Yamaha XF6 Manual de usuario

Marca: Yamaha

Modelo: XF6

Categoría: Software

Tipo: Manual de usuario

How to Use This Manual

The MOTIF XF Reference Manual (in PDF format) is equipped with special features that are exclusive to electronic files, such

as the Link function and the Search function which lets you jump to the desired page by clicking the page number of the

specific term.

n The MOTIF XF lets you select one of eight different color types (page 220). This manual uses the screen shots which are shown by setting the

Color parameter to “Yellow” in the Utility mode. This is the most universal color visibility, allowing the manual to be easily viewed by many

people having different types of color recognition.

This function built into the viewer software is very useful if

you want to know the meaning of unfamiliar terms. When

using Adobe Reader to read this manual, enter a specific

word in the search box, then press the <Enter> key of your

computer keyboard to call up the relevant section in this

manual.

n Make sure to check and download the latest version of the

Adobe Reader from the following site.

http://www.adobe.com/products/reader/

When using Adobe Reader, click these buttons in the

toolbar to return to the previous page view or go to the next

page view.

This function is very useful if you want to return to the

previous page view after jumping to a linked page.

n If the previous page view/next page view buttons are not

shown in the toolbar, hold the <Alt> key and press <>/<>

keys to move to the previous/next page view.

n For more information on these and other functions in the

software, refer to the owner’s manual of the software.

The Function Tree of the MOTIF XF is shown on the next

page. Use this Function Tree to find desired pages.

For example, if you make edits on the display shown below

and you want to read explanations of the display, check the

five points numbered here.

“VOICE” indicates the MOTIF XF is in the Voice mode. Refer to

the Voice mode section of the Function Tree.

“Edit-Elm 1” indicates that this display lets you edit the

Element parameters of the Normal Voice.

Here, you can confirm the current Voice Type, Normal Voice or

Drum Voice.

These indicate that the [F3] Filter button then the [SF1] Type

button have been pressed.

Applying the five points above to the Function Tree as

shown below lets you easily find the desired page.

Search Function

Previous Page View/Next Page View

Using the Function Tree

Click here to jump.

Reference Manual

MOTIF XF Reference Manual

Function Tree

Voice mode

*Available on certain displays.

Voice Play mode

VOICE

Play Page #

[VOICE] 

[SF6] INFO* 50

[F1] Play 48

[F2] Porta 50

[F3] EG/EQ 51

[F4] Arpeggio 52

[F6] Effect 64

Voice Edit mode (Normal Voice)

VOICE

Edit-Common ***** (Normal Voice name) Page #

[VOICE]  Normal Voice

selection  [EDIT] 

[COMMON] 

[F1] General [SF1] Name 55

[SF2] Play Mode 55

[SF3] Other 57

[F2] ARP Main 58

[F3] ARP Other 59

[F4] Ctrl Set 61

[F5] Com LFO [SF1] Wave 62

[SF2] Set 63

[SF3] User 64

[F6] Effect [SF1] Connect 64

[SF2] Ins A 66

[SF3] Ins B

[SF4] Reverb

[SF5] Chorus

VOICE

Edit-Elm ***** (Normal Voice name) Page #

[VOICE]  Normal Voice

selection  [EDIT] 

Element selection 

[F1] Oscillator 69

[F2] Pitch [SF1] Tune 71

[SF2] PEG 72

[F3] Filter [SF1] Type 74

[SF2] FEG 76

[SF3] Scale 78

[F4] Amplitude [SF1] Level/Pan 79

[SF2] AEG 80

[SF3] Scale 81

[F5] Elm LFO 82

[F6] EQ 83

Voice Edit mode (Drum Voice)

VOICE

Edit-Common ***** (Drum Voice name) Page #

[VOICE]  Drum Voice

selection  [EDIT] 

[COMMON] 

[F1] General [SF1] Name 85

[SF2] Play Mode 85

[SF3] Other 85

[F2] ARP Main 85

[F3] ARP Other 85

[F4] Ctrl Set 86

[F6] Effect [SF1] Connect 86

[SF2] Ins A 86

[SF3] Ins B

[SF4] Reverb

[SF5] Chorus

VOICE

Edit-Key ***** (Drum Voice name) Page #

[VOICE]  Drum Voice

selection  [EDIT] 

Drum Key selection 

[F1] Oscillator 87

[F3] Filter 89

[F4] Amplitude 89

[F6] EQ 90

Voice Job mode

Voice Job

Page #

[VOICE]

 [JOB]  [F1] Init 91

[F2] Recall 92

[F3] Copy 92

[F4] Bulk 92

Voice Store mode

Voice Store

Page #

[VOICE]  [STORE]

Function Tree

MOTIF XF Reference Manual

Performance mode

*Available on certain displays.

Song mode

*Available on certain displays.

Performance Play mode

PERF

Play Page #

[PERFORM] 

[SF6] INFO* 96

[F1] Play 95

[F2] Voice 97

[F3] EG 97

[F4] Arpeggio 98

[F6] Effect 107

Performance Record mode

PERF

Record Page #

[PERFORM]  [ ]

(Record)

[F1] Setup 98

Performance Edit mode

PERF

Edit-Common Page #

[PERFORM]  [EDIT] 

[COMMON] 

[F1] General [SF1] Name 102

[SF2] Porta 103

[SF3] Part EQ 103

[SF4] Other 104

[F2] Level/MEF [SF1] Level 104

[SF2] Master FX 104

[SF3] Master EQ 105

[F4] Audio In [SF1] Output 106

[SF2] Connect 106

[SF3] Ins A 107

[SF3] Ins B

[F5] Effect [SF1] Connect 107

[SF2] Ins Switch 108

[SF3] Reverb 108

[SF4] Chorus

PERF

Edit-Part Page #

[PERFORM]  [EDIT] 

Part selection 

[F1] Voice [SF1] Voice 109

[SF2] Output 110

[SF3] Other 111

[F2] ARP Main 112

[F3] ARP Other 114

[F4] EG 115

[F5] EQ 116

[F6] Rcv Switch 116

Performance Job mode

Performance Job

Page #

[PERFORM]  [JOB] 

[F1] Init 117

[F2] Recall 117

[F3] Copy 118

[F4] Bulk 118

Performance Store mode

Performance Store

Page #

[PERFORM]

 [STORE] 101

Song Play mode

SONG

Play Page #

[SONG] 

[SF6] INFO* 142

[F1] Track View 139

[F2] Play FX 141

[F3] Track [SF1] Out 142

[SF2] Loop 143

[F4] Chain 143

Song Record mode

SONG

Record Page #

[SONG]  [ ] (Record)

[F1] Setup 145

[F2] Arpeggio 147

Song Edit mode

SONG

Edit Page #

[SONG]  [EDIT]

150

Song Job mode

Song Job

Page #

[SONG]  [JOB]



[F1] Undo/Redo 154

[F2] Note 01 Quantize 154

02 Modify Velocity 155

03 Modify Gate Time 156

04 Crescendo 156

05 Transpose 156

06 Glide 157

07 Create Roll 157

08 Sort Chord 158

09 Separate Chord 158

[F3] Event 01 Shift Clock 158

02 Copy Event 159

03 Erase Event 159

04 Extract Event 159

05 Create Continuous

Data

160

06 Thin Out 160

07 Modify Control Data 161

08 Beat Stretch 161

[F4] Measure 01 Create Measure 161

02 Delete Measure 162

Function Tree

MOTIF XF Reference Manual

Pattern mode

*Available on certain displays.

[SONG]  [JOB]



[F5] Track 01 Copy Track 162

02 Exchange Track 163

03 Mix Track 163

04 Clear Track 163

05 Normalize Play Effect 163

06 Divide Drum Track 163

07 Put Track to Arpeggio 164

08 Copy Phrase 164

[F6] Song 01 Copy Song 165

02 Split Song to Pattern 165

03 Clear Song 165

Song Store mode

Song Store

Page #

[SONG]  [STORE]

144

Pattern Play mode

PATTERN

Play Page #

[PATTERN] 

[SF6] INFO* 169

[F1] Play 168

[F2] Play FX 169

[F3] Track 169

[F4] Patch 170

[F5] Chain 171

[F6] Remix 175

Pattern Chain Record mode

PATTERN

Chain Record Page #

[PATTERN]  [F5] Chain  [ ] (Record)

172

Pattern Chain Edit mode

PATTERN

Chain Record Page #

[PATTERN]  [F5] Chain

 [EDIT]

[SF1] View Filter 173

[SF2] Copy 173

[SF3] Song 174

[SF4] Insert 174

[SF5] Delete 174

Pattern Record mode

PATTERN

Record Page #

[PATTERN]  [ ]

(Record)

[F1] Setup 178

[F2] Arpeggio 147

Song Job mode

Song Job

Page #

Pattern Edit mode

PATTERN

Edit Page #

[PATTERN]  [EDIT]

179

Pattern Job mode

Pattern Job

Page #

[PATTERN] 

[JOB] 

[F1] Undo/Redo 154

[F2] Note 01 Quantize 154

02 Modify Velocity 155

03 Modify Gate Time 156

04 Crescendo 156

05 Transpose 156

06 Glide 157

07 Create Roll 157

08 Sort Chord 158

09 Separate Chord 158

[F3] Event 01 Shift Clock 158

02 Copy Event 159

03 Erase Event 159

04 Extract Event 159

05 Create Continuous

Data

160

06 Thin Out 160

07 Modify Control Data 161

08 Beat Stretch 161

[F4] Phrase 01 Copy Phrase 182

02 Exchange Phrase 183

03 Mix Phrase 183

04 Append Phrase 183

05 Split Phrase 184

06 Get Phrase from Song 184

07 Put Phrase to Song 184

08 Clear Phrase 185

[F5] Track 01 Copy Track 185

02 Exchange Track 185

03 Mix Track 185

04 Clear Track 185

05 Normalize Play Effect 186

06 Divide Drum Track 186

07 Put Track to Arpeggio 186

[F6] Pattern 01 Copy Pattern 186

02 Append Pattern 186

03 Split Pattern 187

04 Clear Pattern 187

Pattern Store mode

Pattern Store

Page #

[PATTERN]  [STORE]

177

Function Tree

MOTIF XF Reference Manual

Mixing mode

Mixing Play mode

SONG

PATTERN

Mix Play Page #

[SONG] / [PATTERN] 

[MIXING] 

[F1] Part 1-16 190

[F2] Audio 191

[F5] Effect 193

[F6] Vce Edit 198

Mixing Edit mode

SONG

PATTERN

Edit-Common Page #

[SONG] / [PATTERN] 

[MIXING]  [EDIT] 

[COMMON] 

[F1] General 192

[F2] Master FX [SF2] Master FX 193

[SF3] Master EQ 193

[F4] Audio In [SF1] Output 193

[SF2] Connect 193

[SF3] Ins A 193

[SF4] Ins B

[F5] Effect [SF1] Connect 193

[SF2] Ins Switch 193

[SF3] Reverb 193

[SF4] Chorus

SONG

PATTERN

Edit-Part Page #

[SONG] / [PATTERN] 

[MIXING]  [EDIT]  Part

selection 

[F1] Voice [SF1] Voice 194

[SF2] Output 194

[SF3] Other 194

[F2] ARP Main 194

[F3] ARP Other 194

[F4] EG 194

[F5] EQ 195

[F6] Rcv Switch 195

Mixing Voice Edit mode (Normal Voice)

SONG

PATTERN

Edit-Common Page #

[SONG] / [PATTERN] 

[MIXING]  Normal Voice

selection  [F6] Vce Edit

 [COMMON] 

[F1] General [SF1] Name 55

[SF2] Play Mode 55

[SF3] Other 57

[F2] ARP Main 58

[F3] ARP Other 59

[F4] Ctrl Set 61

[F5] Com LFO [SF1] Wave 62

[SF2] Set 63

[SF3] User 64

[F5] Effect [SF1] Connect 64

[SF2] Ins A 66

[SF3] Ins B

SONG

PATTERN

Edit-Elm Page #

[SONG] / [PATTERN] 

[MIXING]  Normal Voice

selection  [F6] Vce Edit

 Element selection 

[F1] Oscillator 69

[F2] Pitch [SF1] Tune 71

[SF2] PEG 72

[F3] Filter [SF1] Type 74

[SF2] FEG 76

[SF3] Scale 78

[F4] Amplitude [SF1] Level/Pan 79

[SF2] AEG 80

[SF3] Scale 81

[F5] Elm LFO 82

[F6] EQ 83

Mixing Voice Edit mode (Drum Voice)

SONG

PATTERN

Edit-Common Page #

[SONG] / [PATTERN] 

[MIXING]  Drum Voice

selection  [F6] Vce Edit

 [COMMON] 

[F1] General [SF1] Name 85

[SF2] Play Mode 85

[SF3] Other 85

[F4] Ctrl Set 86

[F6] Effect [SF1] Connect 86

[SF2] Ins A 86

[SF3] Ins B

SONG

PATTERN

Edit-Key Page #

[SONG] / [PATTERN] 

[MIXING]  Drum Voice

selection  [F6] Vce Edit

 Drum Key selection 

[F1] Oscillator 87

[F3] Filter 89

[F4] Amplitude 89

[F6] EQ 90

Mixing Voice Job mode

Mix Voice Job

Page #

[SONG] / [PATTERN] 

[MIXING]  [F6] Vce Edit

 [JOB] 

[F2] Recall 200

[F3] Copy 200

[F4] Delete 200

Mixing Voice Store mode

Mix Voice Store

Page #

[SONG] / [PATTERN]  [MIXING]  [F6] Vce Edit 

[STORE]

199

Mixing Job mode

Mix Job

Page #

[SONG] / [PATTERN] 

[MIXING]  [EDIT] 

[JOB] 

[F1] Init 195

[F2] Recall 196

[F3] Copy [SF1] Part 196

[SF2] Voice 196

[SF3] Perf 197

[SONG] / [PATTERN] 

[MIXING]  [EDIT] 

[JOB] 

[F4] Bulk 197

[F5] Template [SF1] Mix 197

[SF2] Perf 197

Function Tree

MOTIF XF Reference Manual

Sampling mode

*Available on certain displays.

**The Sampling start/stop operation actually differs depending on the

setting.

*Available on certain displays.

**The Sampling start/stop operation actually differs depending on the

setting.

***Available when “slice+seq” is selected before the Sampling operation.

Master mode

*Available on certain displays.

Sampling mode

SAMPLE

Select Page #

[VOICE] / [PERFORM]  [INTEGRATED SAMPLING] 

[SONG] / [PATTERN]  [INTEGRATED SAMPLING] 

120

203

Sampling Record mode (Voice/Performance)

SAMPLE

Record Page #

[VOICE] / [PERFORM] 

[INTEGRATED

SAMPLING]  [F6] Rec

[SF6] INFO* 123

STANDBY

 [F6] Standby 124

RECORDING

 Sampling start** 125

FINISHED

 Sampling stop** 125

Sampling Record mode (Song/Pattern)

SAMPLE

Record Page #

[SONG] / [PATTERN] 

[INTEGRATED

SAMPLING]  [F6] Rec

[SF6] INFO* 123

STANDBY

 [F6] Standby 205

RECORDING

 [F6] Start** 206

FINISHED

 [F6] Stop** 206



[ENTER] (Record Trim display)***

207



[F6] Slice (Record Slice display)***

208

Sampling Edit mode

SAMPLE

Edit Page #

[INTEGRATED

SAMPLING]  [EDIT] 

[F1] Trim 127

[F2] Param 128

Sampling Job mode

Sample Job

Page #

[INTEGRATED

SAMPLING] 

[JOB] 

[F1] KeyBank 01 Copy 130

02 Delete 131

03 Move 131

04 Normalize 131

05 Time Stretch 132

06 Convert Pitch 132

07 Fade In/Out 132

08 Half Sampling

Frequency

133

09 Stereo to Mono 133

10 Loop-Remix 133

11 Slice 134

[INTEGRATED

SAMPLING] 

[JOB] 

[F2] Waveform 01 Copy 134

02 Delete 135

03 Extract 135

04 Transpose 135

05 Rename 135

[F3] Other 01 Optimize Memory 135

02 Delete All 135

03 Copy to Flash Memory 135

Master Play mode

MASTER

Play Page #

[MASTER] 

[SF6] INFO* 214

Master Edit mode

MASTER

Edit-Common Page #

[MASTER]  [EDIT] 

[COMMON] 

[F1] Name 214

[F2] Other 214

MASTER

Edit-Zone Page #

[MASTER]  [EDIT] 

Zone selection 

[F1] Transmit 215

[F2] Note 215

[F3] Tx Switch [SF1] Program 215

[SF2] Control 216

[F4] Preset 216

[F5] Knob/Slider 217

Master Job mode

Master Job

Page #

[MASTER]  [JOB] 

[F1] Init 217

[F4] Bulk 218

Master Store mode

Master Store

Page #

[MASTER]  [STORE] 

213

Sampling Job mode

Sample Job

Page #

Function Tree

MOTIF XF Reference Manual

Utility mode

*Available on certain displays.

File mode

Utility mode

UTILITY

Page #

[UTILITY] 

[SF6] INFO* 219

[F1] Play [SF1] Play 219

[SF2] Screen 220

[SF3] Network 221

[SF4] Auto Load 223

[F2] I/O 223

[F3] Voice [SF1] Master FX 224

[SF2] Master EQ 224

[SF3] Arpeggio 225

[SF4] Tuning 225

[F4] Voice Audio [SF1] Output 226

[SF2] Connect 227

[SF3] Ins A 227

[SF4] Ins B

[F5] Control [SF1] Remote 228

[SF2] MIDI 228

[SF3] Control 230

[F6] Flash 231

Sequencer Setup mode

Sequencer Setup

Page #

[PERFORM] / [SONG] /

[PATTERN]  [SEQ

SETUP] 

[F1] Click 231

[F2] MIDI Filter 232

[F3] Quick 232

[F4] Other 233

Utility Job mode

Utility Job

Page #

[UTILITY]  [JOB]

231

Utility Store mode

Utility Store

Page #

[UTILITY]  [STORE]

219

File mode

File

Page #

[FILE]

 [F1] File [SF1] Save 241

[SF2] Load 242

[SF3] Rename 238

[SF4] Delete 238

[SF5] New Dir 238

[F2] Mount 239

[F3] Format 240

[F4] Audio [SF1] Rec 248

[SF2] Play

MOTIF XF Reference Manual

Basic Structure Basic Operation

Connections

Basic Section

Basic Structure

The Seven Functional Blocks

The MOTIF XF system consists of 7 main functional blocks: Tone Generator, Sampling, Audio Input, Sequencer, Arpeggio,

Controller, and Effect.

Controller block

(page 21)

Keyboard

Controllers

Arpeggio block

(page 15)

Arpeggio Playback x 4

Preset Arpeggio

User Arpeggio

Sequencer block

(page 12)

16 track MIDI Sequencer

Songs and Patterns

Tone Generator

block

(page 9)

AWM2 Tone Generator

16 Parts

Voices and Performances

Song Mixing

Pattern Mixing

Sampling block (page 21)

Samples, Waveforms

Effect block (page 22)

System Effects

Insertion Effect x 8

Element EQ

Part EQ x 16

Master Effect

Master EQ

Audio Input block

(page 12)

A/D Input, IEEE1394

External MIDI device

Computer

Microphone, guitar,

audio equipment, etc.

Computer with

IEEE1394

connector(s)

Powered speakers, etc.

Audio signal flow

MIDI messages flow

MIDI OUT MIDI IN USB TO HOST AD INPUT

IEEE1394

(FW16E)

OUTPUT/

ASSIGNABLE OUTPUT

MOTIF XF Reference Manual

Tone Generator Block

Basic StructureBasic Operation

Connections

Basic Section

Tone Generator Block

The tone generator block is what actually produces sound in response to the MIDI messages received from the Sequencer

block, the Controller block, the Arpeggio block and from the external MIDI instrument via the MIDI IN connector or the USB

connector. The structure of the tone generator block differs depending on the mode.

Tone Generator block in the Voice

Mode

In this mode, the tone generator block receives MIDI data

over a single channel. This status is referred to as a “single

timbre” tone generator. A Voice is played from the

keyboard, using a single part.

Keep in mind that song data on an external sequencer

consisting of multiple MIDI channels will not play back

properly in this mode. If you are using an external MIDI

sequencer or computer to play the instrument, make sure

to use the Song mode or Pattern mode.

A program that contains the sonic elements for generating

a specific musical instrument sound is referred to as a

“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.

n For instructions on editing a Normal Voice, see page 53. For

instructions on editing a Drum Voice, see page 84.

Normal Voice

This is a Voice which is played conventionally from the

keyboard, with standard pitches sounding for each key. A

Normal Voice consists of up to eight Elements. Depending

on the settings in the Voice Edit mode, these Elements are

sounded simultaneously, or the different Elements are

sounded according to the note range, velocity range and

the XA (Expanded Articulation) settings.

The illustration below is an example of a Normal Voice.

Since the six Elements here are distributed across both the

note range of the keyboard and the velocity range, a

different Element sounds depending on which note you

play and how strongly you play it. In the note distribution,

Elements 1 and 2 sound in the lower range of the

keyboard, Elements 3 and 4 sound in the middle range,

and Elements 5 and 6 sound in the higher range. In the

velocity distribution, Elements 1, 3 and 5 sound when

playing the keyboard softly, while Elements 2, 4 and 6

sound when playing it strongly. In a practical example of

this in use, a piano Voice could be composed of six

different samples. Elements 1, 3 and 5 would be the

sounds of the piano played softly, over the respective note

ranges, while Elements 2, 4 and 6 would be strongly

played sounds, for each respective note range. Actually,

the MOTIF XF is even more flexible than this, since it allows

up to eight independent Elements.

Drum Voice (Drum Kit)

Drum Voices are mainly percussion/drum sounds that are

assigned to individual notes on the keyboard. A collection

of assigned percussion/drum waves or Normal Voices is

known as a Drum Kit.

Expanded Articulation (XA) is a specially designed tone

generation system that provides greater performance

flexibility and acoustic realism. It allows you to more

effectively recreate realistic sound and natural

performance techniques—such as legato and staccato—

and provides other unique modes for random and alternate

sound changes as you play.

Realistic legato performance

Conventional synthesizers recreate a legato effect by

continuing the volume envelope of a previous note on to

the next one, in the mono mode. However, this results in an

unnatural sound different from that of an actual acoustic

instrument. The MOTIF XF more accurately reproduces a

legato effect by allowing specific Elements to be sounded

when playing legato and other Elements to be played

Part structure in the Voice mode

Voice

Normal Voices & Drum Voices

Expanded Articulation (XA)

Velocity

Element 1

Element 2

Element 3

Element 4

Element 5

Element 6

Key 1 Key 5 Key 10 Key 18 Key 21 Key 73

C1 C6

Individual

drum sounds

(different for

each key)

Basic Structure Basic Operation

Connections

Basic Section

Tone Generator Block

MOTIF XF Reference Manual

normally (with the XA Control parameter settings “normal”

and “legato”).

Authentic note release sound

Conventional synthesizers are not good at realizing the

sound produced when the note of the acoustic instrument

is released. The MOTIF XF realizes the sound produced

when the note of the acoustic instrument is released, by

setting the XA Control parameter of a certain Element to

“key off sound.”

Subtle sound variations for each note played

Conventional synthesizers attempt to reproduce this by

randomly changing the pitch and/or filter. However, this

produces an electronic effect and is different from the real

sound changes on an acoustic instrument. The MOTIF XF

more accurately reproduces these subtle sound variations

by using the XA Control parameter settings, “wave cycle”

and “wave random.”

Switching among different sounds to recreate

the natural performance on an acoustic

instrument

Acoustic instruments have their own unique

characteristics—even specific, unique sounds that are

produced only at certain times in a performance. These

include the flutter tonguing on a flute or playing high

harmonics on an acoustic guitar. The MOTIF XF recreates

these by allowing you to switch between the sounds while

you play—using the ASSIGNABLE FUNCTION buttons and

the XA Control parameter settings, “AF 1 on,” “AF 2 on”

and “all AF off.”

New sounds and new styles of playing

The highly versatile functions above can be applied

effectively not only to acoustic sounds but also to

synthesizer and electronic Voices as well. The XA feature

opens up enormous potential for realizing authentic

sounds, performing expressively and coming up with

creative new styles of playing.

To create sounds such as those described above using

Expanded Articulation, refer to page 70.

Elements and Drum Keys are the smallest “building blocks”

in the MOTIF XF that comprise a Voice; in fact, only one

Element or one Drum Key could be used to create a Voice.

These small sound units can be built, enhanced and

processed by a variety of traditional synthesizer

parameters, such as Oscillator, Pitch Filter, Amplitude, and

LFO (shown below).

Oscillator

This unit outputs the wave which determines the basic

pitch. You can assign the waveform (or basic sound

material) to each Element of a Normal Voice or each Key of

a Drum Voice. In the case of a Normal Voice, you can set

the note range for the 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). In addition, the XA related

parameters can be set in this unit.

Oscillator related parameters can be set in the Oscillator

display (pages 69 and 87).

Pitch

This unit controls the pitch of the sound (wave) output from

the Oscillator. In the case of a Normal Voice, you can

detune separate Elements, apply Pitch Scaling and so on.

Also, by setting the PEG (Pitch Envelope Generator), you

can control how the pitch changes over time.

Pitch related parameters can be set in the Pitch display

(page 71) and Pitch EG display (page 72) of the Voice Edit

mode. Note that Pitch related parameters of a Drum Voice

can be set in the Oscillator display.

Filter

This unit modifies the tone of the sound output from Pitch

by cutting the output of a specific frequency portion of the

sound. Also, by setting the FEG (Filter Envelope

Generator), you can control how the Cutoff Frequency of

the Filter changes over time.

Filter related parameters can be set in the Filter display

(pages 74 and 89), Filter EG display (page 76) and Filter

Scale display (page 78) of the Voice Edit mode.

Amplitude

This unit controls the output level (amplitude) of the sound

output from the Filter block. 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.

Elements and Drum Keys

OSC

(Oscillator)

Waveform

(AWM2)

LFO

Low Frequency

Oscillator

PITCH

Controls the

pitch of the

sound.

Pitch EG

(Pitch

Envelope

Generator)

FILTER

Changes the

tonal quality of

the sound

output from the

PITCH unit.

Filter EG

(Filter

Envelope

Generator)

AMP

Controls the out-

put level (ampli-

tude) of the sound

output from the

FILTER unit. The

signals are then

sent at this level to

the Effect block.

Amplitude EG

(Amplitude

Envelope

Generator)

Tone Generator Block

MOTIF XF Reference Manual

Basic StructureBasic Operation

Connections

Basic Section

Amplitude related parameters can be set in the Amplitude

display (pages 79 and 89), Amplitude EG display

(page 80) and Amplitude Scale display (page 81) of the

Voice Edit mode.

LFO (Low Frequency Oscillator)

As its name suggests, the LFO produces a wave of a low

frequency. These waves can be used to vary the pitch, filter

or amplitude of each Element to create effects such as

vibrato, wah and tremolo. LFO can be set independently

for each Element; it can also be set globally for all

Elements.

LFO related parameters can be set in the Common LFO

display (page 62) and the Element LFO display (page 82)

of the Voice Edit mode.

Normal Voice

Drum Voice (Drum Kit)

Tone Generator block in the

Performance Mode

In this mode, the tone generator block receives MIDI data

over a single channel. This status is referred to as a “single

timbre” tone generator. This mode lets you play a

Performance (which multiple Voices (Parts) are

combined—in a layer, or in other configurations) using the

keyboard.

Keep in mind that song data on an external sequencer

consisting of multiple MIDI channels will not play back

properly in this mode. If you are using an external MIDI

sequencer or computer to play the instrument, make sure

to use the Song mode or Pattern mode.

A program in which multiple Voices (Parts) are combined in

a layer, or in other configurations is referred to as a

“Performance.” Each Performance can contain up to four

different Parts (Voices). Each Performance can be created

by editing parameters unique to each part and parameters

common to all the Parts.

Four User Banks are provided. Each Bank contains 128

Performances. Accordingly, a total of 512 User

Performances are provided.

Tone Generator block in the Song

mode/Pattern mode

In these modes, multiple Parts are provided and different

Voices and different melodies or phrases can be played

back for each Part. Because these modes let you set the

MIDI channel for each part of the tone generator block, you

can use an external MIDI sequencer as well as the

sequencer block of the instrument to play the sounds. The

sequence data of each track plays the corresponding

Parts (those having the same MIDI channel assignment) in

the tone generator block.

A program in which multiple Voices are assigned to Parts

for multi-timbral play in the Song and Pattern modes is

referred to as a “Mixing.” Each Mixing can contain up to 16

parts. Each Mixing can be created by editing parameters

unique to each Part and parameters common to all the

Parts in the Mixing mode (page 192).

A Mixing program is provided for each Song or Pattern.

Selecting a different Song/Pattern calls up the different

Mixing program.

Song mode

64 Mixing settings (one Mixing for each Song)

Pattern mode

64 Mixing settings (one Mixing for each Pattern)

Memory structure of Voice

Preset Banks 1 – 8 1024 Normal Voices

(128 Voices for each Bank)

GM Bank 128 Voices

User Banks 1 – 4 512 Normal Voices

(128 Voices for each Bank)

(By default, User Bank 1 includes the

original ones while User Banks 2 – 4

include the ones picked up from the Preset

Voices.)

Preset Drum Bank 32 Voices

GM Drum Bank 1 Voice

User Drum Bank 64 Voices

(By default, the original ones are assigned

to No. 1 – 8 while the ones picked up from

the Preset Voices are assigned to No. 9 –

32.)

Part structure in the Performance mode

Performance

Memory structure of Performance

Part structure of the tone generator

block in the Song mode/Pattern mode

About Mixing

Memory structure of Mixing

Sampling Block

MOTIF XF Reference Manual

Basic Structure Basic Operation

Connections

Basic Section

Sampling Block

The Sampling Block lets you bring your own recorded sounds—your voice, an instrument, rhythms, special sound effects,

etc.—into the system of this synthesizer, and play those sounds just like any other voices. These sounds, the audio data can

be captured from the A/D Input and IEEE1394 connector (available when the optional FW16E is installed) with up to 16 bit

and 44.1 kHz quality.

Keep in mind that the data created by the Sampling operation differs depending on the mode from which you entered the

Sampling mode: Voice/Performance or Song/Pattern. See pages 119 and 201 respectively.

Audio Input block

This block handles the audio signal input from the A/D Input and the IEEE1394 connector (available when the optional

FW16E is installed). Various parameters such as volume, pan, and effect can be set for the audio signal and the sound is

output together with other Voices. The Insertion Effect as well as the System Effects can be applied to the audio signal input

via the A/D INPUT connector.

The Audio Input related parameters can be set in the following display.

The gain of the audio signal from the A/D INPUT connector can be adjusted via the Gain knob on the rear panel.

Sequencer Block

This block lets you create Songs and Patterns by recording and editing your performances as MIDI data (from the controller

block), then playing it back with the tone generator block.

Sequencer block in the Song mode

A Song is made by the MIDI sequence data created by

recording your keyboard performance to each track. A

Song on this synthesizer is effectively the same as a Song

on a MIDI sequencer, and playback automatically stops at

the end of the recorded data.

A Song consists of 16 separate tracks, a Scene track, and

a Tempo track.

Sequence tracks 1 – 16

Record your keyboard performance to these tracks using

Realtime recording (page 144) and edit the recorded data

in the Song Edit mode (page 150).

Maximum Polyphony

Maximum polyphony refers to the highest number of notes that can be sounded simultaneously from the internal tone

generator of the instrument. The maximum polyphony of this synthesizer is 128. When the internal tone generator block

receives a number of notes exceeding the maximum polyphony, previously played notes are cut off. Keep in mind this may be

especially noticeable with Voices not having decay. Furthermore, the maximum polyphony applies to the number of Voice

Elements used, not the number of Voices. When Normal Voices that include up to eight Elements are used, the maximum

number of simultaneous notes may be less than 128.

Mode Display Page

Voice mode [F4] Voice Audio display in the Utility mode 226

Performance mode [F4] Audio In display in the Performance Edit mode 106

Song/Pattern mode [F4] Audio In display in the Mixing Edit mode 193

What is a Song?

Song Track Structure

Sequencer Block

MOTIF XF Reference Manual

Basic StructureBasic Operation

Connections

Basic Section

Scene track

This track lets you record Scene change settings, such as

the status of track mute and solo. These can be set in the

Song Play display (page 136) and recalled during Song

playback. During Song playback, the track mute and solo

settings change automatically according to the settings

you’ve recorded to the Scene track. You can record this

track with using Realtime recording (page 144) and edit

the recorded data in the Song Edit mode (page 150).

Tempo track

This track lets you record Tempo change settings. During

Song playback, the Tempo changes automatically

according to the settings you’ve recorded to this track. You

can record this track with using Realtime recording

(page 144) and edit the recorded data in the Song Edit

mode (page 150).

This function allows Songs to be “chained” together for

automatic sequential playback. For instructions on using

this, see page 143.

Sequencer Block in the Pattern mode

In the MOTIF XF, the term “Pattern” refers to a relatively

short musical or rhythmic phrase—1 to 256 measures—

which is used for looped playback. Therefore, once Pattern

playback starts, it continues until you press the [J] (Stop)

button.

Patterns are more than just a single phrase—they include

16 variations called “Sections.” These Sections can be

changed during playback and used as rhythmic/backing

variations for the various parts of a Song. For example, you

could use one Section for the verse, another for the chorus,

and a third for the bridge. The Pattern related settings such

as tempo and Mixing do not change even when the Section

is switched, keeping the overall playback consistent in feel

and rhythm through the changes.

For instructions on selecting a Pattern and Section, see

page 166.

Pattern Chain allows you to string several different Sections

(within a single Pattern) together to make a single,

complete Song. You can have the MOTIF XF automatically

change Sections by creating a Pattern Chain beforehand,

recording Pattern playback with Section changes from the

Pattern Chain display. You can also use this feature when

creating Songs based on a certain Pattern, since the

created Pattern Chain can be converted into a Song in the

Pattern Chain Edit (page 174). One Pattern Chain can be

created for each Pattern.

This is the basic MIDI sequence data in a track—and the

smallest unit—used in creating a Pattern. “Phrase” is a

short musical/rhythmic passage for a single instrument,

such as a rhythm pattern for the rhythm part, a bass line for

the bass part, or a chord backing for the guitar part. This

synthesizer features memory space for 256 of your own

original User Phrases.

n The MOTIF XF provides no Preset Phrases.

A Pattern consists of 16 separate tracks, a Scene track,

and a Tempo track (just as in a Song). See page 12.

A Pattern consists of 16 tracks to which the Phrase can be

assigned. MIDI data cannot be directly recorded to each

track in the Pattern mode. Recording is done to an empty

user phrase. The newly created phrase is automatically

assigned to the recording track.

Song Chain

What is a Pattern?

Section

Song 01 Song 22 Song 15

Pattern Chain

Phrase

Pattern Track Structure

Pattern Tracks and Phrases

Section A Section B Section C

Track 1

Track 2

Track 16

Phrase 001

Phrase 002

Phrase 003

Phrase 001

Phrase 002

Phrase 003

MIDI data

Basic Structure Basic Operation

Connections

Basic Section

Sequencer Block

MOTIF XF Reference Manual

Sequencer Block applied to both

the Song and Pattern

Depending on the recording method, the Song/Pattern

tracks (1 – 16) of this synthesizer are divided into two

groups: MIDI tracks and Audio tracks.

MIDI tracks are created by recording your keyboard

performance in the Song Record mode/Pattern Record

mode. MIDI sequence data is recorded to the MIDI track

and the Normal Voice or Drum Voice is assigned to the

Mixing part corresponding to the track.

Audio tracks are created by recording audio signal from

the external equipment or microphone via the A/D Input

jack in the Sampling Record mode. Actually, audio data is

not recorded directly to a track but rather is sampled via

the Sampling operation. The recorded audio signal is

stored as a Sample Voice to a Song/Pattern. The stored

Sample Voice will automatically be assigned to the Mixing

Part corresponding to the specified track, and the MIDI

data for triggering the Sample Voice is recorded to the

specified track. During playback, the MIDI data of the track

triggers the Sample Voice. As a result, the track effectively

functions as an Audio recorded track.

The Play Effect lets you change the rhythmic “feel” of the

Pattern playback by changing the timing and velocity of the

notes temporarily and on playback only, leaving the original

data intact. This feature can be set in the Play FX display of

the Song Play mode and Pattern Play mode. See pages

141 and 169 respectively. If you find a setting you like, you

can convert it to actual MIDI data by using the Song Job

(page 153) or Pattern Job (page 181).

Sequencer Block applied to the

Performance mode

You can record your keyboard performance in the

Performance mode to the Song or Pattern. You can record

knob operations, controller operations and Arpeggio

playback as well as your keyboard playing to the specified

track as MIDI events. Arpeggio playback data for Parts 1 –

4 of the Performance will be recorded to the tracks 1 – 4 of

the Song/Pattern respectively. Your keyboard performance

and controller/knob operations (common to Parts 1 – 4) will

be recorded to tracks 1 – 4 separately.

n In Performance Recording, the following knob operations can

be recorded.

• When TONE 1 is turned on: CUTOFF, RESONANCE,

ATTACK, DECAY and RELEASE

• When TONE 2 is turned on: PAN, REVERB and CHORUS

Other knob operations and the Slider operation cannot be

recorded.

n For instructions on recording a Performance, see page 98.

MIDI tracks and Audio tracks

Sequence data

(Song, Pattern)

Mixing

Sequencer block

Track 1

Track 2

Track 3

Track 16

Tone Generator block

MIDI data

Audio

recording

Audio data

Sample Voice

Assigning

Sample Voice

Recording

Audio data

MIDI data for triggering the Sample Voice

Audio data is recorded to a Sample Voice which is to be assigned to a

Song/Pattern, and note on/off events for triggering the recorded audio

signal are recorded to Track 3.

Part 1: Voice 1

Part 2: Voice 2

Part 3: Sample Voice

Part 16: Voice 16

Output

Play Effect (Play FX)

Performance Recording

Song/

Pattern

Track 1

Track 2

Track 16

Changing the timing and

velocity of the notes

Changing the timing and

velocity of the notes

Changing the timing and

velocity of the notes

Tone

Generator

Block

Play Effect (Play FX)

MOTIF XF Reference Manual

Arpeggio Block

Basic StructureBasic Operation

Connections

Basic Section

Arpeggio Block

This block lets you automatically trigger musical and rhythmic phrases using the current Voice by simply pressing a note or

notes on the keyboard. The Arpeggio sequence also changes in response to the actual notes or chords you play, giving you

a wide variety of inspiring musical phrases and ideas—both in composing and performing.

Four Arpeggio types can be played back at the same time even in the Song mode and Pattern mode.

Arpeggio Category

The Arpeggio types are divided into 16 categories

(excepting “NoAsg”) as listed below.

Category List

n Categories named “GtMG” and “BaMG” include Arpeggio

types appropriate for using with a Mega Voice.

Arpeggio Sub Category

The Arpeggio categories are divided into sub categories

as listed below. Because the sub categories are listed

based on the music genre, it is easy to find the sub

category appropriate for your desired music style.

Sub Category List

n Arpeggio types belonging to the Sub Categories marked with

an asterisk (*) contain some velocity ranges, to each of which

a different phrase is assigned. When a type of these

categories is selected in the Voice mode, it is a good idea to

set the Velocity Limit of each Element to the same range as

below.

Velocity ranges of each Arpeggio type

2Z_*****: 1 – 90, 91 – 127

4Z_*****: 1 – 70, 71 – 90, 91 – 110, 111 – 127

8Z_*****: 1 – 16, 17 – 32, 33 – 48, 49 – 64, 65 – 80, 81 – 96, 97

– 108, 109 – 127

PadL_*****: 1 – 1, 2 – 2, 3 – 127

PadH_*****: 1 – 112, 113 – 120, 121 – 127

ApKb Acoustic Piano & Keyboard

Organ Organ

GtPl Guitar / Plucked

GtMG Guitar for “Mega Voice”

Bass Bass

BaMG Bass for “Mega Voice”

Strng Strings

Brass Brass

RdPp Reed / Pipe

Lead Synth Lead

PdMe Synth Pad / Musical Effect

CPrc Chromatic Percussion

DrPc Drum / Percussion

Seq Synth Seq

Hybrd Hybrid Seq

Cntr Control

NoAsg No Assignment

Mega Voices and Mega Voice Arpeggios

Normal Voices use velocity switching to make the sound

quality and/or level of a Voice change according to how

strongly or softly you play the keyboard. This makes

these Voices respond naturally. However Mega Voices

have a very complex structure with many different layers

that is not suitable for playing manually. Mega Voices

were developed specifically to be played by Mega Voice

arpeggios to produce incredibly realistic results. You

should always use Mega Voices with Mega Voice

Arpeggios (included in “GtMG” and “BaMG” category).

See the Voice with ARP parameter on page 147 for more

details.

Rock Rock

PopRk PopRk

Balad Ballad

HipHp Hip Hop

R&B-M R&B Modern

R&B-C R&B Classic

Funk Funk

Tekno Techno / Trance

House House / Dance Pop

D&B D&B / Breakbeats

Chill Chillout / Ambient

Jazz Jazz / Swing

Latin Latin

World World

Genrl General

Comb Combination

Zone Zone Velocity*

Z.Pad Zone Velocity for Pad*

Filtr Filter

Exprs Expression

Pan Pan

Mod Modulation

Pbend Pitch Bend

Asign Assign 1/2

--- No Assignment

Basic Structure Basic Operation

Connections

Basic Section

Arpeggio Block

MOTIF XF Reference Manual

Arpeggio Type Name

The Arpeggio Types are named according to certain rules

and abbreviations. Once you understand these rules and

abbreviations, you’ll find it easy to browse through and

select the desired Arpeggio Types.

Arpeggio type with “_ES” at the end of the

type name (example: HipHop1_ES)

These Arpeggio types use the same multi track Arpeggio

architecture as the MOTIF ES. This ES type of arpeggio has

the following benefits:

• These arpeggios can create complex notes and chords

even when triggered by one note.

• The arpeggio closely follows the notes played on the

keyboard (but the area where the arpeggio is assigned)

allowing a good deal of harmonic freedom and the

possibility to “solo” using these arpeggios.

For details, see page 18.

Arpeggio type with “_XS” at the end of the

type name (example: Rock1_XS)

These Arpeggios use a newly developed chord recognition

technology to determine what notes should be played back

by the Arpeggio. This XS type of arpeggio has the following

benefits:

• The arpeggios respond only to any area on the keyboard

where an XS type of arpeggio is assigned. Other areas of

the keyboard do not effect the chord recognition. This

allows very natural keyboard playing across the entire

keyboard with arpeggio generated bass and backing

parts.

• The arpeggio will always play harmonically correct parts.

These are especially useful for bass and chordal backing

parts.

See page 18 for more details.

n Combining these two kinds of Arpeggios types (named

“***_ES” and “***_XS”) in performances when creating Songs

and Patterns allows tremendous interactivity and creative

freedom.

Arpeggio type with a normal name (example:

UpOct1)

In addition to the above types, there are three playback

types: the Arpeggios created for use of Normal Voices and

played back using only the played notes and their octave

notes (page 18), the Arpeggios created for use of Drum

Voices (page 18), and Arpeggios containing mainly non-

note events (page 18).

Arpeggio type with “_AF1,” “_AF2,” or

“_AF1&AF2” (example: Electro Pop AF1)

When this Type is triggered, the ASSIGNABLE FUNCTION

[1] button, [2] button, or both buttons will be turned on

during playback.

How to use the Arpeggio Type List

The Arpeggio Type list in the Data List contains the

following columns.

n Note that this list is for illustration purposes only. For a

complete listing of the Arpeggio Types, refer to the Data List.

Category

Indicates an Arpeggio Category.

Sub Category

Indicates an Arpeggio Sub Category.

ARP No. (Arpeggio Number)

ARP Name

Indicates the Arpeggio Name.

Time Signature

Indicates the time signature or meter of the Arpeggio type.

Length

Indicates the data length (amount of measures) of the

Arpeggio type. When the Loop parameter

is set to “off,”

the Arpeggio plays back for this length and stops.

Original Tempo

Indicates the appropriate tempo value of the Arpeggio

type. Note that this tempo is not set automatically when

selecting an Arpeggio type.

Accent

The circle indicates that the Arpeggio uses the Accent

Phrase feature (page 17).

Random SFX

The circle indicates that the Arpeggio uses the SFX feature

(page 17).

Voice Type

Indicates the voice type appropriate for the Arpeggio Type.

When the Voice With Arpeggio parameter

is set to “on” in

the Song/Pattern Record mode, the voice of this type is

automatically selected.

*1 The Loop parameter can be set in the Arpeggio Other display

of Voice Common Edit (page 59), Performance Part Edit

(page 114) and Mixing Part Edit (page 194).

*2 The Voice with Arpeggio parameter can be set in the Arpeggio

display (page 147) of the Song/Pattern Record display.

Main

Category

Sub

Category

ARP

No.

ARP Name

Time

Signature

Length

Original

Tem po

Accent

Random

SFX

Voice Type

ApKb Rock 1 70sRockB 4 / 4 2 130 Acoustic Piano

ApKb Rock 2 70sRockC 4 / 4 1 130 :

ApKb Rock 3 70sRockD 4 / 4 2 130

ApKb Rock 4 70sRockE 4 / 4 4 130

ApKb Rock 5 70sRockF 4 / 4 2 130

ApKb Rock 6 70sRockG 4 / 4 1 130

ApKb Rock 7 70sRockH 4 / 4 1 130

Arpeggio Block

MOTIF XF Reference Manual

Basic StructureBasic Operation

Connections

Basic Section

Arpeggio related settings

There are several methods for triggering and stopping the

Arpeggio playback. In addition, you can set whether or not

SFX sounds and special Accent Phrases are triggered

along with the normal sequence data. This section covers

the Arpeggio related parameters which can be set in the

Voice, Performance and Mixing modes.

The following three settings are available for turning the

Arpeggio playback on/off.

n For the displays including the Hold and Trigger mode

parameter, refer to “Arpeggio setting display” below.

When the ARP FX lamp is turned on by pressing the

[SELECTED PART CONTROL] button a few times, you can

use the knobs to control Arpeggio playback. Try this out

and listen for the changes in the sound. For details, see

page 46.

Accent Phrases are composed of sequence data included

in some Arpeggio types, sounding only when you play

notes at a velocity higher (stronger) than that specified in

the Accent Velocity Threshold parameter. If it is hard to play

at velocities necessary to trigger the Accent Phrase, set the

Accent Velocity Threshold parameter to a lower value.

n For the displays including the Accent Velocity Threshold

parameter, refer to “Arpeggio setting display” below.

n For information on Arpeggio types that use this function, refer

to the Arpeggio Type List in the Data List.

Some Arpeggio types feature a Random SFX function

which will trigger special sounds (such as guitar fret

noises) when the note is released. The following

parameters affecting Random SFX are provided.

n For the displays that include Random SFX, Random SFX

Velocity Offset and Random SFX Key On Control, refer to

“Arpeggio setting display” below.

n For information on Arpeggio types that use this function, refer

to the Arpeggio Type List in the Data List.

Turning Arpeggio playback on/off

To play the Arpeggio only when

the note is pressed:

Set the Hold parameter to “off”

and the Trigger mode to “gate.”

To continue the Arpeggio even if

the note is released:

Set the Hold parameter to “on.”

To toggle the Arpeggio playback

on/off whenever the note is

pressed:

Set the Trigger mode to “toggle.”

The Hold parameter can be set to

either “on” or “off.”

Using the knobs to control Arpeggios

Accent Phrase

Press this button a few times

so that the lamp lights.

Arpeggio functions

controlled via the knobs

Random SFX

For turning the Random SFX on/

off:

Random SFX parameter

For setting the volume of the SFX

sound:

Random SFX Velocity Offset

parameter

For determining whether or not

the volume of the SFX sound is

controlled by velocity:

Random SFX Key On Control

parameter

Arpeggio setting displays

Mode Display Page

Voice mode Arpeggio Main display of Voice

Common Edit

Arpeggio Other display of Voice

Common Edit

Performance mode Arpeggio Main display of

Performance Part Edit

112

Arpeggio Other display of

Performance Part Edit

114

Song mode/Pattern

mode (for playback)

Arpeggio Main display of Mixing

Part Edit

194

Arpeggio Other display of Mixing

Part Edit

194

Song Record mode Arpeggio display of Song

Record

147

Pattern Record mode Arpeggio display of Pattern

Record

Basic Structure Basic Operation

Connections

Basic Section

Arpeggio Block

MOTIF XF Reference Manual

Arpeggio playback types

The Arpeggio playback features four main playback types

as described below.

Arpeggio types (belonging to the categories except for the

DrPC and Cntr) created for use of Normal Voices have the

following three playback types.

Playback only of the played notes

The Arpeggio is played back using only the played note

and its octave notes.

Playback of a programmed sequence

according to the played notes

These Arpeggio types have the several sequences each of

which is suited for a certain chord type. Even if you press

only one note, the Arpeggio is played back using the

programmed sequence—meaning that notes other than

the ones you play may be sounded. Pressing another note

triggers the transposed sequence regarding the pressed

note as a root note. Adding notes to those already held

changes the sequence accordingly. An Arpeggio with such

a playback type has “_ES” at the end of the type name.

Playback of a programmed sequence

according to the played chord type

These Arpeggio types created for use with Normal Voices

are played back to match the chord type determined by

detecting the notes you play on the keyboard. An Arpeggio

with such a playback type has “_XS” at the end of the type

name.

n When the Key Mode parameter is set to “sort” or “sort+direct,”

the same sequence is played back no matter what order you

play the notes. When the Key Mode parameter is set to “thru”

or “thru+direct,” a different sequence is played back

depending on the order you play the notes.

n Since these types are programmed for Normal Voices, using

them with Drum Voices may not give musically appropriate

results.

These arpeggio types are programmed specifically for use

with Drum Voices, giving you instant access to various

rhythm patterns. Three different playback types are

available.

Playback of a drum pattern

Pressing any note(s) will trigger the same rhythm pattern.

Playback of a drum pattern, plus additional

played notes (assigned drum instruments)

Pressing any note will trigger the same rhythm pattern.

Adding notes to the one already held produces additional

sounds (assigned drum instruments) for the drum pattern.

Playback only of the played notes (assigned

drum instruments)

Playing a note or notes will trigger a rhythm pattern using

only the notes played (assigned drum instruments). Keep

in mind that even if you play the same notes, the triggered

rhythm pattern differs depending on the order of the notes

played. This gives you access to different rhythm patterns

using the same instruments simply by changing the order

in which you play the notes when the Key Mode parameter

is set to “thru” or “thru+direct.”

n The three playback types above are not distinguished by

category name or type name. You’ll have to actually play the

types and hear the difference.

n Since these types are programmed for Drum Voices, using

them with Normal Voices may not give musically appropriate

results.

These arpeggio types are programmed primarily with

Control Change and Pitch Bend data. They are used to

change the tone or pitch of the sound, rather than play

specific notes. In fact, some types contain no note data at

all. When using a type of this category, set the Key Mode

parameter to “direct,” “thru+direct,” or “sort+direct.”

n The Key Mode parameter can be set in the Arpeggio Main

display of Voice Common Edit (page 58), Performance Part

Edit (page 112) and Mixing Part Edit (page 194).

Arpeggio Types for Normal Voices

Arpeggio Types for Drum Voices

(Category: DrPc)

Arpeggio Types containing mainly non-

note events (Category: Cntr)

Arpeggio Block

MOTIF XF Reference Manual

Basic StructureBasic Operation

Connections

Basic Section

Tips for Arpeggio playback

Try out the Arpeggio playback assigned to the preset Voice.

1 In the Voice Play mode, make sure that the

[ARPEGGIO ON/OFF] button is lit, then play

any note to trigger Arpeggio playback.

2 Try playing different notes and chords on the

keyboard and listen to the Arpeggio play.

Arpeggio playback responds in different ways,

depending on the order of the notes you play and, of

course, the selected Arpeggio Type. Also, try hitting the

notes strongly and listen for the Accent Phrase feature.

3 Try out various Arpeggio types by pressing the

[SF1] – [SF5] buttons.

n If the 8th note icon is not shown at the right of ARP1 –

ARP5 (meaning that Arpeggio Type is set to off in the

corresponding display), the Arpeggio Type does not

change even if you press the corresponding [SF1] ARP1 –

[SF5] ARP5 button.

4 Use the knobs to control Arpeggio playback

after pressing the [SELECTED PART

CONTROL] button a few times (the ARP FX

lamp lights).

Now that you’ve listened to the Arpeggio Types assigned to

the preset Voice, go on and try out some of the other

Arpeggio Types available.

5 During Arpeggio playback, press the [F4]

button to call up the Arpeggio display, then

select an Arpeggio type.

For best results, you should select a Category and Sub

Category containing Arpeggio Types that most closely

match the currently selected Voice. Once you find an

Arpeggio Type that fits, keep it in the display settings

and store the Voice (below).

6 Store the Arpeggio settings as a User Voice.

For detailed instructions on storing a Voice, see

page 54.

Call up some of the Performances in User Banks 1 – 4, and

play some of the Arpeggios assigned by default to the

Performances. In the Performance mode, each of four

Arpeggio types is assigned to each of four Parts. This

means up to four Arpeggio types can be played back

simultaneously. Let’s play the Performance making full use

of this function.

1 Make sure that the [ARPEGGIO ON/OFF]

button is lit, then play any note to trigger

Arpeggio playback.

Steps 2 – 4 are same as in “Arpeggio playback in the Voice

mode” above. Once you’ve tried out the Arpeggio Types

assigned to the Performance, go on and try some of the

other Arpeggio Types available.

5 During Arpeggio playback, press the [F4]

button to call up the Arpeggio display then

select an Arpeggio type for each Part.

For best results, you should select a Category and Sub

Category containing Arpeggio Types that most closely

match the Voice for the Part. Once you find an Arpeggio

Type that fits, keep it in the display settings and store

the Performance (below).

6 Store the Arpeggio settings as a User

Performance.

For detailed instructions on storing a Performance, see

page 101.

You can record your keyboard performance to a Song/

Pattern in the Performance Record mode. Keep in mind

that any Arpeggio playback you trigger in the Performance

mode can be recorded to the Song or Pattern as well. For

details about the Performance recording, see page 98.

n The Arpeggio playback data is recorded to the Song or

Pattern track as MIDI sequence data. Note that pressing the

note only triggers the Arpeggio playback. The Song or Pattern

data will not trigger the Arpeggio playback.

Arpeggio playback in the Voice Play mode

Arpeggio playback/recording in the

Performance mode

Basic Structure Basic Operation

Connections

Basic Section

Arpeggio Block

MOTIF XF Reference Manual

Arpeggios are also useful for creating Phrases, which can

be used as the basic building blocks in making a Pattern.

Create User Phrases as desired then assign them to the

desired track in the Patch display (page 170).

This section shows how to record a Arpeggio playback to a

Pattern track.

1 Select an Arpeggio type in the Arpeggio

display (page 178) of the Pattern Record mode.

When the Arpeggio With Voice Switch parameter is set

to “on,” the Voice appropriate for this Arpeggio type is

automatically selected.

2 Record playback of the selected Arpeggio to

the Pattern track.

Record different Arpeggios to other tracks by repeating

steps 1 – 2. It is a good idea to assign a name to the

created Phrase in the Pattern Patch display (page 170) for

future recall.

3 Create Pattern data by assigning the created

Phrases to the Section in the Pattern Patch

display (page 170).

For example, create a Section A for the intro, a Section

B for the verse, a Section C for the chorus, and a

Section D for the ending—and you have the basic

blocks to build an original Song.

4 Create the Pattern Chain data by programming

the playback order of the Sections.

Pattern Chain allows you to string several different

Patterns together to make a single Song. For details,

see page 171.

5 Convert the Pattern Chain data to Song data.

For details, see page 174.

Creating an original Arpeggio type

In addition using the preset Arpeggios, you can also create

your own original Arpeggio data. The procedure is as

follows.

1 Record the MIDI sequence data to a Song or

Pattern.

Up to four tracks can be used in creating an Arpeggio.

Up to 16 unique note numbers can be recorded to the

Arpeggio track. If more than 16 different note numbers

have been recorded to the MIDI sequence data, the

Convert operation automatically reduces the notes in

excess of the limit. Because of this, be careful to record

only up to 16 different notes when you create an

Arpeggio.

2 Convert the recorded MIDI sequence data to

Arpeggio data.

Use the “Put Track to Arpeggio” Job in the Song Job

mode (page 164) or the Pattern Job mode (page 186).

After setting the related parameters, press the [ENTER]

button to execute the Job.

The created Arpeggio types can be selected from the User

bank in the Arpeggio display.

Arpeggio playback/recording in the

Pattern mode

MOTIF XF Reference Manual

Controller Block

Basic StructureBasic Operation

Connections

Basic Section

Controller Block

This block consists of the keyboard, Pitch Bend and Modulation Wheels, Ribbon Controller, Knobs, Sliders and so on. The

keyboard itself doesn’t generate sounds, but instead generates/transmits note on/off, velocity and other information (MIDI

messages) to the synthesizer’s tone generator block when you play notes. The controllers also generate/transmit MIDI

messages. The synthesizer’s tone generator block produces the sound according to the MIDI messages transmitted from

the keyboard and controllers.

Keyboard

The keyboard transmits the note on/off messages to the

Tone Generator Block (for sounding) and Sequencer Block

(for recording). The keyboard is also used for triggering

Arpeggio playback. You can change the note range of the

keyboard in octaves by using the OCTAVE [UP] and

[DOWN] buttons, transpose the notes in the Play display

(page 219) of the Utility mode, and set how the actual

velocity is generated according to the strength with which

you play notes in the same display.

Pitch Bend wheel

Use the Pitch Bend wheel to bend notes up (roll the wheel

away from you) or down (roll the wheel toward you) while

playing the keyboard. This wheel is self-centering and will

automatically return to normal pitch when released. Try out

the Pitch Bend wheel while pressing a note on the

keyboard.

Each preset Voice has its own default Pitch Bend Range

setting. The Pitch Bend Range setting for each Voice can

be changed in the Play Mode display (page 55) of the

Voice Edit mode. From this display you can also reverse

the Pitch Bend function—so that moving the wheel up

lowers the pitch, and moving it down raises the pitch.

Functions other than Pitch Bend can be assigned to the

Pitch Bend wheel in the Controller Set display (page 61) of

the Voice Edit mode.

Modulation wheel

Even though the Modulation wheel is conventionally used

to apply vibrato to the sound, many of the preset Voices

have other functions and effects assigned to the wheel.

The more you move this wheel up, the greater the effect

that is applied to the sound. Try out the Modulation wheel

with various preset Voices while playing the keyboard. To

avoid accidentally applying effects to the current Voice,

make sure the Modulation wheel is set to minimum before

you start playing. Various functions can be assigned to the

Modulation wheel in the Controller Set display (page 61) of

the Voice Edit mode.

Ribbon Controller

The Ribbon Controller is touch sensitive, and is controlled

by running your finger laterally across the surface. Various

functions are assigned to each preset Voice. Try out the

Ribbon Controller with various preset Voices while playing

the keyboard. Various functions can be assigned to the

Ribbon Controller in the Controller Set display (page 61) of

the Voice Edit mode. You can also determine whether the

Ribbon Controller value returns to the center, or stays at the

point where you released your finger in the General Other

display (page 57) of the Voice Common Edit mode.

Assignable Function Buttons

According to the XA (Expanded Articulation) Control

settings in the Oscillator display (page 69) of the Voice

Element Edit mode, you can call up the specific Element of

the current Voice by pressing each of these buttons during

your keyboard performance. You can select how the on/off

status of these buttons is switched by using the Assignable

Function 1 Mode and Assignable Function 2 Mode

parameters in the General Other display (page 57) of the

Voice Common Edit mode. Furthermore, you can assign

various functions (other than calling up specific Elements)

to these buttons.

Pitch Up

Pitch Down

Maximum

Minimum

Effect Block

MOTIF XF Reference Manual

Basic Structure Basic Operation

Connections

Basic Section

Knobs and Sliders

These eight knobs let you change various aspects of the

Voice’s sound in real time—while you play. The eight sliders

let you adjust the volume of the Voice Elements,

Performance Parts and Mixing Parts.

For more information about how to use the knobs and

sliders in the respective modes, see page 46 (Voice

mode), page 94 (Performance mode), and page 138

(Song/Pattern mode).

Effect Block

This block applies effects to the output of the tone generator block, and audio input block, processing and enhancing the

sound. Effects let you change the sound of the created Voice as desired.

Effect structure

System Effects are applied to the overall sound—a Voice,

an entire Performance, a Song, etc. With System Effects,

the sound of each Part is sent to the effect according to the

effect Send Level for each Part. The processed sound

(referred to as “wet”) is sent back to the mixer, according to

the Return Level, and output—after being mixed with the

unprocessed “dry” sound. This arrangement lets you

prepare an optimum balance of the effect sound and the

original sound of the Parts.

Insertion Effects can be applied individually to each Part.

Insertion Effects are mainly used to directly process a

single Part. The depth of the effect is adjusted by setting

the dry/wet balance. Since an Insertion Effect can only be

applied to one particular Part, it should be used for sounds

you want to drastically change or for sounds that use an

effect unintended for other sounds. You can also set the

balance so that only the effect sound is heard, by setting

Wet to 100%. This synthesizer features eight sets of

Insertion Effects (one set has A and B units). They can be

applied to all Parts of the Performance, and applied to

eight Parts (maximum) of the Song/Pattern. Another

important Insertion Effect is the Vocoder, which can be

applied only to one Part.

n In the Voice mode, the Vocoder Effect can be applied to each

of the Voices. In the Mixing (Song/Pattern) and Performance

mode, the Vocoder Effect can be applied only to Part 1. The

Vocoder Effect does not work even if you assign the Voice (to

which the Vocoder is applied in the Voice mode) to the other

parts (Part 2 or higher).

This block applies effects to the final stereo output signal of

the entire sound.

The Element EQ is applied to each element of the Normal

Voice and each key of the Drum Voice. You can specify

which shape is used among six types, such as shelving

and peaking.

This 3-band parametric EQ is applied to each part of the

Performance/Song Mixing/Pattern Mixing. The high band

and low band are the shelving type. The middle band is the

peaking type.

Master EQ is applied to the final (post-effect), overall sound

of the instrument. In this EQ, all five bands can be set to

peaking, or the lowest and highest bands can also be set

to shelving.

n The Peaking Type (an Equalizer shape), lets you attenuate/

boost the signal at the specified Frequency setting. The

Shelving type (another Equalizer shape), lets you attenuate/

boost the signal at frequencies above or below the specified

Frequency.

System Effects—Reverb and Chorus

Insertion Effect

Master Effect

Element EQ

Part EQ

Master EQ

MOTIF XF Reference Manual

Effect Block

Basic StructureBasic Operation

Connections

Basic Section

Effect connection in each mode

Sets the Element EQ parameters applied to

each Element (for a Normal Voice) and each

key (for a Drum Voice).

The Element EQ parameters can be set in the EQ

display (pages 83 and 90) of the Voice Edit mode.

Determines which Insertion Effect, A or B, is

applied to each Element (or to each key when a

Drum Voice is selected).

The Insertion Effect can also be bypassed. This can be

set in the Connect display (page 64) of the Voice

Common Edit or the Oscillator display (page 69) of the

Voice Element Edit (or Key Edit).

n These two display types are linked and feature the same

settings, only in different formats.

Determines the Insertion A/B connection from

the following four types: parallel, A F B, B F A,

and Vocoder.

This block also selects the Effect Types of Insertion A

and B respectively and sets the related parameters.

These can be set in the Connect display (page 64) and

the Insertion A/B display (page 66) of Voice Common

Edit.

Determines the Send Level/Return Level to/

from the Reverb/Chorus and the signal level

sent from the Chorus to the Reverb.

This block also selects the Effect Types of Reverb and

Chorus respectively and sets the related parameters.

These can be set in the Connect display (page 64) and

the Reverb display/Chorus display (page 66) of Voice

Common Edit.

Selects the Master Effect type and sets the

Effect parameters in the Master Effect display

(page 224) of the Utility mode.

Sets the Master EQ parameters in the Master

EQ display (page 224) of the Utility mode.

In the Voice mode

Voice

Element or Drum Key

Element EQ

Element 1 – 8

Drum Key C0 – C6

AD Part (set in the Utility mode)

Insertion A

Insertion B

Send Level

Return Level

Reverb

Chorus To

Reverb

Chorus

Master Effect

Master EQ

In the Performance mode

Performance

Part

Part EQ

Part 1 – 4

AD Part

Voice

Insertion A/B

Send

Level

Return

Level

Reverb

Chorus To

Reverb

Chorus

Master Effect

Master EQ

Effect Block

MOTIF XF Reference Manual

Basic Structure Basic Operation

Connections

Basic Section

Sets the Part EQ parameters applied to each

part in the EQ display (page 103) of

Performance Part Edit.

Determines the Send Level/Return Level to/

from the Reverb/Chorus and the signal level

sent from the Chorus to the Reverb.

This block also selects the Effect Types of Reverb and

Chorus respectively and sets the related parameters.

These can be set in the Connect display (page 107)

and the Reverb display/Chorus display (page 108) of

Performance Common Edit.

Selects the Master Effect type and sets the

Effect parameters in the Master Effect display

(page 104) of Performance Common Edit.

Sets the Master EQ parameters in the Master

EQ display (page 105) of Performance

Common Edit.

n The Effect settings of – in the Voice mode illustrated on

page 23 are available also in the Performance mode.

Sets the Part EQ parameters applied to each

part in the EQ display (page 195) of Mixing Part

Edit.

Selects the eight Parts to which the Insertion

Effect is applied from Parts 1 – 16 and the AD

Part.

This can be set in the Insertion Effect Switch display

(page 193) of the Mixing Edit.

Determines the Send Level/Return Level to/

from the Reverb/Chorus and the signal level

sent from the Chorus to the Reverb.

This block also selects the Effect Types of Reverb and

Chorus respectively and sets the related parameters.

These can be set in the Connect display (page 193)

and the Reverb display/Chorus display (page 193) of

Mixing Common Edit.

Selects the Master Effect type and sets the

Effect parameters in the Master Effect display

(page 193) of Mixing Common Edit.

Sets the Master EQ parameters in the Master

EQ display (page 193) of Mixing Common Edit.

n The Effect settings of – in the Voice mode illustrated on

page 23 are available for up to eight parts for which the

Insertion Effect is turned on.

Effect Category and Type

This section explains the Effect categories and their types.

The Effect Type list described below for each category

contains the columns: Rev (Reverb), Cho (Chorus), Ins

(Insertion) and Mas (Master Effect). The checkmarks

indicated in these columns means the Effect Type is

available for each block. These Effect types (with the

checkmarks indicated in each list) can be selected from

the panel controls.

Reverb

Also called “reverberation,” this refers to the sound energy

remaining in a room or closed space after the original

sound stops. Similar to yet different from echo, reverb is the

indirect, diffuse sound of reflections from the walls and

ceiling that accompany the direct sound. The

characteristics of this indirect sound depends on the size

of the room or space and the materials and furnishings in

the room.

Mixing mode

Mixing

Part

Part EQ

Part 1 – 16

AD Part

Voice

Insertion A/B

Send

Level

Return

Level

Reverb

Chorus To

Reverb

Chorus

Master Effect

Master EQ

Effect Type Rev Cho Ins Description

REV-X HALL  – – Reverb emulating the

acoustics of a concert hall

using the REV-X technology.

R3 HALL  – – Reverb emulating the

acoustics of a concert hall

using the algorithm derived

from the Yamaha ProR3.

Effect Block

MOTIF XF Reference Manual

Basic StructureBasic Operation

Connections

Basic Section

Delay

An effect (or device) that delays an audio signal for

ambient or rhythmic effects.

Chorus

Depending on the particular chorus type and parameters,

this can make a voice sound “larger,” as if several identical

instruments were playing in unison, or it can give a voice

greater warmth and depth.

Flanger

This effect creates a swirling, metallic sound.

Phaser

Cyclically modulates the phase to add modulation to the

sound.

Tremolo & Rotary

The tremolo effect cyclically modulates the volume.

The Rotary Speaker effect simulates the characteristic

vibrato effect of a rotary speaker.

Distortion

This type can be used mainly for guitar, adding distortion

with an edge to the sound.

SPX HALL Reverb emulating the

acoustics of a concert hall

derived from the Yamaha

SPX1000.

REV-X ROOM  – – Reverb emulating the

acoustics of a room using

the REV-X technology.

R3 ROOM  – – Reverb emulating the

acoustics of a room using

the algorithm derived from

the Yamaha ProR3.

SPX ROOM Reverb emulating the

acoustics of a room derived

from the Yamaha SPX1000.

R3 PLATE  – – Reverb emulating a metal

plate using the algorithm

derived from the Yamaha

ProR3.

SPX STAGE Reverb appropriate for a

solo instrument derived from

the Yamaha SPX1000.

SPACE

SIMULATOR

 – – Reverb which lets you set

the space size by specifying

the width, height, and depth.

Effect Type Rev Ins Mas Description

CROSS DELAY  – The feedback of the two

delayed sounds is crossed.

TEMPO CROSS

DELAY

 – Cross delay synchronized

with the tempo of Song/

Pattern/Arpeggio.

TEMPO DELAY

MONO

 – Mono delay synchronized

with the tempo of Song/

Pattern/Arpeggio.

TEMPO DELAY

STEREO

 – Stereo delay synchronized

with the tempo of Song/

Pattern/Arpeggio.

CONTROL

DELAY

–  – Delay with delay time

controllable in real time.

DELAY LR  – Produces two delayed

sounds: L and R.

DELAY LCR  – Produces three delayed

sounds: L, R and C (center).

DELAY LR

(Stereo)

Produces two delayed

sounds in stereo: L and R.

Effect Type Cho Ins Description

G CHORUS A Chorus Effect that produces a

richer and more complex

modulation than normal chorus.

2 MODULATOR A Chorus Effect consisting of the

pitch modulation and the amplitude

modulation.

SPX CHORUS An effect which uses a 3-phase

LFO to add modulation and

spaciousness to the sound.

Effect Type Rev Cho Ins Description

SYMPHONIC A multi-stage version of SPX

CHORUS modulation.

ENSEMBLE

DETUNE

Chorus effect without modulation,

created by adding a slightly pitch-

shifted sound.

Effect Type Cho Ins Description

VCM FLANGER Flanger with VCM technology

producing a vintage sound.

CLASSIC

FLANGER

Conventional type of flanger.

TEMPO

FLANGER

Tempo-synchronized flanger.

DYNAMIC

FLANGER

–  Dynamically controlled flanger.

Effect Type Cho Ins Description

VCM PHASER

MONO

Mono phaser with VCM technology

producing a vintage sound.

VCM PHASER

STEREO

Stereo phaser with VCM technology

producing a vintage sound.

TEMPO

PHASER

Tempo-synchronized phaser.

DYNAMIC

PHASER

–  Dynamically controlled phase

shifter

Effect Type Ins Description

AUTO PAN  An effect which cyclically moves the sound

left/right and front/back.

TREMOLO  An effect which cyclically modulates the

volume.

ROTARY

SPEAKER

 Simulation of a rotary speaker

Effect Type Ins Mas Description

AMP

SIMULATOR 1

 – A simulation of a guitar amp.

AMP

SIMULATOR 2

 – A simulation of a guitar amp.

COMP

DISTORTION

 – Since a Compressor is included in

the first stage, steady distortion can

be produced regardless of

changes in input level.

COMP

DISTORTION

DELAY

Compressor, Distortion and Delay

are connected in series.

Effect Type Cho Ins Description

Basic Structure Basic Operation

Connections

Basic Section

Effect Block

MOTIF XF Reference Manual

Compressor

Compressor is an effect commonly used to limit and

compress the dynamics (softness/loudness) of an audio

signal. When used with gain to boost the overall level, this

creates a more powerful, more consistently high-level

sound. Compression can be used to increase sustain for

electric guitar, smooth out the volume of a vocal, or bring a

drum kit or rhythm pattern further up-front in the mix.

Wah

This Effect cyclically modulates the tone brightness (cutoff

frequency of a filter). Auto Wah modulates the tone via

LFO, Touch Wah modulates the tone via volume (note on

velocity) and Pedal Wah modulates the tone the pedal

control.

Lo-Fi

This Effect intentionally degrades the audio quality of the

input signal via several methods such as lowering the

sampling frequency.

Tech

This Effect changes the tonal characteristics radically by

using a filter and modulation.

Vocoder

The Vocoder effect does not belong to any category.

When you want to use this effect, set the INSERTION

CONNECT parameter in the Effect Connect display

(page 66) to “ins L.”

Misc

This category includes the other effect types.

VCM is a technology that authentically models the

elements in analog circuitry (such as resistors and

capacitors). Effect types using the VCM technology

produce the uniquely warm characteristics of vintage

processing gear.

VCM Compressor 376

This effect emulates the characteristics of analog

compressors, used as standard effects in recording

studios. It frames and thickens the sound, and is suitable

for drum and bass sounds.

VCM Equalizer 501

This effect emulates the characteristics of analog

equalizers used in the 1970s, recreating a warm, high-

quality flanger effect.

Effect Type Ins Mas Description

VCM

COMPRESSOR

376

Compressor with VCM technology.

CLASSIC

COMPRESSOR

 – Conventional type of compressor.

MULTI BAND

COMP

3-band type compressor.

Effect Type Ins Description

VCM AUTO WAH  Modulates the tone via the LFO.

VCM TOUCH WAH  Modulates the tone via the volume

(note on velocity).

VCM PEDAL WAH  Modulates the tone via the pedal

control. For best results, assign the

Pedal Control parameter of this

Effect type to the Foot Controller in

the Controller Set display, then use

the Foot Controller to control this

effect in real time.

Effect Type Ins Mas Description

LO-FI Degrades the audio quality of the

input signal to get a lo-fi sound.

NOISY  – Adds the noise to the current

sound.

DIGITAL

TURNTABLE

 – Simulates the noise of an analog

record.

Effect Type Ins Mas Description

RING

MODULATOR

An effect that modifies the pitch by

applying amplitude modulation to

the frequency of the input.

DYNAMIC RING

MODULATOR

 – Dynamically controlled Ring

Modulator

DYNAMIC

FILTER

Dynamically controlled filter

AUTO SYNTH  – Processes the input signal into a

synthesizer-type sound.

ISOLATOR Controls the level of a specified

frequency band of the input signal.

SLICE Slices the AEG of the Voice sound.

TECH

MODULATION

 – Adds a unique feeling of

modulation similar to ring

modulation.

Effect Type Ins Description

VOCODER  This effect extracts characteristics from the

microphone sound and applies it to the

Voice played from the keyboard. This

creates a distinctive, “robot voice” effect

which is generated when you play the

keyboard and sing or speak into the

microphone at the same time.

Effect Type Cho Ins Description

VCM EQ 501 –  Vintage 5-band parametric EQ with

VCM technology.

PITCH

CHANGE

–  Changes the pitch of the input

signal.

EARLY

REFLECTION

This effect isolates only the early

reflection components of the

reverb.

HARMONIC

ENHANCER

–  Adds new harmonics to the input

signal to make the sound stand out.

TALKING

MODULATOR

–  Adds a vowel sound to the input

signal.

DAMPER

RESONANCE

–  Simulates the resonance produced

when the damper pedal of the

piano is pressed.

VCM (Virtual Circuitry Modeling)

Effect Type Ins Mas Description

Effect Block

MOTIF XF Reference Manual

Basic StructureBasic Operation

Connections

Basic Section

VCM Flanger

These effects emulate the characteristics of analog flanger

used in the 1970s, recreating a warm, high-quality flanger

effect.

VCM Phaser Mono, VCM Phaser Stereo

This effect emulates the characteristics of analog phasers

used in the 1970s, recreating a warm, high-quality phaser

effect.

VCM Auto Wah, VCM Touch Wah, VCM Pedal

Wah

These effects emulate the characteristics of analog Wah

used in the 1970s, recreating a warm, high-quality wah-

wah effect.

REV-X is a reverb algorithm developed by Yamaha. It

provides a high-density, richly reverberant sound quality,

with smooth attenuation, spread and depth that work

together to enhance the original sound.

The MOTIF XF features two types of REV-X effects: REV-X

Hall and REV-X Room.

Effect Parameters

Each of the Effect Types has parameters determining how

the Effect is applied to the sound. A variety of sounds can

be obtained from a single effect type by setting these

parameters. For information about the Effect parameters,

see below.

Preset settings for parameters of each effect type are

provided as templates and can be selected in the Effect

Type selection display. To get a desired effect sound, try

first selecting one of the Presets close to your imagined

sound, then change the parameters as necessary.

n Some parameters below may appear in different effect types

with the same name, but actually have different functions

depending on the particular effect type. For these parameters,

two or three types of explanations are given.

REV-X

Preset settings for Effect parameters

Preset settings can be selected here.

Effect Parameters

Parameter name Descriptions

AEG Phase Offsets the phase of the AEG.

AM Depth Determines the depth of the amplitude modulation.

AM Inverse R Determines the phase of the amplitude modulation for the R

channel.

AM Speed Determines the amplitude modulation speed.

AM Wave Selects the wave for modulating the amplitude.

AMP Type Selects the amplifier type to be simulated.

Analog Feel Adds the characteristics of an analog flanger to the sound.

Attack Determines the amount of time that elapses between the playing

of a key and the start of the compressor effect.

Attack Offset Determines the amount of time that elapses between the playing

of a key and the start of the wah effect.

Attack Time Determines the attack time of the envelope follower.

Bit Assign Determines how the Word Length is applied to the sound.

Bottom

Determines the minimum value of the wah filter.

BPF1–10 Gain Determines each output gain of BPFs 1 – 10 of the Vocoder

effect.

Click Density Determines the frequency at which the click sounds.

Click Level Determines the click level.

Color

Determines the fixed phase modulation.

Common Release This is a parameter of “Multi Band Comp.” This parameter

determines the amount of time that elapses between the

releasing of a note and the end of the effect.

Compress Determines the minimum input level at which the compressor

effect is applied.

Control Type This is a parameter of “Control Delay.” When set to “Normal,” the

delay effect is always applied to the sound. When set to

“Scratch,” the delay effect is not applied if both the Delay Time

and Delay Time Offset are set to “0.”

Damper Control When the half-damper compatible FC3 footswitch is connected

to the SUSTAIN jack, the Damper Control parameter is controlled

by the FC3 over a range of 0 – 127, allowing for partial damper

effects, such as is available on an actual grand piano.

Decay Controls how the reverb sound decays.

Delay Level C Determines the level of the delayed sound for the center channel.

Delay Mix Determines the level of the delayed mixed sound when multiple

effects are applied.

Delay Offset Determines the offset value of the delay modulation.

Delay Time Determines the delay of the sound in note value or absolute time.

Delay Time C, L, R Determines the delay time for each channel: center, left and right.

Delay Time L>R Determines the amount of time between the moment the sound is

input from the L channel and the moment the sound is output to

the R channel.

Delay Time Ofst R Determines the delay time for the R channel as offset.

Delay Time R>L Determines the amount of time between the moment the sound is

input from the R channel and the moment the sound is output to

the L channel.

Delay Transition

Rate

Determines the speed (rate) at which the delay time is changed

from the current value to the specified new value.

Density Determines the density of the reverberations or reflections.

Depth When “Space Simulator” is selected, this parameter determines

the depth of the simulated room.

When “VCM Flanger” is selected, this parameter determines the

amplitude of the LFO wave which controls the cyclic change of

the delay modulation.

When “Phaser Type” is selected, this parameter determines the

amplitude of the LFO wave which controls the cyclic change of

the phase modulation.

Detune Determines the amount of pitch to be detuned.

Device Selects the device for changing how to distort the sound.

Diffusion Determines the spread of the selected effect.

Direction Determines the direction of the modulation controlled by the

envelope follower.

Divide Freq High Determines the high frequency for dividing the entire sound into

three bands.

Divide Freq Low Determines the low frequency for dividing the entire sound into

three bands.

Divide Min Level Determines the minimum level of the portions extracted via the

slice effect.

Divide Type Determines how the sound (wave) is sliced by the note length.

Drive When one of the distortion, noisy and slice effects is selected,

this parameter determines the extent to which the sound is

distorted.

When one of the misc effects is selected, this parameter

determines the extent to which the enhancer or talking modulator

is applied.

Basic Structure Basic Operation

Connections

Basic Section

Effect Block

MOTIF XF Reference Manual

Drive Horn Determines the depth of the modulation generated via the

rotation of the horn.

Drive Rotor Determines the depth of the modulation generated via the

rotation of the rotor.

Dry Level Determines the level of the dry sound (to which the effect is not

applied).

Dry LPF Cutoff

Frequency

Determines the cutoff frequency of the low pass filter applied to

the dry sound.

Dry Mix Level Determines the level of the dry sound (to which the effect is not

applied).

Dry Send to Noise Determines the level of the dry signal sent to the noise effect.

Dry/Wet Balance Determines the balance of the dry sound and effect sound.

Dyna Level Offset Determines the offset value added to the output from the

envelope follower.

Dyna Threshold

Level

Determines the minimum level at which the envelope follower

starts.

Edge Sets the curve that determines how the sound is distorted.

Emphasis Determines the change of the characteristics in high frequencies.

EQ Frequency Determines the center frequency for each band of the EQ.

EQ Gain Determines the level gain of the EQ center frequency for each

band.

EQ High

Frequency

Determines the center frequency of the high EQ band that is

attenuated/boosted.

EQ High Gain Determines the amount of boost or attenuation applied to the

high EQ band.

EQ Low

Frequency

Determines the center frequency of the low EQ band that is

attenuated/boosted.

EQ Low Gain Determines the amount of boost or attenuation applied to the low

EQ band.

EQ Mid Frequency Determines the center frequency of the middle EQ band that is

attenuated/boosted.

EQ Mid Gain Determines the amount of boost or attenuation applied to the

middle EQ band.

EQ Mid Width Determines the width of the middle EQ band.

EQ Width Determines the width of the EQ band.

ER/Rev Balance Determines the level balance of the early reflection and reverb

sound.

F/R Depth This parameter of “Auto Pan” (available when PAN Direction is

set to “L turn” and “R turn”) determines the depth of the F/R

(front/rear) pan.

FB Hi Damp Ofst R Determines the amount of decay in high frequencies for the R

channel as offset.

FB Level Ofst R Determines the feedback level for the R channel as offset.

Feedback Determines the level of the sound signal output from the effect

block and returned to its own input.

Feedback High

Damp

Determines how the high frequencies of the feedback sound

decay.

Feedback Level When one of the reverb and early reflection effects is selected,

this parameter determines the feedback level of the initial delay.

When one of the delay, chorus, flanger, comp distortion delay,

and TEC effects is selected, this parameter determines the

feedback level output from the delay and returned to the input.

When “Tempo Phaser” or “Dynamic Phaser” is selected, this

parameter determines the feedback level output from the phaser

and returned to the input.

Feedback Level 1,

Determines the feedback level of the delayed sound in each of

the 1st and 2nd series.

Feedback Time Determines the delay time of the feedback.

Feedback Time 1,

2, L, R

Determines the time of the feedback delay 1, 2, L and R.

Filter Type When “Lo-Fi” is selected, this parameter selects the tonal

characteristic type.

When “Dynamic Filter” is selected, this parameter determines the

filter type.

Fine 1, 2 Determines the pitch finely for each of the 1st series and 2nd

series.

Formant Offset This parameter of the Vocoder adds the offset value to the cutoff

frequency of BPF for the Inst input.

Formant Shift This parameter of the Vocoder shifts the cutoff frequency of the

BPF for Inst input.

Gate Switch When set to “off,” the output from the HPF and the Noise

Generator is passed through the gate. When set to “on,” the

output from the HPF and the Noise Generator passes through the

gate only if the audio signal is input to the Inst.

Gate Time Determines the gate time of the sliced portion.

Height Determines the height of the simulated room.

Hi Resonance Adjusts the resonance of the high frequencies.

High Attack Determines the amount of time from the moment a note is

pressed to the moment the compressor is applied to the high

frequencies.

High Gain Determines the output gain for the high frequencies.

High Level Determines the level of the high frequencies.

High Mute Switches the mute status of the high frequencies.

High Ratio When “REV-X Hall” or “REV-X Room” is selected, this parameter

determines the ratio of the high frequencies.

When “Multi Band Comp” is selected, this parameter determines

the ratio of the compressor for the high frequencies.

Parameter name Descriptions

High Threshold Determines the minimum input level at which the effect is applied

to the high frequencies.

Horn Speed Fast Determines the speed of the horn when the slow/fast switch is set

to “fast.”

Horn Speed SLow Determines the speed of the horn when the slow/fast switch is set

to “slow.”

HPF Freq Determines the Cutoff frequency for the High Pass Filter applied

to the microphone sound.

HPF Output Level Determines how much the output from high pass filter is mixed

with the output from the Vocoder.

Initial Delay Determines the amount of time that elapses between the direct,

original sound and the initial reflections.

Initial Delay 1, 2 Determines the delay time until the initial reflection for each of the

1st series and 2nd series.

Initial Delay Lch,

Rch

Determines the amount of time that elapses between the direct,

original sound and the initial reflections (echoes) that follow it for

each of R and L channels.

Input Level Determines the input level of the signal to which the compressor

is applied.

Input Mode Selects mono or stereo configuration for the input sound.

Input Select Selects an input channel.

Inst Input Level Determines the level of the instrument sound to which the

Vocoder is applied.

L/R Depth Determines the depth of the L/R pan effect.

L/R Diffusion Determines the spread of the sound.

Lag Determines the lagging time additionally applied to the delayed

sound specified via a note length.

LFO Depth When one of “SPX Chorus,” “Symphonic,” “Classic Flanger,” and

“Ring Modulator” is selected, this parameter determines the

depth of the modulation.

When “Tempo Phase” is selected, this parameter determines the

frequency of the phase modulation.

LFO Phase

difference

Determines the L/R phase difference of the modulated wave.

LFO Phase Reset Determines how to reset the initial phase of the LFO.

LFO Speed When any of the chorus effects, flanger effects, tremolo and ring

modulator is selected, this parameter determines the frequency

of the modulation.

When “Tempo Phaser” or “Tempo Franger” is selected, this

parameter determines the modulation speed via a note type.

When “Auto Pan” is selected, this parameter determines the

frequency of the Auto Pan.

LFO Wave When any of the flanger effects and “Ring Modulator,” this

parameter selects the wave for modulation.

When “Auto Pan” is selected, this parameter determines the

panning curve.

When “VCM Auto Wah” is selected, this parameter selects the

wave, sine or square.

Liveness Determines the decay characteristic of Early Reflection.

Low Attack Determines the amount of time from the moment a note is

pressed to the moment the compressor is applied to the low

frequencies.

Low Gain Determines the output gain for the low frequencies.

Low Level Determines the output level for the low frequencies.

Low Mute Determines whether the low frequency band is off or on.

Low Ratio When “REV-X Hall” or “REV-X Room” is selected, this parameter

determines the ratio of the low frequencies.

When “Multi Band Comp” is selected, this parameter determines

the ratio of the compressor for the low frequencies.

Low Threshold Determines the minimum input level at which the effect is applied

to the low frequencies.

LPF Resonance Determines the resonance of the low pass filter for the input

sound.

Manual When “VCM Flanger” is selected, this parameter determines the

offset value of the delay modulation.

Manual When “VCM Phaser mono” or “VCM Phaser stereo” is selected,

this parameter determines the offset value of the phase

modulation.

Meter Changes the meter.

Mic Gate

Threshold

Determines the threshold level of the noise gate for the

microphone sound.

Mic Level Determines the input level of the microphone sound.

Mic L-R Angle Determines the L/R angle of the microphone.

Mid Attack Determines the amount of time from the moment a note is

pressed to the moment the compressor is applied to the mid

frequencies.

Mid Gain Determines the output gain for the mid frequencies.

Mid Level Determines the output level for the mid frequencies.

Mid Mute Switches the mute status of the mid frequencies.

Mid Ratio Determines the ratio of the compressor for the mid frequencies.

Mid Threshold Determines the minimum input level at which the effect is applied

for the mid frequencies.

Mix Determines the volume of the effect sound.

Mix Level Determines the level of the effect sound mixed to the dry sound.

Mod Depth Determines the depth of the modulation.

Mod Depth Ofst R Determines the depth of the modulation for R channel as offset.

Parameter name Descriptions

Effect Block

MOTIF XF Reference Manual

Basic StructureBasic Operation

Connections

Basic Section

*1 The Bottom parameter is available only when the value is less than that of the Top

parameter.

*2 The Color parameter may not be effective depending on the values of the Mode and

Stage parameters.

*3 The Top parameter is available only when the value is more than that of the Bottom

parameter.

Mod Feedback Determines the feedback level to the modulation.

Mod Gain Determines the gain of the modulation.

