wide range of
dynamic and authentic voices
— over
512 in total, with 49 drum kits. Use the
Category
Search
function to quickly call up the sounds you
want, based on their instrument type.
■
Performance mode
lets you use four different voices
together — in layers or in a keyboard split.
■
Integrated Sampling Sequencer
— seamlessly
combines audio and MIDI recording.
* Full
Sample recording and editing
features, with
4MB of memory (expandable to 64MB).
* Wide
data compatibility
lets you load AIFF and WAV
files, as well as samples and program/voice data from
other samplers.
* Convenient
Resampling
function lets you sample the
sound of the MOTIF itself directly. Play your own
melodies, riffs and rhythms — and use them as samples.
* Unique
Slice feature
automatically chops up your
rhythms and riffs into their individual beats and notes.
This lets you manipulate the component parts of your
sample loops as MIDI data — and gives you the power
to easily change tempo and even the rhythmic feel,
without disturbing the pitch or sound quality.
* Using the
Song mode
, record your music to the
sequencer
in conventional linear fashion, from
beginning to end. Or use the
phrase-based functions
to assemble rhythms and patterns — “playing” your
arrangements in real time.
■
Extensive
effect processing
, with Reverb (12 types),
Chorus (25 types), two separate Insertion sections
(total 104 types), a Variation section (25 types), and a
Master 5-band EQ.
■
Comprehensive
real-time control with four knobs
and four sliders
— letting you adjust filter, levels,
effects, EG, and more, while you play.
■
Pattern mode
functions let you craft different
rhythmic sections and riffs as individual elements —
which you can easily and intuitively combine in real
time to create full rhythm tracks.
■
The built-in
Arpeggio
feature not only puts a wealth of
hip rhythmic sequences at your fingertips, it even has
special “human” patterns — such as guitar strumming
and woodwind trills.
■
Once you’ve collected all the audio samples, loops,
MIDI data, and patterns you need for your song, use
Pattern Chain
to arrange the pieces in real time. This
hands-on approach makes it easier than ever to come
up with great ideas and amazing songs.
■
Song Scene
is another powerful tool that lets you take
“snapshots” of the sequencer track settings (such as
pan, volume, and others). Then, during playback or
recording, simply switch among the Scenes for instant,
dynamic changes.
■
Master mode
for using the MOTIF as a master
keyboard controller (with independent Zones), and for
easily reconfiguring the instrument between Voice/
Performance play and Song/Pattern play in live
applications.
■
Exceptionally
easy-to-understand interface
with
two-tiered operation buttons: [F1] - [F6] and [SF1] -
[SF5]
■
Remote Control
— for operating your favorite
sequencing software from the panel controls of the
MOTIF. Mute tracks, control transport (Play, Stop,
Record, etc.), mix both MIDI and audio tracks (up to
16) with the MOTIF’s knobs and sliders, pan the
tracks, control EQ, and tweak effect sends — all
without ever touching the mouse.
■
Three
Modular Synthesis Plug-in System
slots let
you upgrade the MOTIF with a completely new
synthesizer or sound-processing engine. These Plug-in
boards give you more voices, more effects, more
polyphony and more instrument parts. Plus, special
Plug-in voices have already been programmed and
stored to the MOTIF, ready to be played as soon as you
install the proper board.
■
Comprehensive I/O terminals
— including
assignable outputs, audio inputs, optical digital output,
MIDI, USB for multi-port connection to a computer,
SmartMedia card slot and SCSI terminal for data
storage. There’s even an expansion bay for installing
the optional AIEB board for additional ins and outs —
both analog and digital.
■
Expansion bay for optional mLAN — Yamaha’s new
mLAN interface
technology makes it possible to
transfer all your digital audio and MIDI data via a
single broad-band cable.
■
Included software
— Packed with your MOTIF are
two powerful software programs:
Voice Editor
and
File Utility
. The Voice Editor puts all the
comprehensive editing features and parameters of the
instrument right on your computer screen for easy
editing. With File Utility, you can access and organize
all your important MOTIF data (stored to Memory
card or SCSI device) directly from the computer.
9
MOTIF Table of Contents
Table of Contents
The Controls & Connectors 10
Front Panel ........................................................ 10
Rear Panel..........................................................16
Setting Up 20
Power Supply .....................................................20
Connections ....................................................... 21
Powering Up ......................................................29
Basic Structure 30
Mode ..................................................................30
System Overview ...............................................33
Controller block ..........................................................33
Sequencer block ..........................................................33
Tone Generator block.................................................34
Effect block..................................................................39
Main functions...................................................42
Voices and Performances............................................42
Controllers...................................................................48
Song and Pattern (Sequencer mode) .........................51
Arpeggio ......................................................................55
Master (Master mode) ................................................56
Sampling......................................................................58
Internal Memory and File Management ...................63
Remote Control to Computer Sequence Software.....65
Basic Operation 67
Calling up the Operation Displays.....................67
Display-based Controls ......................................72
Quick Start Guide 77
Playing the Demos .............................................77
Playing Voices ....................................................80
Editing Voices ....................................................83
Storing edited Voices..........................................86
Playing Performances ........................................88
Editing Performances (Layer/Split) ..................89
Storing the edited Performance .........................90
Using the Arpeggio function..............................91
Using as a Master Keyboard ..............................93
Saving/Loading data ..........................................97
Sampling with Song Playback
(Integrated Sampling Sequencer) ......................99
Remote Control for external sequencer
(Real-time external control surface) ............... 119
Reference 121
Voice Mode ....................................................... 121
Function Tree ...........................................................121
Voice Play mode ....................................................... 124
Voice Edit mode ....................................................... 129
Voice Job mode......................................................... 158
Voice Store mode...................................................... 159
Performance Mode .......................................... 160
Function Tree........................................................... 160
Performance Play mode ........................................... 162
Performance Edit mode ........................................... 165
Performance Job mode ............................................. 175
Performance Store mode.......................................... 176
Song Mode ....................................................... 177
Function Tree........................................................... 177
Song Play mode ........................................................ 179
Song Record mode.................................................... 183
Song Edit mode ........................................................ 189
Song Job mode .......................................................... 193
Song Mixing mode ................................................... 205
Song Mixing Job mode ............................................. 212
Song Mixing Store mode.......................................... 214
Pattern Mode....................................................215
Function Tree........................................................... 215
Pattern Play mode .................................................... 217
Pattern Record mode................................................ 221
Pattern Edit mode .................................................... 224
Pattern Job mode ...................................................... 225
Pattern Mixing mode ............................................... 232
Sampling Mode................................................ 233
Function Tree........................................................... 233
Sampling Record mode ............................................ 234
Sampling Edit mode ................................................. 240
Sampling Job mode................................................... 241
Utility Mode .................................................... 249
Function Tree........................................................... 249
Utility mode.............................................................. 250
Utility Job mode ....................................................... 260
File Mode .........................................................261
Function Tree .......................................................... 261
File mode .................................................................. 262
Master Mode ................................................... 268
Function Tree........................................................... 268
Master Play mode..................................................... 269
Master Edit mode ..................................................... 270
Master Job mode....................................................... 273
Master Store mode ................................................... 274
Appendix 275
Information Displays ...................................... 275
Display Messages ............................................ 277
Troubleshooting .............................................. 279
Installing Optional Hardware..........................281
Optional Plug-in Board Installation ........................ 282
Optional AIEB2 or mLAN8E Installation.............. 284
Optional SIMM Installation .................................... 287
Handling the Memory Card (SmartMedia™*). 289
Connecting external SCSI devices................... 290
About SCSI ............................................................... 290
Notes on musical copyright............................. 292
Specifications .................................................. 293
INDEX............................................................. 295
The Controls &
Setting Up
Basic Structure
Basic Operation
Quick Start Guide
Reference
Voice mode
Performance mode
Song mode
Pattern mode
Sample mode
Utility mode
File mode
Master mode
Connectors
Appendix
10
MOTIF The Controls & Connectors
Front Panel
The Control & Connectors
The Controls & Connectors
Front Panel
MOTIF6
MOTIF7
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOW MID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ
TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PA N
REVERB
CHORUS
TEMPO
AT TAC K RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOW MID MEQ HIGH
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
SEQ
TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
11
MOTIF The Controls & Connectors
Front Panel
The Control & Connectors
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-time External Control
Surface
Modular
Synthesis
Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/ PERF.PART/ ZONE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-time External Control
Surface
Modular
Synthesis
Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE
MUSICAL FX COMBI
A
B
C
D
E
F
G
H
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
CATEGORY
SEARCH
BANK
GROUP
NUMBER
SECTION
TRACK
SELECT
MUTE
SOLO
PLG 2
COMMON
ELEMENT/ PERF.PART/ ZONE
12
MOTIF The Controls & Connectors
Front Panel
The Control & Connectors
MOTIF8
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTA CK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQ LOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
SEQ
TRANSPORT
LOCATE
1
2
REC
VOICE PERFORM MASTER
SEQUENCER
SONG
PATT ERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
MODE
1 OCTAVE [UP] and [DOWN] buttons (page 127)
Use these buttons to change the note range of the
keyboard. To restore the normal octave setting,
press both buttons simultaneously.
n Because of its extended keyboard, the MOTIF 8
does not have OCTAVE buttons.
2 PITCH bend wheel (page 48)
Controls the pitch bend effect. You can also assign
other functions to this controller.
3 MODULATION wheel (page 48)
Controls the modulation effect. You can also assign
other functions to this controller.
4 MASTER VOLUME
Adjusts the volume of the overall sound, as output
from the rear-panel OUTPUT L/MONO and R
jacks as well as the PHONES jack.
5 [KNOB CONTROL FUNCTION] button and
four Knobs (pages 48, 132)
These four highly versatile knobs let you adjust
various aspects or parameters of the current Voice.
Use the [KNOB CONTROL FUNCTION] button to
change the parameter set for the knobs. The
corresponding LED lights to indicate which group
of parameters are active.
13
MOTIF The Controls & Connectors
Front Panel
The Control & Connectors
6 [CS1] - [CS4] (Control Slider) (page 48)
Controls the volume of each part/element.
In the Master mode, the Zone setting (page 271)
allows you to assign various functions (Control
Change numbers) to these Sliders other than the
volume.
7 [REMOTE CONTROL ON/OFF] button
(page 256)
When this is on, the following panel controls can be
used to directly control mixing and transport
functions on your sequencer software.
• Knobs
• Control Sliders
• [SEQ TRANSPORT] buttons
• [TRACK SELECT] button
• [MUTE] button
8 [EFFECT BYPASS] buttons
For enabling/disabling Effect Bypass. Press the
button (the LED lights) to bypass effect processing
of the current Voice or Performance.
The bypassed effects (Reverb, Chorus, Variation, or
Insertion) are specified in the Utility Mode
(page 250).
9 [ARPEGGIO ON/OFF] button (page 55)
Press this button to enable or disable playback of
the Arpeggio for each Voice, Performance, Song, or
Pattern. If the Arpeggio Switch of the selected part
is set to off in the Performance/Song/Pattern mode,
however, pressing this button has no effect.
SF 1SF 2 SF 3
SONG SCENE
SF 4 SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-time External Control
Surface
Modular
Synthesis
Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSION
DRUM /
PERCUSION
SE
MUSICAL FX COMBI
A
B
C
D
E
F
G
H
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
CATEGORY
SEARCH
BANK
GROUP
NUMBER
SECTION
TRACK
SELECT
MUTE
SOLO
PLG 2
COMMON
ELEMENT/ PERF.PART/ ZONE
14
MOTIF The Controls & Connectors
Front Panel
The Control & Connectors
) SEQ TRANSPORT buttons
(page 78, 179, 183, 217, 221)
These buttons control recording and playback of the
Song/Pattern sequence data.
[](Top) button
Instantly returns to the first beginning of the
current song or pattern (i.e., the first beat of the first
measure).
[](Reverse) button
Press briefly to move back one measure at a time, or
hold to continuously rewind.
[](Forward) button
Press briefly to move forward one measure at a time,
or hold to continuously fast-forward.
[REC] (Record) button
Press this to enable recording (Song or pattern
phrase). (The indicator lights.)
[](Stop) button
Press to stop recording or playback.
[](Play) button
Press to start playback from the current point in the
song or pattern. During recording and playback, the
indicator flashes at the current tempo.
! MODE buttons (page 67)
These buttons select the MOTIF operating modes
(e.g., Voice mode).
@ LCD Display
The MOTIF’s large backlit LCD displays the
parameters and values related to the currently
selected operation or mode.
# LCD Contrast Control
Use this control to set the LCD display for optimum
legibility.
$ [F1] - [F6] (Function) buttons (page 71)
These buttons located directly below the LCD
display call up the corresponding functions
indicated in the display. In the display hierarchy,
these functions [F] rank just below the modes.
% [SF1] - [SF5] (Sub Function) buttons (page 71)
These buttons located directly below the LCD
display call up the corresponding sub functions
indicated in the display. In the display hierarchy,
these sub functions [SF] rank just below the
functions [F].
These buttons can be also used to store/recall the
Song Scene (page 115) in the Song Play/Song
Record/Pattern Chain Record modes.
^ [INFORMATION] button (page 73)
For calling up a special “help” feature that shows
information about the currently selected mode. You
can go back to the previous display by pressing this
button again or pressing any other button.
& Data dial (page 72)
For editing (changing the value of) the currently
selected parameter. To increase the value, turn the
dial right (clockwise); to decrease the value, turn the
dial left (counter-clockwise). If a parameter with a
wide value range is selected, you can change the value
in broader strokes by quickly turning the dial.
* [INC/YES] button (page 72)
For increasing the value of the currently selected
parameter. Also use it to actually execute a Job or a
Store operation.
( [DEC/NO] button (page 72)
For decreasing the value of the currently selected
parameter. Also use it to cancel a Job or a Store
operation.
n When editing (changing) the value of the
parameter, it is convenient to use the [INC/YES]
button and the [DEC/NO] button simultaneously.
Pressing the [DEC/NO] button while holding the
[INC/YES] button increases the value by 10.
Pressing the [INC/YES] button while holding the
[DEC/NO] button decreases the value by 10.
º Cursor Buttons (page 72)
The cursor buttons move the “cursor” around the
LCD display screen, highlighting and selecting the
various parameters.
¡ [EXIT] button (page 72)
The menus and displays of the MOTIF are
organized according to a hierarchical structure.
Press this button to exit from the current display
and return to the previous level in the hierarchy.
15
MOTIF The Controls & Connectors
Front Panel
The Control & Connectors
™ [ENTER] button
Use this button to execute a Job or a Store
operation. Also use this button to actually enter a
number when selecting a Memory or Bank for Voice
or Performance. In the File mode, use this button to
go to the next lowest level in the selected directory.
£ SLOT 1-3 lamps (page 282)
These three lamps show the installation status of
the Plug-in Boards.
If the Plug-in Board has been correctly installed, the
corresponding SLOT lamp will light.
n The Vocal Harmony Plug-in Board (PLG100-VH)
can be installed only to slot 1. It cannot be installed
to slot 2 or 3.
n The Multi part Plug-in Board (PLG100-XG) can be
installed only to slot 3. It cannot be installed to slot
1 or 2.
¢ BANK buttons (page 124)
Each button selects a Voice or Performance Bank.
When the [CATEGORY SEARCH] button is turned
on, these buttons can be used to select the desired
category (printed below each button). When the
[SECTION] button is turned on in the Pattern
mode, these buttons are used to select the desired
section.
∞ GROUP [A] - [H] buttons (page 124)
Each button selects a Voice or Performance Group.
When the [CATEGORY SEARCH] button is turned
on, these buttons can be used to select the desired
category (printed below each button). When the
[SECTION] button is turned on in the Pattern
mode, these buttons are used to select the desired
section.
§ NUMBER [1] - [16] buttons (page 124)
Use of these buttons differs depending on the on/off
status of the [TRACK SELECT] and [MUTE]
buttons.
[CATEGORY SEARCH] button (page 126)
When this button is turned on in the Performance
mode, the [BANK] and [GROUP] buttons can be
used to select the Performance category.
When this button is turned on in another mode, the
[BANK] and [GROUP] buttons can be used to select
the Voice category.
• [SECTION] button (page 218)
When this button is turned on in the Pattern mode,
the [BANK] and [GROUP] buttons can be used to
select the Pattern Section.
ª [TRACK SELECT] button (page 181)
Turning this button on in the Song/Pattern mode
enables the NUMBER [1] - [16] buttons for
selecting corresponding Song/Pattern tracks. The
on/off status of this button affects the NUMBER [1]
- [16] buttons in different ways, depending on the
selected mode. (See § “NUMBER [1] - [16]
buttons” above.)
‚ [MUTE] button (page 180)
Turning this button on in the Song/Pattern mode
enables the NUMBER [1] - [16] buttons for muting
corresponding Song/Pattern tracks.
Press one of the NUMBER [1] - [16] buttons while
holding this button to solo the corresponding track
of the current selected Song/Pattern.
The on/off status of this button affects the
NUMBER [1] - [16] buttons in different ways,
depending on the selected mode. (See § “NUMBER
[1] - [16] buttons” above.)
Functions of the NUMBER [1] - [16] buttons
When [TRACK
SELECT] is on
When [MUTE]
is on
When both
[TRACK SELECT]
[MUTE] are off
Voice Play mode
Keyboard transmit
channel setting
—
Voice selection,
according to Groups
A - H
Voice Edit mode
Element selection(1 - 4) and Element
Mute setting(9 - 12)
—
Performance Play
mode
Keyboard transmit
channel setting
Performance part
Mute setting
(1 - 4)
Performance or
Voice selection (if
cursor is located at
Voice name),
according to Groups
A - H
Performance Edit
mode
Performance part
selection (1 - 4)
Master Play mode
Zone selection
(1 - 4)
—
Master selection,
according to Groups
A - H
Master Edit mode
Zone selection
(1 - 4)
Zone Mute setting
(1 - 4)
—
Song/Pattern
mode
Song/Pattern
track selection
Song/Pattern
track Mute setting
Song/Style selection,
according to Groups
A - H
Song/Pattern
Mixing mode
Song/Pattern part
selection
Song/Pattern part
Mute setting
16
MOTIF The Controls & Connectors
Rear Panel
The Control & Connectors
Rear Panel
MOTIF6
MOTIF7
MOTIF8
CAUTION
POWER
ON
OFF
AC
INLET
mLAN
I
O
EXPANSION
CAUTION
POWER
ON
OFF
AC
INLET
mLAN
I
O
EXPANSION
CAUTION
ATTENTION
WARNING
RISK OF ELECTRIC SHOCK
:RISQUE DE CHOC ÉLECTRIQUE NE PAS OUVRIR.
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATION IS SUBJECT TO
THE FOLLOWING TWO CONDITIONS:
(1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND
(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDINGINTERFERENCE
THAT MAY CAUSE UNDESIRED OPERATION.
THIS CLASS B DEIGITAL APPARATUS COMPLIES WITH CANADIAN ICES-003.
DU CANADA.
CET APPAREIL NUMÉRIQUE DE LA CLASSE B EST CONFORME À LA NORME NMB-003
TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE.
DO NOT OPEN
mLAN
I
O
EXPANSION
POWER
ON
OFF
AC
INLET
17
MOTIF The Controls & Connectors
Rear Panel
The Control & Connectors
Rear Panel
OPTICAL
OUTPUT USB THRU
MIDI
BREATH
SUSTAIN
FOOT
SWITCH
FOOT
CONTROLLER
OUTPUT
OUT
IN
ASSIGNABLE
OUTPUT
ASSIGNAB LE
L
MONO
PHONES
A
D
INPUT
GAIN
1RL
R
R
L
SCSI
CARD
3.3V
2
GREEN
YELLOW
ORANGE
3
2
1
Plug-in SLOT
OPTICAL
OUTPUT
USB
THRU
MIDI
OUT
IN
SCSI
BREATH
SUSTAIN
FOOT
SWITCH
FOOT
CONTROLLER
ASSIGNAB LE
1
CARD
3.3V
2
OUTPUT
ASSIGNABLE
OUTPUT
L MONO
PHONES
A
D
INPUT
GAIN
RL
R
R
L
GREEN
YELLOW
ORANGE
3
2
1
Plug-in SLOT
OPTICAL
OUTPUT
USB
THRU
MIDI
OUT
IN
SCSI
CARD
3.3V
BREATH
SUSTAIN
FOOT
SWITCH
ASSIGNAB LE
FOOT
CONTROLLER
12
OUTPUT
ASSIGNABLE
OUTPUT
L MONO
PHONES
RL
R
A D INPUT
GAIN
R
L
GREEN
YELLOW
ORANGE
3
2
1
Plug-in SLOT
18
MOTIF The Controls & Connectors
Rear Panel
The Control & Connectors
1 POWER Switch (page 29)
Press to turn power ON or OFF.
2 AC Power Cord Socket (page 20)
Be sure the plug the AC power cord into this socket
before plugging the power cord into an AC outlet.
Use only the AC power cord supplied with the
MOTIF. If the supplied cord is lost or damaged and
needs to be replaced, contact your Yamaha dealer.
The use of an inappropriate replacement can pose a
fire and shock hazard!
3 mLAN expansion board (mLAN8E) or I/O
expansion board (AIEB2) cover (page 22)
Either the mLAN expansion board (mLAN8E) or
the I/O expansion board (AIEB2) sold separately
can be installed to the MOTIF.
With the mLAN8E board, you can conveniently
and easily hook up your MOTIF to other mLAN-
compatible instruments or devices. The AIEB2
board gives you additional digital I/O options,
featuring both optical and coaxial connectors.
Moreover, the board also includes three stereo
ASSIGNABLE OUTPUT pairs (six analog jacks).
4 OPTICAL OUT connectors (page 22)
For output of digital audio, via optical fiber cables
(at 44.1kHz).
5 USB connector (page 25)
For connection to a computer having a USB
interface. The USB interface provides multi-port
MIDI operation not possible with a single MIDI
connection.
n The USB connection can only be used for transfer of
MIDI data. No audio data can be transfered via USB.
USB
USB is an abbreviation for Universal Serial Bus. It is
a serial interface for connecting a computer with
peripheral devices, and enables much faster data
transfer (12Mbps) compared to conventional serial
port connections. Also, it allows “hot swapping”
(connecting peripheral devices while the power to
the computer is on).
6 MIDI IN/OUT/THRU connectors (page 24)
MIDI IN is for receiving control or performance
data from another MIDI device, such as an external
sequencer.
MIDI THRU is simply for redirecting any received
MIDI data (via MIDI IN) to connected devices,
allowing convenient chaining of additional MIDI
instruments.
MIDI OUT is for transmitting all control,
performance and playback data from the MOTIF to
another MIDI device, such as an external sequencer.
7 BREATH Controller Jack (page 28)
Connect an optional Yamaha BC2 Breath Controller
here for expressive breath control capability.
8 FOOT SWITCH jacks (page 28)
For connection of optional FC4 or FC5
Footswitches. When connected to the SUSTAIN
jack, the Footswitch controls sustain. When
connected to ASSIGNABLE, it can control one of
various different assignable functions.
9 FOOT CONTROLLER jacks (page 28)
For connection of optional foot controllers (FC7,
etc.). Each jack lets you continuously control one of
various different assignable functions — such as
volume, tone, pitch, or other aspects of the sound.
) ASSIGNABLE OUT L and R jacks (page 21)
Line level audio signals are output from the MOTIF
via these phone jacks (1/4" mono phone plug).
These outputs are independent of the main output
(at the L/MONO and R jacks below), and can be
freely assigned to any of the Parts. This lets you
route specific Voices or sounds for processing with a
favorite outboard effect unit.
! OUTPUT L/MONO and R jacks (page 21)
Line level audio signals are output via these phone
jacks. For monophonic output, use just the L/
MONO jack.
@ PHONES jack (page 21)
For connection to a pair of stereo headphones.
# A/D INPUT jacks (page 23)
External audio signals can be input via these phone
jacks. These are used primarily for recording
samples — either with a microphone, making the
proper Utility settings (page 250), or from other
audio equipment, such as a CD or MD player. With
the optional Vocal Harmony Plug-in board
(PLG100-VH, page 35), you can also apply special
effects and harmonies to the microphone input.
$ GAIN knob
For adjusting the input gain of the audio at the A/D
INPUT jacks (above). Depending on the connected
device (microphone, CD player, etc.), you may need
to adjust this for optimum level.
% SCSI connectors (page 27)
This SCSI-2 50-pin connector (D-sub, half-pitch)
can be used to connect to an external SCSI data
storage device — allowing you to conveniently save
and store large quantities of data.
19
MOTIF The Controls & Connectors
Rear Panel
The Control & Connectors
^ Card slot (pages 64, 262)
Insert a Memory Card here to transfer various data
to/from the MOTIF. Read carefully the precautions
on using a Memory Card (page 289) before
inserting a card.
& Plug-in board cover (page 35)
Installing an optional Plug-in Board to the MOTIF
lets you greatly expand the sonic palette of the
instrument. Up to three boards can be installed to
the MOTIF’s rear panel.
■ When the optional mLAN8E has been installed:
1 SERIAL I/O connector
For connecting the mLAN8E directly to a personal
computer via a serial cable. Use this jack to connect
the mLAN8E and the computer when using the
mLAN Patchbay and mLAN Mixer in Windows.
This is not used to input or output MIDI or audio
signals.
2 mLAN (IEEE1394) connector1, 2, 3
For connecting mLAN devices or IEEE1394-
compatible devices via IEEE1394 standard (6-pin)
cables.
About mLAN
“mLAN” is a digital network designed for musical
applications. It uses and extends the industry
standard IEEE 1394 high performance serial bus.
For details, refer to the Guide Book of the
mLAN8E.
The name “mLAN” and its logo (above) are
trademarks.
■ When the optional AIEB2 has been installed:
1 OPTICAL IN, OUT connectors (pages 22, 23)
Use these connectors to input or output digital
signals over optical-fiber cable. You can use the
OPTICAL IN to record a digital signal of frequency
48kHz, 44.1kHz, or 32kHz. The OPTICAL OUT
connector outputs a digital signal of frequency
44.1kHz.
2 DIGITAL IN, OUT connectors (pages 22, 23)
Use these connectors to input or output digital
signals over coaxial (RCA-pin) cable. The digital
signal format is CD/DAT (S/P DIF). You can use
the DIGITAL IN connector to record a digital signal
of frequency 48kHz, 44.1kHz, or 32kHz. The
DIGITAL OUT connector outputs a digital signal of
frequency 44.1kHz.
3 ASSIGNABLE OUT jacks (AS1 to AS6)
(page 22)
Additional analog output jacks. Each pair (1&2,
3&4, 5&6) operates independently of all other
outputs on the MOTIF.
12
1 2 3
20
MOTIF Setting Up
Power Supply
Setting Up
Setting Up
This section explains how to connect your MOTIF to an AC power source, external audio and MIDI devices, and a
computer system. Only switch the MOTIF on after you have made all the necessary connections.
It is recommended that you read this section before using the MOTIF.
Power Supply
1 Make sure the POWER switch on the MOTIF is set to OFF.
2 Connect the supplied power cord to the AC INLET terminal on the instrument’s rear panel.
3 Connect the other end of the power cord to an AC outlet. Make sure your MOTIF meets the voltage requirement
for the country or region in which it is being used.
Make sure your MOTIF is rated for the AC voltage supplied in the area in which it is to be used (as listed on the rear
panel). Connecting the unit to the wrong AC supply can cause serious damage to the internal circuitry and may even
pose a shock hazard!
Use only the AC power cord supplied with the MOTIF. If the supplied cord is lost or damaged and needs to be
replaced, contact your Yamaha dealer. The use of an inappropriate replacement can pose a fire and shock hazard!
The type of AC power cord provided with the MOTIF may be different depending on the country in which it is
purchased (a third prong may be provided for grounding purposes). Improper connection of the grounding conductor
can create the risk of electrical shock. Do NOT modify the plug provided with the MOTIF. If the plug will not fit the
outlet, have a proper outlet installed by a qualified electrician. Do not use a plug adapter which defeats the grounding
conductor.
Power cord
(included)
AC INLET terminal
rear panel
21
MOTIF Setting Up
Connections
Setting Up
Connections
Connecting to External Audio Equipment
Since the MOTIF has no built-in speakers, you’ll need an external audio system or a set of stereo headphones to
properly monitor it. The following illustrations show various connection examples; use the one most similar to your
intended setup.
Analog output
■ Connecting stereo powered speakers
A pair of powered speakers can accurately produce the instrument’s rich sounds with their own pan and effect
settings. Connect your powered speakers to the OUTPUT L/MONO and R jacks on the rear panel.
n When using just one powered speaker, connect it to the OUTPUT L/MONO jack on the rear panel.
■ Connecting to a mixer
There are extra audio outputs in addition to the OUTPUT (L/MONO and R) jacks. Connect these outputs to a mixer
for separately controlling the outputs of up to four Parts in Performance mode (page 164).
MOTIF
Headphones
PHONES
OUTPUT
L /MONO
R
Powered speaker (Left) Powered speaker (Right)
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ
TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternalControl
Surface
Modular
Synthesis
Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ZONE
12345678910111213141516LR
Headphones
MOTIF
Mixer
Speaker
Amplifier
L
OUTPUT L
R
OUTPUT
L/MONO
PHONES
R
R
ASSIGNABLE
OUTPUT L, R
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ
TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternalControl
Surface
Modular
Synthesis
Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ZONE
22
MOTIF Setting Up
Connections
Setting Up
■ Connecting to a mixer (with the optional AIEB2)
You can expand the MOTIF’s output capabilties with six additional OUTPUT jacks for outputting extra individual
parts, by installing the optional I/O board (AIEB2).
n Connecting a pair of headphones does not affect audio output from the OUTPUT (L/MONO and R) jacks. You can monitor the
same sounds via headphones and at the OUTPUT jacks.
Digital output
■ When using the OPTICAL OUTPUT connector:
This connector enables direct digital output of MOTIF playback and digital through-put.
■ When the optional AIEB2 I/O board has been installed:
The board enables direct digital output of MOTIF sound also via the coaxial cable.
For purposes of compatibility, the AIEB2 board includes two different output types: OPTICAL OUT (optical fiber)
and DIGITAL OUT (coaxial cable). Note that both of these outputs always produce identical signals.
MOTIF
12345678910111213141516LR
Mixer
Speaker
Amplifier
L
OUTPUT L
OUTPUT
L/MONO
R
R
R
ASSIGNABLE
OUTPUT L
Headphone
PHONES
R
AIEB2
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ
TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternalControl
Surface
Modular
Synthesis
Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ZONE
DAT
MOTIF
DAT or CD recorder
OPTICAL
OUTPUT
OPTICAL
INPUT
Record
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ
TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternalControl
Surface
Modular
Synthesis
Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ZONE
DAT DAT
MOTIF
DAT or CD recorder
DIGITAL
OUTPUT
OPTICAL
OUTPUT
DIGITAL
INPUT
OPTICAL
INPUT
Record
Record
Coaxial cable
Optical cable
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ
TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternalControl
Surface
Modular
Synthesis
Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ZONE
23
MOTIF Setting Up
Connections
Setting Up
A/D input
■ Connecting a microphone or other audio equipment (analog input)
You can record or import external sounds or waveform data and use them as instrument sounds (see
“Sampling” on page 58). When recording from an external audio source, connect a microphone or the audio source
to the A/D INPUT jacks.
n After the above connections are complete, you are ready to set up for recording. When starting a recording, you may need to adjust the
input gain of the audio source using the GAIN knob. (page 18).
■ Connecting to mLAN-compatible audio equipment
n The sound via either of the mLAN jacks and the A/D INPUT jacks can be input. You can set which jacks are used in the Utility
mode (page 252).
Digital input (when the optional AIEB2 has been installed)
By installing the optional AIEB2 I/O expansion board, you can directly record digital audio from digital sources —
such as a CD player or DAT deck. For maximum compatibility and flexibility, the AIEB2 board includes two
different input types: OPTICAL (optical fiber) and DIGITAL (coaxial cable).
n Either one of the connectors (OPTICAL or DIGITAL) can be used; however, both cannot be used at the same time. Select which
connector is used for digital input in the Utility mode. See page 249.
Audio Device (Stereo)
L
R
Sampling
RL
Mic
(MONO)
AD INPUT
MOTIF MOTIF
Apply effects to the microphone
sound by using the Vocal Harmony
Plug-in board (PLG100-VH).
AD INPUT
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ
TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternalControl
Surface
Modular
Synthesis
Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ZONE
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ
TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternalControl
Surface
Modular
Synthesis
Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ZONE
mLAN jacks
Sampling
MOTIF
mLAN audio device
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ
TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternalControl
Surface
Modular
Synthesis
Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ZONE
DAT
DAT or CD recorder
OPTICAL
INPUT
OPTICAL
OUTPUT
Sampling
Optical cable
DAT
DAT or CD recorder
DIGITAL
INPUT
DIGITAL
OUTPUT
Sampling
Coaxial cable
MOTIF
MOTIF
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ
TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternalControl
Surface
Modular
Synthesis
Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ZONE
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ
TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternalControl
Surface
Modular
Synthesis
Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ZONE
24
MOTIF Setting Up
Connections
Setting Up
Connecting External MIDI Equipment
Using a standard MIDI cable (available separately), you can connect an external MIDI device, and control it from the
MOTIF. Likewise, you can use an external MIDI device (such as a keyboard or sequencer) to control the sounds on
the MOTIF. Below are several different MIDI connection examples; use the one most similar to your intended setup.
■ Controlling from an external MIDI keyboard
■ Controlling an external MIDI keyboard
■ Recording and playback using an external MIDI sequencer
■ Controlling another MIDI device via MIDI THRU
In the above setup, Synthesizer 2 can be played from the MOTIF (via MIDI OUT), while the external sequencer
plays Synthesizer 1 (via MIDI THRU).
n The MIDI cable should be no greater than 15 meters in length, and there should be no more than three devices in a MIDI chain
(chained in series via each unit’s MIDI THRU). To connect more units, use a MIDI Thru Box for parallel connections. You may
encounter errors if the MIDI cables are too long or if too many devices are chained together via their MIDI THRU connectors.
■ Using an mLAN interface (when an optional mLAN8E has been installed)
n Any one of the these interfaces can be used for MIDI data transmission/reception: the MIDI connectors, the mLAN terminal
connector, or the USB connector. However, they cannot be used at the same time. Select which connector is used for MIDI data
transfer in the Utility mode. See page 259.
Extrnal MIDI keyboard or synthesizer
MUSIC SYNTHESIZER
REALTIME CONTROL
EXTENDED SYNTHESIS
MOTIF
MIDI OUT
MIDI IN
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ
TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternalControl
Surface
Modular
Synthesis
Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ZONE
External MIDI keyboard or synthesizer
MUSIC SYNTHESIZER
REALTIME CONTROL
EXTENDED SYNTHESIS
MOTIF
MIDI OUT
MIDI IN
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ
TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternalControl
Surface
Modular
Synthesis
Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ZONE
MOTIF
MIDI OUT
MIDI OUT
MIDI IN
MIDI IN
External MIDI sequencer
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ
TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternalControl
Surface
Modular
Synthesis
Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ZONE
External MIDI sequencer
External MIDI synthesizer 1
External MIDI synthesizer 2
MOTIF
MIDI OUT
MIDI OUT
MIDI IN
MIDI IN
MIDI THRUMIDI IN
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ
TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternalControl
Surface
Modular
Synthesis
Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ZONE
C
mLan keyboard
IEEE1394 cable
Transmit & Receive
MOTIF
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ
TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternalControl
Surface
Modular
Synthesis
Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ZONE
C
25
MOTIF Setting Up
Connections
Setting Up
Connecting to a Personal Computer
By connecting a computer, you can transfer data between the MOTIF and the computer via MIDI, and use the
computer to control, edit and organize data on the MOTIF. For example, you can use the included Voice Editor
program to edit the MOTIF’s voices. There’s also a special File Utility program that lets you use your computer to
manage files in the Memory Card inserted in the MOTIF’s CARD slot or files in the SCSI device connected to the
MOTIF.
■ Using an USB interface
n If you are using the Remote Control function to control operations on a computer sequencer, we recommend making connections
with a USB cable.
n The USB connection can only be used for transfer of MIDI data. No audio data can be transfered via USB.
n When you connect your computer to the MOTIF as illustrated above, you will need to select “USB” for MIDI data transmission in
the Utility mode. (page 258)
About the USB connector
USB cables have different connectors on each end: the A type and the B type. When using the USB connection,
connect the A type to your computer and the B type to the MOTIF.
Disconnecting/connecting the USB cable or turning the power off/on may cause the computer operation to hang-up,
or may stop the MOTIF from functioning properly. Be careful NOT to disrupt the USB connection or turn the power
on/off in the following operating conditions.
• While the MOTIF is recognizing the device or while loading the driver.
• While starting or shutting down the operating system.
• While computer operation is suspended (with power management controls such as sleep or hibernation).
• While a MIDI application is starting.
The computer may also hang up and/or the MOTIF’s functions may stop if you do the following:
• Turn the power on/off, or connect/disconnect the cable too often.
• Enter the sleep mode while trasmitting the MIDI data, and resume operation.
• Disconnect/connect the cable while the MOTIF is on.
• Turn the MOTIF on/off, start the computer, or install driver software while a huge amount of data is being transferred.
Computer with a USB Interface
USB cable
MOTIF
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ
TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternalControl
Surface
Modular
Synthesis
Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ZONE
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ
TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternalControl
Surface
Modular
Synthesis
Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ZONE
MOTIF
MIDI OUT
MIDI IN
MIDI cable
MIDI IN
MIDI OUT
External MIDI synthesizer
External MIDI sequencer
Computer with a USB interface
USB cable
transmission & receive
26
MOTIF Setting Up
Connections
Setting Up
■ Using an IEEE1394 interface (when an optional mLAN8E has been installed)
■ Using a MIDI interface
●Using the computer’s MIDI interface
●Using an external MIDI interface
n Please use the appropriate MIDI interface for your computer.
n If you are using a computer that has a USB interface, make sure to connect the computer and the MOTIF by USB. (The data
transfer rate is faster than MIDI and you’ll have access to multiple MIDI ports.)
Local On/Off - When Connected to a Computer
When connecting the MOTIF to a computer, the keyboard performance data is generally sent to the computer, and
then returned from the computer to play the tone generator or sound source. If the Local Switch is set to “on,” a
“double” sound may result, since the tone generator is receiving performance data from both the keyboard directly and
the computer. Use the setting suggestions below as a guideline; specific instructions may differ depending on your
computer and the software used.
When MIDI “Echo” is enabled on the software/computer, set the MOTIF Local Switch to “off.”
n When transmitting or receiving System Exclusive data (such as with the Bulk Dump function), use the setting example
below, making sure that MIDI “Echo” on the computer software is set to “off.”
MOTIF
IEEE1394 cable
Computer with a IEEE1394 interface
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ
TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternalControl
Surface
Modular
Synthesis
Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ZONE
Echo Back On
Local Off
Computer with
Application Software
Tone
Generator
Keyborad
MOTIF Local Sw=off
IN OUT
USB
OUT
IN
27
MOTIF Setting Up
Connections
Setting Up
When MIDI “Echo” is disabled on the software/computer, set the MOTIF Local Switch to “on.”
n Although not indicated in the illustration above, the MOTIF actually receives and responds to MIDI data from the
computer application (sequencer), regardless of the Local Sw setting on the MOTIF.
* MIDI “Echo” is a function on sequencers that takes any data received via the MIDI IN and “echoes” it (or sends
it as is) through the MIDI OUT. In some software, this function is also called “MIDI Thru.”
n Refer to the owner's manual of your particular software for specific instructions.
Connecting to an External SCSI Device
Reference (page 262)
This SCSI-2 50-pin connector (D-sub, half-pitch) can be used to connect to an external SCSI data storage device —
allowing you to conveniently save and store large quantities of data. For details about SCSI and connecting SCSI
devices, see page 64.
n The SCSI ID for the MOTIF and for the connected SCSI device are set in the File mode (page 265).
◆ MOTIF-compatible SCSI devices/disks
• Only DOS-format disks can be used by the MOTIF for saving data. Disks formatted by the MOTIF are
formatted using DOS format.
• Disks formatted to DOS format by a personal computer can be used with the MOTIF. However, for best results,
we recommend using disks formatted by the MOTIF.
• When formatted using the MOTIF, disks with a capacity of less than 2GB are formatted using FAT16 format,
and larger disks are formatted using FAT32 format.
• MO disks which can be used with the MOTIF include capacities of 128 MB, 230 MB, and 540 MB. MO disks
with a capacity of 640 MB and above cannot be used.
• The MOTIF can use removable media of capacities of up to 2 GB. Even if larger drives are connected, the
MOTIF can only use a maximum of 2 GB. Furthermore, all removable media are formatted using the FAT16
format, and partitioning is not possible.
• When a 31 GB disk is formatted, four 7.75 GB partitions will be created automatically.
Echo Back Off
Local On
Computer with
Application Software
MOTIF Local Sw=on
OUTUSB
IN
Tone
Generator
Keyborad
Hard Disk, etc.
SCSI
MOTIF
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ
TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternalControl
Surface
Modular
Synthesis
Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ZONE
28
MOTIF Setting Up
Connections
Setting Up
Connecting Various Controllers
Quick Start Guide (page 48)
The MOTIF features several controller jacks on the rear panel — letting you independently control various aspects
of the sound and a variety of functions with optional controllers.
BREATH
SUSTAIN
FOOT
SWITCH
FOOT
CONTROLLER
ASSIGNABLE
12
FC7
BC3
FC7
FC4
or
FC5
FC4
or
FC5
29
MOTIF Setting Up
Powering Up
Setting Up
Powering Up
Power-on Procedure
Once you’ve made all the necessary connections between your MOTIF and any other devices, make sure that all
volume settings are turned down all the way to zero. Then turn on the every device in your setup in the order of
MIDI masters (senders), MIDI slaves (receivers), then audio equipment (mixers, amplifiers, speakers, etc.). This
ensures smooth signal flow from the first device to the last (first MIDI, then audio).
When powering down the setup, first turn down the volume for each audio devices, then switch off
each device in the reverse order (first audio devices, then MIDI).
n If the SCSI device is connected to the MOTIF, first turn the SCSI device on and follow the instructions below. When turning the
power off in this case, turn the SCSI device off after all other devices.
When using the MOTIF as MIDI receiver:
Switching the MOTIF On
n Before you switch your MOTIF on or off, first turn down the volume of any audio equipment connected to it.
1 Press the POWER switch.
After a while, the default display appears (as set in the Utility parameter, Power On Mode Display).
2 Raise the sound system volume to a reasonable level.
3 Gradually raise the VOLUME control while playing the keyboard to set the desired listening level.
213
30
MOTIF Basic Structure
Mode
Basic Structure
Basic Structure
Mode
The MOTIF is organized with various modes, each covering a different set of operations and functions.
■ Voice mode
Basic Structure (page 42) · Basic Operation (page 67)
Quick Start Guide (page 80) · Reference (page 121)
● Voice Play mode
In this mode, Normal Voices and Drum Voices can
be played. By installing an optional Plug-in Board,
you can have an even greater selection of Voices.
● Voice Edit mode
In this mode, Normal Voices and Drum Voices can
be created and edited.
● Voice Job mode
In this mode, you can copy and initialize Voices, and
perform other similar operations (Jobs) on them.
● Voice Store mode
In this mode, you can store edited voices as User
Voices in internal memory. You can also save them
to Memory Card or an external SCSI device in the
File mode (below).
Voice Play mode
Voice mode
Sequencer mode
(Multi mode)
Sampling mode
Master mode
Utility mode
File mode
Keyboard Playback mode
Voice Edit mode
Voice Job mode
Voice Store mode
VOICE
PERFORM
SONG
PATTERN
FILE
MASTER
UTILITY
INTEGRATED
SAMPLING
Performance Play mode
Performance mode
Performance Edit mode
Performance Job mode
Performance Store mode
Song Play mode
Song mode
Song Record mode
Song Edit mode
Song Job mode
Song Mixing mode
Pattern Play mode
Pattern mode
Pattern Record mode
Pattern Edit mode
Pattern Job mode
Pattern Mixing mode
Master Play mode
Master Edit mode
Master Job mode
Master Store mode
Sampling Record mode
Sampling Edit mode
Sampling Job mode
Job mode
31
MOTIF Basic Structure
Mode
Basic Structure
■ Performance mode
Basic Structure (page 42) · Basic Operation (page 67)
Quick Start Guide (page 88) · Reference (page 160)
● Performance Play mode
In this mode, Performances can be played — letting
you use Voice splits, layers, etc,.
● Performance Edit mode
In this mode, Performances can be created and
edited.
● Performance Job mode
In this mode, you can copy and initialize
Performances, and perform other similar operations
(Jobs) on them.
● Performance Store mode
In this mode, you can save edited Performances as
User Performances in internal memory. You can
also save them to Memory Card or an external SCSI
device in the File mode (below).
■ Song mode
Basic Structure (page 51) · Basic Operation (page 67)
Quick Start Guide (page 78) · Reference (page 177)
● Song Play mode
In this mode, you can use the sequencer and its
various functions (e.g., Track Mute/Solo) in playing
back Songs.
● Song Record mode
In this mode, you can use the sequencer to record
your keyboard performance to a User Song. The
MOTIF lets you record up to 16 separate sequence
tracks.
● Song Edit mode
In this mode, you can edit the MIDI events of each
track of the recorded Song.
● Song Job mode
In this mode, you can perform a variety of
operations on the Song data, such as copying and
erasing. These can be done on individual measures,
or on entire tracks.
● Song Mixing mode
In this mode, you can set the tone generation
parameters of each part of the recorded Song.
■ Pattern mode
Basic Structure (page 51) · Basic Operation (page 67)
Quick Start Guide (page 100) · Reference (page 215)
● Pattern Play mode
In this Mode, you can use the sequencer to play
back Patterns. You can combine various Phrases (by
using the Patch function) to create a Pattern.
● Pattern Record mode
In this mode, you can use the sequencer to record
your keyboard performance to a User Phrase — the
basic building block for Patterns. The MOTIF lets
you record up to 16 separate sequence tracks.
● Pattern Edit mode
In this mode, you can edit the MIDI events of each
track of the recorded Pattern Phrase.
● Pattern Job mode
In this mode, you can perform a variety of
operations on the Pattern data, such as copying and
erasing. These can be done on individual measures,
or on entire tracks.
● Pattern Mixing mode
In this mode, you can set the tone generation
parameters of each part of the recorded Pattern.
■ Sampling mode
Basic Structure (page 58) · Basic Operation (page 67)
Quick Start Guide (page 100) · Reference (page 233)
This mode is s sub-mode of the Voice/Performance/
Song/Pattern mode. Press the [INTEGRATED
SAMPLING] button in each mode to enter the
Sampling mode, and press the same button after
sampling to go back to the previous mode.
● Sampling Record mode
In this mode, you can record sounds into the
MOTIF from a microphone or other audio source.
These sounds (Samples) can then be played back in
real time via keyboard or can be saved to the Song/
Pattern track.
Moreover, you can process a recorded Sample (for
example, with Chorus or another effect), then re-
record it as a new Sample — using the Resampling
function.
● Sampling Edit mode
In this mode, you can edit recorded Samples — for
example, their loop points and other parameters.
● Sampling Job mode
In this mode, you can copy and delete Samples, and
perform other similar operations (Jobs) on them.
32
MOTIF Basic Structure
Mode
Basic Structure
■ Utility mode
Basic Operation (page 67) · Reference (page 249)
This mode is a sub-mode of the Voice/Performance/
Song/Pattern mode. Press the [UTILITY] button in
each mode to enter the Sampling mode and press the
same button after sampling to go back to the previous
mode.
In this mode, you can set parameters that apply to the
entire system of the MOTIF. These include MIDI
settings and global setup parameters.
● Utility Job mode
In this Mode, you can restore the MOTIF’s factory
settings.
■ Master mode
Basic Structure (page 56) · Basic Operation (page 68)
Quick Start Guide (page 93) · Reference (page 268)
This mode gives you a convenient way to register the
settings that are often used in the Voice, Performance,
Song and Pattern mode to User Master, and to instantly
recall them with simple operations.
For the Voice or Performance mode, you can make
additional Master Keyboard function settings (e.g.,
separate Zone settings), and register them to a User
Master.
● Master Play mode
In this mode, you can select the desired User Master
to play the MOTIF.
● Master Edit mode
In this mode, you can edit the Master settings.
● Master Job mode
In this mode, various jobs for Master settings are
provided.
● Master Store mode
In this mode, you can store settings for each mode
to the internal memory as a User Master.
■ File mode
Basic Structure (page 63) · Basic Operation (page 68)
Quick Start Guide (page 97) · Reference (page 261)
In this mode, you can save/load all your important
original data to/from Memory Card (the MOTIF
features a built-in Card slot) or an external SCSI
storage device for future recall.
33
MOTIF Basic Structure
System Overview
Basic Structure
System Overview
This section provides an overview of the MOTIF’s wide range of sophisticated and versatile features. The MOTIF is
made up of several blocks, as shown here.
Controller block
Basic Structure (pages 37, 48)
This block consists of the keyboard, Pitch Bend and Modulation Wheels, Ribbon Controller, Sound Control knobs,
and so on. The keyboard itself doesn’t generate sounds, but instead sends note, velocity and other information (MIDI
data) to the synthesizer’s tone generator section when you play notes. The controllers also send changes.
Information from the keyboard and controllers can be transmitted to other external MIDI devices through the MIDI
OUT connector or the USB connector.
Sequencer block
Basic Structure (page 51) · Quick Start Guide (pages 99 ~ 118) · Reference (pages 177, 215)
This block lets you create songs and patterns by recording/editing musical performances (MIDI data) recorded from
the controller block, and then plays back this data, transmitting it to the tone generator block.
The sequencer block can be operated in the Song mode, in the Pattern mode, and in using the Arpeggio feature.
When a song or a pattern is played back, the musical data of each sequence track is transmitted to the tone generator
block according to the Transmit Channel settings.
n Details about track structure of a Song/Pattern/Arpeggio are described on pages 51 and 52 respectively.
Sampling block
Keyboard Controllers
MIDI sequence data
• Song
• Pattern
• Arpeggio
• Voice
• Performance
• Reverb
• Chorus
• Variation
• Master Equalizer
Microphone or
audio equipment
A/D Input
Internal AWM2
Plug-in board
DSP
MIDI data
MIDI out
MIDI data MIDI data MIDI data
Controller block
External MIDI device
Sequencer block
Effect block
Tone Generator block
Output
KN 1 KN 2 KN 3 KN 4
Sequencer
Tone Generator block
(example)
part 1
(Receive channel 3)
(Receive channel 2)
(Receive channel 10)
(Receive channel 1)
(Receive channel 9)
(Receive channel 16)
part 2
part 3
part 4
part 15
part 16
Track 1
Track 2
Track 3
Track 16
Percussion
Strings
Bass
Piano Ch1
Ch2
Ch3
Ch16
34
MOTIF Basic Structure
System Overview
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, and from the MIDI IN connector or the USB connector.
The following example illustrates the signal flow within a Voice.
n For details on the Voice structure, see page 40.
Internal AWM2 Tone Generator and optional Plug-in board
The tone generator block in the MOTIF consists of the built-in AWM2 and optional Plug-in units.
● AWM2(Advanced Wave Memory2)
AWM2 (Advanced Wave Memory 2) is a synthesis system based on sampled waves (sound material), and is used in
many Yamaha synthesizers. For extra realism, each AWM2 Voice uses multiple samples of a real instrument’s
waveform. Furthermore, a wide variety of envelope generator, filter, modulation, and other parameters can be
applied to the basic waveform.
You can create your own waves via microphone or from external audio equipment by using the Sampling function.
These are then stored in internal RAM and can be used just like the preseet waves.
One voice can use up to four waves (elements) in AWM2 tone generator.
n AWM2 is not just limited to general musical instruments (Normal Voices). It can also be used for setting up percussive
instruments (Drum Voices). For details on Normal and Drum Voices, see page 45.
● Plug-in board
Plug-in Boards give you an enormous amount of additional sonic flexibility and power. When installed, they work
seamlessly and transparently within the system of the MOTIF — meaning that you can use their sounds and
functions just as if they were built right into the MOTIF at the factory.
The boards that are available for and can be installed to the MOTIF are described below.
Up to three Plug-in boards can be installed to the MOTIF. These boards are not simply a source of more Voices; they
are also tone generators in their own right and extend the system-level specifications such as maximum polyphony.
In addition, they allow you to use synthesis systems besides AWM2. You can play Plug-in Voices just like ordinary
internal Voices and use them as Parts in a Performance (page 42).
The MOTIF is compatible with the Modular Synthesis Plug-in System (see next page). There are three types of
Modular Synthesis Plug-in System-compatible Plug-in Boards: Single Part, Multi-Part and Effect Plug-in Board. Using
these, you can build your own system based on the sounds you require.
Voice
Osillator
See page 46 See page 47 See page 47
See page 45
Pitch
Pitch Envelope
Generator
Filter Envelope
Generator
Low Frequency
Oscillator
Amplitude Envelope
Generator
Filter Amplitude
Element 1
Element 2
Element 3
Element 4
PEG FEG
LFO
AEG
Internal AWM2
Tone Generator
Plug-in board (optional)
35
MOTIF Basic Structure
System Overview
Basic Structure
Plug-in board line-up
● Single Part Plug-in Boards
Single Part Plug-in Boards let you add a completely different synthesizer or tone generator and play its voices by
using a single part of the MOTIF.
• Analog Physical Modeling Plug-in Board (PLG150-AN)
Using Analog Physical Modeling (AN) synthesis, the very latest digital technology is used to accurately reproduce
the sound of analog synthesizers. With this board installed, you have real-time control over the playback of
vintage synthesizer sounds as well as the very latest sounds heard in today’s club-oriented music.
• Piano Plug-in Board (PLG150-PF)
A massive waveform memory is dedicated to the reproduction of piano sounds. This board offers 136 stereo
sounds, including a number of acoustic and electric pianos, and up to 64-note polyphony. You can even install two
of these boards to double the polyphony to 128 notes.
•Advanced DX/TX Plug-in Board (PLG150-DX)
The sounds of the DX7 are available on this Plug-in Board. Unlike PCM-based tone generators, this board uses the
powerful FM Synthesis system — the same as found on DX-series synthesizers — for extraordinarily versatile
and dynamic sound shaping potential. Sounds are compatible with those of the DX7, and the board can even
receive DX7 data via MIDI bulk dump.
• Virtual Acoustic Plug-in Board (PLG150-VL)
With Virtual Acoustic (VA) synthesis, the sounds of real instruments are modeled (simulated) in real time, giving
a degree of realism that cannot be achieved using conventional PCM-based synthesis techniques. When playing
these sounds using an optional MIDI Wind Controller (WX5), you can even capture some of the physical feel of
woodwind instruments.
● Effect Plug-in Board
•Vocal Harmony Plug-in Board (PLG100-VH)
With this board installed, you can add harmonies to selected parts using four types of effects.
Chorus parts for vocals can be created automatically from chords that have been prepared and stored as MIDI
data. You can also use the MOTIF like a vocoder by connecting and using a microphone while playing the
keyboard.
● Multi-Part Plug-in Board
Multi-Part Plug-in Boards let you expand the voice polyphony of the MOTIF by giving you a full 16 independent
instrumental parts. By using this type of board to play back sequencer tracks, you can reserve the maximum
polyphony of the MOTIF for your keyboard performance.
• XG Plug-in Board (PLG100-XG)
This Plug-in Board is a 16-part XG sound generator. You can play back XG/GM song files using the rich variety of
sounds and effects on this board.
n Additional Plug-in Boards will be available in the future.
About MODULAR SYNTHESIS PLUG-IN SYSTEM
The Yamaha Modular Synthesis Plug-in System offers powerful expansion and upgrade capabilities for Modular
Synthesis-Plug-in-compatible synthesizers, tone generators and sound cards. This enables you to easily and effectively
take advantage of the latest and most sophisticated synthesizer and effects technology, allowing you to keep pace with
the rapid and multi-faceted advances in modern music production.
36
MOTIF Basic Structure
System Overview
Basic Structure
Maximum Polyphony
The maximum sonic polyphony is 62 for AWM2, plus the polyphony of the Plug-in Board (if installed). The actual
note polyphony will vary depending on the type of tone generator unit used, the number of Elements in the Voice,
and the note polyphony of the Plug-in Board.
In the case of AWM2 Voices, the polyphony figure of 63 is divided by the number of Elements in the Voice.
Part structure of the Tone Generator block
The MOTIF plays its sounds (with the Tone Generator block) in response to MIDI data, received from the Controller
block or Sequencer block.
MIDI data is assigned to one of sixteen channels, and the MOTIF is capable of simultaneously playing sixteen
separate parts, via the sixteen MIDI channels. However, we can overcome the sixteen-channel limit by using
separate MIDI “ports,” each supporting sixteen channels. The multiple sound sources of the MOTIF (internal tone
generator and Plug-in Boards) take advantage of the three MIDI ports included on the instrument.
As shown in the above illustration, up to 48 parts can be used in the modes (excepting the Voice mode). However,
the number of parts that are actually used is a maximum of 34 in the Song and Pattern modes, as we’ll see later in
some examples.
n See page 30 for details about the modes.
n The USB cable supports up to eight separate MIDI ports. The MOTIF
’s Tone Generator block supports three separate ports as
illustrated above, and the MOTIF
’s MIDI Thru function supports eight separate MIDI ports.
n The MIDI cable and IEEE cable (when the mLAN8E has been installed) cannot handle MIDI port data.
These parts are used in
modes other than the
Voice mode.
Tone Generator block
Part for Voice mode
Port 1
Port 2
Port 3
part 1
part 2
part 14
part 15
part 16
part 17
part 18
part 30
part 31
part 32
part 33
part 34
part 46
part 47
part 48
37
MOTIF Basic Structure
System Overview
Basic Structure
Relationship between the Part structure of the Tone Generator block and the
Controller/Sequencer block for each mode
● Voice mode
n In the Voice mode, the MIDI port number is 1.
n The Multi-Part Plug-in Board cannot be used in the Voice mode. However, other Plug-in Boards can be used.
● Performance mode
n In the Performance mode, the MIDI port number is 1.
n The Multi-Part Plug-in Board cannot be used in the Performance mode. However, other Plug-in Boards can be used.
The sequencer block is not
available in the Voice mode.
Part 1-48 are not used.
Tone Generator block
(Internal / Plug-in)
Part for Voice mode
Port 1 Port 2 Port 3
part 1
part 2
part 3
part 4
part 5
part 16
part 17
part 18
part 30
part 31
part 32
part 33
part 34
part 46
part 47
part 48
Keyboard
Controllers
Output
Controller block
KN 1 KN 2 KN 3 KN 4
Parts 5-13 and 17-48
are not used.
A maximum of four parts can be used among parts 1-4 and 14-16.
Parts that are set to on in the Performance Play mode are used.
Keyboard Controllers
Output
Controller block
Tone Generator block (Internal / Plug-in)
Port 1 Port 2 Port 3
Part 1
Part 2
Part 3
Part 4
Part 5
Part 14
Part 15
Part 16
Part 17
Part 18
Part 30
Part 31
Part 32
Part 33
Part 34
Part 46
Part 47
Part 48
PLG3 part
PLG2 part
PLG1 part
The sequencer block is
not available in the
Performance mode.
KN 1 KN 2 KN 3 KN 4
38
MOTIF Basic Structure
System Overview
Basic Structure
● Song/Pattern mode
External sequencer
MIDI sequence data
(Song / Pattern)
Tone Generator block (example)
Sequencer block
Port 1 Port 2
(Multi-Part Plug-in
Board)
Port 3
(Single Part Plug-in
Board)
Part 1
Part 2
Part 3
Track 1
Track 2
Track 3
Track 4
Track 15
Track 16
Part 4
Part 15
Part 17
Part 18
Part 30
Part 31
Part 32
PLG1 part
PLG2 part
Part 16
Part 33
Parts 33-46
are not
used.
Part 34
Part 46
Part 47
Part 48
In the Song / Pattern Mixing mode, the only parts
that sound are the currectly selected (edited)
part, and parts having the same receive channel
as the selected one.
MIDI cables by themselves cannot
handle data from multiple ports. If a
MIDI cable is used to transmit data
from an external sequencer, only
the Port 1 parts are used. To take
advantage of the multiple ports of
the MOTIF, use a USB cable.
When the Multi-Part Plug-in board and two Single Part Plug-in
boards have been installed:
Each track of music (MIDI) data sounds a
corresponding part on the MOTIF,
according to the MIDI channel settings.
(The receive channel for each part must
match the transmit channel of each track.)
Keyboard
Controllers
Controller block
KN 1 KN 2 KN 3 KN 4
39
MOTIF Basic Structure
System Overview
Basic Structure
Effect block
This block of the MOTIF applies effects to the output of the tone generator, processing and enhancing the sound
using sophisticated DSP (digital signal processing) technology.
Effect structure
The MOTIF’s effect processing features the following effect units.
■ System Effects (Reverb, Chorus, Variation)
System Effects are applied to the overall sound, whether it be a voice, an entire performance setup, a song, etc.
With System effects, the sound of each part is sent to the effect according to the effect Send Level for each part. The
processed sound (referred to as “wet”) is sent back to the mixer, according to the Return Level, and output — after
being mixed with the unprocessed “dry” sound. This arrangement lets you prepare an optimum balance of the effect
sound and the original sound of the parts.
• Reverb
The Reverb effects add a warm ambience to the sound, simulating the complex reflections of actual performance
spaces, such as a concert hall or a small club. A total of 12 different Reverb types are available.
• Chorus
The Chorus effects use modulation to create a rich ensemble sound — as if one part were being played by several
instruments simultaneously. A total of 25 different Chorus types are available.
• Variation
The Variation effects provide a wide variety of sound transformations and enhancements. A total of 25 different
Variation types are available. Variation is not available in the Voice mode.
■ Insertion Effects (1, 2)
Insertion effects can be applied individually to each part.
Insertion effects are mainly used to directly process a single part. The depth of the effect is adjusted by setting the
dry/wet balance. Since an Insertion effect can only be applied to one particular part, it should be used for sounds you
want to drastically change. You can also set the balance so that only the effect sound is heard, by setting Wet to
100%.The MOTIF features two Insertion effect systems — one with a total of 104 internal effect types and the other
with 25.
■ Plug-in Insertion Effects
This is a special effect system, only available when an effect-type Plug-in Board is installed. Plug-in Board effects are
not available in the Voice mode.
■ Master Equalizer
Usually an equalizer is used to correct the sound output from amps or speakers to match the special character of the
room. The sound is divided into several frequency bands, then by raising or lowering the level for each band, the
correction is made.
Adjusting the sound you play according to the genre—classical music being more refined, pops music more crisp, and
rock music more dynamic—can also serve to draw out the special characteristics of the music and make your
performance more enjoyable.
The MOTIF possesses a high grade five-band digital equalizer function.
The four knobs can be used to adjust the gain of the four bands (among five).
40
MOTIF Basic Structure
System Overview
Basic Structure
Effect connection
● In the Voice mode:
Reference (page 137)
You can select the Insertion connection among three types.
n The parallel connection is not available for Plug-in voices.
● In the Performance mode:
Reference (page 169)
The diagram below indicates the connection when the Vocal Harmony Plug-in Board (PLG100-VH) is installed to slot 1.
nThe Vocal Harmony Plug-in Board (PLG100-VH) can be installed only to slot 1. It cannot be installed to slot 2 or 3.
You can select the Insertion connection
from the three types shown below.
Tone Generator
block
Element 1
Element 2
Element 3
Element 4
1
2
2
1
2
1
This determines which Insertion
system, 1 or 2, is applied to each
Element (or to each key when the
Drum voice is selected). The
Insertion effect can also be
bypassed.
1 to 2
2 to 1
parallel
Return Level
Send Level
Insertion Effect
1
2
Output
Master Equalizer
System Effect
Reverb
Chorus
Part 1-4,
Plug-in part 2-3
Select the part to which the
Insertion effect is applied from
parts 1-4 and Plug-in parts 2-3.
The connection type depends
on the setting of the Voice
assigned to the selected part.
Select the part to which
the Plug-in Insertion
effect is applied from
parts 1-4, Plug-in parts
2-3 and A/D Input part.
Tone Generator
block
A/D Input
• External audio source
• Microphone sound
Return Level
Send Level
Insertion Effect
(Plug-in)
Insertion Effect
1
2
Output
Master Equalizer
System Effect
Reverb
Chorus
Variation
41
MOTIF Basic Structure
System Overview
Basic Structure
● In the Song/Pattern mode:
Reference (page 210)
The diagram below indicates the connection when the Vocal Harmony Plug-in Board (PLG100-VH) is installed to
slot 1 and the Multi part Plug-in Board (PLG-100XG) is installed to slot 3.
* Please note that the Insertion Effect, Insertion Effect (Plug-in), and the System Effect cannot cannot be applied to
parts 17~32 (using the Multi-part Plug-in board). The signal from parts 17~32 is directly sent to the Master
Equalizer.
n The Vocal Harmony Plug-in Board (PLG100-VH) can be installed only to slot 1. It cannot be installed to slot 2 or 3.
n The Multi part Plug-in Board (PLG100-XG) can be installed only to slot 3. It cannot be installed to slot 1 or 2.
Part 17-32 *
(When the Multi-part Plug-
in board has been installed)
Plug-in Part 2
(When the Single part Plug-
in board has been installed)
Part 1~16
Tone Generator
block
A/D Input
• External audio source
• Microphone sound
Select the part to which the Insertion
effect is applied. The connection type
depends on the setting of the Voice
assigned to the selected part.
Select the part to which
the Plug-in Insertion
effect is applied.
Return Level
Send Level
Output
System Effect
Reverb
Chorus
Variation
Insertion Effect
PLG100-VH
Insertion Effect
(Plug-in)
1
2
Master Equalizer
42
MOTIF Basic Structure
Main functions
Basic Structure
Main functions
Voices and Performances
Quick Start Guide (pages 80, 88) · Reference (pages 121, 160)
A Voice is the main sound of the MOTIF, made up of a variety of parameter settings. Each Voice can consist of up to
four separate Elements, each of which is a high-quality wave, or basic sound.
A Performance, on the other hand, is a program in which multiple Voices (parts) are combined — in a layer, or in
other configurations. Each Performance can contain up to four different Parts.
One Voice One Performance
Element 1 Element 2 Element 3 Element 4
Up to four elements
Parameter settings
(Voice Edit)
+
Voice 1 Voice 2 Voice 3 Voice 4
Up to four voices
Parameter settings
(Performance Edit)
+
Oscillator
See page 46 See page 47 See page 47
See page 45
Pitch
Pitch Envelope
Generator
Filter Envelope
Generator
Low Frequency
Oscillator
Amplitude Envelope
Generator
Filter Amplitude
Parameters related to the
Tone Generator block
Parameters released to the Effect block Parameters related to the Controller block
PEG FEG
LFO
AEG
Set the following parameters for each Element to create the Voice.
Return
level
Send
level
System Effect
Reverb
Chorus
Insertion Effect
1
2
Master
Equalizer
KN 1 KN 2 KN 3 KN 4
43
MOTIF Basic Structure
Main functions
Basic Structure
In the Voice Play mode, you can select and play any of these Voices. In the Performance Play mode, you can select and
play any of these Performances.
On the previous page, the illustration shows the structure of one Voice/Performance. The illustration below shows
the overall memory structure of all Voices and Performances. Taken together, these illustrations can help you better
understand the structure of the MOTIF’s Voices and Performances. These two illustrations help you to understand
the structure of Voice/Performance.
Preset 1
(128 Normal Voices)
Group A~H
Number 1~16
Voice
Preset 2
(128 Normal Voices)
Preset Voice
(384 Normal Voices + 48 Drum Voices)
Group A~H
Number 1~16
Voice
Preset 3
(128 Normal Voices)
Group A~H
Group A~C
Group A~H
Number 1~16
Voice
Preset 1
(48 Drum Voices)
Preset 1
Number 1~16
Voice
Plug-in Voice
(The maximum amount of Preset and Users Banks is three -depending on
the number of Plug-in Board that are installed.)
User
(128)
GM Preset
(128 Normal Voices)
Group A~H
Number 1~16
Voice
GM Preset
(1 Drum Voices)
GM Preset Voice
(128 Normal Voices+1Drum Voices)
Voice
User
(128 Normal Voices)
Group A~H
Number 1~16
Voice
User
(16 Drum Voices)
User Voice
(128 Normal Voices+16 Drum Voices)
Voices Performance
(AN, PF, DX board: 64 voice VL
board: 192 voice )
Preset 2
Number 1~16
Voice
(AN, PF, DX board: 64 voice VL
board: 192 voice )
Preset 3
Number 1~16
Voice
(AN, PF, DX board: 64 voice VL
board: 192 voice )
User 1
(64 Voice)
Number 1~16
Voice
Group A~H
User 2
(64 Voice)
Number 1~16
Voice
Group A~H
User 3
(64 Voice)
Number 1~16
Voice
Group A~H
Number 1~16
Performance
For instructions on selecting Voices /
Performances, see pages 124 and 162.
Indicates the separate "Banks"
of Voices / Performances.
Number 1~16
Voice
Group A~C
Number 1~16
Voice
44
MOTIF Basic Structure
Main functions
Basic Structure
Waves and Elements
Waves are the waveforms that make up the Elements, which in turn make up a Voice. A total of 1309 high-quality
preset Waves are available. As shown in the following illustration, when creating a Voice, you can select the Wave to
be used as an Element and then set its level, pitch, tone and other parameters.
User Waves — Samples
One very powerful feature of the MOTIF is its ability to import external audio samples (such as computer WAV/
AIFF files), and record audio as well — and then use those samples as instrument sounds for playback. You can
record Waves through the microphone or line level jacks, and you can load Waves saved on Memory Card or an
external SCSI device.
The Waves can then be processed and assigned to notes on the keyboard. You can play them via the keyboard or you
can assign them as Parts of a Song/Pattern.
Element 1
Element 4
Element 2
Element 3
Velocity
One Voice
Wave 1~1309
CD
Memory Card
SCSI device
Load
MD
A/D INPUT jacks
DIGITAL IN
connector
mLAN (IEEE1394)
connector
SEQ
TRANSPORT
LOCATE
1
2
REC
When the optional AIEB2
has been installed to the
MOTIF.
When the optional
mLAN8E has been
installed to the MOTIF.
Sampling
Internal DRAM 4MB (Can be expanded up to 64 MB
by installing optional SIMM memory modules.)
Wave
45
MOTIF Basic Structure
Main functions
Basic Structure
Normal Voice and Drum Voice
Internally, there are two Voice Types: Normal Voices
and Drum Voices. Normal Voices are mainly pitched
musical instrument-type sounds that can be played
over the range of the keyboard. Drum Voices are
mainly percussion/drum sounds that are assigned to
individual notes on the keyboard. A collection of
assigned percussion/drum wave or Normal Voice is
known as a Drum Kit.
GM voice
GM is a worldwide standard for Voice organization and
MIDI functions of synthesizers and tone generators. It
was designed primarily to ensure that any song data
created with a specific GM device would sound
virtually the same on any other GM device — no
matter the manufacturer or the model. The GM Voice
bank on the MOTIF is designed to appropriately play
back GM song data. However, keep in mind that the
sound may not be exactly the same as played by the
original tone generator.
Voice structure
One voice consists of Oscillator, Pitch, Filter,
Amplitude, LFO and various parameters as shown
on page 42. You can create the basic voice character by
setting these four parameters.
■ Oscillator
Reference (page 137)
This unit outputs the wave of each Element.
You can set the note range for each Element (the range
of notes on the keyboard over which the Element will
sound) as well as the velocity response (the range of
note velocities within which the Element will sound).
For example, you could set one Element to sound in an
upper range of the keyboard, and another Element to
sound in a lower range. Thus, even within the same
Voice, you can have two different sounds for different
areas of the keyboard or you can make the two Element
ranges overlap so that their sounds are layered over a
set range.
Furthermore, you can set each Element to respond to
different velocity ranges so that one Element sounds
for lower note velocities, whereas another Element
sounds for higher note velocities.
Drum Voice
Key 1 Key 2Key 3Key 4 Key 5 Key 76
Normal Voice
Voice
Element 1~4
Element 1
Element 4
Element 2
Element 3
Velocity
Note Range
46
MOTIF Basic Structure
Main functions
Basic Structure
■ Pitch
Reference (page 138)
This unit controls the pitch of each Element output
from OSC. You can detune Elements, apply Pitch
Scaling and so on. Also, by setting the PEG (Pitch
Envelope Generator), you can control how the pitch
changes over time.
● PEG (Pitch Envelope Generator)
Using the PEG, you can control the transition in
pitch from the moment a note is pressed on the
keyboard to the point at which it is released. As
illustrated at right, the Pitch Envelope consists of
five Time (transition speed) parameters and five
Level (pitch) parameters. This is useful for creating
automatic changes in pitch. Furthermore, different
PEG parameters can be set for each Element.
■ Filter
Quick Start Guide (page 84) · Reference (page 140)
This unit modifies the tone of each Element output
from Pitch by cutting the output of a specific frequency
portion of the sound. You can also set the Filter
Envelope Generator (FEG), to control how the filter
works over time — letting you set up dynamic changes
in tone.
● Cutoff Frequency and Resonance
Filters work by allowing the portion of the signal
lower than a given frequency to pass, and cutting
the portion of the signal above that frequency. This
frequency is referred to as the cutoff frequency. You
can produce a relatively bright or darker sound by
setting the cutoff.
A parameter that boosts the level of the signal in the
area of the cutoff frequency is called Resonance. By
emphasizing the overtones in this area, this can
produce a distinctive “peaky” tone, making the
sound brighter and harder.
● About the main Filter types
The Low Pass Filter is shown in the illustration
above — however, the MOTIF features other Filter
types as well. This section introduces you to the
four types.
•Low Pass Filter (above)
This only passes signals below the Cutoff frequency.
You can then use the Reso (Resonance) parameter to
add further character to the sound.
• High Pass Filter
This only passes signals above the Cutoff frequency.
You can then use the Reso (Resonance) parameter to
add further character to the sound.
0
Release
Level
Attack
Level
Hold Level
Attack
Time
Hold
Time
Decay1
Time
Decay2
Time
Release
Time
Decay1
Level
Sustain
Level
Key off
Time
Level
Cutoff frequency
Frequency (pitch)
Level
These resonance are
"passed" by the filter.
Cutoff frequency
Resonance
Frequency (pitch)
Level
Resonance
Cutoff Frequency
These frequencies are
"passed" by the filter.
47
MOTIF Basic Structure
Main functions
Basic Structure
• Band Pass Filter
This only passes a band of signals around the Cutoff
frequency. The width of this band can be varied.
• Band Elimination Filter
This attenuates a band of signals around the Cutoff
frequency, but passes everything else.
● FEG (Filter Envelope Generator)
Using the FEG, you can control the transition in
tone from the moment a note is pressed on the
keyboard to the point at which it is released. As
illustrated at right, the Filter Envelope consists of
five Time (transition speed) parameters and five
Level parameters (for the amount of filtering).
When you press a note on the keyboard, the cutoff
frequency will change according to these envelope
settings. This is useful for creating automatic wah
effects, for example. Furthermore, different FEG
parameters can be set for each Element.
■ Amplitude
Reference (page 145)
This unit controls the output level (amplitude) of each
Element output from Filter. The signals are then sent
at this level to the Effect block. Also, by setting the
AEG (Amplitude Envelope Generator), you can
control how the volume changes over time.
● AEG (Amplitude Envelope Generator)
Using the AEG, you can control the transition in
volume from the moment a note is pressed on the
keyboard to the point at which it is released. As
illustrated at right, the Amplitude Envelope consists
of five Time (transition speed) parameters and five
Level parameters (for the amount of filtering).
When you press a note on the keyboard, the volume
will change according to these envelope settings.
Furthermore, different AEG parameters can be set
for each Element.
■ LFO (Low Frequency Oscillator)
Reference (page 147)
As its name suggests, the LFO creates waveforms of a
low frequency.
These waveforms can be used to vary the pitch, filter or
amplitude of each Element to create effects such as
vibrato, wah and tremolo. LFO can be set
independently for each Element; it can also be set
globally for all Elements.
Range passed
Frequency
Level
Cutoff range Cutoff range
Center frequency
Cutoff range
Frequency
Level
Range passed Range passed
Center frequency
0
Release
Level
Attack
Level
Hold Level
Attack
Time
Hold
Time
Decay1
Time
Decay2
Time
Release
Time
Decay1
Level
Sustain
Level
Key off
Time
Level
0
Release
Level
Attack
Level
Init
Level
Attack
Time
Decay1
Time
Decay2
Time
Release
Time
Decay1
Level
Sustain
Level
Key off
Time
Level
48
MOTIF Basic Structure
Main functions
Basic Structure
Controllers
The MOTIF gives you an amazing amount of control
options. Not only is it equipped with the conventional
Pitch Bend and Modulation Wheels, it also features
special knobs and sliders — and has an additional set
of rear-panel jacks for connecting foot controllers and
footswitches. You can connect controllers to the rear
panel jacks to control various parameters by foot as
well as by hand.
This section explains the basic functions of each
controller.
Pitch Bend Wheel
This wheel’s prime function is to control pitch.
Move the wheel up or down to bend the pitch up or
down.
n Pitch Bend Range can be set for each Voice (page 132).
The wheel can also be assigned other parameters
(page 134).
n Even if a different parameter is assigned to the wheel,
Pitch Bend messages are still transmitted through MIDI
OUT when it is being used.
Modulation Wheel
The more you move this wheel up, the greater the
modulation that is applied to the sound.
n Modulation depth can also be set beforehand. Also, the
wheel can be assigned to different parameters, such as
volume or pan (page 134).
Knobs
These knobs let you change various aspects of the
Voice’s sound in real time — while you play. Turn a
knob to the right to increase the value, and left to
decrease it. You can change which particular group of
functions or parameters the knobs are assigned to by
pressing the [KNOB CONTROL FUNCTION] button.
Selecting the ASSIGN group (A, B, 1, 2) lets you
control a group of user-assignable functions.
n Common system parameters are assigned to Knobs [A]
and [B] (page 256). Voice-specific parameters are
assigned to Knobs [1] and [2] (page 132). Knobs [1] and
[2] can be assigned to Control Set Source.
n A preset of suitable parameter settings is assigned to each
Voice. By using each knobs [1] and [2], you are in effect
adjusting these settings by a certain amount. If these
parameters are already preset at their minimum or
maximum settings, the settings cannot be exceeded.
Control Sliders (CS)
In the Voice mode, these are used to control the volume
of each of the four Elements. In the Performance
mode, these are used to control the volume of the
four parts. In the Song/Pattern mode, these let you
adjust the volume of specific tracks,(parts)
depending on which group of tracks is currently
selected.
When the Zone Switch is set to on in the Master Play
mode, various functions (Control Number) can be
assigned to these Control Sliders (page 273).
Pitch Bend
Wheel
Modulation
Wheel
Pitch Up
Pitch Down
Pitch Bend
Wheel
Modulation
Wheel
Deeper
KNOB
CONTROL
FUNCTION
PA N
REVERB
CHORUS
TEMPO
AT TACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
KN 1 KN 2 KN 3 KN 4
When the selected
tracks (parts) are 1-4:
12 3 4
When the selected
tracks (parts) are 5-8:
5678
When the selected
tracks (parts) are 9-12:
9101112
When the selected
tracks (parts) are 13-16:
13 14 15 16
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
49
MOTIF Basic Structure
Main functions
Basic Structure
Foot Controller
An optional Foot Controller (such as the FC7),
connected to the FOOT CONTROLLER jacks
(page 18) on the rear panel, can be assigned to a
number of controller parameters. By using a foot
controller for parameter control, both your hands are
left free to play the keyboard (or to operate other
controllers), — exceptionally convenient when you’re
playing live.
n Foot Controller parameters can be set for each Voice.
Footswitch (assignable)
An optional Yamaha FC4 or FC5 Foot Switch
connected to the rear panel FOOT SWITCH
ASSIGNABLE jack (page 18) can be assigned to a
range of parameters. It is suited for switch-type (on/
off) controls, such as Portamento Switch, increment/
decrement of a Voice or Performance Number, start/
stop of the Sequencer, and holding the Arpeggiator on
or off.
n The parameter assigned to the Footswitch is set in the
Utility mode (page 256).
Footswitch (sustain)
An optional FC4 or FC5 Footswitch connected to the
SUSTAIN jack on the rear panel (page 18) lets you
control sustain — particularly useful when playing
piano and strings voices.
n You cannot assign a function other than Sustain to the
SUSTAIN jack.
Breath Controller
You can connect an optional Breath Controller (BC3)
to the BREATH jack (page 18) on the rear panel. Then
use it to control a large number of the MOTIF’s
parameters, particularly those controlled by a wind
player’s breath: dynamics, timbre, pitch and so on.
The Breath Controller is ideally suited for realistic
expression with wind instrument type Voices.
n Breath Controller parameters can be set for each Voice.
Aftertouch
Aftertouch lets you change the sound (adding vibrato,
for example) by applying further pressure to a note on
the keyboard while it is being held down. This allows
real-time expression and control. Aftertouch can be
used to control a wide variety of parameters
(page 134).
Control Sets
Aside from their default parameters, keyboard
aftertouch, the controllers and some of the knobs on
the front panel can be assigned to various parameters,
as explained on page 48. For example, you could assign
Resonance to the Modulation Wheel and set aftertouch
to apply vibrato. You are free to assign parameters to
suit the kind of sound being played.
These controller assignments are known as Control
Sets. As the following illustration shows, you can
assign up to six different Control Sets per Voice.
Within each Control Set, the controller is known as the
Source (Src) and the parameter controlled by the
Source is known as the Destination (Dest). There are
various Dest parameters available; some will apply to
the Voice as a whole, while some will be specific to each
of its Elements. Details are given in the Controls List of
the separate Data List.
n Details about the available Dest parameter settings are
given in the Destination Parameter List of the separate
Data List.
n The Element Switches (page 134) will be disabled if the
Dest parameter setting is not specified for the Elements
(i.e., to settings 00 to 33).
■ Using one source to control several
destinations
By creating Control Sets, you can change soundsin a
variety of ways.
For example, set the Src (Source) parameter of Control
Set 1 to MW (Modulation Wheel) and the Dest
(Destination) parameter to ELFO-PM (Element LFO
Pitch Modulation Depth). Then set the Src parameter
of Control Set 2 also to MW, but set the Dest parameter
to ELM PAN (Element Pan). You will also need to
specify the Element to be controlled and also the depth
(amount) of control.
In this example, when you move the Modulation Wheel
upward, the amount of Pitch Modulation increases
accordingly, and the Element is panned from left to
right. In this way, you can have the sound change in
several different ways, simply by adjusting a single
controller.
Destination
Control Parameters
Depth
Depth of control
Source
Voice
Control Sets
Controller
PB,MW,etc
1
ON/OFF ON/OFF ON/OFF ON/OFF
Elements 234
1~6
50
MOTIF Basic Structure
Main functions
Basic Structure
■ Using several sources to control one
destination
Continuing from the example above, now create
another Control Set where Src is set to FC (Foot
Controller) and Dest is set to ELFO-PM (Element LFO
Pitch Modulation Depth). Again, specify the Element
to be controlled and also the depth of control.
Now, Pitch Modulation is assigned to both the
Modulation Wheel and Foot Controller. In other
words, you can also assign several Src controllers to
each Dest parameter.
By assigning all six Control Sets, you will have a
stunning degree of real-time control over the
synthesizer’s sounds.
■ Control Sets and External MIDI Control
In a Control Set, the controllers are assigned to the
internal parameters of the synthesizer. However, some
controllers were originally designed for a particular
purpose, and send pre-defined MIDI Control Change
messages when used, regardless of their Control Set
allocations within the synthesizer.
For example, the Pitch Bend Wheel, Modulation Wheel
and keyboard aftertouch were originally designed to
control pitch bend, modulation and aftertouch.
Therefore, when you use these controllers, pitch bend,
modulation and aftertouch information is always sent
to the MIDI Out.
Let’s say the Pan parameter is assigned to the Pitch
Bend Wheel in a Control Set. Now, when you move the
Pitch Bend Wheel, the internal tone generator of the
synthesizer will pan the sound; however, at the same
time, the original pre-defined Pitch Bend messages will
still be sent to the MIDI Out.
