Page 2: Special Message Section
SPECIFICATIONS SUBJECT TO CHANGE: The information contained in this manual is believed to be correct at the time of printing. However, Yamaha reserves the right to change or modify any of the specifications without notice or obligation to update existing units.
Page 3: Important Safety Instructions
Please make sure that benches are stable and any optional fixtures (where applicable) are well secured BEFORE using. Benches supplied by Yamaha are designed for seating only. No other uses are recommended. spilled into the enclosure through openings; or in performance;...
Page 4 Yamaha service personnel. Location • Do not expose the instrument to excessive dust or vibrations, or extreme cold or heat (such as in direct sunlight, near a heater, or in a car during the day) to prevent the possibility of panel disﬁguration or damage to the internal components.
Page 5: Backup Battery
Yamaha cannot be held responsible for damage caused by improper use or modiﬁcations to the instrument, or data that is lost or destroyed. Always turn the power off when the instrument is not in use.
Page 6 This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables.
Page 7: Package Contents
Congratulations and thank you for your purchase of the Yamaha MOTIF Music Production Synthesizer! You now own what is perhaps the best-sounding, most versatile, and certainly most powerful synthesizer and total music production instrument on the planet. We strove to put virtually all our synthesizer technology and music making know-how into one instrument — and we succeeded.
Page 8: Important Features
AIEB board for additional ins and outs — both analog and digital. ■ Expansion bay for optional mLAN — Yamaha’s new mLAN interface technology makes it possible to transfer all your digital audio and MIDI data via a single broad-band cable.
Page 9: Table Of Contents
Table of Contents The Controls & Connectors Front Panel ... 10 Rear Panel...16 Setting Up Power Supply ...20 Connections ... 21 Powering Up ...29 Basic Structure Mode ...30 System Overview ...33 Controller block ...33 Sequencer block ...33 Tone Generator block...34 Effect block...39 Main functions...42 Voices and Performances ...42...
Page 10: The Controls & Connectors
Front Panel The Controls & Connectors Front Panel MOTIF6 MOTIF7 MOTIF The Controls & Connectors OCTAVE DOWN OCTAVE DOWN REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE KNOB REMOTE ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 CONTROL CONTROL FUNCTION ON/OFF...
Page 11 DEC/NO INC/YES SONG SCENE INFORMATION SF 1 SF 2 SF 3 SF 4 SF 5 EXIT ENTER EXECUTE DEC/NO INC/YES SONG SCENE INFORMATION SF 1 SF 2 SF 3 SF 4 SF 5 EXIT ENTER EXECUTE MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System SLOT 1...
Page 12: Master Volume
Front Panel MOTIF8 1 OCTAVE [UP] and [DOWN] buttons (page 127) Use these buttons to change the note range of the keyboard. To restore the normal octave setting, press both buttons simultaneously. n Because of its extended keyboard, the MOTIF 8 does not have OCTAVE buttons.
Page 13 DEC/NO INC/YES SONG SCENE INFORMATION SF 1 SF 2 SF 3 SF 4 SF 5 EXIT ENTER EXECUTE 6 [CS1] - [CS4] (Control Slider) (page 48) Controls the volume of each part/element. In the Master mode, the Zone setting (page 271) allows you to assign various functions (Control Change numbers) to these Sliders other than the volume.
Page 14: Seq Transport Buttons
Front Panel ) SEQ TRANSPORT buttons (page 78, 179, 183, 217, 221) These buttons control recording and playback of the Song/Pattern sequence data. ](Top) button Instantly returns to the ﬁrst beginning of the current song or pattern (i.e., the ﬁrst beat of the ﬁrst measure).
Page 15: Enter] Button
™ [ENTER] button Use this button to execute a Job or a Store operation. Also use this button to actually enter a number when selecting a Memory or Bank for Voice or Performance. In the File mode, use this button to go to the next lowest level in the selected directory.
Page 16: Rear Panel
Rear Panel Rear Panel MOTIF6 MOTIF7 MOTIF8 POWER AC INLET MOTIF The Controls & Connectors CAUTION POWER AC INLET CAUTION POWER AC INLET CAUTION THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS:...
Page 17: Rear Panel
Rear Panel 3.3V SCSI MIDI OPTICAL OUTPUT THRU BREATH ASSIGNABLE 3.3V SCSI SWITCH MIDI OPTICAL OUTPUT THRU BREATH ASSIGNABLE GREEN YELLOW OPTICAL Plug-in SLOT ORANGE OUTPUT GREEN CARD YELLOW Plug- in SLOT ORANGE FOOT FOOT SWITCH CONTROLLER ASSIGNABLE OUTPUT OUTPUT A D INPUT GAIN SUSTAIN...
Page 18 Use only the AC power cord supplied with the MOTIF. If the supplied cord is lost or damaged and needs to be replaced, contact your Yamaha dealer. The use of an inappropriate replacement can pose a ﬁre and shock hazard!
Page 19: Serial I/O Connector
^ Card slot (pages 64, 262) Insert a Memory Card here to transfer various data to/from the MOTIF. Read carefully the precautions on using a Memory Card (page 289) before inserting a card. & Plug-in board cover (page 35) Installing an optional Plug-in Board to the MOTIF lets you greatly expand the sonic palette of the instrument.
Page 20: Setting Up
Use only the AC power cord supplied with the MOTIF. If the supplied cord is lost or damaged and needs to be replaced, contact your Yamaha dealer. The use of an inappropriate replacement can pose a ﬁre and shock hazard! The type of AC power cord provided with the MOTIF may be different depending on the country in which it is purchased (a third prong may be provided for grounding purposes).
Page 21: Connections
Connections Connecting to External Audio Equipment Since the MOTIF has no built-in speakers, you’ll need an external audio system or a set of stereo headphones to properly monitor it. The following illustrations show various connection examples; use the one most similar to your intended setup.
Page 22: Digital Output
Connections ■ Connecting to a mixer (with the optional AIEB2) You can expand the MOTIF’s output capabilties with six additional OUTPUT jacks for outputting extra individual parts, by installing the optional I/O board (AIEB2). n Connecting a pair of headphones does not affect audio output from the OUTPUT (L/MONO and R) jacks. You can monitor the same sounds via headphones and at the OUTPUT jacks.
Page 23 A/D input ■ Connecting a microphone or other audio equipment (analog input) You can record or import external sounds or waveform data and use them as instrument sounds (see “Sampling” on page 58). When recording from an external audio source, connect a microphone or the audio source to the A/D INPUT jacks.
Page 24: Connecting External Midi Equipment
Connections Connecting External MIDI Equipment Using a standard MIDI cable (available separately), you can connect an external MIDI device, and control it from the MOTIF. Likewise, you can use an external MIDI device (such as a keyboard or sequencer) to control the sounds on the MOTIF.
Page 25: Connecting To A Personal Computer
Connecting to a Personal Computer By connecting a computer, you can transfer data between the MOTIF and the computer via MIDI, and use the computer to control, edit and organize data on the MOTIF. For example, you can use the included Voice Editor program to edit the MOTIF’s voices.
Page 26 Connections ■ Using an IEEE1394 interface (when an optional mLAN8E has been installed) REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE CONTROL KNOB ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 FUNCTION KN 1 KN 2 KN 3 KN 4 MEQ LOW MEQLOWMID MEQ HI MID MEQ HIGH...
Page 27 When MIDI “Echo” is disabled on the software/computer, set the MOTIF Local Switch to “on.” Generator n Although not indicated in the illustration above, the MOTIF actually receives and responds to MIDI data from the computer application (sequencer), regardless of the Local Sw setting on the MOTIF. * MIDI “Echo”...
Page 28 Connections Connecting Various Controllers The MOTIF features several controller jacks on the rear panel — letting you independently control various aspects of the sound and a variety of functions with optional controllers. MOTIF Setting Up FOOT FOOT SWITCH CONTROLLER BREATH ASSIGNABLE SUSTAIN Quick Start Guide (page 48)
Page 29: Powering Up
Powering Up Power-on Procedure Once you’ve made all the necessary connections between your MOTIF and any other devices, make sure that all volume settings are turned down all the way to zero. Then turn on the every device in your setup in the order of MIDI masters (senders), MIDI slaves (receivers), then audio equipment (mixers, ampliﬁers, speakers, etc.).
Page 30: Basic Structure
Mode Mode The MOTIF is organized with various modes, each covering a different set of operations and functions. Keyboard Playback mode Voice mode Voice Play mode Voice Edit mode Voice Job mode Voice Store mode Performance mode Performance Play mode Performance Edit mode Performance Job mode Performance Store mode...
Page 31: Performance Mode
■ Performance mode Basic Structure (page 42) · Basic Operation (page 67) Quick Start Guide (page 88) · Reference (page 160) ● Performance Play mode In this mode, Performances can be played — letting you use Voice splits, layers, etc,. ●...
Page 32: Utility Mode
Mode ■ Utility mode Basic Operation (page 67) · Reference (page 249) This mode is a sub-mode of the Voice/Performance/ Song/Pattern mode. Press the [UTILITY] button in each mode to enter the Sampling mode and press the same button after sampling to go back to the previous mode.
Page 33: System Overview
System Overview This section provides an overview of the MOTIF’s wide range of sophisticated and versatile features. The MOTIF is made up of several blocks, as shown here. Keyboard Sequencer block MIDI sequence data • Song • Pattern • Arpeggio Sampling block Microphone or MIDI data...
Page 34: Tone Generator Block
AWM2 (Advanced Wave Memory 2) is a synthesis system based on sampled waves (sound material), and is used in many Yamaha synthesizers. For extra realism, each AWM2 Voice uses multiple samples of a real instrument’s waveform. Furthermore, a wide variety of envelope generator, ﬁlter, modulation, and other parameters can be applied to the basic waveform.
Page 35: Plug-In Board Line-Up
Additional Plug-in Boards will be available in the future. About MODULAR SYNTHESIS PLUG-IN SYSTEM The Yamaha Modular Synthesis Plug-in System offers powerful expansion and upgrade capabilities for Modular Synthesis-Plug-in-compatible synthesizers, tone generators and sound cards. This enables you to easily and effectively take advantage of the latest and most sophisticated synthesizer and effects technology, allowing you to keep pace with the rapid and multi-faceted advances in modern music production.
Page 36: Maximum Polyphony
System Overview Maximum Polyphony The maximum sonic polyphony is 62 for AWM2, plus the polyphony of the Plug-in Board (if installed). The actual note polyphony will vary depending on the type of tone generator unit used, the number of Elements in the Voice, and the note polyphony of the Plug-in Board.
Page 37: Voice Mode
Relationship between the Part structure of the Tone Generator block and the Controller/Sequencer block for each mode ● Voice mode Keyboard Part for Voice mode Port 1 part 1 part 2 part 3 part 4 part 5 part 16 n In the Voice mode, the MIDI port number is 1. n The Multi-Part Plug-in Board cannot be used in the Voice mode.
Page 38 System Overview ● Song/Pattern mode External sequencer MIDI cables by themselves cannot handle data from multiple ports. If a MIDI cable is used to transmit data from an external sequencer, only the Port 1 parts are used. To take advantage of the multiple ports of the MOTIF, use a USB cable.
Page 39: Effect Block
Effect block This block of the MOTIF applies effects to the output of the tone generator, processing and enhancing the sound using sophisticated DSP (digital signal processing) technology. Effect structure The MOTIF’s effect processing features the following effect units. ■ System Effects (Reverb, Chorus, Variation) System Effects are applied to the overall sound, whether it be a voice, an entire performance setup, a song, etc.