Mod LPF Cutoff

Frequency

Determines the cutoff frequency of the low pass filter applied to

the modulated sound.

Mod LPF

Resonance

Determines the resonance of the low pass filter for the modulated

sound.

Mod Mix Balance When “Noisy” is selected, this parameter determines the mix

balance of the modulated element.

When “Tech Modulation” is selected, this parameter determines

the volume of the modulated sound.

Mod Speed Determines the modulation speed.

Mod Wave Type Selects the wave type for modulation.

Mode Determines the phaser type, or more specifically, the factor for

forming the phaser effect.

Modulation Phase Determines the L/R phase difference of the modulated wave.

Move Speed Determines how long it takes to move the sound from the current

status to the sound specified via the Vowel parameter.

Noise Input Level Determines the noise level which is to be input.

Noise Level Determines the noise level.

Noise LPF Cutoff

Frequency

Determines the cutoff frequency of the low pass filter applied to

the noise.

Noise LPF Q Determines the resonance of the low pass filter applied to the

noise.

Noise Mod Depth Determines the depth of the noise modulation.

Noise Mod Speed Determines the speed of the noise modulation.

Noise Tone Determines the characteristics of the noise.

On/Off Switch Turns the isolator on or off.

OSC Frequency

Coarse

Determines the frequency at which the sine wave modulates the

amplitude of the input wave.

OSC Frequency

Fine

Determines the frequency finely at which the sine wave

modulates the amplitude of the input wave.

Output Determines the level of the signal output from the effect block.

Output Gain Determines the gain of the signal output from the effect block.

Output Level Determines the level of the signal output from the effect block.

Output Level 1, 2 Determines the level of the signal output from the 1st block and

2nd block respectively.

Over Drive Determines the degree and character of the distortion effect.

Pan 1, 2 Determines the pan for each of the 1st series and 2nd series.

Pan AEG Min

Level

This parameter of the Slice effect determines the minimum level

of the AEG applied to the panned sound.

Pan AEG Type This parameter of the Slice effect determines the type of the AEG

applied to the panned sound.

Pan Depth Determines the depth of the pan effect.

Pan Direction Determines the direction toward which the stereo pan position of

the sound moves.

Pan Type Determines the pan type.

Pedal Control When “VCM Pedal Wah” is selected, this parameter determines

the cutoff frequency of the wah filter. For best results, assign the

this parameter to the Foot Controller in the Controller Set display,

then use the Foot Controller to control this parameter.

Pedal Response Determines how the sound responds to the change of the

damper control.

Phase Shift Offset Determines the offset value of the phase modulation.

Pitch 1, 2 Determines the pitch in semitones for each of the 1st series and

2nd series.

PM Depth Determines the depth of the pitch modulation.

Pre Mod HPF

Cutoff Frequency

Determines the Cutoff frequency of the High Pass Filter before

the modulation.

Pre-LPF Cutoff

Frequency

Determines the Cutoff frequency of the Low Pass Filter before the

modulation.

Pre-LPF

Resonance

Determines the Resonance of the Low Pass Filter for the input

sound.

Presence This parameter of the guitar amp effect controls high frequencies.

Ratio Determines the ratio of the compressor.

Release Determines the amount of time that elapses between the

releasing of a key and the end of the compressor effect.

Release Curve Determines the release curve of the envelope follower.

Release Time Determines the release time of the envelope follower.

Resonance Determines the resonance of the filter.

Resonance Offset Determines the resonance as offset.

Reverb Delay Determines the delay time from the early reflections until the

reverberations.

Reverb Time Determines the reverb time.

Room Size Determines the size of the room in which the instrument sounds.

Rotor Speed Fast Determines the speed of the rotor when the slow/fast switch is set

to “fast.”

Rotor Speed Slow Determines the speed of the rotor when the slow/fast switch is set

to “slow.”

Rotor/Horn

Balance

Determines the volume balance of the horn and rotor.

Sampling Freq.

Control

Controls the sampling frequency.

Parameter name Descriptions

Sensitivity When one of “Dynamic Flanger,” “Dynamic Phaser,” and the TEC

effects is selected, this parameter determines the sensitivity of

the modulation applied to the input change.

When one of the VCM Touch Wah effects is selected, this

parameter determines the sensitivity of the wah filter’s change

applied to the input change.

Slow-Fast Time of

Horn

Determines how long it takes for the rotation speed of the horn to

change from the current speed (slow or fast) to the other one

(fast or slow) when the rotation speed is switched.

Slow-Fast Time of

Rotor

Determines how long it takes for the rotation speed of the rotor to

change from the current speed (slow or fast) to the other one

(fast or slow) when the rotation speed is switched.

Space Type Selects the type of space simulation.

Speaker Type Selects the type of speaker simulation.

Speed When “VCM Flanger” is selected, this parameter determines the

frequency of the LFO wave which controls the cyclic change of

the delay modulation.

When any of the phaser types is selected, this parameter

determines the frequency of the LFO wave which controls the

cyclic change of the phase modulation.

When “VCM Auto Wah” is selected, this parameter determines

the speed of the LFO.

Speed Control Switches the rotary speed.

Spread Determines the spread of the sound.

Stage Determines the step number of the phase shifter.

Threshold Determines the minimum input level at which the effect is

applied.

To p

Determines the maximum value of the wah filter.

Type When “VCM Flanger” is selected, this parameter determines the

flanger type.

When any of the wah effects is selected, this parameter

determines the type of the Auto Wah.

When “Early Reflection” is selected, this parameter determines

the type of the reflection sound.

Vocoder Attack Determines the attack time of the Vocoder sound.

Vocoder Release Determines the release time of the Vocoder sound.

Vowel Selects a vowel type.

Wall Vary Determines the wall status of the simulated room. Higher settings

produces more diffuse reflections.

Width Determines the width of the simulated room.

Word Length Determines the degree of sound roughness.

Parameter name Descriptions

About MIDI

MOTIF XF Reference Manual

Basic Structure Basic Operation

Connections

Basic Section

About MIDI

MIDI (Musical Instrument Digital Interface) is a standard which allows electronic musical instruments to communicate with

each other, by sending and receiving compatible Note, Control Change, Program Change and various other types of MIDI

data, or messages.

This synthesizer can control other MIDI devices by transmitting note related data and various types of controller data. It can

also be controlled by incoming MIDI messages which automatically determine the tone generator mode, select MIDI

channels, voices and effects, change parameter values, and of course play the voices specified for the various Parts.

MIDI channels

MIDI performance data is assigned to one of sixteen MIDI

channels. Using these channels, 1 – 16, the performance

data for sixteen different instrument parts can be

simultaneously sent over one MIDI cable.

Think of the MIDI channels as TV channels. Each TV station

transmits its broadcasts over a specific channel.

Your home TV set receives many different programs

simultaneously from several TV stations and you select the

appropriate channel to watch the desired program.

MIDI operates on the same basic principle.

The transmitting instrument sends MIDI data on a specific

MIDI channel (MIDI Transmit Channel) via a single MIDI

cable to the receiving instrument. If the receiving

instrument’s MIDI channel (MIDI Receive Channel)

matches the Transmit Channel, the receiving instrument will

sound according to the data sent by the transmitting

instrument.

For information on how to set the MIDI transmit channel

and the MIDI receive channel, see page 228.

MIDI messages transmitted/

recognized by this synthesizer

The messages transmitted/received by the MOTIF XF are

shown in the MIDI Data Format and MIDI Implementation

Chart in the separate Data List. The MOTIF XF tone

generator block (indicated “synth. part” in the Data List)

and sequencer block (indicated “seq. part” in the Data

List) handle different MIDI messages. The MIDI messages

which the sequencer block can receive can be recorded to

tracks of a Song/Pattern. On the other hand, the MIDI

messages which the tone generator can receive can affect

the MOTIF XF sound.

This section covers MIDI events, the data format by which

the MIDI messages generated by your keyboard

performance are recorded to a track of a Song/Pattern.

Theses events described below can be edited or inserted

in the displays of the Song Edit/Pattern Edit modes.

Note

These are the events that define notes, making up the

largest portion of all performance data. The note name (C -

2 – G8) defines the pitch. The gate time specifies the

length of the note in beats and clocks. Velocity (1 – 127) is

“how hard” the note is played. The bar graph to the right is

a graphic representation of the value.

Pitch Bend

Weather Report

News

MIDI Receive channel 2

MIDI Transmit channel 2

MIDI cable

MIDI events handled by the MOTIF XF

Note name

Gate time

Velocity

Bar graph

of velocity

Data value

Bar graph of

the data value

About MIDI

MOTIF XF Reference Manual

Basic StructureBasic Operation

Connections

Basic Section

Pitch bend events are generated by pitch bend wheel

operation and define continuous changes in pitch. The

value (-8192 – +0000 – +8191) is a numerical

representation of pitch bend wheel position. The bar graph

to the right is a graphic representation of the value.

Program Change (PC)

Program change events select Voices. The Bank Select

MSB and LSB parameters are actually included in the

Control Change category, below, but since in the MOTIF XF

these three events are used to select Voices, they are

grouped and described here. Bank Select MSB and LSB

select the Voice Bank. The program number selects a

Voice from the Voice category and bank specified by the

MSB and LSB. For a list of the Voices, see the separate

Data List. When you specify a program change as a

number in the range of 0 – 127, specify a number that is

one less than the program number listed in the Voice List.

For example, to specify program number 128, you would

actually enter program change 127.

Control Change (CC)

Control Change events control Voice and effect

parameters. Control Change events are generated when a

controller such as a modulation wheel or foot controller is

operated.

The Control number (000 – 127) specifies the controller

(function), such as volume or pan. The value (000 – 127)

specifies the “position” of the controller assigned to the

selected control number. The bar graph to the right is a

graphic representation of the data value.

Some of the more important control numbers and

controllers are listed below.

n When “---” is shown at the column of the Controller (Function),

the Control number can be handled by the sequencer block

and cannot be handled by the tone generator block.

Modulation Wheel (Control Number 001)

The MIDI data produced when a modulation wheel is

operated. No modulation is applied when the value is “0,” and

“127” produces maximum modulation.

Portamento Time (Control Number 005)

This MIDI message controls the portamento effect. No

portamento is produced when the value is “0,” and “127”

produces maximum portamento time. Portamento is only

produced when Portamento (Control Number 065) is ON.

Data Entry MSB (Control Number 006)

Data Entry LSB (Control Number 038)

These parameters specify the value of RPN MSB, RPN LSB

(page 32), NRPN MSB, and NRPN LSB events. The value is

represented by two control change data numbers—the MSB

and the LSB.

Volume (Control Number 007)

Sets the volume for each individual Part. No sound is

produced when the value is “0,” and “127” produces

maximum volume.

Pan (Control Number 010)

Sets the pan position for each individual Part. The sound is

panned fully left when the value is “0” and fully right when the

value is “127.” The displayed values are -64 – +63.

Expression (Control Number 011)

Sets the expression for each individual Part. No sound is

produced when the value is “0,” and “127” produces

maximum volume. This parameter produces volume variations

during playback.

Sustain (Hold 1) (Control Number 064)

This MIDI message represents sustain pedal ON/OFF

operations. Notes playing when the pedal is pressed will be

sustained. When the value is “0” – “63” sustain is OFF, and

when the data is “64” – “127” sustain is ON.

Portamento (Control Number 065)

This MIDI message turns portamento ON or OFF. When the

value is “0” – “63” portamento is OFF, and when the data is

“64” – “127” portamento is ON. The length (degree) of the

portamento effect is controlled by Portamento Time (Control

Number 005).

Sostenuto Pedal (Control Number 066)

This MIDI message represents sostenuto pedal ON/OFF

operations. When the value is “0” – “63” sostenuto is OFF, and

when the data is “64” – “127” sostenuto is ON.

Harmonic Content (Control Change 071)

Adjusts the resonance of the filter assigned to a Voice. The

resonance is adjusted by using the data range of 0 – 127 as

an offset value with a display range of -64 – +63 which is

added to the Voice data.

Release Time (Control Change 072)

Adjusts the release time of the Voice AEG. The release time is

adjusted by using the data range of 0 – 127 as an offset value

with a display range of -64 – +63 which is added to the Voice

data.

Attack Time (Control Change 073)

Adjusts the attack time of the Voice AEG. The attack time is

adjusted by using the data range of 0 – 127 as an offset value

with a display range of -64 – +63 which is added to the Voice

data.

Brightness (Control Change 074)

Adjusts the cutoff frequency of the filter assigned to a Voice.

The cutoff is adjusted by using the data range of 0 – 127 as an

offset value with a display range of -64 – +63 which is added

to the Voice data.

Bank Select MSB

Bank Select LSB

Program number

Voice name

Data value

Bar graph of

the data value

Control number

Controller (function)

Basic Structure Basic Operation

Connections

Basic Section

About MIDI

MOTIF XF Reference Manual

Decay Time (Control Change 075)

Adjusts the decay time of the Voice AEG. The decay time is

adjusted by using the data range of 0 – 127 as an offset value

with a display range of -64 – +63 which is added to the Voice

data.

Effect Send Level 1 (Reverb Effect) (Control Number 091)

Specifies the reverb effect send level.

Effect Send Level 3 (Chorus Effect) (Control Number 093)

Specifies the delay/chorus effect send level.

Effect Send Level 4 (Variation Effect) (Control Number 094)

Specifies the variation effect send level.

n This MIDI event cannot be handled by the tone generator

block, although it can be recorded to a Song/Pattern track.

Data Increment (Control Number 096)

Data Decrement (Control Number 097)

These MIDI messages increment or decrement by one the

value of pitch bend sensitivity, fine tune, or coarse tune

settings made using RPN (page 33).

NRPN MSB (Non-Registered Parameter Number MSB)

(Control Number 099)

NRPN LSB (Non-Registered Parameter Number LSB)

(Control Number 098)

Used primarily as offset values for vibrato, filter, EG and other

settings. Data Entry is used to set the parameter value after

specifying the parameter using the NRPN MSB and LSB. Once

an NRPN is specified, the following data entry message

received on the same channel is processed as the value of

that NRPN. Prevent operational errors by transmitting an RPN

Null message (7FH, 7FH) after using these messages to

perform a control operation. Refer to “NRPN” for information

about the parameter (page 33).

n This MIDI event cannot be handled by the tone generator

block, although it can be recorded to a Song/Pattern track.

RPN MSB (Registered Parameter Number MSB)

(Control Number 101)

RPN LSB (Registered Parameter Number LSB)

(Control Number 100)

Used primarily as offset values for pitch bend sensitivity,

tuning, and other part settings. Data Entry (page 31) is used to

set the parameter value after specifying the parameter using

the RPN MSB and RPN LSB. Once an RPN is specified, the

following data entry message received on the same channel is

processed as the value of that RPN. Prevent operational errors

by transmitting an Null message (7FH, 7FH) after using these

messages to perform a control operation. Refer to “RPN” for

information about the parameter.

All Sound Off (Control Number 120)

Turns all currently sounding notes off for all Parts.

Reset All Controllers (Control Number 121)

Resets all controllers to their initial values. The following

parameters are affected: Pitch Bend, Channel Pressure,

Polyphonic Key Pressure, Modulation, Expression, Hold 1,

Portamento, Sostenuto, Soft Pedal, Portamento Control, RPN*,

NRPN* (*The RPN and NRPN are specified as having no

number, and no internal data is changed). The following data

is not affected: Program Change, Bank Select MSB and LSB,

Volume, Pan, Dry Send Level, Effect Send Level 1, 3, and 4,

Pitch Sensitivity, Fine Tuning, Coarse Tuning.

Omni Mode Off (Control Number 124)

Performs the same operation as when an All Notes Off

message is received. The receive channel is set to 1.

Omni Mode On (Control Number 125)

Performs the same operation as when an All Notes Off

message is received. Only the receive channel is set to Omni

On.

Mono (Control Number 126)

Performs the same operation as when an All Sound Off

message is received. If the 3rd byte parameter (the parameter

that determines the mono number) is 0 – 16, the Parts

corresponding to those channels are set to mono.

Poly (Control Number 127)

Performs the same operation as when an All Sound Off

message is received, and the Parts corresponding to those

channels are set to poly.

Channel Aftertouch (CAT)

This event is generated when pressure is applied to a key

after the note is played.

The data (000 – 127) represents the amount of pressure

applied to the key. The bar graph to the right is a graphic

representation of the value.

Polyphonic Aftertouch (PAT)

This event is generated when pressure is applied to a key

after the note is played. Unlike the Channel Aftertouch

event, however, individual data is provided for each key.

Note Name (C -2 – G8) specifies the key. The data (000 –

127) represents the amount of pressure applied to the key.

The bar graph to the right is a graphic representation of the

value.

n The Polyphonic Aftertouch cannot be handled by the tone

generator block although this event can be recorded to a

Song/Pattern track.

Data value

Bar graph of

the data value

Data value

Bar graph of

the data value

Note name

MOTIF XF Reference Manual

About MIDI

Basic StructureBasic Operation

Connections

Basic Section

Registered Parameter Number (RPN)

Changes parameter values for each tone generator part.

Normally three types of control change data are sent: RPN

MSB (101), RPN LSB (100), and Data Entry MSB (6). In the

MOTIF XF, Data Entry LSB (38) is added to this and the

resulting group of control change events is handled as one.

Once an RPN is specified, the following data entry

message received on the same channel is processed as

the value of that RPN. Prevent operational errors by

transmitting a Null message (7FH, 7FH) after using these

messages to perform a control operation. The MOTIF XF

tone generator block allows control of the 4 following

parameters:

RPN Parameter List

Non-Registered Parameter Number (NRPN)

Changes parameter values for each tone generator Part.

There is no compatibility between different manufacturers.

Numerous parameters specific to each tone generator can

be controlled to produce tonal changes. Normally three

types of control change data are sent: NRPN MSB (99),

NRPN LSB (98), and Data Entry MSB (6). In the MOTIF XF,

this group of control change events is handled as one.

Once an NRPN is specified, the following data entry

message received on the same channel is processed as

the value of that NRPN. Prevent operational errors by

transmitting an RPN Null message (7FH, 7FH) after using

these messages to perform a control operation. For filter

cutoff frequency, resonance, and other independent

control change parameters, it is normal to use the

independent control change parameters rather than the

NRPN.

n This MIDI event cannot be handled by the tone generator

block, although it can be recorded to a Song/Pattern track.

System Exclusive

Changes internal tone generator settings such as Voice

and effect settings, remote switch control, tone generator

mode switching, and others via MIDI. The 2nd byte is a

manufacturer ID number, and there is no data compatibility

between manufacturers. This type of event is used to

control MOTIF XF-specific functions. The cursor can be

used to scroll through the data if the data size is greater

than 17 bytes.

RPN number

MSB-LSB

Data entry

MSB-LSB

RPN Number

Parameter Name

Data Entry (Range)

Initial

Value

Function

MSB LSB MSB LSB

000 000 Pitch Bend Sensitivity 000 – 024 — 024 Specifies the amount of pitch bend produced in response to pitch

bend data in semitone increments.

000 001 Fine Tune -64 – +63 — +00 Adjusts the tuning in cent increments.

000 002 Coarse Tune -24 – +24 — +00 Adjusts the tuning in semitone increments.

127 127 Null — — — Voids the RPN and NRPN settings so no tone generator settings are

changed when subsequent Data Entry messages are received.

NRPN number

MSB-LSB

Data entry

MSB-LSB

Data

Internal Memory

MOTIF XF Reference Manual

Basic Structure Basic Operation

Connections

Basic Section

Internal Memory

As you use the MOTIF XF, you will create many different kinds of data, including Voices, Performances, Songs, and Patterns.

This section describes how to maintain the various types of data and use the memory devices/media for storing them.

Internal Memory

Below are explanations of the basic terms related to

memory. Refer to the diagram on the next page for details

about data handled via the following memory types.

Flash ROM

ROM (Read Only Memory) is memory designed

specifically for reading out of data, and as such data

cannot be written to it. Unlike conventional ROM, Flash

ROM can be overwritten—allowing you to store your own

original data. The contents of Flash ROM are maintained

even when the power is turned off.

DRAM / SDRAM

RAM (Random Access Memory) is memory designed

specifically for data writing and data reading operations.

The MOTIF XF is equipped with two types of RAM: DRAM

(Dynamic RAM) and SDRAM (Synchronous Dynamic

RAM). The created data stored on DRAM and SDRAM is

lost when the power is turned off. Because of this, you

should always store any data residing in DRAM to the USB

storage device or the computer connected to the network

before turning off the power.

Regarding the Samples (obtained via the Sampling feature)

on SDRAM, you should copy them to the optional Flash

Memory Expansion Module (FL512M/FL1024M) as

Waveforms, allowing you to recall them quickly.

Flash Memory Expansion Module (optional

FL512M/FL1024M)

The sample obtained via the Sampling function can be

stored as a Waveform by installing the optional Flash

Memory Expansion Module FL512M/FL1024M to the

MOTIF XF. The sample on the Flash Memory Expansion

Module will be maintained even if the power is turned off

and can immediately be called up as a Waveform. This is

convenient when using a User Voice containing a

Waveform to which the Sample created via the Sampling

function has been assigned.

n The optional FL512M/FL1024M can handle only the Waveform

data.

Edit Buffer and User Memory

The edit buffer is the memory location for edited data of

these types: Voice, Performance, Master, Song Mixing, and

Pattern Mixing. Data edited in this location will be stored to

the User Memory.

If you select another Voice, Performance, Master, Song, or

Pattern, the entire contents of the edit buffer will be

rewritten with the newly selected Voice/Performance/

Master/Song Mixing/Pattern Mixing data. Make sure to

store any important data before selecting another Voice,

etc.

Edit Buffer and Recall Buffer

If you’ve selected another Voice/Performance/Song/Pattern

without storing the one you were editing, you can recall

your original edits, since the edit buffer’s contents are

stored in backup memory.

n Keep in mind that the recall buffer is not available in the Master

Edit mode.

MOTIF XF Reference Manual

Internal Memory

Basic StructureBasic Operation

Connections

Basic Section

Memory Structure

This diagram details the relationship among the functions of the MOTIF XF and the internal memory and external devices

such as USB storage device and computer.

*1 Only the currently edited data can be transmitted as Bulk data. Note that the Mixing Voice cannot be transmitted as Bulk data.

*2 The Mixing settings can be stored/recalled as a template in the Song Mixing Job mode/Pattern Mixing Job mode.

*3 You can convert the MIDI sequence data recorded in the Song Record mode/Pattern Record mode to Arpeggio data. This can be executed with

the following operations: [SONG]  [JOB]  [F5] Track  07: Put Track to Arpeggio or [PATTERN]  [JOB]  [F5] Track  07: Put Track to

Arpeggio.

Internal Memory

Recall Buffer

Compare Buffer

(DRAM)

Excluding Master and Utility

settings

Preset Data (ROM)

• Voice

• Preset Arpeggio

• Demo

Edit Buffer

(DRAM)

• Voice Edit

• Mixing Voice Edit

• Performance Edit

• Performance Record

• Song Record

• Song Mixing Edit

• Song Chain

• Pattern Record

• Pattern Patch

• Pattern Mixing Edit

• Pattern Chain

• Utility and Sequencer

Setup settings

• Master Edit

Sampling

Audio Record/Play

User Memory

Flash ROM

• User Voice (Normal, Drum)

• User Performance

• User Arpeggio

• Song

• Song Mixing

• Pattern

• Pattern Mixing

• Phrase

• Pattern Chain

• Song Chain

• System settings

(Utility settings + Sequencer Setup

settings + Mixing Template)

• User Master

Waveform

MIDI instrument or computer

Sequence software

MOTIF XF Editor

USB storage device/

Computer drive connected to

the network

File extensions “.X3V”

File extensions “.X3E”

File extensions “.WAV” & “AIF”

File extensions “.X3G”

File extensions “.MID”

File extensions “.X3S”

File extensions “.MID”

File extensions “.X3P”

File extensions “.X3W”

File extensions “.WAV” & “.AIF”

File extensions “.X3A”

(including all data in User Memory)

SDRAM

Internal data communication

Data communication between this

synthesizer and an external device

Bulk Dump

Load/Save (executed in the File mode)

StoreStoreStore

Copy (Sampling Job)

Flash Memory

Expansion Module

(optional FL512M/

FL1024M)

MOTIF XF Reference Manual

Basic Structure Basic Operation

Connections

Basic Section

Basic Operation

Use these four buttons to navigate the display, moving the

cursor around the various selectable items and parameters

in the screen. When selected, the relevant item is

highlighted (the cursor appears as a dark block with

inverse characters). You can change the value of the item

(parameter) at which the cursor is located by using the

data dial, [INC/YES] and [DEC/NO] buttons.

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.

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).

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.

Depending on the currently selected mode, up to five

functions (sub-functions) are available and can be called

up with the [SF1] – [SF5] buttons (the [SF6] button is used

mainly to call up the INFO and LIST displays). Keep in

mind that the available functions differ depending on the

selected mode. (Some displays may not have any sub-

functions for these buttons.)

The example display below is called up by pressing the

[F5] button then pressing the [SF1] button.

For parameters having large value ranges (such as the

start and end points of a sample), you can also enter the

value directly, using the buttons below the LCD display as

a numeric keypad. When the cursor is located on such a

parameter, the [NUM] icon appears at the lower right

corner of the LCD display. When the [SF6] NUM button is

pressed in this status, each digit (1 – 9, 0) is assigned to

the [SF1] – [SF5] and [F1] – [F5] buttons as shown below,

allowing you to input a number directly by using these

buttons. Depending on the selected parameter, a negative

value can be input. When such a parameter is selected

and you wish to input a negative value, press the [F6]

button (to which “-” is assigned) then use the [SF1] – [SF5]

and [F1] – [F5] buttons.

After completing the number input, press the [ENTER]

button to actually enter the number.

Moving the Cursor

Changing (editing) parameter values

Functions and Sub-Functions

IncreasingDecreasing

Increasing by 1Decreasing by 1

Inputting a number directly

These functions can be selected

via the corresponding button

([F1] – [F6]).

These functions can be selected

via the corresponding button

([SF1] – [SF6]).

You can use these buttons as the numeric keypad.

Basic Operation

MOTIF XF Reference Manual

Basic StructureBasic Operation

Connections

Basic Section

You can freely name the data you’ve created, such as

Voices, Performances, Songs, Patterns and files saved to a

USB storage device.

When the cursor is located on such a naming parameter,

the CHAR icon appears at the lower right corner of the

display. When pressing the [SF6] button in this status, the

Input Character window appears as shown below. In the

Edit area, you can move the cursor to determine the

location at which the character is to be input by using the

[F1] and [F2] buttons. In the Character List, you can move

the cursor to determine the character to be input by using

the Cursor buttons, [INC/YES] button, [DEC/NO] button

and the data dial. After selecting the character, press the

[F4] button to actually enter the selected character to the

location specified in the Edit area. To delete the character

at the cursor location, press the [F5] Delete button. To

delete all the characters, press the [F6] All Clear button.

After completing the character input, press the [ENTER]

button to actually enter the currently edited name.

Depending on the parameter, you can call up a convenient

pop-up List by pressing the [SF6] LIST button, from which

you can select the desired parameter setting or item. When

the cursor is located on such a parameter (indicated with

an upside down triangular arrow), the LIST icon appears at

the lower right corner of the display. In this condition, press

the [SF6] button to call up the List. To select the desired

item or setting, use the [INC/YES], [DEC/NO] buttons and

the data dial. After selecting, press the [ENTER] button to

fix the selection and close the List.

Several parameters let you set a key range or velocity

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.

When the cursor is located on such a parameter, the KBD

icon appears at the lower right corner of the display. You

can set the note or velocity directly from the Keyboard, by

holding down the [SF6] button and pressing the desired

key.

Naming (Inputting Characters)

Calling up the List

Editing

area

Character

List

Note (Key) and Velocity settings

This indicates that you can call up the List by pressing the

[SF6] LIST button.

The List appears. You can select one from this List.

67890

MOTIF XF Reference Manual

Basic Structure Basic Operation

Connections

Basic Section

Connections

n For the external connections depicted below, you will also need speakers or headphones to listen to the sound. For details, refer to the

Owner’s Manual.

Connecting External MIDI Instruments

With a standard MIDI cable (available separately), you can connect an external MIDI instrument, and control it from the

MOTIF XF. Likewise, you can use an external MIDI instrument (such as a keyboard or sequencer) to control the sounds of

the MOTIF XF. Below are several different MIDI connection examples; use the one most similar to your intended setup.

n Any one of the these interfaces can be used for MIDI data transmission/reception: the MIDI connectors, the IEEE1394 connector (available

when the optional FW16E is installed), or the USB connector. However, they cannot be used at the same time. Select which connector is used

for MIDI data transfer in the MIDI display (page 228) of the Utility mode.

This connection lets you sound an external MIDI tone generator (synthesizer, tone generator module, etc.) by playing the

MOTIF XF or playing back the Song/Pattern of the MOTIF XF. Use this connection when you wish to sound the other

instrument along with the MOTIF XF.

Make sure to match the MIDI Transmit Channel of the MOTIF XF with the MIDI Receive Channel of the external MIDI tone

generator. The MIDI Transmit Channel in the Voice mode and Performance mode can be set in the MIDI display (page 228)

of the Utility mode. The Transmit Channels of each track can be set in the Song Track display (page 142) of the Song Play

mode. The Transmit Channels of each track can be set in the Pattern Track display (page 169) of the Pattern Play mode.

Use an external keyboard or synthesizer (such as the S90 XS) to remotely select and play the Voices of the MOTIF XF.

Make sure to match the MIDI Transmit Channel of the external MIDI instrument with the MIDI Receive Channel of the MOTIF

XF. For details on setting the MIDI Transmit Channel of the external MIDI instrument, refer to the Owner’s Manual of the MIDI

instrument. The MIDI Receive Channel in the Voice mode and Performance mode can be set in the MIDI display (page 228)

of the Utility mode. The MIDI Receive Channels in the Song mode and Pattern mode can be set in the Voice display

(page 194) of the Mixing Part Edit mode.

Controlling an external tone generator or synthesizer from the MOTIF XF

Controlling from an external MIDI keyboard

MOTIF XF

MIDI OUT

MIDI IN

External MIDI tone generator such as

MOTIF-RACK XS

MOTIF XF

MIDI OUT

MIDI IN

External MIDI tone generator such as S90 XS

Connections

MOTIF XF Reference Manual

Basic StructureBasic Operation

Connections

Basic Section

The playback data of an external MIDI sequencer is used to play the sounds of another MIDI instrument (connected to the

MIDI THRU connector) along with the MOTIF XF. The MIDI THRU connector simply redirects any received MIDI data (via

MIDI IN) to connected instrument.

In this case, make sure that the MOTIF XF is set to the Song mode or Pattern mode. If the instrument is set to the Voice mode

or to the Performance mode in which multi-channel MIDI messages are not recognized, the external sequence data

(containing multi-channel data) will not play back properly on the MOTIF XF. In addition, you may have to make certain MIDI

synchronization settings (see below). Likewise, make sure to set the MIDI tone generator (connected to the MIDI THRU

connector) to the multi-timbral mode. In addition, you’ll need to enable the MOTIF XF to respond to external clock, set from

the MIDI display (page 228) in the Utility mode.

Connecting to an MTR (Multi-track Recorder)

Since this synthesizer can receive the MTC (MIDI Time Code) and can transmit the MMC (MIDI Machine Control), you can

produce music by synchronizing to an MTC- or MMC-compatible multi-track recording device. You can use two types of

MTR control (illustrated below) by setting the MIDI Sync to MTC in the MIDI display (page 228) of the Utility mode.

n MTC and MMC are available only in the Song mode.

After receiving the MTC signal transmitted from the MTR by starting the MTR playback, the Song of the MOTIF XF will start at

the moment the MTC Start Offset time set in the MIDI display (page 228) of the Utility mode is received.

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 XF does not transmit MTC. An instrument such as the Yamaha AW2400

which can transmit MTC is necessary as an MTC master.

Controlling another MIDI device via MIDI THRU

Synchronizing the MOTIF XF to the MTC signal from an external MTR

MOTIF XF

MIDI IN

MIDI OUT

MIDI THRU

MIDI IN

MIDI OUT

MIDI tone generator

MIDI synthesizer

MIDI sequencer

MOTIF XF

MIDI IN

MIDI OUT

AW2400, etc.

Basic Structure Basic Operation

Connections

Basic Section

Connections

MOTIF XF Reference Manual

You can control the start/stop and fast forward/rewind of an MMC-compatible MTR from the SEQ TRANSPORT buttons on the

front panel of this synthesizer, outputting MMC messages via MIDI.

n MMC (MIDI Machine Control) allows remote control of multitrack recorders, MIDI sequencers, etc. An 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.

Using USB storage devices

You can connect a USB storage device such as flash memory or a hard disk unit to the USB TO DEVICE connector on the

rear panel and save/load the files (including data created on the MOTIF XF) to and from it. When using USB storage devices,

follow the important precautions below.

Compatible USB devices

Only one USB device (a storage device, such as hard disk drive, CD-ROM drive or flash memory, or a USB-compatible

ASCII keyboard) can be connected. Other devices such as a computer mouse cannot be used. Both bus-powered

(powered by the host device) or self-powered (battery or external power supply) types can be used. The MOTIF XF does not

necessarily support all commercially available USB storage devices. Yamaha cannot guarantee operation of USB storage

devices that you purchase. Before purchasing USB storage devices, please consult your Yamaha dealer, or an authorized

Yamaha distributor (see list at end of the Owner’s Manual) for advice, or visit the following website:

http://www.yamahasynth.com/support/faq/

n Although CD-R/W drives can be used to load data to the instrument, they cannot be used for saving data. However, you can transfer the data

to a computer and save it to a CD using the CD-R/W drive on the computer.

Formatting USB storage media

When an unformatted USB storage device is connected to the USB TO DEVICE connector or when unformatted media is

inserted to the USB device connected to the USB TO DEVICE connector, the indication “unformatted device (usb***)” is

shown in the device list on the [F3] Format window of the File mode. If this happens, execute the Format operation in the

Format display (page 240).

n The three asterisks (***) in the example indication above denote the sequential serial numbers of the connected devices which need to be

formatted. When several partitions are included in a single device, the partition number is indicated at the right of the serial number.

Controlling an MTR by using MMC transmitted from the MOTIF XF

Precautions when using the USB TO DEVICE connector

NOTICE

• Never turn the USB device’s power on/off and never plug/unplug the USB cable when the connected USB storage device is the self-

powered type. Doing so may result in the operation of the synthesizer “freezing” or hanging up.

• While the instrument is accessing data (such as in the Save, Load and Delete operations in the File mode), do NOT unplug the USB

cable, do NOT remove the media from the device, and do NOT turn the power off to either device. Doing so may corrupt the data on

either or both devices.

MOTIF XF

MIDI IN MIDI OUT

AW2400, etc.

MIDI IN MIDI OUT

MOTIF XF

USB TO DEVICE connectorUSB flash memory

USB storage device such as

hard disk drive

Connections

MOTIF XF Reference Manual

Basic StructureBasic Operation

Connections

Basic Section

You can connect an ASCII keyboard to the instrument via its USB TO DEVICE terminal. This conveniently allows you to type

in Voice names, Song names, file names, and other alphanumeric text, to enter values for parameters that would normally

require the numeric-keypad function, and to operate the instrument using function keys and shortcut keys.

Panel buttons and ASCII keyboard equivalents

Network connection

The MOTIF XF can be connected to a LAN network via the ETHERNET cable. When the MOTIF XF is connected to the LAN

network, the File mode lets you save the file created on the MOTIF XF to the computer drive connected to the same network.

Connect the MOTIF XF to the router or hub with a LAN cable. Connect a computer to the router or hub with a LAN cable or

the wireless connection.

n Make sure to use a straight LAN cable.

n Due to EU regulations, users within Europe should use an STP (shielded twisted pair) cable to prevent electromagnetic interference.

n If your computer is not equipped with an ETHERNET connector, install a commercially available LAN adaptor to the PCI slot or PC Card slot

of your computer.

n If you have a broadband router to connect your computer to the Internet, use an unused ETHERNET connector on the router to connect the

MOTIF XF. Keep in mind however, that this does not allow you the MOTIF XF to be connected to the Internet, but only to other computers and

drives on the network.

Connecting a USB ASCII keyboard

MOTIF XF ASCII keyboard MOTIF XF ASCII keyboard

F1 – F6 F1 – F6 STOP End

SF1 – SF6 F7 – F12 PLAY Page Down

INC/YES + EDIT Print Screen/Sys Rq

DEC/NO - JOB Scroll Lock

EXIT Escape STORE Pause/Break

ENTER Enter UP UP

TOP Insert DOWN DOWN

REWIND Home LEFT LEFT

FORWARD Page Up RIGHT RIGHT

RECORD Delete (none) Numeric keypad*

ASCII characters

LAN connection

MOTIF XF

USB TO DEVICE terminal

ASCII keyboard

MOTIF XF

Computer equipped with an

ETHERNET connector

Hub or router

LAN cable

ETEHRNET connector

*Modes supporting numeric-keypad input:

• Song/Pattern Play

• File

• Song/Pattern Edit

• Utility

• Song/Pattern Job

• Sampling

• Mixing Play

• Sequencer Setup

*Keep in mind that there are certain parameters which do not

support numeric-keypad input.

Basic Structure Basic Operation

Connections

Basic Section

Connections

MOTIF XF Reference Manual

After the LAN connection is completed, you should set the

network related parameters to make the connection active.

Once the MOTIF XF has been connected to the network,

files can be saved or loaded between the MOTIF XF and

the computer connected to the same network. Call up the

Network display (page 221) in the Utility mode.

File Sharing for accessing a computer from

the MOTIF XF

Follow the instructions below so that you can access a

computer from the MOTIF XF via the LAN network.

1 Call up the Network display (page 221) of the

Utility mode.

Press the [UTILITY] button to enter the Utility mode then

press the [F1] button and the [SF3] button to call up the

Network display.

2 Set the parameters related to the network.

Here, the minimum required settings (parameters ,

and ) are explained. For details on the other

parameters, see page 221.

DHCP Client

Set this parameter to “on,” if you have the network using

the device with the DHCP server function such as a

broadband router. When this is set to on, setting

parameters – are not necessary. Set this

parameter to “off,” if your network does not use a

device with the DHCP server function.

Security

Set this parameter to “workgroup,” if your network

administrator does not specify otherwise.

Mount User Name

Input the User Name necessary for accessing the

computer on the network. This can be stored as the

parameter setting to the MOTIF XF.

Parameters and are not necessary here.

Parameters – are necessary to be set if your

network does not use a device with the DHCP server

function. For details, see page 221. For instructions on

setting these parameters, consult your network

administrator or provider.

For information on the other parameters, refer to the

explanation of the Network display (page 221) in the

Utility mode.

3 Press the [ENTER] button to actually apply the

settings to the MOTIF XF.

4 Set the shared directory on your computer.

On your computer, set the folder which you want to

access from the MOTIF XF via network to the shared

folder. For details, refer to the owner’s manual of your

computer.

5 Confirm whether or not the MOTIF XF and the

computer are properly connected to the

network.

Press the [FILE] button to enter the File mode, then

press the [F2] button to call up the Mount display

(page 239). If the MOTIF XF and the computer are

connected properly, the computer name is shown in the

HOST column. If the computer name is not shown,

press the [SF5] Char button then enter the computer

name directly in the Host ( ) column. If the MOTIF XF

and the computer are connected properly, the name

you input will be recognized.

n Confirm the computer name on the operating system of

your computer. For details, refer to the owner’s manual of

your computer.

n When the computer name is not shown on the display with

the Windows XP connected, execute the following

instructions to show the computer name.

1. Select [Control Panel]  [Administrative Tools] 

[Services].

2. Double-click [Messenger] in the list then set “Startup

type” to “Automatic.”

3. Click [Apply] then click [Start].

6 In the File mode of the MOTIF XF, access the

computer via network so that the shared

directory appears on the display.

Call up the Mount display of the File mode. When

setting the HOST ( ) to a computer name containing

the desired shared directory, “Press [ENTER] to

access” appears on the display. Next, press the

[ENTER] button so that the display prompts you to enter

Network Settings

Mount

Indicator

Connections

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Basic StructureBasic Operation

Connections

Basic Section

the password as illustrated below. Here, enter the User

Account of your computer to the User Name box, enter

the password of your computer to the Password box,

then press the [ENTER] button so that the access

between the MOTIF XF and the computer is

established. The shared directories of the selected

computer are listed in the Sharing Point box ( ).

n If you have set and stored the User Name at in step 2,

the User Name is shown automatically when the above

display is called up.

n Once access between the MOTIF XF and the computer

has been established, the shared directories are

automatically listed on the display simply by selecting a

computer in the Host column. If you turn the power off,

however, the operations for establishing access (entering

the User Account and Password) are necessary after

turning the power on next time.

n For details about how to confirm the User Account and

Password of your computer, refer to the owner’s manual of

your computer.

n If a password has not been set on your computer, you

need not enter the password. Access can be established

even if you enter no password.

7 Mount the desired directories.

In the Sharing Point box ( ), you can mount the shared

directory by moving the cursor to the desired directory,

then pressing the [ENTER] button. The mount indicator

appears at the left side of the mounted directory’s

name.

By following the instructions above, you can access a

computer from the MOTIF XF via the LAN network. For

details, see page 41.

File Sharing for accessing the MOTIF XF from

a computer

Follow the instructions below so that you can access the

MOTIF XF (actually a USB storage device connected to the

MOTIF XF) from a computer via the LAN network. Call up

the Network display (page 221) in the Utility mode.

n Keep in mind that the internal Flash memory of the MOTIF XF

cannot be accessed from a computer via the LAN network.

Only the data saved to a USB storage device connected to the

MOTIF XF can be accessed from a computer via the LAN

network. If you want to share files between the MOTIF XF and

a computer, save the data stored in internal Flash memory to

an external USB storage device.

1 Call up the Network display (page 221) then set

the File Server Account ( ).

If the account has not been set, the MOTIF XF can be

accessed using the account named “nobody.”

2 Set the password.

Press the [SF5] Password button to call up the

password window. For instructions on setting, see

page 222.

3 Set the File Server parameter ( ) to “on.”

MOTIF XF Reference Manual

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Playing the Keyboard in the Voice Play Mode

The Voice mode is used for selecting, playing, and editing a desired Voice. The Voice Play mode is the main ‘portal’ by which

you enter the Voice mode, and it is here where you select and play a Voice. Some of the Voice settings can also be edited in

this mode. To call up the Voice Play display and enter the Voice mode, simply press the [VOICE] button.

Selecting a Voice

This synthesizer has 128 Voices in each of 16 Banks:

Preset 1 – 8, User 1 – 4, GM, Preset Drum, User Drum, and

GM Drum. The Bank consists of eight Groups (A to H),

each of which contains 16 Voices. To select the desired

Voice, select the Bank, Group, then Number.

1 Press the [VOICE] button to enter the Voice

Play mode.

The [PROGRAM] lamp lights, indicating that you can

select the desired Voice by specifying the Bank/Group/

Number.

2 Select a Voice Bank.

Press one of the Bank buttons listed below to select a

Bank. Selecting a Bank calls up the Voice Select

window.

3 Select a Group.

Press one of the [A] to [H] buttons to select a Group. If

you’ve selected a Drum Bank in the previous step,

press one of the [A] to [D] buttons to select a Group.

The name list of the 16 Voices in the selected Group will

appear on the display. Note that the GM Drum Bank

contains only one Drum Voice, indicating that you

cannot select a Group.

4 Select a Voice.

Press one of the [1] to [16] buttons to select a Voice.

In this way (Steps 2 – 4), you can call up your desired

Voice.

n When selecting the Voice within the same Bank or Group,

it is not necessary to select the Bank or Group again. You

can use the [INC/YES] and [DEC/NO] buttons or data dial

to select the Voice number. This operation lets you call up

Voices in subsequent or previous Groups and Banks.

Select a Voice using the Category

Search function

The MOTIF XF features a Category Search function that

gives you quick access to the sound you want, irrespective

of their Bank locations. For instructions on using the

Category Function, refer to the Owner’s Manual.

Buttons Banks

[PRE 1] – [PRE 8] buttons Preset Banks 1 – 8

[USER 1] – [USER 4] buttons User Banks 1 – 4

[GM] button GM Bank

[GM DR] button GM Drum Bank

[PRE DR] button Preset Drum Bank

[USER DR] button User Drum Bank

[PROGRAM] lamp is turned on

Decreases

number

Increases

number

Increases

number

Decreases

number

Playing the Keyboard in the Voice Play Mode

MOTIF XF Reference Manual

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Grouping your most-used Voices

together—Favorite Category

Category Search also has a convenient Favorite Category

that lets you bring together your most often used and

favorite Voices for easy selection. This is one more useful

way the MOTIF XF lets you quickly select the Voices you

need from the huge number available.

You can quickly register the selected Voice to a Favorite

Category by holding the [ENTER] button and the

[CATEGORY SEARCH] button in the Voice Play display.

Performing the same operation again will remove the

registration. You can conveniently use this operation to

instrument.

If you find favorite Voices while using the Category Search

function, use the following operation.

1 Press the [VOICE] button to enter the Voice

Play mode.

2 Call up the Category Search window.

Press the [CATEGORY SEARCH] button so that its

indicator lights and the Category Search window

appears.

3 Select your favorite Voice.

Find the desired Voice by following the instructions on

the Owner’s Manual.

4 Register the Voice to the Favorite Category.

Press the [F5] button to register the Voice and turn on

the Favorite Switch. A checkmark appears in the box to

the left of the Voice name, indicating that the Voice has

been included in the Favorite Category. (Pressing the

[F5] button again turns the checkmark off, clearing the

selected Voice from the Favorite Category.) To clear all

previously registered Voices from the Favorite

Category—useful for when you want to create the

Favorite Category from scratch—press the [F6] button.

1 Call up the Favorite Select window.

From the Category Search window, press the [F4]

button to call up the Favorite Select window.

The Favorite Select window shows all Voices registered

to the Favorite Category.

2 Select a Voice.

Select the desired Voice by using the [INC/YES] and

[DEC/NO] buttons or data dial to move the cursor

upward or downward in the Voice List.

n The order of the Voices in the Favorite Category cannot be

changed. If you want to create a custom order of Voices

for quick selection during your performance, store the

Voices to one of the User banks.

Registering your favorite Voices to the

Favorite Category

Favorite mark

Selecting a Voice from the Favorite

Category

Favorite Switch

Playing the Keyboard in the Voice Play Mode

MOTIF XF Reference Manual

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Using Knobs and Control Sliders

One of the more powerful performance features of the

MOTIF XF is its extensive set of real-time controls—

especially the Knobs and Control Sliders. These let you

adjust a variety of parameters for the current Voice, such as

effect depth, attack/release characteristics, tonal color, and

others. These real-time controls can be used to change the

sound as you play or to quickly edit and customize the

Voice. Three functions can be assigned to each knob,

alternatively selected via the [SELECTED PART CONTROL]

button. Each time the button is pressed, the lamp lights

alternatively in descending order, TONE 1  TONE 2 

ARP FX. For details, refer to the Owner’s Manual.

n If the [E] (Edit) Indicator appears in the top right of the display,

the current Voice can be stored (page 54) as a new User

Voice.

n Holding down the [SELECTED PART CONTROL] button for a

few seconds will alternate the lit lamp from the current one to

TONE 1.

n A red point on the Knob or Slider graphic indicates the current

value to which the Knob or Slider is set. Moving the Knob or

Slider has no effect on the sound until this point is reached.

Once you move the Knob or Slider past this point, the red

point disappears and moving the Knob or Control Slider

affects the sound.

n You can confirm the functions assigned to the eight knobs in

the Voice Play display, called up via the [F1] button. When a

display other than the Voice display is shown, you can confirm

the knob functions by pressing the [SELECTED PART

CONTROL] button, which calls up the Control Function

window.

Red point (current value)

Knob Functions

When the TONE 1 lamp is turned on:

Moving Knobs 1 and 2 changes the Filter parameters on the EG/EQ display. Moving Knobs 3 – 6

changes the Amplitude EG parameters.

Knob 1 CUTOFF Raises or lowers the Filter Cutoff Frequency (page 51) to adjust the tone brilliance.

Knob 2 RESONANCE Raises or lowers the Resonance (page 51) to boost the level of the signal in the area of the cutoff

frequency. By emphasizing the overtones in this area, this can produce a distinctive “peaky” tone,

making the sound brighter and harder.

Knob 3 ATTACK Increases or decreases the EG Attack Time (page 51) of the current Voice. The smaller the value, the

faster the attack.

Knob 4 DECAY Increases or decreases the EG Decay Time (page 51) of the current Voice to determine how fast the

volume falls from maximum attack level to the sustain level. The smaller the value, the faster the decay.

Knob 5 SUSTAIN Increases or decreases the EG Sustain Level (page 51) at which the volume will continue while a key is

held, after the initial attack and decay. Turn the knob counter-clockwise to make the sound cut off more

sharply after the decay.

Knob 6 RELEASE

Increases or decreases the EG Release Time (page 51) of the sound to determine how fast the volume

falls from the sustain level to zero when a key is released. The lower the value, the faster the release.

Knob 7 ASSIGN 1 A variety of functions can be assigned to these Knobs. You can confirm the functions currently

assigned to these Knobs in the Voice Play display (page 48). The Controller Set display (page 61) in

the Voice Common Edit mode lets you assign the functions to these Knobs.

Knob 8 ASSIGN 2

When the TONE 2 lamp is turned on:

Moving Knobs 1 – 5 changes the EQ parameters in the EG/EQ display (page 51). Moving Knobs 6 – 8

changes the parameters in the Play Mode display (page 55) and the Effect Connect display (page 64) of

the Voice Common Edit mode.

Knob 1 EQ LOW Increases or decreases the EQ Low Gain (page 51) to change the sound.

Knob 2 EQ MID F

(EQ Middle Frequency)

Increases or decreases the EQ Middle Frequency (page 51) around which the band is adjusted via

Knob 3 (EQ MID).

Knob 3 EQ MID (EQ Middle Gain) Increases or decreases the EQ Middle Gain (page 51) to change the current Voice.

Knob 4 EQ MID Q (EQ Middle Q) Increases or decreases the EQ Middle Q (page 51) to change the width of the band over which you

can adjust the gain via Knob 3 (EQ Middle Gain). Turning Knob 4 clockwise increases the Q value to

reduce the band width. Turning Knob 4 counter-clockwise decreases the Q value to widen the band

width.

[SELECTED PART CONTROL] button

MOTIF XF Reference Manual

Playing the Keyboard in the Voice Play Mode

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

n Controlling the Knob adds the parameter value to the current one for the current Voice. Accordingly, if the parameter has been already set to

the maximum or minimum value, its value will not be changed even if you operate the Knob.

The eight Control Sliders let you adjust the volume of eight

Elements (page 9) making up the current Normal Voice.

Each of the Control Sliders 1 – 8 corresponds to each of

Elements 1 – 8. It is a good idea to check which Elements

are used for the current Normal Voice by using the

Information display (page 50) before using the Control

Sliders. Keep in mind that when a Drum Voice is selected,

a single Slider may affect the volume of all sounds/keys

simultaneously.

When changing the value of the parameter in the Voice

Play or Edit mode, the [E] (Edit) Indicator will appear on the

top right corner of the LCD display. This gives a quick

confirmation that the current Voice has been modified but

not yet stored. To store the current edited status, follow the

instructions on page 54.

Keyboard MIDI transmit channel

setting

You can set the MIDI transmit channel over which the

keyboard/controller performance sends MIDI data (to an

external sequencer, tone generator, or other device).

1 Press the [TRACK] button so that its lamp

lights.

2 Pressing any of the Number buttons [1] – [16]

to determine the MIDI transmit channel.

3 After setting, press the [PROGRAM] button to

return to the original status.

n This parameter is same as the Keyboard Transmit Channel

(page 228) in the MIDI display of the Utility mode. Making

a setting here automatically changes the setting of that

parameter as well.

Keyboard Octave setting

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

Knob 5 EQ HIGH (EQ High Gain) Increases or decreases the EQ High Gain (page 51) to change the current Voice.

Knob 6 PAN Adjusts the stereo pan position of the current Voice (page 56).

Knob 7 REVERB Adjusts the Reverb Send Level (page 65).

Knob 8 CHORUS Adjusts the Chorus Send Level (page 65).

When the ARP FX lamp is turned on:

Moving Knobs changes the Arpeggio related parameters in the Voice Common Edit mode.

This operation is available when the Arpeggio function is turned on.

Knob 1 SWING Adjusts the swing feel of the Arpeggio playback (page 60). Turning it clockwise increases the swing

feel whereas turning it counter-clockwise decreases it.

Knob 2 QUANTIZE VALUE Adjusts the Quantize Value (page 59), or note resolution, to which the note data of the Arpeggio will be

aligned. Turning it clockwise increases the gate time of the note type set as the Quantize Value

whereas turning it counter-clockwise decreases it.

Knob 3 QUANTIZE STRENGTH Adjusts the Quantize Strength (page 60) by which note events of the Arpeggio are pulled toward the

nearest quantize beats. Turning the Knob clockwise pulls note events to the quantize beat.

Knob 4 GATE TIME Adjusts the Gate Time Rate (page 60) of the Arpeggio notes. Turning it clockwise lengthens the gate

times to produce legato playback whereas turning it counter-clockwise shortens them.

Knob 5 VELOCITY Adjusts the Velocity Rate (page 60) of the Arpeggio notes.

Knob 6 OCT RANGE (Octave Range) Adjusts the Octave Range (page 60) for the Arpeggio playback.

Knob 7 UNITMULTIPLY Adjusts the Unit Multiply (page 59) of the Arpeggio playback to expand/reduce the Arpeggio playback

time based on tempo.

Knob 8 TEMPO Adjusts the tempo for the Arpeggio playback.

Control Slider functions

The [E] Indicator

Edit Indicator

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Playing the Keyboard in the Voice Play Mode

MOTIF XF Reference Manual

standard pitch. 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).

The lamp status of the OCTAVE [DOWN]/[UP] button lets

you recognize at a glance the current octave setting. When

set to one octave down or up, the corresponding lamp

lights. When set to two octaves down or up, the

corresponding lamp flashes slowly. When set to three

octaves down or up, the corresponding lamp flashes

quickly.

n This parameter is same as the Octave (page 220) in the Play

display of the Utility mode. Making a setting here automatically

changes the setting of that parameter as well.

n If you wish to shift notes on the keyboard up or down in

semitones, edit the Transpose parameter (page 220) in the

Play display of the Utility mode.

Using the Arpeggio function

The Arpeggio function lets you trigger rhythm patterns, riffs

and phrases using the current Voice by simply playing

notes on the keyboard. For instructions on using the

Arpeggio, refer to the Owner’s Manual.

The Voice Play display—[F1] Play

The Voice Play display called up via the [VOICE] button

has two design types, which can be specified in the Screen

Setting display (page 220) of the Utility mode.

Type 1 of the Voice Play display

Type 2 of the Voice Play display

Voice Bank

Indicates the Bank of the current Voice.

The Voice Bank is the memory that includes data of Normal

Voices and Drum Voices. There are 16 Voice Banks as

follows.

PRE1 – 8 (Preset Bank 1 – 8)

Each of these Banks includes 128 different preset Voices.

USR1 – 4 (User Bank 1 – 4)

These Banks can be used for storing the Voices you create

and edit.

This Bank contains 128 different Voices which correspond to

the order specified by the General MIDI (GM) format.

GMDR (GM Drum Bank)

This Bank contains a single Drum Voice, in which the drum

instrument assignment corresponds to the General MIDI (GM)

format.

PDR (Preset Drum Bank)

This Bank includes 64 different preset Drum Voices.

UDR (User Drum Bank)

This Bank can be used for storing the Drum Voices you create

and edit.

GM Voices

GM (General MIDI) is a worldwide standard for Voice

organization and MIDI functions of synthesizers and tone

generators. It was designed primarily to ensure that any

song data created with a specific GM device would

sound virtually the same on any other GM device—no

matter the manufacturer or the model. The GM Voice

bank on this synthesizer is designed to appropriately

play back GM song data. However, keep in mind that the

sound may not be exactly the same as played by the

original tone generator.

Playing the Keyboard in the Voice Play Mode

MOTIF XF Reference Manual

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Voice Number (Group/Number)

Each Voice within a Bank is assigned to a Voice Number of

001 to 128.

Voice Numbers 001 to 128 are converted to the format

(shown in the parentheses) related to Banks A to H and

Numbers 1 to 16 (for each Bank). This format is related to

the Group buttons [A] – [H] and the Number buttons [1] –

[16]. The Voice Numbers and the corresponding Group/

Numbers are listed below.

Category (Main Category 1/Sub Category 1)

Indicates the Main Category 1 and Sub Category 1 of the

selected Voice. “Category” is a keyword that indicates the

instrument characteristics or the type of sound. A Preset

Voice is registered to two sets: Main Category and Sub

Category. The Category settings can be edited in the

General display (page 55) of the Voice Common Edit. For

details, refer to the explanation of the General display.

Voice Name

Indicates the name of the current Voice.

Transmit CH (MIDI Transmit Channel)

Indicates the MIDI channel over which the keyboard/

controller performance sends MIDI data (to an external

sequencer, tone generator, or other device). For

information about how to set the value, see page 47.

Octave

Indicates Keyboard Octave setting set via the OCTAVE

buttons. This parameter determines how much higher or

lower the pitch of each key is compared to normal pitch.

Control Function

Indicates the status of the Knobs and Control Sliders on the

panel. This is same as the Control Function window

(page 46).

Assign Settings

This section indicates whether or not each of the controllers

is assigned to the source of the Controller Set.

[SF1] ARP1 – [SF5] ARP5 (Arpeggio 1 – 5)

The Arpeggio types are assigned to the buttons with the

8th note icon on the display tab. You can call them up by

pressing these buttons any time during your keyboard

performance. Assigning Arpeggio types to the buttons can

be done from the Arpeggio display (page 52).

[SF6] TAP

The speed at which you press this button several times will

determine the playback tempo of the Arpeggio.

n This menu is available only for the top display of the Voice

mode.

[F1] Play (Voice Play)

Pressing this button returns from the previous display to the

Voice Play display.

[F2] Porta (Portamento)

Pressing this button calls up the Portamento display

(page 50).

[F3] EG/EQ (Envelope Generator/Equalizer)

Pressing this button to call up the display that contains the

basic EG, Filter, and EQ settings (page 51).

[F4] Arpeggio

Pressing this button calls up the Arpeggio display

page 52).

[F6] Effect

Pressing this button calls up the Effect Connect display

(page 64) of the Voice Common Edit mode.

Arpeggio tempo

Indicates the tempo of Arpeggio playback.

Element on/off status

Indicates the on/off status for each Element of the current

Voice. This is available only when a Normal Voice is

selected.

Current Values

Indicates the current Pitch Bend range (PB UP and PB

DOWN), current octave setting of the keyboard (OCT) and

current transpose setting.

Current Arpeggio Type

Indicates the current Arpeggio Type selected via the [SF1]

– [SF5] buttons.

Group/Number Voice Number

A01 – 16 001 – 016

B01 – 16 017 – 032

C01 – 16 033 – 048

D01 – 16 049 – 064

E01 – 16 065 – 080

F01 – 16 081 – 096

G01 – 16 097 – 112

H01 – 16 113 – 128

Voice Bank Group

Voice Number

Number

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

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Sampling

mode 1

Sampling

mode 2

Reference

Playing the Keyboard in the Voice Play Mode

MOTIF XF Reference Manual

Voice information—[SF6] INFO

(Information)

This display indicates the information of the current Voice.

Settings cannot be changed here.

Bank

Indicates the Bank of the selected Voice program. The

values in parentheses indicates the Bank Select MSB and

LSB which can be used to select the current Voice via

MIDI.

Program (Voice Number)

To each Voice within a Bank, a Number of 001 to 128 is

assigned. The values in parentheses indicates Group and

Number.

Category 1 (Main Category 1/Sub Category 1)

Category 2 (Main Category 2/Sub Category 2)

Indicates the Main Category 1/Sub Category 1 and Main

Category 2/Sub Category 2 to which the current Voice is

registered.

Name

Indicates the name of the current Voice.

Voice Type

Indicates whether the current Voice type is the Normal

Voice or Drum Voice.

Mono/Poly

Indicates whether the current Voice is set to Mono (only

one note can be played at a time) or Poly (multiple notes

can be played at a time).

Element Switch

Indicates the status (active/inactive) of the eight Elements

making up the current Voice. Elements that are active are

indicated by their corresponding numbers. An asterisk “*”

indicates the corresponding Element is muted although the

Element Switch parameter is turned on.

A hyphen “-” indicates the corresponding Element Switch

parameter is turned off.

Portamento

Indicates the Portamento Switch on/off status (page 50) of

the current Voice.

Pitch Bend Range

Indicates the Upper/Lower setting of the Pitch Bend Range

(page 56) for the current Voice.

Effects

Indicates the Effect settings (for Insertion A, Insertion B,

Reverb and Chorus) of the current Voice.

n Parameters , and are not available when the Drum

Voice is selected.

Portamento settings—[F2] Porta

From this display you can select monophonic or

polyphonic playback and set the Portamento parameters.

Portamento is used to create a smooth transition in pitch

from the first note played on the keyboard to the next. The

value set here is applied to the parameters having the

same names in the Play Mode display (page 48) of the

Voice Common Edit mode.

n This display is not available when a Drum Voice is selected.

Portamento Switch

Portamento Time

Portamento Mode

Mono/Poly Mode

These are the same as in the Play Mode display (page 55)

of the Voice Common Edit.

Follow the instructions below to apply the Portamento to the

current Voice you play on the keyboard.

1 Press the [VOICE] button to enter the Voice

Play mode.

Select a Voice to which the Portamento is applied. The

Portamento is effective especially for a Voice that

sustains or continues to sound while the key is being

held down.

2 Press the [F2] button to call up the Portamento

display.

Applying the Portamento to the Voice

Playing the Keyboard in the Voice Play Mode

MOTIF XF Reference Manual

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

3 Set the Portamento Switch to on.

4 Set the Portamento Time.

For best results, set this to a relatively high value.

5 Play two different keys alternatively to confirm

the Portamento.

It is a good idea to press a certain note then press the

one octave higher or lower note for confirming how the

Portamento is applied.

Changing tonal color—[F3] EG/EQ

You can change the tonal color or timbre of the sound by

editing the EG/EQ settings for all Elements making up the

Voice. The EG settings made here will be applied to the

same parameters in the Amplitude EG display (page 80)

and Filter EG display (page 76) for all Elements as an

offset. In other words, editing the value here will add to or

subtract from the current value. Accordingly, if the

parameter has been already set to the maximum or

minimum value, its value will not be changed even if you

set the parameter to higher or lower value in this display.

Note that the EQ settings here are applied to the Voice

directly.

AEG (Amplitude EG)

Using the AEG, you can control the transition in volume

from the moment the sound starts is to the moment the

sound stops.

Attack (Attack Time)

Determines the speed of attack from the time a key is played

until the maximum initial level of the EG is reached.

Decay (Decay Time)

Determines how fast the volume falls from maximum attack

level to the sustain level.

Sustain (Sustain Level)

Determines the sustain level at which the volume will continue

while a note is held, after the initial attack and decay. The

smaller the value, the sharper the sound.

Release (Release Time)

Determines how fast the volume falls from the sustain level to

zero when a note is released.

Settings: -64 – +0 – +63

n When a Drum Voice is selected, the Sustain Level and

Release Time are not available. “---” appears at each of

the corresponding columns and these parameters cannot

be edited.

FEG (Filter EG)

Using the FEG, you can control the transition in tonal color

(Cutoff Frequency) from the moment the sound starts to the

moment the sound stops. Actual transition of tonal color

differs depending on the Filter type (page 74) of the Voice

Element.

Attack (Attack Time)

Determines the speed of filter variation from the time a note is

played until the maximum initial level of the Cutoff Frequency is

reached.

Decay (Decay Time)

Determines how fast the Cutoff Frequency falls from maximum

attack level to the sustain level.

Release (Release Time)

Determines how fast the Cutoff Frequency falls from the

sustain level to zero when a note is released.

Depth

Determines the range over which the cutoff frequency of the

Filter EG changes. A setting of 0 will result in no change in the

cutoff frequency. The farther from 0 the value is, the larger the

range of the cutoff frequency. For negative values, the change

of the cutoff frequency is reversed.

Settings: -64 – +0 – +63

Filter

This unit modifies the tonal color of the sound by cutting the

output of a specific frequency portion of the sound. Actual

tonal color differs depending on the Filter type (page 74) of

the Voice Element. The Low Pass Filter cuts the signals

above the Cutoff Frequency while the High Pass Filter cuts

the signals below the Cutoff Frequency.

Cutoff

Determines the Cutoff Frequency for the Filter, when the Low

Pass Filter is selected, for example, the larger the value the

brighter the decay.

Reso (Resonance)

Determines the emphasis given to the Cutoff Frequency.

Higher values result in a more pronounced effect.

Settings: -64 – +0 – +63

This is a parametric EQ featuring three bands (High, Mid

and Low). You can attenuate or boost the level of each

frequency band (High, Mid, Low) to change the Voice

sound. For the Mid band, you can also set the Q (Band

Width).

Frequency

Determines the frequency for each frequency band. Set the

value to the frequency around which you wish to attenuate or

boost.

Settings:

Low: 50.1Hz – 2.00kHz

Mid: 139.7Hz – 10.1kHz

High: 503.8Hz – 14.0kHz

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Playing the Keyboard in the Voice Play Mode

MOTIF XF Reference Manual

Gain

Determines the level gain for the Frequency (set above), or the

amount the selected frequency band is attenuated or boosted.

The higher the value, the greater the Gain. The lower the value,

the lesser the Gain.

Settings: -12.00 dB – +0.00 dB – +12.00 dB

Q (Bandwidth)

Determines the Q (bandwidth) for the Mid band. The higher

the value, the smaller the bandwidth. The lower the value, the

wider the bandwidth.

Settings: 0.7 – 10.3

n The Q setting is available only for the Mid band, which is a

Peaking type EQ. Peaking (referring to the “peak” shape)

lets you attenuate/boost a specific frequency and allows

you to control how wide or narrow the bandwidth is. On

the other hand, the EQ shape of the High and Low band is

the Shelving type which lets you attenuate/boost the

signal at frequencies above or below the specified

Frequency setting.

EQ graph

Indicates the EQ settings as a graph. The vertical axis

indicates the gain, and the horizontal axis indicates the

frequency.

Arpeggio settings—[F4] Arpeggio

This display determines the basic settings of the Arpeggio.

Keep in mind that the parameters of Bank ( ) – Type ( )

have five settings which can be edited in each of the [SF1]

ARP1 through [SF5] ARP5 displays. The value set here is

applied to the parameters having the same names in the

Arpeggio Main display (page 58) of the Voice Common

Edit mode.

Switch

Hold

Tempo

Velocity Limit

[SF1] ARP1 – [SF5] ARP5 (Arpeggio 1 – 5)

buttons

Bank

Category

Sub Category

Type

These are the same as in the Arpeggio Main display

(page 58) of the Voice Common Edit.

Low

Mid

High

Gain

Frequency

Arpeggio Type Name

MOTIF XF Reference Manual

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Editing a Normal Voice

“Editing” refers to the process of creating a Voice by changing the parameters that make up the Voice. This can be done in

Voice Edit, a sub mode within the Voice mode. To enter the Voice Edit mode, press the [VOICE] button to first call up the

Voice mode, then press the [EDIT] button.

Common Edit and Element Edit

A Normal Voice, which contains pitched musical

instrument-type sounds that can be played over the range

of the keyboard, can consist of up to eight Elements. There

are two types of Normal Voice Edit displays: those for

Common Edit to edit the settings common to all Elements,

and those for Element Edit to edit individual Elements.

Editing Normal Voices

Press the [VOICE] button to enter the Voice

Play mode.

Select a Normal Voice to be edited.

2 Press the [EDIT] button to enter the Voice Edit

mode.

3 Call up the desired Edit display, Common Edit

or Element Edit.

To call up the Common Edit display, press the

[COMMON EDIT] button. To call up the Element Edit

display, press one of the Number buttons [1] – [8] to

select the Element to be edited.

4 Call up the desired display.

To find the desired display, note the tab menu items

corresponding to the [F1] – [F6] buttons and [SF1] –

[SF5] buttons at the bottom of the display.

n By pressing the [SF6] button, you can use various

functions such as the Information display, Character input

(page 37), Number button function (page 36), and List

display/selection (page 37). The function called up via the

[SF6] button differs depending on the selected parameter

where the cursor is located.

5 Move the cursor to the desired parameter.

6 Edit the value by using the [INC/YES], [DEC/

NO] buttons and the data dial.

7 Repeat steps 3 – 6 as desired.

8 Enter the desired name for the edited Voice.

Use the Name display (page 55) of the Voice Common

Edit mode.

9 Store the edited Voice.

Press the [STORE] button to call up the Store window

(page 54) then store the edited Voice.

NOTICE

• The edited Voice will be lost when selecting the different

Voice or turning the power off. Make sure to store the Voice

data to the internal memory by pressing the [STORE] button

before selecting a different Voice or turning the power off.

• Because User Memory to which the Voice is stored is Flash

Memory, the edited and stored Voice will not be erased even

if the power is turned off. You need not worry about losing

your stored data. The Voice Store operation, however, will

overwrite the Voice data already stored to the destination

Voice number. For this reason, important data should always

be backed up to a separate USB storage device or to a

computer connected via network to the MOTIF XF

(page 241).

Normal Voice Edit

Common Edit

Lets you edit the

parameters common to

all Elements of the

selected Voice.

Element Edit 1– 8

Lets you edit the

parameters of the

individual Elements that

make up a Voice.

Indicates this display is in the Element Edit mode.

Selecting an Element

Indicates this display is in the Common Edit mode.

Tab menus corresponding

to the [F1] – [F6] buttons

Tab menus corresponding to

the [SF1] – [SF6] buttons

Editing a Normal Voice

MOTIF XF Reference Manual

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Convenient functions for editing

Voices

In the Voice Edit mode, you can always use the number

buttons [1] – [8] to select an Element. The [1] – [8] buttons

indicate the Element being edited. To switch each Element

on/off, turn the [MUTE] button on, and then use number

buttons [9] – [16].

If you want to turn on only the Element you’re editing, press

the [SOLO] button to turn it on, and then press a number

button [1] – [8] or [9] – [16]. For example, if you want to turn

on only Element 1 and edit it, press the [1] or [9] button to

make the [1] indicator light and the [9] indicator flash.

The [E] (Edit) indicator will appear in the Voice Edit mode

as well as in the Voice Play mode. For details, see page 47.

The Compare function lets you switch between the just-

edited Voice and its original, unedited condition, allowing

you to hear how your edits affect the sound.

1 Press the [EDIT] button to call up the Compare

mode.

In the Voice Edit mode (with the [EDIT] lamp lit), press

the [EDIT] button so that its lamp flashes. The [E]

indicator at the top right of the screen will change to the

[C] indicator and the Voice settings prior to editing will

temporarily be reinstated for comparison purposes.

When the [E] indicator is shown in the Voice Play mode,

press the [EDIT] button to enter the Voice Edit mode

then press the [EDIT] button again to call up the

Compare mode.

2 Press the [EDIT] button again to return to the

original status.

When the [C] indicator is shown at the right top of the

display, press the [EDIT] button (the lamp lights

continuously, and the [C] indicator changes back to the

[E] indicator).

Compare the edited sound with the unedited sound as

desired by repeating steps 1 and 2.

n While Compare is active, you cannot make edits to the Voice.

1 Press the [STORE] button to call up the Voice

Store window.

2 Set the destination for storing the Voice.

Select the destination User Bank (USR 1 – 4 for the

Normal Voice, UDR for the Drum Voice) and the Voice

number to be stored by using the data dial, [INC/YES]

and [DEC/NO] buttons. You can also use the [USER 1]

– [USER 4], [USER DR], Group [A] – [H], and Number

[1] – [16] buttons to specify the destination.

3 Press the [ENTER] button. (The display

prompts you for confirmation.)

To cancel the Store operation, press the [DEC/NO]

button.

4 Press the [INC/YES] button to execute the

Store operation.

After the Voice has been stored, a “Completed”

message appears and operation returns to the Voice

Play display. In this condition, the just stored Voice is

selected as shown in the display, letting you instantly

play the just edited Voice.

NOTICE

When you execute the Store operation, the settings for the

destination memory will be overwritten. Important data should

always be backed up to a separate USB storage device. For

detailed instructions on saving, see page 241.

n Keep in mind that the destination of “Store” is internal

memory (Flash ROM) whereas the destination of “Save” is

external memory such as a USB storage device.

Switching an Element on/off

Soloing the Element to be edited

The [E] Indicator

Compare function

Use number buttons [1] – [8] to select the Element you want to edit

Use number buttons [9] – [16] to turn each Element on/off

Use number buttons [1] – [8] / [9] – [16] to turn on only the Element

you want to edit

Storing the created Voice

Compare indicator (sound prior to editing)

MOTIF XF Reference Manual

Editing a Normal Voice

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Common Edit parameters

[VOICE]  Normal Voice selection  [EDIT]  [COMMON EDIT]

Common Edit lets you edit the parameters common to all Elements of the selected Normal Voice.

About the asterisk (*) marks

For users who are new to Voice editing and may be confused by the large amount of parameters, the most basic and easy-to-understand

parameters are conveniently marked with asterisks. If you are just starting out with Voice editing, try these parameters first.

General settings for the selected

Voice—[F1] General

Name

Enters the desired name for the Voice. The Voice name can

contain up to 20 characters.

You can call up the character list by pressing the [SF6]

CHAR button, then select the desired one from the list. For

detailed instructions on naming, refer to “Basic Operation”

on page 37.

Main Category 1

Sub Category 1

Main Category 2

Sub Category 2

Determines the two Main Categories and their Sub

Categories to which the Voice belongs respectively.

“Category” can be used as a keyword representing the

characteristic of the Voice. The appropriate setting makes it

easy to find the desired Voice from a variety of Voices.

There are 16 Main Categories which indicate types of

instruments. There are up to five Sub Categories for each

Main Category, indicating more detailed types of

instruments.

Settings: See the following list.

n You can call up the list by pressing the [SF6] LIST button then

select the desired one from the list. For details, see page 37.

From this display, you can make various settings such as

Mono or Poly, Pitch, Portamento, and Micro Tuning.

Volume*

Determines the output level of the Voice. Set this parameter

to adjust the balance between the current Voice and other

Voices.

Settings: 0 – 127

Naming the edited Voice—[SF1] Name

Main Category Sub Category

Acoustic Piano Pn Acoustic Layer Modern Vintage Arpeggio

Keyboard Kb

Electric

Piano

FM Piano Clavi Synth Arpeggio

Organ Or Tone Wheel Combo Pipe Synth Arpeggio

Guitar Gt Acoustic

Electric

Clean

Electric

Distortion

Synth Arpeggio

Bass Bs Acoustic Electric Synth Arpeggio —

Strings St Solo Ensemble Pizzicato Synth Arpeggio

Brass Br Solo

Brass

Ensemble

Orchestra Synth Arpeggio

Sax / Woodwind SW Saxophone Flute Woodwind Reed / Pipe Arpeggio

Synth Lead Ld Analog Digital Hip Hop Dance Arpeggio

Synth Pad/Choir Pd Analog Warm Bright Choir Arpeggio

Synth Comp Sc Analog Digital Fade Hook Arpeggio

Chromatic

Percussion

Mallet

Percussion

Bell Synth Bell

Pitched

Drum

Arpeggio

Drum /

Percussion

Dr Drums Percussion Synth Arpeggio —

Sound Effect Se Moving Ambient Nature Sci-Fi Arpeggio

Musical Effect Me Moving Ambient Sweep Hit Arpeggio

Ethnic Et Bowed Plucked Struck Blown Arpeggio

Play Mode Settings such as Micro Tuning

and Mono/Poly—[SF2] Play Mode

Editing a Normal Voice

MOTIF XF Reference Manual

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

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 (far left) – C (center) – R63 (far right)

n Note that this Voice Pan parameter may have little or no

audible effect if the Pan for a specific element is set to the left

position and the Pan for another element is set to the right

position.

Note Shift*

Determines the transpose setting for the amount (in

semitones) by which the pitch is raised or lowered.

Settings: -24 – +0 – 24

PB Range Upper (Pitch Bend Range Upper)*

PB Range Lower (Pitch Bend Range Lower)*

Determines the maximum Pitch Bend range in semitones.

Setting the Upper parameter to +12 would result in a

maximum pitch rise of one octave when the Pitch Bend

wheel is moved upwards. On the other hand, the Lower

setting of -12 would result in the pitch being lowered up to

a maximum of one octave (12 semitones) when the Pitch

Bend wheel is moved downwards.

Settings: -48 semi – +0 semi – +24 semi

Bank (Micro Tuning Bank)

Determines the Micro Tuning Bank.

Settings: PRE, USR

PRE (Preset)

Contains the 13 preset Micro Tuning types.

USR (User)

Contains your original Micro Tuning types created in the Micro Tuning

display (page 225) of the Utility mode.

Tuning Number

Determines the Micro Tuning number. The Preset Bank

provides 13 types including the most common “equal

temperament.”

Settings:

Preset Bank: 1 – 13 (See the Micro Tuning list below.)

User Bank: 1 – 8

Tuning Root

Sets the base note for each scale. For some scales this

setting may not be necessary.

Settings: C – B

Micro Tuning List

Mono/Poly*

Selects monophonic or polyphonic.

Settings: mono, poly

mono

When set to “mono,” the selected Voice is played back monophonically

(only a single note is played back simultaneously). For many

instrument sounds (such as bass and synth lead), this allows a more

natural and smooth sounding legato performance than when this

parameter is set to “poly.”

poly

When set to “poly,” the selected Voice is played back polyphonically

(multiple notes can be played back simultaneously or a chord is played

back).

What is Micro Tuning?

This function lets you change the keyboard scale from

normal tuning (equal temperament) to one of a variety of

special scales. You can determine the scale type for

each voice by simply selecting a Tuning number. You can

also use original Micro Tuning types that you’ve created

in the Micro Tuning display (page 225) of the Utility

mode.

Micro

Tuning

No.

Type

Micro

Tuning

Root

Comments

Equal

—

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.

PureMajor

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.

PureMinor

C – B

The same as Pure Major, but

designed for the minor scale.

Werckmeist

C – B

Andreas Werckmeister, a

contemporary of Bach, designed this

tuning so that keyboard instruments

could be played in any key. Each key

has a unique character.

Kirnberger

C – B

Johann Philipp Kirnberger, an 18th

century composer, created this

tempered scale to allow

performances in any key.

Vallot&Yng

C – B

Francescatonio Vallotti and Thomas

Young (both mid-1700s) devised this

adjustment to the Pythagorean

tuning, in which the first six fifths are

lowered by the same amount.

1/4 Shift

—

This is the normal equal tempered

scale shifted up 50 cents.

1/4 tone

—

Twenty-four equally spaced notes per

octave. (Play twenty-four notes to

move one octave.)

1/8 tone

—

Forty-eight equally spaced notes per

octave. (Play forty-eight notes to

move one octave.)

Indian

—

Usually observed in Indian music

(white keys only).

11 Arabic 1

C – B

Usually observed in Arabic music.

12 Arabic 2

13 Arabic 3

Editing a Normal Voice

MOTIF XF Reference Manual

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Key Assign Mode

When this is set to “single,” double playback of the same

note is prevented. This is useful when two or more

instances of the same note are received nearly

simultaneously, or without a corresponding note off

message. To allow playback of each instance of the same

note, set this to “multi.”

Settings: single, multi

single

When this is set to “single” and double playback of the same note are

transmitted to the internal tone generator, the first note will be stopped

then the next note will be sounded.

multi

When this is set to “multi” and double playback of the same note are

transmitted to the internal tone generator, all the notes are sounded

simultaneously.

Portamento Switch*

Determines whether Portamento is applied to the current

Voice or not.

Settings: on, off

Portamento Time*

Determines the pitch transition time when Portamento is

applied. The effect of the parameter differs depending on

the settings of the Portamento Time Mode ( ). Higher

values result in a longer pitch change time.

Settings: 0 – 127

Portamento Mode

Determines how Portamento is applied to your keyboard

performance.

Settings: fingered, fulltime

fingered

Portamento is only applied when you play legato (playing the next note

before releasing the previous one).

fulltime

Portamento is applied to all notes.

Portamento Time Mode

Determines how the pitch changes in time.

Settings: rate1, time1, rate2, time2

rate1

Pitch changes at the specified rate.

time1

Pitch changes in the specified time.

rate2

Pitch changes at the specified rate within an octave.

time2

Pitch changes in the specified time within an octave.

Portamento Legato Slope

When the Mono/Poly is set to “mono,” legato playing may

produce an unnatural attack depending on the waveform

assigned to the selected Voice. To solve such a problem,

you can use this parameter to adjust the attack of the

Voice. Normally, this should be set to a low value for

waveforms with short attack times, and should be set to a

high value for waveforms with long attack times.

Settings: 0 – 7

From this display, you can set the control functions for the

Knobs, and the up/down range for the Pitch Bend wheel.

Knob Control Assign

Determines which lamp among the TONE 1, TONE 2, and

ARP FX is turned on when selecting a Voice. This setting

can be stored for each Voice.

Settings: tone1, tone2, ARP FX

Assign 1 Value

Assign 2 Value

Indicates the level of the Knobs printed “ASSIGN 1” and

“ASSIGN 2” at the time at which the Voice is selected with

the TONE 1 lamp turned on. The functions assigned to the

Knobs are indicated at right of the values respectively.

Settings: -64 – +0 – +63

n The functions assigned to the ASSIGN 1/2 Knobs can be set in

the Controller Set display (page 61).

A. Function 1 Mode

(Assignable Function 1 Mode)

A. Function 2 Mode

(Assignable Function 2 Mode)

Determines whether the ASSIGNABLE FUNCTION [1] and

[2] buttons functions as a latch type or momentary type.

When set to “latch,” pressing the button alternates the lamp

status between on and off. When set to “momentary,”

pressing/holding the button turns the lamp on and

releasing the button turns the lamp off.

Settings: momentary, latch

Ribbon Mode (Ribbon Controller mode)

Determines how the Ribbon Controller responds when

released. When set to reset, releasing your finger from the

Ribbon Controller automatically returns the value to the

center. When set to hold, releasing your finger from the

Ribbon Controller maintains the value at the last point of

contact.

Settings: hold, reset

Other settings—[SF3] Other

Editing a Normal Voice

MOTIF XF Reference Manual

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Arpeggio settings—[F2] ARP Main

(Arpeggio Main)

This display determines the basic settings of the Arpeggio.

Keep in mind that parameters Bank ( ) through Gate Time

Rate Offset ( ) have five settings which can be edited in

each of the [SF1] ARP1 through [SF5] ARP5 displays.

For details about Arpeggio, see page 15.

n Depending on the selected parameter, the KBD icon appears

on the tab corresponding to the [SF6] button. In this condition,

you can enter the note number or velocity by pressing the

appropriate note on the keyboard while holding the [SF6] KBD

button. For details, see page 37.

Switch

Determines whether Arpeggio is on or off. When calling up

a Voice for which the Common Switch is set to on, the

[ARPEGGIO ON/OFF] button on the panel will be turned on

automatically.

Settings: on, off

Hold*

When this is set to “on,” the Arpeggio cycles automatically,

even if you release your fingers from the keys.

Settings: sync-off (see below), off, on

sync-off

When set to “sync-off,” the Arpeggio playback continues to run silently,

even when you release the keys. Pressing any key turns the Arpeggio

playback on again, and the Arpeggio is heard from the point in the

cycle where playback is resumed.

Change Timing*

Determines the actual timing at which the Arpeggio type is

switched when you select another type during Arpeggio

playback. When set to “realtime,” the Arpeggio type is

switched immediately. When set to “measure,” the

Arpeggio type is switched at the top of the next measure.

Settings: realtime, measure

Velocity Limit

Determines the lowest and highest velocity which can

trigger the Arpeggio playback. This lets you set the velocity

range with which you press the note to trigger the Arpeggio

playback. 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.

Settings: 001 – 127

Note Limit

Determines the lowest and highest notes in the Arpeggio’s

note range. Notes played in this range trigger the

Arpeggio. 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.

Settings: C -2 – G8

n Please keep in mind that no sound is produced when the Key

Mode is set to “sort” or “thru” and notes are played outside the

Note Limit setting here.

Tempo*

Determines the Arpeggio Tempo. This parameter can be

changed via the Knob directly.

Settings: 5 – 300

n If you are using this instrument with an external sequencer,

MIDI computer, or other MIDI device, and you want to

synchronize it to that device, set the MIDI sync ( ) parameter

in the MIDI display (page 228) of the Utility mode to “MIDI” or

“auto.” In this case, the Tempo parameter here indicates

“MIDI” or “auto” and cannot be changed.

Key Mode

Determines how the Arpeggio plays back when playing the

keyboard.

Settings: sort, thru, direct, sort+direct, thru+direct

sort

When you play specific notes (for example, the notes of a chord), the

same sequence plays, no matter what order you play the notes.

thru

When you play specific notes (for example, the notes of a chord), the

resulting sequence differs depending on the order of the notes.

direct

Note events of the Arpeggio sequence do not play; only the notes you

play on the keyboard are heard. When the Arpeggio plays back, the

events such as Pan and Brightness are applied to the sound of your

keyboard performance. Use this setting when the Arpeggio types

includes non-note data or when the Category type “Ctrl” is selected.

sort+direct

The Arpeggio is played back according to the “sort” setting here, and

the note pressed is also sounded.

thru+direct

The Arpeggio is played back according to the “thru” setting here, and

the note pressed is also sounded.

n Some Arpeggio types belonging to the “Cntr” Category may

not have note events (page 18). When such an Arpeggio type

is selected and the Key Mode is set to “sort” or “thru,” no

sound is produced even if you press a note on the keyboard.

Editing a Normal Voice

MOTIF XF Reference Manual

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Velocity Mode

Adjusts the velocity of the Arpeggio notes.

Settings: original, thru

original

The Arpeggio plays back at the preset velocities included in the

Arpeggio sequence data.

thru

The Arpeggio plays back according to the velocity of your playing. For

example, if you play the notes strongly, the playback volume of the

Arpeggio increases.

Output Octave Shift

Specifies the maximum Arpeggio range in octaves.

Settings: -10 – +10

[SF1] ARP1 – [SF5] ARP5 (Arpeggio 1 – 5)

buttons

The six parameters Bank ( ) through Gate Time Rate

Offset ( ) at the lower half part of the display, can be

edited in each of the [SF1] ARP1 through [SF5] ARP5

displays. You can set the parameters in the lower half of the

display for each of the five Arpeggio settings by pressing

one of the [SF1] – [SF5] buttons. The 8th note icon shown

in the tab menu indicates that any Arpeggio Type (other

than “off”) is selected in the display corresponding to the

Sub Function button.

Settings: [SF1] – [SF5] (Sub Function) buttons

Bank

Determines the Arpeggio Bank containing the desired

Arpeggio type. Select “PRE” if you wish to select a preset

Arpeggio Type. Select “USER” if you wish to select an

Arpeggio Type you originally created and stored.

Settings: PRE, USR

n For detailed instructions on creating your original Arpeggio

type, see page 20.

Category

Sub Category

You can select the Category and its Sub Category

including your desired Arpeggio Type. This parameter is

available when “PRE” is selected as the Bank.

Settings: Refer to the Arpeggio Category List on page 15.

n You can call up the list by pressing the [SF6] LIST button then

select the desired one from the list. For details, see page 37.

Type

Determines the desired Arpeggio Type number from the

specified Category. The name of the selected Arpeggio

Type is shown at right of the specified number on the

display. Refer to the Arpeggio Type List in Data List.

n For details about how to use the Arpeggio Type List, see

page 16.

Velocity Rate

Determines the offset value by which the Arpeggio notes

will be shifted from their original velocities. If the resultant

velocity value is less than zero it will be set to 1, and if the

resultant velocity is greater than 128 it will be set to 127.

This parameter can be changed via the Knob directly.

Settings: -100% – +0% – +100%

Gate Time Rate

Determines the Gate Time (length) of the Arpeggio notes.

The Gate Time cannot be decreased beyond its normal

minimum of 1; any values outside that range will

automatically be limited to the minimum. This parameter

can be changed via the Knob directly.

Settings: -100% – +0% – +100%

Arpeggio settings—[F3] ARP Other

(Arpeggio Other)

By changing the timing and velocity of the notes, you can

change the rhythmic “feel” of the Arpeggio playback.

Unit Multiply

Adjusts the Arpeggio playback time based on tempo. By

using this parameter, you can create a different Arpeggio

type from the original one. For example, if you set a value of

200%, the playback time will be doubled (tempo is halved).

On the other hand, if you set a value of 50%, the playback

time will be halved and the tempo doubled. Normal

playback time is 100%. This parameter can be changed

via the Knob directly.