The controllers can also send MIDI Control Change
messages to control the parameters of external MIDI
devices. These assignments can be set in the Utility
Mode.
n Since Pitch Bend Wheel, Modulation Wheel and
keyboard aftertouch are pre-defined with specific MIDI
controls, other MIDI Control Change numbers cannot be
assigned to them.
You can also set up a controller such that it sends one
kind of Control message to the synthesizer’s internal
tone generator yet another kind to the MIDI Out.
For example, in a Control Set you could assign
resonance to Assignable Knob [1]. Then, in the Utility
Mode, you could assign Control Change Number 1
(Modulation) to the same knob. Now, when you turn
the knob, resonance will be applied to the sound of the
internal tone generator; however, at the same time,
modulation information will be sent to the external
MIDI device connected to the MIDI Out.
ELFO-PM
Dest
ELM PAN
Dest
SET 1 SET 2
Src
MW
(Modulation Wheel)
Src
MW
(Modulation Wheel)
Moving the
Modulation Wheel
changes both the
amount of Pitch
Modulation and the
pan position.
ELFO-PM
Dest
ELFO-PM
Dest
SET 1 SET 3
Src
MW
(Modulation Wheel)
Src
FC
(Foot Controller)
You can control the
pitch modulation effect
using either of
Modulation Wheel
(MW) and Foot
Controller (FC).
OUT
Tone Generator
IN
Pitch LFO1 PAN
MIDI
MIDI Control
Pitch Bend
Wheel
Controller Set
51
MOTIF Basic Structure
Main functions
Basic Structure
Song and Pattern
(Sequencer mode)
Basic Operation (page 67) · Reference (pages 177, 215)
Songs and Patterns are MIDI sequence data consisting
of 16 tracks.
● A Song on the MOTIF is effectively the same as a
Song on a sequencer, and playback automatically
stops at the end of the recorded data.
● In the MOTIF, the term “pattern” refers to a
relatively short pattern — say, 4 to 16 measures (up
to 256 measures) — which is used for looped
playback. Therefore, once Pattern playback starts, it
continues until you press the [J] button. The
MOTIF features a variety of preset Phrase data that
is used as the basic material in making up Patterns.
Track structure of Song
The following illustration shows the track structure of
Song. Songs are created by recording MIDI data to
individual tracks.
Song playback uses up to 16 parts (from those shown above).
Song 64
Song 63
Tone Generator block (example)
Port 1 Port 2
(Multi-Part Plug-in
board)
Port 3
(Single part Plug-in
board)
part 1
part 2
part 3
part 4
part 15
part 17
part 18
part 30
part 31
part 32
PLG1 part
PLG2 part
part 16
part 33
Parts 33-46
are not used.
part 34
part 46
part 47
part 48
When a Multi-Part Plug-in board and two Single part Plug-in
boards have been installed:
Song Mixing
Song 01
Song 02
Song 62
Tempo track Tempo change
Scene track
Tr ack mute status/Scene memory change
(including tempo, transpose etc,)
Track 1 MIDI sequence data
Track 2 MIDI sequence data
Track 3 MIDI sequence data
Track 16 MIDI sequence data
MIDI OUT
External
Tone
Generator
Scene
1
Scene
2
Scene
3
Scene
4
Scene
5
52
MOTIF Basic Structure
Main functions
Basic Structure
Track structure of Pattern
Patterns consist of Phrases (as shown below), and you
can create them by recording MIDI data for each track,
and by freely arranging the various Phrases (Preset/User).
Pattern playback uses up to 16 parts (from those shown
above).
■ Style and Section
A Pattern consists of a “Style” (musical style) and a
“Section” (pattern variation). You can play the Pattern
by selecting a Style and its Section.
■ Phrase
This is the basic MIDI sequence data — and the
smallest unit — used in creating a Pattern.
“Phrase” is a musical Pattern Phrase for a single
instrument, such as a rhythm pattern for the rhythm
part, a bass line for the bass part, or a chord backing for
the guitar part. The MOTIF features 128 Preset
Patterns, and features memory space for 256 of your
own original User Phrases.
Pattern creation by the Patch
function (Pattern)
Quick Start Guide (page 105) · Reference (page 219)
The Patch function allows you to create a “composite”
style by combining various Phrases from the Preset and
User Phrases as shown below.
MIDI tracks and Sample tracks
The Song/Pattern tracks (1 - 16) of the MOTIF are
divided into two groups: MIDI tracks and Sample
tracks.
■ MIDI tracks
These are tracks in which the performance data (used
to play the internal Voices or Plug-in Voices) is
recorded as MIDI data. This is the same as sequence
tracks on a MIDI sequencer.
■ Sample tracks — with Sample Voices
Voices which are automatically created and stored
using the Sampling feature (page 58) in the sequencer
(Song/Pattern) mode, are referred to as “Sample
Voices.” tracks using these Sample Voices are referred
to as “Sample” tracks — to distinguish them from the
MIDI tracks.
Sample Voices are stored as original, dedicated Voices
for each Song or Style. This means that you cannot
take a Sample Voice belonging to one Song or Style and
use it in another Song or Style. For details on Sample
Voices and the Sampling function, see page 233.
Style 64
Style 63
Tone Generator block (example)
Port 1 Port 2
(Multi-Part Plug-in
board)
Port 3
(Single Part Plug-in
board)
Part 1
Part 2
Part 3
Part 4
Part 15
Part 17
Part 18
Part 30
Part 31
Part 32
PLG1part
PLG2 part
Part 16
Part 33
Part 33-46
are not used.
Part 34
Part 46
Part 47
Part 48
Pattern Mixing
External
Tone
Generator
Style 02
Style 03
Style 62
MIDI OUT
When a Multi-Part Plug-in board and two Single part Plug-in
boards have been installed:
Style 01
16 Sections
123 16
Pattern
Track 1 Phrase (MIDI sequence data)
Phrase (MIDI sequence data)
Phrase (MIDI sequence data)
Phrase (MIDI sequence data)
Tra ck 2
Tra ck 3
Tra ck 16
Style 35
User Phrases 1-256
(Created via Pattern recording.)
Style 01
16 Sections
12 16
Pattern
Trac k 1
Trac k 2
Trac k 3
Trac k 4
Trac k 5
Trac k 16
User Phrases 1-256
(Created via Pattern recording.)
User Phrase
Preset Phrases
1-128
Preset Phrase
You can copy the desired Phrase from other
styles to the currently selected Style / Section.
53
MOTIF Basic Structure
Main functions
Basic Structure
MIDI track recording method
The following explanations are important points for
you to keep in mind as you record your User Songs/
Patterns.
■ Realtime recording and Step recording
With realtime recording, the MOTIF functions in the
same way as a tape recorder, recording the
performance data as it is played. This allows you to
capture all the nuances of an actual performance.
With step recording, you can compose your
performance by “writing” it down one event at a time.
This is a non-realtime, step recording method —
similar to writing music notation onto paper.
■ Replace and Overdub (Song/Pattern)
● Replace
You can use this method when you want to overwrite
an already recorded track with new data. The first
recording is lost, and the new one takes its place.
● Overdub
You can use this method when you want to add
more data to a track that already contains data. The
first recording is not lost, and the new one is added.
This method lets you build up a complex phrase
together with Loop recording (below).
■ Loop Recording (Pattern)
Pattern repeats the rhythm pattern of several measures
(4 to 16 measures) in a “loop,” and its recording is also
done using loops.
This method is convenient when recording a Pattern
Phrase using the Overdub method (above).
As shown in the example below, notes that you record
will play back from the next repetition (loop), letting
you record while hearing previously recorded material.
n Loop Recording can only be used with Realtime
recording.
Style 50
Style 49
Style 02
Style 03
Style 48
Style 01
16 Sections
123 16
After selecting
the Song number
and track
After selecting
the Song number
and track
Song 01
Trac k 1
Trac k 2
Trac k 3
Trac k 16
MIDI data recording
In this example, Track 1 is a MIDI
track, and Track 3 is an Sample track.
Recording a Sample
(Sampling)
Store as a Sample Voice
After selecting the
Style number,
Section and track
After selecting the
Style number,
Section and track
Pattern
Trac k 1
Trac k 2
Trac k 3
Trac k 16
MIDI data recording
In this example, Track 1 is a MIDI
track, and Track 3 is an Sample track.
Recording a Sample
(Sampling)
Store as a Sample Voice



• Loop 1st round
Bass Drum
Bass Drum
Snare Drum
Bass Drum
Snare Drum
Hi-Hat
• Loop 2nd round
• Loop 3rd round
54
MOTIF Basic Structure
Main functions
Basic Structure
■ Punch In/Out (Song)
You can use this method when you want to re-record
only over a specific area of the track. In this case, you
must set the start and end points before you begin the
re-recording.
In the eight-measure example below, the third
measures through the fifth measure are re-recorded.
n Punch In/Out Recording can only be used with Realtime
recording.
n Note that Punch In/Out method always replaces
(destroys) the original data over the specified area.
Sample track recording method
(Sampling)
See page 58.
Song Chain
This function allows songs to be “chained” together for
automatic sequential playback. The MOTIF allows you
to create one Song Chain data.
Pattern Chain
Pattern Chain allows you to string several different
Patterns together to make a single Song. You can have
the MOTIF automatically change Styles and Sections
by creating Pattern Chains in this way beforehand.
You can also use them when creating Songs based on a
certain Pattern, since the created Pattern Chains can be
converted into a Song. The MOTIF allows you to
create one Pattern Chain data.
● Before re-recording
● After re-recording
12
Punch In Punch out
Recording start
Newly recorded data
Recording stop
34567 8
1234567 8
Song 01 Song 22 Song 15
Pattern track
Style/Section change
Track mute setting
Tempo change
Scene track
Tempo track
Style 01
Section J
Pattern Chain
EXAMPLE
Style 05
Section H
Style 26
Section P
55
MOTIF Basic Structure
Main functions
Basic Structure
Arpeggio
Quick Start Guide (page 91) · Reference (page 128)
This function automatically triggers preset arpeggio
phrases, according to the keys you play.
The Arpeggio function is particularly suited to dance/
techno music genres. You can assign the desired
Arpeggio Types to each Voice/Performance, and adjust
the tempo. You can also set the Arpeggio playback
method, Velocity range and Play Effects to create your
own original grooves. What’s more, Arpeggio playback
can be transmitted through the MIDI Out.
Arpeggio structure
The following illustration shows the Arpeggio
structure.
Four playback types of Arpeggio
Arpeggio types are divided into the four following
categories.
■ Sequence
Creates a general arpeggio phrase. Mainly octave up/
down phrases.
■ Phrase
Creates phrases that are more musical than Sequence.
Starting with “Techno,” there are phrases for a wide
variety of musical genres, and for creating backing
tracks for guitar, piano and other instruments.
■ Drum Pattern
Creates drum pattern-type phrases. Any note produces
the same drum pattern.
This type is ideal for use with drum and percussion
sounds.
■ Control
Creates tonal changes by the control change data
sequence. No note data is created.
Song/Pattern and Arpeggio
■ Recording Arpeggios to a Song/Pattern
You can record Arpeggio data to a Song or Pattern.
The actual note data of the Arpeggio is recorded as is to
a specific track in the Song/Pattern during recording,
when you set Arpeggio Record to ON.
■ Arpeggio on/off during Song/Pattern
playback
Also, Arpeggio On/Off can be set individually for each
part of a Song/Pattern. Just like playing Arpeggios
manually from the keyboard, this inserts Arpeggios in
the playback of Song/Pattern sequence data.
Arpeggio data
Each Arpeggio can assigned to
each Voice/Performance.
•In the Voice
mode
•In the Performance
mode
Preset 1
(128)
Preset2
(128)
User
(128)
Voice Performance
Voice Performance
Voice Performance
Voice Performance
Voice Performance
Voice Performance
Arpeggio
Arpeggio
Arpeggio
56
MOTIF Basic Structure
Main functions
Basic Structure
Creating User Arpeggios
Actually, there is no direct operation for recording
Arpeggios. First, you have to record a Phrase to a Song
track. Then, use the appropriate Song Job function to
convert the data to Arpeggio data.
n Arpeggio data consists of four tracks. However, data
conversion in the Song Job is done one track at a time.
Master (Master mode)
Quick Start Guide (page 93) · Reference (page 268)
The MOTIF is loaded with such a wealth of different features,
functions and operations, you may find it difficult to locate
and call up the particular feature you need.This is where the
Master function comes in handy. You can use it to memorize
the operations you use most often in each mode, and call them
up instantly anytime you need them with a single button
press. The MOTIF has space for a total of 128 of your own
User Master settings.
•Zone(*) is available only when you specify “Voice” or “Performance” in the Memory
display in the Master Play mode and store the settings to a User Master. Details are
described later.
•Parameters other than those shown above (e.g., Knob/Slider settings) can be
stored. See page 273 for details.
Keep in mind that the settings you can store to a User
Master in the Voice/Performance mode differ from
those you can store in the Song/Pattern mode. Here
are the main differences:
● Storing settings in the Song/Pattern mode
In general, you can store specific Song numbers in the
Song mode, Pattern numbers in the Pattern mode.
n Operations and settings in File mode, Utility mode
and Sampling mode cannot be stored to a User
Master.
● Storing settings in the Voice/Performance
mode
In addition to specific Voice or Performance numbers,
you can also store master keyboard functions — such
as the Zone settings, in which the MOTIF keyboard is
divided into up to four different Zones.
Converted via
the Song Job.
Song
User
(128)
Trac k 1
Trac k 2
Trac k 3
Trac k 16
Arpeggio
Trac k 1
Trac k 2
Trac k 3
Trac k 4
Recording
Master number Setting examples
Master 001 Voice mode Voice number 102
Master 002 Voice mode Voice number 88
Master 003 Performance mode Performance number 043 *Zone Switch Off
Master 004 Performance mode Performance number 059 *Zone Switch Off
Master 005
Performance mode Performance number 077 *Zone Switch On
Master 006
Performance mode Performance number 093 *Zone Switch On
Master 007 Song mode Song 018
Master 008 Song mode Song 008
Master 009 Pattern mode Pattern 014
Master 010 Pattern mode Pattern 029
•
•
Master 128 Song mode Song 035
MIDI ch1 MIDI ch2 MIDI ch3 MIDI ch4
Tone Generator block
MIDI ch8 MIDI ch9
Tone Generator block
57
MOTIF Basic Structure
Main functions
Basic Structure
Four Zones (Voice Performance mode)
In the Voice Performance mode, the keyboard can be
divided into a maximum of four separate Zones (as
shown below) — each with its own MIDI channel
setting. In this way, you can use just a single
keyboard to control several different instrument parts
independently. Moreover, you can have these
independent Zones control different channels on
connected MIDI devices as well.
You can set these four Zones and store them as a
User Master in the Master mode.
The four Zones can also be configured as Voice
“layers” — letting you have more than one Voice
sound at the same time when you play within a
single Zone. (See the example below.)
■ Split
You can use the Zone settings to create a “Split” —
dividing the keyboard into two key ranges, at a
specific note (split point).
In the example below, the keyboard is split at C3,
with the lower range used to trigger Arpeggios, and
the upper range used conventionally to play a Voice.
■ Layer
You can also use the Zone settings to create a
“Layer” — in which the keyboard is used to play two
separate parts simultaneously, in unison with each
other.
In the example below, the keyboard plays two Voices
in unison — one an internal Voice, and the other a
Plug-in Voice.
MIDI ch1
MIDI OUT MIDI OUT MIDI OUT MIDI OUT
MIDI ch2 MIDI ch3 MIDI ch4
Tone Generator block (Internal/Plug-in)
External Tone Generator
Keyboard (Max 4 zone)
ZONE2 ZONE3ZONE1
ZONE4
MIDI ch1
MIDI OUT MIDI OUT
MIDI OUT
MIDI OUT
MIDI ch2 MIDI ch3
MIDI ch4
Tone Generator block (Internal/Plug-in)
External Tone Generator
Ch1
Part 1
For playing
Arpeggios
Ch2
Part 2
For playing a Voice
Lower Upper
Split point
(C3)
Layer (Upper)
Layer (Lower)
Part 1
Voice
Plug-in 1 Part
Plug-in Voice
58
MOTIF Basic Structure
Main functions
Basic Structure
Sampling
Quick Start Guide (page 99) · Reference (page 233)
Sampling is a powerful function that lets you bring your own recorded sounds — voice, instrument, rhythm,
special sound effects, etc. — into the system of the MOTIF, and play those sounds just like any other MOTIF
sound. Individual waveform data contained in the MOTIF is referred to as a “Sample.”
The following diagram shows the Sampling structure.
CD
MD
A/D INPUT jacks
DIGITAL IN
connector
mLAN (IEEE1394)
connector
When the optional AIEB2
has been installed to the
MOTIF
When the optional
mLAN8E has been
installed to the MOTIF
Waveform
Internal DRAM 4MB (Can be expanded up to 64 MB by
installing optional SIMM memory modules.)
Wave
SEQ
TRANSPORT
LOCATE
1
2
REC
A/D converter
Key Bank setting
Assigned to a
Performance part
Store as a User Voice
D/A converter
Output (sound)
Voice / Performance
mode
Song / Pattern
mode
Key Bank setting
(Automatically set when the
Sampling type is set to "Slice + Seq".)
By selecting the desired Song / Pattern
track, it is assigned to the appropriate
Mixing part as a Sample Voice.
Is automatically stored as on original
Sample Voice for the selected Song /
When the Sampling type is set to
"Sample + Note" or "Slice + Seq"
59
MOTIF Basic Structure
Main functions
Basic Structure
Data created by Sampling
Regardless of the mode, the raw Sampled data is the
same, of course. However, various parameters are
different, depending on the particular mode or
settings. Briefly, here is an explanation of what
kinds of data are created in the Sampling function.
● Sampling data common to all modes
•Wave (Sample data)
This is the raw audio data stored in the MOTIF’s
memory when sampling. For details on Wave, see
page 44.
•Key Bank
The note range and velocity range to which the
Sample is assigned, is called the Key Bank.
•Waveform
The group of Key Banks to which sample data is
assigned is called the Waveform.
For a clearer idea of the explanations above, see the following
illustration. In this example, the Waveform is made up of five
Samples, assigned to a key range of D#2 - F4, in five Key Banks.
● Data created by sampling in the Voice/
Performance mode
• User Voice
The sample data of Waves recorded or imported to
the MOTIF cannot be played directly. First, they
must be saved as User Voices, which when selected,
can be played from the keyboard or sequencer. Also,
these User Voices can be assigned as Performance
parts — just as with the Preset Voices.
● Data created by sampling in the Song/
Pattern mode
• Sample Voice
Voices that are automatically stored when sampling in the
Song/Pattern mode are referred to as “Sample Voices.”
Sample Voices can be assigned to instrument parts
corresponding to the track which was assigned in the
Sampling Setup display, and they can be sounded while
Song/Pattern data is being played back.
Sample Voices are original, dedicated Voices for the
particular Song/Pattern that was selected when sampling.
Because of this, you cannot take a Sample Voice belonging
to one Song or Pattern and use it in another Song or
PatternIn essence, Sample Voice data is the same as that of
Normal Voices or Drum Voices — with the exception that
you cannot select Sample Voices in the Voice or
Performance mode. (However, you CAN select the Wave
of the Sample Voice in Voice Edit.)
• Note Data (when the Sample type is set to
“Sample + Note” )
This not only stores the sampled wave as a Sample
Voice in the Song/Pattern mode, but it also records it
to the assigned sequencer track.
•Key Bank and Sequence data according to
Audio phrase (when the Sample type is set to
“Slice + Seq”)
Velocity
127
40
Key bank
Wave form
Key Number
(Note Number)
Waveform
D
#
2A
#
2G
#
2F4
Sample 1 Sample 2 Sample 4
Sample 3 Sample 5
Song or Pattern
Sampling
Track 1
Track 2
Track 3
Track 16
Specify the track.
Store as a Sample Voice

Sample
Voice
Sequence
data
Fixed to C - 2
Assigned to
a specified
key (note)

Sample
voice
Sequence
data
Fixed to C - 2
Sliced into
several parts
and assigned
to keys (notes)
60
MOTIF Basic Structure
Main functions
Basic Structure
User Voices/Sample Voices and Waveform
n When using the Sampling function, samples are stored to destination waveforms in numerical order, starting from the lowest
number waverform.
n Up to 128 keybanks can be assigned to a single waveform. The MOTIF allows for creation of a maximum 8192 keybanks.
n You can select and check the 256 waveforms mentioned above from the Oscillator display in Voice Element Edit (page 137).
Velocity Keybank
Wave form
Sample1
Key number
(Note number)
127
40
C#2 A#2 G#3 F4
Sample 2 Sample 4
Sample 3 Sample 5
Waveform
(User 001~256)
When entering the Sampling mode
from the Voice/Performance mode
Sampling
Sampling
Sampling
● User's Voice
(001~128)
When entering the Sampling mode
from the Pattern mode
Style 64
16 section
123 4
Pattern
Song01
Song 64
Track1
001
001
002
003
004
005
006
007
008
009
010
251
252
253
254
255
256
002
003
004
005
128
Track2
Track3
Track16
Track1
Track2
Track3
Track16
● Recorded to the specified track
as a Sample voice.
● Recorded to the specified track
as a Sample voice.
When entering the Sampling mode
from the Song mode
61
MOTIF Basic Structure
Main functions
Basic Structure
Three methods of Sample Recording
Start
You can start sample recording with one of three
methods. This section covers the Sample Recording
Start methods corresponding to the available Trigger
modes. For information on setting the Trigger mode,
see page 237.
■ When Trigger mode is set to “Manual”:
Regardless of the selected mode, sampling starts
soon after you press the[F6] (REC) button in the
Sampling Setup display (page 236). Sampling also
starts regardless of the playback/stop status of the
Song/Pattern.
■ When Trigger mode is set to “Level”:
After pressing the [F6] (REC) button in the
Sampling Setup display (in any mode), sampling
starts as soon as a strong enough audio signal is
received. The threshold for this audio-triggered start
is called the Trigger Level (explained in the
illustration below).
As you can see, the higher the Trigger Level setting,
the louder the input audio needs to be in order to
start sampling. On the other hand, if the Trigger
Level is set too low, a soft noise may be enough to
inadvertently start sampling. Sampling also starts
regardless of the playback/stop status of the Song/
Pattern.
■ When Trigger mode is set to “Meas”:
After pressing the [F6] (REC) button in the
Sampling Setup display (page 236), start and stop of
sampling is linked to playback of the Song/Pattern.
This setting is available only when the Song/Pattern
mode and recording type (Rec Type) are set to
“Slice + Seq” or “Sample + Note.”
Sample playback types
Samples can be played back in the following three
different ways.
■ One Shot
When you press a note on the keyboard, the Sample
plays from beginning to end just once. This type of
playback is commonly used for drum and percussion
sounds.
ABC D E
Sample recording start here.
Recording
trigger level.
ABC D E
Sample recording start here.
Level
Level
12
Punch In Punch Out
Sampling
start
Song/Pattern
start
Wave data
Sampling
stop
34567 8
1234567 8
Start Pont
Key on
End Point
62
MOTIF Basic Structure
Main functions
Basic Structure
■ Loop
This is used primarily to create long continuous
sounds, such as brass and strings, or instruments
with naturally long decay, such as piano. An
appropriate part of the sample near the end is looped
to reproduce a long sustain or decay.
When you play a note on the keyboard, the Sample
plays from the start point to the end point. It then
returns to the loop start point and plays to the end
point again, and keeps doing this until you release
the note. With musical instruments in general, the
characteristic part of the sound (the “attack” section)
is usually at the beginning, just after the start point.
After this, the sound does not vary a great deal while
the note is being held, and you can set the loop and
end points at either end of this section. When
playing back a Sample of an instrument that has
been looped like this, the attack section of the sound
is played back once and then the looped section is
played back continuously until you release the note.
Looping is also way of creating usable instrument
sounds without using up too much memory.
You can set each point in the Sampling mode.
Since the MOTIF is capable of displaying the entire
image of the sampled audio data in the LCD (zoom
in and zoom out are available), you can edit the loop
points visually — making sample editing accurate and
easy.
■ Reverse
When you press a note on the keyboard, the Sample
plays from end to beginning just once. This is useful
for creating reversed cymbal sounds and other
special effects.
Sample Wave Loop Playback
Start Pont Top Point End Point
Start Point End Point
63
MOTIF Basic Structure
Main functions
Basic Structure
Internal Memory and File Management
Quick Start Guide (page 97) · Reference (page 261)
The MOTIF creates a variety of different kinds of data, including Voice, Performance, Song, and Pattern. In
this section, how to store the various types of data and use the memory devices/media for storing them.
Memory Structure
This diagram details the relationship among the MOTIF’s functions and the internal memory, memory card,
and various external storage devices/media.
*
*
Please make note of the following points
when using bulk transmission between
SRAM memory and an external MIDI device.
•
Bulk transmission cannot be used to
transfer the data of User Arpeggios
and part of the System settings.
• Bulk transmission to an external MIDI
device is executed only when MOTIF
receives a bulk request message.
IBM
Personal System/V
PS/V
Personal System/V
Recall Buffer
Compare Buffer
(DRAM)
Other than "Master Edit"
Preset Data (ROM)
• Voice
• Plug-in Voice
• Preset Phrase (Pattern)
• Preset Arpeggio
• Demo
External MIDI device
MIDI bulk
Edit Buffer(DRAM)
• Voice Edit
• Plug-in Voice Edit
• Performance Edit
• Master Edit
Store
User Memory (RAM)
SRAM
• User Plug-in Voice
(64 Voices x 3 boards)
• User Performance (128)
• User Master (128)
• User Arpeggio (128)
• System setting
(Utility setting)
• User Voice
(Normal 128, Drum 16)
DRAM
• Song
• Song Chain
• Waveform
(Sample Voice)
• Pattern (Phrase)
•˚Style
• Pattern Chain
• Song Chain
• Pattern Record
• Pattern Patch
• Song Record
Store
• Pattern Chain
• Sampling
Store
• Pattern Mixing Edit
• Song Mixing Edit
Computer
• Plug-in Voice Edit using
the computer
Plug-in board(DRUM)
• Plug-in All Bulk
File extensions
".W2W"
File extensions
".W2B"
• File extensions ".WAV" and
".AIF"
• A5000/4000/3000 data
• SU700 data
• AKAI format data
File extensions
".W2S"
File extensions
".W2P"
File extensions
".MID"
File extensions ".W2A"
File extensions
".W2V"
File extensions
".W2G"
• File extensions ".WAV" and
".AIF"
• A5000/4000/3000 data
• AKAI format data
Memory Card
External SCSI device
Load / Save
Covert (Job)
MOTIF Internal Memory
64
MOTIF Basic Structure
Main functions
Basic Structure
Internal Memory
● ROM and RAM
ROM (Read Only Memory) is memory designed
specifically for reading out of data, and as such
data cannot be written to it. This is the location
where preset data for the instrument is
permanently stored.
On the other hand, RAM (Random Access
Memory) allows both reading and writing of data.
This is the location for the edit buffer data and
data created by editing or recording.
● SRAM and DRAM
The MOTIF uses two different kinds of RAM ,
depending on the condition for storing the data:
SRAM (Static RAM) and DRAM (Dynamic
RAM). The data contained in SRAM is
maintained indefinitely, unless the backup battery
(lithium battery; page 5) power is too low. On the
other hand, data contained in DRAM is lost when
the power is turned off. Because of this, you
should always store any data residing in DRAM
to a memory card or an external SCSI device
before turning off the power.
Edit Buffer (DRAM) and Recall
Buffer (DRAM)
● Edit Buffer and User Memory
The edit buffer is the memory location for edited
data of these types: Voice, Performance, Master,
Song, Song Mixing, and Pattern Mixing. Data
edited in this location will be stored to the User
Memory.
If you select another Voice, Performance, Master,
Song, or Pattern, the entire contents of the edit
buffer will be rewrittenwith the newly selected
Voice/Performance/Master/Song Mixing/Pattern
Mixing data. Make sure to store any important
data before selecting another Voice, etc.
● Edit Buffer and Recall Buffer
If you’ve selected another Voice or Performance
without storing the one you were editing, you can
recall your original edits, since the edit buffer’s
contents are stored in backup memory. Keep in
mind that the recall buffer is available only in the
Voice or Performance mode.
Memory Card/External SCSI storage
device
To ensure that your data stored to User Memory are
maintained, it is the best way to save important data
to Memory Card or external SCSI device so that you
can keep them indefinitely. See page 289 for details
about Memory Card and see page 27 for details about
SCSI device.
There are two different ways to save data created on
the MOTIF to memory card or an external SCSi
device:
• By saving all data in the User memory as a single
file (with the extension “.W2A”).
• By saving the files separately according to their
specific functions (with the extensions
corresponding to each type). See page 262
for details.
• Memory Card • SCSI device
Hard disk etc.
SCSI
65
MOTIF Basic Structure
Main functions
Basic Structure
Remote Control to Computer Sequence Software
Quick Start Guide (page 119) · Reference (page 256)
When the [REMOTE CONTROL ON/OFF] button is turned on, the following buttons/controllers can control
the Audio track mixer and sequencer transport of the computer sequence software connected to the MOTIF.
J∆
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
[SEQ TRANSPORT] buttons
Controls the transport functions on the computer sequence
software.
SEQ TRANSPORT
LOCATE
1
2
REC
[MUTE] button
When this is turned on, the NUMBER [1] - [16]
buttons are used to turn the corresponding tracks of
the computer sequence software on or off.
15
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
NUMBER
ELEMENT/ PERF.PART/ ZONE
NUMBER button[1]~[16]
These buttons are used to select the corresponding
tracks of the computer sequencer software, or to
turn those tracks on/off, depending on the on/off
status of the [TRACK SELECT] button and [MUTE]
button.
15
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
NUMBER
ELEMENT/ PERF.PART/ ZONE
[TRACK SELECT]
button
When this is turned on, the NUMBER
[1] - [16] buttons are used to select the
corresponding tracks of the computer
sequence software.
15
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
NUMBER
ELEMENT/ PERF.PART/ ZONE
Knob
Adjusts the Pan, Effect send level, and Equalizer
for each track of the computer sequencer.
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
Control Sliders
Adjusts the Volume for each track of the computer
sequence software.
66
MOTIF Basic Structure
Main functions
Basic Structure
Computer Sequence Software
The following computer sequence software programs can be controlled via the MOTIF’s Remote Control
function.
Windows
Cubase VST/32
Logic Audio Plutinum Ver4.6
Cakewalk ProAudio Ver9.0
Pro Tools V5.0
Macintosh
Cubase VST 5.0
Logic Audio Plutinum Ver4.6
Pro Tools V5.0
n The parameters to be controlled via the Remote Control function differ depending on the computer sequence software. For
details, see the Reference section on page 257.
n For certain software programs, it may be necessary to install the setting file in the included CD-ROM. For details on how to
install, see the Installation Guide manual.
67
MOTIF Basic Operation
Calling up the Operation Displays
Basic Operation
Basic Operation
In this section, we’ll take a look at the fundamental operating conventions of the MOTIF. Here, you’ll learn the
basics — how to select modes, call up the various functions, change settings, and edit parameter values. Take time to
familiarize yourself with these nuts-and-bolts operations, and you’ll be on your way to mastering the instrument.
Calling up the Operation Displays
To call up a desired display or parameter, first select a mode, then select one of the function menus of the mode. The
section below shows you the button presses necessary to navigate through the various modes and sub-modes.
Selecting Modes
The MOTIF is organized into various modes, each covering a different set of operations and functions.
n For more information on each mode, see page 30.
Four Main modes (Play modes) — Voice, Performance, Song, Pattern
To select another mode, simply press the corresponding mode button.
Two Sub-modes — Sampling, Utility
The four main modes (Voice, Performance, Song, and Pattern) have sub-modes — Sampling mode and Utility mode.
These two sub-modes can be selected in each main mode.
Keep in mind that the particular displays and parameters in the Sampling and Utility modes differ depending on
which main mode was active before calling up the sub-mode. For details on the specific differences, refer to the
corresponding explanations in the Reference section.
To select another mode, simply press the corresponding mode button.
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
● Voice Play mode
● Performance Play mode
● Song Play mode
● Pattern Play mode
Keyboard playback modes Sequencer modes (multi-timbral operation)
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
From the Voice mode From the Performance mode From the Song mode From the Pattern mode
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
● Sampling mode
68
MOTIF Basic Operation
Calling up the Operation Displays
Basic Operation
To select another mode, simply press the corresponding mode button.
n Please note that the displays and parameters are different depending on the modes before entering the Sampling/Utility mode.
Special Modes — Master mode and File mode
In addition to the modes described above, special two modes are provided — Master mode and File mode.
To select another mode, simply press the corresponding mode button.
Mixing mode (in the Song/Pattern mode)
The two Sequencer modes, Song and Pattern, feature a special Mixing mode.
To exit from the File mode and select another mode, simply press the corresponding mode button.
(The [EXIT] button cannot be used here.)
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
From the Voice mode
● Utility mode
From the Performance mode From the Song mode From the Pattern mode
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
When the selected Master
is set to the Song mode :
When the selected Master
is set to the Pattern mode :
When the selected Master
is set to the Voice mode :
When the selected Master is
set to the Performance mode :
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
● Master Play mode
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
● File mode
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
● Song Mixing mode ●Pattern Mixing mode
69
MOTIF Basic Operation
Calling up the Operation Displays
Basic Operation
Record mode (in the Song/Pattern and Sampling mode)
The MOTIF also features Record modes — one for sequencing in the Song and Pattern modes, and one for sample
recording in the Sampling mode.
Press the [EXIT] button to exit from the Sampling Record mode.
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
● Song Record mode
■ Press the [STOP] button to exit from Song
Record mode to the Song Play mode.
■ Press the [STOP] button to exit from the Pattern
Record mode to the Pattern Play mode.
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
● Pattern Record mode
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
From the Voice mode
● Sampling Record mode
From the Performance mode From the Song mode From the Pattern mode
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
70
MOTIF Basic Operation
Calling up the Operation Displays
Basic Operation
Edit mode
The four main modes (Voice/Performance/Song/Pattern), the Sampling mode and the Master mode described above
all have their own specific Edit modes.
Press the [EXIT] button to exit from the Edit mode.
Press the [EXIT] button to exit from the Edit mode.
Press the [EXIT] button to exit from the Edit mode.
Job mode
Most of the mores described above — the main modes (Voice, Performance, Song, Pattern), the
two sub-modes (Sampling and Utility), the Mixing mode (in Song and Pattern), and the Master
mode — have their own specific Job modes.
To call up the Job mode, press the [JOB] button while one of the modes listed above is active.
Since the [JOB] button does not have an indicator lamp, check the display to see whether the Job
mode is selected or not.
● Voice Edit mode ● Performance Edit mode ● Song Edit mode ● Pattern Edit mode
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
From the Voice mode From the Song mode
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
From the Performance mode From the Pattern mode
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
● Sampling Edit mode
● Master Edit mode ● Song MIxing Edit mode ● Pattern Mixing Edit mode
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
71
MOTIF Basic Operation
Calling up the Operation Displays
Basic Operation
Store mode
The Voice Play mode, Performance Play mode, Song Mixing mode, Pattern Mixing mode, and
Master Play mode have their own specific Store modes.
To call up the Store mode, press the [STORE] button while one of the modes listed above is active.
Since the [STORE] button does not have an indicator lamp, check the display to see whether the
Store mode is selected or not.
Selecting Functions and Parameters
Each mode described above contains various displays, with various functions and parameters. To navigate your way
through these displays and select a desired function, use the [F1] - [F6] buttons and the [SF1] - [SF5] buttons.
When you select a mode, the available displays or menus appear directly above the buttons at the bottom of the
display (as shown below).
Using the Function buttons [F1] - [F6]
Depending on the currently selected mode, up to six functions are available and can be called up with the [F1] - [F6]
buttons. Keep in mind that the available functions differ depending on the selected mode.
Using the Sub-Function buttons [SF1] - [SF5]
Depending on the currently selected mode, up to five functions (sub-functions) are available and can be called up
with the [SF1] - [SF5] buttons. Keep in mind that the available functions differ depending on the selected mode.
(Some displays may not have any sub-functions for these buttons.)
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
These functions can be selected via the
corresponding button ([F1] - [F6]).
In this example, press the [F5] button to go
to the LFO display.
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
These functions can be selected via the
corresponding button ([SF1]-[SF5]).
In this example, press the [SF5] button
to go to the SCALE display.
72
MOTIF Basic Operation
Display-based Controls
Basic Operation
How to leave the current display
For most operations (especially editing and Job- or Store-related), pressing the [EXIT] button will let you leave the
current display and return you to the next highest level or to the normal play mode display.
Display-based Controls
Data Entry
Confirmation Message
When you execute certain operations, such as those in the Job, Store, and File modes, the MOTIF shows a
confirmation message. This lets you actually execute the operation or cancel it if desired.
If a confirmation message (like the one illustrated above) appears, press the [INC/YES] button to execute the
operation or press the [DEC/NO] button to cancel it.
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
1Moving the cursor
Use these four buttons to navigate the display,
moving the cursor around the various selectable
items and parameters in the screen. When
selected, the relevant item is highlighted
(the cursor appears as a dark block with inverse
characters).
2Changing (editing) values
Rotating the data dial to the right (clockwise)
increases the value, while rotating it to the left
(counter-clockwise) decreases it.
For parameters with large value ranges, you can
increase the value by 10 by simultaneously
holding down the [INC/YES] button and pressing
the [DEC/NO] button. To decrease by 10, do the
opposite; simultaneously hold down the [DEC/NO]
button and press the [INC/YES] button.
73
MOTIF Basic Operation
Display-based Controls
Basic Operation
Information Display
This convenient function lets you call up relevant details about the selected mode — simply by pressing the
[INFORMATION] button. For example, when the Voice mode is active, you can quickly check information about
which voice bank is selected, what Play mode (poly or mono) is being used, which effects are applied, and so on.
In the Song Play mode, you can instantly find out how much memory is being used and how much is left over for
additional recording.
Control Knobs and Sliders
This extremely versatile and powerful section on the panel gives you instant, real-time control over the sound and
certain functions of the MOTIF. For example, you can use these to shift the Pan position, adjust the Reverb or
Chorus effect, change the Tempo of a song or pattern, tweak the EQ, perform dynamic filter sweeps, alter the Volume
balance of the elements in a voice or the tracks of a song, and do many other things as well — all in real time, as you
perform. The Knobs are also assignable to various functions, letting you control virtually any aspect of the sound or
operation you desire (pages 254 and 256).
1 Select the row of functions you wish to control by pressing the [KNOB CONTROL FUNCTION] button.
The corresponding indicator lights, showing you which row is active. For example if you want to use the Knobs
to control Pan, Reverb, Chorus and Tempo, press the [KNOB CONTROL FUNCTION] button (repeatedly if
necessary) until the top indicator is lit.
2 Turn the appropriate Knob ([KN1] - [KN4]) to adjust the desired function.
INFORMATION
INFORMATION
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
1 Pan, Effect Send. and Tempo
2 Filter and EG
3 Assign
4 Master EQ
Press this repeatedly to
select each function row.
In this example display, the Pan, Effect Send
and Tempo controls have been called up.
74
MOTIF Basic Operation
Display-based Controls
Basic Operation
The available functions are shown at the top of the display, and the value changes as you turn the corresponding
Knob. For example, to change the amount of Reverb (in the top row), turn Knob 2. To change the Pan position,
turn Knob 1.
If the “Rev” knob in the display is dark, any tweaking you do to the Knob immediately affects the sound.
However, if the knob in the display is light, turning the knob will not have any effect until you reach the current
setting. Once you’ve adjusted the Knob to that setting point, the display knob turns dark, and you can tweak the
sound.
3 Move the appropriate Sliders ([CS1] - [CS4]) as well.
The Sliders are generally for controlling levels, but they have different functions depending on the selected mode.
For example, in the Voice mode, they are used to adjust the levels of the four elements in a voice. In the
Performance mode, they control the levels of the four parts. In the Song and Pattern modes, they are used to
change the levels of the sixteen tracks — four at a time. (In the last case, you can select different groups of
four by pressing the appropriate [NUMBER] button, [1] - [16].)
Please note that moving the slider will not have any effect until you reach the current setting.
For more information on the Knobs and Sliders, see page 48.
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
75
MOTIF Basic Operation
Display-based Controls
Basic Operation
Note (Key) settings
Several MOTIF parameters let you set a key range for a function — for example, in setting up a keyboard split — by
specifying certain note values. You can use the [INC/YES] and [DEC/NO] buttons or data dial to set these
parameters, or you can directly enter the values from the keyboard by pressing the appropriate keys (as shown
below). In the example display here, element 1 of a voice is being edited.
Naming
The MOTIF allows you to create your own original data such as voices, performances, songs, and styles. You can also
freely name the data as desired.
The following data types can be named.
• User voices..............................................................................page 130
• User performance ..................................................................page 166
• User songs ..............................................................................page 204
• User styles ..............................................................................page 232
• User phrases ...........................................................................page 230
• User masters...........................................................................page 271
• User waveform ......................................................................page 247
• Files saved to memory card or SCSI storage device .............page 267
The example below applies when naming a User voice (page 130).
1 Move the cursor to the first position of the name by using the Cursor button.
2 Select a character by using the [INC/YES] button, [DEC/NO] button or the data dial.
When Note Limit is selected, the [KBD] mark appears,
indicating that you can use the keyboard to set the value.
Simultaneously hold down the [INFORMATION] button and
press the appropriate key.
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
DEC/NO INC/YES
76
MOTIF Basic Operation
Display-based Controls
Basic Operation
3 Move the cursor to the next position of the name by using the Cursor button.
4 Enter the other characters as desired by repeating steps #1 - #3 above.
Using the Character List
In steps #2 and #3 above, you can use the special Character List, which shows you all the available characters, and
makes it easier to select the characters.
Press and hold down the [INFORMATION] button to display the pop-up Character List. To select a character from
the list, keep holding down the [INFORMATION] button and use the [INC/YES] and [DEC/NO] buttons or data
dial.
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
INFORMATION
INSERTION
When the cursor is located at the Name, this [LIST] icon appears and you can call
up the Character List display by holding the [INFORMATION] button. Release the
[INFORMATION] button to return back to the original display.
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
1Move the cursor to the desired position.
2Select a character by using the
[INC/YES] button, [DEC/NO] button
or the data dial.
While holding the [INFORMATION] button....
77
MOTIF Quick Start Guide
Playing the Demos
Quick Start Guide
Quick Start Guide
This helpful and informative section of the manual takes you on a guided tour of the MOTIF, explaining virtually all
of the important functions by example and giving you important, hands-on experience as you actually start using the
instrument. Read through these practical instructions carefully — this is the best way to get to know the
sophisticated functions of the MOTIF and to discover just how much it has to offer. Each set of instructions gives
you the basic tools you need to master the instrument. If you’re in need of more information or details, go straight to
the Reference section — the relevant page number is indicated here at the beginning of each topic.
Playing the Demos
Here’s the best place to start your explorations of the MOTIF. The Song and Master Demos have been specially
programmed so you can hear just how amazing the sounds are, and find out just how powerful the instrument really is.
Auto Demo Load
Reference (page 252)
The MOTIF features special Demo data (Song and Master programs) which is stored to ROM and can be loaded to DRAM by
using the Auto Demo Load function. When this parameter is set to “on,” the Demo song data is automatically loaded when
the power is turned on. The Auto Demo Load parameter is set to off when the MOTIF is shipped from the factory. (Under
normal playing circumstances, you’ll want to use the full memory of the instrument and won’t want to have the Demo
programs automatically load.) Before you can play the Demos, you’ll need to turn this function on (as described below).
The Demo programs are now loaded to the MOTIF, and you can try them out in the instructions that follow.
2
Call up the OTHER display.
SF4
3
Move the cursor to “AutoDemoLoad.”
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
4
Set “AutoDemoLoad” to ON.
DEC/NO INC/YES
1
Enter the Utility mode and call up the GENERAL display.
F1
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
POWER
ON
OFF
5
POWER
ON
OFF
Turn the power off by pressing
the [POWER] switch.
6
Turn the power on again by
pressing the [POWER] switch.
78
MOTIF Quick Start Guide
Playing the Demos
Quick Start Guide
Playing the Song Demo
A variety of Demo songs have been programmed to the MOTIF, showcasing its dynamic voices and giving you a taste
of the sophisticated sequencing functions inside.
To instantly return to the beginning of the song, press the [ ] (Top) button.
For details about song control, see page 14.
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART /ZONE
5
Start the selected song.
When playback of the selected song is finished,
the song automatically stops.
SEQ TRANSPORT
LOCATE
1
2
REC
SEQ TRANSPORT
LOCATE
1
2
REC
Top button
You can stop the song anytime during playback by pressing the [■]
button. This pauses the song at the current position. To resume
playback of the song from that point, press the [F] again.
Stop song playback manually, if you want.
6
Select a song.
4
Decreases
number
Decreases
number
Increases
number
Increases
number
DEC/NO INC/YES
If it isn’t currently highlighted,
move the cursor to the Song
number/name.
3
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
2
Press the [SONG] mode button to enter
the Song mode.
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
POWER
ON
OFF
Turn the power ON.
1
79
MOTIF Quick Start Guide
Playing the Demos
Quick Start Guide
Playing the Master Demo
The MOTIF has so many powerful features, functions, and modes, it may seem difficult to understand them all and
grasp how they work together. One good place to start learning about the various pieces in the MOTIF puzzle is the
Master mode.
Master programs are special setups that let you work across the mode boundaries of the MOTIF (Voice, Performance,
Song, and Pattern), and let you instantly select a desired configuration for the entire instrument. We’ve programmed
a variety of Master programs to show you how this powerful feature can be used. Try some of these out now. (You’ll
be setting up your own Master programs later in this Guide.)
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART /ZONE
Play the selected Master program.
3
• When the Mode is set to
Voice or Performance, play
the keyboard.
SEQ TRANSPORT
LOCATE
1
2
REC
• When the Mode is set to
Song or Pattern, press the
[F] (Play) button.
1
Enter the Master mode.
MODE
VOICE PERFORM MASTER
2
Select a Master.
1
2
3
4
5
6
7
8
15
9
10
11
12
13
14
16
Decreases
number
Decreases
number
Increases
number
Increases
number
DEC/NO INC/YES
Mode
80
MOTIF Quick Start Guide
Playing Voices
Quick Start Guide
Playing Voices
Reference (page 124)
The Voice Play mode is where you select and play the instrument sounds (voices) of the MOTIF.
Thanks to an amazing 85MB of wave ROM and over 700 voices to choose from (even more when you install optional Plug-in
boards!), the MOTIF has just about any sound you’ll ever need, no matter what kind of music you create — from luscious
piano, strings, and other acoustic instruments to cutting-edge synth, dance, and electronica sounds.
Plus, with the full 62-note polyphony, you can play fat chords and arpeggios — and sustain them without ever having to
worry about the sound cutting out. The MOTIF provides several different voice banks: Preset 1 - 3, GM Preset, User, and
Plug-in 1 - 3 (when optional Plug-in boards are installed). Select a bank and try out some of these different voices right now.
Selecting a voice
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART /ZONE
4
Select a Voice number.
3
Select a Voice Group.
Voices in each Bank are divided into Groups
[A] ~ [H]. Select a Group to display the
voices that belong to the selected Group.
Group
2
Select a Normal Voice Bank.
Select a Plug-in Voice Bank.
Select a Voice Bank.
n When shipped from the factory,
the MOTIF contains a full set
of specially programmed User
voices in the User bank.
Naturally, you can edit these
and overwrite them if you
want. You can also restore
them to the original factory set
by using the Utility Job (page
260). For details about Voice
Banks and Groups, see page
124.
• Normal Voice
• Drum Voice
PLG 2
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
PRE 1
PRE 2
PRE 3
GM
USER
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
DRUM KITS
A
B
C
D
E
F
G
H
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
15
9
10
11
12
13
14
16
1
Enter the Voice Play mode.
When the Voice Play mode is active, the
currently selected voice is shown in huge
letters — so you can easily check which
voice you’re about to play.
MODE
VOICE PERFORM MASTER
Bank name
Bank name
Decreases
number
Decreases
number
Increases
number
Increases
number
DEC/NO INC/YES
81
MOTIF Quick Start Guide
Playing Voices
Quick Start Guide
Using the Category Search function
Reference (page 126)
The MOTIF features a powerful Category Search function that gives you quick access to the sounds you want,
irrespective of their bank locations. Simply select a voice category, such as A. PIANO or SYN LEAD, and you can
browse through all related voices one by one — and audition each of them, too. Plus, you can use the special
Favorites category to store the voices you use most.
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART /ZONE
Favorite Category
Use this convenient function to store all your favorite, often-used voices in a single, easy-to-access location — and call
them up by pressing the [FAVORITIES] button. Select any voice you want, from any desired category, and enter each
to the Favorites Category. In this way, you can go directly to all the voices you use the most, without having to hop
around other Categories — a great aid when playing live.
Select the desired Category, then move the cursor to your favorite voice in the Category list, and press the [F5] button
to checkmark the the box next to the voice name. (You can un-checkmark it by pressing the [F5] button again.) Go
on to other Categories and continue registering your favorites. After you’ve checkmarked all the voices you want, press
the [DRUMKIT/FAVORITE] button to store them to the Favorites Category. All the voices you’ve checkmarked — and
only those voices — will be shown in the list. To exit from the Favorites Category, simply press the
[DRUMKIT/FAVORITE] button again.
3
Select a voice.
Step through the available voices by using
the data dial. You can also use the
[INC/YES] and [DEC/NO] buttons, or use
the cursor [ ]/[ ] buttons.
2
Select a Category.
• Select a Category.
Press the Category buttons to display the Category
name and the voice list. The first voice in this
Category is selected.
Category
names
PLG 2
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
A
B
C
D
E
F
G
H
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE
MUSICAL FX COMBI
Category name Voice list
SF 1SF 2SF 3
F1 F2 F3
SF 1SF 2SF 3
F1 F2 F3
SF 1SF 2 SF 3 SF 4 SF 5
F1 F2 F3 F4 F6F5
DRUM KITS
FAVORITES
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
Pressing this toggles
between the two settings:
Checkmark on
Checkmark off
• Select a Sub Category
All Categories are divided into
two or three Sub Categories for
further ease in selection.
The Sub Category names are
displayed at the bottom of the
Category Search display. Press
the [F1] - [F3] buttons to select
the first voice in the
corresponding Sub Category.
1
Turn the Category Search function on by pressing
the [CATEGORY SEARCH] button.
n Press the [CATEGORY SEARCH] button again to turn
this function off.
CATEGORY
SEARCH
PLG 2
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
82
MOTIF Quick Start Guide
Playing Voices
Quick Start Guide
Keyboard Octave (MOTIF6/MOTIF7)
Sometimes when playing a voice, you may wish to play in a lower or higher pitch range. For example, you may want
to shift the pitch down lower to get extra bass notes, or shift up to get higher notes for leads and solos. The Octave
Up/Down controls let you do this quickly and easily.
Each time you press the [OCTAVE UP] button on the panel, the overall pitch of the voice goes up by one octave.
Likewise, each press of the [OCTAVE DOWN] button takes the pitch down by one octave. The range is from -3 to
+3, with 0 being standard pitch. When this is set to Octave Up, the lamp of the [OCTAVE UP] button lights, and
when it is set to Octave Down, the [OCTAVE DOWN] button’s lamp lights. The current octave setting is shown at
the top right of the display. You can instantly restore standard pitch (0) by simultaneously pressing both the
[OCTAVE UP] button and the [OCTAVE DOWN] button (both lamps turn off).
n Octave Up/Down works in conjuction with with the TUNE setting (in Voice Edit, page 138) and the Note Shift setting (in Utility
Mode, page 250). This means that if the the pitch has already been shifted up or down with those settings, you may not be able to
use Octave Up/Down to shift the full three octaves.
n If using Octave Up/Down results in pitches outside the note range of the voice (C-2 - G8), the invalid pitches are sounded at the
previous octave (down or up).
n This function can be used also in the Performance mode or Master mode.
OCTAVE
DOWN
UP
83
MOTIF Quick Start Guide
Editing Voices
Quick Start Guide
Editing Voices
The Voice Play mode not only lets you play voices, it lets you perform a variety of basic, yet powerful editing operations on
them as well. For example, you can change the EG settings to give the voice a softer or harder attack, or change the release
to make it sustain. You can also adjust similar settings for the filter, and change the tone of the voice. Moreover, a special
set of Control knobs on the panel let you tweak the sound — including pan, EG, effects, filter, and more — in real time as
you play. Naturally, you can also store your newly created voice for future recall (page 86).
Quick Voice editing
Reference (page 127)
The [ ] Indicator
If you alter any parameters in the Voice Play mode, the [ ] indicator will appear in the
top left of the display. This indicates that the current voice has been modified but not yet
stored.
Edit indicator
1
Select the desired menu.
PORTA (Portamento) display
From this display you can select monophonic or polyphonic playback
and set the Portamento parameters. Portamento is used to create a
smooth transition in pitch from the first note played on the keyboard to
the next.
F4
SF 1SF 2 SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
2
Set the value of each parameter.
Move the cursor to the desired parameter and change the value by using
the [INC/YES] and [DEC/NO] buttons or the data dial.
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
DEC/NO INC/YES
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART /ZONE
EG (Envelope Generator) display
F5
• AEG (Amplitude Envelope Generator)
The AEG controls how the volume of the voice changes in time,
from the instant you press a key to after you release it. For example,
setting a small Attack value results in an instantaneous, sharp sound
when you press a key.
• FEG (Filter Envelope Generator)
The FEG controls how the tonal quality of the voice changes in time,
as affected by the filter. Here, you can also set the Cutoff
frequency and Resonance for the filter.
ARP (Arpeggio) display
The basic Arpeggio parameters (e.g., type, tempo) are
provided in this display.
F6
Basic Structure (page 46)
Cutoff Frequency (page 46)
Resonance (page 46)
84
MOTIF Quick Start Guide
Editing Voices
Quick Start Guide
Voice editing with the Control knobs
Reference (page 132)
These knobs let you change various aspects of the Voice’s sound in real time — while you play. Turn a knob to the
right to increase the value, and left to decrease it. If you want to keep the edits you make, you can store them to a new
voice (page 86).
n Each voice of the MOTIF has been programmed with a default or standard parameter value. Using these knobs offsets the default
or standard parameter value. Regardless of the size of the offset, the minimum and maximum limits cannot be exceeded.
n Using these knobs in the Performance mode affects the currently selected performance, and not the voices themselves.
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART /ZONE
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
Press this repeatedly to select each function row.
Selecting the controllable functions
Functions assigned to each knob can be selected among four types as illustrated below.
Use the [KNOB CONTROL FUNCTION] button to change the parameter set for the knobs. The corresponding LED lights
to indicate which group of parameters are active and the Control of the available functions appear in the LCD display as
shown below.
Press the [EXIT] button to go back to the original display.
n If the “Rev” knob in the display is dark, any tweaking you
do to the Knob immediately affects the sound. However, if
the knob in the display is light, turning the knob will not
have any effect until you reach the current setting. Once
you’ve adjusted the Knob to that setting point, the display
knob turns dark, and you can tweak the sound.
Pan, Effect Send, and Tempo
Assign
Filter and EG
Master EQ
1
2
3
4
85
MOTIF Quick Start Guide
Editing Voices
Quick Start Guide
About each assigned function
ATTACK RELEASECUTOFF
RESONANCE
KN 1 KN 2 KN 3 KN 4
Filter and EG
2
Attack
time
Key on
Release
time
Key off
ATTACK
Determines the attack time of the sound. For example, you can
adjust a strings voice so that the sound gradually swells in
volume by setting a slow attack time — simply turn the
[ATTACK] knob to the right. For a more percussive attack, turn
the knob to the left.
RELEASE
Determines the release time of the sound. Turning the knob to
the right sets a long release time and (depending on the
selected voice) lets the sound sustain after the key is released.
To produce a sharp release, in which the sound abruptly cuts
off, set a short release time.
n When the Drum voice is selected, this is used as Decay time.
Pan, Effect Send, and Tempo
1
L
R
Signal
PAN
REVERB
CHORUS
TEMPO
KN 1 KN 2 KN 3 KN 4
PAN
Determines the stereo pan
position of the voice.
TEMPO
Determines the tempo of the Arpeggio
assigned to the currently selected voice.
In the Song/Pattern/Arpeggio mode,
this determines the tempo of the selected
song or pattern.
Assign
These knobs can be assigned to a variety of functions, letting you create your own custom set of real-time controls.
For details about Knobs A/B, see page 256. For details about Knobs 1/2, see page 254.
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
3
MEQ LOW
MEQLO WMID MID MEQ HI MID MEQ HIGH
Gain
0
4
Master EQ
Adjusts the master (global) EQ settings for the entire voice. The settings made here are applied as offsets to the EQ settings (with the exception
of “MID”) in the Utility mode, page 253.
REVERB
Determines the amount of
Reverb effect that is applied
to the voice.
CHORUS
Determines the amount of
Chorus effect that is applied
to the voice.
CUTOFF
Determines the Filter
cutoff frequency.
RESONANCE
Boosts the level of the
signal in the area of the
cutoff frequency.
Try using the Cutoff and
Resonance controls above
in tandem. For example,
set Resonance to a certain
level, then sweep the
Cutoff control.
86
MOTIF Quick Start Guide
Storing edited Voices
Quick Start Guide
Storing edited Voices
Reference (page 160)
Once you’ve edited a voice, you can store it to the internal memory (SRAM). Up to 128 Normal Voices and up to 16
Drum Voices can be stored.
n For details about memory structure, see page 63.
When you execute this, the settings for the destination memory will be overwritten. Important data should always be backed up
to computer, a separate Memory Card or some other storage device. (See page 64.)
A wider variety of detailed editing controls is also available in the Voice Edit mode.
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART /ZONE
1
Press the [STORE] button in the Voice mode.
2
Select the destination Voice Memory by using the [INC/YES] and
[DEC/NO] buttons or the data dial.
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
3
Press the [ENTER] button. (The display prompts you for confirmation.)
4
To execute the Store operation, press the [INC/YES] button. After the voice has been stored, a
“Completed” message appears and operation returns to the original display.
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
n To cancel the Store operation, press the [DEC/NO] button.
For Store operations that take longer to process, you will see the message "Executing..." during processing.
off the power of the MOTIF while this message is displayed, you risk corrupting your data.
Destination
Decreases
number
Decreases
number
Increases
number
Increases
number
DEC/NO INC/YES
87
MOTIF Quick Start Guide
Storing edited Voices
Quick Start Guide
About Plug-in Voices
Basic Structure (page 34)
Plug-in Boards give you an enormous amount of additional sonic flexibility and power. When installed, they work
seamlessly and transparently within the system of the MOTIF — meaning that you can use their sounds and
functions just as if they were built right into the MOTIF at the factory. Up to three Plug-in boards can be installed to
the MOTIF. If the Plug-in Board has been correctly installed, the corresponding SLOT lamp will light, the voice data
appropriate for the installed board is set up automatically as Plug-in voices and you can select the Plug-in bank as
well as the built-in Voice bank.
The Plug-in voices can be edited via the MOTIF’s panel operation in much the same way as User voices. After
editing, up to 64 Plug-in voices for each Plug-in board can be stored.
Editing and saving Board voices
Reference (page 159)
Included among the Board voices is a special set of voices — called Board Custom voices — which can be edited by a
computer connected to the MOTIF, using special editing software included with the Plug-in board.
Because the Plug-in boards do not have SRAM and the edited voice data will be lost when turning the power off, the
edited Board Custom voice data should be saved to the memory card or the SCSI device connected to the MOTIF. The
Board Custom voice data saved to the memory card or SCSI device can be loaded automatically when turning the
power on by using the Auto Load function.
1 Edit the Board voice by using the Voice Editor.
2 Transmit the edited data to the memory (DRAM) on the Plug-in board.
3 Save the data in the memory (DRAM) to the memory card.
4 Set Auto Load to on in the Utility mode (page 252).
5 When turning the power on next time, the Board Custom voice data saved to the memory card is automatically
loaded to the memory on the Plug-in board.
PLG 2
CATEGORY
SEARCH
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-time External Control
Surface
Modular
Synthesis Plug-in
System
SLOT 1 SLOT 2 SLOT 3
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
KEYBOARD
ORGAN
GUITAR /
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
BANK
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/ YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternalControl
Surface
Modular
SynthesisPlug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ZONE
Computer with application software
MOTIF
Plug-in board
1 Edit
2 Transmit
Memory card
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/ YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternalControl
Surface
Modular
SynthesisPlug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ZONE
MOTIF
Plug-in board
3 Save
Set this to on.
88
MOTIF Quick Start Guide
Playing Performances
Quick Start Guide
Playing Performances
Basic Structure (page 42) · Reference (page 162)
In the Performance mode, you can select and play individual User performances.
In a performance, you can mix several different voices together in a layer, or split them across the keyboard, or even
set up a combination layer/split. Each Performance can contain up to four different Parts.
n For details about the performances and their memory (bank) structure, see page 42.
Selecting a Performance
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ ZONE
4
Play the keyboard.
Select a Performance Group.
Performances in each Bank are divided into Groups A~H. Select a Group to display
the performances that belong to the selected Group.
n All performances are stored to a single bank, so you need not select a bank here.
2
Select a Performance number.
3
A
B
C
D
E
F
G
H
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE
MUSICAL FX COMBI
SECTION
GROUP
Performance
Group
1
2
3
4
5
6
7
8
15
9
10
11
12
13
14
16
1
Enter the Performance Play mode.
MODE
VOICE PERFORM MASTER
When the Performance Play mode is active,
the currently selected performance is shown in
huge letters — so you can easily check which
performance you’re about to play.
Decreases
number
Decreases
number
Increases
number
Increases
number
DEC/NO INC/YES
1
2
3
4
5
6
7
8
15
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
NUMBER
ELEMENT/ PERF.PART/ ZONE
Performance Part on/off
Each performance can contain a maximum of four parts, selected from a total of seven — internal Parts 1 - 4 and Plug-in Parts 1 - 3.
1 Press the [MUTE] button so that its indicator lights.
2 Press any of the [1] - [4] buttons you wish to mute. The part
corresponding to the unlit indicator is muted.
3 Press the [MUTE] button again so that its indicator goes out.
n The Category Search
function and Keyboard
Octave function can be used
also in the Performance Play
mode in the same way as in
the Voice Play mode.
89
MOTIF Quick Start Guide
Editing Performances (Layer/Split)
Quick Start Guide
Editing Performances (Layer/Split)
Basic Structure (page 45) · Reference (page 170)
Performances can be made up of a maximum of four parts (voices), selected from the internal tone generator Parts 1 - 4
and Plug-in board Parts 1 - 3.
You can create a performance by layering several voices together, and by assigning different voices to separate ranges
of the keyboard. You can then store up to 128 of your original, edited performances to internal User memory.
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART /ZONE
PRE1 PRE2 PRE3 USER PL1
Built-in tone generator parts Plug-in parts
PL2 PL3
Layer Split
PRE1 PRE2 PRE3 USER PL1
Built-in tone generator parts Plug-in parts
PL2 PL3
SONG SCENE
SF 1 SF 2 SF 3 SF 4 SF 5
F1 F2 F3 F4 F6F5
INFORMATION
SONG SCENE
SF 1 SF 2 SF 3 SF 4 SF 5
F1 F2 F3 F4 F6F5
INFORMATION
Assign the built-in voice
to the selected part.
Delete the voice assignment
of the selected part.
Assign the Plug-in voice
to the selected part.
DEC/NO INC/YES
1
Call up the VOICE display by pressing the
[F3] button in the Performance Play mode.
2
Assign the desired voice to each part.
Move the cursor to the desired part and select a voice by pressing the [F1] or
[F2] button.
3
4
Specify the note range of each part, as required.
You can set the lowest note of the range over which the voice of the selected part
sounds by pressing the desired key while holding the [SF4] button. To set the
highest note of the range, press the desired key while holding the [SF5] button.
This lets you create a split keyboard, with up to four different parts (voices)
sounding in four different ranges. You can also overlap parts to create layers.
Change the volume of each part and adjust the
relative balance among the four parts by using
the Control sliders.
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTA CK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
Note Limit Low Note Limit High
SF 4 SF 5
90
MOTIF Quick Start Guide
Storing the edited Performance
Quick Start Guide
Storing the edited Performance
Reference (page 176)
Once you’ve edited a performance, you can store it to the internal memory (SRAM). Up to 128 performances can be stored.
n For details about memory structure, see page 63.
When you execute this, the settings for the destination memory will be overwritten. Important data should always be backed up
to computer, a separate Memory Card or some other storage device. (See page 97.)
The Portamento, EG (Envelope Generator), and Arpeggio parameters can be edited by calling up the corresponding
display via the [F4] - [F6] buttons in the same way as in the Voice mode.
A wider variety of detailed editing controls is also available in the Performance Edit mode. See page 165.
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIG H
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/ YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART /ZONE
1
Press the [STORE] button in the Performance mode.
2
Select the destination Voice Memory by using the [INC/YES]
and [DEC/NO] buttons or the data dial.
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
3
Press the [ENTER] button. (The display prompts you for confirmation.)
4
To execute the Store operation, press the [INC/YES] button. After the voice has been stored,
a “Completed” message appears and operation returns to the original display.
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
n To cancel the Store operation, press the [DEC/NO] button.
For Store operations that take longer to process, you will see the message "Executing..." during processing.
If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data.
Destination
Decreases
number
Decreases
number
Increases
number
Increases
number
DEC/NO INC/YES
91
MOTIF Quick Start Guide
Using the Arpeggio function
Quick Start Guide
Using the Arpeggio function
Basic Structure (page 55) · Reference (pages 128, 165)
The MOTIF features a powerful and highly versatile arpeggiator that lets you automatically trigger preset arpeggios,
phrases, rhythmic sequences and special “human” patterns — depending on the keys you play, or even the velocity
with which you play them. You can assign the desired Arpeggio type to each voice or performance, and adjust the
tempo in real time as the Arpeggio plays. In the Song and Pattern modes, you can assign desired Arpeggio types to
each Mixing setup, for use in songs and patterns.
Arpeggio playback
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART /ZONE
1
Select a Voice/Performance.
CATEGORY
SEARCH
DRUM KITS
FAVORITES
PLG 2
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
A
B
C
D
E
F
G
H
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
15
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
COMMON
ELEMENT/ PERF.PART/ ZONE
3
Play the keyboard.
While holding the key(s), the Arpeggio is played back according to
the played note, Arpeggio type, tempo, note limit settings, and so
on.
n In the Voice Play mode, the Arpeggio is played back via the selected
voice.
n In the Performance/Song Mixing/Pattern Mixing mode, the Arpeggio
is played back via the voice assigned to the selected part when the
Arpeggio Switch of the selected part is set to on.
Turn the Arpeggio on by pressing the ARPEGGIO [ON/OFF]
button.
n When you select a voice or performance for which the Arpeggio
Switch is set to on, the ARPEGGIO [ON/OFF] button is
automatically turned on.
n The on/off status of the ARPEGGIO [ON/OFF] button can be
stored to each voice, performance, or Mixing setup.
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
2
92
MOTIF Quick Start Guide
Using the Arpeggio function
Quick Start Guide
Arpeggio Type, Tempo, and Limit
A variety of Arpeggio types are provided with the MOTIF. You can change the tempo of Arpeggio as desired.
The Arpeggio function is available in all modes.
The explanation below applies to the Performance Play mode.
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART /ZONE
1
Call up the ARP (Arpeggio) display by pressing the
[F6] button in the Performance Play mode.
5
Set the Velocity Limit for Arpeggio playback.
Move the cursor to the Velocity Limit
parameter and set.
The Arpeggio is played back only when the key is
played at a velocity within this range.
6
Set the Arpeggio part switch.
You can set the Arpeggio playback
on or off for each part. Move the
cursor to the checkbox of the
desired part and checkmark the
box to on.
7
Store the Arpeggio settings to
the desired User Performance.
The Arpeggio settings can be
stored to a User Voice, a User
Performance, or a Song/Pattern
Mixing setup.
SF 1SF 2 SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
2
Select an Arpeggio Bank.
Move the cursor to the Bank parameter and select.
DEC/NO INC/YES
3
Select an Arpeggio Type.
Move the cursor to the Type parameter and select.
DEC/NO INC/YES
4
Set the Tempo for Arpeggio playback.
Move the cursor to the Tempo parameter and set.
DEC/NO INC/YES
Low Limit High Limit
Low
Limit
0
High
Limit
127
93
MOTIF Quick Start Guide
Using as a Master Keyboard
Quick Start Guide
Using as a Master Keyboard
Basic Structure (page 56) · Reference (page 268 )
The MOTIF is loaded with such a wealth of different features, functions and operations, you may find it difficult to
locate and call up the particular feature you need. This is where the Master function comes in handy. You can use it
to memorize the operations you use most often in each mode, and call them up instantly anytime you need them with
a single button press. The MOTIF has space for a total of 128 of your own User Master settings.
Memorize to a Master
The selected mode and program are memorized to a Master in the Master Play mode.
Master No.4 Song mode: 05
Master No.3 Voice mode: USER (B08)
Master No.1 Voice mode: PRE1 (A10)
Master No.2 Performance mode: PRE1 (F7)
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ ZONE
1
Enter the Master mode and select a Master
number (page 269).
5
Name the Master.
You can name the Master in the Master Edit mode (page 75).
You can also set the functions assigned to the Control Knobs/Sliders (page 273).
2
Call up the MEMORY display by pressing the
[F2] button.
SF 1SF 2 SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
3
Select the mode to be memorized.
4
Select the desired program (voice, performance, song, or style number) to
be memorized.
DEC/NO INC/YES
Mode
DEC/NO INC/YES
DRUM KITS
FAVORITES
PLG 2
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR /
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
A
B
C
D
E
F
G
H
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
15
9
10
11
12
13
14
16
COMMON
ELEMENT/ PERF.PART/ ZONE
Program
or
94
MOTIF Quick Start Guide
Using as a Master Keyboard
Quick Start Guide
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART /ZONE
n To cancel the Store operation, press the [DEC/NO] button.
For Store operations that take longer to process, you will see the message “Executing…” during processing.
If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data.
Press the [STORE] button to enter the Master Store mode.
Select a destination Master.
Press the [ENTER] button.
Execute the Store operation.
Destination
6
Store the settings to a Master.
The edited Masters can be stored to the internal memory (SRAM). Up to 128 Masters can be stored.
n For details about memory structure, see page 63.
When you execute this, the settings for the destination memory will be overwritten. Important data should always
be backed up to computer, a separate Memory Card or some other storage device. (See page 97.)
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
1
2
3
4
95
MOTIF Quick Start Guide
Using as a Master Keyboard
Quick Start Guide
Master Keyboard settings
● Layer/Split settings using an external tone generator
The MOTIF can function as a comprehensive, versatile master keyboard, for both live and studio applications.
When a Master is set to the Voice or Performance mode, you can make settings for four independent Zones. This
makes it possible to control voices of an external MIDI device over several different channels — in addition to the
internal voices of the MOTIF itself. You can do this by setting the sound range of the keyboard for each Zone and
assigning different MIDI channels to each range.
For example, this lets you layer several voices together, including those of a connected MIDI tone generator. Plus,
you can separate the voices into different keyboard ranges, and play completely different sounds with your left and
right hands. In the example below, we’ll set up three Zones as shown below. We’ll program a split at the note C3. In
the lower range (B2 and lower), a bass voice and cymbal voice will sound. In the upper range (C3 and above), we’ll
layer piano and vibraphone voices — played from an external MIDI tone generator. Using this sophisticated setup,
you can easily sound like an entire jazz group, with just your two hands.
In the example instructions here, we’ll use the Voice mode for the Master.
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART /ZONE
3
Enter the Master Edit
mode.
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
1
Select a Voice in the Master Play mode.
Set the Mode to Voice, then select the PRE1 bank and voice 123.
2
Set the Zone Switch to on.
DEC/NO INC/YES
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
C3
Zone 2
(Piano)
Zone 3
(Vibraphone)
Zone 1
(Bass + Cymbal)
96
MOTIF Quick Start Guide
Using as a Master Keyboard
Quick Start Guide
● Control Number settings
Here in the KN/CS display of the Master Edit mode, you can set how the Control knobs and sliders will affect each
Zone. This lets you specify a MIDI Control Change number for each knob and slider. In the example below, the
Control knobs for all Zones have been set to 10 (Pan), and the sliders have been set to 11 (Expression). In this way,
you can control the stereo position of each Zone with the appropriate knob, and use the sliders to adjust the relative
volume balance among the Zones.
This setting is available only when the Zone Switch is set to on from the Memory display in the Master Play mode.
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1 SF 2 SF 3 SF 4 SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ZONE
7
Store the settings to a Master
(page 94).
6
Call up the NOTE display.
Each Zone will sound the assigned voice within the note range set above.
1
2
Set the Note Limit H (High) of Zone 1 to B2. Set the Note Limit L (Low) of Zone 1 to C-2.
Set the Note Limit H (High) of Zone 2 and 3 to G8. Set the Note Limit L (Low) of Zone 2
and 3 to C3.
SF 1 SF 2 SF 3 SF 4 SF 5
F1 F2 F3 F6F5
4
Call up the display for Zone editing.
Press any of the buttons.
1
2
3
4
5
Call up the TRANS display.
1
3
4
2
Set the TG Switch of Zone 1 to on and
set those for all other Zones to off. This is
for transmitting the data played only in
the Zone 1 to the built-in tone generator.
Set the MIDI Switch of the Zone 2 and 3
to on and set the ones of the other Zones
to off. This is for transmitting the data
played in the Zone 2 and 3 to the
external tone generator.
Set the MIDI transmit channel of Zone 1
to 1. Set the MIDI transmit channel of
Zone 2 and 3 to match the Receive
channel of the external tone generator
(slave).
Make sure the external tone generator is
set to multi-timbral operation (different
voices for each of the 16 MIDI channels),
and select the appropriate voices on the
tone generator, corresponding to the
MIDI channels you set in above.
SF 1 SF 2 SF 3 SF 4 SF 5
F1 F2 F3 F6F5
3
SF 1SF 2 SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
AT TACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
97
MOTIF Quick Start Guide
Saving/Loading data
Quick Start Guide
Saving/Loading data
Basic Structure (page 63) · Reference (page 266)
Many different types of data are created when using the MOTIF, and the following types are automatically
maintained in memory, even if the power is turned off: Voice, Performance, Master, Arpeggio and System settings
(parameters set in the Utility mode). Since the other data (e.g., wave data recorded via the Sampling function, Song,
Pattern) is lost when turning the power off, you should save it to a memory card or SCSI device connected to the
MOTIF. Data created on the MOTIF can be saved to Memory card or SCSI device in a variety of file types. By
selecting “All” as the file type to be saved, all your original MOTIF data can be saved to Memory card/SCSI device.
However, when loading this “All” data back to the MOTIF, you can choose a specific data type to be loaded (e.g., one
voice or one song), as illustrated below.
n For details about using Memory cards, see page 289. For details about using SCSI devices, see page 264 and page 290.
Saving data
n Before you can use a new Memory card or external SCSI device with the MOTIF, you’ll have to format it from the MOTIF.
See page 265 for details.
Voice
Performance
Master
System
Song
Pattern
Wave
Memory card
Save
SCSI device
All
Memory card
Load
SCSI device
One song
One voice
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART /ZONE
1
Enter the File
mode by pressing
the [FILE] mode.
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
SF 1SF 2 SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
5
Select a file type to be saved.
Here, select “All.”
n For details about file type to be saved, see
page 262.
7
Press the [ENTER] button.
8
Press the [INC/YES] button to
execute the Save operation.
6
Select a folder to which the data is to be
saved.
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
4
Call up the SAVE display.
3
Select a device to which the data is to be saved.
Move the cursor to the Current parameter and select
“CARD” or “SCSI.”
SF 1SF 2 SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
2
Call up the CONFIG display.
SF 1SF 2 SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
Device
Free space
n You can name the folder by using the [F4] button
and create a new folder by using the [F6] button.
98
MOTIF Quick Start Guide
Saving/Loading data
Quick Start Guide
Loading data
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART /ZONE
1
Enter the File
mode by pressing
the [FILE] button.
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
SF 1SF 2 SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
5
Select a file type to be loaded.
Here, select “Voice.”
n For details about the file types that can be
loaded, see page 263.
8
Press the [ENTER] button to
execute the Load operation.
6
Select a file to be loaded.
Here, select a file with the extension “.W2V,” press the [ENTER] button, and select the desired
voice.
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
4
Call up the LOAD display.
3
Select the device from which the data is
to be loaded.
Move the cursor to the Current parameter
and select “CARD” or “SCSI.”
2
Call up the CONFIG display.
SF 1SF 2 SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
SF 1SF 2 SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
Device
Free space
7
Select the destination User memory to
which the data is to be loaded.
n Loading data to the MOTIF
automatically erases and replaces
any existing data in the User
memory. Make sure to save any
important data to a Memory
card/SCSI device before
performing any Load operations.
[ENTER]
button
99
MOTIF Quick Start Guide
Sampling with Song Playback (Integrated Sampling Sequencer)
Quick Start Guide
Sampling with Song Playback (Integrated Sampling
Sequencer)
In this section, we’ll delve into one of the most important and powerful features of the MOTIF — the Integrated
Sampling Sequencer.
Today’s digital music producers and artists use a mutlitude of advanced tools to get the job done — including MIDI,
sampling, audio editing and much more. Cutting and pasting beats, loops and patterns together is an integral part of
the music making process. The MOTIF lets you work in the same way, fully integrating sampling with MIDI
sequencing — making it easier than ever before to produce great tracks.
Below is a summary of the steps you’ll take as you create a new song.
■ Creating Rhythm track
1 Sampling to a Pattern Track
2Recording MIDI data to a Pattern Track
3 Assigning a Preset Phrase to a Pattern Track (Patch function)
4 Using the Groove function
5Pattern Mixing
6Creating the Pattern Chain
■ Creating a Song
7 Copy the Pattern Chain data to the Song
8 MIDI recording to Song Tracks
9 Sampling to Song Track
10 Song Track Mute and Scene
11 Song Mixing and storing the settings as a template
12 Saving and Exporting the recorded song to external PC (File Utility)
100
MOTIF Quick Start Guide
Sampling with Song Playback (Integrated Sampling Sequencer)
Quick Start Guide
1. Sampling to a Pattern Track
Basic Structure (page 52) · Reference (page 234)
First, record your favorite rhythm phrase from an audio CD (or other source) to the MOTIF via the Sampling
function.
n For details about how to connect the external audio equipment to the MOTIF, see page 23 .
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART /ZONE
1
Enter the
Pattern mode.
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
SF 1SF 2 SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
2
Call up the PLAY display.
3
Select the Style number and Section to be recorded.
Style number
• Selecting a Style number
• Selecting a Section
Section
CATEGORY
SEARCH
PLG 2
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
A
B
C
D
E
F
G
H
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE
MUSICAL FX COMBI
SECTION
4
Enter the
Sampling mode.
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
SF 1SF 2 SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
5
Call up the DEST display.
6
Select a track to be recorded.
Here, select track 3.
DEC/NO INC/YES
Press the [SECTION] button, then the appropriate button [A]
~ [H].
Decreases
number
Decreases
number
Increases
number
Increases
number
DEC/NO INC/YES
101
MOTIF Quick Start Guide
Sampling with Song Playback (Integrated Sampling Sequencer)
Quick Start Guide
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ ZONE
2
1
Select a sampling type.
For Type, select “slice+seq.”
Select a sampling source.
For Source, select “A/D.”
Select "stereo" or "mono."
Sampling
frequency
SF 1SF 2 SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMAT IO N
1
2
Monitor levelTrigger mode
Input level
SF 1SF 2 SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
7
Call up the SOURCE display.
11
Set the Slice related parameters.
The following display appears after stopping sampling since the
sampling type has been set to “slice+seq” in step #7. You’ll need
to trim your sample of extraneous beats, so that it will loop
properly. Do this by using the Start, Loop, and End parameters
in the display below. (For details, see page 237.) As you edit
these parameters, press the [SF1] button (Audition) to hear the
changes you’ve made.
12
Execute the Slice operation.
Once you’ve edited the sample so that it loops properly, call up
the SLICE display and set the parameters as needed. (For details,
see page 238.)
8
Enter the Sampling Standby mode.
From this display, set the Trigger mode. Here, select “manual.”
Play back the external CD player to check the Input level. You
can adjust the Input level for optimum level by using the GAIN
knob on the rear panel.
SF 1SF 2 SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
9
Start sampling.
Press the [F6] button to start sampling. Also start the external
CD player to play back the rhythm phrase to be recorded.
10
Stop sampling by pressing the [F6] button again.
SF 1SF 2 SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
13
Go back to the Pattern play mode
and play the Pattern to hear the
recorded sample.
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
102
MOTIF Quick Start Guide
Sampling with Song Playback (Integrated Sampling Sequencer)
Quick Start Guide
2. Recording MIDI data to a Pattern Track
Basic Structure (page 53) · Reference (page 221)
Now that you’ve recorded a rhythm sample to a Pattern and sliced it, the next step is to record some MIDI parts and
add them to the Pattern. You can record MIDI in two ways: Realtime and Step.
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART /ZONE
DEC/NO INC/YES
2
Select a Recording type.
Replace
You can use this method when
you want to overwrite an
already recorded track with
new data.
Overdub
You can use this method when
you want to add more data to a
track that already contains data.
Step
You can compose your
performance by “writing” it
down one event at a time.
To step on page 104
3
To step on page 103
3
1
After setting the measure length and
meter (time signature), enter the
Pattern Record mode.
SEQ TRANSPORT
LOCATE
1
2
REC
103
MOTIF Quick Start Guide
Sampling with Song Playback (Integrated Sampling Sequencer)
Quick Start Guide
● Realtime recording (when selecting replace or overdub in step #2)
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART /ZONE
3
Select a track 2 to be recorded and set the tempo.
6
Set the Arpeggio related parameters from
the ARP display (page 223).
12
Record to other tracks as desired by repeating steps #3 - 11.
7
Turn the Click on.
Track to be recorded
DEC/NO INC/YES
Meter Tem po
Measure length
4
Call up the VOICE display.
5
Select the desired voice to be recorded to a track (phrase).
DEC/NO INC/YES
SF 1SF 2 SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
SF 1SF 2 SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
9
Play the
keyboard.
8
Start
recording.
SEQ TRANSPORT
LOCATE
1
2
REC
10
Stop recording.
SEQ TRANSPORT
LOCATE
1
2
REC
11
Press the [ ]
button to hear
the newly
SEQ TRANSPORT
LOCATE
1
2
REC
1
2
3
4
5
6
7
8
15
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
ELEMENT/ PERF.PART/ ZONE
104
MOTIF Quick Start Guide
Sampling with Song Playback (Integrated Sampling Sequencer)
Quick Start Guide
● Step recording (when selecting step in step #2)
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART /ZONE
3
Select a track 2 to be recorded and set the MIDI event type to
be recorded and tempo.
6
Start recording.
DEC/NO INC/YES
4
Call up the VOICE display.
5
Select the desired voice to be recorded to a track (phrase).
DEC/NO INC/YES
SF 1SF 2 SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
9
Record to other tracks as desired by
repeating steps #3 - 8.
7
Stop recording.
SEQ TRANSPORT
LOCATE
1
2
REC
8
Press the [ ] button to hear
the newly recorded pattern.
SEQ TRANSPORT
LOCATE
1
2
REC
1
2
3
4
5
6
7
8
15
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
ELEMENT/ PERF.PART/ ZONE
Track to be recorded
Meter
MIDI event type
Temp o
Measure length
Here, enter the Note Event.
Move the cursor to the Pointer and set the
location to be entered.
Set the velocity (Value), Step Time, and Gate
Time.
Press the key to be recorded.
Repeat steps #1 - 3 to enter the notes one after
another.
SEQ TRANSPORT
LOCATE
1
2
REC
Press [F3] to enter a rest as long as the specified step time.
When the [F4] button is pressed to enter a tie, the preceding
note is lengthened to the full step time.
