•Selecting a Waveform..........................................................................................................................................................................................Page 174
•Selecting a Filter type..........................................................................................................................................................................................Page 209
•Selecting an Effect type
Selecting a Reverb type/Chorus type/Insertion type
•Understanding the organization and structure of the controllers...................................................................................................................Page 154
•Assigning functions to the controllers for each Voice (Controller Set)..........................................................................................................Page 155
•Assigning Control Change numbers to each controller...................................................................................................................................Page 156
•Setting the Pitch Bend Range
[VOICE] → Voice selection→ [EDIT] → [COMMON] → [F1] GENERAL → [SF5] OTHER → PB Upper/PB Lower .............................................Page 190
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[EDIT]
→
Part selection
→
[F1] VOICE
→
[SF5] OTHER
→
PB Upper/PB Lower
..............Page 235
•Checking the currently assigned parameters for knob control................Page 81 (Voice mode), 90 (Performance mode), 129 (Song/Pattern mode)
•Checking the currently assigned parameters for Control Slider (CS) control...............................................................................................Page 140
•Using a Foot Pedal as a sustain pedal.................................................................................................................................................................Page 42
•Starting/stopping a song or pattern by pressing a Footswitch................................ [UTILITY] →[F4] CTL ASN →[SF3] FT SW ................Page 263
•Changing a Voice or a Performance by pressing a Footswitch................................ [UTILITY] →[F4] CTL ASN →[SF3] FT SW ................Page 263
•Turning Arpeggio playback on or off by pressing a Footswitch............................... [UTILITY] →[F4] CTL ASN →[SF3] FT SW ................Page 263
Application Index
Application Index
10Owner’s Manual
•Determining how the sound responds to a Breath Controller
•Keeping the effect of a controller (Modulation Wheel, etc.) the same, even when changing Voices
[UTILITY] → [F1] GENERAL → [SF4] OTHER → CtrlReset = hold ......................................................................................................................Page 261
Sounding only the specified Part or Voice
•Turning each element on or off in the Voice Edit mode......................................................................................................................................Page 79
•Determining whether each Element is used or not in the Voice Edit mode
•Turning each track (Part) of a song/pattern on or off.........................................................................................................................................Page 58
•Turning off or muting playback of a Song/Pattern Part, by setting the receive channel to off
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[EDIT]
→
part selection
→
[F1] VOICE
→
[SF2] MODE
→
ReceiveCh
.................Page 235
Adjusting the volume or output level
•Overall
Adjusting the Master Volume output................................................................................................................[MASTER VOLUME] ..................Page 18
Adjusting the entire volume of the instrument’s internal tone generator block
..... [UTILITY] →[F1] GENERAL →[SF1] TG → Volume ................Page 260
Adjusting the output gain of each Output connector.......................................................[UTILITY] →[F2] I/O →[SF2] OUTPUT ................Page 261
•In the Voice mode
Adjusting the volume balance of the Elements of a Normal Voice with the Control Sliders
[VOICE] → Normal Voice selection → [EDIT] → Element selection→ [F4] AMP → [SF1] LVL/PAN → Level ........................................................Page 81
Adjusting the entire volume for the selected Voice (common to all Elements/keys)
Inputting audio from a microphone, instrument or other audio device
•About the organization of audio input parts.....................................................................................................................................................Page 165
•Connecting a microphone to the A/D INPUT connector.......................... [UTILITY] →[F2] I/O →[SF1] INPUT →Mic/line = mic ..................Page 72
•Connecting audio equipment to the A/D INPUT connector.................... [UTILITY] →[F2] I/O →[SF1] INPUT →Mic/line = line ..................Page 73
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → [COMMON] → [F5] AUDIO IN .......................................................Page 235
•Sampling (recording) audio from a microphone.................................................................................................................................................Page 94
•Sampling (recording) audio from another audio device....................................................................................................................................Page 98
•Applying a vocal harmony effect to the microphone sound by using the Plug-in Board PLG100-VH...........................................................Page 78
Using Plug-in Boards
•Installing a Plug-in Board....................................................................................................................................................................................Page 283
•Checking that a Plug-in Board is properly installed..................................................... [UTILITY] →[F6] PLUG →[SF1] STATUS ..................Page 75
•Checking the receive port of the installed Plug-in Board......................................................... [UTILITY] → PLUG →[SF2] MIDI ..................Page 75
•Selecting and playing a voice of a Single Part Plug-in Board (PLG150-AN, PLG-150-PF, PLG150-DX, PLG150-VL, etc.)
•Playing an XG song by using the Multi-part Plug-in Board PLG100-XG .........................................................................................................Page 77
•Applying a vocal harmony effect to the microphone sound by using the Plug-in Board PLG150-VH...........................................................Page 78
Application Index
11
Owner’s Manual
Creating Data
•Creating a Voice
Creating a Normal Voice in the Voice Edit mode.................................................................................................................................................Page 79
Creating a Drum Voice in the Voice Edit mode....................................................................................................................................................Page 82
Creating a Plug-in Voice in the Voice Edit mode.................................................................................................................................................Page 84
Creating a Normal Voice/Drum Voice by using the Sampling function.............................................................................................................Page 94
Creating a Sample Voice by using the Sampling function...............................................................................................................................Page 107
Creating a Normal/Drum Voice by importing a WAV or AIFF file......................................................................................................................Page 100
Creating a Sample Voice by importing a WAV or AIFF file................................................................................................................................Page 109
Creating a Mixing Voice especially for a Song or Pattern................................................................................................................................Page 105
•Creating a Performance.........................................................................................................................................................................................Page 87
•Creating a Song
Recording your keyboard performance to a Song track (Realtime Recording).............................................................................................Page 118
Recording over (replacing) existing material in a Song track — Punch-in Recording
Sounding a metronome during recording............................... [SONG] → [UTILITY] →[F3] SEQ →[SF1] CLICK →Mode = rec ................Page 262
Recording a Song by using a Performance ......................................................................................................................................................Page 120
Recording a Song with the sounds of a Plug-in Board....................................................................................................................................Page 121
Using the Step Recording function.......................................................... [SONG] → [●] (Record) →[F1] SETUP → Type = step ................Page 238
Editing MIDI events for each track of an already-recorded Song ...................................... [SONG] → [EDIT] → Track selection ................Page 124
Inserting Tempo change information in the middle of the Song............................................. [SONG] → [EDIT] →[F4] TR SEL ................Page 125
Inserting Voice change information
[SONG] → [EDIT] → Track selection → Inserting a Bank Select MSB/LSB and Program Change ....................................................................Page 225
Editing Song Mixing settings, such as the volume of each Part................................................................. [SONG] →[MIXING] ................Page 127