Settings: 50%, 66%, 75%, 100%, 133%, 150%, 200%

Quantize Value*

Determines to what beats the note data in the Song will be

aligned, or determines to what beats in the Song the swing

is applied.

This parameter can be changed via the Knob directly.

Settings: 2 60 (32nd note), 63 80 (16th note triplet), 6 120 (16th

note), 83 160 (8th note triplet), 8 240 (8th note), 43 320

(1/4 note triplet), 4 480 (1/4 note)

Editing a Normal Voice

MOTIF XF Reference Manual

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Quantize Strength

Sets the “strength” by which note events are pulled toward

the nearest quantize beats. A setting of 100% produces

exact timing set via the Quantize Value parameter above. A

setting of 0% results in no quantization. A setting of 50%

results in the note events being pulled halfway between 0%

and 100%.

This parameter can be changed via the Knob directly.

Settings: 0% – 100%

Swing*

Delays notes on even-numbered beats (backbeats) to

produce a swing feel. Settings above 1 delay the Arpeggio

notes, whereas settings below 1 advance them. A setting

of 0 produces exact timing set via the Quantize Value,

resulting in no swing. Judicious use of this setting lets you

create swing rhythms and triplet feels, such as shuffle and

bounce.

This parameter can be changed via the Knob directly.

Settings: -120 – +120

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 velocities are used.

Settings below 100% will reduce the velocities of the

Arpeggio notes, whereas settings above 100% will

increase the velocities. If the resultant velocity value is less

than zero it will be set to 1, and if the resultant velocity is

greater than 128 it will be set to 127.

Settings: 0 – 200%

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 gate times are used. Settings

below 100% will shorten the gate times of the Arpeggio

notes, whereas settings above 100% will lengthen them.

The Gate Time cannot be decreased beyond its normal

minimum of 1; any values outside that range will

automatically be limited to the minimum.

Settings: 0 – 200%

Octave Range

Specifies the maximum Arpeggio range in octaves.

Positive value settings increase the octave range of the

Arpeggio playback upward, whereas negative value

settings increase it downward. This parameter can be

changed via the Knob directly.

Settings: -3 – +0 – +3

Loop

When this is set to “on,” the Arpeggio cycles while notes

are held. When this is set to “off,” the Arpeggio plays only

once even if notes are held.

Settings: off, on

Trigger Mode

When this is set to “gate,” pressing the note starts

Arpeggio playback and releasing the note stops it. When

this is set to “toggle,” pressing the note starts/stops

Arpeggio playback and releasing the note does not affect

Arpeggio playback. Normally, this parameter should be set

to “gate.”

Settings: gate, toggle

n The Trigger Mode “toggle” setting overcomes the Hold “on”

setting in the Arpeggio Main display (page 58). In other words,

even when the Hold parameter is set to “on,” pressing the note

start/stops Arpeggio playback when the Trigger Mode is set to

“toggle.”

Accent Vel Threshold

(Accent Velocity Threshold)

Some Arpeggio types include special sequence data

called “Accent Phrase,” which will be played back only

when the velocities higher than a specified value are

received. This parameter determines the minimum velocity

that will trigger the Accent Phrase.

Settings: off, 1 – 127

Accent Start Quantize

Determines the start timing of the Accent Phrase when the

Velocity specified in Accent Vel Threshold above is

received. When set to off, the Accent Phrase starts as soon

as the Velocity is received. When set to on, the Accent

Phrase starts on the beat specified for each Arpeggio type

after the Velocity is received.

Settings: off, on

Random SFX

Some Arpeggio types feature the Random SFX function

which will trigger the special sound such as fret noise of the

guitar when the note is released. This parameter

determines whether the Random SFX is active or not.

Settings: off, on

Random SFX Velocity Offset

Determines the offset value by which the Random SFX

notes will be shifted from their original velocities. If the

resultant velocity value is less than zero it will be set to 1,

and if the resultant velocity is greater than 128 it will be set

to 127.

Settings: -64 – +0 – +63

Random SFX Key On Control

When this is set to “on,” the Random SFX special sound is

played with the preprogrammed velocity. When this is set

to “off,” the Random SFX special sound is played with the

velocity generated when the note is pressed.

Settings: off, on

Editing a Normal Voice

MOTIF XF Reference Manual

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Controller settings—[F4] Ctrl Set

(Controller Set)

The controllers such as knobs on the front panel can be

used to change and adjust a variety of parameters for each

Voice—in real time, and simultaneously. For example,

keyboard aftertouch can be used to control vibrato and the

Modulation Wheel could be used to control tonal

brightness.

The function settings for all the controllers are referred to as

a “Controller Set,” and up to six Controller Sets can be

created for each Voice. The controller is referred to as

Source, and the controlled function is referred to as

Destination. From this display, you can determine the

Controller Sets.

n Depending on the selected parameter, the LIST icon is shown

at the tab menu corresponding to the [SF6] button. In this

condition, you can call up the list by pressing the [SF6] LIST

button, then select the desired item from the list. For details,

see page 37.

Source*

Determines which panel controller is to be assigned and

used for the selected Set. You can also assign multiple

functions to a controller. You can set this parameter by

operating the desired controller while holding the [SF5]

Controller button.

Settings:

PitchBend

Indicates the built-in Pitch Bend wheel.

ModWheel

Indicates the built-in Modulation wheel.

AfterTch (Aftertouch)

Indicates the event generated when pressure is applied to a key after

the note is played.

FootCtrl1 (Foot Controller2)

FootCtrl2 (Foot Controller2)

Indicates the Foot Controller connected to each of the FOOT

CONTROLLER 1 and 2 jacks on the rear panel.

FootSw (Footswitch)

Indicates the Footswitch connected to the FOOT SWITCH

ASSIGNABLE jack on the rear panel.

Ribbon

Indicates the built-in Ribbon Controller.

Breath

Indicates the external controller which sends the control change

number assigned to the Breath Controller in the Utility mode

(page 230) to the MOTIF XF via MIDI.

Assign1

Assign2

Indicates the Knobs printed “ASSIGN 1” and “ASSIGN 2” with the

TONE 1 lamp turned on.

A. Func 1

A. Func 2

Indicates the built-in ASSIGNABLE FUNCTION [1] and [2] buttons.

n You can determine the degree to which the Pitch Bend wheel

affects the Destination parameter (below) by setting the Pitch

Bend Range Upper ( ) and Pitch Bend Range Lower ( ) in

the Play Mode display (page 55).

Destination*

Determines the parameter that is controlled by the Source

controller (above). You can select a parameter for each

controller from the 67 parameters, such as volume, pitch

and LFO depth.

Settings: Refer to the Control List in the separate Data List.

n Regarding “Insertion Effect A Parameter 1 – 16,” “Insertion

Effect B Parameter 1 – 16” and “Insertion Effect L Parameter 1

– 32” described in the Control List, the actual parameter

names of the selected Effect type are shown on the display. If

one of these names is shown, no function is assigned to that

parameter.

Setting examples of the Destination

Concerning *1 – *4, the following settings are necessary in addition to

the above setting.

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

Element Switch*

Determines whether or not the selected controller affects

each individual element. This parameter is disabled when

the Destination ( ) described above is set to a parameter

unrelated to the Voice Elements.

To control the volume: Volume

To apply vibrato to the Voice:

Common LFO Depth 1 – 3

(C-LFO dpth1 – 3) *1

To change the pitch:

Element Pitch

(coarse tune) *2

To control the brightness of the

Voice:

Element Filter Frequency

(cutoff) *2

To change the speed of the

Rotary Speaker:

Insertion A/B Parameter 1 (insA-

prm1/insB-prm1) *3

To apply a wah pedal to the

Voice:

Insertion A/B Parameter 1 (insA-

prm1/insB-prm1) *4

[F4] Com LFO  [SF1] Wave  Play Mode = loop

[F4] Com LFO  [SF2] Set  Control Dest = P mod

*2 [F3] Ctrl Set  Element Switch = on

[F6] Effect  Insertion A/B Type = Rotary Speaker

[F6] Effect  Element Out = insA/insB

[F6] Effect  Insertion A/B Type = Wah effect

[F6] Effect  Element Out = insA/insB

Editing a Normal Voice

MOTIF XF Reference Manual

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Graph (Indication only)

The horizontal axis indicates the value generated via the

Source of the selected Set, whereas the vertical axis

indicates the degree to which the Destination parameter is

affected.

Modulating the Voice—[F5] Com

LFO (Common LFO)

Determines how the vibrato, tremolo and wah effect are

produced by using the LFO (Low Frequency Oscillator).

From the following displays, you can set the basic LFO

parameters common to all elements of the Voice.

This display contains a variety of LFO parameters,

including LFO wave type, speed and effects such as LFO

delay or fade in/out.

n Depending on the selected parameter, the LIST icon is shown

at the tab menu corresponding to the [SF6] button. In this

condition, you can call up the list by pressing the [SF6] LIST

button, then select the desired item from the list. For details,

see page 37.

Wave*

Selects the Wave and determines how the LFO waveform

vibrates. The illustration of the selected wave is shown on

the display.

Settings: triangle, triangle+, saw up, saw down, squ1/4, squ1/3,

square, squ2/3, squ3/4, trapezoid, S/H1, S/H2, user

user

You can create your original LFO wave by selecting this. The LFO wave

can be created in the Common LFO User display (page 62).

Play Mode

Determines whether the LFO cycles repeatedly (loop) or

only once (one shot).

Settings: loop, one shot

Speed*

Determines the speed of the LFO Wave. The higher the

value, the faster the speed.

Settings: 0 – 63

Phase

Determines the starting phase point for the LFO Wave

when it is reset.

Settings: 0°, 90°, 120°, 180°, 240°, 270°

Tempo Sync

Determines whether or not the LFO speed is synchronized

to the tempo of the Arpeggio or sequencer (Song or

Pattern).

Settings: off (not synchronized), on (synchronized)

n When this parameter is set to “on” and the MIDI sync

parameter in the MIDI display of the Utility mode (page 228) is

set to “MIDI,” the LFO speed is synchronized with the external

clock.

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

note), 8th (eighth note), 4th/3 (quarter-note triplets), 8th.

(dotted 8th note), 4th (quarter notes), 2nd/3 (half-note

triplets), 4th. (dotted quarter notes), 2nd (half notes), whole/

3 (whole-note triplets), 2nd. (dotted half note), 4thx4

(quarter-note quadruplets; four quarter notes to the beat),

4thx5 (quarter-note quintuplets; five quarter notes to the

beat), 4thx6 (quarter-note sextuplets; six quarter notes to the

beat), 4thx7 (quarter-note septuplets; seven quarter notes to

the beat), 4thx8 (quarter-note octuplets; eight quarter notes

to the beat), 4thx16 (sixteen quarter notes to the beat),

4thx32 (32 quarter notes to the beat), 4thx64 (64 quarter

notes to the beat)

n The note type setting above is synchronized with the tempo of

the Arpeggio/Song/Pattern playback.

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.

LFO Wave settings—[SF1] Wave

(Common LFO Wave)

0° 90°

120°

240°

180° 270°

Phase

Time

Key On

Time

Editing a Normal Voice

MOTIF XF Reference Manual

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

each-on

The LFO resets with each note you play and starts a waveform at the

phase specified by the Phase parameter (above).

n When the Wave is set to “S/H1” or “S/H2,” the Play Mode is set

to “one shot,” and the Key On Reset is set to “each-on,” the

initial phase differs each time the note is pressed. With this

setting, realistic tonal variations can be produced when hitting

the drum repeatedly.

1st-on

The LFO resets with each note you play and starts a waveform at the

phase specified by the Phase parameter (above). 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.

n The starting phase is determined by the Phase parameter ( )

although the starting phase is shown as 0 in the illustration.

Random Speed

Determines the degree to which the LFO speed changes at

random. A setting of “0” results in the original speed.

Higher values result in a larger degree of speed change.

This parameter cannot be set when the Tempo Sync ( ) is

set to on.

Settings: 0 – 127

Delay*

Determines the delay time between the moment you press

note on the keyboard and the moment the LFO comes into

effect. A higher value results in a longer delay time.

Settings: 0 – 127

Fade In Time

Determines the amount of time for the LFO effect to fade in

after the Delay time has elapsed. A higher value results in a

slower fade-in. When set to “0,” the LFO effect will not fade

in and reach the maximum level immediately after the

Delay time has elapsed.

Settings: 0 – 127

Hold (Hold Time)

Determines the length of time for which the LFO is held at

its maximum level. A higher value results in a longer Hold

time. A setting of 127 produces no fade out.

Settings: 0 – 126, hold

Fade Out Time

Determines the amount of time for the LFO effect to fade

out (after the Hold time has elapsed). A higher value results

in a slower fade-out.

Settings: 0 – 127

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.

Control Dest (Control Destination)*

Determines the parameters which are to be controlled

(modulated) by the LFO Wave.

Settings: insA1 – insA16, insB1 – insB16, insL1 – insL32, A mod, P

mod, F mod, reso, pan, LFOspd

insA1 – insA16, insB1 – insB16, insL1 – insL32 (Effect parameters)

Each parameter of the selected Effect type is modulated cyclically.

When one of those parameters is selected, the corresponding

parameter name of the selected Effect type is shown at the lower

section of the display.

A mod (Amplitude Modulation Depth)

A tremolo effect produced by cyclically modulating the volume.

P mod (Pitch Modulation Depth)

A vibrato effect produced by cyclically modulating the pitch.

F mod (Filter Modulation Depth)

A wah effect produced by cyclically modulating the tonal brightness.

reso (Resonance)

A special wah effect produced by cyclically modulating the resonance.

pan

An effect produced by cyclically modulating the stereo pan position.

LFOspd (Element LFO Speed)

When this is selected, the Common LFO speed cyclically modulates

the Element LFO speed.

Control Depth*

Determines the LFO Wave Depth.

Settings: 0 – 127

Element Switch 1 – 8*

Determines whether or not each Element is to be affected

by the LFO.

Settings: B (active), A (inactive)

Depth Offset 1 – 8

Determines the offset values of the Control Depth

parameter (above) for the respective Elements. If the

resultant Control Depth value is less than zero it will be set

Key On

(first note)

Key On

(second note)

Time

Key On

(first note)

Key On

(second note)

Time

LFO Effect Settings—[SF2] Set

(Common LFO Set)

Editing a Normal Voice

MOTIF XF Reference Manual

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

to 0, and if the resultant Control Depth value is greater than

127 it will be set to 127.

Settings: 0 – 127

LFO Phase Offset

Determines the offset values of the Phase parameter in the

[SF1] Wave display for the respective Elements.

Settings: 0°, 90°, 120°, 180°, 240°, 270°

From this display you can create your own original LFO

wave. You can create a custom LFO wave consisting of up

to sixteen steps. The created LFO wave becomes available

when the Wave parameter in the Common LFO Wave

display is set to “user.”

Template

You can select a pre-programmed template for the LFO

wave.

Settings: all -64, all 0, all +63, saw up, saw down, even step, odd step

all -64

Values of all the steps are set to -64.

all 0

Values of all the steps are set to 0.

all +63

Values of all the steps are set to +63.

saw up

Creates a saw shaped upward wave.

saw down

Creates a saw shaped downward wave.

even step

Values of all odd steps are set to +63, and values of all even steps are

set to -64.

odd step

Values of all even steps are set to +63, and values of all odd steps are

set to -64.

n You can call up the list by pressing the [SF6] LIST button then

select the desired one from the list. For details, see page 37.

n You can use the [SF5] Random button to call up the base

wave at random. Each time you press the [SF5] Random

button, a different LFO wave appears on the display randomly.

Slope

Determines the slope or ramp characteristics of the LFO

wave.

Settings: off, up, down, up&down

off

Creates no slope.

Creates an upward slope.

down

Creates a downward slope.

up&down

Creates an upward then downward slope.

Cycle

Determines the amount of steps for creating the wave.

Settings: 2, 3, 4, 6, 8, 12, 16

Level 1 – 16

Determines the level for each step.

Settings: -64 – +63

Effect settings—[F6] Effect

Determines the Effect connection and values of other

parameters for the selected Voice. For details about the

structure in the Voice mode, see page 23.

This display gives you at-a-glance, overall view of the

effect routing and comprehensive control over the effects.

n Depending on the selected parameter, the LIST icon is shown

at the tab menu corresponding to the [SF6] button. In this

condition, you can call up the list by pressing the [SF6] LIST

button, then select the desired item from the list. For details,

see page 37.

Making your own LFO—[SF3] User

(Common LFO User)

0° 90°

120°

240°

180° 270°

Phase

Time

Effect Connection Settings—[SF1]

Connect

Editing a Normal Voice

MOTIF XF Reference Manual

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Element Out 1 – 8*

Determines which Insertion Effect (A or B) is used to

process each individual Element. The “thru” setting lets you

bypass the Insertion Effects for the specified element.

When INSERTION CONNECT ( ) is set to “ins L,” the

signal from each Element is output to the Insertion L

regardless of the setting here.

Settings: thru (through), ins A (Insertion A), ins B (Insertion B)

INSERTION CONNECT (Insertion Connection)

From this display you can set the effect routing for Insertion

Effects A and B. The setting changes are shown on the

diagram in the display, giving you a clear picture of how the

signal is routed. For details, see page 23.

Settings: parallel, ins A F B, ins B F A, ins L

parallel

Signals processed with the Insertion Effect A and B block will be sent

to Master Effect, Master EQ, Reverb and Chorus block.

ins A F B

Signals processed with the Insertion Effect A will be sent to the

Insertion Effect B and signals processed with the Insertion Effect B is

sent to Master Effect, Master EQ, Reverb and Chorus block.

ins B F A

Signals processed with the Insertion Effect B will be sent to the

Insertion Effect A and signals processed with the Insertion Effect A is

sent to Master Effect, Master EQ, Reverb and Chorus block.

ins L

The Insertion Effects A and B are unified, then used as the Vocoder.

Signals processed with the Vocoder block will be sent to Master Effect,

Master EQ, Reverb and Chorus block.

n When “ins L” is selected, “ins L” is shown in the tab menu of

the [SF2] button and the tab menu of the [SF3] button

disappears.

n For detailed instructions on using the Vocoder, see page 66.

n When “ins L” is selected, the audio signal will be output from

this instrument in mono.

Insertion A (Insertion A Category/Type)*

Insertion B (Insertion B Category/Type)*

Determines the Effect type for Insertion A and B. From the

Category column, you can select one of the Effect

Categories, each of which contains similar Effect types.

From the Type column, you can select one of the Effect

Types listed in the selected Category.

Settings: Details about the Effect categories and types are described

on page 24.

Chorus (Chorus Category/Type)*

Selects a Chorus Effect type after selecting a category.

From the Category column, you can select one of the Effect

Categories, each of which contains similar Effect types.

From the Type column, you can select one of the Effect

types listed in the selected Category.

Settings: Details about the Effect categories and types are described

on page 24.

Reverb (Reverb Type)*

Determines the Reverb Effect type. It is not necessary to

select a Category because there is only one category in

Reverb.

Settings: Details about the Effect types are described on page 24.

Chorus Send*

Adjusts the chorus send level. The higher the value the

deeper the Chorus.

Settings: 0 – 127

Reverb Send*

Adjusts the reverb send level. The higher the value the

deeper the reverb.

Settings: 0 – 127

CHORUS TO REVERB

Determines the Send level of the signal sent from the

Chorus Effect to the Reverb Effect. The higher the value,

the deeper the Reverb that is applied to the Chorus-

processed signal.

Settings: 0 – 127

Reverb Return

Determines the Return level of the Reverb Effect.

Settings: 0 – 127

Chorus Return

Determines the Return level of the Chorus Effect.

Settings: 0 – 127

Reverb Pan

Determines the pan position of the Reverb effect sound.

Settings: L63 (far left) – C (center) – R63 (far right)

Chorus Pan

Determines the pan position of the Chorus effect sound.

Settings: L63 (far left) – C (center) – R63 (far right)

Vocoder

A to B B to A

parallel ins L

Editing a Normal Voice

MOTIF XF Reference Manual

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

From these displays, you can set the Effect related

parameters when the INSERTION CONNECT parameter is

set to “parallel” or “ins A FB” or “ins B F A.”

n Depending on the selected parameter, the LIST icon is shown

at the tab menu corresponding to the [SF6] button. In this

condition, you can call up the list by pressing the [SF6] LIST

button, then select the desired item from the list. For details,

see page 37.

Category

Type

From the Category column, you can select one of the Effect

Categories each of which contains similar Effect types.

From the Type column, you can select one of the Effect

Types listed in the selected Category.

Settings: Details about the Effect categories and types are described

on page 24.

n The Category ( ) is not shown in the Reverb display.

Preset

You can set various parameters in order to change how the

sound is affected by the selected Effect type. This

parameter lets you call up the preprogrammed settings of

these effect parameters.

Effect Parameters

The number of parameters and values available differs

depending on the currently selected effect type. Refer to

page 27 for details about the Effect parameters. Refer to

the separate Data List for information on the parameters for

each Effect type.

From this display, you can set the Vocoder related parameters. This display called up via the [SF2] button is available only

when the INSERTION CONNECT parameter is set to “ins L” in the Connect display (page 64). Vocoder is a distinctive, “robot

voice” effect which extracts the characteristic of the microphone sound and adds it to the sound via your keyboard

performance. To create this Vocoder effect, you play the keyboard and sing or speak into the microphone at the same time.

To use the Vocoder effect, connect a microphone to the A/D INPUT connector on the rear panel, then follow the instructions

on page 68.

*1 The noise generated in the Vocoder unit is used.

*2 The cutoff frequency of the BPF1’ may not be same as the one of the BPF1. This depends on the settings of the Formant Shift and Formant Offset.

Effect Parameter settings—[SF2] Ins A,

[SF3] Ins B, [SF4] Reverb, [SF5] Chorus

Effect Parameter Settings—[SF2] Ins L (Insertion Large)

HPF

Band 10

Band 9

Band 2

Band 1

Noise

Gate

Microphone Input

Noise Input (*1)

Inst Input

(Keyboard Performance)

Extracting the tonal

characteristic

BPF1’

(*2)

Level

detection

BPF1

Volume

control

Output

BPF1

Gain

Dry

Wet

Editing a Normal Voice

MOTIF XF Reference Manual

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Type

Determines whether or not the Vocoder is applied to the

current Voice. When set to “Thru,” the Vocoder is not

applied to the Voice.

Settings: Thru, Vocoder

Vocoder Attack

Determines the attack time of the Vocoder sound. The

higher the value, the slower the attack.

Settings: 1ms – 200ms

Vocoder Release

Determines the release time of the Vocoder sound. The

higher the value, the slower the decay.

Settings: 10ms – 3000ms

Mic Gate Threshold

Determines the threshold level of the noise gate for the

microphone sound. If noise interferes with the Vocoder

effect, set this parameter to a relatively high value to

prevent noise from producing inadvertent, unexpected

sounds.

Settings: -72dB – -30dB

Gate Switch

Determines whether or not the microphone sound will be

output from the HPF while you release the notes. Normally,

set this to “on.”

Settings: off, on

off: The microphone sound always will be output. (You can always hear

the microphone sound.)

on: The microphone sound will be output only while pressing the note.

HPF Freq (High Pass Filter Frequency)

Determines the HPF cutoff frequency for the microphone

input sound. Setting this to a low value results in a

minimally processed input sound—in other words, close to

the original. Setting this to higher values emphasizes the

higher frequency consonant and sibilant sounds (which

make words easier to understand).

Settings: thru, 500Hz – 16.0kHz

HPF Output Level

Determines the level of the microphone sound output from

the HPF (High Pass Filter).

Settings: 0 – 127

Formant Shift

Determines the amount (in BPF) by which the cutoff

frequency value of the BPFs (for the Inst Input) is shifted.

This parameter can be used to adjust the pitch of the

Vocoder sound.

Settings: -2, -1, +0, +1, +2

Formant Offset

Adjusts the cutoff frequencies of all BPFs (for the Inst Input)

finely. This parameter can be used to adjust the pitch of the

Vocoder sound finely.

Settings: -63 – +0 – +63

Mic Level

Determines the microphone sound level, which is to be

input to the Vocoder.

Settings: 0 – 127

Inst Input Level

Determines the level of the keyboard performance sound,

which is to be input to the Vocoder.

Settings: 0 – 127

Noise Input Level

Determines the noise level which is input to the Vocoder.

This can be used to emphasize sibilant and plosive

sounds, and make the speech-like characteristics more

pronounced.

Settings: 0 – 127

Output Level

Determines the output level of the Vocoder.

Settings: 0 – 127

Dry/Wet Balance

Determines the balance between the dry sound to which

the effect is not applied and the wet sound to which the

effect is applied. The higher the W setting, the deeper the

effect.

Settings: D63>W – D=W – D<W63

BPF1 – 10 Gain (Band Pass Filter 1 – 10 Gain)

Determines each output gain of the BPF 1 – 10 for the Inst

Input (keyboard performance sound). The BPF1

corresponds to the lowest Formant while the BPF 10

corresponds to the highest Formant.

Settings: -18dB – +18dB

Editing a Normal Voice

MOTIF XF Reference Manual

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Vocoder structure

The human voice consists of sounds generated from the

vocal cords, and filtered by the throat, nose and mouth.

These resonant sections have specific frequency

characteristics and they function effectively as a filter,

creating many formants (harmonic content). The Vocoder

effect extracts the filter characteristics of the voice from the

microphone input and recreates the vocal formants by the

use of multiple band pass filters. The machine-like ‘robot’

voice is created by passing the pitched sounds of musical

instruments (such as a synthesizer sound) through the

filters.

Using the Vocoder effect

After connecting a microphone to the A/D INPUT connector

on the rear panel, follow the instructions below to use the

Vocoder effect.

1 Set the Vocoder related parameters.

In the Voice Play mode, press the [UTILITY] button to

enter the Utility mode, press the [F4] button, then press

the [SF1] button to call up the Output display

(page 226). Set the Output Select to “ins L.”

n When using the Vocoder in the Performance mode, set the

Output Select parameter to “ins L” in the Output display

(page 226) of the Performance Edit mode. When using the

Vocoder in the Song/Pattern mode, set the Output Select

parameter to “ins L” in the Audio In display (page 193) of

the Mixing Edit mode.

2 Set the Input Gain of the A/D INPUT connector

to microphone.

In the Utility mode, press the [F2] button to call up the

Input/Output display (page 223), then set the Mic/Line

parameter to “mic.”

3 In the Voice Play mode, select the desired

Voice to which the Vocoder is applied.

4 Select the Vocoder as the Insertion Effect

connection.

In the Voice Play mode, press the [EDIT] button then

[COMMON EDIT] button to enter the Voice Common

Edit. Press the [SF1] button to call up the Connect

display (page 64), set the INSERTION CONNECT

parameter to “ins L,” then set the Insertion L parameter

to “Vocoder.”

n When the INSERTION CONNECT is set to “ins L,” the

audio signal will be output from this instrument in mono.

5 Set the Vocoder related parameters if

necessary.

Input your voice to the microphone while pressing the

note(s) to generate the machine-like Vocoder sound.

Press the [SF2] button to call up the Insertion L display,

then set the related parameters while listening to the

Vocoder sound.

6 Press the [STORE] button to call up the Store

window (page 54) then store the edited Voice.

Mic Input

Extracting the

characteristic of the

input voice

Creating the

FormantKeyboard

performance

Robot Voice

Vocoder

MOTIF XF Reference Manual

Editing a Normal Voice

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Element Edit parameters

[VOICE]  Normal Voice selection  [EDIT]  [1] – [8]

If you wish to edit the sounds that make up a Voice and the basic parameters that determine the sound, such as Oscillator,

Pitch, Filter, Amplitude, and EG (Envelope Generator), call up the Element Edit display.

About the asterisk (*) marks

For users who are new to Voice editing and may be confused by the large amount of parameters, the most basic and easy-to-understand

parameters are conveniently marked with asterisks in this section. If you are just starting out with Voice editing, try these parameters first.

Selected Element display/

Four-Element display

In the Element Edit mode, you can use two types of display.

One type of display lets you edit parameters for the

currently selected Element and the other type of display

lets you view parameters for four Elements. You can switch

between these two types by pressing the [SF5] button.

When the display for four Elements is shown, you can

switch between the displays for Elements 1 – 4 and 5 – 8

by using the left and right cursor buttons.

Setting the Waveform and Note range

of the Element—[F1] Oscillator

n Depending on the selected parameter, the LIST icon is shown

at the tab menu corresponding to the [SF6] button. In this

condition, you can call up the list by pressing the [SF6] LIST

button, then select the desired item from the list. For details,

see page 37.

Element Switch*

Determines whether the currently selected Element is on or

off. When this is set to off, the currently edited Element will

not sound.

Settings: off (inactive), on (active)

XA Control (Expanded Articulation Control)

Expanded Articulation (XA) is a special feature of the

MOTIF XF that provides greater performance flexibility and

realism (see box on next page). This parameter determines

how the XA feature of the Element works. Try setting this

parameter referring to the four types of the XA Mode

described below. You can realize the desired sound

depending on your performance articulation by assigning

the same Element Group to the Elements having the same

type of the XA mode.

Settings: normal, legato, key off sound, wave cycle, wave random, all

AF off, AF 1 on, AF 2 on

normal

When this is selected, the Element will sound normally each time you

press the note.

legato

When this is selected and the Mono mode is selected, an alternate

Element (different from the one used when XA mode is set to “normal”)

will be played when you play the keyboard in legato fashion (playing

the next note of a single-note line or melody before releasing the

previous note).

The display indicating the settings of

the current Element

The display indicating the settings of

four Elements

This icon indicates that you can call up

the display for another four Elements.

Editing a Normal Voice

MOTIF XF Reference Manual

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

key off sound

When this is selected, the Element will sound each time you release the

note.

wave cycle

When this is selected for multiple Elements, each Element sounds

alternately according to its numerical order each time you play a note.

(In other words, playing the first note will sound Element 1, the second

note Element 2, and so on.)

wave random

When this is selected for multiple Elements, each Element will sound

randomly each time you press the note.

all AF off

When this is selected, the Element will sound when both of the

ASSIGNABLE FUNCTION buttons are turned off.

AF 1 on

When this is selected, the Element will sound when the ASSIGNABLE

FUNCTION [1] button is turned on.

AF 2 on

When this is selected, the Element will sound when the ASSIGNABLE

FUNCTION [2] button is turned on.

Element Group

Determines the group of the XA mode so that the Elements

of the same group are called up in order or randomly.

Assign the same group number to the Elements having the

same type of XA mode.

The setting here is not available when the XA mode

parameters of all Elements are set to “normal.”

Settings: 1 – 8

Wave Bank (Waveform Bank)

Determines the Waveform Bank assigned to the Element.

You can select the Bank from PRE, USR, FL1 and FL2.

PRE (Preset Bank) includes the preset Waveforms while

USR (User Bank), FL1 (Bank stored at slot 1 of the optional

Flash Memory Expansion Module) and FL2 (Bank stored at

slot 2 of the optional Flash Memory Expansion Module)

include the User Waveforms created based on the samples

recorded in the Sampling mode. FL1 and FL2 are available

only when the optional Flash Memory Expansion Module

FL512M/FL1024M has been installed.

Settings: PRE, USR, FL1, FL2

n For details about Waveform, refer to the explanation of the

Sampling mode on page 119.

Wave Main Category (Waveform Main Category)*

Wave Sub Category (Waveform Sub Category)*

It is easier to find desired Waveforms ( ) by setting these

parameters before selecting a Waveform number. Preset

Waveforms are categorized into Main and Sub. The

number of Sub Categories differs depending on each Main

Category.

Wave Number (Waveform Number)*

Determines the Waveform assigned to the Element by

selecting the Waveform Category and Number. For a

complete list of Waveforms in the Preset Bank, refer to the

Waveform List in the separate Data List.

Key On Delay

Determines the time (delay) between the moment you

press a note on the keyboard and the point at which the

sound is actually played. The higher the value, the longer

the delay time.

Settings: 0 – 127

Delay Tempo Sync

Determines whether or not the Key On Delay above is

synchronized to the tempo of the Arpeggio or sequencer

(Song or Pattern).

Settings: off (not synchronized), on (synchronized)

Delay Tempo

Determines the timing of the Key On Delay when the Delay

Tempo Sync is set to on.

Settings: 16th, 8th/3 (eighth-note triplets), 16th. (dotted sixteenth

note), 8th (eighth note), 4th/3 (quarter-note triplets), 8th.

(dotted 8th note), 4th (quarter notes), 2nd/3 (half-note

triplets), 4th. (dotted quarter notes), 2nd (half notes), whole/

3 (whole-note triplets), 2nd. (dotted half note), 4thx4

(quarter-note quadruplets; four quarter notes to the beat),

Expanded Articulation (XA) features

Expanded Articulation (XA) is a newly designed,

sophisticated tone generation system that allows you to more

effectively recreate realistic sound and natural performance

techniques—such as legato and staccato—often used on

acoustic instruments but up to now unavailable or difficult to

realize on electronic keyboards. It also provides other unique

modes for random and alternate sound changes as you play.

Realistic legato performance

Specify an Element or Elements to be sounded when playing

legato.

 Set the XA control parameter for the desired Elements to

“legato.”

Authentic note release sound

Specify an Element or Elements to be sounded upon

releasing a note. For example, this could be used to recreate

the characteristic pluck sound on a harpsichord when a note

is released.

 Set the XA control parameter for the desired Elements to

“key off sound.”

Different sounds for each note played

Specify different Elements to be sounded in order or

randomly.

 Set the XA control parameter for the desired Elements to

“wave cycle” or “wave random.”

Switching among different sounds to recreate the

natural performance on an acoustic instrument

Specify which Elements will be sounded according to the on/

off status of the ASSIGNABLE FUNCTION buttons. For

example, this could be used on an acoustic guitar Voice to

switch between playing normally and playing high

harmonics.

 Set the XA control parameter for the desired Elements to

“all AF off,” “AF 1 on,” or “AF 2 on.”

New sounds and new styles of playing

The highly versatile functions above can be applied

effectively not only to acoustic sounds but also to synthesizer

and electronic Voices as well. The XA feature opens up

enormous potential for realizing authentic sounds,

performing expressively and coming up with creative new

styles of playing.

Editing a Normal Voice

MOTIF XF Reference Manual

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

4thx5 (quarter-note quintuplets; five quarter notes to the

beat), 4thx6 (quarter-note sextuplets; six quarter notes to the

beat), 4thx7 (quarter-note septuplets; seven quarter notes to

the beat), 4thx8 (quarter-note octuplets; eight quarter notes

to the beat)

Vel Cross Fade (Velocity Cross Fade)

This determines how gradually the sound of an Element

decreases in volume in proportion to the distance of

velocity changes outside the Velocity Limit setting ( ). A

setting of 0 produces no sound outside the Velocity Limit.

The higher the value, the more gradual the level

decreases. The practical application of this parameter is to

create natural-sounding velocity cross fades, in which

different Elements (Waveforms) change gradually

depending on how strongly or softly you play.

Settings: 0 – 127

Velocity Limit

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. 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.”

Settings: 1 – 127

Note Limit

Determines the lowest and highest notes of the keyboard

range for each Element. The selected Element will sound

only when you play notes within this range. 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.”

Settings: C -2 – G8

n You can also set the Key directly from the keyboard, by

holding down the [SF6] INFO button and pressing the desired

key. For details, see page 37.

Ins Effect Output (Insertion Effect Output)

Determines which Insertion Effect (A or B) is used to

process each individual element. The “thru” setting lets you

bypass the Insertion Effects for the specific key. This

parameter is the same as Element Out 1 – 8 on the

Connect display (page 64) in Voice Common Edit. Making

a setting here automatically changes the setting of that

parameter as well. When INSERTION CONNECT is set to

“Ins L,” the signal from each Element is output to the

Insertion L regardless of the setting here.

Settings: thru (through), ins A (Insertion A), ins B (Insertion B)

Pitch Settings—[F2] Pitch

Coarse (Coarse Tuning)

Determines the pitch of each Element in semitones.

Settings: -48 semi – +0 semi – +48 semi

Fine (Fine Tuning)

Determines the pitch of each Element in cents.

Settings: -64 cents – +0 cents – +63 cents

Pitch Velocity Sens (Pitch Velocity Sensitivity)

Determines how the pitch of the Element responds to

velocity. Positive settings will cause the pitch to rise the

harder you play the keyboard and negative settings will

cause it to fall. A setting of 0 results in no change in pitch.

Settings: -64 – +0 – +63

Fine Scaling Sens (Fine Scaling Sensitivity)

Determines the degree to which the notes (specifically,

their position or octave range) affect the pitch in fine tuning

(set above) of the selected Element, assuming C3 as the

basic pitch. A positive setting will cause the pitch of lower

notes to change lower and that of higher notes to change

higher. Negative values will have the opposite effect.

Settings: -64 – +0 – +63

Random

This lets you randomly vary the pitch of the Element for

each note you play. The higher the value, the greater the

pitch variation. A value of “0” results in no pitch change.

Settings: 0 – 127

Tuning and Pitch Scaling—[SF1] Tune

Editing a Normal Voice

MOTIF XF Reference Manual

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Pitch Key Follow

Determines the sensitivity of the Key Follow effect (the pitch

interval of adjacent notes), assuming the pitch of the

Center Key ( ) as standard. At +100% (the normal

setting), adjacent notes are pitched one semitone (100

cents) apart. At 0%, all notes are the same pitch specified

as the Center Key. For negative values, the settings are

reversed.

Settings: -200% – +0% – +200%

n This parameter is useful for creating alternate tunings, or for

use with sounds that do not need to be spaced in semitones,

such as pitched drum sounds in a Normal Voice.

Center Key

Determines the central note or pitch for the Pitch Key

Follow. The note number set here is the same pitch as

normal regardless of the Pitch Key Follow setting.

Settings: C -2 – G8

n You can also set the note directly from the Keyboard, by

holding down the [SF6] button and pressing the desired key.

See “Basic Operation” on page 37.

Pitch Key Follow and Center Key

From this display you can set the Pitch EG parameters.

Using the PEG, you can control the transition in pitch from

the moment the sound starts to the moment it stops.

Time

The Time parameters let you set the time between the

adjoining points of the level parameters below. A higher

value results in a longer time until reaching the next level.

Settings: 0 – 127

Hold Time

Determines the time between the moment you press a note

on the keyboard and the moment the envelope starts to

rise.

Attack Time

Determines the speed of attack from the initial pitch (Hold

Level) to the normal pitch of the Voice after the hold time

has elapsed.

Decay 1 Time

Determines how fast the envelope falls from the normal

pitch (Attack Level) of the Voice to the pitch specified as

the Decay 1 Level.

Decay 2 Time

Determines how fast the envelope falls from the pitch

specified as the Decay 1 Level to the pitch specified as the

Decay 2 Level.

Release Time

Determines how fast the envelope falls from the pitch

specified as the Decay 2 Level to the pitch specified as the

Release Level when the note is released.

Level

The Level parameters let you set the amount of the pitch

deviation based on the standard pitch specified at the

Coarse Tuning and Fine Tuning in the Tune display

(page 71) at each envelope point.

Settings: -128 – +0 – +127

Hold Level

Determines the initial pitch at the moment the note is

pressed.

Pitch EG Settings—[SF2] PEG (Pitch EG)

–

When Pitch Key Follow is set to 100

Large

Small

Amount of

pitch change

Center Key Higher rangeLower range

Pitch

Hold Level

Attack Level

Decay 1

Level

Decay 2

Level

Release

Level

Hold

Time

Attack

Time

Decay 1

Time

Decay 2

Time

Release

Time

Pressing the key (Key on) Releasing the key (Key off)

Editing a Normal Voice

MOTIF XF Reference Manual

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Attack Level

Determines the normal pitch of the pressed note.

Decay 1 Level

Determines the level which the pitch of sound reaches from

the Attack Level after the Decay 1 time elapses.

Decay 2 Level

Determines the sustain-level pitch which will be maintained

while a note is held.

Release Level

Determines the final pitch reached after the note is

released.

EG Depth

Determines the range over which the pitch envelope

changes. A setting of 0 will cause the pitch not to change.

The farther from 0 the value is, the larger the pitch range.

For negative values, the pitch change is reversed.

Settings: -64 – +0 – +63

EG Depth Vel Sens

(EG Depth Velocity Sensitivity)

Determines how the pitch range of the Element responds to

velocity. When this is set to a positive value, high velocities

cause the pitch range to expand and low velocities cause it

to contract, as shown below. When this is set to a negative

value, high velocities cause the pitch range to contract and

low velocities cause it to expand. When this is set to 0, the

pitch envelope does not change no matter what the

velocity.

Settings: -64 – +0 – +63

EG Depth Vel Curve (EG Depth Velocity Curve)

The five curves determine how the pitch range will be

generated according to the velocity (strength) with which

you play notes on the keyboard. The horizontal axis of the

graph is the velocity, and the vertical axis is the pitch

range.

Settings: Curve 0 – 4

EG Time Velocity Sens

(EG Time Velocity Sensitivity)

Determines how the PEG transition time (speed) responds

to velocity, or the strength with which the note is pressed.

When this is set to a positive value, high velocities result in

a fast PEG transition speed while low velocities result in a

slow speed, as shown below. When this is set to a negative

value, high velocities result in a slow PEG transition speed

while low velocities result in a fast speed. When this is set

to 0, the PEG transition speed does not change no matter

what the velocity.

Settings: -64 – +0 – +63

EG Time Segment

Determines the part of the Pitch EG which the EG Time

Velocity Sensitivity ( ) affects.

Settings: attack, atk+dcy, decay, atk+rls, all

attack

The EG Time Velocity Sensitivity affects the Attack Time and Hold Time.

atk+dcy (attack+decay)

The EG Time Velocity Sensitivity affects the Attack Time, Decay1 Time,

and Hold Time.

decay

The EG Time Velocity Sensitivity affects the Decay 1/2 Time.

atk+rls (attack+release)

The EG Time Velocity Sensitivity affects the Attack Time, Release Time,

and Hold Time.

all

This EG Time Velocity Sensitivity affects all the Pitch EG Time

parameters.

EG Time Key Follow

Determines the degree to which the notes (specifically,

their position or octave range) affect the pitch EG times of

the selected Element. When this is set to a positive value,

high notes result in a high pitch EG transition speed while

low notes result in a slow speed. When this is set to a

negative value, high notes result in a slow pitch EG

transition speed while low notes result in a high speed.

When this is set to 0, the pitch EG transition speed does

not change no matter what the pressed note.

Settings: -64 – +0 – +63

Large range

High Velocity

Small range

Low Velocity

Pitch Change

Velocity

High

Low

HighLow

Fast pitch transition

High Velocity

Slow pitch transition

Low Velocity

Editing a Normal Voice

MOTIF XF Reference Manual

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Center Key

Determines the central note or pitch for the EG Time Key

Follow ( ). When the Center Key note is played, the PEG

behaves according to its actual settings.

Settings: C -2 – G8

EG Time Key Follow and Center Key

n You can also set the note directly from the Keyboard, by

holding down the [SF6] button and pressing the desired key.

See “Basic Operation” on page 37.

Adjust the brightness using the

Filter—[F3] Filter

From this display you can select a Filter Type for the current

Element. The tonal characteristics of the Voice and Filter

functions differ depending on which Filter type is selected

here.

Type*

Determines the Filter Type for the current Element.

Settings: LPF24D, LPF24A, LPF18, LPF18s, LPF12, LPF6, HPF24D,

HPF12, BPF12D, BPFw, BPF6, BEF12, BEF6, Dual LPF, Dual

HPF, Dual BPF, Dual BEF, LPF12+BPF6, thru

About Filter Types

LPF (Low Pass Filter)

This is a Filter type that only passes signals below the Cutoff

Frequency. The sound can be brightened by raising the cutoff

frequency of the filter. On the other hand, the sound can be

darkened by lowering the cutoff frequency of the filter. You can

produce a distinctive “peaky” sound by raising the Resonance

to boost the signal level in the area of the Cutoff Frequency.

This filter type is most popular and useful for producing classic

synthesizer sounds.

LPF24D

A dynamic 24 dB/oct low-pass filter with a characteristic digital sound.

Compared to the LPF24A type (below), this filter can produce a more

pronounced resonance effect.

LPF24A

A digital dynamic low-pass filter with characteristics similar to a 4-pole

analog synthesizer filter.

LPF18

3-pole 18 dB/oct low-pass filter.

LPF18s

3-pole 18 dB/oct low-pass filter. This filter has a smoother cutoff slope

than the LPF18 type.

HPF (High Pass Filter)

This is a Filter type that only passes signals above the Cutoff

Frequency. You can then use the Resonance to add further

character to the sound.

HPF24D

A dynamic 24 dB/oct high-pass filter with a characteristic digital sound.

This filter can produce a pronounced resonance effect.

HPF12

12 dB/oct dynamic high-pass filter.

BPF (Band Pass Filter)

This Filter type is a combination of a LPF and HPF. When this

Filter Type is selected, you can set the Cutoff Frequency

around which the audio signal is passed.

BPF12D

The combination of a -12 dB/oct HPF and LPF with a characteristic

digital sound.

Selecting a Filter Type—[SF1] Type

+63

+30

-40

Positive value

Negative value

Faster

speed

Higher range

Lower range

Slower speed

Center key

Level

These frequencies are

“passed” by the filter.

Resonance ( )

Cutoff Frequency ( )

Frequency

Cutoff range

Level

These frequencies are

“passed” by the filter.

Resonance ( )

Cutoff Frequency ( )

Frequency

Cutoff range

Level

Resonance ( )

Frequency

Cutoff range Cutoff range

Range passed

Editing a Normal Voice

MOTIF XF Reference Manual

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

BPF6

The combination of a -6 dB/oct HPF and LPF.

BPFw

A 12 dB/oct BPF that combines HPF and LPF filters to allow wider

bandwidth settings.

BEF (Band Elimination Filter)

When this Filter Type is selected, you can set the Cutoff

Frequency around which the audio signal is muted or

eliminated. The Band Elimination Filter has an opposite

effect on the sound compared to the Band Pass Filter.

BEF12

BEF6

Dual Type Filter

This type is a combination of two same filter types. You can

edit the distance between the two Cutoff Frequencies.

Dual LPF

Two 12 dB/oct low-pass filters connected in parallel.

Dual HPF

Two -12 dB/oct high-pass filters connected in parallel.

Dual BPF

Two -6 dB/oct band-pass filters connected in parallel.

Dual BEF

Two -6 dB/oct band-elimination filters connected in parallel.

Combination Type Filter

This type is a combination of two different filter types. You can

edit the distance between the two Cutoff Frequencies.

LPF12+HPF12

A combination of a -12 dB/oct low-pass filter and high-pass filter. When

this Filter Type is selected, HPF Cutoff ( ) and HPF Key Follow

Sensitivity ( ) can be set. Only the LPF graph is shown on the display.

LPF6+HPF6

A combination of a -6 dB/oct low-pass filter and high-pass filter. When

this Filter Type is selected, HPF Cutoff ( ) and HPF Key Follow

Sensitivity ( ) can be set. Only the LPF graph is shown on the display.

LPF12+BPF6

A combination of a low-pass filter and band-pass filter. You can edit the

distance between the two Cutoff Frequencies.

Cutoff*

Determines the Cutoff Frequency for the Filter, or the

central frequency around which the Filter is applied. The

tonal characteristics of the Voice and function of the Cutoff

Frequency differ depending on which Filter type is

selected. Set this parameter while confirming the Filter

graph shown on the display.

Settings: 0 – 255

Cutoff Velocity Sens

(Cutoff Velocity Sensitivity)

Determines how the Cutoff Frequency ( ) responds to

velocity, or the strength with which you play notes. For

positive settings, the more strongly you play the keyboard,

the higher the cutoff frequency becomes. A setting of 0 will

cause the Cutoff Frequency not to change no matter what

velocity. Negative settings will cause the Cutoff Frequency

to rise the more softly you play the keyboard.

Settings: -64 – +0 – +63

Level

Resonance ( )

Frequency

Cutoff range Cutoff range

Range passed

Level

Width ( )

Frequency

Cutoff range

Range passed

Cutoff

Frequency

Cutoff

Frequency

Cutoff

Frequency

Level

Range passed Cutoff range

Cutoff Frequency

Frequency

Range passed

Level

Frequency

Distance ( )

Cutoff Frequency ( ) Cutoff Frequency

Only the lower cutoff frequency is set

directly on the display.

Cutoff rangeRange passed

Level

Frequency

Distance ( )

Cutoff Frequency ( ) Cutoff Frequency

Only the lower cutoff frequency is set

directly on the display.

Cutoff range

Range passed

Level

Frequency

Distance ( )

Cutoff Frequency ( ) Cutoff Frequency

Only the lower cutoff frequency is set

directly on the display.

Cutoff rangeRange passed

Editing a Normal Voice

MOTIF XF Reference Manual

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Resonance*/ 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

frequency bandwidth

Resonance is used to set the amount of Resonance

(harmonic emphasis) applied to the signal at the cutoff

frequency. This can be used in combination with the cutoff

frequency parameter to add further character to the sound.

The Width parameter is used to adjust the width of the band

of signal frequencies passed by the filter with the BPFw.

When the Filter Type is set to “LPF6” or “thru,” this

parameter is not available.

Settings: 0 – 127

Resonance Velocity Sens

(Resonance Velocity Sensitivity)

Determines the degree to which resonance responds to

velocity, or the strength with which you play notes. For

positive values, the higher the velocity, the greater the

resonance. A setting of 0 results in no change of the

Resonance value. For negative values, the lower the

velocity, the greater the resonance.

Settings: -64 – +0 – +63

Gain

Determines the Gain of the signal sent to the filter. The

lower the value, the lower the Gain. The tonal

characteristics generated by the filter differ depending on

the value set here.

Settings: 0 – 255

Cutoff Key Follow

Determines the degree to which the notes (specifically,

their position or octave range) affect the Cutoff Frequency

(set above) of the selected Element, assuming C3 as the

basic pitch. 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: -64 – +0 – +63

Center Key (Indication only)

This indicates that the central note for Cutoff Key Follow

( ) above is C3. Keep in mind that this is for display

purposes only; the value cannot be changed.

Cutoff Key Follow and Center Key

Distance

Determines the distance between the two Cutoff

frequencies, for the Dual Filter types (which feature two

identical filters combined in parallel), and the LPF12 +

BPF6 type. When any of other filter types is selected, this

parameter is not available.

Settings: -128 – +0 – +127

HPF Cutoff (High Pass Filter Cutoff Frequency)

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 Key Follow (High Pass Filter Key Follow)

Determines the degree to which the notes (specifically,

their position or octave range) affect the Cutoff Frequency

(set above) of the HPF. A positive setting will lower the

Cutoff frequency for lower notes and raise it for higher

notes. A negative setting will have the opposite effect.

When a filter type “LPF12” or “LPF6” is selected, this

parameter is available.

Settings: -200% – 0% – +200%

Center Key

This indicates that the central note for High Pass Filter Key

Follow ( ) above is C3. Keep in mind that this is for display

purposes only; the value cannot be changed.

From this display you can set the Filter EG parameters.

Using the FEG, you can control the change in tone from the

moment the sound starts to the moment it stops.

–

When Cutoff Key Follow is set to 100

Large

Small

Amount of cutoff

frequency change

Center Key = C3

Higher rangeLower range

Filter EG Settings—[SF2] FEG (Filter EG)

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Time

The Time parameters let you set the time between the

adjoining points of the level parameters below. A higher

value results in a longer time until reaching the next level.

Settings: 0 – 127

Hold Time

Determines the time between the moment you press a note

on the keyboard and the moment the envelope starts to rise.

Attack Time

Determines the speed of attack from the initial cutoff

frequency (Hold Level) to the maximum level of the Voice

after the hold time has elapsed.

Decay 1 Time

Determines how fast the envelope falls from the maximum

cutoff frequency (Attack Level) to the cutoff frequency

specified as the Decay 1 Level.

Decay 2 Time

Determines how fast the envelope falls from the cutoff

frequency specified as the Decay 1 Level to the cutoff

frequency specified as the Decay 2 Level.

Release Time

Determines how fast the envelope falls from the cutoff

frequency specified as the Decay 2 Level to the cutoff

frequency specified as the Release Level when the note is

released.

Level

The Level parameters let you set the amount of the filter

change at each point based on the cutoff frequency

specified in the Filter Type display (page 74).

Settings: -128 – +0 – +127

Hold Level

Determines the initial cutoff frequency at the moment the

note is pressed.

Attack Level

Determines the maximum cutoff frequency which the

envelope reaches after a note is pressed.

Decay 1 Level

Determines the level which the cutoff frequency reaches

from the Attack Level after the Decay1 time elapses.

Decay 2 Level

Determines the cutoff frequency which will be maintained

while a note is held.

Release Level

Determines the final cutoff frequency reached after the

note is released.

EG Depth

Determines the range over which the cutoff frequency

envelope changes. A setting of 0 will cause the cutoff

frequency not to change. The farther from 0 the value is,

the larger the range of the cutoff frequency. For negative

values, the change of the cutoff frequency is reversed.

Settings: -64 – +0 – +63

EG Depth Vel Sens

(EG Depth Velocity Sensitivity)

Determines how the range of the cutoff frequency

responds to velocity. When this is set to a positive value,

high velocities cause the Filter EG range to expand and

low velocities cause it to contract, as shown below. When

this is set to a negative value, high velocities cause the

Filter EG range to contract and low velocities cause it to

expand. When this is set to 0, the Filter EG range does not

change no matter what the velocity.

Settings: -64 – +0 – +63

EG Depth Vel Sens Curve

(EG Depth Velocity Sensitivity Curve)

The five curves determine how the FEG transition range

changes according to the velocity (strength) with which

you play notes on the keyboard. The selected curve is

indicated by the graphic on the display. The horizontal axis

of the graph is the velocity, and the vertical axis is the

Cutoff Frequency range. For example, the illustration below

indicates that the middle range of velocities (around 64)

causes the FEG transition range not to change and the

higher/lower range of velocities causes it to change more

greatly.

Settings: Curve 0 – 4

Cutoff Frequency

Hold Level

Attack Level

Decay 1

Level

Decay 2

Level

Release

Level

Hold

Time

Attack

Time

Decay 1

Time

Decay 2

Time

Release

Time

Pressing the key (Key on) Releasing the key (Key off)

Large range

High Velocity

Small range

Low Velocity

FEG transition

range

Velocity

High

Low

HighLow

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EG Time Velocity Sens

(EG Time Velocity Sensitivity)

Determines how the FEG transition time (speed) responds

to velocity, or the strength with which the note is pressed.

When this is set to a positive value, high velocities result in

a fast FEG transition speed while low velocities result in a

slow speed, as shown below. When this is set to a negative

value, high velocities result in a slow FEG transition speed

while low velocities result in a fast speed. When this is set

to 0, the pitch transition speed does not change no matter

what the velocity.

Settings: -64 – +0 – +63

EG Time Velocity Sens Segment

(EG Time Velocity Sensitivity Segment)

Determines the part of the Filter EG which the EG Time

Velocity Sensitivity ( ) affects.

Settings: attack, atk+dcy, decay, atk+rls, all

attack

The EG Time Velocity Sensitivity affects the Attack Time and Hold Time.

atk+dcy (attack+decay)

The EG Time Velocity Sensitivity affects the Attack Time, Decay1 Time,

and Hold Time.

decay

The EG Time Velocity Sensitivity affects the Decay 1/2 Time.

atk+rls (attack+release)

The EG Time Velocity Sensitivity affects the Attack Time, Release Time,

and Hold Time.

all

The EG Time Velocity Sensitivity affects all the Filter EG Time

parameters.

EG Time Key Follow

Determines the degree to which the notes (specifically,

their position or octave range) affect the Filter EG times of

the selected Element. When this is set to a positive value,

high notes result in a fast Filter EG transition speed while

low notes result in a slow speed. When this is set to a

negative value, high velocities result in a slow Filter EG

transition speed while low notes result in a fast speed.

When this is set to 0, the Filter EG transition speed does not

change no matter what note is pressed.

Settings: -64 – +0 – +63

Center Key

Determines the central note or pitch for the EG Time Key

Follow ( ). When the Center Key note is played, the FEG

behaves according to its actual settings.

Settings: C -2 – G8

EG Time Key Follow and Center Key

n You can also set the note directly from the Keyboard, by

holding down the [SF6] button and pressing the desired key.

See “Basic Operation” on page 37.

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

Determines the four Break Points by specifying the note

numbers respectively.

Settings: C -2 – G8

n You can also set the Break Point directly from the keyboard, by

holding down the [SF6] INFO button and pressing the desired

key. See “Basic Operation” on page 37.

n Break Point 1 to Break Point 4 will be automatically be

arranged in ascending order across the keyboard.

– Offset 1 – 4

Determines the offset value to the Cutoff Frequency at each

Break Point.

Settings: -128 – +0 – +127

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 Break Point 1 note results in the

Break Point 1 Level setting. Likewise, any note played above

the Break Point 4 note results in the Break Point 4 Level

setting.

Fast speed

Playing hard

(High velocity)

Slow speed

Playing softly

(Low velocity)

Filter Scaling settings—[SF3] Scale

+63

+30

-40

Positive value

Negative value

Faster

speed

Higher range

Lower range

Slower speed

Center key

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Setting example of Filter Scaling

The best way to understand Filter Scaling is by example. For

the settings shown in the example display below, the basic

Cutoff frequency value is 64, and the various Offset values at

the selected Break point settings change that basic value

accordingly. The specific changes to the Cutoff frequency are

shown in the diagram below. The Cutoff frequency changes in

a linear fashion between successive Break Points as shown.

Output Level settings—[F4] Amplitude

Level*

Determines the output level of the Element.

Settings: 0 – 127

Level Velocity Sens (Level Velocity

Sensitivity)*

Determines how the output level of the Element responds

to velocity. Positive settings will cause the output level to

rise the harder you play the keyboard. A setting of 0 will

cause the output level not to change. Negative settings will

cause the output level to rise the more softly you play the

keyboard.

Settings: -64 – +0 – +63

Level Velocity Sens Offset

(Level Velocity Sensitivity Offset)

Raises or lowers the level specified at the Level Velocity

Sensitivity ( ). A setting of 64 results in the original values

of the Level Velocity Sensitivity ( ) being used. Settings

above 64 will raise the level specified at the Level Velocity

Sensitivity ( ). Settings below 64 will reduce the level.

Settings: 0 – 127

Level Velocity Sens Curve

(Level Velocity Sensitivity Curve)*

The five curves determine how the actual velocity will be

generated according to the velocity (strength) with which

you play notes on the keyboard. The selected curve is

indicated by the graphic on the display.

Settings: Curve 0 – 4

Level Key Follow

Determines the degree to which the notes (specifically,

their position or octave range) affect the amplitude level

(set above) of the selected Element, assuming C3 as the

basic pitch. 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%

Center Key (Indication only)

This indicates that the central note for Level Key Follow ( )

above is C3. Keep in mind that this is for display purposes

only; the value cannot be changed.

Level Key Follow and Center Key

Pan*

Adjusts the stereo pan position of the sound.

Settings: L63 (far left) – C (center) – R63 (far right)

1234

Break Point C 1D2C3 A4

Offset -4 +10 +17 +4

Level and Pan settings—[SF1] Level/Pan

Cutoff

frequency

Note

Break

Point 1

C 1

Break

Point 2

D 2

Break

Point 3

Break

Point 4

Volume

Playing strength (velocity)

High

Low

StrongSoft

–

When Level Key Follow is set to 100

Large

Small

Amount of

AEG level change

Center Key = C3

Higher rangeLower range

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Alternate Pan

Determines the amount by which the sound is panned

alternately left and right for each note you press, assuming

the pan position set above as center. Higher values

increase the width of the Pan range.

Settings: L64 – C – R63

Random Pan

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 (above) is used as the Center

Pan position.

Settings: 0 – 127

Scaling Pan

Determines the degree to which the notes (specifically,

their position or octave range) affect the Pan position (set

above), left and right, of the selected Element. At note C3,

the main Pan setting (above) is used for the basic Pan

position. A positive setting will move the pan position

leftward for lower notes and move it rightward for higher

notes. A negative setting will have the opposite effect.

Settings: -64 – +0 – +63

From this display you can set the Amplitude EG

parameters. Using the AEG, you can control the transition

in volume from the moment the sound starts to the moment

the sound stops.

Time*

The Time parameters let you set the time between the

adjoining points of the level parameters below. A higher

value results in a longer time until reaching the next level.

Settings: 0 – 127

Attack Time

Determines how quickly the sound reaches its maximum

level after the key is pressed.

Decay 1 Time

Determines how fast the envelope falls from the Attack

Level to the Decay 1 Level.

Decay 2 Time

Determines how fast the envelope falls from the Decay 1

Level to the Decay 2 Level (sustain level).

Release Time

Determines how quickly the sound decays to silence after

the key is released.

Level

The Level parameters let you set the amount of the

transition at each point based on the level specified in the

Level/Pan display (page 79).

Settings: 0 – 127

Initial Level

Determines the initial level at the moment the note is

pressed.

Attack Level

Determines the maximum level which the envelope

reaches after a note is pressed.

Decay 1 Level

Determines the level which the envelope reaches from the

Attack Level after the Decay 1 time elapses.

Decay 2 Level

Determines the level which will be maintained while a note

is held.

Half Damper Switch

When the Half Damper Switch is set to on, you can

produce a “half-pedal” effect just as on a real acoustic

piano by using the optional FC3 Foot Controller connected

to the FOOT SWITCH SUSTAIN jack on the rear panel.

Settings: on, off

n When you wish to recreate a half-damper effect using the

optional FC3, set the Sustain Pedal parameter to “FC3 (half

on)” in the Play Display (page 219) of the Utility mode. Note

that this setting is not necessary when controlling the half-

damper by sending the Control Change messages from an

external MIDI device to the instrument.

Amplitude EG Settings—[SF2] AEG

(Amplitude EG)

Level (Volume)

Time

Pressing the key (Key on) Releasing the key (Key off)

Attack Level

Decay 1

Level

Decay 2

Level

Attack

Time

Decay 1

Time

Decay 2

Time

Release

Time

Initial

Level

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Half Damper Time

Determines how quickly the sound decays to silence after

the key is released while holding down the Foot Controller

FC3 with the Half Damper Switch parameter ( ) turned on.

After releasing the key, you can control the decay time of

the sound via the Foot Controller position, with the Half

Damper Time of the AEG being the maximum decay value

and the Release Time of the AEG being the minimum

decay value.

When you release the pedal, the decay time after the key is

released is equivalent to the AEG Release Time.

You can create a piano-like effect by setting the Release

Time to a small value and setting the Half Damper Time to

a large value.

The setting here is available only when the Half Damper

Switch parameter ( ) is set to on and you use the optional

FC3 connected to the rear panel.

Settings: 0 – 127

EG Time Velocity Sens

(EG Time Velocity Sensitivity)

Determines how the AEG transition time (speed) responds

to velocity, or the strength with which the note is pressed.

When this is set to a positive value, high velocities result in

a fast AEG transition speed while low velocities result in a

slow speed, as shown below. When this is set to a negative

value, high velocities result in a slow AEG transition speed

while low velocities result in a fast speed. When this is set

to 0, the amplitude transition speed does not change no

matter what the velocity.

Settings: -64 – +0 – +63

EG Time Velocity Sens Segment

(EG Time Velocity Sensitivity Segment)

Determines the part of the Amplitude EG which the EG

Time Velocity Sensitivity ( ) affects.

Settings: attack, atk+dcy, decay, atk+rls, all

attack

The EG Time Velocity Sensitivity affects the Attack Time.

atk+dcy (attack+decay)

The EG Time Velocity Sensitivity affects the Attack Time and Decay1

Time.

decay

The EG Time Velocity Sensitivity affects the Decay Time.

atk+rls (attack+release)

The EG Time Velocity Sensitivity affects the Attack Time and Release

Time.

all

The EG Time Velocity Sensitivity affects all the Amplitude EG Time

parameters.

EG Time Key Follow

Determines the degree to which the notes (specifically,

their position or octave range) affect the Amplitude EG

times of the selected Element. When this is set to a positive

value, high notes result in a fast Amplitude EG transition

speed while low notes result in a slow speed. When this is

set to a negative value, high velocities result in a slow

Amplitude EG transition speed while low notes result in a

fast speed. When this is set to 0, the Amplitude EG

transition speed does not change no matter what the

pressed note.

Settings: -64 – +0 – +63

Center Key

Determines the central note for the EG Time Key Follow

( ). When the Center Key note is played, the AEG

behaves according to its actual settings.

Settings: C -2 – G8

n You can also set the Key directly from the keyboard, by

holding down the [SF6] KBD button and pressing the desired

key. For details, see page 37.

EG Time Key Follow and Center Key

Release Adj. (EG Time Key Follow Sensitivity

Release Adjustment)

Determines the sensitivity of the EG Time Key Follow

Sensitivity to EG Release. Setting this parameter to “+63”

will set the EG Time Key Follow Sensitivity to the value of

Decay 1 or Decay 2. The lower the value, the lower the

sensitivity. Setting this parameter to “-64” will produce no

effect in the EG Time Key Follow Sensitivity.

Settings: -64 – +0 – +63

Amplitude Scaling controls the amplitude output level

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.

Faster speed

High Velocity

Slower speed

Low Velocity

Amplitude Scaling settings—[SF3] Scale

+63

+30

-40

Positive value

Negative value

Faster

speed

Higher range

Lower range

Slower speed

Center key

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– Break Point 1 – 4

Determines the four Break Points by specifying the note

numbers respectively.

Settings: C -2 – G8

n You can also set the Break Point directly from the Keyboard,

by holding down the [SF6] KBD button and pressing the

desired key. See “Basic Operation” on page 37.

n Break Point 1 to Break Point 4 will be automatically be

arranged in ascending order across the keyboard.

– Offset 1 – 4

Determines the offset value to the level at each Break Point.

Settings: -128 – +0 – +127

Setting example of Amplitude Scaling

The best way to understand Amplitude Scaling is by example.

For the settings shown in the example display below, 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.

Modulating the Voice—[F5] Elm

LFO (Element LFO)

This display gives you a comprehensive set of controls

over the LFO for each individual Element. The LFO can be

used to create vibrato, wah, tremolo and other special

effects, by applying it to the pitch, filter and amplitude

parameters.

Wave

Selects the Wave and determines how the LFO waveform

modulates the sound.

Settings: saw, triangle, square

Key On Reset

Determines whether or not the LFO is reset each time a

note is played.

Settings: off, 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.

The LFO resets with each note you play and starts a wave at the phase

specified by the Phase parameter (above).

Delay

Determines the delay time between the moment you press

note on the keyboard and the moment the LFO comes into

effect. A higher value results in a longer delay time.

Settings: 0 – 127

Fade In Time

Determines the amount of time for the LFO effect to fade in

after the Delay time has elapsed. A higher value results in a

slower fade-in. When set to “0,” the LFO effect will not fade

in and reach the maximum level immediately after the

Delay time has elapsed.

Settings: 0 – 127

Speed

Determines the speed of the LFO Wave. The higher the

value, the faster the LFO speed.

Settings: 0 – 63

P Mod (Pitch Modulation Depth)

Determines the amount (depth) by which the LFO wave

varies (modulates) the pitch of the sound. The higher the

setting, the greater the depth of control.

Settings: 0 – 127

F Mod (Filter Modulation Depth)

Determines the amount (depth) by which the LFO wave

varies (modulates) the Filter Cutoff frequency. The higher

the setting, the greater the depth of control.

Settings: 0 – 127

A Mod (Amplitude Modulation Depth)

Determines the amount (depth) by which the LFO wave

varies (modulates) the amplitude or volume of the sound.

The higher the setting, the greater the depth of control.

Settings: 0 – 127

1234

Break Point C1C2C3C4

Offset -4 +10 +17 +4

Amplitude

Note

Break

Point 1

Break

Point 2

Break

Point 3

Break

Point 4

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Performance

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Sampling

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Sampling

mode 2

Reference

Equalizer (EQ) Settings—[F6] EQ

From this display, you can set the EQ parameters for each

Element.

Type

Determines the EQ Type. The number of parameters and

values available differs depending on the selected EQ

type.

Settings:

2 Band, PEQ

See below.

Boost 6, Boost 12, Boost 18

Boosts the entire band of the selected Element by +6dB, +12dB, and

+18dB respectively.

thru

If you select this, the equalizers are bypassed and the entire signal is

unaffected.

This is a “shelving” equalizer, which combines separate

high and low frequency bands.

Low Frequency

Determines the standard frequency of the lower EQ band.

Settings: 50.1 Hz – 2.00 kHz

High Frequency

Determines the standard frequency of the higher EQ band.

Settings: 503.8 Hz – 10.1 kHz

Low Gain

Determines the amount by which signals below the Low

Frequency ( ) will be boosted/attenuated.

Settings: -12.00 dB – +0.00 dB – +12.00 dB

High Gain

Determines the amount by which signals above the High

Frequency ( ) will be boosted/attenuated.

Settings: -12.00 dB – +0.00 dB – +12.00 dB

The Parametric EQ for the single band is used to attenuate

or boost signal levels (gain) around the Frequency. This

type features 32 different “Q” settings, which determine the

frequency band width of the equalizer.

Low Frequency

Determines the center frequency.

Settings: 139.7 Hz – 12.9 kHz

Low Gain

Determines the amount by which signals below the Low

Frequency ( ) will be boosted/attenuated.

Settings: -12.00 dB – +0.00 dB – +12.00 dB

Determines the Q (bandwidth) for the band. The lower the

setting, the greater the bandwidth. The higher the setting,

the smaller the bandwidth.

Settings: 0.7 – 10.3

When the EQ Type is set to “2 Band”

EQ Type

When the EQ Type is set to “PEQ”

EQ Type

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Performance

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Sampling

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Sampling

mode 2

Reference

Editing a Drum Voice

“Editing” refers to the process of creating a Voice by changing the parameters that make up the Voice. This can be done in

Voice Edit, a sub mode within the Voice mode. In this section, we’ll show you how to edit a Drum Voice. To enter the Drum

Voice Edit mode, press the [VOICE] button to enter the Voice mode, select a Drum Voice, then press the [EDIT] button.

Common Edit and Key Edit

Each Drum Voice can consist of up to 73 Drum Keys,

assigned to notes spread across the keyboard (C0 to C6).

There are two types of Drum Voice Edit displays: those for

Common Edit to edit the settings common to all keys, and

those for Key Edit to edit individual keys.

Editing Drum Voices

Press the [VOICE] button to enter the Voice

Play mode.

Select a Drum Voice to be edited.

2 Press the [EDIT] button to enter the Voice Edit

mode.

3 Call up the desired Edit display, Common Edit

or Key Edit.

To call up the Common Edit display, press the

[COMMON EDIT] button. To call up the Key Edit

display, press the Number button [1]. In the Drum Key

Edit mode, press the Key to which your desired drum

instrument sound is assigned.

4 Call up the desired display.

To find the desired display, note the tab menu items

corresponding to the [F1] – [F6] buttons and [SF1] –

[SF5] buttons. Each tab menu of the [F1] – [F6] buttons

contains sub menus which correspond to the [SF1] –

[SF5] buttons at the bottom of the display.

n By pressing the [SF6] button, you can use various

functions such as the Information display, Character input

(page 37), Number button function (page 36), and List

display/selection (page 37). The function called up via the

[SF6] button differs depending on the selected parameter

where the cursor is located.

5 Move the cursor to the desired parameter.

6 Edit the value by using the [INC/YES], [DEC/

NO] buttons and the data dial.

7 Repeat steps 3 – 6 as desired.

8 Enter the desired name for the edited Voice.

Use the Name display (page 55) of the Voice Common

Edit mode.

9 Store the edited Voice.

Press the [STORE] button to call up the Store window

(page 54) then store the edited Voice.

Drum Voice Edit

Common Edit

Lets you edit the

parameters common to

all Keys of the selected

Drum Voice.

Key Edit C0 – C6

Lets you edit the

parameters of the

individual 73 keys that

make up a Drum Voice.

Common Edit display

Key Edit display

Selecting a Drum Key

MOTIF XF Reference Manual

Editing a Drum Voice

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

NOTICE

• The edited Voice will be lost when selecting the different

Voice or turning the power off. Make sure to store the Voice

data to the internal memory by pressing the [STORE] button

before selecting a different Voice or turning the power off.

• Because User Memory to which the Voice is stored is Flash

Memory, the edited and stored Voice will not be erased even

if the power is turned off. You need not worry about losing

your stored data. The Voice Store operation, however, will

overwrite the Voice data already stored to the destination

Voice number. For this reason, important data should always

be backed up to a separate USB storage device or to a

computer connected via network to the MOTIF XF

(page 241).

n Other convenient functions are also available in the Drum

Voice Edit mode. For details, see page 54.

Common Edit parameters

[VOICE]  Drum Voice selection  [EDIT]  [COMMON EDIT]

The Common Edit lets you edit the parameters common to all Drum Keys of the selected Drum Voice.

General Settings for the selected

Voice—[F1] General

n The Common Edit parameters of the Drum Voice are basically

the same as those of the Normal Voice. However, some

parameters having the same name as those of the Normal

Voice are not available for the Drum Voice.

This is the same as in Normal Voice Common Edit. See

page 55.

This is the same as in Normal Voice Common Edit. See

page 55.

This is the same as in Normal Voice Common Edit. See

page 57.

Arpeggio settings—[F2] ARP Main

(Arpeggio Main)

This is the same as in Normal Voice Common Edit. See

page 58.

Arpeggio settings—[F3] ARP Other

(Arpeggio Other)

By changing the timing and velocity of the notes, you can

change the rhythmic “feel” of the Arpeggio playback.

This is the same as in Normal Voice Common Edit

(page 59) except for the Fixed SD/BD parameter.

Fixed SD/BD

This parameter is available only for Drum Voices. When this

parameter is set to on, C1 will be used as the note of the

Snare Drum and D1 will be used as the note of the Bass

Drum in Arpeggio playback.

Although most Drum Kits assign the Snare Drum sound to

C1 and the Bass Drum to D1, certain Drum Kits assign

these sounds also to other notes additionally and certain

Arpeggio Types are created by using those notes (different

from C1 and D1). Accordingly, you may hear improper

sounds depending on the selected Arpeggio Type and

Drum Kit. Setting this parameter to on may solve such

problems.

If you feel that the Snare and Bass Drum sound is improper

when the Arpeggio Type is changed via the [SF1] – [SF5]

buttons, it is a good idea to set this parameter to on.

Settings: on, off

Naming the edited Voice—[SF1] Name

Play Mode Settings such as Micro Tuning

and Mono/Poly—[SF2] Play Mode

Other settings—[SF3] Other

Editing a Drum Voice

MOTIF XF Reference Manual

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Controller settings—[F4] Ctrl Set

(Controller Set)

This is the same as in Normal Voice Common Edit. See

page 61. Please note that the Element Switch parameter is

not available in Drum Voice Common edit.

Effect settings—[F6] Effect

This display gives you comprehensive control over the

effects. The functions on this display are basically same as

in Normal Voice Common Edit (page 64). The different

point is that the Insertion Effect Out parameter is set not for

each Element but for each Drum Key. In addition to that,

three more parameters ( – ) are available.

Out (Insertion Effect Out)

Determines which Insertion Effect (A or B) is used to

process each individual Drum Key. Parameters can be set

for each Drum Key. When INSERTION CONNECT ( ) is set

to “ins L,” the signal from each Drum Key is output to the

Insertion L regardless of the setting here.

Settings: thru (through), Ins A (Insertion A), Ins B (Insertion B)

Parameters – are same as the ones on the Connect

display (page 64) in the Normal Voice Edit mode.

Key

Determines the Drum Key to be edited. The Insertion Effect

Out ( ), Key Reverb Send ( ) and Key Chorus Send ( )

can be set for each Drum Key.

Settings: C0 – C6

REV SEND (Key Reverb Send)

Determines the level of the Drum key sound (the bypassed

signal) that is sent to Reverb effect. The setting here is

available only when the Insertion Effect Out parameter ( )

is set to “thru.”

Settings: 0 – 127

n When the Insertion Effect Out parameter ( ) is set to “Ins A” or

“Ins B,” you can determine the level of the Drum Key sound

(output from Insertion Effect A or B) that is sent to the Reverb

effect by setting the value of the Insertion Reverb Send

parameter indicated only in this case.

CHO SEND (Key Chorus Send)

Determines the level of the Drum key sound (the bypassed

signal) that is sent to Chorus effect. The setting here is

available only when the Insertion Effect Out parameter ( )

is set to “thru.”

Settings: 0 – 127

n When the Insertion Effect Out parameter ( ) is set to “Ins A” or

“Ins B,” you can determine the level of the Drum Key sound

(output from Insertion Effect A or B) that is sent to the Chorus

effect by setting the value of the Insertion Chorus Send

parameter indicated only in this case.

This is the same as in Normal Voice Common Edit. See

page 66.

Effect Connection Settings—[SF1]

Connect

Effect Parameter settings—[SF2] Ins A

– [SF5] Chorus

MOTIF XF Reference Manual

Editing a Drum Voice

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Key Edit parameters

[VOICE]  Drum Voice selection  [EDIT]  Key selection

If you wish to edit the sounds that make up a Voice and the basic parameters that determine the sound, such as Oscillator,

Pitch, Filter, Amplitude, and EG (Envelope Generator), call up the Key Edit display.

About the asterisk (*) marks

For users who are new to Voice editing and may be confused by the large amount of parameters, the most basic and easy-to-understand

parameters are conveniently marked with asterisks in this section. If you are just starting out with Voice editing, try these parameters first.

Setting the wave and note range of

the Key—[F1] Oscillator

This display lets you set the Waveform and Note range of

the selected Key.

n Depending on the selected parameter, the LIST icon is shown

at the tab menu corresponding to the [SF6] button. In this

condition, you can call up the list by pressing the [SF6] LIST

button, then select the desired item from the list. For details,

see page 37.

Key*

Determines the Drum Key to be edited. You can select the

desired percussion instrument by pressing the note.

Settings: C0 – C6

Element Switch*

Determines whether the currently selected Key is used or

not. When this is set to off, the currently edited Key will not

sound.

Settings: off (inactive), on (active)

Wave Bank (Waveform Bank)*

Determines the Waveform Bank assigned to the Drum Key.

You can select the Bank from PRE, USR, FL1 and FL2.

PRE (Preset Bank) includes the preset Waveforms while

USR (User Bank), FL1 (Bank stored at slot 1 of the optional

Flash Memory Expansion Module) and FL2 (Bank stored at

slot 2 of the optional Flash Memory Expansion Module

include the User Waveforms created based on the samples

recorded in the Sampling mode. FL1 and FL2 are available

only when the optional Flash Memory Expansion Module

FL512M/FL1024M has been installed.

Settings: PRE, USR, FL1, FL2

n For details about Waveform, refer to the explanation of the

Sampling Mode on page 119.

Wave Main Category (Waveform Main Category)*

Wave Sub Category (Waveform Sub Category)*

It is easier to find desired Waveforms ( ) by setting these

parameters before selecting a Waveform number. Preset

Waveforms are categorized into Main and Sub. The

number of Sub Categories differs depending on each Main

Category.

Wave Number (Waveform Number)*

Determines the Waveform assigned to the Drum Key by

selecting the Waveform Category and Number. For a

complete list of Waveforms in the Preset Bank, refer to the

Waveform List in the separate Data List.

Assign Mode*

When this is set to “single,” double playback of the same

note is prevented. This is useful when two or more

instances of the same note are received nearly

simultaneously, or without a corresponding note off

message. To allow playback of each instance of the same

note, set this to “multi.” In general, you should probably set

this to “multi”—especially for tambourine and cymbal

sounds that you would want to ring out to their full decay,

when playing them multiple times in succession. Please

keep in mind that the “multi” setting consumes the overall

polyphony and it may cause sounds to be cut off.

Settings: single, multi

single

When this is set to “single” and double playback of the same note are

transmitted to the internal tone generator, the first note will be stopped

then the next note will be sounded.

multi

When this is set to “multi” and double playback of the same note are

transmitted to the internal tone generator, all the notes are sounded

simultaneously.

Receive Note Off

Determines whether or not the selected Drum Key

responds to MIDI Note Off messages. This should be set to

on when the selected Drum Key has a sustained, non-

decaying sound (such as a snare roll), so that you can stop

the sound by releasing the note.

Settings: off, on

Editing a Drum Voice

MOTIF XF Reference Manual

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Alternate Group*

Determines the Alternate Group to which the key is

assigned. In a real drum kit, some drum sounds cannot

physically be played simultaneously, such as open and

closed hi-hats. You can prevent keys from playing back

simultaneously by assigning them to the same Alternate

Group. Up to 127 Alternate Groups can be defined. You

can also select “off” here if you wish to allow the

simultaneous playback of sounds.

Settings: off, 1 – 127

Ins Effect Output (Insertion Effect Output)

Determines which Insertion Effect (A or B) is used to

process each individual Drum Key. This parameter is same

as the Ins Effect Output in the Connect display (page 64) in

Voice Common Edit. Making a setting here automatically

changes the setting of that parameter as well.

When INSERTION CONNECT is set to “ins L” in the

Connect display, Insertion L is used to process each

individual Drum Key, even if “ins A” or “ins B” is selected.

Settings: thru (through), ins A (Insertion Effect A), ins B (Insertion

Effect B)

Reverb Send*

Determines the level of the Drum Key sound (the bypassed

signal) that is sent to Reverb effect. This is available only

when Insertion Effect Output (above) is set to “thru.” The

setting made here will be applied to the same parameters

in the Connect display (page 64) of the Voice Common

Edit.

Settings: 0 – 127

Chorus Send*

Determines the level of the Drum Key sound (the bypassed

signal) that is sent to Chorus effect. This is available only

when Insertion Effect Output (above) is set to “thru.” The

setting made here will be applied to the same parameters

in the Connect display (page 64) of the Voice Common

Edit.

Settings: 0 – 127

Output Select

Determines the specific output(s) for the individual Drum

key signal. You can assign each individual Drum Key

sound to be output from a specific hardware output jack on

the rear panel. This parameter is useful when you wish to

apply a connected external effect to a specific drum

instrument. The setting here is available only when the

Insertion Effect Output parameter ( ) is set to “thru.”

Settings: See the table below.

n The FW settings (FW1 –14) are available only when the

optional FW16E is installed.

Coarse (Pitch Coarse Tuning)*

Determines the pitch of each Drum Key in semitones.

Settings: -48 semi – +0 semi – +48 semi

Fine (Pitch Fine Tuning)*

Determines the pitch of each Drum Key in cent.

Settings: -64 cent – +0 cent – +63 cent

Pitch Velocity Sens (Pitch Velocity Sensitivity)

Determines how the pitch of the Drum Key responds to

velocity. Positive settings will cause the pitch to rise the

harder you play the keyboard. A setting of 0 will cause the

pitch not to change. Negative settings will cause the pitch

to rise the more softly you play the keyboard.

Settings: -64 – +0 – +63

[SF5] PageHold

Normally in the Drum Voice Edit mode, pressing a note on

the keyboard alternates the key (instrument) being edited

automatically. When the [SF5] PageHold button is turned

on, the key (instrument) being edited is maintained even if

you press any other note on the keyboard. This allows you

to edit a certain key while adjusting the level balance

between the key being edited and the other keys.

LCD Output jacks Stereo/Mono

L&R OUTPUT L and R Stereo

asL&R ASSIGNABLE OUTPUT L and R Stereo

FW1&2 FW OUTPUT 1 and 2 Stereo (1: L, 2: R)

FW3&4 FW OUTPUT 3 and 4 Stereo (3: L, 4: R)

FW5&6 FW OUTPUT 5 and 6 Stereo (5: L, 6: R)

FW7&8 FW OUTPUT 7 and 8 Stereo (7: L, 8: R)

FW9&10 FW OUTPUT 9 and 10 Stereo (9: L, 10: R)

FW11&12 FW OUTPUT 11 and 12 Stereo (11: L, 12: R)

FW13&14 FW OUTPUT 13 and 14 Stereo (13: L, 14: R)

asL ASSIGNABLE OUTPUT L Mono

asR ASSIGNABLE OUTPUT R Mono

FW1 FW OUTPUT 1 Mono

:: :

FW14 FW OUTPUT 14 Mono

LCD Output jacks Stereo/Mono

Editing a Drum Voice

MOTIF XF Reference Manual

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Adjust the brightness using the

Filter—[F3] Filter

Each Drum Key has its own independent low pass filter

and high pass filter. You can adjust the tonal characteristics

of each drum sound by setting the Cutoff Frequency and

Resonance.

Cutoff*

Raises or lowers the cutoff frequency of the low pass filter

to adjust the tone brilliance. The sound can be brightened

by raising the cutoff frequency, and darkened or muffled by

lowering it.

Settings: 0 – 255

Cutoff Velocity Sens

(Cutoff Velocity Sensitivity)*

Determines how the Cutoff Frequency responds to velocity,

or the strength with which you play notes. Positive settings

will cause the Cutoff Frequency to rise the harder you play

the keyboard. A setting of 0 will cause the Cutoff

Frequency not to change depending on velocity. Negative

settings will cause the Cutoff Frequency to rise the more

softly you play the keyboard.

Settings: -64 – +0 – +63

Resonance*

Determines the emphasis given to the Cutoff Frequency to

add further character to the sound. Higher values result in

a more pronounced effect.

Settings: 0 – 127

HPF Cutoff (High Pass Filter Cutoff Frequency)*

Determines the Cutoff Frequency of the High Pass Filter.

Settings: 0 – 255

Amplitude settings—[F4] Amplitude

From the following displays, you can set various

parameters for the selected Drum Key, such as Volume,

Pan, and Amplitude EG.

Level*

Determines the output level of the Drum Key.

Settings: 0 – 127

Velocity Sens (Velocity Sensitivity)*

Determines how the output level of the Drum Key responds

to velocity. Positive settings will cause the output level to

rise the harder you play the keyboard. A setting of 0 will

cause the output level not to change. Negative settings will

cause the output level to rise the more softly you play the

keyboard.

Settings: -64 – +0 – +63

Pan*

Adjusts the stereo pan position of the sound.

Settings: L63 (far left) – C (center) – R63 (far right)

Alternate Pan

Determines the amount by which the sound is panned

alternately left and right for each note you press, assuming

the pan position set above as center. Higher values

increase the width of the Pan range.

Settings: L64 – C – R63

Random Pan

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

Key

Editing a Drum Voice

MOTIF XF Reference Manual

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Amplitude EG

Using the AEG, you can control the transition in volume

from the moment the sound starts to the moment it stops.

Time*

The Time parameters let you set the time between the

adjoining points of the level parameters below. A higher

value results in a longer time until reaching the next level.

Settings: 0 – 127 (0 – 126, hold for Decay 2 Time)

Attack Time

Determines how long it takes for the sound to reach full

volume (Attack Level) when a note is pressed.

Decay 1 Time

Determines how long it takes for the sound to fall from the

Attack Level to the Decay1 Level after the note is pressed.

Decay 2 Time

Determines how quickly the sound decays from the

Decay1 Level to silence after the note is released.

Level*

The Level parameter lets you set the AEG level.

Settings: 0 – 127

Decay 1 Level

Determines the level which the AEG level reaches from the

Attack Level after the Decay1 time elapses.

Equalizer (EQ) Settings—[F6] EQ

From this display, you can set the EQ parameters for each

Drum Key.

This is the same as in Normal Voice Common Edit. See

page 83.

Level (Volume)

Attack

Level

Decay1

Level

Attack

Time

Decay1

Time

Decay2

Time

Pressing the key (Key on) Releasing the key (Key off)

Time

MOTIF XF Reference Manual

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Voice Job—Convenient Functions

The Voice Job mode features some convenient data organization and initialization tools, for use when creating Voices and

archiving them.

Voice Job—Basic Operation

In the Voice mode, press the [JOB] button to

enter the Voice Job mode.

2 Press one of the [F1] to [F4] buttons to call up

the desired Job display.

3 Move the cursor to the desired parameter, then

set the value.

Set the parameters for executing the Job.

4 Press the [ENTER] button. (The display

prompts you for confirmation.)

To cancel the Job, press the [DEC/NO] button.

5 Press the [INC/YES] button to execute the Job.

After the Job has been completed, a “Completed”

message appears and operation returns to the original

display.

6 Press the [VOICE] button to return to the Voice

Play mode.

NOTICE

Even if you execute the Job, selecting a different Voice or

turning the power off without storing will erase the Voice data.

Make sure to store the Voice data to internal memory by

pressing the [STORE] button before selecting a different Voice

or turning the power off.

Initializing the Voice—[F1] Init

(Initialize)

This function lets you reset (initialize) all Voice parameters

to their default settings. You can also selectively initialize

certain parameters, such as Common settings, settings for

each Element/Drum Key, and so on.

This function is very useful when creating a completely new

Voice from scratch.

The parameters available for initializing will vary depending

on the type of Voice currently selected (Normal/Drum).

All Parameters

If you place a checkmark here, all the parameters of the

selected Voice will be initialized.)

Common Parameters

If you place a checkmark here, all the Common Edit

parameters of the selected Voice will be initialized.