Press this to actually delete the note events at the
current cursor position.
Moves the pointer backward by one step
and deletes all notes at that location.
1
2
3
4
105
MOTIF Quick Start Guide
Sampling with Song Playback (Integrated Sampling Sequencer)
Quick Start Guide
3. Assigning a Preset Phrase to a Pattern Track (Patch function)
Basic Structure (page 52) · Reference (page 219)
The Patch function lets you assign a Preset phrase or a User phrase (recorded in the Pattern Record mode) to each
track and create a pattern that contains up to 16 tracks.
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART /ZONE
1
Call up the PATCH display.
SF 1SF 2 SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
3
Select a Phrase Bank and number.
Move the cursor to Bank and select “pre” or “user. ”
2
Select a track to which the phrase is assigned.
DEC/NO INC/YES
Then, move the cursor to the number parameter and set it.
Keep in mind that only User phrases that have been recorded
to the currently selected style can be selected here. If you
want to assign a phrase that has been recorded to another
style, use the Phrase Copy Job (page 228).
4
Press the [ ]
button to hear
the pattern.
SEQ TRANSPORT
LOCATE
1
2
REC
5
Assign phrases to
the other tracks
as desired.
1
2
3
4
5
6
7
8
15
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
ELEMENT/ PERF.PART/ ZONE
or
106
MOTIF Quick Start Guide
Sampling with Song Playback (Integrated Sampling Sequencer)
Quick Start Guide
4. Using the Groove function
Reference (page 218 )
The Grid Groove function makes it possible to adjust the pitch, timing, length, and velocity of notes in a specified
track on a measure-long 16th-note grid. This lets you easily come up with a wide variety of rhythmic feels and
grooves that would be difficult or impossible to create using precise, yet rigid sequencer operations. Moreover, Grid
Groove is a playback-only operation, meaning that it leaves the original recorded data intact.
Grid Groove can also be applied to sample tracks that contain samples processed with the Slice function, as well as
normal MIDI tracks.
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1 SF 2 SF 3 SF 4 SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ZONE
1
Call up the GROOVE display.
SF 1 SF 2 SF 3 SF 4 SF 5
F1 F2 F3 F4 F6F5
2
Select a track.
1
2
3
4
5
6
7
8
15
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
4
Press the [ ] button to
hear the edited pattern.
n Keep in mind that if you make an
edit at a specific 16th note position
and there is no MIDI data at that
point, the track will not change.
SEQ TRANSPORT
LOCATE
1
2
REC
5
Make Grid Groove settings
for other tracks as desired.
3
Set the parameters.
Move the cursor to the desired parameter and grid point and set the offset value.
This affects song playback without actually changing the sequence data.
DEC/NO INC/YES
Each aspect of the track to be offset (pitch, time, length, velocity) is indicated by
a different graphic.
plus
VELO OFFSET
GATE OFFSET
CLOCK SHIFT
NOTE OFFSET
0minus
107
MOTIF Quick Start Guide
Sampling with Song Playback (Integrated Sampling Sequencer)
Quick Start Guide
5. Pattern Mixing
Reference (page 232)
Now that you have a finished section and pattern, you can apply the Pattern Mixing controls to fine-tune it and
enhance it — by adusting the levels of each track or part, selecting different voices, and tweaking the effect-related settings.
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART /ZONE
1
Enter the Pattern
Mixing mode.
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
4
Highlight the desired
parameter and change the
value.
6
Store the Song Mixing setup to User Memory.
2
Call up the desired display.
SF 1SF 2 SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
3
Select a part to be edited.
DEC/NO INC/YES
5
Set the other parameters by
repeating steps #2 - 4.
EXIT
ENTER
EXECUTE
DEC/NO INC/YES
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
1
2
3
7
Go back to the Pattern Play
mode.
n Not each section but each
style has one Pattern Mixing
setting.
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
1
2
3
4
5
6
7
8
15
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
ELEMENT/ PERF.PART/ ZONE
108
MOTIF Quick Start Guide
Sampling with Song Playback (Integrated Sampling Sequencer)
Quick Start Guide
6. Creating a Pattern Chain
Basic Structure (page 54) · Reference (page 219)
Now that you’ve got your audio samples, loops, MIDI data, and patterns in the MOTIF, here’s where the fun really
begins. The Pattern Chain feature lets you arrange all of the pieces of your song in real time. As you record a Pattern
Chain, play back your original patterns and sections, and switch among them on the fly. This intuitive, hands-on
approach to arranging lets you come up with great ideas and amazing songs — quickly and easily.
n For details about Pattern Chain and its track and memory structure, see page 54.
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTAC K RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ ZONE
5
Stop recording.
6
Press the [ ] button to
hear your new pattern
chain.
SEQ TRANSPORT
LOCATE
1
2
REC
SEQ TRANSPORT
LOCATE
1
2
REC
Pattern Chain Track
Tempo
3
Select a track and tempo.
CATEGORY
SEARCH
PLG 2
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
A
B
C
D
E
F
G
H
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE
MUSICAL FX COMBI
SECTION
4
Start recording.
SEQ TRANSPORT
LOCATE
1
2
REC
While recording, you can change the Section
at the desired timing.
SF 1SF 2 SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
1
Enter the Pattern Chain mode by
pressing the [F6] button in the Pattern
Play mode.
2
Enter the Pattern Chain Record mode
by pressing the [REC] button.
SEQ TRANSPORT
LOCATE
1
2
REC
109
MOTIF Quick Start Guide
Sampling with Song Playback (Integrated Sampling Sequencer)
Quick Start Guide
7. Copying the Pattern Chain data to a Song
Reference (page 221)
Now that you’ve created a hip Pattern Chain, you can copy it to a song track and use it as the basic rhythm track for
a song. This is done from the Pattern Chain Edit mode.
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART /ZONE
3
Select a Song number to which
the Pattern Chain is to be copied.
Destination Song number
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
1
Enter the Pattern Chain Edit mode by
pressing the [EDIT] mode in the Pattern
Chain Play mode.
SF 1SF 2 SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
2
Call up the SONG display.
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
4
Specify the measure number to which the
converted data is to be copied.
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
5
Press the [ENTER] button.
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
6
Press the [INC/YES] button to
execute the Copy operation.
Decreases
number
Decreases
number
Increases
number
Increases
number
DEC/NO INC/YES
110
MOTIF Quick Start Guide
Sampling with Song Playback (Integrated Sampling Sequencer)
Quick Start Guide
8. MIDI recording to Song Tracks
Basic Structure (page 51) · Reference (page 183)
Now, take your basic building blocks and move over to the Song mode to do some more work on your song. Let’s say
for the sake of example that you’ve recorded MIDI data for nearly all the tracks — except for maybe some rhythm
guitar parts and some solos on piano and organ. The MOTIF gives you two methods of recording these. Realtime
recording lets you record much as you would with a tape recorder, playing the parts in real time while you listen to
the backing rhythm tracks you created earlier. The other method, Step recording, lets you enter each note
individually, much like writing down the notes on paper.
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART /ZONE
4
Enter the Song Record
mode.
A
B
C
D
E
F
G
H
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE
MUSICAL FX COMBI
3
Select the song to which the Pattern Chain data
has been copied.
1
2
3
4
5
6
7
8
15
9
10
11
12
13
14
16
ELEMENT/ PERF.PART/ ZONE
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
1
Enter the Song
mode.
Song number
SF 1SF 2 SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
2
Call up the PLAY display.
DEC/NO INC/YES
5
Select a Recording type.
Replace
You can use this
method when you
want to overwrite
an already
recorded track with
new data.
Overdub
You can use this
method when you
want to add more
data to a track that
already contains
data.
Punch
You can use this method
when you want to re-
record only over a specific
area of the track. In this
case, you must set the start
and end points before you
begin the re-recording.
Step
You can compose
your performance
by entering it one
event at a time.
To step on page 111
6
To step on page 112
6
SEQ TRANSPORT
LOCATE
1
2
REC
111
MOTIF Quick Start Guide
Sampling with Song Playback (Integrated Sampling Sequencer)
Quick Start Guide
● Realtime recording (when selecting “replace,” “overdub,” or “punch”
in step #5)
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART /ZONE
8
Select the desired voice to be recorded to a track.
Bank
1~16
6
Select a track to be recorded and set the tempo.
DEC/NO INC/YES
1
2
3
4
5
6
7
8
15
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
ELEMENT/PERF.PART/ZONE
or
DEC/NO INC/YES
1
2
3
4
5
6
7
8
15
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
ELEMENT/PERF.PART/ZONE
or
SF 1 SF 2 SF 3 SF 4 SF 5
F1 F2 F3 F4 F6F5
7
Call up the VOICE display.
9
Set the Arpeggio
related
parameters as
desired from the
ARP display
(page 189).
Tempo
Number
11
Start recording.
Press the [ ] button.
You will be given
a one-measure
count-in prior to
the first measure
actually recorded.
SEQ TRANSPORT
LOCATE
1
2
REC
13
Stop recording.
SEQ TRANSPORT
LOCATE
1
2
REC
14
Press the [ ]
button to hear
the newly
recorded song.
SEQ TRANSPORT
LOCATE
1
2
REC
SF 1SF 2 SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
10
Turn the Click on.
12
Play the
keyboard.
15
Record to other tracks as
desired by repeating steps
#6 - 14.
Scene track
Tempo track
112
MOTIF Quick Start Guide
Sampling with Song Playback (Integrated Sampling Sequencer)
Quick Start Guide
● Step recording (when selecting “step” in step #5)
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ ZONE
7
Call up the VOICE display.
6
Select a track to be recorded and set the MIDI event type to be
recorded.
Select the desired voice to be recorded to the track.
8
TempoMIDI event
Bank
or
DEC/NO INC/ YES
or
Recording
track
DEC/NO INC/YES
SF 1SF 2 SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
1
2
3
4
5
6
7
8
15
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
ELEMENT/ PERF.PART/ ZONE
CATEGORY
SEARCH
DRUM KITS
FAVORITES
PLG 2
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
A
B
C
D
E
F
G
H
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
15
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
COMMON
ELEMENT/ PERF.PART/ ZONE
Number
9
Start recording.
12
Record to other tracks as desired
by repeating steps #6 - 12.
10
Stop recording.
SEQ TRANSPORT
LOCATE
1
2
REC
11
Press the [ ] button to hear the
newly recorded song.
SEQ TRANSPORT
LOCATE
1
2
REC
Here, enter the Note Event.
Move the cursor to the Pointer and set the
location to be entered (page 185).
Set the velocity (Value), Step Time, and Gate
Time (page 185).
Press the key to be recorded.
Repeat steps #1 - 3 to enter notes one after
another.
SEQ TRANSPORT
LOCATE
1
2
REC
Press [F3] to enter a rest as long as the specified step time.
When the [F4] button is pressed to enter a tie, the
preceding note is lengthened to the full step time.
Press this to actually delete the note events at the
current cursor position.
Moves the pointer backward by one step
and deletes all notes at that location.
1
2
3
4
Tempo track
1-16
113
MOTIF Quick Start Guide
Sampling with Song Playback (Integrated Sampling Sequencer)
Quick Start Guide
9. Sampling to a Song Track
Basic Structure (page 54) · Reference (page 234)
We’ll pay another visit to the sampling feature, and sweeten our song with some “ear candy” sound effects and
background vocals. The sampling we did earlier was of a different variety; you sampled a rhythm in the Pattern mode
and “sliced” it into separate pieces so that it would loop properly and automatically adjust to any tempo changes.
Here, we’ll try a different type of sampling, where the Slice operation is unnecessary — since a short sound effect
doesn’t need to stay in tempo, and you can sing the background parts in time with the song as you sample them.
n For details about how to connect external audio equipment or a microphone to the MOTIF, see page 23 .
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTAC K RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ ZONE
3
Call up the DEST display.
SF 1 SF 2 SF 3 SF 4 SF 5
F1 F2 F3 F4 F6F5
INFORMATION
2
Enter the
Sampling Record
mode.
SEQUENCER
SONG
PAT TERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
1
In the Song Play mode, specify the point
(measure) in the song at which the
recorded sample will start.
DEC/NO INC/YES
Select a track to be recoeded.
4
5
Call up the SOURCE display.
SF 1 SF 2 SF 3 SF 4 SF 5
F1 F2 F3 F4 F6F5
INFORMATION
Select "stereo" or "mono."
Sampling
frequency
or
DEC/NO INC/YES
2
1
2
1
1
2
3
4
5
6
7
8
15
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
ELEMENT/PERF.PART/ZONE
Select a sampling type.
For Type, select “sample+note.”
Select a sampling source.
For Source, select “A/D.”
114
MOTIF Quick Start Guide
Sampling with Song Playback (Integrated Sampling Sequencer)
Quick Start Guide
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1 SF 2 SF 3 SF 4 SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ZONE
9
Go back to the Song Play mode
and play the song to hear the
recorded sample.
10
Record samples to
other tracks as
desired by
repeating steps
#1 - 9.
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
8
Stop sampling by pressing the [F6] button again.
SF 1 SF 2 SF 3 SF 4 SF 5
F1 F2 F3 F4 F6F5
INFORMATION
SF 1 SF 2 SF 3 SF 4 SF 5
F1 F2 F3 F4 F6F5
INFORMATION
Enter the Sampling Standby mode.
From this display, set the Trigger mode. Here, select “manual.” Play
back the external CD player to check the Input level. You can adjust the
Input level for optimum level by using the GAIN knob on the rear panel.
6
Trigger mode
Input level
Monitor level
7
Start sampling.
Press the [F6] button to start sampling. Also start the
external CD player to play back the phrase to be recorded
or sing into the microphone.
SF 1 SF 2 SF 3 SF 4 SF 5
F1 F2 F3 F4 F6F5
INFORMATION
115
MOTIF Quick Start Guide
Sampling with Song Playback (Integrated Sampling Sequencer)
Quick Start Guide
10. Song Track Mute and Scene
Reference (pages 180, 181)
These two powerful features give you even greater real-time arranging control. You can turn tracks on and off and
switch among Song Scenes, as the song plays — and all your moves can be recorded to the special Scene track. This not
only lets you hear the various song arranging possiblities, it lets you record them on the spot.
For example, sample an audio rhythm phrase to one of the tracks of your song, and turn on the Track Loop function
(page 182). As the song is playing, you can fly the rhythm part in and out of the song by alternately un-muting and
muting the track. To do this, enable recording and select the Scene track (as described in step #3 of MIDI recording on
page 103), and record your track mutes in time with the music by pressing the Track number button, then the appropriate
track number buttons. This hands-on approach really lets you feel the changes you make — since you perform them in time
with the rhythm — and gives you the power to improvise great musical arrangements on the fly.
In addition to Track Mute, the MOTIF also features a versatile Song Scene function. Song Scene lets you make
various changes to the tracks (such as pan, volume, and others), and take a “snapshot” of those settings — which you
can recall at any time with a single button press.
A maximum of five Scenes can be stored, to the five Scene buttons ([SF1] - [SF5]). To instantly call up a Scene and
change the tracks, simply press the appropriate button [SF1] - [SF5]. Just as with Track Mute, you can record these
Scene changes as well, by “playing” your button presses along with the music.
You can use the Song Scene function from either the PLAY display in the Song Play mode or the SETUP display in the
Song Record mode. In the example instructions below, the PLAY display in the Song Play mode has been called up.
Scene track
Mute on Mute on Mute on Mute on
Track 1
1 2 3 4 5 6 7 8
Track 1
Song Playback
15
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
15
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
SF 1SF 2 SF 3SF 4SF 5
Store
Store
Store
Store
Setting 1
Setting 3
Setting 5
15
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
Setting 2
Store
Setting 4
SONG SCENE
116
MOTIF Quick Start Guide
Sampling with Song Playback (Integrated Sampling Sequencer)
Quick Start Guide
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART /ZONE
You can recall the
desired Song Scene
settings by simply
pressing any of the
Song Scene
([SF1]~[SF5])
buttons.
When you call up a certain
Song Scene, the values for
the Control knobs/sliders
instantly jump to the settings
made for the Scene
(regardless of the pysical
position of the
knobs/sliders).
5
Save the Song data to a
memory card or SCSI device
(page 97).
4
Create other Song Scenes as desired.
Change the settings again, as you did in
step #2, and store the Song Scene to a
different button, as you did in step #3.
Store the settings to a Song Scene.
3
...and press the appropriate button ([SF1] ~ [SF5]).
Simultaneously hold down the [STORE] button...
Make the desired settings for the Song Scene.
• Select a track and set it up as you want with the desired voice, then change
the pan and volume settings by using the Control knobs and sliders. Each track
can have its own independent settings.
• You can even mute/un-mute several track together at the same time — for
dramatic arrangement tricks in which several instruments drop out or come in
instantaneously.
2
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
Select a song in the Song Play mode.
1
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SF 1 SF 2 SF 3 SF 4 SF 5
SF 1 SF 2 SF 3 SF 4 SF 5
DEC/NO INC/YES
or
SOLO
1
2
3
4
5
6
7
8
15
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
ELEMENT/PERF.PART/ZONE
A
B
C
D
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
1
2
3
4
5
6
7
8
15
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
ELEMENT/PERF.PART/ZONE
1
2
3
4
5
6
7
8
15
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
ELEMENT/PERF.PART/ZONE
117
MOTIF Quick Start Guide
Sampling with Song Playback (Integrated Sampling Sequencer)
Quick Start Guide
11. Song Mixing and storing the settings as a template
Reference (page 205)
In this final step (other than saving your precious work, which we’ll cover next), you can mix down your tracks with
the Song Mixing function — adjusting the volume balance and pan setting of all the parts and tweaking the effect
levels. Moreover, you can save your mixing settings as a template (up to sixteen templates can be saved), then call up
the appropriate template when mixing down a song that has a similar track structure.
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIG H
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART /ZONE
Select the destination template number.
Move the cursor to the template number and select the number to
which the settings are to be stored.
7
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
Name the template.
8
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
5
Set the desired parameters
for the other parts, repeating
steps #2 - 4 above.
2
Call up the desired display.
SF 1SF 2 SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
Select a part.
3
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
1
2
3
4
5
6
7
8
15
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
ELEMENT/ PERF.PART/ ZONE
n When a Multi part Plug-in board (PLG-100XG) has been installed to slot 3, the
display for Parts 17 - 32 can be called up. When a Single part Plug-in board has
been installed to any of the three slots, the PLG 1~3 part display can be called up.
or
1
Enter the Song Mixing
mode.
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
Select the
desired
parameter
and adjust it.
4
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
n For details about naming, see page 75.
6
Call up the TEMPLATE display.
SF 1SF 2 SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
9
Execute the Store operation.
SF 1SF 2 SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
n The template stored above can be recalled by pressing
the [SF4] (GET) button from this display.
Template number
Template name
n A wider variety of detailed editing
controls is also available in the
Song Mixing Edit mode.
118
MOTIF Quick Start Guide
Sampling with Song Playback (Integrated Sampling Sequencer)
Quick Start Guide
12. Saving and Exporting the recorded song to external PC (File Utility)
Reference (page 262)
Now that you’ve created your masterpiece, you’ll want to save it. You can save song data to a Memory card or SCSI
device in the File mode (page 261).
However, for safekeeping and organizational/archival purposes, you may want to store your MOTIF data to a
computer. You may also want to use your computer to do further editing and recording to your MOTIF-created
songs. The File Utility software (contained on the included CD-ROM) lets you do that and more — allowing you to
transfer files back and forth between a computer and the MOTIF via a standard USB cable connection.
Here’s a practical example. Let’s say you want to add a long section of audio data to your song, such as a lead vocal or
an extended guitar solo. Since recording that to the MOTIF may not be entirely practical or possible, you may want
to transfer your song to a computer, then record and edit the new audio tracks on the computer. First, you should
save the song data in Standard MIDI File (SMF) format to Memory card or a connected SCSI device, then transfer the
MIDI file to the computer with the File Utility software. Once you’ve imported the MIDI file to sequencer software
on your computer, match the MIDI send and receive channels (computer-to-MOTIF) so that each track of the
sequencer song data plays the appropriate part on the MOTIF. Finally, play back the song and record the desired
audio parts (vocals, solos, etc.) using your audio/MIDI sequencer.
n For details about the File Utility software, refer to the electronic documentation contained in the included CD-ROM.
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/ YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternalControl
Surface
Modular
SynthesisPlug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ZONE
PC
Save
File Utility
Memory card SCSI device
Load
119
MOTIF Quick Start Guide
Remote Control for external sequencer (Real-time external control surface)
Quick Start Guide
Remote Control for external sequencer
(Real-time external control surface)
Basic Structure (page 65) · Reference (page 256)
In the last section, you saw how a computer could be used conveniently to augment the features of the MOTIF. Here,
we’ll look at a feature that turns the tables and lets you conveniently use the MOTIF to control your computer.
The Remote Control function lets you use the hardware controls on the panel of the MOTIF to control a variety of
fundamental operations on the sequencing software of your computer. You can mute your tracks, control the
sequencer transport (Play, Stop, Record, etc.), mix both MIDI and audio tracks (up to 16) with the MOTIF’s knobs
and sliders, pan the tracks, control EQ, and tweak effect sends — all without ever touching the mouse. Not only is
this a more convenient and efficient way to work — since it gives you dedicated controls for the functions you use
the most — it also (with the knobs and sliders) gives you finer control over crucial level parameters. If you’ve ever
used a mixing console or a hardware sequencer, you’ll love being able to finally control your sequencing software
with buttons, knobs, and sliders.
Setting Up
Before you can use the Remote Control function, you’ll need to set up the system as described below.
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQ LOWMID M EQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4 SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-time External Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/ PERF.PART/ ZONE
3
1
3
3
3
2
3
Select the template for your particular sequence software in the Utility mode on the MOTIF (above).
1
Connect your computer to the MOTIF via USB cable. See page 25.
2
Install the USB MIDI driver and the setup file for the sequence software (contained in the included CD-ROM) to your computer.
For details on how to install, see the Installation Guide manual.
Enter the Utility mode.
1
Move the cursor to the
MIDI IN/OUT parameter
and set to USB.
3
Call up the OTHER display
in the MIDI menu.
2
Call up the REMOTE display in
the CTLASN menu.
4
Select the Template type.
5
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
120
MOTIF Quick Start Guide
Remote Control for external sequencer (Real-time external control surface)
Quick Start Guide
Using the Remote Control function
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQ LOWMID M EQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4 SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-time External Control
Surface
Modular
Synthesis Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/ PERF.PART/ ZONE
1
2
3
5
4
1
Turn the Remote Control function on by pressing the
[REMOTE CONTROL ON/OFF] button so that its lamp flashes.
REMOTE
CONTROL
ON/OFF
Control the selected track of the sequencer by
using the Control knobs.
For details about the parameters that can be controlled, see
page 257.
3
Control the transport functions on the sequencer.
The [SEQ TRANSPORT] buttons can be used to control Start, Stop,
Forward, Rewind, and Record on the computer sequence software.
5
Select a track on your computer’s sequencer from
the MOTIF.
The [1]~[16] buttons correspond to the respective numbered
tracks on your computer’s sequence software.
1
Control the level of selected track of the sequencer
by using the Control sliders.
4
Turn the track of the sequencer on or off (mute).
The [1]~[16] buttons correspond to the respective numbered
tracks on your computer’s sequence software.
2
Operate the Control knobs or sliders on the MOTIF's panel as required.
n Functions to be controlled by the MOTIF differ depending on the software you use. For details, see page 256.
SEQ TRANSPORT
LOCATE
1
2
REC
1
2
3
4
5
6
7
8
15
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
NUMBER
ELEMENT/ PERF.PART/ ZONE
1
2
3
4
5
6
7
8
15
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
NUMBER
ELEMENT/ PERF.PART/ ZONE
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQ LO WMID MEQ HIGH
2
2
2
2
2
2
When the selected tracks are 1-4:
When the selected tracks are 5-8:
When the selected tracks are 9-12:
When the selected tracks are 13-16:
1
5
9
13
2
6
10
14
3
7
11
15
4
8
12
16
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
121
MOTIF Reference
Function Tree
Reference Voice mode
Reference
This section is devoted to explaining the function of every setting of every parameter in every display of the MOTIF. If you
have questions like “I wonder what this button does...” or “How does this parameter work?” — this is the section you should
refer to.The Reference section is divided according to the various modes of the MOTIF. As you use this section, please keep in
mind the following points:
● The section for each main mode (Voice, Performance, Song, Pattern, Sampling, Utility, File, and Master) begins
with a Function Tree chart. Each chart shows the various menus and parameter groups for the mode — exactly as
they are organized and appear in the display. Using these and the simplified chart of the modes on page 30, you
can easily understand the relationship of the various functions and parameters as they apply to the entire
operation of the MOTIF.
● At the beginning of the section of each mode, you’ll find “Basic Procedure” instructions. These briefly show you
the necessary operation steps for the relevant mode, and are applicable to all of the functions and parameters in
that mode. In other words, once you’ve mastered the Basic Procedure of the mode, you’ll be able to quickly and
easily work your way through any and all of the operations in the mode.
Voice Mode
Basic Structure (page 42)
Function Tree
This section is devoted to the Voice mode. To see how the Voice mode relates to the entire structure of the MOTIF
and its other modes and functions, see the simplified chart in “Basic Structure” on page 30.
The following detailed chart shows all of the display menus and parameter groups of the Voice modes — giving you a
quick, easy-to-understand overview of the voice-related functions of the MOTIF.Brackets around a word or phrase
(e.g., [F1]) indicate specific button names or panel operations.
[INFORMATION] VOICE INFORMATION
[VOICE] VOICE PLAY
[F1] VOICE PLAY
[F2] PLUG-IN BANK
[F4] VOICE PORTA
[F5] VOICE EG
[F6] VOICE ARPEGGIO
[CATEGORY] VOICE CATEGORY SEARCH
[FAVORITE]
[EDIT] VOICE EDIT (NORMAL)
[COMMON] NORMAL COMMON
[F1] NORMAL COMMON GENERAL
[SF1] NAME
[SF2] PLAYMODE
[SF3] MEQ OFFSET
[SF4] PORTA
[SF5] OTHER
[F2] NORMAL COMMON OUTPUT
OUTPUT
[F3] NORMAL COMMON ARPEGGIO
[SF1] TYPE
[SF2] LIMIT
[SF3] PLAY FX
[SF5] CLEAR USER ARPEGGIO
[F4] NORMAL COMMON CONTROLLER SET
[SF1] SET1/2
[SF2] SET3/4
[SF3] SET5/6
[F5] NORMAL COMMON LFO
[SF1] WAVE
[SF2] DELAY
[SF3] DESTINATION1
[SF4] DESTINATION2
[SF5] DESTINATION3
[VOICE]
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 275
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 124
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 124
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 128
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 128
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 128
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 128
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 126
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 127
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 129
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 130
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 130
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 130
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 130
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 131
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 131
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 132
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 132
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 132
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 132
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 132
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 133
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 133
. . . . . . . . . . . . . . . . . . . . . P. 132
. . . . . . . . . . . . . . . . . . . . . . . . . . . P. 134
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 134
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 134
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 134
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 135
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 135
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 136
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 136
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 136
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 136
122
MOTIF Reference
Function Tree
Reference Voice mode
[F6] NORMAL COMMON EFFECT
[SF1] EFFECT CONNECT
[SF2] INSERTION1
[SF3] INSERTION2
[SF4] REVERB
[SF5] CHORUS
[Element selection] NORMAL ELEMENT 1-4
[F1] NORMAL ELEMENT OSCILLATOR
[SF1] WAVE
[SF2] OUTPUT
[SF3] LIMIT
[F2] NORMAL ELEMENT PITCH
[SF1] TUNE
[SF2] VELOCITY SENS
[SF3] PEG
[SF4] KEY FOLLOW
[F3] NORMAL ELEMENT FILETER
[SF1] TYPE
[SF2] VELOCITY SENS
[SF3] FEG
[SF4] KEY FOLLOW
[SF5] SCALING
[F4] NORMAL ELEMENT AMPLITUDE
[SF1] LEVEL/PAN
[SF2] VELOCITY SENS
[SF3] AEG
[SF4] KEY FOLLOW
[SF5] SCALING
[F5] NORMAL ELEMENT LFO
[F6] NORMAL ELEMENT EQ
[EDIT] VOICE EDIT (DRUM)
[COMMON] DRUM COMMON
[F1] DRUM COMMON GENERAL
[SF1] NAME
[SF3] MEQ OFFSET
[SF5] OTHER
[F2] DRUM COMMON OUTPUT
OUTPUT
[F3] DRUM COMMON ARPEGGIO
[SF1] TYPE
[SF2] LIMIT
[SF3] PLAY FX
[SF5] CLEAR USER ARPEGGIO
[F4] DRUM COMMON CONTROLLER SET
[SF1] SET1/2
[SF2] SET3/4
[SF3] SET5/6
[F6] DRUM COMMON EFFECT
[SF1] EFFECT CONNECT
[SF2] INSERTION1
[SF3] INSERTION2
[SF4] REVERB
[SF5] CHORUS
[Key selection] DRUM KEY C0-C6
[F1] DRUM KEY OSCILLATOR
[SF1] WAVE
[SF2] OUTPUT
[SF5] OTHER
[F2] DRUM KEY PITCH
[SF1] TUNE
[SF2] VELOCITY SENS
[F3] DRUM KEY FILTER
[SF1] CUTOFF
[SF2] VELOCITY SENS
[F4] DRUM KEY AMPLITUDE
[SF1] LEVEL/PAN
[SF2] VELOCITY SENS
[SF3] AEG
[F6] DRUM KEY EQ
[VOICE]
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 138
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 138
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 138
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 138
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 139
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 139
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 139
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 140
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 140
. . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 142
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 143
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 143
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 144
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 145
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 145
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 145
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 145
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 146
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 146
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 147
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 148
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 148
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
. . . . . . . . . . . . . . . . . . . . . P. 149
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
. . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 151
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 151
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 151
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 151
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 151
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 151
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 152
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 152
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 152
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 152
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 152
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 153
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137
. . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137
123
MOTIF Reference
Function Tree
Reference Voice mode
[EDIT] VOICE EDIT (PLUG-IN)
[COMMON] PLUG-IN COMMON
[F1] PLUG-IN COMMON GENERAL
[SF1] NAME
[SF2] PLYMODE
[SF3] MEQ OFFSET
[SF4] PORTAMENTO
[SF5] OTHER
[F2] PLUG-IN COMMON OUTPUT
OUTPUT
[F3] PLUG-IN COMMON ARPEGGIO
[SF1] TYPE
[SF2] LIMIT
[SF3] PLAY FX
[SF5] CLEAR USER ARPEGGIO
[F4] PLUG-IN COMMON CONTROLLER SET
[SF1] SET1/2
[SF2] MW
[SF3] AT
[SF4] AC
[F6] PLUG-IN COMMON EFFECT
[SF1] EFFECT CONNECT
[SF2] INSERTION1
[SF3] INSERTION2
[SF4] REVERB
[SF5] CHORUS
[Element selection] PLUG-IN ELEMENT
[F1] PLUG-IN ELEMENT OSCILLATOR
[SF1] WAVE
[SF5] OTHER
[F2] PLUG-IN ELEMENT PITCH
[F3] PLUG-IN ELEMENT FILETER
[F4] PLUG-IN ELEMENT NATIVE PARAMETER
[F5] PLUG-IN ELEMENT LFO
[F6] PLUG-IN ELEMENT EQ
[EDIT] VOICE COMPARE
[JOB] VOICE JOB
[F1] INITIALIZE
[F2] EDIT RECALL
[F3] COPY
[F4] BULK DUMP
[STORE] VOICE STORE
[VOICE]
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 153
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
. . . . . . . . . . . . . . . . . . . . . P. 154
. . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155
. . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 156
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 156
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 156
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 156
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 156
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 156
. . . . . . . . . . . . . . . . . . . . . . . . . . P. 156
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 157
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 157
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 129
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 158
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 158
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 158
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 158
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 159
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 159
124
MOTIF Reference
Voice Play mode
Reference Voice mode
Voice Play mode
Basic Structure (page 30) · Quick Start Guide (page 80)
In this mode, you can select and play individual Preset
and User voices, as well as Plug-in voices (when
installed).
n For details about voice types and memory (bank)
structure, see page 43.
◆ Basic Procedure
1 Press the [VOICE] button to enter the Voice Play
mode. (The indicator lights.)
● Bank and Voice Program number
● Category and Voice name
2 Select a voice.
3 Set the Keyboard Octave or MIDI transmit
channel.
4 Select the menu you wish to edit by pressing the
[F1] - [F6] buttons and edit the parameters in each
display.
n When the Plug-in voice is selected (when the
Single part Plug-in board is installed), you can
press the [F2] button to call up the BANK display.
5 Store the settings edited in step #4 to the User
Memory as required.
6 Press any other mode button to exit from the Voice
Play mode.
• For detailed instructions on steps #2 - #4, see the
following explanations.
•For details on step #5, refer to “Voice Store
mode” on page 159.
Voice Selection
The explanations here apply to step #2 of the Basic
Procedure described above.
There are four ways in which you can select a Voice.
• Using the BANK, GROUP, NUMBER buttons
• Using the [INC/YES] and [DEC/NO] buttons
• Using the data dial
• Using the Category Search function
■ Using the BANK, GROUP, NUMBER
buttons
1 Press any of the BANK buttons to select a Bank.
• To select a Normal voice, press any of the
[PRE1] - [USER] buttons.
VOICE
Indicates the Keyboard
MIDI transmit channel.
See page 127 for details.
Indicates the functions
assigned to the respective
Control knobs. See pages
254 and 256 for details.
Indicates Keyboard Octave
setting set via the [OCTAVE]
buttons. See page 127 for
details.
Indicates the current
selected voice.
Number (selected via the
NUMBER [1]-[16] buttons)
Group (selected via the
GROUP [A]-[H] buttons)
Bank (selected via the BANK buttons)
Voice Program number (corresponding to
Groups A to H and Numbers 01 to 16)
Voice nameCategory
nThe explanations here apply when
these four button indicators are off.
1
3
2
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
DRUM KITS
FAVORITES
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/ PERF.PART/ ZONE
PRE 1
PRE 2
PRE 3
GM
USER
A. PIANO
KEYBOARD
ORGAN
GUITAR /
PLUCKED
BASS
125
MOTIF Reference
Voice Play mode
Reference Voice mode
• To select a Plug-in voice, press any of the
[PLG1] - [PLG3] buttons.
• To select a Drum voice, simultaneously hold the
[DRUM KITS] button and press the [PRE1],
[GM] or [USER] button.
The following display (or one similar) appears.
2 Press any of the GROUP [A] - [H] buttons to select
a Group.
3 Press any of the NUMBER [1] - [16] buttons to
select a Voice. The MOTIF returns back to the
Voice Play display.
● Voice program numbers and the corresponding
Group/Numbers
PLG 2PLG 1
PLG 3
STRINGS
BRASS
REED/PIPE
PRE 1
PRE 2
PRE 3
GM
USER
A. PIANO
KEYBOARD
ORGAN
GUITAR /
PLUCKED
BASS
DRUM KITS
FAVORITES
COMMON
Voice Program
Number
Group Number Voice Program
Number
Group Number
001 A 1 065 E 1
002 A 2 066 E 2
003 A 3 067 E 3
004 A 4 068 E 4
005 A 5 069 E 5
006 A 6 070 E 6
007 A 7 071 E 7
008 A 8 072 E 8
009 A 9 073 E 9
010 A 10 074 E 10
011 A 11 075 E 11
012 A 12 076 E 12
013 A 13 077 E 13
014 A 14 078 E 14
015 A 15 079 E 15
016 A 16 080 E 16
017 B 1 081 F 1
018 B 2 082 F 2
019 B 3 083 F 3
020 B 4 084 F 4
021 B 5 085 F 5
022 B 6 086 F 6
023 B 7 087 F 7
024 B 8 088 F 8
025 B 9 089 F 9
026 B 10 090 F 10
027 B 11 091 F 11
028 B 12 092 F 12
029 B 13 093 F 13
030 B 14 094 F 14
031 B 15 095 F 15
032 B 16 096 F 16
033 C 1 097 G 1
034 C 2 098 G 2
035 C 3 099 G 3
036 C 4 100 G 4
037 C 5 101 G 5
038 C 6 102 G 6
039 C 7 103 G 7
040 C 8 104 G 8
041 C 9 105 G 9
042 C 10 106 G 10
043 C 11 107 G 11
044 C 12 108 G 12
045 C 13 109 G 13
046 C 14 110 G 14
047 C 15 111 G 15
048 C 16 112 G 16
049 D 1 113 H 1
050 D 2 114 H 2
051 D 3 115 H 3
052 D 4 116 H 4
053 D 5 117 H 5
054 D 6 118 H 6
055 D 7 119 H 7
056 D 8 120 H 8
057 D 9 121 H 9
058 D 10 122 H 10
059 D 11 123 H 11
060 D 12 124 H 12
061 D 13 125 H 13
062 D 14 126 H 14
063 D 15 127 H 15
064 D 16 128 H 16
126
MOTIF Reference
Voice Play mode
Reference Voice mode
■ Using the [INC/YES] and [DEC/NO]
buttons
Pressing the [INC/YES] button increases the number by 1.
Pressing the [DEC/NO] button decreases the number by 1.
Use the [INC/YES] and [DEC/NO] buttons to step up
or down through the available voices. Naturally, this
also lets you switch to the next available Group, up or
down. For example, if the currently selected voice is
A16, pressing the [INC/YES] button selects Voice B01.
Hold either button down to continuously scroll
through the voices.
■ Using the data dial
Rotating the data dial to the right (clockwise) increases
voice number, while rotating it to the left (counter-
clock wise) decreases it. This control works in the
same way as the [INC/YES] and [DEC/NO] buttons,
but lets you scroll through the voices more quickly.
This convenient feature lets you select voices according
to their instrument type or application. The voices are
divided into sixteen different categories, and these
category keywords often give you a clear idea of the
characteristics of a voice that might not be apparent
from its name.
■ Using the Category Search function
Category Search lets you quickly locate the type of
voice you need, regardless of its bank location. For
example, by specifying the A. PIANO category, you can
instantly call up a list of all the available piano-type
voices contained in the MOTIF, and select the desired
piano voice from the list.
The MOTIF also features a “Favorites” category, to
which you can assign your favorite voices. This is
convenient especially in live performance situations,
giving you quick access to often-used voices — no
matter what their particular category or bank.
1 Press the [CATEGORY SEARCH] button so that
its indicator lights. The following Voice category
display appears.
2 Press any of the [PLG1] - [PLG3] and the [A] - [H]
buttons to select a Category. The first voice in the
selected category is called up by this operation.
n The voice categories are printed below the [PLG1] -
[PLG3] and [A] - [H] buttons.
n Sub categories are listed at the bottom of the Voice
category display. Pressing the [F1] - [F6] buttons
call up the first voice in the selected sub category.
3 Press the Cursor [F] button to move the cursor
to the voice.
4 Select a voice by using the data dial.
DEC/NO INC/YES
Decreases number Increases number
nThe explanations here apply when
these four button indicators are off.
1
2
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
DRUM KITS
FAVORITES
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/ PERF.PART/ ZONE
Category Voice
Sub category
Category Voice
Sub category
127
MOTIF Reference
Voice Play mode
Reference Voice mode
● Favorite Category
1~4 Use the same operation as in “Using the
Category Search function” above.
5 Select your favorite voice and press the [F5] button
to assign it to the Favorite Category.
n To remove the selected voice from the Favorite
Category, simply press the [F5] button again.
6 Set other voices to the Favorite Category as
required.
7 Press the [FAVORITE] button to see the voices set
to the Favorite Category in steps #5 - 6.
Keyboard Octave and Keyboard
MIDI transmit channel settings
The explanations here apply to step #3 of the Basic
Procedure on page 124.
The two parameters set here affect all selected voices.
However, these parameters cannot be stored to the
voice by using the Voice Store mode (page 159).
■ Keyboard octave setting
The [OCTAVE] buttons allow the keyboard to be
transposed up or down by one octave. Pressing the
[UP] and the [DOWN] buttons together at the same
time will return the setting to the initial value (0).
n The MOTIF 8 has no [OCTAVE] buttons.
■ Keyboard MIDI transmit channel setting
Press the [TRACK SELECT] button so that its indicator
lights, and press any of the NUMBER [1] - [16] buttons
to change the Keyboard MIDI transmit channel.
n You can set this parameter also in the Utility mode
(page 258). This parameter cannot be stored in the Voice
Store mode.
Voice editing in the Voice Play mode
The explanations here apply to step #4 of the Basic
Procedure on page 124.
The Voice Play mode lets you perform a variety of
general editing operations on the selected voice. For
more detailed and comprehensive editing operations,
use the Voice Edit mode.
n When a Plug-in voice is selected, some parameters
cannot be edited.
n The parameters that have the same name in the Voice
Play mode and in the Voice Edit mode have the same
functions and settings.
◆ The [ ] Indicator
If you alter any parameters in the Voice Play mode, the
[] indicator will appear in the top left of the display.
This indicates that the current voice has been modified
but not yet stored.
If you select another voice during editing, the [ ]
indicator will disappear and all your edits will be lost.
It is a good idea to store the edited voice data from the
Voice Store mode (page 159). Even if you lose the voice
edited data, you can restore it by using the Edit Recall
function (page 158).
Category Voice
Sub category
DRUM KITS
FAVORITES
COMMON
Keyboard MIDI transmit channel
Keyboard octave setting
OCTAVE
DOWN
UP
15
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
NUMBER
ELEMENT/ PERF.PART/ ZONE
Edit indicator
128
MOTIF Reference
Voice Play mode
Reference Voice mode
● [F2] Voice Play Plug-in Bank
From this display you can select the particular bank
on the Plug-in board, and determine whether you
will be using a Plug-in voice or a “Board” voice.
Simply put, the difference between the two types of
voices is this:
• Board voices are unprocessed, unaltered voices
of the Plug-in board — the “raw material” for
Plug-in voices.
• Plug-in voices are edited Board voices — voices
that have been specially programmed and
processed for optimum use with the MOTIF.
For more details, see page 153.
❏ Settings When a Plug-in voice using the Plug-in
board installed to slot 1 is selected:
PLG1USR (User Plug-in voice), PLGPRE1
(Preset Plug-in voice), 032/000 ... (Indicates
the Bank Select MSB/LSB of the Board
voice. These values differ depending on the
installed Plug-in board)
n This display is available only when the Plug-in
board is installed to the MOTIF and the Plug-in
voice is selected.
● [F4] Voice Play Portamento
From this display you can select monophonic or
polyphonic playback and set the Portamento
parameters.
Portamento is used to create a smooth transition in
pitch from the first note played on the keyboard to
the next.
• Mono/Poly
Determines whether the Voice is played back
monophonically (single notes only) or polyphonically
(multiple simultaneous notes).
❏ Settings Mono, Poly
• PortaSw
Determines whether Portamento is on or off.
❏ Settings off, on
• PortaTime
Determines the pitch transition time. Higher values result
in longer transition times.
❏ Settings 0 ~127
•PortaMode
Determines the Portamento mode. The behavior of the
Portamento varies depending on whether Mono/Poly is set
to “mono” or “poly.”
❏ Settings fingered, fulltime
When Mono/Poly is set to “mono”:
With the “fingered” setting, Portamento is only applied
when you play legato (playing the next note before
releasing the previous one). With the “fulltime”
setting, Portamento is always applied.
When Mono/Poly is set to “poly”:
This is the same as for “mono,” except that Portamento
is applied to multiple notes.
● [F5] Voice Play EG (Envelope Generator)
Basic Structure (page 46)
This display contains the basic EG settings, both
volume and filter, for the voice, as well as the filter’s
cutoff frequency and resonance settings. The
settings made here are applied as offsets to the AEG
and FEG settings in the Voice Edit mode.
The full names of the available parameters are
shown in the chart below, as they appear in the
display.
❏ Settings -64 ~ 0 ~ +63 (except --- above)
● [F6] Voice Play Arpeggio
Basic Structure (page 55)
This display contains the basic settings for Arpeggio
playback, including Type and Tempo.
• Bank
Determines the Bank.
❏ Settings pre1, pre2, user
• Type
Determines the Arpeggio type. The two-letter prefix before
the name indicates the general Arpeggio category.
ATK DCY SUS REL DEPTH CUTOFF RESO
AEG
Attack
time
Decay
time
Sustain
level
Releas
e Time
--- --- ---
FEG --- Depth
Cutoff
frequency
Resonance
129
MOTIF Reference
Voice Edit mode
Reference Voice mode
•Tempo
Determines the Arpeggio Tempo. When MIDI sync
(page 258) is turned on, “MIDI” is displayed here and
cannot be set.
❏ Settings 1 ~ 300
• Velocity Limit
Determines the lowest and highest velocity in the
Arpeggio’s velocity range. The Arpeggio plays when you
play the note with the velocity in this range.
❏ Settings 1 ~ 127
n Keys played outside the set limit sound normally
without any Arpeggio.
• Switch
Determines whether Arpeggio is on or off. You can also
turn Arpeggio on/off from the front panel with the
[ARPEGGIO ON/OFF] button.
❏ Settings off, on
• Hold
Determines whether the Arpeggio playback is “held” or
not. When this is set to “on,” the Arpeggio cycles
automatically, even if you release your fingers from the
keys, and it continues to cycle until the next key is pressed.
❏ Settings off, on
Voice Edit mode
In this mode, Normal Voices and Drum Voices can be
created and edited.
There are three kinds of Voices: Normal Voices, Drum
Voices and Plug-in Voices (if a Plug-in board has been
installed). The following section shows how to edit the
different kinds of voices and explains the parameters
available.
◆ The [ ] Indicator
If you alter any parameters in Voice Edit Mode, the [ ]
indicator will appear in the top left of the display. This
indicates that the current voice has been modified but
not yet stored.
n Even if you exit to the Voice Play mode, your edited
settings for the current voice will be maintained — as
long as you don’t select another voice.
n The [ ] indicator is also displayed in the Voice Play
mode.
◆ The Compare Function
This convenient function lets you switch between the
edited voice and its original, unedited condition —
allowing you to listen to the difference between the
two and better hear how your edits affect the sound.
1 In the Voice Edit mode, press the [COMPARE]
button so that its indicator flashes.
The [ ] indicator is shown at the top of the
display (in place of the [ ] indicator), and the
original, unedited voice is restored for monitoring.
2 Press the [EDIT] button again to disable the
“Compare” function and restore the settings for
your edited Voice.
n While Compare is active, you cannot make edits to
the voice.
Normal Voice Edit
◆ Common edit and Element edit
A Voice can consist of up to four elements (page 42).
Use Common Edit to edit the settings common to all
four elements. There are two types of Voice Edit
displays: those for Common Edit, and those for editing
individual elements.
EDIT
COMPARE
130
MOTIF Reference
Voice Edit mode
Reference Voice mode
◆ Basic Procedure
1 Press the [VOICE] button to enter the Voice Play
mode. (The indicator lights.)
2 Select a Normal voice to be edited.
3 Press the [EDIT] button to enter the Voice Edit
mode. (The indicator lights.)
4 Select an element to be edited.
•To edit parameters common to all four elements,
press the [DRUM KITS] button (which serves as
a “COMMON” button here).
•To edit parameters of the individual elements,
select the desired element with the
corresponding NUMBER button ([1] - [4]).
You can mute other elements (those you aren’t
editing and don’t wish to hear) by using the
NUMBER [9] - [12] buttons. Sounded elements
are indicated by lit buttons; the indicator of the
button corresponding to the sounded element
lights.
5 Select the menu you wish to edit by pressing the
[F1] - [F6] and [SF1] - [SF5] buttons.
6 Edit the parameters for the selected voice.
7 Store the settings edited in step #6 to the User
Memory as required.
8 Press the [EXIT] button to exit from the Voice Edit
mode.
•For details on step #2
, refer to “Voice Play mode”
on page 124.
•For detailed instructions on steps #5 - #6
, see the
explanations below.
•For details on step #7
, refer to “Voice Store
mode” on page 159.
■ Common edit
● [F1]-[SF1] Normal Common General Name
Basic operation (page 75)
From this display you can assign the category (sub
and main) of the selected voice, and create a name
for the voice. The voice name can contain up to 10
characters. For detailed instructions on naming a
voice, see “Basic Operation” on page 75.
● [F1]-[SF2] Normal Common General
Play mode
From this display you can make various settings for
the tone generator of the MOTIF, and assign
different Micro Tuning settings.
COMMON
Element1
Element2
Element3
Element4
Indicates a display for editing Element 1.
Indicates a Common Edit display.
DRUM KITS
FAVORITES
COMMON
Element selection
Element mute
setting
1
2
3
4
9
10
11
12
ELEMENT/ PERF.PART/ZONE
131
MOTIF Reference
Voice Edit mode
Reference Voice mode
• Mono/Poly
Determines whether the Voice is played back
monophonically (single notes only) or polyphonically
(multiple simultaneous notes).
❏ Settings Mono, Poly
•KeyAsgnMode
When this is set to “single,” double playback of the same
note is prevented. This is useful when two or more
instances of the same note are received nearly
simultaneously, or without a corresponding note off
message. To allow playback of each instance of the same
note, set this to “multi.”
❏ Settings single, multi
• MicroTuning
Determines the tuning system for the voice. Normally, this
should be set to 00 (Equal temperament); however thirty-
one additional tuning systems are available for a variety of
tuning applications and effects.
❏ Settings See below.
● [F1]-[SF3] Normal Common General
Master EQ Offset
From this display you can adjust the master (global)
EQ settings for the entire voice. The settings made
here are applied as offsets to the EQ settings (with
the exception of “MID”) in the Utility mode,
page 253.
❏ Settings -64 ~ 0 ~+63
● [F1]-[SF4] Normal Common General
Portamento
This display allows you to set the Portamento
related parameters. Portamento is used to create a
smooth transition in pitch from the first note played
on the keyboard to the next.
• Switch
Determines whether Portamento is on or off.
❏ Settings off, on
• Time
Determines the pitch transition time. Higher values result
in a longer pitch change time, when Time Mode below is
set to “Time.” (When Time Mode is set to “Rate,” higher
values result in a faster pitch change time.)
❏ Settings 0 ~127
• Mode
Determines the Portamento mode. With the “fingered”
setting, Portamento is only applied when you play legato
(playing the next note before releasing the previous one).
With the “fulltime” setting, Portamento is always applied.
❏ Settings fulltime, fingered
• TimeMode
This determines how the Time parameter above affects the
Portamento effect. Setting this to “Time” makes the above
parameter a true time scale — the higher the value, the
longer the time. The “Rate” setting simply reverses this,
for a rate scale — the higher the value, the faster the rate
(in other words, the shorter the time). Naturally, you
should set this to your own personal preference, depending
on whether you think of Portamento in terms of time or
rate.
❏ Settings rate, time
r
ate
Sets the Time parameter range to reflect “rate”:
0 (slow) - 127 (fast)
No. Type Key Comments
00 Equal
temperament
The “compromise” tuning used for most of
the last 200 years of Western music, and
found on most electronic keyboards.
Each half step is exactly 1/12 of an
octave, and music can be played in any
key with equal ease. However, none of
the intervals are perfectly in tune.
01~12 Pure major C~B This tuning is designed so that most of
the intervals (especially the major third
and perfect fifth) in the major scale are
pure. This means that other intervals will
be correspondingly out of tune. You need
to specify the key (C~B) you will be
playing in.
13~24 Pure minor A~G
# The same as Pure Major, but designed
for the minor scale.
25 Werckmeister Andreas Werckmeiser, a contemporary of
Bach, designed this tuning so that
keyboard instruments could be played in
any key. Each key has a unique
character.
26 Kirnberger Johann Philipp Kirnberger was also
concerned with tempering the scale to
allow performances in any key.
27 Vallotti & Young Francescatonio Vallotti and Thomas
Young (both mid-1700s) devised this
adjustment the Pythagorean tuning which
the first six fifths are lower by the same
amount.
28 1/4 shifted This is the normal equal tempered scale
shifted up 50 cents.
29 1/4 tone Twenty-four equally spaced notes per
octave. (Play twenty-four notes to move
one octave.)
30 1/8 tone Forty-eight equally spaced notes per
octave. (Play forty-eight notes to move
one octave.)
31 Indian C~B Usually observed in the Indian music
(white keys [C~B] only).
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
KN 1 KN 2 KN 3 KN 4
132
MOTIF Reference
Voice Edit mode
Reference Voice mode
time
Sets the Time parameter range to reflect “time”:
0 (fast) - 127 (slow)
● [F1]-[SF5] Normal Common General Other
From this display you can set the control functions
for the Knobs, and determine the up/down range
for the Pitch Bend wheel.
• Knob Assign
Determines the function for the assignable Knobs (1-4).
Pressing the [KNOB CONTROL FUNCTION] button on
the panel sets the desired function row, which is
automatically stored to memory with the currently
selected voice.
❏ Settings
• ChoCtrl
Determines the depth of the Chorus effect, as controlled by
the Knob assigned to Chorus Send.
❏ Settings -64 ~ 63
• PBUpper, PBLower
These two parameters determine the pitch change range of
the Pitch Bend wheel.
❏ Settings -48 ~ 24
• Assign A, Assign B, Assign 1, Assign 2
This lets you directly set and memorize the value for each
Assign Knob (A, B, 1, and 2), from the Knob itself. Simply
tweak the knob to the desired setting.
● [F2] Normal Common Output
•Volume
Determines the output level of the Voice.
❏ Settings 0 ~ 127
•Pan
Determines the stereo pan position of the Voice. You can
also adjust this parameter using the PAN knob on the
front panel.
❏ Settings L63 (Left) ~ C (Center) ~ R63 (Right)
•RevSend
Determines the Send level of the signal sent from Insertion
Effect 1/2 (or the bypassed signal) to the Reverb effect.
You can also adjust this parameter using the REVERB
knob on the front panel.
❏ Settings 0 ~ 127
• ChoSend
Determines the Send level of the signal sent from Insertion
Effect 1/2 (or the bypassed signal) to the Chorus effect.
You can also adjust this parameter using the [CHORUS]
knob on the front panel of the MOTIF.
❏ Settings 0 ~ 127
● [F3]-[SF1] Normal Common Arpeggio
Arpeggio type
Basic Structure (page 55)
The basic parameters (e.g., type, tempo) of the
Arpeggio are provided in this display.
When user arpeggio is selected, you can clear the
selected arpeggio data by using the [SF5] button.
• Bank
Determines the Bank.
❏ Settings pre1, pre2, user
• Type
Determines the Arpeggio type. The two-letter prefix before
the name indicates the general Arpeggio category.
•Tempo
Determines the Arpeggio Tempo. When MIDI sync
(page 258) is turned on, “MIDI” is displayed here and
cannot be set.
❏ Settings 1 ~ 300
• Switch
Determines whether Arpeggio is on or off. You can also
turn Arpeggio on/off from the front panel with the
[ARPEGGIO ON/OFF] button.
❏ Settings off, on
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
Pan & Send
Tone
Assign
MeqGain
This apppears only when user arpeggio is
selected and cursor is located at Type.
133
MOTIF Reference
Voice Edit mode
Reference Voice mode
• Hold
Determines whether the Arpeggio playback is “held” or
not. When this is set to “on,” the Arpeggio cycles
automatically, even if you release your fingers from the
keys, and it continues to cycle until the next key is pressed.
❏ Settings sync-off (see below), off, on
sync-off
The first time you press a key, the first note of the
arpeggiator pattern is played. From the second and
subsequent key presses, the arpeggiator note that is
played back depends on the arpeggiator tempo and the
timing of the arpeggio pattern. For example, in the case
of a 1-bar arpeggio pattern, if the second key press falls
on the third beat of the bar, the arpeggio pattern plays
back from the third beat onward. In other words, the
first key press is used to start the arpeggio pattern and
thereafter you can use the key to “mute” or “un-mute”
the pattern by, respectively, holding it down or
releasing it. This is particularly useful when the
arpeggiator is being used to generate drum patterns.
•KeyMode
Determines how the Arpeggio plays back when playing the
keyboard. Three modes are available.
❏ Settings sort, thru, direct
sort
Plays back notes in ascending order from the lowest
key pressed to the highest.
thru
Plays back notes in the order in which the keys are
pressed.
dir
ect
Plays back the notes exactly as you play them. If
changes to Voice parameters (such as Pan or Cutoff
frequency) are included in the Arpeggio sequence data,
they will be applied and reproduced whenever the
Arpeggio plays back.
n If the Arpeggio Category is set to Ct, you will not
hear any sounds unless you select “direct” here.
n With the “sort” and “thru” settings, the order in
which notes are played back will depend on the
Arpeggio sequence data.
•VelMode
This determines the playback velocity of the Arpeggio, or
how it responds to your own playing strength. Two modes
are available: original and thru.
❏ Settings original, thru
original
The Arpeggio plays back at the preset velocities.
thru
The Arpeggio plays back according to the velocity of
your playing. For example, if you play the notes
strongly, the playback volume of the Arpeggio
increases.
● [F3]-[SF2] Normal Common Arpeggio
Arpeggio limit
• Note Limit
Determines the lowest and highest notes in the Arpeggio’s
note range. Notes played in this range trigger the Arpeggio.
❏ Settings C -2 ~ G8
n You can also create a lower and an upper trigger
range for the Arpeggio, with a “hole” in the middle,
by specifying the highest note first. For example,
setting a Note Limit of “C5 -C4” lets you trigger the
Arpeggio by playing notes in the two ranges of C -2
to C4 and C5 to G8; notes played between C4 and
C5 have no effect on the Arpeggio.
n You can also set the range directly from the
keyboard, by holding down the [INFORMATION]
button and pressing the desired low and high keys.
•Velocity Limit
Determines the lowest and highest velocity in the
Arpeggio’s velocity range. This lets you control when the
Arpeggio sounds by your playing strength.
❏ Settings 1 ~ 127
n You can also create separate low and high trigger
ranges for the Arpeggio playback, with a velocity
“hole” in the middle, by specifying the maximum
value first. For example, setting a Velocity Limit of
93 - 34 lets you play the Arpeggio from two
separate velocity ranges: soft (1 - 34) and hard (93 -
127). Notes played at middle velocities between 35
and 92 do not play the Arpeggio.
● [F3]-[SF3] Normal Common Arpeggio
Play FX (Effect)
These Play Effect parameters let you control the
playback of the Arpeggio in useful and interesting
ways. By changing the timing and velocity of the
notes, you can change the rhythmic “feel” of the
Arpeggio.
• Unit
Adjust the Arpeggio playback time. For example, if you set
a value of 200%, the playback time will be doubled and the
tempo halved. On the other hand, if you set a value of
50%, the playback time will be halved and the tempo
doubled. Normal playback time is 100%.
❏ Settings 50%, 66%, 75%, 100%, 133%, 150%,
200%
134
MOTIF Reference
Voice Edit mode
Reference Voice mode
•Velocity Rate
Determines how much the Velocity of the Arpeggio
playback is offset from the original value. For example, a
setting of 100% means the original values are used.
Settings below 100% will reduce the velocity of the
Arpeggio notes, whereas settings above 100% will increase
the velocities.
❏ Settings 0% ~ 200%
n The Velocity cannot be decreased or increased
beyond its normal range of 1 to 127; any values
outside that range will automatically be limited to
the minimum or maximum.
• Gate Time Rate
Determines how much the Gate Time (length) of the
Arpeggio notes is offset from the original value. A setting
of 100% means the original values are used.
Settings below 100% will shorten the gate times of the
Arpeggio notes, whereas settings above 100% will
lengthen them.
❏ Settings 0% ~ 200%
n The Gate Time cannot be decreased beyond its
normal minimum of 1; any values outside that
range will automatically be limited to the
minimum.
● [F4]-[SF1], [SF2], [SF3] Normal Common
Control Set Set1/2, Set3/4, Set5/6
Basic Structure (page 48)
The controllers and knobs on the front panel can be
used to change and adjust a variety of parameters — in
real time, and simultaneously.
For example, keyboard aftertouch can be used to
control vibrato and the Modulation Wheel could be
used to control Resonance. They can even be used to
control parameters within individual Elements. These
control assignments are called “Control Sets.” You can
assign up to six different Control Sets per Voice. The
six individual Control Sets are divided into pairs in the
display: Sets 1/2, Sets 3/4 and Sets 5/6.
• ElementSw
Determines whether or not the selected controller affects
each individual element.
❏ Settings Elements 1 to 4 enabled (“1” to “4”) or
disabled (“-”)
n This parameter is disabled if the Destination
parameter below is set to a value from 00 to 33.
• Source
Determines which panel controller is to be assigned and
used for the selected Set. This controller then is used to
control the parameter set in Destination below.
❏ Settings PB (Pitch Bend Wheel), MW (Modulation
Wheel), AT (After Touch), FC1 (Foot
Controller 1), FC2 (Foot Controller2),
FS (Footswitch), BC (Breath Controller),
KN1 (Knob ASSIGN 1), KN2 (Knob
ASSIGN 2)
n Keep in mind that unlike the other controllers, the
ASSIGN A and B knobs can each be assigned to
one common function for the entire Voice mode,
and not to different functions for each individual
voice. Also see the Utility mode (page 256).
• Dest (Destination)
Determines the parameter that is controlled by the Source
controller (above).
❏ Settings For a complete list of the available
parameters/controls, refer to the separate
Data List booklet.
• Depth
Determines the degree to which the Source controller
affects the Destination parameter. For negative values, the
controller operation is reversed; maximum controller
settings produce minimum parameter changes.
❏ Settings -64 ~ 0 ~+63
Control Set 1~6
Keyboard
Modulation wheel
Knob
Controller
Set 1
Element 1
Element 2
Element 3
Element 4
135
MOTIF Reference
Voice Edit mode
Reference Voice mode
● [F5]-[SF1] Normal Common LFO Wave
Basic Structure (page 47)
From this display you can make a variety of LFO-
related settings, including Wave, Speed, Tempo, and
sync/phase settings.
•Wave
Determines the LFO Wave.
❏ Settings tri, tri+, sawup, sawdwn, squ1/4, squ1/3,
squ, squ2/3, squ3/4, trpzp, S/H 1, S/H 2,
user
• Speed
Determines the speed of the LFO Wave modulation.
Higher values result in faster modulation speeds.
❏ Settings 0 ~ 63
•Tempo Sync
Determines whether or not the LFO is synchronized to the
tempo of the Arpeggio or sequencer (song or pattern).
Setting this to “on” allows you to keep the LFO effects in
perfect sync with the Arpeggio or sequencer playback.
❏ Settings off (not synchronized), on (synchronized)
•Tempo Speed
This parameter is available only when Tempo Sync above
has been set to “on.” It allows you to make detailed note
value settings that determine how the LFO pulses in sync
with the Arpeggio or sequencer.
❏ Settings 16th, 8th/3 (eighth-note triplets), 16th.
(dotted sixteenth notes), 8th 4th/3 (quarter-
note triplets), 8th. (dotted eighth notes), 4th
(quarter notes), 2nd/3 (half-note triplets),
4th. (dotted quarter notes),
2nd (half notes), whole/3 (whole-note
triplets), 2nd. (dotted half notes), 4th x 4
(quarter-note quadruplets; four quarter notes
to the beat), 4th x 5 (quarter-note quintuplets;
five quarter notes to the beat),
4th x 6 (quarter-note sextuplets; six quarter
notes to the beat), 4th x 7 (quarter-note
septuplets; seven quarter notes to the beat),
4th x 8 (quarter-note octuplets; eight quarter
notes to the beat)
n The actual length of the note depends on the
internal or external MIDI tempo setting.
•Key On Reset
Determines whether or not the LFO is reset each time a
note is pressed. The following three settings are available.
❏ Settings off, each-on, 1st-on
off
The LFO cycles freely with no key synchronization.
Pressing a key starts the LFO wave at whatever phase
the LFO happens to be at that point.
each-on
The LFO resets with each note you play and starts a
waveform at the phase specified by the Phase
parameter (below).
1st-on
The LFO resets with every note you play and starts the
waveform at the phase specified by the Phase
parameter (below). However, if you play a second note
while the first is being held, the LFO continues cycling
according to the same phase as triggered by the first
note. In other words, the LFO only resets if the first
note is released before the second is played.
.
• Phase
Determines the starting phase point for the LFO Wave
when a note is played.
❏ Settings 0, 90, 120, 180, 240, 270
Speed = fast Speed = slow
Time
Time
Time
Key on
Key on
(second note)
Time
Key on
(first note)
Key on
(second note)
Time
Key on
(first note)
Time
0° 90°
120° 240°
180° 270°
Phase
136
MOTIF Reference
Voice Edit mode
Reference Voice mode
● [F5]-[SF2] Normal Common LFO Delay
From this display you can set various delay and
fade-in/-out parameters, and give the LFO a more
natural sound.
• DelayTime
Determines the delay time before the LFO comes into
effect. A higher value results in a longer delay time.
❏ Settings 0 ~ 127
•FadeInTime
Determines the amount of time for the LFO effect to fade
in (after the Delay time has elapsed). A higher value
results in a slower fade-in.
❏ Settings 0 ~ 127
• HoldTime
Determines the length of time during which the LFO is
held at its maximum level. A higher value results in a
longer Hold time.
❏ Settings 0 ~ 127
•FadeOutTime
Determines the amount of time for the LFO effect to fade
out (after the Delay time has elapsed). A higher value
results in a slower fade-out.
❏ Settings 0 ~ 127
● [F5]-[SF3], [SF4], [SF5] Normal Common LFO
Destination 1, 2, 3
From this display you can select the destination
parameter for the LFO (which aspect of the sound
the LFO controls), the elements to be affected by the
LFO, and the LFO Depth. Three Destinations can
be assigned, and you can choose from several
parameters per Destination.
• ElemSw (Element Switch)
Determines whether or not each element is to be affected
by the LFO. The element number (1- 4) is shown when the
LFO is enabled; a dash (-) indicates the LFO is disabled for
that element.
• Dest (Destination)
Determines the parameters which are to be controlled
(modulated) by the LFO Wave.
❏ Settings AMD, PMD, FMD, RESO (Resonance),
PAN, ELFOSpd (Element LFO Speed)
• Depth
Determines the LFO Wave Depth.
❏ Settings 0 ~ 127
Short delay Long delay
Key on
Key on
FadeIn
Max
Delay
Time
Key on
Low FadeIn value
Faster fade-in
High FadeIn value
Slower fade-in
FadeIn
Delay
Time
Key on
Max
Hold
Time
Max
FadeOutHold
Max
Time
Low FadeOut value
Faster fade-out
FadeOut
Time
Hold
Max
High FadeOut value
137
MOTIF Reference
Voice Edit mode
Reference Voice mode
● [F6]-[SF1] Normal Common Effect
Connection
This display gives you comprehensive control over
the effects.
• EL: OUT 1-4 (Element 1-4 Effect Output)
Determines which Insertion effect (1 or 2) is used to
process each individual element. The “thru” setting lets
you bypass the Insertion effects for the specific element.
(This parameter is the same as “InsEFOut” in Normal
Element below. Making a setting here automatically
changes the setting of that parameter as well.)
❏ Settings ins1, ins2, thru
• InsConnect (Insertion Effect Connect)
Determines the effect routing for Insertion effects 1 and 2.
The setting changes are shown on the diagram in the
display, giving you a clear picture of how the signal is
routed.
❏ Settings parallel, 1 to 2, 2 to 1
• Ins1Category, Ins1Type
Determines the effect type for Insertion 1.
❏ Settings Refer to the Effect Types list in the separate
Data List booklet.
• Ins2Category, Ins2Type
Determines the effect type for Insertion 2.
❏ Settings Refer to the Effect Types list in the separate
Data List booklet.
•RevType (Reverb Effect Type)
Determines the effect type for Reverb.
❏ Settings Refer to the Effect Types list in the separate
Data List booklet.
• ChoType (Chorus Effect Type)
Determines the effect type for Chorus.
❏ Settings Refer to the Effect Types list in the separate
Data List booklet.
•RevSend (Reverb Send)
Determines the level of the sound (from Insertion 1 or 2,
or the bypassed signal) that is sent to Reverb effect. A
setting of “0” results in no Reverb processing of the sound.
❏ Settings 0 ~ 127
• ChoSend (Chorus Send)
Determines the level of the sound (from Insertion 1 or 2,
or the bypassed signal) that is sent to Chorus effect. A
setting of “0” results in no Chorus processing of the sound.
❏ Settings 0 ~ 127
•RevRtn (Reverb Return Level)
Determines the Return level of the Reverb Effect.
❏ Settings 0 ~ 127
• ChoRtn (Chorus Return Level)
Determines the Return level of the Chorus Effect.
❏ Settings 0 ~ 127
• ChoToRev (Chorus to Reverb)
Determines the Send level of the signal sent from the
Chorus Effect to the Reverb Effect.
❏ Settings 0 ~ 127
•RevPan (Reverb Pan)
Determines the pan position setting for the Reverb effect.
❏ Settings L63 (far left)~cnt (center)~R63 (far right)
• ChoPan (Chorus Pan)
Determines the pan position setting for the Chorus effect.
❏ Settings L63 (far left)~cnt (center)~R63 (far right)
● [F6]-[SF2], [SF3], [SF4], [SF5] Normal
Common Effect Parameter
Insertion 1, 2, Reverb, Chorus
The number of parameters and values available
differs depending on the currently selected effect
type. For more information, see the Effect Type List
in the separate Data List booklet.
■ Element Edit
For instructions on selecting and editing individual
elements, refer to step #4 in the Basic Procedure on
page 124.
● [F1]-[SF1] Normal Element Oscillator Wave
Basic Structure (page 44)
From this display you can select the desired wave or
sound used for the element.
• ElementSw (Element Switch)
Determines whether the currently selected element is on
or off.
❏ Settings off (inactive), on (active)
• Bank
This determines the specific bank of waves, from which
you can select the desired sound. The Preset bank features
the factory programmed waves; the User bank contains
any audio data you have created with the Sampling
function (page 58).
❏ Settings preset, usr wav
•Wave No. (Wave Number), WaveCtgry (Wave
Category)
❏ Settings See the Wave list of the separate Data List.
138
MOTIF Reference
Voice Edit mode
Reference Voice mode
● [F1]-[SF2] Normal Element Oscillator
Output
From this display you can set certain output
parameters for the selected element.
•KeyOnDelay
Determines the time (delay) between the moment you
press a note on the keyboard and the point at which the
sound is played. You can set different delay times for each
Element.
❏ Settings 0 ~ 127
• InsEFOut (Insertion Effect Output)
Determines which Insertion effect (1 or 2) is used to
process each individual element. The “thru” setting lets
you bypass the Insertion effects for the specific element.
(This parameter is the same as “EL: OUT” in Normal
Common above. Making a setting here automatically
changes the setting of that parameter as well.)
❏ Settings thru, ins1 (Insertion Effect 1), ins2
(Insertion Effect 2)
● [F1]-[SF3] Normal Element Oscillator Limit
From this display you can create different key and
velocity “zones” for each of the elements, and even
set up a velocity crossfade between elements.
• NoteLimit
Determines the lowest and highest notes of the keyboard
range for each element. The selected element will sound
only when you play notes within this range.
❏ Settings C -2 ~ G8
n You can also create a lower and an upper range for
the element, with a “hole” in the middle, by
specifying the highest note first. For example,
setting a Note Limit of “C5 - C4” lets you play the
element from two separate ranges: C -2 to C4 and
C5 to G8. Notes played between C4 and C5 do not
play the selected element.
n You can also set the range directly from the
keyboard, by holding down the [INFORMATION]
button and pressing the desired low and high keys.
See “Basic Operation” on page 75.
•VelocityLimit
Determines the minimum and maximum values of the
velocity range within which each element will respond.
Each element will only sound for notes played within its
specified velocity range.
For example, this lets you have one element sound when
you play softly and have a different one sound when you
play strongly.
❏ Settings 1 ~127
n You can also create separate low and high ranges
for the element, with a velocity “hole” in the
middle, by specifying the maximum value first. For
example, setting a Velocity Limit of 93 - 34 lets you
play the element from two separate velocity
ranges: soft (1 - 34) and hard (93 - 127). Notes
played at middle velocities between 35 and 92 do
not play the selected element.
•VelCrossFade (Velocity Cross Fade)
This determines how smoothly or abruptly elements
switch between each other in response to velocity. (This
only applies to elements that have been set for velocity
splits with Velocity Limit above.) Minimum values create
an abrupt change between elements, while maximum
values let you smoothly change elements depending on
your playing strength.
❏ Settings 0 ~ 127
● [F2]-[SF1] Normal Element Pitch Tune
From this display you can set various pitch-related
parameters for the selected element.
• Coarse
Determines the pitch of each element in semitones.
❏ Settings -48 ~ 0 ~+48
• Fine
Determines the fine tuning for the pitch of each element.
❏ Settings -64 ~ 0 ~+63
•Random
This lets you randomly vary the pitch of the element for
each note you play. This is effective in reproducing the
natural pitch variations in acoustic instruments. It is also
useful for creating unusual random pitch changes. The
higher the value the greater the pitch variation. A value of
“0” results in no pitch change.
❏ Settings 0 ~127
Short Delay Long Delay
Key on
Key on
139
MOTIF Reference
Voice Edit mode
Reference Voice mode
● [F2]-[SF2] Normal Element Pitch
Velocity Sensitivity
From this display you can determine how the Pitch
EG responds to velocity. (For Pitch EG settings, see
“PEG Time, Level” below.)
• EG Time, Segment
Determines the velocity sensitivity of the PEG’s Time
parameters. Select the Segment, then set its Time
parameter. Positive Time settings will play back the
specified Segment faster and negative values will play it
back slower.
❏ Settings Time -64 ~0 ~+63
Segment ATK, ATK+DCY, DCY,
ATK+RLS, all
A
TK
EG Time Value affects Attack time.
A
TK+DCY
EG Time Value affects Attack/Decay1 time.
DCY
EG Time Value affects Decay time.
A
TK+RLS
EG Time Value affects Attack/Release time.
all
EG Time Value affects all PEG Time parameters.
• EG Level, Curve
Determines the velocity sensitivity of the PEG Level.
Positive settings will cause the level to rise the harder you
play the keyboard, and negative values will cause it to fall.
The Curve parameter lets you select from five different
preset velocity curves (graphically indicated in the
display), that determine how velocity affects the Pitch EG.
❏ Settings EG Level -64 ~0 ~+63
Curve 0~4
• Pitch
Determines the degree to which velocity affects the pitch
change of the Pitch EG. Extreme values produce greater
variation in pitch change. For positive values, the harder
you play the keys, the greater the change in pitch. For
negative values, the softer you play the keys, the greater
the change in pitch.
❏ Settings -64 ~ 0 ~+63
● [F2]-[SF3] Normal Element Pitch
PEG Time, Level
Basic Structure (page 46)
From this display you can make all the time and
level settings for the Pitch EG, which determine
how the pitch of the sound changes over time.
These can be used to control the change in pitch
from the moment a note is pressed on the keyboard
to the moment the sound stops.
The full names of the available parameters are
shown in the chart below, as they appear in the
display.
• TIME
❏ Settings 0 ~127
•LEVEL
❏ Settings -128 ~ 0 ~+127 (-4800cent ~ 0
~+4800cent)
• DEPTH*
❏ Settings -64 ~ 0 ~+63
● [F2]-[SF4] Normal Element Pitch Key Follow
From this display you can set the Key Follow effect
— in other words, how the pitch of the element and
its Pitch EG respond to the particular notes (or
octave range) you play.
• PitchSens (Pitch Sensitivity)
Determines the degree to which the notes (specifically,
their position or octave range) affect the pitch of the
selected element. The Center Key (next parameter) is used
as the basic pitch for this parameter.
A positive setting will cause the pitch of lower notes to
change lower and that of higher notes to change higher.
Negative values will have the opposite effect.
❏ Settings -200% ~ 0 ~ +200%
n For a setting of 100%, neighboring notes are
pitched one semitone (100 cents) apart.
HOLD ATK DCY1 DCY2 REL DEPTH*
TIME Hold time Attack time
Decay 1
time
Decay 2
time
Release
time
LEVEL Hold level Attack level
Decay 1
level
Decay 2
level
Release
level
Depth
0
Release
Level
Attack
Level
Hold level
Attack
Time
Hold
Time
Decay1
Time
Decay2
Time
Release
Time
Decay1
Level
Decay2
Level
Key off
Time
Pitch
140
MOTIF Reference
Voice Edit mode
Reference Voice mode
• Center Key
Determines the central note or pitch for the Key Follow
effect on pitch. Depending on the Pitch Sensitivity
parameter above, the further away from the Center Key the
keys are played, the greater the degree of pitch change.
❏ Settings C -2 ~ G8
n You can also set the Center Key directly from the
keyboard, by holding down the [INFORMATION]
button and pressing the desired key. See “Basic
Operation” on page 75.
• EG Time Sens (EG Time Sensitivity)
Determines the degree to which the notes (specifically,
their position or octave range) affect the Pitch EG times of
the selected element. The Center Key (next parameter) is
used as the basic pitch for this parameter.
A positive setting will cause the pitch of lower notes to
change slower and that of higher notes to change faster.
Negative values will have the opposite effect.
❏ Settings -64 ~ 0 ~+63
• Center Key
Determines the central note or pitch for the Key Follow
effect on Pitch EG. Depending on the EG Time Sensitivity
parameter above, the further away from the Center Key the
keys are played, the more the time of the Pitch EG deviates
from the norm.
When the Center Key note is played, the PEG behaves
according to its actual settings. The pitch change
characteristics for other notes will vary in proportion to
the EG Time settings.
❏ Settings C -2 ~ G8
n You can also set the Center Key directly from the
keyboard, by holding down the [INFORMATION]
button and pressing the desired key.
● [F3]-[SF1] Normal Element Filter Type
Basic Structure (page 46)
From this display you can make comprehensive
settings for the Filter section. The available
parameters differ depending on which Filter type is
selected here.
• Type
Basically, there are four different Filter types: an LPF
(Low Pass Filter), an HPF (High Pass Filter), a BPF (Band
Pass Filter) and a BEF (Band Elimination Filter). Each
type has a different frequency response and produces a
different effect on the sound. The MOTIF also features
special combination Filter types, for additional sonic
control.
❏ Settings See below.
LPF24D (Lo
w Pass Filter 24dB/oct Digital)
A 4-pole (-24db/oct) dynamic LPF with a strong
resonance.
LPF24A (Lo
w Pass Filter 24dB/oct Analog)
A 4-pole (-24db/oct) dynamic LPF with a character
similar to those found on analog synthesizers
LPF18 (Lo
w Pass Filter18dB/oct)
A 3-pole (-18db/oct) dynamic LPF.
LPF18s (Lo
w Pass Filter [18dB/oct Staggered)
Also a 3-pole (-18db/oct) dynamic LPF, but with a
shallower frequency curve.
Center(basic pitch)
Higher range
Lower range
Large
Small
—
+
Amount of
pitch change
Basic pitch
Higher range
Lower range
Basic pitch
Higher range
Lower range
+
–
Speed of PEG
pitch change
Speed of PEG
pitch range
Positive value
Negative value
+
–
Resonance
Resonance
LPF18
LPF18S
Resonance
141
MOTIF Reference
Voice Edit mode
Reference Voice mode
LPF12 (Low Pass Filter12dB/oct) A 2-pole (-12db/oct)
dynamic LPF, designed to be used in combination with
an HPF (High Pass Filter).
LPF6 (Lo
w Pass Filter 6dB/oct)
A 1-pole (-6db/oct) dynamic LPF with no resonance,
designed to be used in combination with an HPF (High
Pass Filter).
HPF24D (High Pass Filter 24dB/oct Digital)
A 4-pole (-24db/oct) dynamic HPF with a strong
resonance.
HPF12 (High P
ass Filter 12dB/oct)
A 2-pole (-12db/oct) dynamic HPF.
BPF12D (Band P
ass Filter 12dB/oct Digital)
BPF12s (Band Pass Filter 12dB/oct Staggered)
Basically same as BPF12D, but with a shallower
frequency curve.
BPF6 (Band P
ass Filter 6dB/oct)
BPFw (Band Pass Filter Wide)
Also the combination of –12dB/oct HPF and LPF, but
allows a wider frequency band.
BEF12 (Band Elimination Filter 12dB/oct)
BEF6 (Band Elimination Filter 6dB/oct)
Dual LPF
A combination of two sets of –12dB/oct LPF in
parallel.
Dual HPF
A combination of two sets of –12dB/oct HPF in
parallel.
Dual BPF
A combination of two sets of –6dB/oct BPF in parallel.
Resonance
Resonance
Resonance
Range passed
Frequency
Level
Cutoff range Cutoff range
–12db/oct
Range passed
Frequency
Level
Cutoff range Cutoff range
–6db/oct
Level
width can be
increased
Range passed
Frequency
Cutoff range Cutoff range
Center frequency
Cutoff range
Frequency
Level
Range passed Range passed
Level
Frequency
Distance
The cutoff frequency can be set
directly on the display.
Level
Frequency
Distance
The cutoff frequency can be set
directly on the display.
Level
Frequency
Distance
The cutoff frequency can be set
directly on the display.
142
MOTIF Reference
Voice Edit mode
Reference Voice mode
Dual BEF
A combination of two sets of –6dB/oct BEF in parallel.
L
PF12 (Low Pass Filter 12dB/oct)+ HPF12 (High
Pass Filter)
A combination of a LPF and HPF.
LPF12 (Lo
w Pass Filter 12dB/oct)+ BPF6 (Band Pass
Filter)
A combination of a LPF and BPF.
HPF12 (High P
ass Filter 12dB/oct)+ BPF6 (Band Pass
Filter)
A combination of a HPF and BPF.
thru
The filters are bypassed and the entire signal is
unaffected.
• Cutoff
Determines the cutoff frequency for the Filter, or the
central frequency around which the Filter is applied.
❏ Settings 0 ~ 255
• Gain
Determines the Gain (the amount of boost applied to the
signal sent to the Filter).
❏ Settings 0 ~ 255
•Reso/Width
This parameter’s function varies according to the selected
Filter Type. If the selected filter is an LPF, HPF, BPF
(excluding the BPFw), or BEF, this parameter is used to set
the Resonance. For the BPFw, it is used to adjust the
Width of the band.
R
esonance
This parameter is used to set the amount of Resonance
(harmonic emphasis) applied to the signal at the cutoff
frequency. This can be used in combination with the
cutoff frequency parameter to add further character to the
sound.
Width
With the BPFw, this parameter is used to adjust the width
of the band of signal frequencies passed by the filter.
❏ Settings 0 ~ 31
• Distance
Determines the distance between the Cutoff frequencies,
for the Dual Filter types. (The two filters in a combination
are connected in parallel fashion.)
❏ Settings 0 ~ 255
• HPF Cutoff
Determines the central frequency for the Key Follow
parameter (below) of the HPF.
When a filter type “LPF12” or “LPF6” is selected, this
parameter is available.
❏ Settings 0 ~ 255
• HPF KeyFlw (Key Follow)
Determines the Key Follow setting for the HPF Cutoff
frequency. This parameter varies the center frequency
according to the position of the notes played on the
keyboard. A positive setting will raise the center frequency
for higher notes and lower it for lower notes. A negative
setting will have the opposite effect.
When a filter type “LPF12” or “LPF6” is selected, this
parameter is available.
❏ Settings -200% ~ 0 ~ +200%
● [F3]-[SF2] Normal Element Filter
Velocity Sensitivity
Basic Structure (page 47)
From this display you can determine how the Filter
and the FEG respond to velocity. (For Filter EG
settings, see “FEG” below.)
Level
Frequency
Distance
The cutoff frequency can be set
directly on the display.
Level
Frequency
Distance
The cutoff frequency can be set
directly on the display.
Level
Frequency
Level
Frequency
143
MOTIF Reference
Voice Edit mode
Reference Voice mode
• EG Time, Segment
Determines the velocity sensitivity of the FEG’s Time
parameters. Select the Segment, then set its Time
parameter.
Positive Time settings will play back the specified Segment
faster and negative values will play it back slower.
❏ Settings Time -64 ~ 0 ~ +63
Segment ATK, ATK+DCY, DCY,
ATK+RLS, all
A
TK
Affects the Attack Time.
A
TK+ DCY
Affects the Attack Time and Decay1 Time.
DCY
Affects the Decay Time.