Using convenient “Jobs,” such as Copy, Clear, Quantize........................................................ [SONG] → [JOB] →Job selection ................Page 126
•Creating a Pattern
Assigning a Preset Phrase to each track of a Pattern (Patch function)..........................................................................................................Page 113
Recording (Sampling) your favorite rhythm (audio) to a Pattern track to create a Phrase...........................................................................Page 107
Importing a WAV file or an AIFF file to a Pattern track to create a Phrase .....................................................................................................Page 109
Recording your keyboard performance to a Pattern track to create a Phrase...............................................................................................Page 110
Recording a newly found Arpeggio rhythm pattern to a Pattern track...........................................................................................................Page 112
Sounding the metronome during recording....................... [PATTERN] → [UTILITY] →[F3] SEQ →[SF1] CLICK →Mode = rec ................Page 262
Using the Step Recording function..................................................... [PATTERN] → [●] (Record) →[F1] SETUP → Type = step ................Page 238
Editing MIDI events for each track of an already-recorded Pattern................................ [PATTERN] → [EDIT] → Track selection ................Page 124
Editing Pattern Mixing settings, such as the volume of each Part......................................................... [PATTERN] →[MIXING] ................Page 127
Using convenient “Jobs,” such as Copy, Clear, Quantize................................................... [PATTERN] → [JOB] →Job selection ................Page 126
Programming a sequence of a Section to create a Pattern Chain....................................................... [PATTERN] →[F6] CHAIN ................Page 115
Converting a Pattern Chain to Song data...................... [PATTERN] →Pattern selection →[F6] CHAIN → [EDIT] →[F3] SONG ................Page 117
•Creating a Master.................................................................................................................................................................................................Page 136
•Creating an Arpeggio ..........................................................................................................................................................................................Page 130
•Creating a Waveform .............................................................................................................................................................................................Page 94
Storing/Saving the created data
•
Storing an edited Voice to internal memory (Flash ROM) and saving all the Voices in internal memory to a SmartMedia/USB storage device
.............Page 85
•Storing an edited Performance to internal memory (Flash ROM) and saving all the Performances in internal memory to a
Storing Song Mixing/Pattern Mixing settings to internal memory (DRAM)....................................................................................................Page 131
Storing the entire Song/Pattern data to SmartMedia/USB storage device.....................................................................................................Page 132
•Storing Mixing settings to internal memory (Flash ROM) as a template........................................................................................................Page 104
•Storing an edited Master to internal memory (Flash ROM) and saving all the Masters on internal memory to a SmartMedia/USB
•Saving all Arpeggios in internal memory (Flash ROM) to a SmartMedia/USB storage device.....................................................................Page 269
•Saving all Samples (obtained via the Sampling function) in internal memory (DRAM) to a SmartMedia/USB storage device..................Page 97
Application Index
12Owner’s Manual
Naming your created data..........................................................................................................................................Page 53
Recovering lost data
•Voice
Comparing the Voice before editing with the just-edited one (Compare function)..........................................................................................Page 80
Recalling an edited, but not-stored Voice (when another Voice has been selected) — Recall function........................................................Page 82
•Performance
Comparing the Performance before editing with the just-edited one (Compare function).............................................................................Page 89
Recalling an edited, but not-stored Performance (when another Performance has been selected) — Recall function..............................Page 91
•Song/Pattern
Canceling the changes made in the recent session such as Recording and Job to restore the data to its previous status
[SONG] or [PATTERN] → [JOB] → [F1] UNDO ....................................................................................................................................................Page 127
Comparing the Mixing settings before editing with the just-edited ones (Compare function) ...................................................................Page 129
Recalling edited, but not-stored Mixing settings (when another Mixing set has been selected) — Recall function.................................Page 129
Initializing
•Resetting the User Memory to the Initial Factory Settings................................................................................................................................Page 44
•Formatting a SmartMedia card...........................................................................................................................................................................Page 268
Changing the octave setting of the keyboard............................................ [UTILITY] →[F1] GENERAL →[SF2] KBD →Octave ..................Page 63
Shifting the note up or down on the keyboard ..................................... [UTILITY] →[F1] GENERAL →[SF2] KBD → Transpose ..................Page 63
Shifting the note up or down in the tone generator block........................ [UTILITY] →[F1] GENERAL →[SF1] TG →NoteShift ................Page 260
Adjusting the tuning to other instruments........................................................ [UTILITY] →[F1] GENERAL →[SF1] TG → Tune ................Page 260
•Using the sounds of the MOTIF ES for song playback from a MIDI sequencer...............................................................................................Page 36
•Setting whether or not Bulk Dump data can be received
Integrated Sampling Sequencer/Modular Synthesis Plug-in System / Real-time External Control Surface
USER 1
GUITAR/
PLUCKED
SYN LEAD
ABCDEFGH
87654321
16MUTE
TRACK
SELECT
SECTIONGROUP
NUMBER
CATEGORY
SEARCHBANK
SOLO
15
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11
10
9
SYN PAD/
CHOIRSYN COMP
CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SEMUSICAL FXCOMBI
USER 2
STRINGS
PLG 1
SLOT 1SLOT 2SLOT 3
BRASS
PLG 2
REED/PIPE
PLG 3
BASS
GM
EXITENTER
EXECUTE
DEC/NOINC/YES
C4C5C6
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FAVORITES
DRUM KITS
A. PIANOKEYBOARDORGAN
PRE 5PRE 6
PRE 1PRE 2PRE 3PRE 4MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer /Modular Synthesis Plug-in System / Real-time External Control Surface
USER 1
GUITAR/
PLUCKED
SYN LEAD
ABCDEFGH
87654321
16MUTE
TRACK
SELECT
SECTIONGROUP
NUMBER
CATEGORY
SEARCHBANK
SOLO
15
141213
11
10
9
SYN PAD/
CHOIRSYN COMP
CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SEMUSICAL FXCOMBI
USER 2
STRINGS
PLG 1
SLOT 1SLOT 2SLOT 3
BRASS
PLG 2
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nWhen both of the [OCTAVE] buttons are turned off, each key corresponds to the note name shown in the
illustrations. Refer to this illustration when setting parameters having note name values, such as Note Limit.
Front Panel
18Owner’s Manual
The Controls & Connectors
1Keyboard
The MOTIF ES6 features a 61-key keyboard, while the
MOTIF ES7 has 76 keys and the MOTIF ES8 has 88 keys.
All are equipped with a touch response feature (both initial
touch and aftertouch). With initial touch, the instrument
senses how strongly or softly you play the keys, and uses
that playing strength to affect the sound in various ways,
depending on the selected voice. With aftertouch, the
instrument senses how much pressure you apply to the
keys while playing, and uses that pressure to affect the
sound in various ways, depending on the selected voice.
Moreover, any of a variety of functions can be assigned to
aftertouch for each voice.
2OCTAVE [UP] and [DOWN] buttonsPage 63
Use these buttons to change the note range of the
keyboard. To restore the normal octave setting, press both
buttons simultaneously.
nBecause of its extended keyboard, the MOTIF ES8 does not have
OCTAVE buttons.
3Pitch bend wheelPage 64
Controls the pitch bend effect. You can also assign other
functions to this controller.
4Modulation wheelPage 64
Controls the modulation effect. You can also assign other
functions to this controller.
5Ribbon controllerPage 65
This Controller is touch sensitive, and is controlled by
running your finger lightly across its surface laterally.
You can also assign other functions to this controller.
6MASTER VOLUME
Adjusts the volume of the overall sound, as output from
the rear-panel OUTPUT L/MONO and R jacks as well as
the PHONES jack.
7Four KNOB CONTROL FUNCTION buttons and
four KnobsPage 50
These four highly versatile knobs let you adjust various
aspects or parameters of the current Voice. Use the
[KNOB CONTROL FUNCTION] buttons to change the
parameter set for the knobs. The corresponding LED
lights to indicate which group of parameters are active.