Element Parameters 1 – 8

If you place a checkmark here, all the Element Edit

parameters of the selected Element will be initialized.

Initialize the settings of the waveforms

assigned to the selected Elements.

If you place a checkmark here, all the Waveform settings of

the selected Element will be initialized.

When a Normal Voice is selected:

Voice Job—Convenient Functions

MOTIF XF Reference Manual

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Key Parameters

If you place a checkmark here, all the Key Edit parameters

of the selected Key will be initialized.

Drum Key

Determines the Drum Key to be initialized.

Settings: C0 – C6

Initialize the settings of the waveform assigned

to the selected Key.

If you place a checkmark here, all the Waveform settings of

the selected Drum Key will be initialized.

Edit Recall—[F2] Recall

If you are editing a Voice but you have not stored it before

switching to another Voice, the edits you have made will be

cleared. If this happens, you can use the Recall function to

restore the Voice with your latest edits intact.

Copying another Voice Element to

the current one—[F3] Copy

From this window 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. When Current Voice ( ) is set to on, you can copy

the parameter settings from an Element to a different

Element of the same Voice.

Voice as source

Determines the Bank and the Voice number to be copied.

The available parameters will vary depending on the type

of Voice currently selected (Normal/Drum). This parameter

cannot be set when the Current Voice ( ) is turned on.

Current Voice

When this is set to on, the currently selected Voice (the one

you are editing now) is selected as source. Accordingly,

you can copy the parameter settings from an Element to

the different Element of the same Voice.

Data type of the source Voice

Determines the source data type including the Element

number or Drum Key. The available parameters will vary

depending on the type of Voice currently selected (Normal/

Drum).

Settings: common, element 1 – 8 (Normal Voice), key C9 – C6 (Drum

Voice)

Data type of the destination Voice

Determines the destination data type including the Element

number or Drum Key. The available parameters will vary

depending on the type of Voice currently selected (Normal/

Drum).

When the data type of the source Voice (above) is set to

“common,” this parameter will be fixed to “common.”

Settings: common, element 1 – 8 (Normal Voice), key C9 – C6 (Drum

Voice)

Transmitting the Voice data via MIDI

(Bulk Dump)—[F4] Bulk (Bulk Dump)

This function lets you send your edited parameter settings

for the currently selected Voice to a computer or another

MIDI device for data archiving. To execute the Bulk Dump

operation, press the [ENTER] button.

n In order to execute Bulk Dump, you will need to set the correct

MIDI Device Number. For details, see page 228.

n The Bulk Dump data includes only the MIDI messages and

does not include the Waveforms.

When a Drum Voice is selected:

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

MOTIF XF Reference Manual

Playing in the Performance Mode

The Performance mode is used for selecting, playing, and editing the desired Performance. Performances can be made up

of a maximum of four Parts (Voices), selected from the internal tone generator Parts 1 – 4. The Performance Play mode is the

main ‘portal’ by which you enter the Performance mode, and it is here where you select and play a Performance. Some of the

Performance settings can also be edited in this mode. To call up the Performance Play display and enter the Performance

mode, simply press the [PERFORM] button.

Selecting a Performance

The MOTIF XF contains 128 Performances in each of the

User Banks 1 – 4.

Selecting a Performance is done in basically the same way

as selecting a Voice (see page 44). As in the Voice Play

mode, you can use the Category Search and Favorite

Category (page 45) functions in the Performance Play

mode. Note that the Category function in the Performance

mode does not allow you to use the Bank/Group/Number

buttons.

Switching a Part on/off

The Performance Play mode lets you turn the four Parts of

the current Performance on or off as desired. You can

enable this by pressing the [PERFORM] button to enter the

Performance Play mode.

You can turn individual Parts on/off by using the Mute

function.

1 Press the [PERFORMANCE CONTROL] button.

The PERFORMANCE CONTROL lamp lights, indicating

that each Part can be turned on/off.

2 Press any of the Number buttons [9] – [12].

The lamp of the pressed button will be turned off and

the corresponding Part will be muted.

Press the same button again to turn the lamp on and

disengage the mute function for that Part.

You can turn multiple Parts on/off by pressing their

buttons.

n Parts can also be muted by using the [MUTE] and [PART

SELECT] buttons. Press the [MUTE] button (the lamp

lights), then use the appropriate Number buttons [1] – [4]

to mute and unmute the desired Part.

The Solo function is the opposite of Mute, and lets you

instantly solo a specific Part and mute all others.

1 Press the [SOLO] button.

The SOLO lamp lights, indicating that Solo is enabled.

2 Press any of the Number buttons [1] – [4].

The lamp of the pressed button will flash and only the

corresponding Part will be sounded.

Press any other Number button to change the solo Part.

n To exit from the Mute and Solo conditions, press the

[TRACK] or [PERFORMANCE CONTROL] button.

Using the Arpeggio Function

The Arpeggio function lets you trigger rhythm patterns, riffs

and phrases using the current Voice by simply playing

notes on the keyboard. In the Performance mode, each of

four Arpeggio types is assigned to each of four Parts. This

means four Arpeggio types can be played back

simultaneously. Try selecting different Performances and

check out the various Arpeggio types.

n For details about Arpeggio, see page 15.

Since the preset Performances already have their own

Arpeggio types pre-assigned, you can play the Arpeggio

by selecting the desired Performance, turning on the

[ARPEGGIO ON/OFF] button, then pressing any note.

Instructions on using Arpeggio are basically the same as in

the Voice mode.

Turning specific Parts on/off (Mute

function)

Soloing a specific Part

Using the Arpeggio Function in the

Performance mode

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Playing in the Performance Mode

MOTIF XF Reference Manual

You can turn Arpeggio playback on or off for each Part of

the Performance as described below.

1 Press the [PERFORMANCE CONTROL] button.

The [PERFORMANCE CONTROL] lamp lights,

indicating that Arpeggio playback for each Part can be

turned on/off.

2 Pressing each of the [5] – [8] buttons toggles

the Arpeggio playback on and off for each Part.

If any of the [5] – [8] lamps is turned off, the Arpeggio

playback of the corresponding Part is muted.

You can turn the Arpeggio Hold parameter (page 112) on

or off for each Part of the Performance as described below.

When the Arpeggio Hold parameter is set to “on,” the

Arpeggio playback continues even if the note is released.

1 Press the [PERFORMANCE CONTROL] button.

The [PERFORMANCE CONTROL] lamp lights,

indicating that Arpeggio Hold for each Part can be

turned on/off.

2 Pressing each of the [13] – [16] buttons toggles

the Arpeggio Hold parameter on and off for

each Part.

If any of the [13] – [16] lamps is turned on, the Arpeggio

Hold parameter of the corresponding Part is turned on.

n When the Arpeggio Hold parameter is set to “sync-off” in

the Arpeggio Main display (page 112), pressing each of

the [13] – [16] buttons switches the Arpeggio Hold setting

between on and sync-off.

Using Knobs

One of the more powerful performance features of the

MOTIF XF is its extensive set of real-time controls—

especially the Knobs and Control Sliders. These let you

adjust a variety of parameters for the current Performance,

such as effect depth, attack/release characteristics, tonal

color, and others. These real-time controls can be used to

change the sound as you play or to quickly edit and

customize the Performance. One of six functions can be

assigned to each knob, alternatively selected via the

[SELECTED PART CONTROL] button and the [MULTI PART

CONTROL] button.

1 Select the function setting to be assigned to

the Knobs.

Press the [SELECTED PART CONTROL] button or

[MULTI PART CONTROL] button several times to select

the function setting to be assigned to the Knobs. Each

time either button is pressed, the lamp lights

alternatively in descending order, TONE 1  TONE 2 

ARP FX (when pressing [SELECTED PART CONTROL])

or REVERB  CHORUS  PAN (when pressing [MULTI

PART CONTROL]). The functions assigned to the

Knobs are changed according to the lamp status.

n To check which functions are currently assigned to the

Knobs, call up the Control Function window by pressing

the [SELECTED PART CONTROL] button or [MULTI PART

CONTROL] button.

n Holding down the [SELECTED PART CONTROL] button

for a few seconds will alternate the lit lamp from the

current one to TONE 1. Likewise, holding down the [MULTI

PART CONTROL] button for a few seconds will alternate

the lit lamp from the current one to REVERB.

n A red point on the Knob or Slider graphic indicates the

current value to which the Knob or Slider is set. Moving

the Knob or Slider has no effect on the sound until this

point is reached. Once you move the Knob or Slider past

this point, the red point disappears and moving the Knob

or Control Slider affects the sound.

Turning Arpeggio playback on/off for

each Part

Turning the Arpeggio Hold parameter

on/off for each Part

Red point (indicating the current value)

Playing in the Performance Mode

MOTIF XF Reference Manual

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

2 Change the tonal color.

Moving the Knobs changes various aspects of the

Voice’s sound in real time—while you play.

When one of the TONE 1, TONE 2 or ARP FX lamps are

lit, the eight Knobs are used to control the

corresponding functions as printed on the panel (the

same as in the Voice mode). For details, see page 46.

When one of the REVERB, CHORUS or PAN lamps are

lit, the following functions are assigned to the four

leftmost Knobs.

n If the [E] (Edit) indicator appears at the top right of the

display when you adjust the Knobs, the current

Performance can be stored (page 101) as a new User

Performance.

Using Sliders

The far left four sliders adjust the volume for each of four

Parts. Each of the Control Sliders 1 – 4 corresponds to the

same numbered Part. The status of the sliders is shown on

the display.

The Performance Play display—[F1]

Play

You can call up the Performance Play display by pressing

the [PERFORM] button.

Type 1 of the Performance Play display

Performance Bank

Performance Number (Group/Number)

Indicates the Bank and Number of the selected

Performance. A Bank is a memory location that includes

data of 128 different Performances. Four Banks (User 1 –

4) are provided. Each Performance within a Bank is

assigned to a Performance Number of 001 to 128.

Performance Numbers 001 to 128 are converted to the

format (shown in parentheses) of Banks A to H and

Numbers 1 to 16 (for the Bank). This format corresponds to

the Group buttons [A] – [H] and the Number buttons [1] –

[16]. The Performance Numbers and the corresponding

Group/Numbers are listed below.

Active lamp Functions of the left four knobs

REVERB Adjusts the reverb depth for Parts 1 – 4

CHORUS Adjusts the chorus depth for Parts 1 – 4

PAN Adjusts the pan position for Parts 1 – 4

Changing a Part to be controlled

You can change a Part to be controlled by Knob

operations via the following instructions.

1 Turn the [PERFORMANCE CONTROL]

lamp on by pressing the [SELECTED PART

CONTROL] button to call up the Control

Function window.

2 Select the desired Part by pressing the [1]

– [4] buttons and [COMMON EDIT] button.

By pressing the [COMMON EDIT] button, Knob

operations except for “ASSIGN 1” and “ASSIGN 2”

will be applied to all four Parts. By pressing the

one of the [1] – [4] buttons, Knob operations will

be applied only to the selected Part.

n If the Control Function window cannot be called up

(from some display) and you wish to change a Part,

press the [PERFORMANCE CONTROL] button (the

lamp lights), then press one of the [1] – [4] and

[COMMON EDIT] buttons.

Group/Number Performance Number

A01 – 16 001 – 016

B01 – 16 017 – 032

C01 – 16 033 – 048

D01 – 16 049 – 064

E01 – 16 065 – 080

F01 – 16 081 – 096

G01 – 16 097 – 112

H01 – 16 113 – 128

Type 2 of the Performance Play display

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Playing in the Performance Mode

MOTIF XF Reference Manual

Category (Main Category <Sub Category>)

Indicates the Category of the selected Performance.

“Category,” consisting of Main Category and Sub

Category, is a keyword that indicates the instrument

characteristics or the type of sound. Each Performance

can be registered to a Main Category and its Sub

Category. The Category settings can be edited in the

General display (page 102) of the Performance Common

Edit mode.

Performance name

Indicates the name of the current Performance.

Transmit Ch (MIDI Transmit Channel)

Indicates the Keyboard MIDI transmit channel. For

information about how to set the value, see page 47.

Octave

Indicates Keyboard Octave setting set via the OCTAVE

buttons. This parameter determines how much higher or

lower the pitch of each key is compared to normal pitch.

Control Function

Indicates the status of the Knobs and Control Sliders on the

panel. This is same as the Control Function window

(page 94).

Voice name

Indicates the names of the Voices assigned to Parts 1 – 4.

[SF1] ARP1 – [SF5] ARP5 (Arpeggio 1 – 5)

The Arpeggio types are assigned to the buttons with the

8th note icon on the display tab. You can call them up by

pressing these buttons any time during your keyboard

performance. Assigning Arpeggio types to the buttons can

be done from the Arpeggio display (page 98).

[SF6] TAP

The speed at which you press this button several times will

determine the playback tempo of the Arpeggio.

[F1] Play

Pressing this button returns from the previous display to the

Performance Play display.

[F2] Voice

Pressing this button calls up the display (page 97) that lets

you select a Voice for each Part and specify the note range

it can be played from.

[F3] EG (Envelope Generator)

Pressing this button calls up the display (page 97) that

contains the basic EG settings.

[F4] Arpeggio

Pressing this button calls up the display (page 98) that lets

you set the Arpeggio related parameters.

[F6] Effect

Pressing this button calls up the Effect setup display

(page 107) of the Performance Common Edit.

Arpeggio tempo

Indicates the tempo of the current Arpeggio playback

tempo.

Volume

Indicates the volume value for each Part.

Note Range / Note Limit

Indicates the note range or note limit within which you can

play the Voice assigned to each Part.

When changing the value of the parameter in the

Performance Play or Edit mode, the [E] (Edit Indicator) will

appear on the top right corner of the LCD display. This

gives a quick confirmation that the current Performance

has been modified but not yet stored. To store the current

edited status, follow the instructions on page 101.

Performance information—[SF6]

INFO (Information)

This window, which can be called up from the [F2] Voice –

[F4] Arpeggio display, indicates the information of the

current Performance. Settings cannot be changed here.

Bank

Indicates the Bank of the selected Performance program.

The values in parentheses indicates the Bank Select MSB

and LSB which can be used to select the current Voice via

MIDI.

The [E] Indicator

Edit Indicator

Playing in the Performance Mode

MOTIF XF Reference Manual

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Program (Performance number)

To each Performance within a Bank, a Number of 001 to

128 is assigned. The values in parentheses indicates

Group and Number.

Category

Indicates the Category of the selected Performance.

Name

Indicates the name of the current Performance.

Part 1 – 4

Indicates the Bank, Number, Main Category 1/2, and name

of the Voice which is assigned to each Part.

Effects

Indicates Reverb and Chorus settings of the selected

Performance.

Parameters for the Voice assigned

to each Part—[F2] Voice

This display lets you specify the Voice and its note range of

each Part. The setting made here will be applied to the

same parameters in the Voice display (page 109) of Part

Edit.

PART (Part Switch)

Determines whether the Part is used (on) or not used (off).

Voice Bank

Voice Number

Voice Name

Determines the Voice Bank and Number for each Part. The

two category names of the selected Voice are shown at the

Voice name column.

NOTE LIMIT LO-HI

Determines the lowest and highest notes in the Part’s note

range. You can also create a lower and an upper range for

the Voice, with a note range “hole” in the middle, by

specifying the highest note first. For example, setting a

Note Limit of “C5 – C4” lets you play the Voice from two

separate ranges: C -2 to C4 and C5 to G8. Notes played

between C4 and C5 do not play the selected Voice.

Settings: C -2 – G8

n You can also set the Key directly from the keyboard, by

holding down the [SF6] KBD button and pressing the desired

key. For details, see page 37.

Changing the tonal characteristics—

[F3] EG (Envelope Generator)

This display lets you set the EG (Envelope Generator) and

Filter. The settings made here will be applied to the same

parameters in the EG display (page 115) of Part Edit as

offset.

AEG (Amplitude EG)

Determines the transition in volume from the moment a key

is pressed to the moment at which it is released. The AEG

consists of four parameters: Attack time, Decay time,

Sustain level, and Release time. For details, see page 51.

Settings: -64 – +0 – +63

FEG (Filter EG)

Determines the transition in tonal brilliance from the

moment a key is pressed to the moment at which it is

released. The FEG consists of four parameters: Attack

time, Decay time, Release time, and Depth. For details, see

page 51.

Settings: -64 – +0 – +63

Filter

You can produce a relatively bright or darker sound by

reducing or enhancing the harmonics. There are two

parameters: Cutoff (Cutoff Frequency) and Reso

(Resonance). For details, see page 51.

Settings: -64 – +0 – +63

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Playing in the Performance Mode

MOTIF XF Reference Manual

Arpeggio settings—[F4] Arpeggio

This display determines the basic settings of the Arpeggio.

There are two types of parameters: Common parameters

(Common Switch, Tempo and Sync Quantize Value

indicated at the top of the display) and Part parameters

(others). As for the Part parameters, five different Arpeggio

types can be assigned to each of the four Parts, and are

selectable with the [SF1] – [SF5] buttons. Press the

appropriate [SF1] – [SF5] button to call up the desired

Arpeggio/Part combination. Arpeggio related settings on

the display are automatically assigned to the

corresponding [SF1] – [SF5] buttons. The settings made

here will be applied to the same parameters in the General

Other display (page 104) of Common Edit, the Arpeggio

Main display (page 112) and the Arpeggio Other display

(page 114) of Part Edit.

Common Switch

Determines whether Arpeggio is on or off. When calling up

the Performance for which this parameter is set to on, the

[ARPEGGIO ON/OFF] button on the panel will be turned on

automatically.

Settings: on, off

Tempo

Determines the Arpeggio Tempo. For details, refer to the

Arpeggio Main display (page 112) of Part Edit.

Sync Quantize Value

Determines the actual timing at which the next Arpeggio

playback starts when you trigger it while the Arpeggio of a

certain Part is played back. When set to “off,” the next

Arpeggio starts as soon as you trigger it. Note that the

number shown at right of each value indicates the

resolution in clocks.

Settings: off, 2 60 (32nd note), 63 80 (16th note triplet), 6 120

(16th note), 83 160 (8th note triplet), 8 240 (8th note),

43 320 (1/4 note triplet), 4 480 (1/4 note)

SW (Switch)

Determines whether Arpeggio is on or off for each Part.

n When the [PERFORMANCE CONTROL] button is pressed so

that its lamp is turned on, the Number buttons [5] – [8] can be

used to turn the Arpeggio playback of Parts 1 – 4 on or off.

HOLD

This is the same as in the Arpeggio Main display

(page 112) of Part Edit.

Voice Bank/Voice Number/Voice Name

(Indication only)

Indicates the Bank, Number, and name of the Voice which

is assigned to each Part. You can set them on the [F2]

Voice display. Setting the Voice with ARP to “on” in the

Arpeggio Main display of the Performance Part Edit mode

automatically selects the Voice matching the currently

selected Arpeggio Type.

BANK

Category

Type

From the Category column, you can select one of the Effect

Categories each of which contains similar Effect types.

From the Type column, you can select one of the Effect

Types listed in the selected Category.

Settings: Details about the Effect categories and types are described

on page 24.

Preset

You can set various parameters in order to change how the

sound is affected by the selected Effect type. This

parameter lets you call up the pre-programmed settings of

these effect parameters.

Effect Parameters

The number of parameters and values available differs

depending on the currently selected effect type. Refer to

page 27 for details about the Effect parameters. Refer to

the separate Data List for information on the parameters for

each Effect type.

Effect settings—[F5] Effect

From the following displays, you can set the Effect

connection and values of other parameters. For details

about the structure in the Performance mode, see page 23.

This display gives you at-a-glance, overall view of the

effect routing and comprehensive control over the effects.

n Depending on the selected parameter, the LIST icon is shown

at the tab menu corresponding to the [SF6] button. In this

condition, you can call up the list by pressing the [SF6] LIST

button, then select the desired item from the list. For details

see page 37.

Chorus (Chorus Category/Type)

Selects a Chorus Effect type after selecting a category.

From the Category column, you can select one of the Effect

categories, each of which contains similar Effect types.

From the Type column, you can select one of the Effect

types listed in the selected category.

Settings: Details about the Effect categories and types are described

on page 24.

Reverb (Reverb Type)

Determines the Reverb Effect type. It is not necessary to

select a Category because there is only one category in

Reverb.

Settings: Details about the Effect types are described on page 24.

CHORUS TO REVERB

Determines the Send level of the signal sent from the

Chorus Effect to the Reverb Effect. The higher the value,

the deeper the Reverb that is applied to the Chorus-

processed signal.

Settings: 0 – 127

Effect Parameter settings—[SF3] Ins A,

[SF4] Ins B

Effect Connection settings—[SF1] Connect

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Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

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Sampling

mode 1

Sampling

mode 2

Reference

Chorus Return

Determines the Return level of the Chorus Effect.

Settings: 0 – 127

Chorus Pan

Determines the pan position of the Chorus effect sound.

Settings: L63 (far left) – C (center) – R63 (far right)

Reverb Return

Determines the Return level of the Reverb Effect.

Settings: 0 – 127

Reverb Pan

Determines the pan position of the Reverb effect sound.

Settings: L63 (far left) – C (center) – R63 (far right)

In this display, you can select which Parts (from

Performance Parts 1 – 4 and the A/D Input Part) will be

assigned to the eight Insertion Effects.

Part 1 – 4, A/D

Determines the Parts available for the Insertion Effect.

When this switch is set to on, the Insertion Effect of the

Voice assigned to the Part is enabled. Make sure that this

parameter is set to on for any Parts/Voices to which you

need to apply Insertion Effects. The MOTIF XF features

eight Insertion effect systems, letting you set this

parameter to on for all five Parts.

n For the A/D Input Part, the Insertion Effect type/parameter can

be set from the Insertion A/B display in the Audio In parameter

of the Performance Common Edit mode. For Parts 1 – 4, the

Insertion Effect type/parameter settings cannot be set in the

Performance Edit mode because their settings are included in

the Voice assigned to each Part. If you wish to edit the

Insertion Effect settings for each Part, enter the Voice Edit

mode, then edit the Effect settings for the appropriate Voice.

n Depending on the selected parameter, the LIST icon is shown

at the tab menu corresponding to the [SF6] button. In this

condition, you can call up the list by pressing the [SF6] LIST

button, then select the desired item from the list. For details

see page 37.

Type

From the Type column, you can select one of the Effect

Types listed in the selected Category.

Settings: Details about the Effect types are described on page 24.

Preset

You can set various parameters in order to change how the

sound is affected by the selected Effect type. This

parameter lets you call up the pre-programmed settings of

these effect parameters.

Effect Parameters

The number of parameters and values available differs

depending on the currently selected effect type. Refer to

page 27 for details about the Effect parameters. Refer to

the separate Data List for information on the parameters for

each Effect type.

Setting the parts available for the

Insertion Effect—[SF2] InsSwitch

Reverb and Chorus Settings—[SF3]

Reverb, [SF4] Chorus

MOTIF XF Reference Manual

Editing a Performance

109

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Part Edit parameters

[PERFORM]  Performance selection  [EDIT]  Part selection

In the Performance Part Edit mode, you can edit the parameters of the individual Parts such as Voice, Arpeggio, EG and EQ

settings.

About the asterisk (*) marks

For users who are new to editing and may be confused by the large amount of parameters, the most basic and easy-to-understand

parameters are conveniently marked with asterisks in this section. If you are just starting out with editing Performance Parts, try these

parameters first.

In the Performance Part Edit mode, you can use two types

of display. One type of display lets you edit parameters for

the currently selected Part and the other type of display

lets you view parameters for four Parts. You can switch

between these two types by pressing the [SF5] button.

Note that the display for four Parts is not available for the

[F2] ARP Main and the [F3] ARP Other displays.

After pressing the [PERFORMANCE CONTROL] or

[TRACK] button so that its lamp lights, press one of the [1]

– [4] buttons to select a Part to be edited.

n For details about useful functions such as Mute/Solo and Jobs,

see pages 101 and 117.

Setting the Wave and Note range of

the Part—[F1] Voice

Part Switch*

Determines whether the currently edited Part is on or off.

When this is set to off, the currently edited Element will not

sound.

Settings: off (inactive), on (active)

Bank*

Number*

Determines the Voice assigned to the current Part by

specifying the Voice Bank and Number.

n You can call up the list and select the desired item by pressing

the [SF6] LIST button. For details, see page 37.

Param. with Voice (Parameter with Voice)

Determines whether or not the following parameter settings

of the selected Voice are copied from the Voice to the

current Part when you change a Voice for the current Part

individually.

• Arpeggio settings

• Filter Cutoff Frequency

• Filter Resonance

• Amplitude EG

•Filter EG

• Pitch Bend Range (Upper/Lower)

•Note Shift

n Regardless of the Parameter with Voice setting ( ), the

settings of Mono/Poly ( ), Portamento Part Switch ( ),

Portamento Time ( ) and Portamento Mode ( ) are not

Selected Part display/Four-Part display

Selecting a Part to be edited

The display for the currently selected Part

The display for all four Parts of the current Performance

Selecting a Part

Voice Settings for each Part—[SF1] Voice

Editing a Performance

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Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

copied when a Drum Voice is selected. However, these

parameters are copied when a Normal Voice is selected.

Settings: off (not copied), on (copied)

Volume*

Determines the volume for each Part. Use this parameter to

adjust the balance between the current Part and other

Parts.

Settings: 0 – 127

Pan*

Determines the stereo pan position for the Part.

Settings: L63 (far left) – C (center) – R63 (far right)

n Note that this Part Pan parameter may have little or no audible

effect if the Pan for a specific Element is set to the left position

and the Pan for another Element is set to the right position.

Voice Element Pan

Determines whether the individual pan settings for each

Voice (made in the Voice Element Edit mode) are applied

or not. When this is set to “off,” the basic pan position for

the selected Part is set to center.

Settings: on, off

Note Shift*

Adjusts the pitch of the Part in semitones.

Settings: -24 – +0 – +24

Detune

Adjusts the tuning of the Part in cent increments.

Settings: -12.8 Hz – +0 Hz – +12.7 Hz

Mono/Poly*

Determines the playback method of the Voice for each

Part—monophonic (single note only) or polyphonic

(multiple notes).

Settings: mono, poly

mono

When set to “mono,” the selected Performance is played back

monophonically (only a single note is played back simultaneously). For

many instrument sounds (such as bass and synth lead), this allows a

more natural and smooth sounding legato performance than when this

parameter is set to “poly.”

poly

When set to “poly,” the selected Performance is played back

polyphonically (multiple notes can be played back simultaneously or a

chord is played back).

Portamento Part Sw*

Determines whether Portamento is applied to the current

Performance or not.

Settings: off, on

Portamento Time*

Determines the pitch transition time. Higher values mean

longer transition times.

Settings: 0 – 127

Portamento Mode

Determines how Portamento is applied to your keyboard

performance.

Settings: fingered, fulltime

fingered

Portamento is only applied when you play legato (playing the next note

before releasing the previous one).

fulltime

Portamento is applied to all notes.

Velocity Limit

Determines the minimum and maximum values of the

velocity range within which each Part will respond. Each

Part will only sound for notes played within its specified

velocity range. If you specify the maximum value first and

the minimum value second, for example “93 to 34,” there

will be a velocity “hole” and the velocity range covered will

be “1 to 34” and “93 to 127.”

Settings: 1 – 127

n You can also set the velocity from the keyboard by holding

down the [SF6] KBD button and pressing any key with the

desired velocity (strength). For details, see page 37.

Note Limit

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. You can also create a lower and an

upper range for the Element, with a note range “hole” in the

middle, by specifying the highest note first. For example,

setting a Note Limit of “C5 – C4” lets you play the Element

from two separate ranges: C -2 to C4 and C5 to G8. Notes

played between C4 and C5 do not play the selected

Element.

Settings: C -2 – G8

n You can also set the Key directly from the keyboard, by

holding down the [SF6] KBD button and pressing the desired

key. For details, see page 37.

ARP Play Only

Determines whether or not the current Part only plays the

MIDI note events created via Arpeggio playback. When set

to on, the current Part plays only those MIDI note events

generated via Arpeggio playback.

Settings: off, on

From this display, you can set the Reverb/Chorus depth

and the Output jack assignment for each Part.

Output settings—[SF2] Output

Editing a Performance

MOTIF XF Reference Manual

111

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Reverb Send

Determines the Send level of each Part signal sent to the

Reverb effect. The higher the value, the deeper the Reverb.

Settings: 0 – 127

Chorus Send

Determines the Send level of each Part signal sent to the

Chorus effect. The higher the value, the deeper the Chorus.

Settings: 0 – 127

Dry Level

Determines the level of each Part which has not been

processed with the System Effects (Reverb, Chorus). The

higher the value, the shallower the Reverb and Chorus.

Settings: 0 – 127

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.

Settings: See the table below.

* About “drum” setting, see below.

When “drum” is selected and the Normal Voice is assigned to the

edited Part, the sound will be output via the OUTPUT L and R jacks in

stereo.

When “drum” is selected and the Drum Voice is assigned to the edited

Part, the sound will be output via the jacks set in the Drum Key Edit

display as the Output Select parameter.

n The FW settings (FW1 – 14) are available only when the

optional FW16E is installed.

n You can call up the list and select one by pressing the [SF6]

LIST button. For details, see page 37.

Ins Effect Sw (Insertion Effect Switch)

Determines whether or not the current Part is available for

the Insertion Effect. When this parameter is set to on, the

Insertion Effect of the Voice assigned to the Part is

enabled. You can set the Insertion Effect Switch parameter

for all Parts (including the A/D Input part) from the Insertion

Effect Switch display (page 108) in the Performance

Common Edit mode.

Assign 1 Value

Assign 2 Value

Determines the value of Knob 7 (ASSIGN 1) and Knob 8

(ASSIGN 2) when the current Voice is selected and the

TONE 1 lamp is turned on. The functions assigned to these

Knobs are shown at the right of the setting values.

Settings: -64 – +0 – +63

n The functions of Knob ASSIGN 1 and ASSIGN 2 can be set

from the Controller Set display (page 61).

PB Range Upper (Pitch Bend Range Upper)

PB Range Lower (Pitch Bend Range Lower)

Determines the maximum Pitch Bend range in semitones.

Setting the Upper parameter to +12 would result in a

maximum pitch rise of one octave when the Pitch Bend

wheel is moved upwards. 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.

Settings: -48 – +0 – +24

Vel Sens Depth (Velocity Sensitivity Depth)

Determines the degree to which the resulting volume of the

tone generator responds to your playing strength. The

higher the value, the more the volume changes in response

to your playing strength (as shown below). When this is set

to 0, the volume remains the same no matter how strongly

or softly you play. This would be useful, for example, for

authentic playing of an Organ Voice.

Settings: 0 – 127

LCD Output jacks Stereo/Mono

L&R OUTPUT L and R Stereo

asL&R ASSIGNABLE OUTPUT L and R Stereo

FW1&2 FW OUTPUT 1 and 2 Stereo (1: L, 2: R)

FW3&4 FW OUTPUT 3 and 4 Stereo (3: L, 4: R)

FW5&6 FW OUTPUT 5 and 6 Stereo (5: L, 6: R)

FW7&8 FW OUTPUT 7 and 8 Stereo (7: L, 8: R)

FW9&10 FW OUTPUT 9 and 10 Stereo (9: L, 10: R)

FW11&12 FW OUTPUT 11 and 12 Stereo (11: L, 12: R)

FW13&14 FW OUTPUT 13 and 14 Stereo (13: L, 14: R)

asL ASSIGNABLE OUTPUT L Mono

asR ASSIGNABLE OUTPUT R Mono

FW1 FW OUTPUT 1 Mono

:: :

FW14 FW OUTPUT 14 Mono

drum See below* See below*

Other Settings—[SF3] Other

127

When Offset (below) is set to 64:

Actual resulting velocity

(affecting the tone

generator)

Velocity with which you play a note

Depth = 127

Depth = 64

Depth = 32

Depth = 0

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Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Velocity Sens Depth Offset

(Velocity Sensitivity Depth Offset)

Determines the amount by which played velocities are

adjusted for the actual resulting velocity effect.

This lets you raise or lower all velocities by the same

amount—allowing you to automatically compensate for

playing too strongly or too softly. If the result is 1 or less, the

value is set to 1. If the result is higher than 127, the value is

set to 127.

Settings: 0 – 127

Arpeggio Settings—[F2] ARP Main

(Arpeggio Main)

This display determines the basic settings of the Arpeggio.

The settings of parameters ( or more) shown at the

bottom of the display can be registered to the [SF1] – [SF5]

buttons.

n The Four-Part display cannot be called up from this display.

n The KBD icon is shown on the tab corresponding to the [SF6]

button depending on the selected parameter. In this condition,

you can enter the note number or velocity by pressing the

appropriate note on the keyboard while holding the [SF6] KBD

button. For details, see page 37.

Switch*

Determines whether Arpeggio for each Part is on or off.

Settings: off, on

Hold*

When this is set to “on,” the Arpeggio cycles automatically,

even if you release your fingers from the keys, and it

continues to cycle until the next key is pressed.

Settings: sync-off (see below), off, on

sync-off

When set to “sync-off,” the Arpeggio playback continues to run silently,

even when you release the keys. Pressing any key turns the Arpeggio

playback on again.

n For details about how to use the Arpeggio Type List in the Data

List, see page 16.

Change Timing*

Determines the actual timing at which the Arpeggio type is

switched when you select another type during Arpeggio

playback. When set to “realtime,” the Arpeggio type is

switched immediately. When set to “measure,” the

Arpeggio type is switched at the top of the next measure.

Settings: realtime, measure

Velocity Limit

Determines the lowest and highest velocity which can

trigger the Arpeggio playback. This lets you set the velocity

range with which you press the note to trigger the Arpeggio

playback. 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.

Settings: 1 – 127

n Please keep in mind that no sound is produced when the Key

Mode is set to “sort” or “thru” and notes are played outside the

Note Limit setting here.

Note Limit

Determines the lowest and highest notes in the Arpeggio’s

note range. Notes played in this range trigger the

Arpeggio. 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.

Settings: C -2 – G8

n Please keep in mind that no sound is produced when the Key

Mode is set to “sort” or “thru” and notes are played outside the

Note Limit setting here.

Voice with ARP

To each type of the Arpeggio, the appropriate Voice is

registered. This parameter determines whether or not the

appropriate Voice registered to each Arpeggio type is

assigned to the edited Part. When set to “on,” the

appropriate Voice is assigned to the edited Part in place of

the currently assigned Voice. When set to “off,” the

appropriate Voice is not assigned to the edited Part. The

127

012764

12764

127

When Depth (above)

= 64 and Offset =32

When Depth (above)

= 64 and Offset =64

When Depth (above)

= 64 and Offset =96

Actual

resulting

velocity

(affecting

the tone

generator)

Actual

resulting

velocity

(affecting

the tone

generator)

Actual

resulting

velocity

(affecting

the tone

generator)

Velocity with which you play a note Velocity with which you play a note

Velocity with which you play a note

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113

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

currently assigned Voice is maintained. The name of the

Voice registered to the Arpeggio Type is shown at the right

side.

Settings: off (not copied), on (copied)

n A User Voice may be registered to a certain Arpeggio Type via

the Voice with ARP function. With the factory settings, each of

the combinations of an Arpeggio Type and its companion User

Voice is designed to be the most suitable match and produce

the appropriate sound/phrase. However, when revising the

sound of the User Voice by editing the parameters or storing a

different Voice to the corresponding User Voice number, this

combination may become improper or produce an

unexpected sound. If such a situation occurs, select the most

appropriate Voice for the current Arpeggio Type on the [F1]

Voice display.

Tempo*

Determines the Arpeggio Tempo.

Settings: 5.0 – 300.0

n If you are using this instrument with an external sequencer,

MIDI computer, or other MIDI device, and you want to

synchronize it with that device, set the MIDI sync ( )

parameter in the MIDI display (page 228) of the Utility mode to

“MIDI” or “auto.” In this case, the Tempo parameter here

indicates “MIDI” or “auto” and cannot be changed.

Key Mode

Determines how the Arpeggio plays back when playing the

keyboard.

Settings: sort, thru, direct, sort+direct, thru+direct

sort

When you play specific notes (for example, the notes of a chord), the

same sequence plays, no matter what order you play the notes.

thru

When you play specific notes (for example, the notes of a chord), the

resulting sequence differs depending on the order of the notes.

direct

Note events of the Arpeggio sequence do not play; only the notes you

play on the keyboard are heard. When the Arpeggio plays back, the

events such as Pan and Brightness are applied to the sound of your

keyboard performance. Use this setting when the Arpeggio types

includes non-note data or when the Category type “Ctrl” is selected.

sort+direct

The Arpeggio is played back according to the “sort” setting here, and

the note pressed is also sounded.

thru+direct

The Arpeggio is played back according to the “thru” setting here, and

the note pressed is also sounded.

n Some Arpeggio types belonging to the “Cntr” Category may

not have note events (page 18). When such an Arpeggio type

is selected and the Key Mode is set to “sort” or “thru,” no

sound is produced even if you press a note on the keyboard.

Velocity Mode

Adjusts the velocity of the Arpeggio notes.

Settings: original, thru

original

The Arpeggio plays back at the preset velocities included in the

Arpeggio sequence data.

thru

The Arpeggio plays back according to the velocity of your playing. For

example, if you play the notes strongly, the playback volume of the

Arpeggio increases.

Output Octave Shift

Specifies the maximum Arpeggio range in octaves.

Settings: -10 – +10

[SF1] ARP1 – [SF5] ARP5 (Arpeggio 1 – 5)

buttons

The six parameters Bank ( ) through Gate Time Rate ( )

at the lower half Part of the display, can be edited in each

of the [SF1] ARP1 through [SF5] ARP5 displays. You can

set the parameters in the lower half of the display for each

of the five Arpeggio settings by pressing one of the [SF1] –

[SF5] buttons. The 8th note icon shown in the tab menu

indicates any Arpeggio Type (other than “off”) is selected in

the display corresponding to the Sub Function button.

Settings: [SF1] – [SF5] (Sub Function) buttons

Bank*

Determines the Arpeggio Bank containing the desired

Arpeggio type. Select “PRE” if you wish to select a preset

Arpeggio Type. Select “USR” if you wish to select an

Arpeggio Type you originally created and stored.

Settings: PRE, USR

n For detailed instructions on creating your original Arpeggio

type, see page 20.

Category*

Sub Category*

Determines the Arpeggio Category and Sub Category

including the desired Arpeggio type. These parameters are

available when “PRE” is selected as the Bank.

Settings: Refer to the Arpeggio Category List on page 15.

n You can call up the list by pressing the [SF6] LIST button then

select the desired item from the list.

n For details about how to use the Arpeggio Type List in the Data

List, see page 16.

Type*

Determines the desired Arpeggio Type number from the

specified Category. The name of the selected Arpeggio

Type is shown at right of the specified number on the

display. Refer to the Arpeggio Type List in Data List.

Velocity Rate

Determines the offset value by which the Arpeggio notes

will be shifted from their original velocities. If the resultant

velocity value is less than zero it will be set to 1, and if the

resultant velocity is greater than 128 it will be set to 127.

This parameter can be changed via the Knob directly.

Settings: -100% – +0% – +100%

Gate Time Rate

Determines the Gate Time (length) of the Arpeggio notes.

The Gate Time cannot be decreased beyond its normal

minimum of 1; any values outside that range will

automatically be limited to the minimum.

This parameter can be changed via the Knob directly.

Settings: -100% – +0% – +100%

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114

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Arpeggio settings—[F3] ARP Other

(Arpeggio Other)

By changing the timing and velocity of the notes, you can

change the rhythmic “feel” of the Arpeggio playback.

The Four-Part display cannot be called up from this display.

Unit Multiply

Adjusts the Arpeggio playback time based on tempo. By

using this parameter, you can create a different Arpeggio

type from the original one. For example, if you set a value of

200%, the playback time will be doubled (tempo is halved).

On the other hand, if you set a value of 50%, the playback

time will be halved and the tempo doubled. Normal

playback time is 100%. This parameter can be changed

via the Knob directly.

Settings: 50%, 66%, 75%, 100%, 133%, 150%, 200%

Quantize Value*

Determines to what beats the note data in the Arpeggio

sequence data will be aligned, or determines to what beats

in the Arpeggio sequence data the swing is applied. This

parameter can be changed via the Knob directly. The

number shown at right of each value indicates the length

assumes that the quarter-note resolution is 480.

Settings: 2 60 (32nd note), 63 80 (16th note triplet), 6 120 (16th

note), 83 160 (8th note triplet), 8 240 (8th note), 43 320

(1/4 note triplet), 4 480 (1/4 note)

Quantize Strength

Sets the “strength” by which note events are pulled toward

the nearest quantize beats. A setting of 100% produces

exact timing set via the Quantize Value parameter above. A

setting of 0% results in no quantization. A setting of 50%

results in the note events being pulled halfway between 0%

and 100%. This parameter can be changed via the Knob

directly.

Settings: 0% – 100%

Swing*

Delays notes on even-numbered beats (backbeats) to

produce a swing feel. Settings above 1 delay the Arpeggio

notes, whereas settings below 1 advance them. A setting

of 0 produces exact timing set via the Quantize Value,

resulting in no swing. Judicious use of this setting lets you

create swing rhythms and triplet feels, such as shuffle and

bounce. This parameter can be changed via the Knob

directly.

Settings: -120 – +120

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 velocities of the

Arpeggio notes, whereas settings above 100% will

increase the velocities. If the resultant velocity value is less

than zero it will be set to 1, and if the resultant velocity is

greater than 128 it will be set to 127. This parameter can be

changed via the Knob directly.

Settings: 0% – 200%

Gate Time Rate

Determines how much the Gate Time (length) of the

Arpeggio notes is offset from the original value. For

example, a setting of 100% means the original values are

used. Settings below 100% will reduce the velocities of the

Arpeggio notes, whereas settings above 100% will

increase the velocities. The Gate Time cannot be

decreased beyond its normal minimum of 1; any values

outside that range will automatically be limited to the

minimum. This parameter can be changed via the Knob

directly.

Settings: 0% – 200%

Octave Range

Specifies the maximum Arpeggio range in octaves.

Positive value settings increase the octave range of the

Arpeggio playback upward, whereas negative value

settings increase it downward.

This parameter can be changed via the Knob directly.

Settings: -3 – +0 – +3

Loop

When this is set to “on,” the Arpeggio cycles while notes

are held. When this is set to “off,” the Arpeggio plays only

once even if notes are held.

Settings: off, on

Trigger Mode

When this is set to “gate,” pressing the note starts

Arpeggio playback and releasing the note stops it. When

this is set to “toggle,” pressing the note starts/stops

Arpeggio playback and releasing the note does not affect

Arpeggio playback. Normally, this parameter should be set

to “gate.”

Settings: gate, toggle

n The Trigger Mode “toggle” setting overcomes the Hold “on”

setting in the Arpeggio Main display (page 112). In other

words, even when the Hold parameter is set to “on,” pressing

the note start/stops Arpeggio playback when the Trigger Mode

is set to “toggle.”

Accent Vel Threshold

(Accent Velocity Threshold)

Some preset Arpeggio types include the special sequence

data called “Accent Phrase,” which will be played back

only when the velocities higher than a specified value are

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115

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

received. This parameter determined the minimum velocity

that will trigger the Accent Phrase.

Settings: off, 1 – 127

Accent Start Quantize

Determines the start timing of the Accent Phrase when the

Velocity specified in Accent Vel Threshold above is

received. When set to off, the Accent Phrase starts as soon

as the Velocity is received. When set to on, the Accent

Phrase starts on the beat specified for each Arpeggio type

after the Velocity is received.

Settings: off, on

Random SFX

Some Arpeggio types feature the Random SFX function

which will trigger the special sound such as fret noise of the

guitar when the note is released. This parameter

determines whether the Random SFX is active or not.

Settings: off, on

Random SFX Velocity Offset

Determines the offset value by which the Random SFX

notes will be shifted from their original velocities. If the

resultant velocity value is less than zero it will be set to 1,

and if the resultant velocity is greater than 128 it will be set

to 127.

Settings: -64 – +0 – +63

Random SFX Key On Control

When this is set to “on,” the Random SFX special sound is

played with the pre-programmed velocity. When this is set

to “off,” the Random SFX special sound is played with the

velocity generated when the note is pressed.

Settings: off, on

Fixed SD/BD

This parameter is available only when a Drum Voice is

assigned to the current Part. When this parameter is set to

on, C1 will be used as the note of the Snare Drum and D1

will be used as the note of the Bass Drum in Arpeggio

playback.

Although most Drum Kits assign the Snare Drum sound to

C1 and the Bass Drum to D1, certain Drum Kits assign

these sounds also to other notes additionally and certain

Arpeggio Types are created by using those notes (different

from C1 and D1). Accordingly, you may hear improper

sounds depending on the selected Arpeggio Type and

Drum Kit. Setting this parameter to on may solve such a

problem.

If you feel that the Snare and Bass Drum sound is improper

when the Arpeggio Type is changed via the [SF1] – [SF5]

buttons, it is a good idea to set this parameter to on.

Settings: on, off

MIDI Out Switch (MIDI Output Switch)

When this is set to on, Arpeggio playback data is output

from the MIDI terminal.

Settings: off (not output), on (output)

MIDI Out Channel (MIDI Output Channel)

Determines the MIDI transmit channel for Arpeggio

playback data. When this is set to “kbd,” Arpeggio

playback data is output via the MIDI transmit channel

(page 96) set in the Performance Play mode.

Settings: 1 – 16, kbd (Keyboard Channel)

EG Settings—[F4] EG

You can control the sound transition from the moment a key

is pressed to the moment at which it is released. You can

also adjust the tone brilliance by setting the Cutoff

Frequency and Resonance.

AEG (Amplitude EG)

Determines the AEG (Amplitude Envelope Generator)

parameters for each Part. The following parameters can be

used to control the change in volume from the moment a

note is pressed on the keyboard to the moment the sound

stops. The setting made here will be applied to the AEG

parameters (page 80) of each Voice as offset.

Attack (Attack Time)

Determines the speed of attack from the time a key is played

until the maximum initial level of the EG is reached.

Decay (Decay Time)

Determines how fast the volume falls from maximum attack

level to the sustain level.

Sustain (Sustain Level)

Determines the sustain level at which the volume will continue

while a note is held, after the initial attack and decay.

Release (Release Time)

Determines how quickly the sound decays to silence after the

key is released.

Settings: -64 – +0 – +63

n When a Drum Voice is selected, Sustain Level and

Release Time are not available.

FEG (Filter EG)

Determines the FEG (Filter Envelope Generator)

parameters for each Part. Using the FEG, you can control

the transition in tonal color (Cutoff Frequency) from the

moment the sound starts to the moment it stops. The

setting made here will be applied to the FEG parameters

(page 76) of each Voice as offset.

Attack (Attack Time)

Determines the speed of filter variation from the time a note is

played until the maximum initial level of the Cutoff Frequency is

reached.

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MOTIF XF Reference Manual

116

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Decay (Decay Time)

Determines how fast the Cutoff Frequency falls from maximum

attack level to the sustain level.

Release (Release Time)

Determines how fast the Cutoff Frequency falls from the

sustain level to zero when a note is released.

Depth

Determines the range over which the cutoff frequency of the

Filter EG changes. A setting of 0 will cause the cutoff

frequency not to change. The farther from 0 the value is, the

larger the range of the cutoff frequency. For negative values,

the change of the cutoff frequency is reversed.

Settings: -64 – +0 – +63

n When a Drum Voice is selected, not all of the parameters

are available. Unavailable parameters are blank and

cannot be edited.

Filter

Determines the Cutoff Frequency and Resonance for the

Filter to change the Performance sound. The setting made

here will be added to the same parameters (page 74) of

each Voice as offset.

Cutoff

Determines the cutoff frequency for the Filter. The frequency

set here is the center frequency at which the signals are

affected when they pass through each filter.

Settings: -64 – +0 – +63

Resonance/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. If the selected filter is a BPFw, this parameter is

used to adjust the frequency bandwidth.

Resonance is used to set the amount of Resonance (harmonic

emphasis) applied to the signal at the cutoff frequency. This

can be used in combination with the cutoff frequency

parameter to add further character to the sound.

The Width parameter is used to adjust the width of the band of

signal frequencies passed by the filter with the BPFw.

Settings: -64 – +0 – +63

Equalizer (EQ) Settings—[F5] EQ

From this display you can apply 3-band parametric EQ to

each individual Part, for fine adjustment of the sound. The

EQ shapes for Low and High are fixed as shelving types.

Frequency

Determines the center frequency. Frequencies around this

point are attenuated/boosted by the Gain setting below.

Higher values produce higher frequencies.

Settings:

Low

50.1 Hz – 2.0 kHz

Middle

139.7 Hz – 10.1 kHz

High

503.8 Hz – 14.0 kHz

Gain

Determines the level gain for the Frequency (set above), or

the amount the selected frequency band is attenuated or

boosted.

Settings: -12 dB – +0 dB – +12 dB

Q (Bandwidth)

This varies the signal level at the Frequency setting to

create various frequency curve characteristics. The higher

the setting the smaller the Q (Bandwidth). The lower the

setting, the greater the Q (Bandwidth).

Settings: 0.7 – 10.3

MIDI Receive settings—[F6]

RcvSwitch (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. Each of the Controller names

in this display indicates the MIDI data generated by using

the corresponding Controller.

n For Parts to which the Drum Voice is assigned, Sustain is not

available.

–

Frequency

0.7

10.3

MOTIF XF Reference Manual

117

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Performance Job—Convenient Functions

The Performance Job mode features some convenient data organization and initialization tools, for use when creating

Performances and archiving them. Press the [JOB] button in the Performance mode to enter the Performance Job mode.

Performance Job—Basic Operation

In the Performance mode, press the [JOB]

button to enter Performance Job Mode.

2 Select the desired Job menu by pressing the

appropriate button, [F1] – [F4].

3 Move the cursor to the desired parameter, then

set the value.

4 Press the [ENTER] button. (The display

prompts you for confirmation.)

To cancel the Job, press the [DEC/NO] button.

5 Press the [INC/YES] button to execute the Job.

After the Job has been completed, a “Completed”

message appears and operation returns to the original

display.

6 Press the [PERFORM] button to return to the

Performance Play mode.

NOTICE

Even if you execute the Job, selecting a different Performance

or turning the power off without storing will erase the

Performance data. Make sure to store the Performance data to

internal memory by pressing the [STORE] button before

selecting a different Performance or turning the power off.

Initializing the Performance—[F1]

Init (Initialize)

This function lets you reset (initialize) all Performance

parameters to their default settings. It also allows you to

selectively initialize certain parameters, such as Common

settings, settings for each Part, and so on.

All Parameters

All settings for the selected Performance are initialized.

When this is set to on, the cursor cannot be moved.

Common Parameters

Common parameter settings for the selected Performance

are initialized.

n The Insertion Effect Switch is a Part parameter. Therefore,

checkmark the box of Part 1 – 4 described below if you wish to

initialize the Insertion Effect Switch parameter settings.

Part Parameters

Part 1 – 4

Parameter settings for Parts which are turned on are initialized.

A/D (A/D Input)

This is the Part input from the external audio equipment

connected to the A/D INPUT jack. When this is checkmarked,

parameter settings for the A/D Input Part (page 106) of

Common Edit are initialized.

This is the Part input from the external equipment connected to

the IEEE1394 jack via the IEEE1394 cable. When this is

checkmarked, parameter settings for the FW Part (page 106)

of the Common Edit are initialized.

Edit Recall—[F2] Recall

If you are editing a Performance but you have not stored it

before switching to another Performance, the edits you

have made will be cleared. If this happens, you can use the

Recall function to restore the Performance with your latest

edits intact.

Performance Job—Convenient Functions

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118

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Performance Copy function—[F3]

Copy

This convenient operation lets you copy Common Edit and

Part Edit settings of a certain Performance to the currently

edited Performance. This is useful if you are creating a

Performance and wish to use some parameter settings of

another Performance.

Performance

Determines the Bank and the Performance number to be

copied. This parameter cannot be set when the Current

Performance (below) is turned on.

Current Performance

When this is set to on, the currently selected Performance

(the one you are editing now) is selected as source.

Accordingly, you can copy the parameter settings from a

Part to a different Part of the same Performance.

Data type of the source

Determines the source data type including the Part

number. According to the setting here, the Data type of the

destination below will be automatically set to the

appropriate item.

Settings: Common, Part 1 – 4, A/D, FW

n The Insertion Effect Switch is a Part parameter. Therefore, the

Insertion Effect Switch parameter settings of the selected part

are copied only when selecting one of the Parts 1 – 4.

Data type of the destination

Determines the destination data type including the Part

number. When the data type of the source Voice (above) is

set to “common,” this parameter will be fixed to “common.”

Settings: Common, Part 1 – 4, A/D, FW

This convenient operation lets you copy Effect and Master

EQ settings of a certain Voice assigned to a certain

Performance to the currently edited Performance. This

would come in handy when a certain Performance has

settings that you want to use in your Performance program.

Performance

Determines the Bank and the Performance number to be

copied. This parameter cannot be set when the Current

Performance (below) is turned on.

Current Performance

When this is set to on, the currently selected Performance

(the one you are editing now) is selected as source.

Source Part

Determines the Part of the source Performance. The name

of the Voice assigned to the selected Part is shown.

Effect Unit Settings

Determines which Effect units are copied. You can select

Effect units to be copied from Reverb, Chorus, Master EQ

and Master Effect.

n Even when each of the Reverb and Chorus is set to “on,”

executing the Job does not copy the Send Level from the

Voice to the Performance. If you want to apply the same depth

of the Reverb and Chorus as in the Voice mode to the copied

Voice, set the Reverb Send ( ) and Chorus Send ( ) in the

Voice Output display of the Performance Part Edit mode to the

same value manually as in the Voice Edit mode.

Transmitting the Performance data

via MIDI—[F4] Bulk (Bulk Dump)

This function lets you send your edited parameter settings

for the currently selected Performance to a computer or

another MIDI device for data archiving. To execute the Bulk

Dump operation, press the [ENTER] button.

n In order to execute Bulk Dump, you’ll need to set the correct

MIDI Device Number. For details, see page 228.

n The Bulk Dump data includes only the MIDI messages and

does not include the Waveforms.

Copying parameter settings from

another Performance—[SF1] Part

Copying the Voice Effect settings—

[SF2] Voice

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

MOTIF XF Reference Manual

119

Creating a Voice/Performance by Using the Sampling Function

The MOTIF XF has a powerful Sampling function that lets you record audio signals—such as vocals from a microphone or

electric guitar—and integrate the resulting Samples with the Voices and Performances of the instrument. When you enter the

Sampling mode from the Voice mode or Performance mode, you can create your own original Samples, edit them, assign

them to a Waveform, and then assign the original Waveform to a User Voice or Performance.

This section covers the Sampling functions when entering the Sampling mode by pressing the [INTEGRATED SAMPLING]

button in the Voice mode or the Performance mode.

n You can also enter the Sampling mode by pressing the [INTEGRATED SAMPLING] button in the Song mode or the Pattern mode. Keep in

mind that the Sampling functions differ depending on from which mode the Sampling mode is called up, the Voice/Performance mode or the

Song/Pattern mode. See page 201 for instructions on using the Sampling function in the Song mode/Pattern mode.

NOTICE

The recorded (edited) Sample data will be lost when turning the power off. Before turning off the power, you should always copy the Sample

data to the optional Flash Memory Expansion Module (page 34), or save the Sample data to a USB storage device or a computer connected

to the same network as the MOTIF XF (page 41).

The Sampling mode structure

In this section, you’ll learn about the structure and organization of Samples, Key Banks and Waveforms, as well as their

relationship to Voices and Performances.

Sample

A Sample is digital audio data, made by directly recording

a signal, such as that of vocals or electric guitar, to the

MOTIF XF. Throughout this manual, the words “Sample”

and “Wave” are sometimes used interchangeably;

however, you should be careful to distinguish between

“Wave” (raw audio data) and “Waveform” (collected audio

data used to make up a Voice).

Samples can be obtained into the instrument via the

following methods: Recording audio signal in the Sampling

mode, loading a WAV file or AIFF file from the USB storage

device connected to the MOTIF XF in the File mode, and

loading a WAV file or AIFF file from the hard disk connected

to the network to which the MOTIF XF is connected.

Because the obtained Sample data will be lost by turning

the power off, Samples residing in the MOTIF XF internal

memory should be saved as digital data (in WAV or AIFF

format) to a USB storage device or to a computer

connected via network to the MOTIF XF.

Sample, Key Bank and Waveform

Samples are assigned and stored to Waveforms on the

MOTIF XF. Before you can actually record a Sample or load

a Sample from a USB storage device, you’ll need to specify

a Waveform number as a destination. This Waveform then

serves as the “container” for the Sample.

Each of the Waveforms can contain multiple Samples. To

assign these Samples to a different space or container, you

can set the key range and velocity range for each Sample.

With this setting, the different Sample is played back

depending on the pressed note and its velocity. The note

range and velocity range to which each of the Samples is

assigned is called the Key Bank.

Flash Memory Expansion Module (sold separately)

The sample obtained via the Sampling function can be stored as a Waveform by installing the optional Flash Memory Expansion

Module FL512M/FL1024M to the MOTIF XF. The sample on the Flash Memory Expansion Module will be maintained even if the power

is turned off and can be called up as the Waveform immediately. This is very convenient when using a User Voice containing the

Waveform to which the Sample created via the Sampling function has been assigned.

127

D 2 A 2 G 2

Velocity

Waveform

Sample 1

(Key Bank)

Sample 2

(Key Bank)

Sample 4

(Key Bank)

Sample 3

(Key Bank)

Sample 5

(Key Bank)

Waveform

Key Number

(Note Number)

Creating a Voice/Performance by Using the Sampling Function

MOTIF XF Reference Manual

120

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Voices and Waveform

You can play the Waveform by assigning it to a Voice then

playing the keyboard with that Voice. You can assign the

Waveform to an Element of the Voice in the Voice Element

Edit mode (page 69). The Voice Edit mode lets you assign

the Waveform you’ve created with the Sampling function to

the edited Element, just as you would any of the preset

Waveforms included on the instrument.

n Keep in mind that you can assign the User Voices created in

the Sampling mode entered from the Voice/Performance mode

to Mixing parts of the Song/Pattern. You can also assign the

Waveforms created in the Sampling mode entered from the

Song/Pattern mode to Elements of the Voice in the Voice Edit

mode.

Sampling Main display

The Sampling Main display, the entrance of the Sampling mode, is called up when pressing the [INTEGRATED SAMPLING]

button from the current mode.

Pressing the [INTEGRATED SAMPLING] button in the Voice mode or Performance mode calls up the Sampling mode

dedicated to creation of Samples (Waveforms) assigned to the Voice/Performance. Press the [EXIT] button to return to the

original mode, Voice or Performance.

Selecting a Waveform and Key Bank—

[INTEGRATED SAMPLING]

The Sampling Main display lets you select the Waveform

and its Key Bank then hear the sound of the Sample

assigned to the selected Key Bank. The Waveform can be

selected at and the Key Bank of the selected Waveform

can be selected at .

Waveform

Determines the Waveform number. The name of the selected

Waveform is displayed.

Settings: 001 – 128

Key (Key Range) (Indication only)

Indicates the Range of the Key Bank.

Velocity (Velocity Range) (Indication only)

Indicates the velocity range of the currently selected Key

Bank.

Sample Size (Indication only)

Indicates the size of the Sample assigned to the selected Key

Bank.

Frequency (Indication only)

Indicates the sampling frequency of the Sample assigned to

the selected Key Bank.

n The rate at which digital readings are taken is referred to as

the sampling frequency. Higher sampling frequencies result in

higher quality sound. 44.1kHz is the standard value as the

Sampling Frequency.

Stereo/Mono (Indication only)

Indicates whether the Sample assigned to the selected Key

Bank is stereo or mono.

Recordable Time (Indication only)

Indicates the available sampling time using the available

memory. The time indicated here is calculated assuming a

mono signal with a sampling frequency of 44.1 kHz. The graph

illustration indicates the already used memory amount as a

blue line.

[SF1] Audition

You can hear the Sample assigned to the selected Key Bank

by holding this button. This lets you check how the Sample will

actually sound when played back.

[SF6] KBD (Keyboard)

You can also select the Key Bank belonging to the selected

Waveform directly from the keyboard, by holding down the

[SF6] KBD button and pressing the desired key.

[F6] Rec (Record)

Pressing this button to call up the Sampling Record Setup

display. This display is used for setting up the instrument for

Sampling. For details, see page 122.

Duplication symbol (Indication only)

This symbol appears when the key range and velocity range

overlaps the ones of the other Key Bank. For information on

how the samples assigned to the overlapped Key Banks are

played back, see page 129.

Key Bank number (Indication only)

Indicates the Key Bank number of the selected Waveform.

Key Bank List

This indicates the list of the Key Banks included in the

selected Waveform. You can select the desired Key Bank via

the data dial, cursor up/down buttons, [INC/YES] and [DEC/

NO] buttons.

MOTIF XF Reference Manual

Creating a Voice/Performance by Using the Sampling Function

121

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Sampling Record

[INTEGRATED SAMPLING]  [F6] Rec

The Sampling Record function lets you record sounds—such as vocals from a connected microphone, the signal from an

electric guitar, or audio from an external CD or MP3 player—directly to the MOTIF XF, and store them to the instrument as

Samples. The Samples obtained via the Sampling function can be played back from the keyboard by assigning them first to

a Waveform, then a Voice.

Sampling Procedure

In this section, you’ll learn how to create a Voice or

Performance by using the Sampling function.

1 Connect a microphone or other audio

equipment to the MOTIF XF.

For information about how to do this, refer to the

Owner’s Manual.

If you want to use the sound of the MOTIF XF as a

recording source (with the Resampling function), this

step is unnecessary.

2 Enter the Voice mode or Performance mode.

When entering the Performance mode, select a

Performance to which the Sample will be assigned.

3 Press the [INTEGRATED SAMPLING] button to

enter the Sampling mode. (The indicator

lights.)

The Sampling Main display appears.

4 Press the [F6] Rec button to call up the Record

Setup display (page 122).

Set the following parameters in the Setup display. The

numbers in parentheses below refer to the parameters

in the Sample Record display on the next page.

• The Input Source ( ) determines the connector from

which the audio source (microphone, audio equipment,

etc.) is input.

• The Waveform ( ) determines the Waveform number.

• The Voice ( ) determines the Voice Bank and Number.

• The Part ( ) determines the Performance part to which

the Voice is assigned when entering the Sampling mode

from the Performance mode.

• Set other parameters as necessary.

5 Press the [F6] Standby button to call up the

Record Standby display (page 124).

Set the following parameters on the Standby display.

Numbers in the parentheses are equivalent to the

numbers pointing parameters on the Standby display.

• Set the Trigger Mode ( ) to determine the method by

which Sampling will be triggered. Normally, set this to

“level.”

• If you set the Trigger Mode ( ) to “level,” you will also

need to set the Trigger Level ( ). Set this parameter so

that the red triangle of the level meter (indicating the

Trigger Level) is slightly below the level at which the

sound is input.

6 Adjust the input sound level for optimum level.

Try to set the input level as high as possible without

clipping for the best sound quality. Follow the

instructions below to adjust the input level.

• When the Input Source is set to A/D Input, adjust the

input signal level by using the GAIN knob on the rear

panel. If you cannot adjust the input level appropriately,

change the Mic/Line setting (page 223) in the Utility

mode.

• When the Input Source is set to Resample, adjust the

input signal level by setting the Record Gain.

• When the Input Source is set to FW, the input level

cannot be adjusted.

7 Turn the Confirm function on or off by pressing

the [SF1] button.

The Confirm tab turns green when set to on, and turns

gray when set to off. When Confirm is turned on, you

can easily listen back to your just-recorded Sample and

conveniently re-record it if you are not satisfied with the

results.

8 Press the [F5] Start button to start the

Sampling operation.

When the Trigger Mode ( ) is set to “manual,” pressing

the button immediately starts Sampling (a RECORDING

indication appears in the display).

When the Trigger Mode ( ) is set to “level,” pressing

the button enables Sampling but does not start it (a

WAITING indication appears in the display).

9 Play the sound to be sampled.

When the Trigger Mode ( ) is set to “level” and an

audio signal exceeding the specified Trigger Level ( )

is input to the instrument, the RECORDING indication

replaces the WAITING indication and Sampling starts.

During Sampling, a graphic representation of the

recorded audio appears in the display.

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Creating a Voice/Performance by Using the Sampling Function

MOTIF XF Reference Manual

122

10 Press the [F6] Stop button to stop Sampling.

If you set Confirm to on in step 7 above, the Sampling

Finished display (page 125) appears. Press the [SF1]

Audition button to hear the sampled sound. If you are

satisfied with the results, press the [ENTER] button to

store the sampled sound as a “Sample” and return to

the Setup display. If you are not satisfied with the

results and you wish to try again, press the [EXIT]

button to return to the Standby display and try

Sampling from step 5 again.

If you set Confirm to off in step 7 above, the sampled

sound will be stored as a “Sample” automatically.

n When you set Record Next ( ) to “on” in step 4 above,

the instrument returns to the STANDBY display after the

Sample data is fixed. In this case, you can leave the

Sampling Record mode by pressing the [EXIT] button.

11 Save the Waveform.

If the optional Flash Memory Expansion Module

(FL512M/FL1024M) is installed to the MOTIF XF, use

the Copy Job (page 130) to save the Waveform. If not,

save the Waveform to a USB storage device

(page 40) or a computer connected to the same

network as the MOTIF XF.

NOTICE

The recorded (edited) Sample data will be lost when turning

the power off. Before turning off the power, you should

always copy the Sample data to the optional Flash Memory

Expansion Module (page 34), or save the Sample data to a

USB storage device (page 40) or a computer connected to the

same network as the MOTIF XF.

Sampling Setup—[F6] Rec

From this display you can set up various parameters for

Sampling. Press the [F6] button from the Sampling Main

display to call up this display. Press the [EXIT] button to go

back to the Sampling Main display.

Recording Type

Determines the Sampling type. Keep in mind that this

parameter is fixed to “sample” when entering the Sampling

mode from the Voice/Performance mode.

Input Source

Determines the input connector via which the signal to be

sampled will be received.

Settings: A/D Input, resample, FW

A/D Input

Analog audio from the A/D INPUT jacks is recognized as the recording

source.

resample

Audio signal from the OUTPUT jacks of the MOTIF XF is received and

recognized as the recording source.

Audio signal from the IEEE1394 connector (available when the optional

FW16E has been installed) is recognized as the recording source. The

audio signal here is transmitted from the computer via FW Ports 3 and

Mono/Stereo

Determines whether the audio signal is recorded as mono

Sample or stereo Sample.

Settings: monoL, monoR, monoL+R, stereo

monoL

The L-channel signal will be recorded as a mono Sample.

monoR

The R-channel signal will be recorded as a mono Sample.

monoL+R

The L-channel and R-channel signals will be mixed and recorded as a

mono Sample.

stereo

A stereo Sample will be recorded.

Record Next

When set to on, the next key is set as destination of

Sampling automatically after the Sampling operation is

finished (including assignment of the Sample to a Key

Bank), and the Standby display appears. This parameter is

useful when you wish to record multiple Samples in

succession.

When you wish to obtain Samples successively from a

special CD containing various materials in each track, for

example, you can set this parameter to on and set the

Trigger Mode to “level”—and conveniently have the

instrument record consecutive Samples automatically. To

leave the Sampling Record mode, press the [EXIT] button.

Settings: on, off

n When both of the [SF1] Confirm and the Record Next are

turned on before the Sampling starts, the FINISHED display

appears as soon as the Sampling is finished. From the

FINISHED display, fix the Sample data by pressing the

[ENTER] button so that the instrument returns to the STANDBY

display.

n This parameter is useful when you wish to assign individual

Samples to the keys one by one to create a Drum Voice by

using the special CD containing sound of each drum

instrument as source.

n Keep in mind that the Record Next parameter may be fixed to

“off” and cannot be changed. This occurs when you enter the

Sampling mode from the Voice mode/Performance mode, set

the Voice to something other than “off,” and set the Source

(above) to “resample.”

Creating a Voice/Performance by Using the Sampling Function

MOTIF XF Reference Manual

123

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Frequency

Specifies the sampling frequency. When the Input Source

( ) is set to “FW,” this parameter is fixed to “44.1kHz.”

Normally, this parameter should be set to “44.1kHz,” the

highest setting. If you wish to obtain a lo-fi sound, select a

value other than 44.1 kHz. At settings other than 44.1 kHz,

the sound monitored during recording may be different

from the recorded sound, depending on the source signal.

Settings: 44.1k (44.1 kHz), 22.0kLo (22.05 kHz Lo-Fi), 11.0kLo

(11.025 kHz Lo-Fi), 5.5kLo (5.5125 kHz Lo-Fi)

Waveform

Determines the Waveform number as destination.

Settings: 001 – 128

NOTICE

The Sampling operation overwrites any data previously existing at

the destination Waveform number. Important data should always

be saved to a USB storage device connected to the USB TO

DEVICE terminal or to a computer connected to the same network

as the MOTIF XF (page 241).

Keybank

Determines the note number of the Key Bank as

destination. The value set here can be changed in the

Sampling Edit mode (page 126).

Settings: C -2 – G8

n You can also set the Key directly from the keyboard, by

holding down the [SF6] KBD button and pressing the desired

key. For details, see page 37.

Track

This parameter is not available when entering the Sampling

mode from the Voice/Performance mode.

Part

Determines the Performance Part to which the Voice ( )

created by Sampling is assigned. When set to off, the

obtained Sample is not assigned to the Performance part.

This parameter is available when entering the Sampling

mode from the Performance mode. When the Voice ( ) is

set to off, this parameter cannot be set even if entering the

Sampling mode from the Performance mode.

Settings: off, 1 – 4

Voice

Determines the voice to which the Waveform ( ) created

via the Sampling is assigned by specifying the Voice Bank

and Number. Setting the Voice Bank to any of USR 1 – 4

assigns the Waveform ( ) to the Element 1 of the new

Normal Voice created via Sampling. Setting the Voice Bank

to UDR assigns the Waveform ( ) to the Drum Key ( ) of

the specified Drum Voice. When this is set to “off,” only a

Waveform ( ) is created; the Sample is not stored as a

User Voice.

Settings:

Voice Bank: Off, USR 1 – 4 (User 1 – 4), UDR (User Drum)

Voice Number: 001 – 128

NOTICE

When the Voice Bank is set to any of USR 1 – 4, the Sampling

operation overwrites any data already existing in the destination

Voice number. Important data should always be saved to a USB

storage device connected to the USB TO DEVICE terminal or to a

computer connected to the same network as the MOTIF XF

(page 241).

Drum Key

Determines the Key to which the Waveform ( ) is assigned

when the Voice Bank ( ) is set to “UDR.”

Settings: C0 – C6

Recordable Time (Indication only)

Indicates the available Sampling time using the available

memory. The time indicated here is calculated assuming a

mono signal with a sampling frequency of 44.1 kHz. The

amount of memory space currently being used is shown in

the display as a blue line.

[SF6] INFO (Information)

Indicates the amount of Sampling memory used.

Used/Total (Indication only)

Indicates the amount of memory being used and the total

amount available.

Recordable Size (Indication only)

Indicates the amount of free memory.

Recordable Time (Indication only)

Indicates the available Sampling time using the available

memory. The time indicated here is calculated assuming

that the sampling frequency is 44.1 kHz with mono.

[F6] Standby

Pressing this button calls up the Sampling Record Standby

display. This display is used for executing Sampling. For

details, see page 124.

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Creating a Voice/Performance by Using the Sampling Function

MOTIF XF Reference Manual

124

Sampling Record—[F6] Standby

This display is used for executing Sampling. Press the [F6]

button from the Setup display to call up this display. Press

the [EXIT] button to go back to the Setup display.

Waveform (Indication only)

Indicates the number and name of the selected Waveform.

Key (Key Range) (Indication only)

Indicates the key range of the currently selected Key Bank.

Velocity (Velocity Range) (Indication only)

Indicates the velocity range of the currently selected Key

Bank.

Record Monitor

Determines the output level of the monitor for the input

signal while Sampling. The time indicated here is

calculated assuming a mono signal with a sampling

frequency of 44.1 kHz. This monitor signal is output from

the PHONES jack or the OUTPUT R and L/MONO jacks.

Settings: 0 – 127

Record Gain

This parameter is available only when the Input Source

(page 122) is set to “resample” (recording the sound of the

MOTIF XF itself). This determines the recording gain when

resampling. The higher the value, the greater the volume of

the resampled sound. Before executing the Sampling

operation, you can set the appropriate gain by checking

the volume via the Level Meter ( ) while playing the

keyboard.

Settings: -12dB, -6dB, +0dB, +6dB, +12dB

Key

Indicates the Keybank (page 123) set in the Sampling

Record Setup display. The Key Bank can be changed both

here and in Sampling Edit (page 126) after the Sampling

operation.

Settings: C -2 – G8

n You can also set the Key directly from the keyboard, by

holding down the [SF6] KBD button and pressing the desired

key. For details, see page 37.

Trigger Level

When the Trigger Mode ( ) is set to “level,” you’ll also

need to set the Trigger Level. Sampling will begin as soon

as an input signal exceeding the specified trigger level is

received. The level set here will be indicated as a red

triangle in the level meter. For best results, set this as low

as possible to capture the entire signal, but not so low as to

record unwanted noise.

Settings: 000 – 127

Trigger Mode

Determines the method by which Sampling will be triggered.

Settings: level, manual

level

Sampling starts as soon as an input signal exceeding the specified

Trigger Level ( ) is received.

manual

Sampling starts soon after you press the [F6] REC button. This setting

lets you start Sampling at your desired timing regardless of the input

level from audio source.

Recordable Time (Indication only)

Indicates the available Sampling time using the available

memory. The time indicated here is calculated assuming a

mono signal with a sampling frequency of 44.1 kHz. The

amount of memory space currently being used is shown in

the display as a blue line.

Level Meter

This graph indicates the input level of the input source. Try

to get the input level as high as possible without clipping

for the best sound quality.

n Follow the instructions below to adjust the input level.

• When the Input Source is set to A/D Input, adjust the input

signal level by using the GAIN knob on the rear panel. If you

cannot adjust the input level appropriately, change the Mic/

Line setting (page 223) in the Utility mode.

• When the Input Source is set to Resample, adjust the input

signal level by setting the Record Gain ( ).

• When the Input Source is set to FW, the input level cannot

be adjusted.

[SF1] Confirm

This determines whether you can confirm the recorded

Sample (on) or not (off) after Sampling is finished. This is

useful for conveniently recording again if you are not

satisfied with the Sampling results. When this is turned off,

the recorded sample is fixed as data as soon as the

Sampling is finished then the instrument returns to the

Setup display (page 122). Please note that the instrument

returns to the STANDBY display after the Sampling is

finished when Record Next is turned on in the Setup

display.

[F5] Start

Press this button to start Sampling.

When the Trigger mode is set to “level,” pressing the [F5]

Start button calls up the WAITING indication on the display.

Actual Sampling does not start. When audio signal

exceeding the specified Trigger Level ( ) is input to the

Creating a Voice/Performance by Using the Sampling Function

MOTIF XF Reference Manual

125

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

instrument, the RECORDING indication replaces the

WAITING indication and Sampling starts.

When the Trigger Mode ( ) is set to “manual,” pressing

this button starts Sampling immediately.

During Sampling, a graphic representation of the recorded

audio appears in the display.

[F6] Stop

Press this button to stop Sampling. When Sampling is

complete, the FINISHED display appears.

When the [SF1] Confirm is turned on before Sampling

starts, the FINISHED display below appears as soon as

Sampling is finished. From this display, you can hear and

confirm the Sample by pressing the [SF1] Audition button.

If you are satisfied with the sound, press the [ENTER]

button to fix the Sampling result as Sample data. If you are

not satisfied with the Sampling result, press the [EXIT]

button then try again.

When [SF1] Confirm is turned off before Sampling starts,

the Sampling operation will automatically fix the Sample

data and return to the Setup display (page 122).

[SF1] Audition

You can hear the recorded Sample by holding this button.

This lets you check whether the Sampling has been

executed appropriately or not.

n When [SF1] Confirm (page 124) is turned off before the

Sampling starts, the Sampling operation will automatically fix

the Sample data and return to the Setup display (page 122).

Please note that the instrument returns to the STANDBY

display after Sampling is finished when Record Next is turned

on in the Setup display.

Sampling RECORDING display

Sampling FINISHED display (when

Confirm is set to on)

Creating a Voice/Performance by Using the Sampling Function

MOTIF XF Reference Manual

126

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Sampling Edit

[INTEGRATED SAMPLING]  [EDIT]

The Sampling Edit mode gives you comprehensive, detailed controls for editing the recorded Sample and changing the

Sample settings. Press the [EDIT] button from the Sampling Main display to call up the Sampling Edit display. Press the

[EXIT] button to go back to the Sampling Main display.

Sampling Edit procedure

Press the [INTEGRATED SAMPLING] button to

enter the Sampling mode. (The indicator

lights.)

The Sampling Main display (page 120) appears.

2 Select a Waveform and Key Bank.

Select a Waveform and Key Bank to which the Sample

to be edited is assigned.

3 Press the [EDIT] button to enter the Sampling

Edit mode.

4 Press the [F1] Trim or [F2] Param (Parameter)

button.

Set the desired parameter in each display.

5 Press the [SF1] Audition button to hear the

sound.

Repeat steps 4 and 5 as desired.

6 Press the [EXIT] button to go back to the

Sampling Main display.

A convenient Extract function lets you delete unneeded

portions of the Sample prior to the start point and after

the end point, allowing you to save memory for additional

Sampling.

1 Press the [F1] Trim button to call up the Trim

display.

2 Press the [ENTER] button. (The display

prompts you for confirmation.)

If you wish to cancel the operation, press the [DEC/

NO] button.

3 Press the [INC/YES] button to execute Extract.

n The data deleted via the Extract operation cannot be

recovered. Before executing the Extract, you may want

to back up this Sample by using the Copy Job

(page 130).

Hint

Tips for editing the Samples

How to play the Sample (Play Mode settings)

There are two methods for playing back the Sample: One

shot and Loop. Loop lets you play the specified range of

the Sample repeatedly in a loop. One Shot, on the other

hand, lets you play the entire Sample only once.

You’ll need to determine which type (Loop or One Shot) is

used by setting the Play Mode parameter in the

Parameter display (page 128).

Fine-tuning playback of One Shot Samples

You can determine the playback range of the Sample by

setting the Start Point ( ) and End Point ( ) in the Trim

display (page 127). These parameters effectively let you

mute unnecessary or unwanted audio from the beginning

and end of your Sample. To cut sound at the end of

playback, decrease the End Point value, moving it

leftward on the wave display. Similarly, to cut sound at the

beginning of playback, increase the Start Point value,

moving it rightward on the wave display. In general, you’ll

want to set the Start Point so that the beginning of the

Sample plays back immediately when triggered. Use the

[SF1] Audition button to check playback of the Sample,

that it sounds smooth and natural. After setting and

confirming the Start/End Points, trim them permanently

from the Sample by using the Extract operation

(page 135).

Fine-tuning playback of Loop Samples

Setting the Start and End Points in a Loop Sample is

generally more crucial and painstaking than with One

Shot Samples. The Start and End Points must be set

accurately to ensure that the Loop plays back smoothly

and continuously without stutters or glitches. You’ll also

need to make sure (with rhythmic loops) that the Loop is

in perfect rhythm and no beats are lost.

1 Set the Play Mode to “loop.”

Press the [F2] Param button to call up the Parameter

display (page 128) then set the Play Mode ( ) to

“loop.”

2 Set the Start Point to the 1st beat of the 1st

measure.

Press the [F1] Trim button to call up the Trim display

(page 127) then set the Start Point ( ).

3 Set the Loop Point to the value same as the

Start Point.

Press the [SF2] button so that the LP=ST is shown.

4 While holding the [SF1] Audition button, adjust

the End Point so that looped playback of the

Sample is smooth and matches the beat timing.

5 Execute the Extract operation (page 135).

Creating a Voice/Performance by Using the Sampling Function

MOTIF XF Reference Manual

127

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Sample Playback settings—[F1] Trim

This display lets you set the playback range and loop

range of the Sample.

n The NUM icon is shown on the tab corresponding to the [SF6]

button depending on the selected parameter. In this condition,

you can use the [F1] – [F6] buttons and the [SF1] – [SF5]

buttons as numeric key pads by pressing the [SF6] button. For

details, see page 36.

Waveform (Indication only)

Indicates the number and name of the selected Waveform.

Key (Key Range) (Indication only)

Indicates the key range of the currently selected Key Bank.

Velocity (Velocity Range) (Indication only)

Indicates the velocity range of the currently selected Key

Bank.

Track (Indication only)

Indicates the track of the current Song/Pattern. This is

available only when entering the Sampling mode from the

Song/Pattern mode.

Measure (Indication only)

Indicates the measure number of the selected Song/

Pattern. This is available only when entering the Sampling

mode from the Song/Pattern mode.

Start Point

Determines the Start point for Sample playback. The part at

the left side of this point will not be played back. When

pressing the [SF2] button, the value of the Loop Point ( )

is copied to the Start Point.

Settings: 0000000 – End point

Loop Point

Determines the Loop point at which the loop playback starts.

When the Play mode is set to “loop,” the Sample is played

back between this Loop point and the End point (

Settings: 0000000 – End point

End Point

Determines the End point for Sample playback. The part at

the right side of this point will not be played back. The End

Point will be automatically determined so that the length

between the Start Point and the End Point matches the

settings of the Tempo (

), Meter ( ), and Measure ( ).

Settings: 0000000 – (depending on the Sample’s length)

Level

Determines the output level of the selected Sample.

Settings: -95.25 dB – +0.00 dB

Pan

Determines the stereo pan position of the sound.

Settings: L64 (far left) – C (center) – R63 (far right)

Coarse Tune

Determines the coarse tuning for the pitch of the Sample in

semitones.

Settings: -64 – +0 – +63

Fine Tune

Determines the fine tuning for the pitch of the Sample in

cents.

Settings: -64 – +0 – +63

How to set the tempo of the Sample

If you do not know the tempo of the Sample containing

the rhythm pattern, follow the instructions below.

1 While holding the [SF1] Audition button, adjust

the Start Point and End Point so that looped

playback of the Sample is smooth and matches

the beat timing.

Make sure to also use the Extract operation to delete

unnecessary parts from the Sample.

2 Set the time signature and measure.

Press the [F1] Trim button to call up the Trim display

(below) then set the time signature ( ) and measure

( ).

3 Increase or decrease the Tempo ( ) as

necessary so that the End Point ( ) becomes

equivalent to the end point applied to the

original Sample.

Set the Tempo ( ) to a large value then decrease it

gradually so that the End Point ( ) increases

gradually. Once you reach a certain value, the End

Point no longer increases, even when you decrease

the Tempo. The resulting value is the End Point

applied to the original Sample. The final Tempo value

is the most appropriate tempo for Sample playback.

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Creating a Voice/Performance by Using the Sampling Function

MOTIF XF Reference Manual

128

Tempo

Determines the Tempo of Sample playback. Setting the

Tempo changes the End Point ( ) so that the length

between the Start Point and the End Point matches the

settings of the Meter and Measure.

Settings: 5.0 – 300.0

Meter

Determines the meter (time signature) of Sample playback.

Setting the Meter changes the End Point ( ) so that the

length between the Start Point and the End Point matches

the settings of the Tempo and Measure.

Settings: 1/16 – 16/16, 1/8 – 16/8, 1/4 – 8/4

Measure

Determines the Sample length for playback based on

measure and beat values, an intuitive and musically useful

way to set Sample playback. Setting the Measure changes

the End Point ( ) so that the length between the Start Point

and the End Point matches the settings of the Tempo and

Meter.

Settings:

Measure: 000 – 032

Beat: 00 – 15 (Varies depending on the Meter setting.)

n The Measure setting here indicates the length between the

Start Point and End Point of the sample. When you wish to play

two measures beginning from the Start Point of the sample, set

the Measure parameter to “002:00.”

Play Mode

Determines how the Sample is played back.

Settings: loop, one shot, reverse

loop

Sample playback begins from the Start point, continues to the Loop

point, then repeats indefinitely between the Loop point and End point.

This setting is useful for short rhythmic passages, riffs and beats that

you want to play back repeatedly and continuously.

one shot

The Sample plays back one time from Start point to End point. This

setting can be used for solos, sound effects and vocal passages that

are used once without looping.

reverse

The Sample plays back one time in reverse from End point to Start

point. This is useful for creating reversed cymbal sounds and other

special effects.

Key Range

Indicates the key range of the Key Bank to which the

selected Sample is assigned. By assigning different

Samples from a single Waveform to separate key ranges,

you can create a Voice that produces different sounds

depending on what keys you play.

Settings: C -2 – G8

Velocity Range

Indicates the velocity range of the Key Bank to which the

selected Sample is assigned. By assigning different

Samples from a single Waveform to separate velocity

ranges, you can create a Voice that produces different

sounds depending on how strongly you play the keyboard.

Settings: 1 – 127

[SF1] Audition

You can hear the selected Sample by holding this button.

This lets you check whether the Sample has been edited

appropriately or not.

[SF2] LP=ST

When the menu indication here is “LP=ST,” the Start (Start

Point) and the Loop (Loop Start Point) will share the same

address, meaning that both of them will be changed

simultaneously, even if just one of them is changed.

Pressing the [SF2] button in this condition changes the

menu from “LP=ST” to “LP≠ST.” When the menu indication

here is “LP≠ST,” the Start (Start Point) and the Loop (Loop

Start Point) can be changed independently. When pressing

the [SF2] button in this condition, the address value of the

Start will be copied to the one of the Loop, with the result

that both of them share the same address value. The menu

indication also changes from “LP≠ST” to “LP=ST.”

[SF3] Display

Pressing the [SF3] button adjusts the zoom level so that the

entire wave, including the Start Point and End Point, is

shown on the display.

[SF4] Zoom Out

[SF5] Zoom In

Press the [SF4] and [SF5] buttons to zoom in and out of the

wave display.

[F1] Trim

Pressing this button returns from the previous display to the

Trim display.

[F2] Param (Parameter)

Pressing this button calls up the display that lets you set

the Sample-related parameters and Key Bank range.

Sample Parameter settings—[F2]

Param

This display lets you set Sample-related parameters such

as Key Range and Velocity Range.

MOTIF XF Reference Manual

Creating a Voice/Performance by Using the Sampling Function

129

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Parameters – are same as the ones on the Trim display (page 127).

n The KBD icon is shown on the tab corresponding to the [SF6] button depending on the selected parameter. In this condition, you can enter

the note number or velocity by pressing the appropriate note on the keyboard while holding the [SF6] KBD button. For details, see page 37.

Recordable Time (Indication only)

Indicates the available Sampling time using the available memory. The time indicated here is calculated assuming a mono

signal with a sampling frequency of 44.1 kHz. The amount of memory space currently being used is shown in the display as

a blue line.

Sampling Job

[INTEGRATED SAMPLING]  [JOB]

The Sampling Job mode lets you process and modify Samples you have recorded. 19 Sampling Jobs are available.

When different Key Banks overlap:

When playing back a certain key with a certain velocity belonging to different Key Banks (in other words, different samples are

assigned to this key and velocity), not all relevant samples may be played back and priority will be given to the two audio

channels starting from the sample(s) assigned to the Key Bank having a smaller number. When a stereo sample is assigned to

the Key Bank of the smallest number, for example, only that sample will be played back. When a mono sample is assigned to

the Key Bank of the smallest number and a different sample is assigned to the Key Bank of the second smallest number, for

2nd example, only those two samples will be played back. When a mono sample is assigned to the Key Bank of the smallest

number and a stereo sample is assigned to the Key Bank of the second smallest number, for 3rd example, only the mono

sample will be played back. This rule applies to all modes of the instrument.

Function Description

[F1] Keybank Jobs related to Samples assigned to the specified Key Bank

01: Copy This Job copies a specified Key Bank to another Waveform. Also the Sample assigned to the Key

Bank is copied.

02: Delete This Job deletes the specified Key Bank and its Sample.

03: Move This Job moves a specified Key Bank to another Waveform. Also the Sample assigned to the Key

Bank is moved.

04: Normalize This Job maximizes (normalizes) the overall level of the specified Sample.

05: Time-Stretch This Job lets you change the tempo of the Sample without changing the pitch.

06: Convert Pitch This Job lets you change the pitch of the Sample without changing the tempo.

07: Fade In/Out This Job lets you create a fade-in and fade-out for the Sample.

08: Half Sampling Frequency This Job lets you halve the sampling frequency of the specified Sample.

09: Stereo to Mono This Job lets you convert a stereo Sample to a mono Sample.

10: 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.

11: Slice This Job lets you divide the Sample into separate slices following the specified settings.

When entering this Job from the Song/Pattern mode, note data for playing the slices in sequence

is also created. Note data playback sounds just like the original Sample being played back.