Page 40: In The Voice Mode
System Overview Effect connection ● In the Voice mode: You can select the Insertion connection among three types. Tone Generator block Element 1 Element 2 Element 3 Element 4 This determines which Insertion system, 1 or 2, is applied to each Element (or to each key when the Drum voice is selected).
Page 41 ● In the Song/Pattern mode: The diagram below indicates the connection when the Vocal Harmony Plug-in Board (PLG100-VH) is installed to slot 1 and the Multi part Plug-in Board (PLG-100XG) is installed to slot 3. Select the part to which the Insertion effect is applied.
Page 42: Main Functions
Main functions Main functions Voices and Performances A Voice is the main sound of the MOTIF, made up of a variety of parameter settings. Each Voice can consist of up to four separate Elements, each of which is a high-quality wave, or basic sound. A Performance, on the other hand, is a program in which multiple Voices (parts) are combined —...
Page 43 In the Voice Play mode, you can select and play any of these Voices. In the Performance Play mode, you can select and play any of these Performances. On the previous page, the illustration shows the structure of one Voice/Performance. The illustration below shows the overall memory structure of all Voices and Performances.
Page 44 Main functions Waves and Elements Waves are the waveforms that make up the Elements, which in turn make up a Voice. A total of 1309 high-quality preset Waves are available. As shown in the following illustration, when creating a Voice, you can select the Wave to be used as an Element and then set its level, pitch, tone and other parameters.
Page 45: Gm Voice
Normal Voice and Drum Voice Internally, there are two Voice Types: Normal Voices and Drum Voices. Normal Voices are mainly pitched musical instrument-type sounds that can be played over the range of the keyboard. Drum Voices are mainly percussion/drum sounds that are assigned to individual notes on the keyboard.
Page 46: Peg (Pitch Envelope Generator)
Main functions ■ Pitch This unit controls the pitch of each Element output from OSC. You can detune Elements, apply Pitch Scaling and so on. Also, by setting the PEG (Pitch Envelope Generator), you can control how the pitch changes over time. ●...
Page 47 • Band Pass Filter This only passes a band of signals around the Cutoff frequency. The width of this band can be varied. Level Cutoff range Range passed Cutoff range Center frequency • Band Elimination Filter This attenuates a band of signals around the Cutoff frequency, but passes everything else.
Page 48: Controllers
Main functions Controllers The MOTIF gives you an amazing amount of control options. Not only is it equipped with the conventional Pitch Bend and Modulation Wheels, it also features special knobs and sliders — and has an additional set of rear-panel jacks for connecting foot controllers and footswitches.
Page 49: Foot Controller
Foot Controller parameters can be set for each Voice. Footswitch (assignable) An optional Yamaha FC4 or FC5 Foot Switch connected to the rear panel FOOT SWITCH ASSIGNABLE jack (page 18) can be assigned to a range of parameters. It is suited for switch-type (on/...
Page 50: Control Sets And External Midi Control
Main functions SET 1 SET 2 (Modulation Wheel) (Modulation Wheel) Dest Dest ELFO-PM ELM PAN ■ Using several sources to control one destination Continuing from the example above, now create another Control Set where Src is set to FC (Foot Controller) and Dest is set to ELFO-PM (Element LFO Pitch Modulation Depth).
Page 51: Song And Pattern (Sequencer Mode)
Song and Pattern (Sequencer mode) Basic Operation (page 67) · Reference (pages 177, 215) Songs and Patterns are MIDI sequence data consisting of 16 tracks. ● A Song on the MOTIF is effectively the same as a Song on a sequencer, and playback automatically stops at the end of the recorded data.
Page 52: Track Structure Of Pattern
Main functions Track structure of Pattern Patterns consist of Phrases (as shown below), and you can create them by recording MIDI data for each track, and by freely arranging the various Phrases (Preset/User). Style 64 Style 63 Style 62 Style 03 Style 02 Style 01 16 Sections...
Page 53: Loop Recording (Pattern)
After selecting Song 01 the Song number and track Track 1 Track 2 Track 3 After selecting the Song number and track Track 16 In this example, Track 1 is a MIDI track, and Track 3 is an Sample track. Store as a Sample Voice Style 50 Style 49...
Page 54: Song Chain
Main functions ■ Punch In/Out (Song) You can use this method when you want to re-record only over a speciﬁc area of the track. In this case, you must set the start and end points before you begin the re-recording. In the eight-measure example below, the third measures through the ﬁfth measure are re-recorded.
Page 55: Arpeggio
Arpeggio Quick Start Guide (page 91) · Reference (page 128) This function automatically triggers preset arpeggio phrases, according to the keys you play. The Arpeggio function is particularly suited to dance/ techno music genres. You can assign the desired Arpeggio Types to each Voice/Performance, and adjust the tempo.
Page 56: Master (Master Mode)
Main functions Creating User Arpeggios Actually, there is no direct operation for recording Arpeggios. First, you have to record a Phrase to a Song track. Then, use the appropriate Song Job function to convert the data to Arpeggio data. Song Track 1 Converted via the Song Job.
Page 57 Four Zones (Voice Performance mode) In the Voice Performance mode, the keyboard can be divided into a maximum of four separate Zones (as shown below) — each with its own MIDI channel setting. In this way, you can use just a single keyboard to control several different instrument parts independently.
Page 58: Sampling
Main functions Sampling Sampling is a powerful function that lets you bring your own recorded sounds — voice, instrument, rhythm, special sound effects, etc. — into the system of the MOTIF, and play those sounds just like any other MOTIF sound.
Page 59 Data created by Sampling Regardless of the mode, the raw Sampled data is the same, of course. However, various parameters are different, depending on the particular mode or settings. Brieﬂy, here is an explanation of what kinds of data are created in the Sampling function. ●...
Page 60 Main functions User Voices/Sample Voices and Waveform When entering the Sampling mode ● from the Voice/Performance mode User's Voice (001~128) Sampling Velocity Keybank Sample 2 Sample 4 Sample1 Sample 3 Sample 5 Wave form n When using the Sampling function, samples are stored to destination waveforms in numerical order, starting from the lowest number waverform.
Page 61: Sample Playback Types
Three methods of Sample Recording Start You can start sample recording with one of three methods. This section covers the Sample Recording Start methods corresponding to the available Trigger modes. For information on setting the Trigger mode, see page 237. ■...
Page 62 Main functions ■ Loop This is used primarily to create long continuous sounds, such as brass and strings, or instruments with naturally long decay, such as piano. An appropriate part of the sample near the end is looped to reproduce a long sustain or decay. When you play a note on the keyboard, the Sample plays from the start point to the end point.
Page 63: Internal Memory And File Management
Internal Memory and File Management The MOTIF creates a variety of different kinds of data, including Voice, Performance, Song, and Pattern. In this section, how to store the various types of data and use the memory devices/media for storing them. Memory Structure This diagram details the relationship among the MOTIF’s functions and the internal memory, memory card, and various external storage devices/media.
Page 64: Internal Memory
Main functions Internal Memory ● ROM and RAM ROM (Read Only Memory) is memory designed speciﬁcally for reading out of data, and as such data cannot be written to it. This is the location where preset data for the instrument is permanently stored.
Page 65: Remote Control To Computer Sequence Software
Remote Control to Computer Sequence Software When the [REMOTE CONTROL ON/OFF] button is turned on, the following buttons/controllers can control the Audio track mixer and sequencer transport of the computer sequence software connected to the MOTIF. J∆ NUMBER button[1]~[16] These buttons are used to select the corresponding tracks of the computer sequencer software, or to turn those tracks on/off, depending on the on/off status of the [TRACK SELECT] button and [MUTE]...
Page 66 Main functions Computer Sequence Software The following computer sequence software programs can be controlled via the MOTIF’s Remote Control function. Windows Cubase VST/32 Logic Audio Plutinum Ver4.6 Cakewalk ProAudio Ver9.0 Pro Tools V5.0 Macintosh Cubase VST 5.0 Logic Audio Plutinum Ver4.6 Pro Tools V5.0 n The parameters to be controlled via the Remote Control function differ depending on the computer sequence software.
Page 67: Basic Operation
Basic Operation In this section, we’ll take a look at the fundamental operating conventions of the MOTIF. Here, you’ll learn the basics — how to select modes, call up the various functions, change settings, and edit parameter values. Take time to familiarize yourself with these nuts-and-bolts operations, and you’ll be on your way to mastering the instrument.
Page 68: Mixing Mode (In The Song/Pattern Mode)
Calling up the Operation Displays ● Utility mode From the Voice mode From the Performance mode MODE VOICE PERFORM MASTER SEQUENCER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY EDIT STORE COMPARE SCENE STORE SET LOCATE To select another mode, simply press the corresponding mode button. n Please note that the displays and parameters are different depending on the modes before entering the Sampling/Utility mode.
Page 69 Record mode (in the Song/Pattern and Sampling mode) The MOTIF also features Record modes — one for sequencing in the Song and Pattern modes, and one for sample recording in the Sampling mode. ● Song Record mode MODE VOICE PERFORM MASTER SEQUENCER SEQ TRANSPORT...
Page 70: Edit Mode
Calling up the Operation Displays Edit mode The four main modes (Voice/Performance/Song/Pattern), the Sampling mode and the Master mode described above all have their own speciﬁc Edit modes. ● ● Voice Edit mode Performance Edit mode MODE VOICE PERFORM MASTER SEQUENCER SONG PATTERN...
Page 71: Store Mode
Store mode MODE The Voice Play mode, Performance Play mode, Song Mixing mode, Pattern Mixing mode, and Master Play mode have their own speciﬁc Store modes. VOICE PERFORM MASTER To call up the Store mode, press the [STORE] button while one of the modes listed above is active. SEQUENCER Since the [STORE] button does not have an indicator lamp, check the display to see whether the SONG...
Page 72: Display-Based Controls
Display-based Controls How to leave the current display For most operations (especially editing and Job- or Store-related), pressing the [EXIT] button will let you leave the current display and return you to the next highest level or to the normal play mode display. Display-based Controls Data Entry 1Moving the cursor...
Page 73: Information Display
Information Display This convenient function lets you call up relevant details about the selected mode — simply by pressing the [INFORMATION] button. For example, when the Voice mode is active, you can quickly check information about which voice bank is selected, what Play mode (poly or mono) is being used, which effects are applied, and so on. In the Song Play mode, you can instantly ﬁnd out how much memory is being used and how much is left over for additional recording.
Page 74 Display-based Controls The available functions are shown at the top of the display, and the value changes as you turn the corresponding Knob. For example, to change the amount of Reverb (in the top row), turn Knob 2. To change the Pan position, turn Knob 1.
Page 75: Note (Key) Settings