A
TK+ RLS
Affects the Attack Time and Release Time.
all
Affects all FEG Time parameters.
• EG Level, Curve
Determines the velocity sensitivity of the Filter EG Level.
Positive settings cause greater Filter changes the harder
you play the keyboard. Negative settings do the opposite;
the softer you play, the more the sound changes. The
Curve parameter lets you select from five different preset
velocity curves (graphically indicated in the display), that
determine how velocity affects the Filter EG.
❏ Settings EG Level -64 ~ 0 ~ +63
Curve 0 ~ 4
• Cutoff
Determines the degree to which velocity affects the Cutoff
frequency of the Filter EG. Extreme values produce greater
variation in the Cutoff frequency. For positive values, the
harder you play the keys, the greater the change in the
Cutoff frequency. Negative values do the opposite; the
frequency changes more the softer you play.
❏ Settings -64 ~ 0 ~ +63
•Resonance
Determines the degree to which velocity affects the
Resonance of the Filter EG. Extreme values produce
greater variation in the Resonance. For positive values, the
harder you play the keys, the greater the Resonance
change. Negative values do the opposite; the Resonance
changes more the softer you play.
❏ Settings -64 ~ 0 ~ +63
● [F3]-[SF3] Normal Element Filter
FEG (Filter Envelope Generator)
Basic Structure (page 47)
From this display you can make all the time and
level setting for the Filter EG, which determine how
the tonal quality of the sound changes over time.
The full names of the available parameters are
shown in the chart below, as they appear in the
display.
• TIME
❏ Settings 0 ~ 127
•LEVEL
❏ Settings -128 ~ 0 ~ +127 (-9600cent ~ 0 ~
+9600cent)
• DEPTH*
❏ Settings -64~ 0 ~ 63
● [F3]-[SF4] Normal Element Filter
Key Follow
From this display you can set the Key Follow effect
for the Filter — in other words, how the tonal
qualities of the element and its Filter EG respond to
the particular notes (or octave range) you play.
n The availability of the Filter Key Follow parameter
depends on the Break Point and Offset settings
described on page 144.
HOLD ATK DCY1 DCY2 REL DEPTH*
TIME Hold time Attack time
Decay 1
time
Decay 2
time
Release
time
LEVEL Hold level Attack level
Decay 1
level
Decay 2
level
Release
level
Depth
0
Release
Level
Attack
Level
Hold level
Attack
Time
Hold
Time
Decay1
Time
Decay2
Time
Release
Time
Decay1
Level
Decay2
Level
Key off
Time
Pitch
144
MOTIF Reference
Voice Edit mode
Reference Voice mode
• CutoffSens (Cutoff Sensitivity)
Determines the degree to which the notes (specifically,
their position or octave range) affect the Filter of the
selected element. A Center Key setting of C3 is used as the
basic setting by the Cutoff parameter.
A positive setting will lower the Cutoff frequency for
lower notes and raise it for higher notes. A negative setting
will have the opposite effect.
❏ Settings -200% ~ 0 ~ +200%
• CenterKey
This indicates that the central note for Cutoff Sensitivity
above is C3. At C3, the tone remains unchanged. For other
notes played, the Cutoff Frequency varies according to the
particular note and the Cutoff Sensitivity setting. Keep in
mind that this is for display purposes only; the value
cannot be changed.
•EGTimeSens (EG Time Sensitivity)
Determines the degree to which the notes (specifically,
their position or octave range) affect the Filter EG times of
the selected element.
The basic speed of change for the FEG is at the note
specified in the Center Key (next parameter).
A positive setting will cause slower changes for lower
notes and faster changes for higher notes. A negative
setting will have the opposite effect.
❏ Settings -64 ~ 0 ~ +63
• CenterKey
Determines the central note or pitch for the Key Follow
effect on Filter EG. Depending on the EG Time Sensitivity
parameter above, the further away from the Center Key the
keys are played, the more the time of the Filter EG deviates
from the norm. When the Center Key note is played, the
FEG behaves according to its actual settings. The Filter
change characteristics for other notes will vary in
proportion to the EG Time settings.
❏ Settings C -2 ~ G8
n You can also set the Center Key directly from the
keyboard, by holding down the [INFORMATION]
button and pressing the desired key. See “Basic
Operation” on page 75.
● [F3]-[SF5] Normal Element Filter Scaling
Filter Scaling controls the filter cutoff frequency
according to the positions of the notes on the
keyboard. You can divide the entire keyboard by
four break points, and assign different offset values
of Cutoff Frequency to them respectively.
• BREAK POINT 1 ~ 4
❏ Settings C -2 ~ G8
n You can also set the Break Point directly from the
Keyboard, by holding down the [INFORMATION]
button and pressing the desired key. See “Basic
Operation” on page 75.
• OFFSET 1 ~ 4
❏ Settings -128 ~ 0 ~ +127
The best way to understand Filter Scaling is by
example. For the settings shown in the example
display above, the basic Cutoff frequency value is
64, and the various Offset values at the selected
Break point settings change that basic value
accordingly. The specific changes to the Cutoff
frequency are shown in the diagram below. The
Cutoff frequency changes in a linear fashion
between successive Break Points as shown.
n BP1 to BP4 will be automatically be arranged in
ascending order across the keyboard.
n Regardless of the size of these Offsets, the
minimum and maximum Cutoff limits (values of 0
and 127, respectively) cannot be exceeded.
n Any note played below the BP1 note results in the
BP1 Level setting. Likewise, any note played above
the BP4 note results in the BP4 Level setting.
Center(basic frequency)
Higher range
Lower range
Large
Small
—
+
Amount of cutoff
frequency change
Basic frequency
Higher range
Lower range
Basic frequency
Higher range
Lower range
+
-
Speed of FEG
level change
Speed of FEG
level range
Positive value
Negative value
+
-
C#1
60
74
81
68
Break Point 1 Break Point 2 Break Point 3 Break Point 4
A4C3D#2
Note
Cutoff
Frequency
145
MOTIF Reference
Voice Edit mode
Reference Voice mode
● [F4]-[SF1] Normal Element Amplitude
Level/Pan
This display not only lets you make basic Level and
Pan settings for each individual element, it also
gives you some detailed and unusual parameters for
affecting Pan position.
•Level
Determines the output level for the selected element.
❏ Settings 0 ~ 127
•Pan
Determines the stereo Pan position for the selected
element. This will also be used as the basic Pan position
for the Alternate, Random and Scale settings.
❏ Settings L63 (Left) ~ C (Center) ~ R63 (Right)
• AlternatePan
Determines the amount by which the sound of the selected
element is panned alternately left and right for each note
you press. The Pan setting (above) is used as the basic Pan
position.
❏ Settings L64 ~ 0 ~ R63
•RandomPan
Determines the amount by which the sound of the selected
element is panned randomly left and right for each note
you press. The Pan setting is used as the Center Pan
position.
❏ Settings 0 ~ 127
• ScalingPan
Determines the degree to which the notes (specifically,
their position or octave range) affect the Pan position, left
and right, of the selected element. At note C3, the main
Pan setting (above) is used for the basic Pan position.
❏ Settings -64 ~ 0 ~ +63
● [F4]-[SF2] Normal Element Amplitude
Velocity Sensitivity
From this display you can determine how the
Amplitude (volume) EG responds to velocity. (For
Amplitude EG settings, see “AEG” below.)
• EG Time, Segment
Determines the velocity sensitivity of the AEG’s Time
parameters. Select the Segment, then set its Time
parameter.
Positive Time settings will play back the specified Segment
faster and negative values will play it back slower.
❏ Settings Time -64 ~ 0 ~ +63
Segment ATK, ATK+DCY, DCY,
ATK+RLS, all
A
TK
Affects the Attack Time.
A
TK+DCY
Affects the Attack Time and Decay1 Time.
DCY
Affects the Decay Time.
A
TK+RLS
Affects the Attack Time and Release Time.
all
Affects all AEG Time parameters.
• EG Level, Curve
Determines the velocity sensitivity of the Amplitude EG
Level. Positive settings cause greater volume changes the
harder you play the keyboard. Negative settings do the
opposite; the softer you play, the more the volume changes.
The Curve parameter lets you select from five different
preset velocity curves (graphically indicated in the
display), that determine how velocity affects the
Amplitude EG.
❏ Settings EG Level -64 ~ 0 ~ +63
Curve 0 ~ 4
● [F4]-[SF3] Normal Element Amplitude AEG
Basic Structure (page 47)
From this display you can make all the time and
level settings for the Amplitude EG, which
determine how the volume of the sound changes
over time.
The full names of the available parameters are
shown in the chart below, as they appear in the
display.
INIT ATK DCY1 DCY2 REL DEPTH
TIME --- Attack time
Decay 1
time
Decay 2
time
Release
time
LEVEL Initial level ---
Decay 1
level
Decay 2
level
--- ---
146
MOTIF Reference
Voice Edit mode
Reference Voice mode
• TIME
❏ Settings 0 ~ 127 (excluding --- above)
•LEVEL
❏ Settings 0 ~127
● [F4]-[SF4] Normal Element Amplitude
Key Follow
From this display you can set the Key Follow effect
for Amplitude — in other words, how the volume of
the element and its Amplitude EG respond to the
particular notes (or octave range) you play.
n The availability of the Amplitude Key Follow
parameter depends on the Break Point and Offset
settings described on see below.
•LevelSens (Level Sensitivity)
Determines the degree to which the notes (specifically,
their position or octave range) affect the volume of the
selected element. A Center Key setting of C3 is used as the
basic setting.
A positive setting will lower the output level for lower
notes and raise it for higher notes. A negative setting will
have the opposite effect.
❏ Settings -200% ~ 0 ~+200%
• CenterKey
This indicates that the central note for Level Sensitivity
above is C3. At C3, the volume (level) remains unchanged.
For other notes played, the volume varies according to the
particular note and the Level Sensitivity setting. Keep in
mind that this is for display purposes only; the value
cannot be changed.
•EGTimeSens (EG Time Sensitivity)
Determines the degree to which the notes (specifically, their
position or octave range) affect the Amplitude EG times of
the selected element. The Center Key (next parameter) is
used as the basic amplitude for this parameter.
A positive setting will cause the amplitude of lower notes to
change slower and that of higher notes to change faster.
Negative values will have the opposite effect.
❏ Settings -64 ~ 0 ~ +63
• CenterKey
Determines the central note or pitch for the Key Follow
effect on Amplitude EG. Depending on the EG Time
Sensitivity parameter above, the further away from the
Center Key the keys are played, the more the time of the
Amplitude EG deviates from the norm.
When the Center Key is played, the AEG behaves
according to its actual settings. The amplitude change
characteristics for other notes will vary in proportion to
the EGTime settings.
❏ Settings C -2 ~ G8
n You can also set the Center Key directly from the
keyboard, by holding down the [INFORMATION]
button and pressing the desired key.
●
[F4]-[SF5] Normal Element Amplitude Scaling
Amplitude Scaling controls the output level (set in
the [F4]-[SF1] display) according to the positions of
the notes on the keyboard. You can divide the entire
keyboard by four break points, and assign different
offset values of amplitude to them respectively.
• BREAK POINT 1 ~ 4
❏ Settings C -2 ~ G8
n You can also set the Break Point directly from the
Keyboard, by holding down the [INFORMATION]
button and pressing the desired key. See “Basic
Operation” on page 75.
• OFFSET 1 ~ 4
❏ Settings -128 ~ 0 ~ +127
0
Release
Level
Attack
Level
Attack
Time
Decay1
Time
Decay2
Time
Release
Time
Decay2
Level
Key off
Time
Decay1
Level
Level
Init
Level
Center(basic pitch)
Higher range
Lower range
Large
Small
–
+
Speed of AEG
level change
Center (basic volume)
Higher range
Lower range
Center (basic volume)
Higher range
Lower range
+
—
Speed of AEG
level change
Speed of AEG
level range
Positive value
Negative value
+
—
147
MOTIF Reference
Voice Edit mode
Reference Voice mode
The best way to understand Amplitude Scaling is by
example. For the settings shown in the example
display above, the basic Amplitude (volume) value
for the selected element is 80, and the various Offset
values at the selected Break point settings change
that basic value accordingly. The specific changes to
the Amplitude are shown in the diagram below. The
Amplitude changes in a linear fashion between
successive Break Points as shown.
n BP1 to BP4 will be automatically be arranged in
ascending order across the keyboard.
n Regardless of the size of these Offsets, the
minimum and maximum Cutoff limits (values of 0
and 127, respectively) cannot be exceeded.
n Any note played below the BP1 note results in the
BP1 Level setting. Likewise, any note played above
the BP4 note results in the BP4 Level setting.
● [F5] Normal Element LFO
Basic Structure (page 47)
This display gives you a comprehensive set of
controls over the LFO for each individual element.
The LFO can be used to create vibrato, wah,
tremolo and other special effects, by applying it to
the pitch, filter and amplitude parameters.
•Wave
Determines the LFO waveform used to vary the sound.
❏ Settings saw, tri, squ
• Speed
Determines the speed of the LFO waveform. The higher
the value, the faster the speed.
❏ Settings 0 ~ 63
•KeyOnSync
When this is set to on, the LFO waveform is reset every
time a note is played.
❏ Settings off, on
•KeyOnDelay
Determines the delay time before the LFO comes into
effect. A higher value results in a longer delay time.
❏ Settings 0 ~ 127
• PMOD (Pitch Modulation Depth)
Determines the amount (depth) by which the LFO
waveform varies (modulates) the pitch of the sound. The
higher the value, the greater the amount of pitch
modulation.
❏ Settings 0 ~ 127
C1
76
90
97
84
Break Point 1 Break Point 2 Break Point 3 Break Point 4
C4C3C2
Note
Amplitude
saw (sawtooth wave)
squ (square wave)
tri (triangle wave)
Speed = Fast Speed = Slow
Time
Time
Time
Key on
Time
Key on
Sync onSync off
Short delay Long delay
Key on
Key on
148
MOTIF Reference
Voice Edit mode
Reference Voice mode
• FMOD (Filter Modulation Depth)
Determines the amount (depth) by which the LFO
waveform varies (modulates) the Filter Cutoff frequency.
The higher the value, the greater the amount of filter
modulation.
❏ Settings 0 ~ 127
• AMOD (Amplitude Modulation Depth)
Determines the amount (depth) by which the LFO
waveform varies (modulates) the amplitude or volume of
the sound. The higher the value, the greater the amount of
amplitude modulation.
❏ Settings 0 ~ 127
● [F6] Normal Element EQ (Equalizer)
• Type
Determines the Equalizer Type. The MOTIF features a
wide selection of various equalizer types, which can be
used not only to enhance the original sound, but even
completely change the character of the sound. The
particular parameters and settings available depend on the
specific Equalizer Type that is selected.
❏ Settings
EQ L/H, P.EQ, Boost6, Boost12, Boost18, thru
EQ L/H (Low/High)
This is a “shelving” equalizer, which combines
separate high and low frequency bands.
P
.EQ (Parametric EQ)
The Parametric EQ is used to attenuate or boost signal
levels (gain) around the Frequency. This type features
32 different “Q” settings, which determine the
frequency band width of the equalizer.
Boost6 (Boost 6dB)/Boost12 (Boost 12dB)/Boost18
(Boost 18dB)
These can be used to boost the level of the entire signal
by 6dB, 12dB and 18dB, respectively.
thru
If you select this, the equalizers are bypassed and the
entire signal is unaffected.
Drum Voice Edit
Basic Structure (page 45)
◆ Common edit and Drum Key edit
Each Drum voice consists of various Waves and/or
Normal voices, each assigned to notes across the
keyboard, from C0 to C6 (page 45). Use Drum
Common Edit to edit the settings that apply to all
Drum keys in the voice. There are two types of Drum
Voice Edit displays: those for Common Edit, and those
for editing individual keys (elements).
◆ Basic Procedure
Basic Structure (page 70)
1 Press the [VOICE] button to enter the Voice Play
mode. (The indicator lights.)
2 Select a Drum voice to be edited.
3 Press the [EDIT] button to enter the Voice Edit
mode. (The indicator lights.)
Low Freq
Low Gain
High Freq
High Gain
Frequency
-
+
0
Gain
❏ Settings
50.1Hz ~ 2.00kHz
❏ Settings
503.8Hz ~ 10.1kHz
❏ Settings
-32 ~ 0 ~ +32
❏ Settings
-32 ~ 0 ~ +32
Gain
❏ Settings
-32 ~ 0 ~ +32
Freq
❏ Settings 139.7Hz ~ 12.9kHz
Q (Frequency Characteristic)
❏ Settings 0 ~ 31
Frequency
–
+
0
Gain
Indicates a Common Edit display.
COMMON
Drum Key
Indicates a display for editing a single key
(in this case, C 0)
149
MOTIF Reference
Voice Edit mode
Reference Voice mode
4 Select a key to be edited.
•To edit parameters common to the entire Drum
voice (all keys), press the [DRUM KITS] button.
•To edit parameters of an individual Drum key
(element), first press the NUMBER [1] button,
then press the appropriate key on the keyboard.
5 Select the menu you wish to edit by pressing the
[F1]-[F6] and [SF1]-[SF5] buttons.
6 Edit the parameters for the selected voice.
7 Store the settings edited in step #6 to the User
Memory as required.
8 Press the [EXIT] button to exit from the Voice Edit
mode.
•For detailed instructions on steps #5 - #6, see the
explanations below.
•For details on step #7, refer to “Voice Store
mode” on page 159.
■ Common (to all keys) edit
● [F1]-[SF1] Drum Common General Name
Same as in Normal Voice Common Edit. See
page 130.
● [F1]-[SF3] Drum Common General
Master EQ Offset
Same as in Normal Voice Common Edit. See
page 131.
● [F1]-[SF5] Drum Common General Other
Same as in Normal Voice Common Edit. See
page 132.
● [F2] Drum Common Output
Same as in Normal Voice Common Edit. See
page 132. In addition, the following two parameters
are also available.
• InsRevSend (Insertion Reverb Send)
Determines the Send level for the entire Drum voice (all
keys), sent from Insertion Effect 1/2 to the Reverb effect.
• InsChoSend (Insertion Chorus Send)
Determines the Send level for the entire Drum voice (all
keys), sent from Insertion Effect 1/2 to the Chorus effect.
❏ Settings 0 ~ 127
n Send level (to Reverb and Chorus) cannot be set
independently for each Drum key; the value is
fixed at 127 (maximum).
● [F3]-[SF1] Drum Common Arpeggio
Arpeggio type
Same as in Normal Voice Common Edit. See
page 132.
● [F3]-[SF2] Drum Common Arpeggio
Arpeggio limit
Same as in Normal Voice Common Edit. See
page 133.
● [F3]-[SF3] Drum Common Arpeggio
Play FX (Effect)
Same as in Normal Voice Common Edit. See
page 133.
● [F4]-[SF1], [SF2], [SF3] Drum Common
Control Set Set1/2, Set3/4, Set5/6
Same as in Normal Voice Common Edit. See
page 134.
Please note that the Element Switch parameter is
not available in Drum Voice Common edit.
● [F6]-[SF1] Drum Common Effect Connection
Same as in Normal Voice Common Edit. See
page 137.
The only difference here is that “KEY: OUT”
appears in the Drum Common Effect display
instead of “EL: OUT” (in Normal Common Effect).
DRUM KITS
FAVORITES
COMMON
150
MOTIF Reference
Voice Edit mode
Reference Voice mode
● [F6]-[SF2], [SF3], [SF4], [SF5] Drum Common
Effect Parameter Insertion 1, 2, Reverb,
Chorus
The number of parameters and values available
differs depending on the currently selected effect
type. For more information, see the Effect Type List
in the separate Data List booklet.
■ Drum Key Edit
● [F1]-[SF1] Drum Key Oscillator Wave
From this display you can select the desired wave or
Normal voice used for the individual Drum key.
• Type
Determines whether a Wave or a Normal voice is to be
used for the selected key. Also, use the Bank, Number and
Category parameters below to specify the desired Wave or
Normal voice.
❏ Settings pre wave (Preset wave), voice, usr wave
(User wave)
n When the Type is set to
“voice” here, some
parameters in the Drum Voice Edit mode cannot be
edited.
• ElementSw (Element Switch)
This parameter is available when Type (above) is set to
“pre wave” or “user wave.” This determines whether the
currently selected key is on or off, or in other words,
whether the wave for the key is active or inactive.
❏ Settings on, off
• Bank
This parameter is available when Type (above) is set to
“voice.” Any of the Normal voice banks can be selected.
n Plug-in voices cannot be selected for Drum keys.
• Number
Determines the Wave/Voice number. The number differs
depending on the selected Type.
❏ Settings
When Type is set to “pre wave”: 001 ~ 1309
When Type is set to “voice”: 001 ~ 128
When Type is set to “usr wave”: 001 ~ 256
For more information about available Waves and
Voices, refer to the separate Data List booklet.
• Category
Determines the Category of the Wave/Normal Voice. If you
switch to another Category, the first Wave/Normal Voice
in that Category will be selected.
❏ Settings For more information about the Categories,
refer to the separate Data List booklet.
● [F1]-[SF2] Drum Key Oscillator Output
From this display you can set certain output
parameters for the selected Drum key.
• InsEFOut (Insertion Effect Output)
Determines which Insertion effect (1 or 2) is used to
process each individual Drum key. The “thru” setting lets
you bypass the Insertion effects for the specific key.
❏ Settings thru, ins1 (Insertion Effect 1), ins2
(Insertion Effect 2)
•RevSend (Reverb Send)
Determines the level of the Drum key sound (the bypassed
signal) that is sent to Reverb effect. A setting of “0” results
in no Reverb processing of the Drum key sound. This is
available only when Insertion Effect Output (above) is set
to “thru.”
❏ Settings 0 ~ 127
• ChoSend (Chorus Send)
Determines the level of the Drum key sound (the bypassed
signal) that is sent to Chorus effect. A setting of “0” results
in no Chorus processing of the Drum key sound. This is
available only when Insertion Effect Output (above) is set
to “thru.”
❏ Settings 0 ~ 127
• OutputSel (Output Select)
Determines the specific output(s) for the individual Drum
key signal. You can assign each individual Drum key
sound to be output from a specific hardware output jack
on the rear panel. By installing the optional AIEB2 board,
you can expand the number of assignable outputs.
❏ Settings See below.
* Available only when the optional AIEB2 board has been installed.
LCD Output jacks
Stereo/
Mono
L&R OUTPUT L and R Stereo
asL&R ASSIGNABLE OUTPUT L and R Stereo
as1&2 ASSIGNABLE OUTPUT 1 and 2 on the AIEB2 Stereo
1 : L
2 : R
*
as3&4 ASSIGNABLE OUTPUT 3 and 4 on the AIEB2 Stereo
3 : L
4 : R
*
as5&6 ASSIGNABLE OUTPUT 5 and 6 on the AIEB2 Stereo
5 : L
6 : R
*
asL ASSIGNABLE OUTPUT L Mono
asR ASSIGNABLE OUTPUT R Mono
as1 ASSIGNABLE OUTPUT 1 on the AIEB2 Mono *
as2 ASSIGNABLE OUTPUT 2 on the AIEB2 Mono *
as3 ASSIGNABLE OUTPUT 3 on the AIEB2 Mono *
as4 ASSIGNABLE OUTPUT 4 on the AIEB2 Mono *
as5 ASSIGNABLE OUTPUT 5 on the AIEB2 Mono *
as6 ASSIGNABLE OUTPUT 6 on the AIEB2 Mono *
151
MOTIF Reference
Voice Edit mode
Reference Voice mode
● [F1]-[SF5] Drum Key Oscillator Other
From this display you can set various parameters
related to how the individual notes of the Drum
voice respond to the keyboard and MIDI data.
• AssignMode
When this is set to “single,” double playback of the same
note is prevented. This is useful when two or more
instances of the same note are received nearly
simultaneously, or without a corresponding note off
message. To allow playback of each instance of the same
note, set this to “multi.”
❏ Settings single, multi
n When the Alternate Group (AltGrp) parameter is
set to a setting other than “off,” this parameter is
unavailable, and “---” is shown in the display.
• RcvNoteOff (Receive Note Off)
Determines whether or not the selected Drum key
responds to MIDI Note Off messages. Setting this to “off”
can be useful for cymbal sounds and other sustaining
sounds. This lets you have the selected sounds sustain to
the length of their natural decay — even if you release the
note, or a Note Off message is received.
❏ Settings off, on
n This parameter is effective for Waves selected in
the [F1] - [SF1] Drum Key Oscillator Wave display
(page 150).
• AltGrp (Alternate Group)
Set the Alternate Group to which the Wave is assigned. In
a real drum kit, some drum sounds cannot physically be
played simultaneously, such as open and closed hi-hats.
You can prevent Waves from playing back simultaneously
by assigning them to the same Alternate Group. Up to 127
Alternate Groups can be defined. You can also select “off”
here if you wish to allow the simultaneous playback of
sounds.
❏ Settings off, 1 ~ 127
● [F2]-[SF1]Drum Key Pitch Tune
• Coarse
Determines the pitch of each Drum Key Wave (or Normal
Voice) in semitones.
❏ Settings -48 ~+48
n If a Normal voice has been assigned to the key, this
parameter adjusts the position of its note (not its
pitch) relative to note C3. For example, let’s assume
the original Voice consists of a two-Element piano-
like sound up to note C3 and a two-Element string-
like sound from note C#3 upwards. Adjusting this
Coarse setting by +1 would not change the pitch of
the piano-like sound to C#3. Instead, note C#3 of
the original Voice (i.e., the string-like sound) would
be used.
• Fine
Determines the fine tuning for the pitch of each Drum Key
Wave (or Normal Voice).
❏ Settings -64 ~+63
● [F2]-[SF2] Drum Key Pitch
Velocity Sensitivity
From this display you can determine how the pitch
of the Drum key responds to velocity.
• Pitch
Determines how the pitch of the selected Drum key
responds to velocity. For positive values, the harder you
play the key, the higher the pitch becomes. For negative
values, the harder you play the key, the lower the pitch.
❏ Settings -64 ~+63
● [F3]-[SF1] Drum Key Filter Cutoff
Basic Structure (page 46)
The MOTIF lets you apply a low pass filter and high
pass filter to each individual Drum key — giving
you exceptionally detailed and comprehensive sonic
control over the Drum voice.
n This parameter is effective for Waves selected in
the [F1] - [SF1] Drum Key Oscillator Wave display
(page 150).
• LPF Cutoff
Determines the Cutoff frequency of the Low Pass Filter.
❏ Settings 0 ~ 255
• LPF Reso
Determines the amount of Resonance (harmonic
emphasis) applied to the signal at the Cutoff frequency.
❏ Settings 0 ~ 31
• HPF Cutoff
Determines the Cutoff frequency of the High Pass Filter.
❏ Settings 0 ~ 255
152
MOTIF Reference
Voice Edit mode
Reference Voice mode
● [F3]-[SF2] Drum Key Filter
Velocity Sensitivity
• LPFCutoff
Determines the velocity sensitivity of the Low Pass Filter
Cutoff frequency. Positive settings will cause the cutoff
frequency to rise the harder you play the keyboard and
negative settings will cause it to fall.
❏ Settings -64 ~ 0 ~ +63
● [F4]-[SF1] Drum Key Amplitude Level/Pan
This display not only lets you make basic Level and
Pan settings for the sound of each individual Drum
key, it also gives you some detailed and unusual
parameters for affecting Pan position.
•Level
Determines the output for the selected Drum key (Wave).
This lets you make detailed balance adjustments among
the various sounds of the Drum voice.
❏ Settings 0 ~ 127
•Pan
Determines the stereo Pan position for the selected Drum
key (Wave). This will also be used as the basic Pan position
for the Alternate and Random settings.
❏ Settings L63 (Left) ~ C (Center) ~ R63 (Right)
• AlternatePan
Determines the amount by which the sound of the selected
Drum key is panned alternately left and right for each note
you press. The Pan setting (above) is used as the basic Pan
position.
❏ Settings L64 ~ 0 ~ R63
n This parameter is effective for Drum keys whose
Type parameter (in the Oscillator Wave display,
page 150) has been set to “Preset wave” or “User
wave.”
•RandomPan
Determines the amount by which the sound of the selected
Drum key is panned randomly left and right for each note
you press. The Pan setting (above) is used as the Center
Pan position.
❏ Settings 0 ~ 127
n This parameter is effective for Drum keys whose
Type parameter (in the Oscillator Wave display,
page 150) has been set to “Preset wave” or “User
wave.”
● [F4]-[SF2] Drum Key Amplitude
AEG Velocity Sensitivity
•Level
Determines the velocity sensitivity of the Amplitude
Envelope Generator’s output level. Positive settings will cause
the output level to rise the harder you play the keyboard and,
conversely, negative values will cause it to fall.
❏ Settings -64 ~ 0 ~ +63
● [F4]-[SF3] Drum Key Amplitude AEG
Basic Structure (page 47)
•AttackTime
❏ Settings 0 ~ 127
• Decay1Time
❏ Settings 0 ~ 127
• Decay1Lvl (Level)
❏ Settings 0 ~ 127
• Decay2Time
❏ Settings 0 ~ 126, hold
Decay2 Time = 0~126
Decay2 Time = hold
Attack
Level
Key on
Attack
Time
Decay1
Time
Decay2
Time
Decay1
Level
Attack
Level
Key on
Attack
Time
Decay1
Time
Decay2
Time
Decay1
Level
Time
Level
Time
Level
153
MOTIF Reference
Voice Edit mode
Reference Voice mode
● [F6] Drum Key EQ (Equalizer)
Same as in Normal Voice Element Edit. See
page 148.
n This parameter is effective for Drum keys whose
Type parameter (in the Oscillator Wave display,
page 150) has been set to “Preset wave” or “User
wave.”
Plug-in Voice Edit
Basic Structure (page 43)
◆ Common edit and Element edit
Same as Normal Voice Edit. See page 129.
Unlike with Normal voices, the Plug-in voices only
have one element for editing.
◆ About Plug-in voices and Board voices
The voices of a Plug-in Board installed to the MOTIF
can be divided into two types: Board voices and Plug-in
voices. Board voices are unprocessed, unaltered voices
of the Plug-in board — the “raw material” used for the
Plug-in voices. Plug-in voices, on the other hand, are
edited Board voices — voices that have been specially
programmed and processed for optimum use with the
MOTIF.
Included among the Board voices is a special set of
voices — called Board Custom voices — which can be
edited by a computer connected to the MOTIF, using
special editing software included with the Plug-in
board. (See page 87.)
n Depending on the particular Plug-in board you are using,
some of the parameters described here may not be
available. For details, refer to the relevant owner’s
manual of the Plug-in board.
n For details on the current lineup of available Plug-in
boards, see page 35.
◆ Basic Procedure
Basic Structure (page 70)
1 Press the [VOICE] button to enter the Voice Play
mode. (The indicator lights.)
2 Select a Plug-in voice to be edited.
3 Press the [EDIT] button to enter the Voice Edit
mode. (The indicator lights.)
4 Select an element to be edited.
•To edit the Common parameters, press the
[DRUM KITS] button (which serves as a
“COMMON” button here).
•To edit the Element parameters, press any one of
the NUMBER buttons ([1] - [4]). (Editing is the
same, no matter which NUMBER button you
press.)
5 Select the menu you wish to edit by pressing the
[F1] - [F6] and [SF1] -[SF5] buttons.
6 Edit the parameters for the selected voice.
7 Store the settings edited in step #6 to the User
Memory as required.
8 Press the [EXIT] button to exit from the Voice Edit
mode.
•For detailed instructions on steps #5 - #6, see the
explanations below.
•For details on step #7, refer to “Voice Store
mode” on page 159.
Cannot be eited
Computer
(Voice Editor in CD-ROM
supplied with the Plug-in board)
Copy
Store
Plug-in
Voice Edit
Save
Bulk send/
edit
MOTIF voice parameter
Plug-in voice
Plug-in preset voice
Plug-in user voice
Board voice
Board preset voice
Board custom voice
DRUM KITS
FAVORITES
COMMON
1
2
3
4
ELEMENT/ PERF.PART/ZONE
154
MOTIF Reference
Voice Edit mode
Reference Voice mode
■ Common edit
● [F1]-[SF1] Plug-in Common General Name
Same as in Normal Voice Common Edit. See
page 130.
● [F1]-[SF2] Plug-in Common General
Play mode
Same as in Normal Voice Common Edit. See
page 130.
Please note that Micro Tuning is not available in
Plug-in Voice Common Edit.
● [F1]-[SF3] Plug-in Common General
Master EQ Offset
Same as in Normal Voice Common Edit. See
page 131.
● [F1]-[SF4] Plug-in Common General
Portamento
Same as in Normal Voice Common Edit. See
page 131.
Please note that Portamento Mode and Portamento
Time are not available in Plug-in Voice Common
Edit.
● [F1]-[SF5] Plug-in Common General Other
Same as in Normal Voice Common Edit. See
page 132.
Unlike with Normal Voice Edit, the Upper and
Lower ranges cannot be independently set here.
● [F2] Plug-in Common Output
Same as in Normal Voice Common Edit. See
page 132.
● [F3]-[SF1] Plug-in Common Arpeggio
Arpeggio type
Same as in Normal Voice Common Edit. See
page 132.
● [F3]-[SF2] Plug-in Common Arpeggio
Arpeggio limit
Same as in Normal Voice Common Edit. See
page 133.
● [F3]-[SF3] Plug-in Common Arpeggio
Play FX (Effect)
Same as in Normal Voice Common Edit. See
page 133.
● [F4]-[SF1] Plug-in Common Control Set
Set1/2
Same as in Normal Voice Common Edit. See
page 134.
Please note that Element Switch is not available in
Plug-in Voice Common Edit.
● [F4]-[SF2] Plug-in Common Control Set
Modulation Wheel
From this display you can set how the Plug-in voice
responds to the Modulation wheel, by changing the
control depth for the filter, pitch and amplitude
(volume).
• Filter
Determines the depth of control of the Modulation Wheel
over the filter cutoff frequency. Negative settings result in
reversed Modulation wheel operation (i.e., moving the
wheel up results in less modulation).
❏ Settings -64 ~ 0 ~ +63
• PMod (Pitch Modulation Depth)
Determines the depth of control the Modulation Wheel
has over pitch modulation. The higher the setting, the
greater the depth of control.
❏ Settings 0 ~ 127
• FMod (Filter Modulation Depth)
Determines the depth of control the Modulation Wheel
has over filter cutoff modulation. The higher the setting,
the greater the depth of control.
❏ Settings 0 ~ 127
• AMod (Amplitude Modulation Depth)
Determines the depth of control the Modulation Wheel
has over amplitude modulation. The higher the setting, the
greater the depth of control.
❏ Settings 0 ~ 127
155
MOTIF Reference
Voice Edit mode
Reference Voice mode
● [F4]-[SF3] Plug-in Common Control Set
After Touch
The MOTIF gives you a comprehensive set of after
touch controls for the Plug-in voice, allowing you to
change the pitch and filter settings, and produce
modulation effects (pitch, filter and amplitude)-
simply by pressing down hard on the keys.
• Pitch
Determines the depth of control of keyboard aftertouch
over pitch. You can set a value (in semitones) of up to two
octaves.
❏ Settings -24 ~ 0 ~ +24
• Filter
Determines the depth of control of keyboard aftertouch
over the filter cutoff frequency.
❏ Settings -64 ~ 0 ~ +63
• PMod (Pitch Modulation Depth)
Determines the depth of control that keyboard aftertouch
has over pitch modulation. The higher the setting, the
greater the depth of control.
❏ Settings 0 ~ 127
• FMod (Filter Modulation Depth)
Determines the depth of control that keyboard aftertouch
has over filter cutoff modulation. The higher the setting,
the greater the depth of control.
❏ Settings 0 ~ 127
• AMod (Amplitude Modulation Depth)
Determines the depth of control that keyboard aftertouch
has over amplitude modulation. The higher the setting, the
greater the depth of control.
❏ Settings 0 ~ 127
● [F4]-[SF4] Plug-in Common Control Set
AC (Assignable Controls)
From this display you can assign MIDI Control
Change numbers and determine the degree to which
the assigned controllers affect the filter and the
modulation effects (pitch, filter and amplitude). For
details on using Control Change numbers and the
Assignable Controls, see page 191.
• Source
Determines the MIDI Control Change number used to
control the filter, PMod, FMod, and Amod.
❏ Settings 0 ~ 95
• Filter
Determines the depth of control the Control Change
numbers (set in the Source parameter above) have over the
filter cutoff frequency.
❏ Settings -64 ~ 0 ~ +63
• PMod (Pitch Modulation Depth)
Determines the depth of control the Control Change
messages (set in the Source parameter above) have over
pitch modulation. The larger the setting, the greater the
depth of control.
❏ Settings 0 ~ 127
• FMod (Filter Modulation Depth)
Determines the depth of control the Control Change
messages (set in the Source parameter above) have over
filter cutoff modulation. The larger the setting, the greater
the depth of control.
❏ Settings 0 ~ 127
• AMod (Amplitude Modulation Depth)
Determines the depth of control the Control Change
messages (set in the Source parameter above) have over
amplitude modulation. The larger the setting, the greater
the depth of control.
❏ Settings 0 ~ 127
● [F6]-[SF1] Plug-in Common Effect
Connection
Basic Structure (page 40)
This is the same as in Normal Voice Common
Edit (page 137), with the exception of the following
points.
• EL: OUT settings are not available in Plug-in
Voice Common Edit.
• The parallel setting (Insertion Connection) is
not available in Plug-in Voice Common Edit.
● [F6]-[SF2], [SF3], [SF4], [SF5] Plug-in Common
Effect Parameter Insertion 1, 2, Reverb,
Chorus
The number of parameters and values available
differs depending on the currently selected effect
type. For more information, see the Effect Type List
in the separate Data List booklet.
156
MOTIF Reference
Voice Edit mode
Reference Voice mode
■ Element Edit
● [F1]-[SF1] Plug-in Element Oscillator Wave
From this display you can select the desired Board
Voice used for the element of the Plug-in voice. Keep
in mind that a Plug-in voice only has one element.
• Bank
Determines the Board Voice Bank of the Plug-in voice.
❏ Settings (These depend on the particular Plug-in
board; refer to the relevant owner’s manual
for details.)
• Number
Determines the Board Voice Number.
❏ Settings (These depend on the particular Plug-in
board; refer to the relevant owner’s manual
for details.)
● [F1]-[SF5] Plug-in Element Oscillator Other
From this display you can set how the Plug-in voice
responds to velocity, and transpose the key (pitch)
for the voice.
•Velocity Depth
Determines the velocity sensitivity of the Board voice. For
higher values, the harder you play the keyboard, the louder
the voice becomes.
❏ Settings 0 ~ 127
•Velocity Offset
This lets you specify an offset value for the velocity
sensitivity of the Board voice. In other words, you can
increase the relative velocity (or level) of the voice by a set
amount — so that all the notes you play have the added
velocity.
❏ Settings 0 ~ 127
• Note Shift
Determines the transpose setting for the Board voice, or
the amount (in semitones) by which the pitch is raised or
lowered. The pitch range is two octaves, up or down.
❏ Settings -24 ~ 0 ~ +24
● [F2] Plug-in Element Pitch PEG Time, Level
Basic Structure (page 46)
From this display you can make various time and
level settings for the Pitch EG, which determine
how the pitch of the Board voice changes over time.
The full names of the available parameters are
shown in the chart below, as they appear in the
display.
❏ Settings -64 ~ 0 ~ +63
● [F3] Plug-in Element Filter Cutoff
Basic Structure (page 46)
• HPFCutoff (High Pass Filter Cutoff
frequency)
Determines the Cutoff frequency for the High Pass Filter.
❏ Settings -64 ~ 0 ~ +63
● [F4] Plug-in Element Native
With a Plug-in board installed to the MOTIF, you can
create a Board voice by editing both native parameters
(those parameters exclusive to the particular board) and
unique parameters (related specifically to the MOTIF).
Pressing [F4] gives you access to the native parameters of
the Plug-in board.The parameters will vary depending on
the Plug-in Board. For details about each parameter and its
functions, refer to the Owner’s Manual or the on-line help
that came with your Plug-in Board.
n For details on the current lineup of available Plug-
in boards, see page 35.
INIT ATK DCY1 DCY2 REL DEPTH
TIME --- Attack time --- ---
Release
time
LEVEL
Initial
level
--- --- ---
Release
time
---
Initial
Level
0
Release
Level
Original
Pitch
Attack
Time
Release
Time
Key off
Time
Pitch
157
MOTIF Reference
Voice Edit mode
Reference Voice mode
● [F5] Plug-in Element LFO
Basic Structure (page 47)
From this display you can set the basic LFO
parameters for modulating the pitch to create
vibrato and other special effects.
• Speed
Determines the speed of the LFO waveform. Positive
settings increase the speed and negative settings decrease
it. This is applied as an offset to the same parameter in the
original voice of the Plug-in board.
❏ Settings -64 ~ 0 ~ +63
• Delay
Determines the delay time between the moment you press
note on the keyboard and the moment the LFO comes into
effect. Positive settings lengthen the delay and negative
settings shorten it. This is applied as an offset to the same
parameter in the original voice of the Plug-in board.
❏ Settings -64 ~ 0 ~ +63
• PMod (Pitch Modulation Depth)
Determines the amount by which the LFO waveform
controls the pitch. Positive settings increase the amount
and negative settings decrease it. This is applied as an
offset to the same parameter in the original voice of the
Plug-in board.
❏ Settings -64 ~ 0 ~ +63
● [F6] Plug-in Element EQ (Equalizer)
From this display you can apply equalizer settings
to the Board voice. This is a shelving equalizer with
two bands; one for high frequencies and the other
for low frequencies.
1LowFreq (Low Frequency)
Determines the shelving point for the low frequencies.
The levels of signals below this frequency will be boosted/
attenuated by the amount set in the LoGain parameter.
❏ Settings 32Hz ~ 2.0kHz
2LowGain (Low Gain)
Determines the amount by which signals below the
LoFreq frequency will be boosted/attenuated.
❏ Settings -64 ~ 0 ~ +63
3HighFreq (High Frequency)
Determines the shelving point for the high frequencies.
The levels of signals above this frequency will be boosted/
attenuated by the amount set in the HiGain parameter.
❏ Settings 500Hz ~ 16.0kHz
4HighGain (High Gain)
Determines the amount by which signals above the HiFreq
frequency will be boosted/attenuated.
❏ Settings -64 ~ 0 ~ +63
◆ About Board Custom Voice Editing
You can edit Board Custom voices of the Plug-in Board
by using the Voice Editor software included with the
board.
n Select the Part Number of the Editor software to “1”
when using the software with the Voice mode. Also make
sure to match the basic MIDI receive channel of the
MOTIF (page 258) to the MIDI channel of the Editor
software.
The original Board Custom voices you’ve edited can be
saved and controlled from the computer.
Make sure to save the edited data to a memory card or
connected SCSI device from the MOTIF, since any edited data
in the DRAM of the Plug-in board will be lost when you turn
off the power on the MOTIF.
n For details about how to use the Voice Editor software
included with the Plug-in board, refer to the Online help
of the Voice Editor.
n Editing the above parameters may or may not have much
effect on the sound, depending on the particular Plug-in
board you've installed.
Speed=slow Speed=fast
Time
Time
Short Delay Long Delay
Key on
Key on
LowFreq
LowGain
HighGain
HighFreq
Frequency
-
+
0
1
2
3 4
158
MOTIF Reference
Voice Job mode
Reference Voice mode
Voice Job mode
The Voice Job mode contains various convenient
operations (called “Jobs”), which are useful in editing
and archiving your original voices.
◆ Basic Procedure
1 In the Voice Play mode, select a voice you wish to
execute the Job on.
2 Press the [JOB] button to enter the Voice Job
Mode.
3 Select the desired Job menu by pressing the
appropriate button, [F1] - [F6].
4 Set the relevant Job parameters.
5 Press the [ENTER] button. (The display prompts
you for confirmation.)
6 Press the [INC/YES] button to execute the Job.
After the Job has been completed, a “Completed”
message appears and operation returns to the
original display.
n To cancel the Job, press the [DEC/NO] button.
For Jobs that take longer to process, you will see the
message “Executing…” during processing. If you switch
off the power of the MOTIF while this message is
displayed, you risk corrupting your data.
7 Press the [VOICE] button to exit from Voice Job
mode and return to Voice Play mode.
•For detailed instructions on steps #3 - #4, see the
explanations below.
● [F1] Initialize
This function lets you reset (initialize) all voice
parameters to their default settings. It also allows
you to selectively initialize certain parameters, such
as Common settings, settings for each Element/
Drum key, and so on — very useful when creating a
completely new voice from scratch.
❏ Type of parameter to be initialized
When a Normal v
oice is selected:
ALL, Common, EL1 ~ 4
When a Drum v
oice is selected:
ALL, Common, EL
n If you turn the check mark on, you can select a
Drum key. For details on selecting a key, see “Basic
Operation” on page 75.
When a Plug-in v
oice is selected:
ALL, Common, EL
● [F2] Edit Recall
If you are editing a voice and select a different voice
without storing your edited one, all the edits you’ve
made will be erased. If this happens, you can use
Edit Recall to restore the voice with your latest edits
intact.
● [F3] Copy
From this display you can copy Common and
Element/Drum Key parameter settings from any
Voice to the Voice you are editing. This is useful if
you are creating a Voice and wish to use some
parameter settings from another Voice.
• Source voice
Select a Voice and data type to be copied.
❏ Data type
When a Normal v
oice is selected:
Common, Element 1 ~ 4
When a Drum v
oice is selected:
Common, Drum key C0 ~ C6
When a Plug-in v
oice is selected:
Common, Element
n If the source Voice type (Normal/Drum/Plug-in)
differs from one of the Voice you are currently
editing (destination), you will only be able to copy
Common parameters.
159
MOTIF Reference
Voice Store mode
Reference Voice mode
• Data type of Destination voice (current
selected voice)
If the source is a Normal or Drum Voice and data type is
set to Element or Drum Key, you can set the data type of
the destination Voice.
❏ Data type
When a Normal v
oice is selected:
Element 1 ~ 4
When a Drum v
oice is selected:
Drum key C0 ~ C6
n If you choose to copy Common parameters from
the source, this display will change to “Common.”
● [F4] Bulk Dump
This function lets you send all your edited
parameter settings for the currently selected voice
to a computer or another MIDI device for data
archiving.
n You must set the correct MIDI Device Number in
order to execute a Bulk Dump. For details, see
page 258.
Voice Store mode
Basic Structure (page 63)
This function lets you store your edited voice to User
memory.
When you execute this, the settings for the destination
memory will be overwritten. Important data should always
be backed up to computer, a separate Memory Card or
some other storage device.
◆ Basic Procedure
1 After editing the voice, press the [STORE] button
to enter the Voice Store mode.
2 Select the destination Voice Memory.
3 Press the [ENTER] button. (The display prompts
you for confirmation.)
4 To execute the Store operation, press the [INC/
YES] button. After the voice has been stored, a
“Completed” message appears and operation
returns to the original display.
n To cancel the Store operation, press the [DEC/NO]
button.
For Store operations that take longer to process, you will
see the message “Executing…” during processing. If you
switch off the power of the MOTIF while this message is
displayed, you risk corrupting your data.
160
MOTIF Reference
Function Tree
Reference Performance mode
Performance Mode
Basic Structure (page 42)
Function Tree
This section is devoted to the Performance mode. To see how the Performance mode relates to the entire structure of
the MOTIF and its other modes and functions, see the simplified chart in “Basic Structure” on page 30.
The following detailed chart shows all of the display menus and parameter groups of the Performance modes —
giving you a quick, easy-to-understand overview of the performance-related functions of the MOTIF.
Brackets around a word or phrase (e.g., [F1]) indicate specific button names or panel operations.
[INFO] PERFORMANCE INFO
[PERFORM] PERFORMANCE PLAY
[F1] PERFORMANCE PLAY
[F2] PERFORMANCE AD
[F3] PERFORMANCE VOICE
[SF1] ADD INTERNAL VOICE
[SF2] ADD PLUG-IN VOICE
[SF3] DELETE
[SF4] SET NOTE LIMIT LOW
[SF5] SET NOTE LIMIT HIGH
[F4] PERFORMANCE PORTAMENTO
[F5] PERFORMANCE EG
[F6] PERFORMANCE ARPEGGIO
[CATEGORY] PERFORMANCE CATEGORY SEARCH
[FAV] CATEGORY SEARCH
[F1] SUB CATEGORY1 SELECT
[F2] SUB CATEGORY2 SELECT
[F3] SUB CATEGORY3 SELECT
[F4] SET TO FAVORITE
[F5] CLEAR 1 FAVORITE
[F6] CLEAR ALL FAVORITE
[FAV] FAVORITE SELECT
[F5] CLEAR 1 FAVORITE
[F6] CLEAR ALL FAVORITE
[EDIT] PERFORMANCE EDIT
[COMMON] COMMON
[F1] COMMON
[SF1] NAME
[SF3] MEQ OFFSET
[SF4] PORTA
[SF5] OTHER
[F2] COMMON OUTPUT/MASTER EQ
[SF1] OUTPUT
[SF2] MEQ
[F3] COMMON ARPEGGIO
[SF1] TYPE
[SF2] LIMIT
[SF3] PLAY
[SF4] OUTPUT CHANNEL
[SF5] CLEAR USER ARPEGGIO
[F4] COMMON CONTROLLER ASSIGN
CONTROLLER ASSIGN
[F6] COMMON EFFECT
[SF1] EFFECT CONNECT
[SF2] PLG-EF
[SF3] VARIATION
[SF4] REVERB
[SF5] CHORUS
[PERFORMANCE]
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 275
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 162
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 162
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 163
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 164
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 164
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 164
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 164
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 164
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 164
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 164
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 164
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 165
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 124
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 126
. . . . . . . . . . . . . . . . . . . . . . . . P. 126
. . . . . . . . . . . . . . . . . . . . . . . . P. 126
. . . . . . . . . . . . . . . . . . . . . . . . . P. 126
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 126
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 126
. . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 126
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 127
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 127
. . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 127
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 165
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 165
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 166
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 166
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 166
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 167
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 167
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 167
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 167
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 168
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 168
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 168
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 168
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 168
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 168
. . . . . . . . . . . . . . . . . . . . . . . . P. 132
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 169
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 169
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 169
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 169
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 170
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 170
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 170
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 170
161
MOTIF Reference
Function Tree
Reference Performance mode
[PART SELECTION] PART 1-4
[F6]
[F1] PART VOICE
[SF1] VOICE
[SF2] PLYMODE
[SF3] LIMIT
[SF4] PORTAMENTO
[SF5] OTHER
[F2] PART OUTPUT
[SF1] VOLUME/PAN
[SF2] EFFECT SEND
[F3] PART OUTPUT SELECT
OUTPUT SELECT
[F4] PART TONE
[SF1] TUNE
[SF2] FILTER
[SF3] FEG
[SF4] AEG
[F5] PART RECEIVE SWITCH
[PART SELECTION] PART PLG1-PLG3
[F6]
[F1] PART VOICE
[SF1] VOICE
[SF2] PLYMODE
[SF3] LIMIT
[SF4] PORTAMENTO
[SF5] OTHER
[F2] PART OUTPUT
[SF1] VOLUME/PAN
[SF2] EFFECT SEND
[F3] PART OUTPUT SELECT
OUTPUT SELECT
[F4] PART TONE
[SF1] TUNE
[SF2] FILTER
[SF4] AEG
[F5] PART RECEIVE SWITCH
[EDIT] PERFORMANCE COMPARE
[JOB] PERFORMANCE JOB
[F1] INITIALIZE
[F2] EDIT RECALL
[F3] COPY
[F4] BULK DUMP
[STORE] PERFORMANCE STORE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 170
. . . . . . . . . . . . . . . . . . . . P. 170
. . . . . . . . . . . . . . . . . P. 170
. . . . . . . . . . . . . . . . . . . . . P. 170
. . . . . . . . . . . . . P. 171
. . . . . . . . . . . . . . . . . . . . P. 171
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 172
. . . . . . . . . . . . . . P. 172
. . . . . . . . . . . . . P. 172
. . . . . . . . . . . . . . . . . . . . . . . . P. 173
. . . . . . . . . . . . . . . . P. 173
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 173
. . . . . . . . . . . . . . . . . . . . . P. 173
. . . . . . . . . . . . . . . . . . . P. 173
. . . . . . . . . . . . . . . . . . . . . . P. 173
. . . . . . . . . . . . . . . . . . . . . . P. 174
. . . . . . . . . . . . . . . . . . . . . . . P. 174
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 170
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 170
. . . . . . . . . . . . . . . . . . . . P. 170
. . . . . . . . . . . . . . . . . P. 170
. . . . . . . . . . . . . . . . . . . . . P. 170
. . . . . . . . . . . . . P. 171
. . . . . . . . . . . . . . . . . . . P. 171
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 172
. . . . . . . . . . . . . . P. 172
. . . . . . . . . . . . . P. 172
. . . . . . . . . . . . . . . . . . . . . . . . P. 173
. . . . . . . . . . . . . . . . P. 173
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 173
. . . . . . . . . . . . . . . . . . . . . P. 173
. . . . . . . . . . . . . . . . . . . . P. 173
. . . . . . . . . . . . . . . . . . . . . . P. 174
. . . . . . . . . . . . . . . . . . . . . . . P. 174
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 165
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 175
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 175
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 175
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 175
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 176
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 176
162
MOTIF Reference
Performance Play mode
Reference Performance mode
Performance Play mode
Basic Structure (page 31) · Quick Start Guide (page 88)
In this mode, you can select and play individual User
performances.
n For details about the performances and their memory
(bank) structure, see page 40.
◆ Basic Procedure
Basic Operation (page 67)
1 Press the [PERFORMANCE] button to enter the
Performance Play mode. (The indicator lights.)
2 Select a performance.
3 Set the Keyboard Octave or MIDI transmit
channel.
4 Turn individual parts of the performance on or off
(mute) as desired.
5 Select the menu you wish to edit by pressing the
[F2] - [F6] buttons and edit the parameters in each
display.
6 Store the settings edited in step #5 to the User
Memory as required.
7 Press any other mode button to exit from the
Performance Play mode.
• For detailed instructions on steps #2 - #5, see the
following explanations.
• For details on step #6, refer to “Performance
Store mode” on page 176.
Performance Selection
The explanations here apply to step #2 of the Basic
Procedure above.
Selecting performances is done in basically the same
way as selecting voices (page 124), except for the
following point.
• Since the MOTIF has no Preset performances
and provides only one User bank, selecting a
bank is not necessary.
Keyboard Octave and Keyboard
MIDI transmit channel settings
The explanations here apply to step #3 of the Basic
Procedure on page 162.
The two parameters set here affect all selected
performances. Setting these parameters is the same as
in the Voice Play mode (page 127). Keep in mind that
these parameters cannot be stored to the performance
by using the Performance Store mode (page 176).
Indicates the Keyboard
MIDI transmit channel.
See page 162 for details.
Indicates the current selected Performance.
PERFORM
Indicates the functions
assigned to the respective
Control knobs. See page
256 for details.
Indicates Keyboard Octave setting
set is the [OCTAVE] buttons.
See page 82 for details.
Number
(selected via the
NUMBER [1]-[16]
buttons)
Group
(selected via the GROUP
[A]-[H] buttons)
Performance Program number
(corresponding to Groups A
to H and Numbers 01 to 16)
Bank
Performance nameCategory
Keyboard MIDI transmit channel
Keyboard octave setting
163
MOTIF Reference
Performance Play mode
Reference Performance mode
Performance Part on/off
The explanations here apply to step #4 of the Basic
Procedure on page 162.
n This operation is available also in the Performance Edit
mode.
Performance editing in the
Performance Play mode
The explanations here apply to step #5 of the Basic
Procedure on page 162.
The Performance Play mode lets you perform a variety
of general editing operations on the selected
performance. For more detailed and comprehensive
editing operations, use the Performance Edit mode.
n The parameters that have the same name in the
Performance Play mode and in the Performance Edit
mode have the same functions and settings.
◆ The [ ] Indicator
If you alter any parameters in the Performance Play
mode, the [ ] indicator will appear in the top left of
the display. This indicates that the current
performance has been modified but not yet stored.
n If you select another performance during editing, the [ ]
indicator will disappear and all your edits will be lost.It is
a good idea to store the edited performance data from the
Performance Store mode (page 176). Even if you lose the
performance edited data, you can restore it by using the
Edit Recall function (page 175).
● [F2] Performance Play A/D
From this display you can make settings for the A/
D input parts. The A/D input feature lets you input
external audio (such as from a microphone or
guitar), then process and mix it with the other
sounds of the MOTIF. The audio signal can be
input via the A/D INPUT jack or the mLAN
terminal (if an optional mLAN8E has been
installed).
n In the Utility mode, you can set whether you use the A/
D INPUT jack or the mLAN8E jack as an input jack for
the A/D part. See page 252.
• Volume
Determines the output level of the A/D part.
❏ Settings 0 ~ 127
• Pan
Determines the stereo pan position of the A/D part.
❏ Settings L63 (Left) ~ C (Center) ~ R63 (Right)
• RevSend
Determines the Send level of the A/D part signal sent to
the Reverb effect. For details about effect connection, see
page 40.
❏ Settings 0 ~ 127
• ChoSend
Determines the Send level of the A/D part signal sent to
the Chorus effect. For details about effect connection, see
page 40.
❏ Settings 0 ~ 127
• VarSend(Variation Send)
Determines the Send level of the A/D part signal sent to
the Variation effect. For details about effect connection,
see page 40.
❏ Settings 0 ~ 127
• DryLevel
Determines the level of the A/D part which has not been
processed with the System Effects (Reverb, Chorus,
Variation). See page 252.
❏ Settings 0 ~ 127
• Mono/Stereo
Determines the signal configuration for the the A/D input
audio, or how the signal or signals are routed (stereo or
mono). When the mLAN terminal (with the optional
mLAN8E installed) is set as the input source for the A/D
part, this parameter cannot be set.
❏ Settings stereo, L mono, R mono, L+R mono
ster
eo
Audio received via both A/D INPUT jacks is processed in
stereo.
L (left) mono
Audio received via the L (left) A/D INPUT jack is
processed in mono.
R (left) mono
Audio received via the R (right) A/D INPUT jack is
processed in mono.
L+R mono
Audio received via both A/D INPUT jacks is mixed and
processed in mono.
Press the [MUTE] button so that
its indicator lights.
Press any of the [1] - [4] buttons
you wish to mute.
1
2
3
4
MUTE
SOLO
Edit indicator
164
MOTIF Reference
Performance Play mode
Reference Performance mode
• OutputSel (Output Select)
Determines the output jack assignment for the A/D part.
❏ Settings See below.
* Available only when the optional AIEB2 board has been installed.
● [F3] Performance Play Voices
From this display you can select a voice for each part
and determine the note range it can be played from.
• [SF1] ADD INT (Add Internal Voice)
If no voice has been assigned and the selected part is
blank, press this to enable an Internal voice for the part.
• [SF2] ADD PLG (Add Plug-in Voice)
If no voice has been assigned and the selected part is
blank, press this to enable a Plug-in voice for the part.
• [SF3] DELETE
Pressing this button deletes the voice assignment for the
selected part, leaving the part blank.
• [SF4] LIMIT L (Note Limit Low)
This sets the lowest note of the range over which the voice
of the selected part sounds. Simultaneously hold down
this button and press the desired key on the keyboard to
set the note.
• [SF5] LIMIT H (Note Limit High)
This sets the highest note of the range over which the
voice of the selected part sounds. Simultaneously hold
down this button and press the desired key on the
keyboard to set the note.
● [F4] Performance Play Portamento
From this display you can set the Portamento
parameters for each part. Portamento is used to
create a smooth transition in pitch from the first
note played on the keyboard to the next.
• PortaSw (Portamento Switch)
Determines whether Portamento is on or off for all parts.
(This is a global switch and overrides the individual part
settings in Part Switch below.)
❏ Settings off , on
• Time
Determines the pitch transition time.
This parameter offsets the same parameter in the part edit
(page 171). Higher values result in longer transition times.
❏ Settings -64 ~ +63
• PartSwitch
Determines whether Portamento is on or off for each
individual part.
● [F5] Performance Play
EG(Envelope Generator)
Basic Structure (page 47)
This display contains the basic EG settings, both
volume and filter, for the performance, as well as
the filter’s cutoff frequency and resonance settings.
The settings made here are applied as offsets to the
AEG and FEG settings in the Performance Edit
mode (page 173, page 174).
Same as in Voice Play mode. See page 127 .
LCD Output jack
Stereo/
Mono
L&R OUTPUT L&R Stereo
as1&2 AIEB2 ASSIGNABLE OUTPUT 1&2
Stereo
1 : L
2 : R
*
as3&4 AIEB2 ASSIGNABLE OUTPUT 3&4
Stereo
3 : L
4 : R
*
as5&6 AIEB2 ASSIGNABLE OUTPUT 5&6
Stereo
5 : L
6 : R
*
as1 AIEB2 ASSIGNABLE OUTPUT 1 Mono *
as2 AIEB2 ASSIGNABLE OUTPUT 2 Mono *
as3 AIEB2 ASSIGNABLE OUTPUT 3 Mono *
as4 AIEB2 ASSIGNABLE OUTPUT 4 Mono *
as5 AIEB2 ASSIGNABLE OUTPUT 5 Mono *
as6 AIEB2 ASSIGNABLE OUTPUT 6 Mono *
1
Move the cursor to the desired part,
then move it to the voice bank or
number you wish to set for the part.
2
If the part is blank (i.e., no voice has been assigned),
use these to enable a voice (Internal or Plug-in) for the
part. Once a voice is assigned, select the specific bank
and voice with the [INC/YES] and [DEC/NO] buttons, or
the data dial. You can also use the BANK, GROUP and
NUMBER buttons to select a voice (page 124).
4
Use this to delete the
assigned voice, if desired.
3
Use these to set the note
range, low and high, for
the part’s voice.
165
MOTIF Reference
Performance Edit mode
Reference Performance mode
● [F6] Performance Play Arpeggio
Basic Structure (page 55)
This display contains the basic settings for Arpeggio
playback, including Type and Tempo.
The parameters are same as in the Voice Play
mode (page 127) except for the following one.
• PartSwitch
Determines whether Arpeggio is on or off for the selected
part.
Performance Edit mode
In this mode, Performances can be created and edited.
◆ The [ ] Indicator
If you alter any parameters in Performance Edit Mode,
the [ ] indicator will appear in the top left of the
display. This indicates that the current performance
has been modified but not yet stored.
n Even if you exit to the Performance Play mode, your
edited settings for the current performance will be
maintained — as long as you don’t select another
performance.
n The [ ] indicator is also displayed in the Performance
Play mode.
◆ The Compare Function
This convenient function lets you switch between the
edited performance and its original, unedited condition
— allowing you to listen to the difference between the
two and better hear how your edits affect the sound.
1 In the Performance Edit mode, press the
[COMPARE] button so that its indicator flashes.
The [ ] indicator is shown at the top of the
display (in place of the [ ] indicator), and the
original, unedited performance is restored for
monitoring.
2 Press the [EDIT] button again to disable the
“Compare” function and restore the settings for
your edited Performance. While Compare is active,
you cannot make edits to the performance.
◆ Common (to all parts) edit
and Part edit
Each performance can contain a maximum of four
parts, selected from a total seven parts — four parts
from the Internal tone generator, and three from the
installed Plug-in boards. Use Common Edit to edit the
settings for all of the parts. There are two types of
Voice Edit displays: those for Common Edit, and those
for editing individual parts.
EDIT
COMPARE
166
MOTIF Reference
Performance Edit mode
Reference Performance mode
◆ Basic Procedure
1 Press the [PERFORMANCE] button to enter the
Performance Play mode. (The indicator lights.)
2 Select a Performance to be edited.
3 Press the [EDIT] button to enter the Performance
Edit mode. (The indicator lights.)
4 Select a Part to be edited.
• To edit parameters common to all of the parts,
press the [DRUM KITS] button (which serves as
a “COMMON” button here).
• To edit parameters of the individual parts, select
the desired part with the corresponding
NUMBER button ([1] - [4], or in the case of the
Plug-in parts, [1] - [3]).
To switch between the Part 1 - 4 display and the
Plug-in Part 1 - 3 display, press the [F6] button.
5 Select the menu you wish to edit by pressing the
[F1] - [F6] and [SF1] -[SF5] buttons.
6 Edit the parameters for the selected performance.
7 Store the settings edited in step #6 to the User
Memory as required.
8 Press the [EXIT] button to exit from the
Performance Edit mode.
• For details on step #2, refer to “Performance Play
mode” on page 162.
• For detailed instructions on steps #5 - #6, see the
explanations below.
• For details on step #7, refer to “Performance
Store mode” on page 176.
■ Common edit
● [F1]-[SF1] Common General Name
From this display you can create a name for the
performance. The performance name can contain
up to 10 characters. For detailed instructions on
naming, see “Basic Operation” on page 75.
● [F1]-[SF3] Common General
Master EQ Offset
From this display you can adjust the master (global)
EQ settings for all parts of the selected performance.
The level of each of the four bands (with the
exception of “MID”) can be adjusted. Moreover,
you can also tweak these settings directly from the
four Knobs on the front panel.
Parts to which
Plug-in voices
are assigned
Parts to which
Internal voices are
assigned
Indicates a Common Edit display.
Indicates a display for editing Part 1.
Common
Part1
Part2
Part3
Part4
Plug-in part 1
Plug-in part 2
Plug-in part 3
DRUM KITS
FAVORITES
COMMON
1
2
3
4
ELEMENT/ PERF.PART/ZONE
< Display for editing parts 1 - 4>
[F6] button
< Display for editing Plug-in parts 1 - 3 >
167
MOTIF Reference
Performance Edit mode
Reference Performance mode
❏ Settings -64 ~ +63
● [F1]-[SF4] Common General Portamento
From this display you can set the Portamento
parameters for all parts of the selected performance.
Portamento is used to create a smooth transition in
pitch from the first note played on the keyboard to
the next.
• Switch
Determines whether Portamento is on or off for the entire
performance. Keep in mind that this is a global control;
you can also switch Portamento on and off for individual
parts in Part Switch below.
❏ Settings off, on
• Time
Determines the pitch transition time.
This parameter offsets the same parameter in the part edit
settings (page 170). Higher values result in longer
transition times.
❏ Settings -64 ~ +63
• PartSwitch
Determines whether Portamento is on or off for each
individual part.
● [F1]-[SF5] Common General Other
From this display you can set the control functions
for the Knobs and related parameters.
With the exception of Pitch Bend, which cannot be
set here, these parameters are the same as in the
Voice Edit mode (page 132).
● [F2]-[SF1] Common Output
• Volume
Determines the output level of the selected performance.
You can adjust the overall volume, keeping the balance
between all parts .
❏ Settings 0 ~ 127
• Pan
Determines the stereo pan position of the selected
performance.
This parameter offsets the same parameter in the part edit
setting (page 163).
You can also adjust this parameter using the PAN knob on
the front panel.
❏ Settings L63 (Left) ~ C (Center) ~ R63 (Right)
n A setting of “C” (center) maintains the individual
Pan settings of each Part.
• RevSend
Determines the Send level of the signal sent from Insertion
Effect 1/2 (or the bypassed signal) to the Reverb effect.
You can also adjust this parameter using the REVERB
knob on the front panel.
❏ Settings 0 ~ 127
• ChoSend
Determines the Send level of the signal sent from Insertion
Effect 1/2 (or the bypassed signal) to the Chorus effect.
You can also adjust this parameter using the [CHORUS]
knob on the front panel.
❏ Settings 0 ~127
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
KN 1 KN 2 KN 3 KN 4
168
MOTIF Reference
Performance Edit mode
Reference Performance mode
● [F2]-[SF2] Common MEQ(Master Equalizer)
From this display you can apply five-band
equalization to all parts of the selected performance.
˙
• Shape
Determines whether the equalizer type used is Shelving or
Peaking. The Peaking type attenuates/boosts the signal at
the specified Frequency setting, whereas the Shelving type
attenuates/boosts the signal at frequencies above or below
the specified Frequency setting.
This parameter is available for LOW, MID, and HIGH.
❏ Settings shelv (Shelving type), peak (Peaking type)
• Freq (Frequency)
Determines the center frequency. Frequencies around this
point are attenuated/boosted by the Gain setting.
❏ Settings
LOW: Shelving 32Hz ~ 2.0kHz
Peaking 63Hz ~ 2.0kHz
LOW MID, MID, HIGH MID: 100Hz ~ 10.0kHz
High: 500Hz ~ 16.0kHz
• Gain
Determines the level gain for the Frequency (set above), or
the amount the selected frequency band is attenuated or
boosted.
❏ Settings -12dB ~ 0dB ~ +12dB
• Q (Frequency Characteristic)
This varies the signal level at the Frequency setting to
create various frequency curve characteristics.
❏ Settings 0.1 ~ 12.0
● [F3]-[SF1] Common Arpeggio
Arpeggio type
Basic Structure (page 55)
Same as in Normal Voice Common Edit. See
page 132.
● [F3]-[SF2] Common Arpeggio
Arpeggio
limit
Same as in Normal Voice Common Edit. See
page 133.
● [F3]-[SF3] Common Arpeggio
Play FX (Effect)
Same as in Normal Voice Common Edit. See
page 133.
● [F3]-[SF4] Common Arpeggio
Output channel
From this display you can set a separate MIDI
output channel for the Arpeggio playback data,
letting you have the Arpeggio sound from an
external tone generator or synthesizer.
LOW
5 bands
HIGHHIGHMIDMIDLOWMID
Q(Frequency Characteristic)
Gain
Freq
(
Frequency
)
0
Gain
Freq
Frequency
–
+
0
Frequency
–
+
0
EQ Low
Freq1
EQ Low
Freq2
shelv (Shelving)
peak (Peaking)
Frequency
0.1
12.0
Freq
169
MOTIF Reference
Performance Edit mode
Reference Performance mode
• OutputSwitch
When this is set to on, Arpeggio playback data is output
from the MIDI terminal.
❏ Settings on, off
• TransmitCh
Determines the MIDI transmit channel for Arpeggio
playback data.
❏ Settings 1 ~ 16
● [F4] Common Controller Assign
The controllers and knobs on the front panel can be
used to change and adjust a variety of parameters —
in real time, and simultaneously.
For example, you could use the ASSIGN 1 and 2
knobs to control effect depth for two different
effects, while using the Foot Controller to control
modulation. These control assignments are called
“Controller Assign.” You can have independent
Controller Assign settings for each performance.
❏ Settings (See chart below)
Control Change Numbers
● [F6]-[SF1] Common Effect Connection
Basic Structure (page 40)
This display gives you comprehensive control over
the effects.
• EF PART (Effect part) ➡ VCE INS (Voice
Insertion)
Determines the part to which the Insertion effect is
applied. The Insertion connection type (page 40) depends
on the voice of the selected part.
❏ Settings Part 1 ~ 4, Plug-in Part 1 ~ 3, off
• EF PART (Effect part) ➡ PLG-EF (Plug-in
Efect)
Determines the part to which the Insertion effect is
applied. This parameter is available only when a special
Effect Plug-in board (VH) has been installed.
❏ Settings Part 1~4, Plug-in Part 1~3, A/D, off
• Variation Type
Determines the Variation effect type.
❏ Settings Refer to the Effect Types list in the separate
Data List booklet.
• Variation Return
Determines the Return level of the Variation Effect.
❏ Settings 0 ~ 127
• Variation Pan
Determines the pan position of the Variation effect sound.
❏ Settings L64 (far left) ~cnt (center) ~ R63 (far
right)
• Variation To Reverb
Determines the Send level of the signal sent from the
Variation Effect to the Reverb Effect.
❏ Settings 0 ~ 127
• Variation To Chorus
Determines the Send level of the signal sent from the
Variation Effect to the Chorus Effect.
❏ Settings 0 ~ 127
• Chorus Type
Determines the Chorus effect type.
❏ Settings Refer to the Effect Types list in the separate
Data List booklet.
• Chorus Return Level)
Determines the Return level of the Chorus Effect.
❏ Settings 0 ~ 127
• Chorus Pan
Determines the pan position of the Chorus effect sound.
❏ Settings L64 (far left) ~ cnt (center) ~ R63 (far right)
LCD LCD
00 off 32 off
01 ModWheel 64 Sustain
02 Breath 65 PortaSw
04 FootCtrl 66 Sostenut
05 PortTime 67 Soft
06 Data Ent 72 Release
07 MainVol 74 Bright
10 Panpot 75 Decay
11 Express 84 PortaCtl
16 General 1 91 Effect 1
17 General 2 92 Effect 2
18 General 3 93 Effect 3
19 General 4
Determines the Control Change numbers
for Foot Controllers 1 and 2. To control
these functions, connect Foot Controllers
to the FOOT CONTROLLER jacks on the
rear panel (page 28).
Determines the Control
Change numbers for the
ASSIGN 1 and 2 knobs
on the front panel.
Set the Control Change number for the Breath Controller.
The function set here can be controlled by the Breath Controller
connected to the BREATH CONTROLLER (page 28) jacks on the
rear panel.
170
MOTIF Reference
Performance Edit mode
Reference Performance mode
• Chorus to Reverb
Determines the Send level of the signal sent from the
Chorus Effect to the Reverb Effect.
❏ Settings 0 ~ 127
• Reverb Type
Determines the Reverb effect type.
❏ Settings Refer to the Effect Types list in the separate
Data List booklet.
• Reverb Return
Determines the Return level of the Reverb Effect.
❏ Settings 0 ~ 127
• Reverb Pan
Determines the pan position of the Reverb effect sound.
❏ Settings L64 (far left) ~ cnt (center) ~ R63 (far right)
● [F6]-[SF2], [SF3], [SF4], [SF5]
Common Effect Parameter
Plug-in Inser
tion, Reverb, Chorus,
Variation
Basic Structure (page 39)
The number of parameters and values available
differs depending on the currently selected effect
type. For more information, see the Effect Type List
in the separate Data List booklet.
■ Part edit
● [F1]-[SF1] Part Voice V
oice
You can select a voice for each part. When the
cursor is located at the Bank, you can select a voice
by using the BANK, GROUP, NUMBER button
with the [TRACK SELECT] indicator off (page 124
~ page 125).
• Part Switch
Set each part to on or off.
❏ Settings on, off
• Bank
Select a Voice Bank (page 124) for each part. For details
about the Plug-in Voice Bank, refer to the Owner’s Manual
for your Plug-in Board.)
• Number
Select a Voice Program number (page 124) for each part.
For details about the Plug-in Voice Program number, refer
to the Owner’s Manual for your Plug-in Board.)
● [F1]-[SF2] Part Voice Play Mode
• Mono/Poly
Select monophonic or polyphonic playback for each part.
Select whether the Voice is played back monophonically
(single notes only) or polyphonically (multiple
simultaneous notes).
❏ Settings Mono, Poly
n This parameter is not available for the part to
which the Drum Voice is assigned.
• ArpeggioSw (Arpeggio Switch)
Switch the Arpeggio for the currently selected Part on or off.
❏ Settings on, off
● [F1]-[SF3] Part Voice Limit
• Note Limit H, L (High, Low)
Set the lowest and highest notes of the keyboard range for
each Part. Each Part will only sound for notes played
within its specified range.
❏ Settings C -2~G8
n If you specify the highest note first and the lowest
note second, for example “C5 to C4,” then the note
range covered will be “C-2 to C4” and “C5 to G8.”
n You can set the note by pressing the keyboard
while holding the [INFORMATION] button.
n When a Plug-in voice is assigned to a part of the
selected Performance, some parameters may not
be available depending on the installed Plug-in
board.
• Velocity Limit H, L (High, Low)
Set the minimum and maximum values of the velocity
range within which each Part will respond. Each Part will
only sound for notes played within its specified velocity
range.
❏ Settings 1~127
n If you specify the maximum value first and the
minimum value second, for example “93 to 34,”
then the velocity range covered will be “1 to 34”
and “93 to 127.”
171
MOTIF Reference
Performance Edit mode
Reference Performance mode
● [F1]-[SF4] Part Voice Portamento
Set the Portamento parameters for each part.
Portamento is used to create a smooth transition in
pitch from the first note played on the keyboard to
the next.
• Switch
Switch Portamento on or off.
❏ Settings off,on
• Time
Set the pitch transition time. Higher values mean longer
transition times.
❏ Settings 0 ~127
• Mode
Set the Portamento mode.
❏ Settings fingered, fulltime
fi
ngered
Portamento is only applied when you play legato (playing
the next note before releasing the previous one).
fulltime
Portamento is always applied.
n The Mode setting is not available for the Plug-in
part.
n These Portamento parameters above are not
available for the part to which the Drum voice is
assigned.
● [F1]-[SF5] Part Voice Other
• PB (Pitch Bend) Upper, Lower
... When editing part s 1 - 4:
These two parameters determine the pitch change range
(in semitones) of the Pitch Bend wheel for the part’s voice.
For example, a Lower setting of -12 would result in the
pitch being lowered up to a maximum of one octave (12
semitones) when the Pitch Bend wheel is moved
downwards. Similarly, setting the Upper parameter to
+12 would result in a maximum pitch rise of one octave
when the wheel is moved upwards.
❏ Settings -48 ~0 ~+24
• PB (Pitch Bend) Range
... When editing Plug-in parts 1 - 3, or when a
Drum voice is selected:
Determines the pitch change range (in semitones) of the
Pitch Bend wheel for the Plug-in part’s voice (or Drum
voice). Unlike the Pitch Bend setting for parts 1 - 4 above,
the Upper and Lower ranges for the Plug-in parts cannot
be set independently.
❏ Settings -24 ~ 0 ~ +24
• VelSensDpt (Velocity Sensitivity Depth)
Determines the velocity sensitivity of the part’s voice, or
how much the level of the voice changes in response to
your playing strength (velocity). The higher the value, the
more the voice changes in response to changes in your
playing strength.
❏ Settings 0~127
Changes to actual velocity for different
Velocity Sensitivity Depth settings
n The settings here apply when Velocity Sensitivity Offset
(below) is set to a median or neutral value of “64.”
• VelSensOfst (Velocity Sensitivity Offset)
Determines the amount by which received velocities are
adjusted for the actual velocity effect. This lets you raise
or lower all velocities by the same amount — allowing you
to automatically compensate for playing too strongly or too
softly.
❏ Settings 0 ~ 127
Changes to actual velocity for different Velocity
Sensitivity Offset settings.
n The settings here apply when Velocity Sensitivity Depth
(above) is set to a median or neutral value of “64.”
offset=64
Received velocity
Actual resulting
velocity (affecting
he tone generator)
depth=64
offset=64
depth=32
offset=64
depth=0
offset=64
depth=127
offset=64
172
MOTIF Reference
Performance Edit mode
Reference Performance mode
In the first example, Offset is set to “0,” lowering all
received velocities by 64. This creates a lower velocity
“plateau” — all of your softer playing (up to a velocity
of 64) results in the same actual velocity. Also no
matter how strongly you play, the actual velocity value
never exceeds 64.
In the second example, Offset is set to a neutral value of
“64,” creating a linear relationship between received
and actual velocity. In other words, the velocity at
which you play is relayed to the tone generator as is —
with no offset.
In the third example, Offset is at the maximum of
“127,” which raises all received velocities by 64. This
creates a “clipping” effect in the higher velocities — no
matter how strongly you play (past a velocity of 64),
the actual velocity value will always be 127
(maximum).
● [F2]-[SF1] Part Output Volume/Pan
• Volume
Determines the volume for each part, giving you detailed
control over the level balance among the parts.
❏ Settings 0~127
• Pan
Determines the stereo pan position for each part.
❏ Settings L64 (far left) ~ cnt (center) ~ R63 (far
right)
• Voice Pan
Determines whether the individual pan settings for each
voice (made in the Voice Edit mode) are applied or not.
Keep in mind that the settings made in Pan above are
applied as offsets to the Voice Edit settings. When this is
set to “off,” the basic pan position for the selected part is
set to center.
❏ Settings on, off
n This parameter is not available for the Plug-in
parts.
● [F2]-[SF2] Part Output Effect Send
• RevSend (Reverb Send)
Determines the send level for the Reverb effect of the
selected part, giving you detailed control over the Reverb
balance among the parts.
❏ Settings 0~127
• ChoSend (Chorus Send)
Determines the send level for the Chorus effect of the
selected part, giving you detailed control over the Chorus
balance among the parts.
❏ Settings 0~127
• VarSend (Variation Send)
Determines the send level for the Variation effect of the
selected part, giving you detailed control over the Variation
balance among the parts.
❏ Settings 0~127
• Dry Level
Determines the level of the unprocessed (dry) sound of the
selected part, letting you control the overall effect balance
among the parts.
❏ Settings 0~127
When Offset=0
When Offset=64
When Offset=127
127
0 12764
127
0 12764
127
0 12764
Received velocity
Received velocity
Actual resulting
velocity (affecting
the tone generator)
Actual resulting
velocity (affecting
the tone generator)
Actual resulting
velocity (affecting
the tone generator)
Received velocity
173
MOTIF Reference
Performance Edit mode
Reference Performance mode
● [F3] Part Output Select
From this display you can set certain output
parameters for the selected part.
• InsEF (Insertion Effect)
This shows whether the Insertion effect is applied or not
for each part. This is for display purposes only and cannot
be set here. To set this, see “EF PART” (Effect Part) on
page 40.
• OutputSel (Output Select)
Determines the specific output(s) for the individual part.
You can assign each individual part’s voice to be output
from a specific hardware output jack on the rear panel. By
installing the optional AIEB2 board, you can expand the
number of assignable outputs.
❏ Settings See below.
*Available only when the optional AIEB2 board has been installed.
● [F4]-[SF1] Part Tone Tune
• NoteShift
Determines the pitch (key transpose) setting for each part
in semitones.
❏ Settings -24~+24
• Detune
Determines the fine tuning for each part.
❏ Settings -12.8Hz ~+12.7Hz
● [F4]-[SF2] Part Tone Filter
Basic Structure (page 46)
From this display you can set various Filter related
settings, to change the tonal qualities of the selected
part’s voice.
• Cutoff
Determines the cutoff frequency for each part.
This parameter is available for the LPF when the filter
used by the part is a combination type of LPF and HPF.
❏ Settings -64 ~ 0 ~ +63
• Resonance
Determines the amount of filter resonance or emphasis of
the Cutoff Frequency for each part.
❏ Settings -64 ~ 0 ~ +63
• FEG Depth
Determines the Filter Envelope Generator depth (amount
of Cuttoff frequency) for each part.
❏ Settings 0 ~ 127
n The FEG Depth setting is not available for the
Plug-in parts.
● [F4]-[SF3] Part Tone FEG
Basic Structure (page 47)
From this display you can set the FEG (Filter Envelope
Generator) parameters for each part. The following
parameters offset the same parameters in the Voice
(Element) Edit mode (page 142).
• Attack
Determines the FEG Attack Time for each part.
❏ Settings -64 ~ 0 ~ +63
• Decay
Determines the FEG Decay Time for each part.
❏ Settings -64 ~ 0 ~ +63
• Sustain
Determines the FEG Sustain Level for each part.
❏ Settings -64 ~ 0 ~ +63
LCD Output jacks
Stereo/
Mono
L&R OUTPUT L and R Stereo
asL&R ASSIGNABLE OUTPUT L and R Stereo
as1&2 ASSIGNABLE OUTPUT 1 and 2 on the AIEB2
Stereo
1 : L
2 : R
*
as3&4 ASSIGNABLE OUTPUT 3 and 4 on the AIEB2
Stereo
3 : L
4 : R
*
as5&6 ASSIGNABLE OUTPUT 5 and 6 on the AIEB2
Stereo
5 : L
6: R
*
asL ASSIGNABLE OUTPUT L Mono
asR ASSIGNABLE OUTPUT R Mono
as1 ASSIGNABLE OUTPUT 1 on the AIEB2 Mono *
as2 ASSIGNABLE OUTPUT 2 on the AIEB2 Mono *
as3 ASSIGNABLE OUTPUT 3 on the AIEB2 Mono *
as4 ASSIGNABLE OUTPUT 4 on the AIEB2 Mono *
as5 ASSIGNABLE OUTPUT 5 on the AIEB2 Mono *
as6 ASSIGNABLE OUTPUT 6 on the AIEB2 Mono *
drum
This setting is for Drum voice parts. When this is
selected, the output destination settings for each
Drum key (made in Drum Key Oscillator Output,
page 149) are enabled.