[F2] Waveform Waveform Jobs

01: Copy This Job lets you copy the data of one Waveform to another. The Key Banks and Samples

included in the Waveform are also copied by this Job.

02: Delete This Job lets you delete a specific Waveform from memory. The Key Banks and Samples included

in the Waveform are also deleted.

03: Extract This Job lets you delete all unnecessary Sample data (located ahead of the Start Point and

located after the End Point).

04: Transpose This Job lets you transpose the Key Bank setting of a specified Waveform in semitones.

05: Rename This Job lets you edit the name of the specified Waveform.

[F3] Other Other Jobs

01: Optimize Memory This Job optimizes the memory (DRAM) for Sampling.

02: Delete All This Job deletes all the Waveforms.

03: Copy to Flash Memory This Job copies the Sample data on SDRAM to the optional Flash Memory Expansion Module

(FL512M/FL1024M) as a Waveform.

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Creating a Voice/Performance by Using the Sampling Function

MOTIF XF Reference Manual

130

Sample Job procedure

Press the [JOB] button in the Sampling mode

to enter the Sampling Job mode.

2 Call up the desired Job group.

Select the Job group by pressing one of the [F1]

Keybank, [F2] Waveform, and [F3] Other buttons.

3 Call up the desired Job display.

Move the cursor to the desired Job by using the data

dial, [INC/DEC] and [DEC/NO] buttons or Cursor up/

down button, then press the [ENTER] button. The

desired Job display appears. Press the [EXIT] button to

go back to the Job menu display.

4 Set the value of the desired parameters.

Move the cursor to the desired parameter, then set the

value by using the data dial, [INC/YES] and [DEC/NO]

button.

When “Apply” appears on the menu corresponding to

the [SF4] button, go to step 5. When “Apply” does not

appear, go to step 7.

Press the [SF4] Apply button to execute the Job.

At this time, the Sample has been modified temporarily

and not fixed as data.

6 Confirm the result of the Job operation.

Press the [SF1] Audition button to hear the modified

Sample. If you are satisfied with the result, go on to the

step 7. If you are not satisfied with the results and want

to try again, press the [SF4] Apply button again to abort

the Job operation and return the Sample to the original

status. In this case, attempt the operation again from

step 4.

7 Press the [ENTER] button to fix the Job result

as Sample data.

NOTICE

You cannot return the modified Sample to the original after

fixing the Job result. Important data should always be saved to

a USB storage device connected to the USB TO DEVICE

terminal or to a computer connected to the same network as

the MOTIF XF (page 241).

8 Press the [EXIT] button twice to go back to the

Sampling Main display.

n If there is no data in the specified Waveform and Key

Bank, “No Data” will appear on the display and the job

cannot be executed.

n Some Jobs cannot be executed if there is not enough

memory space. The amount of the available memory

space can be confirmed at the bottom of the Sampling

Job display or in the Information display (page 123).

NOTICE

Even if the Job operation has been completed, the data will be

lost when turning the power off. Make sure to save the

Waveform data to a USB storage device or to a computer

connected to the same network as the MOTIF XF in the File

mode (page 241) after the Job operation.

[F1] Keybank

This display contains Jobs for editing Samples. The

Sample to be edited can be specified via the Waveform

number and Key Bank.

The Key Bank Jobs provide the basic operations using the

[SF1] button and the [SF5] button.

[SF1] Audition

You can hear the Sample assigned to the selected

Keybank by holding this button. This lets you check how

the Sample will actually sound when played back.

[SF5] Keybank

Pressing this button calls up the Key Bank list, from which

you can select the desired Key Bank.

[SF6] KBD (Keyboard)

This menu appears only when the cursor is located at the

Waveform. You can also select the Key Bank belonging to

the selected Waveform directly from the keyboard, by

holding down the [SF6] KBD button and pressing the

desired key.

[SF6] INFO (Information)

When “INFO” is shown at the tab menu corresponding to

the [SF6] button, press [SF6] to call up the Information

window indicating the memory status for Sampling. For

details, see page 123.

This Job copies the data of a Sample contained in a

specified Key Bank to another Key Bank. Also the Sample

assigned to the Key Bank is copied. This is useful if you are

creating a Waveform and wish to use the Sample data from

another Waveform.

Basic Operations in the Key Bank Jobs

01: Copy

Available memory space

Creating a Voice/Performance by Using the Sampling Function

MOTIF XF Reference Manual

131

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Source Key Bank

Destination Key Bank

The source Key Bank is set by using the [SF5] Keybank

button or [SF6] KBD button to select the key in the

waveform after selecting the Waveform number (001 –

128). The source Key Bank is set by moving the cursor to

the Key value and using the Data dial or [SF6] KBD button

to select the desired key after selecting the Waveform

number (001 – 128). The Velocity range values of the

destination Key Bank are automatically set to the same as

those of the source Key Bank.

n You can hear the sample assigned to the source Key Bank by

pressing the [SF1] Audition button.

This Job deletes the specified Key Bank and its Sample.

By deleting unnecessary Samples, you can increase the

available memory space.

Key Bank to be deleted

Determines the Key Bank to be deleted by setting the

Waveform number (001 – 128). The Key range and Velocity

range of the Key Bank to which the selected Waveform is

assigned are automatically shown below the Waveform

number.

This Job moves a specified Key Bank to another

Waveform. Also the Sample assigned to the Key Bank is

moved.

Source Key Bank

Destination Key Bank

Determines the Key Banks of source and destination

respectively by setting the Waveform number (001 – 128).

Setting the source Waveform number calls up one of the

Key Banks (the Key range and Velocity range) which can

be changed by pressing the [SF5] Keybank button and

[SF6] KBD button. The Key range and Velocity range of the

destination Key Bank are automatically set to the same

values as those of the source Key Bank.

n You can hear the sample assigned to the source Key Bank by

pressing the [SF1] Audition button.

This Job maximizes (normalizes) the overall level of the

specified Sample. This is useful for bringing up the volume

of a Sample that was inadvertently recorded at a low level.

Key Bank

Determines the Key Bank to which the desired Sample is

assigned by specifying the Waveform number (001 – 128).

The Key range and Velocity range of the Key Bank to which

the selected Waveform is assigned are automatically

shown below the Waveform number.

Ratio

Determines 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 higher than 100% will raise the

Sample level above the maximum, producing deliberate

clipping. Normally, set this to 100% or less.

Settings: 1% – 800%

02: Delete

03: Move

04: Normalize

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Creating a Voice/Performance by Using the Sampling Function

MOTIF XF Reference Manual

132

NOTICE

The Job execution is divided into two stages: temporary data

conversion via the [SF4] Apply button and actual data entry via the

[ENTER] button. The Job result will be lost if you call up a different

display without finalizing the data via the [ENTER] button.

This Job lets you change the length of the Sample without

changing the pitch. By using this Job, you can synchronize

Sample playback with Song/Pattern playback, since

changing the Sample length also changes the tempo of

Sample playback

Key Bank

Determines the Key Bank to which the desired Sample is

assigned by specifying the Waveform number (001 – 128).

The Key range and Velocity range of the Key Bank to which

the selected Waveform is assigned are automatically

shown below the Waveform number.

Ratio

Determines the length of the post-process Sample as a

ratio of the length of the original Sample (100%). The tempo

change can be calculated as follows.

Ratio value = (original tempo/modified tempo) x 100.

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: sound4 – sound1, normal, rhythm1 – rhythm 2

sound4 – sound1

These settings place emphasis on sound quality, with the “sound4”

setting producing the highest sound quality.

normal

Produces an optimum balance of sound quality and rhythmic feel.

rhythm1 – rhythm2

These settings place emphasis on rhythmic feel, with the “rhythm2”

setting producing the most accurate rhythmic feel.

NOTICE

The Job execution is divided into two stages: temporary data

conversion via the [SF4] Apply button and actual data entry via the

[ENTER] button. The Job result will be lost if you call up a different

display without finalizing the data via the [ENTER] button.

This Job lets you change the pitch of the Sample without

changing the tempo.

Key Bank

Determines the Key Bank to which the desired Sample is

assigned by specifying the Waveform number (001 – 128).

The Key range and Velocity range of the Key Bank to which

the selected Waveform is assigned are automatically

shown below the Waveform number.

Pitch

Determines the amount and direction of pitch shift in

semitone increments.

Settings: -12 – +0 – +12

Fine

Determines the amount and direction of pitch shift in cent

increments (1 cent = 1/100th of a semitone). 1 cent is

equivalent to 1/100th of a semitone.

Settings: -50 – +0 – +50

NOTICE

The Job execution is divided into two stages: temporary data

conversion via the [SF4] Apply button and actual data entry via the

[ENTER] button. The Job result will be lost if you call up a different

display without finalizing the data via the [ENTER] button.

This Job lets you create a fade-in and fade-out for the

Sample.

05: Time-Stretch

06: Convert Pitch

07: Fade In/Out

Creating a Voice/Performance by Using the Sampling Function

MOTIF XF Reference Manual

133

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Key Bank

Determines the Key Bank to which the desired Sample is

assigned by specifying the Waveform number (001 – 128).

The Key range and Velocity range of the Key Bank to which

the selected Waveform is assigned are automatically

shown below the Waveform number.

Fade Type

Determines the type of level fade: fade-in or fade-out.

Settings: fade in, 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.

A Length setting of 4410 is roughly equivalent to 0.1

seconds when the Frequency is set to 44.1 kHz in the

Setup display (page 122) of the Sampling mode.

Settings: 0000000 – End point

NOTICE

The Job execution is divided into two stages: temporary data

conversion via the [SF4] Apply button and actual data entry via the

[ENTER] button. The Job result will be lost if you call up a different

display without finalizing the data via the [ENTER] button.

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.

Key Bank

Determines the Key Bank to which the desired Sample is

assigned by specifying the Waveform number (001 – 128).

The Key range and Velocity range of the Key Bank to which

the selected Waveform is assigned are automatically

shown below the Waveform number.

NOTICE

The Job execution is divided into two stages: temporary data

conversion via the [SF4] Apply button and actual data entry via the

[ENTER] button. The Job result will be lost if you call up a different

display without finalizing the data via the [ENTER] button.

This Job lets you convert a stereo Sample to a mono

Sample.

Key Bank

Determines the Key Bank to which the desired Sample is

assigned by specifying the Waveform number (001 – 128).

The Key range and Velocity range of the Key Bank to which

the selected Waveform is assigned are automatically

shown below the Waveform number.

Type

Determines which channel, or both channels, of the stereo

Sample will be converted to a mono Sample.

Settings: L+R F mono, L F mono, R F mono

L+R F mono

The left and right channels of a stereo Sample are mixed and

converted to a mono Sample.

L F mono

The left channel of a stereo Sample is converted to a mono Sample.

R F mono

The right channel of a stereo Sample is converted to a mono Sample.

NOTICE

The Job execution is divided into two stages: temporary data

conversion via the [SF4] Apply button and actual data entry via the

[ENTER] button. The Job result will be lost if you call up a different

display without finalizing the data via the [ENTER] button.

This Job lets you automatically cut the Sample into

separate “slices” and randomly rearrange the slices for

special effects and unusual rhythmic variations.

08: Half Sampling Frequency

Length

Fade-in

Start point

Length

End point

Fade-out

09: Stereo to Mono

10: Loop-Remix

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Creating a Voice/Performance by Using the Sampling Function

MOTIF XF Reference Manual

134

Key Bank

Determines the Key Bank to which the desired Sample is

assigned by specifying the Waveform number (001 – 128).

The Key range and Velocity range of the Key Bank to which

the selected Waveform is assigned are automatically

shown below the Waveform number.

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 this Job.

Settings: normal1 – 2, reverse1 – 2

normal1 – 2

These settings slice and rearrange the Sample data, without

performing any other audio changes.

reverse1 – 2

In addition to slicing and rearranging, these settings reverse the

playback of some of the slices.

NOTICE

The Job execution is divided into two stages: temporary data

conversion via the [SF4] Apply button and actual data entry via the

[ENTER] button. The Job result will be lost if you call up a different

display without finalizing the data via the [ENTER] button.

This Job lets you divide the Sample into separate “slices,”

the number of which is determined by the note length (with

Measure, Meter, and Sub Divide). Sliced Samples are

assigned to each of keys in ascending order from the Key

Bank specified at the Lowest Key ( ) parameter. When

entering this Job from the Song/Pattern mode, note data for

playing the slices in sequence is also created. Playing

back the note data and the slices in order results in the

same sound as the original “un-sliced” Sample.

Key Bank

Determines the Key Bank to which the desired Sample is

assigned by specifying the Waveform number (001 – 128).

The Key range and Velocity range of the Key Bank to which

the selected Waveform is assigned are automatically

shown below the Waveform number.

Lowest Key

Specifies the lowest key number from which the sliced

Samples are assigned in order.

Settings: C -2 – G8

n In the Record Slice display of the Sampling Record mode

(page 208), this parameter is fixed to “C1” for the MOTIF XF6,

“E0” for the MOTIF XF7, and “A -1” for the MOTIF XF8, and

cannot be set.

Type (Slice Type)

Measure

Meter

Sub Divide

Sens

Tempo

With the exception of the Lowest Key parameter, all

parameters and settings are the same as in the Record

Slice display of the Sampling Record mode (page 208)

which appears after Sampling is completed with the Type

set to “slice+seq.”

NOTICE

The Job execution is divided into two stages: temporary data

conversion via the [SF4] Apply button and actual data entry via the

[ENTER] button. The Job result will be lost if you call up a different

display without finalizing the data via the [ENTER] button.

[F2] Waveform Jobs

This display contains Jobs for editing Waveforms.

This Job lets you copy the data of one Waveform to

another. The Key Banks and Samples included in the

Waveform are also copied by this Job.

11: Slice

01: Copy

Creating a Voice/Performance by Using the Sampling Function

MOTIF XF Reference Manual

135

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Waveform as source

Waveform as destination

Determines the copy source and destination Waveform

numbers.

NOTICE

This operation overwrites any data previously existing at the

destination Waveform number.

This Job lets you delete a specific Waveform from memory.

The Key Banks and Samples included in the Waveform are

also deleted.

Waveform

Determines the Waveform number to be deleted.

This Job lets you delete all unnecessary parts of the

Sample (located ahead of the Start Point and located after

the End Point).

Waveform

Determines the Waveform number to be extracted.

This Job lets you transpose the Key Bank setting of a

specified Waveform in semitones or in octaves.

Waveform

Determines the Waveform number to which this Job is

applied.

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

This Job lets you assign a name to the selected Waveform.

Waveform

Determines the Waveform number to which this Job is

applied.

Name

Determines the Waveform name which can contain up to

10 characters. For detailed instructions on naming, refer to

“Basic Operation” on page 37.

[F3] Other Jobs

This Job optimizes the memory (SDRAM) for Sampling.

Optimization consolidates areas of used and unused

(available) memory to create the largest possible area of

contiguous available memory. In some cases, the amount

of remaining memory will be increased when you execute

the Optimize Memory Job.

This Job deletes all the user Waveforms. The Key Banks

and Samples included in the Waveform are also deleted.

This Job copies the Sample data on SDRAM to the optional

Flash Memory Expansion Module (FL512M/FL1024M) as

Waveforms.

02: Delete

03: Extract

04: Transpose

Start point End point

Extract

Start point End point

05: Rename

01: Optimize Memory

02: Delete All

03: Copy to Flash Memory

MOTIF XF Reference Manual

136

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Song Playback

The Song mode lets you record, edit and play your own original Songs. The Song Play mode is the main ‘portal’ by which you

enter the Song mode, and it is here where you select and play a Song. Some of the Song settings—such as the rhythmic

feel—can also be edited in this mode. To call up the Song Play display and enter the Song mode, simply press the [SONG]

button.

n From the Track View display in the Song Play mode, you can select the Voice of the Mixing Part corresponding to the current Track by

pressing the [CATEGORY SEARCH] button.

Song Playback Procedure

Press the [SONG] button to enter the Song Play

mode.

This operation calls up the Track View display in the

Song Play mode.

2 Select a Song.

Move the cursor to the Song number, then select the

desired Song by using the data dial, [INC/YES] and

[DEC/NO] buttons. The name of the selected Song is

displayed.

n If you press the [PROGRAM] button so that its lamp lights,

you can select the desired Song by using the Group [A] –

[D] buttons and the Number [1] – [6] buttons. Song

numbers and the corresponding buttons are as follows.

3 Press the [F] (Play) button to start the selected

Song.

When playback of the selected Song is finished, the

Song automatically stops.

Press the [J] (Stop) button to stop playback of the

Song. Press the [F] (Play) again to resume playback

from that point.

Playback types

To start playback of the Song from midway through the

Song, set the desired location by using the controls below,

then press the [F] (Play) button. These operations can be

also executed during playback.

When the Song is not played back properly:

Keep in mind that starting a Song from somewhere in the

middle may cause playback problems, such as the wrong

sound, incorrect pitch or unexpected volume changes.

This may occur because the MIDI events recorded at the

start the Song have not been recognized by the tone

generator section, since playback has started at a different

point in the Song, with different MIDI events. To prevent this

from happening, set the Song Event Chase parameter ( )

to “PC+PB+Ctrl” or “all” in the Other display (page 233) of

Sequencer Setup (called up via the [SEQ SETUP] button).

With this setting, the Song will be played back properly

even when starting playback from the middle of the Song.

Assigning specific measure numbers to

Locations 1 and 2

To assign specific measure numbers to locations 1 and 2,

select the desired measure number then press the [G]/

[H] (Rewind/Forward) button while holding the [STORE]

button. The setting here will be shown at the top of the

display.

From this display, you can change the Song playback

position by following the operations below.

Button Combinations Song number

[A]+[1] – [16] 01 – 16

[B]+[1] – [16] 17 – 32

[C]+[1] – [16] 33 – 48

[D]+[1] – [16] 49 – 64

Song number Song name

Playback from the middle of the Song

Forward Press the [H] (Forward) button.

Fast forward Hold the [H] (Forward) button.

Rewind Press the [G] (Rewind) button.

Fast Rewind Hold the [G] (Rewind) button.

Move to the top of the Song Press the [P] button.

Move to location 1 While holding the [P] button, press

the [G] (Rewind) button.

Move to location 2 While holding the [P] button, press

the [H] (Forward) button.

Location 1 Location 2

Song Playback

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137

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Fast Forward/Rewind

1 Move the cursor to Measure.

2 Move forward or backward through the

measures by using the [INC/YES], [DEC/NO]

buttons and the data dial.

Moving to a desired location in the Song

1 Move the cursor to Measure.

2 Press the [SF6] NUM button so that the [SF1] –

[SF5] and [F1] – [F6] buttons function as

number buttons.

3 Enter the destination measure by using the

[SF1] – [SF5] and [F1] – [F5] buttons.

The measure number you input will appear at the top of

the display.

4 Press the [ENTER] button to actually move the

Song playback position to the destination set

above.

To mute a track

1 Press the [MUTE] button so that its indicator

lights.

2 Press any of the Number buttons [1] to [16]

corresponding to the track you want to mute.

When pressing any of the Number buttons [1] – [16],

the lamp of the pressed button will be turned off and the

corresponding track will be muted. Pressing the same

Number button again enables output of the playback

sound.

To solo a track

1 Press the [SOLO] button so that its indicator

lights.

2 Press any of the Number buttons [1] to [16]

corresponding to the track you want to solo.

When pressing any of the Number buttons [1] – [16],

the lamp of the pressed button will flash and only the

corresponding track will be sounded. Pressing the

different Number button changes the soloed track.

1 Move the cursor to Tempo.

2 Edit the Tempo value by using the [INC/YES],

[DEC/NO] buttons and the data dial.

You can assign five different “snapshots” of important

Song-related parameters such as transpose, tempo, track

mute status, and the basic Song Mixing setup to the [SF1]

– [SF5] buttons as Song Scenes. 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 Scene parameters

Track mute/solo

The [SF1] – [SF5] and [F1] – [F6] buttons function as number buttons.

Shows the measure number to be entered.

PART SELECT ARP ON/OFF

PART MUTE ARP HOLD

PERFORMANCE

CONTROL

123456 87

910111213141516

TRACK

MUTE SOLO

Change the tempo

Assigning various settings related to

Song playback (Song Scene)

Tempo Song

mode

Track View display

(page 139)

Transpose

Play Effect settings for 16 tracks Play FX display

(page 141)

Volume settings for 16 Mixing Parts Mixing

mode

Part 1-16 display

(page 190)

Pan settings for 16 Mixing Parts

Reverb Send settings for 16 Mixing Parts

Chorus Send settings for 16 Mixing Parts

Cutoff Frequency settings for 16 Mixing

Parts

EG display

(page 194)

Resonance settings for 16 Mixing Parts

AEG Attack settings for 16 Mixing Parts

AEG Release settings for 16 Mixing Parts

Te mpo

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Song Playback

MOTIF XF Reference Manual

138

Registering the Song Scene

After making the desired settings for the Scene,

simultaneously hold down the [STORE] button and press

one of the [SF1] to [SF5] buttons. The 8th note icon is

shown in the tab corresponding to the Sub Function button

to which the Song Scene is registered. Press the [STORE]

button to store the Song data including the Song Scene

setting.

NOTICE

The Song Scene settings registered to the [SF1] – [SF5] buttons

will be lost if you change the Song or turn the power off without

executing the Store operation.

Recalling the Song Scene

You can recall the Song Scene by press one of the [SF1] to

[SF5] buttons.

Song Chain Playback allows you to put together a play list

of preset Songs, in any desired order, and have them

automatically play back in sequence. You can set the order

of Song playback then start the Chain Playback from the

Song Chain display.

n For instructions on programming the Song Chain, refer to the

description about the Song Chain display (page 143).

1 From the Track Vies display, press the [F4]

button to call up the Song Chain display

(page 143).

2 Press the [F] (Play) button to start the Song

Chain playback.

The Songs are played back according to the order of

the Chain.

When an empty Song is assigned to the Chain number,

one measure of silence is counted, followed by

playback of the next Song.

When a “skip” is assigned to the Chain number, the

assigned Song will be ignored or skipped then next

Song will start.

When a “stop” is assigned to the Chain number,

playback will be stopped at that Song. Press the [F]

(Play) button to restart playback from the next Chain

number.

If an “end” is assigned to the Chain number, playback

will stop at the end of the Song.

3 If you wish to stop playback in the middle of a

Song Chain, press the [J] (Stop) button.

n The Song Chain can only be played back in the Song Chain

display, and not from any other display.

Knobs and Sliders

By using the knobs on the front panel, you can adjust

various parameters such as pan, effect, cutoff frequency

and resonance for each part (track) of the Song. By using

the sliders, you can change the volume of each Part (track)

and adjust the relative balance among the Parts (tracks).

Press the [MULTI PART CONTROL] button to call up the

Control Function window.

Switching the Parts to be edited: 1 – 8 and 9 – 16

When the Control Function window is shown after pressing

the [MULTI PART CONTROL] button, each knob/slider

controls each Part and you can change the target parts to

be controlled between Parts 1 – 8 and 9 – 16. When the

target Parts are 9 – 16 (the display is for Parts 9 – 16),

pressing any of the [1] – [8] buttons changes the target

Parts from 9 – 16 to 1 – 8. When the target Parts are 1 – 8

(the display is for Parts 1 – 8), pressing any of the [9] – [16]

buttons changes the target Parts from 1 – 8 to 9 – 16.

Knob Functions

Pressing the [MULTI PART CONTROL] button turns on the

lamps in the descending order: REVERB  CHORUS 

PAN. When the REVERB lamp is turned on, the knobs let

you adjust the Reverb Send for each part. When the

CHORUS lamp is turned on, the knobs let you adjust the

Chorus Send for each part. When the PAN lamp is turned

on, the knobs let you adjust the Pan for each part.

n Holding down the [MULTI PART CONTROL] button for a few

seconds will alternate the lit lamp from the current one to

REVERB.

Song Chain Playback

Chain number Song number

Song name

Adjusting the Pan and Effect

parameters for each Part

Song Playback

MOTIF XF Reference Manual

139

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Press the [SELECTED PART CONTROL] button to call up

the Control Function window.

Selecting a target Part

The functions assigned to the knobs are applied only to the

currently selected Part. To change the Part, call up the

Control Function window, then press one of the [1] – [16]

buttons.

Knob Functions

As listed below, various functions are assigned to Knobs 1

– 8 depending on which lamp is turned on—the TONE 1,

TONE 2, and ARP FX lamps which can be switched via the

[SELECTED PART CONTROL] button.

n For details about each function, see page 46.

The Sliders lets you adjust the volume for each Part.

Switching the Parts to be edited: 1 – 8 and 9 – 16

When the current part is any of 1 – 8, the eight sliders

adjust the volume for Parts 1 – 8. When the current Part is

any of 9 – 16, the eight sliders adjust the volume for Parts 9

– 16. The Part can be selected by turning the [TRACK] on

and pressing the desired Number button.

Mixing Setup for each track

To edit the Mixing parameters such as Voice, volume and

pan for each track, press the [MIXING] button to enter the

Mixing mode (page 188) then edit them for the Mixing Part

corresponding to the desired track. Note that track 1 does

not always correspond to the Mixing Part 1. As illustrated

below, each track of the Song sequence data and each

Mixing Part of the tone generator block are connected

when the transmit channel (TxCH) equals the receive

channel (RcvCH). In other words, the sequence data of

each track plays the corresponding Parts (those having the

same MIDI channel assignment) in the tone generator

block. The Transmit Channels of each track can be set in

the Song Track display (page 142) of the Song Play mode

while the Receive Channels of each Part can be set in the

Voice display (page 194) of the Mixing mode.

Track View display—[F1] TrackView

[SONG]

This display always appears first when the Song mode is

engaged.

Song number, Song name

Determines the Song to be played back.

Settings:

Song number: 01 – 64

Song name: See the Note below.

n You can edit the Song name by moving the cursor to the

corresponding location and pressing the [SF6] CHAR button.

For details, see page 37.

Adjusting the Cutoff Frequency and

Resonance for each Part

Knob 1 Knob 2 Knob 3 Knob 4

TONE 1 Cutoff Reso Attack Decay

TONE 2 LowGain MidFreq MidGain MidQ

ARP FX Swing Qt Val Qt Str GateT

Knob 5 Knob 6 Knob 7 Knob 8

TONE 1 Sustain Release Assign1 Assign2

TONE 2 HighGain Pan Reverb Chorus

ARP FX Velocity Octave UnitMlt Tempo

Adjusting the volume of each Part

RcvCHTxCH

Song

Song Mixing

Track 1

Track 2

Track 3

Tra c k 16

Part 1

Part 2

Part 3

Part 16

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Song Playback

MOTIF XF Reference Manual

140

Location (Indication only)

Indicates the measure number assigned to Location 1 and

2. For detailed instructions on setting the Location, see

page 136.

Meas (Measure)

Determines the location at which playback starts. This also

indicates the current location of playback. For detailed

instructions on setting the measure, see page 136.

Settings:

Measure: 001 – 999

Beat, Clock: Indication only

Trans (Transpose)

Adjusts the tuning in semitone increments.

Settings: -36 – +36

Time signature (Meter)

Determines the meter (time signature) of the Song. The

setting here is applied to the specified Measure ( ) and

subsequent measures. This allows you to enter different

time signatures in the middle of a song. When setting the

Measure ( ) at which playback starts to a time signature

other than that at the song beginning, for example, the time

signature before the Measure ( ) is maintained even if you

change the time signature here.

Settings: 1/16 – 16/16, 1/8 – 16/8, 1/4 – 8/4

Tempo

Determines the Song playback tempo.

Settings: 5.0 – 300.0

n If you are using this instrument with an external sequencer, a

computer, or other MIDI device, and you want to make the

Song tempo controlled by the external device(s), set the MIDI

sync ( ) parameter in the MIDI display (page 228) of the

Utility mode to “MIDI.” In that case, the Tempo parameter here

indicates “MIDI” and cannot be changed.

Track number (Indication only)

Indicates the track number.

Data status (Indication only)

Indicates whether the data is recorded or not to each of

tracks.

Blank: Indicates the track is empty.

M: Indicates the MIDI sequence data has been recorded. This

is handled as a MIDI track.

W: Indicates the sample data has been recorded in addition

to MIDI sequence data. This is handled as an Audio track.

n For Mixing Parts that correspond to Audio tracks, a

Sample Voice is assigned. For Mixing Parts that

correspond to MIDI tracks, a Voice other than a Sample

Voice is assigned. For more information about Audio

tracks and MIDI tracks, see page 14.

Mute/Solo (Indication only)

Indicates the Mute/Solo status for each track. For detailed

instructions on setting Mute/Solo, see page 137.

Blank: Neither Mute nor Solo are assigned to this track.

m: Indicates muted track.

s: Indicates soloed track.

Voice Name

Indicates the Voice name of the Mixing Part corresponding

to each track.

Loop (Indication only)

Determines whether or not Loop playback is set for each

track. The track for which Loop is turned on plays

repeatedly following the setup of the Track Loop display

(page 143).

Settings: Blank (Loop off), L (Loop on)

Song Position Line

Indicates the current location of the Song playback set at

Measure above.

Measure number (Indication only)

Indicates the measure number. By pressing the [F5] Zoom

Out or [F6] Zoom In button, you can zoom in or zoom out

over the interval between the adjacent measures.

Sequence data bar

Indicates whether data has been recorded or not to each of

tracks. You can check the range over which the data is

recorded for each track. For MIDI tracks, you can view all

the timings at which MIDI events have been recorded.

[SF1] Scene1 – [SF5] Scene5

You can assign the settings of the Song-related parameters

(Song Scene) and the Arpeggio-related parameters to

these buttons. You can also recall the settings by pressing

these buttons. For detailed instructions on registering

Scenes, see page 137. For detailed instructions on setting

the Arpeggio-related parameters, see page 147.

n The Arpeggio is not available during Song playback. Pressing

the [SF1] Scene 1 – [SF5] Scene 5 buttons during playback

changes only the Song Scene.

n After registering the Song Scene, the 8th note icon will appear

on the tab corresponding to the pressed button. You can

confirm whether the Arpeggio Type is assigned to that button

in the Arpeggio display (page 147) of Song Record.

[SF6] TAP

The speed at which you press this button several times will

determine the playback tempo of the Arpeggio/Song.

[F1] TrackView

Calls up the Track View display.

Measure ClockBeat

You can check the data status.

Song Playback

MOTIF XF Reference Manual

141

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

[F2] Play FX (Play Effect)

Calls up the Play Effect display (below). By changing the

timing and velocity of the notes, you can change the

rhythmic “feel” of the Song playback.

[F3] Track

Calls up the Song Track Output Channel display

(page 142).

[F4] Chain

Calls up the Song Chain display (page 143). This display

lets you play back multiple Songs sequentially.

[F5] Zoom Out

[F6] Zoom In

Changes the zoom level of Measure number ( ) of the

Track View display. Press the [F5] Zoom Out button to

reduce the Zoom level so that a wider range can be

displayed. Press the [F6] Zoom In button to raise the Zoom

level so that a magnified view can be displayed.

Changing the rhythmic “feel” of the

Song—[F2] Play FX (Play Effect)

By changing the timing and velocity of the notes, you can

change the rhythmic “feel” of Song playback. The Play

Effect settings made here are only temporary and don’t

change the actual data in the Song. The Play Effect

settings can be applied actually to the Song data by using

the Normalize Play Effect Job.

Track number (Indication only)

Indicates the track number.

Quantize

This lets you align the timing of the note events according

to the specified note type. Here, set the two parameters for

each track: Value and Str (Strength).

Quantize Value

Determines to what beats the note data in the Arpeggio

sequence data will be aligned, or determines to what beats in

the Arpeggio sequence data the swing is applied.

Settings: off, 32nd note, 16th note triplet, 16th note, 8th note

triplet, 8th note, 1/4 note triplet, 1/4 note

Quantize Str (Quantize Strength)

Sets the “strength” by which note events are pulled toward the

nearest quantize beats. A setting of 100% produces exact

timing set via the Quantize Value parameter above. A setting

of 0% results in no quantization. A setting of 50% result that the

note events are pulled to the half point between the 0% and

100%.

Settings: 0% – 100%

When quarter-note quantization is applied to the original data:

Swing

Adjusts the timing, velocity, and gate time (the length of

time a note sounds) of the even-numbered back-beat notes

to enhance the swing feel. This parameter 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 value is specified, the last note

of each triplet is affected by the Swing parameter.

When the quarter-note swing is applied to the original data:

Here, edit the Swing settings for each track by specifying

the Swing Vel (Swing Velocity), Swing Gate, and Swing

Rate. When the Quantize value is set to “off,” all the Swing

parameters are not available.

Swing Vel (Swing Velocity)

Adjusts the velocity of the corresponding notes to accentuate

the swing rhythmic feel. Settings below 100% reduce the

velocities of notes on even-numbered beats (backbeats), and

settings above 100% increase the velocities proportionately. If

the result is 0 or less, the value is set to 1. If the result is higher

than 127, the value is set to 127.

Settings: 0% – 100% – 200%

Swing Gate (Swing Gate Time)

Adjusts the gate time of the corresponding notes to

accentuate the swing rhythmic feel. Settings below 100% will

shorten the gate times of notes on even-numbered beats

(backbeats), whereas settings above 100% will lengthen them.

If an adjusted gate time value is less than 1, the value is

rounded off to 1.

Settings: 0% – 100% – 200%

1st beat

Original timing

Quantize strength

= 100%

Quantize strength

= 50%

2nd beat 3rd beat

The notes will be moved fully to the

specified Quantize value.

The notes will be moved to the halfway between the

original value and the specified Quantize value.

1st beat

Original timing

Swing Rate = 66%

Swing Rate = 75%

2nd beat 3rd beat

The notes at the 2nd beat will be moved

to triplet timing.

The notes at the 2nd beat will be moved

to 8th note timing.

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Song Playback

MOTIF XF Reference Manual

142

Swing Rate

Delays notes on even-numbered beats (backbeats) to

produce a swing feel. Settings above 50% will delay notes to

produce a more pronounced swing feel.

Settings:

Note Shift*

Raises or lowers the pitch of all notes in the selected track

in semitones.

Settings: -99 – +0 – +99

Clock Shift

Shifts the timing of all notes in the selected track forward or

backward in clock increments.

Settings: -120 – +0 – +120

Gate Time Rate

Raises or lowers the gate time of all notes in the selected

track. If an adjusted gate time value is less than 1, the

value is rounded off to 1.

Settings: 0% – 100% – 200%

Velocity

Raises or lowers the velocity of all notes in the selected

track. 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.

Velocity Rate

Alters the velocity of notes by the specified percentage.

Settings: 0% – 100% – 200%

Velocity Offset

Increases or decreases the velocity of notes by the specified

offset value.

Settings: -99 – +0 – +99

[SF6] INFO (Information)

You can view the amount of free and used sequencer

memory. The sequencer memory covers all Songs and

Patterns recorded in the respective modes. When the used

memory amount reaches the maximum capacity, no further

Songs or Patterns can be stored. If this occurs, use the

Clear Song Job (page 165) or Clear Pattern Job

(page 187) to delete any unnecessary Songs or Patterns.

You can go back to the previous display by pressing the

[SF6] button or the [EXIT] button.

Output Channels and Loop settings

for each track—[F3] Track

This display lets you set the Output Channel and set the

Loop Playback related parameters for each track.

This display lets you set the MIDI Transmit Channel for

each track.

Voice (Indication only)

Indicates the Voice name of the Mixing Part corresponding

to each track.

n In the Part 1 – 16 display (page 190) of the Mixing mode, you

can change the Voice of the Mixing Part corresponding to the

track.

TxCh (Transmit Channel)

Determines the MIDI transmit channel of the sequence

data for each track. Tracks set to “off” will not sound. In the

Song 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.

Settings: 1 – 16, off

Int (Internal Switch)

Determines whether musical performance data of each

track is sent to the internal tone generator block or not.

When set to “off,” the performance data will not be sent to

the internal tone generator block.

Ext (External Switch)

Determines whether performance data of each track is

sent to the external MIDI device or not. When set to “off,”

the performance data will not be sent to the external MIDI

device.

Quantize Value Settings

When the Quantize Value is set to off 0 – 0

When the Quantize Value is set to 32nd note 0 – 30

When the Quantize Value is set to 16th note triplet 0 – 40

When the Quantize Value is set to 16th note 0 – 60

When the Quantize Value is set to 8th note triplet 0 – 80

When the Quantize Value is set to 8th note 0 – 120

When the Quantize Value is set to 1/4 note triplet 0 – 160

When the Quantize Value is set to 1/4 note 0 – 240

Track Channel Settings—[SF1] Out

(Output Channel)

Song Playback

MOTIF XF Reference Manual

143

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

These allow you to set specific tracks for Loop Playback

and determine what range of measures will be used for the

Loop.

Voice (Indication only)

Indicates the Voice name of the Mixing Part corresponding

to each track.

n In the Part 1 – 16 display (page 190) of the Mixing mode, you

can change the Voice of the Mixing Part corresponding to the

track.

Loop

Determines whether or not the Loop Playback is active for

each track. The track of which the Loop is turned on plays

from Start ( ) to End ( ) repeatedly.

Settings: Blank (Loop off), L (Loop on)

Start (Start Point)

End (End Point)

Determines the range of the looped playback. The track of

which the Loop is turned on plays from the Start Point to the

End Point repeatedly.

Settings: Measure : Beat

Song Chain Playback—[F4] Chain

(Song Chain)

Song Chain Playback allows you to put together a play list

of preset Songs, in any desired order, and have them

automatically play back in sequence. From this display,

you can program the order of the Song playback.

Chain Number (Indication only)

Indicates the order of the Song playback. Numbers 1 – 100

are provided and you can view these numbers by scrolling

the display. The Song Chain will be played back in order

from the Song assigned to 001.

Song number

Song name (Indication only)

Determines the Song number to be played back in the

chain. The Song name is shown when you specify the Song

number. If an empty Song is assigned to a certain Chain

number, that number will be skipped after a one-measure

count. In addition to Song numbers, “skip,” “end,” and

“stop” commands can be assigned to the Song Chain

numbers.

Settings: skip, end, stop, 01 – 64

skip

Skips (ignores) the selected chain number and continues playback

from the next chain number.

end

Indicates the end mark of the Song Chain data.

stop

Stops Song Chain playback at that chain number. You can restart the

song chain playback from the next chain number by pressing the [F]

(Play) button.

Follow the instructions below to program the Song Chain.

Keep in mind that the Song Chain program will be stored

automatically; it is not necessary to execute the Store

operation.

1 From the Track View display, press the [F4]

button to call up the Song Chain display.

2 Program the desired order of the Songs.

Move the cursor to “001” by using the cursor buttons

and select the desired Song by using the Data Dial, or

the [INC/YES] and [DEC/NO] buttons. In the same

manner, assign other Songs to locations 002, 003, 004,

and so on.

3 Use “skip” if you want to delete the Song

already assigned to the Chain number.

Move the cursor to the Song number to be deleted,

then assign the “skip” command to that location by

using the data dial, or the [INC/YES] and [DEC/NO]

buttons. The assigned Chain number will be ignored

during playback.

4 Assign “end” to the Chain number at which

you wish to stop the Song Chain playback.

When playback reaches a Chain number to which the

“end” command has been assigned, playback will stop.

If you want to stop playback at a certain Chain number

and restart from the next Chain number, assign the

“stop” command to that Chain number.

n The Song Chain will be stored as part of system data.

n For details about Song Chain playback, see page 138.

Loop Playback Settings—[SF2] Loop

Programming the Song Chain

MOTIF XF Reference Manual

144

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Song Recording

In the Song Record mode, you can use the sequencer to record your keyboard performance, track by track, to a selected

Song. Press the [I] (Record) button from the Song Play mode to enter the Song Record mode.

n Recording the audio data for a Song can be executed in the Sampling Record mode (page 203).

Realtime Recording

This method lets you record the performance data as it is

played, allowing you to capture all the nuances of an actual

keyboard performance. Recording can be carried out while

monitoring playback of other already-recorded tracks. You

can also transmit sequence data from an external MIDI

instrument to the MOTIF XF and simultaneously record up

to 16 tracks (page 148).

The Realtime recording consists of three methods:

Replace, Overdub, and Punch.

Song Recording procedure

Here in outline form is the process of recording a Song.

1 Press the [SONG] button to enter the Song Play

mode, then select a Song to be recorded

(page 136).

Select an empty Song if you wish to create a new Song

from scratch. If an empty Song is not found, delete any

unnecessary Song(s) by using the Clear Song Job

(page 165).

2 Press the [I] (Record) button to call up the

Record Setup display (page 145).

Prepare for recording by setting the time signature,

tempo, track to be recorded, Voice, and recording

method. If you wish to record using an Arpeggio, set

the necessary parameters from the Arpeggio display

(page 147).

3 Record your keyboard performance.

For details, see page 147.

4 Edit the recorded Song using the Song Job

(page 153) and Song Edit (page 150).

5 Press the [STORE] button to store the recorded

Song to internal User Memory.

NOTICE

The recorded Song will be lost when selecting a different Song,

calling up a different mode, or turning the power off. Make sure

to store the Song data to internal memory by pressing the

[STORE] button before selecting a different Song, calling up a

different mode, or turning the power off.

6 Save the created Song data to a USB storage

device or to a connected computer as desired

(page 241).

Song Store—[STORE]

This section covers how to store the Songs you have

recorded and edited. By executing the Store operation, the

Song data you have created will be maintained even if the

power has been turned off. Pressing the [STORE] button

calls up the Song Store window.

The following data will be stored by the Song Store

operation.

Sequence data

MIDI data generated and recorded by your keyboard

performance including the controller operations.

Tone Generator data

Mixing settings (Common Edit parameters and Part Edit

parameters)

n The Mixing Voices can be edited in the Mixing Voice Store

window (page 199).

To use Song Store:

1 Call up the Song Store window.

Pressing the [STORE] button calls up the Song Store

window.

2 Select a destination Song number.

The name of the selected Song number is shown.

NOTICE

This operation overwrites any data already existing in the

destination Song.

3 Press the [ENTER] button. (The display

prompts you for confirmation.)

Press the [DEC/NO] button to cancel the Store

operation. Song Store is canceled, and operation

returns to the previous display.

4 Press the [INC/YES] button to execute the

Store operation.

After the Song has been stored, a “Completed”

message appears and operation returns to the Song

Play display.

n If there is not enough memory space for the Song/Pattern,

an alert message appears, and you will not able to store

any additional Songs/Patterns. If this happens, delete

unnecessary Patterns/Songs by using the Song/Pattern

Job, then try the Store operation again.

Song Recording

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Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Preparing the Song Recording—

[F1] Setup

From this display you can set up various parameters for

recording a Song.

Song name (Indication only)

Indicates the name of the currently selected Song. The

Song can be selected in the Song Play display (page 136).

Meas (Measure)

Determines the location at which playback starts. This also

indicates the current location of the recording.

Settings:

Measure: 001 – 999

Beat, Clock: Indication only

Time signature (Meter)

Determines the meter (time signature) of the Song.

Settings: 1/16 – 16/16, 1/8 – 16/8, 1/4 – 8/4

Tempo

Sets the tempo for recording in real time.

Settings: 5.0 – 300.0

n The tempo value set here will be the tempo of the Song after

recording.

n If you are using this instrument with an external sequencer, a

computer, or other MIDI device, and you want to have the

Song recording tempo controlled by the external device(s), set

the MIDI sync ( ) parameter in the MIDI display (page 228) of

the Utility mode to “MIDI.” In that case, the Tempo parameter

here indicates “MIDI” and cannot be changed.

Track number (Indication only)

Indicates the track number.

Track type (Indication only)

Indicates the track type: MIDI track or Audio track. For

Mixing Parts that correspond to Audio tracks, a Sample

Voice is assigned. For Mixing Parts that correspond to MIDI

tracks, a Voice other than a Sample Voice is assigned. For

Mixing Parts that correspond to empty tracks, no Voice is

assigned.

Settings: M (MIDI Track), W (Audio track), blank (no Voice is

assigned)

Mute/Solo (Indication only)

Indicates the Mute/Solo status for each track. For detailed

instructions on setting Mute/Solo, see page 137.

Blank: Neither Mute nor Solo are assigned to this track.

m: Indicates muted track.

s: Indicates soloed track.

Voice name (Indication only)

Indicates the Voice name of the Mixing part corresponding

to each track.

REC TR (Record Track)

Determines the track to be recorded. Move the cursor to

the desired track or press any of the Number buttons [1] –

[16] with the TRACK lamp turned on so that the red circle is

shown in the corresponding column of the REC TR. To set

all tracks to the Record Track, press the [F6] button (red

circles are shown in all columns of REC TR).

Settings: Scene Track, Tempo Track, 1 – 16, All Track

Scene Track

Records track mute on/off events and Song Scene changing timing

events.

Tempo Track

Records tempo change information during playback.

1 – 16

Records your actual musical performance. Your keyboard

performance will be recorded to the track selected here.

All Track

Simultaneous recording to all 16 sequence tracks. Multi-channel data

from an external MIDI device can be recorded at once.

Record Type

Determines a Recording method.

Settings: replace, overdub, punch

replace

You can use this method when you want to overwrite an already

recorded track with new data in real time. The original data will be

erased.

overdub

You can use this method when you want to add more data to a track

that already contains data. Previously recorded data will be

maintained.

punch

You can use this method when you want to overwrite data to a

specified range of a track that already contains data. You can overwrite

the already recorded data from the starting point to the ending point

(measure/beat) that was specified before recording.

n When the Record Track ( ) is set to “Tempo Track” or “Scene

Track,” “overdub” cannot be selected here.

Measure ClockBeat

Song Recording

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Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Punch In

Punch Out

When punch (Punch In/Out) is selected as the Record Type

explained above, the recording start position (Punch In

position) and finish position (Punch Out position) are

specified here.

Settings: 001 : 01 – 999 : 16

Record Part (Indication only)

Indicates the Mixing Part corresponding to the Record

Track.

Settings: 01 – 16

Quantize (Record 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. The number

shown at right of each value indicates the length assumes

that the quarter-note resolution is 480.

Settings: off, 2 60 (32nd note), 63 80 (16th note triplet), 6 120

(16th note), 83 160 (8th note triplet), 8 240 (8th note),

43 320 (1/4 note triplet), 4 480 (1/4 note)

Voice

Determines the Voice for the recording track by specifying

the Voice Bank and Voice number. The setting here is

applied to the Voice setting for the Record Part ( ). The

name of the selected Voice is indicated in the next line.

Settings:

Voice Bank

PRE 1 – 8, USR 1 – 4, GM, PDR (Preset Drum Voice), UDR (User Drum

Voice), GMDR (GM Drum Voice), SMPL (Sample Voice)*, MIXV (Mixing

Voice)**

* The SMPL (Sample Voice) can be created by recording audio signal

to a track in the Sampling mode. Here, you can select only a Sample

Voice which is currently stored to the currently selected Song. For

details, see page 201.

** The MIXV (Mixing Voice) is edited and stored in the Mixing mode.

Here, you can select only a Mixing Voice which is currently stored to

the currently selected Song. For details, see page 189.

Voice number: 001 – 128

n You can call up the list and select the desired one by pressing

the [SF6] LIST button. For details, see page 37.

Volume

Determines the volume for the recording track. The setting

here is applied to the Volume setting for the Record Part

( ).

Settings: 0 – 127

Pan

Determines the stereo pan position of the sound. The

setting here is applied to the Pan setting for the Record

Part ( ).

Settings: L63 – C – R63

Ins Effect Sw (Insertion Effect Switch)

Determines whether the Insertion Effect assigned to the

Voice is used or not. The setting here is applied to the

Insertion Effect Switch setting for the Record Part ( ).

Settings: off, on

n The MOTIF XF features eight Insertion Effects, letting you set

this parameter to on for up to eight Parts. If eight Parts are

already turned on, the parameter cannot be turned on for

additional Parts. In this case, another Part must be turned off.

To do this, set the Insertion Effect Switch parameter for another

Part to “off” in the Part 1 – 16 display (page 190) of the Mixing

mode.

[SF1] Scene1 – [SF5] Scene5

Pressing these buttons while recording changes the Song

Scene and Arpeggio settings simultaneously. For details,

see page 139.

[F1] Setup

Pressing this button returns from the previous display to the

Record Setup display.

[F2] Arpeggio

Calls up the Record Arpeggio display. From this display

you can set various Arpeggio-related parameters for the

Song recording.

[F5] Click

Switches the metronome on/off. Pressing the [F5] button

toggles the Click function on and off.

n From the Click display (page 231) of the SEQ SETUP, you can

make various settings for the metronome click, such as the

note resolution, volume, and lead-in count for recording.

[F6] All Track

Pressing this button sets all 16 tracks to the Record Track.

For details, see page 145.

[F3] Copy Loc (Copy Location)

This is available only when the Record Type is set to

“punch.”

Pressing this button will copy the measure number at

Location 1 (page 140) to the Punch In position and copy

the measure number at Location 2 (page 140) to Punch

Out.

Song Recording

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Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Arpeggio Settings—[F2] Arpeggio

From this display you can set various Arpeggio-related

parameters for the Song recording.

Parameters – are same as the ones in the Arpeggio

Main display (page 58) in the Voice Common Edit mode.

Voice with ARP (Voice with Arpeggio)

Each Arpeggio type is assigned a specific Voice best

suited to the type. When an Arpeggio type has been

assigned to a recorded track, this parameter determines

whether or not the Voice assigned to the Arpeggio type will

also be used for the recorded track. When set to “on,” the

appropriate Voice is assigned to the recorded track in

place of the currently assigned Voice. When set to “off,” the

appropriate Voice is not assigned to the recorded track.

The currently assigned Voice is maintained. The name of

the Voice registered to the Arpeggio Type is shown at the

right side.

Settings: off (not copied), on (copied)

n A User Voice may be registered to a certain Arpeggio Type via

the Voice with ARP function. With the factory settings, each of

the combinations of an Arpeggio Type and its companion User

Voice is designed to be the most suitable match and produce

the appropriate sound/phrase. However, when revising the

sound of the User Voice by editing the parameters or storing a

different Voice to the corresponding User Voice number, this

combination may become improper or produce an

unexpected sound. If such a situation occurs, select the most

appropriate Voice for the current Arpeggio Type on the [F1]

Voice display.

The Arpeggio type set in the Arpeggio display of the Song

Record can be called up together with the Song Scene via

the [SF1] Scene 1 – [SF5] Scene 5 buttons in the Setup

display (page 145) and the Track View display (page 139).

The 8th note icon at right of Scene1 – 5 in the tab indicates

that the Song Scene is registered to the corresponding

button. If the Arpeggio Type is set to “off” in the Arpeggio

display of the Song Record, pressing the corresponding

Sub Function button in the Setup display/Track View

display will not change the Arpeggio type even if the 8th

note icon is shown.

Realtime Recording Procedure

This section explains how to record your performance

using the Realtime Recording features. Please keep in

mind that the procedure differs depending on the Record

Type and Record Track set from the Record Setup display.

[SONG]  [I] (Record)  Record track selection

 Type=replace  [F] (Play)

By using this method, any previous data in the recorded

track will be erased (overwritten) and replaced by the new

data. The first recording is lost, and the new one takes its

place. This is handy when you need to re-record the same

Part several times.

n If you accidentally overwrite important data when using

Replace Recording, cancel the recording by using the Undo/

Redo Job (page 154).

This section covers how to record your keyboard

performance data to tracks 1 – 16 with Replace Recording.

1 Press the [SONG] button to call up the Song

Play display (page 136), then select a Song to

be recorded.

Select an empty Song if you wish to create a new Song

from scratch.

2 Press the [I] (Record) button to call up the

Record Setup display (page 145). From this

display, set the Record track to one of 1 – 16

then set the Recording type to “replace.”

If necessary, set various parameters such as tempo,

time signature, measure, quantize, and voice.

3 Press the [F5] Click button to turn the Click on

when you wish to use the metronome.

In the Click display (page 231) called up via the [SEQ

SETUP] button, you can make various settings for the

metronome click, such as the note resolution, volume,

and lead-in count for recording.

4 Press the [F] (Play) button so that its indicator

flashes, then start recording after the count-in.

Play the keyboard and/or controller to record.

5 Press the [J] (Stop) button to stop recording

and return to the Song Play display.

Calling up the Arpeggio Type by using

the [SF1] Scene 1 – [SF5] Scene 5 buttons

Replace Recording

Recording Procedure for individual tracks 1

– 16

Song Recording

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Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

The sequence data transmitted from an external MIDI

instrument can be recorded simultaneously up to 16 tracks.

1 Connect an external MIDI sequencer or a

computer to the MOTIF XF then switch on the

power to the MOTIF XF.

2 Set the MIDI related parameters in the Utility

mode.

Press the [UTILITY] button, [F5] Control button, then

[SF2] MIDI button to call up the MIDI Control display

(page 228). From this display, set MIDI sync to “MIDI,”

then set the Sequencer Control to “in” or “in/out.”

3 Press the [SEQ SETUP] button to call up the

[F1] Click display (page 231), then set the

Recording Count parameter to “off.”

4 Press the [SONG] button to call up the Song

Play display (page 136), then select a Song to

be recorded.

Select an empty Song if you wish to create a new Song

from scratch.

5 Press the [I] (Record) button to call up the

Record Setup display (page 145). From this

display, set the Record track to “All Track” then

set the Recording type to “replace.” Set the

Time Signature to the same one as the original

Song to be recorded, then set Quantize to “off.”

6 Start playback of the external MIDI sequencer

or computer application software.

Recording begins automatically as soon as playback

starts.

7 Stop playback of the external MIDI sequencer

or computer application software.

Recording stops automatically and operation returns to

the Song Play display.

Here’s how to record the Tempo data to the Tempo track in

real time.

1 Press the [SONG] button to call up the Song

Play display (page 136), then select a Song to

be recorded.

2 Press the [I] (Record) button to call up the

Record Setup display (page 145). From this

display, set the Record track to “Tempo Track”

then set the Recording type to “replace.”

If necessary, set various parameters such as tempo,

time signature, measure, quantize.

3 Press the [F5] Click button to turn the Click on

when you wish to use the metronome.

In the Click display (page 231) called up via the [SEQ

SETUP] button, you can make various settings for the

metronome click, such as the note resolution, volume,

and lead-in count for recording.

4 Press the [F] (Play) button so that its indicator

flashes, then start recording after the count-in.

Enter the tempo at the desired timing during playback

by using the [DEC/NO]/[INC/YES] buttons and the Data

Dial.

5 Press the [J] (Stop) button to stop recording

and return to the Song Play display.

n You can edit the tempo from the Song Edit display for the

Tempo track (page 150).

Here’s how to record the Track Mute on/off events and

Scene changing timing events to the Scene track in real

time.

1 Press the [SONG] button to call up the Song

Play display (page 136), then select a Song to

be recorded.

2 Press the [I] (Record) button to call up the

Record Setup display (page 145). From this

display, set the Record track to “Scene Track”

then set the Recording type to “replace.”

If necessary, set various parameters such as tempo,

time signature, measure, quantize.

3 Press the [F5] Click button to turn the Click on

when you wish to use the metronome.

In the Click display (page 231) called up via the [SEQ

SETUP] button, you can make various settings for the

metronome click, such as the note resolution, volume,

and lead-in count for recording.

4 Press the [MUTE] button (the lamp lights).

5 Press the [F] (Play) button so that its indicator

flashes, then start recording after the count-in.

Press one of the [1] – [16] buttons or the [F1] Scene 1 –

[F5] Scene 5 buttons at the desired timing.

Recording Procedure for multiple tracks

(“All Track” setting)

Recording Procedure for the Tempo Track

Recording Procedure for the Scene Track

Song Recording

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Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

6 Press the [J] (Stop) button to stop recording

and return to the Song Play display.

n You can edit the Track on/off and the Scene change

events from the Song Edit display for the Tempo track

(page 150).

To temporarily disengage the record mode and enter the

Rehearsal mode, simply press the [I] (Record) button

during realtime recording. The [I] (Record) indicator

flashes and playback will continue uninterrupted but no

data will be recorded. This convenient Rehearsal mode

feature lets you easily and temporarily disable recording in

order to practice a Part or try out various ideas (while

listening to the other tracks) without actually recording. To

return to the record mode press the [I] (Record) button

again so that the [I] (Record) indicator lights continuously.

[SONG]  [I] (Record)  Record track selection

 Type=overdub  [F] (Play)

This method allows material to be added to existing

material on a track. The first recording is kept, and the new

one is added. This makes it easy to create Parts by

recording them a little at a time.

The Overdub Recording procedure is almost same as the

Replace except that the Record type is set to “overdub.”

n When the Record Track ( ) is set to “Tempo Track” or “Scene

Track,” “overdub” cannot be selected here.

[SONG]  [I] (Record)  Record track selection

 Type=punch  [F] (Play)

Realtime recording can also be done between specified

start (punch-in) and end (punch-out) points. This allows

you to record a specified section of a previously-recorded

track without having to re-record the entire track. Start

recording with this method and playback begins. Actual

recording will begin automatically when the punch-in point

is reached and recording will be disengaged when the

punch-out point is reached.

Punch In/Out setup

1 Press the [I] (Record) button to call up the

Record Setup display (page 145).

2 Set the Recording type to “punch.”

3 Move the cursor to the punch in and punch

out, then set their points respectively by

entering measure and beat.

Except for setting the punch in and punch out, perform the

same procedure as the Replace Recording procedure.

Rehearsal before recording

Overdub Recording

Re-recording a specific section of an

already-recorded Song (Punch In/Out)

Recording start Punch In Punch Out

Recording stop

Playback only Playback only

Replace Recording

(Overwriting)

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Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Editing MIDI Events (Song Edit)

The Song Edit mode lets you edit the already recorded Songs or insert the new data to the Songs. It can be used to correct

mistakes as well as add dynamics or effects such as vibrato to refine and finish the Song. Press the [EDIT] button from the

Song Play mode to go to the Song Edit mode.

n The Song Edit mode gives you comprehensive, detailed controls for editing the MIDI events of individual Song tracks. MIDI events are

messages (such as note on/off, note number, program change number, etc.) that make up the data of a recorded track.

The Song Edit mode consists of the Event List display and

the Insert Event window. The Event List display lets you

correct or delete already inserted MIDI events and the

Insert Event window lets you insert new events to the Song.

Press the [EDIT] button from the Song Play mode to go to

the Event List display. Press the [F5] button to call up the

Insert Event window.

Event List display

The Event List display lets you correct or delete existing

events.

Insert Event window

The Insert Event window lets you insert new events to the

Song.

Pressing the [F5] button on the Event List display calls up

the Insert Event window. To return back to the Event List

display, press the [EXIT] button.

Editing the recorded data

This section shows how to correct or delete previously

recorded events.

1 Press the [EDIT] button from the Song Play

display to call up the Event List display

(page 151).

2 Select the track to be edited.

Pressing the [F4] Track Sel button switches the

Recording track among Tracks 1 – 16, the Scene track

and the Tempo track. When “1 – 16 tracks” is selected,

you can select the track to be edited by pressing any of

the Number buttons [1] – [16].

3 Move the cursor to the event or parameter to be

edited.

Use the [L]/[M] (Cursor Up/Down) button to move the

cursor to the desired timing. Press the [G] (Rewind)/

[H] (Fast Forward) button to move the cursor by

single measures. Use the [<]/[>] (Cursor Left/Right)

button to move the cursor to the parameter to be

edited.

n For details about each event and parameter, see page 30.

n The Event List window may have an overwhelming

number of events, and it may be difficult to find a specific

desired event. To help narrow down your search, use the

View Filter function. This conveniently lets you specify

which classes of events will be displayed and which will

not, making it much easier and faster to find desired

events. For information about the View Filter display, see

page 152.

4 Change the parameter settings or location of

the event.

Edit the value by using the [INC/YES], [DEC/NO]

buttons and the data dial. The edited event will flash on

the display.

Change the event location by editing the MEAS

(measure), BEAT, and CLOCK. Press the [F6] button to

delete the event at the cursor location.

n When “NUM” is indicated in the tab corresponding to the

[SF6] button, you can use the [F1] – [F6] buttons and the

[SF1] – [SF5] buttons as numeric key pads by pressing

the [SF6] NUM button.

n The note and velocity can be edited also by pressing the

desired note on the keyboard, even though the [KBD] icon

is not shown.

Event List display and Insert Event

window

Event List display

Insert Event window

Editing MIDI Events (Song Edit)

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Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

5 After you’ve finished editing a parameter, press

the [ENTER] button to confirm and enter the

edit (the event will stop flashing).

If the cursor is moved to a new event while the current

event is still flashing, editing of the current event is

cancelled.

6 Press [EXIT] to go back to the Song Play mode.

Inserting the New Event

This section shows how to insert new events to the current

Song.

1 From the Event List display, press the [F5]

Insert button to call up the Insert Event

window.

2 Specify the event type to be inserted, the

insertion point (measure, beat, and clock), and

parameter value of the event.

For details about each event and parameter, see

page 30.

3 Press the [F6] Set button to insert the specified

event at the specified location.

The Insert Event window remains open, allowing you to

continue inserting new events. Press the [ENTER]

button to actually insert the event and close the Insert

Event window.

4 Press the [EXIT] button to go back to the Event

List display.

Event List display

In the Event List display, MIDI events (including mainly

values such as note number, velocity, and control change

value) are listed and can be edited.

n Depending on the selected parameter, the NUM icon is shown

at the tab menu corresponding to the [SF6] button. In this

condition, you can use the [SF1] – [SF5] and [F1] – [F5]

buttons as number buttons by pressing the [SF6] NUM button.

For details, see page 36.

TR (Track) (Indication only)

Indicates the selected track. You can change the track to

be edited by using the [F4] Track Sel button and the

Number [1] – [16] buttons.

Settings: Track 01 – 16, Scene, Tempo

Measure (Indication only)

Indicates the selected measure. You can change the

measure by using the [G] (Rewind) and the [H]

(Forward) buttons.

Settings:

Measure: 001 – 999

MEAS (Measure), BEAT, CLOCK

Indicates the location of the corresponding event.

Changing any of these values changes the location of the

event accordingly.

Settings:

Measure: 001 – 999

Beat: 1 – 16 (depends on meter)

Clock: 000 – 479 (depends on meter)

Event and Parameters

Indicates the type of each event. For details about each

event and parameter, see page 30.

Settings:

When TR is set to 01 – 16:

Note

PB (Pitch Bend)

PC (Program Change)

CC (Control Change)

CAT (Channel Aftertouch)

PAT (Polyphonic Aftertouch)

RPN

NRPN

EXC (System Exclusive)

CMM (Channel Mode Messages)

Event type

Insertion point Parameter

Editing MIDI Events (Song Edit)

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Performance

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Sampling

mode 1

Sampling

mode 2

Reference

When TR is set to “scn” (Scene):

Scene Memory

Track Mute

When TR is set to “tmp” (Tempo):

Temp o Cha nge

[F3] ViewFilter

Calls up the View Filter setting display (below).

[F4] Track Sel (Track Select)

You can switch between the display for tracks 1 – 16, the

Scene track, and the Tempo track by pressing this button.

When any one of tracks 1 – 16 is selected, you can select a

different track number by pressing the appropriate Number

button [1] – [16].

[F5] Insert

Calls up the Insert Event window (page 151).

[F6] Delete

Deletes the currently selected event. This button is not

available when the cursor is located at the top or bottom of

the Song data.

[SF6] NUM

This menu appears when the cursor is located on MEAS

(measure), BEAT, CLOCK, GATE (gate time) or VEL

(velocity). When the [SF6] NUM button is pressed in this

status, each digit (1 – 9, 0) is assigned to the [SF1] – [SF5]

and [F1] – [F5] buttons, allowing you to input a number

directly by using these buttons. For details, see page 36.

Changing the MIDI event view—[F3]

View Filter

MIDI song data generally has a large amount of recorded

events, and the Event List window may be overcrowded

with them. Since it may be difficult to find a specific event,

you can use the View Filter function to help narrow down

your search. This conveniently lets you specify which

classes of events will be displayed and which will not,

making it much easier and faster to find desired events.

From the Event List display, call up the View Filter display

by pressing the [F3] View Filter button.

Event types

Only the event which the checkbox is marked will be

shown on the Event List display.

Settings: Note, Pitch Bend, Program Change, Control Change*,

Channel After Touch, Poly After Touch, RPN, NRPN, System

Exclusive, Channel Mode Message

* You can specify the Control Number (0 – 119, all).

[F5] Clear All

Pressing this button removes the checkmarks of all events.

If you wish to indicate specific events, it is a good idea to

press the [F5] button to first remove the checkmarks of all

events, then enter the checkmarks of your desired events.

[F6] Set All

Pressing this button enters the checkmarks for all events,

letting you view all recorded events.

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Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Song Job

The Song Job mode contains a comprehensive set of editing tools and data transform functions you can use to change the

sound of the Song. It also includes a variety of convenient operations, such as copying or erasing data. 30 Jobs are

available.

Function Description

[F1] Undo/Redo Undo job cancels the changes made by the most recent operation, restoring the data to its previous state.

Redo job cancel Undo and restores the changes.

[F2] Note Note data Jobs

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.

02: Modify Velocity This Job alters the velocity values of the specified range of notes, letting you selectively boost or cut the

volume of those notes.

03: Modify Gate Time This Job alters the gate times of the specified range of notes.

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.)

05: Transpose This Job changes the pitch of the notes in semitones.

06: Glide This Job replaces all notes following the first note in the specified range with pitch bend data, producing

smooth glides from note to note.

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.

08: Sort Chord This job sorts chord events (simultaneous note events) by order of pitch.

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.

[F3] Event Event Jobs

01: Shift Clock This Job shifts all data events in the specified range forward or backward by the specified number of

clocks.

02: Copy Event This Job copies all data from a specified source range to a specified destination location.

03: Erase Event This Job clears all specified events from the specified range, effectively producing a segment of silence.

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.

05: Create Continuous Data This Job creates continuous pitch bend or control change data over the specified range.

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.

07: Modify Control Data This Job lets you change the values of specified data such as Pitch Bend and Control Change in the

specified range.

08: Beat Stretch This Job performs time-expansion or compression over the selected range.

[F4] Measure Measure Jobs

01: Create Measure This Job creates empty measures at the specified location in all tracks.

02: Delete Measure This Job deletes the specified measures.

[F5] Track Track Jobs

01: Copy Track This Job copies all data of the selected type from a specified source track to a specified destination track.

02: Exchange Track This Job exchanges or “swaps” the specified type of data between two specified tracks in the current

Song.

03: Mix Track This job mixes all data from two selected tracks.

04: Clear Track This Job deletes all data of the selected type from the selected track.

05: Normalize Play Effect This job rewrites the data in the selected track so that it incorporates the current Play FX/Groove/MIDI Delay

settings.

06: Divide Drum Track This Job 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).

07: Put Track to Arpeggio This Job copies data in the specified measures of a track for creating Arpeggio data.

08: Copy Phrase This Job copies the Phrase (created in the Pattern mode) to a specified track of the current Song.

[F6] Song Song Jobs

01: Copy Song This Job copies all data from a selected source Song to a selected destination Song.

02: Split Song to Pattern This Job allows you to copy a Part of the current Song to a specific Pattern.

03: Clear Song This job deletes all data from the selected Song or all Songs. It can also be used to delete all 64 Songs at

the same time.

Song Job

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Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Song Job Procedure

Press the [JOB] button to enter the Song Job

mode.

2 Select the desired Job menu by pressing one

of the [F1] – [F6] buttons.

3 Move the cursor to the desired Job by using

the data dial, cursor buttons, [INC/DEC] and

[DEC/NO] buttons, then press the [ENTER]

button to call up the Job display.

4 Move the cursor to the desired parameter, then

set the value by using the data dial, [INC/YES]

and [DEC/NO] buttons.

5 After setting, press the [ENTER] button to

execute the Job.

“Completed” will appear when the Job is done.

NOTICE

In some Jobs, the operation overwrites any data previously

existing in the destination memory. Important data should

always be saved to a USB storage device connected to the

USB TO DEVICE terminal or to a computer connected to the

same network as the MOTIF XF (page 241).

6 Press the [EXIT] button twice to go back to the

Song Play display.

n If there is no data in the specified range, “No Data” will appear

on the display and the Job cannot be executed. If you make a

mistake or want to compare the sound of the data before and

after executing a Job, press the [F1] button to use the Undo/

Redo function.

NOTICE

Even if a Job operation has been completed, selecting a different

Song or turning the power off without storing will erase the Song

data. Make sure to store the Song data to internal memory by

pressing the [STORE] button before selecting a different Song or

turning the power off.

n In some Jobs, you need specify the range (start point and end

point as illustrated below) to which the Job is applied. Keep in

mind that the end point itself is not included in the range. The

actual range to which the Job is applied is from the start point

to the point that is one clock less than the end point. This rule

applies to cases in which you specify only the Measure;

however, the example illustration below shows specifying the

Measure, Beat and Clock.

n Some of the Jobs which enable you to copy the Sample Voice

from the source to the destination execute the actual copy

operation only when the Bank Select and Program Change

events which specify the Sample Voice are recorded in the

source Track.

[F1] Undo/Redo

The Undo Job cancels the changes you made in your most

recent recording session, editing session, or Job, restoring

the data to its previous state. This allows you to recover

from accidental data loss. Redo is available only after

using Undo, and lets you restore the changes you made

before undoing them.

Indicates the operation to be affected by Undo or Redo.

Indicates the Undo/Redo target. When the changes you

made in your most recent operation cannot be a target

of the Undo/Redo, “Impossible” is shown here.

NOTICE

• Undo/Redo does not work with Mixing operations.

• Even if you have stored Song data, you can recall the data which

was lost via the most recent operation by executing Undo. Make

sure to execute the Undo/Redo operation before changing the

song number or leaving the Song mode. This is because the

Undo/Redo cannot be executed after changing the song number

or leaving the Song mode.

[F2] Note Jobs

Quantization is the process of adjusting the timing of note

events by moving them closer to the nearest exact beat.

You can use this feature, for example, to improve the timing

of a performance recorded in real time.

Track and range

Determines the track (01 – 16, all) and range (Measure :

Beat : Clock) to which the Quantize is applied.

Start point

End point

01: Quantize

Song Job

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Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Quantize (Resolution)

Determines the note timing to which the note data will be

aligned. The number shown at right of each value indicates

the length assumes that the quarter-note resolution is 480.

Settings:

n You can call up the list and select the desired one by pressing

the [SF6] LIST button. For details, see page 37.

Strength

Sets the “strength” by which note events are pulled toward the

nearest quantize beats. A setting of 0% results in no change,

whereas a setting of 100% moves note events exactly to the

quantize beats. A setting of 50% results in the note events

being pulled halfway between 0% and 100%.

Settings: 000% – 100%

Swing Rate

Delays notes on even-numbered beats (backbeats) to

produce a swing feel. Judicious use of this setting lets you

create swing rhythms and triplet feels, such as shuffle and

bounce.

The functions and settings of this parameter differ

depending on the Quantize resolution setting.

Settings: Depends on the Quantize ( ) setting. Refer to the settings

of the Swing parameter in the Play FX display (page 141).

If the Quantize value is 1/4 note, 8th note, 16th note,

32nd note:

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. 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% delays

the note timing to increase the amount of swing. A setting of

66% moves the notes to a triplet delay, with 75% being

equivalent to a dotted-note delay.

If the Quantize value is 1/4 note triplet, 8th note triplet,

16th note triplet:

When a triplet quantize value is used, the last note of each

triplet is delayed. A setting of 100% is equivalent to twice the

length of the specified Quantize value. A setting of 66%

produces exact timing and therefore no swing feel. Settings

above 67% delays the note timing to increase the amount of

swing. A setting of 75% moves the notes to a dotted-note

delay, with 83% being equivalent to a sextuplet delay.

If the Quantize value is 8th note + 8th note triplet, 16th

note + 16th note triplet:

Even-numbered beats will be delayed. A setting of 100% is

equivalent to twice the length of a 8th note or 16th note. A

setting of 50% produces exact timing and therefore no swing

feel. Settings above 51% delays the note timing to increase the

amount of swing. with 66% being equivalent to a triplet delay.

n The Swing Rate is applied to notes which are located on

even-numbered beats (backbeats) by setting the Strength

to 100%. If the Strength is set to less than 100%, the

Swing Rate may delay notes not on even-numbered beats

and produce an unexpected rhythm. To prevent this, you

should set Strength to 100% when using the Swing Rate.

Gate Time

Determines the gate time (the length of time a note sounds)

of the even-numbered backbeat notes to enhance the

swing feel. When a triplet quantize value is used, the gate

time of the last note of each triplet is adjusted. When the

quantize value is 8th note + 8th note triplet or 16th note +

16th note triplet, the gate time of the even-numbered 8th

note or 16th note beats will be adjusted.

Settings below 100% will shorten the gate times of notes on

even-numbered beats (backbeats), whereas settings

above 100% will lengthen them. If an adjusted gate time

value is less than 1, the value is rounded off to 1.

Settings: 000% – 200%

This Job alters the velocity values of the specified range of

notes, letting you selectively boost or cut the volume of

those notes. Velocity changes are calculated as follows:

Adjusted velocity = (original velocity x Rate) + Offset

If the result is 0 or less, the value is set to 1. If the result is

higher than 127, the value is set to 127.

Track and range

Determines the Song track (01 – 16, all) and range

(Measure : Beat : Clock) over which the Job is applied.

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 below are unavailable and cannot be

set.

Settings: off, 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. A setting of 100

produces no change. When the Set All parameter (above)

is set to other than “off,” this parameter cannot be set.

Settings: 000% – 200%

2 60 1/32 note

63 80 1/16 note triplets

6 120 1/16 note

83 160 1/8 note triplets

8 240 1/8 note

43 320 1/4 note triplets

4 480 1/4 note

6+63 200 1/16 note and 1/16 note triplets

8+83 400 1/8 note and 1/8 note triplets

02: Modify Velocity

Song Job

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Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Offset

Determines the offset value by which the target notes will

be shifted from their original velocities. Settings below 0

reduce the velocities, and settings above 0 increase the

velocities. A setting of 0 produces no change. When the

Set All parameter (above) is set to other than “off,” this

parameter cannot be set.

Settings: -127 – +127

This Job alters the gate times of the specified range of

notes. Gate time changes are calculated as follows:

Adjusted gate time = (original gate time x Rate) + Offset.

If the result is 0 or less, the value is rounded off to 1.

Track and range

Determines the Song track (01 – 16, all) and range

(Measure : Beat : Clock) over which the Job is applied.

Set All

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 below are unavailable and cannot be set.

Settings: off, 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. A setting of 100 produces no change.

When the Set All parameter (above) is set to other than

“off,” this parameter cannot be set.

Settings: 000% – 200%

Offset

Adds a fixed value to the Rate-adjusted gate time values.

Settings below 0 shorten the gate time, and settings above

0 lengthen the gate time. A setting of 0 produces no

change. When the Set All parameter (above) is set to other

than “off,” this parameter cannot be set.

Settings: -9999 – +9999

This Job lets you create a crescendo or decrescendo over

the specified range of notes. Crescendo is a gradual

increase in volume, and decrescendo is a gradual

decrease.

Track and range

Determines the Song track (01 – 16, all) and range

(Measure : Beat : Clock) over which the Job is applied.

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

n Executing this Job changes velocities of the note on events in

the specified range to produce the crescendo/decrescendo.

Note that this Job cannot apply the crescendo/decrescendo to

long sustained note having a long gate time. If you wish to do

this, use the “Create Continuous Data” Job with the Event Type

set to “Control Change 11."

Changes the pitch of the notes in semitones.

Track and range

Determines the Song track (01 – 16, all) and range

(Measure : Beat : Clock) over which the Job is applied.

03: Modify Gate Time

04: Crescendo

05: Transpose

Song Job

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157

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Note

Determines the range of notes for which Transpose is

applied. You can also set the Note directly from the

Keyboard, by holding down the [SF6] button and pressing

the desired key.

Settings: C -2 – G8

Transpose

Sets the transpose value. 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

This Job replaces all notes following the first note in the

specified range with pitch bend data, producing smooth

glides from note to note.

Track and range

Determines the Song track (01 – 16, all) and range

(Measure : Beat : Clock) over which the Job is applied.

Glide Time

Determines the time of the glide. Higher values produce a

longer and smooth glide between notes.

Settings: 000 – 100

PB (Pitch Bend) Range

The Pitch Bend Range value indicates the maximum range

of pitch controlled via the Pitch Bend event in semitones.

This parameter determines the Pitch Bend range for the

Voice assigned to the Mixing Part corresponding to the

selected track. Executing the Job replaces the note events

with the Pitch Bend events by following the Pitch Bend

range specified here.

Settings: 01 – 24

n If the interval between adjoining notes is greater than the Pitch

Bend range set here in the specified range, the corresponding

notes will not be converted by executing this Job. If such a

situation occurs, set the PB Range ( ) to the value more than

the interval. If there is a one octave interval, for example, in the

specified range, set the PB Range to a value of 12 or higher.

n Please note that the Song may not play back properly if you

set the PB Range ( ) to the value different from the one set via

the Voice Edit mode. In order that the Song plays back

properly, insert the MIDI event below to the corresponding

track in the Song Edit display (page 151).

RPN [000-000] xxx

(Enter the Pitch Bend value to xxx.)

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.

This Job also allows you to program crescendo or

decrescendo volume changes in the Roll data.

Track and range

Determines the Song track (01 – 16, all) and range

(Measure : Beat : Clock) over which the Job is applied.

Start Step

End Step

Determines the size of the step (i.e., the number of clocks)

between each note in the roll. The smaller the value, the

finer the roll. Both the starting and ending clock values can

be specified, making it easy to create rolls in which the

step size varies during the roll.

Settings: 015 – 999

n If you want to create a roll that goes from 64th – 32nd notes,

set the Start and End step values to around 30 – 60,

respectively.

Note

Determines the specific note (or instrument in Drum

Voices) for the roll effect. You can also set the note directly

from the Keyboard, by holding down the [SF6] button and

pressing the desired key.

Settings: C -2 – G8

Start Velocity

End 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).

Settings: 001 – 127

06: Glide

07: Create Roll

Song Job

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158

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

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 151), but does not change the

timing of the notes. When used to pre-process chords

before using the Separate Chord Job (below), Chord Sort

can be used to simulate the “stroke” or strumming sound of

guitars and similar instruments.

Track and range

Determines the Song track (01 – 16, all) and range

(Measure : Beat : Clock) over which the Job is applied.

Type

Determines how the chord note data is sorted.

Settings: up, down, up&down, down&up

The notes are sorted in ascending order. After executing this Job with

this setting, execute the Separate Chord Job to create a guitar-like

upstroke strum.

down

The notes are sorted in descending order. After executing this Job with

this setting, execute the Separate Chord Job to create a guitar-like

downstroke strum.

up&down

Sorts chord notes on downbeats in ascending order and chord notes

on up beats in descending order, based on the Grid setting, below.

After executing this Job with this setting, execute the Separate Chord

Job to create a guitar-like upstroke and downstroke strum.

down&up

Sorts chord notes on downbeats in descending order and chord notes

on up beats in ascending order. After executing this Job with this

setting, execute the Separate Chord Job to create a guitar-like

upstroke and downstroke strum.

Grid

Determines the type of note that serves as the basis for the

Chord Sort Job.

Settings: 32nd note, 16th note triplet, 16th note, 8th note triplet, 8th

note, 1/4 note triplet, 1/4 note

n You can call up the list and select the desired item by pressing

the [SF6] LIST button. For details, see page 37.

This Job slightly separates notes in chords within the

specified range, inserting a specified number of clocks

between each note. Use this Job after the Chord Sort Job

above, to create guitar-like upstroke or downstroke effects.

Track and range

Determines the Song track (01 – 16, all) and range

(Measure : Beat : Clock) over which the Job is applied.

Clock

Determines the number of clock cycles inserted between

adjacent chord notes. Depending on the setting here, the

note event may overstep the next note or the range (set

above). If such a situation occurs, the overstepping note

events are moved to the point (clock) before the next note

or within the range when executing the Job.

Settings: 000 – 999

[F3] Event Jobs

This Job shifts all data events in the specified range

forward or backward by the specified number of clocks.

Track and range

Determines the Song track (01 – 16, tempo, scene, all) and

range (Measure : Beat : Clock) over which the Job is

applied.

Clock

Determines the amount by which the data will be delayed

or advanced in measures, beats, and clocks.

Settings: 001:1:000 – 999:4:479 (when the Meter is 4/4)

n The available values of the beat and clock differ depending on

the meter.

08: Sort Chord

09: Separate Chord

01: Shift Clock

Song Job

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159

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

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

This Job copies all data from a specified source range to a

specified destination location.

Track and range

Determines the Song track (01 – 16, tempo, scene, all) and

range (Measure : Beat : Clock) over which the Job is

applied.

Number of Times

Determines the number of times the data is copied.

Settings: x 01 – x 99

Track and location

Determines the destination track (01 – 16, tempo, scene,

all) and range (Measure : Beat : Clock) of the destination.

NOTICE

When Copy Event is executed, any data already existing at the

Destination location will be overwritten.

This Job clears all specified events from the specified

range, effectively producing a segment of silence.

Track and range

Determines the Song track (01 – 16, tempo, scene, all) and

range (Measure : Beat : Clock) over which the Job is applied.

Event Type

Determines the event type to be erased. All events are

cleared when “all” is selected. Individual Control numbers

can be specified when erasing CC & Ch.Mode events.

Settings:

When Track is set to one of 01 – 16:

Note, Program Change, Pitch Bend, CC & Ch.Mode (Control Change

and Channel Mode Message)*, Ch After Touch (Channel Aftertouch),

Poly After Touch (Polyphonic Aftertouch), System Exclusive, all

* You can specify the Control Number (000 – 127, all).

When Track is set to “tempo”:

Tempo Change

When Track is set to “scene”:

Scene Memory, Track Mute

n You can call up the list and select the desired item by pressing

the [SF6] LIST button. For details, see page 37.

This Job moves all instances of specified event data from a

specified range of a track to the same range in a different

track.

Track and range

Determines the Song track (01 – 16) and range (Measure :

Beat : Clock) over which the Job is applied.

Event Type

Determines the event type to be extracted. Specific Note

Numbers and Control Numbers (of the Control Change and

Channel Mode message) can also be specified as

required.

Settings: Note*, Program Change, Pitch Bend, CC & Ch.Mode

(Control Change and Channel Mode Message)*, Ch After

Touch (Channel Aftertouch), Poly After Touch (Polyphonic

Aftertouch), System Exclusive

* You can specify the Note Number (C -2 – G8, all) and

Control Number (000 – 127, all) respectively.

n When the Event Type is set to “Note,” you can also set the Key

directly from the keyboard by holding down the [SF6] KBD

button and pressing the desired key.

Track

Determines the destination track (01 – 16).

NOTICE

The original data in the source range specified above will be

erased.

02: Copy Event

03: Erase Event

04: Extract Event

Song Job

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160

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

This Job creates continuous pitch bend or control change

data over the specified range.

Track and range

Determines the Song track (01 – 16, tempo, all) and range

(Measure : Beat : Clock) over which the Job is applied.

Event Type

Determines the event type to be created.

Settings:

When the Track is set to one of 01 – 16 and all:

Pitch Bend, Control Change*, Ch. After Touch (Channel Aftertouch),

System Exclusive

*You can also specify the Control Number (0 – 119)

When the Track is set to “tempo”:

Temp o Cha nge

n You can produce accelerando/ritardando by applying this Job

to the Tempo track. This is useful, for example, in slowing

down the tempo in the Ending section of a Song.

n When “System Exclusive” is selected, the continuous data of

the Master Volume is created.

n You can call up the list and select the desired one by pressing

the [SF6] LIST button. For details, see page 37.

Data Range

Determines the lower and upper limits for the data range to

be created.

Settings: 0 – 127 (-8192 – +8191 when the Event Type is set to “Pitch

Bend” and 5.0 – 300.0 when the Event Type is set to “Tempo

Change.”)

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

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 insert

continuous volume (expression) or filter cutoff variations to

create tremolo or wah effects.

Settings: x 01 – x 99

This Job thins out or selectively removes the specified type

of continuous data in the specified range—allowing you to

free up memory space for other data or further recording.

Track and range

Determines the Song track (01 – 16, tempo, all) and range

(Measure : Beat : Clock) over which the Job is applied.

Event Type

Determines the event type to be thinned. The Thin Out Job

will not work on continuous data that has a clock interval of

greater than 60 clocks per event.

Settings:

When the Track is set to one of 01 – 16 and all:

Pitch Bend, CC & Ch. Mode (Control Change and Channel Mode

Message)*, Ch. After Touch (Channel Aftertouch), Poly After Touch

(Polyphonic Aftertouch)

*You can also specify the Control Number (0 – 127, all)

When the Track is set to “tempo”:

Temp o Cha nge

05: Create Continuous Data

Start point

End point

The distance specified by Clock

Curve = +16 Curve = 0 (linear)

Curve = -16

06: Thin Out

Song Job

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Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

This Job lets you change the values of specified data such

as Pitch Bend and Control Change in the specified range.

Data changes are calculated as follows:

Modified value = (original value x Rate) + Offset.

Any result lower than the minimum is set to the minimum;

any result higher than the maximum is set to the maximum.

Track and range

Determines the Song track (01 – 16, tempo, all) and range

(Measure : Beat : Clock) over which the Job is applied.

Event Type

Determines the event type to be modified.

Settings:

When the Track is set to one of 01 – 16 and all:

Pitch Bend, CC & Ch. Mode (Control Change and Channel Mode

Message)*, Ch. After Touch (Channel Aftertouch), Poly After Touch

(Polyphonic Aftertouch)

*You can also specify the Control Number (0 – 127, all)

When the Track is set to “tempo”:

Tempo Change

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 cannot be set.

Settings: off, 000 – 127 (off, -8192 - +8191 when the Event Type is set

to “Pitch Bend” and off, 5.0 – 300.0 when the Event Type is

set to “Tempo Change.”)

Rate

Determines the percentage by which the target events will

be shifted from their original values. When the Set All

parameter (above) is set to other than “off,” this parameter

cannot be set.

Settings: 000% – 200%

Offset

Adds a fixed value to the Rate-adjusted event values.

When the Set All parameter (above) is set to other than

“off,” this parameter cannot be set.

Settings: -127 – +127 (-8192 – +8191 for pitch bend)

This Job performs time-expansion or compression over the

selected range.

Track and range

Determines the Song track (01 – 16, tempo, all) and range

(Measure : Beat : Clock) over which the Job is applied.

Rate

Determines the amount of time expansion or compression

as a percentage. Settings higher than 100% produce

expansion, and settings below 100% produce

compression. A setting of 100 produces no change.

Settings: 025% – 400%

n Only the end point of the range will be shifted forward or

backward by executing the Beat Stretch Job. The data outside

the specified range will be maintained. When expanding the

data, the converted data may overlap the data outside the

range. When compressing the data, an interval of silence will

be created between the end of the compressed data and the

start of the next data outside the range.

[F4] Measure Jobs

This Job creates empty measures at the specified location

in all tracks. When empty measures are inserted, measure

and meter data following the insert point are moved

forward accordingly. If the insert point is set after the last

measure containing data, only the meter data at that point

is set without actually inserting any measures.

07: Modify Control Data 08: Beat Stretch

01: Create Measure

Song Job

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Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Insertion point

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

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

This Job deletes the specified measures. Measure and

meter data following the deleted measures are moved

backward accordingly.

Delete range

Specifies the range of measures to be deleted.

Settings: 001 – 999

[F5] Track Jobs

This Job copies all data of the selected type from a

specified source track to a specified destination track.

Source Song and Track

Determines the copy source Song and track (01 – 16).

When the Current box is checked, the current Song is

selected as Source.

Data Type to be copied

Determines the type(s) of data to be copied.

Settings: Sequencer Event (all events in the track), Play Effect, Mix

Part Parameter (all Mixing Part parameters), Sample Voice

n When there is no memory available in the destination Song for

Sample Voice data, an alert message will appear on the

display and the Sample Voice data will not be copied even

though the check box of the Sample is marked. If this occurs,

use the Delete Job (page 200) in the Mixing Voice Job to

delete any unused Sample Voices, then try again.

Destination Song and Track

Determines the destination Song and track (01 – 16). When

the Current box is checked, the current Song is selected as

Destination.

NOTICE

• 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.

02: Delete Measure

001~004 005 ~ 012 013 ~ 024

001~004 005 ~ 016

Source data

8 measures inserted at measure 5

The inserted 8 measures

001~004 005 ~ 012 013 ~ 024

001~004 005 ~ 016

Source data

Measures M005 – M013 deleted

01: Copy Track

Song Job

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Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

This Job exchanges or “swaps” the specified type of data

between two specified tracks in the current Song.

Track

Determines the tracks (01 – 16) to which the Job is applied.

Data Type

Determines the type(s) of data to be exchanged. Select the

desired type by checkmarking the appropriate box.