REMOTEARPEGGIO
ON/OFFON/OFF
R-AUDIO
G-MIDI
BYPASS
INSERTIONSYSTEMMASTER
EFFECTVOICE
SONG
PERFORMMASTER
PATTERNFILE
EFFECTMODE
SEQ TRANSPORT
SEQUENCER
LOCATE12
INTEGRATED
SAMPLINGMIXINGUTILITY
EDIT
COMPARESCENE STORE
SET LOCATE
JOBSTORE
DEMO
A-1B-1C0D0E0F0G0H0B0C1C2
KNOB
CONTROL
FUNCTION
MASTER
VOLUME
ZONE 1
CS 1
VOLUME 1
SWING
CUTOFF
PAN
ASSIGN A
GATE TIME
RESONANCE
REVERB
ASSIGN B
VELOCITY
ATTACK
CHORUS
ASSIGN 1
UNITMULTIPLY
RELEASE
TEMPO
ASSIGN 2
LOW
KN 1
VOLUME 2
LOW MID
KN 2
VOLUME 3
HIGH MID
KN 3
VOLUME 4
HIGH
KN 4
CS 2
ZONE 2
CS 3
ZONE 3
CS 4
ZONE 4
ARP FX
EQ
TONE
ASSIGN
PAN/SEND
1
5
3
4
68
79#!)
@
MOTIF ES8
Front Panel
19
Owner’s Manual
The Controls & Connectors
8[CS1] - [CS4] (Control Slider)Page 51
These sliders control the volume of four elements which
make up a Normal Voice in the Voice mode, the volume of
four parts in the Performance mode, the volume of four
parts including the current part in the Song mode/Pattern
mode, and the volume of four zones in the Master mode.
nIf all of the Control Sliders are set to the minimum, you may not
hear any sound from the instrument, even when playing the
keyboard or a song/pattern. If this is the case, raise all the sliders
to a suitable level.
nThe [MASTER VOLUME] slider adjusts the output level from this
instrument. On the other hand, the Control Slider adjusts the MIDI
volume value for the corresponding element or part.
9REMOTE buttonsPage 147
The Remote mode lets you control sequencer software on
your computer from the panel controls of the instrument.
Turn the [ON/OFF] button on to enter the Remote mode.
You can use the [R-AUDIO/G-MIDI] button to switch
control between your audio tracks (red lamp) and MIDI
tracks (green lamp), when Mode A or B is set to “General”
([UTILITY] → [F4] CTL ASN → [SF4] REMOTE).
nWhen setting the MIDI IN/OUT parameter to “MIDI” ([UTILITY] →
[F5] MIDI →[SF4] OTHER) or setting both of Mode A and Mode B
to “off” ([UTILITY] → [F4] CTL ASN → [SF4] REMOTE), you
cannot enter the Remote mode even by pressing the REMOTE
[ON/OFF] button. Set these parameters to appropriate values
(page 148) then enter the Remote mode.
)EFFECT buttonsPage 177
The extensive effect section of the instrument provides
Insertion effects (eight sets, with two effect units per set),
System effects (Reverb and Chorus), and Master effects.
The effects can be applied to the keyboard-played voices
and to Song/Pattern playback. These three buttons enable
you to turn the corresponding Effect blocks (as printed on
the panel) on or off with a single touch.
Keep in mind that the [INSERTION] and [SYSTEM] buttons
are bypass switches, while the [MASTER EFFECT] button
is an on/off switch. The distinction is important — when
the lamp of the [INSERTION] or [SYSTEM] button is on,
the effect is off (or bypassed). The [MASTER EFFECT]
button is the opposite: when the lamp is on, the Master
effect is on. Also, to access the Master Effect setting
display, press and hold the [MASTER EFFECT] button for
a second or two.
![ARPEGGIO ON/OFF] buttonPage 66
Press this button to enable or disable playback of the
Arpeggio for each Voice, Performance, Song, or Pattern. If
the Arpeggio Switch of the selected part is set to off in the
Performance/Song/Pattern mode, however, pressing this
button has no effect.
R
E
E
SCENESF1SF2SF3SF4SF5
F1F2F3F4F5F6
COMMONELEMENT/PERF. PART/ZONE
FAVORITES
DRUM KITS
A. PIANOKEYBOARDORGAN
PRE 5PRE 6
PRE 1PRE 2PRE 3PRE 4MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer/Modular Synthesis Plug-in System / Real-time External Control Surface
USER 1
GUITAR/
PLUCKED
SYN LEAD
ABCDEFGH
87654321
16MUTE
TRACK
SELECT
SECTIONGROUP
NUMBER
CATEGORY
SEARCHBANK
SOLO
15
141213
11
10
9
SYN PAD/
CHOIRSYN COMP
CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SEMUSICAL FXCOMBI
USER 2
STRINGS
PLG 1
SLOT 1SLOT 2SLOT 3
BRASS
PLG 2
REED/PIPE
PLG 3
BASS
GM
INFORMATION
DEMO
EXITENTER
EXECUTE
DEC/NOINC/YES
C3C4C5C6C7
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nWhen [UTILITY] → [F1] GENERAL → [SF2] KBD → Octave is set to “0,” each key corresponds to the note name shown in the illustrations.
Refer to this illustration when setting a note name of a parameter like Note Limit.
Front Panel
20Owner’s Manual
The Controls & Connectors
@SEQ TRANSPORT buttonsPage 56
These buttons control recording and playback of the
Song/Pattern sequence data.
[](Top) button
Instantly returns to the beginning of the current song or
pattern (i.e., the first beat of the first measure).
[](Reverse) button
Press briefly to move back one measure at a time, or hold
to continuously rewind.
[](Forward) button
Press briefly to move forward one measure at a time, or
hold to continuously fast-forward.
[●] (Record) button
Press this to enable recording (Song or pattern phrase).
(The indicator lights.)
[](Stop) button
Press to stop recording or playback.
[](Play) button
Press to start playback from the current point in the song
or pattern. During recording and playback, the indicator
flashes at the current tempo.
#MODE buttonsPage 45
These buttons select the operating modes (e.g., Voice
mode).
$LCD Display
The large backlit LCD displays the parameters and values
related to the currently selected operation or mode.
%LCD Contrast ControlPage 43
Use this control to set the LCD display for optimum
legibility.
^[F1] - [F6] (Function) buttonsPage 47
These buttons located directly below the LCD display call
up the corresponding functions indicated in the display. In
the display hierarchy, these functions [F] rank just below
the modes.
&[SF1] - [SF5] (Sub Function) buttonsPage 47
These buttons located directly below the LCD display call
up the corresponding sub functions indicated in the
display. In the display hierarchy, these sub functions [SF]
rank just below the functions [F].
These buttons can be also used to store/recall the
Arpeggio type in each Play mode and Song/Pattern
Record mode. They can be also used to store/recall the
Song Scene (page 123) in the Song Play/Song Record/
Pattern Chain Record modes.
*[INFORMATION] buttonPage 53
For calling up a special “help” feature that shows
information about the currently selected mode. You can go
back to the previous display by pressing this button again
or pressing any other button.
Depending on the selected display, this button may be
used to call up a window for inputting characters (page
54), for inputting numbers (page 49), for selecting note
lengths (page 49), or for selecting keys or note names
(page 53).