Mono
174
MOTIF Reference
Performance Edit mode
Reference Performance mode
• Release
Determines the FEG Release Time for each part.
❏ Settings -64 ~ 0 ~ +63
n The FEG settings are not available for Plug-in
parts or parts to which Drum voices have been
assigned.
● [F4]-[SF4] Part Tone AEG
Basic Structure (page 47)
From this display you can set the basic AEG
(Amplitude Envelope Generator) parameters for
each part. The following parameters offset the
same parameters in the Voice (Element) Edit
mode (page 145).
• Attack
Determines the AEG Attack Time for each part.
❏ Settings -64~0~+63
• Decay
Determines the AEG Decay Time for each part.
❏ Settings -64~0~+63
• Sustain
Determines the AEG Sustain Level for each part.
❏ Settings -64~0~+63
n The Sustain level setting is not available for Plug-in
parts or parts to which Drum voices have been
assigned.
• Release
Determines the AEG Release Time for each part.
❏ Settings -64~0~+63
n The Release Time setting is not available for the
part to which the Drum Voice is assigned.
● [F5] Part Receive Switch
From this display you can set how each individual
part responds to various MIDI data, such as Control
Change and Program Change messages. When the
relevant parameter is set to “on,” the corresponding
part responds to the appropriate MIDI data.
Note that two different display types are provided
(see below). Each display type features the same
settings in a different format; use the type you feel
most comfortable with.
[SF5]button
175
MOTIF Reference
Performance Job mode
Reference Performance mode
Performance Job mode
The Performance Job mode contains various
convenient operations (called “Jobs”), including
initializing (resetting) performance data or recalling
previous edits.
◆ Basic Procedure
1 In the Performance Play mode, select a
performance you wish to execute the Job on.
2 Press the [JOB] button to enter the Performance
Job Mode.
3 Select the desired Job menu by pressing the
appropriate button, [F1] - [F4].
4 Set the relevant Job parameters.
5 Press the [ENTER] button. (The display prompts
you for confirmation.)
6 Press the [INC/YES] button to execute the Job.
After the Job has been completed, a “Completed”
message appears and operation returns to the
original display.
n To cancel the Job, press the [DEC/NO] button.
For Jobs that take longer to process, you will see the
message “Executing…” during processing. If you switch
off the power of the MOTIF while this message is
displayed, you risk corrupting your data.
7 Press the [PERFORMANCE] button to exit from
Performance Job mode and return to Performance
Play mode.
• For detailed instructions on steps #3 - #4
, see the
explanations below.
● [F1] Initialize
This function lets you reset (initialize) all
performance parameters to their default settings. It
also allows you to selectively initialize certain
parameters, such as Common settings, settings for
each part, and so on — very useful when creating a
completely new performance from scratch.
❏ Type of parameter to be initialized
ALL
All settings for the selected performance are initialized.
Common
Common parameter settings for the selected performance
are initialized.
Part 1 ~ 4, PLG 1 ~ 3
Part parameter settings for the selected performance are
initialized.
● [F2] Edit Recall
If you are editing a performance and select a
different performance without storing your edited
one, all the edits you’ve made will be erased. If this
happens, you can use Edit Recall to restore the
performance with your latest edits intact.
● [F3] Copy
From this display you can copy Common and Part
parameter settings from any performance to the
performance you are editing. This is useful if you
are creating a performance and wish to use some
parameter settings from another performance.
Source performance
Destination performance
(currently selected performance)
176
MOTIF Reference
Performance Store mode
Reference Performance mode
• Source performance
Select a performance and data type to be copied.
❏ Data type Part 1 ~ 4, Plug 1 ~ 3
• Data type of Destination performance
(current selected performance)
Set the Part of the destination Performance.
❏ Data type Part 1 ~ 4, Plug 1 ~3, Arp, Effect (Reverb,
Chorus)
n If you choose Arp (Arpeggio) or Effect, the
Arpeggio data or Effect settings for the Voice
assigned to the source Part will be copied.
● [F4] Bulk Dump
This function lets you send all your edited
parameter settings for the currently selected
performance to a computer or another MIDI device
for data archiving.
n You must set the correct MIDI Device Number in
order to execute a Bulk Dump. For details, see
page 258.
Performance Store mode
Basic Structure (page 63)
This function lets you store your edited performance to
User memory.
When you execute this, the settings for the destination
memory will be overwritten. Important data should always
be backed up to computer, a separate memory card or some
other storage device.
◆ Basic Procedure
1 After editing the performance, press the [STORE]
button to enter the Performance Store mode.
2 Select the destination Performance memory
(number).
3 Press the [ENTER] button. (The display prompts
you for confirmation.)
4 To execute the Store operation, press the [INC/
YES] button. After the performance has been
stored, a “Completed” message appears and
operation returns to the original display.
n To cancel the Store operation, press the
[DEC/NO] button.
For Store operations that take longer to process, you will
see the message “Executing…” during processing. If you
switch off the power of the MOTIF while this message is
displayed, you risk corrupting your data.
177
MOTIF Reference
Function Tree
Reference Song mode
Song Mode
Basic Structure (page 30)
Function Tree
This section is devoted to the Song mode. To see how the Song mode relates to the entire structure of the MOTIF
and its other modes and functions, see the simplified chart in “Basic Structure” on page 30.
The following detailed chart shows all of the display menus and parameter groups of the Song modes — giving you a
quick, easy-to-understand overview of the song-related functions of the MOTIF.
Brackets around a word or phrase (e.g., [F1]) indicate specific button names or panel operations.
[INFORMATION] SONG INFORMATION
[SONG] SONG PLAY
[F1] SONG PLAY
[F2] SONG GRID GROOVE
[F3] SONG TRACK OUTPUT CHANNEL
[F4] SONG TRACK LOOP ON/OFF
[F5] COPY PHRASE
[F6] SONG CHAIN PLAY/EDIT
[REC] SONG RECORD
SONG REC SETUP
[F1] SETUP
[F2] VOICE
[F3] ARP
[PLAY] SONG RECORDING
[F1] SETUP
[F2] VOICE
[STOP] SONG PLAY
[EDIT] SONG EDIT
[F1] CHANGE
[F5] INSERT
[F6] DELETE
[F2] VIEW FILTER
[F5] CLEAR ALL
[F6] SET ALL
[JOB] SONG JOB
[F1] UNDO/REDO
[F2] NOTE JOB LIST
QUANTIZE
MODIFY VELOCITY
MODIFY GATE TIME
CRESCENDO
TRANSPOSE
GLIDE
CREATE ROLL
SORT CHORD
SEPARATE CHORD
[F3] EVENT JOB LIST
SHIFT CLOCK
COPY EVENT
ERASE EVENT
EXTRACT EVENT
CREATE CONTINUOUS DATA
THIN OUT
MODIFY CONTROL DATA
BEAT STRETCH
[F4] MEASURE JOB LIST
CREATE MEASURE
DELETE MEASURE
[SONG]
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 275
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 179
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 179
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 181
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 182
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 182
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 183
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 183
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 183
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 184
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 184
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 188
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 189
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 183
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 184
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 188
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 184
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 189
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 189
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 190
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 190
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 192
. . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 192
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 192
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 193
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 193
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 193
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 194
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 195
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 195
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 196
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 196
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 196
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 196
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 197
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 198
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 198
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 198
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 198
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 199
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 199
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 199
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 200
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 200
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 200
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 201
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 201
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 201
178
MOTIF Reference
Function Tree
Reference Song mode
[MIX] SONG MIX
[INFORMATION] MIX INFORMATION
[MIX] MIX PART
[F1] MIX VOLUME/PAN
[F2] MIX AD
[F3] MIX VOICE
[F4] MIX EFFECT SEND
[F5] MIX TEMPLATE
[EDIT] MIXING EDIT
[COMMON]
[F1] COMMON GENERAL
[SF1] MEQ OFFSET
[SF5] OTHER
[F2] COMMON MASTER EQ
[F3] COMMON ARPEGGIO
[SF1] TYPE
[SF2] LIMIT
[SF3] PLAY FX
[SF4] OUTPUT CHANNEL
[SF5] CLEAR USER ARPEGGIO
[F4] COMMON CONTROLLER ASSIGN
[F6] COMMON EFFECT
[SF1] EFFECT CONNECT
[SF2] PLG-EF
[SF3] VARIATION
[SF4] REVERB
[SF5] CHORUS
[PART SELECTION]
[F1] PART VOICE
[SF1] VOICE
[SF2] PLAYMODE
[SF3] LIMIT
[SF4] PORTAMENTO
[SF5] OTHER
[F2] PART OUTPUT
[SF1] VOLUME/PAN
[SF2] EFFECT SEND
[F3] PART OUTPUT SELECT
OUTPUT SELECT
[F4] PART TONE
[SF1] TUNE
[SF2] FILTER
[SF3] FEG
[SF4] AEG
[F5] PART RECEIVE SWITCH
[EDIT] MIX COMPARE
[JOB] MIX JOB
[F1] INITIALIZE
[F2] EDIT RECALL
[F3] COPY
[F4] BULK DUMP
[F5] COPY FROM PERFORMANCE
[STORE] MIX STORE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 205
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 205
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 205
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 206
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 206
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 206
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 206
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 206
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 207
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 207
. . . . . . . . . . . . . . . . . . . . . . . . . . . P. 208
. . . . . . . . . . . . . . P. 208
. . . . . . . . . . . . . . . . . . . . P. 208
. . . . . . . . . . . . . . . . . . . . . . . . P. 209
. . . . . . . . . . . . . . . . . . . . . . . . . . P. 209
. . . . . . . . . . . . . . . . . . . . . P. 209
. . . . . . . . . . . . . . . . . . . . . P. 209
. . . . . . . . . . . . . . . . . . . P. 209
. . . . . . . . . . P. 209
. . . . P. 209
. . . . . . . . . . . . . . . P. 209
. . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 210
. . . . . . . . . . P. 210
. . . . . . . . . . . . . . . . . . . . P. 210
. . . . . . . . . . . . . . . . P. 210
. . . . . . . . . . . . . . . . . . . P. 210
. . . . . . . . . . . . . . . . . . P. 210
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 210
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 210
. . . . . . . . . . . . . . . . . . . . P. 210
. . . . . . . . . . . . . . . . P. 210
. . . . . . . . . . . . . . . . . . . . . P. 210
. . . . . . . . . . . . . P. 210
. . . . . . . . . . . . . . . . . . . . P. 210
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 211
. . . . . . . . . . . . . . P. 211
. . . . . . . . . . . . . . P. 211
. . . . . . . . . . . . . . . . . . . . . . . . P. 211
. . . . . . . . . . . . . . . . . P. 211
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 211
. . . . . . . . . . . . . . . . . . . . . P. 211
. . . . . . . . . . . . . . . . . . . . P. 211
. . . . . . . . . . . . . . . . . . . . . . P. 211
. . . . . . . . . . . . . . . . . . . . . . P. 211
. . . . . . . . . . . . . . . . . . . . . . . P. 212
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 212
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 212
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 212
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 213
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 213
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 213
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 213
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 214
[F5] TRACK JOB LIST
COPY TRACK
EXCHANGE TRACK
MIX TRACK
CLEAR TRACK
NORMALIZE PLAY EFFECT
DIVIDE DRUM TRACK
PUT PHRASE TO ARP
[F6] SONG JOB LIST
COPY SONG
SPLIT SONG TO PATTERN
CLEAR SONG
SONG NAME
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 201
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 202
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 202
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 202
. . .. . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 202
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 203
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 203
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 203
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 203
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 203
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 204
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 204
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 204
179
MOTIF Reference
Song Play mode
Reference Song mode
Song Play mode
Basic Structure (page 67) · Quick Start Guide (page 77)
In this mode, you can select and play individual User
songs.
n For details about songs and their track and memory
structure, see page 51.
◆ Basic Procedure
Basic Operation (page 67)
1 Press the [SONG] button to enter the Song Play
mode. (The indicator lights.)
2 Select a song.
3 Start/Stop song playback.
4 Make necessary or desired settings (e.g., transpose,
tempo, location, individual track on/off status, and
so on) in the above display.
5 Select the menu you wish to edit by pressing the
[F2] - [F6] buttons and edit the parameters in each
display.
6 Set a Song Scene.
7 Repeat steps #3 through #6 as desired.
8 Press any other mode button to exit from the Song
Play mode.
• For detailed instructions on steps #2, 4, 5
, and 6,
see the following explanations.
• For details on step #3, refer to “Quick Start
Guide” on page 78.
Song Selection
The explanations here apply to step #2 of the Basic
Procedure above.
Song track number
and data status
Currently selected song
Song track on/off status
SONG
Indicates muted track.
Indicates soloed track (page 180).
In addition to MIDI sequence data,
the sample data has been recorded.
(Indicates ansample track.)
MIDI sequence data
has been recorded.
(Indicates a MIDI track.)
No data has been recorded.
Location setting for
the selected song
Tempo for the selected song
❒ Setting 001.0~300.0
Measure : Beat
(for current playback location)
❒ Setting Depends on the song data
Time signature for the selected song
❒ Setting 1/16 ~ 16/16, 1/8 ~ 16/8, 1/4 ~ 8/4
Transpose setting (for entire song)
Can be adjusted in semitones.
For example, when a value of +12 is set,
the pitch of all of the data becomes one octave higher.
❒ Setting -36 ~ +36
Song nameSong number
Start playbackStop playback
n The explanations here apply when
these four button indicators are off.
1
2
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
DRUM KITS
FAVORITES
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/ PERF.PART/ZONE
180
MOTIF Reference
Song Play mode
Reference Song mode
1 Press any of the GROUP [A] - [D] buttons to select
a Group.
n Each letter group contains sixteen song numbers,
and pressing the appropriate letter selects the first
song in that letter’s group. For example, press
button [A] to select song 01, press button [B] to
select song 17 and so on. (See chart below.)
2 Press any of the NUMBER [1] - [16] buttons to
select a Song and return to the Song Play display.
● Song numbers and the corresponding Group/
Numbers
You can also select a song by moving the cursor to the
song number location and using the [INC/YES] and
[DEC/NO] buttons or the data dial.
Location
The explanations here apply to step #4 of the Basic
Procedure on page 179.
The Song Play mode has a convenient Location
function that lets you jump to user-specified parts of a
song. This lets you assign a specific measure number
in the selected song, and instantly jump to the assigned
measure — either during playback or when the song is
stopped. Two Locations can be assigned.
■ Assigning Locations
Select the desired measure in the recorded song for the
Location. (Highlight “MEAS” and use the [INC/YES]
and [DEC/NO] buttons or data dial.) Then, to assign
the measure to Location 1, simultaneously hold down
the [SET LOCATE] button and press the [G] button.
To assign Location 2, use the [H] button.
■ Jumping to an assigned Location
You can instantly jump to the assigned Location 1 or 2
by simultaneously holding down the [LOCATE] button
and pressing the [G] button (for Location 1) or the
[H] button (for Location 2).
Song track on/off — Solo and Mute
The explanations here apply to step #4 of the Basic
Procedure on page 179.
● To mute a track
Song Number Group Number Song Number Group Number
001 A 1 033 C 1
002 A 2 034 C 2
003 A 3 035 C 3
004 A 4 036 C 4
005 A 5 037 C 5
006 A 6 038 C 6
007 A 7 039 C 7
008 A 8 040 C 8
009 A 9 041 C 9
010 A 10 042 C 10
011 A 11 043 C 11
012 A 12 044 C 12
013 A 13 045 C 13
014 A 14 046 C 14
015 A 15 047 C 15
016 A 16 048 C 16
017 B 1 049 D 1
018 B 2 050 D 2
019 B 3 051 D 3
020 B 4 052 D 4
021 B 5 053 D 5
022 B 6 054 D 6
023 B 7 055 D 7
024 B 8 056 D 8
025 B 9 057 D 9
026 B 10 058 D 10
027 B 11 059 D 11
028 B 12 060 D 12
029 B 13 061 D 13
030 B 14 062 D 14
031 B 15 063 D 15
032 B 16 064 D 16
Specify a measure number
to be registered.
In this example, the selected
measure is assigned to Location
1. The current settings for
Locations 1 and 2 are shown at
the top right of the display.
SEQ
TRANSPORT
LOCATE
1
2
REC
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
LOCATE
1
2
15
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
NUMBER
ELEMENT/PERF.PART/ ZONE
181
MOTIF Reference
Song Play mode
Reference Song mode
1 Press the [MUTE] button so that its lamp lights.
2 Press any of the NUMBER [1] - [16] buttons to
select the track number to be muted.
● To solo a track
Simultaneously hold down the [MUTE] button and
press one of the NUMBER buttons [1] to [16] to solo
the corresponding track.
Once you’ve selected a track for soloing, the [MUTE]
button’s lamp flashes, indicating the Solo function is
active. While Solo is active, you can change the soloed
track simply by pressing the corresponding NUMBER
button [1] to [16].
To exit from the Solo function, press the [MUTE]
button again.
Song track selection
The explanations here apply to step #5 of the Basic
Procedure on page 179.
In order to edit the Song data, you’ll need to select a
track for editing.
Press the [TRACK SELECT] button so that its
indicator lights and press any of the NUMBER [1] -
[16] buttons to select a track to be edited.
n Selecting another song resets the selected track to 1.
Song Scene
The explanations here apply to step #6 of the Basic
Procedure on page 179.
Song Scene is a powerful function that allows you to
save five different “snapshots” of important song-
related parameters — including transpose, tempo,
track mute status, and the basic sound/mixing controls
(all parameter settings controllable from the Knobs and
CS sliders).
n The Song Scene settings can be set independently for
each song.
● Storing the Song Scene
● Recalling the Song Scene
Simply press any of the [SF1] - [SF5] buttons to recall
the setting.
One of the convenient advantages of Song Scene is that
it lets you instantly and automatically execute
parameter settings that normally require many button
presses or controller operations. Use it during song
recording or playback to make instantaneous setting
changes.
Song editing in the Song Play mode
The explanations here apply to step #5 of the Basic
Procedure on page 179.
The Song Play mode lets you perform a variety of
general editing operations on the selected song. For
more detailed and comprehensive editing operations,
use the Song Edit and Song Mixing modes.
● [F2] Song Play Groove
The Grid Groove function makes it possible to
adjust the pitch, timing, length, and velocity of
notes in a specified track via a 1-measure 16th-note
grid to create “grooves” that would not be possible
with precise sequencer-like programming. The Grid
Groove function affects song playback without
actually changing the sequence data.
15
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
NUMBER
ELEMENT/PERF.PART/ ZONE
15
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
NUMBER
ELEMENT/PERF.PART/ ZONE
After making the desired settings
for the Song Scene, simultaneously
hold down the [STORE] button and
press one of the SONG SCENE
buttons [SF1] to [SF5].
STORE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
182
MOTIF Reference
Song Play mode
Reference Song mode
• NOTE OFFSET
Raises or lowers the pitch of the note(s) on the selected
grid in semitones.
❏ Settings 99 ~ +99
• CLOCK SHIFT
Shifts the timing of the note(s) on the selected grid
forward or back ward in clock increments.
❏ Settings 120 ~ +120
• GATE OFFSET (Gate time Offset)
Lengthens or shortens the note(s) on the selected grid in
clock increments.
❏ Settings 120 ~ +120
• VELO OFFSET (Velocity Offset)
Increases or decreases the velocity of the note(s) on the
selected grid.
❏ Settings 127 ~ +127
● [F3] Song Play Output Channel
From this display you can set the MIDI output
channel for each of the sixteen tracks, and
determine which MIDI port the track data is sent to.
• OUT CH (Output Channel)
Sets up channel transmission to the MIDI OUT terminal.
Tracks set to “Off” will not sound.
❏ Settings off, 01 ~ 16
n In the Song/Pattern mode, the MIDI data created by
playing the keyboard/knobs/wheels is sent to the tone
generator block or the external MIDI devices via the
MIDI output channel of the currently selected track.
• Port
Determines the MIDI transmission port for the
corresponding track. This is useful for sending data to
external tone generators over multiple MIDI ports in an
extended MIDI setup. Keep in mind that this parameter can
only be set for tracks having assignments to Plug-in parts 1 - 3
(for installed single-part boards) or Plug-in parts 17 -32 (for
installed multi-part boards). Tracks using the internal tone
generator parts of the MOTIF are automatically fixed at port 1.
❏ Settings off, 01 ~ 03
n Port data can be output only through the USB
terminal. No port data is transmitted through the
MIDI OUT terminal, even if the corresponding
track is set to a specific port number.
● [F4] Song Play Track Loop
From this display you can determine whether the
data in the selected track loops or not in playback.
Using Loop can be an effective way to repeat short
patterns and phrases throughout the song.
❏ Settings on, off
In the example below, a 40-measure song has been
recorded and Track 1 is set to play back normally
over the 40 measures. Track 2 has been set to loop,
and will repeat until the [■] button is pressed.
When set to on, you can specify the range to be
looped. (Only the end point can be set, the start
point of looped playback is fixed to the beginning of
the song.) Please note that the part that is not
looped is deleted after setting to on.
1 Press [F1] to call up the Song Play display. Change
the current measure that is to be a last measure of
looped playback.
2 Press [F4] to call up the Track Loop display and
move the cursor to the desired track.
plus
VELO OFST
GATE OFST
CLOCK SFT
NOTE OFST
0minus
Track 1
(40 measures
of data)
Track 2
(4 measures
of data)
Playback
The four-measure data is repeated
ten times.
In this example, set to "004."
183
MOTIF Reference
Song Record mode
Reference Song mode
3 Set to on by using the [INC/YES] and [DEC/NO]
buttons or the data dial. (The display prompts you
for confirmation.)
4 Press the [INC/YES] button. The Loop is set to on
and the part that is not looped is deleted
● [F5] Song Play Copy Phrase
You can copy s Pattern track data (Phrase) to a Song
track. You can also copy the preset phrase that does
not assigned to the Pattern track by the Patch
function (page 219).
● [F6] Song Play Chain Play/Edit
This function allows songs to be “chained” together
for automatic sequential playback.
This is particularly convenient in live performance
situations, letting you have your song backing play
automatically in “jukebox” fashion while you
perform over it. Highlight the desired point in the
chain, then use the [INC/YES] and [DEC/NO]
buttons or data dial to set the desired song number
or parameter below.The MOTIF allows you to
create one Song Chain setting.
Parameters other than the song number are explained here.
• skip
Skips past (ignores) the selected chain number and
continues playback from the next chain number.
• stop
Stops the song chain playback at that chain number. You
can restart the song chain playback from the next chain
number by pressing the [F] button.
• end
Indicates the end mark of the song chain data.
Song Record mode
Quick Start Guide (page 110)
In this mode, you can use the sequencer to record your
keyboard performance in real time to each track of a
User Song.
n For details about recording methods, see page 53.
◆ Basic Procedure
Basic Structure (page 53)
1 In the Song Play mode, select a User Song to be
recorded.
2 If necessary, set a Song Scene (page 115).
3 Press the [REC] button to enter the Song Record
mode. (The indicator lights.) The Song Record
Setup display shown below appears.
4 Set basic parameters for recording (e.g., recording
type, track, tempo, and so on).
n Please note that the time signature can be set in the
Song Play display. See page 179.
5 Change the display by pressing the [F2] - [F3]
buttons and set various parameters for recording.
n Your performance on the keyboard and the
controllers (Knobs, Pitch Bend wheel, Modulation
wheel, and so on) is recorded to tracks 1 - 16. The
Tempo (“TMP”) track is for recording tempo
changes, while the Scene track is for changes to the
Song Scene numbers and Track Mute settings.
6 Press the [F] button to start recording.
•When any of the Realtime recording methods
(any setting other than “step”) is selected in step
#4, your keyboard playing and controller moves
are automatically recorded.
• When “step” is selected in step #4, compose
your performance by entering a note one by one.
Source Phrase
If sample data is included in the original
Phrase and you want to copy all of the
data, make sure to checkmark this box.
Specify the source track and
measure of the current selected
song.
After completing the settings,
press the [ENTER]
button to execute the Copy
Phrase.
REC
184
MOTIF Reference
Song Record mode
Reference Song mode
n MIDI events the external MIDI devices connected
to the MOTIF can be recorded to tracks 1~16.
7 After completing your performance (in Realtime
recording) or completing Step recording, press the
[■] button to stop recording.
8 Record additional tracks as required. Repeat
steps #3 through #7 as desired.
9 Press the [F] button to hear your newly
recorded performance.
10 Save the recorded data to the Memory Card or
the SCSI device connected to the MOTIF.
The recorded (edited) song data resides temporarily in
DRAM (page 64). Because data contained in DRAM is
lost when the power is turned off, you should always store
any data residing in DRAM to a memory card or an
external SCSI device before turning off the power.
• For detailed instructions on steps #4 - #7, see the
following explanations.
• For details on step #1
0 refer to “File mode” on
page 266.
n The following explanations apply to MIDI data
recording (creating MIDI tracks). For instructions
on recording audio data (creating sample tracks),
see “Sampling mode” on page 233.
Setting up before recording
The explanations here apply to steps #4 - #5 of the
Basic Procedure on page 183.
● [F1] Song Record Setup
Basic Structure (page 51)
When recording type is set to something other
than “step” :
n “Punch-in measure : beat” and “Punch-out measure :
beat” are available when the Recording Type is set to
“Punch.”
When recording type is set to “step” :
• Type (Recording type)
Determines the recording method.
❏ Settings:
R
ecTrack is set to 1 ~ 16:
replace, overdub, punch, step
R
ecTrack is set to “tempo” :
replace, punch, step
R
ecTrack is set to “scene” :
replace, punch
R
ecTrack is set to “multi” :
replace , overdub, punch
n When “punch” is selected, “Punch-in measure :
beat” and “Punch-out measure : beat” appear in
the display and should be set.
n When “step” is selected, you should specify the
event type to be enetered.
• Quantize
This parameter is available when the Recording Type is set
to something other than “step.” Record quantize aligns
the timing of notes which are not exactly on the beat on-
the-fly as you record.
REC
Tempo
Punch-out
measure : beat
Punch-in
measure : beat
Time signature
(set in the Song Play display)
This lets you switch between Single Track
recording and All Track recording. (Press
the [F6] button.)
This lets you turn the click sound
(metronome) on/off for recording.
(Press the [F5] button.)
Time signature
(set in the Song Play display)
Tempo
185
MOTIF Reference
Song Record mode
Reference Song mode
❏ Settings: off, 60 (32nd note), 80 (16th note triplet), 120
(16th note), 160 (8th note triplet), 240 (8th
note), 320 (1/4 note triplet), 480 (1/4 note)
• Event
This parameter is available when the Recording Type is set
to “step.” This lets you specify the event type to be
entered.
❏ Settings: note, p.bend (pitch bend), CC#000~#119
(Control Change)
• RecTrack
Determines the track to be recorded.
Pressing the [F6] button lets you switch between Single
Track recording and All Track recording.
❏ Settings: tempo, scene, 1~16, multi
• Tempo
Determines the Song tempo.
❏ Settings: 001.0 ~300.0
Song Recording
The explanations here apply to steps #6 - #7 of the
Basic Procedure on page 183, page 184.
■ Realtime Recording
See “Quick Start Guide” (page 110)
■ Step Recording
If you press the [F] button in step #6 of the Basic
Procedure on page 183, the following display appears
and you can input the specified events one by one.
● Entering the Note Event
When the event to be entered is set to “note” , you
can input the note events one by one.
• Beat Graph
This is the display in which notes are “placed” during step
recording.When the meter is 4/4, the display is divided
into four beats (one measure). Each diamond-shaped
marker in the display represents one 32nd beat (each 1/4
note division is divided into eight 32nd beats).
For example, if the following rhythmic pattern
“” is entered in 4/4 time, a display like the one
shown below will appear.
• Pointer
Determines the data-entry position.
The triangular pointer above the beat graph indicates the
data-entry position.
To move the pointer right or left, use the [INC/YES] and
[DEC/NO] buttons or the data dial.
• Value
When the event to be entered is set to “note” , this value
specifies the velocity with which the note will be entered.
❏ Settings:
001~127
The set value (1 ~ 127) corresponds to the MIDI
velocity value entered.
RND1 ~RND4
When one of the random settings is selected, a random
velocity value will be entered.
• StepTime
The “size” of the current recording step time for the next
note to be entered. This determines to what position the
pointer will advance after a note has been entered.
❏ Settings:
• GateTime
Sets the gate time to produce slurs, staccato notes, etc.
“Gate time” refers to the actual length of time the note
sounds. For the same 1/4 note, for example, a long gate
time will produce a slur while a short gate time will
produce a staccato effect.
Gate time is indicated as a percent value of the step time.
A setting of 50% produces a staccato sound, values
between about 80% and 90% produce normal note length,
and a value of 99% will produce a slur.
❏ Settings: 001%~200%
● [F3] REST
Press [F3] to enter a rest as long as the specified step time.
The point will move ahead to the next data-entry position.
Rests do not appear on the display.
n There is no actual data representing rests in the
MIDI sequencer. When a “rest” is entered the
pointer simply moves ahead to the next data-entry
position, effectively leaving a rest.
● [F4] TIE
When the [F4] button is pressed to enter a tie, the
preceding note is lengthened to the full step time. For
example, in the following phrase, note is entered with
1/4 note step time. If the step time is then changed to an
8th note and [F4] is pressed, note is entered.
Pointer indicating the current note position.
Beat Graph
32nd note
16th note triplet
16th note
8th note triplet
8th note
1/4 note triplet
1/4 note
half note
whole note
0001~0059
1
2
186
MOTIF Reference
Song Record mode
Reference Song mode
Dotted notes can also be entered using the TIE function.
To produce a dotted 1/4 note, for example, set the step
time to an 8th note, enter a note and then press [F4] twice.
● [F5] DELETE
Press this to actually delete the note events at the current
cursor position.
● [F6] BCK DEL
Moves the pointer backward by one step and deletes all
notes at that location.
n Mistakenly entered notes can be erased by pressing
[F6] immediately after they are entered (before
changing the step time value).
● Entering other events
When entering non-note events (such as control
change data), the display is basically the same as
that for note data.
The following descriptions apply to non-note
events.
• Value
When the event to be entered is something other than
“note,” this determines the value of the specified non-note
event.
❏ Settings:
When e
vent is set to to “p.bend” :
- 8192 ~+8191
When e
vent is set to “CC (Control Change) #001~119” :
000 ~127
When e
vent is set to “tempo” (RecTrack is set to “tempo” ):
001 ~300
◆ Examples of Step Recording
The explanations here apply to steps #6 - #7 of the
Basic Procedure on page 183, page 184.
This section explains how to step-record notes, using
three specific examples.
1 Set the parameters as illustrated below.
Here, we’ll set the Step Time to (480) so that
quarter notes will be entered, and set the GateTime
to 100% to have the notes play in legato.
2 Play the keys C, D, E, F, G, A, B and C in order.
Each time you press a key and release it, the
pointer moves forward by one step and the played
note is recorded.
3 Move the pointer to the top (beginning) of the
song and press the [F] button to hear the note
data you just recorded in steps #1 and 2.
21
The TIE function is not available for non-note events.
187
MOTIF Reference
Song Record mode
Reference Song mode
●Example 2 (Using the TIE function)
1Set the parameters as illustrated below.
Since the first note is a half note, set the StepTime
to (960), and set the GateTime to 80%, since you
don’t want the notes to play in legato.
2 Enter the first note F.
3 Enter the next 8th notes.
Keep the display settings unchanged for the
remaining notes in the measure, and press/release
each key one by one as shown below.
4 Follow the instructions below to enter the next
dotted half note.
5 Enter the last quarter note by pressing and
releasing F.
SEQ TRANSPORT
LOCATE
1
2
REC
(1) Press and release F.
(2) Change this value to 240,
since the next note is an 8th note.
(3) Press the [F4] button to tie the
two F notes (half note and 8th note).
(2) Press and release A
(3) Press [F4] twice to expand the quarter note to a dotted half note.
(1) Change this to 480.
188
MOTIF Reference
Song Record mode
Reference Song mode
6 Move the pointer to the top (beginning) of the
song and press the [F] button to hear the note
data you just recorded in steps #1 - 5.
●Example 3 (Using the REST function)
1 Set the parameters as illustrated below.
Set the StepTime to (480) and the Gate Time to
80%.
2 Enter the first note F.
3 Enter the next 8th rest by following the
instructions below.
4 Enter the next 8th note A.
5 Enter the next 4th note C by following the
instructions below.
6 Enter the next 8th rest via the same procedure as
in step #3
7 Enter the last 8th note F.
8 Move the pointer to the top (beginning) of the
song and press the [F] button to hear the note
data you just recorded in steps #1 - 7.
● [F2] Song Record Voice
From this display you can set voice-related
parameters for the selected track. The settings
made here affect the tone generator parts whose
MIDI receive channels match the MIDI transmit
channel of the song track.
Press and release F.
Change this value to 240, since
the rest value is the same as an
8th note.
Enter an 8th note rest by
pressing the [F3] button.
(1)(2)
Press and release A.
Press and release C.
Change this value to 480, since the next note is
a quarter note.
(1)
(2)
Press and release F.
189
MOTIF Reference
Song Edit mode
Reference Song mode
• Voice
Determines the voice for the selected track.
You can use the BANK, GROUP, NUMBER button or the
Category Search function to select a voice (page 124). You
can also select a Sample voice (page 58).
• Voume
Determines sound volume for the selected track.
❏ Settings 0~127
• Pan
Determines the stereo pan position the selected track.
❏ Settings L63 (Left) ~ C (Center) ~ R63 (Right)
• InsEF (Insertion Effect Part Switch)
Determines whether the Insertion effect (page 39) for the
selected track is on or off.
❏ Settings on, off
● [F3] Song Record Arpeggio
From this display you can set various Arpeggio-
related parameters for the selected track.
• Bank
Determines the specific Arpeggio Bank. For details, see
page 55.
❏ Settings pre1, pre2, user
• Type
Determines the Arpeggio type. The two-letter prefix before the
name indicates the general Arpeggio category. (page 55 )
• Velocity Limit
Determines the lowest and highest velocity in the
Arpeggio’s velocity range. While recording, this lets you
control when the Arpeggio sounds by your playing
strength.
❏ Settings 1~127
• Switch
Determines whether Arpeggio playback is on or off. You
can also turn this on or off from the front panel with the
[ARPEGGIO ON/OFF] button.
❏ Settings off, on
• Hold
Determines whether the Arpeggio playback is “held” or
not. When this is set to “on,” the Arpeggio cycles
automatically, even if notes are released, and it continues
to cycle until the next note data is received.
❏ Settings sync-off, off, on
• PartSwitch
Determines whether Arpeggio playback is on or off for the
tone generator part (page 55) that corresponds to the
recorded track.
❏ Settings off, on
Song Edit mode
This mode gives you comprehensive, detailed controls
for editing the MIDI events of individual song tracks.
MIDI events are messages (such as note on/off, note
number, program change number, etc.) that make up
the data of a recorded song.
◆ Basic Procedure
Basic Operation (page 70)
1 In the Song Play mode, select a User Song to be
edited.
2 Press the [EDIT] button to enter the Song Edit
mode. (The indicator lights.) The Song event List
display shown below appears.
3 Revise, insert or delete the MIDI events as needed.
If you find the display too cluttered, you can filter
out certain event types with the View Filter.
Simply press the [F2] button and select the event
types you want to be displayed.
4 After completing editing, press the [SONG] button
to return back to the Song Play mode.
5 Press the [F] button to hear your edited data.
6 Edit other tracks as required. Repeat steps #2
through #5 as desired.
7 After editing, save your song data to the Memory
Card or the SCSI device connected to the MOTIF
in the File mode.
• For detailed instructions on step #3, see the
following explanations.
• For details on step #7, refer to “File mode” on
page 266.
Determines whether Arpeggio playback data is
recorded to the track or not. (Press the [F4] button.)
EDIT
Events
Measure
number
Clock
(480 clocks per quarter-note)
Beat
190
MOTIF Reference
Song Edit mode
Reference Song mode
Event Editing/Inserting/Deleting
The explanations here apply to step #3 of the Basic
Procedure on page 189.
■ Editing/Deleting Existing Events
To edit data in the Event List, use the up/down cursor
buttons to highlight the specific event you want to edit,
and use the left/right cursor buttons to highlight the
data type or parameter to be edited. Then, change the
value as needed by using the [INC/YES] and [DEC/
NO] buttons or the data dial.
The edited event will flash on the display. Press the
[ENTER] button to actually enter the edited data (the
event will stop flashing). To abort an edit simply
highlight to a new event location without pressing the
[ENTER] button. Press the [F6] button to delete the
event at the current location.
■ Inserting New Events
To insert an event, use the up/down cursor buttons to
highlight an event at the desired point in the track
(measure, beat, clock) — this is the location to which
the new event will be inserted. Then, follow the steps
below.
MIDI events that can be inserted
(edited)
The following explanations apply to the MIDI events
that can be inserted (edited) in step #3 of the Basic
Procedure on page 189.
The following displays are called up by pressing the
[F5] button in step #3 of the Basic Procedure on
page 189.
■ Note
This is the most common and prevalent type of data —
the individual notes of a song.
• Note name
Determines the note name or the specific keyboard pitch of
the note.
❏ Settings C -2 ~ G8
• Gate time (beat : clock)
Determines the length of time that a note actually sounds
in beats and clocks.
❏ Settings 00:001 ~ 999:479
n On the MOTIF, one clock is 1/480th of a quarter
note.
• Velocity
Determines how strongly the selected note sounds.
❏ Settings 1 ~ 127
■ Pitch Bend
These are the events that define continuous changes in
pitch and these events are generated by pitch bend
wheel operation.
• Data
❏ Settings -8192 ~ +8191
You can also move the selected event to
another location by specifying different
values for measure, beat, and clock.
Press the [F6] button to
delete the
event at the current
location.
Press the [F1] button to abort and
return to the main Event List
display.
Press the [F5]
button.
Press the [ENTER] button to
actually insert the event.
ENTER
EXECUTE
Note name Gate time Velocity
Data
191
MOTIF Reference
Song Edit mode
Reference Song mode
■ Program Change
These events determine the selected voice for the note
data. Keep in mind that Program Change events can be
inserted at any point in a song track, letting you change
voices in the middle of a song.
• Bank Select MSB, LSB
Determines the voice bank.
❏ Settings ***~127
n Bank select MSB and LSB are actually part of the
Control Change set of messages (below).
However, since they apply specifically to voice
selection, they grouped and described here.
• Program number
Determines the specific voice (from the bank selected by
MSB and LSB above).
❏ Settings 001~128
n For a complete list of the available voice banks and
numbers, refer to the Voice List in the separate
Data List booklet.
■ Control Change
These events control the sound and certain response
characteristics of the voice, and are usually generated/
recorded by moving a controller (such as a modulation
wheel, knob, slider or foot controller).
• Control number
Determines the Control Change number. (See chart
below.)
❏ Settings 000~127
n For details on using Control Change numbers
(including those above), refer to the separate Data
List booklet.
■ Channel Aftertouch (CAT)
This event is generated when pressure is applied to a
key after the note is played.
• Data
This represents the amount of pressure applied to the key.
❏ Settings 000~127
■ Polyphonic Aftertouch (PAT)
This event is generated when pressure is applied to a
key after the note is played. Unlike Channel Aftertouch
above, this is recorded and applied independently for
each key pressed.
• Note name
Determines the key to which aftertouch is applied.
❏ Settings C -2~G8
• Data
This represents the amount of pressure applied to the key.
❏ Settings 000~127
■ Registered Parameter Number (RPN)
This event changes parameter values for each tone
generator part.
This event is used to set part settings such as Pitch
Bend Sensitivity or Tuning.
For a complete list of the available RPN numbers and
their corresponding controls, refer to the MIDI Data
Format in the separate Data List booklet.
Control
Number
Function
001 Modulation Wheel
005 Portamento Time
007 Volume
010 Pan (Stereo position)
011 Expression
064 Sustain (Hold 1)
065 Portamento on/off
066 Sostenuto pedal on/off
067 Soft Pedal on/off
071 Harmonic Content (controls Filter Resonance)
074 Brightness (controls Filter Cutoff Frequency)
084 Portamento Source Note Number
120 All Sound Off
Bank Select MSB
Bank Select LSB
Program number
Voice name
Control number Data
Data
Note name Data
RPN MSB-LSB Data Entry
MSB-LSB
192
MOTIF Reference
Song Edit mode
Reference Song mode
• RPN MSB-LSB
❏ Settings 000~127
• Data Entry MSB-LSB
❏ Settings 000~127
n Normally three types of control change data are
sent: RPN MSB (101), RPN LSB (100), and Data
Entry MSB (6). In the MOTIF, Data Entry LSB
(38) is added to this and the resulting group of
control change events is handled as one in this
display. For a complete list of the available RPN
and NRPN numbers and their corresponding
controls, refer to the MIDI Data Format in the
separate Data List booklet.
■ Non Registered Parameter Number (NRPN)
This event changes parameter values for each tone
generator part.
This event is used to edit sounds via MIDI, allowing
you to edit filter or EG settings, or adjust the pitch or
level for each instrument of a drum voice.
For a complete list of the available NRPN numbers and
their corresponding controls, refer to the MIDI Data
Format in the separate Data List booklet.
• NRPN MSB-LSB
❏ Settings 000~127
• Data Entry MSB-LSB
❏ Settings 000~127
n Normally three types of control change data are
sent: NRPN MSB (99), NRPN LSB (98), and Data
Entry MSB (6). In the MOTIF, this group of
control change events is handled as one in this
display. For a complete list of the available RPN
and NRPN numbers and their corresponding
controls, refer to the MIDI Data Format in the
separate Data List booklet.
■ System Exclusive (Exc)
A type of MIDI message used to exchange data unique
to a specific model or type of device.
Unlike with other MIDI events, these events differ
depending on the manufacturer/device, and are
incompatible among different devices.
• Data
❏ Settings 00 ~7F, F7 (Data must be entered in
hexadecimal format.
Event View Filter
The explanations here apply to step #3 of the Basic
Procedure on page 189.
The MOTIF’s “Event View Filter” lets you select the
event types that appear on the Event List display. For
example, if you wish to edit only note events, place a
checkmark in the box next to “Note” as shown below
so that only the note events appear in the Event List
display.
RPN MSB-LSB Data Entry
MSB-LSB
Data
Press the [F6] button
to set checkmarks
into all boxes.
When the Control Change box is
checkmarked, you can specify the
desired Control Change number.
Press the [F5] button
to remove all
checkmarks at once.
193
MOTIF Reference
Song Job mode
Reference Song mode
Song Job mode
The Song Job mode contains a comprehensive set of
editing tools and functions you can use to change the
sound of the song. It also includes a variety of
convenient operations, such as copying or erasing data.
Most of these operations can be performed on either an
entire track or a selected range of measures in the
track.
◆ Basic Procedure
1 In the Song Play mode, select a song you wish to
execute the Job on.
2 Press the [JOB] button to enter Song Job Mode.
3 Select the desired Job menu by pressing the
appropriate button, [F2] - [F6].
4 Use the CURSOR buttons to scroll to the desired
Job.
5 Press the [ENTER] button to go to the selected Job
display.
6 Set the relevant Job parameters.
7 Press the [ENTER] button. (The display prompts
you for confirmation.)
8 Press the [INC/YES] button to execute the Job.
After the Job has been completed, a “Completed”
message appears and operation returns to the
original display.
n To cancel the Job, press the [DEC/NO] button.
9 If you wish to undo the changes made in the steps
above, press the [F1] button and (to select Undo/
Redo) and use the Undo function.
10 Press the [SONG] button to exit from Song Job
mode and return to Song Play mode.
• For detailed instructions on steps #3 - #9
, see the
explanations below.
[F1] Undo/Redo
The explanations here apply to step #9 of the Basic
Procedure (see above).
The Undo Job cancels the changes you made in your
most recent patch session, recording session, editing
session, or Job, restoring the data to its previous state.
This allows you to recover from accidental data loss.
Redo is available only after using Undo, and lets you
restore the changes you made before undoing them.
Undo/Redo does not work with sample voice operations.
[F2] Note data Job
Press the [F2] button in steps #3 of the Basic Procedure
(see above). so that the Note data Job list appears on
the display. Scroll the cursor to the desired Job and
press the [ENTER] button to go to the display of the
selected Job.
The following explanations apply to step #6
of the
Basic Procedure (see above).
n Before executing the Note data Job, make sure that you
specify the track (01~16, all) and range (measure : beat :
clock) to which the Job is applied.
Indicates the current Job: Undo or Redo.
Indicates the operation to be
affected by Undo or Redo.
Press the [ENTER] button to
execute the Undo/Redo
operation.
194
MOTIF Reference
Song Job mode
Reference Song mode
● [F2]-01 Quantize
Quantization is the process of adjusting the timing
of note events by moving them closer to the nearest
exact beat. You can use this feature, for example, to
improve the timing of a performance recorded in
real time.
• Quantize Value (Resolution)
Determines to what beats the note data in the specified
track will be aligned.
❏ Settings
• Strength
The Strength value sets the “strength” by which note
events are pulled toward the nearest quantize beats.
A setting of 100% produces exact timing. A setting of 0%
results in no quantization.
❏ Settings 000 %~100 %
• SwingRate
Delays notes on even-numbered beats (backbeats) to
produce a swing feel.
For example, if the meter is 4/4 and the quantize value is
quarter notes, the 2nd and 4th beats of the measure will be
delayed.
When a triplet quantize value is used, the last note of each
triplet is delayed.
When the quantize value is or , even-numbered
or beats will be delayed.
❏ Settings See below.
If the quantize v
alue is :50%~75%
A setting of 100% is equivalent to twice the length of the
specified quantize value. A setting of 50% produces exact
timing and therefore no swing feel. Settings above 51%
increase the amount of swing, with 75% being equivalent
to a dotted-note delay.
If the quantize v
alue is :66%~83%
A setting of 100% is equivalent to three times the length of
the specified quantize value. A setting of 66% produces
exact timing and therefore no swing feel. Settings above
67% increase the amount of swing, with 83% being
equivalent to a sextuplet delay.
If the quantize v
alue is :50%~66%
A setting of 100% is equivalent to twice the length of a d
or d note. A setting of 50% produces exact timing and
therefore no swing feel. Settings above 51% increase the
amount of swing, with 66% being equivalent to a triplet
delay.
n If a swing value other than 100% results in notes
being positioned after other non-swing notes, the
latter notes are delayed accordingly.
• GateTime
Determines the gate time (the length of time a note
sounds) of the even-numbered backbeat notes to enhance
the swing feel.
When a triplet quantize value is used, the gate time of the
last note of each triplet is adjusted.
When the quantize value is or , the gate time of the
even-numbered or beats will be adjusted.
A setting of 100% leaves the original gate time unchanged.
If an adjusted gate time value is less than 1, the MOTIF
sets the value to 1.
❏ Settings 000%~200%
Track
Range
32nd note
16th note triplet
16th note
8th note triplet
8th note
1/4 note triplet
1/4 note
16th note + 16th note triplet
8th note + 8th note triplet
Quarter-note length
Original data
(assuming 4/4 meter)
Quantizing
strength =100
Quantizing
strength =50
,,,
50% 75% 100%0%
Specified range
Front beat Back beat
,
,
66% 83% 100%0% 33%
3
Front beat Back beat
Specified range
,
Front beat Back beat
Specified range
50% 66% 100%0% 33%
3
195
MOTIF Reference
Song Job mode
Reference Song mode
● [F2]-02 Modify Velocity
This job alters the velocity values of the specified
range of notes, letting you selectively boost or cut
the volume of those notes.
Velocity changes are calculated as follows:
Adjusted velocity
= (original velocity x Rate) + Offset.
If the result is 0 or less, the value is set to 1. If the
result is higher than 127, the value is set to 127.
• Set All
Sets the velocities of all target notes to the same fixed value
(1 to 127). When set to “OFF” the Set All parameter has
no effect. When set to a value other than “OFF” the Rate
and Offset parameters are unavailable and appear as “***”
on the display.
❏ Settings OFF(0), 001~127
• Rate
Determines the percentage by which the target notes will
be shifted from their original velocities.
Settings below 100% reduce the velocities, and settings
above 100% increase the velocities proportionately. When
the Set All parameter is not “OFF” this parameter appears
as “***” and cannot be changed.
❏ Settings 000% ~ 200%, ***
• Offset
Adds a fixed value to the Rate-adjusted velocity values.
A setting of 0 produces no change. Settings below 0 reduce
the velocities, and settings above 0 increase the velocities.
When the Set All parameter is not “OFF” this parameter
appears as “***” and cannot be changed.
❏ Settings -127 ~ +127, ***
● [F2]-03 Modify Gate Time
This job alters the gate times of the specified range
of notes. Gate time changes are calculated as
follows:
Adjusted gate time
= (original gate time x Rate) + Offset.
If the result is 0 or less, the value is set to 1.
• SetAll
Sets the gate times of all target notes to the same fixed
value. When set to “OFF” the Set All parameter has no
effect. When set to a value other than “OFF” the Rate and
Offset parameters are unavailable and appear as “***” on
the display.
❏ Settings Off (0), 0001 ~ 9999
• Rate
Determines the percentage by which the gate time of the
target notes will be changed.
Settings below 100% shorten the notes, and settings above
100% lengthen the notes proportionately. When the Set
All parameter is not “OFF” this parameter appears as
“***” and cannot be changed.
❏ Settings 000% ~ 200%, ***
• Offset
Adds a fixed value to the Rate-adjusted gate time values.
A setting of 0 produces no change. Settings below 0
shorten the gate time, and settings above 0 lengthen the
gate time. When the Set All parameter is not “OFF” this
parameter appears as “***” and cannot be changed.
❏ Settings -9999 ~ +9999, ***
Track
Range
Original velocity
Rate = 50%
Rate = 150%
(Vel)
(Vel)
(Vel)
96 64 48 32
48 32 24 16
127 96 72 48
Original velocity
Offset = -20
Offset = +20
(Vel)
(Vel)
(Vel)
96 64 48 32
76 44 28 12
116 84 68 52
Track
Range
Original gate time
Gate time rate = 50%
Gate time rate = 150%
(Gate)
(Gate)
(Gate)
32 32 32 48
16 16 16 24
48 48 48 72
Original gate time
Offset = -20
Offset = +20
(Gate)
(Gate)
(Gate)
32 32 32 48
12 12 12 28
52 52 52 68
196
MOTIF Reference
Song Job mode
Reference Song mode
● [F2]-04 Crescendo
This Job lets you create a crescendo or decrescendo
over the specified range of notes. (Crescendo is a
gradual increase in volume, and decrescendo is a
gradual decrease.)
• Velocity Range
Determines the intensity of the crescendo or decrescendo.
The velocity values of the notes in the specified range are
gradually increased or decreased starting at the first note
in the range. The velocity of the last note in the range
becomes the original velocity of the note plus the Velocity
Range value. If the resultant velocity is outside the 1 ~
127 range it is set to 1 or 127 accordingly. Settings greater
than 0 produce a crescendo, and settings less than 0
produce a decrescendo. A setting of 0 produces no effect.
❏ Settings -127 ~ +127
● [F2]-05 Transpose
Transpose lets you change the key or pitch of the
notes in the specified range.
• Note
Determines the range of note pitches over which the job is
applied.You can set this parameter by pressing the desired
key while holding the [INFORMATION] button.
❏ Settings C-2 ~ G8
• Transpose
Transposes notes in the specified range (in semitones). A
setting of +12 transposes up one octave, while a setting of
-12 transposes down an octave. A setting of 0 produces no
change.
❏ Settings -127 ~ +127
● [F2]-06 Glide
The Glide Job replaces all notes following the first
note in the specified range with pitch bend data,
producing smooth glides from note to note. This is
ideal for producing guitar-like slide or note-bending
effects.
• GlideTime
Determines the length of the glide. Higher values produce
a longer glide between notes.
❏ Settings 000~100
• PB Range (Pitch Bend Range)
Determines the maximum pitch bend range to be applied
by the glide job (in semitones).
❏ Settings 01~24
● [F2]-07 Create Roll
This Job creates a series of repeated notes (like a
drum roll) in the specified range with the specified
continuous changes in clock step and velocity. This
is ideal for creating fast staccato rolls and special
stuttering effects.
• Roll Step
Determines the size of the step (i.e. the number of clocks)
between each note in the roll. Both the starting and ending
clock values can be specified, making it easy to create rolls
in which the step size varies from note to note.
❏ Settings Start Step 001~999
End Step 001~999
Track
Range
Track
Range
Track
Range
Track
Range
Roll VelocityRoll Step
197
MOTIF Reference
Song Job mode
Reference Song mode
• Roll Velocity
Determines the velocity of the notes in the roll. Both the
starting and ending velocity values can be specified,
making it easy to create rolls in which the velocity
increases or decreases.
This lets you create rolls that gradually increase or
decrease in volume (crescendo/decrescendo) — a
technique often used in dance music.
❏ Settings Start Velo 001~127
End Velo 001~127
• Note
Determines the specific note (or instrument in Drum
voices) for the roll effect.
❏ Settings C-2~G8
n You can also set the Note directly from the Keyboard, by
holding down the [INFORMATION] button and
pressing the desired key. See “Basic Operation” on
page 75.
● [F2]-08 Sort Chord
This job sorts chord events (simultaneous note
events) by order of pitch. The sort affects the order
of the notes in the Event List display (page 190), but
does not change the timing of the notes.
When used to pre-process chords before using the
Chord Separate job (described later), Chord Sort can
be used to simulate the “stroke” or strumming
sound of guitars and similar instruments.
• Type
Determines how the chord note data is sorted.
❏ Settings up, down, up&down, down&up
up
The notes are sorted in ascending order.
do
wn
The notes are sorted in descending order.
up&do
wn
Sorts chord notes on downbeats in ascending order and
chord notes on up beats in descending order, based on the
Grid setting, below.
down&up
Sorts chord notes on downbeats in descending order and
chord notes on up beats in ascending order.
• Grid
Determines the type of note that will serve as the basis for
the Chord Sort job.
❏ Settings
Start
Step
004:1:240 006:3:120
In this example, the space
between individual notes
gradually becomes shorter
over the time of the roll.
measure
EndStep
Roll Step (Clock)
Start
Step
004:1:240 006:3:120
In this example, the space between
individual notes gradually becomes
longer over the time of the roll.
measure
EndStep
Roll Step (Clock)
Start
Velo
004:1:240 006:3:120
Roll Crescendo
Roll Crescendo
measure
measure
EndVelo
Roll Velocity
Start
Velo
004:1:240 006:3:120
EndVelo
Roll Velocity
Track
Range
32nd note
16th note triplet
16th note
8th note triplet
8th note
1/4 note triplet
1/4 note
16th note + 16th note triplet
8th note + 8th note triplet
198
MOTIF Reference
Song Job mode
Reference Song mode
● [F2]-09 Separate Chord
This job slightly separates notes in chords within
the specified range, inserting a specified number of
clocks between each note. Use this job after the
Chord Sort Job above, to create guitar-like upstroke
or downstroke effects.
• Clock
Determines the number of clock cycles inserted between
adjacent chord notes.
❏ Settings 000 ~999
n Note that there are 480 clock cycles per quarter
note.
n It is not possible to separate chords so that they
cross the next measure boundary or chord.
[F3] Event Job
Press the [F3] button in step #3 of the Basic Procedure
on page 193 so that the Event Job list appears on the
display. Scroll the cursor to the desired Job and press
the [ENTER] button to go to the display of the selected Job.
The following explanations apply to step #6 of the
Basic Procedure on page 193.
n Before executing the Event Job, make sure that you
specify the track and range (measure : beat : clock) to
which the job is applied. Please note that the track to be
specified varies depending on the Job.
● [F3]-01 Shift Clock
This Job shifts all data events in the specified range
forward or backward by the specified number of
clocks.
One useful application for this would be to change
the rhythmic feel of a drum track or bass track,
subtly shifting it in time relative to the other tracks
— to create a rushed feel or a laid-back feel.
• Clock
Determines the amount by which the data will be delayed
or advanced in measures, beats, and clocks.
❏ Settings 000:0:000 ~ 999:16:479
• Direction
Determines the direction in which the data will be shifted.
ADVANCE moves the data toward the beginning of the
sequence, while DELAY shifts the data toward the end of
the sequence.
❏ Settings Advance, Delay
● [F3]-02 Copy Event
This Job copies all data from a specified source
range to a specified destination location.
• Source track and range, Destination track
and range
❏ Settings
Track 01~16, tmp (tempo), scn (scene), all
Range 001:1:000 ~ 999:16:479
• NumberOfTimes
Determines the number of times the data is copied.
❏ Settings 01 ~ 99
When Copy Event is executed, any data already existing at
the Destination location will be overwritten.
Track
Range
Original data
Clock=000:1:000
Direction=Delay
Clock=000:1:000
Direction=Advance
Quarter-note length
Track
Range
Source track and range in measures, beats, and clocks
Destination track and range in measures, beats, and clocks
199
MOTIF Reference
Song Job mode
Reference Song mode
● [F3]-03 Erase Event
This Job clears all specified events from the
specified range, effectively producing a segment of
silence.
• Event Type
Determines the event type to be erased.
All events are cleared when ALL is selected.
Individual control change numbers can be specified when
erasing control change events.
❏ Settings
When TR is set to 0
1~16:
Note (Note events), PC (Program Change), PB (Pitch
Bend), CC: 000-127, all (Control Change, Control
Change number), CAT (Channel Aftertouch), PAT
(Polyphonic Aftertouch), EXC (System Exclusive), All
(all events)
When TR is set to “tmp” (T
empo):
tmp (tempo)
When TR is set to “scn” (Scene):
Scene Memory (Scene change information), Track
Mute (Track mute setting change information)
n Keep in mind that applying this Job to a track with
sample voices erases the events that trigger the
samples, but it does not erase the actual samples
themselves.
● [F3]-04 Extract Event
This Job moves all instances of specified event data
from a specified range of a track to the same range
in a different track.
One useful application for this would be to extract
all instances of a certain note out of a track, and
send them to a new track for separate editing.
• Track and range in which data is extracted
❏ Settings Track 01~16
Range 001:1:000~999:16:479
• Event Type
Selects the event type to be extracted.
Specific note and control change numbers can also be
specified as required.
❏ Settings Note (Note : Note number), PC (Program
Change), PB (Pitch Bend), CC: 000-127, all
(Control Change, Control Change number),
CAT (Channel Aftertouch), PAT
(Polyphonic Aftertouch), EXC (System
Exclusive)
• Destination track
❏ Settings 01~16
● [F3]-05 Create Continuous Data
This Job creates continuous pitch bend or control
change data over the specified range.
• Event Type
Determines the event type to be created.
❏ Settings PB (Pitch Bend), CC: 000-127, all (Control
Change, Control Change number), CAT
(Channel Aftertouch), EXC (System
Exclusive), tmp (Tempo)
• Data Range
Determines the lower and upper limits for the data range
to be created. The left value is the lower limit, and the
right value is the upper limit.
❏ Settings When Event Type is set to PB
-8192~+8191
When Event Type is set to tmp:1.0~300.0
When Event Type is set to other :0~127
• Clock
Determines the number of clocks to be inserted between
each created event.
❏ Settings 001~999
• Curve
Determines the “curve” of the continuous data.
Refer to the graph below for approximate curve shapes.
❏ Settings -16 ~+16
Track
Range
Track and range in which data is extracted
Destination track
Track
Range
Start
point
End point
This distance specified
by Clock
Curve=+16 Curve=0((linear) Curve=-16
200
MOTIF Reference
Song Job mode
Reference Song mode
• Number Of Times
Determines the number of times the data creation is to be
repeated.
For example, if data is created in the range M001:1:000 ~
M003:1:000 and this parameter is set to 03, the same data
will be created at M003:1:000 ~ M005:1:000 and
M005:1:000 ~ M007:1:000.
This Job lets you to insert continuous volume or filter
cutoff variations to create tremolo or wow effects.
❏ Settings 01~99
● [F3]-06 Thin Out
This Job thins out the specified type of continuous
data in the specified range — allowing you to free
up memory space for other data or further
recording.
• Event Type
Determines the event type to be thinned.
❏ Settings PB (Pitch Bend), CC: 000-127, all (Control
Change, Control Change number), CAT
(Channel Aftertouch), PAT (Polyphonic
Aftertouch)
n The Thin Out Job will not work on continuous
data that has a clock interval of greater than 60
clocks per event.
● [F3]-07 Modify Control Data
This Job lets you change the values of a specified
type of control change data — pitch bend, control
change, aftertouch, etc. — in the specified range.
Data changes are calculated as follows:
Modified value
= (original value x Rate) + Offset.
The modified value cannot exceed the minimum/
maximum limits of the parameter. Any result lower
than the minimum is set to the minimum; any result
higher than the maximum is set to the maximum.
• Event Type
Determines the event type to be modified.
❏ Settings PB (Pitch Bend), CC: 000-127, all (Control
Change, Control Change number), CAT
(Channel Aftertouch), PAT (Polyphonic
Aftertouch), tmp (Tempo)
• Set All
Sets all target events to the same fixed value. When set to
“OFF” the Set All parameter has no effect. When set to a
value other than “OFF” the Rate and Offset parameters
are unavailable and appear as “***” on the display.
❏ Settings OFF, 000 ~127 (-8192 ~ +8191 for pitch
bend, 0.1 ~ 300.0 for tempo)
• Rate
Determines the percentage by which the target events will
be shifted from their original values.
When the Set All parameter is not “OFF” this parameter
appears as “***” and cannot be changed.
❏ Settings 000% ~ 200%, ***
• Offset
Adds a fixed value to the Rate-adjusted event values.
When the Set All parameter is not “OFF” this parameter
appears as “***” and cannot be changed.
❏ Settings -127~127, *** (-8192 ~ +8191 for pitch
bend, ***)
● [F3]-08 Beat Stretch
This Job performs time-expansion or compression
over the selected range.
Keep in mind that this operation affects all event
timing, note step times, and note gate times.
• Rate
Determines the amount of time expansion or compression
as a percentage.
Settings higher than 100% produce expansion, and
settings below 100% produce compression.
❏ Settings 025%~400%
n Only MIDI data is affected by this job. Sample
voices are not expanded or compressed. However,
for samples recorded using the Slice+Seq feature,
the Beat Stretch job expands or compresses the
timing of the note data, step times, and gate times
that control playback of the sliced samples. The
sample voice itself is not affected.
Track
Range
Track
Range
Track
Range
201
MOTIF Reference
Song Job mode
Reference Song mode
[F4] Measure Job
Press the [F4] button in step #3 of the Basic Procedure
on page 193 so that the Measure Job list appears on the
display. Scroll the cursor to the desired Job and press
the [ENTER] button to go to the display of the selected
Job.
The following explanations apply to step #6 of the
Basic Procedure on page 193.
● [F4]-01 Create Measure
This Job creates empty measures at the specified
location in all tracks.
• Meter of measures to be inserted
Determines the meter or time signature of the measures to
be created. You may find it convenient to use this
parameter when you need to create a song that
incorporates meter changes.
❏ Settings 1/16~16/16, 1/8~16/8, 1/4~8/4
• Insertion point (Measure number)
Determines the insert point (measure number) at which
the newly created blank measures will be inserted.
❏ Settings 001~999
• Number of measures to be inserted
Determines the number of empty measures to be created
and inserted.
❏ Settings 01~99
n When empty measures are inserted, measure and
meter data following the insert point are moved
forward accordingly.
n If the insert point is set after the last measure
containing data, only the meter data at that point
is set without actually inserting the measures.
● [F4]-02 Delete Measure
This Job deletes the specified measures.
Measure and meter data following the deleted
measures are moved backward accordingly.
• Delete Range
❏ Settings 001~999
n Keep in mind that applying this Job to a range of
measures with sample voices erases the events that
trigger the samples, but it does not erase the actual
samples themselves.
[F5] Track Job
Press the [F5] button in step #3 of the Basic Procedure
on page 193 so that the Track Job list appears on the
display. Scroll the cursor to the desired Job and press
the [ENTER] button to go to the display of the selected
Job.
The following explanations apply to step #6 of the
Basic Procedure on page 193.
8 measures inserted at measure 5
The inserted 8 measures
001~ 004 005 ~ 012 013 ~ 024
001~ 004 005 ~ 016
Original data
Meter (time signature) of
measures to be inserted
Insertion point (measure number)
Number of measures
to be inserted
Measures M005 ~ M012 deleted
001 ~ 004 005 ~ 012 013 ~ 024
001 ~ 004 005 ~ 016
Original data
Delete Range
202
MOTIF Reference
Song Job mode
Reference Song mode
● [F5]-01 Copy Track
This Job copies all data from a specified source track
to the specified destination track.
• Source Song and Track
❏ Settings Song 01~64
Track 01~16
• Destination Song and Track
❏ Settings Song 01~64
Track 01~16
• Data Type to be copied
Determines the type(s) of data to be copied. Select the
desired type by checkmarking the appropriate box.
❏ Settings Seq Event (all events in the track), Grid
Groove (for the selected track), Mix Part
Param (all Mixing Part parameters), Sample
(all samples used by the track)
The copy operation overwrites any data previously
existing on the destination track.
Undo/Redo cannot be used to undo/redo a sample voice
copy operation.
n When there is no memory available in the
destination song for sample voice data, the alert
message will appear on the display and the sample
voice data will not be copied. If this occurs, use
Sample Job 02 “Delete” to delete any unused
samples, then try again.
● [F5]-02 Exchange Track
This Job exchanges or “swaps” the specified type of
data between two specified tracks in the current
song.
• Target tracks for the Exchange operation
❏ Settings 01~16
• Data Type to be exchanged
Determines the type(s) of data to be exchanged. Select the
desired type by checkmarking the appropriate box.
❏ Settings Seq Event (all events in the track), Grid
Groove (for the selected track), Mix Part
Param (all Mixing Part parameters)
● [F5]-03 Mix Track
This job mixes all data from two selected tracks
(“A” and “B”), and places the result in track B. One
useful application for this would be to free up the
data in track A, letting you record new data to it.
• Target tracks for the Mix operation
❏ Settings 01~16
n Keep in mind that applying this Job to tracks with
sample voices does not mix the sample voices.
● [F5]-04 Clear Track
This Job deletes all data of the selected type from
the selected track, or from all tracks.
• Track for which data will be cleared
❏ Settings 01~16, tmp(tempo), scn(scene), all
• Data type to be cleared
Determines the type(s) of data to be cleared. Select the
desired type by checkmarking the appropriate box.
❏ Settings Seq Event (all events in the track), Grid
Groove (for the selected track), Mix Part
Param (all Mixing Part parameters), Sample
(all samples used by the track)
Source Song and Track
Destination Song and Track
Data Type to be copied
Target tracks for the Exchange operation
Data Type to be exchanged
Track B
Mix Track
Track B
Track A
Track a Track b
Track for which data will be cleared
Data type to be cleared
203
MOTIF Reference
Song Job mode
Reference Song mode
Undo/Redo cannot be used to undo/redo a Clear operation
for tracks that contain sample data.
● [F5]-05 Normalize Play Effect
This job rewrites the data in the selected track so
that it incorporates the current Grid Groove
settings.
• TR (Track)
Determines the song track to which the Job is applied.
❏ Settings 01~16, all
● [F5]-06 Divide Drum Track
Separates the note events in a drum performance
assigned to a specified track, and places the notes
corresponding to different drum instruments in
separate tracks (tracks 1 through 8).
One useful application for this would be to use
Quantize (page 194) and Shift Clock (page 198) to
independently adjust the timing of different drum
parts in the rhythm, to tighten up the timing and yet
create a more natural sounding feel.
• TR (Track)
Determines the song track to which the job is applied.
❏ Settings 01~16
n In order to use this Job, tracks 1 - 8 must be empty.
If there aren’t enough empty tracks, an error
message appears. If this happens, use the Clear
Track Job (page 202) to delete tracks 1 - 8, then try
the Job again.
● [F5]-07 Put Phrase To ARP
Basic Structure (page 56)
This Job copies data in the specified measures of a
track for creating Arpeggio data. Note that
Arpeggio data can be made up of data from four
separate tracks; however, the Job must be performed
separately on each track, one by one.
• Source Song track and range
❏ Settings Track 01~16
Range 000~999
• Destination Arpeggio number and its track
This parameter allows you also to name a Destination
Arpeggio. For details about the naming function, see
“Basic Operation” on page 75.
❏ Settings Track 1~4
• Fixed Note Mode
When this box is checkmarked, the resulting Arpeggio
(first 16 notes) is played back no matter which key is
played. Checkmark this when creating rhythm Arpeggios
containing only drum/percussion sounds.
[F6] Song Job
Press the [F6] button in step #3 of the Basic Procedure
on page 193 so that the Song Job list appears on the
display. Scroll the cursor to the desired Job and press
the [ENTER] button to go to the display of the selected
Job.
The following explanations apply to step #6 of the
Basic Procedure on page 193.
● [F6]-01 Copy Song
This Job copies all data from a selected source song
to a selected destination song.
❏ Settings 01~64
Source Song track and range
Destination Arpeggio number and its track
Source Song
Destination Song
204
MOTIF Reference
Song Job mode
Reference Song mode
• Source song
❏ Settings 01~64
• Destination Song
❏ Settings 01~64
● [F6]-02 Split Song To Pattern
This Job allows you to copy a part of the current
song — all 16 tracks over a specific range of
measures — to a specific section and style, letting
you use song data to create a pattern.
• Source song range (in measures)
❏ Settings 001~999
• Destination pattern (style and section)
❏ Settings Style 01~64
Section A~H
• Copy Sample
When this box is checkmarked, sample voices assigned to
each track in the source song are copied to the split
destination style as sample voices and are assigned to the
corresponding tracks in that pattern. This checkbox has
no effect if no sample voices are assigned to the tracks in
the source song.
This Job overwrites any data already existing in the
destination pattern.
● [F6]-03 Clear Song
This job deletes all data from the selected song or all
songs.
• Song(s) from which data is to be cleared
❏ Settings 01~64, all
● [F6]-04 Song Name
Basic Operation (page 75)
This Job lets you assign a name to the selected song.
See “Basic Operation” on page 75.
Source song range (in measures)
Destination pattern (style and section)
Song(s) from which data is to be cleared
205
MOTIF Reference
Song Mixing mode
Reference Song mode
Song Mixing mode
In this mode, you can set up and save mixing data for
your songs, and set various parameters for the tone
generator parts — including the desired voice, as well
as its level, pan, EQ, effect and other settings.
How the Song Mixing mode affects the tone generator
parts, and how it is affected by other elements is made
clear by the following diagram.
Song Mixing parameters are not actually part of the song
data, but rather are settings for the tone generator, as it is
played back by the song data. As such, the Song Mixing
parameter settings are not recorded to the song tracks.
n Even if the selected song has no sequence data, this
Mixing data can be stored to User memory as song data.
Playing back such song data transmits the mixing setup
to the external MIDI instrument.
◆ The [ ] Indicator
If you alter any parameters in the Song Mixing mode,
the [ ] indicator will appear in the top left of the
display. This indicates that the current Song Mixing
settings have has been modified but not yet stored.
The [ ] indicator will disappear when you select another
song and all edited data will be lost. It is a good idea to
store the edited song data in the Song Mixing Store mode
(page 214). Even if you lose the Song Mixing edited data, you
can restore it by using the Edit Recall function (page 158).
n As shown above, the Song Mixing settings can be
affected or overridden by song playback and
external MIDI data. Keep in mind that because of
this, the [ ] indicator may appear in the display
— even though you’ve made no changes or edits to
the Song Mixing settings yourself.
Song Mixing mode
(Simple Mixer functions)
n The parameters that have the same name in the Song
Mixing mode and in the Song Mixing Edit mode have the
same functions and settings.
◆ Basic Procedure
1 In the Song Play mode, select a User Song to be
mixed.
2 Press the [MIXING] button to enter the Song
Mixing mode. (The indicator lights.)
3 Select a display for the parts you wish to mix by
using the [F6] button.
n Please note that the Muti-Part Plug-in Part
(17~32) settings apply not to one individual song
but to all 64 songs.
4 Select the menu you wish to edit by pressing the
[F1] - [F5] buttons, then edit parameters in each
display.
n If you wish to edit more detailed Mixing
parameters, you can enter the Song Mixing Edit
mode by pressing the [EDIT] button. For details,
refer to “Song Mixing Edit mode” on page 207.
5 Store the settings edited in step #4 to the User
Memory as required.
Sequencer block
Playback of song data affects the
Song Mixing settings.
Tone Generator
block
MIDI data from external
devices affects the Song
Mixing settings.
Editing in the Song
Mixing mode
determines the Song
Mixing settings.
Song Data
Tone Generator
Song Mixing
Edit indicator
Internal Tone Generator Parts 1~16
Multi Part Plug-in Parts 17~32
(When the Multi Part Plug-in board has been installed)
[F6]
[F6]
[F6]
Single Part Plug-in Parts 1~3
When the Single Part Plug-in board has been installed)
206
MOTIF Reference
Song Mixing mode
Reference Song mode
6 Press the [SONG] button to exit from the Song
Mixing mode and return to the Song Play mode.
• For detailed instructions on steps #4, see the
following explanations.
• For details on step #5, refer to “Song Mixing
Store mode” on page 214.
● [F1] VOL/PAN
From this display you can set the Pan and Volume
for each part (track).
n You can select a part by moving the cursor or by
using the NUMBER buttons while the [TRACK
SELECT] indicator is on (page 181).
• PAN
Determines the stereo pan position for each part.
❏ Settings L64 (far left)~C (center)~R63 (far right)
• VOLUME
Determines the volume for each part.
❏ Settings 0~127
n You can also adjust the Volume by using the
Control Sliders. See page 48 for details.
● [F2] AD
From this display you can set various mixing
parameters for the A/D part, input via the A/D
INPUT jack or the mLAN terminal (when the
optional mLAN8E has been installed).
Same as in the Performance Play mode. See
page 160.
● [F3] VOICE
Basic Structure (page 43) · Reference (page 124)
From this display you can select a voice for each
part.
Sample voices can also be selected (page 52).
n You can select a part by moving the cursor or by
using the NUMBER buttons while the [TRACK
SELECT] indicator is on (page 181).
n The Category Search function can also be used to
select voices here (with the exception of the Multi-
part Plug-in parts 17 - 32).
● [F4] SEND (Effect Send)
Basic Structure (page 39)
From this display you can make basic effect settings
for each track — the Reverb, Chorus and Variation
Send levels, as well as the Dry Level.
❏ Settings 0~127
● [F5] TEMPLATE
This convenient function lets you store your mixing
settings as a template — allowing you to easily set
up similar mixes by calling up the proper template,
then tweaking it as needed. Templates are part of
the System data (page 63) in the Utility mode and
not as data for each song.
n Since the Song Mixing templates are stored as
System data (page 64) in the SRAM, the data is
maintained even when the power is turned off.
Press the [SF5] button lets your save the
current setting to the template selected at left.
Pressing the [SF4] button lets
you call up the template
selected at left.
Template Number
Template Name
207
MOTIF Reference
Song Mixing mode
Reference Song mode
• Template number
Determines the template number. Up to 16 templates can
be created.
❏ Settings 1~16
• Template name
Determines the name of the template. For details about
naming, see “Basic Operation” on page 75.
Song Mixing Edit mode
(Detailed Mixer functions)
◆ The Compare Function
This convenient function lets you switch between the
edited mixing setting and its original, unedited
condition — allowing you to listen to the difference
between the two and better hear how your edits affect
the song.
1 In the Song Mixing Edit mode, press the
[COMPARE] button so that its indicator flashes.
The [ ] indicator is shown at the top of the
display (in place of the [ ] indicator), and the
original, unedited Song Mixing settings are
restored for monitoring.
2 Press the [EDIT] button again to disable the
“Compare” function and restore the settings for
your edited Song.
n While Compare is active, you cannot make Song
Mixing edits.
◆ Common edit and Part edit
Use Common Edit to edit the settings common to all
parts. There are two types of Song Mixing displays:
those for Common Edit, and those for editing
individual parts.
n Common Edit operations cannot be performed on
the Multi-part Plug-in parts 17 - 32.
◆ Basic Procedure
1 In the Song Play mode, select a User Song to be
mixed.
2 Press the [MIXING] button to enter the Song
Mixing mode. (The indicator lights.)
3 Press the [EDIT] button to enter the Song Mixing
Edit mode. (The indicator lights.)
4 Select a part to be edited.
• To edit parameters common to all parts, press the
[DRUM KITS] button (which serves as a
“COMMON” button here).
EDIT
COMPARE
Indicates a Common Edit display.
Indicates a display for editing Part(s).
COMMON
Part 1
Part 2
Part 3
Part 16
Plug-in Part 1
Plug-in Part 2
Plug-in Part 3
DRUM KITS
FAVORITES
COMMON
208
MOTIF Reference
Song Mixing mode
Reference Song mode
• To edit parameters of the individual parts, select
the desired part with the corresponding
NUMBER button ([1] - [16]). You can select
parts for the Plug-in board by using the [F6]
button (as shown below).
n Please note that the Muti-Part Plug-in Part
(17~32) settings apply not to one individual song
but to all 64 songs.
5 Select the menu you wish to edit by pressing the
[F1] - [F5] buttons and edit parameters in each
display.
6 Store the settings edited in step #5 to the User
Memory as required.
7 Press the [SONG] button to exit from the Song
Mixing mode and return to the Song Play mode.
• For detailed instructions on steps #5, see the
following explanations.
• For details on step #6, refer to “Song Mixing
Store mode” on page 214.
■ Common edit
● [F1]-[SF1] Song Mixing Common General
Master EQ Offset
The Song Mixing parameters feature global EQ
settings for all parts of the selected song (see
“MEQ” , page 209). The settings made here in this
display are applied as offsets to those MEQ settings
(with the exception of “MID”). You can set the
parameters below by using the four Knobs on the
panel.
❏ Settings -64~+63
● [F1]-[SF5] Song Mixing Common General
Other
From this display you can set the control functions
for the Knobs.
• Knob Assign
Determines the function for the assignable Knobs (1 - 4).
Pressing the [KNOB CONTROL FUNCTION] button on
the panel sets the desired function row, which is
automatically stored to memory with the currently
selected song.
❏ Settings pan, tone, assign, MEQofs
15
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
NUMBER
ELEMENT/PERF.PART/ ZONE
Internal Tone Generator Parts 1~16
Multi Part Plug-in Parts 17~32
(When the Multi Part Plug-in board has been installed)
[F6]
[F6]
[F6]
Single Part Plug-in Parts 1~3
(When the Single Part Plug-in board has been installed)
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
209
MOTIF Reference
Song Mixing mode
Reference Song mode
• ChoCtrl (Chorus Control)
Determines the depth of the Chorus effect, as controlled by
the Knob assigned to Chorus Send.
❏ Settings -64~+63
• Assign A, Assign B, Assign 1, Assign 2
This lets you directly set and memorize the value for each
Assign Knob (A, B, 1, and 2), from the Knob itself. Simply
tweak the knob to the desired setting.
❏ Settings -64~+63
● [F2] Song Mixing Common
MEQ (Master Equalizer)
From this display you can apply five-band
equalization to all parts of the selected song.
Same as in Performance Common Edit. See page 165.
● [F3]-[SF1] Song Mixing Common Arpeggio
Arpeggio type
Basic Structure (page 55)
The basic parameters (e.g., type) of the Arpeggio are
provided in this display.
When a User Arpeggio is selected, you can clear the
selected Arpeggio data by using the [SF5] button.
This is the same as in Voice Normal Common Edit
(page 132), except that the Tempo setting is not
available here, since the Arpeggio plays according to
the song tempo.
● [F3]-[SF2] Song Mixing Common Arpeggio
Arpeggio Limit
Same as in Voice Normal Common Edit. See
page 133.
● [F3]-[SF3] Song Mixing Common Arpeggio
Play FX (Effect)
Same as in Voice Normal Common Edit. See
page 133.
● [F3]-[SF4] Song Mixing Common Arpeggio
Output channel
Same as in Performance Common Edit. See
page 168.
● [F4] Song Mixing Common
Controller Assign
The controllers and knobs on the front panel can be
used to change and adjust a variety of parameters
for each song — in real time, and simultaneously.
Same as in Performance Common Edit. See
page 169.
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
pan
tone
assign
meqofs
This appears only when
User Arpeggio is selected.
210
MOTIF Reference
Song Mixing mode
Reference Song mode
● [F6]-[SF1] Song Mixing Common Effect
Connection
Basic Structure (page 41)
This display gives you comprehensive control over
the effect connections.
Same as in Performance Common Edit. See
page 169.
● [F6]-[SF2], [SF3],[SF4],[SF5]
Common Effect Parameter
Plug-in Insertion, Reverb, Chorus, Variation
Basic Structure (page 39)
The number of parameters and values available
differs depending on the currently selected effect
type. For more information, see the Effect Type List
in the separate Data List booklet.
■ Part Edit
n Please note that the Muti-Part Plug-in Part (17~32)
settings apply not to one individual song but to all 64
songs.
● [F1]-[SF1] Song Mixing Part Voice
From this display you can select the voice for each
part. When the cursor is located at the Bank
parameter, you can directly select a voice by using
the appropriate BANK, GROUP and NUMBER
buttons on the panel (as long as the [TRACK
SELECT] indicator is off). (pages 124~125)
● [F1]-[SF2] Song Mixing Part Voice
Play Mode
• Mono/Poly
Determines whether the voice for the selected part is
played back monophonically (single notes only) or
polyphonically (multiple simultaneous notes).
❏ Settings Mono, Poly
n This parameter is not available for the part to
which the Drum Voice is assigned.
• ArpeggioSw (Arpeggio Switch)
Determines whether Arpeggio is on or off for the selected part.
❏ Settings on, off
n ArpeggioSw is not available for the Multi Part
Plug-in Parts 17~32.
• ReceiveCh (Receive Channel)
Determines the MIDI receive channel for the selected part.
Since MIDI data may be coming from many channels at
once, you should set this to match the particular channel
over which the desired controlling data is being sent.
❏ Settings 01~16, off
● [F1]-[SF3] Song Mixing Part Voice Limit
Same as in Performance Part Edit. See page 170.
● [F1]-[SF4] Song Mixing Part Voice
Portamento
Same as in Performance Part Edit. See page 171.
n The Mode setting is not available for Plug-in voice
parts.
● [F1]-[SF5] Song Mixing Part Voice Other
Same as in Performance Part Edit. See page 171.
n For all Plug-in voice parts, Pitch Bend Upper and
Lower become a single parameter: PB Range.
Upper and Lower values cannot be set
independently for Plug-in parts. (See page 171.)
211
MOTIF Reference
Song Mixing mode
Reference Song mode
● [F2]-[SF1] Song Mixing Part Output
Volume/Pan
Same as in Performance Part Edit. See page 172.
n The Voice Pan setting is not available for Plug-in
voice parts.
● [F2]-[SF2] Song Mixing Part Output
Effect Send
Same as in Performance Part Edit. See page 172.
● [F3] Song Mixing Part Output Select
From this display you can determine the specific
jack or terminal to which the selected part is to be
output.
Same as in Performance Part Edit. See page 173.
● [F4]-[SF1] Song Mixing Part Tone Tune
Same as in Performance Part Edit. See page 173.
● [F4]-[SF2] Song Mixing Part Tone Filter
Basic Structure (page 46)
From this display you can set various Filter related
settings, to change the tonal qualities of the selected
part’s voice.
Same as in Performance Part Edit. See page 173.
n The FEG Depth setting is not available for Plug-in
voice parts.
● [F4]-[SF3] Song Mixing Part Tone FEG
Basic Structure (page 47)
From this display you can set the FEG (Filter
Envelope Generator) parameters for each part. The
following parameters offset the same parameters in
the Voice (Element) Edit mode (page 143).
Same as in Performance Part Edit. See page 173.
n The FEG setting is not available for Plug-in voice
parts or parts to which Drum voices have been
assigned.
● [F4]-[SF4] Song Mixing Part Tone AEG
Basic Structure (page 47)
From this display you can set AEG (Amplitude
Envelope Generator) parameters for each part. The
following parameters offset the same parameters in
the Voice (Element) Edit mode (page 145).