Settings: Sequencer Event (all events in the track), Play Effect, Mix

Part Parameters

This job mixes all data from two selected tracks ( and

), and places the result in track . Keep in mind that

applying this Job to tracks with Sample Voices does not

mix the Sample Voices. The Sample Voice itself will not be

mixed.

This Job deletes all data of the selected type from the

selected track.

Track

Determines the Song track (01 – 16, tempo, scene, all) to

which the Job is applied.

Data type to be cleared

Determines the type(s) of data to be cleared. Select the

desired type by checkmarking the appropriate box.

Settings: Sequencer Event (all events in the track), Play Effect, Mix

Part Parameter (all Mixing Part parameters), Sample Voice

NOTICE

Undo/Redo cannot be used to undo/redo a Clear operation for

tracks that contain sample data.

n The Waveform on SDRAM cannot be deleted via this Job even

if the Sample Voice box is checked. If you want to actually

delete the Waveform, use the Delete Job (page 135) in the

Sampling Job mode.

This job rewrites the data in the selected track so that it

incorporates the current Play Effect settings.

Track

Determines the Song track (01 – 16, all) to which the Job is

applied.

This Job 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). The division table below is

designed assuming the GM Drum Voice is used. If you

want to apply this Job to the sequence data using a Drum

Voice other than a GM Voice, you should confirm the

arrangement of the drum/percussion instruments for each

Drum Voice by using the separate Data List.

02: Exchange Track

03: Mix Track

04: Clear Track

05: Normalize Play Effect

06: Divide Drum Track

Song Job

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Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Track

Determines the Song track (01 – 16) to which the Job is

applied.

* The drum instruments of the different note numbers will be assigned

to each of tracks, meaning that the Bass Drum of Track 1 is different

from the Bass Drum of Track 2, for example.

NOTICE

Executing the Divide Drum Track overwrites any data previously

existing on the destination tracks 1 – 8. Important data should

always be saved to a USB storage device connected to the USB TO

DEVICE terminal or to a computer connected to the same network

as the MOTIF XF (page 241).

This Job copies data in the specified measures of a track

for creating Arpeggio data. Up to 16 unique note numbers

can be recorded to the Arpeggio track. If more than 16

different note numbers have been recorded to the MIDI

sequence data, the Convert operation reduces the notes in

excess of the limit. Because of this, be careful to record

only up to 16 different notes when you create an Arpeggio,

especially when using all four tracks.

Range

Determines the range of measures to be copied to the

Arpeggio data.

Settings: 001 – 999

ARP Category (Arpeggio Category)

Determines the Category setting (Main Category and Sub

Category) for the created Arpeggio data. The Main

Categories are listed on page 15.

n You can call up the list and select the desired one by pressing

the [SF6] LIST button. For details, see page 37.

ARP No. (Arpeggio number/name)

Determines the User Arpeggio number (001 – 256) and

name as destination. The Arpeggio name can contain up to

20 characters. You can call up the Character List display

by pressing the [SF6] CHAR button and enter the name.

For detailed instructions in naming, refer to “Basic

Operation” on page 37.

NOTICE

Any previous Arpeggio data in this number will be overwritten.

Original Notes Root

Determines the root note when the Convert Type of any

track is set to “org notes.”

Settings: C -2 – G8

n You can also set the Key directly from the keyboard, by

holding down the [SF6] KBD button and pressing the desired

key. For details, see page 37.

Track

Determines the track of the source Song for each Arpeggio

track.

Convert Type

Determines how the MIDI sequence data (of Song tracks)

will be converted to Arpeggio data from the three ways

below. This parameter can be set for each track.

Settings: normal, fixed, org notes

normal

The Arpeggio is played back using only the played note and its octave

notes.

fixed

Playing any note(s) will trigger the same MIDI sequence data.

org notes (original notes)

Basically same as “fixed” with the exception that the Arpeggio

playback notes differ according to the played chord.

This Job copies the Phrase (created in the Pattern mode)

to a specified track of the current Song.

Source Pattern, Phrase

Determines the source Pattern and Phrase number.

Copy Sample Voice

When this box is checkmarked, Sample Voices assigned to

the source phrase (actually the corresponding Mixing Part)

are copied to the destination track, and are assigned to the

corresponding Mixing Part of the current Song. This

Track 1 Bass Drum

Track 2 Click, Bass Drum, Snare Drum, etc.

Track 3 Snare Drum

Track 4 Brush SD, Side Stick, Hand Clap, etc.

Track 5 Hi Hat

Track 6 Ride Cymbal

Track 7 Tom, Crash/Splash/Chinese Cymbal

Track 8 Percussion, etc.

07: Put Track to Arpeggio

08: Copy Phrase

Song Job

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Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

parameter has no effect when no Sample Voice is used by

the selected phrase.

Track, Measure

Determines the destination Track (01 – 16) and Measure

number (001 – 999) at which the copied Phrase starts.

NOTICE

This Job overwrites any data already existing in the destination

track with the exception of the Mixing setup.

[F6] Song Jobs

This Job copies all data from a selected source Song to a

selected destination Song.

Source Song

Destination Song

NOTICE

This Job overwrites any data already existing in the destination

Song.

This Job allows you to copy a Part of the current Song to a

specific Pattern,

Range

Determines the range of measures to be copied to a

Pattern.

Settings: 001 – 999

Copy Sample Voice

When this box is checkmarked, Sample Voices used by the

source Song are copied to the destination Pattern as

Sample Voices, and are assigned to the Mixing Part

corresponding to the destination track. This checkbox has

no effect if no Sample Voices are assigned to the tracks in

the source Song.

Pattern, Section

Determines the destination Pattern and Section (A – P).

NOTICE

This Job overwrites any data including the Mixing setup already

existing in the destination Pattern and section.

This job deletes all data (including the Sample Voices and

Mixing Voices) from the selected Song or all Songs. It can

also be used to delete all 64 Songs at the same time.

Song

Determines the Song number to be erased.

n The Waveform on SDRAM cannot be deleted via this Job even

if the Sample Voice is used in the specified Song. If you want

to actually delete the Waveform assigned to the Sample Voice

used in the specified Song, use the Delete Job (page 135) in

the Sampling Job mode.

01: Copy Song

02: Split Song to Pattern

03: Clear Song

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

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166

Pattern Playback

The Pattern mode lets you play, record, edit and play your own original rhythm patterns. The Pattern Play mode is the main

‘portal’ by which you enter the Pattern mode, and it is here where you select and play a Pattern. You can also create your

own Patterns by assembling Phrases—short rhythmic passages and ‘building blocks’—and create Pattern Chains in which

Patterns can be combined together in custom order. To enter the Pattern Play mode, simply press the [PATTERN] button.

n The word “Pattern” refers to a short rhythmic passage of several measures which is looped and played back indefinitely. A Pattern includes

16 variations called “Sections.” You can use Sections by changing them during playback. A Pattern consists of 16 tracks and can be created

by assigning a Phrase to each track from the Patch display (page 170). For details about the Patterns, Sections and Phrases, see page 13.

n From the Play display in the Pattern Play mode, you can select the Voice of the Mixing Part corresponding to the current Track by pressing

the [CATEGORY SEARCH] button.

Pattern Playback Procedure

Press the [PATTERN] button to call up the

Pattern Play display (page 168).

2 Select a Pattern.

Move the cursor to the Pattern number, then select the

desired Pattern by using the data dial, [INC/YES] and

[DEC/NO] button. The name of the selected Pattern is

displayed. If you press the [PROGRAM] button so that

its lamp lights, you can select the desired Pattern by

using the Group [A] – [D] buttons and the Number [1] –

[16] buttons. Pattern numbers and the corresponding

buttons are as follows.

3 Select a Section (A – P) of the selected Pattern.

Move the cursor to the Section, then select the desired

Section by using the data dial, [INC/YES] and [DEC/

NO] button. If you press the [TRACK] button so that its

lamp lights, you can select the desired Section by using

the SECTION [A] – [H] buttons for Sections A – H,

[USER 1] – [USER DR] buttons and [ETHNIC] button for

Sections I – P.

4 Press the [F] (Play) button to start playback of

the Pattern.

Pattern playback continues repeatedly until you press

the [J] (Stop) button. Press the [J] (Stop) button to

stop playback of the Pattern. Press the [F] (Play)

button again to resume playback from that point.

Playback types

When the Keyboard Start function is set to on, Pattern

playback begins as soon as you press a key on the

keyboard. Move the cursor to the Keyboard Start icon then

press the [INC/YES] button to enable Keyboard Start.

In this status, press any key to start Pattern playback.

Button Combinations Pattern Number

[A]+[1] – [16] 01 – 16

[B]+[1] – [16] 17 – 32

[C]+[1] – [16] 33 – 48

[D]+[1] – [16] 49 – 64

Section Pattern number, Pattern name

Starting playback by pressing a note

Keyboard Start

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Pattern Playback

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167

To start playback of the Pattern from midway through the

Pattern, set the desired location by using the controls

below, then press the [F] (Play) button. These operations

can also be executed during playback.

Fast Forward/Rewind

This operation is the same as in the Song Play mode. See

page 137.

Jumping to a specific location in the Pattern

This operation is the same as in the Song Play mode. See

page 137.

To change Sections during playback, press the [TRACK]

button (the lamp lights), then use the SECTION [A] – [H]

buttons, [USER1] – [USER DR] buttons and [ETHNIC]

button. When selecting a different Section during Pattern

playback, “NEXT” and the next Section name appear in the

Section column at the top of the display. After the current

Section reaches the specified timing, the next Section

starts. If you record rhythm patterns such as intro, melody

A, fill-in, main theme, and ending to each of Sections, you

can play an entire Song by selecting the appropriate

Sections during playback.

This operation is the same as in the Song Play mode. See

page 137.

This operation is the same as in the Song Play mode. See

page 137.

From the Pattern Play display, you can assign five different

“snapshots” of important Pattern-related parameters such

as transpose, tempo, track mute/solo status, and the basic

Mixing setup to the [SF1] – [SF5] buttons as Pattern

Scenes. One of the convenient advantages of Pattern

Scene is that it lets you instantly and automatically execute

parameter settings that normally require many button

presses or controller operations. Use it during Pattern

recording or playback to make instantaneous setting

changes. Pattern Scene parameters are same as the ones

of Song Scene. See page 137.

Registering the Pattern Scene

After making the desired settings for the Scene,

simultaneously hold down the [STORE] button and press

one of the [SF1] to [SF5] buttons. The 8th note icon is shown

in the tab corresponding to the Sub Function button to which

the Pattern Scene is registered. Press the [STORE] button to

store the Pattern data including the Pattern Scene setting.

NOTICE

The Pattern Scene settings registered to the [SF1] – [SF5] buttons

will be lost if you change the Pattern or turn the power off without

executing the Store operation.

Recalling the Pattern Scene

You can recall the Pattern Scene by press one of the [SF1]

to [SF5] buttons.

The Pattern Chain function lets you program Sections in

your own custom order, and have them change

automatically during playback to create a seamless

sequence of backing parts and accompaniment for your

live performance or recorded Song. The Chain Play display

(page 171) is the ‘portal’ for entering the Pattern Chain

function and lets you play back the programmed Pattern

Chain. Press the [F5] Chain button from the Pattern Play

mode to go to the Pattern Chain Play display.

Pattern Chains can be created from the Chain Record

display (page 172) and the Insert function (page 174) on

the Chain Edit display. Pattern Chains can be edited in the

Chain Edit display (page 173).

Playback from the middle of the Pattern

Forward Press the [H] (Forward) button.

Fast forward Hold the [H] (Forward) button.

Rewind Press the [G] (Rewind) button.

Fast Rewind Hold the [G] (Rewind) button.

Move to the top of the Pattern Press the [P] button.

Changing the Section during playback

Track mute/solo

Change the tempo

Current Section or Next Section is indicated here.

Assigning various settings related to

Pattern playback (Pattern Scene)

Pattern Chain Playback

Pattern Playback

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Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Mixing Setup for each track

In the Pattern mode as well as in the Song mode, you can

set the Mixing parameters such as Voice, volume and pan

for each part (track). The structure and parameters are the

same as in the Song mode. See page 139.

Knobs and Control Sliders

By using the knobs and sliders on the front panel, you can

adjust various parameters such as pan, effect, cutoff

frequency and resonance for each Part (track) of the

Pattern. For more information, see page 138.

Pattern Playback—[F1] Play

This display always appears first when the Pattern mode is

engaged. You can play the Pattern by specifying a Section

after selecting a Pattern.

n Depending on the selected parameter, the NUM icon is shown

at the tab menu corresponding to the [SF6] button. In this

condition, you can use the [SF1] – [SF5] and [F1] – [F5]

buttons as number buttons by pressing the [SF6] NUM button.

For details, see page 36.

Pattern number, Pattern name

Determines the Pattern by specifying the number (01 – 64).

The name of the selected Pattern is shown. You can

change the Pattern name by moving the cursor here and

pressing the [SF6] CHAR button.

n For detailed instructions on naming, refer to “Basic Operation”

on page 37.

Section

Selects a Section of the selected Pattern. A Pattern can

include up to 16 variations called Sections, which can be

changed in real time during playback. The Section can be

selected via the [A] – [H] buttons (printed “SECTION A –

H”) and the [USER1] – [ETHNIC] buttons (printed

“SECTION I – P”). For details, see page 167.

Settings: A – P

Measure

Determines the location at which playback starts. This also

indicates the current location of playback. The Measure

can be set via the SEQ TRANSPORT buttons. For details,

see page 136.

Settings:

Measure: 001 – 256 (Available range of measure differs depending on

the length below.)

Beat: Indication only

Length

Determines the Pattern Length.

Settings: 001 – 256

Trans (Transpose)

Time signature (Meter)

Tempo

These are the same as in the Song Play mode. See

page 168.

Keyboard Start

When Keyboard Start is set to on, Pattern playback begins

as soon as you press a key on of the keyboard.

Settings: (on), (off)

Track number (Indication only)

Indicates the track number.

Track type (Indication only)

Indicates the track type: MIDI track or Audio track. For

Mixing Parts that correspond to Audio tracks, a Sample

Voice is assigned. For Mixing Parts that correspond to MIDI

tracks, a Voice other than a Sample Voice is assigned. For

Mixing Parts that correspond to empty tracks, no Voice is

assigned. For more about MIDI Tracks and Audio Tracks,

see page 14.

Settings: M (MIDI Track), W (Audio Track)

Mute/Solo (Indication only)

Indicates the Mute/Solo status for each track. For detailed

instructions on setting Mute/Solo, see page 137.

Blank: Neither Mute nor Solo are not assigned to this track.

m: Indicates muted track.

s: Indicates soloed track.

Voice (Voice Name)

Indicates the Voice name of the Mixing Part corresponding

to each track.

Section

Data indicator

Indicates whether the data is recorded or not to each track

of Sections A – P. The data indicator is shown at the column

of which the Section/Track contains recorded data.

Measure LengthBeat

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Pattern Playback

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169

[SF1] Scene1 – [SF5] Scene5

You can assign the settings of the Pattern-related

parameters (Pattern Scene) and Arpeggio-related

parameters to these buttons. You can also recall these

settings by pressing these buttons. For detailed

instructions on registering Scenes, see page 137. For

detailed instructions on setting the Arpeggio-related

parameters, see page 147.

n The Arpeggio is not available during Pattern playback.

Pressing the [SF1] Scene 1 – [SF5] Scene 5 buttons during

playback changes only the Pattern Scene.

n After registering the Pattern Scene, the 8th note icon will

appear on the tab corresponding to the pressed button. You

can confirm whether or not the Arpeggio Type is assigned to

that button in the Arpeggio display (page 147) of the Pattern

Record.

[SF6] TAP

The speed at which you press this button several times will

determine the playback tempo of the Arpeggio/Pattern.

[F1] Play

Calls up the Play display.

[F2] Play FX (Play Effect)

Calls up the Play Effect display.

[F3] Track

Calls up the Track display.

[F4] Patch

Calls up the Patch display (page 170).

[F5] Chain (Pattern Chain)

Calls up the Pattern Chain display (page 171).

[F6] Remix

Calls up the Remix display (page 175). This menu is shown

only when the cursor is located on the track containing

data.

Changing the rhythmic “feel” of the

Pattern—[F2] Play FX (Play Effect)

By changing the timing and velocity of the notes, you can

change the rhythmic “feel” of Pattern playback. The Play

Effect settings made here are only temporary and don’t

change the actual data in the Pattern. The Play Effect

settings can be applied actually to the Pattern data by

using the Normalize Play Effect Job.

The operation is same as in the Song Play mode. See

page 141.

Track Settings—[F3] Track

This display lets you set the MIDI Transmit Channel for

each track.

Regarding parameters with no number, refer to the Play

display (page 168).

Pattern name (Indication only)

Indicates the name of the current Pattern.

Voice (Voice name) (Indication only)

TxCh (Transmit Channel)

Int (Internal Switch)

Ext (External Switch)

These are the same as in the Song Play mode. See

page 142.

[SF6] INFO (Information)

You can view the amount of free and used sequencer

memory. The sequencer memory covers the all Songs and

Patterns recorded in the respective modes. When the used

memory amount reaches the maximum capacity, no further

Songs or Patterns can be stored. If this occurs, use the

Song Job or Pattern Job to delete any unnecessary Songs

or Patterns. You can go back to the previous display by

pressing the [SF6] button or the [EXIT] button.

Pattern Playback

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170

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Pattern Creating—[F4] Patch

This display lets you assign a Phrase to each track to

create a Pattern. 16 Sections named A – P can be created

for each Pattern. You can assign a User Phrase created

with the current Pattern selected. If you wish to use User

phrases recorded to tracks of other Patterns, use the

Phrase Data Copy function, selected with the [SF5] button.

Regarding parameters with no number, refer to the Play

display (page 168).

No. (Phrase Number)

Determines the Phrase number to be assigned to a track.

You can select one of the 256 User Phrases stored to the

selected Pattern. Please note that the User Phrases have

no data by default. When set to “---,” the track becomes

empty.

Settings: --- (off), 001 – 256

n The MOTIF XF features no Preset Phrase data.

Phrase Name

Indicates the name of the selected Phrase. You can

change the Phrase name by moving the cursor here and

pressing the [SF6] CHAR button.

n For detailed instructions on naming, refer to “Basic Operation”

on page 37.

[SF4] Clear

Pressing this button clears the Phrase assignment to the

currently selected track and leaves the track empty. Move

the cursor to the Phrase (track) to be cleared then press

the [SF4] button.

[SF5] Copy

Pressing this button copies a Phrase in another Pattern to

the selected one then assign it to the specified track. This

is useful if you are creating a Pattern and wish to use the

Phrase data from another Pattern.

Source phrase

Determines the Pattern number and the Phrase number

(001 – 256) to be copied.

Copy Sample Voice

When this box is checkmarked, Sample Voices assigned to

the source phrase are copied to the destination phrase as

Sample Voices, and are assigned to the corresponding

tracks in the selected Pattern.

Current Pattern Phrase and Track

Determines the number (001 – 256) of the destination

Phrase and track (1 – 16) to which the Phrase is assigned.

NOTICE

• Any previous data in the copy destination will be overwritten.

Important data should always be saved to a USB storage device

connected to the USB TO DEVICE terminal or to a computer

connected to the same network as the MOTIF XF (page 241).

• Undo/Redo cannot be used to undo/redo a Sample Voice copy

operation.

Length (Indication only)

Indicates the length of each Phrase assigned to each

track.

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Pattern Playback

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171

Select a Pattern from the Play display (page 168).

2 Press the [F4] button to call up the Patch

display.

3 Select a Section (A – P).

Move the cursor to the Section, then select the desired

Section by using the data dial, [INC/YES] and [DEC/

NO] button.

4 Set the meter (time signature), tempo, and

length of the Pattern.

Move the cursor to the desired parameter (such as

length, time signature or tempo), then set the value by

using the data dial, [INC/YES] and [DEC/NO] button.

5 Assign the desired Phrase to each track.

Move the cursor to a track then set a Phrase number by

using the data dial, [INC/YES] and [DEC/NO] buttons.

Phrase assignment can be executed also during

Pattern playback.

To confirm whether the Phrase is assigned properly or

not, solo the track to which the Phrase is assigned by

following the procedure below. Press the [SOLO] button

so that its indicator lights and press any of the Number

[1] – [16] buttons to select a track to which you

assigned the Phrase.

There are three methods that can be used to create a

Phrase:

• Recording the new phrase using the Pattern Record

function (page 177)

• Copying the Phrase from another Pattern by using the

[SF5] button.

• Converting a Part of the Song data to a Phrase by

using the Get Phrase from Song Job (page 184).

6 Repeat steps 3 through 5 above to finalize an

entire Pattern.

Create Sections used for the intro, melody A, melody B,

main theme and ending of the entire Song.

n It is a good idea to use the Copy Pattern Job (page 186) if

you wish to create a Section that is based on or sounds

similar to an already existing Section.

7 Press the [STORE] button to store the Pattern.

For detailed instructions on storing a Pattern, see

page 177.

Pattern Chain—[F5] Chain (Pattern

Chain)

Pattern Chain allows you to string several different Sections

together to make a one complete Song. For example,

create a Section A for the intro, a Section B for the verse, a

Section C for the chorus, and a Section D for the ending—

and you have the basic blocks to build an original Song.

The created Pattern Chain data can be converted to MIDI

sequence data and stored to a Song. To call up the Pattern

Chain display, press the [F5] Chain button from the Pattern

Play mode.

A Pattern Chain can be created for each Pattern, letting

you call up a different, dedicated Pattern Chain each time

you select a Pattern.

The following events can be recorded to the Pattern Chain.

• Playback order of Sections

• Pattern track on/off—Solo and Mute

• Tempo change

• Time signature change

There are two methods to create a Pattern Chain:

Recording playback of a Pattern in the Pattern Record

display in real time, and programming the playback order

of Sections one by one in the Pattern Chain Edit display.

The Pattern Chain data recorded in real time can be edited

in the Pattern Chain Edit display.

The Pattern Chain display lets you play the Pattern Chain

data you’ve created. Press the [F5] Chain button from the

Pattern Play mode to go to the Pattern Chain Play display.

The operation in the Pattern Chain display is basically

same as in the Pattern Play display with the exception that

the Pattern number cannot be selected. For details on

parameters which are not explained here, refer to the

Pattern Play display (page 168).

n Depending on the selected parameter, the NUM icon is shown

at the tab menu corresponding to the [SF6] button. In this

condition, you can use the [SF1] – [SF5] and [F1] – [F5]

buttons as number buttons by pressing the [SF6] NUM button.

For details, see page 36.

Creating a Pattern

Pattern Chain Playback—[F5] Chain

Pattern Playback

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172

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Section

Indicates the currently played Section. “NEXT” will be

shown here when playback is waiting for the timing of the

Section change.

Trans (Transpose)

Adjusts the pitch of the Pattern Chain playback in semitone

increments.

Settings: -36 – +0 – +36

Time signature

Indicates the time signature currently assigned to the

Pattern. During playback, the current time signature is

shown here.

Measure

Indicates the measure number of the currently playing

Pattern Chain. You can start playback from the middle of

the Pattern Chain by specifying the measure here then

pressing the [F] (Play) button.

Settings: 001 – 999

Tempo

Indicates the tempo currently assigned to the Pattern.

During playback, the current tempo is shown here.

Settings: 5.0 – 300.0

Keyboard Start

When Keyboard Start is set to on, Pattern Chain playback

begins as soon as you press a key on of the keyboard.

Settings: on, off

To start Pattern Chain playback, call up the Pattern Chain

display, then press the [F] (Play) button. When the end of

the Pattern Chain data is reached, playback automatically

stops. You can also press the [J] (Stop) button during

playback to stop playback of the Pattern Chain. Press the

[F] (Play) again to resume playback from that point.

Depending on the particular Chain data, the Pattern plays

back with automatic changes of the Section, track mute

and tempo—all of which are indicated on the display in real

time.

n You can confirm the Pattern Chain data by calling up the

Pattern Chain Edit display.

From the Pattern Chain Record display, you can record

playback of the Pattern—along with any realtime changes

you make. Press the [I] (Record) button from the Pattern

Chain Play display to call up the Pattern Chain Record

display. Press the [EXIT] button to go back to the Chain

Play display.

Events such as Section change, Track mute on/off and

Tempo change can be recorded as Pattern Chain data.

The Record Type is fixed to “replace” and cannot be

changed. Accordingly, recording the events overwrites

data in the already recorded range. You can also use the

Insert function (page 174) on the Chain Edit display to

create the Pattern Chain data.

For details on parameters indicated with numbers above,

refer to the Chain display (page 171). For details on all

other parameters, refer to the Pattern Play display

(page 168).

1 Select a Pattern in the Chain Play display.

This step is necessary because each Pattern has its

own dedicated Pattern Chain data.

2 Press the [I] (Record) button.

The [I] (Record) indicator lights and the Chain Record

display appears.

Set up the parameters for the start of recording.

Set the basic parameters for recording (e.g., Section,

Recording Track mute setting, Time Signature, Tempo

and so on). After setting, move the cursor to the Tempo.

4 Set the measure at which recording starts.

Normally, press the [P] (Top) button to set the top as

recording start measure.

Pattern Chain Playback Procedure

Pattern Chain Recording in Realtime—

[I] Chain Record

Pattern Chain Recording Procedure

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Pattern Playback

MOTIF XF Reference Manual

173

5 Press the [F] (Play) button to start recording.

To change Sections in realtime and record them, press

the [TRACK] button (the lamp lights), then use the [A] –

[H] buttons, [USER 1] – [USER DR] buttons and

[ETHNIC] button. To make Track Mute on/off settings,

press the [MUTE] button (the lamp lights), then press

the appropriate Number [1] – [16] buttons. The tempo

can be changed by pressing the [DEC/NO]/[INC/YES]

button, turning the data dial, or using the [SF1] – [SF5]

and [F1] – [F5] buttons as numeric keys after pressing

the [SF6] NUM button.

6 Press the [J] (Stop) button to stop recording.

Press the [STORE] button to store the recorded

Chain data on the internal User Memory.

n For more information on storing a Pattern, see page 177.

This mode gives you comprehensive, detailed controls for

editing the events of the recorded Pattern Chain. Events

such as Section change, Track mute on/off, Tempo change

and Meter can be recorded as Pattern Chain data. Press

the [EDIT] button from the Chain Play display to call up the

Chain Edit display. Press the [EXIT] button to go back to

the Chain Play display.

MEAS (Measure)

BEAT

CLOCK

Indicates the location of the corresponding event.

Changing any of these values changes the location of the

event accordingly.

Settings:

MEAS (Measure): 001 – 256

BEAT: 01 – 16 (The available range may change depending on the

Meter.)

CLOCK: 000 – 479 (The available range may change depending on

the Meter.)

Event Type

Setting Values

The following events are available in the Pattern Chain mode.

[SF1] View Filter

This display lets you select the event types that appear on

the Chain Edit display. This is particularly useful when

many types of events are mixed together, but you only want

to display the events you intend to edit.

Time Signature

Section

Track Mute

Tempo Change

Only events with checked boxes will appear in the Chain

Edit display. If the box is set to off, the corresponding event

will disappear in the Chain Edit display.

[SF2] Copy

The function of this display lets you copy events from a

specified range to another range.

Source Range

Destination Location (Top Measure)

Determines the source range and the top measure of the

destination.

Settings: 001 – 256

Number of Times

Determines the number of times the data is copied.

Settings: 01 – 99

Editing a Pattern Chain—[EDIT] Chain Edit

Section Change timing of Sections A – P and

End event of the data.

TrackMute The “m” indicates the corresponding

track is muted.

Tempo 005.0 – 300.0

TimeSig (Time Signature) 1/16 – 16/16, 1/8 – 16/8, 1/4 – 8/4

Pattern Playback

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174

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

[SF3] Song (Convert to Song)

Converts the current Pattern chain to MIDI sequence data

and copies the data to a specified Song. This function is

useful for quickly creating backing and accompaniment

parts for Song data.

Destination Song

Determines the destination Song by specifying the number

(01 – 64). The name of the selected Song is displayed.

Destination Location (Top Measure)

Determines the beginning measure number of the

destination.

Settings: 001 – 999

Without Program Change

When this box is checkmarked, the settings of the Mixing

and Tempo are copied to the destination Song ( ). The

Tempo value is copied to the top measure ( ) of the

destination Song. When the checkmark is removed, the

Voice settings in each Phrase are also copied to the top

measure ( ) of the destination Song as Program Change

events.

NOTICE

This Job operation overwrites any data previously existing in the

destination Song and the Undo/Redo (page 182) Job cannot be

used after executing this Job. Important data should always be

saved to a USB storage device connected to the USB TO DEVICE

terminal or to a computer connected to the same network as the

MOTIF XF (page 241).

[SF4] Insert

From this display, you can insert a new event to the Pattern

Chain. After setting the following parameters, press the

[F6] Set button or [ENTER] button to actually insert the

event.

Event Type

Determines the event type to be inserted.

Settings: Time Signature, Section, end, Tempo Change, Track Mute

end

Indicates the end position of the Pattern Chain.

Inserting location

Specifies the location at which the new event will be

inserted.

Settings:

MEAS (Measure): 001 – 999

BEAT: 01 – 16 (depends on the meter)

CLOCK: 000 – 479 (depends on the meter)

Value of the selected event type

Enters the value of the event to be inserted. The values

available differ depending on the selected Event Type ( ).

Settings:

Time Signature: 1/16 – 16/16, 1/8 – 16/8, 1/4 – 8/4

Section: A – P, end (end of the data)

Tempo Change: 005.0 – 300.0

Tra ck Mu te: m (mute on), blank (mute off)

[SF5] Delete

Deletes the currently selected event. This button is not

available when the cursor is located at the Time Signature

event, Tempo Change or top/bottom of the data.

1 Select a Pattern on the Chain Play display.

This step is necessary because each Pattern has its

own dedicated Pattern Chain data.

2 Press the [EDIT] button to call up the Chain

Edit display.

3 Edit the already-recorded events.

Move the cursor to each of parameters, then set the

value by using the data dial, [INC/YES] and [DEC/NO]

buttons. To make it easier to find desired parameters,

use the View Filter display called up via the [SF1]

button. You can use the Copy function called up via the

[SF2] button to copy the events from a specified range

to another range.

If you wish to delete the event, move the cursor to the

event to be deleted then press the [SF5] button.

If you wish to insert a new event, press the [SF4] button

to call up the Insert display. From this display, you can

input the events one by one.

4 Convert the created Pattern Chain data to a

Song.

By using the Convert To Song display called up via the

[SF3] button, you can convert the created Pattern Chain

data to MIDI sequence data and copy the converted

data to a specified Song. This function is useful for

quickly creating backing and accompaniment parts for

Song data.

Pattern Chain Edit Procedure

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Pattern Playback

MOTIF XF Reference Manual

175

5 Store the created Pattern Chain data to internal

User Memory.

From the Store window called up via the [STORE]

button, you can store the current Pattern including the

created Pattern Chain data to internal memory. After

storing the Pattern data, the Pattern Chain included in

the Pattern is maintained even if the power is turned off.

1 From the Chain Edit display, press the [SF4]

Insert button to call up the Insert window.

2 Specify the event type to be inserted, the

insertion point (measure, beat, and clock), and

parameter value of the event.

3 Press the [F6] Set button to insert the specified

event at the specified location.

You can continue inserting new events since the Insert

Event window remains open. Press the [ENTER] button

to actually insert the event and close the Insert window.

4 Press the [EXIT] button to go back to the Chain

Play display.

Dividing the Pattern data to create a

new Pattern—[F6] Remix

The Remix function divides the MIDI data in a selected

track into several pieces of a specified note length, and

randomly rearranges a portion of the data, letting you

easily create completely new and unique rhythm

variations—all from a single Pattern.

n When Remix is used on a track containing a sliced sample

voice, the various segments of the sample are rearranged with

varied timing. The sample voices can be created by executing

the Sampling with the Sampling Type set to “slice+seq” or

executing the Sample Slice Job.

n The Remix display is available only when the cursor is located

on the track containing data.

Type

Determines how a single measure is divided. The dividing

point and the amount differ depending on the Type setting

here. The diagram of the selected Type will be shown. See

below ( ).

Settings: 1 – 16

Variation

Determines how the segments divided by Type ( ) will be

rearranged. The division and rearrangement rules differ

depending on the Variation setting.

Settings: normal 01 – 16, reverse 01 – 16, break 01 – 16, pitch 01 –

16, roll 01 – 16, fill 01 – 48

normal 01 – 16

The divided data is only rearranged. 16 variations are provided.

reverse 01 – 16

In addition to rearrangement of the divided data, some portions of the

data may be played in reverse. 16 variations are provided.

break 01 – 16

In addition to rearrangement of the divided data, some portions of the

data may be deleted to create breaks. 16 variations are provided.

pitch 01 – 16

In addition to rearrangement of the divided data, some portions of the

data may be pitch-shifted. 16 variations are provided.

roll 01 – 16

In addition to rearrangement of the divided data, some portions of the

data may be played with a roll effect. 16 variations are provided.

fill 01 – 48

In addition to rearrangement of the divided data, some portions of the

data may be played with fill-in. 48 variations are provided.

Entering New Events

Pattern Playback

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176

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Interval

Determines the measure interval with which the Remix

operation is executed. In other words, this parameter

determines the measures to which Remix is applied. When

this parameter is set to “1,” Remix is applied to all

measures. When set to “2,” Remix is applied to the data of

the 2nd measure, 4th measure, 6th measure, and so on.

When set to “3,” Remix is applied to the data of the 3rd

measure, 6th measure, 9th measure, and so on.

The measures to which Remix is applied are shown on the

display. See below ( ).

Settings: 1 – 8

Type diagram

Indicates the division point and the amount of division

determined by Type ( ). The diagram below indicates the

division points in 16th note resolution. When Type is set to

“1,” for example, the data is divided at the upbeat before

beat 4. When Type is set to “2,” the data is divided at three

points: the upbeat before beat 2, the downbeat of beat 3,

and the upbeat before beat 4.

Interval diagram

Indicates the measures to which the Remix is applied.

These measures are located at the same interval

determined by the Interval ( ) parameter. The example

below results when setting the Interval ( ) to “2.”

[SF4] Cancel

Pressing this button cancels the most recent Remix which

has not been fixed yet. This button is not available after the

result of Remix is fixed or before Remix is executed.

[SF5] Apply

Pressing this button executes Remix. If you are not satisfied

with the result after Remix is executed, press the [SF4]

button and try Remix again. If you are satisfied with the

result, press the [ENTER] button to fix the remixed data.

1 Set the Type ( ), Variation ( ) and Interval

( ).

2 Press the [SF5] button to execute Remix.

3 Confirm the result of the Remix operation.

If you are not satisfied with the result of the Remix,

press the [SF4] button then try again.

4 Press the [ENTER] button to fix the Remix

result.

5 Press the [STORE] button to store the Pattern

to internal User Memory.

Ty pe = 1

Ty pe = 2

1st beat 2nd beat 3rd beat 4th beat

Remix Procedure

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177

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Pattern Recording

In the Pattern Record mode, you can record your keyboard performance to create a Phrase as a basic material of the Pattern

data. The created Phrase is assigned to the specified track automatically. Press the [I] (Record) button from the Pattern

Play mode to enter the Pattern Record mode.

n Recording of audio data can be done in the Sampling Record mode (page 201).

Realtime Recording

This method lets you record the performance data as it is

played, allowing you to capture all the nuances of an actual

keyboard performance. Recording can be done while

monitoring playback of other already-recorded tracks.

You can select one of two methods for Realtime recording:

Replace and Overdub.

Pattern Recording procedure

Here in outline form is the process of recording a Pattern.

1 Select a Pattern, then select a Section to be

recorded.

Press the [PATTERN] button to go to the Pattern Play

display (page 168), and select a Pattern, then a Section

to be recorded. Select an empty Pattern if you wish to

create a new Pattern from scratch. If an empty Pattern

is not available, delete an unnecessary Pattern by

using the Clear Pattern Job (page 187).

2 Press the [I] (Record) button to call up the

Record Setup display (page 178).

3 Set recording-related parameters in the Record

Setup display.

Select the track to be recorded and the Recording

method to prepare for Pattern Recording.

When selecting a track to which no Phrase has been

assigned, your keyboard performance will be recorded

to an empty Phrase which will be assigned to the

recording track. When selecting a track that already

has an assigned Phrase, that Phrase will be replaced

by your recorded performance. If you wish to record

using an Arpeggio, set the necessary parameters from

the Arpeggio display (page 178).

4 Record your keyboard performance in real time

to create a Phrase.

Press the [F] (Play) button to start recording. Press the

[J] (Stop) button to stop recording.

5 Edit the recorded Phrase using the Pattern Job

(page 181) and Pattern Edit (page 179).

6 Store the Pattern (including the recorded

Phrase) to internal User Memory.

Press the [STORE] button to call up the Pattern Store

window then store the created Pattern.

This ensures that the created Pattern will be retained

even if the power is turned off.

NOTICE

The recorded Pattern will be lost when selecting a different

Pattern, calling up a different mode, or turning the power off.

Make sure to store the Pattern data to internal memory by

pressing the [STORE] button before selecting a different

Pattern, calling up a different mode, or turning the power off.

7 Save the created Pattern data to a USB storage

device or to a connected computer as desired

(page 241).

Storing a Pattern—[STORE] (Pattern

Store)

This section covers how to store the Pattern you have

recorded and edited. By executing the Store operation, the

Pattern data you have created will be retained even if the

power has been turned off. Pressing the [STORE] button

calls up the Pattern Store window.

The following data will be stored by Pattern Store.

Sequence data

Currently selected Pattern (Section A – P), Pattern Chain,

Phrase 001 – 256

Tone Generator data

Mixing settings (Common Edit parameters and Part Edit

parameters)

n The Mixing Voices can be edited in the Mixing Voice Store

window (page 199).

The Pattern Store operation is the same as that of Voice

Store (page 54) and Song Store (page 144).

NOTICE

This operation overwrites any data already existing in the

destination Pattern. Select a Pattern number containing no data or

unnecessary data.

n If there is not enough memory space for the Song/Pattern, an

alert message appears, and you will not able to store any

additional Songs/Patterns. If this happens, delete

unnecessary Patterns/Songs by using the Song/Pattern Job,

then try the Store operation again.

Pattern Recording

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178

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Preparing the Pattern Recording—

[F1] Setup

Pattern name (Indication only)

Indicates the name of the current Pattern. The Pattern can

be selected in the Pattern Play display (page 168).

Measure

Determines the measure from which recording starts. This

also indicates the current location of recording.

Settings:

Measure: 001 – 256

Beat: Indication only

Length

Determines the Pattern Length. This also represents the

length of the Phrase created via Recording procedure.

Settings: 001 – 256

Section (Indication only)

Indicates the Section to be recorded. The Section can be

set from the Pattern Play display (page 168).

Time signature (Meter)

Specifies the meter (time signature) for the Pattern.

Settings: 1/16 – 16/16, 1/8 – 16/8, 1/4 – 8/4

Tempo

This is the same as in the Song Record mode. See

page 145.

Keyboard Start

When Keyboard Start is set to on, Pattern recording begins

as soon as you press a key on of the keyboard.

Settings: (on), (off)

Track number (Indication only)

Track type (Indication only)

Mute/Solo (Indication only)

Voice Name (Indication only)

These are the same as in the Song Record mode. See

page 145.

REC TR (Record Track)

Determines the track to be recorded. Move the cursor to

the desired track or press any of the Number buttons [1] –

[16] with the TRACK lamp turned on so that the red circle is

shown in the corresponding column of the REC TR.

Settings: 1 – 16

Record Type

Determines the Recording method.

Settings: replace, overdub

replace

You can use this method when you want to overwrite an already

recorded track with new data in real time. The original data will be

erased.

overdub

You can use this method when you want to add more data to a track

that already contains data. Previously recorded data will be

maintained.

Loop (Loop Recording)

Determines whether the Recording is looped or not when

executing Realtime recording. When set to on, the phrase

will play repeatedly during real-time recording. This can be

handy when recording drum Parts with the Recording type

set to “overdub,” allowing you to add different instruments

on each pass. When set to off, recording stops after one

pass through the phrase.

Record Part

Quantize (Record Quantize)

Voice

Volume

Pan

Ins Effect Sw (Insertion Effect Switch)

These are the same as in the Song Record mode. See

page 146.

[SF1] Scene1 – [SF5] Scene5

You can change the settings of the Pattern-related

parameters (Pattern Scene) and Arpeggio-related

parameters by pressing these buttons. For details, refer to

the description of the same buttons in the Pattern Play

mode on page 169.

[F1] Setup

Pressing this button returns from the previous display to the

Record Setup display.

[F2] Arpeggio (Record Arpeggio)

The operation is same as the one in the Record Arpeggio

display (page 147) in the Song mode.

Measure LengthBeat

MOTIF XF Reference Manual

Editing MIDI Events (Pattern Edit)

179

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

[F4] Erase

This menu appears as soon as Recording starts. During

Pattern recording, pressing the key while holding the [F4]

button erases all the note events of the pressed key. This is

useful in loop recording since it allows you to quickly delete

wrong notes played for a specific key.

[F5] Click

This is the same as in the Song Record mode. See

page 146.

Realtime Recording Procedure

This section explains how to record your performance

using the Realtime Recording features. Please keep in

mind that the procedure differs depending on the Record

Type and Record Track set from the Record Setup display.

The operation is same as the one in the Song Record

display (page 147).

Editing MIDI Events (Pattern Edit)

The Pattern Edit mode lets you edit the already recorded Phrases or insert the new data to the Phrases. It can be used to

correct mistakes as well as add dynamics or effects such as vibrato to refine and finish the Phrase.

Press the [EDIT] button from the Pattern Play mode to go to the Pattern Edit mode.

n The Pattern Edit mode gives you comprehensive, detailed controls for editing the MIDI events of individual Pattern tracks. MIDI events are

messages (such as note on/off, note number, program change number, etc.) that make up the data of a recorded phrase.

n Like the Song Edit mode, Pattern Edit consists of the Event List display and the Insert Event window. The Event List display lets you correct

or delete already inserted MIDI events and the Insert Event window lets you insert new events to the Pattern. By using the Insert Event

window, you can input the events one by one. The Event List display will always appear when the Pattern Edit mode is first called up.

Editing the recorded data

Here in outline form is the process of correcting or deleting

already recorded events.

1 Select a track to be edited in the Pattern Play

display.

If you wish to edit a certain phrase, press the [F4]

button to call up the Patch display (page 170), then

select the desired Phrase.

2 Press the [EDIT] button to enter the Pattern Edit

mode.

The Event List display (page 180) of the Pattern

appears.

n You can select the desired track with the Number buttons

[1] – [16] by pressing the [TRACK] button (the lamp lights)

after entering the Pattern Edit mode.

3 Move the cursor to the event or parameter to be

edited.

Use the [L]/[M] (Cursor Up/Down) button to move the

cursor to the desired timing. Press the [G] (Rewind)/

[H] (Fast Forward) button to move the cursor by

single measures. Use the [<]/[>] (Cursor Left/Right)

button to move the cursor to the parameter to be

edited.

n For details about each event and parameter, see page 30.

n Use the View Filter function (page 180) to help you quickly

find desired events.

4 Change the parameter settings or location of

the event.

Edit the value by using the [INC/YES], [DEC/NO]

buttons and the data dial. The edited event will flash on

the display.

Change the event location by editing the MEAS

(measure), BEAT, and CLOCK.

Press the [F6] button to delete the event at the cursor

location.

5 After you’ve finished editing a parameter, press

the [ENTER] button to confirm and enter the

edit (the event will stop flashing).

If the cursor is moved to a new event while the current

event is still flashing, editing of the current event is

cancelled.

6 Press the [EXIT] button to go back to the

Pattern Play display.

7 Press the [STORE] button to call up the Pattern

Store window (page 177), then store the

created Pattern.

Editing MIDI Events (Pattern Edit)

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180

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Inserting the New Event

This section shows how to insert new events to the current

Song.

1 From the Event List display, press the [F5]

Insert button to call up the Insert Event

window.

2 Specify the event type to be inserted, the

insertion point (measure, beat, and clock), and

parameter value of the event.

When the cursor is located on the Event Type, you can

call up the list of event types to be input by pressing the

[SF6] LIST button and select one from the list. For

details about each event and parameter, see page 30.

3 Press the [F6] Set button to insert the specified

event at the specified location.

The Insert Event window remains open, allowing you to

continue inserting new events. Press the [ENTER]

button to actually insert the event and close the Insert

Event window.

4 Press the [EXIT] button to go back to the Event

List display.

Event List display

In the Event List display, MIDI events (including mainly

values such as note number, velocity, and control change

value) are listed and can be edited. Here you can edit or

delete previously recorded events.

This is the same as the Event List display in the Song Edit

mode. For details, see page 151.

Changing the MIDI event view—[F2]

ViewFilter

This is the same as the View Filter in the Song Edit mode.

For details, see page 152.

Event type

Insertion point Parameter

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Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Pattern Jobs

The Pattern Job mode contains a comprehensive set of editing tools and data transform functions you can use to change the

sound of the Pattern or Phrase. It also includes a variety of convenient operations, such as copying or erasing data.

36 Pattern Jobs are available.

Function Description

[F1] Undo/Redo Undo Job cancels the changes made by the most recent operation, restoring the data to its previous state.

Redo Job cancel Undo and restores the changes.

[F2] Note Note data Jobs

01: Quantize These are the same as in the Song Job mode. See page 153.

02: Modify Velocity

03: Modify Gate Time

04: Crescendo

05: Transpose

06: Glide

07: Create Roll

08: Sort Chord

09: Separate Chord

[F3] Event Event Jobs

01: Shift Clock These are the same as in the Song Job mode. See page 153.

02: Copy Event

03: Erase Event

04: Extract Event

05: Create Continuous Data

06: Thin Out

07: Modify Control Data

08: Beat Stretch

[F4] Phrase Phrase Jobs

01: Copy Phrase This Job copies a selected Phrase to the designated destination Phrase.

02: Exchange Phrase This Job exchanges the contents of two specified Phrases.

03: Mix Phrase This Job mixes all data from two selected user Phrases.

04: Append Phrase This Job appends one Phrase to the end of another to create one longer Phrase.

05: Split Phrase This Job splits a selected Phrase into two separate Phrases.

06: Get Phrase from Song This Job copies a segment of sequence-track data from a Song into the designated destination Phrase.

07: Put Phrase to Song This Job copies a selected user Phrase into a specified area of a selected Song.

08: Clear Phrase This Job deletes all data from the selected Phrase.

[F5] Track Track Jobs

01: Copy Track This Job copies all data of the selected type from a specified source track to a specified destination track.

02: Exchange Track This Job exchanges or “swaps” the specified type of data between two specified tracks in the current

Song.

03: Mix Track This Job mixes all data from two selected tracks.

04: Clear Track This Job deletes all data of the selected type from the selected track.

05: Normalize Play Effect This Job rewrites the data in the selected track so that it incorporates the current Play FX/Groove/MIDI

Delay settings.

06: Divide Drum Track This Job 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).

07: Put Track to Arpeggio This Job copies data in the specified measures of a track for creating Arpeggio data.

[F6] Pattern Pattern Jobs

01: Copy Pattern This Job copies all data from a selected source Pattern to a selected destination Pattern.

02: Append Pattern This Job appends one Pattern to the end of another to create one longer Pattern.

03: Split Pattern This Job splits a selected Pattern into two separate Patterns.

04: Clear Pattern This Job deletes all data from the selected Pattern, or from all Patterns.

Pattern Jobs

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182

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Pattern Job Procedure

From the Pattern Play display, press the [JOB]

button to enter the Pattern Job mode.

2 Select the desired Job menu by pressing one

of the [F1] – [F6] buttons.

3 Move the cursor to the desired Job by using

the data dial, [INC/DEC] and [DEC/NO] buttons,

then press the [ENTER] button to call up the

Job display.

4 Move the cursor to the desired parameter, then

set the value by using the data dial, [INC/YES]

and [DEC/NO] buttons.

5 After setting, press the [ENTER] button to

execute the Job.

“Completed” will appear when the Job is done.

NOTICE

In some Jobs, the operation overwrites any data previously

existing in the destination memory. Important data should

always be saved to a USB storage device connected to the

USB TO DEVICE terminal or to a computer connected to the

same network as the MOTIF XF (page 241).

6 Press the [EXIT] button twice to go back to the

Pattern Play display.

n If there is no data in the specified range, “No Data” will

appear on the display and the Job cannot be executed.

n If you make a mistake or want to compare the sound of the

data before and after executing a Job, press the [F1]

button to use the Undo/Redo function.

NOTICE

Even if a Job operation has been completed, selecting a

different Pattern or turning the power off without storing will

erase the Pattern data. Make sure to store the Pattern data to

internal memory by pressing the [STORE] button before

selecting a different Pattern or turning the power off.

n Some of the Jobs which enable you to copy the Sample

Voice from the source to the destination execute the actual

copy operation only when the Bank Select and Program

Change events which specify the Sample Voice are

recorded in the source Track.

[F1] Undo/Redo

This is the same as in the Song Job mode. See page 154.

[F2] Note Jobs

The Note Jobs in the Pattern mode are basically same as in

the Song Job mode. However, unlike in the Song Job

mode, Pattern Note Jobs are applied to the Phrases (001 –

256) and a selected range in the Phrase (measure : beat :

clock).

[F3] Event Jobs

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).

n In “03: Erase Event Job,” “Tempo Change,” “Scene Memory,”

or “Track Mute” cannot be selected as Event Types, unlike in

the Song Erase Event Job.

n In “05: Create Continuous Data Job” and “07: Modify Control

Data Job,” “Tempo Change” cannot be selected as Event

Types, unlike in the Song Job mode.

[F4] Phrase Jobs

This Job copies a selected Phrase to the designated

destination Phrase. Also the Sample Voices used in the

selected Phrase can be copied. This is useful if you are

creating a Pattern and wish to use the Phrase data from

another Pattern.

01: Copy Phrase

Pattern Jobs

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183

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Source Phrase

Destination Phrase

Determines the Pattern number (01 – 64) and Phrase

number (001 – 256) of the source and destination

respectively.

Copy Sample Voice

When this box is checkmarked, Sample Voices assigned to

the source Phrase are copied to the destination Phrase as

Sample Voices, and are assigned to the corresponding

tracks in the selected Pattern. Make sure to set this

parameter to on when coping the Phrase using the Sample

Voice. When there is no memory available in the destination

Pattern for Sample Voice data, an alert message will

appear on the display and the Sample Voice data will not

be copied. If this occurs, use Sample Job 02: Delete to

delete any unused samples, then try again.

NOTICE

• Any previous data in the copy destination will be overwritten.

• Undo/Redo cannot be used to undo/redo a Sample Voice copy

operation.

This Job exchanges or “swaps” the contents of two

specified Phrases. This is useful if you wish to exchange

two Phrases each of which is assigned to a different

Pattern.

Phrase to be exchanged

Determines the Pattern number (01 – 64) and Phrase

number (001 – 256) to be exchanged respectively.

n If this Job is applied to Phrases which use Sample Voices, the

Sample Voices will not be exchanged.

This Job mixes all data from two selected user Phrases—

and —and places the result in Phrase . This is useful if

you wish to create a new Phrase by mixing two Phrases

played, for example, by different drum instruments.

Original Phrase

Original Phrase and Destination Phrase

Determines the Pattern numbers (01 – 64) and Phrase

numbers (001 – 256) to be mixed respectively. Executing

the Job mixes all data from two selected user Phrases—

and —and places the result in Phrase .

n Keep in mind that applying this Job to Phrases with Sample

Voices does not mix the Sample Voices.

This Job appends one Phrase ( ) to the end of another

( ) to create one longer Phrase.

Original Phrase

Original Phrase and Destination Phrase

Determines the Pattern numbers (01 – 64) and Phrase

numbers (001 – 256) to be appended respectively.

Executing the Job appends one Phrase ( ) to the end of

the Phrase ( ).

n If this Job is applied to Phrases which use Sample Voices, the

Sample Voices of the source Phrase ( ) will not be appended.

n If the Pattern length becomes greater than 256 measures as a

result of the this Job, an error message will be displayed and

the Job will be aborted.

02: Exchange Phrase

03: Mix Phrase

04: Append Phrase

Pattern Jobs

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184

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

This Job splits a selected Phrase ( ) into two separate

Phrases ( and ). Phrase is divided at the Split Point

( ).

Original Phrase

Determines the original Phrase to be split by selecting the

Pattern number (01 – 64) and Phrase number (001 – 256).

Executing the Job leaves the part before the Split Point ( )

of the original Phrase.

Destination Phrase

Determines the split destination Phrase by selecting the

Pattern number (off, 01 – 64) and Phrase number (off, 001 –

256). Executing the Job copies the part after the Split Point

to this split destination Phrase. When either the Pattern or

the Phrase is set to “off,” the part after the Split Point of the

original Phrase will be deleted.

NOTICE

This Job overwrites any data already existing in the split

destination Phrase ( ).

Split Point Measure

Determines the measure (002 – 256) at which the Phrase

will be split.

This Job copies a segment of sequence-track data from a

Song into the designated destination Phrase. This Job is

useful when you’ve found a drum or bass pattern in a Song

and want to use it in the Pattern.

Source Song, Track and Measures

Determines the source Song number (01 – 64), Track

number (01 – 16) and measure range (001 – 999) of the

Song. If the specified measure range is more than 257, an

alert message will appear on the display and the Job will

be aborted. If this occurs, set the Measure again so that

this range is within 256 measures.

Destination Phrase

Determines the destination Phrase by selecting the Phrase

number (001 – 256). The destination Phrase can be

specified among the Phrases of the current Pattern.

NOTICE

Any previous data in the copy destination will be overwritten.

Copy Sample Voice

When the Copy Sample box is checkmarked, Sample

Voices used in the source data are copied to the

destination Phrase as Sample Voices, and are assigned to

the destination Pattern track. Make sure to set this

parameter to on when copying a track using a Sample

Voice. When there is no memory available in the destination

Pattern (current Pattern) for Sample Voice data, an alert

message will appear on the display and the Sample Voice

data will not be copied. If this occurs, use Sample Job 02:

Delete to delete any unused samples, then try again.

NOTICE

Undo/Redo cannot be used to undo/redo a Sample Voice copy

operation.

This Job copies a selected user Phrase into a specified

area of a selected Song.

Source Phrase

Determines the Phrase number (001 – 256) to be copied.

Destination Song, Track and Measure

Determines the destination Song number (01 – 64), Track

number (01 – 16) and measure range (001 – 999).

NOTICE

The copy operation overwrites any data previously existing on the

destination track and measure range.

Copy Sample Voice

When the Copy Sample box is checkmarked, Sample

Voices used by the source Phrase are copied to the

destination Song as Sample Voices, and are assigned to

the destination Song track. Make sure to set this parameter

to on when coping a Phrase using a Sample Voice. When

there is no memory available in the destination Song for

Sample Voice data, an alert message will appear on the

05: Split Phrase

06: Get Phrase from Song

07: Put Phrase to Song

Pattern Jobs

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185

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

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.

NOTICE

Undo/Redo cannot be used to undo/redo a Sample Voice copy

operation.

This Job deletes all data from the selected Phrase.

Phrase

Determines the Phrase number (001 – 256) to be cleared.

Clear Sample Voice

When the checkbox is checked, the Sample Voice used in

the Phrase specified above will also be cleared.

NOTICE

Undo/Redo (page 154) cannot be used to undo/redo a Delete

sample operation.

[F5] Track Jobs

This Job copies all data of the selected type from a

specified source track to a specified destination track. This

is useful if you are creating a Pattern and wish to use the

track data from another Pattern.

Source Track

Destination Track

Determines the Pattern number (01 – 64), Section (A – P)

and Track (01 – 16) of source and destination respectively.

NOTICE

Any previous data in the copy destination will be overwritten.

Data Type to be copied

Determines the type(s) of data to be copied.

Settings: Sequencer Event (all events in the track), Play Effect, Mix

Part Parameter (all Mixing Part parameters), Sample Voice

n When there is no memory available in the destination Pattern

for Sample Voice data, an alert message will appear on the

display and the Sample Voice data will not be copied even

though the check box of the Sample Voice is marked. If this

occurs, use Sample Job 02: Delete to delete any unused

samples, then try again.

NOTICE

Undo/Redo (page 154) cannot be used to undo/redo a Delete

sample operation.

This is the same as in the Song Job mode. See page 163.

This Job deletes all data of the selected type from the

selected track.

Tracks

Determines the track to be cleared by specifying the

Section (A – P, all) and Track (01 – 16, 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: Sequencer Event (all events in the track), Play Effect, Mix

Part Parameter (all Mixing Part parameters), Sample Voice

NOTICE

Undo/Redo cannot be used to undo/redo a Clear operation for

tracks that contain sample data.

n The Waveform on SDRAM cannot be deleted via this Job even

if the Sample Voice box is checked. If you want to actually

delete the Waveform assigned to the Sample Voice used in the

specified Song, use the Delete Job (page 131) in the

Sampling Job mode.

08: Clear Phrase

01: Copy Track

02: Exchange Track

03: Mix Track

04: Clear Track

Pattern Jobs

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186

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

This is the same as in the Song Job mode. See page 163.

This Job copies data in the specified measures of a track

for creating Arpeggio data. Up to 16 unique note numbers

can be recorded to the Arpeggio track. If more than 16

different note numbers have been recorded to the MIDI

sequence data, the Convert operation reduces the notes in

excess of the limit. Because of this, be careful to record

only up to 16 different notes when you create an Arpeggio,

especially when using all four tracks.

Range

Determines the range which will be converted to the

arpeggio data by specifying the Section (A – P) and

Measure (001 – 256).

Other parameters are the same as in the Song Job mode.

See page 164.

[F6] Pattern Jobs

This Job copies all data from a selected source Pattern to a

selected destination Pattern.

Source Pattern

Destination Pattern

Determines the source and destination Pattern by selecting

the Pattern number (01 – 64) and Section (A – P, all). If you

set the source Section to “all,” the destination Section is

also set to “all” automatically, with the result that all source

Pattern data is copied to the destination.

Copy Pattern Chain

When this box is checkmarked, Pattern Chain data as well

as Pattern data will be copied.

This Job appends one Pattern ( ) to the end of another

( ) to create one longer Pattern. Actually, the Phrases

making up the source Pattern ( ) will be appended to the

end of the Phrases making up the destination Pattern ( ).

This Job is useful if you wish to connect different Patterns

together.

Original Pattern

Original Pattern and Destination Pattern

Determines the two Patterns to be connected by selecting

the Pattern numbers (01 – 64) and Sections (A – P)

respectively. Executing the Job appends one Pattern ( )

to the end of the other Pattern ( ). The result of this Job

will be overwritten to the destination Pattern ( ).

05: Normalize Play Effect

06: Divide Drum Track

07: Put Track to Arpeggio

01: Copy Pattern

02: Append Pattern

Pattern Jobs

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187

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Keep Original Phrase

When this box is checkmarked, the original destination

Pattern data is retained in memory, along with the new

appended Pattern data. When the Keep Original Phrase

checkbox is checked, this Job requires twice the number

of empty user Phrases as the number of tracks containing

data in which to store the appended Phrase data. If the

required space is not available, an alert message will

appear and the Job will be aborted. If this occurs use the

Clear Phrase Job to delete unused Phrases then try again.

If the box is not checkmarked, the original destination

Pattern is erased and replaced with the newly created

Phrases.

n If this Job is applied to Patterns which use Sample Voices, the

Sample Voices of the source Phrase ( ) will not be appended.

n If the Pattern length becomes greater than 256 measures as a

result of this Job, an error message will be displayed and the

Job will be aborted.

This Job splits a selected Pattern ( ) into two separate

Patterns ( and ). The Pattern is divided at the Split

Point ( ). Actually, the Phrases making up the source

Pattern ( ) will be divided and the divided Phrases after

the Split Point will be assigned to the tracks of the

destination Pattern.

Original Pattern

Determines the original Pattern to be split by selecting the

Pattern number (01 – 64) and Section (A – P). Executing

the Job leaves the part before the Split Point in the original

Phrase.

Destination Pattern

Determines the split destination Pattern by selecting the

Pattern number (01 – 64) and Section (off, A – P).

Executing the Job moves the part after the Split Point to this

split destination Pattern. When either of the Pattern number

or Section is set to “off,” the part after the Split Point ( ) of

the original pattern ( ) will be deleted.

NOTICE

This Job overwrites any data already existing in the split

destination Pattern ( ).

Splitpoint Measure

Specifies the measure at which the Pattern will be split.

Settings: 002 – 256

Keep Original Phrase

When this box is checkmarked, the Phrase of the original

Pattern is retained in memory and the results of the Split

Job are written to empty Phrases. When the Keep Original

Phrase checkbox is checked, this Job requires twice the

number of empty user Phrases as the number of tracks

containing data in which to store the appended Phrase

data. If the required space is not available, an alert

message will appear and the Job will be aborted. If this

occurs, use the Clear Phrase Job to delete unused Phrases

and try again.

When this box is not checkmarked, the Phrases making up

the original Pattern are erased and replaced with the newly

created Phrases.

Copy Sample Voice

When this box is checkmarked, Sample Voices (if included

in the original Pattern) are copied to the destination Pattern.

This Job clears specified Pattern. You can also clear only

the specified Section of the selected Pattern.

Pattern (Pattern and Section) to be cleared

Determines the Pattern to be cleared. When the Pattern is

set to “all,” all the Pattern data will be cleared. When the

Section is set to “all,” all data from the selected Pattern will

be cleared.

Clear Pattern Chain

When the checkbox is checked, the Pattern Chain data will

also be cleared. When the checkbox is not checked, the

Pattern Chain data will not be cleared.

n The Waveform on SDRAM cannot be deleted via this Job even

if the Sample Voice is used in the specified Section. If you

want to actually delete the Waveform assigned to the Sample

Voice used in the specified Section, use the Delete Job

(page 135) in the Sampling Job mode.

03: Split Pattern

04: Clear Pattern

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

MOTIF XF Reference Manual

188

Multi-timbral Tone Generator Settings

for Song/Pattern Playback (Mixing mode)

The setting of the tone generator block for Song/Pattern playback is referred to as Mixing. The Mixing mode lets you change

the Voice and effect settings for each Part.

To enter the Mixing mode, press the [MIXING] button in the Song mode or Pattern mode.

n The Mixing mode cannot be called up from the Voice mode, Performance mode, or Master mode.

The Mixing mode structure

This section explains in detail about the Mixing mode and what you can do in the Mixing mode.

About Mixing

In the Song/Pattern mode, the internal tone generator block

functions as the multi-timbral tone generator in order to

receive and handle MIDI sequence data consisting of

multiple channels. The settings for the multi-timbral tone

generator are collectively referred to as a “Mixing.” A

Mixing program is provided for each Song or Pattern.

Selecting a different Song/Pattern calls up the different

Mixing program.

Common Edit and Part Edit

The Mixing Edit mode consists of two sub modes: Common

Edit and Part Edit. Common Edit lets you edit the global

settings common to all Parts, such as the Master Effect, the

Master EQ, and the Controller settings. Part Edit lets you

adjust various parameters for each of 16 Parts according to

the corresponding Song/Pattern track.

Effect and EQ structure in the

Mixing mode

In the Mixing mode, two EQ blocks and three Effect blocks

are available.

The two EQ blocks in the Mixing mode are Part EQ and

Master EQ. Part EQ is applied to each of the Mixing Parts

and can be set in the EQ display (page 195) of Part Edit. In

addition, the Part EQ parameters can be adjusted at the

same time for all parts in the Part EQ display (page 192) of

Common Edit. On the other hand, Master EQ is applied to

the overall sound (all the Mixing Parts) and can be set in

the Master EQ display (page 193) of Common Edit.

The Effect blocks in the Mixing mode are Reverb, Chorus,

and Master Effect. Reverb and Chorus are applied to the

overall sound and the related parameters can be set in the

Reverb/Chorus display (page 193) of Common Edit. The

depth (send level) of the Reverb/Chorus can be set for

each Part in the Connect display (page 193) of Part Edit.

On the other hand, Master Effect is applied to the overall

sound (all the Mixing Parts) and can be set in the Master

Effect display (page 193) of Common Edit.

Mixing Edit

Common Edit

Part Edit

Part 1

Part 1 – 16

Mixing Edit

Part 1

Part EQ

Insertion Effect

Switch

Part 1 – Part 16

A/D Input Part

Insertion Effect Switch

Insertion Effect Settings

Part Edit Common Edit

Part EQ Offset

Reverb Effect

Chorus Effect

Master Effect

Master EQ

Multi-timbral Tone Generator Settings for Song/Pattern Playback (Mixing mode)

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189

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Insertion Effect in the Mixing mode

In addition to the three Effect blocks above, special

Insertion Effects are available in the Mixing mode. Keep in

mind that Insertion Effects cannot be applied to all 16 parts

simultaneously. The MOTIF XF features eight Insertion

Effects, allowing you to independently process up to eight

Parts from among the 1 – 16 parts and the A/D Input part.

You can specify the parts to which the Insertion Effect is

applied by setting the Insertion Effect Switch parameter in

the 1 – 16 display (page 190) and the Audio Part display

(page 191) of the Mixing Play mode.

The most common use for Insertion Effects is in applying

compression or dynamics processing to an individual Part,

or applying a special effect that is only to be used on one

Part, such as distortion or rotary speaker.

Mixing Voices

Up to 16 Normal Voices can be stored for each Song/

Pattern Mixing. This type of Voice is called a Mixing Voice.

Normally, the Voice stored in the Voice mode is assigned to

each Mixing Part. In this method, the sound of the Song/

Pattern you created may be changed unexpectedly if you

edit or delete the Voice used for the Song/Pattern Mixing.

Mixing Voices are provided to prevent these accidental

sound changes. To use this feature, call up a Voice from

User Banks 1 – 4, store the selected Voice to the Mixing

Voice Bank, assign it to the desired Part, then edit the

Mixing as needed. In addition, make sure to store the Voice

as a Mixing Voice after editing the Voice in the Mixing

mode.

Up to 16 Mixing Voices are provided for each Mixing

program, or in other words, for each Song/Pattern.

Selecting a different Song/Pattern calls up a different

Mixing belonging to the new selected Song/Pattern.

If you wish to use a Mixing Voice of a certain Song/Pattern

for another Song/Pattern, execute the copy operation

(page 200) in the Mixing Voice Job mode.

Note that up to 256 Mixing Voices can be stored for all

Songs and Patterns. Accordingly, the Mixing Voice memory

will become full and additional Voices cannot be stored if

you’ve stored 16 different Voices for 16 different Songs.

If such a situation occurs, use the Delete Job (page 200) to

delete any unnecessary Mixing Voices in the Mixing Voice

Job mode.

n You can confirm the amount of currently unused (available)

memory via the Mixing Voice Information window (page 199).

Mixing Setup Procedure

In the Song or Pattern mode, select a Song or

Pattern to be edited.

2 Press the [MIXING] button to enter the Mixing

mode.

The Part 1 – 16 display (page 190) of the Mixing Play

appears.

3 Select a Voice and set other parameters such

as volume and pan for each Part from the Part

1 – 16 display or the Audio Part display.

4 Set the parameters common to all Parts or

those exclusive for each Part.

If you wish to edit parameters common to all parts such

as Master Effect, Master EQ and Controller settings,

press the [EDIT] button from the Mixing Play display,

then press the [COMMON EDIT] button to enter the

Common Edit display (page 192).

If you wish to edit more detailed Mixing Part

parameters, enter the Part Edit mode (page 194) by

pressing the [EDIT] button, then press the desired one

of the Number buttons [1] – [16]. If you wish to edit

parameters for the Audio Part, press the [EDIT] button

from the Mixing Play mode and press the [COMMON

EDIT] button then [F4] button to call up the Audio In

display (page 193).

The Insertion Effect parameters can be set in the

following displays.

Part 1 – 16:

The Insertion Effect parameters for each of the Parts 1 –

16 can be set by editing the Voice assigned to each Part

in the Connect display and Insertion A/B display of

Mixing Voice Edit (page 198). The edited voice can be

stored (page 199) as a Mixing Voice or User Voice.

A/D Input Part:

The Insertion Effect parameters for the A/D Input Part can

be set in the Insertion A/B display (page 193) of Common

Edit.

Mixing

Part 1 – 16

Voice

Select Store

Mixing Voice

1 – 16

Select

Voice memory

Preset Bank PRE 1 – 8

User Bank USR 1 – 4

etc.

Multi-timbral Tone Generator Settings for Song/Pattern Playback (Mixing mode)

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190

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

5 Edit the Voice assigned to the Part as desired.

If you wish to edit a Voice assigned to each Part, press

the [F6] button in the Mixing Play display to call up the

Mixing Voice Edit display (page 198).

The Mixing Voice Common Edit mode (page 200) can

be called up by pressing the [COMMON EDIT] button.

The Mixing Voice Element Edit mode (page 200) can be

called up by pressing one of the Number buttons [1] –

[8].

6 Store the edited voice as a Mixing Voice as

desired.

In the Mixing Voice Edit mode, press the [STORE]

button to call up the Mixing Voice Store window

(page 199).

7 Store the edited Mixing program to the Song/

Pattern.

In the Song Play mode, press the [STORE] button to

call up the Song Store window or Pattern Store window.

For detailed instructions on storing, see page 144.

8 Press the [SONG] or [PATTERN] button to exit

from the Mixing mode to the previous mode.

Mixing Play mode

The Mixing Play display will appear when pressing the [MIXING] button in the Song mode or Pattern mode. Here you can

edit the Mixing parameters which are important for creating a Song/Pattern.

Part Settings on the Mixer display—

[F1] Part1 – 16

Here you can edit the main parameters for each Mixing

Part. The basic parameters for creating a Song are

gathered on this display from the Voice display (page 194)

and the Output display (page 194) in the Mixing Part Edit

mode. The settings made here are automatically applied to

the corresponding parameters in the displays in the Mixing

Part Edit mode, and vice versa.

Part (Indication only)

Indicates the Part numbers. When the [TRACK] lamp is

turned on, the Part can be selected via the Number buttons

[1] – [16].

Mute/Solo/Edit (Indication only)

Indicates the status of each Part. When the [MUTE] lamp is

turned on, the Mute on/off status for each Part can be

switched via the Number buttons [1] – [16]. When the

[SOLO] lamp is turned on, the Solo Part can be selected

via the Number buttons [1] – [16].

Settings: m (Mute), s (Solo), E (Edit Indicator)

Edit Indicator

Indicates that the Mixing Voice for the Part is modified but not stored

yet.

Category (Indication only)

Indicates the two main categories of the current Voice.

When the [CATEGORY SEARCH] lamp is turned on, you

can select the desired Voice by using the Category Search

function. The name of the selected Voice is shown at the

top right of the display.

Bank

Number

These determine the selected Voice. Press the

[PROGRAM] button (the lamp lights), then the desired

Voice by using the [PRE 1] – [USER DR] buttons, [A] – [H]

buttons and the [1] – [16] buttons. The name of the

selected Voice is shown at the right top of the display.

Settings:

Number: 1 – 128

Bank: PR1 – 8 (Preset 1 – 8), US1 – 4 (User 1 – 4), GM, GD (GM Drum),

PD (Preset Drum), UD (User Drum), SP (Sample Voice), MV (Mixing

Voice)

Rev Send (Reverb Send)

Adjusts the Reverb send level for each Part. The higher the

value, more pronounced the Reverb effect.

Settings: 0 – 127

Cho Send (Chorus Send)

Adjusts the Chorus send level for each Part. The higher the

value, more pronounced the Chorus effect.

Settings: 0 – 127

Pan

Determines the position in the stereo field for each Part.

Settings: L63 (far left) – C (center) – R63 (far right)

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Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Ins FX Sw (Insertion Effect Switch)

Determines the Parts available for the Insertion Effect.

When this switch is set to on, the Insertion Effect of the

Voice assigned to the Part enabled. Make sure that this

parameter is set to on for any Parts/Voices to which you

need to apply Insertion Effects.

The MOTIF XF features eight Insertion effect systems,

letting you set this parameter to on for up to eight Parts. If

eight Parts are already turned on, the parameter cannot be

turned on for additional Parts. In this case, the switch for

another Part must be turned off before you can turn the

switch for the desired Part on. Please note that the Insertion

Effects are available simultaneously for up to eight Parts

including the A/D Input Part.

Settings: B (on), A (off)

Volume

Determines the output level of the Part.

Settings: 0 – 127

[F1] Part 1 – 16

Calls up this display from the Audio Mixer display.

[F2] Audio (Audio Part)

Calls up the Audio Part display for setting the Audio Input.

[F5] Effect

Calls up the Effect display (page 193) in the Common Edit

mode.

[F6] Vce Edit (Mixing Voice Edit)

Enters the Mixing Voice Edit mode, letting you edit the

Voice assigned to the current Part. If the Drum Voice or

Sample Voice is assigned to the current Part, this button

does not appear and the Mixing Voice is not available.

Audio Input settings—[F2] Audio

From this display you can set parameters related to audio

input from the [A/D INPUT] connector and the IEEE1394

connector (available when the optional FW16E is installed).

The basic parameters for creating a Song are gathered on

this display from the Audio In display (page 193) in the

Mixing Common Edit mode. The settings made here will be

applied to the same parameters on the displays in the

Mixing Common Edit mode, and vice versa.

Part (Indication only)

Indicates the Part numbers.

AD (A/D Input Part)

Lets you set parameters related to audio input from the A/D

INPUT connector.

FW (FireWire)

Lets you set parameters related to audio input from the

IEEE1394 connector (available when the optional FW16E is

installed). The audio signal here is transmitted from the

computer via FW Ports 3 and 4.

The settings made here are automatically applied to the

corresponding parameters in the Part 1 – 16 display

(page 190).

Rev Send (Reverb Send)

Cho Send (Chorus Send)

Pan

Ins FX Sw (Insertion Effect Switch)*

Volume

* Available for the A/D Input Part only

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Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Mixing Edit

The Mixing Edit mode lets you control typical mixer settings such as volume balance, pan position and effects, allowing you

to fine tune the Song/Pattern data. Mixing Edit consists of Part Edit and Common Edit.

Useful functions for editing Mixing

You can turn individual Parts on/off by using the Mute

function.

1 Press the [MUTE] button.

The [MUTE] lamp lights, indicating that each Part can

be turned on/off.

2 Press any of the Number buttons [1] – [16].

The lamp of the pressed button will be turned off and

the corresponding Part will be muted.

Press the same button again to turn the lamp on and

disengage the mute function for that Part. You can turn

multiple Parts on/off by pressing their buttons.

The Solo function is the opposite of Mute, and lets you

instantly solo a specific Part and mute all others.

1 Press the [SOLO] button.

The [SOLO] lamp lights, indicating that the specific Part

can be soloed.

2 Press any of the Number buttons [1] – [16].

The lamp of the pressed button will be turned on and

only the corresponding Part will be sounded.

Press any other number button to change the solo Part.

n To exit from the Mute and Solo conditions, press the

[TRACK] or [PERFORMANCE CONTROL] button.

When changing the value of the parameter in the Mixing

Play or Edit mode, the [E] (Edit Indicator) will appear on the

top right corner of the LCD display. This gives a quick

confirmation that the current Mixing has been modified but

not yet stored. To store the current edited status, follow the

instructions on page 54.

The Compare function lets you switch between the just-

edited Mixing and its original, unedited condition, allowing

you to hear how your edits affect the sound. For

instructions on using Compare, refer to the same function

in the Voice mode on page 54.

Storing the created Mixing

The created mixing setup can be stored as part of the data

of a Song or Pattern. For instructions on storing a Song/

Pattern, see pages 144 and 177.

Common Edit parameters

[SONG]/[PATTERN]  [MIXING]  [EDIT] 

[COMMON EDIT]

The Common Edit mode lets you edit the parameters

common to all Mixing Parts.

Determines the function for the Knobs and ASSIGNABLE

FUNCTION buttons for each Song/Pattern.

The function is the same as the one in the Other display

(page 104) in the Performance Common Edit mode.

Turning specific Parts on/off (Mute

function)

Soloing a specific Part

The [E] Indicator

Compare function

Controller settings—[F1] General

Edit Indicator

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Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

[SF2] MasterFX (Master Effect)

This display lets you set the type and parameters of the

Master Effect.

The function is the same as the one in the Master Effect

display (page 104) in the Performance Common Edit

mode.

[SF3] MasterEQ

From this display you can apply five-band equalization to

all Parts of the selected Mixing.

The function is the same as the one in the Master EQ

display (page 105) in the Performance Common Edit

mode.

You can set parameters related to audio input from the A/D

INPUT connector and the IEEE1394 connector.

The FW settings are available only when the optional

FW16E is installed.

[SF1] Output

From this display you can set the Send level of the Audio

Input Part signal sent to the Reverb/Chorus effect and the

output jack assignment for the Audio Input Part.

The function of this display is the same as the one in the

Output display (page 106) in the Performance Common

Edit mode.

[SF2] Connect

Determines the effect routing for Insertion Effects A and B.

The setting changes are shown on the diagram in the

display, giving you a clear picture of how the signal is

routed.

The function of this display is the same as the one in the

Insertion Effect Connection display (page 106) in the

Performance Common Edit mode.

[SF3] Ins A (Insertion Effect A)

[SF4] Ins B (Insertion Effect B)

From this display, you can also set the type and its

parameters of the Insertion Effect.

The function of this display is the same as the one in the

Insertion Effect A/Insertion Effect B display (page 107) in

the Performance Common Edit mode.

From the following displays, you can set the Effect

connection and values of other parameters. For details

about the Effect structure in the Mixing mode, see page 24.

[SF1] Connect

From this display, you can set the Return level of the

Reverb/Chorus effect, Effect Pan, and Chorus to Send

Level.

The function of this display is the same as the one in the

Connection display (page 107) in the Performance

Common Edit mode.

[SF2] Ins Switch (Insertion Effect Switch)

In this display, you can select which Parts (from Mixing

Parts 1 – 16 and the Audio Input Part) will be assigned to

the eight Insertion Effects.

Part 1 – 16, A/D

Determines the Parts available for the Insertion Effect.

When this switch is set to on, the Insertion Effect of the

Voice assigned to the Part is enabled. Make sure that this

parameter is set to on for any Parts/Voices to which you

need to apply Insertion Effects.

The MOTIF XF features eight Insertion effect systems,

letting you set this parameter to on for up to eight Parts. If

eight Parts are already turned on, the parameter cannot be

turned on for additional Parts. In this case, the switch for

another Part must be turned off before you can turn the

switch for the desired Part on.

n For the Audio Input Part, the Insertion Effect type/parameter

can be set on the Insertion A/B display (page 193) in the

Mixing Common Edit mode. For Parts 1 – 16, the Insertion

Effect type/parameter settings cannot be set in the Mixing Edit

mode because their settings are included in the Voice

assigned to each Part. If you wish to edit the Insertion Effect

settings for each Part, enter the Mixing Voice Edit mode, then

edit the Effect settings for the Voice.

[SF3] Reverb

[SF4] Chorus

From the Type column on these displays, you can select

the Reverb/Chorus type. From the Preset column, you can

select one of the templates that call up the pre-

programmed settings of various parameters of the selected

Master Effect and Master EQ settings—

[F2] MasterFX (Master Effect)

Audio Input Part Settings—[F4] Audio In

Effect Settings—[F5] Effect

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Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Reverb/Chorus type. From these displays, you can also set

each parameter of the selected Effect type individually and

manually.

The function of these displays is the same as those of the

Reverb display and Chorus display (page 108) in the

Performance Common Edit mode.

Part Edit parameters

[SONG]/[PATTERN]  [MIXING]  [EDIT] 

[1] – [16] Part selection

In the Part Edit mode, you can edit the parameters of the

individual Parts such as Voice, Arpeggio, EG and EQ

settings.

Selected Part display/Four-Part display

Just as with the Performance Part Edit mode, you can use

two types of display in the Mixing Part Edit mode. One type

of display lets you edit parameters for the currently

selected Part and the other type of display lets you view

parameters for four Parts. You can switch between these

two types by pressing the [SF5] button. Note that the

display for four Parts is not available for the [F2] ARP Main

and the [F3] ARP Other displays.

Selecting a Part to be edited

Press one of the [1] – [16] buttons to select a Part to be

edited.

n For details about useful functions such as Mute and Solo, see

page 192.

[SF1] Voice

This display lets you specify the MIDI receive channel for

the current Part as well as the Voice. The other parameters

except for Receive Channel ( ) are the same as those in

the Voice display (page 109) in the Performance Part Edit

mode.

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

[SF2] Output

From this display, you can set the Reverb/Chorus depth

and the Output jack assignment for each Part. The function

of this display is the same as the one in the Output display

(page 110) in the Performance Part Edit mode.

[SF3] Other

From this display, you can set parameters related to pitch

bend and velocity. The function of this display is the same

as the one in the Other display (page 111) in the

Performance Part Edit mode.

This display determines the basic settings of the Arpeggio.

The settings of parameters shown at the bottom of the

display can be registered to the [SF1] – [SF5] buttons.

The function is the same as the one in the Arpeggio Main

display (page 112) in the Performance Part Edit mode.

By changing the timing and velocity of the notes, you can

change the rhythmic “feel” of the Arpeggio playback.

The function of this display is the same as the one in the

Arpeggio Other display (page 114) in the Performance Part

Edit mode.

These settings let you control the sound transition from the

moment a key is pressed to the moment at which it is

released. You can also adjust the tone brilliance by setting

the Cutoff Frequency and Resonance.

The function of this display is the same as the one in the EG

display page 115) in the Performance Part Edit mode.

Part Basic Settings—[F1] Voice

Arpeggio Basic Settings—[F2] ARP

Main (Arpeggio Main)

Changing rhythmic feel of the Arpeggio—

[F3] ARP Other (Arpeggio Other)

EG Settings—[F4] EG (Envelope

Generator)

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195

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

You can apply 3-band parametric EQ to each Part to adjust

the sound.

The function is the same as the one in the EQ display

(page 116) in the Performance Part Edit mode.

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.

The function is the same as the one in the Receive Switch

display (page 116) in the Performance Part Edit mode. In

addition to the parameters which can be set in the

Performance Part Edit mode, the Program Change and

Bank Select can be set in this display of the Mixing mode.

Mixing Job—Convenient functions

The Mixing Job mode features some convenient data organization and initialization tools, for use when creating

Performances and archiving them. To enter the Mixing Job mode, press the [JOB] button in the Mixing mode. Press the

[EXIT] button to return to the Mixing Play mode.

1 In the Mixing mode or Mixing Edit mode, press

the [JOB] button to enter the Mixing Job mode.

2 Call up the desired Mixing Job menu by

pressing the appropriate button ([F1] – [F6]).

3 Set the parameters for executing the Job.

4 Press the [ENTER] button. (The display

prompts you for confirmation.)

To cancel the Job, press the [DEC/NO] button.

5 Press the [INC/YES] button to execute the Job.

After the Job has been completed, a “Completed”

message appears and operation returns to the original

display.

6 Press the [MIXING] button to return to the

Mixing Play mode.

NOTICE

Even if you execute the Job, selecting a different Song/Pattern

or turning the power off without storing will erase the Mixing

data. Make sure to store the Song/Pattern data (including the

Mixing) to internal memory by pressing the [STORE] button

before selecting a different Song/Pattern or turning the power

off.

This function lets you reset (initialize) all 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.

All Parameters

All settings for the selected Mixing are initialized. When this

is set to on, the Common parameters ( ) and Part

parameters ( ) cannot be set.

Common Parameters

Common parameter settings for the selected Mixing are

initialized.

n The Insertion Effect Switch is a Part parameter. Therefore,

checkmark the desired boxes of Parts 1 – 16 (described

below) if you wish to initialize the Insertion Effect Switch

parameter settings.

Equalizer (EQ) Settings—[F5] EQ

(Equalizer)

MIDI Receive Settings—[F6] RcvSwitch

(Receive Switch)

Mixing Job Procedure Initializing the Mixing—[F1] Init

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Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Part Parameters

Part 1 – 16

Mixing Part Edit settings (page 194) for Parts which are turned

on are initialized.

A/D (A/D Input)

This Part is input from the external audio equipment

connected to the A/D INPUT jack. Parameter settings for the A/

D input Part (page 193) of Common Edit are initialized.

This Part is input from the external audio equipment

connected to the IEEE1394 jack. When this is checkmarked,

parameter settings for the FW Part (page 193) of Common Edit

are initialized.

n The FW setting is available only when the optional FW16E

is installed.

Initialize selected Parts to GM

When this box is checked, executing the Job resets the

selected Parts to standard GM tone generator settings.

When the checkbox of All Parameters ( ) is marked, all

parameters will be reset to the GM settings. When the

checkbox of All Parameters ( ) is not marked, checked

parameters (from Common, Part 1 – 16, AD and FW) will be

reset to the GM settings.

If you are editing a Song/Pattern Mixing program and

select a different Song/Pattern without storing the one

you’re editing, all the edits you’ve made will be erased. If

this happens, you can use Recall function to restore the

Mixing with your latest edits intact.

Copying parameter settings from another

Mixing (Copy Part)—[SF1] Part

This convenient operation lets you copy Common Edit and

Part Edit settings of a certain Mixing to the currently edited

Mixing. This is useful if you are creating a Mixing and wish

to use some parameter settings from another Mixing.

Source setup

In the Song mode: Song number

In the Pattern mode: Pattern number

Determines the source Mixing by selecting the Song

number (Pattern number while in the Pattern mode). The

name of the selected Song or Pattern is indicated at right.

To select the current Mixing as source, enter the

checkmark in the Current Mix checkbox.

Data type

Determines the source data type.

Settings: Common, Part 1 – 16, A/D, FW

n The Insertion Effect Switch is a Part parameter. Therefore, the

Insertion Effect Switch parameter settings are copied only

when selecting one of the Parts 1 – 16.

Destination setup

Currently edited Part

Determines the destination Part of the currently edited Mixing.

Settings: Common, Part 1 – 16, A/D, FW

Copying the Voice Common Edit settings to

the Mixing (Copy Voice)—[SF2] Voice

This Job lets you copy the Common Edit effect settings of

the Voice assigned to the specified Part to the current

Mixing. This would come in handy when a certain Voice

has effect settings that you want to use in your Mixing

program.

In the Song mode: Song number

In the Pattern mode: Pattern number, Section

Determines the Bank and the Mixing program number to

be copied. The name of the selected Song or Pattern is

indicated at right. If you wish to select the current Mixing as

source, enter the checkmark in the Current Mix check box.

Part number

Selects the Part (01 – 16) to which the source Voice is

assigned. The name of the selected Song or Pattern is

indicated at right.

Data type

Determines the source data type. By checking the

appropriate box, the corresponding data settings are

copied from the source Voice to the destination Mixing. The

other parameter settings are not copied from the Voice to

the current Mixing.

[F2] Recall

Copying parameter settings from another

Mixing, Voice and Performance—[F3] Copy

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Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Copying the Performance Edit settings to the

Mixing Edit (Copy Performance)—[SF3] Perf

This Job lets you copy the settings of the Performance Edit

to the current Mixing. This would come in handy when a

certain Performance has settings that you want to use in

your Mixing program.

Bank, Performance number

Determines the Bank and the Performance number to be

copied. The name of the selected Performance is shown at

right.

Data type

Determines whether or not the settings of the listed

parameters are copied. By checking the box of the

Insertion Effect Switch, the Insertion Effect Switch settings

are copied from Performance Parts 1 – 4 to the Mixing

Parts set as Destination Parts ( ). If the boxes of the other

parameters are checkmarked, the settings of the checked

parameters are copied from the Performance Common

mode to the Mixing Common mode. All other parameter

settings in the Common Edit and Part Edit modes will be

copied from the Performance to the current Mixing.

Destination Parts

Determines the four parts of the current Mixing as

destination.

Settings: 1 – 4, 5 – 8, 9 – 12, 13 – 16

n Regarding the MIDI Receive Channels of the Mixing Parts as

destinations, channel 1 will be assigned to Parts 1 - 4, channel

5 will be assigned to Parts 5 - 8, channel 9 will be assigned to

Parts 9 - 12 and channel 13 will be assigned to Parts 13 - 16.

This function lets you send specified parameter settings for

the currently edited Mixing to a computer or another MIDI

device for data archiving. To execute the Bulk Dump, press

the [ENTER] button.

n The Bulk Dump data includes only the MIDI messages and

does not include the Waveforms.

n In order to execute Bulk Dump, you’ll need to set the correct

MIDI Device Number. For details, see page 228.

Storing/Recalling the Mixing to/from the

Template—[SF1] Mix

This Job lets you store your edited Mixing program to User

memory as a Mixing Template and recall it. 32 Mixing

Templates can be stored. 32 Mixing Templates can be

used both in the Song mode and the Pattern mode.

Template

Determines the Mixing Template to be stored or recalled.

Pressing the [SF5] button to store the current Mixing while

pressing the [SF4] button to recall the Mixing Template

stored to User Memory.

Settings: 01 – 32

Mixing Template name

Enters the name of the Mixing Template. For detailed

instructions on naming, see page 37.