Note (Key) settings Several MOTIF parameters let you set a key range for a function — for example, in setting up a keyboard split — by specifying certain note values. You can use the [INC/YES] and [DEC/NO] buttons or data dial to set these parameters, or you can directly enter the values from the keyboard by pressing the appropriate keys (as shown below).
Page 76 Display-based Controls Move the cursor to the next position of the name by using the Cursor button. DEC/NO Enter the other characters as desired by repeating steps #1 - #3 above. Using the Character List In steps #2 and #3 above, you can use the special Character List, which shows you all the available characters, and makes it easier to select the characters.
Page 77: Quick Start Guide
Quick Start Guide This helpful and informative section of the manual takes you on a guided tour of the MOTIF, explaining virtually all of the important functions by example and giving you important, hands-on experience as you actually start using the instrument.
Page 78 Playing the Demos Playing the Song Demo A variety of Demo songs have been programmed to the MOTIF, showcasing its dynamic voices and giving you a taste of the sophisticated sequencing functions inside. POWER Turn the power ON. Press the [SONG] mode button to enter the Song mode.
Page 79 Playing the Master Demo The MOTIF has so many powerful features, functions, and modes, it may seem difﬁcult to understand them all and grasp how they work together. One good place to start learning about the various pieces in the MOTIF puzzle is the Master mode.
Page 80: Playing Voices
Playing Voices Playing Voices The Voice Play mode is where you select and play the instrument sounds (voices) of the MOTIF. Thanks to an amazing 85MB of wave ROM and over 700 voices to choose from (even more when you install optional Plug-in boards!), the MOTIF has just about any sound you’ll ever need, no matter what kind of music you create —...
Page 81: Using The Category Search Function
Using the Category Search function The MOTIF features a powerful Category Search function that gives you quick access to the sounds you want, irrespective of their bank locations. Simply select a voice category, such as A. PIANO or SYN LEAD, and you can browse through all related voices one by one —...
Page 82 Playing Voices Keyboard Octave (MOTIF6/MOTIF7) Sometimes when playing a voice, you may wish to play in a lower or higher pitch range. For example, you may want to shift the pitch down lower to get extra bass notes, or shift up to get higher notes for leads and solos. The Octave Up/Down controls let you do this quickly and easily.
Page 83: Editing Voices
Editing Voices The Voice Play mode not only lets you play voices, it lets you perform a variety of basic, yet powerful editing operations on them as well. For example, you can change the EG settings to give the voice a softer or harder attack, or change the release to make it sustain.
Page 84: Voice Editing With The Control Knobs
Editing Voices Voice editing with the Control knobs These knobs let you change various aspects of the Voice’s sound in real time — while you play. Turn a knob to the right to increase the value, and left to decrease it. If you want to keep the edits you make, you can store them to a new voice (page 86).
Page 85: Master Eq
About each assigned function Pan, Effect Send, and Tempo Determines the stereo pan position of the voice. KN 1 REVERB Determines the amount of Signal Reverb effect that is applied to the voice. Filter and EG CUTOFF KN 1 CUTOFF RESONANCE Determines the Filter Boosts the level of the...
Page 86: Storing Edited Voices
Storing edited Voices Storing edited Voices Once you’ve edited a voice, you can store it to the internal memory (SRAM). Up to 128 Normal Voices and up to 16 Drum Voices can be stored. n For details about memory structure, see page 63. When you execute this, the settings for the destination memory will be overwritten.
Page 87: Editing And Saving Board Voices
About Plug-in Voices Plug-in Boards give you an enormous amount of additional sonic ﬂexibility and power. When installed, they work seamlessly and transparently within the system of the MOTIF — meaning that you can use their sounds and functions just as if they were built right into the MOTIF at the factory. Up to three Plug-in boards can be installed to the MOTIF.
Page 88: Playing Performances
Playing Performances Playing Performances In the Performance mode, you can select and play individual User performances. In a performance, you can mix several different voices together in a layer, or split them across the keyboard, or even set up a combination layer/split. Each Performance can contain up to four different Parts. n For details about the performances and their memory (bank) structure, see page 42.
Page 89: Editing Performances (Layer/Split)
Editing Performances (Layer/Split) Performances can be made up of a maximum of four parts (voices), selected from the internal tone generator Parts 1 - 4 and Plug-in board Parts 1 - 3. You can create a performance by layering several voices together, and by assigning different voices to separate ranges of the keyboard.
Page 90: Storing The Edited Performance
Storing the edited Performance Storing the edited Performance Once you’ve edited a performance, you can store it to the internal memory (SRAM). Up to 128 performances can be stored. n For details about memory structure, see page 63. When you execute this, the settings for the destination memory will be overwritten. Important data should always be backed up to computer, a separate Memory Card or some other storage device.
Page 91: Using The Arpeggio Function
Using the Arpeggio function The MOTIF features a powerful and highly versatile arpeggiator that lets you automatically trigger preset arpeggios, phrases, rhythmic sequences and special “human” patterns — depending on the keys you play, or even the velocity with which you play them. You can assign the desired Arpeggio type to each voice or performance, and adjust the tempo in real time as the Arpeggio plays.
Page 92 Using the Arpeggio function Arpeggio Type, Tempo, and Limit A variety of Arpeggio types are provided with the MOTIF. You can change the tempo of Arpeggio as desired. The Arpeggio function is available in all modes. The explanation below applies to the Performance Play mode. Call up the ARP (Arpeggio) display by pressing the [F6] button in the Performance Play mode.
Page 93: Using As A Master Keyboard
Using as a Master Keyboard The MOTIF is loaded with such a wealth of different features, functions and operations, you may ﬁnd it difﬁcult to locate and call up the particular feature you need. This is where the Master function comes in handy. You can use it to memorize the operations you use most often in each mode, and call them up instantly anytime you need them with a single button press.
Page 94 Using as a Master Keyboard Store the settings to a Master. The edited Masters can be stored to the internal memory (SRAM). Up to 128 Masters can be stored. n For details about memory structure, see page 63. When you execute this, the settings for the destination memory will be overwritten. Important data should always be backed up to computer, a separate Memory Card or some other storage device.
Page 95 Master Keyboard settings ● Layer/Split settings using an external tone generator The MOTIF can function as a comprehensive, versatile master keyboard, for both live and studio applications. When a Master is set to the Voice or Performance mode, you can make settings for four independent Zones. This makes it possible to control voices of an external MIDI device over several different channels —...
Page 96 Using as a Master Keyboard Call up the display for Zone editing. Press any of the buttons. MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE SLOT 1 VOICE PERFORM MASTER DRUM KITS PRE 1 PRE 2 PRE 3 USER...
Page 97: Saving/Loading Data
Saving/Loading data Many different types of data are created when using the MOTIF, and the following types are automatically maintained in memory, even if the power is turned off: Voice, Performance, Master, Arpeggio and System settings (parameters set in the Utility mode). Since the other data (e.g., wave data recorded via the Sampling function, Song, Pattern) is lost when turning the power off, you should save it to a memory card or SCSI device connected to the MOTIF.
Page 98: Loading Data
Saving/Loading data Loading data Enter the File mode by pressing the [FILE] button. SEQUENCER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY Call up the LOAD display. SF 1 SF 2 SF 3 SF 4 SF 5 Select a file type to be loaded. Here, select “Voice.”...
Page 99: Sampling With Song Playback (Integrated Sampling Sequencer)
Sampling with Song Playback (Integrated Sampling Sequencer) In this section, we’ll delve into one of the most important and powerful features of the MOTIF — the Integrated Sampling Sequencer. Today’s digital music producers and artists use a mutlitude of advanced tools to get the job done — including MIDI, sampling, audio editing and much more.
Page 100: Sampling To A Pattern Track
Sampling with Song Playback (Integrated Sampling Sequencer) 1. Sampling to a Pattern Track First, record your favorite rhythm phrase from an audio CD (or other source) to the MOTIF via the Sampling function. n For details about how to connect the external audio equipment to the MOTIF, see page 23 . Enter the Call up the PLAY display.
Page 101 Call up the SOURCE display. Select "stereo" or "mono." SF 1 SF 2 SF 3 SF 4 Select a sampling type. For Type, select “slice+seq.” Select a sampling source. For Source, select “A/D.” REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE KNOB ASSIGN A ASSIGN B...
Page 102: Recording Midi Data To A Pattern Track
Sampling with Song Playback (Integrated Sampling Sequencer) 2. Recording MIDI data to a Pattern Track Now that you’ve recorded a rhythm sample to a Pattern and sliced it, the next step is to record some MIDI parts and add them to the Pattern. You can record MIDI in two ways: Realtime and Step. Select a Recording type.
Page 103 ● Realtime recording (when selecting replace or overdub in step #2) Select a track 2 to be recorded and set the tempo. ELEMENT/ PERF.PART / ZONE Track to be recorded DEC/NO INC/YES Meter Set the Arpeggio related parameters from the ARP display (page 223). Turn the Click on.
Page 104 Sampling with Song Playback (Integrated Sampling Sequencer) ● Step recording (when selecting step in step #2) Select a track 2 to be recorded and set the MIDI event type to be recorded and tempo. ELEMENT/ PERF.PART / ZONE Track to be recorded DEC/NO MIDI event type Start recording.
Page 105: Assigning A Preset Phrase To A Pattern Track (Patch Function)
3. Assigning a Preset Phrase to a Pattern Track (Patch function) The Patch function lets you assign a Preset phrase or a User phrase (recorded in the Pattern Record mode) to each track and create a pattern that contains up to 16 tracks. Call up the PATCH display.
Page 106: Using The Groove Function
Sampling with Song Playback (Integrated Sampling Sequencer) 4. Using the Groove function The Grid Groove function makes it possible to adjust the pitch, timing, length, and velocity of notes in a speciﬁed track on a measure-long 16th-note grid. This lets you easily come up with a wide variety of rhythmic feels and grooves that would be difﬁcult or impossible to create using precise, yet rigid sequencer operations.
Page 107: Pattern Mixing
5. Pattern Mixing Now that you have a ﬁnished section and pattern, you can apply the Pattern Mixing controls to ﬁne-tune it and enhance it — by adusting the levels of each track or part, selecting different voices, and tweaking the effect-related settings. Enter the Pattern Call up the desired display.
Page 108 Sampling with Song Playback (Integrated Sampling Sequencer) 6. Creating a Pattern Chain Now that you’ve got your audio samples, loops, MIDI data, and patterns in the MOTIF, here’s where the fun really begins. The Pattern Chain feature lets you arrange all of the pieces of your song in real time. As you record a Pattern Chain, play back your original patterns and sections, and switch among them on the ﬂy.