(Data dialPage 49
For editing the currently selected parameter. To increase
the value, turn the dial right (clockwise); to decrease the
value, turn the dial left (counter-clockwise). If a parameter
with a wide value range is selected, you can change the
value in broader strokes by quickly turning the dial.
º[INC/YES] buttonPage 49
For increasing the value of the currently selected
parameter. Also use it to actually execute a Job or a Store
operation.
¡[DEC/NO] buttonPage 49
For decreasing the value of the currently selected
parameter. Also use it to cancel a Job or a Store
operation.
nYou can also use the [INC/YES] and [DEC/NO] buttons to quickly
move through parameter values in 10-unit jumps, especially those
with large ranges. Simply hold down one of the buttons (of the
direction you want to jump), and simultaneously press the other.
For example, to jump in the positive direction, hold down the [INC/
YES] button and press [DEC/NO].
™Cursor ButtonsPage 49
The cursor buttons move the “cursor” around the LCD
display screen, highlighting and selecting the various
parameters.
£[EXIT] buttonPage 46
The menus and displays of this synthesizer are organized
according to a hierarchical structure.
Press this button to exit from the current display and return
to the previous level in the hierarchy.
¢[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.
Front Panel
21
Owner’s Manual
The Controls & Connectors
∞SLOT 1-3 lampsPage 284
These three lamps show the installation status of the Plug-
in Boards.
If the Plug-in Board has been correctly installed, the
corresponding SLOT lamp will light.
nThe Vocal Harmony Plug-in Board (PLG100-VH) can be installed
only to slot 1. It cannot be installed to slot 2 or 3.
nThe Multi part Plug-in Board (PLG100-XG) can be installed only to
slot 3. It cannot be installed to slot 1 or 2.
§BANK buttonsPage 60
Each button selects a Voice or Performance Bank.
When the [CATEGORY SEARCH] button is turned on,
these buttons can be used to select the desired category
(printed below each button). When the [SECTION] button
is turned on in the Pattern mode, these buttons are used
to select the desired section.
¶GROUP [A] - [H] buttonsPage 48
Each button selects a Voice or Performance Group.
When the [CATEGORY SEARCH] button is turned on,
these buttons can be used to select the desired category
(printed below each button). When the [SECTION] button
is turned on in the Pattern mode, these buttons are used
to select the desired section.
•NUMBER [1] - [16] buttons Page 48
Use of these buttons differs depending on the on/off
status of the [TRACK SELECT] and [MUTE] buttons.
ª[CATEGORY SEARCH] buttonPage 62
When this button is turned on in the Performance mode,
the lower row of [BANK] buttons (labeled A.PIANO -
REED/PIPE below the buttons) and the [GROUP] buttons
can be used to select the Performance category.
When this button is turned on in another mode, the lower
row of [BANK] buttons (labeled A.PIANO - REED/PIPE
below the buttons) and the [GROUP] buttons can be used
to select the Voice category.
‚[SECTION] buttonPage 57
When this button is turned on in the Pattern mode, the
GROUP [A] - [H] buttons can be used to select Pattern
Sections A - H and the [PRE5] - [PLG3] buttons of the
BANK buttons can be used to select Pattern Sections I - P.
⁄[TRACK SELECT] buttonPage 58
Turning this button on in the Song/Pattern mode enables
the NUMBER [1] - [16] buttons for selecting
corresponding Song/Pattern tracks. The on/off status of
this button affects the NUMBER [1] - [16] buttons in
different ways, depending on the selected mode. (See •
“NUMBER [1] - [16] buttons” above.)
¤[MUTE] buttonPage 58
Turning this button on in the Song/Pattern mode enables
the NUMBER [1] - [16] buttons for muting corresponding
Song/Pattern tracks.
Press one of the NUMBER [1] - [16] buttons while holding
this button to solo the corresponding track of the current
selected Song/Pattern.
The on/off status of this button affects the NUMBER [1] -
[16] buttons in different ways, depending on the selected
mode. (See • “NUMBER [1] - [16] buttons” above.)
Functions of the NUMBER [1] - [16] buttons
When [TRACK
SELECT] is onWhen [MUTE]
is onWhen both
[TRACK SELECT]
[MUTE] are off
Voice Play modeKeyboard
transmit channel
setting
—
Voice selection,
according to Groups
A - H
Voice Edit modeElement selection (1 - 4) and Element
Mute setting (9 - 12)—
Performance
Play mode
Keyboard
transmit channel
settingPerformance part
Mute setting
(1 - 4)
Performance or
Voice selection
(if cursor is located
at Voice name),
according to Groups
A - H
Performance
Edit modePerformance part
selection (1 - 4)
Master Play
mode
Keyboard transmit
channel setting
(when memorizing
the Voice mode or
Performance
mode to the
current Master) or
Song/Pattern track
selection (when
memorizing the
Song mode or
Pattern mode to
the current
Master)
—
Master selection,
according to Groups
A - H
Master Edit
modeZone selection
(1 - 4)——
Song/Pattern
Play modeSong/Pattern
track selection
Song/Pattern
track Mute
settingSong/Pattern
selection, according
to Groups A - H
Song/Pattern
Mixing modeSong/Pattern part
selection
Song/Pattern part
Mute setting
Mixing Voice
Edit modeElement selection (1- 4) and Element
Mute setting (9- 12)—
The Controls & Connectors
Rear Panel
22Owner’s Manual
Rear Panel
BREATH
ASSI
G
OUTTHRU
USB
TO HOSTTO DEVICEmLAN I/O EXPANSION
AC INLET
POWER
ONOFFIN
MIDI
123465
mLAN I/O EXPANSION
AC INLET
POWER
ONOFF
123
mLAN I/O EXPANSION
AC INLET
POWER
ONOFF
123
MOTIF ES6
MOTIF ES7
MOTIF ES8
The Controls & Connectors
Rear Panel
23
Owner’s Manual
GREEN
YELLOW
ORANGE
Plug-in SLOT
A/D INPUT
LR
OUTPUT
RL/MONOPHONES
ASSIGNABLE OUTPUT
L
R
FOOT
CONTROLLER
A
SSIGNABLE
SUSTAIN
FOOT
SWITCH
CARD
3.3V
12GAIN
!#789)@
$%
GREEN
YELLOW
ORANGE
Plug-in SLOT
A/D INPUT
LR
OUTPUT
RL/MONOPHONES
ASSIGNABLE OUTPUT
LR
FOOT
CONTROLLER
BREATH
ASSIGNABLE
SUSTAINOUTTHRU
USB
TO HOSTTO DEVICE
FOOT
SWITCH
CARD
3.3V
1IN
MIDI2GAIN
46!#5789)@
$%
CARD
3.3V
USB
TO HOSTTO DEVICE
GREEN
YELLOW
ORANGE
Plug-in SLOTA/D INPUT
LR
OUTPUT
RL/MONOPHONES
ASSIGNABLE OUTPUT
LRGAIN
FOOT
CONTROLLER
BREATH
ASSIGNABLE
SUSTAINOUTTHRU
FOOT
SWITCH
1IN
MIDI2
46!#5%789)@
$
Rear Panel
24Owner’s Manual
The Controls & Connectors
1POWER SwitchPage 43
Press to turn power ON or OFF.
2AC INLET (AC Power Cord Socket)Page 26
Be sure to plug the AC power cord into this socket before
plugging the power cord into an AC outlet.