Same as in Performance Part Edit. See page 174.
n The Sustain setting is not available for Plug-in
voice parts or parts to which Drum voices have
been assigned.
n The Release setting is not available for parts to
which Drum voices have been assigned.
212
MOTIF Reference
Song Mixing Job mode
Reference Song mode
● [F5] Song Mixing Part Receive Switch
From this display you can set how each individual
part responds to various MIDI data, such as Control
Change and Program Change messages. When the
relevant parameter is set to “on,” the corresponding
part responds to the appropriate MIDI data. Note
that two different display types (below) are
provided.
• Display showing four parts
This display type shows the Receive Switch status for four
parts at a time. Set the desired part on or off, for the
corresponding MIDI data type. To view and edit another
set of four parts, press the appropriate [NUMBER] button,
[1] to [16].
Keep in mind that since all the available parameters cannot
be simultaneously displayed, you will need to use the
cursor controls to scroll the display in order to see and set
the other parameters.
• Display showing all parameters for one part
This display type shows all of the Receive Switch settings
for a single selected part. Set the desired MIDI data type
on or off for the selected part. To select other parts, use
the NUMBER [1] - [16] buttons (making sure that the
[TRACK SELECT] button is on).
The two display types are linked and feature the same
settings, only in different formats. Use the type you feel
most comfortable with.
Song Mixing Job mode
◆ Basic Procedure
1 In the Song Play mode, select a Song you wish to
execute the Job on.
2 Press the [MIXING] button to enter the Song
Mixing mode.
3 Press the [JOB] button to enter the Song Mixing
Job mode.
4 Select the desired Job menu by pressing the
appropriate button, [F1] - [F5].
5 Set the relevant Job parameters.
6 Press the [ENTER] button. (The display prompts
you for confirmation.)
7 Press the [INC/YES] button to execute the Job.
After the Job has been completed, a “Completed”
message appears and operation returns to the
original display.
n To cancel the Job, press the [DEC/NO] button.
For Jobs that take longer to process, you will see the
message “Executing…” during processing. If you switch
off the power of the MOTIF while this message is
displayed, you risk corrupting your data.
8 Press the [MIXING] button to exit from Song
Mixing Job mode and return to Song Mixing mode.
• For detailed instructions on steps #3 - #5
, see the
explanations below.
● [F1] Initialize
This function lets you reset (initialize) all Song
Mixing parameters to their default settings. It also
allows you to selectively initialize certain
parameters, such as Common settings, settings for
each part, and so on — very useful when creating a
completely new Song Mixing program from scratch.
[SF5] button
213
MOTIF Reference
Song Mixing Job mode
Reference Song mode
❏ Type of parameter to be initialized
ALL
All settings for the selected Song Mixing are initialized.
Common
Common parameter settings for the selected Song Mixing
program are initialized.
P
art 1~16, PLG 1~3
Part parameter settings for the selected Song Mixing
program are initialized.
● [F2] Edit Recall
If you are editing a Song Mixing program and select
a different program without storing your edited one,
all the edits you’ve made will be erased. If this
happens, you can use Edit Recall to restore the Song
Mixing program with your latest edits intact.
● [F3] Copy
From this display you can copy part parameter or
effect settings from any Song Mixing program to the
one you are editing. This would come in handy
when you want to use some settings from another
program.
• Source song
Select a song and Mixing data type to be copied.
❏ Data type Part 1~32, PLG 1~3
• Data type of Destination song (current
selected song)
Set the Part of the destination song.
❏ Data type Part 1~32, Plug 1~3, Arp, Effect (Reverb,
Chorus)
n If you choose Arp (Arpeggio) or Effect, the
Arpeggio data or Effect settings for the Voice
assigned to the source Part will be copied.
● [F4] Bulk Dump
This function lets you send all your edited
parameter settings for the currently selected Song
Mixing program to a computer or another MIDI
device for data archiving.
n You must set the correct MIDI Device Number in
order to execute a Bulk Dump. For details, see
page 258.
● [F5] Performance Copy
This convenient operation lets you copy certain
settings of the four parts in a performance to the
Song Mixing program currently being edited. This
would come in handy when a certain performance
has settings that you want to use in your Song
Mixing program. Use this Job to simply copy the
settings you need.
The MIDI receive channel settings are set to match
the basic channel settings (page 260). When the
basic channel is set to “omni,” the receive channel
here is set to 1. To select a group of parameters for
copying, checkmark the appropriate box in the
display.
Source song
Destination song (current selected song)
214
MOTIF Reference
Song Mixing Store mode
Reference Song mode
Song Mixing Store mode
Basic Structure (page 63)
This function lets you store your edited Song Mixing
program to User memory.
When you execute this, the settings for the destination
memory will be overwritten. Important data should always
be backed up to a memory card or SCSI device.
◆ Basic Procedure
1 After editing the Song Mixing, press the [STORE]
button to enter the Song Mixing Store mode.
2 Press the [ENTER] button. (The display prompts
you for confirmation.)
3 To execute the Store operation, press the [INC/
YES] button. After the Song Mixing program has
been stored, a “Completed” message appears and
operation returns to the original display.
n To cancel the Store operation, press the [DEC/NO]
button.
For Store operations that take longer to process, you will
see the message “Executing…” during processing. If you
switch off the power of the MOTIF while this message is
displayed, you risk corrupting your data.
n The stored settings are recalled automatically when
the corresponding song is selected.
215
MOTIF Reference
Function Tree
Reference Pattern mode
Pattern Mode
Basic Structure (page 51)
Function Tree
This section is devoted to the Pattern mode. To see how the Pattern mode relates to the entire structure of the MOTIF and its
other modes and functions, see the simplified chart in “Basic Structure” on page 30. The following detailed chart shows all of the
display menus and parameter groups of the Pattern modes — giving you a quick, easy-to-understand overview of the pattern-
related functions of the MOTIF. Brackets around a word or phrase (e.g., [F1]) indicate specific button names or panel operations.
[INFORMATION] PATTERN INFORMATION
[PATTERN] PATTERN PLAY
[F1] PATTERN PLAY
[F2] PATTERN GRID GROOVE
[F3] PATTERN TRACK OUTPUT CHANNEL
[F4] PATTERN PATCH
[SF4] CLEAR PHRASE
[SF5] COPY PHRASE
[F5] TRACK VOICE
[F6] PATTERN CHAIN PLAY
[EDIT] PATTERN CHAIN EDIT
[SF1] INSERT MEASURE
[SF2] DELETE MEASURE
[SF3] COPY EVENT
[SF4] CONVERT TO SONG
[SF5] TRACK SELECT
[REC] PATTERN CHAIN RECORD
[REC] PATTERN RECORD
PATTERN REC SETUP
[F1] SETUP
[F2] VOICE
[CATEGORY] VOICE CATEGORY SEARCH
[F3] ARP
[PLAY] PATTERN RECORDING
[EDIT] PATTERN EDIT
[F1] CHANGE
[F5] INSERT
[F6] DELETE
[F2] VIEW FILTER
[F5] CLEAR ALL
[F6] SET ALL
[JOB] PATTERN JOB
[F1] UNDO/REDO
[F2] NOTE JOB LIST
QUANTIZE
MODIFY VELOCITY
MODIFY GATE TIME
CRESCENDO
TRANSPOSE
GLIDE
CREATE ROLL
SORT CHORD
SEPARATE CHORD
[F3] EVENT JOB LIST
SHIFT CLOCK
COPY EVENT
ERASE EVENT
EXTRACT EVENT
CREATE CONTINUOUS DATA
THIN OUT
MODIFY CONTROL DATA
BEAT STRETCH
[F4] PHRASE JOB LIST
COPY PHRASE
EXCHANGE PHRASE
MIX PHRASE
APPEND PHRASE
SPLIT PHRASE
GET PHRASE FROM SONG
PUT PHRASE TO SONG
CLEAR PHRASE
PHRASE NAME
[PATTERN]
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 276
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 217
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 217
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 218
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 218
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 219
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 219
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 219
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 218
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 219
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 220
. . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 220
. . . . . . . . . . . . . . . . . . . . . . . . . . . P. 220
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 220
. . . . . . . . . . . . . . . . . . . . . . . . . . P. 220
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 220
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 220
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 221
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 222
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 222
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 223
. . . . . . . . . . . . . P. 223
. . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 223
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 223
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 224
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 224
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 224
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 224
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 224
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 224
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 224
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 225
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 225
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 225
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 225
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 227
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 227
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 227
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 227
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 227
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 227
.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 227
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 228
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 228
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 228
. . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 228
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 228
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 228
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 229
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 229
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 229
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 229
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230
216
MOTIF Reference
Function Tree
Reference Pattern mode
[MIXING] PATTERN MIXING
[INFORMATION] MIX INFORMATION
[MIX] MIXING PART
[F1] MIX VOLUME/PAN
[F2] MIX AD
[F3] MIX VOICE
[F4] EFFECT SEND
[F5] MIX TEMPLATE
[EDIT] MIXING EDIT
[COMMON]
[F1] COMMON GENERAL
[SF1] MEQ OFFSET
[SF5] OTHER
[F2] COMMON MASTER EQ
[F3] COMMON ARPEGGIO
[SF1] TYPE
[SF2] LIMIT
[SF3] PLAY FX
[SF4] OUTPUT CHANNEL
[SF5] CLEAR USER ARPEGGIO
[F4] COMMON CONTROLLER ASSIGN
CONTROLLER ASSIGN
[F6] COMMON EFFECT
[SF1] EFFECT CONNECT
[SF2] PLG-EF
[SF3] VARIATION
[SF4] REVERB
[SF5] CHORUS
[PART SELECTION]
[F1] PART VOICE
[SF1] VOICE
[SF2] PLYMODE
[SF3] LIMIT
[SF4] PORTAMENTO
[SF5] OTHER
[F2] PART OUTPUT
[SF1] VOLUME/PAN
[SF2] EFFECT SEND
[F3] PART OUTPUT SELECT
OUTPUT SELECT
[F4] PART TONE
[SF1] TUNE
[SF2] FILTER
[SF3] FEG
[SF4] AEG
[F5] PART RECEIVE SWITCH
[JOB] MIXING JOB
[F1] INITIALIZE
[F2] EDIT RECALL
[F3] COPY
[F4] BULK DUMP
[F5] COPY FROM PERFORMANCE
[STORE] MIX STORE
[SONG]
[F5] TRACK JOB LIST
COPY TRACK
EXCHANGE TRACK
CLEAR TRACK
NORMALIZE PLAY EFFECT
DIVIDE DRUM TRACK
[F6] PATTERN JOB LIST
COPY PATTERN
APPEND PATTERN
SPLIT PATTERN
CLEAR PATTERN
STYLE NAME
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 231
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 231
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 231
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 231
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 231
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . P. 232
. . . . P. 232
. . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . .. . . . . . . . . . . P. 232
. . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232
217
MOTIF Reference
Pattern Play mode
Reference Pattern mode
Pattern Play mode
Basic Structure (page 67)
In this mode, you can select and play individual User
patterns.
n For details about patterns and their track and memory
structure, see page 51.
◆ Basic Procedure
Basic Structure (page 67)
1 Press the [PATTERN] button to enter the Pattern
Play mode. (The indicator lights.)
2 Select a style and its section.
3 Start/Stop pattern playback.
4 Make necessary or desired settings (e.g., transpose,
tempo, individual track on/off status, and so on) in
the above display.
5 Select the menu you wish to edit by pressing the
[F2] - [F6] buttons and edit the parameters in each
display.
n Creating patterns is done with the Patch function,
selected with the [F4] button. (See page 219.)
n The Pattern Chain function, selected with the [F6]
button, lets create a song by chaining together
several different patterns. (See page 219.)
6 Repeat steps #3 through #5 as desired.
7 Press any other mode button to exit from the
Pattern Play mode.
• For detailed instructions on steps #2, 3, 4, and 5,
see the following explanations.
Style Selection
The explanations here apply to step #2 of the Basic
Procedure see above.
The method for selecting a style is the same as that for
selecting songs (page 179), as shown below.
You can also select a style by moving the cursor to the
style number location and using the [INC/YES] and
[DEC/NO] buttons or the data dial.
PATTERN
Pattern track number
and data status
In addition to MIDI sequence data,
the sample data has been recorded.
(Indicates an sample track.)
MIDI sequence data has been
recorded. (Indicates a MIDI track.)
No data has been recorded.
(A Phrase has not been assigned.)
Tempo for the selected style
❒ Setting 010.0 ~ 300.0
Measure : Beat
(for current playback location)/
Total length of the selected pattern
Time signature for the selected style
❒ Setting 1/16 ~16/16, 1/8 ~16/8, 1/4 ~8/4
Transpose setting (for all style data)
Can be adjusted in semitones.
For example, when a value of +12 is set,
the pitch of all of the data becomes one octave higher.
❒ Settings -36 ~ +36
Currently selected pattern (style and section)
Style name SectionStyle number
Indicates muted track.
Pattern track on/off status
Indicates soloed track (page 218).
Start playbackStop playback
n The explanations here apply when
these four button indicators are off.
1
2
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
DRUM KITS
FAVORITES
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/ PERF.PART/ZONE
218
MOTIF Reference
Pattern Play mode
Reference Pattern mode
● Style numbers and the corresponding Group/
Numbers
Same as in the Song Play mode. See page 179.
Section Selection
The explanations here apply to step #2 of the Basic
Procedure on page 217.
1 Press the [SECTION] button. (The indicator
lights.)
2 Press any of the [PRE1]~[PLG3], [A]~[H]
buttons to select a section from the 16 available
sections
Pattern track on/off — Solo and
Mute
The explanations here apply to step #4 of the Basic
Procedure on page 217.
Details are same as “Song track on/off — Solo and
Mute” on page 180, as illustrated below.
● To mute a track
● To solo a track
Pattern track selection
The explanations here apply to step #4 of the Basic
Procedure on page 217.
In order to edit the Song data, you’ll need to select a
track for editing.
Details are same as “Song track selection” on page 181
as illustrated below.
Pattern editing in the Pattern Play
mode
The explanations here apply to step #5 of the Basic
Procedure on page 217.
● [F2] Pattern Play Groove
Same as in the Song Play mode. See page 181.
● [F3] Pattern Play Output Channel
Same as in the Song Play mode. See page 182.
● [F4] Pattern Play Patch
Explained later. See page 219.
● [F5] Pattern Play Track Voice
Determines whether the program change data
contained in the phrase data is effective or not. For
most purposes, this should be set to “off.” For
example, if a phrase has embedded voice changes
(program change messages) but you don’t want the
voice to change in the middle of the phrase, set this
to “off.” Tracks that are set to “off” here
automatically play back with the voice number
assigned to the part.
PLG 2
A
B
C
D
E
F
G
H
CATEGORY
SEARCH
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR /
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE
MUSICAL FX COMBI
SECTION
BANK
GROUP
15
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
NUMBER
ELEMENT/PERF.PART/ ZONE
15
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
NUMBER
ELEMENT/PERF.PART/ ZONE
15
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
TRACK
SELECT
MUTE
SOLO
NUMBER
ELEMENT/PERF.PART/ ZONE
219
MOTIF Reference
Pattern Play mode
Reference Pattern mode
n The Phrase Voice embedded in the Pattern phrase can be
specified from the Voice display in the Pattern Record
mode (page 223).
● [F6] Pattern Play Chain Play/Edit
Explained later. See below.
[F4] Patch Function
Basic Structure (page 52) · Quick Start Guide (page 105)
The explanations here apply to step #5 of the Basic
Procedure on page 217.
In the following display, you can assign a Preset phrase
or a User phrase (recorded in the Pattern Record mode)
to each track and create a pattern that contains up to
16 tracks.
● Track number, Data status, Phrase bank/
number
For details about the Track number and Data status,
see the illustration in step #1 of the Basic Procedure
on page 217.
The phrase bank and number can be selected via
the data dial, [INC/YES] button, or [DEC/NO]
button and assigned to the selected track. The
assigned phrase name, its time signature and length
are indicated at the top right of the display.
n The Patch function allows you to use only User
phrases recorded to a track of the currently selected
style. If you wish to use User phrases recorded to
tracks of other styles, use the Phrase Data Copy
function, selected with [SF5] button.
● Section
Shows the current edited section. For details about
how to change sections, refer to “Section selection”
on page 218.
● Measure : Beat (for current playback location)
The buttons can be used to change the location (in
measures/beats), even during playback.
● [SF4] Patch Clear
You can clear the Phrase assignment to the
currently selected track by pressing the [SF4]
button. As a result, the track becomes empty.
● [SF5] Phrase Data Copy
The User phrases that can be assigned with the
Patch function are limited to the ones contained in
the currently selected pattern style. This function
lets you copy phrases on other pattern styles to the
selected one.
Press the [SF5] button to call up the following
display. After setting the parameters as needed,
press the [ENTER] button to copy the phrase data.
The copy operation overwrites any data previously
existing in the destination phrase.
[F6] Pattern Chain
Basic Structure (page 52) · Quick Start Guide (page 108)
The explanations here apply to step #5 of the Basic
Procedure on page 217.
Pattern Chain allows you to string several different
Patterns (Style and Section) together to make a single
Song. The created Pattern Chain data can then be
converted into a Song.
n For details about Pattern Chain and its track and memory
structure, see page 54.
Track number, Data status (page 217),
Phrase bank : number
Section
[SF5] Phrase Data Copy
[SF4] Patch Clear
Measure : Beat (for current
playback location)/Total
length of the selected pattern
Phrase name, Time Signature,
and length of the Phrase assigned
to the selected track
Source style number, phrase number
After setting, press the [ENTER]
button to copy the phrase.
When this box is checkmarked,
sample voices assigned to the
source phrase are copied to the
destination phrase as sample
voices, and are assigne to the
corresponding tracks in the
selected pattern.
Destination phrase and track of
the current edited style.
220
MOTIF Reference
Pattern Play mode
Reference Pattern mode
■ Creating Pattern Chains with Realtime
Playback (Pattern Chain Recording)
This function makes it possible to specify a
sequence of patterns for pattern chain playback.
Switching of styles/sections, track muting, scene/
mute changes, and tempo changes can all be
recorded in real time.
1 In the Pattern Play mode, press the [F6] button to
enter the Pattern Chain Play mode as shown
below. Details about parameters in this display are
same as in step #1 of the Basic Procedure on
page 217.
2 Press the [REC] button to enter the Pattern Chain
Record mode. The indicator lights and the Record
Setup Display appears.
3 Set basic parameters for recording (e.g., Style
number/Section, Recording Type, Track, Tempo
and so on).
• The Recording Type, Time Signature and Tempo
settings are same as in the Song Record mode.
• To record a track, select the desired track from
“TMP” (Tempo), “SCN” (Scene), and “PTN”
(Pattern). For details about the Pattern Chain
track structure, see page 54.
4 Press the [F] button to start recording and play
the pattern as you like.
• When a Pattern track (1 - 16) is selected, you can
record style and section changes.
• When the Tempo track is selected, you can
record tempo changes.
• When the Scene track is selected, you can record
track muting settings.
5 Press the [■] button to stop recording.
■ Pattern Chain Editing
The Pattern Chain Edit mode makes it possible to edit the
order of the patterns in a chain as well as inserting tempo,
and scene/mute event data.
Call up the desired display by following the instructions
below and edit the events (Style/Section changes, Scene/
Mute changes, and Tempo changes) in each display.
REC
REC
Pattern Chain Edit mode
[EDIT] button[PATTERN]
button
Pattern Track Edit
[F4] button
[F4] button
[F4] button
Scene Track Edit
Tempo Track Edit
Pattern Chain Edit mode
221
MOTIF Reference
Pattern Record mode
Reference Pattern mode
The methods for editing each event in the display
above and for inserting/deleting events (by using the
[F5]/[F6] buttons) are the same as in the Song Edit
mode. See page 190.
● [F6]-[EDIT]-[F2] Copy
Pressing the [SF3] button in the Pattern Chain Edit
mode calls up the Copy display below, letting you
copy all pattern chain events from a specified range
of measures (source) to a destination location. Keep
in mind that this overwrites any existing events at
the destination.
• Source range, Destination range (Measure)
❏ Settings 001~999
• NumberOfTimes
Specifies the number of times the data is copied.
❏ Settings 01~99
This operation overwrites any events already existing at
the destination.
● [F6]-[EDIT]-[F3] Convert
This function converts the pattern chain data to
song data (standard MIDI format) and places the
results in the normal song tracks.
Pressing the [SF4] button in the Pattern Chain Edit
mode calls up the Convert display below. Specify
the desired destination song and measure number
to which the converted data is to be copied, then
press the [SF5] button to execute.
This operation overwrites any data already existing at the
destination range.
Pattern Record mode
Quick Start Guide (page 102)
The MOTIF features a wealth of preset phrases in a
variety of music genres. It also features comprehensive
phrase recording functions, that let you create your
own phrases and use them to build your own original
patterns.
n For details about recording methods, see page 53 .
◆ About the recording track
When recording patterns, you’ll need to specify the
track to be recorded — just as is done in Song
recording. The operations differ depending on the
specific phrase assignments, as described below.
• If the preset phrase is assigned to the track...
You cannot record. Even if you specify the track to which
the preset phrase is assigned and try to record, an error
message will appear.
• If the user phrase is assigned to the track...
The data of the user phrase assigned to the specified track
is overwitten by recording.
• If the phrase is not assigned to the track...
Recording is donw to an empty user phrase. The newly
created phrase is automatically assigned to the recording
track.
◆ Basic Procedure
1 In the Pattern Play mode, select a pattern (style
and section) to be recorded.
2 Press the [REC] button to enter the Pattern Record
mode. (The indicator lights.) The Pattern Record
Setup display shown below appears.
3 Set basic parameters for recording (e.g., recording
track, type, tempo, and so on).
Source range
Destination range
REC
222
MOTIF Reference
Pattern Record mode
Reference Pattern mode
n Please note that the time signature can be set in the
Pattern Play display. See page 217.
n The method for selecting the recording track is the
same as in Pattern track selection (page 218).
4 Change the display by pressing the [F2] - [F3]
buttons and set various parameters for recording.
5 Press the [F] button to start recording.
• When any of the Realtime recording methods
(any setting other than “step”) is selected in step
#3, your keyboard playing and controller moves
are automatically recorded.
• When “step” is selected in step #3, compose your
recording by entering each note individually.
6 After completing your performance (in Realtime
recording) or completing step recording, press the
[■] button to stop recording.
7 Press the [F] button to hear your newly
recorded phrase.
8 Save the recorded phrase data to a memory card or
a SCSI device connected to the MOTIF.
The recorded (edited) phrase data resides temporarily in
DRAM (page 64). Because data contained in DRAM is
lost when the power is turned off, you should always store
any data residing in DRAM to a memory card or an
external SCSI device before turning off the power.
• For detailed instructions on steps #3 - #4, see the
following explanations.
• For details on steps #5 - #6
, refer to “Quick Start
Guide” on page 102.
• For details on step #8
, refer to “File mode” on
page 266.
n The following explanations apply to MIDI data
recording (creating MIDI tracks). For instructions
on recording audio data (creating sample tracks),
see “Sampling mode” on page 233.
Setting up before recording
The explanations here apply to steps #3 - #4 of the
Basic Procedure on page 221, page 222.
● [F1] Pattern Record Setup
Basic Structure (page 51)
When recording type is set to something other
than “step”:
When recording type is set to “step”:
• Type (Recording type)
Determines the recording method.
❏ Settings: replace, overdub, step
n Unlike in the Song Record mode, Punch recording
is not available for pattern recording.
• Loop
Turns loop recording ON or OFF.
When ON, the phrase will play repeatedly during real-time
recording. This can be handy when recording drum parts,
allowing you to add different instruments on each pass.
When OFF recording stops after one pass through the
phrase.
❏ Settings: on, off
REC
To erase specific notes from the recording, simultaneously
hold down the [F6] button and press the note you wish to
delete. This is especially convenient when erasing specific
instruments in a selected Drum voice.
Tempo
Time signature (set in the Pattern Play display)
This lets you determine whether the Arpeggio
playback data is recorded to the Pattern track or
not. (Press the [F4] button.) When is indicated,
the Arpeggio playback data is recorded to the
Song track.
This lets you turn the click sound
(metronome) on/off for recording.
(Press the [F5] button.) When
is indicated, the click sounds.
TempoTime signature
(set in the Pattern Play display).
223
MOTIF Reference
Pattern Record mode
Reference Pattern mode
• Quantize
This convenient feature lets you automatically quantize
the notes in real time, as you record. Quantize aligns the
timing of note events to the nearest beat. This parameter
determines whether real-time Quantize is on or not, and
the resolution to which the notes will be aligned.
❏ Settings: off, 60 (32nd note), 80 (16th note triplet), 120
(16th note), 160 (8th note triplet), 240 (8th
note), 320 (1/4 note triplet), 480 (1/4 note)
• Event
This parameter is available when the Recording Type is set
to “step.” This lets you specify the event type to be
entered.
❏ Settings: note, p.bend (pitch bend), CC#000~#119
(Control Change)
• Tempo
Determines the Pattern tempo.
❏ Settings: 001.0 ~300.0
● [F2] Pattern Record Voice
From this display you can set voice-related
parameters for the selected track. The settings
made here affect the tone generator parts whose
MIDI receive channels match the MIDI transmit
channel of the song track. The voice set here
becomes the phrase voice (page 52).
Parameters are the same as in the Song Record
mode. See page 188.
● [F3] Pattern Record Arpeggio
From this display you can set various Arpeggio-
related parameters for the selected track.
Parameters are the same as in the Song Record mode.
See page 189.
Pattern Recording
The explanations here apply to steps #5 - #6 of the
Basic Procedure on page 222.
■ Realtime Recording
See “Quick Start Guide” on page 103.
■ Step Recording
If you press the [F] button in step #5 of the Basic
Procedure on page 222 , the Event display appears and
you can input individual events one by one. The
method for inputting events is the same as in Step
recording in the Song mode. See pages 183 ~ 186.
Determines whether Arpeggio playback
data is recorded to the track or not.
(Press the [F4] button.)
224
MOTIF Reference
Pattern Edit mode
Reference Pattern mode
Pattern Edit mode
This mode gives you comprehensive, detailed controls
for editing the MIDI events of each phrase of the
recorded pattern. MIDI events are messages (such as
note on/off, note number, program change number,
etc.) that make up the data of a recorded pattern.
◆ Basic Procedure
Basic Operation (page 70)
1 In the Pattern Play mode, select a style and phrase
to be edited.
2 Press the [EDIT] button to enter the Pattern Edit
mode. (The indicator lights.) The Pattern Event
List display shown below appears.
3 Revise, insert or delete the MIDI events as needed.
If you find the display too cluttered, you can filter
out certain event types with the View Filter.
Simply press the [F2] button and select the event
types you want to be displayed.
4 After completing editing, press the [PATTERN]
button to return back to the Pattern Play mode.
5 Press the [F] button to hear your edited data.
6 Edit other Phrases as required. Repeat steps #2
through #5 as desired.
7 After editing, save your pattern data to a memory
card or a SCSI device connected to the MOTIF in
the File mode.
• For detailed instructions on step #3
, see the
following explanations.
• For details on step #7
, refer to “File mode” on
page 266.
MIDI events that can be edited
All MIDI events and parameters (edited in step #3 of
the Basic Procedure above) are the same as those in the
Song Edit mode. For details, see page 190.
Event Editing/Inserting/Deleting
All event editing operations and parameters (done in
step #3 of the Basic Procedure above) are the same as
those in the Song Edit mode. For details, see page 190.
Event View Filter
All Event View Filter operations and settings (done in
step #3 of the Basic Procedure above) are the same as
those in the Song Edit mode. For details, see page 192.
EventsMeasure
number
Clock
(480 clocks
per quarter-note)
Beat
EDIT
225
MOTIF Reference
Pattern Job mode
Reference Pattern mode
Pattern Job mode
The Pattern Job mode contains a comprehensive set of
editing tools and functions you can use to change the
sound of your original pattern, as created by the
Pattern Patch function or from the Pattern Record
mode. It also includes a variety of convenient
operations, such as copying or erasing data. Most of
these operations can be performed on either an entire
track or a selected range of measures in the track.
◆ Basic Procedure
1 In the Pattern Play mode, select a style and section
you wish to execute the Job on.
2 Press the [JOB] button to enter Pattern Job Mode.
3 Select the desired Job menu by pressing the
appropriate button, [F2] - [F6].
4 Use the CURSOR buttons to scroll to the desired
Job.
5 Press the [ENTER] button to go to the selected Job
display.
6 Set the relevant Job parameters.
7 Press the [ENTER] button. (The display prompts
you for confirmation.)
8 Press the [INC/YES] button to execute the Job.
After the Job has been completed, a “Completed”
message appears and operation returns to the
original display.
n To cancel the Job, press the [DEC/NO] button.
For Jobs that take longer to process, you will see the
message “Executing…” during processing. If you switch
off the power of the MOTIF while this message is
displayed, you risk corrupting your data.
9 If you wish to undo the changes made in the steps
above, press the [F1] button and (to select Undo/
Redo) and use the Undo function.
10Press the [PATTERN] button to exit from the
Pattern Job mode and return to the Pattern Play
mode.
• For detailed instructions on steps #3 - #9
, see the
explanations below.
[F1] Undo/Redo
The explanations here apply to step #9 of the Basic
Procedure on see below.
The operations are the same as in the Song Job mode.
See page 193.
Undo/Redo does not work with sample voice operations.
[F2] Note data Job
Press the [F2] button in step #3 of the Basic Procedure
(see below), so that the Note data Job list appears on
the display. Scroll the cursor to the desired Job and
press the [ENTER] button to go to the display of the
selected Job.
The following explanations apply to step #6 of the
Basic Procedure see above.
n The Note data Jobs in the Pattern mode are basically
same as in the Song Job mode. However, unlike in the
Song Job mode, Pattern Note data Jobs are applied to the
phrases (001 - 256) and a selected range in the phrase
(measure : beat : clock).
● [F2]-01 Quantize
Same as in the Song Job mode. See page 194.
Specify the phrase and the range (in measures/
beats/clocks) over which the Job is applied.
226
MOTIF Reference
Pattern Job mode
Reference Pattern mode
● [F2]-02 Modify Velocity
Same as in the Song Job mode. See page 195.
● [F2]-03 Modify Gate Time
Same as in the Song Job mode. See page 195.
● [F2]-04 Crescendo
Same as in the Song Job mode. See page 196.
● [F2]-05 Transpose
Same as in the Song Job mode. See page 196.
● [F2]-06 Glide
Same as in the Song Job mode. See page 196.
● [F2]-07 Create Roll
Same as in the Song Job mode. See page 196.
● [F2]-08 Sort Chord
Same as in the Song Job mode. See page 197.
● [F2]-09 Separate Chord
Same as in the Song Job mode. See page 198.
Specify the phrase and the range (in measures/
beats/clocks) over which the Job is applied.
Specify the phrase and the range (in measures/
beats/clocks) over which the Job is applied.
Specify the phrase and the range (in measures/
beats/clocks) over which the Job is applied.
Specify the phrase and the range (in measures/
beats/clocks) over which the Job is applied.
Specify the phrase and the range (in measures/
beats/clocks) over which the Job is applied.
Specify the phrase and the range (in measures/
beats/clocks) over which the Job is applied.
Specify the phrase and the range (in measures/
beats/clocks) over which the Job is applied.
Specify the phrase and the range (in measures/
beats/clocks) over which the Job is applied.
227
MOTIF Reference
Pattern Job mode
Reference Pattern mode
[F3] Event Job
Press the [F3] button in step #3 of the Basic Procedure
on page 225 so that the Event Job list appears on the
display. Scroll the cursor to the desired Job and press the
[ENTER] button to go to the display of the selected Job.
The following explanations apply to step #6 of the
Basic Procedure on page 225.
n The Event Jobs in the Pattern mode are basically same as
in the Song Job mode. However, unlike in the Song Job
mode, Pattern Event Jobs are applied to the phrases (001 -
256) and a selected range in the phrase (measure : beat :
clock).
● [F3]-01 Shift Clock
Same as in the Song Job mode. See page 198.
● [F3]-02 Copy Event
This job copies all data from a specified source
range to a specified destination location.
• Number Of Times
Specifies the number of times the data is copied.
❏ Settings 01~99
When Copy Event is executed any data already existing at
the Destination location will be overwritten.
● [F3]-03 Erase Event
Same as in the Song Job mode. See page 199.
n Unlike in the Song Job mode, you cannot select
“Tempo,” “Scene Memory,” or “Track Mute” as
Event Types.
● [F3]-04 Extract Event
Same as in the Song Job mode. See page 199.
● [F3]-05 Create Continuous Data
Same as in the Song Job mode. See page 199.
n Unlike in the Song Job mode, you cannot select
“Tempo” as an Event Type.
● [F3]-06 Thin Out
Same as in the Song Job mode. See page 200.
n Unlike in the Song Job mode, you cannot select
“All” as an Event Type.
Specify the phrase and the range (in measures/
beats/clocks) over which the Job is applied.
Specify the phrase to which
the job is applied.
Set the range (in measures/beats/
clocks) from which the data will be copied.
Specify the location to which
the data will be copied.
Specify the phrase and the range (in measures/
beats/clocks) over which the Job is applied.
Specify the phrase and the range (in measures/
eats/clocks) over which the Job is applied.
Select the destination phrase.
Specify the phrase and the range (in measures/
beats/clocks) over which the Job is applied.
Specify the phrase and the range (in measures/
beats/clocks) over which the Job is applied.
228
MOTIF Reference
Pattern Job mode
Reference Pattern mode
● [F3]-07 Modify Control Data
Same as in the Song Job mode. See page 200.
n Unlike in the Song Job mode, you cannot select
“Tempo” as an Event Type.
● [F3]-08 Beat Stretch
Same as in the Song Job mode. See page 200.
[F4] Phrase Job
Press the [F4] button in step #3 of the Basic Procedure
on page 225 so that the Phrase Job list appears on the
display. Scroll the cursor to the desired Job and press the
[ENTER] button to go to the display of the selected Job.
The following explanations apply to step #6 of the
Basic Procedure on page 225.
● [F4]-01 Copy Phrase
This Job copies a selected phrase to the designated
destination phrase.
Any previous data in the copy destination will be
overwritten.
Undo/Redo (page 225) cannot be used to undo/redo a
sample voice copy operation.
n When there is no memory available in the
destination style for sample voice data, an error
message will appear on the display and the sample
voice data will not be copied. If this occurs, use
Sample Job 02 “Delete” to delete any unused
sample voices, then try again.
● [F4]-02 Exchange Phrase
This Job exchanges or “swaps” the contents of two
specified phrases.
n If this Job is applied to phrases which use sample
voices, the sample voices will not be exchanged.
● [F4]-03 Mix Phrase
This Job mixes all data from two selected user
phrases (“A” and “B”), and places the result in
phrase B. One useful application for this would be
to free up the data in phrase A, letting you record
new data to it.
n Keep in mind that applying this Job to phrases with
sample voices does not mix the sample voices.
Specify the phrase and the range (in measures/
beats/clocks) over which the Job is applied.
Specify the phrase and the range (in measures/
beats/clocks) over which the Job is applied.
Selects the style and phrase to be copied.
(Preset phrase also can be selected.)
Specify the destination
style and phrase.
When this box is checkmarked, sample voices used by the
source phrase are copied to the destination style as
sample voices, and are assigned to the destination phrase.
Target phrases for the Exchange operation
Phrase B
Mix Phrase
Phrase B
Phrase A
229
MOTIF Reference
Pattern Job mode
Reference Pattern mode
● [F4]-04 Append Phrase
This Job appends one phrase to the end of another
to create one longer phrase.
n If this job is applied to phrases which use sample
voices, the sample voices will not be appended.
● [F4]-05 Split Phrase
This Job splits a selected phrase into two separate
phrases.
n When either Style or Phrase is set to “off”, the split
Phrase B data is erased.
• Meter
Sets the meter of phrase B after the split operation.
❏ Settings 1/16~16/16, 1/8~16/8, 1/4~16/4
The job overwrites any data already existing in destination
phrase B.
n If this job is applied to phrases which use sample
voices, the sample voices will not be split.
● [F4]-06 Get Phrase From Song
This Job copies a segment of sequence-track data
from a song into the designated destination phrase.
The job overwrites any data already existing in the
destination phrase.
Undo/Redo (page 225) cannot be used to undo/redo a
sample voice copy operation.
n When there is no memory available in the
destination style for sample voice data, an error
message will appear on the display and the sample
voice data will not be copied. If this occurs, use
Sample Job 02 “Delete” to delete any unused
samples, then try again.
● [F4]-07 Put Phrase To Song
This Job copies a selected user phrase into a
specified area of a selected song.
The job overwrites any data already existing in the
destination track.
Undo/Redo (page 225) cannot be used to undo/redo a
sample voice copy operation.
n When there is no memory available in the
destination song for sample voice data, an error
message will appear on the display and the sample
voice data will not be copied. If this occurs, use
Sample Job “Delete” to delete any unused samples,
then try again.
Phrase B
Append Phrase
Phrase A
Phrase A is divided at the Split Point (the
measure number set in the above display).
Phrase A
Phrase B
Phrase A
When this box is checkmarked, sample voices used by the source track
are copied to the destination style as sample voices, and are assigned
to destination phrase. This parameter has no effect when no sample
voice is used by the source track.
Source song, track, and range of
measures to be copied
Destination phrase
Destination phrase
When this box is checkmarked, sample voices used by the source track
are copied to the destination style as sample voices, and are assigned
to destination phrase. This parameter has no effect when no sample
voice is used by the source track.
Source song, track, and range of
measures to be copied
230
MOTIF Reference
Pattern Job mode
Reference Pattern mode
● [F4]-08 Clear Phrase
This Job deletes all data from the selected phrase.
Undo/Redo (page 225) cannot be used to undo/redo a
Delete Sample operation.
● [F4]-09 Phrase Name
Basic Operation (page 75)
This Job lets you assign a name (of up to eight
characters) to the selected phrase.
See “Basic Operation” on page 75.
[F5] Track Job
Press the [F5] button in step #3 of the Basic Procedure
on page 225 so that the Track Job list appears on the
display. Scroll the cursor to the desired Job and press
the [ENTER] button to go to the display of the selected
Job.
The following explanations apply to step #6 of the
Basic Procedure on page 225.
● [F5]-01 Copy Track
This Job copies all data of the selected type from
specified source track to specified destination track.
Same as in the Song Job mode. See page 202.
● [F5]-02 Exchange Track
This Job exchanges or “swaps” the specified type of
data between two specified tracks in the current
style and section.
Same as in the Song Job mode. See page 202.
● [F5]-03 Clear Track
This Job deletes all data of the selected type from
the selected pattern track.
Same as in the Song Job mode. See page 202.
● [F5]-04 Normalize Play Effect
This job rewrites the data in the selected track so
that it incorporates the current Grid Groove
settings.
Same as in the Song Job mode. See page 203.
Phrase to be cleared
When this box is checkmarked, sample data
assigned to the selected phrase will be deleted.
This parameter has no effect when no sample
voice is used by the selected phrase.
Types of data to be copied
Source style, ection, and track
Destination style, section, and track
Target tracks for the Exchange operation
Types of data to be exchanged
Types of data to be cleared
Section and track from which data is to be cleared
231
MOTIF Reference
Pattern Job mode
Reference Pattern mode
● [F5]-05 Divide Drum Track
Separates the note events in a drum performance
assigned to a specified track, and places the notes
corresponding to different drum instruments in
separate tracks (tracks 1 through 8).
One useful application for this would be to use
Quantize (page 225) and Shift Clock (page 227) to
independently adjust the timing of different drum
parts in the rhythm, to tighten up the timing and yet
create a more natural sounding feel.
Same as in the Song Job mode. See page 203.
[F6] Pattern Job
Press the [F6] button in step #3 of the Basic Procedure
on page 225 so that the Pattern Job list appears on the
display. Scroll the cursor to the desired Job and press
the [ENTER] button to go to the display of the selected
Job.
The following explanations apply to step #6
of the
Basic Procedure on page 225.
● [F6]-01 Copy Pattern
This job copies all data from a selected source
pattern to a selected destination pattern.
Undo/Redo (page 225) cannot be used to undo/redo a
sample voice copy operation.
● [F6]-02 Append Pattern
Appends one pattern to the end of another to create
one longer pattern with all 16 tracks.
n When the KEEP ORIGINAL PHRASE checkbox is
checked, this job requires twice the number of
empty user phrases as the number of tracks
containing data in which to store the appended
phrase data. If the required phrases are unavailable
the alert message will appear and the job will be
aborted. If this occurs use the Clear Phrase Job
(page 230) to delete unused phrases and try again.
n If this job is applied to patterns which use sample
voices, the sample voices will not be appended.
n If the pattern length becomes greater than 256
measures as a result of the Append Pattern Job, an
error message will be displayed and the Job will be
aborted.
● [F6]-03 Split Pattern
This Job splits a selected pattern (all 16 tracks data)
into two patterns.
Source style and section
Destination style and section
When this box is checkmarked, sample voices
(if included in the source style) are copied to
the destination style.
When this box is checkmarked, Preset Phrases (if included
in the source style) are copied to the User Phrase.
Source pattern
(style and Section)
Destination pattern
(style and section)
When this box is checkmarked, the original Destination
pattern data is retained in memory, along with the new
appended pattern data. If the box is not checkmarked,
the original Destination pattern is erased and replaced
with the newly created data.
When this box is checkmarked, Sample Voices
(if included in the source style) are copied to the
Destination Style.
After the Split Pattern operation, the part of the pattern before
the specified Split Point will remain, and the part following
the Split Point will be moved to the destination pattern.
Destination pattern
(style and section)
Source pattern
(style and section)
When this box is checkmarked, the original Source pattern
data is retained in memory, along with the new appended
pattern data. If the box is not checkmarked, the split
portion of the original Source pattern is erased and moved
to the Destination pattern.
232
MOTIF Reference
Pattern Mixing mode
Reference Pattern mode
The job overwrites any data already existing in the
destination pattern.
n When the KEEP ORIGINAL PHRASE checkbox is
checked, this job requires twice the number of
empty user phrases as the number of tracks
containing data in which to store the appended
phrase data. If the required phrases are unavailable
the alert message will appear and the job will be
aborted. If this occurs use the Clear Phrase Job
(page 230) to delete unused phrases and try again.
● [F6]-04 Clear Pattern
This job deletes all data from the selected pattern,
or from all patterns.
● [F6]-05 Style Name
Basic Operation (page 75)
This Job lets you assign a name to the selected style.
See “Basic Operation” on page 75.
Pattern Mixing mode
In this mode, you can set up and save mixing data for
your patterns, and set various parameters for the tone
generator parts — including the desired voice, as well
as its level, pan, EQ, effect and other settings.
How the Pattern Mixing mode affects the tone
generator parts, and how it is affected by other
elements, is made clear by the following diagram.
Pattern Mixing parameters are not actually part of the
pattern data, but rather are settings for the tone
generator, as it is played back by the pattern data. As
such, the Pattern Mixing parameter settings are not
recorded to the pattern tracks.
Even though the modes are different, the actual Pattern
Mixing operations and parameters are the same as
those of the Song Mixing mode. See page 205.
Pattern (style and section) to be cleared
Sequencer block
Tone Generator
block
Tone Generator
Pattern Data
Pattern Mixing
MIDI data from
external devices
affects the Pattern
Mixing settings.
Editing in the
Pattern Mixing
mode determines
the Pattern Mixing
settings.
Playback of pattern data affects
the Pattern Mixing settings.
233
MOTIF Reference
Function Tree
Reference Sampling mode
Sampling Mode
Basic Structure (page 58)
Function Tree
This section is devoted to the Sampling mode. To see how the Sampling mode relates to the entire structure of the
MOTIF and its other modes and functions, see the simplified chart in “Basic Structure” on page 30.
The following detailed chart shows all of the display menus and parameter groups of the Sampling modes — giving
you a quick, easy-to-understand overview of the sampling-related functions of the MOTIF.
Brackets around a word or phrase (e.g., [F1]) indicate specific button names or panel operations.
[INFORMATION] SAMPLE
[SAMPLE] SAMPLE REC SETUP
[F1] DESTINATION
[F2] SOURCE
[F6] SAMPLE RECORD
[F6] SAMPLE RECORDING
RECORDING (Slice+Seq)
[AFTER COMPLETING RECORDING]
[F1] TRIM
[INFO] TRIM INFORMATION
[SF1] AUDITION
[SF2] START-LOOP
[SF3] GET TEMPO
[SF4] EXTRACT
[F5] ZOOM OUT
[F6] ZOOM IN
[F2] SLICE
RECORDING (Sample, Sample+Note)
[F6] SAMPLE REC SETUP
[EDIT] SAMPLE EDIT
[F1] KEYBANK SELECT
[F2] TRIM
[INFO] TRIM INFO
[SF1] AUDITION
[SF2] START-LOOP
[SF3] GET TEMPO
[SF4] EXTRACT
[F5] ZOOM OUT
[F6] ZOOM IN
[F3] PARAMETER
[F4] RANGE
[JOB] SAMPLE JOB
[F1] KEYBANK JOB LIST
COPY
DELETE
EXTRACT
MOVE
NORMALIZE
TIME-STRETCH
CONVERT PITCH
FADE IN/OUT
CONVERT FREQUENCY
STEREO TO MONO
LOOP-REMIX
SLICE
[F2] WAVEFORM JOB LIST
COPY
DELETE
TRANSPOSE
NAME
[F3] OTHER JOB LIST
CLEAN UP MEMORY
OPTIMIZE MEMORY
DELETE ALL
CONVERT TO DRUM VOICE (User Drum Voice Number, Name)
[SAMPLE]
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 276
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 235
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 235
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 236
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 234
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 234
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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 237
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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 240
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241
. . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 242
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 242
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 242
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 243
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 243
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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 244
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 244
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 245
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 245
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 245
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 246
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 246
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 247
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 247
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 247
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 247
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 247
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 247
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 247
. . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 248
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 248
. . . . . . . . . . . . . . P. 248
234
MOTIF Reference
Sampling Record mode
Reference Sampling mode
Sampling Record mode
Basic Operation (page 58)
In this mode, you can record sounds to the MOTIF (for
example, your voice, a guitar, or sounds from a CD),
edit them, and use them to create special Sample voices
you can play from the keyboard. Or, if you enter this
mode from the Song or Pattern mode, the sounds you
record can be assigned to the tracks and played back
automatically with the song or pattern. What’s more,
by using the Resampling function, you can create new
samples from your edits, or make samples from the
sounds of the MOTIF itself.
◆ Data created by Sampling
Regardless of the mode, the raw Sampled data is the
same, of course. However, various parameters are
different, depending on the particular mode or settings.
See page 59 for details on the kinds of data that are
created in the Sampling function.
◆ Basic Procedure
1 To use a microphone or external audio source,
make all the appropriate connections. For details,
see “Analog input” and “Digital input” on page 23.
n If you want to use the sound of the MOTIF as a
recording source (with the Resampling function),
step #1 above is unnecessary.
2 Depending on how you want to use your created
sample, there are two ways you should proceed:
• To create a normal (User) voice —
Enter the Voice or Performance mode. To use the sound of
the MOTIF as a recording source (with the Resampling
function), select the desired voice or performance.
• To create a Sample track in a song
or pattern —
Enter the Song or Pattern mode and select the desired song
or pattern.
3 Press the [INTEGRATED SAMPLING] button to
call up the Setup display in the Sampling Record
mode. (The indicator lights.)
n Even when you enter the Sampling Record mode,
the indicator of the previous mode’s button
remains lit, allowing you to confirm which mode
you entered from.
4 Press the [F1] button and set the destination-
related parameters for the sample. (These
determine the memory location to which the
sample will be recorded and assigned.)
n When entering the Sampling Record mode from the
Voice/Performance mode, the recorded sample is
automatically stored to the Waveform and User
voice set in this display.
n When entering the Sampling Record mode from the
Song/Pattern mode, the recorded sample is
automatically stored to the track set in this display
as a Sample voice.
5 Press the [F2] button and set the source-related
parameters for the audio input.
6 Press the [F6] button to go to the Sampling standby
display and set the Trigger mode in this display.
7 Press the [F6] button again to start sampling, and
play the input source at the proper time. How and
when you should play the source depends on the
settings made in step #5 above (and described
on page 236), and the process you use (described
briefly below).
• When the Source is set to “A/D” or “digital”:
Any of the following audio input jacks/terminals on the
MOTIF can be used for sample recording:
- A/D INPUT jacks
- mLAN terminals (when the optional mLAN8E has been
installed)
- DIGITAL IN jack (when the optional AIEB2 has been
installed)
- OPTICAL IN jack (when the optional AIEB2 has been
installed)
• When the Source is set to “resample”:
The sound generated by the MOTIF itself (Song/Pattern
playback, keyboard performance) can be recorded as a
sample.
How sampling actually starts depends on the
Trigger mode setting made in step #6 above (and
described on page 237), and the process you use
(described briefly below).
When Trigger mode is
set to “Manual”:
When Trigger mode is
set to “Level”:
Sampling Standby Sampling Standby
Sampling Start
Sampling Start
Tr igger Waiting
Press the [F6] button. Press the [F6] button.
When the level of the input
signal exceeds the Trigger
level, sampling starts.
235
MOTIF Reference
Sampling Record mode
Reference Sampling mode
8 Stop the Sampling following the instructions above
and stop the recording source playback.
9 Set the Slice parameters as needed— if you’ve
entered the Sampling Record mode from the Song/
Pattern mode, and you’ve set the Sampling type to
“slice+seq” in step #5 above.
10 Save the recorded sample to the memory card/
SCSI storage device as a Waveform, User voice, or
Sample voice, as required.
The recorded (edited) phrase data resides temporarily in
DRAM (page 64). Because data contained in DRAM is
lost when the power is turned off, you should always save
any data residing in DRAM to a memory card or an
external SCSI device before turning off the power.
• The operations corresponding to steps #4 - 9 are
covered in the following explanations.
• For details on step #10, refer to “File mode” on
page 264.
Sampling Setup
The explanations here apply to steps #4 and #5 of the
Basic Procedure on page 234.
■ [F1] Sampling Destination settings
The explanations here apply to step #4 of the Basic
Procedure on page 234.
● When entering the Sampling mode from the
Voice/Performance mode
n The MOTIF can transfer wave data to and from the
computer (with TWE software) only when this display is
called up.
• Waveform
Determines the Waveform number to which the recorded
sample is assigned.
❏ Settings 001~256
• Keybank
Determines the note number located at the center of the
Key Bank.
❏ Settings C-2 ~G8
n For details about the Waveform and Key Bank, see
page 60.
• Part
Determines the performance part to which the recorded
sample is assigned. This is available only when entering
the Sampling mode from the Performance mode.
❏ Settings off, 1~ 4
• Voice
The recorded sample can be stored as a User Normal voice.
This parameter determines a User Normal voice number
to which the recorded sample is assigned.
❏ Settings off, 1~128
n When this is set to “off,” only a Waveform is
created; the sample is not stored as a User voice.
The sample is stored to the smallest numbered
Waveform available. If you wish to hear the new
sample and later assign it to a User voice, go to the
Element Oscillator display ([F1]-[SF1]) in the
Voice Edit mode and search the User Waveforms
to find the sample. For details, see page 135.
● When entering the Sampling mode from the
Song/Pattern mode
• Track
Determines the track number to which the recorded
sample is assigned.
❏ Settings 1~16
• Keybank
Determines the note number located at the center of the
Key Bank. This parameter is available only when the
Sampling type is set to “sample” or “sample+note” (in the
Type parameter below).
❏ Settings C-2~G8
When Trigger mode is set to Meas :
Sampling Standby
Sampling Stop
Sampling Start
Punch-in Waiting
Press the [F6] button.
Start playback of the song or pattern.
When the appropriate Punch-in
measure is reached, sampling starts.
When the appropriate Punch-out
measure is reached, sampling
stops. Otherwise, to stop
sampling, press the [F6] button.
236
MOTIF Reference
Sampling Record mode
Reference Sampling mode
■ [F2] Sampling Source settings
The explanations here apply to step #5 of the Basic
Procedure on page 234.
• Type
Determines the Sampling type. When entering the
Sampling mode from the Song/Pattern mode, the data
created by the Sampling varies depending on this setting.
Keep in mind that this parameter is fixed to “sample”
when entering the Sampling mode from the Voice/
Performance mode.
❏ Settings sample, sample + note, slice + seq
sample
Only the sample (wave) data is created.
sample + note
In addition to the sample data, the appropriate note data
for playing the sample is created and recorded to the
specified track.
slice + seq
The recorded sample is automatically divided into “slices,”
and these are assigned to successive notes on the keyboard.
These notes are then automatically arranged in sequence
data (to the specified track) for playback.
This is especially useful for rhythm samples. For example,
if you’ve recorded a drum part, each beat of the rhythm is
converted to a separate slice and a separate note, and the
notes are made into a sequence. In this way, playing back
the sequence data plays the entire rhythm sample. The
advantage to this is that you can then adjust the tempo of
the sequencer over a wide range, and still keep the rhythm
perfectly in sync with the other tracks.
n Detailed settings (meter, measure number etc,) are
specified in the Slice display after sampling.
• Source
Determines the recording source.
❏ Settings
A/D
Analog audio from the A/D INPUT jacks or mLAN
terminal (with optional mLAN8E) is recognized as the
recording source.
resample
The signal (already recorded sample or preset wave)
output from the MOTIF's OUTPUT jacks is recognized as
a recording source and “resampled”.
Digital
Digital audio from the DIGITAL IN terminal or OPTICAL
IN terminal (with optional AIEB2) is recognized as the
recording source.
• Mono/Stereo
Determines whether new samples will be recorded as
stereo or mono samples.
❏ Settings
monoL
The L-channel signal will be recorded as a mono sample.
monoR
The R-channel signal will be recorded as a mono sample.
monoL+R
The L-channel and R-channel signals will be mixed and
recorded as a mono sample.
ster
eo
A stereo sample will be recorded.
• Frequency (Sampling Frequency)
Specifies the sampling frequency. The rate at which digital
readings are taken is referred to as the sampling frequency.
Higher sampling frequencies result in higher quality sound.
❏ Settings
44.1k (44.1 kHz), 22kLo (22.05 kHz Lo-Fi), 11kLo
(11.025 kHz Lo-Fi), 5kLo (5.5125 kHz Lo-Fi)
n When the Source is set to A/D and the mLAN
terminal is used as an analog input, the Frequency
is fixed to 44.1 kHz and cannot be changed.
n At settings other than 44.1 kHz, the sound
monitored during recording may be different from
the recorded sound, depending on the source
signal.
Sample Voice
Assigned to a
specified key
Sequence data

Sample Voice
Assigned to a
specified key
Sequence data

237
MOTIF Reference
Sampling Record mode
Reference Sampling mode
Sampling Standby
The explanations here apply to step #6 of the Basic
Procedure on page 234.
• TriggerMode
Specifies the method by which sampling will be triggered.
❏ Settings
le
vel
Sampling will begin as soon as an input signal exceeding
the specified trigger level is received after the [F6]
(START) button is pressed.
When this is selected, you need also set the Trigger Level
(1~127).
meas
This is available only when entering the Sampling mode
from the Song/Pattern mode and should be set together
with the Punch-in/out measure.
After the [F6] (START) button is pressed, sampling will
begin at the specified punch-in measure, and end at the
specified punch-out measure. Sampling will also stop when
the Song/Pattern is stopped by pressing the [■] button.
manual
Sampling will begin as soon as the [F6] (START) button is
pressed, regardless of the Song/Pattern playback status.
• RecMonitor (Recording Monitor)
Determines the output level of the monitor for the input
signal.
This monitor signal is output from the PHONES jack or
the OUTPUT R and L/MONO jacks. This has no effect on
the recording level.
❏ Settings 0~127
• RecGain (Recording Gain)
Determines the recording gain when resampling.
This parameter is available only when the Source is set to
“resample.”
❏ Settings -12dB~+12dB
Trigger Waiting
The following display applies to step #7 of the Basic
Procedure on page 234. The following display is
available when the Trigger mode is set to “level.” In
this case, sample recording is on standby, waiting for
an input signal that exceeds the Trigger level.
Punch-in Waiting
The following display applies to step #7 of the Basic
Procedure on page 234.
The following display is available when entering the
Sampling mode from the Song/Pattern mode and when
the Trigger mode is set to “meas.” In this case, sample
recording is on standby, waiting for song/pattern
playback to reach the specified Punch-in measure.
Slice setting after sampling
The explanations here apply to step #9 of the Basic
Procedure on page 235.
If you’ve entered the Sampling Record mode for the
Song or Pattern mode and you’ve set the sampling type
to “slice+seq,” you should set the following Slice-
related parameters.
■ [F1] Trim
The trim function makes it possible to specify the
beginning and end points to be played back within an
entire sample. You can delete all unnecessary sample
data (located ahead of the Start point and located after
the End point) by pressing the [SF5] button (Extract
function). This function is especially useful in creating
drum loops, since it helps you isolate only the beats
you need for your loop.You can also specify the tempo
for the range of the looped playback to determine its
beat.
Indicates the MOTIF is in the Sampling Standby mode.
Indicates that sample recording is waiting
for a signal of an appropriate level.
Indicates that sample recording is waiting
for a signal of an appropriate level.
238
MOTIF Reference
Sampling Record mode
Reference Sampling mode
• Start (Start Point)
Determines the Start point for the sample playback.
• Loop (Loop Start Point)
Determines the Top point of the loop playback (the point
where the loop begins) within the range of the entire
sample.
• End (End Point)
Determines the End point of the loop playback within the
range of the entire sample.
• Beat
The Beat of the range from the Loop Start Point to the End
Point is automatically displayed according to the Tempo
(below). This is displayed only and cannot be changed.
If you use the GET TMP (Get Tempo) function by
pressing the [SF4] button, this Beat value is automatically
changed to match the extracted tempo.
• (Tempo)
Execute the GET TMP (Get Tempo) operation by pressing
the [SF4] button to calculate the tempo when the Sample
data playback of the range from the Loop Start Point to the
End Point is treated as one measure. The result of the
calculation appears here.
You can also change the tempo by using the [INC/YES]
and [DEC/NO] buttons, or the data dial.
■ [F2] Slice
This powerful feature lets you automatically divide the
recorded sample into separate “slices.” These slices are
then assigned to successive notes and arranged as
sequence data. This effectively lets you recreate the
original sample by playing back its slices in order, in
any tempo — perfect for matching samples of different
original tempos. This is also useful for melodic
samples, such as bass parts, since it lets you play back
the sample at any tempo without changing the overall
pitch.
n It is necessary to accurately adjust the length of the
sample before executing the slice operation. Use
the [SF1] (AUDITION) button in the Trim display
to loop the sample and precisely set the Start and
End points as required.
• Type (Slice Type)
Specifies how the sample is sliced, and to some extent
determines the resulting sound quality. Select the type that
best suits the original phrase.
❏ Settings
beat1~3
This slice type is suited for percussive phrases such as
drums or bass with a fast attack and short decay. Three
variations are provided.
phrase1~4
Ideal for phrases containing cymbals or other instruments
with a long decay. Four variations are provided.
quick
Regardless of the phrase content, the sample is divided at
the specified note sub-divisions. The number of slices per
measure is calculated by multiplying the top number of the
Meter (time signature) parameter by the bottom number
of the SubDivide parameter.
n For helpful hints on getting the Slice Type
parameter to work for different samples, see “Tips
for using the Slice Types” on page 239.
• Measure
Determines the number of measures in the sample to be
sliced.
When the slice operation is executed, sequence data
corresponding to the specified number of measures is
created. The sequence data is created from the beginning
of the current measure at the point at which sampling is
started.
❏ Settings 1~8
• Meter
Specifies the meter (time signature) of the sample. The
setting here is the basic slice unit.
❏ Settings 1/16 ~ 16/16, 1/8 ~ 16/8, 1/4 ~ 8/4
Press the [F5] and [F6]
buttons to zoom in and
out of the wave display.
Tempo
Press the [SF1] button to
sound the recorded
sample according to the
settings in this display.
Delete all unnecessary sample dat
a
(located ahead of the Start point
and located after the End point) by
pressing the [SF4] button.
Press the [SF2] button so that
the address of the Start Point
is changed to the one of the
Loop Start Point.
Press the [SF3] button to calculate the
tempo/beat when the Sample data playback of
the range from the Loop Start Point to the End
Point is treated as one measure. The result of
the calculation appears at the left in this display.
Press the [F5] button to go back to
the Sampling Setup display without
storing the result.
Press the [F6] button to store the result of the Slice
operation and go back to the Sampling Setup display.
You can hear and confirm
the sliced
amples by pressing the
[SF1] button.
Press the [ENTER] button. (The display
prompts you for confirmation.) Press the
[INC/YES] button to execute the Slice.
239
MOTIF Reference
Sampling Record mode
Reference Sampling mode
• SubDivide
The Meter parameter sets the basic slice unit, and
SubDivide specifies even finer resolution for phrases
containing regions with shorter notes.
For the following phrase, for example, the Meter should be
set to 4/4 and SubDivide to 1/2.
❏ Settings
When Meter is set to 1 ~ 8/4:
quarter note (1/1), 8th note (1/2), 4th note triplet (1/3),
16th note (1/4), 8th note triplet (1/6), 16th note 1/8),
32nd note triplet (1/12)
When Meter is set to 1 ~ 16/8:
8th note (1/1), 16th note (1/2), 8th note triplet (1/3),
32nd note 1/4), 16th note triplet (1/6)
When Meter is set to 1 ~ 16/16:
16th note (1/1), 32nd note 1/2), 16th note triplet (1/3)
n This parameter has no effect when the Slice Type
parameter is set to beat 1~2.
n The maximum slice resolution for stereo samples
is 64 slices, and for mono samples 128 slices.
• Sens (Envelope Sensitivity)
Further adjusts the sub-divisions specified by the
SubDivide parameter. Higher values result in higher
resolution, allowing even finer notes and smaller sounds to
be detected and sliced.
Use the Audition function (press [SF1]) to hear the
results, and if you’re not satisfied with them, change the
setting and try again.
❏ Settings 1~5
n This parameter has no effect when the “quick”
slice type is selected.
◆ Tips for using the Slice Types
● Slicing percussive phrases having short decays
• First, try slicing using “beat1.”
• If the result has a weak attack or the release portions
of the phrase seem to overlap, try again using “beat2.”
Try adjusting the envelope sensitivity for finer
control.
• If after using “beat1” the attack portions overlap or
the overall rhythmic feel is degraded, try again using
“beat3.” Use the SubDivide parameter to adust the
slice resolution, and make final adjustments with the
Envelope Sensitivity parameter.
● Slicing phrases having long decays
• First, try slicing using “phrase1.”
• If the result has a weak attack or the release portions
of the phrase seem to overlap, try again using
“phrase2.” Use the SubDivide parameter to adust the
slice resolution, and make final adjustments with the
Envelope Sensitivity parameter.
• If after using “phrase1” the points between the slices
sounds rough and the overall feel is choppy, try again
using “phrase3” and set SubDivide to a finer
resolution. Make final adjustments with the
Envelope Sensitivity parameter. The “phrase3”
setting is generally best for sustained strings or brass
type sounds with no vibrato — in other words, the
pitch remains constant. It can also produce echo-like
effects when applied to percussive phrases with short
decay.
• If after using “phrase1” the points between the slices
sounds rough and the overall feel is choppy, try again
using “phrase4” and set SubDivide to a finer
resolution. Make final adjustments with the
Envelope Sensitivity parameter. The “phrase4”
setting is generally best for sustained strings or brass
type sounds with vibrato, as well as vocal phrases.
◆ Wave Memory Required for Slice
Operations
Individual wave data slices created through slice
operations require approximately 1.5 times the original
memory because a tail section is automatically added
and fade-in and fade-out sections are automatically
created at the beginning and end of the wave data. This
helps to maintain maximum sound quality when the
BPM is increased, and results in smoother connections
between slices (no tail section is created when the
QUICK slice type is selected).
A memory work area is required for the synthesis
calculations carried out for each slice operation, as well
as sufficient memory to hold the completed waveforms.
When the sampling frequency is 44.1 kHz, the
approximate amount of memory (expressed in
kilobytes) required for each slice type is listed below.
Original
waveform
Sliced
waveform
Tail section
Fade section
240
MOTIF Reference
Sampling Edit mode
Reference Sampling mode
BEAT1 : Original wave size X N + (0.3 X number of slices)
BEAT2 : Original wave size X N + (0.2 X number of slices)
BEAT3 : Original wave size X N + (0.3 X number of slices)
PHRASE1 : Original wave size X N + (5.8 X number of slices)
PHRASE2 : Original wave size X N + (1.4 X number of slices)
PHRASE3 : Original wave size X N + (0.4 X number of slices)
PHRASE4 : Original wave size X N + (1.4 X number of slices)
QUICK : Original wave size X 3 + (0.7 X number of slices)
For monaural samples N = 5.5, and for stereo samples
N = 8. Also, the number of slices is doubled for stereo
samples.
With the memory expanded to the maximum 64
megabytes, for example, if the entire memory is empty
and a 44.1 kHz sample is sliced to 32 slices, the longest
possible sampling time will be
approximately:
BEAT1~3, PHRASE1~4: approx. 138 seconds
(mono), 47 seconds (stereo.) QUICK: approx. 253
seconds (mono), 126 seconds (stereo).
Sampling Edit mode
Basic Structure (page 59)
This mode gives you a variety of sample eding tools,
with which you can change the samples you’ve
recorded in the Sampling Record mode, and customize
them for your applications as needed.
◆ Editing Stereo Samples
For samples that have been recorded in stereo (with
Stereo Sampling), both the left and right waves of the
sample are edited together by the MOTIF. in the actual
process, any edits made to the left channel wave are
duplicated exactly in the right channel. The exception
to this, of course, is Pan — since the sample already is
in stereo.
◆ Basic Procedure
1 Press the [INTEGRATED SAMPLING] button to
enter the Sampling mode. (The indicator lights.)
n Unlike in the Sampling Record mode, all
parameters and functions of the Sampling Edit
mode are the same, no matter which mode was
previously selected.
n All Sampling Edit operations apply to the
Waveform (actual sample), not the voice.
2 Press the [EDIT] button to enter the Sampling Edit
mode. (The indicator lights.)
3 Select the desired sample for editing from the Key
Bank display. (Press the [F1] button.)
4 Select the menu you wish to edit by pressing the
[F2] - [F6] buttons.
5 Edit parameters for the selected sample.
6 Press the [EXIT] button to exit from the Sampling
Edit mode.
• The operations corresponding to steps #3 - 4 are
covered in the following explanations.
Sample selection and Audition
function
The explanations here apply to step #3 of the Basic
Procedure see above.
For details about the relationship between the
parameters below, see page 241.
1 Select a Waveform that contains a Sample you wish
to edit. Move the cursor to the Waveform number
and select the desired number by using the [INC/
YES] button, [DEC/NO] button, or the data dial.
2 To select the desired Key Bank, simultaneously
hold down the [INFORMATION] button and
press the appropriate key on the keyboard. The
information about the selected Key Bank appears
on the display and the sample assigned to the Key
Bank is called up.
3
1
2
You can hear the selected sample by pressing
the [SF1] button. (Audition function)
Indicates information about the
selected Key Bank.
241
MOTIF Reference
Sampling Job mode
Reference Sampling mode
3 Press the [SF2] button to call up the Samples
assigned to the selected Key Bank in order.
n Step #3 above as well as the Audition function can
be used with any of the displays called up via the
[F2] - [F4] buttons.
Sample Edit
The explanations here apply to step #5 of the Basic
Procedure on page 59.
● [F2] Sample Edit Trim
This operation is the same as in the Sampling
Record mode (when Sampling Type is set to
“slice+seq”). See page 237.
● [F3] Sample Edit Parameter
• Level
Determines the output level of the selected sample.
❏ Settings -94.5dB~0dB
• Pan
Determines the stereo position of the selected sample.
❏ Settings L63 (far left) ~ C (center) ~ R63 (far right)
• PlayMode
Determines how the selected sample is to be played back.
❏ Settings
forw
ard
The Sample playback begins from the Start point to the
End point.
r
everse
The Sample playback begins from the End point to the
Start point in reverse.
loop
The Sample playback begins from the Start point, moves to
the Loop point and then repeats continuously from the
Loop point to the End point.
n For details about these settings above, see page 61.
• Original Key
Determines the base key for the sample. Since the sample
will be pitched shifted for keys played around this base
key, this should be set as close as possible to the original
pitch or note value of the actual sample.
❏ Settings C - 2 ~ G8
• Fine Tune
Determines the fine tuning for the pitch of the sample.
❏ Settings -100 ~99 cents
● [F4] Sample Edit Range
From this display you can set the Key Range and the
Velocity Range for the sample assigned to the
selected Key Bank. Note that both the Key range
and Velocity range values are graphically indicated
in the display.
n When the cursor is at one of the Key Range values,
you can directly set the Key Range parameter from
the keyboard. (Simultaneously hold down the
[INFORMATION] button and press the
appropriate key on the keyboard.)
Sampling Job mode
The Sampling Job mode contains a comprehensive set
of editing tools and functions you can use to change the
sound of the sample you’ve created and edited in the
Sampling Edit mode. It also includes a variety of
convenient operations, such as copying or erasing data.
◆ Basic Procedure
1 Press the [INTEGRATED SAMPLING] button to
enter the Sampling mode. (The indicator lights.)
n Unlike in the Sampling Record mode, all
parameters and functions of the Sampling Job
mode are the same, no matter which mode was
previously selected. The only exception to this is
the Slice Job ([F1]-12 below), which varies
depending on whether the previously selected
mode was Voice/Performance or Song/Pattern.
n All Sampling Job operations apply to the Waveform
(actual sample), not the voice.
2 Press the [JOB] button to enter the Sampling Job
mode.
242
MOTIF Reference
Sampling Job mode
Reference Sampling mode
3 Select the desired Job menu by pressing the
appropriate button, [F1] - [F3].
4 Use the CURSOR buttons to scroll to the desired Job.
5 Press the [ENTER] button to go to the selected Job
display.
6 Set the relevant Job parameters.
7 Press the [ENTER] button. (The display prompts
you for confirmation.)
8 Press the [INC/YES] button to execute the Job.
After the Job has been completed, a “Completed”
message appears and operation returns to the
original display.
n To cancel the Job, press the [DEC/NO] button.
n The actual procedures in steps #7 and #8 above
may differ depending on the specific Job. Refer to
the explanantions in each Job for details.
For Jobs that take longer to process, you will see the
message “Executing…” during processing. If you switch
off the power of the MOTIF while this message is
displayed, you risk corrupting your data.
9 Press any other mode button to exit from the
Sampling Job mode.
• For detailed instructions on steps #3 - #6
, see the
explanations below.
[F1] Key Bank Job
Press the [F1] button in step #3 of the Basic Procedure
see above, so that the Key Bank Job list appears on the
display. Scroll the cursor to the desired Job and press the
[ENTER] button to go to the display of the selected Job.
◆ Audition function and Key Bank
(sample) selection
For the Key Bank Jobs that follow, the Audition
function and Key Bank selection are the same as in the
Sampling Edit mode (page 241). Here, you can call up
and perform Jobs on the sample data assigned to the
selected Key Bank. To audition the currently selected
sample, press the [SF1] button (AUDITION).
Also, note that for Jobs 01 - 04, the Keyboard control
(“KBD”) is available — letting you directly change the
Key Bank from the keyboard. (Simultaneously hold
down the [INFORMATION] button and press the
appropriate key on the keyboard.)
● [F1]-01 Copy
This Job copies the data of a sample contained in a
specified Key Bank to another Key Bank.
● [F1]-02 Delete
This Job deletes the specified Key Bank and its
sample.
If the Key Bank is set to “all” and the Job is
executed, all the samples of the selected Waveform
are deleted.
ENTER
EXECUTE
Source Waveform, Key Bank
Destination Waveform, Key Bank
243
MOTIF Reference
Sampling Job mode
Reference Sampling mode
n If all the samples of the specified Waveform are
deleted, the Waveform itself is deleted.
● [F1]-03 Extract
This Job deletes all unnecessary sample data
(located ahead of the Start point and located after
the End point). In effect, it extracts only the sample
data you want to use, trimming all unneeded sound
from the start and end of the sample.
If the Key Bank is set to “all” and the Job is
executed, this Job is applied to all the samples of the
selected Waveform.
● [F1]-04 Move
This Job lets you move a sample contained in a
specified Key Bank to another Key Bank. This
would be useful for creating a new Waveform from
the samples of various other existing Waveforms.
n If the last remaining sample is moved from the
source Waveform, the source Waveform itself is
deleted.
● [F1]-05 Normalize
This Job maximizes (normalizes) the overall level of
the specified sample. The “100” (100%) setting is a
quick and convenient way to boost the level of an
entire sample, to make it as loud as possible without
distorting.
• Ratio
Specifies the post-normalization sample level.
A setting of 100% maximizes the level so that the highest
peak level in the sample is just below clipping (maximum
digital signal level).
Settings below 100% reduce the level of the sample
accordingly.
Settings higher than 100% will raise the sample level
above the maximum, producing deliberate clipping.
❏ Settings 001-800%
Waveform and Key Bank containing
the sample to be deleted
Waveform and Key Bank containing
the sample to be extracted
Start Point End Point
Start Point End Point
Extract
Source Waveform and Key Bank
Destination Waveform and Key Bank
Set the Waveform and Key Bank containing the
sample to be normalized.
Press the [ENTER] button to
execute the Job.
Press the [F6] (OK) button to assign the
normalized sample to the specified Key Bank.
Press the [ENTER] button to execute the
operation. If you re not satisfied with the
results, change the Ratio value and press the
[ENTER] button again.
This automatically reverts back to the original
settings and executes the operation again
with the new settings.
Press the [F5] (CANCEL) button to
cancel the operation.
Original Wave
Lower than 100%
100%
Higher than 100%
244
MOTIF Reference
Sampling Job mode
Reference Sampling mode
● [F1]-06 Time-Stretch
This Job lets you change the length of the sample
without changing the pitch.
• Ratio
Determines the length of post-process sample as a ratio of
the length of the original sample (100%). Lower values
compress the sample, while higher values expand the
sample.
❏ Settings 25~400%
• Accuracy
Determines the quality of the resulting sample by
specifying which aspect of the original is to be emphasized:
sound quality or rhythmic feel.
❏ Settings 25~400%
Sound4-Sound1
These settings place emphasis on sound quality, with the
“SOUND 4” setting producing the highest sound quality.
Normal
Produces an optimum balance of sound quality and
rhythmic feel.
Rh
ythm1-Rhythm 2
These settings place emphasis on rhythmic feel, with the
“Rhythm 2” setting producing the most accurate rhythmic
feel.
● [F1]-07 Convert Pitch
This Job lets you change the pitch of the sample
without changing the length.
• Pitch
Determines the amount and direction of pitch shift in
semitone increments.
❏ Settings -12 ~ 0 ~+12
• Fine
Determines the amount and direction of fine pitch shift in
cent increments (1 cent = 1/100th of a semitone).
❏ Settings -50~0~+50
Set the Waveform and Key Bank containing the
sample to be time-stretched.
Press the [ENTER] button to
execute the Job.
Press the [F6] (OK) button to assign the
time-stretched sample to the specified
Key Bank.
Press the [ENTER] button to execute the
operation. If you're not satisfied with the
results, change the Ratio and Accuracy
values and press the [ENTER]
button again. This automatically reverts back
to the original settings and executes the
operation again with the new settings.
Press the [F5] (CANCEL) button to
cancel the operation.
Set the Waveform and Key Bank containing the
sample to be pitch-converted.
Press the [ENTER]
button to execute the Job.
Press the [F6] (OK) button to assign the pitch-
converted sample to the specified Key Bank.
Press the [ENTER] button to execute the operation.
If you’re not satisfied with the results, change the
Pitch and Fine values and press the [ENTER]
button again. This automatically reverts back to the
original settings and executes the operation again
with the new settings.
Press the [F5] (CANCEL) button
to cancel the operation.
245
MOTIF Reference
Sampling Job mode
Reference Sampling mode
● [F1]-08 Fade In/Out
This Job lets you create fade-ins and fade-outs for
the sample.
• Type
Determines the type of level fade: fade-in or fade-out.
❏ Settings in (fade-in), out (fade-out)
• Length
Determines the length of the fade-in or fade-out.
When a fade-in is selected, this parameter specifies the
length of the fade starting at the specified Start point.
When a fade-out is selected, this parameter specifies the
length of the fade starting at the beginning of the fade and
ending at the specified End point.
❏ Settings 0000000~End point
● [F1]-09 Convert Freq
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.
● [F1]-10 Stereo to Mono
This Job lets you convert a stereo sample to a mono
sample.
Set the Waveform and Key Bank containing the
esired sample.
Press the [ENTER]
button to
execute the Job.
Press the [F6] (OK) button to assign the
edited sample to the specified Key Bank.
Press the [ENTER] button to execute the
operation. If you re not satisfied with the
results, change the Type and Length values
and press the [ENTER] button again. This
automatically reverts back to the original
settings and executes the operation again
with the new settings.
Press the [F5] (CANCEL) button
to cancel the operation.
Start point
Fade In
Fade Out
Length
End point
Length
Set the Waveform and Key Bank containing
the sample to be converted.
Press the [ENTER]
button to
execute the Job.
Press the [F6] (OK) button to assign the
converted sample to the specified Key Bank.
Press the [F5] (CANCEL) button
to cancel the operation.
Press the [ENTER] button to execute the operation.
If you re not satisfied with the results, change the Type
and Length values and press the [ENTER] button again.
This automatically reverts back to the original settings
and executes the operation again with the new settings.
Set the Waveform and Key Bank containing the
sample to be converted.
Press the [ENTER]
button to
execute the Job.
Press the [F6] (OK) button to assign the
converted sample to the specified Key Bank.
Press the [ENTER] button to execute the operation.
If you’re not satisfied with the results, change the Type
value and press the [ENTER] button again. This
automatically reverts back to the original settings and
executes the operation again with the new settings.
Press the [F5] (CANCEL) button
to cancel the operation.
246
MOTIF Reference
Sampling Job mode
Reference Sampling mode
• Type
Determines which channel, or both channels, of the stereo
sample will be converted to a mono sample.
❏ Settings
L+R>mono
The left and right channels of the stereo sample are mixed
and converted to a mono sample.
L>mono
The left channel of the stereo sample is converted to a
mono sample.
R>mono
The right channel of the stereo sample is converted to a
mono sample.
● [F1]-11 Loop-Remix
This Job lets you automatically cut the sample into
separate “slices” and randomly rearrange the slices
for special effects and unusual rhythmic variations.
A variety of audio transform operations are also
included for even greater changes in the sound.
• Type
Determines the degree to which the looped portion of the
sample will be sliced.
❏ Settings 1~4
• Variation
Determines how the original sample is varied by the this
Job.
❏ Settings
normal1, 2
These settings slice and rearrange the sample data,
without performing any other audio changes.
r
everse1, 2
In addition to slicing and rearranging, these settings
reverse the playback of some of the slices.
● [F1]-12 Slice
This Job lets you divide the sample into separate
“slices,” the number of which is determined by the
note length (with Measure, Meter, and SubDivide).
When entering this Job from the Song/Pattern
mode, note data for playing the slices in sequence is
also created. (Keep in mind that the results of this
Job vary depending on the previously selected
mode: Voice/Performance or Song/Pattern.)
With the exception of the parameter below, all
parameters and settings are the same as in the Slice
display of the Sampling Record mode (page 238).
• Lowest Key
Specifies the lowest key number from which the sliced
samples are ordered.
❏ Settings C - 2 ~G8
n In the Slice display of the Sampling Record mode
(page 238), this parameter is fixed to “C-1” for the
MOTIF6, “E0” for the MOTIF7, “A-1” for the
MOTIF8, and cannot be set.
Set the Waveform and Key Bank containing the
sample to be Loop-remixed.
Press the [ENTER]
button to
execute the Job.
Press the [F6] (OK) button to assign the
Loop-remixed sample to the specified Key Bank.
Press the [ENTER] button to execute the operation.
If you re not satisfied with the results, change the Type
and Variation values and press the [ENTER] button again.
This automatically reverts back to the original settings and
executes the operation again with the new settings.
Press the [F5] (CANCEL) button to
cancel the operation.
Set the Waveform and Key Bank containing the
sample to be sliced.
Press the [ENTER]
button to execute
the Job.
Press the [F6] (OK) button to assign the sliced
sample to the specified Key Bank.
Press the [ENTER] button to execute the operation. If
you re not satisfied with the results, edit the various
parameters and press the [ENTER] button again. This
automatically reverts back to the original settings and
executes the operation again with the new settings.
Press the [F5] (CANCEL) button to
cancel the operation.
247
MOTIF Reference
Sampling Job mode
Reference Sampling mode
[F2] Waveform Job
Press the [F2] button in step #3 of the Basic Procedure
on page 240 so that the Waveform Job list appears on
the display. Scroll the cursor to the desired Job and
press the [ENTER] button to go to the display of the
selected Job.
● [F2]-01 Copy
This Job lets you copy the data of one waveform to
another.
● [F2]-02 Delete
This Job lets you delete a specific waveform from
memory.
● [F2]-03 Transpose
This Job lets you transpose the Key bank setting of a
specified waveform.
• Octave
Determines the amount in octaves by which the Key Bank
is transposed. When you want to transpose by less than
one octave, set this to “0” and use the Note parameter
below.
❏ Settings -3~ 0 ~+3
• Note
Determines the amount in semitones by which the Key
Bank is transposed. When you want to transpose by exact
octaves, set this to “0” and use the Octave parameter
above.
❏ Settings -11~ 0 ~+11
● [F2]-04 Name
This Job lets you assign a name to the selected
waveform.
For specific instructions on naming, see “Basic
Operation” on page 75.
[F3] Other Jobs
Press the [F3] button in step #3 of the Basic Procedure
on page 240 so that the following Job list appears on
the display. Scroll the cursor to the desired Job and press
the [ENTER] button to go to the display of the selected
Job.
● [F3]-01 Clean Up Memory
This Job deletes all the waveforms to which User
voices or Sample voices are not assigned.
Select the source waveform.
Select the destination waveform.
Select the waveform to be deleted.
Select the desired waveform for which the
Key Bank setting is to be transposed.
Select a waveform to be named.
248
MOTIF Reference
Sampling Job mode
Reference Sampling mode
● [F3]-02 Optimize Memory
This Job optimizes the memory (DRAM) for
sampling.
● [F3]-03 Delete All
This Job deletes all the waveforms.
● [F3]-04 Convert to Drum Voice
This Job lets you convert the selected waveform to a
specific Drum voice. Since the Sampling function
allows creation of only Normal voices, this Job
makes it possible to create a Drum voice with your
recorded samples.
249
MOTIF Reference
Function Tree
Reference Utility mode
Utility Mode
Function Tree
This section is devoted to the Utility mode. To see how the Utility mode relates to the entire structure of the MOTIF
and its other modes and functions, see the simplified chart in “Basic Structure” on page 30.
The following detailed chart shows all of the display menus and parameter groups of the Utility mode — giving you a
quick, easy-to-understand overview of the global, system-wide functions of the MOTIF.
Brackets around a word or phrase (e.g., [F1]) indicate specific button names or panel operations.