Page 109 7. Copying the Pattern Chain data to a Song Now that you’ve created a hip Pattern Chain, you can copy it to a song track and use it as the basic rhythm track for a song. This is done from the Pattern Chain Edit mode. Enter the Pattern Chain Edit mode by pressing the [EDIT] mode in the Pattern Chain Play mode.
Page 110: Midi Recording To Song Tracks
Sampling with Song Playback (Integrated Sampling Sequencer) 8. MIDI recording to Song Tracks Now, take your basic building blocks and move over to the Song mode to do some more work on your song. Let’s say for the sake of example that you’ve recorded MIDI data for nearly all the tracks — except for maybe some rhythm guitar parts and some solos on piano and organ.
Page 111 ● Realtime recording (when selecting “replace,” “overdub,” or “punch” in step #5) Call up the VOICE display. SF 1 SF 2 SF 3 SF 4 SF 5 OCTAVE DOWN Select the desired voice to be recorded to a track. TRACK SELECT ELEMENT/PERF.PART/ZONE MUTE...
Page 112 Sampling with Song Playback (Integrated Sampling Sequencer) ● Step recording (when selecting “step” in step #5) Select a track to be recorded and set the MIDI event type to be recorded. ELEMENT/ PERF.PART / ZONE DEC/NO INC/YES Tempo track MIDI event OCTAVE DOWN Start recording.
Page 113: Sampling To A Song Track
9. Sampling to a Song Track We’ll pay another visit to the sampling feature, and sweeten our song with some “ear candy” sound effects and background vocals. The sampling we did earlier was of a different variety; you sampled a rhythm in the Pattern mode and “sliced”...
Page 114 Sampling with Song Playback (Integrated Sampling Sequencer) Enter the Sampling Standby mode. From this display, set the Trigger mode. Here, select “manual.” Play back the external CD player to check the Input level. You can adjust the Input level for optimum level by using the GAIN knob on the rear panel. Trigger mode Input level SF 1...
Page 115: Song Track Mute And Scene
10. Song Track Mute and Scene These two powerful features give you even greater real-time arranging control. You can turn tracks on and off and switch among Song Scenes, as the song plays — and all your moves can be recorded to the special Scene track. This not only lets you hear the various song arranging possiblities, it lets you record them on the spot.
Page 116 Sampling with Song Playback (Integrated Sampling Sequencer) Select a song in the Song Play mode. DEC/NO INC/YES SYN LEAD SYN PAD/ SYN COMP CHROMATIC PERCUSSION CHOIR ELEMENT/PERF.PART/ZONE DOWN Store the settings to a Song Scene. EDIT STORE COMPARE SCENE STORE SET LOCATE Simultaneously hold down the [STORE] button...
Page 117: Song Mixing And Storing The Settings As A Template
11. Song Mixing and storing the settings as a template In this ﬁnal step (other than saving your precious work, which we’ll cover next), you can mix down your tracks with the Song Mixing function — adjusting the volume balance and pan setting of all the parts and tweaking the effect levels.
Page 118: Saving And Exporting The Recorded Song To External Pc (File Utility)
Sampling with Song Playback (Integrated Sampling Sequencer) 12. Saving and Exporting the recorded song to external PC (File Utility) Now that you’ve created your masterpiece, you’ll want to save it. You can save song data to a Memory card or SCSI device in the File mode (page 261).
Page 119: Remote Control For External Sequencer (Real-Time External Control Surface)
Remote Control for external sequencer (Real-time external control surface) In the last section, you saw how a computer could be used conveniently to augment the features of the MOTIF. Here, we’ll look at a feature that turns the tables and lets you conveniently use the MOTIF to control your computer. The Remote Control function lets you use the hardware controls on the panel of the MOTIF to control a variety of fundamental operations on the sequencing software of your computer.
Page 120 Remote Control for external sequencer (Real-time external control surface) Using the Remote Control function Turn the Remote Control function on by pressing the [REMOTE CONTROL ON/OFF] button so that its lamp flashes. KNOB CONTROL FUNCTION MASTER VOLUME OCTAVE DOWN Operate the Control knobs or sliders on the MOTIF's panel as required. n Functions to be controlled by the MOTIF differ depending on the software you use.
Page 121: Reference
This section is devoted to explaining the function of every setting of every parameter in every display of the MOTIF. If you have questions like “I wonder what this button does...” or “How does this parameter work?” — this is the section you should refer to.The Reference section is divided according to the various modes of the MOTIF.
Page 122 Function Tree [VOICE] [EDIT] VOICE EDIT (DRUM) MOTIF Reference ........P. 137 [F6] NORMAL COMMON EFFECT [SF1] EFFECT CONNECT [SF2] INSERTION1...
Page 123 [VOICE] ................P. 153 [EDIT] VOICE EDIT (PLUG-IN) [COMMON] PLUG-IN COMMON [Element selection] PLUG-IN ELEMENT...
Page 124: Voice Play Mode
Voice Play mode Voice Play mode Basic Structure (page 30) · Quick Start Guide (page 80) In this mode, you can select and play individual Preset and User voices, as well as Plug-in voices (when installed). n For details about voice types and memory (bank) structure, see page 43.
Page 125 • To select a Plug-in voice, press any of the [PLG1] - [PLG3] buttons. PLG 1 PLG 2 PLG 3 STRINGS BRASS REED/PIPE • To select a Drum voice, simultaneously hold the [DRUM KITS] button and press the [PRE1], [GM] or [USER] button. DRUM KITS PRE 1 PRE 2...
Page 126 Voice Play mode ■ Using the [INC/YES] and [DEC/NO] buttons Pressing the [INC/YES] button increases the number by 1. Pressing the [DEC/NO] button decreases the number by 1. DEC/NO Decreases number Increases number Use the [INC/YES] and [DEC/NO] buttons to step up or down through the available voices.
Page 127: Voice Editing In The Voice Play Mode
● Favorite Category Use the same operation as in “Using the Category Search function” above. Select your favorite voice and press the [F5] button to assign it to the Favorite Category. Category Sub category n To remove the selected voice from the Favorite Category, simply press the [F5] button again.
Page 128 Voice Play mode ● [F2] Voice Play Plug-in Bank From this display you can select the particular bank on the Plug-in board, and determine whether you will be using a Plug-in voice or a “Board” voice. Simply put, the difference between the two types of voices is this: •...
Page 129: Voice Edit Mode
• Tempo Determines the Arpeggio Tempo. When MIDI sync (page 258) is turned on, “MIDI” is displayed here and cannot be set. ❏ Settings 1 ~ 300 • Velocity Limit Determines the lowest and highest velocity in the Arpeggio’s velocity range. The Arpeggio plays when you play the note with the velocity in this range.
Page 130: Basic Procedure
Voice Edit mode COMMON Indicates a Common Edit display. Indicates a display for editing Element 1. ◆ Basic Procedure Press the [VOICE] button to enter the Voice Play mode. (The indicator lights.) Select a Normal voice to be edited. Press the [EDIT] button to enter the Voice Edit mode.
Page 131 • Mono/Poly Determines whether the Voice is played back monophonically (single notes only) or polyphonically (multiple simultaneous notes). ❏ Settings Mono, Poly • KeyAsgnMode When this is set to “single,” double playback of the same note is prevented. This is useful when two or more instances of the same note are received nearly simultaneously, or without a corresponding note off message.
Page 132 Voice Edit mode time Sets the Time parameter range to reﬂect “time”: 0 (fast) - 127 (slow) ● [F1]-[SF5] Normal Common General Other From this display you can set the control functions for the Knobs, and determine the up/down range for the Pitch Bend wheel.
Page 133 • Hold Determines whether the Arpeggio playback is “held” or not. When this is set to “on,” the Arpeggio cycles automatically, even if you release your ﬁngers from the keys, and it continues to cycle until the next key is pressed. ❏...
Page 134: Velocity Rate
Voice Edit mode • Velocity Rate Determines how much the Velocity of the Arpeggio playback is offset from the original value. For example, a setting of 100% means the original values are used. Settings below 100% will reduce the velocity of the Arpeggio notes, whereas settings above 100% will increase the velocities.
Page 135: Tempo Sync
● [F5]-[SF1] Normal Common LFO Wave Basic Structure (page 47) From this display you can make a variety of LFO- related settings, including Wave, Speed, Tempo, and sync/phase settings. • Wave Determines the LFO Wave. ❏ Settings tri, tri+, sawup, sawdwn, squ1/4, squ1/3, squ, squ2/3, squ3/4, trpzp, S/H 1, S/H 2, user •...
Page 136 Voice Edit mode ● [F5]-[SF2] Normal Common LFO Delay From this display you can set various delay and fade-in/-out parameters, and give the LFO a more natural sound. • DelayTime Determines the delay time before the LFO comes into effect. A higher value results in a longer delay time. ❏...
Page 137: Element Edit
● [F6]-[SF1] Normal Common Effect Connection This display gives you comprehensive control over the effects. • EL: OUT 1-4 (Element 1-4 Effect Output) Determines which Insertion effect (1 or 2) is used to process each individual element. The “thru” setting lets you bypass the Insertion effects for the speciﬁc element.
Page 138 Voice Edit mode ● [F1]-[SF2] Normal Element Oscillator Output From this display you can set certain output parameters for the selected element. • KeyOnDelay Determines the time (delay) between the moment you press a note on the keyboard and the point at which the sound is played.
Page 139 ● [F2]-[SF2] Normal Element Pitch Velocity Sensitivity From this display you can determine how the Pitch EG responds to velocity. (For Pitch EG settings, see “PEG Time, Level” below.) • EG Time, Segment Determines the velocity sensitivity of the PEG’s Time parameters.
Page 140 Voice Edit mode • Center Key Determines the central note or pitch for the Key Follow effect on pitch. Depending on the Pitch Sensitivity parameter above, the further away from the Center Key the keys are played, the greater the degree of pitch change. ❏...
Page 141 LPF12 (Low Pass Filter12dB/oct) A 2-pole (-12db/oct) dynamic LPF, designed to be used in combination with an HPF (High Pass Filter). Resonance LPF6 (Low Pass Filter 6dB/oct) A 1-pole (-6db/oct) dynamic LPF with no resonance, designed to be used in combination with an HPF (High Pass Filter).
Page 142: Velocity Sensitivity
Voice Edit mode Dual BEF A combination of two sets of –6dB/oct BEF in parallel. Level Distance The cutoff frequency can be set directly on the display. LPF12 (Low Pass Filter 12dB/oct)+ HPF12 (High Pass Filter) A combination of a LPF and HPF. Level Distance The cutoff frequency can be set...
Page 143 • EG Time, Segment Determines the velocity sensitivity of the FEG’s Time parameters. Select the Segment, then set its Time parameter. Positive Time settings will play back the speciﬁed Segment faster and negative values will play it back slower. ❏ Settings Time -64 ~ 0 ~ +63 Segment...
Page 144 Voice Edit mode • CutoffSens (Cutoff Sensitivity) Determines the degree to which the notes (speciﬁcally, their position or octave range) affect the Filter of the selected element. A Center Key setting of C3 is used as the basic setting by the Cutoff parameter. A positive setting will lower the Cutoff frequency for lower notes and raise it for higher notes.
Page 145 ● [F4]-[SF1] Normal Element Amplitude Level/Pan This display not only lets you make basic Level and Pan settings for each individual element, it also gives you some detailed and unusual parameters for affecting Pan position. • Level Determines the output level for the selected element. ❏...
Page 146 Voice Edit mode Decay1 Attack Decay2 Level Level Level Level Init Level Attack Decay1 Decay2 Time Time Time • TIME ❏ Settings 0 ~ 127 (excluding --- above) • LEVEL ❏ Settings 0 ~127 ● [F4]-[SF4] Normal Element Amplitude Key Follow From this display you can set the Key Follow effect for Amplitude —...