Use only the AC power cord supplied with this instrument.
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!
3mLAN expansion board (mLAN16E) or I/O
expansion board (AIEB2) coverPage 25
Either the mLAN expansion board (mLAN16E) or the I/O
expansion board (AIEB2) sold separately can be installed
to this instrument. With the mLAN16E board, you can
conveniently and easily hook up your MOTIF ES to other
mLAN compatible instruments or devices.
The AIEB2 board gives you additional digital I/O options,
featuring both optical and coaxial connectors. Moreover,
the board also includes three stereo ASSIGNABLE
OUTPUT pairs (six analog jacks).
4USB connectorsPage 29
This instrument is equipped with two types of USB
connectors on the rear panel – USB TO HOST and USB
TO DEVICE. The USB TO HOST connector is used to
connect this instrument to the computer via the USB
cable. The USB connection between the instrument and
the computer can only be used for transfer of MIDI data.
No audio data can be transferred via USB. The USB TO
DEVICE connector is used to connect this instrument to a
USB storage device (hard disk drive, CD-ROM drive, MO
drive, flash disk, etc.) via the USB cable. This lets you
save the data created on this instrument to the external
USB storage device and load the data from the external
USB storage device to the instrument. Save/Load
operations can be performed in the File mode.
nFor details about USB, see Page 29.
5MIDI IN/OUT/THRU connectorsPage 34
MIDI IN is for receiving control or performance data from
another MIDI device, such as an external sequencer.
MIDI THRU is simply for redirecting any received MIDI
data (via MIDI IN) to connected devices, allowing
convenient chaining of additional MIDI instruments.
MIDI OUT is for transmitting all control, performance and
playback data from the MOTIF to another MIDI device,
such as an external sequencer.
6BREATH Controller JackPage 42
Connect an optional Yamaha BC3 Breath Controller here
for expressive breath control capability.
7FOOT SWITCH jacksPage 42
For connection of optional FC4 or FC5 Footswitches.
When connected to the SUSTAIN jack, the Footswitch
controls sustain. When connected to ASSIGNABLE, it can
control one of various different assignable functions.
8FOOT CONTROLLER jacks Page 42
For connection of optional foot controllers (FC7, etc.).
Each jack lets you continuously control one of various
different assignable functions – such as volume, tone,
pitch, or other aspects of the sound.
9ASSIGNABLE OUT L and R jacksPage 31
Line level audio signals are output from this instrument via
these phone jacks (1/4" mono phone plug).
These outputs are independent of the main output (at the
L/MONO and R jacks below), and can be freely assigned
to any of the Drum Voice keys or the Parts. This lets you
route specific Voices or sounds for processing with a
favorite outboard effect unit.
The parts which can be assigned to these jacks are as
follows:
•Drum Voice key to which the drum/percussion
instrument is assignedPage 203
•Any part of a Performance*Page 218
•Any part of a Song*Page 235
•Any part of a Pattern*Page 235
* Including the Audio Input part
)OUTPUT L/MONO and R jacks Page 31
Line level audio signals are output via these phone jacks.
For monophonic output, use just the L/MONO jack.
!PHONES jackPage 31
For connection to a pair of stereo headphones.
@A/D INPUT jacks Page 33
External audio signals can be input via these phone jacks
(1/4" mono phone plug).
Various devices such as microphone, guitar, bass, CD
player, synthesizer can be connected to these jacks and
their audio input signal can be sounded as the AUDIO IN
part of the Performance, Song, or Pattern.
In the Sampling mode, these jacks are used for capturing
audio data as samples. For stereo signals (such as from
audio equipment), use both jacks. For mono signals
(such as from a microphone or guitar), use only the L jack.
USB
USB is an abbreviation for Universal Serial Bus. It is a serial
interface for connecting a computer with peripheral devices,
and enables much faster data transfer compared to
conventional serial port connections.
Rear Panel
25
Owner’s Manual
The Controls & Connectors
#GAIN knob Page 73
For adjusting the input gain of the audio at the A/D INPUT
jacks (above). Depending on the connected device
(microphone, CD player, etc.), you may need to adjust this
for optimum level.
$CARD (Card slot) Page 27
Insert a SmartMedia (memory) card here to transfer
various data to/from this instrument. Read carefully the
precautions on using a SmartMedia (page 28) before
inserting a SmartMedia card.
%Plug-in board cover Page 283
Installing an optional Plug-in Board to this instrument lets
you greatly expand the sonic palette of the instrument. Up
to three boards can be installed to the rear panel.
■When the optional mLAN16E has been
installed:
1mLAN (IEEE1394) connector 1, 2
For connecting mLAN devices or IEEE1394-compatible
(FireWire) devices via standard IEEE1394 (6-pin) cables.
*The name “mLAN” and its logo (above) are trademarks.
nThe digital audio output via the mLAN connector is fixed to a
resolution of 24 bit/44.1 kHz.
■When the optional AIEB2 has been
installed:
1OPTICAL IN, OUT connectors Pages 33, 34
Use these connectors to input or output digital signals
over optical-fiber cable. You can use the OPTICAL IN to
record a digital signal at frequencies of 48kHz, 44.1kHz,
or 32kHz. The OPTICAL OUT connector outputs a digital
signal of 44.1kHz.
2DIGITAL IN, OUT connectorsPages 33, 34
Use these connectors to input or output digital signals
over coaxial (RCA-pin) cable. The digital signal format is
CD/DAT (S/P DIF). You can use the DIGITAL IN connector
to record a digital signal at frequencies of 48kHz,
44.1kHz, or 32kHz. The DIGITAL OUT connector outputs a
digital signal of 44.1kHz.
3ASSIGNABLE OUT jacks (AS1 to AS6)Page 31
Line level audio signals are output from this instrument via
these phone jacks (1/4" mono phone plug).
These outputs are independent of the main output (at the
L/MONO and R jacks above), and can be freely assigned
to any of the Drum Voice key or the Parts. This lets you
route specific Voices or sounds for processing with your
favorite outboard effect unit.
The parts which can be assigned to these jacks are as
follows:
•Drum Voice key to which the drum/percussion instrument is
assignedPage 203
•Any part of a Performance*Page 218
•Any part of a Song*Page 235
•Any part of a Pattern*Page 235
* Including the Audio Input part
nDigital audio output via the OPTICAL OUT connector or DIGITAL
OUT connector can be changed between 20-bit and 24-bit
resolution in the [UTILITY] → [F2] I/O → [SF2] OUTPUT display.
The frequency, however, is fixed at 44.1 kHz.
About mLAN
“mLAN” is a digital network designed for musical applications.
It uses and extends the industry standard IEEE 1394 high
performance serial bus.
For details, refer to the Guide Book of the mLAN16E.
mLAN EXPANSION BOARD mLAN16E
ACTIVEMADE IN JAPAN
IEEE1394
21
1
123
Setting Up
Power Supply
26Owner’s Manual
Please read this section carefully before using your new MOTIF ES.
This section explains how to connect your MOTIF ES to an AC power source, external audio and MIDI devices, and a computer
system. Only switch the MOTIF ES on after you have made all the necessary connections (page 43).
Power Supply
1Make sure the POWER switch on the MOTIF ES is set to OFF.
2Connect the supplied power cord to the AC INLET on the instrument’s rear panel.