Copying the Performance Edit settings to a

Mixing (Template Performance)—[SF2] Perf

This Job lets you copy the settings of the Performance Edit

settings to the current Mixing. This would come in handy

when a certain Performance has settings that you want to

use in your Mixing program.

Bank, Performance number

Determines the Bank (USR 1 – 4) and the Performance

number (001 – 128) to be copied. The name of the selected

Performance is indicated at right.

Destination Parts

Determines the four parts of the current MIxing as

destination.

Settings: 1 – 4, 5 – 8, 9 – 12, 13 – 16

Transmitting the Mixing Settings to an

external MIDI device (Bulk Dump)—[F4] Bulk

Mixing Template—[F5] Template

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Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

n Regarding the MIDI Receive Channels of the Mixing Parts as

destinations, channels 1 – 4 will be assigned to Parts 1 – 4

respectively, channels 5 – 8 will be assigned to Parts 5 – 8

respectively, channels 9 – 12 will be assigned to Parts 9 – 12

respectively, and channels 13 – 16 will be assigned to Parts 13

– 16 respectively.

Unlike the Copy Performance Job, a different MIDI Receive

channel will be assigned to each of the Parts, allowing for

greater flexibility when using the created settings with a multi-

timbral tone generator.

Note that the Receive Channel of the destination MIxing Part

will be set to off if the Receive Channel of the source

Performance Part is set to off.

Mixing Voice Edit

Mixing Voices are Normal Voices that have been specially edited for and saved to specific Song/Pattern Mixings. Up to 16

Mixing Voices can be stored to each Song/Pattern Mixing. In this mode, you can edit the Voices assigned to Mixing Parts 1 –

16 respectively and store them as Mixing Voices. Mixing Voice Jobs are also available, providing convenient tools for

organizing your created Mixing Voices.

Press the [F6] Vce Edit button to enter the Mixing Voice Edit mode.

n For more information about Mixing Voices, see page 189.

Editing Mixing Voices

Press the [MIXING] button in the Song mode or

Pattern mode to call up the Mixing Play display

(page 190) in the Mixing mode.

2 Move the cursor to the Part to which the

desired Voice is assigned.

The name of the selected Voice is shown at right top of

the display. You can also select the Voice here. To do

this, press the [PROGRAM] button (the lamp lights),

then select the desired Voice by using the Bank buttons

[PRE 1] – [GM], Group buttons [A] – [H] and the

Number buttons [1] – [16].

3 Press the [F6] Vce Edit button to enter the

Mixing Voice Edit mode.

4 Call up the Common Edit display or Element

Edit display (for a Normal Voice)/Key Edit

display (for a Drum Voice) .

To call up the Common Edit display, press the

[COMMON EDIT] button. To edit more global

parameters related to the overall Voice and how it’s

processed, such as Arpeggio, Controller, and Effects,

call up the Common Edit display.

To call up the Element Edit display (for a Normal Voice),

press one of the Number buttons [1] – [8] to select the

Element to be edited. To call up the Drum Key Edit

display (for a Drum Voice), press the [1] button and the

key to be edited. If you wish to edit the sounds that

make up a Voice and the basic parameters that

determine the sound, such as Oscillator, Pitch, Filter,

Amplitude, and EG (Envelope Generator), call up the

Element Edit or Drum Key Edit display.

5 Call up the Edit display including the

parameters you wish to edit by pressing the

[F1] – [F6] buttons and [SF1] – [SF5] buttons.

Both Common Edit and Element Edit (or Drum Key Edit)

consist of several displays. To find a desired display,

note the tab menu corresponding to the [F1] – [F5]

buttons and [SF1] – [SF5] buttons.

6 Move the cursor to the desired parameter.

7 Edit the value by using the [INC/YES], [DEC/

NO] buttons and the data dial.

8 Edit the Mixing Voice by repeating steps 4 – 7

as desired.

9 Enter a name for the Mixing Voice from the

Name display (page 55) of the Common Edit.

For detailed instructions on naming, see page 37.

10 If you wish to store the edited Voice, press the

[STORE] button to call up the Store window

(page 192).

For detailed instructions on storing, see page 144.

11 Press the [EXIT] or [MIXING] button to return

to the Mixing Play mode.

Voice Category Voice name

Voice Number

Voice Bank

[F6] button

Multi-timbral Tone Generator Settings for Song/Pattern Playback (Mixing mode)

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Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Useful functions in the Mixing

Voice Edit mode

This is the same as in the Voice Element Edit mode

(page 54).

This is the same as in the Voice Element Edit mode

(page 54).

This is the same as in the Voice Element Edit mode

(page 54).

This is the same as in the Voice Element Edit mode

(page 54).

This window indicates the information of the current Mixing

Voice. You can call up this display by pressing the [SF6]

INFO button in the Mixing Voice Edit mode. Keep in mind

that the Information window can be called up only when the

[SF6] tab menu indicates “INFO.”

Press any of the panel buttons to return to the original

status.

Storing the created Mixing Voice

[MIXING]  [F6] Vce Edit  [STORE]

1 When the [E] indicator is shown on the display

in the Mixing Voice Edit mode, press the

[STORE] button.

The Mixing Voice Store window appears.

2 Specify the destination for storing the Mixing

Voice .

Select a Mixing Voice (MIXV) number as destination by

using the data dial, [INC/YES] and [DEC/NO] buttons.

You can store the Voice edited in the Mixing Voice Edit

mode also as a User Voice by setting the Voice Bank to

“USR1” – “USR4” or “USER DR.”

3 Press the [ENTER] button.

The display prompts you for confirmation. To cancel the

Store operation, press the [DEC/NO] button.

4 Press the [INC/YES] button to execute the

Store operation.

After the Mixing Voice has been stored, a “Completed”

message appears and operation returns to the original

display.

NOTICE

When you execute the Store operation, the settings for the

destination memory will be overwritten. Important data should

always be backed up to a separate USB storage device or to a

computer connected via network to the MOTIF XF. For detailed

instructions on saving, see page 241.

Mixing Voice Job

[MIXING]  [F6] Vce Edit  [JOB]

The Mixing Voice Job mode provides convenient tools for

organizing your created Mixing Voices.

1 Press the [JOB] button in the Mixing Voice Edit

mode to enter the Mixing Voice Job mode.

2 Call up the desired Mixing Voice Job by

pressing the appropriate button ([F2] – [F4]).

Switching an Element on/off

Soloing an Element to be edited

The [E] Indicator

Compare function

Mixing Voice Information—[SF6] INFO

Mixing Voice Job Procedure

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Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

3 Set the parameters for executing the Job.

Move the cursor to the desired parameter, then set the

value.

4 Press the [ENTER] button. (The display

prompts you for confirmation.)

To cancel the Job, press the [DEC/NO] button.

5 Press the [INC/YES] button to execute the Job.

After the Job has been completed, a “Completed”

message appears and operation returns to the original

display.

NOTICE

Even if a Job operation has been completed, selecting a

different Voice or turning the power off without storing will

erase the Voice data. Make sure to store the Voice data to

internal memory by pressing the [STORE] button before

selecting a different Voice or turning the power off.

6 Press the [EXIT] button to return to the Mixing

Voice Edit mode.

If you are editing a Mixing Voice but have not stored it

before switching to another Mixing Voice, the edits you

have made will be cleared. If this happens, you can use the

Recall function to restore the Mixing Voice with your latest

edits intact.

This Job lets you copy the Mixing Voice stored to a

specified Song/Pattern to another Song/Pattern.

Source Mixing Voice

Determines the source Mixing Voice by selecting Song or

Pattern (

01 – 64) then specifying the number (01 – 16, all).

The main category 1/main category 2 and name of the

selected Mixing Voice is indicated in the lower line.

Destination Mixing Voice

Determines the destination Mixing Voice. Same as above.

This Job deletes an unnecessary Mixing Voice. Note that

up to 256 Mixing Voices can be stored for all Songs and

Patterns. Accordingly, the Mixing Voice memory will

become full and additional Voices cannot be stored if

you’ve stored 16 different Voices for 16 different Songs. If

this occurs, use this Job to delete any unused Mixing

Voices.

Mixing Voice to be deleted

Determines the Mixing Voice to be erased.

Settings:

Song/Pattern: song, pattern

Song/Pattern number: 01 – 64

Mixing Voice number: 01 – 16, all

Common Edit parameters

[MIXING]  [F6] Vce Edit  [COMMON EDIT]

This is the same as in the Normal Voice Common Edit

mode. See page 55. However, some parameters having

the same name as those in the Voice Common Edit mode

are not available in the Mixing Voice Edit mode.

Element Edit parameters

[MIXING]  [F6] Vce Edit  Element selection

from [1] – [8]

This is the same as in the Normal Voice Element Edit mode.

See page 69.

Recalling the unedited sound—[F2]

Recall

Copying another Mixing Voice Element

to the current one—[F3] Copy

Deleting a Mixing Voice—[F3] Delete

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Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Audio Recording to Song/Pattern (Sampling mode)

In addition to its use in the Voice and Performance modes, the Sampling mode can also be entered from the Song and

Pattern modes. This lets you record audio (such as vocals, electric guitar, or audio from an external device), and use it

directly on a Song/Pattern track as a Sample Voice. This section covers the Sampling functions when entering the Sampling

mode by pressing the [INTEGRATED SAMPLING] button in the Song mode or the Pattern mode.

n You can also enter the Sampling mode by pressing the [INTEGRATED SAMPLING] button in the Voice mode or the Performance mode. Keep

in mind that the Sampling functions differ depending on from which mode the Sampling mode is called up, the Voice/Performance mode or

the Song/Pattern mode. See page 119 for instructions on using the Sampling function in the Voice mode/Performance mode.

NOTICE

The recorded (edited) Sample data will be lost when turning the power off. Before turning off the power, you should always copy the Sample

data to the optional Flash Memory Expansion Module (page 34), or save the Sample data to a USB storage device or a computer connected

to the same network as the MOTIF XF (page 41).

The Sampling mode structure

In this section, you’ll learn about the structure and organization of Samples when recording audio to a Song/Pattern, as well

as the relationship between Samples, Sample Voices, and Mixings.

n For details about Samples, Waveforms, and Key Banks, see page 119.

Audio Recording to Song/Pattern

Because Songs and Patterns on the MOTIF XF handle only

MIDI data, audio signal cannot be recorded directly to a

track even by executing the Sampling operation.

Audio data you’ve recorded to a track via the Sampling

operation will be stored as a Sample Voice to a Song/

Pattern. The stored Sample Voice will automatically be

assigned to the Mixing Part corresponding to the recorded

track. In addition, the MIDI data for triggering the Sample

Voice will be recorded to the track. During playback, the

MIDI data of the track will trigger the Sample Voice.

Consequently, the resulting track effectively functions as an

Audio track.

Flash Memory Expansion Module (sold separately)

The sample obtained via the Sampling function can be stored as a Waveform by installing the optional Flash Memory Expansion

Module FL512M/FL1024M to the MOTIF XF. The sample on the Flash Memory Expansion Module will be maintained even if the power

is turned off and can be called up as a Waveform immediately. This is very convenient when using a User Voice containing the

Waveform to which the Sample created via the Sampling function has been assigned.

Sequence data

(Song, Pattern)

Mixing

Sequencer block

Track 1

Track 2

Track 3

Track 16

Tone Generator block

MIDI data

Audio

recording

Audio data

Sample Voice

Assigning

Sample Voice

Recording

Audio data

MIDI data for triggering the Sample Voice

Audio data is recorded to a Sample Voice which is to be assigned to a

Song/Pattern, and note on/off events for triggering the recorded audio

signal are recorded to Track 3.

Part 1: Voice 1

Part 2: Voice 2

Part 3: Sample Voice

Part 16: Voice 16

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Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

About Slice

The Slice function is an important operation of Sampling in

the Song/Pattern modes, since it allows you to easily divide

the audio into smaller parts which can then be triggered

and controlled in many musically useful ways.

Slice actually performs two operations on a Sample

simultaneously.

First, Slice creates a Sample Voice by dividing the original

Sample into smaller Samples of a specific note value (such

as 8th notes or 16th notes) depending on the rhythm, then

assigns the Samples to Key Banks. The created Sample

Voice is automatically assigned to the Mixing part

corresponding to the recorded Track.

Second, the Slice function creates sequence data

consisting of note events to which the sliced Samples are

assigned in order. The note events in the created sequence

data are arranged according to the Key Bank assignment

chromatically, with each gate time of the note events

matching the original Sample’s rhythm (e.g., 8th notes or

16th notes).

The end result is that you can hear the same sound from

both of the original Sample and the sliced Sample. If this

were the only result, Slice wouldn’t be of much use.

However, once a Sample is ‘sliced’ in this way, it can be

changed and played back in many convenient and

creative ways.

Firstly, you can change the tempo of the Sample in real

time. While the MOTIF XF features a Time Stretch Job for

changing the tempo of the Sample, this Job cannot be

used in real time during your keyboard performance

because it takes some time to convert the Sample data. On

the other hand, by using sliced Samples, you can change

the speed of Sample playback by changing the tempo

value of the Song/Pattern in real time.

The second benefit is that you can quickly and easily

create variations of the original Sample by changing the

playback of the sliced Samples.

For example, you could change the velocities and timing

points of the note events to which the sliced Samples are

assigned. This lets you create accents in the playback or

change the rhythm of the Sample to a swing feel, for

example. Furthermore, you can change the actual order of

the Sample slices (as note events), making it exceptionally

easy to come up with new and unusual sound variations.

123

CDEFGAB

45678

1, 2, 3, 4, 5, 6, 7, 8

1, 3, 1, 4, 5, 8, 3, 6

Sliced, assigned Samples

Example 1

Example 2

You can produce melodic or rhythmic variations simply by

changing the sequence of the note events.

Phrase order to be played

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203

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Sampling Main display

The Sampling Main display, the entrance of the Sampling mode, is called up when entering the Sampling mode from the

current mode. Pressing the [INTEGRATED SAMPLING] button in the Song mode or Pattern mode calls up the Sampling

mode dedicated to creation of Sample Voices assigned to a Song/Pattern track. Press the [EXIT] button to return to the

original mode, Song or Pattern.

n This section covers the Sampling mode called up from the Song/Pattern mode. See page 120 for instructions on using the Sampling function

in the Voice mode/Performance mode.

Selecting a Waveform and Key Bank—

[INTEGRATED SAMPLING]

The Sampling Main display lets you select the Waveform

and its Key Bank and hear the sound of the Sample

assigned to the selected Key Bank.

The parameters – and the [SF1], [SF6], and [F6]

buttons are same as in the Sampling mode called up from

the Voice mode/Performance mode. See page 120.

Track (Indication only)

Indicates the track number of the currently selected Song/

Pattern.

Measure (Indication only)

Indicates the measure number of the currently selected

Song/Pattern.

n Keep in mind that you can assign the User Voices created in

the Sampling mode entered from the Voice/Performance mode

to Mixing parts of the Song/Pattern. You can also assign the

Waveforms created in the Sampling mode entered from the

Song/Pattern mode to Elements of the Voice in the Voice Edit

mode.

Sampling Record

[INTEGRATED SAMPLING]  [F6] Rec

The Sampling Record function lets you record sounds—such as vocals from a connected microphone, the signal from an

electric guitar, or audio from an external CD or MP3 player—and store the audio as a Sample Voice, which is used in the

tracks of a Song/Pattern. Refer to the Owner’s Manual for instructions on using the Sampling function in the Song mode/

Pattern mode.

n This section covers the Sampling mode called up from the Song/Pattern mode. See page 121 for instructions on using the Sampling function

in the Voice mode/Performance mode.

Sampling Setup—[F6] Rec

From this display you can set up various parameters for

Sampling. Press the [F6] button from the Sampling main

display to call up this display. Press the [EXIT] button to go

back to the Sampling Main display.

After setting up, press the [F6] Standby button to call up

the Record Standby display (page 205).

Audio Recording to Song/Pattern (Sampling mode)

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Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Recording Type

Determines the recording method. The Sampling

procedure and created Sample data differ depending on

the setting here.

Settings: slice+seq, sample, sample+note

slice+seq

The recorded Sample is automatically divided into “slices” to be stored

as a Sample Voice then these slices are assigned to successive notes

on the keyboard. These notes are then automatically arranged in MIDI

sequence data (to the specified track) for playback. For example, if a

1-measure drum pattern is sampled and a 8th note size is specified,

the recorded measure will be sliced into (approximately) eight Samples

which will be assigned to the eight consecutive notes on the keyboard.

sample

The recorded audio signal is just stored as a Sample Voice. This setting

produces no MIDI sequence data resulting that the recorded Sample is

not played back even when playing back the Song/Pattern.

sample+note

In addition to sample data, the appropriate note data for playing the

sample is created and recorded to the specified Track ( ).

Input Source

Determines the input connector via which the signal to be

sampled will be received. Refer to the description of the

same-named parameter on page 122.

Stereo/Mono

Determines whether new Samples will be recorded as

stereo or mono Samples. Refer to the description of the

same-named parameter on page 122.

Record Next

This is available when the Recording Type in the Setup

display is set to “sample.” Refer to the description of the

same-named parameter on page 122.

Frequency

Specifies the sampling frequency. Refer to the description

of the same-named parameter on page 123.

Waveform

Determines the Waveform number as destination.

Settings: 001 – 128

NOTICE

This operation overwrites any data previously existing at the

destination Waveform number. Important data should always be

saved to a USB storage device connected to the USB TO DEVICE

terminal or to a computer connected to the same network as the

MOTIF XF (page 241).

Keybank

Determines the note number of the Key Bank as

destination. The value set here can be changed in the

Sampling Edit mode (page 210). Keep in mind that this

parameter cannot be set when the Recording Type is set to

“slice+seq.”

Settings: C -2 – G8

n When the Recording Type is set to “slice+seq,” sliced

Samples will be assigned to the notes in order chromatically,

starting with C1 (MOTIF XF6), E0 (MOTIF XF7) and A -1

(MOTIF XF8) respectively.

n You can also set the Key directly from the keyboard, by

holding down the [SF6] KBD button and pressing the desired

key. For details, see page 37.

Track

Determines the track number to which the recorded

Sample is assigned. After recording is finished, the created

Sample Voice is to be assigned to the Mixing part

corresponding to the Track specified here. When the

Recording Type is set to “slice+seq” or “sample+note,” the

note data for playing back the Sample Voice will be created

in the Track specified here.

Settings: 01 – 16

Part

This parameter is not available when entering the Sampling

mode from the Song mode/Pattern mode.

Voice

This parameter is not available when entering the Sampling

mode from the Song mode/Pattern mode.

Drum Key

This parameter is not available when entering the Sampling

mode from the Song mode/Pattern mode.

Recordable Time (Indication only)

Indicates the available Sampling time using the available

memory. The time indicated here is calculated assuming a

mono signal with a sampling frequency of 44.1 kHz. The

amount of memory space currently being used is shown in

the display as a blue line.

[F6] Standby

Pressing this button to call up the Sampling Standby

display.

This display is used for executing the Sampling. For

details, see page 205.

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Audio Recording to Song/Pattern (Sampling mode)

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205

Sampling Standby and Start—[F6]

Standby

This display is used for starting Sampling. Press the [F6]

button from the Setup display to call up this display. Press

the [EXIT] button to go back to the Setup display.

After setting the parameters as necessary, press the [F5]

Start button to start the Sampling procedure. Note that the

actual Sampling start timing differs depending on the

Trigger Mode setting.

When the Trigger Mode ( ) is set to “level”:

Even if you press the [F5] Start button, the WAITING

indication just appears on the display and actual Sampling

does not start. When audio signal exceeding the specified

Trigger Level ( ) is input, the RECORDING indication

replaces the WAITING indication and Sampling starts.

When the Trigger Mode ( ) is set to “meas”:

Even if you press the [F5] Start button, the WAITING

indication just appears on the display and actual Sampling

does not start. Set the Measure ( ) at which the Song/

Pattern playback starts, input a measure number larger

than the Measure value ( ) to the Punch In/Out parameter

( ), then press the [F] (Play) button to start playback.

After starting playback, actual sampling will begin at the

specified Punch In measure, and end at the specified

Punch Out measure.

When the Trigger Mode ( ) is set to “manual”:

Actual Sampling (Recording) starts when you press the

[F5] Start button.

Waveform (Indication only)

Indicates the number and name of the selected Waveform.

Key Range (Indication only)

Indicates the key range of the currently selected Key Bank.

Velocity (Velocity Range) (Indication only)

Indicates the velocity range of the currently selected Key

Bank.

Track (Indication only)

Indicates the track number to which the recorded Sample

is assigned.

Measure

Indicates the measure number of the currently selected

Song/Pattern. You can change the measure number by

using the [G]/[H] (Reverse/Fast Forward) buttons.

Settings:

When entering the Sampling mode from the Song mode: 001 – 999

When entering the Sampling mode from the Pattern mode: 001 – 256

Record 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.

Settings: 0 – 127

Record Gain

This parameter is available only when the Input Source

(page 204) is set to “resample.” Determines the recording

gain when resampling. The higher the value, the greater

the volume of the resampled sound. Before executing the

Sampling (Recording) operation, you can set the

appropriate gain by checking the volume via the Level

Meter ( ) while playing the keyboard.

Settings: -12dB, -6dB, +0dB, +6dB, +12dB

Key

Indicates the Key Bank (page 204) set in the Sampling

Record Setup display. The Key Bank can be changed both

here and in Sampling Edit (page 210) after the Recording

is finished.

Settings: C -2 – G8

n You can also set the Key directly from the keyboard, by

holding down the [SF6] KBD button and pressing the desired

key. For details, see page 37.

Trigger Level

When the Trigger Mode ( ) is set to “level,” you’ll also

need to set the Trigger Level. Sampling (Recording) will

begin as soon as an input signal exceeding the specified

trigger level is received. The level set here will be indicated

as a red triangle in the level meter. For best results, set this

as low as possible to capture the entire signal, but not so

low as to record unwanted noise.

Settings: 000 – 127

Trigger Mode

Determines the method by which Sampling will be triggered.

Settings: level, meas, manual

level

Sampling starts as soon as an input signal exceeding the specified

trigger level ( ) is received.

meas (measure)

This should be set together with the Punch In/Out measure ( ). After

the [F6] Start button is pressed, actual sampling will begin at the

specified Punch In measure, and end at the specified Punch Out

measure. Sampling will also stop when the Song/Pattern is stopped by

pressing the [J] (Stop) button. This method lets you recording the

audio signal while monitoring the sound of other Tracks.

manual

Audio Recording to Song/Pattern (Sampling mode)

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Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Sampling starts soon after you press the [F6] REC button. This setting

lets you start Sampling at the desired timing regardless of the input

level from audio source.

Punch In/Out

This parameter is available only when the Trigger Mode

( ) is set to “meas.” The Punch In value determines the

measure number at which sampling starts automatically

while the Punch Out value determines the measure number

at which sampling stops automatically.

Settings: 001 – 999 (Song mode), 001 – 256 (Pattern mode)

Level Meter

Recordable Time (Indication only)

Refer to the description of the same-named parameter on

page 123.

[SF1] Confirm

This is available when Recording Type in the Setup display

(page 204) is set to “sample” or “sample+note.”

[F5] Start

Press this button to start Sampling.

During Sampling, a graphic representation of the recorded

audio appears in the display.

[F6] Stop

Press this button to stop Sampling (Recording).

In each of the following cases, the “FINISHED” display

appears after Sampling is finished.

• When Recording Type (page 204) is set to “sample” or

“sample+note” and [SF1] Confirm is turned on

• When Recording Type (page 204) to “slice+seq”

From the FINISHED display, you can listen to the just-

recorded Sample by pressing the [SF1] button. See below

for details.

When [F2] Confirm is turned on before the Sampling starts,

the FINISHED display below appears as soon as the

Sampling is finished. From this display, you can hear and

confirm the Sample by pressing the [SF1] Audition button.

If you are satisfied with the sound, press the [ENTER]

button to fix the Sampling result as Sample data. If you are

not satisfied with the Sampling result, press the [EXIT]

button then try again.

When [F2] Confirm is turned off before Sampling starts, the

Sampling operation will automatically fix the Sample data

and return to the Setup display (page 203).

[SF1] Audition

You can hear the recorded Sample by holding this button.

This lets you hear precisely how the Sample is played back.

n When Recording Type (page 204) is set to “sample” or

“sample+note” and [SF1] Confirm is turned off, stopping

Recording will automatically fix the just-recorded Sample data

and the instrument will return to the Setup display (page 203).

Please note that the instrument returns to the STANDBY

display as soon as Sampling is finished if Record Next is

turned on in the Setup display before the Sampling operation.

n When Recording Type (page 204) is set to “slice+seq,”

stopping Recording calls up the Record Trim display

(page 207).

Sampling RECORDING display

Sampling FINISHED display

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Audio Recording to Song/Pattern (Sampling mode)

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207

Trimming the Sample—Record Trim

display

When Recording Type (page 204) is set to “slice+seq,”

stopping Recording (and subsequently fixing the sampled

data when Confirm is turned on) calls up this display. From

this display, you can delete unwanted portions of the

Sample, located ahead of the Start point and located after

the End point). Press the [EXIT] button to go back to the

Setup display.

The procedure in the Record Trim display is as follows.

1 Set the Start Point to the point at which the

actual sound of the recorded Sample starts.

You can use the [SF1] Audition button to listen to the

Sample and [SF4] Zoom Out/[SF5] Zoom In button to

view the wave of the Sample.

n By pressing the [SF6] NUM button, you can use the [SF1]

– [SF5] and [F1] – [F6] buttons as number buttons.

Pressing the [EXIT] button return their buttons to the

original status. For details, see page 36.

2 Set the Tempo ( ), Meter ( ), and Measure

( ) for Sample playback.

The End Point ( ) will be automatically changed so that

the length between the Start Point and the End Point

matches the settings here.

3 Set the Loop Point ( ) as necessary.

When the menu indication of the [SF2] button is

“LP=ST,” the Start (Start Point) and the Loop (Loop Start

Point) will share the same address, meaning that both

of them will be changed simultaneously, even if just one

of them is changed. Pressing the [SF2] button in this

condition changes the menu from “LP=ST” to “LP≠ST.”

When the menu indication here is “LP≠ST,” the Start

(Start Point) and the Loop (Loop Start Point) can be

changed independently. When pressing the [SF2]

button in this condition, the address value of the Start

will be copied to the one of the Loop, with the result that

both of them share the same address value. The menu

indication of the [SF2] button also changes from

“LP≠ST” to “LP=ST.”

4 Press the [ENTER] button. (The display

prompts you for confirmation.)

If you wish to cancel the operation, press the [DEC/NO]

button.

5 Press the [INC/YES] button to execute the

Extract operation to delete unwanted portions

of the Sample.

6 Press the [F6] Slice button to call up the Slice

display.

NOTICE

The data deleted via the Extract operation cannot be

recovered. If you have accidentally deleted a necessary portion

of the Sample, press the [EXIT] button to return to the Setup

display, then execute the Sampling operation again.

Parameters – are the same as the ones in the

Standby display (page 205).

Start Point

Determines the Start point for Sample playback. The part at

the left side of this point will not be played back.

Settings: 0000000 – End point

Loop Point

Determines the Loop point at which the loop playback starts.

When the Play mode is set to “loop,” the Sample is played

back between this Loop point and the End point (

Settings: 0000000 – End point

End Point

Determines the End point for Sample playback. The part at

the right side of this point will not be played back. The End

Point will be automatically determined so that the length

between the Start Point and the End Point matches the

settings of the Tempo (

), Meter ( ), and Measure ( ).

Settings: 0000000 – (depending on the Sample’s length)

Tempo

Determines the Tempo of Sample playback. Setting the

Tempo changes the End Point ( ) so that the length

between the Start Point and the End Point matches the

settings of the Meter and Measure.

Settings: 5.0 – 300.0

Meter

Determines the meter (time signature) of Sample playback.

Setting the Meter changes the End Point ( ) so that the

length between the Start Point and the End Point matches

the settings of the Tempo and Measure.

Settings: 1/16 – 16/16, 1/8 – 16/8, 1/4 – 8/4

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Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Measure

Determines the amount of measures for Sample playback.

Setting the Measure changes the End Point ( ) so that the

length between the Start Point and the End Point matches

the settings of the Tempo and Meter.

Settings:

Measure: 000 – 032

Beat: 00 – 15 (Varies depending on the Meter setting.)

Recordable Time (Indication only)

Indicates the available Sampling time using the available

memory. The time indicated here is calculated assuming a

mono signal with a sampling frequency of 44.1 kHz. The

amount of memory space currently being used is shown in

the display as a blue line.

[SF1] Audition

You can hear the selected Sample by holding this button.

This lets you hear precisely how the Sample is played

back.

[SF2] LP=ST

When the menu indication here is “LP=ST,” the Start (Start

Point) and the Loop (Loop Start Point) will share the same

address, meaning that both of them will be changed

simultaneously, even if just one of them is changed.

Pressing the [SF2] button in this condition changes the

menu from “LP=ST” to “LP≠ST.” When the menu indication

here is “LP≠ST,” the Start (Start Point) and the Loop (Loop

Start Point) can be changed independently. When pressing

the [SF2] button in this condition, the address value of the

Start will be copied to the one of the Loop, with the result

that both of them share the same address value. The menu

indication also changes from “LP≠ST” to “LP=ST.”

[SF3] Display

Pressing the [SF3] button adjusts the zoom level so that the

entire wave, including the Start Point and End Point, is

shown on the display.

[SF4] Zoom Out

[SF5] Zoom In

Press these buttons to zoom in and out of the wave

indication of the Sample in the display.

[F6] Slice

Pressing this button calls up the Record Slice display.

Slicing the Sample—Record Slice

display

When the Recording Type (page 204) is set to “slice+seq,”

you can call up this display by pressing the [F6] Slice

button in the Record Slice display. From this display, you

can divide the recorded Sample into several slices

according to the rhythm of the original Sample. By

executing the Slice operation, the recorded Sample is first

divided into “slices” to be stored as a Sample Voice, then

these slices are assigned to successive notes on the

keyboard. These notes are then automatically arranged in

MIDI sequence data (to the specified track) for playback.

The procedure on the Record Slice display is as follows.

1 Select a Slice Type ( ).

2 Set the amount of Measures ( ) for Sample

playback.

3 Set the Meter ( ), Sub Divide ( ), and

Sensitivity ( ).

4 Press the [SF4] Apply button to execute Slice.

The tab menu “Apply” is changed to “Cancel.” At this

time, the Sample has been modified temporarily and is

not fixed as data.

5 Confirm the result of the Slice operation.

Press the [SF1] Audition button to hear the modified

Sample. If you are satisfied with the result, go on to step

6. If you are not satisfied with the results and want to try

again, press the [SF4] Cancel button to abort the Slice

operation and return the Sample to the original status.

The tab menu “Cancel” returns to “Apply.” In this case,

attempt the operation again from step 1.

6 Press the [ENTER] button to fix the Slice result

as Sample data.

The instrument returns to the Setup display.

7 Press the [EXIT] button a number of times to

go back to the Song mode or Pattern mode.

Listen to the recorded track having the sliced Sample.

8 Before turning the power off, store the Song or

Pattern data to internal memory.

9 Save the Waveform.

If the optional Flash Memory Expansion Module is

installed to the MOTIF XF, use the Copy Job (page 130)

to save the Waveform. If not, save the Waveform to a

USB storage device or a computer connected to the

same network as the MOTIF XF (page 41).

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Audio Recording to Song/Pattern (Sampling mode)

MOTIF XF Reference Manual

209

Parameters – are the same as the ones in the

Standby display (page 205).

Type

Select the type that best suits the original phrase. Specifies

how the Sample is sliced, and to some extent determines

the resulting sound quality.

Settings: beat1 – 3, phrase1 – 4, quick

beat1 – 3

This slice type is suited for percussive phrases such as drums or bass

with a fast attack and short decay. Three variations are provided.

phrase1 – 4

Ideal for phrases containing cymbals or other instruments with a long

decay. Four variations are provided.

quick

Regardless of the phrase content, the Sample is divided at the

specified note sub-divisions. The number of slices per measure is

calculated by multiplying the top number of the Meter (time signature)

parameter by the bottom number of the Sub Divide parameter.

n For helpful hints on getting the Slice Type parameter to work

for different Samples, see “Tips for using the Slice Types”

below.

n You can call up the list and select the desired item by pressing

the [SF6] LIST button. For details, see page 37.

Measure

Determines the amount of measures for Sample playback.

When the Slice operation is executed, sequence data

corresponding to the specified number of measures is

created.

The sequence data is created from the beginning of the

current measure at which Sampling is started.

Settings: 1 – 8

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

Sub Divide

The Meter parameter sets the basic slice unit, and Sub

Divide specifies even finer resolution for phrases

containing regions with shorter notes. For a one-measure

phrase including quarter notes and eighth notes, for

example, the Meter should be set to 4/4 and Sub Divide to

1/2. This parameter has no effect when the Slice Type

parameter is set to beat 1 – 2.

Settings:

When Meter is set to 1 – 8/4: quarter note (1/1), 8th note (1/2), 4th

note triplet (1/3), 16th note (1/4), 8th note triplet (1/6), 32nd note 1/8),

16th note triplet (1/12)

When Meter is set to 1 – 16/8: 8th note (1/1), 16th note (1/2), 8th note

triplet (1/3), 32nd note (1/4), 16th note triplet (1/6)

When Meter is set to 1 – 16/16: 16th note (1/1), 32nd note (1/2), 16th

note triplet (1/3)

n The maximum slice resolution for stereo Samples is 64 slices,

and for mono Samples 128 slices.

Sens (Sensitivity)

Further adjusts the sub-divisions specified by the Sub

Divide 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.

This parameter has no effect when the “quick” slice type is

selected.

Settings: 1 – 5

Tempo

Determines the Tempo with which the sliced Samples are

to be played back via the [SF1] Audition button. The value

set here is applied to the tempo of Song/Pattern playback.

Settings: 005 – 300

Recordable Time (Indication only)

Indicates the available Sampling time using the available

memory. The time indicated here is calculated assuming a

mono signal with a sampling frequency of 44.1 kHz. The

amount of memory space currently being used is shown in

the display as a blue line.

[SF4] Apply

When this tab menu indicates “Apply,” Sampling

(Recording) has already finished and the Slice operation

has not been executed yet. In such a situation, pressing

this button executes the Slice and changes the tab menu

from “Apply” to “Cancel.”

When this tab menu indicates “Cancel,” both the Sampling

(Recording) and the Slice operations have been executed.

In this status, pressing this button returns to the before-

slice status with the “Apply” indication.

[F6] Trim

Pressing this button calls up the Record Trim display

(page 207), allowing you to delete unwanted portions of

the Sample.

Audio Recording to Song/Pattern (Sampling mode)

MOTIF XF Reference Manual

210

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

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.”

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.” 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” or “phrase4” and set Sub Divide 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 Sub Divide 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.

Individual wave data slices created through Slice

operations require approximately 1.5 times the original

memory because a tail section is automatically added and

fade-in and fade-out sections are automatically created at

the beginning and end of the wave data. This helps to

maintain maximum sound quality when the tempo is

increased, and results in smoother connections between

slices (no tail section is created when the “quick” slice type

is selected).

A memory work area is required for the processing

calculations carried out for each Slice operation, as well as

sufficient memory to hold the completed waveforms. When

the sampling frequency is 44.1 kHz, the approximate

amount of memory (expressed in kilobytes) required for

each Slice type is listed below.

For mono Samples N = 5.5, and for stereo Samples N = 8.

Also, the number of slices is doubled for stereo Samples.

Sampling Edit

[INTEGRATED SAMPLING]  [EDIT]

The Sampling Edit mode gives you comprehensive, detailed controls for editing the recorded Sample and changing the

Sample settings. Press the [EDIT] button from the Sampling Main display to call up the Sampling Edit display. Press the

[EXIT] button to go back to the Sampling Main display.

Same as in the Sampling mode called up from the Voice mode/Performance mode. For information about Sampling Edit, see

page 126.

Sampling Job

[INTEGRATED SAMPLING]  [JOB]

The Sampling Job mode lets you process and modify Samples you have recorded. 19 Sampling Jobs are available.

Same as in the Sampling mode called up from the Voice mode/Performance mode. For information about the Sampling

Jobs, see page 129.

Tips for using the Slice Types Wave Memory Required for Slice

Operations

beat 1 Original wave size X N + (0.3 X number of slices)

beat 2 Original wave size X N + (0.2 X number of slices)

beat 3 Original wave size X N + (0.3 X number of slices)

phrase 1 Original wave size X N + (5.8 X number of slices)

phrase 2 Original wave size X N + (1.4 X number of slices)

phrase 3 Original wave size X N + (0.4 X number of slices)

phrase 4 Original wave size X N + (1.4 X number of slices)

quick Original wave size X N + (0.7 X number of slices)

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

MOTIF XF Reference Manual

211

Using as a Master Keyboard (Master mode)

This synthesizer is loaded with such a wealth of different features, functions and operations, you may find it difficult to locate

and call up the particular feature you need. This is where the Master function comes in handy. You can use it to memorize the

operations you use most often in each mode, and call them up instantly anytime you need them with a single button press.

The MOTIF XF has space for a total of 128 of your own User Master settings.

Press the [MASTER] button to enter the Master Play mode.

Master Play mode

To enter the Master Play mode and call up the Master Play display, press the [MASTER] button from the current mode.

Selecting a Master Program

The MOTIF XF features 128 specially programmed

Masters, stored to internal User Memory (Flash ROM). The

Bank consists of eight Groups (A to H), each of which

contains 16 Master programs. To call up the desired Master

program, select the appropriate Group and Number.

Playing the Keyboard in the Master

Play mode—[MASTER]

In the Master Play mode, you can select a Master program

and play the keyboard according to the settings of the

selected Master program. Changing the Master number

lets you call up one of the modes and various settings such

as tone generator settings (multi-timbral or single) and

MIDI settings.

Type 1 of the Master Play display

Type 2 of the Master Play display

Master Number (Group/Number)

Indicates the selected Master number.

n Master numbers 001 to 128 are converted to the format

(shown in the parentheses) related to Banks A to H and

Program Numbers 1 to 16 (for the Bank). This format is related

to the Group buttons [A] – [H] and the Number buttons [1] –

[16]. The Master numbers and the corresponding Group/

Numbers are listed below.

Master name (Indication only)

Indicates the name of the current Master.

Mode (Indication only)

Indicates the mode memorized to the current Master. One

the modes (Voice, Performance, Pattern or Song) is

indicated here.

Group/Number Program Number

A01 – 16 001 – 016

B01 – 16 017 – 032

C01 – 16 033 – 048

D01 – 16 049 – 064

E01 – 16 065 – 080

F01 – 16 081 – 096

G01 – 16 097 – 112

H01 – 16 113 – 128

Using as a Master Keyboard (Master mode)

MOTIF XF Reference Manual

212

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Program number (Indication only)

Determines the Program number (Voice number,

Performance number, Song number, or Pattern number)

that is called up when the Master is selected. The program

type differs depending on the memorized mode.

Octave

Indicates the Keyboard Octave setting set via the OCTAVE

buttons. This parameter determines how much higher or

lower the pitch of each key is compared to normal pitch.

Knobs 1 – 8

Indicates the parameters to which respective Knobs 1 – 8

are assigned and their current values. Pressing the

[SELECTED PART CONTROL] button repeatedly switches

among the parameter sets (indicated by the lamps). For

information about the parameters, see below.

Control Sliders 1 – 8

Indicates the levels of respective Control Sliders 1 – 8. The

target to be adjusted by the Control Sliders differs

depending on the mode memorized to the current Master.

Zone name

Indicates the name for each Zone.

Note Limit / Range

Indicates the note range for each Zone with the note name

and the horizontal graphic.

[SF1] ARP1 – [SF5] ARP5 (Arpeggio 1 – 5)

When the memorized mode is Voice or Performance, a

different Arpeggio type is assigned to each of the [SF1]

ARP1 – [SF5] ARP5 buttons according to the Voice or

Performance number. The Arpeggio types are assigned to

the buttons with the 8th note icon on the display tab. You

can call them up by pressing these buttons any time during

your keyboard performance.

[SF1] Scene1 – [SF5] Scene5

When the memorized mode is Song or Pattern, a different

Scene setting is assigned to each of the [SF1] – [SF5]

buttons according to the Song or Pattern number.

[SF6] TAP

The speed at which you press this button several times will

determine the playback tempo of the Arpeggio/Song/

Pattern.

Master Edit

The Master Edit mode lets you create your own original Master programs—containing up to eight different Zones (keyboard

areas)—by editing the various parameters. To enter the Master Edit mode, press the [EDIT] button in the Master Play mode.

Press the [EXIT] button to return to the original display.

Common Edit and Zone Edit

In the Master mode, you can divide the keyboard into (up

to) eight independent areas (called “Zones”). Different

MIDI channels and different functions of the Knobs and

Control Sliders can be assigned to each Zone. This makes

it possible to control several Parts of the multi-timbral tone

generator simultaneously by a single keyboard or to control

Voices of an external MIDI instrument over several different

channels in addition to the internal Voices of this

synthesizer itself—letting you use the MOTIF XF to

effectively do the work of several keyboards. You can set

the parameters related to the eight Zones in the Master Edit

mode and store the settings as a User Master.

There are two types of Master Edit displays: those for

editing parameters common to all eight Zones and those

for editing individual Zones.

Master Edit Procedure

Press the [MASTER] button to enter the Master

Play mode, then select a Master.

2 Press the [EDIT] button to enter the Master Edit

mode.

When the Voice mode is memorized: Voice Bank/Number

When the Performance mode is

memorized:

Performance Bank/

Number

When the Song mode is memorized: Song Number

When the Pattern mode is memorized: Pattern Number

When the Voice mode is memorized: See page 46.

When the Performance mode is

memorized:

See page 94.

When the Song mode is memorized: See page 138.

When the Pattern mode is memorized: See page 168.

When the Voice mode is memorized: Volume for Elements 1 – 8

When the Performance mode is

memorized:

Volume for Parts 1 – 4

When the Song mode is memorized: Volume for Parts 1 – 16

When the Pattern mode is memorized:

Using as a Master Keyboard (Master mode)

MOTIF XF Reference Manual

213

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

3 Set the Zone Switch parameter to “on” in the

Other display as necessary.

4 Call up the Common Edit display or Zone Edit

display.

To call up the Common Edit display, press the

[COMMON EDIT] button. You can specify the mode

and program number called up when the Master is

selected, and the Master name in the Common Edit

mode.

To call up the Zone Edit display, press one of the

Number buttons [1] – [8] to select the Zone to be

edited. Here you can set various parameters such as

the keyboard range and MIDI Transmit Channel for

each Zone in the Zone Edit mode.

5 Call up the Edit display including the

parameters you wish to edit by pressing the

[F1] – [F5] buttons and [SF1] – [SF2] buttons.

For information about the parameters, see pages 214

and 215.

6 Move the cursor to the desired parameter.

7 Edit the value by using the [INC/YES], [DEC/

NO] buttons and the data dial.

8 Repeat steps 4 – 7 as desired.

9 Enter a name for the Master in the Name

display (page 214) of Common Edit.

10 If you wish to store the edited Master, press

the [STORE] button to call up the Store

window (page 213).

For detailed instructions on storing, see page 213.

NOTICE

• The edited Master will be lost when selecting a different

Master, calling up a different mode, or turning the power

off. Make sure to store the Master data to internal memory

by pressing the [STORE] button before selecting a different

Master, calling up a different mode, or turning the power

off.

• Because User Memory to which the Master is stored is

Flash Memory, the edited and stored Master will not be

erased even if the power is turned off. You need not worry

about losing your stored data. The Master Store operation,

however, will overwrite the Master data already stored to

the destination Master number. For this reason, important

data should always be backed up to a separate USB

storage device or to a computer connected via network to

the MOTIF XF (page 241).

When changing the value of the parameter in the Master

Edit mode, the [E] (Edit Indicator) will appear on the top

right corner of the display. This gives a quick confirmation

that the current Master has been modified but not yet

stored. To store the current edited status, follow the

instructions below.

Storing the created Master

[MASTER]  [STORE]

1 Press the [STORE] button in the Master mode.

The Master Store window appears.

2 Specify the destination for storing the Master.

Select a Master number as destination by using the

data dial, [INC/YES] and [DEC/NO] button.

You can use the [USER 1] button, [A] – [H] buttons and

[1] – [16] buttons to select a Master number.

3 Press the [ENTER] button. (The display

prompts you for confirmation.)

To cancel the Store operation, press the [DEC/NO]

button.

4 Press the [INC/YES] button to execute the

Store operation.

After the Master has been stored, a “Completed”

message appears and operation returns to the Master

Play display.

NOTICE

When you execute the Store operation, the settings for the

destination memory will be overwritten. Important data should

always be backed up to a separate USB storage device or to a

computer connected via network to the MOTIF XF. For detailed

instructions on saving, see page 241.

Common Edit display

Zone Edit display

The [E] Indicator

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Using as a Master Keyboard (Master mode)

MOTIF XF Reference Manual

214

Common Edit parameters

[MASTER]  [EDIT]  [COMMON EDIT]

Common Edit lets you edit the parameters common to all

Zones of the selected Master.

From this display, you can assign the name to the entire

Master program (at the top of this display) and all the

Zones (1 – 8 listed on this display) used in building up the

Master. For detailed instructions on naming, refer to “Basic

Operation” on page 37.

From this display you can set basic parameters for the

Master, including the mode that is called up with the Master

and the program number.

Mode

Determines the mode that is called up when the Master

number is selected.

Settings: voice, performance, pattern, song

Memory

Determines the Program number that is called up when the

Master is selected. The name of the selected Voice/

Performance/Song/Pattern is shown.

Settings: Differs depending on the Mode setting above.

When the Mode is set to Voice:

Voice Bank: PRE1 – 8, USR1 – 3, GM, GMDR, PDR, UDR

Voice Number: 001 (A01) – 128 (H16)

When the Mode is set to Performance:

Performance Bank: USR1 – 3

Performance Number: 001 (A01) – 128 (H16)

When the Mode is set to Pattern:

Pattern Number: 01 – 64

When the Mode is set to Song:

Song number: 01 – 64

Zone Switch

Determines whether or not the keyboard will be divided into

(up to) eight independent areas (called “Zones”). For

details about Zones, see page 212.

Settings: on, off

Knob Ctrl Assign (Knob Control Assign)

From this display you can set which row of Knob functions

will be lit and selected. When set to “zone,” selecting the

Master lights no lamp and automatically calls up the Knob/

Slider functions specifically set for each respective Zone

(page 217).

Settings: Differs depending on the Mode setting above. Note that

“zone” can be selected only when the Zone Switch ( ) is

set to “on.”

When the Mode is set to Voice:

tone 1, tone 2, ARP FX, zone

When the Mode is set to Performance, Pattern or Song:

tone 1, tone 2, ARP FX, reverb, chorus, pan, zone

[F6] Get Name

Pressing the [F6] button assigns the name of the currently

selected Voice/Performance/Song/Pattern to the Master

name.

[SF6] INFO (Information)

Press this button to call up the information window of the

current Master.

Master Information—[SF6] INFO

(Information)

This window indicates the information of the current Master.

Settings cannot be changed here.

Master Name

Indicates the name of the current Master.

Mode

Indicates the mode memorized to the current Master. One

of the modes (Voice, Performance, Pattern or Song) is

indicated here.

Naming the edited Master—[F1] Name

Other Parameter Settings—[F2] Other

Using as a Master Keyboard (Master mode)

MOTIF XF Reference Manual

215

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Program

Indicates the number and name of the program (Voice,

Performance, Song, or Pattern) that is called up when the

Master is selected. The program differs depending on the

memorized mode.

Zone Switch

Determines whether or not the keyboard will be divided into

(up to) eight independent areas (called “Zones”). For

details about Zones, see page 212.

Transmit Channel

Indicates the MIDI transmit channel of each Zone (when

the Zone Switch is set to on).

Zone Edit parameters

[MASTER]  [EDIT]  [1] – [8]

These parameters are for editing the individual Zones that

make up a Master. To call up the Zone Edit display, press

the [EDIT] button in the Master Play mode, then press any

of the Number buttons [1] – [8]. Press the [EXIT] button to

return to the Master Play display.

From this display you can set how each Zone transmits

MIDI messages when you play the keyboard.

Transmit Channel

Determines the MIDI Transmit Channel for each Zone.

Settings: 1 – 16

Int Switch (Internal Switch)

Determines whether or not MIDI data for each Zone is

transmitted to the internal tone generator.

n When the Local Control parameter is set to “off” on the MIDI

display (page 228) in the Utility mode, MIDI data for each

Zone will not be transmitted to the internal tone generator,

even if the Int Switch parameter is set to “on.”

Ext Switch (External Switch)

Determines whether or not MIDI data for each Zone is

transmitted to an external MIDI device.

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. You can adjust the offset up

or down over a maximum range of three octaves.

Settings: -3 – +0 (Default) – +3

Transpose

Determines the amount in semitones by which the range of

the Zone is shifted up or down.

Settings: -11 – +0 (Default) – +11

Note Limit Low

Note Limit High

Determines the lowest and highest notes of the range for

each Zone.

Settings: C -2 – G8

n You can also set the note directly from the Keyboard, by

holding down the [SF6] button and pressing the desired key.

MIDI Transmit Switch for the Voice related

messages—[SF1] Program

From this display, you can determine whether or not MIDI

messages controlling Voice selection for each Zone are

transmitted to the internal/external tone generator.

When the Voice mode is

memorized:

Voice Bank, Number, Category,

Name

When the Performance mode is

memorized:

Performance Bank, Number,

Category, Name

When the Song mode is

memorized:

Song number, Song name

When the Pattern mode is

memorized:

Pattern number, Pattern name

MIDI Transmit Channel/Switch Settings

—[F1] Transmit

Note Range Setting for each Zone—[F2]

Note

MIDI Transmit Switch Settings—[F3] Tx

Switch (Transmit Switch)

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Using as a Master Keyboard (Master mode)

MOTIF XF Reference Manual

216

Int Bank Select (Internal Bank Select)

Determines whether or not to transmit Bank Select MSB/

LSB messages to the internal tone generator.

Int Prog Change (Internal Program Change)

Determines whether or not to transmit Program Change

messages to the internal tone generator.

Ext Bank Select (External Bank Select)

Determines whether or not to transmit Bank Select MSB/

LSB messages to the external tone generator via MIDI.

Ext Prog Change (External Program Change)

Determines whether or not to transmit Program Change

messages to the external tone generator via MIDI.

MIDI Transmit Switch for the Other messages

—[SF2] Control

From this display, you can determine whether or not MIDI

messages controlling non-Voice-related settings such as

Control Change, Pitch Bend and Channel Aftertouch are

transmitted to the internal/external tone generator.

When you wish to transmit a certain MIDI message from a

certain Zone to the internal/external tone generator,

checkmark the corresponding box.

Pitch Bend

MIDI messages generated by using the Pitch Bend Wheel.

Ch After Touch (Channel After Touch)

MIDI messages generated by pressing and holding a note

on the keyboard.

Modulation Wheel

MIDI messages generated by using the Modulation Wheel.

Ribbon Controller

MIDI messages generated by using the Ribbon Controller.

Foot Controller 1

Foot Controller 2

MIDI messages generated by using the optional Foot

Controller connected to the rear panel.

Sustain

MIDI messages generated by using the optional

Footswitch connected to the SUSTAIN jack on the rear

panel.

Foot Switch

MIDI messages generated by using the optional

Footswitch connected to the ASSIGNABLE jack on the rear

panel.

Knob

MIDI messages generated by using the Knobs.

Slider

MIDI messages generated by using the Sliders.

A. Function 1 (Assignable Function 1)

A. Function 2 (Assignable Function 2)

MIDI messages generated by using the ASSIGNABLE

FUNCTION buttons.

Volume/Express (Expression)

MIDI Volume messages generated by using the Knobs and

Sliders.

Pan

MIDI Pan messages generated by using the Knobs and

Sliders.

From this display you can make the Voice-related settings

for each Zone which will be transmitted as MIDI messages

automatically when the Master is selected.

Bank MSB (Bank Select MSB)

Bank LSB (Bank Select LSB)

Program Change

Determines the Voice-related settings for each Zone in the

selected Master. These MIDI messages are transmitted to

an external/internal tone generator when the Master is

selected.

Settings:

Bank MSB (Bank Select MSB): 000 – 127

Bank LSB (Bank Select LSB): 000 – 127

Program Change: 001 – 128

Default Settings for each Zone—[F4]

Preset

MOTIF XF Reference Manual

Using as a Master Keyboard (Master mode)

217

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Volume

Determines the Volume settings for each Zone in the

selected Master. The MIDI messages of the Volume are

transmitted to an external/internal tone generator when the

Master is selected.

Settings: 000 – 127

Pan

Determines the Pan settings for each Zone in the selected

Master. The MIDI messages of the Pan are transmitted to

an external/internal tone generator when the Master is

selected.

Settings: L64 – C – R63

[F6] MIDI Send

When set to “on,” changing the value in this display

transmits the corresponding MIDI messages to an external/

internal tone generator.

From this display, you can determine which Control

Change numbers are transmitted to an external/internal

tone generator when you use the Knobs and Sliders for

each Zone.

n This parameter is available only when the Knob Control Assign

parameter is set to “zone” in the Other display (page 214) of

the Common Edit. In other words, this parameter is available

only when all the lamps of the [SELECTED PART CONTROL]

and [MULTI PART CONTROL] are turned off.

Control Knob No.

Determines which Control Change numbers are

transmitted when you use the Knobs for each Zone. The

function name is automatically shown below the number

you select.

Settings: 0 – 95

Control Slider No.

Determines which Control Change numbers are

transmitted when you use the Control Sliders for each

Zone. The function name is automatically shown below the

number you select.

Settings: 0 – 95

Master Job

The Master Job mode features convenient data initialization and archiving tools. To enter the Master Job mode, press the

[JOB] button in the Master mode. Press the [EXIT] button to return to the original display.

1 In the Master mode, press the [JOB] button to

enter the Master Job mode.

2 Select the Job you wish to execute by pressing

the [F1] or [F4] button.

3 Set the parameters for executing the Job.

4 Press the [ENTER] button. (The display

prompts you for confirmation.)

To cancel the Job, press the [DEC/NO] button.

5 Press the [INC/YES] button to execute the Job.

After the Job has been completed, a “Completed”

message appears and operation returns to the original

display.

6 Press the [MASTER] button to return to the

Master Play display.

This function lets you reset (initialize) all Master parameters

to their default settings. It also allows you to selectively

initialize certain parameters, such as Common settings and

Zone settings.

All Parameters

Determines whether or not all settings for the selected

Master are initialized. When set to “on,” other parameters in

this display cannot be set.

Settings: B (on), A (off)

Knob and Slider Settings—[F5] KnobSlider

Master Job Procedure Initializing the Master—[F1] Init

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Using as a Master Keyboard (Master mode)

MOTIF XF Reference Manual

218

Common

Determines whether or not all Common parameter settings

for the selected Master are initialized. When set to “on,”

ZONE cannot be set.

Settings: B (on), A (off)

Zone

Determines whether or not all Zone parameter settings for

the selected Master are initialized. When set to “on,”

executing the Job initializes all the parameter settings of

Common Edit.

Settings: B (on), A (off)

Initialize Type

Determines how the Zone parameter settings for the

selected Master are initialized. Three methods of Initializing

are available.

Settings: split, zone, layer

split

Sets the Zone 1 and Zone 2 to on, then splits the keyboard range using

Zone 1 and Zone 2. “Upper Ch” determines the MIDI transmit channel

of the upper range of the keyboard, “Lower Ch” determines the MIDI

transmit channel of the lower range of the keyboard, and “Split Point”

determines the note (C -2 – G8) number which separates the upper

range and lower range of the keyboard.

zone

Sets Zones 1 – 4 to on, Zones 5 – 8 to off, and the MIDI Transmit

Channels to 1 – 8 respectively.

layer

Sets the Zone 1 and Zone 2 to on, then lets you layer two Parts. “Upper

Ch” and “Lower Ch” determine the MIDI transmit channels of the two

Zones respectively.

Upper Ch (Upper Channel)

Lower Ch (Lower Channel)

Determines the MIDI transmit channels of Zone 1 and Zone

2 respectively when the Initialize Type is set to “layer” or

“split.”

Settings: 1 – 16

Split Point

Determines the Split Point that divides the keyboard into

the Zone 1 and Zone 2 when the Initialize Type is set to

“split.” By setting this parameter, the Note Limit High of

Zone 1 is automatically set to the note one semitone lower

than the Split Point set here and the Note Limit Low of Zone

2 is automatically set to the note same as the Split Point set

here.

Settings: C -2 – G8

n The Note Limit High and Note Limit Low parameters can be

set in the Note display (page 215) of the Zone Edit.

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. Press the [ENTER]

button to execute the Bulk Dump.

n The Bulk Dump data includes only the MIDI messages and

does not include the Waveforms.

n In order to execute Bulk Dump, you will need to set the correct

MIDI Device Number. For details, see page 228.

Transmitting the Master Settings to an

external MIDI device (Bulk Dump)

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

MOTIF XF Reference Manual

219

System Settings (Utility mode, etc.)

In the Utility mode, you can set parameters that apply to the entire system of the MOTIF XF. To enter the Utility mode, press

the [UTILITY] button. Pressing the [EXIT] button returns to the original display. For system settings related to the sequencer

in Song/Pattern/Arpeggio playback, call up the Sequencer Setup display by pressing the [SEQ SETUP] button in the Song/

Pattern/Performance mode.

Basic Procedure in the Utility mode

Enter the Utility mode.

Press the [UTILITY] button to enter the Utility mode.

(The indicator lights.)

2 Call up the desired display.

Note the tab menus of the [F1] – [F6] and [SF1] – [SF5]

buttons to find the desired function, then press the

relevant button to call up the desired display.

3 Set the desired parameter.

Move the cursor to each parameter, then set the value

by using the data dial, [INC/YES] and [DEC/NO] button.

NOTICE

When “Press [ENTER] to set” is shown on the display, make

sure to press the [ENTER] button before going to the next step.

If you do not, the settings will not be stored, even if you press

the [STORE] button in the next step.

4 Press the [STORE] button to store the Utility

setting and Sequencer Setup to internal

memory.

NOTICE

All Utility settings will be lost when the power is turned off

without storing.

n The parameter settings in the Utility displays and

Sequencer Setup displays are treated and stored as a

single unit. This means that when you execute the Store

operation in the Utility mode, the settings in the Sequencer

Setup displays are also stored, and vice versa.

5 Press the [EXIT] button to exit from the Utility

mode to the original mode.

System Information—[SF6] INFO

This display indicates the MIDI IN/OUT settings and

Network settings. This display cannot be edited.

MIDI IN/OUT (Indication only)

Indicates the hardware terminal via which the MIDI data is

input or output. The related parameters can be set in the

MIDI display (page 228).

Network Information

Indicates the network settings. The related parameters can

be set in the Network display (page 221).

FL1/FL2 (indication only)

Indicates whether or not the optional Flash Memory

Expansion Module FL512M/FL1024M has been installed. In

addition, when installed, this section indicates the memory

size and information whether or not the Module has already

been formatted.

General Settings—[F1] General

Tone Generator

From this section, you can make overall settings for the

internal tone generator. The settings here only affect the

internal tone generator block. The MIDI output will not be

affected.

Volume

Determines the overall volume of the instrument.

Settings: 0 – 127

Note Shift

Determines the amount (in semitones) by which the pitch of

all notes is shifted.

Settings: -24 semi – +0 semi – +24 semi

Tone Generator and Keyboard settings

—[SF1] Play

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

System Settings (Utility mode, etc.)

MOTIF XF Reference Manual

220

Tune

Determines the fine tuning of the overall sound. You can

adjust the tuning in cent increments.

Settings: -102.4 cents – +0 cents – +102.3 cents

Sustain Pedal

Determines which model of an optional Foot Controller

connected to the FOOT SWITCH SUSTAIN jack is

recognized. When you connect an optional FC3 (equipped

with the half-damper feature) for producing a “half-damper”

effect (as on a real acoustic piano), set this parameter to

“FC3 (half on)” and set the Half Damper Switch parameter

to “on” in the Amplitude EG display (page 80) of Voice

Element Edit. If you don’t need or want to disable the half-

damper feature and still use an FC3, set this parameter to

“FC3 (half off).” When you connect an optional FC4 or FC5

(which is not equipped with the half-damper feature), set

this parameter to “FC4” or “FC5.”

Settings: FC3 (half on), FC3 (half off), FC4/5

n Note that this setting is not necessary when controlling the

half-damper feature via Control Change messages from an

external MIDI device to the instrument.

Keyboard

From this section, you can set the keyboard-related

parameters. The settings here affect the MIDI messages

generated by playing the keyboard.

Octave

Determines the amount in octaves by which the range of

the keyboard is shifted up or down. This setting can be

changed also by pressing any of the OCTAVE buttons.

Settings: -3 – +0 – +3

Transpose

Determines the amount in semitones by which the range of

the keyboard is shifted up or down.

Settings: -11 semi – +0 semi – +11 semi

n If you transpose beyond the note range limits (C -2 and G8),

notes in the adjacent octaves will be used.

Velocity Curve

The five curves determine how the actual velocity will be

generated and transmitted according to the velocity

(strength) with which you play notes on the keyboard. The

graph shown in the display indicates the velocity response

curve. (The horizontal line represents the received velocity

values (strength of your playing), while the vertical line

represents the actual velocity values transmitted to the

internal/external tone generators.)

Settings: normal, soft, hard, wide, fixed

normal

This linear “curve” produces one-to-one correspondence between the

strength of your keyboard playing (velocity) and the actual sound change.

soft

This curve provides increased response, especially for lower velocities.

hard

This curve effectively lessens the overall response compared to the

“norm” curve.

wide

This setting provides opposite response curves for lower and higher

velocities. It widens the apparent dynamic range of the controller,

producing less sound change in the softer range and more change in the

higher range.

fixed

This setting produces the same amount of sound change (set in Fixed

Velocity below), no matter what your playing strength.

Fixed Velocity

This parameter is available only when you select the “fixed”

Velocity Curve above. The velocity of the note you play is

fixed at the value set here.

Settings: 1 – 127

Effect ON/OFF Button (System)

Determines whether or not the System Effects (Reverb and

Chorus) are actually applied when the EFFECT ON/OFF

[SYSTEM] button is turned on.

From this display, you can change the design type of the

Top display in the Voice/Performance/Master mode as

desired.

Type

When “1” is selected, the Top display of each mode will

indicate the current status of the Knob/Slider, etc.

When “2” is selected, the Top display of each mode will

indicate the on/off status of each Element/Part, status of the

panel controllers and the status of the current Arpeggio,

etc.

Settings: 1, 2

Name Position

When “Top” is selected, the number/name of the program

(Voice, Performance or Master) is shown at the top of the

display.

When “Bottom” is selected, the number/name of the

program (Voice, Performance or Master) is shown at the

bottom of the display.

Settings: Top, Bottom

Changing the design type of the LCD

display—[SF2] Screen

System Settings (Utility mode, etc.)

MOTIF XF Reference Manual

221

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Color

Determines the color types commonly for the three modes.

Settings: Red, Pink, Purple, Blue, Aqua, Green, Yellow, White

From this display, you can set parameters for connecting

the MOTIF XF to the network system via the ETHERNET

connector. Make sure to press the [ENTER] button after

setting in this display. If you do not, the settings will not be

stored, even if you press the [STORE] button.

Host Name

Determines the Host Name (NetBIOS name) of the MOTIF

XF. This is used when accessing the MOTIF XF from a

computer connected to the network. Set a unique Host

Name that will not conflict with any other computer. In

general, the default Host Name will suffice, so there should

be no need to change this. For detailed instructions on

naming, see page 37.

Description

Here, you can input a short summary or memo about your

MOTIF XF. The description input here can be browsed from

the other computer connected to the network. This is useful

when several MOTIF XFs are connected to the same

network. In general, the default Description will suffice, so

there should be no need to change this. For detailed

instructions on inputting a character, see page 37.

DHCP Client

Determines whether or not the MOTIF XF is handled as the

client device of the DHCP server. When this is set to “on,”

the MOTIF XF is handled as a client device of the DHCP

server. The DHCP (Dynamic Host Configuration Protocol) is

a standard or protocol by which IP addresses and other

low-level network configuration information can be

dynamically and automatically assigned each time your

MOTIF XF is connected to the network. If the DHCP server

covers the network, set this parameter to “on.” If you wish

to set a specific IP address or there is no DHCP server, set

this parameter to “off.”

Settings: on, off

File Server

Determines whether the File Server function of the MOTIF

XF is active or not. When this parameter is set to “on,” the

another computer on the same network can access files on

the USB storage device connected to the USB TO DEVICE

connector of the MOTIF XF.

Settings: on, off

n Make sure to set the Password ( ) of this instrument before

setting this parameter to “on.” If this is set to “on” before the

Password is set, “Password is unspecified” appears.

IP Address

Determines the IP Address, a string of numbers assigned

to each computer or your MOTIF XF connected to a

network, indicating the device’s location on the network.

When the MOTIF XF is connected to the network which the

DHCP server covers and the DHCP Client parameter

above is set to “on,” this parameter is automatically set,

and you will not need to input it manually. When the DHCP

Client ( ) is set to “off” and you do not know how to set this

parameter, consult your network administrator or Internet

provider.

Settings: 0 – 255

Subnet Mask

Indicates the Subnet Mask, a setting used to divide a

large-scale network into several smaller networks. When

the MOTIF XF is connected to the network which the DHCP

server covers and the DHCP Client parameter above is set

to “on,” this parameter is automatically set resulting that

you need not input here. When the DHCP Client ( ) is set

to “off” and you do not know how to set this parameter,

consult your network administrator or Internet provider.

Settings: 0 – 255

Gateway

Determines the Gateway, a system which links different

networks or systems, and makes possible data transfer

and conversion despite differing communications

standards. When the MOTIF XF is connected to the

network which the DHCP server covers and the DHCP

Client parameter above is set to “on,” this parameter is

automatically set, and you will not need to input it manually.

Settings: 0 – 255

DNS1 (Domain Name Server1)

DNS2 (Domain Name Server2)

Determines the address for the Domain Name server. Up to

two servers (primary DNS1 and secondary DNS2) can be

set. When you do not use the Domain Name server, set

both of the DNS1 and DNS2 to “0.0.0.0.” When you use

only the DNS1, set the DNS2 to “0.0.0.0.” When the MOTIF

XF is connected to the network which the DHCP server

covers and the DHCP Client parameter above is set to

“on,” this parameter is automatically set, and you will not

need to input it manually.

Settings: 0 – 255

Network Settings—[SF3] Network

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

System Settings (Utility mode, etc.)

MOTIF XF Reference Manual

222

Security

Determines the certification type when another computer

on the network accesses the MOTIF XF. If you wish to

certificate the computer by using the Account ( ) and

password, set this parameter to “workgroup.” If you wish to

certificate the computer by using the domain controller on

the network, set this parameter to “domain.”

Settings: domain, workgroup

Domain

Enters the Domain name or Workgroup name. Input the

Domain name or Workgroup name to the same name as

that of the online device you wish to use for accessing the

MOTIF XF. For detailed instructions on inputting

characters, see page 37.

WINS

Determines the address for the WINS (Windows Internet

Name Service) server. When the PDC Name ( ) is set to

the Host name (NetBIOS name), you will set the address of

the WINS server. If you are not using the WINS server, set

this parameter to “0.0.0.0.”

Settings: 0 – 255

PDC Name (Primary Domain Controller Name)

Determines the Host name (NetBIOS name) of the Domain

Controller or IP address on the network. When the Security

( ) is set to “domain,” the certification will be executed by

using the Domain Controller set here.

File Server Account

Determines the account name (user name) used when

another computer on the network accesses the MOTIF XF.

For detailed instructions on inputting characters, see

page 37.

n The account is not set by default. When no account is set, the

MOTIF XF can be accessed by the account named “nobody.”

[SF5] Password

Pressing this button calls up the Password display that lets

you set or change the password necessary for accessing

the MOTIF XF from an online device connected to the

network. When shipped from the factory, the password is

not set. Make sure to set the password if you wish to

access the MOTIF XF from an external computer via the

LAN network.

Mount User Name

Determines the User Name necessary for accessing the

computer on the network. By storing this parameter to the

MOTIF XF, the User Name will be shown automatically on

the dialog (page 43) appearing when you log in to the

computer.

From this display, you can set the password of the MOTIF

XF. By using the password set here, external online

devices can access the File mode of the MOTIF XF.

Current Password

This column is provided for inputting the current password.

The password can be up to eight characters and no less

than five characters. For detailed instructions on inputting

characters, see page 37. “None” is shown when the

password is not set.

New Password

This column is provided for inputting the new password.

The password can be up to eight characters and no less

than five characters. For detailed instructions on inputting

characters, see page 37.

Confirm Password

This column is provided for inputting the new password

once again to confirm it. The password can be up to eight

characters and no less than five characters. For detailed

instructions on inputting characters, see page 37.

Password Setting

After inputting the Current Password, New Password and

Confirm Password (New Password), press the [ENTER]

button to set the New Password. If an error occurs, one of

the following error messages will be shown on the display.

Password is invalid.

The password you input to “Current Password” is wrong. Input

the correct password again.

Confirmed password is invalid.

The password you input to “Confirm Password” is not same as

the password you input to “New Password.”

Password is too short.

The password you input to “New Password” is too short. Input

the password again, using five or more characters.

n If you forget the current password, execute the Factory Set

Job (page 231) to reset the password setting, then input the

new password again.

Password Settings

[SF3]  [SF5] Password

System Settings (Utility mode, etc.)

MOTIF XF Reference Manual

223

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

From this display, you can specify certain automatic tasks

that the MOTIF XF will perform when power is turned on.

Auto Load

Determines whether the Auto Load function is on or off.

When this is on, the instrument will automatically load the

specified files (from the USB storage device) to User

memory—whenever the power is turned on. The file to be

loaded is shown on this display. The file to be loaded can

be specified via the [SF5] Get button.

Settings: on, off

Power On Mode

This determines the default power-on mode (and memory

bank)—letting you select which condition is automatically

called up when you turn the power on.

Settings:

performance

When turning the power on next time, the Performance Play mode is

entered and the first program number (USER: 001) is selected

automatically.

voice (USER1)

When turning the power on next time, the Voice Play mode is entered

and the first program number of User Voices (USR: 001) is selected

automatically.

voice (PRE1)

When turning the power on next time, the Voice Play mode is entered

and the first program number of Preset Voices (PRE: 001) is selected

automatically.

voice (GM)

When turning the power on next time, the Voice Play mode is entered

and the first program number of Preset GM Voices (GM: 001) is

selected automatically.

master

When turning the power on next time, the Master Play mode is entered

and the first program number (001) is selected automatically.

n Make sure to store the Utility settings to the internal memory by

pressing the [STORE] button before turning the power off.

Please keep in mind that the Utility settings will be lost if you

turn off the power without executing the Store operation.

[SF5] Select

Pressing this button calls up the Select Auto Load File

display. From this display you can specify the file (in the

external storage device) to be loaded automatically when

turning the power on (when Auto Load is set to on).

From this display you can specify the file (in the external

storage device) to be loaded automatically when turning

the power on (when Auto Load is set to on). Move the

cursor to the desired file then press the [ENTER] button to

determine the Auto Load File.

Parameters – are the same as the ones in the File

window (page 237) of the File mode.

Audio In/Out Settings—[F2] I/O

(Input/Output)

From this display you can set Audio In/Out parameters.

Mic/Line

When using the A/D INPUT jacks, this determines the input

source, microphone (mic) or line.

Settings: mic, line

mic

Intended for low output equipment, such as a microphone, electric

guitar or bass.

line

Intended for high output equipment, such as a keyboard, synthesizer,

or CD player.

L&R Gain

Determines the output gain of the OUTPUT L/MONO and R

jacks.

Settings: 0dB, +6dB

Setting the default display when

turning the power on—[SF4] Auto Load

Specifying the Auto Load File

[SF4]  [SF5] Select

Upper Level

Category

Type

From the Category column, you can select one of the Effect

Categories, each of which contains similar Effect types.

From the Type column, you can select one of the Effect

Types listed in the selected Category. Details about the

Effect categories are described on page 24.

Preset

This lets you call up pre-programmed settings for each

Effect Type, designed to be used for specific applications

and situations.

Effect Parameters

The number of parameters and values available differs

depending on the currently selected effect type. Refer to

page 27 for details about the Effect parameters. Refer to

the separate Data List for information on the parameters for

each Effect type.

Insertion Effect Connection Settings—

[SF2] Connect

Insertion Effect Type Settings—[SF3]

Ins A, [SF4] Ins B

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

System Settings (Utility mode, etc.)

MOTIF XF Reference Manual

228

Remote Control and MIDI settings

—[F5] Control

From the following displays, you can set parameters

related to the Remote Control function and MIDI settings.

Lets you specify the DAW software to be controlled by the

MOTIF XF.

DAW Type

Determines the DAW software to be controlled by the

MOTIF XF.

Settings: Cubase, Logic, Sonar, Digital Performer

n When the [REMOTE ON/OFF] lamp is turned on, simply

selecting a DAW type calls up the Remote settings

automatically.

From this display, you can set the MIDI related parameters.

Basic Receive Ch

Determines the MIDI receive channel when this synthesizer

is set to single-timbre tone generator mode (Voice/

Performance modes).

Settings: 1 – 16, omni, off

omni

When this is selected, all channel messages are received.

n In the multi-timbral tone generator mode (Song/Pattern

modes), each Mixing Part receives MIDI data according to its

assigned MIDI receive channel. This can be set in the Voice

display (page 194) of the Mixing Part Edit mode.

Keyboard Transmit Ch

Determines the MIDI channel over which the instrument

sends MIDI data (to an external sequencer, tone generator,

or other device). This parameter is available in the single-

timbre tone generator mode (Voice/Performance modes).

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. The Output Channels of each track

can be set in the Output Channel display (page 142) of the

Song Play mode.

Device Number

Determines the device number used by this synthesizer in

receiving or transmitting data. This number must match the

Device Number of the external MIDI device when

transmitting/receiving bulk data, parameter changes or

other system exclusive messages.

Settings: 1 – 16, all, off

all

When this is selected, system exclusive messages for all MIDI device

numbers are received. When system exclusive messages such as bulk

dump are transmitted from the MOTIF XF with this setting, the MOTIF

XF is recognized as Device Number 1.

off

When this is selected, system exclusive messages such as bulk dump

and parameter change cannot be transmitted or received. When you

try execute transmission or reception of system exclusive messages,

an error message appears.

MIDI In/Out

Determines which physical output/input terminal(s) will be

used for transmitting/receiving MIDI data.

Settings: MIDI, USB, FW (available only when the optional FW16E is

installed)

n The three terminal types above cannot be used at the same

time. Only one of them can be used to transmit/receive MIDI

data.

MIDI Sync

Determines whether Song/Pattern/Arpeggio playback will

be synchronized to the instrument’s internal clock or an

external MIDI clock.

Settings: Internal, MIDI, auto, MTC

internal

Synchronization to internal clock. Use this setting when this synthesizer

is to be used alone or as the master clock source for other equipment.

MIDI

MIDI Synchronization to a MIDI clock received from an external MIDI

instrument via MIDI.

auto

When MIDI clock is transmitted continuously from an external MIDI

device or computer, the internal clock of the MOTIF XF is not effective

and the MOTIF XF is synchronized with the external clock. When MIDI

clock is not transmitted from the external MIDI device or computer, the

internal clock of the MOTIF XF continues to run in sync with the latest

received tempo of the external MIDI device or computer (DAW

software). Note that the tempo cannot be changed on the MOTIF XF

when this value is selected. This setting is useful when you wish to

alternate between external clock and internal clock.

MTC (MIDI Time Code)

Synchronization to an MTC signal received via MIDI. MMC signals are

transmitted via MIDI. Use this setting when this synthesizer is to be

used as a MIDI slave, such as when synchronized to an MTC-capable

MTR. The MTC Sync function is available only in the Song mode.

DAW Settings—[SF1] Remote

MIDI Settings—[SF2] MIDI

System Settings (Utility mode, etc.)

MOTIF XF Reference Manual

229

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

n When this parameter is set to “MIDI,” make sure that the

external MIDI instrument connected to the MOTIF XF will

transmit the MIDI clock to the MOTIF XF.

n When MIDI Sync is set to “MTC,” Songs and Arpeggios cannot

play back in the Song mode but Patterns and Arpeggios can

play back in the Pattern mode.

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 XF does not transmit MTC.

n MMC (MIDI Machine Control) allows remote control of

multitrack recorders, MIDI sequencers, etc. An 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.

Clock Out

Determines whether MIDI clock (F8H) messages will be

transmitted via MIDI.

Settings: on, off

Sequencer Control

Determines whether Sequencer Control signals—start

(FAH), continue (FBH), stop (FCH), and song position

pointer (F2H)—will be received and/or transmitted via the

MIDI OUT/USB terminal.

Settings: off, in, out, in/out

off

Not transmitted/recognized.

Recognized but not transmitted.

out

Transmitted but not recognized.

in/out

Transmitted/recognized.

MTC Start Offset (MIDI Time Code Start Offset)

Determines the specific time code point from which

sequence playback starts, when MTC is received. This

feature can be used to accurately align playback of this

synthesizer with an external MTC-compatible device.

Settings: Hour: Minute: Second: Frame

Hour: 00 – 23

Minute: 00 – 59

Second: 00 – 59

Frame: 00 – 29

Bank Select

This switch enables or disables Bank Select messages,

both in transmission and reception. When this is set to “on,”

this synthesizer responds to incoming Bank Select

messages, and it also transmits appropriate Bank Select

messages (when using the panel). When this is set to “off,”

Bank Select messages cannot be transmitted/received.

Settings: off, on

Program Change

This switch enables or disables Program Change

messages, both in transmission and reception. When this is

set to “on,” this synthesizer responds to incoming Program

Change messages, and it also transmits appropriate

Program Change messages (when using the panel). When

this is set to “off,” Program Change messages cannot be

transmitted/received.

Settings: off, on

Local Control

This determines whether or not the tone generator of the

instrument responds to your keyboard playing. Normally,

this should be set to “on”—since you’ll want to hear the

sound of the MOTIF XF as you play it. Even if this is set to

“off,” the data will be transmitted via MIDI. Also, the internal

tone generator block will respond to messages received

via MIDI.

Settings: off, on

Receive Bulk

Determines whether or not Bulk Dump data can be

received.

Settings: protect (not received), on (received)

Controller Reset

Determines the status of the controllers (Modulation Wheel,

Aftertouch, Foot Controller, Breath Controller, Knobs, etc.)

when switching between voices. When this is set to “hold,”

the controllers are kept at the current setting. When this is

set to “reset,” the controllers are reset to the default states

(below).

Settings: hold, reset

If you select “reset,” the controllers will be reset to the following states/

positions:

Bulk Dump Interval

Determines the interval time of the Bulk Dump transmission

when the Bulk Dump function is used, the Bulk Request is

received, or system exclusive messages recorded to a

sequence track are played back. The Bulk Dump function

lets you save the data in the Edit buffer (DRAM) or Flash

ROM and transmit as Bulk data (system exclusive

message) to an external MIDI instrument or sequence

software on a computer. This data can then be sent back to

the instrument, restoring all the settings you archived.

Settings: 0 – 900 ms

n When the Bulk Dump function is used or the Bulk Request is

received, the maximum value of the interval time is fixed to

30ms, meaning that the Bulk transmission is executed at an

interval time of 30ms, even if this parameter is set to a value

above 31ms. When system exclusive messages recorded to a

track of a Song or Pattern are played back, value settings

above 31ms will be available, meaning that the Bulk

transmission is executed with the interval time as set here,

regardless of the tempo setting of the Song or Pattern.

Pitch Bend Center

Modulation WHeel Minimum

Aftertouch Minimum

Foot Controller Maximum

Footswitch Off

Ribbon Controller Center

Breath Controller Maximum

Assignable Function Off

Expression Maximum

Sustain Off

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

System Settings (Utility mode, etc.)

MOTIF XF Reference Manual

230

Controller Assign

You can assign MIDI Control Change Numbers to the

controllers and knobs on the front panel. For example, you

could use the ASSIGN 1 and 2 knobs to control effect

depth, while using the Foot Controller to control

modulation. These control assignments are called

“Controller Assign.”

Managing the optional Flash Memory

Expansion Module—[F6] Flash

From this display, you can manage the optional Flash

Memory Expansion Module (FL512M/FL1024M), using

operations such as Format and Optimize.

Number of the Flash Memory Expansion

Module

Determines which module is to be managed.

When “FL1” is selected, you can manage the Module

installed to Slot 1.

When “FL2” is selected, you can manage the Module

installed to Slot 2.

n “Unmounted” is shown at right of the slot number on the

display if the FL512M/FL1024M has not been installed

properly. “Unformatted” is shown if the already-installed

FL512M/FL1024M has not been formatted yet. “Formatted” is

shown if the already-installed FL512M/FL1024M has been

formatted.

Waveform list

Indicates the Waveforms stored in the Flash Memory

Expansion Module of the Slot specified at . From this list,

you can select the Waveform and hear the sound by

pressing the [SF5] Audition button.

Voice

Indicates the Voice using the Waveform selected at . You

can check whether the selected Waveform is actually used

or not in the Voice. It is a good idea to use this function

before executing the Delete operation.

[SF1] Delete one

Use this button to delete only one Waveform.

After selecting the Slot number at , select the Waveform

at , then press this button to delete the selected

Waveform.

[SF2] Delete all

Use this button to delete all the Waveforms listed on the

display.

After selecting the Slot number at , press this button to

delete all the Waveforms of the selected Module.

[SF3] Format

Use this button to format the Memory Expansion Memory

Module.

Because the FL512M/1024M is not formatted at the time

this is shipped from the factory, it is necessary to execute

the Format operation.

After selecting the Slot number at to which the new

Module is installed, press this button to call up the

confirmation dialog, then press the [INC/YES] button to

execute the Format operation.

NOTICE

The Format operation can be applied to the Module which has

already been formatted. In this case, note that all the Waveform

data including the Samples will be erased.

[SF4] Optimize

Use this button to optimize the Memory Expansion Memory

Module. Optimization consolidates areas of used and

unused (available) memory to create the largest possible

area of contiguous available memory.

After selecting the Slot number , press this button to call

up the confirmation dialog, then press the [INC/YES] button

to execute the Optimize operation.

NOTICE

Never turn off the power during the Optimize operation, which may

require far more than ten seconds to finish. Doing so will erase and

clear the data on the Flash Memory Expansion Module.

[SF5] Audition

Use this button to hear the sound of the currently selected

Waveform.

Controller Settings—[SF3] Control

System Settings (Utility mode, etc.)

MOTIF XF Reference Manual

231

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Resetting the User Memory to the Initial

Factory Settings—[JOB] (Factory Set)

In the Utility Job mode, you can restore this synthesizer’s

User memory (page 34) to the factory default settings

(Factory Set). Please note that the setting of the Power On

Auto Factory Set on this display will be stored automatically

by executing the Factory Set.

NOTICE

The Factory Set operation will erase all the data you’ve created and

stored to User Memory, including the Waveform data on the

optional Flash Memory Expansion Module FL512M/FL1024M (if

installed). To prevent data loss, be sure to save all important data

to a USB storage device or to a computer connected to the same

network as the MOTIF XF (page 241) before executing the Factory

Set operation.

All

When this is set to on, pressing the [ENTER] button will

restore all the data of this synthesizer’s User memory (page

34) to the factory default settings (Factory Set).

When this is set to off, pressing the [ENTER] button will

restore only the following data to the factory default

settings: All the Voices (A01 – H16) of the User Bank 1

(USR1) and Voices A01 – A08 of the User Drum Bank

(UDR).

Settings: on, off

Power On Auto Factory Set

When this parameter is set to “on,” turning the power on will

restore the User memory to the factory default settings and

load the demo songs and demo patterns. Normally, this

should be set to “off.”

Settings: on, off

NOTICE

When the Power On Auto Factory Set parameter is set to “on,”

turning the power off erases all the User memory data such as

Voice, Performance, Song, Pattern and Utility settings.

For instructions on executing the Factory Set Job, refer to

the Owner’s Manual.

Sequencer Settings—[SEQ SETUP]

In the Song mode, Pattern mode or Performance mode,

pressing the [SEQ SETUP] button calls up the display for

setting the overall sequencer parameters. After setting

these, press the [STORE] button to store the settings of

both the Sequencer Setup parameters and the Utility

parameters.

NOTICE

All Sequencer Setup settings will be lost if the power is turned off

without storing.

n In the Voice mode and Master mode with the Mode parameter

(page 214) set to “Voice,” the [SEQ SETUP] button cannot be

used.

From this display you can set the parameters related to the

click sound (metronome) that is used during recording or

playback in the Song/Pattern/Performance mode.

n Since the click sound is created with the internal tone

generator, using click playback affects the overall polyphony

of this synthesizer.

Mode

Determines whether and when the metronome click will

sound.

Settings: off, rec, rec/play, always

off

The click will not sound.

rec

The click will sound during Song/Pattern/Performance recording only.

rec/play

The click will sound during recording and playback.

always

The click will always sound in the Song/Pattern mode.

Beat

Determines on which beats the metronome click will sound.

Settings:

Volume

Determines the click sound volume.

Settings: 0 – 127

Metronome Settings—[F1] Click

𝅘𝅥𝅯

(16th notes),

𝅘𝅥𝅮

(8th notes),

𝅘𝅥

(quarter notes),

𝅗𝅥

(harf notes),

𝅝

(whole notes)

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

System Settings (Utility mode, etc.)

MOTIF XF Reference Manual

232

Type

Determines the click sound type. Ten types are available,

including conventional metronome and stick sounds.

Settings: 1 – 10

Recording Count

Determines the number of count-in measures provided

before recording actually starts after pressing the [F]

(Play) button in the Record standby mode.

Settings: off (Recording starts as soon as the [F] button is pressed),

1 meas – 8 meas

Sampling Count in

Determines the number of count-in measures provided

before Song/Pattern playback starts after you start the

Sampling operation. This parameter setting can be used

when the Type parameter is set to “sample+note” and the

Trigger Mode parameter is set to “meas” in the Sampling

mode called up from the Song or Pattern mode.

When “off” is selected, Song/Pattern playback starts as

soon as you start the Sampling operation.

Settings: off, 1 meas – 8 meas

From this display you can set which MIDI events will be

recognized/transmitted via MIDI. The settings made here

apply only to Song/Pattern playback data; they do not

affect the MIDI events generated by your keyboard playing

or panel operations and Arpeggio playback in the Voice

and Performance modes. The Song/Pattern playback data

will pass through the MIDI Filter before being sent to the

internal tone generator block as well as the MIDI OUT

connector.

MIDI messages transmitted from the external MIDI

instrument will pass through the MIDI Filter before being

recorded to the Song/Pattern track. They will be sent to the

internal tone generator without passing through the MIDI

Filter.

MIDI events to which the Filter is applied:

Note, Program Change, Control Change, Pitch Bend,

Channel After Touch, Polyphonic After Touch, System

Exclusive, Channel Mode Message

Settings: B (not transmitted/recognized), A (transmitted/recognized)

From this display, you can instantly call up appropriate

sequencer-related panel settings by selecting convenient

preset setups, allowing you to simultaneously set a variety

of important sequencer-related parameters.

n The Track INT Switch and Track EXT Switch parameters are

not available when calling up the Quick Setup window from the

Performance mode.

Setup Number

Determines the Setup number. The parameter settings of

the selected Setup are indicated as new settings on the

right ( ).

Settings: 1 – 4

Current settings

Indicates the current settings of the related parameters.

After selecting a Setup ( ), indicated as new settings on

the right ( ), press the [ENTER] button to actually call up

the selected Setup ( ), which are then indicated as the

current settings ( ).

New settings

Indicates the parameter settings of the selected Setup

above ( ).

MIDI Filter Settings—[F2] MIDI Filter

MIDI INMIDI OUT

Sequencer Block

Tone Generator Block

Keyboard/Controllers

MIDI Filter

Using the Quick Setup function—[F3]

Quick (Quick Setup)

1 Using internal

Sequencer

This setup is useful when you use the

internal sequencer function (Song or

Pattern) by itself.

2 Recording internal

sequencer to

computer

This setup is useful when you transmit

the Song or Pattern playback data to an

external computer and record it to an

application software on the computer.

3 Recording on

computer

This setup is useful when recording

your keyboard performance to

computer software. The sequencer

block of the MOTIF XF is synchronized

with the external clock when the MIDI

clock comes from the external MIDI

device; when MIDI clock does not come

from the external MIDI device, the

sequencer block of the MOTIF XF is

synchronized with its own internal clock.

4 Recording Arpeggio

to computer

This setup is useful when you transmit

the Arpeggio playback data to an

external computer and record it to an

application software on the computer.

System Settings (Utility mode, etc.)

MOTIF XF Reference Manual

233

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

From this display you can set parameters related to the

Song/Pattern mode, such as Pattern change timing.

n The settings here do not affect the Performance mode.