Page 147 The best way to understand Amplitude Scaling is by example. For the settings shown in the example display above, the basic Amplitude (volume) value for the selected element is 80, and the various Offset values at the selected Break point settings change that basic value accordingly.
Page 148: Drum Voice Edit
Voice Edit mode • FMOD (Filter Modulation Depth) Determines the amount (depth) by which the LFO waveform varies (modulates) the Filter Cutoff frequency. The higher the value, the greater the amount of ﬁlter modulation. ❏ Settings 0 ~ 127 • AMOD (Amplitude Modulation Depth) Determines the amount (depth) by which the LFO waveform varies (modulates) the amplitude or volume of the sound.
Page 149 Select a key to be edited. • To edit parameters common to the entire Drum voice (all keys), press the [DRUM KITS] button. DRUM KITS FAVORITES COMMON • To edit parameters of an individual Drum key (element), ﬁrst press the NUMBER [1] button, then press the appropriate key on the keyboard.
Page 150 Voice Edit mode ● [F6]-[SF2], [SF3], [SF4], [SF5] Drum Common Effect Parameter Insertion 1, 2, Reverb, Chorus The number of parameters and values available differs depending on the currently selected effect type. For more information, see the Effect Type List in the separate Data List booklet.
Page 151 ● [F1]-[SF5] Drum Key Oscillator Other From this display you can set various parameters related to how the individual notes of the Drum voice respond to the keyboard and MIDI data. • AssignMode When this is set to “single,” double playback of the same note is prevented.
Page 152 Voice Edit mode ● [F3]-[SF2] Drum Key Filter Velocity Sensitivity • LPFCutoff Determines the velocity sensitivity of the Low Pass Filter Cutoff frequency. Positive settings will cause the cutoff frequency to rise the harder you play the keyboard and negative settings will cause it to fall. ❏...
Page 153: Plug-In Voice Edit
● [F6] Drum Key EQ (Equalizer) Same as in Normal Voice Element Edit. See page 148. n This parameter is effective for Drum keys whose Type parameter (in the Oscillator Wave display, page 150) has been set to “Preset wave” or “User wave.”...
Page 154 Voice Edit mode ■ Common edit ● [F1]-[SF1] Plug-in Common General Name Same as in Normal Voice Common Edit. See page 130. ● [F1]-[SF2] Plug-in Common General Play mode Same as in Normal Voice Common Edit. See page 130. Please note that Micro Tuning is not available in Plug-in Voice Common Edit.
Page 155 ● [F4]-[SF3] Plug-in Common Control Set After Touch The MOTIF gives you a comprehensive set of after touch controls for the Plug-in voice, allowing you to change the pitch and ﬁlter settings, and produce modulation effects (pitch, ﬁlter and amplitude)- simply by pressing down hard on the keys.
Page 156 Voice Edit mode ■ Element Edit ● [F1]-[SF1] Plug-in Element Oscillator Wave From this display you can select the desired Board Voice used for the element of the Plug-in voice. Keep in mind that a Plug-in voice only has one element. •...
Page 157 ● [F5] Plug-in Element LFO Basic Structure (page 47) From this display you can set the basic LFO parameters for modulating the pitch to create vibrato and other special effects. • Speed Determines the speed of the LFO waveform. Positive settings increase the speed and negative settings decrease it.
Page 158: Voice Job Mode
Voice Job mode Voice Job mode The Voice Job mode contains various convenient operations (called “Jobs”), which are useful in editing and archiving your original voices. ◆ Basic Procedure In the Voice Play mode, select a voice you wish to execute the Job on.
Page 159: Voice Store Mode
• Data type of Destination voice (current selected voice) If the source is a Normal or Drum Voice and data type is set to Element or Drum Key, you can set the data type of the destination Voice. ❏ Data type When a Normal voice is selected: Element 1 ~ 4 When a Drum voice is selected:...
Page 160: Performance Mode
Function Tree Performance Mode Function Tree This section is devoted to the Performance mode. To see how the Performance mode relates to the entire structure of the MOTIF and its other modes and functions, see the simpliﬁed chart in “Basic Structure” on page 30. The following detailed chart shows all of the display menus and parameter groups of the Performance modes —...
Page 161 [PART SELECTION] PART 1-4 [F6] [PART SELECTION] PART PLG1-PLG3 [F6] ..............P. 165 [EDIT] PERFORMANCE COMPARE .
Page 162: Performance Play Mode
Performance Play mode Performance Play mode Basic Structure (page 31) · Quick Start Guide (page 88) In this mode, you can select and play individual User performances. n For details about the performances and their memory (bank) structure, see page 40. ◆...
Page 163: Performance Editing In The Performance Play Mode
Performance Part on/off The explanations here apply to step #4 of the Basic Procedure on page 162. MUTE Press the [MUTE] button so that its indicator lights. SOLO Press any of the [1] - [4] buttons you wish to mute. n This operation is available also in the Performance Edit mode.
Page 164 Performance Play mode • OutputSel (Output Select) Determines the output jack assignment for the A/D part. ❏ Settings See below. Output jack L&R OUTPUT L&R as1&2 AIEB2 ASSIGNABLE OUTPUT 1&2 as3&4 AIEB2 ASSIGNABLE OUTPUT 3&4 as5&6 AIEB2 ASSIGNABLE OUTPUT 5&6 AIEB2 ASSIGNABLE OUTPUT 1 AIEB2 ASSIGNABLE OUTPUT 2 AIEB2 ASSIGNABLE OUTPUT 3...
Page 165: Performance Edit Mode
● [F6] Performance Play Arpeggio Basic Structure (page 55) This display contains the basic settings for Arpeggio playback, including Type and Tempo. The parameters are same as in the Voice Play mode (page 127) except for the following one. • PartSwitch Determines whether Arpeggio is on or off for the selected part.
Page 166 Performance Edit mode Part1 Part2 Part3 Part4 Common Plug-in part 1 Plug-in part 2 Plug-in part 3 Indicates a Common Edit display. Indicates a display for editing Part 1. ◆ Basic Procedure Press the [PERFORMANCE] button to enter the Performance Play mode. (The indicator lights.) Select a Performance to be edited.
Page 167 REVERB CHORUS CUTOFF RESONANCE ATTACK KNOB ASSIGN A ASSIGN B ASSIGN 1 CONTROL FUNCTION KN 1 KN 2 KN 3 MEQ LOW MEQLOWMID MEQ HI M ID ❏ Settings -64 ~ +63 ● [F1]-[SF4] Common General Portamento From this display you can set the Portamento parameters for all parts of the selected performance.
Page 168: Output Channel
Performance Edit mode ● [F2]-[SF2] Common MEQ(Master Equalizer) From this display you can apply ﬁve-band equalization to all parts of the selected performance. ˙ Q(Frequency Characteristic) Gain 5 bands LOWMID HIGHMID • Shape Determines whether the equalizer type used is Shelving or Peaking.
Page 169 • OutputSwitch When this is set to on, Arpeggio playback data is output from the MIDI terminal. ❏ Settings on, off • TransmitCh Determines the MIDI transmit channel for Arpeggio playback data. ❏ Settings 1 ~ 16 ● [F4] Common Controller Assign The controllers and knobs on the front panel can be used to change and adjust a variety of parameters —...
Page 170: Reverb Return
Performance Edit mode • Chorus to Reverb Determines the Send level of the signal sent from the Chorus Effect to the Reverb Effect. ❏ Settings 0 ~ 127 • Reverb Type Determines the Reverb effect type. ❏ Settings Refer to the Effect Types list in the separate Data List booklet.
Page 171 ● [F1]-[SF4] Part Voice Portamento Set the Portamento parameters for each part. Portamento is used to create a smooth transition in pitch from the ﬁrst note played on the keyboard to the next. • Switch Switch Portamento on or off. ❏...
Page 172: Varsend (Variation Send)
Performance Edit mode When Offset=0 Actual resulting velocity (affecting the tone generator) Received velocity When Offset=64 Actual resulting velocity (affecting the tone generator) Received velocity When Offset=127 Actual resulting velocity (affecting the tone generator) Received velocity In the ﬁrst example, Offset is set to “0,” lowering all received velocities by 64.
Page 173 ● [F3] Part Output Select From this display you can set certain output parameters for the selected part. • InsEF (Insertion Effect) This shows whether the Insertion effect is applied or not for each part. This is for display purposes only and cannot be set here.
Page 174 Performance Edit mode • Release Determines the FEG Release Time for each part. ❏ Settings -64 ~ 0 ~ +63 n The FEG settings are not available for Plug-in parts or parts to which Drum voices have been assigned. ● [F4]-[SF4] Part Tone AEG From this display you can set the basic AEG (Amplitude Envelope Generator) parameters for each part.
Page 175: Performance Job Mode
Performance Job mode The Performance Job mode contains various convenient operations (called “Jobs”), including initializing (resetting) performance data or recalling previous edits. ◆ Basic Procedure In the Performance Play mode, select a performance you wish to execute the Job on. Press the [JOB] button to enter the Performance Job Mode.
Page 176: Performance Store Mode
Performance Store mode • Source performance Select a performance and data type to be copied. ❏ Data type Part 1 ~ 4, Plug 1 ~ 3 • Data type of Destination performance (current selected performance) Set the Part of the destination Performance. ❏...
Page 177: Song Mode
Song Mode Function Tree This section is devoted to the Song mode. To see how the Song mode relates to the entire structure of the MOTIF and its other modes and functions, see the simpliﬁed chart in “Basic Structure” on page 30. The following detailed chart shows all of the display menus and parameter groups of the Song modes —...
Page 178 Function Tree [MIX] SONG MIX MOTIF Reference ..............P. 201 [F5] TRACK JOB LIST .
Page 179: Song Play Mode
Song Play mode Basic Structure (page 67) · Quick Start Guide (page 77) In this mode, you can select and play individual User songs. n For details about songs and their track and memory structure, see page 51. ◆ Basic Procedure Basic Operation (page 67) Press the [SONG] button to enter the Song Play mode.
Page 180 Song Play mode Press any of the GROUP [A] - [D] buttons to select a Group. n Each letter group contains sixteen song numbers, and pressing the appropriate letter selects the ﬁrst song in that letter’s group. For example, press button [A] to select song 01, press button [B] to select song 17 and so on.
Page 181: Song Track Selection
Press the [MUTE] button so that its lamp lights. Press any of the NUMBER [1] - [16] buttons to select the track number to be muted. ● To solo a track ELEMENT/ PERF.PART / ZONE Simultaneously hold down the [MUTE] button and press one of the NUMBER buttons [1] to [16] to solo the corresponding track.
Page 182 Song Play mode minus NOTE OFST CLOCK SFT GATE OFST VELO OFST • NOTE OFFSET Raises or lowers the pitch of the note(s) on the selected grid in semitones. ❏ Settings 99 ~ +99 • CLOCK SHIFT Shifts the timing of the note(s) on the selected grid forward or back ward in clock increments.
Page 183: Song Record Mode
Set to on by using the [INC/YES] and [DEC/NO] buttons or the data dial. (The display prompts you for conﬁrmation.) Press the [INC/YES] button. The Loop is set to on and the part that is not looped is deleted ● [F5] Song Play Copy Phrase You can copy s Pattern track data (Phrase) to a Song track.
Page 184 Song Record mode n MIDI events the external MIDI devices connected to the MOTIF can be recorded to tracks 1~16. After completing your performance (in Realtime recording) or completing Step recording, press the [■] button to stop recording. Record additional tracks as required. Repeat steps #3 through #7 as desired.
Page 185: Song Recording
❏ Settings: off, 60 (32nd note), 80 (16th note triplet), 120 (16th note), 160 (8th note triplet), 240 (8th note), 320 (1/4 note triplet), 480 (1/4 note) • Event This parameter is available when the Recording Type is set to “step.” This lets you specify the event type to be entered.
Page 186: Entering Other Events
Song Record mode Dotted notes can also be entered using the TIE function. To produce a dotted 1/4 note, for example, set the step time to an 8th note, enter a note and then press [F4] twice. ● [F5] DELETE Press this to actually delete the note events at the current cursor position.