[INFORMATION] UTILITY INFORMATION
[F1] SYSTEM GENERAL
[SF1] TG
[SF2] KEYBOARD
[SF3] EFFECT BYPASS
[SF4] OTHER
[F2] SYSTEM I/O
[SF1] Input
[SF2] Output
[SF3] mLAN CONNECTION
[F3] SYSTEM VOICE (available only when entering Utility mode from Voice mode)
[SF1] MASTER EQ
[SF2] ARPEGGIO CHANNEL
[SF3] CONTROLLER ASSIGN
[F3] SYSTEM SEQ (available only when entering Utility mode from Song/Pattern modes)
[SF1] CLICK
[SF2] MIDI FILTER IN/OUT
[SF4] OTHER
[F4] SYSTEM CONTROLLER ASSIGN
[SF1] ARPEGGIO
[SF2] ASSIGNABLE
[SF3] FOOT SWITCH
[SF4] EXTERNAL SEQ REMORT CONTROL TEMPLATE
[F5] SYSTEM MIDI
[SF1] CHANNEL
[SF2] SWITCH
[SF3] SYNC
[SF4] OTHER
[F6] SYSTEM PLUG-IN BOARD
[SF1] STATUS
[SF2] MIDI
[SF3] NATIVE SYSTEM PARAMETER for Slot1
[SF4] NATIVE SYSTEM PARAMETER for Slot2
[SF5] NATIVE SYSTEM PARAMETER for Slot3
[JOB] FACTORY SET
[UTILITY]
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 276
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 250
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 250
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 251
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 252
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 252
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 252
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 252
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 253
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 253
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 253
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 253
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 254
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 254
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 254
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 254
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 255
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 255
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 255
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 255
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 256
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 256
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 256
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 258
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 258
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 258
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 258
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 259
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 259
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 259
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 260
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 260
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 260
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 260
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 260
250
MOTIF Reference
Utility mode
Reference Utility mode
Utility mode
In this mode, you can set parameters that apply to the
entire system of the MOTIF. These include MIDI
settings and global setup parameters.
This mode is actually a sub-mode of the Voice/
Performance/ Song/Pattern mode. Press the [UTILITY]
button in each mode to enter the Utility mode and
press the [EXIT] button after making settings to go
back to the previous mode.
◆ Basic Procedure
1 Press the [UTILITY] button to enter the Utility
mode. (The indicator lights.)
n For example, if you press the [UTILITY] button
while in the Performance mode, you enter the
Utility mode as a sub-mode of the Performance
mode — allowing you to select and play
performances while in the Utility mode.
n Even after you enter the Utility mode, the indicator
of the previous mode’s button remains lit, letting
you see at-a-glance which mode you’ve entered
from.
2 Select the desired menu by pressing the [F1] - [F6]
buttons and set the parameters in each display.
n The display called up via the [F3] button varies
according the previous mode (before entering the
Utility mode).
3 Press the [EXIT] button to exit from the Utility
mode back to the previous mode.
• For detailed instructions on steps #2, see the
explanations below.
[F1] System settings
● [F1]-[SF1] General TG (Tone Generator)
From this display you can make overall settings for
the MOTIF’s tone generator, including volume and
pitch, as well as Breath Control response.
• Volume
Determines the MOTIF’s overall volume.
❏ Settings 0~127
• NoteShift
Determines the amount (in semitones) by which the note
pitch is shifted. This parameter only affects the MOTIF’s
internal tone generator block. It does not affect
information transmitted via the MIDI terminal.
❏ Settings 24~0~+24
• Tune
Determines the fine tuning (in 0.1 cent steps) of the
MOTIF’s overall sound.
❏ Settings 102.4~+102.3
• BCCurve (Breath Controller Curve)
These four curves determine how the sound of the MOTIF
responds to use of a Breath Controller.
The specific aspect of the sound that is affected by Breath
Control and the selected curve is set in the Controller Set
display (page 134) in the Normal Voice Element Edit mode.
❏ Settings thru, soft, hard , wide
thru
This linear “curve” produces one-to-one correspondence
between the power of your breath and the actual sound
change.
soft
This curve provides increased response, especially for
lower breath power. In other words, soft blowing results
in higher response than the “thru” curve. Use this curve if
you want greater control in the soft breath range.
har
d
This curve effectively lessens the overall response
compared to the “thru” curve. Use this curve if you tend
to blow strongly and want the controller effect to be less
sensitive.
wide
This setting provides opposite response curves for lower
and higher breath powers. It widens the apparent
dynamic range of the controller, producing softer response
in the lower breath range and harder response in the
higher range.
Actual response
Received Breath Control
Received Breath Control
Actual response
Actual response
Received Breath Control
251
MOTIF Reference
Utility mode
Reference Utility mode
● [F1]-[SF2] General Keyboard
From this display you can set the keyboard-related
parameters for the MOTIF.
• Octave
Determines the amount in octaves by which the range of
the keyboard is shifted up or down.
❏ Settings -3~0~+3
• Transpose
Determines the amount in semitones by by which the
range of the keyboard is shifted up or down. Keep in mind
that this also affects outgoing MIDI data.
❏ Settings -11~ 0 ~+11
n If you transpose beyond the note range limits (C-2
and G8), notes in the adjacent octaves will be used.
For example, a transposed note of F9 will be
changed to F8.
• VelCurve (Velocity Curve)
norm (normal)
This linear “curve” produces one-to-one correspondence
between the strength of your keyboard playing (velocity)
and the actual sound change. The harder you play, the
greater the sound change.
soft
This curve provides increased response, especially for
lower velocities. In other words, playing softly results in
higher response than the “norm” curve. Use this curve if
you want greater control in the low velocity range.
har
d
This curve effectively lessens the overall response
compared to the “norm” curve. Use this curve if you tend
to play strongly and want the sound change to be less
sensitive.
wide
This setting provides opposite response curves for lower
and higher velocities. It widens the apparent dynamic
range of the controller, producing less sound change in the
softer range and more change in the higher range.
fi
xed
This setting produces the same amount of sound change
(set in Fixed Velocity below), no matter what your playing
strength. For example, you can use this to emulate the key
response of conventional organs, or ensure that the sound
change is absolutely uniform, no matter how hard or softly
you play.
n Actual velocity is output to the external MIDI
device via the MIDI or USB connector, as well as to
the internal tone generator block.
• Fixed Velocity
This parameter is only available if you select the “fixed”
Velocity Curve above.
The velocity of the note you play is fixed at the value set
here.
❏ Settings 1~127
Actual response
Received Breath Control
Keyboard velocity
Actual
Velocity
Keyboard velocity
Actual
Velocity
Keyboard velocity
Actual
Velocity
Keyboard velocity
Actual
Velocity
Keyboard velocity
Actual
velocity
252
MOTIF Reference
Utility mode
Reference Utility mode
● [F1]-[SF3] General Effect Bypass
From this display you can select the specific
effect(s) to be bypassed when the [EFFECT
BYPASS] button (page 13) is turned on.
❏ Settings on (bypassed), off
● [F1]-[SF4] General Other
n For details, see page 264.
• Auto Load
Determines whether the Auto Load function is on or off.
When this is on, the MOTIF will automatically load the
specified files (from memory card or SCSI storage device)
to User memory — whenever the power is turned on. (See
above illustration for additional explanations.)
❏ Settings on, off
• Auto DemoLoad
The MOTIF features special Demo song data, which is
stored to ROM and should be loaded to DRAM for proper
operation (page 64). When this parameter is set to “on,”
the Demo song data is automatically loaded when the
power os turned on. This parameter determines whether
the Demo song data is automatically loaded (on) or not
(off) when turning the power on.
❏ Settings on, off
n When Auto Load is set to on, the Auto Demo Load
parameter cannot be set.
If this parameter is set to on, all User Voice, Performance,
Master, and System settings will be initialized to the
Factory settings when switching the power on the next
time. Important data should always be backed up to a
separate Memory Card or some other storage device.
• PowerOnMode
This determines the default power-on mode (and memory
bank) for the MOTIF — letting you select which condition
is automatically called up when you turn the power on.
❏ Settings See below.
P
erformance
When you switch the MOTIF on, the Performance Play
mode is entered and the first program number (USER:
001) is selected automatically.
Voice (User)
When you switch the MOTIF on, the Voice Play mode is
entered and the first program number of the User Voices
(USER: 001) is selected automatically.
Voice (PRE1)
When you switch the MOTIF on, the Voice Play mode is
entered and the first program number of the Preset Voices
(PRE 1: 001) is selected automatically.
GM
When you switch the MOTIF on, the Voice Play mode is
entered and the first program number of the GM Voices
(GM: 001) is selected automatically.
last
When you switch the MOTIF on, the Voice/Performance
Program Number selected before you switched the power
off is recalled.
Master
When you switch the MOTIF on, the Master Play mode is
entered and the first program number (001) is selected
automatically.
• CtrlReset (Controller Reset)
Determines the status of the controllers (Modulation
Wheel, Aftertouch, Knobs, etc.) when switching between
voices. When this is set to “off,” the controllers are kept at
the current setting. When this is set to “on,” the
controllers are reset to the default states (below).
❏ Settings on, off
If you select “on,” the controllers will be reset to the
following states/positions:
Pitch Bend Center
Modulation Wheel Minimum
Aftertouch Minimum
Foot Controller Maximum
Breath Controller Maximum
Foot Switch Off
Expression Maximum
Foot Volume Maximum
Sustain Off
[F2] Interface settings
● [F2]-[SF1] I/O Input
From this display you can set parameters related to
audio input.
• A/DSource
The MOTIF features two different input connections for
transferring analog audio from an external device: the A/
D INPUT jacks or the mLAN terminal (when an optional
mLAN8E is installed). One or the other must be set; the
two cannot be used at the same time.
❏ Settings analog (A/D INPUT jack), mLAN
EFFECT BYPASS
INSERTION
SYSTEM
253
MOTIF Reference
Utility mode
Reference Utility mode
• Mic/Line
When using the A/D INPUT jacks, this determines the
input source, microphone (mic) or line.
❏ Settings mic, line
• Digital
When the optional AIEB2 board is installed, the MOTIF
features two different input connections for transferring
digital audio from an external device: coaxial or optical.
One or the other must be set; the two cannot be used at the
same time.
❏ Settings coaxial, optical
● [F2]-[SF2] I/O Output
From this display you can set parameters related to
audio output.
n The digital output resolution of the MOTIF itself is
set to 16 bit (fixed).
● [F2]-[SF3] I/O mLAN connection
From this display you can set parameters related to
connection of an optional mLAN8E (page 18). The
following display is available only when the
optional mLAN8E has been installed.
n All mLAN8E-related settings in the Utility mode
are stored only to the memory on the mLAN8E
itself, and not to the User memory of the MOTIF.
To initialize all the mLAN settings above, use the
following procedure.
[F3] Voice settings
These special voice-related settings are available only
when entering the Utility mode from the Voice mode.
● [F3]-[SF1] Voice Master Equalizer
From this display you can apply five-band
equalization to all parts of the selected voice.
• Shape
Determines whether the equalizer type used is Shelving or
Peaking. The Peaking type attenuates/boosts the signal at
the specified Frequency setting, whereas the Shelving type
attenuates/boosts the signal at frequencies above or below
the specified Frequency setting.
❏ Settings shelv (Shelving), peak (Peaking)
n For details about the shapes of the Shelving and
Peaking types, see page 168.
Specify the digital output resolution of the
optionally installed AIEB2 board (page 19).
❒ Settings 20bit, 24bit
Set the output gain of each jack.
❒ Settings 0dB, +6dB, +12dB, +18dB
Vendor Name
For details on this parameter,
refer to the owner’s manual of
the mLAN8E.
Nickname
[SF4] button[EXIT] button
Assign a nickname for the connection. For specific
instructions on naming, see Basic Operation on page 75.
For details about the Nickname parameter, refer to
the owner’s manual of the mLAN8E.
Press the [ENTER] button to
actually set the value.
Set the Word Clock. For
details, refer to the owner’s
manual of the mLAN8E.
[SF5] button[EXIT] button
Press the [ENTER] button to
actually initialize the mLAN settings.
Q (Frequency Characteristic)
Gain
Freq
(Frequency)
0
254
MOTIF Reference
Utility mode
Reference Utility mode
• Freq (Frequency)
Set the center frequency. Frequencies around this point
are attenuated/boosted by the Gain setting.
❏ Settings
LOW (Low range) Peaking 63Hz ~ 2.0kHz
Shelving 32Hz ~ 2.0kHz
LOW MID (Low middle range)
100Hz~10kHz
MID (Middle range)100Hz~10kHz
HIGH MID (High middle range)
100Hz ~10kHz
HIGH (High range)500Hz~16kHz
• Gain
Determines the level gain for the Frequency (set above), or
the amount the selected frequency band is attenuated or
boosted.
❏ Settings -12dB~0dB~+12dB
• Q (Frequency Characteristic)
This varies the signal level at the Frequency setting to
create various frequency curve characteristics.
❏ Settings 0.1~12.0
● [F3]-[SF2] Voice Arpeggio Channel
From this display you can set parameters related to
output of the Arpeggio MIDI data.
• OutputSwitch
This enables or disables MIDI data output for the
Arpeggio function. When this is set to “on,” Arpeggio
data is sent via MIDI — allowing you to send the Arpeggio
data to an external sequencer or play back the Arpeggios
on connected MIDI tone generators.
❏ Settings on (enable), off (disable)
• TransmitCh (Transmit channel)
Determines the MIDI channel through which Arpeggio
playback data will be sent (when Output Switch above is
on).
❏ Settings 1~16
● [F3]-[SF3] Voice Controller Assign
Sets the parameters related to the controllers in the
Voice mode.
Details about each parameter are same as in
Performance Common Edit. See page 169 .
❏ Settings off, 0~95
[F3] Sequencer settings
These special song- and pattern-related settings are
available only when entering the Utility mode from the
Song or Pattern mode.
● [F3]-[SF1] Sequencer Click (MIDI Click)
From this display you can set the parameters related
to the click sound (metronome) that is used during
recording or playback in the Song/Pattern mode.
• Mode
Determines whether and when the metronome click will
sound.
❏ Settings off, rec, rec/play, all
off
The click will not sound.
r
ec
The click will sound during recording only.
r
ec/play
The click will sound during recording and playback.
all
The click will always sound.
• Beat
Determines on which beats the metronome click will
sound.
❏ Settings 16 (16th notes), 08 (8th notes), 04 (quarter
notes), 02 (half notes), 01 (whole notes)
• Volume
Determines the click sound volume.
❏ Settings 0~127
• Rec Count
Sets the number of count-in measures provided before
actually recording starts after pressing the [F] button in
the Record standby mode .
❏ Settings off (Recording starts as soon as the [F]
button is pressed ), 1meas~8meas
n Since the click sound is created with the internal
tone generator, using click playback affects the
overall polyphony of the MOTIF.
Knob Assign 1, 2
Foot Controller 1, 2
Breath Controller
255
MOTIF Reference
Utility mode
Reference Utility mode
● [F3]-[SF2] Sequencer MIDI Filter
From this display you can set which MIDI events
will be recognized/transmitted via the MIDI IN/
OUT terminal or the USB terminal.
The settings made here apply only to song/pattern
playback data; they do not affect the MIDI events
generated by your keyboard polaying or panel
operations in the Voice and Performance modes.
● [F3]-[SF3] Sequencer Other
• PtnQuantize (Pattern Quantize)
Determines the quantize value for pattern switching
during playback. When set to “1,” patterns (sections) will
always switch on the first beat of the measure during
playback. When “1/16” is selected, patterns (sections) can
be switched on any 16th beat during playback.
❏ Settings 1 (1 measure), 1/2 (Half note), 1/4(Quarter
note), 1/8(8th note), 1/16 (16th note)
• PtnTempoHold (Pattern Tempo Hold)
Determines whether or not the tempo setting will switch
to the tempo value stored with each style when a new style
is selected during playback.
When set to “on,” the tempo will be retained when styles
are switched.
When set to “off,” the tempo will switch to that stored
with the new style when styles are switched.
❏ Settings on, off
n The tempo setting data in the Pattern Chain is not
affected by this parameter.
• SongEventChase
Event Chase allows you to specify which non-note data
types are properly recognized during fast-forward and
rewind operations. Normally, if a song or pattern is played
back from mid-point and/or fast-forward or rewind are
used, certain data types (such as Program Change, Pitch
Bend, and Control Change) may not play back as expected.
Setting this to a specific event ensures the playback
“integrity” of the event, even when fast-forwarding or
rewinding.
❏ Settings Off, PC (Program Change), PC+PB+Ctrl
(Program Change+Pitch Bend+Control
Change), All (All events)
n Keep in mind that settings other than “off” may
result in slower operation — for example, a pause
before starting playback, or slower rewind/fast-
forward speed.
n When this is set to “All,” an excessive amount of
MIDI data may be generated, possibly resulting in a
MIDI error on the connected device.
• DumpExIntrval (Bulk Dump Exclusive
Interval Time)
When playing back system exclusive data (bulk data) that
is recorded on the sequence tracks, this sets the interval
that is inserted for each 1KB.
When sending bulk data from the MOTIF to a connected
MIDI device, a MIDI error may result if the device cannot
handle large amounts of data in a short time. This
parameter compensates for that by setting an interval that
provides enough time for the receiving device to process
the bulk data.
❏ Settings 0~900 (msec)
n The playback may be a little slower depending on
the currently set interval. Also when a MIDI error
occurs, try to set the interval a little higher and
send the data again.
• LoadMix
Determines whether the Mixing settings are loaded (on)
or not (off) when the Song/Style number is changed.
❏ Settings off, on
n This setting affects the Song/Pattern change during
the Song/Pattern chain playback.
• SendXGon
Determines whether the XG reset message is sent to the
Multi-part Plug-in board tone generator block (on) or not
(off) when starting the XG song or changing the Song/
Style number.
❏ Settings on, off
[F4] Controller settings
● [F4]-[SF1] Controller Assign Arpeggio
• Switch
Determines the Control Change Number that controls the
Arpeggio playback on/off.
❏ Settings off, 01~95
• Hold
Determines the Control Change Number that controls the
Arpeggio Hold (page 129) on/off.
❏ Settings off, 01~95
256
MOTIF Reference
Utility mode
Reference Utility mode
● [F4]-[SF2] Controller Assign
Knob ASSIGN A, B
From this display you can assign specific functions
to the ASSIGN A and B knobs.
• ASA, ASB (Assignable A, B)
Determines the Control Change number to be controlled
by the ASSIGN knobs A and B.
❏ Settings 000~095 (Refer to the separate Data List
booklet. )
• Dest (Control Destination)
Determines the function to be controlled by the Control
Change number set above.
❏ Settings Refer to the separate Data List booklet.
● [F4]-[SF3] Controller Assign Footswitch
From this display you can assign a specific function
to the Footswitch.
❏ Settings 000~100 (000, 032 : off, 096 : Arpeggio
Switch, 097 : Arpeggio Hold, 098 : Song/
Pattern playback start/stop, 099/100 :
Program Change INC/DEC 101 : Octave
Rest)
● [F4]-[SF4] Controller Assign Remote
The MOTIF gives you convenient remote control
over major functions in several popular sequencer
programs. This lets you automatically configure the
MOTIF for use with your particular sequencer
program, by specifying the template to be used.
❏ Settings Cubase, Logic, Cakewalk, ProTools
◆ Remote Control of Computer Sequence
Software
Using the Remote Control function lets you control
computer sequence software by using the buttons or
controllers on the MOTIF. Turn the Remote Control
function on by pressing the [REMOTE CONTROL
ON/OFF] button so that its lamp flashes.
• Setup
Before you can use the Remote Control function,
you’ll need to follow the setup instructions below.
1 Connect the MOTIF to your computer via a USB
cable. For details, see page 25.
2 Install the USB MIDI driver and the setup file
for the sequence software (contained in the
included CD-ROM) to your computer. For details
on how to install, see the Installation Guide
manual.
3 Select the template for your particular sequence
software in the Utility mode on the MOTIF
(above).
4 Set the MIDI IN/OUT setting to “USB” in the
Utility mode on the MOTIF (page 259).
• Compatible Software
The following computer sequence software
programs can be controlled via the MOTIF’s
Remote Control function.
Windows
Cubase VST/32
Logic Audio Plutinum Ver4.6
Cakewalk ProAudio Ver9.0
Pro Tools V5.0
Macintosh
Cubase VST 5.0
Logic Audio Plutinum Ver4.6
Pro Tools V5.0
[Press the [ENTER] button to call up the
template provided for the selected software.
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
257
MOTIF Reference
Utility mode
Reference Utility mode
◆ Remote Control Assignments
Functions to be controlled by the MOTIF differ
depending on the software you use. When the
appropriate template is selected, the following
functions on the corresponding software can be
controlled.
• Logic Audio Plutinum Ver4.6
When the template is set to “Logic,” the following
functions can be controlled by the MOTIF.
• Cubase VST/32, Cubase VST 5.0
When the template is set to “Cubase, ” the following
functions can be controlled by the MOTIF.
• Cakewalk ProAudio Ver9.0
When the template is set to “Cakewalk,” the
following functions can be controlled by the
MOTIF.
• Pro Tools V5.0
When the template is set to “ProTools,” the
following functions can be controlled by the
MOTIF.
These control the track selected via the NUMBER [1] - [16] buttons.
Knobs
Set via
[KNOB
CONTROL
FUNCTION]
KN1 KN2 KN2 KN4
1st row PA N SEND1 SEND2 SEND3
2nd row PA N EQ1 Freq EQ1 Gain EQ1 Q
3rd row PA N EQ2 Freq EQ2 Gain EQ2 Q
4th row PA N EQ3 Freq EQ3 Gain EQ3 Q
Sliders
These control the four tracks selected via the NUMBER [1] - [16] buttons.
Selected
tracks
CS1 CS2 CS3 CS4
1 ~ 4 VOLUME1 VOLUME2 VOLUME3 VOLUME4
5 ~ 8 VOLUME5 VOLUME6 VOLUME7 VOLUME8
9 ~ 12 VOLUME9 VOLUME10 VOLUME11 VOLUME12
13 ~ 16 VOLUME13 VOLUME14 VOLUME15 VOLUME16
SEQ
TRANS-
PORT
These control PLAY, REC, STOP, G, H of the computer sequence
software. The [ ] (TOP) button controls STOP of the computer
sequence software.
TRACK
MUTE
When the [MUTE] buttonon the MOTIF is turned on, the NUMBER [1] -
[16] buttons control the track mute settings of the computer sequence
software.
TRACK
SELECT
When the [TRACK SELECT] butt on on the MOTIF is turned on, the
NUMBER [1] - [16] buttons select the track of the computer sequence
software.
These control the track selected via the NUMBER [1] - [16] buttons.
Knobs
Set via
[KNOB
CONTROL
FUNCTION]
KN1 KN2 KN2 KN4
1st row PA N SEND1 SEND2 SEND3
2nd row PA N EQLo Freq EQLo Gain EQLo Q
3rd row PA N EQMidLo Fre EQMidLo Gai EQMidLo Q
4th row PA N EQHi Freq EQ3Hi Gain EQ3Hi Q
Sliders
These control the four tracks selected via the NUMBER [1] - [16] buttons.
Selected
tracks
CS1 CS2 CS3 CS4
1 ~ 4 VOLUME1 VOLUME2 VOLUME3 VOLUME4
5 ~ 8 VOLUME5 VOLUME6 VOLUME7 VOLUME8
9 ~ 12 VOLUME9 VOLUME10 VOLUME11 VOLUME12
13 ~ 16 VOLUME13 VOLUME14 VOLUME15 VOLUME16
SEQ
TRANS-
PORT
These control PLAY, REC, STOP,TOP, G, H of the computer
sequence software.
TRACK
MUTE
When the [MUTE] button on the MOTIF is turned on, the NUMBER [1] -
[16] buttons control the track mute settings of the computer sequence
software.
TRACK
SELECT
When the [TRACK SELECT] button on the MOTIF is turned on, the
NUMBER [1] - [16] buttons select the track of the computer sequence
software.
These control the track selected via the NUMBER [1] - [16] buttons.
Knobs
Set via
[KNOB
CONTROL
FUNCTION]
KN1 KN2 KN2 KN4
1st row PA N SEND1 SEND2 SEND3
2nd row --- --- --- ---
3rd row --- --- --- ---
4th row --- --- --- ---
Sliders
These control the four tracks selected via the NUMBER [1] - [16] buttons.
Selected
tracks
CS1 CS2 CS3 CS4
1 ~ 4 VOLUME1 VOLUME2 VOLUME3 VOLUME4
5 ~ 8 VOLUME5 VOLUME6 VOLUME7 VOLUME8
9 ~ 12 VOLUME9 VOLUME10 VOLUME11 VOLUME12
13 ~ 16 VOLUME13 VOLUME14 VOLUME15 VOLUME16
SEQ
TRANS-
PORT
These control PLAY, REC, STOP,TOP, G, H of the computer
sequence software.
TRACK
MUTE
When the [MUTE] button on the MOTIF is turned on, the NUMBER [1] -
[16] buttons control the track mute settings of the computer sequence
software.
TRACK
SELECT
When the [TRACK SELECT] button son the MOTIF is turned on, the
NUMBER [1] - [16] buttons select the track of the computer sequence
software.
Knobs Not available.
Sliders
These control the four tracks selected via the NUMBER [1] - [16] buttons.
Selected
tracks
CS1 CS2 CS3 CS4
1 ~ 4 VOLUME1 VOLUME2 VOLUME3 VOLUME4
5 ~ 8 VOLUME5 VOLUME6 VOLUME7 VOLUME8
9 ~ 12 VOLUME9 VOLUME10 VOLUME11 VOLUME12
13 ~ 16 VOLUME13 VOLUME14 VOLUME15 VOLUME16
SEQ
TRANS-
PORT
These control PLAY, REC, STOP,TOP, G, H of the computer
sequence software.
TRACK
MUTE
When the [MUTE] button on the MOTIF is turned on, the NUMBER [1] -
[16] buttons control the track mute settings of the computer sequence
software.
TRACK
SELECT
When the [TRACK SELECT] button on the MOTIF is turned on, the
NUMBER [1] - [16] buttons select the track of the computer sequence
software.
258
MOTIF Reference
Utility mode
Reference Utility mode
[F5] MIDI settings
● [F5]-[SF1] MIDI Channel
From this display you can make basic MIDI settings.
• BasicRcvCh (Basic Receive Channel)
Determines the MIDI channel over which the MOTIF
receives MIDI data (from an external sequencer, MIDI
controller, or other device). This parameter is available for
the Voice / Performance mode.
❏ Settings 1~16, omni (all channels), off
• KBDTransCh (Keyboard Transmit Channel)
Determines the MIDI channel over which the MOTIF
sends MIDI data (to an external sequencer, tone generator,
or other device). This parameter is available for the Voice /
Performance mode.
❏ Settings 1~16, off
n In the Song/Pattern mode, the MIDI data created by playing
the keyboard/knobs/wheels is sent to the tone generator
block or the external MIDI devices via the MIDI output
channel of the currently selected track (page 38).
• DeviceNo. (Device Number)
Determines the device number used by the MOTIF in
receiving or transmitting data. This number must match
the Device Number of the external MIDI device when
transmitting/receiving bulk data, parameter changes or
other system exclusive messages to/from it.
❏ Settings 1~16, all, off
• FileUtilID (File Utility ID)
This determines the ID number used in conjunction with
file transfers using the special File Utility software in the
included CD-ROM. This File Utility ID number and the
Device Number (above) must match the ones of the the
File Utility software in order to properly transfer files
between the MOTIF and a connected computer.
❏ Settings: 1~128
● [F5]-[SF2] MIDI Switch
From this display you can determine which types of
MIDI data the MOTIF transmits and responds to.
• BankSel
This switch enables or disables Bank Select messages, both
in transmission and reception. When this is set to “on,”
the MOTIF responds to incoming Bank Select messages,
and it also transmits appropriate Bank Select messages
(when using the panel).
❏ Settings off, on
• PgmChange (Program Change)
This switch enables or disables Program Change messages,
both in transmission and reception. When this is set to
“on,” the MOTIF responds to incoming Program Change
messages, and it also transmits appropriate Program
Change messages (when using the panel).
❏ Settings off, on
• CtrlChange (Control Change mode)
This parameter lets you set the MOTIF to properly
respond to either type of GM System data, Level 1 or Level
2 — particularly regarding AEG Sustain. When using GM
Level 2, set this to Mode 1, and the MOTIF responds to the
messages as parameter change data. When using GM
Level 1, set this to Mode 2, and the MOTIF responds to the
messages as control change data.
❏ Settings mode1, mode2
• LocalCtrl (Local Control On/Off)
This determines whether or not the tone generator of the
MOTIF responds to your keyboard playing. Normally, this
should be set to “on” — since you’ll want to hear the
sound of the MOTIF as you play it. However, for external
sequencer applications, you may need to set this to “off” to
avoid getting “double” notes, in which the tone generator
of the MOTIF is played twice — once by the keyboard and
once again by the keyboard data routed through the
sequencer.
Even if this is set to “off,” the data will be transmitted
through the MIDI OUT or USB terminal. Also, the
MOTIF’s tone generator block will respond to messages
received via the MIDI IN or USB terminal.
❏ Settings off, on
• RcvBulk (Receive Bulk)
Determines whether or not Bulk Dump data can be
received.
❏ Settings protect (not received), on (received)
● [F5]-[SF3] MIDI Sync
From this display you can set various parameters
related to MIDI clock and synchronization.
• MIDI Sync
Determines whether Song/Pattern/Arpeggio playback will
be synchronized to the MOTIF’s internal clock or an
external MIDI clock.
❏ Settings internal, MIDI, MTC
internal
Synchronization to internal clock. Use this setting when
the MOTIF is to be used alone or as the master clock
source for other equipment.
MIDI
The MOTIF is synchronized to a MIDI clock received
from an external MIDI device via the MIDI IN or USB
terminal.
259
MOTIF Reference
Utility mode
Reference Utility mode
MTC (MIDI Time Code)
The MOTIF is synchronized to an MTC signal received
via the MIDI IN or USB terminal. MMC signals are
transmitted via the MIDI OUT or USB terminal. Use this
setting when the MOTIF is to be used as a MIDI slave,
such as when synchronized to an MTC-capable MTR.
n The MTC Sync function is available only in the
Song mode. The Pattern playback (in the Pattern
mode) and the Arpeggio playback (in the Voice/
Performance mode) cannot be synced to MTC.
n MTC (MIDI Time Code) allows simultaneous
synchronization of multiple audio devices via
standard MIDI cables. It includes data
corresponding to hours, minutes, seconds, and
frames. The MOTIF does not transmit MTC. A
device such as the Yamaha AW4416 is necessary in
order to the MOTIF as an MTC master.
n MMC (MIDI Machine Control) allows remote
control of multitrack recorders, MIDI sequencers,
etc. A MMC-compatible multitrack recorder, for
example, will automatically respond to start, stop,
fast forward, and fast reverse operations performed
on the controlling sequencer, thus keeping
playback of the sequencer and multitrack recorder
aligned.
• ClockOut
Determines whether MIDI clock (F8) messages will be
transmitted via the MIDI OUT/USB terminal.
❏ Settings on (transmitted), off
• SeqCtrl (Sequencer Control)
Determines whether Sequencer Control signals — start,
continue, stop, and song position pointer — will be
received and/or transmitted via the MIDI OUT/USB
terminal.
❏ settings off, in, out, in/out
off
Not transmitted/recognized.
in
Recognized but not treansmitted.
out
Transmitted but not recognized.
in/out
Transmitted/recognized.
• MTC StartOffset
Determines the specific time code point from which
sequence playback starts, when MTC is received. This
feature can be used to accurately align playback of the
RS7000 with an external MTC-compatible device.
❏ Settings Hour : Minute : Second : Frame
Hour
00 ~23
Minute
00 ~59
Second
00 ~59
Fr
ame 00 ~29
● [F5]-[SF4] MIDI Other
From this display you can set parameters related to
the MIDI terminals and port number.
• MIDI IN/OUT
Determines which physical output terminal(s)
will be used for transmitting/receiving MIDI data:
MIDI IN/OUT/THRU, USB, or mLAN (when the
optional mLAN8E has been installed).
❏ Settings MIDI, USB, mLAN
n Three types of terminals above cannot be used at
the same time. Only one of them can be used to
transmit/receive the MIDI data.
• ThruPort (Through Port)
Many computer sequencers are capable of transmitting
data over several MIDI ports, effectively breaking the 16-
channel barrier. When using the USB terminal for MIDI
transmission/reception, you can have the MOTIF respond
to MIDI data over one port, while relaying the data for
another port number to a separate tone generator
(connected to the MIDI OUT terminal). In this way, 16
channels of data can be played on the MOTIF and another
16 can be played on the connected device. Plug-in boards
installed to the MOTIF can also be independently
addressed via separate MIDI ports (page 38), further
expanding the amount of channels.
Make sure to set Thru Port to the intended port number of
the connected device.
❏ Settings 1~8
[F6] Plug-in board settings
When a Plug-in board is installed, the following
displays and parameters are available. The particular
parameters available depends on the type of Plug-in
board that is installed.
n An Effect Plug-in board can only be installed to slot 1,
while a Multi-part Plug-in board can only be installed to
slot 3. Single Part Plug-in boards can be installed to any
of the three slots.
● [F6]-[SF1] Plug-in board Status
• PolyExpand
This parameter is accessible only when you have two or
three identical Plug-in boards installed on the MOTIF.
The “off” setting enables two or three boards to work
separately (you can select them in two or three different
Parts). When this is set to “on,” the two boards effectively
function together as one board (used in a single part) —
giving you double the amount of polyphonic notes you can
play at one time.
❏ Settings on, off
The name of the Plug-in Board is displayed.
260
MOTIF Reference
Utility Job mode
Reference Utility mode
● [F6]-[SF2] Plug-in board MIDI
From this display you can set various MIDI-related
parameters for the Plug-in board.
• DevNo (Device Number)
Determines the MIDI Device Number of the Plug-in
Board. This number must match the Device Number of the
external MIDI device when transmitting/receiving bulk
data, parameter changes or other system exclusive
messages to/from it.
❏ Settings 1~16, all, off
• PORT NO. (Port number)
Determines the MIDI Port number over which the Plug-in
board receives MIDI data.One port can be set for the
Multi-part Plug-in board and two ports can be set for the
Single part Plug-in board.
❏ Settings off, 1~3
n The Port number for the Effect Plug-in board (VH)
is fixed to 1.
• GM/XG
Determines whether “GM on” and “XG on” messages are
recognized (on) or not (off) . This parameter is available only
when the Multi-part Plug-in board has been installed to slot 3.
❏ Settings on, off
● [F6]-[SF3] Plug-in board
Native System Parameters (Slot 1)
From this display you can set the Native System
parameters of the Plug-in board installed to slot 1.
For details on these parameters, refer to the owner’s
manual of your particular Plug-in board.
● [F6]-[SF4] Plug-in board
Native System Parameters (Slot 2)
From this display you can set the Native System
parameters of the Plug-in board installed to slot 2.
For details on these parameters, refer to the owner’s
manual of your particular Plug-in board.
● [F6]-[SF5] Plug-in board
Native System Parameters (Slot 3)
From this display you can set the Native System
parameters of the Plug-in board installed to slot 3.
For details on these parameters, refer to the owner’s
manual of your particular Plug-in board.
Utility Job mode
In this Mode, you can restore your MOTIF’s User
memory (SRAM, see page 64 ) to the factory default
settings (Factory Set).
When you restore the factory default settings, all the
current settings for all the User voices and
performances on the User Memory will be overwritten
with the factory defaults.
Make sure you are not overwriting any important data.
You should back up any important data to memory
card/SCSI device beforehand.
◆ Factory Set (Restore Factory
Defaults)
1 In the Utility mode, press the [JOB] button to enter
the Utility Job mode.
2 Press the [ENTER] button. (The display prompts
you for confirmation.)
3 Press the [INC/YES] button to execute the Job.
After the Job has been completed, a “Completed”
message appears and operation returns to the
original display.
n To cancel the Job, press the [DEC/NO] button.
4 Press the [UTILITY] button to exit from the
Utility Job mode back to the Utility mode.
n All settings in the Utility mode that are related to
the Plug-in boards and the mLAN8E are stored
only to the memory on those respective devices,
and not to the User memory of the MOTIF.
Because of this, the Factory Set operation cannot be
used to restore settings for those devices.
261
MOTIF Reference
Function Tree
Reference File mode
File Mode
Basic Structure (page 63)
Function Tree
This section is devoted to the File mode. To see how the File mode relates to the entire structure of the MOTIF and
its other modes and functions, see the simplified chart in “Basic Structure” on page 30.
The following detailed chart shows all of the display menus and parameter groups of the File mode — giving you a
quick, easy-to-understand overview of the data storage and file-related functions of the MOTIF.
Brackets around a word or phrase (e.g., [F1]) indicate specific button names or panel operations.
[INFORMATION] FILE INFORMATION
[F1] CONFIGURATION
[SF1] CURRENT DRIVE
[SF2] SCSI ID
[SF3] MOUNT
[SF4] FORMAT
[F2] SAVE
[F6] MAKEDIR
[ENTER] WAV/AIFF
[ENTER] MID
[F3] LOAD
[ENTER] VOICE
[ENTER] SONG
[ENTER] PATTERN
[ENTER] WAVEFORM
[F4] RENAME
[F6] MAKEDIR
[F5] DELETE
[FILE]
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 276
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 264
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 264
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 265
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 265
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 265
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 267
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 267
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 267
262
MOTIF Reference
File mode
Reference File mode
File mode
Basic Structure (page 63)
In this mode, you can save data to and load data from
memory cards and SCSI storage devices, such as hard
disks and removable cartridges. The File mode also
provides various functions for managing your data and
SCSI devices.
With the File Utility software (on the included CD-
ROM), you can use a computer to manage data stored
to memory cards or SCSI devices — even use it to
transfer data between the computer and the memory
card/SCSI device.
◆ Basic Procedure
1 Press the [FILE] button to enter the File mode.
(The indicator lights.)
2 Select the desired menu by pressing the [F1] - [F6]
buttons and execute each operation (Save, Load,
and so on).
3 Press any other mode button to exit from the File
mode.
• For detailed instructions on step #2, see the
explanations below.
File/Folder selection
The illustrations and instructions below show you how
to select files and folders on the memory card or SCSI
devices within the File mode.
New Folder Creation
From the Save display (called up via the [F2] button)
and the Rename display (called up via the [F4] button),
you can create new folders. This function lets you
conveniently and easily organize the numerous
important data files you create on the MOTIF.
File types that can be handled by
the MOTIF
■ File types that can be saved from the
MOTIF to the memory card/SCSI storage
device
When you save your original data to User memory
(page 63), the MOTIF organizes your data according
to its type (as listed below), and automatically assigns
a special three-letter extension to the file name
corresponding to the type.
SCSI device (hard
disk, removable
cartridge, etc.)
Memory card
SCSI connector
REC
SONG SCENE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternalControl
Surface
Modular
Synthesis
Plug-in
System
MOTIF
Move the cursor to the desired file or folder by using the
[INC/YES] and [DEC/NO] buttons or the data dial.
To return to the next
highest level, press the
[EXIT] button.
To go to the next lowest level,
highlight the desired folder
and press the [ENTER]
button.
Move the cursor to the desired file or folder by using the
[INC/YES] and [DEC/NO] buttons or the data dial.
You can create the new folder by pressing
the [F6] button and naming.
263
MOTIF Reference
File mode
Reference File mode
• All Extension: .W2A
All data in the MOTIF’s internal User Memory are treated
as a single file, and can be saved to the memory card/SCSI
storage device.
• All Voice Extension: .W2V
All the User Voice data in the MOTIF's internal User
Memory are treated as a single file, and can be saved to the
memory card/SCSI storage device.
• All Song Extension: .W2V
All the User Song data in the MOTIF's internal User
Memory are treated as a single file, and can be saved to the
memory card/SCSI storage device.
• All Pattern Extension: .W2P
All the User Pattern data in the MOTIF's internal User
Memory are treated as a single file, and can be saved to the
memory card/SCSI storage device.
• All Waveform Extension: .W2W
All the User Wave and Sample data in the MOTIF's
internal User Memory are treated as a single file, and can
be saved to the memory card/SCSI storage device.
• Usr ARP (User Arpeggio) Extension: .W2G
All the User Arpeggio data in the MOTIF's internal User
Memory are treated as a single file, and can be saved to the
memory card/SCSI storage device.
• Plugin All Bulk 1, 2, 3 Extension: .W2B
All the data in a Plug-in board are treated as a single file,
and can be saved to the memory card/SCSI storage device.
• SMF Extension: .MID
Sequence track (1 - 16) and Tempo track data of songs or
patterns created in the Song/Pattern mode can be saved to
the memory card/SCSI storage device as Standard MIDI
File (format 0) data.
• Wav Extension: .WAV
Sample data created in the Sampling mode can be saved to
the memory card/SCSI storage device as a WAV file
(Windows audio format).
• Aif (AIFF file) Extension: .AIF
Sample data created in the Sampling mode can be saved to
the memory card/SCSI storage device as an AIFF file
(Macintosh audio format).
• all voice without waveform (Voice data for
Voice Editor) Extension: .W2E
All the User Voice data (with the exception of waveform
data) can be treated as a single file and saved to the
memory card/SCSI storage device. The saved file can be
loaded to the Voice Editor software (included in the CD-
ROM) on your computer.
■ File types that can be loaded from the Memory
Card/SCSI storage device to the MOTIF
Any data saved to a memory card/SCSI device from the
User memory of the MOTIF can be loaded back to the
MOTIF. Naturally, all the file types that can be saved
(listed above) can be loaded; however, there are some
additional types available for loading. (Refer to the list
below.)
• All Extension: .W2A
A file that is saved to the Memory Card/SCSI storage
device as “All” type can be loaded and restored to the
MOTIF.
• All Voice Extension: .W2V
A file that is saved to the Memory Card/SCSI storage
device as “All Voice” type can be loaded and restored to the
MOTIF.
• Voice Extension: .W2V
A specified voice in a file that is saved to the Memory
Card/SCSI storage device as “All” or “All Voice” type can
be individually selected and loaded to the MOTIF.
• Plugin All Bulk 1, 2, 3 Extension: .W2B
A file that is saved to the Memory Card/SCSI storage
device as “Plugin All Bulk 1, 2, 3” type can be loaded and
restored to the Plug-in board installed to the MOTIF.
• Usr ARP (User Arpeggio) Extension: .W2G
A file that is saved to the Memory Card/SCSI storage
device as “Usr ARP” type can be loaded and restored to
the MOTIF.
• All Song Extension: .W2S
A file that is saved to the Memory Card/SCSI storage
device as “All Song” type can be loaded and restored to the
MOTIF.
• Song Extension: .W2S
A specified song in a file that is saved to the Memory Card/
SCSI storage device as “All” or “All Song” type can be
individually selected and loaded to the MOTIF.
• All Pattern Extension: .W2P
A file that is saved to the Memory Card/SCSI storage
device as “All Pattern” type can be loaded and restored to
the MOTIF.
• Pattern Extension: .W2P
A specified pattern in a file that is saved to the Memory
Card/SCSI storage device as “All” or “All Pattern” type
can be individually selected and loaded to the MOTIF.
• All Waveform Extension: .W2W
A file that is saved to the Memory Card/SCSI storage
device as “All” or “All Waveform” type can be loaded and
restored to the MOTIF.
• Waveform Extension: .W2W
A specified waveform in a file that is saved to the Memory
Card/SCSI storage device as “All” or “All Waveform” type
can be individually selected and loaded to the MOTIF.
• All Voice for Editor Extension: .W2E
The Voice data edited via the included Voice Editor
software on your computer can be loaded to the MOTIF.
• SMF (Standard MIDI file) Extension: .MID
The Standard MIDI file (format 0, 1) can be loaded to the
MOTIF and can be played back in the Song/Pattern mode.
264
MOTIF Reference
File mode
Reference File mode
• Wav Extension: .WAV
A WAV file (Windows audio format) can be loaded to the
MOTIF and can be used as a User Wave.
• Aif (AIFF file) Extension: .AIF
An AIFF file (Macintosh audio format) can be loaded to
the MOTIF and can be used as a User Wave.
n In addition to the file types above, Yamaha A5000/
A4000/A3000/SU700 files and AKAI S1000/
S3000 files can be loaded to the MOTIF.
■ File types that can be loaded from the
Memory Card/SCSI storage device to the
MOTIF when turning the power on (Auto
Load file)
Among the file types described on page 262, “All”,
“Plugin All Bulk 1”, “Plugin All Bulk 2” and
“Plugin All Bulk 3” can be loaded from the Memory
card/SCSI storage device to the MOTIF's User
Memory automatically when turning the power on.
1 Name the files you wish to have load automatically
when the power is turned on as described below,
and save them together in a single folder.
n After you’ve finished naming the appropriate files,
keep the corresponding folder selected in the
display and go to step #2.
2 Press the [UTILITY] button to enter the Utility
mode.
3 Press the [F1] button, then press the [SF4] button
to show the Auto Load file display.
4 Set “Auto Load” to on, and press the [SF5] button.
5 Turn the power off.
6 Before turning the power on next time, make sure
that the appropriate data is available to the
MOTIF. In other words, make sure memory card
specified in step #1 is properly inserted, or that the
SCSI device specified in step #1 is properly
connected.
7 Turn the power on. The MOTIF searches the
device and specified folder for the auto-load files
(the files you named and saved in step #1), and
automatically loads them to User memory.
n Any files in the device and folder registered in step
#4 that do not have appropriate auto-load names
are ignored.
■ File names
Files are named according to the MS-DOS naming
convention. If the file name contains spaces and other
characters unrecognized in MS-DOS, these characters
will automatically be replaced by “_” (underscore)
characters when saving.
For specific instructions on naming files, see page 267.
[F1] Configuration
The explanations here apply to step #2 of the Basic
Procedure on page 262.
● [F1]-[SF1] CONFIG Currently recognized
device
• Current
In this display you can select the device to be recognized by
the MOTIF — a memory card inserted to the Card slot or a
properly connected SCSI device.
❏ Settings Card, SCSI
File type File name
All AUTOLOAD.W2A
Plugin All Bulk 1
(for slot 1)
AUTOLD1.W2B
Plugin All Bulk 2
(for slot 2)
AUTOLD2.W2B
Plugin All Bulk 3
(for slot 3)
AUTOLD3.W2B
Set this to on.
Press the [SF5] button to register the device and
folder selected in step #1 (the folder containing the
desired files for auto loading).
Volume label of the device
Amount of total memory on the device
Amount of unused (free) memory on the device
265
MOTIF Reference
File mode
Reference File mode
● [F1]-[SF2] CONFIG SCSI ID
From this display you can specify the ID number for
all the devices in the SCSI chain, including the host
(the MOTIF itself).
• SELF
Determines the ID number (0 - 7) for the MOTIF, as the
SCSI host. If you change this setting, you’ll need to turn
the power off and on again for the new setting to take
effect.
• SCAN
This control lets you mount each device in the SCSI chain,
making sure that the MOTIF properly recognizes it. Move
the cursor to the appropriate SCAN circle in the display,
and press the [INC/YES] button to mark the circle and
mount the corresponding device.
● [F1]-[SF3] CONFIG Mount
From this display you can select specific partitions
for saving/loading data, within the device mounted
in the SCSI ID display (above).
● [F1]-[SF4] CONFIG Format
Before you can use a new Memory Card/SCSI
device with the MOTIF, you will need to format it.
Use this operation to format the memory card or
SCSI device and assign a Volume Label to it.
• Type
Determines the type of the device to be formatted.
❏ Settings See below.
car
d
When this is set, the Memory card inserted to the Card slot
is formatted.
all (SCSI)
When this is set, all the SCSI devices connected to the
MOTIF are formatted.
partition 1 ~ 4 (SCSI)
When this is set, one partition (specified at the bottom of
the display) of the SCSI device connected to the MOTIF is
formatted.
• Format
This parameter is available when the Type is set to “all
(SCSI).” A hard disk (or any similar storage media) must
be physically formatted before it can be logically
formatted. Physical formatting (also called “low-level”
formatting) arranges the disk into physical elements such
as tracks and sectors.
Physical formatting is usually done by the manufacturer;
you may not need to do it yourself. Logical formatting
places a file system on the disk, allowing the MOTIF to
access the disk.
You’ll need to logically format any media you use before
you can use it with the MOTIF.
❏ Settings physical, logical
• Volume Label
Names the Volume Label. Refer to “Basic Operation” for
instructions on naming on page 73.
n Make sure to enter the Volume Label. An error
message appears if you press the [ENTER] button
without entering the Volume Label.
1 After setting the relevant parameters above, press
the [ENTER] button. (The display prompts you
for confirmation.)
2 After formatting has been completed, a
“Completed” message appears and operation
returns to the original display.
n To cancel the Format operation, press the
[DEC/NO] button.
While formatting is in progress, never eject the Memory
card or turn off the power to the MOTIF.
If data is already saved on the memory card/SCSI device,
be careful not to format it. If you format the memory card/
SCSI device, all the previously recorded data will be
deleted.
The SCSI devices connected to and in use by
the MOTIF are shown at the corresponding ID
numbers, set on the devices themselves.
Volume label of the selected partition
266
MOTIF Reference
File mode
Reference File mode
[F2] Save
This operation lets you save files to a memory card or
SCSI device.The explanations here apply to step #2 of
the Basic Procedure on page 262.
1 Select the file type to be saved in the Save display.
• When the file type “SMF” (Standard MIDI file)
is selected, press the [ENTER] button to show
the following display and select a Song or a
Style/Section to be saved.
• When the file type “Wav” (WAV file) or “Aif”
(AIFF format) is selected, press the [ENTER]
button to show the following display and select a
Wave to be saved.
2 If you wish to overwrite the existing file, move the
cursor to the desired file to which the data is saved
by using the Cursor buttons or the data dial.
3 Press the [ENTER] button to execute the Save
operation.
• If you are about to overwrite an existing file, the
display prompts you for confirmation. Press the
[INC/YES] button to execute the Save operation,
or press the [DEC/NO] button to cancel it.
• After the data has been saved, a “Completed”
message appears and operation returns to the
original display.
While the data is being saved, never eject the Memory card
or turn off the power to the SCSI device or MOTIF itself.
n Waveform data is not saved when the file type “All
Voice for Editor” is selected.
[F3] Load
This operation lets you load files from a memory
card or SCSI device to the MOTIF.
The explanations here apply to step #2 of the Basic
Procedure on page 262.
1 Select a file type (page 264) and a file to be loaded.
• When the file type is set to All, All Voice,
Plugin All Bank 1~3, Usr ARP, All Song, All
Pattern, All Waveform or All Voice for Editor,
go to step #3. For any other file types, go to
step #2.
2 Specify the data to be loaded and the destination
location in the User memory of the MOTIF.
When the file (data) type is set to Voice, for
example, follow the instructions as shown below.
If you wish to create a new file, move the
cursor to this position and enter the desired
name. For instructions on naming, see "Basic
Operation" on page 75.
If you wish to create a new folder on the desitination
device (to which the data is saved), press the [SF6]
button to name a new folder. For instructions on
naming, see "Basic Operation" on page 75.
When Key Bank is highlighted, you can
select successive Key Banks by pressing the [SF2] button.
To hear the selected wave, press the [SF1] button.
This is an imaginary folder, shown in the
display to contain the file(s) you ll be loading.
[ENTER] button
Specify the destination
location in the User memory
of the MOTIF.
Select a voice number
to be loaded.
267
MOTIF Reference
File mode
Reference File mode
When the file (data) type is set to Song,
Pattern, Waveform or All Voice for Editor, an
“imaginary” file appears — just as with Voice
above. Select the imaginary file and press the
[ENTER] button to call up the list of songs,
styles, or waveforms. Then select the desired
song, style, or waveform and specify the
destination User memory location.
n If several Key Banks (comprised of waveform/
WAV/AIFF files or recorded samples) are assigned
to the same key/velocity range, only the first two
assigned Key Banks will be used.
n When files of the Yamaha A series samplers
(A5000/4000/3000) are loaded, an “S” mark by
the file name indicates the file contains only sample
data and a “P” mark indicates program data (voice-
related parameters and so on). When entering the
File mode from the Voice/Performance mode, the
“P” marked file can be loaded and the following
two types can be selected instead of Waveform or
Key Bank.
• Type 1 :
Only one sample is imported to a certain
waveform. This type utilizes the various settings
of the MOTIF, and the parameters corresponding
to the four elements are also loaded. Extra
samples are not loaded.
• Type 2 :
Several samples are imported to a certain
waveform. Parameters corresponding to the four
elements are not loaded to the MOTIF. Extra
samples are not loaded.
n When “All” is selected as a file type to be loaded,
“ without System” appears in the display. If this
box is checked and the Load is executed, all data
with the exception of the system settings in the
Utility mode are loaded.
3 Press the [ENTER] button to execute the Load
operation. After the data has been loaded, a
“Completed” message appears and operation
returns to the original display.
While the data is being loaded, never eject the Memory card
or turn off the power to the SCSI device or MOTIF itself.
Loading data to the MOTIF automatically erases and
replaces any existing data in the User memory. Make sure
to save any important data to a memory card/SCSI device
BEFORE performing any Load operations.
n The MOTIF features a convenient Auto-load function
that automatically loads user-specified files when you
turn the power on. For details, see page 264.
[F4] Rename
From this display you can rename files in the
selected memory card/SCSI device, using up to eight
alphabetic and numeric characters.
n Files are named according to the MS-DOS naming
convention. If the file name contains spaces and other
characters unrecognized in MS-DOS, these characters
will automatically be replaced by “_” (underscore)
characters when saving.
[F5] Delete
From this display you can delete files from the
selected memory card/SCSI device. Select the
desired file as shown below, then press the [ENTER]
button.
Select the desired file type.
Rename the selected file here. See
"Basic Operation" on page 75.
Select the file
to be renamed.
If you wish to create a new folder on the desitination
device (to which the data is saved), press the [F6]
button to name a new folder. For instructions on
naming, see "Basic Operation" on page 75.
Select the desired file type.
Select the file to be deleted.
268
MOTIF Reference
Function Tree
Master Mode
Basic Structure (page 56)
Function Tree
This section is devoted to the Master mode. To see how the Master mode relates to the entire structure of the MOTIF
and its other modes and functions, see the simplified chart in “Basic Structure” on page 30.
The following detailed chart shows all of the display menus and parameter groups of the Master mode — giving you
a quick, easy-to-understand overview of the Master-related functions of the MOTIF.
Brackets around a word or phrase (e.g., [F1]) indicate specific button names or panel operations.
[INFORMATION] MASTER INFORMATION
[MASTER] MASTER PLAY
[F1] MASTER PLAY
[F2] MASTER MEMORY
[EDIT] MASTER EDIT
[COMMON] COMMON
[F1] NAME
[F2] OTHER
[1]-[4] ZONE 1-4 (Performance Mode only)
[F1] ZONE TRANSMIT
[F2] ZONE NOTE
[F3] ZONE TRANSMIT SWITCH
[F4] ZONE PRESET
[F5] ZONE KNOB/SLIDER ASSIGN
[JOB] MASTER JOB
[F1] INITIALIZE
[F4] BULK DUMP
[STORE] MASTER STORE
[MASTER]
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 276
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 269
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 269
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 270
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 270
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 271
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 271
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 271
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 271
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 271
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 272
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 272
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 272
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 273
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 273
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 274
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 274
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 274
269
MOTIF Reference
Master Play mode
Reference Master mode
Master Play mode
Basic Structure (page 56) · Quick Start Guide (page 93)
In this mode, you can select and play individual
Masters.
n For more information on Masters, their structure, and
how they are used, see page 56.
◆ Basic Procedure
1 Press the [MASTER] button to enter the Master
Play mode. (The indicator lights.)
2 Select a Master.
3 Set the Keyboard Octave or MIDI transmit
channel.
4 Press the [F2] button to show the Memory display
and set the basic parameters for Master play.
n Zone edit is available only when the Zone Switch is
set to on in the [F2] MEMORY display in the
Master Play mode.
5 Store the settings edited in step #4 to the User
memory as required.
n If the Zone Switch is not set to on in the [F2]
MEMORY display in the Master Play mode, the
Number buttons [1]~[4] are not available.
6 Press any other mode button to exit from the
Master Play mode.
• For detailed instructions on steps #2 - #4, see the
following explanations.
• For details on step #5, refer to “Master Store
mode” on page 274.
Master Selection
The explanations here apply to step #2 of the Basic
Procedure, see above.
Selecting Masters is done in basically the same way as
selecting voices (page 124), except for the following
point.
• Since the MOTIF has no Preset Masters and
provides only one User bank, selecting a bank is
not necessary.
Keyboard Octave and Keyboard
MIDI transmit channel setting
The explanations here apply to step #3 of the Basic
Procedure on page 269.
These two parameters can be set for the selected
Master. Setting these parameters is the same as in the
Voice Play mode (page 124). Keep in mind that these
parameters cannot be stored to the Master by using the
Master Store mode (page 274).
Master editing in the Master Play
mode
The explanations here apply to step #4 of the Basic
Procedure, see above.
The Master Play mode lets you perform a variety of
general editing operations on the selected Master. For
more detailed and comprehensive editing operations,
use the Master Edit mode.
Indicates Keyboard Octave setting set via the
[OCTAVE] buttons. See page 127 for details.
Indicates the functions assigned to the
espective Control knobs (page 48).
Indicates the currently selected Master.
MASTER
270
MOTIF Reference
Master Edit mode
Reference Master mode
● [F2] Master Play Memory
From this display you can set basic parameters for
the Master, including the mode that is called up
with the Master and the program number.
• Mode
Determines the mode that is called up when the Master
number is selected. Setting to Off here means that the
mode is not changed even if the Master is selected.
❏ Settings Off, Voice, Performance, Pattern, Song
• Memory
Determines the Program number that is called up when
the Master is selected.
❏ Settings: See below.
• Zone Switch
This is available only when the Mode is set to
Performance.
This parameter determines whether the Zone function is
used (on) or not (off). See page 272 for details about the
Zone function.
❏ Settings on, off
Master Edit mode
Basic Structure (page 56) · Quick Start Guide (page 95)
In this mode, you can create and edit Masters.
◆ Common edit and Zone edit
(Voice Performance mode)
When memorizing Voice or Performance mode settings
to a Master, you can add the zone-related settings to the
existing voice or performance settings. For details on
the zone features, see page 57.
The Master Edit functions can be divided into two
types: Common Edit (settings for all four of the zones),
and Zone Edit (settings for each individual zone).
n For details about recording methods, see page 57.
When the Mode is set to Voice
Select a voice bank and number. Refer to
the instructions page 124
When the Mode is set to
Performance
Select a performance bank and number.
Refer to the instructions on page 162
When the Mode is set to Pattern
Select a style and section. Refer to the
instructions on page 217
When the Mode is set to Song
Select a song number. Refer to the
instructions on page 179
This parameter is available only when the Mode is set to Performance.
Zone 1
Parameters common
to all modes
Voice Performance mode
Common
Zone 4
Zone 3
Zone 2
Indicates a Common Edit display.
Indicates a Zone Edit display.
(Performance mode only)
271
MOTIF Reference
Master Edit mode
Reference Master mode
◆ Basic Procedure
1 Press the [MASTER] button to enter the Master
Play mode. (The indicator lights.)
2 Select a Master to be edited.
3 Press the [EDIT] button to enter the Master Edit
mode. (The indicator lights.)
• When the Mode parameter in the Master Play
Memory display is set to Song or Pattern, go to
step #5.
• When the Mode parameter in the Master Play
Memory display is set to Voice or Performance,
go to step #4.
4 Select a zone to be edited.
• To edit parameters common to all of the zones,
press the [DRUM KITS] button (which serves as
a “COMMON” button here).
• To edit parameters of the individual zones, select
the desired zone with the corresponding
NUMBER button, [1] - [4].
5 Select the menu you wish to edit by pressing the
[F1] - [F6] buttons.
6 Edit the parameters for the selected Master.
7 Store the settings edited in step #6 to the User
Memory as required.
8 Press the [EXIT] button to exit from the Master
Edit mode.
• For details on step #2, refer to “Master Play
mode” on page 269.
• For detailed instructions on steps #5 - #6, see the
explanations below.
• For details on step #7, refer to “Master Store
mode” on page 274.
■ Common edit
● [F1] Common Name
From this display you can create a name for the
Master. For detailed instructions on naming, see
“Basic Operation” on page 75.
● [F2] Common Other
From this display you can set which row of Knob/
Slider functions will be lit and selected.
❏ Settings pan, tone, assign, MEQofs, zone
n The setting “zone” above is available only when
the Zone Switch is set to on in the [F2] MEMORY
display in the Master Play mode.
■ Zone Edit (Voice/Performance mode only)
n Use the following Zone Edit functions to create your own
sophisticated four-way splits and layers.
● [F1] Zone Transmit
Basic Structure (page 57)
From this display you can set how each zone
transmits MIDI data when you play the keyboard.
DRUM KITS
FAVORITES
COMMON
1
2
3
4
ELEMENT/ PERF.PART/ ZONE
When set to pan, calling
up the Master lights and
selects this row.
When set to MEQofs,
calling up the Master lights
and selects this row.
When set to tone, calling
up the Master lights and
selects this row.
When set to assign, calling
up the Master lights and
selects this row.
When set to zone,
calling up the Master
automatically calls up
the Knob/Slider
functions specifically set
for each respective zone
(page 57).
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
MEQ LOW
MEQ HI MIDMEQ LOWMID MEQ HIGH
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
KN 1 KN 2 KN 3 KN 4
272
MOTIF Reference
Master Edit mode
Reference Master mode
• TransmitCh (Transmit Channel)
Determines the MIDI Transmit Channel for each zone.
❏ Settings 1~16
• TGSwitch (Tone Generator Switch)
Determines whether or not to transmit MIDI messages for
each zone to each Part’s tone generator block.
❏ Settings on, off
• MIDISwitch
Determines whether or not to transmit MIDI messages for
each zone to an external MIDI device via the MIDI or USB
terminal.
❏ Settings on, off
● [F2] Zone Note
From this display you can set the pitch- and
keyboard-related parameters for each zone —
allowing you to set up zone splits and determine the
pitch range for each zone.
• Octave
Determines the amount in octaves by which the range of
the zone is shifted up or down.
❏ Settings -3~0 (Default)~+3
• Transpose
Determines the amount in semitones by by which the
range of the zone is shifted up or down.
❏ Settings -11 ~ 0 (Default) ~ +11
• NoteLimit H, L (High, Low)
Determines the lowest and highest notes of the range for
each zone. The selected zone will sound only when you
play notes within this range.
❏ Settings C -2 ~G8
n You can also set the range directly from the
keyboard, by holding down the [INFORMATION]
button and pressing the desired low and high keys.
● [F3] Zone Transmit Switch
From this display you can set how the playing of
each individual zone affects transmission of various
MIDI data, such as Control Change and Program
Change messages. When the relevant parameter is
set to “on,” playing the selected zone will transmit
the corresponding MIDI data.
Note that two different display types are provided
(see below). Each display type features the same
settings in a different format; use the type you feel
most comfortable with.
• This display type shows the Transmit Switch
status for all of the zones.
Set the desired zone on or off, for the corresponding MIDI
data type. Keep in mind that since all the available
parameters cannot be simultaneously displayed, you will
need to use the cursor controls to scroll the display in
order to see and set the other parameters.
• This display type shows all of the Transmit
Switch settings for a single selected zone.
Set the desired MIDI data type on or off for the selected
zone. To select other zone, use the NUMBER [1] - [4] buttons
(making sure that the [TRACK SELECT] button is on).
● [F4] Zone Preset
From this display you can make the voice-related
settings for each zone, in the selected Master program
number. In this way, selecting a different Master
automatically calls up a completely different set of
voices and voice-related setttings for the four zones.
• BankMSB, BankLSB, PgmChange (Program
Change)
Determines the voice assignment for each zone in the
selected Master.
❏ Settings Refer to the Voice List in the separate Data
List booklet.
• Volume
Determines the output level of each zone.
❏ Settings 0~127
• Pan
Determines the stereo pan position of each zone.
❏ Settings L64 (Left) ~ C (Center) ~ R63 (Right)
[SF5] button [SF5] button
273
MOTIF Reference
Master Job mode
Reference Master mode
● [F5] Zone Knob/Slider
From this display you can determine which Control
Change numbers are used for the Knobs and Sliders
for each zone. These settings are available only
when the Knob/Slider parameter (in Common Edit
Other; page 271) is set to “zone.”
❏ Settings off, 1~95
Master Job mode
The Master Job mode contains two convenient
operations (called “Jobs”) — one letting you initialize
(reset) the Master data, and the other letting you
transmit your edited Master data to an external MIDI
device or computer.
◆ Basic Procedure
1 In the Master Play mode, select a Master you wish
to execute the Job on.
2 Press the [JOB] button to enter Master Job Mode.
3 Select the Job menu you wish to execute by
pressing the [F1] or [F4] button.
4 Set the parameters for executing the Job.
5 Press the [ENTER] button. (The display prompts
you for confirmation.)
6 Press the [INC/YES] button to execute the Job.
After the Job has been completed, a “Completed”
message appears and operation returns to the
original display.
n To cancel the Job, press the [DEC/NO] button.
For Jobs that take longer to process, you will see the
message “Executing…” during processing. If you switch
off the power of the MOTIF while this message is
displayed, you risk corrupting your data.
7 Press the [MASTER] button to exit from Master
Job mode and return to Master Play mode.
• For detailed instructions on steps #3 - #4, see the
explanations below.
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQ LOWMID MEQ HIGH
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
Above settings are
vailable only if these
indicators are all unlit (in
the Master mode).
KN 1 KN 2 KN 3 KN 4
274
MOTIF Reference
Master Store mode
Reference Master mode
● [F1] Initialize
This function lets you reset (initialize) all Master
parameters to their default settings. It also allows
you to selectively initialize certain parameters, such
as Common settings, settings for each zone, and so
on — very useful when creating a completely new
Master from scratch.
❏ Parameter Type (for Initializing)
ALL
All settings for the selected Master are initialized.
Common
Common parameter settings for the selected Master are
initialized.
Zone
You can initialize the zone setting to one of the following
three types.
• Split . . . . . . . . . page 57
• 4 Zones . . . . . . page 57
• Layer . . . . . . . . page 57
❏ Parameters available when the Type parameter to
be Initialized is set to Split or Layer.
UpperCh, Lo
werCh
When the Parameter Type above is set to “Zone - Split,”
you can set separate MIDI transmit channels for the upper
and lower keyboard sections (right of Split Point and left of
Split Point, respectively).When the Parameter Type above
is set to “Zone - Layer,” you can set separate MIDI
transmit channels for two layers.
SplitP
oint
This is available when the Type of parameter to be
Initialized is set to Split. The range is C - 2~G8.
● [F4] Bulk Dump
This function lets you send all your edited
parameter settings for the currently selected Master
to a computer or another MIDI device for data
archiving.
n You must set the correct MIDI Device Number in
order to execute a Bulk Dump. For details, see
page 258.
Master Store mode
Basic Structure (page 56)
This function lets you store your edited performance to
User memory.
When you execute this, the settings for the destination
memory will be overwritten. Important data should always
be backed up to computer, a separate memory card or SCSI
storage device.
◆ Basic Procedure
1 After editing the Master, press the [STORE]
button to enter the Master Store mode.
2 Select the destination Master memory (number).
3 Press the [ENTER] button. (The display prompts
you for confirmation.)
4 To execute the Store operation, press the [INC/
YES] button. After the Master has been stored,
a “Completed” message appears and operation
returns to the original display.
n To cancel the Store operation, press the [DEC/NO]
button.
For Store operations that take longer to process, you will
see the message “Executing…” during processing. If you
switch off the power of the MOTIF while this message is
displayed, you risk corrupting your data.
275
MOTIF Appendix
Information Displays
Appendix
Appendix
Information Displays
The convenient Information displays let you see at-a-
glance some of the more important settings relevant to
each mode. Select the desired mode, then press the
[INFORMATION] button to call up the Information
display for that mode. To exit from the display, press
the button again (or any other panel button).
■ Voice mode
• Bank
Indicates the Bank/Number (page 124) of the currently
selected Voice.
• EL 1234
Indicates the currently selected voice, on/off status of four
elements and mono/poly (page 128) status.
• Porta (Portamento)
Indicates the Portamento switch on/off status of the
currently selected voice.
• PB (Pitch Bend)
Indicates the Upper/Lower setting of the Pitch Bend range.
• Ins1 (Insertion 1), Ins2 (Insertion 2), Rev
(Reverb), Cho (Chorus)
Indicates the currently selected effect type for each effect
block (page 137).
■ Performance mode
• Bank
Indicates the Bank/Number (page 162) of the currently
selected Performance.
• 1 (Plug-in board 1), 2 (Plug-in board 2), 3
(Plug-in board 3)
Indicates the installation status of the respective Plug-in
board. The Plug-in board name is displayed at the right of
the corresponding slot number. When PolyExpand
(
page 259) is set to on in the Utility mode, “P” is
indicated at the left of the slot number.
• InsPart (Insertion part), PLG (Plug-in Insertion
part)
Indicates the part number to which the Insertion effect is
applied and the part number to which the Plug-in Insertion
effect is applied (when the PLG100-VH is installed).
• Rev (Reverb), Cho (Chorus), Var (Variation)
Indicates the currently selected effect type for each effect
block (page 169).
■ Song mode
● Song Play mode
Indicates the amount of currently unused (available)
memory (DRAM) for song recording.
● Song Mixing mode
• PlugInfo/Port (Plug-in board installation
status)
Indicates the Plug-in board name and its MIDI port
number (
page 260) at the right of the slot number. When
PolyExpand (
page 259) is set to on in the Utility mode,
“P” is indicated at the left of the slot number.
• InsPart (Insertion part), PLG (Plug-in
Insertion part)
Indicates the part number to which the Insertion effect is
applied and the part number to which the Plug-in
Insertion effect is applied (when the PLG100-VH is
installed).
• Rev (Reverb), Cho (Chorus), Var
(+Variation)
Indicates the currently selected effect type for each effect
block (page 210).
276
MOTIF Appendix
Information Displays
Appendix
■ Pattern mode
● Pattern Play mode
Indicates the amount of currently unused (available)
memory (DRAM) for Pattern Phrase recording.
● Pattern Mixing mode
Same as in the Song Mixing mode.
■ Sampling mode
● Sampling mode
• SampleMemory
Indicates the amount of memory used by Sampling.
• Recordable Size
Indicates the amount of the available sampling memory
(unused memory) and the available sampling time.
● Sampling mode (Trim display only)
• SampleMemory
Same as above.
• Recordable Size
Same as above.
• Current Tempo
Indicates the calculated tempo when the Sample data
playback of the range from the Loop Start Point to the End
Point is treated as one measure.
■ Utility mode
• PlugInfo/Port (Plug-in board installation
status)
Indicates the Plug-in board name and its MIDI port
number (page 260) at the right of the slot number. When
PolyExpand (page 259) is set to on in the Utility mode, “P”
is indicated at the left of the slot number.
• MIDI IN/OUT
Indicates which physical output terminal(s) will be used
for transmitting/receiving MIDI data: MIDI IN/OUT/
THRU, USB, or mLAN (when the optional mLAN8E has
been installed).
• (USB firm Ver)
Indicates the USB interface firmware version.
■ File mode
• Card Free
Indicates the amount of currently available (unused)
memory of the Memory card inserted to the Card slot.
• SCSI Partition, Free
Indicates the mounted partition of the SCSI device
connected to the MOTIF and its unused memory.
• Current Dir (Current Directory)
Indicates the currently selected directory.
■ Master mode
• Mode
Indicates the mode and program number memorized to the
currently selected Master.
• ZoneSwitch
Indicates the on/off status of the Zone switch.
• ZoneTCH (Zone Transmit Channel)
Indicates the MIDI transmit channel of each zone (when
the Zone Switch is set to on).
277
MOTIF Appendix
Display Messages
Appendix
Display Messages
Messages Information
MIDI buffer full. Failed to process the MIDI data because too much data was received at one time.
MIDI data error. An error occurred when receiving MIDI data.
MIDI checksum error. An error occurred when receiving bulk data.
Bulk protected. Bulk data or a SCSI message was received when RcvBulk was set to “protect.” (See page 258.)
Device number is off. Bulk data cannot be transmitted/received since the device number is off.
Device number mismatch. Bulk data cannot be transmitted/received since the device numbers don't match.
Change internal battery. The internal backup battery has no remaining power. Replace the battery.
Disk or card full.
The card or disk is full and no more data can be saved. Use a new card or disk, or make space by erasing unwanted data
from the card or disk.
File not found.
The specified file was not found on the card or disk during a load operation. Try again after re-inserting/re-connecting the
card or disk.
Bad disk or card. The card or disk is unusable. Format the card or disk and try again.
Disk or card not ready. A card or disk is not properly inserted in or connected to the MOTIF.
Disk or card unformatted. The card or disk is not formatted, or the format is unusable by the MOTIF. Check the card/disk contents.
Disk or card write protected. The card or disk is write protected, or you have attempted to write to a read-only medium such as CD-ROM.
Illegal disk or card. The format type of the SCSI disk or Memory card is wrong.
Illegal file. The file specified for loading is unusable by the MOTIF.
Illegal file name. The specified file name is unacceptable. Try entering a different name.
Read only file. You have attempted to delete, rename, or overwrite a read-only file.
Can't make folder. No more directories can be created below the current level.
Folder is too deep. Directories below this level cannot be accessed.
Unknown file format. The file format type is not supported by the MOTIF.
SCSI error. A SCSI error has occurred. Check the SCSI connections and termination.
Disk or card read/write error. An error occurred while reading or writing to/from SCSI disk or Memory card.
Can't find associated files. The file associated with the file to be loaded cannot be found.
Folder not empty You attempt to delete a folder that contains data.
Unsupported disk The disk (memory card or SCSI device connected to the MOTIF) is not supported by the MOTIF.
Seq memory full.
The internal memory for Sequence data is full. The internal memory for Sequence data is full, preventing any further
operation (such as recording, editing, Job execution, MIDI reception/transmission, or loading from Memory card or SCSI
drive). Try again after erasing unwanted song, pattern, or user phrase data.
Choose user phrase.
You have attempted to record a pattern track to which a preset phrase is assigned. If you wish to use a preset phrase as
a starting data for pattern recording, copy it to a user phrase before recording.
No data. When a Song/Pattern Job is executed, the selected track or range contains no data. Select an appropriate track or range.
Illegal check box.
No check boxes have been checked in a Sequencer track Job which requires a check box selection. Check the
appropriate check box.
No F7 (End of Exc.)
Exclusive data has been entered or changed without the necessary “End of Exclusive” byte (F7). Make sure F7 is
included.
Pattern length mismatch. A Pattern Job will result in the length of a Pattern being greater than 256 measures.
Phrase length mismatch A Pattern Job will result in the length of a phrase being greater than 256 measures.
Phrase number overflow The maximum number of phrases (256) has been exceeded when recording, executing a Pattern Job, or editing.
Illegal input. An unacceptable input or value has been specified. Check the input method or value.
Illegal track number. An unacceptable track number has been specified in the Song/Pattern mode. Select the track again.
Illegal phrase number. An unacceptable phrase number has been specified in the Pattern mode. Select the phrase again.
Illegal measure. An unacceptable measure number has been specified in the Song/Pattern mode. Select the measure again.
Meter mismatch In the Pattern Job mode, the meter (time signature) of the destination pattern is different from the meter of the source pattern.
Sample memory full. The sample memory is full and further sampling operations, Jobs, or load operations cannot be executed.
Too many samples. The maximum overall number of samples (8192) has been exceeded.
Sample is too short. The sample length is too short and the Frequency Convert Job cannot be executed.
Sample freq is too low. The sampling frequency is too low and the Frequency Convert Job cannot be executed.
Illegal sample data. The sample file specified for loading is unusable by the MOTIF.
No sample data. The linked sample files cannot be found during a load operation.
Sample is too long. The sample size is too large and the Time Stretch Job cannot be executed.
SIMM configuration error. An appropriate pair of expansion SIMMs is not properly installed, or the pair is not properly matched (page 287).
Multi plug-in is not in slot 3.
The Multi-Part Plug-in board does not work because it has not been installed to slot 3. The Multi-Part Plug-in board
should be installed to slot 3.
Effect plug-in is not in slot 1.
The Effect Plug-in board does not work because it has not been installed to slot 1. The Effect Plug-in board should be
installed to slot 1.
Plug-in 1 communication error. The Plug-in board that has been installed to slot 1 does not work.
Plug-in 2 communication error. The Plug-in board that has been installed to slot 2 does not work.
Plug-in 3 communication error. The Plug-in board that has been installed to slot 3 does not work.
278
MOTIF Appendix
Display Messages
Appendix
Plug-in 1 type mismatch.
The User Voice created by using the Plug-in board previously installed to slot 1 (but now removed from slot 1) has been
selected.
Plug-in 2 type mismatch.
The User Voice created by using the Plug-in board previously installed to slot 2 (but now removed from slot 2) has been
selected.
Plug-in 3 type mismatch.
The User Voice created by using the Plug-in board previously installed to slot 3 (but now removed from slot 3) has been
selected.
PLG100 not supported. The Plug-in All Bulk Save function does not apply to the PLG100 series boards.
mLAN network error.
Indicates a problem in the mLAN8E network. Check the on/off status of the LED lamps on the mLAN8E and refer to the
Owner's Manual of the mLAN8E.
mLAN connection error.
Indicates a problem in the mLAN8E connection. Check the on/off status of the LED lamps on the mLAN8E and refer to
the Owner's Manual of the mLAN8E.
mLAN now in Mixer mode. The mLAN8E board is set to the Mixer mode by your computer, and the MOTIF cannot control the mLAN8E.
mLAN error (xxx). Indicates an unspecified problem related to the mLAN8E.
Copy protected. You have attempted to export or save a copy-protected digital audio source.
Digital in unlocked. Digital input signal of the AIEB2 is unlocked.
Too many favorites You've attempted to assign more than 256 voices to the Favorite category.
Executing... A format operation or job is being executed. Please wait.
Now working... Indicates that the MOTIF is currently engaged in some operation, such as writing to/reading from the disk, etc.
Now loading... (xxxx) Indicates that a file is being loaded.
Now saving... (xxxx) Indicates that a file is being saved.
Now checking plug-in board. The MOTIF is checking the Plug-in board installation status when powering the MOTIF on.
Recording stopped. The Song/Pattern (phrase) recording is automatically stopped because the memory becomes full.
Receiving sample... The MOTIF is receiving sample data from Wave Editor.
Transmitting sample... The MOTIF is transmitting sample data to Wave Editor.
MIDI bulk receiving... The MOTIF is receiving MIDI bulk data.
MIDI bulk transmitting... The MOTIF is transmitting MIDI bulk data.
Completed. The specified load, save, format, or other job has been completed.
Becomes valid after power on. The newly entered SCSI ID number will take effect only by turning the power of the MOTIF off and on again.
Scene stored A Song scene has been stored.
Mixing stored In the Song/Pattern mode, the Mixing settings have been automatically stored.
Are you sure ? [YES]/[NO] Confirms whether you want to execute a specified operation or not. Press [INC/YES] or [DEC/NO] as required.
Overwrite? [YES]/[NO]
A save operation will overwrite data on the Memory card or SCSI disk, and this message confirms whether it is OK to
continue or not. Press [INC/YES] or [DEC/NO] as required.
Can't undo. OK? [YES]/[NO]
When some jobs of the Song/Pattern are executed, the internal memory becomes full and undo cannot be used. Press
[INC/YES] if this is OK, or [DEC/NO] to abort the operation. Try again after erasing unwanted songs, patterns, or user
phrases.
Messages Information
279
MOTIF Appendix
Troubleshooting
Appendix
Troubleshooting
No sound? Wrong sound? When a problem like this occurs, please check the following points before assuming that
the product is faulty. In many cases you’ll find the solution to your problem here. If the problem persists, then contact
your Yamaha dealer or service center (page 299).
No sound.
• Is the power of the MOTIF and any external equipment connected to the MOTIF turned on? page 29
• Have you made all the appropriate level settings — including the Master Volume on the MOTIF
and the volume settings on any connected external equipment? page 29
• Is the Foot Controller pressed down (when it is connected to the FOOT CONTROLLER jack)? page 28
• Is the MOTIF properly connected to related external equipment (e.g., amplifier or speaker) via audio cables? page 21
• When the voice produces no sound, is the volume in the Voice common edit set appropriately? page 132
• When the voice produces little or no sound, have you changed any of the CS slider settings?
(The CS 1 - 4 sliders control the element levels in the voice. If all these are set to “0,” the voice will not sound.) page 48
• When the voice produces no sound, are the parameters in the Voice element edit
(e.g., element switch, note limit, velocity limit) set appropriately in the Voice common edit? pages 137, 138
• When the voice produces no sound, are the effect and filter settings appropriate?
(Inappropriate filter cutoff frequency settings can result in no sound.) pages 137, 140
• When the performance produces no sound, has a voice been assigned to each part? page 166
• When the performance produces no sound, is the note limit of each part set appropriately? page 170
• When the performance produces no sound, is the volume of each part set appropriately? page 172
• When the performance produces little or no sound, have you changed any of the CS slider settings?
(The CS 1 - 4 sliders control the part levels in the performance. If all these are set to “0,” the performance will not sound.) page 48
• When the performance produces no sound, is the output select of each part set appropriately? page 173
• When the song/pattern playback produces no sound, are any or all of the tracks muted? pages 180, 218
• When the song/pattern playback produces no sound, are the output channel of each track in the play mode
and the receive channel of each part in the Mixing mode set appropriately? pages 210, 232
• When the song/pattern playback produces no sound,
is the volume of each part in the Mixing mode set appropriately? pages 211, 232
• When the song/pattern playback produces no sound,
is the output select of each part in the Mixing mode set appropriately? pages 211, 232
• When the song/pattern playback produces no sound,
is the MIDI filter set so that note-on messages are blocked in the Utility mode? page 255
• When the arpeggio produces no sound, is the switch set to on? page 132
• When the arpeggio produces no sound, are the note limit and velocity limit set appropriately? page 133
• When the arpeggio produces no sound and the assigned arpeggio is a user one, does it have data? page 132
• Isn't MIDI Local set to off in the Utility mode? page 258
Distorted sound.
• Are the effect settings appropriate? page 172
• Are the filter settings appropriate? (Excessively high filter resonance settings can cause distortion.) pages 140, 173
• Is the MASTER VOLUME set so high that clipping is occurring? page 29
• Is the volume of each element in the Voice mode or the volume of each part in the Performance mode
or the volume of each track/part in the Song/Pattern mode set too high? pages 145, 172, 211, 232
Sound level is too low.
• Are the MIDI volume or MIDI expression settings too low (by using the Foot Controller)? page 28
• Is the cutoff frequency of the filters set too high/low? pages 140, 173
• When the song/pattern playback produces the small sound,
is the velocity offset in the Groove display set too low? pages 181, 218
Sound is cut off.
• Are you exceeding the maximum polyphony of the MOTIF? page 36
280
MOTIF Appendix
Troubleshooting
Appendix
Pitch or intervals are wrong.
• Is the Master Tune parameter in the Utility mode set at a value other than “0”? page 250
• Is the Note Shift parameter in the Utility mode set at a value other than “0”? page 250
• When the voice produces a wrong pitch, is the appropriate tuning system selected from Micro Tuning parameter
in the Voice Edit mode? page 130
• When the voice produces a wrong pitch, is the LFO Pitch Modulation Depth in the Voice Edit mode set too high? page 147
• When the performance produces a wrong pitch, is the Note Shift parameter of each part set at a value other than “0”? page 173
• When the performance produces a wrong pitch, is the Detune parameter of each part set at a value other than “0”? page 173
• When the song/pattern playback produces a wrong pitch, is the Note Offset parameter in the Groove display set
at a value other than “0”? pages 181, 218
Only one note sounds at a time.
• Is the Mono/Poly parameter in the Voice mode set to “mono”? page 130
No effect is applied.
• Is the [EFFECT BYPASS] button turned off? page 13
• Have the [REVERB] and [CHORUS] buttons been turned fully counter-clockwise (to the minimum)? pages 48, 84
• Have any or all of the elements’ Effect Output parameter been set to “thru”? page 137
• Have any or all of the effect types been set to “thru” or “off” (in the Effect display of the Voice Edit mode)? page 137
Song/Pattern cannot be started.
• Does the selected song or pattern (phrase) contain data? pages 179, 217
• Is the Remote Control turned on? page 13
• Is the MIDI sync parameter set to MIDI (using external clock) in the Utility mode? page 258
Song/Pattern (Phrase) cannot be recorded.
• Is there enough free memory for recording? The total MOTIF memory capacity determines the number of
songs/patterns (phrases) that can be recorded. For example, if the memory contains songs/patterns (phrases)
that use up a large amount of memory, the memory may become full even though the available pattern or song
numbers are not all used. pages 275, 276
• In the Pattern Record mode, does the specified track to which the Phrase is assigned have preset data?
Recording cannot be done to a track that contains preset data. page 221
Can’t record samples.