3Connect the other end of the power cord to an AC outlet. Make sure your MOTIF ES meets the voltage requirement for the
country or region in which it is being used.
Make sure your MOTIF ES is rated for the AC voltage supplied in the area in which it is to be used (as listed on the rear panel). Connecting the unit to the
wrong AC supply can cause serious damage to the internal circuitry and may even pose a shock hazard!
Use only the AC power cord supplied with the MOTIF ES. 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 ES may be different depending on the country in which it is purchased (a third prong may be provided
for grounding purposes). Improper connection of the grounding conductor can create the risk of electrical shock. Do NOT modify the plug provided with
the MOTIF ES. If the plug will not fit the outlet, have a proper outlet installed by a qualified electrician. Do not use a plug adapter which defeats the
grounding conductor.
Setting Up
Rear panel
AC INLET
Power cord (included)
WARNIN
G
WARNIN
G
WARNIN
G
Setting Up
About data storage to SmartMedia cards and USB storage devices
27
Owner’s Manual
About data storage to SmartMedia cards and
USB storage devices
As you make music with this instrument, you’ll create a wide variety of data — such as custom Voice data (including Voices,
Performances, etc.), MIDI sequence data (Songs, Patterns, Arpeggios), and waveform data (with the Sampling function).
Naturally, you’ll want to store this data for safekeeping and future use, and the instrument is equipped with a variety of storage
options. You can save your data to SmartMedia card (inserted to the Card slot) or to a USB storage device (connected to the
USB TO DEVICE connector). To recall the data, use the Load function. (Save and Load operations are done in the File mode;
see page 266.)
Keep in mind that certain types of data are lost when you turn off the power and should be properly saved. Also keep in mind
that since there are several storage options (including SmartMedia card, hard disk, flash disk, etc.), you should always have the
proper media formatted and on hand BEFORE you start creating or editing data.
nThe Save/Load operation in the File mode can be executed between the SmartMedia card inserted to the CARD slot on the rear panel and the instrument, or
between the USB storage device connected to the USB TO DEVICE connector and the instrument. Please keep in mind that the Save /Load operation in the
File mode cannot be executed between the SmartMedia card inserted to the CARD slot on the rear panel and the USB storage deviceconnected to the USB
TO DEVICE connector. In short, data can be saved/loaded between the storage media and the instrument, but not between the two storage media devices.
Data lost and data retained when power is turned off
The chart below lists the data types you can create on the instrument and the internal memory locations to which they are stored,
permanently or temporarily.
Make sure to save any data remaining in DRAM to SmartMedia or a USB storage device before turning off the power, other wise the data will be lost.
*Includes the Mixing settings (pages 103, 127)
**If you create the User Voices or Sample Voices by using the Sampling function, the corresponding Waveforms can be saved automatically by
saving the User Voice data or Song/Pattern data to the SmartMedia/USB storage device.
***
Song Mixing/Pattern Mixing can be stored as Song/Pattern data and as a Mixing Template (which are not associated with a specificSong/Pattern).
nFor details about the data types you can create on this instrument, the internal memory locations to which they are stored, and file types when saving the
created data to the SmartMedia/USB storage device, refer to “Memory Structure” on page 186.
Data of up to 128 MB can be saved to a SmartMedia card inserted to the CARD slot on the rear panel. Yamaha recommends the use of a large-capacity USB
storage device, since you may want to save data more 128 MB — especially if you’ve installed optional DIMMs (page 289) and are using the Sampling feature.
Data typesPage Mode in which data is createdInternal memory types to which data is stored
Voice79Voice modeFlash ROM
Mixing Voice105Mixing Voice modeDRAM ➜ Will be lost when turning the power off!
Performance87Performance modeFlash ROM
Song*117Song modeDRAM ➜ Will be lost when turning the power off!
Song Chain59Song Chain modeDRAM ➜ Will be lost when turning the power off!
Pattern*106Pattern modeDRAM ➜ Will be lost when turning the power off!
Pattern Chain115Pattern Chain modeDRAM ➜ Will be lost when turning the power off!
Phrase (Pattern)110Pattern modeDRAM ➜ Will be lost when turning the power off!
Arpeggio130Song mode, Pattern modeFlash ROM
Master136Master modeFlash ROM
Waveform**94Sampling modeDIMM (DRAM) ➜ Will be lost when turning the power off!
Mixing Template***103Song Mixing mode, Pattern Mixing modeFlash ROM
System settings185Utility modeFlash ROM
MUSIC PRODUCTION SYNTHESIZER
MOTIF ES
SmartMedia (page 28)
USB TO DEVICE connector
USB storage device (page 29)
CAUTION
CAUTION
About data storage to SmartMedia cards and USB storage devices
28Owner’s Manual
Setting Up
Using the SmartMedia™* cards
Be sure to handle SmartMedia cards with care. Follow the important precautions below.
* SmartMedia is a trademark of Toshiba Corporation.
■ Compatible SmartMedia card Type
3.3V (3V) SmartMedia cards can be used. 5V type
SmartMedia cards are not compatible with this instrument.
■ Memory Capacity
There are seven types of SmartMedia cards: 2MB/4MB/8MB/
16MB/32MB/64MB/128MB. Keep in mind that only
SmartMedia cards conforming to SSFDC standards (bearing
the SmartMedia logo) can be used.
■ Inserting/Removing SmartMedia cards
Inserting a SmartMedia card
With the gold-plated contact side facing down, insert the
SmartMedia card firmly but carefully into the card slot, as far
as it will go. Be careful not to insert the card upside down or
back side in. Also, do not insert anything else into the slot,
other than a proper SmartMedia card.
Removing a SmartMedia card
Before removing the SmartMedia card, be sure to confirm that
the SmartMedia card is not in use, or it is not being accessed
by the instrument. Then pull the SmartMedia card out slowly
by hand. If the SmartMedia card is being accessed*, a
message indicating that it is in use appears on the
instrument’s display.
*This includes all save, load, format, delete and create directory
operations for the SmartMedia card. Also, be aware that the
instrument will automatically access the SmartMedia card to check
the media type when it is inserted while the instrument is turned on.
Never attempt to remove the SmartMedia card or turn the power off during
accessing. Doing so can damage the data on the instrument/SmartMedia
card and possibly the SmartMedia card itself.
■ Formatting SmartMedia cards
Before using a SmartMedia card with your instrument it must
first be formatted (page 268). Once it is formatted all data on
it will be erased. Make sure that no important data is
contained on the card beforehand.
nThe SmartMedia cards formatted with this instrument may be
unusable with other instruments or devices.
■ About the SmartMedia cards
Handle SmartMedia cards with care!
•SmartMedia cards are very sensitive and can be damaged
by static electricity. Before handling a SmartMedia card,
make sure to discharge any static electricity in your body by
touching something made of metal, such as a door knob or
aluminum blinds.
•Be sure to remove the SmartMedia card from the CARD slot
when it is not in use for a long time.
•Do not expose the SmartMedia card to direct sunlight,
extremely high or low temperatures, or excessive humidity,
dust or liquids.
•Do not place heavy objects on a SmartMedia card or bend
or apply pressure to the SmartMedia card in any way.
•Never touch the gold-plated contact with your fingers or let
it come in contact with any other metallic or hard surface.