Page 187 SEQ TRANSPORT LOCATE ● Example 2 (Using the TIE function) Set the parameters as illustrated below. Since the ﬁrst note is a half note, set the StepTime (960), and set the GateTime to 80%, since you don’t want the notes to play in legato. Enter the ﬁrst note F.
Page 188 Song Record mode Move the pointer to the top (beginning) of the song and press the [F] button to hear the note data you just recorded in steps #1 - 5. ● Example 3 (Using the REST function) Set the parameters as illustrated below. Set the StepTime to (480) and the Gate Time to 80%.
Page 189: Song Edit Mode
• Voice Determines the voice for the selected track. You can use the BANK, GROUP, NUMBER button or the Category Search function to select a voice (page 124). You can also select a Sample voice (page 58). • Voume Determines sound volume for the selected track. ❏...
Page 190: Pitch Bend
Song Edit mode Event Editing/Inserting/Deleting The explanations here apply to step #3 of the Basic Procedure on page 189. ■ Editing/Deleting Existing Events To edit data in the Event List, use the up/down cursor buttons to highlight the speciﬁc event you want to edit, and use the left/right cursor buttons to highlight the data type or parameter to be edited.
Page 191: Control Change
■ Program Change These events determine the selected voice for the note data. Keep in mind that Program Change events can be inserted at any point in a song track, letting you change voices in the middle of a song. Bank Select MSB Program number Bank Select LSB...
Page 192: System Exclusive (Exc)
Song Edit mode • RPN MSB-LSB ❏ Settings 000~127 • Data Entry MSB-LSB ❏ Settings 000~127 n Normally three types of control change data are sent: RPN MSB (101), RPN LSB (100), and Data Entry MSB (6). In the MOTIF, Data Entry LSB (38) is added to this and the resulting group of control change events is handled as one in this display.
Page 193: Song Job Mode
Song Job mode The Song Job mode contains a comprehensive set of editing tools and functions you can use to change the sound of the song. It also includes a variety of convenient operations, such as copying or erasing data. Most of these operations can be performed on either an entire track or a selected range of measures in the track.
Page 194 Song Job mode ● [F2]-01 Quantize Quantization is the process of adjusting the timing of note events by moving them closer to the nearest exact beat. You can use this feature, for example, to improve the timing of a performance recorded in real time.
Page 195 ● [F2]-02 Modify Velocity This job alters the velocity values of the speciﬁed range of notes, letting you selectively boost or cut the volume of those notes. Velocity changes are calculated as follows: Adjusted velocity = (original velocity x Rate) + Offset. If the result is 0 or less, the value is set to 1.
Page 196 Song Job mode ● [F2]-04 Crescendo This Job lets you create a crescendo or decrescendo over the speciﬁed range of notes. (Crescendo is a gradual increase in volume, and decrescendo is a gradual decrease.) Track Range • 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.
Page 197 Roll Step (Clock) In this example, the space between individual notes Start Step gradually becomes shorter over the time of the roll. EndStep 004:1:240 Roll Step (Clock) In this example, the space between individual notes gradually becomes longer over the time of the roll. Start Step EndStep...
Page 198 Song Job mode ● [F2]-09 Separate Chord This job slightly separates notes in chords within the speciﬁed range, inserting a speciﬁed number of clocks between each note. Use this job after the Chord Sort Job above, to create guitar-like upstroke or downstroke effects.
Page 199 ● [F3]-03 Erase Event This Job clears all speciﬁed events from the speciﬁed range, effectively producing a segment of silence. Track Range • Event Type Determines the event type to be erased. All events are cleared when ALL is selected. Individual control change numbers can be speciﬁed when erasing control change events.
Page 200 Song Job mode • Number Of Times Determines the number of times the data creation is to be repeated. For example, if data is created in the range M001:1:000 ~ M003:1:000 and this parameter is set to 03, the same data will be created at M003:1:000 ~ M005:1:000 and M005:1:000 ~ M007:1:000.
Page 201 [F4] Measure Job Press the [F4] button in step #3 of the Basic Procedure on page 193 so that the Measure Job list appears on the display. Scroll the cursor to the desired Job and press the [ENTER] button to go to the display of the selected Job.
Page 202 Song Job mode ● [F5]-01 Copy Track This Job copies all data from a speciﬁed source track to the speciﬁed destination track. Source Song and Track Destination Song and Track Data Type to be copied • Source Song and Track ❏...
Page 203 Undo/Redo cannot be used to undo/redo a Clear operation for tracks that contain sample data. ● [F5]-05 Normalize Play Effect This job rewrites the data in the selected track so that it incorporates the current Grid Groove settings. • TR (Track) Determines the song track to which the Job is applied.
Page 204 Song Job mode • Source song ❏ Settings 01~64 • Destination Song ❏ Settings 01~64 ● [F6]-02 Split Song To Pattern This Job allows you to copy a part of the current song — all 16 tracks over a speciﬁc range of measures —...
Page 205: Song Mixing Mode
Song Mixing mode In this mode, you can set up and save mixing data for your songs, and set various parameters for the tone generator parts — including the desired voice, as well as its level, pan, EQ, effect and other settings. How the Song Mixing mode affects the tone generator parts, and how it is affected by other elements is made clear by the following diagram.
Page 206 Song Mixing mode Press the [SONG] button to exit from the Song Mixing mode and return to the Song Play mode. • For detailed instructions on steps #4, see the following explanations. • For details on step #5, refer to “Song Mixing Store mode”...
Page 207: Song Mixing Edit Mode
• Template number Determines the template number. Up to 16 templates can be created. ❏ Settings 1~16 • Template name Determines the name of the template. For details about naming, see “Basic Operation” on page 75. Song Mixing Edit mode (Detailed Mixer functions) ◆...
Page 208 Song Mixing mode • To edit parameters of the individual parts, select the desired part with the corresponding NUMBER button ([1] - [16]). You can select parts for the Plug-in board by using the [F6] button (as shown below). ELEMENT/ PERF.PART / ZONE Internal Tone Generator Parts 1~16 Multi Part Plug-in Parts 17~32 (When the Multi Part Plug-in board has been installed)
Page 209: Output Channel
tone REVERB CHORUS CUTOFF RESONANCE ATTACK KNOB ASSIGN A ASSIGN B ASSIGN 1 CONTROL FUNCTION KN 1 KN 2 KN 3 MEQ LOW MEQLOWMID MEQ HI MID assign meqofs • ChoCtrl (Chorus Control) Determines the depth of the Chorus effect, as controlled by the Knob assigned to Chorus Send.
Page 210: Play Mode
Song Mixing mode ● [F6]-[SF1] Song Mixing Common Effect Connection This display gives you comprehensive control over the effect connections. Same as in Performance Common Edit. See page 169. ● [F6]-[SF2], [SF3],[SF4],[SF5] Common Effect Parameter Plug-in Insertion, Reverb, Chorus, Variation The number of parameters and values available differs depending on the currently selected effect type.
Page 211 ● [F2]-[SF1] Song Mixing Part Output Volume/Pan Same as in Performance Part Edit. See page 172. n The Voice Pan setting is not available for Plug-in voice parts. ● [F2]-[SF2] Song Mixing Part Output Effect Send Same as in Performance Part Edit. See page 172. ●...
Page 212: Song Mixing Job Mode
Song Mixing Job mode ● [F5] Song Mixing Part Receive Switch From this display you can set how each individual part responds to various MIDI data, such as Control Change and Program Change messages. When the relevant parameter is set to “on,” the corresponding part responds to the appropriate MIDI data.
Page 213 ❏ Type of parameter to be initialized All settings for the selected Song Mixing are initialized. Common Common parameter settings for the selected Song Mixing program are initialized. Part 1~16, PLG 1~3 Part parameter settings for the selected Song Mixing program are initialized.
Page 214: Song Mixing Store Mode
Song Mixing Store mode Song Mixing Store mode This function lets you store your edited Song Mixing program to User memory. When you execute this, the settings for the destination memory will be overwritten. Important data should always be backed up to a memory card or SCSI device. ◆...
Page 215: Pattern Mode
Pattern Mode Function Tree This section is devoted to the Pattern mode. To see how the Pattern mode relates to the entire structure of the MOTIF and its other modes and functions, see the simpliﬁed chart in “Basic Structure” on page 30. The following detailed chart shows all of the display menus and parameter groups of the Pattern modes —...
Page 216 Function Tree [SONG] [MIXING] PATTERN MIXING MOTIF Reference ..............P. 230 [F5] TRACK JOB LIST .
Page 217: Pattern Play Mode
Pattern Play mode Basic Structure (page 67) In this mode, you can select and play individual User patterns. n For details about patterns and their track and memory structure, see page 51. ◆ Basic Procedure Basic Structure (page 67) Press the [PATTERN] button to enter the Pattern Play mode.
Page 218 Pattern Play mode ● Style numbers and the corresponding Group/ Numbers Same as in the Song Play mode. See page 179. Section Selection The explanations here apply to step #2 of the Basic Procedure on page 217. PRE 1 PRE 2 PRE 3 USER PLG 1...
Page 219 n The Phrase Voice embedded in the Pattern phrase can be speciﬁed from the Voice display in the Pattern Record mode (page 223). ● [F6] Pattern Play Chain Play/Edit Explained later. See below. [F4] Patch Function Basic Structure (page 52) · Quick Start Guide (page 105) The explanations here apply to step #5 of the Basic Procedure on page 217.
Page 220: Pattern Chain Editing
Pattern Play mode ■ Creating Pattern Chains with Realtime Playback (Pattern Chain Recording) This function makes it possible to specify a sequence of patterns for pattern chain playback. Switching of styles/sections, track muting, scene/ mute changes, and tempo changes can all be recorded in real time.
Page 221: Pattern Record Mode
The methods for editing each event in the display above and for inserting/deleting events (by using the [F5]/[F6] buttons) are the same as in the Song Edit mode. See page 190. ● [F6]-[EDIT]-[F2] Copy Pressing the [SF3] button in the Pattern Chain Edit mode calls up the Copy display below, letting you copy all pattern chain events from a speciﬁed range of measures (source) to a destination location.
Page 222 Pattern Record mode n Please note that the time signature can be set in the Pattern Play display. See page 217. n The method for selecting the recording track is the same as in Pattern track selection (page 218). Change the display by pressing the [F2] - [F3] buttons and set various parameters for recording.
Page 223 • 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. ❏...
Page 224: Pattern Edit Mode
Pattern Edit mode Pattern Edit mode This mode gives you comprehensive, detailed controls for editing the MIDI events of each phrase of the recorded pattern. MIDI events are messages (such as note on/off, note number, program change number, etc.) that make up the data of a recorded pattern. ◆...
Page 225: Pattern Job Mode
Pattern Job mode The Pattern Job mode contains a comprehensive set of editing tools and functions you can use to change the sound of your original pattern, as created by the Pattern Patch function or from the Pattern Record mode. It also includes a variety of convenient operations, such as copying or erasing data.
Page 226 Pattern Job mode ● [F2]-02 Modify Velocity Same as in the Song Job mode. See page 195. Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied. ● [F2]-03 Modify Gate Time Same as in the Song Job mode. See page 195. Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied.