• Have you exceeded the maximum allowable number of samples (key banks)? page 60
• Is there enough free sample memory? page 276
• Is the Sampling Source setting appropriate? page 236
• Is the Trigger mode set appropriately? page 237
Can’t save data to the Memory card or the SCSI disk.
• Is the Memory card or SCSI disk being used write protected? (Write-protect should be set to off for saving data.) pages 289, 290
• Is the Memory card or SCSI disk being used properly formatted? page 265
MIDI bulk data transmission/reception won’t work properly.
• Is the Receive Bulk parameter set to “protect” in the Utility mode? page 258
Plug-in board does not work.
• Is the lamp of the corresponding slot number to which the Plug-in board has been installed lit? page 87
• Has the Vocal Harmony Plug-in board been installed to slot 2 or 3 ? (The VH board should be installed to slot 1.) page 282
• Has the Multi-part Plug-in board been installed to slot 1 or 2 ? (The Multi-part Plug-in board should be installed to slot 3.) page 282
281
MOTIF Appendix
Installing Optional Hardware
Appendix
Installing Optional Hardware
◆ Optional units that can be installed to the MOTIF
The following optional units can be installed to the MOTIF.
◆ Locations to which the optional units are installed
Up to three boards can be installed to the rear panel.
◆ Installation Precautions
Before installing the optional hardware, make sure you have a Philips screwdriver.
• Before beginning installation, switch off the power to the MOTIF and connected peripherals, and unplug them from the power outlet.
Then remove all cables connecting the MOTIF to other devices. (Leaving the power cord connected while working can result in electric
shock. Leaving other cables connected can interfere with work.)
• Be careful not to drop any screws inside the instrument during installation (this can be prevented by keeping the optional units and
cover away from the instrument while attaching). If this does happen, be sure to remove the screw(s) from inside the unit before turning
the power on. Loose screws inside the instrument can cause improper operation or serious damage. If you are unable to retrieve a
dropped screw, consult your Yamaha dealer for advice.
• Install the optional units carefully as described in the procedure below. Improper installation can cause shorts which may result in
irreparable damage and pose a fire hazard.
• Do not disassemble, modify, or apply excessive force to board areas and connectors on optional units. Bending or tampering with boards
and connectors may lead to electric shock, fire, or equipment failures.
• Before handling the optional units, you should briefly touch the metal surface to which the optional unit cover is attached (or other such
metallic area — be careful of any sharp edges) with your bare hand so as to drain off any static charge from your body. Note that even a
slight amount of electrostatic discharge may cause damage to these components.
• It is recommended that you wear gloves to protect your hands from metallic projections on optional units and other components.
Touching leads or connectors with bare hands may cause finger cuts, and may also result in poor electrical contact or electrostatic
damage.
• Handle the optional units with care. Dropping or subjecting them to any kind of shock may cause damage or result in a malfunction.
• Be careful of static electricity. Static electricity discharge can damage the IC chips on the Plug-in board. Before you handle the optional
Plug-in board, to reduce the possibility of static electricity, touch the metal parts other than the painted area or a ground wire on the
devices that are grounded.
• Do not touch the exposed metal parts in the circuit board. Touching these parts may result in a faulty contact.
• When moving a cable, be careful not to let it catch on the circuit Plug-in board. Forcing the cable in anyway may cut the cable, cause
damage, or result in a malfunction.
• Be careful not to misplace any of the screws since all of them are used.
• Do not use any screws other than what are installed on the instrument.
● Plug-in Boards ● AIEB 2 or mLAN8E ● SIMM
P
l
u
g
-
i
n
S
L
O
T
Plug-in Board cover
MOTIF6 MOTIF7 MOTIF8
● Plug-in Boards
Plug-in Board cover
Plug-in Board cover
S
C
S
I
MOTIF6 MOTIF7
MOTIF8
● AIEB2, mLAN8E, SIMM
Bottom cover for optional units Bottom cover for optional units Bottom cover for
AIEB2, mLAN8E, SIMM
Rear cover for the
AIEB2 or mLAN8E
Rear cover for the
AIEB2 or mLAN8E
Rear cover for the
AIEB2, mLAN8E, SIMM
282
MOTIF Appendix
Installing Optional Hardware
Appendix
Optional Plug-in Board
Installation
A variety of optional Plug-in boards sold separately let
you expand the voice library of your instrument.
The following types of Plug-in boards can be used with
your instrument.
• PLG150-AN • PLG150-PF • PLG150-VL
• PLG150-DX • PLG100-XG • PLG100-VH
The MOTIF provides three slots for the Plug-in board.
Therefore, up to three boards can be installed to
the rear panel.
n The Vocal Harmony Plug-in board (PLG100-VH) can
installed only to slot 1.
n The Multi part Plug-in board (PLG-100XG) can installed
only to slot 3.
n The Single part Plug-in board can installed to any of
three slots.
1 Turn the MOTIF power off, and disconnect the
AC power cord. Also, make sure to disconnect the
MOTIF from any connected external devices.
2 Remove the large screw from the expansion bay
cover on the rear panel using a Phillips
screwdriver.
Keep the removed screw in a safe place. It will be used
when attaching the cover to the MOTIF again.
3 Remove the ribbon cables that are to be connected
to the Plug-in board from the inside of the MOTIF.
The slots are assigned to the color-coded cables as
follows:
Slot 1 — Orange
Slot 2 — Yellow
Slot 3 — Green
GREEN
YELLOW
ORANGE
3
2
1
Plug-in SLOT
OUTPUT
ASSIGNABLE
OUTPUT
L MONO
PHONES
A
DINPUT
GAIN
L
RR
R
L
GREEN
YELLOW
ORANGE
3
2
1
Plug-in SLOT
OUTPUT
ASSIGNABLE
OUTPUT
L MONO
PHONES
A
DINPUT
GAIN
L
RR
R
L
MOTIF6 / MOTIF7
GREEN
YELLOW
ORANGE
3
2
1
Plug-in SLOT
MOTIF8
GREEN
YELLOW
ORANGE
3
2
1
Plug-in SLOT
OUTPUT
ASSIGNABLE
OUTPUT
L MONO
PHONES
A
D
INPUT
GAIN
RL
R
R
L
GREEN
YELLOW
ORANGE
3
2
1
Plug-in SLOT
Slot 3
Slot 2
Slot 1
Cable for Slot 3
(Green)
Cable for Slot 2
(Yellow)
Cable for Slot 1
(Orange)
283
MOTIF Appendix
Installing Optional Hardware
Appendix
4 Insert the board along the guide rails about two-
thirds of the way inside the MOTIF, with the
connector side face up and toward you.
5 With the board still protruding slightly from the
expansion bay, bring the cable end around and
connect it to the board. Make sure to connect the
proper cable, matching the color of the cable to the
slot used. Also, take care not to pull on the cable
too forcefully as you connect it to the board.
n The Vocal Harmony Plug-in board (PLG100-VH) can
installed only to slot 1.
n The Multi part Plug-in board (PLG-100XG) can installed
only to slot 3.
6 Insert the Plug-in board the rest of the way into
the expansion bay. Carefully put the the ribbon
cable back into the MOTIF, making sure that no
part of the cable sticks out of the instrument.
7 Replace the cover with the screw you removed in
step 2 above. The Plug-in board is held in place by
replacing the cover.
8 Check that the installed Plug-in board is
functioning properly. Turn on the power.
• A message appears indicating that the installed Plug-in
Board is being checked. The main display then appears
and the corresponding slot indicator at the right top of the
front panel lights. This indicates that the board has been
successfully installed.
• If an error message appears, the MOTIF freezes after a
while, indicating that the installation was not successful. If
this happens, turn off the power and carefully go through
the installation procedure again.
Optional AIEB2 or mLAN8E Installation
OUTPUT
ASSIGNABLE
OUTPUT
L MONO
PHONES
A
D INPUT
GAIN
RL
R
R
L
GREEN
YELLOW
ORANGE
3
2
1
Plug-in SLOT
Slot 3
Slot 2
Slot 1
Securely insert the board into the appropriate slot,
taking care that the board isn't jammed between slots.
OUTPUT
ASSIGNABLE
OUTPUT
L MONO
PHONES
A
D
INPUT
GAIN
RL
R
R
L
GREEN
YELLOW
ORANGE
3
2
1
Plug-in SLOT
Notch
Connector from MOTIF
Plug-in Connector
Press the connectors together
until the two notches lock into
the sockets.
Plug-in board
OUTPUT
ASSIGNABLE
OUTPUT
L MONO
PHONES
A
D
INPUT
GAIN
RL
R
R
L
GREEN
YELLOW
ORANGE
3
2
1
Plug-in SLOT
PLG 2
A
B
C
D
E
F
G
H
CATEGORY
SEARCH
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-time External Control
Surface
Modular
Synthesis
Plug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM /
PERCUSSION
SE
MUSICAL FX COMBI
SECTION
BANK
GROUP
COMMON
Slot indicator lamps
In this example, a Plug-in board has been installed to slot 1.
284
MOTIF Appendix
Installing Optional Hardware
Appendix
Either the mLAN expansion board (mLAN8E) or the
I/O expansion board (AIEB 2) sold separately can
be installed to the MOTIF.
With the mLAN8E board, you can conveniently and
easily hook up your MOTIF to other mLAN-
compatible instruments or devices. The AIEB 2 board
gives you additional digital I/O options, featuring both
optical and coaxial connectors. Moreover, the board
also includes three stereo ASSIGNABLE
OUTPUT pairs (six analog jacks).
Installing the AIEB2
1 Turn the MOTIF power off, and disconnect the
AC power cord. Also, make sure to disconnect the
MOTIF from any connected external devices.
2 Turn over the MOTIF so you can have direct
access to the underside. To protect the Knobs and
Wheels, place the keyboard so the four corners are
supported by something that provides sufficient
support like magazines or cushions.
Be careful not to drop or bump the keyboard and make
sure that it is well balanced before proceeding.
3 Remove the cover of the bottom. Unscrew the
screws on the bottom using the driver by placing
the back sides of the ripped over body facing to you
(MOTIF6/ MOTIF7 has 7 screws and MOTIF 8
has 7 yellow screws.). Remove the cover from the
body after unscrewing all the screws. For
MOTIF6/MOTIF7 place the back side facing to
you and slide the over toward front to remove the
cover.
Keep the removed screws in a safe place. They will be
used when attaching the cover to the MOTIF again after
installing the AIEB2.
4 Remove the three screws from the rear cover while
holding it from inside the MOTIF with your left
hand.
Keep the removed screws in a safe place. They will be
used when attaching the cover to the MOTIF again
when the AIEB2 is removed in the future.
View of the keyboard
from the bottom.
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ
TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3 SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternalControl
Surface
Modular
SynthesisPlug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ZONE
Please the supports at all four corners
without touching the Knobs and the Wheels.
Underside of the MOTIF
Slide the cover
away to remove.
Bottom
Underside of the MOTIF
Bottom
MOTIF6 / MOTIF7
Do not remove
this black screw.
MOTIF8
Underside of the MOTIF
Bottom
Underside of the MOTIF
Bottom
Underside of the MOTIF
285
MOTIF Appendix
Installing Optional Hardware
Appendix
5 Remove the AIEB2 power cables from the hook-
shaped cable clip in the MOTIF.
6 Remove the AIEB2 from its package. The AIEB2
has one flat ribbon cable and two power cables.
Since these two power cables are used for the main
body and are not needed when installing to the
MOTIF, you can remove them from the AIEB2.
7 Connect the flat ribbon cable coming from AIEB2
to the circuit board of the MOTIF. Be careful to
connect in the proper direction as shown.
Make sure that the direction is correct and do not try to
force the connection.
8 Connect the power cable coming from MOTIF to
the AIEB2. Connect the 3-pin cable to the CN3
connector of the AIEB2, and the 4-pin cable to the
CN1 connector.
9 Fasten the AIEB2 to the MOTIF. Flip the unit
over, so that the bottom of the plate can be seen,
and that each connector section of the AIEB2 can
be seen from the back side of MOTIF. Supporting
the unit with one hand, attach it to the rear of the
MOTIF with the three screws you removed in step
4. If you start replacing the screws from the center
screw, it will be easy to replace the remaining
screws.
Underside of the MOTIF
Underside of the MOTIF
MOTIF6 / MOTIF7
MOTIF8
Unlatch the cable clip by
pulling out the tab as shown.
Replace the clip after pulling
out the power cable.
Rear panel of the MOTIF
Rear panel of the MOTIF
Top (keyboard side) of the MOTIF
Top (keyboard side) of the MOTIF
AIEB2
Remove the two
power cables.
CN5
m-LAN
Rear panel of the MOTIF
AIEB2
Align the
connectors
as shown.
Flat ribbon cable
of the AIEB2
Connector on
the circuit board
of the MOTIF
CN5
m-LAN
Connect the 4-pin cable
to the CN1 connector
Connect the 3-pin cable
to the CN3 connector
* Make sure to properly match the cables and connectors.
Avoid applying excessive force when connecting.
286
MOTIF Appendix
Installing Optional Hardware
Appendix
10 Let the ribbon cable fall into place between the
AIEB2 and the circuit board of the MOTIF.
11Re-install the cover you removed in earlier steps,
in reverse order.
Installing the mLAN8E
1 Using the same procedure as in steps 1 - 4 of
“Installing the AIEB2” above, remove the cover on
the underside of the MOTIF, then remove the
cover of the mLAN/I/O expansion bay.
2 Remove the mLAN8E from its package and
connect the included flat ribbon cable. Securely
fasten the flat ribbon cable to the rear panel of the
mLAN8E. Make sure that the ribbon is at the
bottom, as shown.
3 Hold the mLAN8E upside down, and insert the
connector on the other end of the flat ribbon cable,
to the circuit board of the MOTIF.
Flip over the AIEB2 taking care not to bend
or damage the flat ribbon cable.
AIEB2
CN5
m-LAN
Underside of the MOTIF
Underside of the MOTIF
AIEB2
Slide the flat ribbon cable
in the space between the MOTIF
and the AIEB2.
AIEB2
Rear panel of the MOTIF
Rear panel of the MOTIF
Make sure that flat ribbon cable is
at bottom of connector.
Rear panel of mLAN8E
Make sure the flat ribbon cable sticks out from
the bottom and that the panel printing "mLAN8E"
can be seen.
Front panel of mLAN8E
Top of mLAN8E
CN5
m-LAN
Underside of the MOTIF
Rear panel of the MOTIF
Front panel of mLAN8E
Align the connectors as shown.
Underside of mLAN8E
(This example illustration shows the MOTIF6/MOTIF7.)
287
MOTIF Appendix
Installing Optional Hardware
Appendix
4 Fasten the mLAN8E to the MOTIF. Flip the unit
over, so that each connector section of the
mLAN8E can be seen from the back side of
MOTIF. Supporting the unit with one hand,
attach it to the rear of the MOTIF with the three
screws you removed earlier. If you start replacing
the screws from the center screw, it will be easy to
replace the remaining screws.
5 Let the ribbon cable fall into place between the
mLAN8E and the circuit board of the MOTIF.
6 Re-install the cover you removed in earlier steps,
in reverse order.
Optional SIMM Installation
You can increase the MOTIF’s sampling memory by
installing commercially available SIMMs (single
in-line memory modules). This section explains how to
carry out the installation.
Important Information about
Purchase of Expansion SIMMs for
the MOTIF
The MOTIF does not necessarily support all
commercially available SIMMs. Before purchasing
SIMMs, please consult your Yamaha dealer or an
authorized Yamaha distributor (see list at end of the
Owner’s Manual) for advice.
Note that Yamaha cannot assume responsibility for
SIMM malfunctions.
SIMM Type and SIMM Configuration
• You need to use 72-pin SIMMs with access time of
70ns or less. The SIMM module size may be 4MB,
8MB, 16MB, or 32MB. The MOTIF is designed for use
with 32-bit (parity non-type) SIMMs, but can also
accept installation of 36-bit (parity-type) SIMMs.
• When purchasing SIMMs, make sure that the SIMM
design does not utilize more than 18 memory chips per
module. (SIMMs comprised of more than 18 chips do
not operate correctly on the MOTIF.)
• SIMMs must be installed in pairs: you can install two
SIMMs.
• The MOTIF ships with 4MB of sampling memory
installed, and is capable of accessing up to 64MB. See
the following illustrations for details. For example, if
you add a pair of 16MB SIMMs, for example, you
increase the available sampling memory to a total of
(4 + 16 x 2 =) 36MB. If you install a pair of 32MB
SIMMs, however, the sampling memory size becomes
64MB (and the original 4MB are effectively disabled).
Rear panel of the MOTIF
Underside of the MOTIF
CN5
m-LAN
mLAN8E
Slide the flat ribbon cable in the space
between the MOTIF and the mLAN8E.
Underside of the MOTIF
Rear panel of the MOTIF
(This example illustration shows the MOTIF6/MOTIF7.)
288
MOTIF Appendix
Installing Optional Hardware
Appendix
• Yamaha recommends that you purchase SIMMs that
conform to the JEDEC* standard. Please be aware,
however, that conformance to this standard does not
constitute a guarantee that the SIMMs will operate
correctly on the MOTIF.
• JEDEC (Joint Electron Device Engineering Council) sets
standards for terminal configurations within electronic
devices.
SIMM Installation
1 Use the same operation as in “Installing the AIEB2.”
2 On the SIMM, there is a cut in the board next to
the 1PIN. Insert the board into the socket so that
the 1PIN lines up with the 1PIN mark (▲) printed
on the board.
n Make sure that the SIMM is securely inserted in the
socket of the MOTIF. Inserting the SIMM improperly or
incompletely may result in faulty operation.
* To remove the SIMM, gently but firmly pull the fastening
clips open, then tilt the SIMM back and pull it out.
3 Set the SIMM into the socket at an angle as shown
in the illustration above (1). Then push the SIMM
upright until it clicks into the position shown in
figure
4 Insert the remaining SIMM into the remaining
socket.
5 Re-install the cover you removed in earlier steps,
in reverse order.
6 Check that the installed SIMMs are functioning
properly. Set the MOTIF right-side up, and connect
the power cord to the rear-panel AC INLET jack and
an AC outlet. Turn on the power, go to the
SAMPLING display, and press the
[INFORMATION] button (page 276). If the SIMMs
have been installed properly, the appropriate
available memory size is indicated in the display.
4MB X 2
Internal memory
4MB
12MB can be used for sampling.
8MB X 2
Internal memory
4MB
20MB can be used for sampling.
16MB X 2
Internal memory
4MB
36MB can be used for sampling.
32MB X 2
Internal memory
4MB
64MB can be used for sampling.
Cutout
72PIN SIMM
to
PNA
to
JK
CN25CN24
114
to
PS
CN234
SIMM sockets
1PIN mark
Rear panel of the MOTIF
Underside of the MOTIF
Location for SIMM Installation
Tilt the SIMM and insert it into the socket.
Push the SIMM up vertically.
Cutout
Installing the SIMM modules to the sockets
Pull open these clips.
Pull open these clips.
Tilt the SIMM module and pull it out.
289
MOTIF Appendix
Handling the Memory Card (SmartMedia™*)
Appendix
Handling the
Memory Card
(SmartMedia™*)
Be sure to handle Memory Cards with care. Follow the
important precautions below.
* SmartMedia is a trademark of Toshiba Corporation.
■ Compatible Memory Card Type
3.3V(3V) Memory Cards can be used. 5V type Memory
Cards are not compatible with this instrument.
■ Memory Capacity
There are five types of Memory Cards: 2MB/4MB/
8MB/16MB/32MB. A Memory Card with the memory
capacity exceeding 32MB can also be used if it
conforms to the standards of SSFDC (Solid State
Floppy Disk Card: another name of SmartMedia)
Forum.
■ Inserting/Removing Memory Cards
• To insert a Memory Card:
Hold the Memory Card so that the connector
section (gold) of the Memory Card is facing
downward and forward, towards the Memory
Card slot. Carefully insert the Memory Card into
the slot, slowly pushing it all the way in until it is
fitted in place.
n Don’t insert the Memory Card in wrong direction.
Don’t insert anything other than a Memory Card in
the slot.
• To remove a Memory Card:
Before removing the Memory Card, be sure to
confirm that the Memory Card is not in use, or it
is not being accessed by the instrument. Then pull
the Memory Card out slowly by hand. If the
Memory Card is being accessed*, a message
indicating that it is in use appears on the
instrument's display.
* It includes saving, loading, formatting, deleting and
making directory. Also, be aware that the instrument will
automatically access the Memory Card to check the
media type when it is inserted while the instrument is
turned on.
Never attempt to remove the Memory Card or turn the
power off during accessing. Doing so can damage the
data on the instrument/Memory Card and possibly the
Memory Card itself.
■ Formatting Memory Cards
Before using a Memory Card with your instrument it
must first be formatted. Once it is formatted all data on
it will be erased. Be sure to check if the data is
unnecessary for you or not, beforehand.
n The Memory Cards formatted with this instrument may
become unusable with other instruments.
■ About the Memory Cards
• To handle Memory Cards with care:
There are times when static electricity affects
Memory Cards. Before you handle Memory Cards,
to reduce the possibility of static electricity, touch
the metal parts such as a door knob and aluminum
sash. Be sure to remove the Memory Card from the
Memory Card slot when it is not in use for a long time.
Do not expose the Memory Card to direct
sunlight, extremely high or low temperatures, or
excessive humidity, dust or liquids.
Do not place heavy objects on a Memory Card or bend
or apply pressure to the Memory Card in any way.
Do not touch the metal part (gold) of the Memory
Card or put any metallic plate onto the metal part.
Do not expose the Memory Card to magnetic
fields, such as those produced by televisions,
speakers, motors, etc., since magnetic fields can
partially or completely erase data on the Memory
Card, rendering it unreadable.
Do not attach anything other than the provided
labels to a Memory Card. Also make sure that
labels are attached in the proper location.
• To protect your data (Write-protect):
To prevent inadvertent erasure of important data,
stick the write-protect seal (provided in the
Memory Card package) onto the designated area
(within a circle) of the Memory Card. Conversely
speaking, to save data on the Memory Card, make
sure to remove the write-protect seal from the Card.
Do not reuse the seal that is peeled off.
■ Data Backup
For maximum data security Yamaha recommends that
you keep two copies of important data on separate
Memory Cards. This gives you a backup if one Memory
Card is lost or damaged.
■ Burglarproof Lock
This instrument is equipped with a burglarproof lock
for the Memory Card. If necessity arises, mount the
burglarproof lock onto the instrument.
To mount the burglarproof lock:
1 Remove the metallic part using a Phillips
screwdriver.
2 Turn the metallic part upside down and then
mount it again.
290
MOTIF Appendix
Connecting external SCSI devices
Appendix
Connecting external SCSI devices
This section explains how to connect external devices such as external hard disk drives, MO drives, or CD-ROM drives.
About SCSI
SCSI (pronounced “scuzzy”) stands for Small Computer System Interface, and is a data transmission interface
standard used by personal computers and other devices.
Since the MOTIF has a SCSI interface, you can connect and use hard disk drives, MO disk drives, CD-ROM drives,
and other SCSI-compatible devices that have a 50-pin SCSI connector. Up to 7 SCSI devices can be connected.
Most external SCSI devices have two SCSI terminals, allowing a number of devices to be “chained” together. Devices
chained together in this way can normally be connected in any order.
The last device in the chain must be “terminated,” either with a terminator unit plugged into the open SCSI
connector, or by turning the device's internal terminator on (if available). The first device in the chain must also be
terminated, but in the case of the MOTIF this is accomplished by the terminator inside the MOTIF.
• Before connecting SCSI devices, be sure to turn off the power of the MOTIF and all connected equipment. If the power is on
while connections are being made, the MOTIF or SCSI devices can be damaged.
• Including the MOTIF, each SCSI device is distinguished by a number from 0 - 7, called the SCSI ID. If two or more devices have
the same SCSI ID number, the SCSI devices will not function correctly. When shipped from the factory, the MOTIF is set to SCSI
ID 6. Be aware that the SCSI ID number of a device has no relation to its position in the daisy-chain.
• Don't forget to attach a terminator to the last SCSI device in the daisy-chain.
• If an external SCSI device is not connected, it is not necessary to attach a terminator to the external SCSI connector of the
MOTIF.
• Use as short a SCSI cable as possible. Using long cables can cause unreliable operation. In general, the total cable length should be
less than 6 meters (approximately 18 feet).
• Use high-quality SCSI cables. Poor-quality cables can cause unreliable operation.
• Some SCSI devices have only one SCSI connector. If you are using such a device, connect it at the end of the daisy-chain.
Procedure
1 Use SCSI cables to daisy-chain the external SCSI devices.
Since there are several different types of SCSI connectors, make sure to select the proper SCSI cables for your
particular devices.
2 Connect the power cable of the external SCSI device to an AC outlet.
3 Set the SCSI ID (0 - 7) of the external SCSI device.
Select a SCSI ID that will not conflict with the other SCSI devices (including the MOTIF). When the MOTIF is
shipped from the factory, the SCSI ID is set to 6.
External SCSI
device
MOTIF
External SCSI
device
External SCSI
device
T
PLG 2
A
B
C
D
E
F
G
H
15
CATEGORY
SEARCH
OCTAVE
DOWN
UP
KNOB
CONTROL
FUNCTION
PAN
REVERB
CHORUS
TEMPO
ATTACK RELEASECUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
MEQ HI MIDMEQLOWMID MEQ HIGH
REMOTE
CONTROL
ON/OFF
EFFECT BYPASS
ARPEGGIO
INSERTION
SYSTEM
ON/OFF
MASTER
VOLUME
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
SEQ TRANSPORT
LOCATE
1
2
REC
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN
FILE
INTEGRATED
SAMPLING
MIXING
UTILITY
EDIT
JOB
STORE
COMPARE
SCENE STORE
SET LOCATE
SONG SCENE
SF 1SF 2SF 3SF 4SF 5
F1 F2 F3 F4 F6F5
INFORMATION
DEC/NO INC/ YES
EXIT
ENTER
EXECUTE
MUSIC
PRODUCTION
SYNTHESIZER
Integrated
Sampling
Sequencer
Real-timeExternal Control
Surface
Modular
SynthesisPlug-in
System
DRUM KITS
FAVORITES
SLOT 1 SLOT 2 SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER PLG 1
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX COMBI
1
2
3
4
5
6
7
8
9
10
11
12
13
14
16
SECTION
TRACK
SELECT
MUTE
SOLO
BANK
GROUP
NUMBER
COMMON
ELEMENT/PERF.PART/ ZONE
T
T
Indicates the terminator (or a terminator
switch turned ON). For devices not marked
by this symbol, do not attach a terminator
(or turn the terminator off).
291
MOTIF Appendix
Connecting external SCSI devices
Appendix
4 Attach the terminator to the SCSI connector (whichever one of the two is not connected) of the last
device in the daisy-chain. Alternatively, turn on the terminator switch of that device.
5 Make sure that the terminator switch is turned OFF for all other devices in the daisy-chain (i.e., all
devices other than the last device).
6 Turn on the power of the external SCSI device(s), and after waiting several seconds, turn on the
power of the MOTIF.
NOTE
Many articles and books concerning SCSI are available. However most of them discuss only the concepts or the
specification, and do not tell you what to do if the system does not work when connected as described. The following
paragraphs will provide more information about SCSI that will help you correct problems which may occur when
SCSI devices are connected. Please read this material if you experience problems. Please be aware that when
connecting SCSI devices, problems with termination and cabling can cause valuable data to be damaged. We regret
that Yamaha can take no responsibility regarding any data which is lost.
■ Realities of terminator installation
Although we have said that a terminator is required at the beginning and end of the SCSI bus, this is a general
principle and not a requirement. For example if the bus is extremely short (45 cm or less), there are cases in which it
is best for there to be a terminator only on one or the other end. However if other drives are connected in addition to
these drives, the situation will again be different.
Also, if the SCSI devices are separated by more than 3 meters, it is said that using a terminator at the 3 meter point is
preferable. In this case, three or more terminators will exist within the SCSI bus.
In this way, the theory and practice of SCSI connections can differ widely. Simply changing a drive in a system that
had been working correctly can cause operation to become unreliable, or adding a drive to an unreliable system can
cause it to start working correctly. In practice, a certain amount of trial and error is necessary.
■ Reasons for SCSI errors
A SCSI bus operates stably only if all the connected SCSI devices are operating correctly. If any of the devices are
producing noise, the other devices will also produce errors, and in the worst case, the boot block of a drive can be
destroyed. (All data in that drive will be lost.)
Also, there are cases in which a system on which data appears to have saved may not have actually saved the data,
resulting in data loss.
The following paragraphs will discuss the reasons for such errors, and will provide a sequence for your
troubleshooting.
• Check the SCSI ID
Make sure that there is no conflict between the SCSI ID of each SCSI device including the MOTIF. When shipped from the factory,
the MOTIF's SCSI ID is set to 6. Be sure to turn off the power before changing the SCSI ID setting.
• Check the terminator
As discussed above, check the location where the terminator is attached.
• Check the SCSI cables
Low-quality SCSI cables will almost always create problems. Always use double-shielded cables. It is also important that the shield
be grounded inside the connector. Long SCSI cables frequently cause problems, so use as short a SCSI cable as possible. Bending or
twisting a SCSI cable in a confined space can cause conductors to break or pins to be broken, so be careful to avoid this.
Yamaha cannot guarantee operation if the SCSI connector of the MOTIF is connected via a converter to any external device other
than a 50-pin SCSI device, such as a Wide SCSI, ATA (IDE), USB, or IEEE 1394 device.
292
MOTIF Appendix
Notes on musical copyright
Appendix
Notes on musical copyright
The MOTIF supports SCMS (Serial Copy Management System) to protect the copyrights of music software. Data
that was digitally sampled from a CD or other source cannot be saved on a memory card or SCSI disc in WAV/AIFF
format, and cannot be transmitted by using the TWE software. If you wish to save this data, you must save it in the
MOTIF’s own format.
It is prohibited to use copyrighted songs and sound data (that can be recorded via the MOTIF) for commercial
purposes. It is also prohibited to reproduce, transfer, or distribute the data, or play the data for a commercial audience
without permission from the owners of the copyright, except for personal use or application that does not infringe
the copyright. If you wish to use such data for occasions other than personal use, consult a copyright expert. Yamaha
is not responsible for any data created, reproduced, or edited using the MOTIF, nor for any reproduction or use of
such data.
293
MOTIF Appendix
Appendix
Specifications
Keyboards MOTIF8 88 keys, Balanced Hammer Effect Keyboard (Initial Touch/Aftertouch)
MOTIF7 76 keys, FS Keyboard (Initial Touch/Aftertouch)
MOTIF6 61 keys, FS Keyboard (Initial Touch/Aftertouch)
Tone Generator block Tone Generator AWM2 (complying with the Modular Synthesis Plug-in System)
Polyphony 62 notes + the polyphony of the Plug-in Board (if installed)
Multi Timbral Capacity 16 parts (internal) + 3 or more Plug-in Board parts (1 for each Single Plug-in Board;
16 for Multi Plug-in Board), A/D Input
Wave 84MB (when converted to 16- bit linear format), 1309 waveforms
Voice Preset: 384 normal voices + 48 drum kits
GM : 128 normal voices + 1 drum kit
User: 128 normal voices + 16 drum kits
Plug-in Voice Preset for the PLG150-AN/PF/DX: 64
Preset for the PLG-150VL: 192
User: 64 for each Plug-in slot
Performance User: 128 (up to 4 parts)
Filter 21 types
Effect System Reverb x 12 types, Chorus x 25 types, Insertion 1 x 25 types, Insertion 2 x 104 types, Variation x 25 types
(available for Performance/Song), Master Equalizer (5 bands), Plug-in Insertion (available when the PLG100-VH
has been installed to slot 1)
Expandability 3 Slots for Modular Synthesis Plug-in Boards
Sampling block Samples Up to 256 Waveforms (Multi Samples)
Up to 128 Key Banks per Waveform
Up to 8192 Key Banks
Sampling Source Analog input L/R, Stereo output (Resampling), Digital/Optical (available when the AIEB2 has been installed),
mLAN (available when the mLAN8E has been installed)
A/D Conversion 20-bit, 64 x oversampling
D/A Conversion 24-bit, 128 x oversampling
Sample Data Bits 16
Sampling Frequency 44.1kHz, 22.05kHz, 11.025kHz, 5.5125kHz (Stereo/Mono)
• Digital Sampling Frequency (when the AIEB2 has been installed)
48kHz, 44.1kHz, 32kHz
* Can be input, with converted to the Sampling Frequency of the MOTIF.
• Sampling Frequency via the mLAN (when the mLAN8E has been installed)
44.1kHz (fixed)
Sampling Memory 4MB, expandable to 64MB (32MB SIMM x 2 slots)
* The original 4MB are disabled when a pair of 32MB SIMMs have been installed.
Sample Length Mono: 32 MB
Stereo: 64 MB
Sampling Time (when a pair of 32MB SIMMs have been installed)
44.1kHz: 6 min. 20 sec., 22.05kHz: 12 min. 40 sec., 11.025kHz: 25 min. 20 sec., 5.0125kHz: 55 min. 40 sec.
* Mono/Stereo
Sample Format Original format, WAV, AIFF, A3000/4000/5000/SU700 format (loadable only via SCSI),
AKAI S1000/S3000 format (loadable only via SCSI)
294
MOTIF Appendix
Specifications
Appendix
Sequencer block Note Capacity Approx. 111,000 notes
Note Resolution 480 ppq (parts per quarter note)
Maximum Polyphony 124 notes
Tempo 1 - 300
Recording type Real time replace, Real time overdub (with the exception of the Pattern Chain),
Real time punch (Song only), Step (with the exception of the Pattern Chain)
Tracks Pattern Mode : 16 phrase tracks
Pattern Chain Mode : Pattern track, Tempo track, Scene track
Song Mode : 16 sequence tracks (Loop on/off can be set for each track), Tempo track, Scene track
Patterns User Patterns : 1024 (64 styles x 16 sections)
Measures : 256 maximum
Phrases Preset Phrases : 128 Drum Phrases
User Phrases : 256 per style
Songs 64 songs
Arpeggio Preset 1 x 128 types
Preset 2 x 128 types
User x 128 types
* MIDI Sync, MIDI transmit/receive channel, Velocity Limit, and Note Limit can be set.
Scene Memory 5 per Song
Scequence Format Original format, SMF format 0, 1 (Format 1 load only)
Others Master User: 128
Sequence Software controlled via the Remote Control function
• For Windows ®
Cubase VST™ V5.0, Logic Audio ® Platinum Ver4.6, Cakewalk Pro Audio™ Ver9.0, Pro Tools ® V5.0
• For Macintosh ®
Cubase VST™ V5.0, Logic Audio ® Platinum Ver4.6, Pro Tools ® V5.0
Controllers Pitch Bend wheel, Modulation wheel, Assignable Control Slider x 4, Assignable Knob x 4, Rotary Encoder
Display 240 x 64 dot graphic backlit LCD
External Memory Smart Media™ (3.3V)
* Up to 128MB can be used.
Connectors OUTPUT L/MONO, R (standard phone jack)
ASSIGNABLE OUTPUT L, R (standard phone jack)
AD INPUT L, R (standard phone jack)
PHONES (standard stereo phone jack)
FOOT CONTROLLER 1, 2
FOOT SWITCH x 2 (SUSTAIN, ASSIGNABLE)
BREATH, MIDI IN/OUT/THRU, SCSI, USB, OPTICAL OUTPUT, AC INLET
Dimensions, Weight MOTIF8: 1,458(W) x 465(D) x 166(H)mm, 28.0kg
MOTIF7: 1,255(W) x 397(D) x 135(H)mm, 18.1kg
MOTIF6: 1,048(W) x 397(D) x 135(H)mm, 15.8kg
Supplied Accessories Power cord, Owner's Manual Set
TOOLS for MOTIF6/MOTIF7/MOTIF8 CD-ROM
Specifications and descriptions in this owner's manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products or specifications at any
time without prior notice. Since specifications, equipment or options may not be the same in every locale, please check with your Yamaha dealer.
Appendix
295
MOTIF Appendix
Index
1
1st-on ................................................................................... 135
A
AC (Assignable Controls) ....................................................155
AC INLET ............................................................................. 18
Accuracy ..............................................................................244
AC ........................................................................................155
AC Power Cord Socket.......................................................... 18
AD........................................................................................ 206
A/D....................................................................................... 163
A/D input ............................................................................... 23
A/D INPUT jacks................................................................... 18
A/DSource ........................................................................... 252
ADD INT ............................................................................. 164
ADD PLG ............................................................................164
Advanced DX/TX Plug-in Board ..........................................35
AEG (Amplitude Envelope Generator)
.. 47, 83, 145, 152, 174, 211
Aftertouch ......................................................................49, 155
AIEB2 ...................................................................... 22, 23, 284
Aiff....................................................................................... 263
All ................................................................................262, 263
All Pattern ............................................................................263
All Song ............................................................................... 263
All Voice...................................................................... 262, 263
All Waveform ...................................................................... 263
AltGroup (Alternate Group) ................................................ 151
AlternatePan................................................................. 145, 152
AMod................................................................... 148, 154, 155
Amplitude .............................................................................. 47
Amplitude Envelope Generator ....................................... 47, 83
Analog input .......................................................................... 23
Analog output ........................................................................21
Analog Physical Modeling Plug-in Board ............................. 35
Append Pattern .................................................................... 231
Append Phrase ..................................................................... 229
Arpeggio .....................................................................................
13, 55, 91, 128, 132, 133, 149, 154, 165, 168, 189, 209, 223, 255
[ARPEGGIO ON/OFF] button .............................................. 13
Arpeggio on/off during Song/Pattern playback ..................... 55
Arpeggio playback................................................................. 91
Arpeggio structure ................................................................. 55
Arpeggio switch........................................................... 170, 210
Arpeggio type ................................ 92, 132, 149, 154, 168, 209
Arpeggio channel................................................................. 254
Arpeggio limit...................................... 133, 149, 154, 168, 209
ArpSwitch .................................................................... 170, 210
Assign .................................................................................... 85
Assigning Locations ............................................................180
AssignMode ......................................................................... 151
ASSIGNABLE OUT jacks .................................................... 19
ASSIGNABLE OUT L and R jacks ...................................... 18
ATTACK ............................................................................... 85
Attack time............................................................... 46, 47, 152
Audition function......................................................... 240, 242
Audio equipment ....................................................................21
AutoDemoLoad ............................................................. 77, 252
Auto Load .............................................................. 87, 252, 264
AWM2(Advanced Wave Memory2) ..................................... 34
B
Band Elimination Filter ......................................................... 47
Band Pass Filter ..................................................................... 47
Bank..................................................................................... 124
BANK buttons ....................................................................... 15
BasicRcvCh (Basic Receive Channel)................................. 258
BankSel................................................................................ 258
BankMSB............................................................................. 272
BankLSB.............................................................................. 272
Basic Procedure ........................................................... 148, 176
Basic Procedure (File) ......................................................... 262
Basic Procedure (Master Edit)............................................. 271
Basic Procedure (Master Job) ..............................................273
Basic Procedure (Master Store) ...........................................274
Basic Procedure (Master)..................................................... 269
Basic Procedure (Pattern Edit)............................................. 224
Basic Procedure (Pattern Job).............................................. 225
Basic Procedure (Pattern Play) ............................................ 217
Basic Procedure (Pattern Record)........................................ 221
Basic Procedure (Performance Edit) ....................................166
Basic Procedure (Performance Job) .....................................175
Basic Procedure (Performance Play) ................................... 162
Basic Procedure (Performance Store).................................. 176
Basic Procedure (Plug-in Voice Edit) ................................. 153
Basic Procedure (Sampling Edit) ........................................ 240
Basic Procedure (Sampling Job) ......................................... 241
Basic Procedure (Sampling Record) ................................... 234
Basic Procedure (Song Job) ................................................ 193
Basic Procedure (Song Mixing Edit) .................................. 207
Basic Procedure (Song Mixing Job) ................................... 212
Basic Procedure (Song Mixing Store) ................................ 214
Basic Procedure (Song Mixing) ........................................... 205
Basic Procedure (Song Play)............................................... 179
Basic Procedure (Song Record) .......................................... 183
Basic Procedure (Utility) .................................................... 250
Basic Procedure (Voice Edit).............................................. 130
Basic Procedure (Voice Job) ............................................... 158
Basic Procedure (Voice Play) ............................................. 124
Basic Procedure (Voice Store) ............................................ 159
BCK DEL............................................................................ 186
Beat ............................................................................. 238, 254
Beat Stretch ................................................................. 200, 228
BEF12 ................................................................................. 141
BEF6 ................................................................................... 141
Board Custom Voice ........................................................... 157
Board Voice .................................................................. 87, 153
BPF12D............................................................................... 141
BPF12s ................................................................................ 141
BPF6 .................................................................................... 141
BPFw ................................................................................... 141
BREATH Controller Jack ..................................................... 18
BREAK POINT .......................................................... 144, 146
Breath Controller ................................................................... 49
Bulk Dump .................................................. 159, 176, 213, 274
Burglarproof Lock ............................................................... 289
C
Cakewalk ProAudio Ver9.0 ................................................ 257
Calling up the Operation Displays ........................................ 67
Can’t record samples. .......................................................... 280
Can’t save data to the Memory card or the SCSI disk. ....... 280
Card slot ................................................................................ 19
Category Search ............................................................ 81, 126
[CATEGORY SEARCH] button .......................................... 15
CenterKey ........................................................... 140, 144, 146
Chain Play/Edit ........................................................... 183, 219
Changing (editing) values ..................................................... 72
Channel Aftertouch (CAT) ................................................. 191
Channel ............................................................................... 258
ChoCtrl ........................................................................ 132, 209
CHORUS .............................................................................. 85
Chorus ................................... 39, 137, 150, 155, 170, 210, 275
Chorus Pan .................................................................. 137, 170
Chorus Return ............................................................. 137, 169
ChoSend .............................................. 132, 150, 163, 167, 172
Chorus Send ........................................................................ 137
Chorus To Reverb ....................................................... 137, 170
Chorus Type ................................................................ 137, 169
Clean Up Memory............................................................... 247
Clear Pattern......................................................................... 232
Clear Phrase ........................................................................ 230
Clear Song ........................................................................... 204
Clear Track .................................................................. 202, 230
Click .................................................... 103, 111, 184, 222, 254
Clock ........................................................................... 198, 199
ClockOut ............................................................................. 259
CLOCK SFT ....................................................................... 182
Coarse .......................................................................... 138, 151
Common (to all keys) edit (Drum Voice) ........................... 149
Common (to all parts) edit and Part edit ............................. 165
Common edit (Master Edit) ................................................ 271
Common edit (Performance) ............................................... 166
Common edit (Plug-in Voice)............................................. 154
Common edit (Song Mixing) .............................................. 208
Common edit (Voice) ......................................................... 130
Common edit (Plug-in Voice)............................................. 153
Common edit (Voice) .......................................................... 129
Common edit (Song Mixing) .............................................. 207
Common edit (Master) ........................................................ 270
Compare ...................................................................... 129, 165
Computer Sequence Software ............................................... 66
CONFIG.................................................................. 97, 98, 264
Configuration ...................................................................... 264
Confirmation Message .......................................................... 72
Connecting External MIDI Equipment ................................. 24
Connecting external SCSI devices ...................................... 290
Connecting to a Personal Computer ...................................... 25
Connecting to an External SCSI Device ............................... 27
Connecting to External Audio Equipment ............................ 21
Connecting Various Controllers ............................................28
Connections ........................................................................... 21
Control ................................................................................... 55
Control Change ................................................................... 191
Control Change Numbers ....................................................169
Control Knobs ....................................................................... 73
Control number ............................................................. 96, 191
Control Sets ........................................................................... 49
Control Sets and External MIDI Control .............................. 50
Control Sliders ................................................................. 48, 65
Controller Assign ................................169, 209, 254, 255, 256
Controller block ..................................................................... 33
Controller settings ............................................................... 255
Controllers ....................................................................... 28, 48
Convert ................................................................................ 221
Convert Freq ........................................................................ 245
Convert Pitch ....................................................................... 244
Convert to Drum Voice ....................................................... 248
Copy ............................................ 158, 175, 213, 221, 242, 247
Copy Event.................................................................. 198, 227
Copy Pattern ........................................................................ 231
Copy Phrase................................................................. 183, 228
Copy Sample ....................................................................... 204
Copy Song ........................................................................... 203
Copy Track .................................................................. 202, 230
Copying the Pattern Chain data to a Song ........................... 109
Copyright ............................................................................. 292
Create Continuous Data .............................................. 199, 227
Create Measure .................................................................... 201
Create Roll ................................................................... 196, 226
Creating a Pattern Chain ..................................................... 108
Creating a Song ..................................................................... 99
Creating Pattern Chains with Realtime Playback
(Pattern Chain Recording)................................................... 220
Creating Rhythm track .......................................................... 99
Creating User Arpeggios ....................................................... 56
Crescendo .................................................................... 196, 226
[CS1] - [CS4] (Control Slider) .............................................. 13
CtrlChange .......................................................................... 258
CtrlReset .............................................................................. 252
Cubase VST/32, Cubase VST 5.0 ....................................... 257
Current ................................................................................. 264
Currently recognized device ................................................ 264
Cursor .................................................................................... 72
Cursor Buttons ....................................................................... 14
Curve ........................................................... 139, 143, 145, 199
Cutoff frequency ..................... 46, 85, 142, 143, 151, 156, 173
CutoffSens (Cutoff Sensitivity) ........................................... 144
D
Data ..................................................................................... 199
Data Backup ........................................................................ 289
Data created by Sampling ............................................. 59, 234
Data created by sampling in the Song/Pattern mode ............. 59
Data created by sampling in the Voice/Performance mode ..59
Data dial ........................................................................ 14, 126
Data Entry ..................................................................... 72, 192
[DEC/NO] button .......................................................... 14, 126
Decay1Level ........................................................................ 152
Decay1Time ........................................................................ 152
Decay2Time ........................................................................ 152
Decay ................................................................................... 174
Delay ........................................................................... 136, 157
DelayTime ........................................................................... 136
DELETE .............................................................................. 186
Delete .................................................. 190, 224, 242, 247, 267
Delete All ............................................................................ 248
Delete Measure .................................................................... 201
Demo ............................................................................... 77, 78
Depth ........................................................................... 136, 143
Destination .............................................. 49, 50, 134, 136, 235
Detune ................................................................................. 173
DevNo ................................................................................. 260
DeviceNo............................................................................. 258
Digital .................................................................. 234, 236, 253
DIGITAL IN, OUT connectors ............................................. 19
Digital input
(when the optional AIEB2 has been installed) ... 23
Digital output ......................................................................... 22
direct .................................................................................... 133
Direction .............................................................................. 198
Display Messages ................................................................ 277
Display-based Controls ......................................................... 72
Distorted sound .................................................................... 279
Distance ............................................................................... 142
Divide Drum Track ..................................................... 203, 231
DRAM ................................................................................... 64
Appendix
296
MOTIF Appendix
DRUM ...................................................................................42
Drum Key Edit .............................................................148, 150
Drum Pattern ..........................................................................55
Drum Voice Edit ..................................................................148
DryLevel ......................................................................163, 172
Dual BEF .............................................................................142
Dual BPF ..............................................................................141
Dual HPF .............................................................................141
Dual LPF ..............................................................................141
DumpExIntrval ....................................................................255
E
[E] indicator ....................83, 127, 129, 163, 165, 205, 269, 270
each-on .................................................................................135
Echo .......................................................................................27
Edit Buffer .............................................................................64
Edit mode ...............................................................................70
Edit Recall ............................................................158, 175, 213
Editing and saving Board voices ...........................................87
Editing Performances (Layer/Split) .......................................89
Editing Stereo Samples ........................................................240
Editing/Deleting Existing Events......................................... 190
Effect ......................................................39, 137, 149, 155, 169
Effect block ............................................................................39
[EFFECT BYPASS] buttons ................................................. 13
Effect Bypass .................................................................13, 252
Effect connection .......................... 40, 137, 149, 155, 169, 210
Effect Plug-in Board ..............................................................35
Effect Send .....................................................85, 172, 206, 211
Effect structure .......................................................................39
EF PART ..............................................................................169
EG (=Envelope Generator) .................................... 83, 128, 164
EG Level ......................................................................139, 143
EG Time ...............................................................................139
EG Time Sens ......................................................................140
Element ..................................................................................44
Element edit .................................................129, 137, 153, 156
ElementSw ................................................... 134, 136, 137, 150
EL:OUT ............................................................................... 137
end ........................................................................................183
End .......................................................................................238
End point ........................................................................62, 238
[ENTER] button..................................................................... 15
Entering other events ...........................................................186
Entering the Note Event .......................................................185
Envelope Generator (EG) ......................................................47
EQ (Equalizer) .....................................................148, 153, 157
Equalizer ................................39, 148, 153, 157, 168, 209, 253
Erase Event ..................................................................199, 227
Event ....................................................................185, 190, 224
Event Editing/Inserting/Deleting .................................190, 224
Event Job ......................................................................198, 227
Event Type ...................................................................199, 200
Event View Filter .........................................................192, 224
Exchange Phrase ..................................................................228
Exchange Track ........................................................... 202, 230
[EXIT] button ........................................................................14
Extract ..................................................................................243
Extract Event ................................................................199, 227
F
[F1] - [F6] (Function) buttons.......................................... 14, 71
Factory Set (Restore Factory Defaults) ...............................260
Fade In/Out ..........................................................................245
FadeInTime ..........................................................................136
FadeOutTime .......................................................................136
Favorite Category ..........................................................81, 127
FEG (Filter Envelope Generator) ....47, 83, 143, 152, 173, 211
FEGDepth ............................................................................173
File ...............................................................................262, 263
File/Folder selection ............................................................262
File mode ................................................. 32, 68, 261, 262, 276
File names ............................................................................264
File types that can be handled by the MOTIF .....................262
File Utility ............................................................................118
FileUtilID .............................................................................258
Filter ...............................46, 140, 154, 155, 156, 173, 211, 255
Filter Envelope Generator ................47, 83, 143, 152, 173, 211
Filter type .......................................................................46, 140
Fine ......................................................................138, 151, 244
Fine Tune .............................................................................241
fingered ........................................................................128, 131
FixedNoteMode ...................................................................203
Fixed Velocity ......................................................................251
FMod ....................................................................148, 154, 155
Folder................................................................................... 262
Foot Controller....................................................................... 49
FOOT CONTROLLER jacks ................................................18
FOOT SWITCH jacks ...........................................................18
Footswitch ................................................................18, 49, 256
Format ................................................................................. 265
Formatting Memory Cards .................................................. 289
Forward button ...................................................................... 14
Front Panel ............................................................................ 10
Freq ............................................................................. 168, 254
fulltime ........................................................................ 128, 131
Function ................................................................................ 71
Function Tree (File Mode) .................................................. 261
Function Tree (Master Mode) ............................................. 268
Function Tree (Pattern Mode) ............................................. 215
Function Tree (Performance Mode) .................................... 160
Function Tree (Sampling) ................................................... 233
Function Tree (Utility Mode) .............................................. 249
G
Gain ..................................................................... 142, 168, 254
GAIN knob ............................................................................ 18
GATE OFST ....................................................................... 182
GateTime ............................................................................. 194
Gate Time Rate ................................................................... 134
Get Phrase From Song ........................................................ 229
Glide ............................................................................ 196, 226
GlideTime ........................................................................... 196
GM voice ............................................................................... 45
Grid ..................................................................................... 197
Groove ................................................................. 106, 181, 218
GROUP ............................................................................... 124
GROUP [A] - [H] buttons ..................................................... 15
H
HighFreq ............................................................................. 157
HighGain ............................................................................. 157
High Pass Filter ..................................................................... 46
Hold ............................................................................. 189, 255
HoldTime ............................................................................ 136
How to leave the current display ........................................... 72
HPFCutoff ........................................................................... 156
HPF Cutoff .......................................................................... 142
HPF KeyFlw ....................................................................... 142
HPF12 ................................................................................. 141
HPF12BPF6 ........................................................................ 142
HPF24D .............................................................................. 141
I
IEEE1394 interface ............................................................... 26
[INC/YES] button ......................................................... 14, 126
[INFORMATION] button..................................................... 14
Information Display ...................................................... 73, 275
Initialize ...................................................... 158, 175, 212, 274
Input .................................................................................... 252
InsConnect .......................................................................... 137
Ins1Category ....................................................................... 137
Ins1Type .............................................................................. 137
Ins2Category ....................................................................... 137
Ins2Type .............................................................................. 137
InsChoSend ......................................................................... 149
InsEF ................................................................................... 173
InsEffectOut ........................................................................ 138
Inserting New Events .......................................................... 190
Inserting/Removing Memory Cards .................................... 289
Insertion ........................................................ 39, 137, 150, 155
Insertion Effects .................................................................... 39
InsRevSend ......................................................................... 149
Installation Precautions ....................................................... 281
Installing Optional Hardware .............................................. 281
Interface settings ................................................................. 252
Internal AWM2 Tone Generator ........................................... 34
Internal Memory ................................................................... 64
Internal Memory and File Management ................................ 63
J
Job mode ............................................................................... 70
Jumping to an assigned Location ........................................ 180
K
KBDTransCh ...................................................................... 258
KeyAsgnMode .................................................................... 131
Key Bank ............................................................... 59, 235, 242
Key Bank Job ...................................................................... 242
Keyboard ............................................................................. 251
Keyboard Octave ........................................... 82, 127, 162, 269
Keyboard MIDI Transmit Channel ..................... 127, 162, 269
Keyboard Transmit Channel ............................................... 258
Key follow ................................................... 139, 142, 143, 146
KeyMode ............................................................................. 133
KeyOnSync ......................................................................... 147
Key OnDelay................................................................ 138, 147
Key On Reset ...................................................................... 135
Knob ...................................................................................... 65
KnobAssign ......................................................................... 132
Knob/Slider ......................................................................... 273
[KNOB CONTROL FUNCTION] button ............................. 12
L
Layer ...................................................................................... 57
LCD Contrast Control ........................................................... 14
LCD Display ......................................................................... 14
Level ...................................... 61, 139, 143, 145, 146, 152, 241
Level/Pan ..................................................................... 145, 152
LevelSens ............................................................................ 146
LFO (Low Frequency Oscillator) .......... 47, 135, 136, 147, 157
Limit ...................................................................... 92, 170, 210
LIMIT H .............................................................................. 164
LIMIT L .............................................................................. 164
Load ............................................................................... 98, 266
LoadMix .............................................................................. 255
Local On/Off ......................................................................... 26
Local Ctrl (Local Control) ................................................... 258
Location ............................................................................... 180
Locations to which the optional units are installed ............. 281
Logic Audio Plutinum Ver4.6 ............................................. 257
Loop .............................................................. 62, 222, 238, 241
Loop Recording (Pattern) ...................................................... 53
Loop-Remix ........................................................................ 246
Low Frequency Oscillator ..................................................... 47
Low Pass Filter ...................................................................... 46
LowFreq .............................................................................. 157
Lowest Key ......................................................................... 246
LowGain .............................................................................. 157
LPFCutoff.................................................................... 151, 152
LPF Reso ............................................................................. 151
LPF12 .................................................................................. 141
LPF12BPF6 ......................................................................... 142
LPF12HPF12 ....................................................................... 142
LPF18 .................................................................................. 140
LPF18s ................................................................................ 140
LPF24A ............................................................................... 140
LPF24D ............................................................................... 140
LPF6 .................................................................................... 141
M
Main functions....................................................................... 42
manual ................................................................................... 61
Master.................................................................................... 56
Master Edit mode .................................................... 32, 70, 270
Master editing in the Master Play mode .............................. 269
Master EQ ............................................................................. 85
Master EQ Offset ................................ 131, 149, 154, 166, 208
Master Equalizer ........................................... 39, 168, 209, 253
Master Job mode ........................................................... 32, 273
Master mode .................................................................... 32, 56
Master Keyboard ............................................................. 93, 95
Master Play mode .................................................... 32, 68, 269
Master Selection .................................................................. 269
Master Store mode ........................................................ 32, 274
MASTER VOLUME............................................................. 12
Maximum Polyphony ............................................................ 36
meas....................................................................................... 61
Measure ............................................................................... 238
Measure Job......................................................................... 201
Memorize to a Master ........................................................... 93
Memory ............................................................................... 270
Memory Card ...................................................................... 289
Memory Card/External SCSI storage device ........................ 64
Memory Structure ................................................................. 63
Meter ................................................................................... 238
Mic/Line .............................................................................. 253
MIDI.................................................................................... 260
MIDI bulk data transmission/reception won’t work properly . .. 280
MIDI Channel ..................................................................... 258
MIDI events that can be edited ............................................ 224
MIDI events that can be inserted (edited) ........................... 190
MIDI IN/OUT/THRU connectors ......................................... 18
MIDI interface....................................................................... 26
MIDI recording to Song Tracks ..........................................110
MIDI settings....................................................................... 258
MIDISwitch......................................................................... 272
MIDI track recording method................................................ 53
MIDI tracks ........................................................................... 52
MicroTuning........................................................................ 131
Mix Phrase........................................................................... 228
Mix Track............................................................................ 202
Mixing mode (in the Song/Pattern mode) ............................. 68
mLAN connection ............................................................... 253
mLAN (IEEE1394) connector1, 2, 3..................................... 19
Appendix
297
MOTIF Appendix
mLAN expansion board (mLAN8E) or I/O expansion board
(AIEB2) cover........................................................................ 18
mLAN interface ..................................................................... 24
mLAN8E.......................................................... 24, 26, 284, 286
mLAN-compatible audio equipment ..................................... 23
Mode ................................................ 30, 67, 131, 171, 254, 270
MODE buttons....................................................................... 14
Modify Control Data.................................................... 200, 228
Modify Gate Time ....................................................... 195, 226
Modify Velocity........................................................... 195, 226
MODULAR SYNTHESIS PLUG-IN SYSTEM ................... 35
MODULATION wheel.......................................................... 12
Modulation Wheel ......................................................... 48, 154
Mono/Poly ................................................... 128, 131, 170, 210
Mono/Stereo................................................................. 163, 236
Mount................................................................................... 265
Move .................................................................................... 243
Moving the cursor.................................................................. 72
MTC..................................................................................... 259
MTC StartOffset .................................................................. 259
Multi-Part Plug-in Board ....................................................... 35
[MUTE] button ......................................................................15
Mute................................................................. 65, 88, 180, 218
N
Name............................................ 130, 149, 154, 166, 247, 271
Naming................................................................................... 75
Native................................................................................... 156
Native System Parameter..................................................... 260
New Folder Creation............................................................ 262
No effect is applied. ............................................................. 280
No sound. ............................................................................. 279
Normal Common ................................................................. 137
Normal Voice......................................................................... 45
Normal Voice Edit ............................................................... 129
Normalize............................................................................. 243
Normalize Play Effect.................................................. 203, 230
Non Registered Parameter Number (NRPN)....................... 192
Note...................................................... 190, 196, 197, 247, 272
Note Data
(when the Sample type is set to “Sample + Note” )
.....59
Note data Job ............................................................... 193, 225
Note limit ............................................................................. 133
Note name .................................................................... 190, 191
Note (Key) settings ................................................................ 75
Number ........................................................ 124, 150, 156, 170
NUMBER [1] - [16] buttons.................................................. 15
Note...................................................................... 196, 197, 247
Note Limit............................................................................ 133
NOTE OFST ........................................................................ 182
NoteShift.............................................................. 156, 173, 250
NumberOfTimes .......................................................... 198, 221
NumberOfTimes .................................................................. 200
NRPN MSB-LSB................................................................. 192
O
Octave .................................................................. 247, 251, 272
OCTAVE [UP] and [DOWN] buttons................................... 12
Offset ........................................................................... 195, 200
OFFSET 1 ~ 4.............................................................. 144, 146
One Shot ................................................................................61
Oneshot ................................................................................241
Only one note sounds at a time............................................ 280
OPTICAL IN, OUT connectors............................................. 19
OPTICAL OUT connectors ................................................... 18
OPTICAL OUTPUT connector ............................................. 22
Optimize Memory................................................................ 248
Optional units that can be installed to the MOTIF .............. 281
Original Key ........................................................................ 241
Oscillator........................................ 45, 137, 138, 150, 151, 156
Other ...........................................................................................
132, 149, 151, 154, 156, 167, 171, 208, 210, 252, 255, 259, 271
Other Jobs ............................................................................ 247
Output .................. 132, 138, 149, 150, 154, 167, 172, 211, 253
Output channel............................................. 168, 182, 209, 218
OUTPUT L/MONO and R jacks ........................................... 18
Output Select.................................................150, 164, 173, 211
OutputSwitch ............................................................... 169, 254
Overdub ................................................................................. 53
P
Pan ......... 85, 132, 145, 152, 163, 167, 172, 189, 211, 241, 272
Parameter ............................................................................. 241
Part........................................................................... 36, 37, 235
Part Edit ....................................................... 165, 170, 207, 210
Part structure of the Tone Generator block............................ 36
PartSwitch............................................................ 164, 165, 167
Patch....................................................................... 52, 105, 219
Patch Clear........................................................................... 219
Pattern ................................................................................... 51
Pattern Chain................................................................. 54, 219
Pattern Chain Editing .......................................................... 220
Pattern Chain mode............................................................. 108
Pattern Chain Record mode ................................................ 108
Pattern creation by the Patch function (Pattern) ................... 52
Pattern Edit mode.................................................... 31, 70, 224
Pattern editing in the Pattern Play mode ............................. 218
Pattern Job........................................................................... 231
Pattern Job mode........................................................... 31, 225
Pattern Mixing..................................................................... 107
Pattern Mixing Edit mode ..................................................... 70
Pattern Mixing mode....................................... 31, 68, 232, 276
Pattern mode ......................................................... 31, 215, 276
Pattern Play mode ........................................... 31, 67, 217, 276
Pattern Record mode............................................... 31, 69, 221
Pattern Recording................................................................ 223
Pattern track on/off — Solo and Mute ................................ 218
Pattern track selection ......................................................... 218
PB Range............................................................................. 171
PBRange.............................................................................. 196
PB Upper, Lower ................................................................ 171
PBUpper.............................................................................. 132
PBLower ............................................................................. 132
PEG (Pitch Envelope Generator) .......................... 46, 139, 156
Performances......................................................................... 42
Performance Copy............................................................... 213
Performance Edit mode........................................... 31, 70, 165
Performance editing in the Performance Play mode........... 163
Performance Job mode.................................................. 31, 175
Performance mode ................................................ 31, 160, 275
Performance Part on/off ................................................ 88, 163
Performance Play mode .......................................... 31, 67, 162
Performance Selection ........................................................ 162
Performance Store mode............................................... 31, 176
PgmChange ................................................................. 258, 272
Phase ................................................................................... 135
PHONES jack ....................................................................... 18
Phrase .............................................................................. 52, 55
Phrase Data Copy................................................................ 219
Phrase Job ........................................................................... 228
Phrase Name ....................................................................... 230
Piano Plug-in Board .............................................................. 35
Pitch ...................................................... 46, 139, 151, 155, 244
Pitch Bend ........................................................................... 190
PITCH bend wheel................................................................ 12
Pitch Bend Wheel.................................................................. 48
Pitch Envelope Generator ..................................................... 46
Pitch or intervals are wrong. ............................................... 280
PitchSens............................................................................. 139
Play button ............................................................................ 14
Play FX (Effect) .................................. 133, 149, 154, 168, 209
Playing Performances ........................................................... 88
PlayMode ............................................................................ 241
Play mode .............................................. 67, 130, 154, 170, 210
PLG100-VH .......................................................................... 35
PLG100-XG .......................................................................... 35
PLG150-AN .......................................................................... 35
PLG150-DX .......................................................................... 35
PLG150-PF ........................................................................... 35
PLG150-VL .......................................................................... 35
Plugin All Bulk ................................................................... 263
Plug-in Bank ....................................................................... 128
Plug-in board......................................................................... 34
Plug-in board cover............................................................... 19
Plug-in board does not work. .............................................. 280
Plug-in board line-up ............................................................ 35
Plug-in board settings.......................................................... 259
Plug-in Insertion.................................................... 39, 170, 210
Plug-in Voice ................................................................ 87, 153
Plug-in Voice Edit............................................................... 153
PMod........................................................... 147, 154, 155, 157
Pointer ................................................................................. 185
PolyExpand ......................................................................... 259
Polyphonic Aftertouch (PAT) ............................................. 191
Port .......................................................................... 36, 37, 182
Portamento ............ 83, 128, 131, 154, 164, 167, 171, 210, 275
Port Number........................................................................ 260
PortaSw ....................................................................... 128, 164
Porta Time................................................................... 128, 164
PortaMode........................................................................... 128
PowerOnMode .................................................................... 252
Power Supply ........................................................................ 20
POWER Switch..................................................................... 18
Powering Up ......................................................................... 29
Power-on Procedure.............................................................. 29
Preset................................................................................... 272
Preset Phrase ................................................................. 52, 105
pre wave (preset wave) ....................................................... 150
Pro Tools V5.0 .................................................................... 257
Procedure (Connecting ex. SCSI) ....................................... 290
Program Change.................................................................. 191
Punch In/Out (Song) ............................................................. 54
Punch-in Waiting ................................................................ 237
Put Phrase To ARP.............................................................. 203
Put Phrase To Song ............................................................. 229
Q
Q .......................................................................... 148, 168, 254
Quantize ...................................................................... 194, 225
Quick Voice editing .............................................................. 83
R
RAM...................................................................................... 64
Range................................................................................... 241
Rate.............................................................................. 195, 200
Ratio ............................................................................ 243, 244
RcvBulk............................................................................... 258
Realtime Recording............................... 53, 103, 111, 185, 223
Realities of terminator installation ...................................... 291
Recall Buffer ......................................................................... 64
RecGain............................................................................... 237
RecMonitor.......................................................................... 237
Random ............................................................................... 138
RandomPan ................................................................. 145, 152
RcvNoteOff ......................................................................... 151
Rear Panel ............................................................................. 16
Receive Switch ............................................................ 174, 212
[REC] (Record) button .......................................................... 14
Record button ........................................................................ 14
Record mode ......................................................................... 69
Recording Arpeggios to a Song/Pattern ................................ 55
Recording MIDI data to a Pattern Track ............................. 102
Recording Track .......................................................... 185, 221
Recording type ............................................................ 184, 222
RecTrack ............................................................................. 185
Registered Parameter Number (RPN) ................................. 191
RELEASE ............................................................................. 85
Release ................................................................................ 174
Remote Control ..................................... 65, 119, 120, 256, 257
[REMOTE CONTROL ON/OFF] button ............................. 13
Rename................................................................................ 267
Replace .................................................................................. 53
resample ...................................................................... 234, 236
Resonance................................................ 46, 85, 142, 143, 173
REST ........................................................................... 185, 188
Reverb ............................. 39, 85, 137, 150, 155, 170, 210, 275
Reverb Pan .................................................................. 137, 170
Reverb Return ............................................................. 137, 170
Reverse .......................................................................... 62, 241
Reverse button....................................................................... 14
RevSend .............................................................. 163, 167, 172
Reverb Send ........................................................................ 137
Reverb Type ................................................................ 137, 170
ROM...................................................................................... 64
RPN MSB-LSB ................................................................... 192
S
Sample................................................................................. 236
Sample Edit ......................................................................... 241
Sample playback types .......................................................... 61
Sample selection.................................................................. 240
Sample track recording method (Sampling).......................... 54
Sample tracks — with Sample Voices .................................. 52
Sample Voice ........................................................................ 59
sample + note ...................................................................... 236
Sampling.......................................................... 58, 99, 100, 113
Sampling data common to all modes .................................... 59
Sampling Destination settings ............................................. 235
Sampling Edit mode ................................................ 31, 70, 240
Sampling Job mode ....................................................... 31, 241
Sampling mode................................................ 31, 67, 233, 276
Sampling Record mode ........................................... 31, 69, 234
Sampling Setup ................................................................... 235
Sampling Source settings .................................................... 236
Sampling Standby ............................................................... 237
Sampling to a Pattern Track ................................................ 100
Sampling to a Song Track ................................................... 113
Save ....................................................................... 97, 262, 266
Saving and Exporting the recorded song to external PC
(File Utility)......................................................................... 118
Scaling......................................................................... 144, 146
Scaling Pan.................................................................. 145, 146
SCAN .................................................................................. 265
Scaling Pan.......................................................................... 145
Scene ........................................................................... 115, 181
SCSI ............................................................................ 291, 292
SCSI connectors .................................................................... 18
SCSI device ..................................................................... 27, 64
SCSI error............................................................................ 291
SCSI ID ............................................................................... 265
[SECTION] button ................................................................ 15
Appendix
298
MOTIF Appendix
Section ................................................................................... 52
Section Selection.................................................................. 218
Segment ............................................................... 139, 143, 145
Selecting a Performance ........................................................ 88
Selecting Functions and Parameters ...................................... 71
Selecting Modes..................................................................... 67
Selecting the controllable functions....................................... 84
SELF .................................................................................... 265
SEND (Effect Send)............................................................. 206
SendXGon............................................................................ 255
Sens...................................................................................... 239
Separate Chord............................................................. 198, 226
SEQ TRANSPORT buttons................................................... 14
[SEQ TRANSPORT] buttons ................................................ 65
Sequence ................................................................................ 55
Sequencer block..................................................................... 33
Sequencer settings................................................................ 254
SERIAL I/O connector .......................................................... 19
Set ................................................................................ 149, 154
SetAll ........................................................................... 195, 200
Setting up before recording.......................................... 184, 222
Setup ............................................................................ 184, 222
SeqCtrl ................................................................................. 259
[SF1] - [SF5] (Sub Function) buttons ....................................14
Shape............................................................................ 168, 253
Shift Clock ................................................................... 198, 227
SIMM Installation................................................................ 288
SIMM Type and SIMM Configuration................................ 287
Single Part Plug-in Boards..................................................... 35
skip....................................................................................... 183
Slice ..................................................................... 237, 238, 246
slice + seq ............................................................................ 236
SLOT 1-3 lamps..................................................................... 15
SMF ..................................................................................... 263
Solo .............................................................................. 181, 218
Song ....................................................................................... 51
Song Chain............................................................................. 54
Song Edit mode........................................................ 31, 70, 189
Song editing in the Song Play mode.................................... 181
SongEventChase .................................................................. 255
Song Job............................................................................... 203
Song Job mode............................................................... 31, 193
Song Mixing and storing the settings as a template............. 117
Song Mixing Edit mode......................................................... 70
Song Mixing Job mode ........................................................ 212
Song Mixing mode................................................... 31, 68, 205
Song Mixing Store mode ..................................................... 214
Song mode ............................................................. 31, 177, 275
Song Name........................................................................... 204
Song Play mode ............................................... 31, 67, 179, 275
Song Record mode................................................... 31, 69, 183
Song Recording.................................................................... 185
Song Scene........................................................................... 181
Song Selection ..................................................................... 179
Song Track Mute ................................................................. 115
Song track on/off — Solo and Mute.................................... 180
Song track selection ............................................................. 181
Song/Pattern (Phrase) cannot be recorded. .......................... 280
Song/Pattern and Arpeggio.................................................... 55
Song/Pattern cannot be started............................................. 280
sort ....................................................................................... 133
Sort Chord.................................................................... 197, 226
Sound is cut off. ................................................................... 279
Sound level is too low.......................................................... 279
Source ......................................................49, 50, 134, 155, 236
Specifications....................................................................... 293
Speed.................................................................... 135, 147, 157
Split.................................................................................. 57, 95
Split Pattern.......................................................................... 231
Split Phrase .......................................................................... 229
Split Song To Pattern........................................................... 204
SRAM .............................................................................. 42, 64
Start...................................................................................... 238
StepTime.............................................................................. 185
Start point............................................................................. 238
Standard MIDI file............................................................... 263
Status.................................................................................... 259
Step Recording....................................... 53, 104, 112, 185, 223
Stereo to Mono..................................................................... 245
stop....................................................................................... 183
Stop button............................................................................. 14
Store mode ............................................................................. 71
Storing edited Voices............................................................. 86
Storing the edited Performance.............................................. 90
Storing the Song Scene ........................................................181
Strength................................................................................ 194
Style ....................................................................................... 52
Style Name........................................................................... 232
Style Selection ..................................................................... 217
SubDivide ............................................................................ 239
Sub Function ..........................................................................71
Sustain............................................................................ 49, 174
SwingRate............................................................................ 194
Switch .......................... 129, 131, 132, 167, 171, 189, 255, 258
Switching the MOTIF On ..................................................... 29
Sync..................................................................................... 258
System Effects....................................................................... 39
System Exclusive (Exc) ...................................................... 192
System Overview .................................................................. 33
System settings.................................................................... 250
T
TEMPLATE........................................................................ 206
Tempo ..................................... 85, 92, 129, 132, 185, 223, 238
Tempo Speed....................................................................... 135
Tempo Sync ................................................................ 135, 147
TG (Tone Generator) .......................................................... 250
TGSwitch ............................................................................ 272
Thin Out ...................................................................... 200, 227
ThruPort .............................................................................. 259
TIE .............................................................................. 185, 187
Time .................................................................... 131, 167, 171
TIME ................................................................... 139, 143, 146
TimeMode........................................................................... 131
Time-Stretch........................................................................ 244
Tips for using the Slice Types............................................. 239
Tone Generator block............................................................ 34
Top button ............................................................................. 14
TR........................................................................................ 203
Track ................................................................................... 235
Track Job..................................................................... 201, 230
Track Loop.......................................................................... 182
[TRACK SELECT] button .............................................. 15, 65
Track structure of Pattern...................................................... 52
Track structure of Song......................................................... 51
Track Voice......................................................................... 218
Transmit .............................................................................. 271
TransmitCh.......................................................... 169, 254, 272
Transmit switch................................................................... 272
Transpose ............................................ 196, 226, 247, 251, 272
Trigger mode................................................................. 61, 237
Trigger Waiting................................................................... 237
Trim............................................................................. 237, 241
Troubleshooting .................................................................. 279
Tune .................................................... 138, 151, 173, 211, 250
Type
.. 129, 132, 140, 148, 150, 184, 189, 236, 238, 245, 246, 265
U
Undo/Redo .................................................................. 193, 225
Unit...................................................................................... 133
USB................................................................................. 18, 25
User Arpeggio ....................................................................... 56
User Memory ........................................................................ 64
User Phrase ........................................................................... 52
User Voice............................................................................. 59
User Waves – Samples.......................................................... 44
Usr ARP .............................................................................. 263
usr wave (user wave)........................................................... 150
Utility Job mode............................................................ 32, 260
Utility mode ............................................ 32, 68, 249, 250, 276
V
Value ........................................................................... 185, 186
Variation................................................ 39, 170, 210, 246, 275
Variation Pan ....................................................................... 169
Variation Return .................................................................. 169
Variation To Chorus ............................................................ 169
Variation To Reverb............................................................ 169
Variation Type .................................................................... 169
VarSend (Variation Send)........................................... 163, 172
VelCurve (Velocity Curve) ................................................. 251
VelocityDepth ..................................................................... 156
VelCrossFade ...................................................................... 138
Velocity Limit ....................................... 92, 129, 133, 138, 189
Velocity Limit H, L............................................................. 170
VelocityOffset..................................................................... 156
Velocity Rate....................................................................... 133
Velocity Range.................................................................... 196
Velocity Sensitivity............................. 139, 142, 145, 151, 152
VelMode .............................................................................. 133
VelSensDpt ......................................................................... 171
VelSensOfs.......................................................................... 171
VELO OFST ....................................................................... 182
Virtual Acoustic Plug-in Board............................................. 35
Vocal Harmony Plug-in Board ............................................. 35
Voice ..
42, 150, 164, 170, 171, 188, 189, 206, 210, 223, 235, 263
Voice Edit ............................................................................. 83
Voice Edit mode...................................................... 30, 70, 129
Voice editing in the Voice Play mode ................................ 127
Voice editing with the Control knobs ................................... 84
Voice Editor ........................................................................ 263
VoiceELPan ........................................................................ 172
Voice Job mode ............................................................. 30, 158
Voice Master Equalizer ....................................................... 253
Voice mode ........................................................... 30, 121, 275
Voice Play mode ..................................................... 30, 67, 124
Voice program numbers
and the corresponding Group/Numbers .............................. 125
Voice Selection ................................................................... 124
Voice settings ...................................................................... 253
Voice Store mode .......................................................... 30, 159
Voice structure ...................................................................... 45
Volume ........ 132, 163, 167, 172, 189, 206, 211, 250, 254, 272
Volume Label...................................................................... 265
VOICE................................................................................. 206
VOL/PAN............................................................................ 206
W
Wav ..................................................................................... 263
Wave.............................................. 44, 135, 137, 147, 150, 156
WaveCtgry .......................................................................... 137
Waveform........................................................ 59, 60, 235, 263
Waveform Job ..................................................................... 247
Wave Memory Required for Slice Operations .................... 239
Wave No.............................................................................. 137
Width................................................................................... 142
X
XG Plug-in Board.................................................................. 35
Z
Zone............................................................................... 57, 270
Zone Edit ..................................................................... 270, 271
Zone Switch......................................................................... 270
For details of products, please contact your nearest Yamaha or the
authorized distributor listed below.
Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou
au distributeur le plus proche de vous figurant dans la liste suivante.
Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten
Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen
Bestimmungsländern erhältlich.
Para detalles sobre productos, contacte su tienda Yamaha más cercana
o el distribuidor autorizado que se lista debajo.
CANADA
Yamaha Canada Music Ltd.
135 Milner Avenue, Scarborough, Ontario,
M1S 3R1, Canada
Tel: 416-298-1311
U.S.A.
Yamaha Corporation of America
6600 Orangethorpe Ave., Buena Park, Calif. 90620,
U.S.A.
Tel: 714-522-9011
MEXICO
Yamaha de Mexico S.A. De C.V.,
Departamento de ventas
Javier Rojo Gomez No.1149, Col. Gpe Del
Moral, Deleg. Iztapalapa, 09300 Mexico, D.F.
Tel: 686-00-33
BRAZIL
Yamaha Musical do Brasil LTDA.
Av. Rebouças 2636, São Paulo, Brasil
Tel: 011-853-1377
ARGENTINA
Yamaha de Panamá S.A. Sucursal de Argentina
Viamonte 1145 Piso2-B 1053,
Buenos Aires, Argentina
Tel: 1-4371-7021
PANAMA AND OTHER LATIN
AMERICAN COUNTRIES/
CARIBBEAN COUNTRIES
Yamaha de Panamá S.A.
Torre Banco General, Piso 7, Urbanización Marbella,
Calle 47 y Aquilino de la Guardia,
Ciudad de Panamá, Panamá
Tel: 507-269-5311
THE UNITED KINGDOM
Yamaha-Kemble Music (U.K.) Ltd.
Sherbourne Drive, Tilbrook, Milton Keynes,
MK7 8BL, England
Tel: 01908-366700
IRELAND
Danfay Ltd.
61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin
Tel: 01-2859177
GERMANY/SWITZERLAND
Yamaha Europa GmbH.
Siemensstraße 22-34, 25462 Rellingen,
F.R. of Germany
Tel: 04101-3030
AUSTRIA
Yamaha Music Austria
Schleiergasse 20, A-1100 Wien Austria
Tel: 01-60203900
THE NETHERLANDS
Yamaha Music Nederland
Kanaalweg 18G, 3526KL, Utrecht, The Netherlands
Tel: 030-2828411
BELGIUM
Yamaha Music Belgium
Keiberg Imperiastraat 8, 1930 Zaventem, Belgium
Tel: 02-7258220
FRANCE
Yamaha Musique France,
Division Professionnelle
BP 70-77312 Marne-la-Vallée Cedex 2, France
Tel: 01-64-61-4000
ITALY
Yamaha Musica Italia S.P.A.,
Combo Division
Viale Italia 88, 20020 Lainate (Milano), Italy
Tel: 02-935-771
SPAIN/PORTUGAL
Yamaha-Hazen Electronica Musical, S.A.
Ctra. de la Coruna km. 17, 200, 28230
Las Rozas (Madrid) Spain
Tel: 91-201-0700
GREECE
Philippe Nakas S.A.
Navarinou Street 13, P.Code 10680, Athens, Greece
Tel: 01-364-7111
SWEDEN
Yamaha Scandinavia AB
J. A. Wettergrens Gata 1
Box 30053
S-400 43 Göteborg, Sweden
Tel: 031 89 34 00
DENMARK
YS Copenhagen Liaison Office
Generatorvej 8B
DK-2730 Herlev, Denmark
Tel: 44 92 49 00
FINLAND
F-Musiikki Oy
Kluuvikatu 6, P.O. Box 260,
SF-00101 Helsinki, Finland
Tel: 09 618511
NORWAY
Norsk filial av Yamaha Scandinavia AB
Grini Næringspark 1
N-1345 Østerås, Norway
Tel: 67 16 77 70
ICELAND
Skifan HF
Skeifan 17 P.O. Box 8120
IS-128 Reykjavik, Iceland
Tel: 525 5000
OTHER EUROPEAN COUNTRIES
Yamaha Europa GmbH.
Siemensstraße 22-34, 25462 Rellingen,
F.R. of Germany
Tel: 04101-3030
Yamaha Corporation,
Asia-Pacific Music Marketing Group
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: 053-460-2312
TURKEY/CYPRUS
Yamaha Europa GmbH.
Siemensstraße 22-34, 25462 Rellingen,
F.R. of Germany
Tel: 04101-3030
OTHER COUNTRIES
Yamaha Music Gulf FZE
LB21-128 Jebel Ali Freezone
P.O.Box 17328, Dubai, U.A.E.
Tel: 971-4-881-5868
HONG KONG
Tom Lee Music Co., Ltd.
11/F., Silvercord Tower 1, 30 Canton Road,
Tsimshatsui, Kowloon, Hong Kong
Tel: 2737-7688
INDONESIA
PT. Yamaha Music Indonesia (Distributor)
PT. Nusantik
Gedung Yamaha Music Center, Jalan Jend. Gatot
Subroto Kav. 4, Jakarta 12930, Indonesia
Tel: 21-520-2577
KOREA
Yamaha Music Korea Ltd.
Tong-Yang Securities Bldg. 16F 23-8 Yoido-dong,
Youngdungpo-ku, Seoul, Korea
Tel: 02-3770-0661
MALAYSIA
Yamaha Music Malaysia, Sdn., Bhd.
Lot 8, Jalan Perbandaran, 47301 Kelana Jaya,
Petaling Jaya, Selangor, Malaysia
Tel: 3-703-0900
PHILIPPINES
Yupangco Music Corporation
339 Gil J. Puyat Avenue, P.O. Box 885 MCPO,
Makati, Metro Manila, Philippines
Tel: 819-7551
SINGAPORE
Yamaha Music Asia Pte., Ltd.
11 Ubi Road #06-00, Meiban Industrial Building,
Singapore
Tel: 65-747-4374
TAIWAN
Yamaha KHS Music Co., Ltd.
10F, 150, Tun-Hwa Northroad,
Taipei, Taiwan, R.O.C.
Tel: 02-2713-8999
THAILAND
Siam Music Yamaha Co., Ltd.
121/60-61 RS Tower 17th Floor,
Ratchadaphisek RD., Dindaeng,
Bangkok 10320, Thailand
Tel: 02-641-2951
THE PEOPLE’S REPUBLIC OF CHINA
AND OTHER ASIAN COUNTRIES
Yamaha Corporation,
Asia-Pacific Music Marketing Group
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: 053-460-2317
AUSTRALIA
Yamaha Music Australia Pty. Ltd.
Level 1, 99 Queensbridge Street, Southbank, Victoria
3006, Australia
Tel: 3-9693-5111
NEW ZEALAND
Music Houses of N.Z. Ltd.
146/148 Captain Springs Road, Te Papapa,
Auckland, New Zealand
Tel: 9-634-0099
COUNTRIES AND TRUST
TERRITORIES IN PACIFIC OCEAN
Yamaha Corporation,
Asia-Pacific Music Marketing Group
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: 053-460-2312
NORTH AMERICA
CENTRAL & SOUTH AMERICA
EUROPE
AFRICA
MIDDLE EAST
ASIA
OCEANIA
HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: 053-460-2445
SY23
202MWAP15.2-06E0
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