•Do not expose the SmartMedia card to magnetic fields,
such as those produced by televisions, speakers, motors,
etc., since magnetic fields can partially or completely erase
data on the SmartMedia card, rendering it unreadable.
•Do not attach anything other than the provided labels to a
SmartMedia card. Also make sure that labels are attached
in the proper location.
Protecting your data (write-protect)
To prevent important data from being inadvertently erased,
apply the write-protect seal (provided with the SmartMedia
card) to the circle spot indicated on the card. If you are
saving data to the card, make sure to remove the write-protect
seal. Do not reuse a seal that has been removed; it may not
stick properly to the card and could come off in the slot.
■ Data Backup
For maximum data security Yamaha recommends that you
keep two copies of important data on separate SmartMedia
cards. This gives you a backup if one SmartMedia card is lost
or damaged.
■ Burglarproof Lock
This instrument is equipped with a burglarproof lock for the
SmartMedia card. If necessity arises, install the burglarproof
lock onto the instrument.
To install the burglarproof lock:
1Remove the metallic part using a Phillips screwdriver.
2Turn the metallic part upside down and replace it in the
new position.
CAUTION
About data storage to SmartMedia cards and USB storage devices
29
Owner’s Manual
Setting Up
Using USB storage devices
When using USB storage devices, make sure to connect them to the USB TO DEVICE connector, and follow the important
precautions below.
■ Compatible USB devices
Connect only a USB storage device (such as hard disk, CD-
ROM, flash disk and other drives) to the USB TO DEVICE
connector. Other devices such as a computer keyboard or
mouse cannot be used.
Both bus-powered (powered by the host device) or self-
powered (battery or external power supply) types can be
used.
The MOTIF ES does not necessarily support all commercially
available USB storage devices. Yamaha cannot guarantee
operation of USB storage devices that you purchase. Before
purchasing USB storage devices, please consult your
Yamaha dealer, or an authorized Yamaha distributor (see list
at end of the Owner’s Manual) for advice, or see the following
page:
http://www.yamahasynth.com/
nAlthough CD-R/W drives can be used to load data to the instrument,
they cannot be used for saving data. However, you can transfer data
to a computer and save data to a CD using the CD-R/W drive on the
computer.
■ Formatting USB storage media
When a USB storage device is connected or media is
inserted, a “Disk or card unformatted” message may appear
in the LCD display, indicating that the device or media must
be formatted for use. Execute the Format operation in the File
mode (page 268).
■ Protecting your data (write-protect)
To prevent important data from being inadvertently erased,
apply the write-protect provided with each storage device or
media.
If you are saving data to the USB storage device, make sure
to remove the write-protect.
Precautions when using the USB TO DEVICE
connector
• Never turn the USB device’s power on/off and never plug/unplug
the USB cable when the connected USB storage device is the self-
powered type. Doing so may result in the operation of the
synthesizer “freezing” or hanging up.
• While the instrument is accessing data (such as in the Save, Load
and Delete operations in the File mode), do NOT unplug the USB
cable, do NOT remove the media from the device, and do NOT turn
the power off to either device. Doing so may corrupt the data on
either or both devices.
CAUTION
USB connector types
There are two different types of USB connectors, and the
rear panel of the instrument features both. Take care not
to confuse the two.
■ USB TO HOST connector
This type is used to connect the instrument to a
computer, and allows you to transfer MIDI data between
the devices. Unlike MIDI, USB can handle multiple ports
via a single cable.
USB cables have different connectors on each end: the
A type and the B type. Connect the A type to your
computer and the B type to the USB TO HOST
connector.
■ USB TO DEVICE connector
This type is used to connect the instrument to a USB
storage device, and allows you to save data you’ve
created to the connected device, as well as load data
from the connected device. Save and Load operations
are executed in the File mode.
USB cables have different connectors on each end: the
A type and the B type. Connect the A type to the USB TO
HOST connector and the B type to the USB storage
device.
nThe computer cannot access the USB storage device
connected to the MOTIF ES’s USB TO DEVICE connector, even
if connecting as shown above. Only from the File mode on the
instrument itself can you access the data on the USB storage
device connected to the USB TO DEVICE connector.
nThough the MOTIF ES supports the USB 1.1 standard, you can
connect and use a USB 2.0 storage device with the MOTIF ES.
However, note that the transfer speed complies to USB 1.1.
MOTIF ES
MUSIC PRODUCTION SYNTHESIZER
MIDI data transfer
Connecting to a computer
Connecting to a
USB storage device
(hard disk, CD-ROM,
flash disk and other
drives)
Saving/Loading data in
the File mode (page 266)
A typeB type
USB TO DEVICE
connector
USB TO HOST
connector
About data storage to SmartMedia cards and USB storage devices
30Owner’s Manual
Setting Up
Basic settings for using SmartMedia or a USB
storage device
1Press the [FILE] button to enter the File mode.
2Press the [SF1] CURRENT button to check
which device is selected.
When Current is set to “CARD”
The instrument recognizes the SmartMedia inserted to the
Card slot.
When Current is set to “USB”
The instrument recognizes the USB storage device.
3Set Current to “CARD” if you wish to access the
SmartMedia, or set Current to “USB” if you wish to
access the USB storage device.
If the USB storage device supports multiple types of media,
you’ll need to set the Slot number after setting Current to
“USB.” To check which media corresponds to which USB
number (1 or 2) and which slot number, see the Volume Label
or Partition setting in this window.
Once you’ve made the settings above, you can perform
any of the other File operations (in the bottom tabs, called
up with the [F2] - [F5] buttons).
n
When a USB storage device is connected or media is inserted, a
“Disk or card unformatted” message may appear in the LCD display,
indicating that the device or media must be formatted for use.
Execute the Format operation in the File mode (page 268).
Backing up your data to a computer
• Backing up MOTIF ES data to a computer
Once you’ve saved data to a SmartMedia card or USB
storage device, you can copy the data to the hard disk
of your computer, then archive and organize the files
as desired. Simply reconnect the device as shown
below.
nThough the example here shows the use of a connected USB
storage device, you can also back up your created data that
you’ve saved to a SmartMedia inserted to the CARD slot on
the rear panel.
• Loading data from a computer to the MOTIF ES
Data and files contained on the hard disk of a computer
can be loaded to the MOTIF ES by copying them first to
the storage media, then transferring them to the
instrument.
In this way, you can use data created on the computer or
another instrument with the MOTIF ES. For example, you
can load Standard MIDI files to the instrument as Song/
Pattern data, or import audio WAV or AIFF files for use as
waveform data.
Volume Label of the selected device
TIP
MUSIC PRODUCTION SYNTHESIZER
MOTIF ES
MUSIC PRODUCTION SYNTHESIZER
MOTIF ES
Saving created data to the USB storage device in the File mode (page 266)
Computer
USB storage device
USB TO DEVICE connector
Disconnect the USB storage
device from the synthesizer and
connect it to the computer
Backing up data to a computer and organizing files/folders
ComputerUSB storage device
MUSIC PRODUCTION SYNTHESIZER
MOTIF ES
MUSIC PRODUCTION SYNTHESIZER
MOTIF ES
ComputerUSB storage device
Computer
USB storage device
Copying the files of the hard disk of the computer to the USB storage device
Disconnect the USB storage
device from the computer and
connect it to the synthesizer
Loading files on the USB storage device to the synthesizer in the
File mode (page 266)
USB TO DEVICE connector
Setting Up
Connections
31
Owner’s Manual
Connections
Connecting to External Audio Equipment
Since the MOTIF ES 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.