Page 227 [F3] Event Job Press the [F3] button in step #3 of the Basic Procedure on page 225 so that the Event Job list appears on the display. Scroll the cursor to the desired Job and press the [ENTER] button to go to the display of the selected Job. The following explanations apply to step #6 of the Basic Procedure on page 225.
Page 228 Pattern Job mode ● [F3]-07 Modify Control Data Same as in the Song Job mode. See page 200. Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied. n Unlike in the Song Job mode, you cannot select “Tempo”...
Page 229 ● [F4]-04 Append Phrase This Job appends one phrase to the end of another to create one longer phrase. Phrase A Append Phrase Phrase B n If this job is applied to phrases which use sample voices, the sample voices will not be appended. ●...
Page 230 Pattern Job mode ● [F4]-08 Clear Phrase This Job deletes all data from the selected phrase. Phrase to be cleared When this box is checkmarked, sample data assigned to the selected phrase will be deleted. This parameter has no effect when no sample voice is used by the selected phrase.
Page 231 ● [F5]-05 Divide Drum Track Separates the note events in a drum performance assigned to a speciﬁed track, and places the notes corresponding to different drum instruments in separate tracks (tracks 1 through 8). One useful application for this would be to use Quantize (page 225) and Shift Clock (page 227) to independently adjust the timing of different drum parts in the rhythm, to tighten up the timing and yet...
Page 232: Pattern Mixing Mode
Pattern Mixing mode The job overwrites any data already existing in the destination pattern. n When the KEEP ORIGINAL PHRASE checkbox is checked, this job requires twice the number of empty user phrases as the number of tracks containing data in which to store the appended phrase data.
Page 233: Sampling Mode
Sampling Mode Function Tree This section is devoted to the Sampling mode. To see how the Sampling mode relates to the entire structure of the MOTIF and its other modes and functions, see the simpliﬁed chart in “Basic Structure” on page 30. The following detailed chart shows all of the display menus and parameter groups of the Sampling modes —...
Page 234: Sampling Record Mode
Sampling Record mode Sampling Record mode In this mode, you can record sounds to the MOTIF (for example, your voice, a guitar, or sounds from a CD), edit them, and use them to create special Sample voices you can play from the keyboard. Or, if you enter this mode from the Song or Pattern mode, the sounds you record can be assigned to the tracks and played back automatically with the song or pattern.
Page 235: Sampling Setup
When Trigger mode is set to Meas : Sampling Standby Press the [F6] button. Punch-in Waiting Start playback of the song or pattern. When the appropriate Punch-in measure is reached, sampling starts. Sampling Start When the appropriate Punch-out measure is reached, sampling stops.
Page 236 Sampling Record mode ■ [F2] Sampling Source settings The explanations here apply to step #5 of the Basic Procedure on page 234. • Type Determines the Sampling type. When entering the Sampling mode from the Song/Pattern mode, the data created by the Sampling varies depending on this setting. Keep in mind that this parameter is ﬁxed to “sample”...
Page 237: Sampling Standby
Sampling Standby The explanations here apply to step #6 of the Basic Procedure on page 234. Indicates the MOTIF is in the Sampling Standby mode. • TriggerMode Speciﬁes the method by which sampling will be triggered. ❏ Settings level Sampling will begin as soon as an input signal exceeding the speciﬁed trigger level is received after the [F6] (START) button is pressed.
Page 238 Sampling Record mode Tempo Press the [SF2] button so that the address of the Start Point is changed to the one of the Loop Start Point. Press the [SF1] button to Press the [SF3] button to calculate the sound the recorded tempo/beat when the Sample data playback of sample according to the the range from the Loop Start Point to the End...
Page 239: Tips For Using The Slice Types
• SubDivide The Meter parameter sets the basic slice unit, and SubDivide speciﬁes even ﬁner resolution for phrases containing regions with shorter notes. For the following phrase, for example, the Meter should be set to 4/4 and SubDivide to 1/2. ❏...
Page 240: Sampling Edit Mode
Sampling Edit mode BEAT1 : Original wave size X N + (0.3 X number of slices) BEAT2 : Original wave size X N + (0.2 X number of slices) BEAT3 : Original wave size X N + (0.3 X number of slices) PHRASE1 : Original wave size X N + (5.8 X number of slices) PHRASE2 : Original wave size X N + (1.4 X number of slices) PHRASE3 : Original wave size X N + (0.4 X number of slices)
Page 241: Sampling Job Mode
Press the [SF2] button to call up the Samples assigned to the selected Key Bank in order. n Step #3 above as well as the Audition function can be used with any of the displays called up via the [F2] - [F4] buttons. Sample Edit The explanations here apply to step #5 of the Basic Procedure on page 59.
Page 242 Sampling Job mode Select the desired Job menu by pressing the appropriate button, [F1] - [F3]. Use the CURSOR buttons to scroll to the desired Job. Press the [ENTER] button to go to the selected Job display. Set the relevant Job parameters. Press the [ENTER] button.
Page 243 Waveform and Key Bank containing the sample to be deleted n If all the samples of the speciﬁed Waveform are deleted, the Waveform itself is deleted. ● [F1]-03 Extract This Job deletes all unnecessary sample data (located ahead of the Start point and located after the End point).
Page 244 Sampling Job mode ● [F1]-06 Time-Stretch This Job lets you change the length of the sample without changing the pitch. Set the Waveform and Key Bank containing the sample to be time-stretched. Press the [ENTER] button to execute the Job. Press the [F5] (CANCEL) button to cancel the operation.
Page 245 ● [F1]-08 Fade In/Out This Job lets you create fade-ins and fade-outs for the sample. Set the Waveform and Key Bank containing the esired sample. Press the [ENTER] button to execute the Job. Press the [F5] (CANCEL) button to cancel the operation. Press the [F6] (OK) button to assign the edited sample to the specified Key Bank.
Page 246: Lowest Key
C - 2 ~G8 (page 238), this parameter is ﬁxed to “C-1” for the MOTIF6, “E0” for the MOTIF7, “A-1” for the MOTIF8, and cannot be set.
Page 247 [F2] Waveform Job Press the [F2] button in step #3 of the Basic Procedure on page 240 so that the Waveform Job list appears on the display. Scroll the cursor to the desired Job and press the [ENTER] button to go to the display of the selected Job.
Page 248 Sampling Job mode ● [F3]-02 Optimize Memory This Job optimizes the memory (DRAM) for sampling. ● [F3]-03 Delete All This Job deletes all the waveforms. ● [F3]-04 Convert to Drum Voice This Job lets you convert the selected waveform to a speciﬁc Drum voice.
Page 249: Utility Mode
Utility Mode Function Tree This section is devoted to the Utility mode. To see how the Utility mode relates to the entire structure of the MOTIF and its other modes and functions, see the simpliﬁed chart in “Basic Structure” on page 30. The following detailed chart shows all of the display menus and parameter groups of the Utility mode —...
Page 250: Utility Mode
Utility mode Utility mode In this mode, you can set parameters that apply to the entire system of the MOTIF. These include MIDI settings and global setup parameters. This mode is actually a sub-mode of the Voice/ Performance/ Song/Pattern mode. Press the [UTILITY] button in each mode to enter the Utility mode and press the [EXIT] button after making settings to go back to the previous mode.
Page 251: Velcurve (Velocity Curve)
Actual response Received Breath Control ● [F1]-[SF2] General Keyboard From this display you can set the keyboard-related parameters for the MOTIF. • Octave Determines the amount in octaves by which the range of the keyboard is shifted up or down. ❏...
Page 252 Utility mode ● [F1]-[SF3] General Effect Bypass From this display you can select the speciﬁc effect(s) to be bypassed when the [EFFECT BYPASS] button (page 13) is turned on. EFFECT BYPASS INSERTION SYSTEM ❏ Settings on (bypassed), off ● [F1]-[SF4] General Other Device and folder which contains the files to be auto-loaded (set by pressing the [SF5] button).
Page 253 • Mic/Line When using the A/D INPUT jacks, this determines the input source, microphone (mic) or line. ❏ Settings mic, line • Digital When the optional AIEB2 board is installed, the MOTIF features two different input connections for transferring digital audio from an external device: coaxial or optical. One or the other must be set;...
Page 254 Utility mode • Freq (Frequency) Set the center frequency. Frequencies around this point are attenuated/boosted by the Gain setting. ❏ Settings LOW (Low range) LOW MID (Low middle range) 100Hz~10kHz MID (Middle range)100Hz~10kHz HIGH MID (High middle range) 100Hz ~10kHz HIGH (High range)500Hz~16kHz •...
Page 255 ● [F3]-[SF2] Sequencer MIDI Filter From this display you can set which MIDI events will be recognized/transmitted via the MIDI IN/ OUT terminal or the USB terminal. The settings made here apply only to song/pattern playback data; they do not affect the MIDI events generated by your keyboard polaying or panel operations in the Voice and Performance modes.
Page 256 Utility mode ● [F4]-[SF2] Controller Assign Knob ASSIGN A, B From this display you can assign speciﬁc functions to the ASSIGN A and B knobs. • ASA, ASB (Assignable A, B) Determines the Control Change number to be controlled by the ASSIGN knobs A and B. ❏...
Page 257: Remote Control Assignments
◆ Remote Control Assignments Functions to be controlled by the MOTIF differ depending on the software you use. When the appropriate template is selected, the following functions on the corresponding software can be controlled. • Logic Audio Plutinum Ver4.6 When the template is set to “Logic,” the following functions can be controlled by the MOTIF.
Page 258 Utility mode [F5] MIDI settings ● [F5]-[SF1] MIDI Channel From this display you can make basic MIDI settings. • BasicRcvCh (Basic Receive Channel) Determines the MIDI channel over which the MOTIF receives MIDI data (from an external sequencer, MIDI controller, or other device). This parameter is available for the Voice / Performance mode.
Page 259 MIDI cables. It includes data corresponding to hours, minutes, seconds, and frames. The MOTIF does not transmit MTC. A device such as the Yamaha AW4416 is necessary in order to the MOTIF as an MTC master. n MMC (MIDI Machine Control) allows remote control of multitrack recorders, MIDI sequencers, etc.
Page 260: Utility Job Mode
Utility Job mode ● [F6]-[SF2] Plug-in board MIDI From this display you can set various MIDI-related parameters for the Plug-in board. • DevNo (Device Number) Determines the MIDI Device Number of the Plug-in Board. This number must match the Device Number of the external MIDI device when transmitting/receiving bulk data, parameter changes or other system exclusive messages to/from it.
Page 261: File Mode
File Mode Function Tree This section is devoted to the File mode. To see how the File mode relates to the entire structure of the MOTIF and its other modes and functions, see the simpliﬁed chart in “Basic Structure” on page 30. The following detailed chart shows all of the display menus and parameter groups of the File mode —...
Page 262: File Mode
File mode File mode In this mode, you can save data to and load data from memory cards and SCSI storage devices, such as hard disks and removable cartridges. The File mode also provides various functions for managing your data and SCSI devices.
Page 263 • All Extension: .W2A All data in the MOTIF’s internal User Memory are treated as a single ﬁle, and can be saved to the memory card/SCSI storage device. • All Voice Extension: .W2V All the User Voice data in the MOTIF's internal User Memory are treated as a single ﬁle, and can be saved to the memory card/SCSI storage device.