Quantize

Determines the quantize value for Section (Pattern)

switching during playback when you change the Section.

When set to “1,” Patterns (Sections) will always switch on

the first beat of the next measure during playback after you

change the Section. When set to “1/16,” 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)

Tempo Hold

Determines whether or not the tempo setting will switch to

the tempo value stored with each Pattern when a new

Pattern is selected during playback. When set to “on,” the

tempo will be retained when Patterns are switched. When

set to “off,” the tempo will switch to that stored with the new

Pattern when Patterns are switched. Normally, set this to

“off.”

Settings: on, off

n The tempo setting data in the Pattern Chain is not affected by

this parameter.

Load Mixing

Determines whether the Mixing settings are loaded (on) or

not (off) when the Song/Pattern number is changed.

Normally, set this to “on.”

Settings: on, off

n When the Load Mixing parameter is set to “off,” song changes

via Song Chain playback do not change the Mixing setup.

Song Event Chase

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)

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.

Other Settings for the Song/Pattern—

[F4] Other

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

MOTIF XF Reference Manual

234

File Management (File mode)

The File mode provides tools for transferring data (such as Voice, Performance, Song, Pattern and Waveform) between the

MOTIF XF and external storage devices such as USB storage device and hard disk unit connected to the USB TO DEVICE

connector. By mounting the hard disk drive of the computer connected to the MOTIF XF via the network, you can also

transfer data between the MOTIF XF and an online computer.

To enter the File mode, press the [FILE] button. The file types available differ depending on the mode selected before calling

up the File mode.

n When the MOTIF XF is connected to a network, the File mode can be used to access the drives of computers on the network. To do this,

make sure the MOTIF XF is properly connected to the network (page 41) and set the necessary parameters in the Network display

(page 221) of the Utility mode.

Terminology in the File mode

Just as with a computer, various data types such as Voice,

Performance, Song and Pattern created on the MOTIF XF

can be treated as a file and saved to an external USB

storage device or the hard disk drive of a computer

connected to the network.

Just as with a computer, you can assign the name to the file

in the File mode. The file name can contain up to 20

alphabetical characters on the display of the MOTIF XF.

Files having the same name cannot be saved in the same

directory.

The three letters following the file name (after the period)

such as “.mid” and “.wav” are referred to as a file

“extension.” The extension indicates the type of file and

cannot be changed by the panel operation of the MOTIF

XF. The File mode of the MOTIF XF supports ten different

extension types, according to the particular data. For

details, see page 235.

Refers to the memory amount of the file. The file size is

determined by the amount of data saved to the file.

Generally, the size of an audio file including the Waveforms

is much larger than the size of a MIDI file. File sizes are

indicated in conventional computer terms by B (Byte), KB

(Kilo Byte), MB (Mega Byte) and GB (Giga Byte). 1KB is

equivalent to 1024 Byte, 1MB is equivalent to 1024KB, and

1GB is equivalent to 1024MB.

Refers to a memory storage unit (such as a hard disk) to

which the file is saved. The MOTIF XF can handle and

mount various types of USB storage devices connected to

the USB TO DEVICE connector computer drives connected

via network to the MOTIF XF.

This is an organizational feature on a data storage device

(such as hard disk), allowing you to group data files

together according to type or application. Directories can

be nested in hierarchical order for organizing data. The

“directory” is equivalent to the “folder” used as a computer

term. The File mode of the MOTIF XF allows you to assign a

name to a directory like a file. Please note that the directory

name does not contain the extension.

Using the illustration below as an example, this shows you

how to change the current directory. First, open the root

directory to find directories A and B. Next, open the

directory A to find directories C and D. Finally, open the

directory C to find only the files saved in the directory C.

This allows you to call up folders nested down in the lower

levels of the folder hierarchy.

To select a different directory higher up (for example,

moving from directory C to directory B), first go to the next

highest level (directory A). Next, go up one more level (to

the root directory). Now that both A and B are available,

open directory B. In this way you can move up or down

through the folder hierarchy.

File

File Name

Extension

File size

Device

Directory (Dir)

Changing the current directory (folder)

Root Directory

Directory A Directory B

Directory C Directory D

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

File Management (File mode)

MOTIF XF Reference Manual

235

n To go down from the current directory in the File window

(page 237), move the cursor to the desired directory in the

Directory/File list then press the [ENTER] button. To go up from

the current directory, move the cursor to the top line in the

Directory/File list then press the [ENTER] button.

The location of the directories (folders) and files currently

indicated at the “Dir” line on the display is referred to as a

“path.” This indicates the current directory, what device it

belongs to, and in which folder(s) it is contained. “Directory

C” illustrated above is described as path “USB_HDD/A/C.”

Refers to the operation so that an external memory device

becomes active for the instrument. The USB storage

device is automatically mounted as soon as connected to

the USB TO DEVICE connector on the rear panel of the

MOTIF XF. The hard disk drive of the computer connected

to the MOTIF XF via the network can be mounted in the

Mount display (page 239).

The operation of initializing a storage device (such as a

hard disk) is referred to as “format.” The File mode of the

MOTIF XF allows you to format the USB memory storage

device connected to the USB TO DEVICE connector. The

format operation erases all data from the target memory

device and is irreversible.

“Save” means that the data created on the MOTIF XF is

saved to the external memory device as a file, while “Store”

means that the data created on the MOTIF XF is stored to

internal memory. “Load” means that the file on the external

memory device is loaded to internal memory.

File types that can be handled by

the MOTIF XF

The MOTIF XF supports various file types that can be

saved and loaded. Refer to the following two lists.

File types that can be saved

* Automatically assigned to the saved file.

Path

Mount

Format

Save/Load

Ty pe

File

extension*

Description

All .X3A All data in this synthesizer’s internal User

Memory (Flash ROM) is treated as a single

file, and can be saved to the USB storage

device.

All Voice .X3V All the User Voice data in this synthesizer’s

internal User Memory (Flash ROM) is

treated as a single file, and can be saved to

the USB storage device. Also the

Waveforms obtained via the Sampling

function and assigned to any of the Voices

are saved together.

All

Arpeggio

.X3G All the User Arpeggio data in this

synthesizer’s internal User Memory (Flash

ROM) is treated as a single file, and can be

saved to the USB storage device.

All Song .X3S All the User Song data in this synthesizer’s

internal User Memory (Flash ROM) is

treated as a single file, and can be saved to

the USB storage device. The Song data

includes Mixing settings, Mixing Voices

and Sample Voices.

All Pattern .X3P All the User Pattern data in this

synthesizer’s internal User Memory (Flash

ROM) is treated as a single file, and can be

saved to the USB storage device. The

Pattern data includes Mixing settings,

Mixing Voices and Sample Voices.

SMF .MID Sequence track (1 – 16) and Tempo track

data of Songs or Patterns created in the

Song/Pattern mode can be saved to the

USB storage device as Standard MIDI File

(format 0) data.

All

Waveform

.X3W All the Waveform data created via the

Sampling function can be saved as a

single file. The Waveform data includes all

the Samples on SDRAM and the optional

Flash Memory Expansion Modules

(FL512M/FL1024M). Note that the Samples

on the FL512M/FL1024M may not be

included in a file of this type because you

can select whether or not these are to be

saved before executing the Save operation.

WAV .WAV A Sample created in the Sampling mode

can be saved to the USB storage device as

a WAV file (Windows audio format).

AIFF .AIF A Sample created in the Sampling mode

can be saved to the USB storage device as

an AIFF file (Mac audio format).

File Management (File mode)

MOTIF XF Reference Manual

236

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

File types that can be loaded

* Assigned to the file which can be loaded.

Data Compatibility with the MOTIF XS6/MOTIF

XS7/MOTIF XS8

Completely compatible.

Data Compatibility with the MOTIF ES6/MOTIF

ES7/MOTIF ES8

Among the data created on the MOTIF ES6/MOTIF ES7/

MOTIF ES8, Voices, Waveforms, Sample Voices can be

loaded to the MOTIF XF6/MOTIF XF7/MOTIF XF8.

• “All” data of the MOTIF ES

Files of the “All” type (extension: W7A) saved to the USB

storage device connected to the MOTIF ES can be loaded to

the MOTIF XF. To do this, set the Type to “All” in the [F1] File

window of the MOTIF XF.

• Voices

A specified Voice in a file (extension: W7A, W7V) that is saved

to the storage device as “All” or “All Voice” type on the MOTIF

ES can be individually selected and loaded to the MOTIF XF.

Set the Type in the [F1] File display to “Voice” and execute the

Load procedure. All Voice data in a file (extension: W7A) that

has been saved to the storage device as “All” type on the

MOTIF ES can be selected and loaded to the MOTIF XF.

Likewise, a file (extension: W7V) that is saved to the USB

storage device as “All Voice” type on the MOTIF ES can be

loaded to the MOTIF XF. Set the Type in the [F1] File display to

“All Voice” and execute the Load procedure.

In addition, Voice Editor files (extension: W7E) can be loaded

to the MOTIF XF. Set the Type in the [F1] File display to “Voice

Editor” and execute the Load procedure.

n The Voices loaded to the MOTIF XF 6/7/8 may not produce the

exact same sound as those on the original MOTIF ES 6/7/8,

since the contents of the preset Waveforms and the Effect

structure are different between the two instrument series.

• Waveforms

A specified Waveform in a file (extension: W7A, W7W) that is

saved to the storage device as “All” or “All Waveform” type on

the MOTIF ES can be individually selected and loaded to the

MOTIF XF. Set the Type in the [F1] File display to “Waveform”

and execute the Load procedure.

Likewise, a file (extension: W7W) that is saved to the storage

device as “All Waveform” type on the MOTIF ES can be loaded

Ty pe

File

extension*

Description

All .X3A Files of the “All” type saved to the USB

storage device can be loaded and restored

to the instrument. When the box at the left of

“without System” is checkmarked, only the

Utility mode settings will not be loaded.

all without

system

.X3A Files of the “all” type saved to the USB

storage device can be loaded and restored

to the instrument, with the exception of the

Utility and Sequencer Setup settings.

All Voice .X3V Files of the “All Voice” type saved to the

USB storage device can be loaded and

restored to the instrument.

Voice,

1bank

voice

.X3A

.X3V

A specific Voice or Voice Bank in a file that

is saved to the USB storage device as “All”

or “All Voice” type can be individually

selected and loaded to the instrument.

Please note that the file icons F of “X3A”

and “X3V” are changed to G (as virtual

folders) when this file type is selected

(page 243).

Performance

.X3A A specified Performance in a file that is

saved to the USB storage device as “All”

type can be individually selected and

loaded to the instrument. Please note that

the file icon F of “X3A” is changed to G

(as a virtual folder) when this file type is

selected (page 245).

All

Arpeggio

.X3G Files of the “All Arpeggio” type saved to the

USB storage device can be loaded and

restored to the instrument.

All Song .X3S Files of the “All Song” type saved to the

USB storage device can be loaded and

restored to the instrument.

Song .X3A

.X3S

.MID

A specified Song in a file that is saved to

the USB storage device as “All” or “All

Song” type can be individually selected

and loaded to the instrument. Please note

that the file icons F of “X3A” and “X3S” are

changed to G (as virtual folders) when this

file type is selected (page 246).

All Pattern .X3P Files of the “All Pattern” type saved to the

USB storage device can be loaded and

restored to the instrument.

Pattern .X3A

.X3P

.MID

A specified Song in a file that is saved to

the USB storage device as “All” or “All

Pattern” type can be individually selected

and loaded to the instrument. Please note

that the file icons F of “X3A” and “X3P” are

changed to G (as virtual folders) when this

file type is selected (page 246).

All

Waveform

.X3W Files of the “All” or “All Waveform” types

saved to the USB storage device can be

loaded and restored to the instrument.

Waveform .X3A

.X3W

A specified Waveform in a file that is saved

to the USB storage device as “All” or “All

Waveform” type can be individually

selected and loaded to the instrument.

Please note that the file icons F of “X3A”

and “X3W” are changed to G (as virtual

folders) when this file type is selected

(page 244).

WAV .WAV WAV format files can be loaded to the

instrument. For details, see page 247.

AIFF .AIF AIFF format files can be loaded to the

instrument. For details, see page 247.

Sample

Voice

.X3A

.X3S

.X3P

A specified Sample Voice in a file that is

saved to the USB storage device as “All” or

“All Song” or “All Pattern” type can be

individually selected and loaded to the

instrument. Please note that the file icons

F of “X3A,” “X3S” and “X3P” are changed

to G (as virtual folders) when this file type

is selected (page 246). This file type is

available only when entering the File mode

from the Song mode/Pattern mode.

MOTIF XF

Editor

.X3E The file (.X3E) created via the MOTIF XF

Editor software (available from the Yamaha

site) on your computer can be loaded to the

instrument. The file of this editor type

includes all User Voices and Mixing data

handled by the MOTIF XF. Note that only

User Voice data can be loaded to the

MOTIF XF.

Ty pe

File

extension*

Description

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

File Management (File mode)

MOTIF XF Reference Manual

237

to the MOTIF XF. Set the Type in the [F1] File display to “All

Waveform” and execute the Load procedure.

• Sample Voices

A specified Sample Voice (extension: W7A, W7S, W7P) in a file

that is saved to the storage device as “All” or “All Song” or “All

Pattern” type on the MOTIF ES can be individually selected

and loaded to the MOTIF XF. Set the Type in the [F1] File

display to “Sample Voice” and execute the Load procedure.

File Management—[F1] File

The File window lets you use all file-related functions such

as device selection, selecting a path, save, load, rename

and delete.

Device

Here, you can select the desired device from the ones

mounted (recognized) by the File mode. The device

selected here is called “Current Device.” When selecting a

device, the root directory of the selected device appears in

the Dir column. The amount of used memory and total

memory on the selected device appears at the top right of

the display.

n You can call up the list by pressing the [SF6] LIST button then

select the desired item from the list. For details, see page 37.

Dir (Directory)

Indicates the current directory with the path. The contents

(files and folders) included in the current directory are

listed in the Directory/File list box below. The current

directory can be changed in the Directory/File list box

below.

Directory/File list

Indicates the directories and files in the current Directory.

In this box, the directories and files are listed in

alphabetical order, with the exception of the top line which

is provided for moving to the next highest directory. You

can distinguish the directory and file by the indicator at left

end of each line.

D ..... Directory (Folder)

F ...... File

The directory name is shown on the Directory line while the

file name with the extension and file size are shown on the

File line.

File Type Setting example when saving:

Data to be saved File type

All data All

User Voice All Voice

Performance All

Songs When User Voices are used in the

Songs:

All

When no User Voices are used in

any of the Songs:

All Song

When you wish to transfer a Song to

an external MIDI sequencer or

computer:

SMF

Pattern When User Voices are used in the

Patterns:

All

When User Voices are not used in

all the Patterns:

All Pattern

When you wish to transfer a Pattern

to an external MIDI sequencer or

computer:

SMF

Sampling

data

All waveforms All Waveform

When you wish to transfer a Sample

to a computer:

WAV, AIFF

Moving between the directory levels

To go down from the current directory, move the cursor to

the desired directory in the Directory/File list then press

the [ENTER] button. To go up from the current directory,

move the cursor to the top line in the Directory/File list

then press the [ENTER] button.

The amount of used memory/total memory

To upper level

File

File Management (File mode)

MOTIF XF Reference Manual

238

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Type

Determines the data type to be saved or loaded. The

available type differs depending on the mode selected

before calling up the File mode. For details about the data

types, see pages 235 and 236. You can call up the File

Type List by pressing the [SF6] LIST button then select the

desired one from the list. For details, see page 37.

Memory location of the data type above

Determines the memory location of the data type above

such as Voice Bank/number, Performance Bank/Number,

Song number and Pattern number. The available values

differ depending on the Type setting above. For details

about the source memory to be saved, see page 241. For

details about the target memory to be loaded, see

page 242.

[SF1] Save

Pressing this button executes the Save operation. For

detailed instructions on saving, see page 241.

[SF2] Load

Pressing this button executes the Load operation. For

detailed instructions on loading, see page 242.

[SF3] Rename

Pressing this button calls up the window for entering the

new name of the selected file. The File name can contain

up to 20 characters. For detailed instructions on naming,

refer to “Basic Operation” on page 37.

[SF4] Delete

Pressing this button to call up the Delete window.

[SF5] New Dir (New Directory)

Pressing this button creates a new directory in the current

directory. The directory name can contain up to 10

characters. For detailed instructions on naming, refer to

“Basic Operation” on page 37.

[F1] File

Pressing this button calls up the File window from another

window in the File mode.

[F2] Mount

Pressing this button calls up the Mount window. For details,

see page 239.

[F3] Format

Pressing this button calls up the Format window. For

details, see page 240.

[F4] Audio

Pressing this button calls up the window for recording your

keyboard performance as an audio file or playing an

existing audio file. For instructions, refer to the Owner’s

Manual.

1 Press the [FILE] button to enter the File mode.

The File window (page 237) appears.

2 Mount the memory devices to which the file is

saved or from which the file is loaded.

The USB storage device is automatically mounted as

soon as it is connected to the USB TO DEVICE

connector on the rear panel. The hard disk drive of the

computer connected to the MOTIF XF via the network

can be mounted in the Mount display (page 239).

3 Select the desired device.

Select the desired device from the ones mounted in

step 2.

4 Move the path to the desired directory.

Select the desired directory in the selected device. To

go down from the current directory, move the cursor to

the desired directory in the Directory/File list then press

the [ENTER] button. To go up from the current directory,

move the cursor to the top line in the Directory/File list

then press the [ENTER] button. The Dir line indicates

the current directory name with the path and the lower

Follow the instructions below to change the name of the

file.

1 Select a file to be renamed by moving the cursor in

the Directory/File list.

2 Press the [SF3] button to call up the Input Character

window.

3 Enter the new name of the selected file.

4 Press the [ENTER] button to actually change the

name of the selected file.

Follow the instructions below to delete a file.

1 Select a file to be deleted by moving the cursor in the

Directory/File list.

2 Press the [SF4] button to call up the Delete window.

3 Press the [ENTER] button to delete the selected file.

Follow the instructions below to create a new directory.

1 Press the [SF5] button to call up the Input Character

window.

2 Enter the name of the new Directory.

3 Press the [ENTER] button to actually enter the name

of the newly created directory.

Basic Procedure in the File mode

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

File Management (File mode)

MOTIF XF Reference Manual

239

box lists the directories and files belonging to the

current directory.

n If you wish to create a new directory and save the file

there, press the [SF5] New Dir button. For detailed

instructions on creating a new directory, see the left

column.

5 Select the desired data type from the Type

column ( ).

In the Directory/File list box, only files related to the

selected file type are listed.

n Depending on the mode selected before calling up the

File mode, the available data types differ. If you cannot

find the data type which you wish to handle, for example

“voice,” press the [EXIT] button to exit from the File

window, press the [VOICE] button to enter the Voice

mode, then press the [FILE] button to call up the File

window again.

6 Select the desired file by moving the cursor in

the Directory/File list ( ).

This operation is not necessary when you execute Save

or New Directory. When you wish to execute the

Rename or Delete operation, press the [SF3] Rename

button or the [SF4] Delete button. For detailed

instructions on renaming and deleting, see page 238

and left column.

7 Select a memory location of the data type

specified in step 5 as source or destination.

When you wish to execute the Save or Load operation,

press the [SF1] Save button or the [SF2] Load button.

For detailed instructions on saving and loading, see

pages 241 and 242.

Online Device Mounting—[F2] Mount

From this display, you can mount the shared directories on

the hard disk drive of a computer connected via network to

the MOTIF XF.

Host

From the computers connected to the network, this

parameter determines the host computer containing the

device is to be mounted. Here, the computer name set in

your computer is shown.

You can call up the Device List by pressing the [SF6] LIST

button then select the desired item from the list. For details,

see page 37. Here, the computer name set in your

computer is shown.

n If the desired computer name is not shown in the Host ( )

parameter, you can call up the Character List by pressing the

[SF5] CHAR button and enter the computer name manually.

For detailed instructions on naming, refer to “Basic Operation”

on page 37.

n Confirm the computer name on your computer. For details,

refer to the owner’s manual of your computer.

Sharing Point

Here, the shared directories of the host computer set

above are listed. You can also mount or unmount each of

the shared directories.

n Keep in mind that the names of the shared folders authorized

on the computer are shown here.

Mounting/Unmounting a directory

You can mount the shared directory by moving the cursor

to the desired directory then pressing the [ENTER]

button. The mount indicator appears at the left side of the

name of the mounted directory. You can unmount the

shared directory by pressing the [ENTER] button again.

The mount indicator disappears.

Mount

Indicator

File Management (File mode)

MOTIF XF Reference Manual

240

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Follow the instructions below to mount the memory drive of

the computer connected to the network.

1 Connect the MOTIF XF to the network.

Network related parameters can be set in the Network

display (page 221) in the Utility mode.

2 Press the [FILE] button to enter the File mode,

then press the [F2] button to call up the Mount

window.

Select a host computer at the Host column ( ).

If the desired computer name is not shown in the Host

( ) parameter, you can call up the Character List by

pressing the [SF5] CHAR button and enter the

computer name manually. For detailed instructions on

naming, refer to “Basic Operation” on page 37.

If you select a computer which has not been accessed

by the MOTIF XF, “Press [ENTER] to access” appears

on the display. When pressing the [ENTER] button, the

display prompts you to enter the password as

illustrated below. Here, enter the User Account of your

computer to the User Name box, enter the password of

your computer to the Password box, then press the

[ENTER] button so that the access between the MOTIF

XF and the computer is established. The shared

directories of the selected computer are listed in the

Sharing Point box ( ).

n Once access between the MOTIF XF and the computer

has been established, the shared directories are

automatically listed in the display simply by selecting a

computer from the Host column. If the power is turned off,

the operations for establishing the access (entering the

User Account and Password) are necessary after turning

the power on next time.

n For details about how to confirm the User Account and

Password of your computer, refer to the owner’s manual of

your computer.

n When a Password is not assigned to your computer,

simply pressing the [ENTER] button without inputting any

characters establishes the access between the MOTIF XF

and your computer.

4 Mount the desired directories.

In the Sharing Point box ( ), you can mount the shared

directory by moving the cursor to the desired directory,

then pressing the [ENTER] button. The mount indicator

appears at the left side of the name of the mounted

directory. You can unmount the shared directory by

pressing the [ENTER] button again. The mount

indicator disappears. The mounted directories can be

selected in the File window (page 237).

Formatting a Device—[SF3] Format

From this display, you can format memory storage devices

such as a hard disk connected to the USB TO DEVICE

connector.

Device

The connected and mounted devices are listed here,

letting you select the device to be formatted. A device that

requires formatting is indicated by “unknown device

(usb***).” The three asterisks (***) in the indication denote

the sequential serial numbers of the connected devices

which need to be formatted. When several partitions are

included in a single device, the partition number is

indicated at the right of the serial number.

Volume L abel

Determines the Volume Label of the selected device. The

Volume Label is the name assigned to the device. The

Volume Label can contain up to 11 characters. For detailed

instructions on naming, refer to “Basic Operation” on

page 37.

1 Connect the device to be formatted to the USB

TO DEVICE terminal.

2 Select a device to be formatted from the Device

list ( ).

3 Enter the Volume Label ( ) as desired.

4 Press the [ENTER] button. (The display

prompts you for confirmation.)

Press the [DEC/NO] button to cancel the Format.

5 Press the [INC/YES] button to execute the

Format operation.

NOTICE

If you format the device, all the previously recorded data will be

deleted. Make sure to check beforehand whether or not the

device contains important data. When checking the contents

of the device in the [F1] File window, keep in mind that some

files (which are not listed on pages 235 and 236) are not shown

on the display of the MOTIF XF, even if the File Type is set to

“all.”

Mount Procedure

Format Procedure

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

File Management (File mode)

MOTIF XF Reference Manual

241

Saving a file

The saving procedure differs depending on the file type to

be saved and the mode selected before calling up the File

window. This section explains the procedure relevant to

following three cases.

• Saving all user data or all data of a specific type

• Saving the sample of a specific Voice

• Saving a Song or a Pattern Section as a Standard MIDI

File

1 Select a device and directory as destination by

following “Basic Procedure in the File mode”

on page 238.

n When you wish to save all 64 songs, press the [SONG]

button to enter the Song mode then press the [FILE]

button to call up the File window. When you wish to save

all 64 patterns, press the [PATTERN] button to enter the

Pattern mode then press the [FILE] button to call up the

File window.

n Follow the instructions below after selecting a Voice,

Performance, Song or Pattern to which the Sample to be

saved is assigned in each of the modes.

n You can speed up this operation by selecting a file having

a name similar to the desired one in this step, since the

operation will show the corresponding name by default on

the window for entering the file name, making it

unnecessary to input the file name from scratch.

2 Set the Type to the desired one of “all,” “all

voice,” “all arpeggio,” “all waveform,” “editor,”

“all song,” and “all pattern.”

n When you select the data type including the Waveform

data, select whether or not the Sample data will be saved

for each Flash Memory Expansion Module at the left

bottom of the display. For details about the Waveform data

structure on saving, refer to see page 248.

3 Press the [SF1] Save button to call up the

window for entering the file name.

4 Enter the file name, press the [ENTER] button

then the [INC/YES] button to save the data of

the specified type to the external memory

device.

The file name can contain up to 20 characters. For

detailed instructions on naming, refer to “Basic

Operation” on page 37.

You can save the sample of a specific Voice to an external

memory device as a WAV file or an AIFF file for storage or

editing on a computer. This method is available when

entering the File mode from any mode. For details about file

types that can be saved, see page 235.

n When entering the File mode from the Performance mode/

Song mode/Pattern mode and saving/loading the sample

assigned to the Normal Voice, only the sample assigned to the

Element 1 is available.

1 Select a device and directory as destination by

following “Basic Procedure in the File mode”

on page 238.

n You can speed up this operation by selecting a file having

a name similar to the desired one in this step, since the

operation will show the corresponding name by default on

the window for entering the file name, making it

unnecessary to input the file name from scratch.

2 Set the Type to “WAV” or “AIFF.”

n Keep in mind that some parameter settings, such as Start

Point, are not saved when saving the Sample of a specific

Voice as WAV or AIFF format. This means that the WAV file

or AIFF file saved in the File mode will be played back

from the top (including the section before the Start Point)

on an external device, such as a computer.

3 Select the source data.

When entering the File mode from the Voice mode,

select an Element (for a Normal Voice) and Key to

which the Sample to be saved is assigned. When

entering the File mode from the Performance/Song/

Pattern mode, select a Part and Key to which the Voice

including the Sample to be saved is assigned.

n Preset Waveforms cannot be saved to an external storage

device. If you select a Performance/Song/Pattern Part to

which the preset Voice is assigned or you select a Normal

Saving all user data or all data of a

specific type

Saving the sample of a specific Voice

File Management (File mode)

MOTIF XF Reference Manual

242

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Voice Element or Drum Voice Key to which the preset

Waveform is assigned, an error message appears.

n The available source data differs depending on the mode

selected before entering the File mode. When entering the

File mode from the Voice mode, the available source data

differs depending on the type of the already selected

Voice: Normal Voice or Drum Voice. Make sure to select a

Voice/Performance/ Song/Pattern to which the desired

Sample is assigned before entering the File mode.

4 Press the [SF1] Save button to call up the

window for selecting a Key Bank.

5 Select a Key Bank to which the sample is

assigned by moving the cursor.

Press the [SF1] Audition button to hear the sampled

sound.

6 Press the [ENTER] button to call up the window

for entering the file name.

7 Enter the file name, press the [ENTER] button

then the [INC/YES] button to save the data to

the external memory device.

The file name can contain up to 20 characters. For

detailed instructions on naming, refer to “Basic

Operation” on page 37.

You can save a Song or a Pattern Section as a Standard

MIDI File in the File mode. The Standard MIDI File format is

common and can be used on other MIDI sequencers and

computer music software. This method is available when

entering the File mode from the Song mode/Pattern mode.

1 Select a device and directory as destination by

following “Basic Procedure in the File mode”

on page 238.

n You can speed up this operation by selecting a file having

a name similar to the desired one in this step, since the

operation will show the corresponding name by default on

the window for entering the file name, making it

unnecessary to input the file name from scratch.

2 Set the Type to “SMF.”

3 Select the source data.

n The available source memory differs depending on the

mode selected before entering the File mode. When you

want to save a Song, enter the File mode from the Song

mode. When you want to save a Pattern, enter the File

mode from the Pattern mode.

4 Press the [ENTER] button to call up the window

for entering the file name.

5 Enter the file name, press the [ENTER] button

then the [INC/YES] button to save the data to

the external memory device.

The file name may contain up to 20 characters. For

detailed instructions on naming, refer to “Basic

Operation” on page 37.

Loading a file

The loading procedure differs depending on the file type to

be loaded and the mode selected before calling up the File

window. This section explains the procedure relevant to

following eight cases.

• Loading all user data or all data of a specific type (all

voices, all songs, all patterns, etc.)

• Loading a specific Voice or all the Voices of a specific

Bank from an “all” or “all voice” file

• Loading a specific Waveform from an “all” or “all

waveform” file

• Loading a specific Performance from an “all” file

• Loading a specific Song or Pattern from an “all” or “all

song” or “all pattern” file

• Loading a specific Sample Voice from an “all” or “all

song” or “all pattern” file

• Loading a WAV file or an AIFF file

• Loading a SMF file (Standard MIDI file)

Saving a Song or a Pattern Section as a

Standard MIDI File

Key Bank

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

File Management (File mode)

MOTIF XF Reference Manual

243

1 Select a device and directory including the

source file by following “Basic Procedure in

the File mode” on page 238.

n When you wish to load all 64 Songs, press the [SONG]

button to enter the Song mode then press the [FILE]

button to call up the File window. When you wish to load all

64 Patterns, press the [PATTERN] button to enter the

Pattern mode then press the [FILE] button to call up the

File window.

2 Set the Type to the desired one of “all,” “all

without system,” “all voice,” “all arpeggio,” “all

waveform,” “editor,” “all song,” and “all

pattern.”

Only available files according to the Type are listed in

the Directory/File list box on the display.

n When you select the data type including the Waveform

data, select the destination memory (USR, FL1, FL2) for

each memory block in the Load column at the right bottom

of the display. For details about the Waveform data

structure on loading, refer to page 248.

3 Select the file to be loaded.

You can select any of the files listed in the Directory/File

list box on the display.

4 Press the [SF2] button (a prompt for

confirmation appears).

Press the [DEC/NO] button to cancel the Load

operation.

5 Press the [INC/YES] button to execute the Load

operation.

NOTICE

The Load operation overwrites any data previously existing in

the destination internal memory. Important data should always

be saved to a USB storage device connected to the USB TO

DEVICE terminal or to a computer connected to the same

network as the MOTIF XF (page 241).

1 Select a device and directory as source by

following “Basic Procedure in the File mode”

on page 238.

2 Set the Type to “voice” or “1bank voice.”

Only available files according to the Type are listed in

the Directory/File list box on the display.

n In this step, the Load menu corresponding to the [SF2]

button is not shown in the display. The Load menu

appears when selecting a Voice to be loaded in step 6.

3 Specify the destination memory location ( ) in

the User Memory.

When the Type ( ) is set to “voice,” select a Voice

Bank and number as destination. When the Type ( ) is

set to “1bank voice,” select a Voice Bank as

destination.

n When entering the File mode from the Performance/Song/

Pattern mode, set a Part to which the loaded Voice is to be

assigned as well as a Voice Bank and number.

n When loading a Drum Voice, select the User Drum Voice

Bank (UDR) as the destination memory location ( ).

When loading a Normal Voice, select one of the User

Normal Voice Banks (USR1 – 3) as the destination

memory location ( ). If the appropriate Voice Bank is not

set, pressing the [SF2] Load button calls up an error

message.

4 Move the cursor to the file to be loaded.

You can select any of the files listed in the Directory/File

list box on the display.

5 When the Type ( ) is set to “voice,” press the

[ENTER] button so that the Voices of the

specified Bank are listed in the Directory/File

list box. When the Type ( ) is set to “1bank

voice,” press the [ENTER] button so that the

Banks are listed in the Directory/File list box.

When the Normal Voice Bank is selected in step 3, you

can change the Voice Bank as source by pressing one

of the Bank buttons (USR 1 – 4) on the front panel.

Loading all user data or all data of a

specific type

Loading a specific Voice or all the

Voices of a specific Bank from an “all”

or “all voice” file

File Management (File mode)

MOTIF XF Reference Manual

244

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

6 Move the cursor to the desired Voice or Voice

Bank.

The Load menu corresponding to the [SF2] button

appears.

7 Press the [SF2] button (a prompt for

confirmation appears).

Press the [DEC/NO] button to cancel the Load

operation.

8 Press the [INC/YES] button to execute the Load

operation.

NOTICE

The Load operation overwrites any data previously existing in

the destination internal memory. Important data should always

be saved to a USB storage device connected to the USB TO

DEVICE terminal or to a computer connected to the same

network as the MOTIF XF (page 241).

1 Select a device and directory as the source by

following the instructions in “Basic Procedure

in the File mode” on page 238.

2 Set the Type ( ) to “waveform.”

Only available files according to the Type are listed in

the Directory/File list box on the display.

n In this step, the Load menu corresponding to the [SF2]

button is not shown in the display. The Load menu appears

when selecting a Waveform to be loaded in step 6.

3 Select the file to be loaded.

You can select any of the files listed in the Directory/File

list box on the display.

4 Press the [ENTER] button so that the three

memory types (USR, FL1 and FL2) are shown

on the display, then move the cursor to the

desired memory type.

5 Press the [ENTER] button so that the

Waveforms in the selected file are listed on the

display.

6 Move the cursor to the desired Waveform.

The Load menu corresponding to the [SF2] button

appears.

7 Specify the destination memory location in the

User memory.

At , select a Part to which the Waveform is to be

assigned, when entering the File mode from the

Performance/Song/Pattern mode.

At , select an Element (for a Normal Voice) to which

the Waveform (loaded to an empty number) is to be

assigned.

n Please note that Waveforms cannot be loaded to a Drum

Voice.

n When entering the File mode from the Performance/Song/

Pattern mode, determine the Part to which the Voice

including the loaded Waveform is to be assigned.

Loading a specific Waveform from an

“all” or “all waveform” file

Voice List

Waveforms

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

File Management (File mode)

MOTIF XF Reference Manual

245

8 Select the destination memory type ( ) of the

instrument.

When “USR” is selected, the specified Waveform will be

loaded to SDRAM. When “FL1” or “FL2” is selected, the

specified Waveform will be loaded to either slot 1 or 2 of

the optional Flash Memory Expansion Board. When

“FL1 without image” or “FL2 without image” is selected,

only the parameter settings of the specified Waveform

will be loaded to either slot 1 or 2 of the optional Flash

Memory Expansion Board.

9 Press the [SF2] button (a prompt for

confirmation appears).

Press the [DEC/NO] button to cancel the Load

operation.

10 Press the [INC/YES] button to execute the

Load operation.

NOTICE

The Load operation overwrites any data previously existing

in the destination internal memory. Important data should

always be saved to a USB storage device connected to the

USB TO DEVICE terminal or to a computer connected to the

same network as the MOTIF XF (page 241).

This method is available only when entering the File mode

from the Performance mode.

1 Select a device and directory as source by

following “Basic Procedure in the File mode”

on page 238.

2 Set the Type to “performance.”

Only available files according to the Type are listed in

the Directory/File list box on the display.

n In this step, the Load menu corresponding to the [SF2]

button is not shown in the display. The Load menu

appears when selecting a Performance to be loaded in

step 6.

3 Specify the destination memory location in the

User memory.

Select a Performance Bank and number.

n When the Performance number is set to “all,” all the

Performances in the selected Bank will be loaded.

4 Select the file to be loaded.

You can select any of the files listed in the Directory/File

list box on the display.

5 Press the [ENTER] button so that the

Performances in the selected Bank are listed

on the display.

You can change the Performance Bank as source by

pressing the Bank buttons on the front panel.

6 Move the cursor to the desired Performance.

The Load menu corresponding to the [SF2] button

appears.

7 Press the [SF2] button (a prompt for

confirmation appears).

Press the [DEC/NO] button to cancel the Load

operation.

8 Press the [INC/YES] button to execute the Load

operation.

NOTICE

The Load operation overwrites any data previously existing in

the destination internal memory. Important data should always

be saved to a USB storage device connected to the USB TO

DEVICE terminal or to a computer connected to the same

network as the MOTIF XF (page 241).

Loading a specific Performance from

an “all” file

Performances

File Management (File mode)

MOTIF XF Reference Manual

246

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

This method is available only when entering the File mode

from the Song mode or Pattern mode.

1 Select a device and directory as source by

following “Basic Procedure in the File mode”

on page 238.

2 Set the Type to “song” or “pattern.”

Only available files according to the Type are listed in

the Directory/File list box on the display.

n In this step, the Load menu corresponding to the [SF2]

button is not shown in the display. The Load menu

appears when selecting a Song or Pattern to be loaded in

step 6.

3 Specify the destination memory location in the

User memory.

Select a Song number or Pattern number.

4 Select the file to be loaded.

You can select any of the files listed in the Directory/File

list box on the display.

5 Press the [ENTER] button so that the Songs or

Patterns in the selected file are listed on the

display.

6 Move the cursor to the desired Song or Pattern.

The Load menu corresponding to the [SF2] button

appears.

7 Press the [SF2] button (a prompt for

confirmation appears).

Press the [DEC/NO] button to cancel the Load

operation.

8 Press the [INC/YES] button to execute the Load

operation.

NOTICE

The Load operation overwrites any data previously existing in

the destination internal memory. Important data should always

be saved to a USB storage device connected to the USB TO

DEVICE terminal or to a computer connected to the same

network as the MOTIF XF (page 241).

This method is available only when entering the File mode

from the Song mode or Pattern mode.

1 Select a device and directory as source by

following “Basic Procedure in the File mode”

on page 238.

2 Set the Type to “sample voice.”

Only available files according to the Type are listed in

the Directory/File list box on the display.

n In this step, the Load menu corresponding to the [SF2]

button is not shown in the display. The Load menu appears

when selecting a Sample Voice to be loaded in step 7.

3 Specify the destination memory location in the

User memory.

Select a Part to which the loaded Sample Voice is to be

assigned.

n The Sample Voice is loaded to an empty number assigned

to the Song or Pattern selected before entering the File

mode.

4 Select the file to be loaded.

You can select any of the files listed in the Directory/File

list box on the display.

5 Press the [ENTER] button so that the Songs or

Patterns in the selected file are listed on the

display.

Loading a specific Song or Pattern from

an “all” or “all song” or “all pattern” file

Songs

Loading a specific Sample Voice from

an “all” or “all song” or “all pattern” file

Voice mode

Song mode

Pattern mode

Mixing mode

Master mode

Utility mode

File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

File Management (File mode)

MOTIF XF Reference Manual

247

6 Press the [ENTER] button so that the Sample

Voices in the selected Song or Pattern are

listed on the display.

7 Move the cursor to the desired Sample Voice.

The Load menu corresponding to the [SF2] button

appears.

8 Press the [SF2] button (a prompt for

confirmation appears).

Press the [DEC/NO] button to cancel the Load

operation.

9 Press the [INC/YES] button to execute the Load

operation.

NOTICE

The Load operation overwrites any data previously existing in

the destination internal memory. Important data should always

be saved to a USB storage device connected to the USB TO

DEVICE terminal or to a computer connected to the same

network as the MOTIF XF (page 241).

1 Select a device and directory as source by

following “Basic Procedure in the File mode”

on page 238.

2 Set the Type to “WAV” or “AIFF.”

Only available files according to the Type are listed in

the Directory/File list box on the display.

n You can hear the sound of the currently selected WAV/

AIFF file by pressing the [SF6] button ( ). This

conveniently lets you check the sound before loading the

audio file.

3 Specify the destination memory location in the

User memory.

Select an Element (for a Normal Voice) or Key (for a

Drum Voice) to which the WAV or AIFF file (loaded to an

empty Waveform number) is to be assigned.

n When entering the File mode from the Performance/Song/

Pattern mode, set a Part to which the Voice including the

loaded WAV or AIFF file is to be assigned.

4 Select the file to be loaded.

You can select any of the files listed in the Directory/File

list box on the display.

5 Press the [SF2] button (a prompt for

confirmation appears).

Press the [DEC/NO] button to cancel the Load

operation.

6 Press the [INC/YES] button to execute the Load

operation.

NOTICE

The Load operation overwrites any data previously existing in

the destination internal memory. Important data should always

be saved to a USB storage device connected to the USB TO

DEVICE terminal or to a computer connected to the same

network as the MOTIF XF (page 241).

This method is available only when entering the File mode

from the Song mode or Pattern mode.

1 Select a device and directory as source by

following “Basic Procedure in the File mode”

on page 238.

2 Set the Type to “SMF.”

Only available files according to the Type are listed in

the Directory/File list box on the display.

Loading a WAV file or an AIFF file

Songs

Loading a SMF file (Standard MIDI file)

File Management (File mode)

MOTIF XF Reference Manual

248

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

3 Specify the destination memory location in the

User memory.

Select a Song number or Pattern Number/Section to

which the Standard MIDI File is to be loaded.

n When you want to load the SMF file to a Song, enter the

File mode from the Song mode. When you want to load the

SMF file to a Pattern, enter the File mode from the Pattern

mode.

4 Select the file to be loaded.

You can select any of the files listed in the Directory/File

list box on the display.

5 Press the [SF2] button (a prompt for

confirmation appears).

Press the [DEC/NO] button to cancel the Load

operation.

6 Press the [INC/YES] button to execute the Load

operation.

NOTICE

The Load operation overwrites any data previously existing in

the destination internal memory. Important data should always

be saved to a USB storage device connected to the USB TO

DEVICE terminal or to a computer connected to the same

network as the MOTIF XF (page 241).

Audio Record/Playback—[F4] Audio

With the Audio Record / Play function, you can record your

performances on the MOTIF XF as WAV-format audio files

(44.1-kHz, 16-bit, stereo) on a USB storage device or a

computer connected via a network. What’s more, the

MOTIF XF can now also play WAV or AIFF audio files stored

on a connected USB storage device or computer.

For details, refer to the Owner’s Manual.

Note when saving/loading sample data

The Waveform including samples resides on the “USR”

(SDRAM – page 34), “FL1,” and “FL2” of the optional

Flash Memory Expansion Module (page 34). The

Waveforms can be saved to or loaded from the USB

storage device or the computer connected to the same

network as the MOTIF XF in the File mode for each

memory block as shown below.

Waveform data structure to be saved

Regarding the data on SDRAM, the Save operation will

save the sample data as a file regardless of the settings.

Regarding the data on the optional FL512M/FL1024M,

you can select whether or not the sample is to be saved

at the left bottom of the display (below the file type)

before executing the Save operation. When “FL1” or

“FL2” is selected, the Save operation will save the

Waveform data including the samples. When “FL1

without sample” or “FL2 without sample” is selected, the

Save operation will save the Waveform data excluding

the samples (in other words, only the parameter settings)

SDRAM (indicated as “USR”)

Waveform including Samples

Optional FL512M or FL1024M

(indicated as “FL1”)

Waveform including Samples

Optional FL512M or FL1024M

(indicated as “FL2”)

Waveform including Samples

MOTIF XF

Save

• Data from USR

• Data from FL1

• Data from FL2

A saved file

Waveform data structure to be loaded

For each memory block (USR, FL1 and FL2) in a file, you

can assign the destination memory block (USR, FL1 and

FL2) of the MOTIF XF before executing the Load

operation. You can also set whether or not the samples in

a file will be loaded before executing the Load operation.

These can be set at the right bottom (“Load” column) of

the display.

When “USR” is selected, the data of the corresponding

memory block in the file will be loaded to SDRAM. When

“FL1” or “FL2” is selected, the data (Waveform and

Samples) of the corresponding memory block in the file

will be loaded to the Flash Memory Expansion Module 1

or 2. When “FL1 without sample” or “FL2 without sample”

is selected, the data (Waveform excluding Samples) will

be loaded to Flash Memory Expansion Module 1 or 2.

SDRAM (indicated as “USR”)

Waveform including Samples

Optional FL512M or FL1024M

(indicated as “FL1”)

Waveform including Samples

Optional FL512M or FL1024M

(indicated as “FL2”)

Waveform including Samples

MOTIF XF

Load

• Data from USR

• Data from FL1

• Data from FL2

A saved file

MOTIF XF Reference Manual

249

Index

Symbols

.AIF .......................................................... 235, 236

.MID ......................................................... 235, 236

.WAV ........................................................235, 236

.X3A .........................................................235, 236

.X3E ................................................................. 236

.X3G ........................................................235, 236

.X3P .........................................................235, 236

.X3S .........................................................235, 236

.X3V .........................................................235, 236

.X3W ........................................................235, 236

Numerics

1/4 Shift ............................................................. 56

1/4 tone ............................................................. 56

1/8 tone ............................................................. 56

1bank voice ..................................................... 236

1st-on ................................................................ 63

2 Band ............................................................... 83

A Mod ................................................................ 82

A. Function 1/2 ................................................216

A. Function 1/2 Mode ................................ 57, 104

A/D .................................................................. 193

Accent Phrase ...................................................17

Accent Start Quantize ...............................60, 115

Accent Vel Threshold ................................ 60, 114

Accuracy ......................................................... 132

AEG (Amplitude EG) ..................... 51, 80, 97, 115

Aftertouch .......................................................... 32

AIFF ................................................................. 235

All ............................................................231, 235

All Arpeggio ............................................ 235, 236

All Parameters ...........................91, 117, 195, 217

All Pattern ................................................ 235, 236

All Song ................................................... 235, 236

All Sound Off ..................................................... 32

All Track ..................................................146, 148

All Voice ..................................................235, 236

All Waveform ...........................................235, 236

all without system ............................................236

Alternate Group ................................................. 88

Alternate Pan ............................................... 80, 89

Amplitude .............................................. 10, 79, 89

Amplitude EG .................................................... 90

Append Pattern ............................................... 186

Append Phrase ............................................... 183

Apply .......................................................176, 209

Arabic 1/2/3 ....................................................... 56

ARP Category .................................................. 164

ARP Common Switch ...................................... 104

ARP FX ........................................ 47, 57, 104, 139

ARP Main .....................................58, 85, 112, 194

ARP MIDI Out Switch ......................................225

ARP No. ........................................................... 164

ARP Other ................................... 59, 85, 114, 194

ARP Play Only ................................................. 110

ARP Sync Quantize Value ...............................104

ARP Transmit Ch ............................................. 225

ARP1 – ARP5 ............. 49, 52, 59, 96, 99, 113, 212

Arpeggio .........49, 52, 96, 98, 146, 147, 178, 225

Hold on/off ................................................. 94

Performance ..............................................93

playback on/off .......................................... 94

Arpeggio Block ................................................. 15

Arpeggio Category ............................................ 15

Arpeggio playback

Pattern ........................................................ 20

Performance ..............................................19

Voice Play .................................................. 19

Arpeggio Sub Category .................................... 15

Arpeggio tempo .......................................... 49, 96

Arpeggio Type

create ........................................................ 20

Drum Voice ................................................ 18

name ......................................................... 16

non-note events ......................................... 18

Normal Voice ............................................. 18

ASSIGN 1/2 ....................................................... 46

Assign 1/2 Value ....................................... 57, 111

Assign L&R Gain ............................................ 224

Assign Mode ..................................................... 87

Assign Settings ................................................. 49

ASSIGNABLE FUNCTION [1] / [2] buttons ....... 21

ATTACK ............................................................ 46

Attack Level .......................................... 73, 77, 80

Attack Time ..................................... 72, 77, 80, 90

Audio ...................................................... 191, 238

Audio In .................................................. 106, 193

Audio In/Out .................................................... 223

Audio Input block ............................................. 12

Audio Record/Play ............................................ 35

Audio Recording ............................................. 201

Audio track ....................................................... 14

Audition ........... 120, 125, 128, 130, 206, 208, 230

Auto Load ....................................................... 223

Band Elimination Filter ...................................... 75

Band Pass Filter ................................................ 74

BANK ................................................................ 98

Bank .......... 50, 52, 56, 59, 96, 109, 113, 190, 197

Bank LSB ........................................................ 216

Bank MSB ....................................................... 216

Bank Select ..................................................... 229

Basic Receive Ch ........................................... 228

BEAT ....................................................... 151, 173

Beat ................................ 140, 145, 168, 178, 231

Beat Stretch .................................................... 161

beat1 – 3 ......................................................... 209

BEF (Band Elimination Filter) ............................ 75

BEF12 ............................................................... 75

BEF6 ................................................................. 75

Boost 12 ............................................................ 83

Boost 18 ............................................................ 83

Boost 6 .............................................................. 83

BPF (Band Pass Filter) ...................................... 74

BPF1 – 10 Gain ................................................. 67

BPF12D ............................................................. 74

BPF6 ................................................................. 75

BPFw ................................................................. 75

Break 1 – 16 .................................................... 175

Break Point 1 – 4 ......................................... 78, 82

Breath ............................................................... 61

Brightness ......................................................... 31

Bulk ........................................... 92, 118, 197, 218

Bulk Dump Interval ......................................... 229

Cancel ............................................................ 176

CAT (Channel Aftertouch) ........................ 32, 151

CATEGORY ...................................................... 98

Category 49, 52, 59, 66, 96, 97, 107, 113, 190, 227

Category 1/2 ..................................................... 50

Center Key .......................... 72, 74, 76, 78, 79, 81

Ch After Touch ................................................ 216

Chain ...................................... 141, 143, 169, 171

Chain Edit ....................................................... 173

Chain Number ................................................ 143

Chain Record .................................................. 172

Change Timing .......................................... 58, 112

Channel Aftertouch (CAT) ................................. 32

CHAR ................................................................ 37

character input .................................................. 37

CHO SEND ........................................................ 86

Cho Send ................................................ 190, 191

CHORUS ........................................................... 47

Chorus ........................... 25, 66, 86, 107, 108, 193

Chorus Category/Type .............................. 65, 107

Chorus Pan ............................................... 65, 108

Chorus Return ........................................... 65, 108

Chorus Send ............... 65, 88, 104, 106, 111, 226

CHORUS TO REVERB .............................. 65, 107

Clear ................................................................ 170

Clear All ........................................................... 152

Clear Pattern ................................................... 187

Clear Pattern Chain ......................................... 187

Clear Phrase ................................................... 185

Clear Sample Voice ........................................ 185

Clear Song ...................................................... 165

Clear Track ..............................................163, 185

Click ................................................146, 179, 231

CLOCK .................................................... 151, 173

Clock ....................................................... 158, 160

Clock Out ........................................................ 229

Clock Shift ....................................................... 142

Coarse ......................................................... 71, 88

Coarse Tune .................................................... 127

Color ................................................................ 221

Com LFO ........................................................... 62

Combination Type Filter .................................... 75

Common .......................................................... 218

Common Edit ...................... 53, 84, 100, 188, 212

Master ...................................................... 214

Mixing ...................................................... 192

Mixing Voice ............................................ 200

Performance ............................................ 102

Voice .................................................... 55, 85

Common Parameters ........................ 91, 117, 195

Common Switch ................................................ 98

Compare function .....................54, 101, 192, 199

Compressor ...................................................... 26

Confirm ....................................................124, 206

Confirm Password ........................................... 222

Connect ....................... 64, 86, 106, 107, 193, 227

Connection

external MIDI instruments .......................... 38

LAN ............................................................ 41

MTR ............................................................ 39

USB storage device ................................... 40

Control ............................................. 216, 228, 230

Control Change (CC) ........................................ 31

Control Depth .................................................... 63

Control Dest ...................................................... 63

Control Function .......................................... 49, 96

Control Knob No. ............................................ 217

Control Slider No. ............................................ 217

Control Sliders ..................................... 22, 95, 138

function ...................................................... 47

Control Sliders 1 – 8 ........................................ 212

Controller Assign ............................................. 230

Controller Block ................................................. 21

Controller Reset .............................................. 229

Controller Set .................................................... 61

Convert Pitch ................................................... 132

Convert to Song .............................................. 174

Convert Type ................................................... 164

Copy .. 92, 118, 130, 134, 170, 173, 196, 200, 225

Copy Event ...................................................... 159

Copy Loc ......................................................... 146

Copy Part ........................................................ 196

Copy Pattern ................................................... 186

Copy Pattern Chain ......................................... 186

Index

MOTIF XF Reference Manual

250

Copy Performance ..........................................197

Copy Performance Parameters .........................99

Copy Phrase ............................................164, 182

Copy Sample Voice .164, 165, 170, 183, 184, 187

Copy Song .......................................................165

Copy to Flash Memory ....................................135

Copy Track ..............................................162, 185

Copy Voice ......................................................196

Create Continuous Data ..................................160

Create Measure ...............................................161

Create Roll .......................................................157

Crescendo .......................................................156

Ctrl Set .........................................................61, 86

Current Arpeggio Type ......................................49

Current Password ............................................222

Current Pattern Phrase ....................................170

Current Performance .......................................118

Current settings ...............................................232

Current Values ...................................................49

Current Voice .....................................................92

Currently edited Part .......................................196

Cursor buttons ...................................................36

Curve ...............................................................160

CUTOFF .............................................................46

Cutoff ...........................................................75, 89

Cutoff Key Follow ...............................................76

Cutoff Velocity Sens ....................................75, 89

Cycle .................................................................64

Data Decrement ................................................32

Data dial ............................................................36

Data Entry LSB ..................................................31

Data Entry MSB .................................................31

Data Increment ..................................................32

Data indicator ..................................................168

Data Range .....................................................160

Data status ......................................................140

Data Type ........................................163, 196, 197

Data type of the destination ............................118

Data type of the destination Voice ....................92

Data type of the source ...................................118

Data type of the source Voice ...........................92

Data type to be cleared ...........................163, 185

Data Type to be copied ...........................162, 185

DAW Settings ..................................................228

DAW Type .......................................................228

[DEC/NO] button ...............................................36

DECAY ...............................................................46

Decay 1 Level ..................................73, 77, 80, 90

Decay 1 Time ..................................72, 77, 80, 90

Decay 2 Level ........................................73, 77, 80

Decay 2 Time ..................................72, 77, 80, 90

Delay .....................................................25, 63, 82

Delay Tempo .....................................................70

Delay Tempo Sync ............................................70

Delete ..............................131, 135, 152, 200, 238

Delete All .........................................................135

Delete all ..........................................................230

Delete Measure ...............................................162

Delete one .......................................................230

Delete range ....................................................162

Depth .................................................................61

Depth Offset 1 – 8 .............................................63

Description ......................................................221

Destination .........................................................61

Destination Key Bank ......................................131

Destination Location ................................173, 174

Destination Measure ........................................184

Destination Mixing Voice .................................200

Destination Parts .............................................197

Destination Pattern ..................................186, 187

Destination Phrase ..................................183, 184

Destination Song .............................165, 174, 184

Destination Song and Track ............................162

Destination Track .....................................184, 185

Detune ............................................................ 110

Device ............................................. 234, 237, 240

Device Number ............................................... 228

DHCP Client .................................................... 221

Dir ................................................................... 237

direct ............................................................... 113

Direction .......................................................... 159

Directory ......................................................... 237

Directory (Dir) ................................................. 234

Display .................................................... 128, 208

Distance ............................................................ 76

Distortion ........................................................... 25

Divide Drum Track .................................. 163, 186

DNS1/2 ............................................................ 221

Domain ............................................................ 222

down ............................................................... 158

down&up ......................................................... 158

DRAM ................................................................ 34

Drum Key .................................... 10, 92, 123, 204

Drum Kit .............................................................. 9

Drum Voice ......................................................... 9

Drum Voice Edit ................................................ 84

Dry Level ......................................... 106, 111, 226

Dry/Wet Balance ............................................... 67

Dual BEF ........................................................... 75

Dual BPF ........................................................... 75

Dual HPF ........................................................... 75

Dual LPF ........................................................... 75

Dual Type Filter ................................................. 75

Duplication symbol ......................................... 120

[E] Indicator .......... 47, 54, 96, 101, 192, 199, 213

each-on ............................................................. 63

Edit .................................................................. 190

Edit Buffer ......................................................... 34

Edit Recall ................................................. 92, 117

Effect ....................... 49, 64, 86, 96, 107, 191, 193

Effect Block ....................................................... 22

Effect Category ................................................. 24

Effect connection

Mixing ........................................................ 24

Performance .............................................. 23

Voice .......................................................... 23

Effect ON/OFF Button (System) ...................... 220

Effect Parameters ....... 27, 66, 105, 107, 108, 227

Effect Type ........................................................ 24

Effect Unit Settings ......................................... 118

Effects ......................................................... 50, 97

EG (Envelope Generator) ........... 96, 97, 115, 194

EG Depth .................................................... 73, 77

EG Depth Vel Curve .......................................... 73

EG Depth Vel Sens ..................................... 73, 77

EG Depth Vel Sens Curve ................................. 77

EG Time Key Follow .............................. 73, 78, 81

EG Time Segment ............................................. 73

EG Time Velocity Sens .......................... 73, 78, 81

EG Time Velocity Sens Segment ................ 78, 81

EG/EQ ......................................................... 49, 51

Element ............................................................. 10

on/off .................................................. 54, 199

solo .................................................... 54, 199

Element Edit ........................................ 53, 69, 200

Element EQ ....................................................... 22

Element Group .................................................. 70

Element on/off ................................................... 49

Element Out 1 – 8 ............................................. 65

Element Parameters 1 – 8 ................................. 91

Element Switch ............................... 50, 61, 69, 87

Element Switch 1 – 8 ......................................... 63

Elm LFO ............................................................ 82

End .................................................................. 143

end .................................................................. 143

End Point ................................................. 127, 207

End Step ......................................................... 157

End Velocity .................................................... 157

EQ ..........................................51, 83, 90, 116, 195

EQ graph ...........................................................52

EQ HIGH ............................................................47

EQ LOW .............................................................46

EQ MID ..............................................................46

EQ MID F ...........................................................46

EQ MID Q ..........................................................46

EQ Type .............................................................83

2 Band ........................................................83

PEQ ............................................................83

Equal .................................................................56

Erase ...............................................................179

Erase Event .....................................................159

ETHERNET connector .......................................41

Ethno ...............................................................102

Event and Parameters .....................................151

Event Jobs ...............................................158, 182

Event List display ............................150, 151, 180

Event Type ...............152, 159, 160, 161, 173, 174

Exchange Phrase ............................................183

Exchange Track ......................................163, 185

Expanded Articulation (XA) ...........................9, 70

Ext ............................................................142, 169

Ext Bank Select ...............................................216

Ext Prog Change .............................................216

Ext Switch (External Switch) ............................215

Extension .........................................................234

Extract .............................................................135

Extract Event ...................................................159

F Mod ................................................................82

[F1] – [F6] (Function) buttons ............................36

Factory Set ......................................................231

Fade In Time ................................................63, 82

Fade In/Out ......................................................132

Fade Out Time ...................................................63

Fade Type .......................................................133

Favorite Category ..............................................45

FEG (Filter EG) ..............................51, 76, 97, 115

File ...................................................234, 237, 238

procedure ................................................238

File list ..............................................................237

File Name ........................................................234

File Save ..........................................................241

File Server ........................................................221

File Server Account .........................................222

File Sharing ........................................................43

File size ............................................................234

File type ...........................................................235

File Type Setting ..............................................237

Filter ...................................10, 51, 74, 89, 97, 116

Filter (MIDI Filter) .............................................232

Fine ......................................................71, 88, 132

Fine Scaling Sens ..............................................71

Fine Tune .........................................................127

fingered .....................................................57, 110

Fixed SD/BD ..............................................85, 115

Fixed Velocity ..................................................220

FL1/FL2 ............................................................219

FL512M/FL1024M ..............................................34

Flanger ..............................................................25

Flash ................................................................230

Flash Memory Expansion Module .....................34

Flash ROM .........................................................34

folder ...............................................................234

Foot Controller 1/2 ...........................................216

Foot Switch ......................................................216

Formant Offset ...................................................67

Formant Shift .....................................................67

Format .....................................230, 235, 238, 240

Frequency .......................105, 116, 120, 123, 204

fulltime .......................................................57, 110

FW Gain ...........................................................224

FW Monitor Setup ............................................224

Index

MOTIF XF Reference Manual

251

Gain ................................................... 76, 105, 116

Gate Switch ....................................................... 67

GATE TIME ........................................................47

Gate Time ........................................................ 155

Gate Time Rate ................... 59, 60, 113, 114, 142

Gateway .......................................................... 221

General ................................ 55, 85, 102, 192, 219

Get Name ........................................................ 214

Get Phrase from Song ..................................... 184

Glide ................................................................ 157

Glide Time ....................................................... 157

GM ..................................................................... 48

GM Voice ........................................................... 48

Graph ................................................................ 62

Grid ................................................................. 158

Half Damper Switch .......................................... 80

Half Damper Time ............................................. 81

Half Sampling Frequency ................................ 133

High Frequency .........................................83, 103

High Gain .................................................. 83, 103

High Pass Filter ................................................. 74

HOLD ................................................................ 98

Hold ...............................................52, 58, 63, 112

Hold Level ................................................... 72, 77

Hold Time .................................................... 72, 77

Host ................................................................. 239

Host Name ......................................................221

HPF (High Pass Filter) ....................................... 74

HPF Cutoff ................................................... 76, 89

HPF Freq ........................................................... 67

HPF Key Follow ................................................. 76

HPF Output Level .............................................. 67

HPF12 ................................................................ 74

HPF24D ............................................................. 74

I/O .................................................................... 223

[INC/YES] button ............................................... 36

Indian ................................................................ 56

INFO .................................................................. 96

INFO (Information)

.................. 50, 123, 130, 142, 169, 199, 214, 219

Init .............................................. 91, 117, 195, 217

Initial Level ........................................................ 80

Initialize selected Parts to GM .........................196

Initialize settings of waveforms assigned to

selected Key .....................................................92

Initialize the settings of waveforms assigned to

selected Elements ............................................. 91

Initialize Type .................................................. 218

Input Source ............................................122, 204

Ins A ....................................66, 86, 107, 193, 227

Ins B ....................................66, 86, 107, 193, 227

Ins Effect Output ......................................... 71, 88

Ins Effect Sw ....................................111, 146, 178

Ins FX Sw ......................................................... 191

Ins L ...................................................................66

Ins Switch (Insertion Effect Switch) ................. 193

Insert .......................................................152, 174

Insert Event window ................ 150, 151, 174, 180

Inserting location ............................................. 174

Insertion A/B ................................ 23, 65, 107, 227

INSERTION CONNECT ..................... 65, 106, 227

Insertion Effect .......................................... 22, 189

Insertion point ..................................................162

Inst Input Level .................................................. 67

Int ............................................................142, 169

Int Bank Select ................................................216

Int Prog Change ..............................................216

Int Switch (Internal Switch) ..............................215

Internal Memory ................................................ 34

Interval ............................................................. 176

Interval diagram .............................................. 176

IP Address ...................................................... 221

Job

Master ..................................................... 217

Mixing ...................................................... 195

Mixing Voice ............................................ 199

Pattern ..................................................... 181

Performance ............................................ 117

Sampling ................................................. 129

Song ........................................................ 153

Voice ......................................................... 91

KBD .................................................. 37, 120, 130

Keep Original Phrase ..................................... 187

Key .............................. 86, 87, 120, 124, 127, 205

Key Assign Mode ............................................. 57

Key Bank ........................ 119, 131, 132, 133, 134

Key Bank List .................................................. 120

Key Bank number ........................................... 120

Key Bank to be deleted .................................. 131

Key Edit ...................................................... 84, 87

Key Mode ................................................. 58, 113

Key On Delay .................................................... 70

Key On Reset .............................................. 62, 82

Key On Start Switch .......................................... 99

Key Parameters ................................................ 92

Key Range .............................................. 128, 205

Keybank .......................................... 123, 130, 204

Keyboard .......................................................... 21

Keyboard MIDI transmit channel ...................... 47

Keyboard Octave setting .................................. 47

Keyboard Start ................................ 168, 172, 178

Keyboard Transmit Ch .................................... 228

Kirnberger ......................................................... 56

Knob ............................................................... 216

Knob Control Assign ................................. 57, 104

Knob Ctrl Assign ............................................. 214

Knobs ................................................. 22, 94, 138

Function ..................................................... 46

Knobs 1 – 8 ..................................................... 212

KnobSlider ...................................................... 217

L&R Gain ........................................................ 223

LAN connection ................................................ 41

Length ..................................... 133, 168, 170, 178

Level ........................................... 79, 89, 104, 127

level ........................................................ 124, 205

Level 1 – 16 ...................................................... 64

Level Key Follow ............................................... 79

Level Meter ............................................. 124, 206

Level Velocity Sens ........................................... 79

Level Velocity Sens Curve ................................ 79

Level Velocity Sens Offset ................................ 79

Level/MEF ....................................................... 104

Level/Pan .......................................................... 79

LFO (Low Frequency Oscillator) ....................... 11

LFO Phase Offset ............................................. 64

LIST ................................................................... 37

Load ................................................ 235, 238, 242

AIFF file ................................................... 247

all user data ............................................. 243

all voice ................................................... 243

Pattern ..................................................... 246

Performance ............................................ 245

Sample Voice .......................................... 246

SMF file .................................................... 247

Song ........................................................ 246

specific type ............................................ 243

Voice ....................................................... 243

WAV file ................................................... 247

Waveform ................................................ 244

Load File ......................................................... 242

Load Mixing .................................................... 233

Local Control ................................................... 229

Location .......................................................... 140

Lo-Fi .................................................................. 26

Loop ..................................60, 114, 140, 143, 178

loop ................................................................. 128

Loop Point ............................................... 127, 207

Loop-Remix ..................................................... 133

Low Frequency ......................................... 83, 103

Low Frequency Oscillator (OSC) ...................... 11

Low Gain ................................................... 83, 103

Low Pass Filter .................................................. 74

Lower Ch ......................................................... 218

Lowest Key ...................................................... 134

LP=ST .....................................................128, 208

LPF (Low Pass Filter) ........................................ 74

LPF12+BPF6 ..................................................... 75

LPF12+HPF12 ................................................... 75

LPF18 ................................................................ 74

LPF18s .............................................................. 74

LPF24A .............................................................. 74

LPF24D ............................................................. 74

LPF6+HPF6 ....................................................... 75

Main Category ................................................. 102

Main Category 1/2 ............................................. 55

manual .................................................... 124, 205

Master Edit ...................................................... 212

Master Effect ..................................................... 22

Master EQ ......................................................... 22

Master Job ...................................................... 217

Master Name ...........................................211, 214

Master Number ............................................... 211

Master Play ..................................................... 211

Master Store .................................................... 213

MasterEQ ........................................ 105, 193, 224

MasterFX ......................................... 104, 193, 224

Maximum Polyphony ......................................... 12

MEAS ...................................................... 151, 173

Meas ....................................................... 140, 145

meas (measure) .............................................. 205

Measure ........... 99, 127, 128, 134, 151, 165, 168,

................................ 172, 178, 203, 205, 208, 209

Measure Jobs ................................................. 161

Measure number ............................................. 140

Mega Voice ....................................................... 15

Mega Voice Arpeggio ....................................... 15

Memory ........................................................... 214

Memory location .............................................. 238

Memory Structure .............................................. 35

Meter ....................................... 128, 134, 207, 209

Meter of measures to be inserted ................... 162

Metronome Settings ........................................ 231

Mic Gate Threshold ........................................... 67

Mic Level ........................................................... 67

Mic/Line ........................................................... 223

Micro Tuning ............................................. 56, 225

Micro Tuning Copy .......................................... 225

Micro Tuning List ............................................... 56

Micro Tuning Name ......................................... 225

Micro Tuning No. ............................................. 225

Mid Frequency ................................................ 103

Mid Gain .......................................................... 103

MIDI ........................................................... 30, 228

MIDI channel .....................................................30

MIDI event ......................................................... 30

MIDI Filter ........................................................ 232

MIDI IN/OUT ............................................ 219, 228

MIDI Out Channel ........................................... 115

MIDI Out Switch .............................................. 115

MIDI Send ....................................................... 217

MIDI Settings ................................................... 228

MIDI Sync ........................................................ 228

MIDI track .......................................................... 14

Misc ................................................................... 26

Index

MOTIF XF Reference Manual

252

Mix ...................................................................197

Mix Phrase .......................................................183

Mix Track .................................................163, 185

Mixing ........................................................11, 188

Insertion Effect .........................................189

setup ........................................................189

structure ...................................................188

Mixing Edit .......................................................192

Mixing Job .......................................................195

Mixing Play ......................................................190

Mixing Setup ....................................................139

Mixing Store .....................................................192

Mixing Template ..............................................197

Mixing Voice ....................................................189

Mixing Voice Edit .............................................198

Mixing Voice Job .............................................199

Mixing Voice Store ...........................................199

Mixing Voice to be deleted ..............................200

MIXV (Mixing Voice) ........................................146

MMC (MIDI Machine Control) ....................40, 229

Mode ...............................................211, 214, 231

Modify Control Data .........................................161

Modify Gate Time ............................................156

Modify Velocity ................................................155

Modulation Wheel ............................................216

Modulation wheel ..............................................21

Mono/Poly ............................................50, 56, 110

Mono/Poly Mode ................................................50

Mono/Stereo ....................................106, 122, 226

Mount ...............................................235, 238, 239

Mount User Name ...........................................222

Move ................................................................131

MTC (MIDI Time Code) .............................39, 229

MTC Start Offset ..............................................229

multi .............................................................57, 87

Mute .................................140, 145, 168, 178, 190

Name ...............................50, 55, 85, 97, 102, 214

Name Position .................................................220

Naming ..............................................................37

Network ...........................................................221

Network Information ........................................219

Network Settings ...............................................42

New Dir ............................................................238

New Password .................................................222

New settings ....................................................232

No. ...................................................................170

Noise Input Level ...............................................67

Non-Registered Parameter Number (NRPN) ....33

normal 01 – 16 .................................................175

Normal Voice .......................................................9

Edit .............................................................53

Normalize ........................................................131

Normalize Play Effect ..............................163, 186

Note .....................................30, 32, 135, 157, 215

Note Jobs ................................................154, 182

Note Limit ......................58, 71, 96, 110, 112, 212

Note Limit High ................................................215

NOTE LIMIT LO-HI ............................................97

Note Limit Low .................................................215

Note Range ...............................................96, 212

Note Shift ...................................56, 110, 142, 219

NRPN (Non-Registered Parameter Number) ....32

NUM ..........................................................36, 152

Number ....................................................109, 190

number input .....................................................36

Number of measures to be inserted ................162

Number of Times .............................159, 160, 173

OCT RANGE ......................................................47

Octave .........................49, 96, 135, 212, 215, 220

Octave Range ...........................................60, 114

Offset .......................................................156, 161

Offset 1 – 4 .................................................. 78, 82

one shot .................................................... 62, 128

Optimize .......................................................... 230

Optimize Memory ............................................ 135

Original Notes Root ......................................... 164

Original Pattern ....................................... 186, 187

Original Phrase ............................................... 183

Oscillator ............................................... 10, 69, 87

Other ................... 57, 85, 104, 111, 194, 214, 233

Other Jobs ...................................................... 135

Out ............................................................ 86, 142

Output ............................. 106, 110, 193, 194, 226

Output Level ..................................................... 67

Output Octave Shift .................................. 59, 113

Output Select ............................ 88, 106, 111, 226

Overdub Recording ........................................ 149

P Mod ................................................................ 82

PageHold .......................................................... 88

PAN ................................................................... 47

Pan ....... 56, 79, 89, 104, 106, 110, 127, 146, 178,

........................................ 190, 191, 216, 217, 226

Param .............................................................. 128

Param. with Voice ........................................... 109

PART ................................................................. 97

Part .................................. 118, 123, 190, 191, 204

mute ........................................... 93, 101, 192

on/off .......................................... 93, 101, 192

select ....................................................... 109

solo ............................................ 93, 101, 192

Part 1 – 16 ....................................... 190, 191, 193

Part 1 – 4 ........................................................... 97

Part Edit .................................................. 100, 188

Mixing ...................................................... 194

Performance ............................................ 109

Part EQ ...................................................... 22, 103

Part number .................................................... 196

Part Parameters ...................................... 117, 196

Part Switch ...................................................... 109

Password ........................................................ 222

Setting ...................................................... 222

PAT (Polyphonic Aftertouch) ..................... 32, 151

Patch ....................................................... 169, 170

Path ................................................................. 235

Pattern ..................................................... 165, 236

create ....................................................... 171

defined ....................................................... 13

Pattern Chain .................................... 13, 167, 171

edit ................................................... 173, 174

Pattern Edit ..................................................... 179

Pattern Job ...................................................... 181

Pattern Jobs .................................................... 186

Pattern name ................................... 168, 169, 178

Pattern number ................................. 99, 168, 196

Pattern Play ..................................................... 166

Pattern Record ................................................ 177

Pattern Scene ................................................. 167

Pattern Store ................................................... 177

Pattern to be cleared ...................................... 187

PB Range ........................................................ 157

PB Range Lower ....................................... 56, 111

PB Range Upper ....................................... 56, 111

PDC Name ...................................................... 222

PEG (Pitch EG) ................................................. 72

PEQ ................................................................... 83

Perf .................................................................. 197

Performance ........................................... 118, 236

defined ....................................................... 11

select ......................................................... 93

Store ........................................................ 101

Performance Bank ............................................ 95

Performance Category .................................... 102

Performance Copy .......................................... 118

Performance Edit ............................................ 100

Performance Job ............................................ 117

Performance name ........................................... 96

Performance Number ................................95, 197

Performance number .......................................197

Performance Play display ..................................95

Performance Play Mode ....................................93

Performance Record ...................................14, 98

Phase .................................................................62

Phaser ...............................................................25

Phrase .......................................................13, 185

Phrase Jobs .....................................................182

Phrase Name ...................................................170

Phrase to be exchanged .................................183

Phrase1 – 4 ......................................................209

Pitch .....................................................10, 71, 132

pitch 01 – 16 ....................................................175

Pitch Bend .................................................30, 216

Pitch Bend Range .............................................50

Pitch Bend wheel ...............................................21

Pitch Key Follow ................................................72

Pitch Velocity Sens ......................................71, 88

Play ......................................49, 96, 168, 169, 219

Play Effect (Play FX) ..........................................14

Play FX .....................................................141, 169

Play Mode ......................................55, 62, 85, 128

Polyphonic Aftertouch (PAT) .............................32

Porta ....................................................49, 50, 103

Portamento ........................................................50

apply to Voice ............................................50

Portamento Common .......................................103

Portamento Legato Slope ..................................57

Portamento Mode ................................50, 57, 110

Portamento Part 1 – 4 ......................................103

Portamento Part Sw .........................................110

Portamento Switch .......................................50, 57

Portamento Time .................................50, 57, 110

Portamento Time Mode .....................................57

Portamento Time Offset ...................................103

Power On Auto Factory Set .............................231

Power On Mode ...............................................223

Preset ........................66, 105, 107, 108, 216, 227

Program ...............................................50, 97, 215

Program Change .....................................216, 229

Program Change (PC) .......................................31

Program number .............................................212

punch ..............................................................145

Punch In/Out ....................................146, 149, 206

PureMajor ..........................................................56

PureMinor ..........................................................56

Put Phrase to Song ..........................................184

Put Track to Arpeggio .............................164, 186

Q ................................................83, 103, 105, 116

Quantize ..................141, 146, 154, 155, 178, 233

QUANTIZE STRENGTH .....................................47

Quantize Strength ......................................60, 114

QUANTIZE VALUE ............................................47

Quantize Value ..........................................59, 114

Quick ...............................................................232

quick ................................................................209

Quick Setup .....................................................232

Random .............................................................71

Random Pan ................................................80, 89

Random SFX ........................................17, 60, 115

Random SFX Key On Control ....................60, 115

Random SFX Velocity Offset .....................60, 115

Random Speed .................................................63

Range ..............................................164, 165, 186

Rate .................................................155, 156, 161

Ratio ........................................................131, 132

RcvSwitch (Receive Switch) ....................116, 195

Realtime Recording .........................................144

Rec ..................................................120, 122, 203

REC TR ....................................................145, 178

Index

MOTIF XF Reference Manual

253

Recall ................................................ 92, 117, 200

Recall Buffer ......................................................34

Receive Bulk ................................................... 229

Receive Channel ............................................. 194

Receive Note Off ............................................... 87

Record Gain ............................................124, 205

Record Monitor ........................................ 124, 205

Record Next ............................................122, 204

Record Part .............................................146, 178

Record Slice ....................................................208

Record Trim .....................................................207

Record Type ............................................145, 178

Recordable Size ..............................................123

Recordable Time ............ 120, 123, 124, 129, 204,

........................................................ 206, 208, 209

Recording

1-16 tracks ...............................................147

All Track setting .......................................148

Audio ........................................................ 201

Pattern ......................................................177

Pattern Chain ........................................... 172

Scene Track ............................................. 148

Song .........................................................144

Tempo Track ............................................ 148

Recording Count ............................................. 232

Recording Type ....................................... 122, 204

Registered Parameter Number (RPN) ............... 33

Rehearsal ........................................................149

RELEASE ........................................................... 46

Release Adj. ......................................................81

Release Level .............................................. 73, 77

Release Time .........................................72, 77, 80

Remix ......................................................169, 175

Remote ............................................................ 228

Rename ................................................... 135, 238

replace ............................................................ 178

Replace Recording .........................................147

resample ......................................................... 122

Reset ............................................................... 231

RESONANCE .................................................... 46

Resonance ..................................................76, 89

Resonance Velocity Sens .................................. 76

REV SEND ......................................................... 86

Rev Send .................................................190, 191

REVERB ............................................................. 47

Reverb ...................................24, 66, 86, 108, 193

Reverb Pan ................................................ 65, 108

Reverb Return ........................................... 65, 108

Reverb Send ...............65, 88, 104, 106, 111, 226

Reverb Type .............................................. 65, 107

reverse ............................................................ 128

reverse 01 – 16 ................................................ 175

REV-X ................................................................ 27

Ribbon Controller ...................................... 21, 216

Ribbon Mode .............................................57, 104

RPN (Registered Parameter Number) ............... 32

Sample ............................................................ 119

Sample Size .................................................... 120

Sample Voice ..................................................236

sample+note ................................................... 204

Sampling

procedure ................................................121

Sampling Block .................................................12

Sampling Count in ........................................... 232

Sampling Edit .......................................... 126, 210

Sampling FINISHED display ...................125, 206

Sampling Job .......................................... 129, 210

Sampling Main display ............................120, 203

Sampling mode ....................................... 119, 201

Sampling Record ....................................121, 203

Sampling RECORDING display .............. 125, 206

Sampling Setup display .......................... 122, 203

Save ................................................ 235, 238, 241

all user data ............................................. 241

sample of a Voice .................................... 241

SMF ......................................................... 242

specific type ............................................ 241

Scale ........................................................... 78, 81

Scaling Pan ....................................................... 80

Scene Track .............................................. 13, 148

Scene1 – Scene5 .... 140, 146, 147, 169, 178, 212

Screen ............................................................ 220

SDRAM ............................................................. 34

Section ........ 13, 99, 165, 168, 172, 173, 178, 196

Section Length .................................................. 99

Security ........................................................... 222

Select .............................................................. 223

Sens ........................................................ 134, 209

Separate Chord .............................................. 158

Sequence data bar ......................................... 140

Sequence tracks 1 – 16 .................................... 12

Sequencer Block .............................................. 12

Sequencer Control .......................................... 229

Sequencer Mode .............................................. 99

Sequencer Settings ........................................ 231

Set ..................................................................... 63

Set All ...................................... 152, 155, 156, 161

Setting Values ................................................. 173

Setup .............................................. 145, 146, 178

Setup Number ................................................ 232

[SF1] – [SF5] (Sub Function) buttons ............... 36

Shape ............................................................. 105

Sharing Point .................................................. 239

Shift Clock ....................................................... 158

single .......................................................... 57, 87

single timbre ....................................................... 9

skip ................................................................. 143

Slice ................................................ 134, 202, 208

Slice Type ....................................................... 210

slice+seq ........................................................ 204

Slider ............................................................... 216

Slope ................................................................. 64

SMF (Standard MIDI File) ............................... 235

SMPL (Sample Voice) ..................................... 146

Solo ................................. 140, 145, 168, 178, 190

Song ............................................... 165, 174, 236

defined ...................................................... 12

Song Chain ....................................... 13, 138, 143

Song Edit ........................................................ 150

Song Event Chase .......................................... 233

Song Job ........................................................ 153

Song Jobs ....................................................... 165

Song name ..................................... 139, 143, 145

Song number ............................ 99, 139, 143, 196

Song Play ........................................................ 136

Song Position Line .......................................... 140

Song Record ................................................... 144

Song Scene .................................................... 137

Song Store ...................................................... 144

Song Track ....................................................... 12

sort .................................................................. 113

Sort Chord ...................................................... 158

sort+direct ...................................................... 113

Source .............................................................. 61

Source Key Bank ............................................ 131

Source Measure ............................................. 184

Source Mixing Voice ....................................... 200

Source Part ..................................................... 118

Source Pattern ........................................ 164, 186

Source Phrase ........................ 164, 170, 183, 184

Source Range ................................................. 173

Source Song ........................................... 165, 184

Source Song and Track .................................. 162

Source Track .......................................... 184, 185

Speed ......................................................... 62, 82

Split Pattern .................................................... 187

Split Phrase ..................................................... 184

Split Point ........................................................ 218

Split Point Measure ......................................... 184

Split Song to Pattern ....................................... 165

Splitpoint Measure .......................................... 187

Standby .................................. 123, 124, 204, 205

Start ................................................. 124, 143, 206

Start Point ................................................127, 207

Start Step ........................................................ 157

Start Velocity ................................................... 157

Stereo to Mono ................................................ 133

Stereo/Mono ............................................ 120, 204

Stop ................................................................. 125

stop ................................................................. 143

Store

Master ...................................................... 213

Mixing ...................................................... 192

Mixing Voice ............................................ 199

Pattern ...................................................... 177

Performance ............................................ 101

Song ......................................................... 144

Voice .......................................................... 54

Strength ........................................................... 155

SUB CATEGORY ............................................... 98

Sub Category .............................. 52, 59, 102, 113

Sub Category 1/2 .............................................. 55

Sub Divide ............................................... 134, 209

Subnet Mask ................................................... 221

SUSTAIN ........................................................... 46

Sustain ............................................................ 216

Sustain Pedal .................................................. 220

SW ..................................................................... 98

SWING .............................................................. 47

Swing ................................................60, 114, 141

Swing Rate ...................................................... 155

Switch .................................. 52, 58, 105, 112, 224

Sync Quantize Value ......................................... 98

System Effect .................................................... 22

System Exclusive .............................................. 33

System settings ............................................... 219

TAP ...................................... 49, 96, 140, 169, 212

Tech .................................................................. 26

Template ................................................... 64, 197

Template Mix ................................................... 197

Template Performance .................................... 197

TEMPO .............................................................. 47

Tempo ............ 52, 58, 98, 99, 113, 128, 134, 140,

................................ 145, 168, 172, 178, 207, 209

Tempo Change ............................................... 173

Tempo Hold .................................................... 233

Tempo Speed ................................................... 62

Tempo Sync ...................................................... 62

Tempo Track ............................................. 13, 148

Thin Out ........................................................... 160

thru .................................................................. 113

thru+direct ...................................................... 113

Time Signature .......................................... 99, 173

Time signature ................ 140, 145, 168, 172, 178

Time-Stretch .................................................... 132

Tone Generator block .........................................9

TR .................................................................... 151

Track ...... 123, 127, 141, 142, 159, 163, 164, 165,

................................ 169, 170, 185, 203, 204, 205

Track and location .......................................... 159

Track and range .............154, 155, 156, 157, 158,

........................................................ 159, 160, 161

Track Jobs .............................................. 162, 185

Track Mute ...................................................... 173

Track number .................. 140, 141, 145, 168, 178

Track Sel ......................................................... 152

Track Status ...................................................... 99

Track type ....................................... 145, 168, 178

TrackView ................................................ 139, 140

Trans ............................................... 140, 168, 172

Transmit .......................................................... 215

Transmit CH ...................................................... 49

Transmit Ch ....................................................... 96

Transmit Channel ............................................ 215

Transmit Switch ............................................... 215

Transpose ....................... 135, 156, 157, 215, 220

Tremolo & Rotary .............................................. 25

Index

MOTIF XF Reference Manual

254

Trigger Level ...........................................124, 205

Trigger Mode .............................60, 114, 124, 205

Trim ..........................................127, 128, 207, 209

Tune ...........................................................71, 220

Tuning ..............................................................225

Tuning Number ..................................................56

Tuning Offset ...................................................225

Tuning Root .......................................................56

Tx Switch .........................................................215

TxCh ........................................................142, 169

TYPE ..................................................................98

Type .........................133, 134, 158, 175, 220, 232

Arpeggio ......................................52, 59, 113

Effect ..................................66, 107, 108, 227

EQ ..............................................................83

File ............................................................238

Filter ............................................................74

Loop-Remix ..............................................134

Master Effect ............................................105

Recording .........................................122, 204

Slice ..........................................................209

Vocoder ......................................................67

Type diagram ..................................................176

Undo/Redo ..............................................154, 182

Unit Multiply ...............................................59, 114

UNITMULTIPLY .................................................47

up ....................................................................158

up&down .........................................................158

Upper Ch .........................................................218

USB storage device ..........................................40

USB TO DEVICE connector ...............................40

Used/Total .......................................................123

User ...................................................................64

User Arpeggio ...................................................35

User Memory ...............................................34, 35

User Phrase .......................................................35

User Voice .........................................................35

Utility ................................................................219

Vallot&Yng .........................................................56

Value of the selected event type .....................174

Variation ...................................................134, 175

Vce Edit ...........................................................191

VCM (Virtual Circuitry Modeling) .......................26

VCM Auto Wah ..................................................27

VCM Compressor 376 .......................................26

VCM Equalizer 501 ............................................26

VCM Flanger ......................................................27

VCM Pedal Wah ................................................27

VCM Phaser Mono .............................................27

VCM Phaser Stereo ...........................................27

VCM Touch Wah ................................................27

Vel Cross Fade ..................................................71

Vel Sens Depth ................................................111

VELOCITY ..........................................................47

Velocity ............................120, 124, 127, 142, 205

Velocity Curve .................................................220

Velocity Limit .........................52, 58, 71, 110, 112

Velocity Mode ............................................59, 113

Velocity Offset (Random SFX) .........................115

Velocity Range ........................................128, 156

Velocity Rate ................................59, 60, 113, 114

Velocity Sens .....................................................89

Velocity Sens Depth Offset ..............................112

ViewFilter .........................................152, 173, 180

Vocoder .............................................................26

structure .....................................................68

use ..............................................................68

Vocoder Attack ..................................................67

Vocoder Release ...............................................67

Voice ...........96, 97, 109, 118, 123, 142, 143, 146,

.........................169, 178, 194, 196, 204, 224, 236

defined .........................................................9

select ..........................................................44

Store .......................................................... 54

Voice as source ................................................ 92

Voice Bank ............................................ 48, 97, 98

Voice Element Pan .......................................... 110

Voice Job .......................................................... 91

Voice Name ............ 49, 96, 97, 98, 140, 145, 178

Voice Number ....................................... 49, 97, 98

Voice Play display ............................................. 48

Voice Play mode ............................................... 44

Voice Type ........................................................ 50

Voice with ARP ........................................ 112, 147

VoiceAudio ...................................................... 226

Volume ....... 55, 96, 104, 106, 110, 146, 178, 191,

................................................ 217, 219, 226, 231

Volume Label .................................................. 240

Volume/Express .............................................. 216

Wah ................................................................... 26

WAV ........................................................ 235, 236

Wave ........................................................... 62, 82

Wave Bank .................................................. 70, 87

Wave Main Category .................................. 70, 87

Wave Memory ................................................. 210

Wave Number ............................................. 70, 87

Wave Sub Category .................................... 70, 87

Waveform

........ 119, 120, 123, 124, 127, 135, 204, 205, 236

Waveform as destination ................................ 135

Waveform as source ....................................... 135

Waveform Jobs ............................................... 134

Werckmeist ....................................................... 56

Width ................................................................. 76

WINS ............................................................... 222

Without Program Change ............................... 174

XA Control ......................................................... 69

Zone ................................................................ 218

Zone Edit ................................................. 212, 215

Zone name ...................................................... 212

Zone Switch ............................................ 214, 215

Zoom In ........................................... 128, 141, 208

Zoom Out ........................................ 128, 141, 208

U.R.G., Digital Musical Instruments Division

006MW-A0

Yamaha Web Site (English)

http://www.yamahasynth.com/

Yamaha Manual Library

http://www.yamaha.co.jp/manual/

Yamaha XF6 Manual de usuario

Marca: Yamaha

Modelo: XF6

Categoría: Software

Tipo: Manual de usuario

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