Page 264: File Names
An AIFF ﬁle (Macintosh audio format) can be loaded to the MOTIF and can be used as a User Wave. n In addition to the ﬁle types above, Yamaha A5000/ A4000/A3000/SU700 ﬁles and AKAI S1000/ S3000 ﬁles can be loaded to the MOTIF.
Page 265 ● [F1]-[SF2] CONFIG SCSI ID From this display you can specify the ID number for all the devices in the SCSI chain, including the host (the MOTIF itself). The SCSI devices connected to and in use by the MOTIF are shown at the corresponding ID numbers, set on the devices themselves.
Page 266 File mode [F2] Save This operation lets you save ﬁles to a memory card or SCSI device.The explanations here apply to step #2 of the Basic Procedure on page 262. Select the ﬁle type to be saved in the Save display. If you wish to create a new file, move the cursor to this position and enter the desired name.
Page 267 ﬁrst two assigned Key Banks will be used. n When ﬁles of the Yamaha A series samplers (A5000/4000/3000) are loaded, an “S” mark by the ﬁle name indicates the ﬁle contains only sample data and a “P”...
Page 268: Master Mode
Function Tree Master Mode Function Tree This section is devoted to the Master mode. To see how the Master mode relates to the entire structure of the MOTIF and its other modes and functions, see the simpliﬁed chart in “Basic Structure” on page 30. The following detailed chart shows all of the display menus and parameter groups of the Master mode —...
Page 269: Master Play Mode
Master Play mode Basic Structure (page 56) · Quick Start Guide (page 93) In this mode, you can select and play individual Masters. n For more information on Masters, their structure, and how they are used, see page 56. ◆ Basic Procedure Press the [MASTER] button to enter the Master Play mode.
Page 270: Master Edit Mode
Master Edit mode ● [F2] Master Play Memory From this display you can set basic parameters for the Master, including the mode that is called up with the Master and the program number. This parameter is available only when the Mode is set to Performance. •...
Page 271 ◆ Basic Procedure Press the [MASTER] button to enter the Master Play mode. (The indicator lights.) Select a Master to be edited. Press the [EDIT] button to enter the Master Edit mode. (The indicator lights.) • When the Mode parameter in the Master Play Memory display is set to Song or Pattern, go to step #5.
Page 272 Master Edit mode • TransmitCh (Transmit Channel) Determines the MIDI Transmit Channel for each zone. ❏ Settings 1~16 • TGSwitch (Tone Generator Switch) Determines whether or not to transmit MIDI messages for each zone to each Part’s tone generator block. ❏...
Page 273: Master Job Mode
● [F5] Zone Knob/Slider From this display you can determine which Control Change numbers are used for the Knobs and Sliders for each zone. These settings are available only when the Knob/Slider parameter (in Common Edit Other; page 271) is set to “zone.” CUTOFF RESONANCE KNOB...
Page 274: Master Store Mode
Master Store mode ● [F1] Initialize This function lets you reset (initialize) all Master parameters to their default settings. It also allows you to selectively initialize certain parameters, such as Common settings, settings for each zone, and so on — very useful when creating a completely new Master from scratch.
Page 275: Appendix
Information Displays The convenient Information displays let you see at-a- glance some of the more important settings relevant to each mode. Select the desired mode, then press the [INFORMATION] button to call up the Information display for that mode. To exit from the display, press the button again (or any other panel button).
Page 276 Information Displays ■ Pattern mode ● Pattern Play mode Indicates the amount of currently unused (available) memory (DRAM) for Pattern Phrase recording. ● Pattern Mixing mode Same as in the Song Mixing mode. ■ Sampling mode ● Sampling mode • SampleMemory Indicates the amount of memory used by Sampling.
Page 277: Display Messages
Display Messages Messages MIDI buffer full. MIDI data error. MIDI checksum error. Bulk protected. Device number is off. Device number mismatch. Change internal battery. Disk or card full. File not found. Bad disk or card. Disk or card not ready. Disk or card unformatted.
Page 278 Display Messages Messages Plug-in 1 type mismatch. Plug-in 2 type mismatch. Plug-in 3 type mismatch. PLG100 not supported. mLAN network error. mLAN connection error. mLAN now in Mixer mode. mLAN error (xxx). Copy protected. Digital in unlocked. Too many favorites Executing...
Page 279: Troubleshooting
No sound? Wrong sound? When a problem like this occurs, please check the following points before assuming that the product is faulty. In many cases you’ll ﬁnd the solution to your problem here. If the problem persists, then contact your Yamaha dealer or service center (page 299). No sound.
Page 280 Troubleshooting Pitch or intervals are wrong. • Is the Master Tune parameter in the Utility mode set at a value other than “0”? • Is the Note Shift parameter in the Utility mode set at a value other than “0”? •...
Page 281: Installing Optional Hardware
Loose screws inside the instrument can cause improper operation or serious damage. If you are unable to retrieve a dropped screw, consult your Yamaha dealer for advice. • Install the optional units carefully as described in the procedure below. Improper installation can cause shorts which may result in irreparable damage and pose a ﬁre hazard.
Page 282: Optional Plug-In Board Installation
Remove the large screw from the expansion bay cover on the rear panel using a Phillips screwdriver. Keep the removed screw in a safe place. It will be used when attaching the cover to the MOTIF again. MOTIF6 / MOTIF7 GREEN YELLOW Plug-in SLOT ORANGE...
Page 283 Insert the board along the guide rails about two- thirds of the way inside the MOTIF, with the connector side face up and toward you. GREEN YELLOW Plug-in SLOT ORANGE ASSIGNABLE OUTPUT OUTPUT L MONO PHONES Securely insert the board into the appropriate slot, taking care that the board isn't jammed between slots.
Page 284: Optional Aieb2 Or Mlan8E Installation
(MOTIF6/ MOTIF7 has 7 screws and MOTIF 8 has 7 yellow screws.). Remove the cover from the body after unscrewing all the screws. For...
Page 285 Remove the AIEB2 power cables from the hook- shaped cable clip in the MOTIF. MOTIF6 / MOTIF7 Top (keyboard side) of the MOTIF Underside of the MOTIF Rear panel of the MOTIF MOTIF8 Top (keyboard side) of the MOTIF Unlatch the cable clip by pulling out the tab as shown.
Page 286 Rear panel of the MOTIF Top of mLAN8E Rear panel of mLAN8E Front panel of mLAN8E Align the connectors as shown. Underside of the MOTIF m-LAN Underside of mLAN8E Rear panel of the MOTIF Front panel of mLAN8E (This example illustration shows the MOTIF6/MOTIF7.)
Page 287: Optional Simm Installation
The MOTIF does not necessarily support all commercially available SIMMs. Before purchasing SIMMs, please consult your Yamaha dealer or an authorized Yamaha distributor (see list at end of the Owner’s Manual) for advice. Note that Yamaha cannot assume responsibility for SIMM malfunctions.
Page 288: Simm Installation
Internal memory 36MB can be used for sampling. 64MB can be used for sampling. • Yamaha recommends that you purchase SIMMs that conform to the JEDEC* standard. Please be aware, however, that conformance to this standard does not constitute a guarantee that the SIMMs will operate correctly on the MOTIF.
Page 289: Handling The Memory Card (Smartmedia™*)
Card. Do not reuse the seal that is peeled off. ■ Data Backup For maximum data security Yamaha recommends that you keep two copies of important data on separate Memory Cards. This gives you a backup if one Memory Card is lost or damaged.
Page 290: Connecting External Scsi Devices
Connecting external SCSI devices Connecting external SCSI devices This section explains how to connect external devices such as external hard disk drives, MO drives, or CD-ROM drives. About SCSI SCSI (pronounced “scuzzy”) stands for Small Computer System Interface, and is a data transmission interface standard used by personal computers and other devices.
Page 291: Realities Of Terminator Installation
SCSI cable in a conﬁned space can cause conductors to break or pins to be broken, so be careful to avoid this. Yamaha cannot guarantee operation if the SCSI connector of the MOTIF is connected via a converter to any external device other than a 50-pin SCSI device, such as a Wide SCSI, ATA (IDE), USB, or IEEE 1394 device.
Page 292: Notes On Musical Copyright
If you wish to use such data for occasions other than personal use, consult a copyright expert. Yamaha is not responsible for any data created, reproduced, or edited using the MOTIF, nor for any reproduction or use of such data.
Page 293: Speciﬁcations
Speciﬁcations Keyboards MOTIF8 MOTIF7 MOTIF6 Tone Generator block Tone Generator Polyphony Multi Timbral Capacity Wave Voice Plug-in Voice Performance Filter Effect System Expandability Sampling block Samples Sampling Source A/D Conversion D/A Conversion Sample Data Bits Sampling Frequency Sampling Memory Sample Length...
Page 294 Supplied Accessories Speciﬁcations and descriptions in this owner's manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products or speciﬁcations at any time without prior notice. Since speciﬁcations, equipment or options may not be the same in every locale, please check with your Yamaha dealer.
Page 295: Index
1st-on ... 135 AC (Assignable Controls) ...155 AC INLET ... 18 Accuracy ...244 AC ...155 AC Power Cord Socket... 18 AD... 206 A/D... 163 A/D input ... 23 A/D INPUT jacks... 18 A/DSource ... 252 ADD INT ... 164 ADD PLG ...164 Advanced DX/TX Plug-in Board ...35 AEG (Amplitude Envelope Generator) ..
Page 296 DRUM ...42 Drum Key Edit ...148, 150 Drum Pattern ...55 Drum Voice Edit ...148 DryLevel ...163, 172 Dual BEF ...142 Dual BPF ...141 Dual HPF ...141 Dual LPF ...141 DumpExIntrval ...255 [E] indicator ...83, 127, 129, 163, 165, 205, 269, 270 each-on ...135 Echo ...27 Edit Buffer ...64...
Page 297 mLAN expansion board (mLAN8E) or I/O expansion board (AIEB2) cover... 18 mLAN interface ... 24 mLAN8E... 24, 26, 284, 286 mLAN-compatible audio equipment ... 23 Mode ... 30, 67, 131, 171, 254, 270 MODE buttons... 14 Modify Control Data... 200, 228 Modify Gate Time ...
Page 298 Section ... 52 Section Selection... 218 Segment ... 139, 143, 145 Selecting a Performance ... 88 Selecting Functions and Parameters ... 71 Selecting Modes... 67 Selecting the controllable functions... 84 SELF ... 265 SEND (Effect Send)... 206 SendXGon... 255 Sens... 239 Separate Chord...
Page 299 For details of products, please contact your nearest Yamaha or the authorized distributor listed below. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous ﬁgurant dans la liste suivante. NORTH AMERICA CANADA Yamaha Canada Music Ltd.

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Motif8 Motif7

Yamaha MOTIF6 Owner's Manual

Table of Contents

The Controls & Connectors

Front Panel

Rear Panel

Setting up

Power Supply

Connections

Powering up

Basic Structure

Mode

System Overview

Main Functions

Basic Operation

Calling up the Operation Displays

Display-Based Controls

Quick Start Guide

Playing the Demos

Playing Voices

Editing Voices

Storing Edited Voices

Playing Performances

Editing Performances (Layer/Split)

Storing the Edited Performance

Using the Arpeggio Function

Using as a Master Keyboard

Saving/Loading Data

Sampling with Song Playback (Integrated Sampling Sequencer)

Remote Control for External Sequencer (Real-Time External Control Surface)

Voice Mode

Reference

Performance Mode

Song Mode

Pattern Mode

Sampling Mode

Utility Mode

File Mode

Master Mode

Appendix

Information Displays

Display Messages

Troubleshooting

Installing Optional Hardware

Handling the Memory Card (Smartmedia™*)

Connecting External SCSI Devices

Notes on Musical Copyright

Speciﬁcations

Index

296 Motif Appendix

Quick Links

Chapters

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Summary of Contents for Yamaha MOTIF6