(CD player, etc.)Microphone (MONO)Apply effects to the
microphone sound by
using the Vocal
Harmony Plug-in board
(PLG100-VH)
BassGuitar
Setting Up
Connections
34Owner’s Manual
■ Digital Input using the optional AIEB2
By installing the optional AIEB2 I/O expansion board, you can directly record digital audio from digital sources — such as a CD
player or DAT deck. For maximum compatibility and flexibility, the AIEB2 board includes two different input types: OPTICAL
(optical fiber) and DIGITAL (coaxial cable).
nEither one of the connectors (OPTICAL or DIGITAL) can be used; however, both cannot be used at the same time. Select which connector is used for digital
input in the Utility mode with the following operation.
■ Digital Input using the optional mLAN16E
The optional mLAN16E allows you to connect this instrument to an mLAN device or computer, giving you high-speed audio and
MIDI data transfer between devices with just one IEEE 1394 cable connection.
Connecting External MIDI Instruments
With a standard MIDI cable (available separately), you can connect an external MIDI device, and control it from the MOTIF ES.
Likewise, you can use an external MIDI device (such as a keyboard or sequencer) to control the MOTIF ES sounds. Below are
several different MIDI connection examples; use the one most similar to your intended setup.
nAny one of the these interfaces can be used for MIDI data transmission/reception: the MIDI connectors, the mLAN connector (when an optional mLAN16E
has been installed), or the USB connector. However, they cannot be used at the same time. Select which connector is used for MIDI data transfer in the
Utility mode with the following operation.
■ Controlling from an external MIDI keyboard
Use an external keyboard to remotely select and play Voices of the MOTIF ES.
■ Using an mLAN interface (when an optional mLAN16E has been installed)
The connection example shown on page 32 lets you transfer MIDI messages as well as audio data. The mLAN connection to
computer (page 39) allows you to transfer both audio and MIDI data between your MOTIF ES and a computer.
■ Connecting to an MTR (Multi Track Recorder)
Since this synthesizer can receive the MTC (MIDI Time Code) and can transmit the MMC (MIDI Machine Control), you can
produce music by synchronizing to a MTC- or MMC-compatible multi-track.
You can use two types of MTR control (illustrated below) by setting the MIDI Sync to MTC in the Utility mode, with the following
operation.
nMTC and MMC are available only in the Song mode.
• Synchronizing the MOTIF ES to the MTC signal from an external MTR
After receiving the MTC signal transmitted from the MTR by starting the MTR playback, the Song of the MOTIF ES will start at the
moment the MTC Start Offset time elapses (set from the display [UTILITY] ➞ [F5] MIDI ➞ [SF3] SYNC ➞ MTC StartOffset in the
Utility mode).
nMTC (MIDI Time Code) allows simultaneous synchronization of multiple audio devices via standard MIDI cables. It includes data corresponding to hours,
minutes, seconds, and frames. The MOTIF ES does not transmit MTC. An instrument such as the Yamaha AW4416 is necessary as an MTC master.
• Controlling an MTR by using MMC transmitted from the MOTIF ES
You can control the start/stop and fast forward/rewind of the MMC-compatible MTR from the SEQ TRANSPORT buttons on the
front panel of this synthesizer, outputting MMC messages via MIDI.
nMMC (MIDI Machine Control) allows remote control of multitrack recorders, MIDI sequencers, etc. A MMC-compatible multitrack recorder, for example, will
automatically respond to start, stop, fast forward, and rewind operations performed on the controlling sequencer, thus keeping playback of the sequencer
and multitrack recorder aligned.
Splitting the sound between the MOTIF ES and an external tone generator by MIDI channel (Part 2)
In this connection example shown above, you can split the sequence playback between the MOTIF ES and another
instrument connected to MIDI THRU and have them sound different parts.
For example, on the MOTIF ES assign the Song/Pattern parts to MIDI Receive Channels 1 through 9 with the following
operation, and set the rest of the parts (not to be sounded) to off.
On the connected MIDI tone generator, assign the parts to be sounded to MIDI Receive Channels 10 through 16, and set
[SONG] or [PATTERN] ➞ [MIXING] ➞ [EDIT] ➞ Part selection ➞ [F1] VOICE ➞ [SF2] MODE ➞ ReceiveCh
MUSIC PRODUCTION SYNTHESIZER
MOTIF ES
MIDI INMTC OUT
MIDI cable
AW4416, etc.
MUSIC PRODUCTION SYNTHESIZER
MOTIF ES
SEQ TRANSPORT
LOCATE12
MIDI INMIDI OUTMIDI OUTMIDI IN
MIDI cable
AW4416, etc.
Setting Up
Connections
38Owner’s Manual
Connecting to a Computer
Connecting this instrument to a computer via MIDI opens up a whole world of musical possibilities — such as using sequencer
software to record and play back compositions with the MOTIF ES sounds or using the included Voice Editor software to create
and edit your own custom Voices.
nWhen connecting to a Macintosh computer (with the exception of Mac OS X), make sure to install OMS to the computer as well as the desired software
(sequence software, Voice Editor, etc.). For details, refer to the separate Install Guide.
Using a USB TO HOST connector
When connecting via this method, make sure to set the following parameter to “USB.”
nUSB cables have different connectors on each end: the A type and the B type. When connecting this synthesizer to the computer, connect the A type to your
computer and the B type to the USB TO HOST connector.
nWhen connecting to a computer (Windows/Macintosh) via USB, make sure to install the USB-MIDI driver to the computer as well as the desired software
(sequence software, Voice Editor, etc.). For details, refer to the separate Installation Guide.
nIf you are using the Remote Control function to control operations on a computer sequencer, you should make connections with a USB cable.
[UTILITY] ➞ [F5] MIDI ➞ [SF4] OTHER ➞ MIDI IN/OUT = USB
MIDI channel and MIDI port
While a MIDI cable can transfer MIDI messages of 16 channels simultaneously, a USB cable can transfer MIDI messages of
more than 16 channels simultaneously.
MIDI data is assigned to one of sixteen channels, and this synthesizer is capable of simultaneously playing sixteen
separate parts, via the sixteen MIDI channels. However, the sixteen-channel limit can be overcome by using separate MIDI
“ports,” each supporting sixteen channels.
A USB cable can handle MIDI data on up to eight ports, letting you use up to 128 channels (8 ports x 16 channels) on your
computer.
nThis synthesizer can recognize and use up to three ports at the same time.
nWhen using a USB connection, make sure to match the MIDI transmit port and the MIDI receive port as well as the MIDI transmit channel and the MIDI
receive channel.
MUSIC PRODUCTION SYNTHESIZER
MOTIF ES
USB TO HOST
USB cable
Computer with a USB interface
Setting Up
Connections
39
Owner’s Manual
Precautions when using the USB TO HOST connector
When connecting the computer to the USB TO HOST connector, make sure to observe the following points.
If you do not observe these points, you risk freezing the computer, corrupting the data, and losing the data. If the computer or the instrument
freezes, turn the power to the instrument off or restart the computer.
•Before connecting the computer to the USB TO HOST connector, exit from any power-saving mode (such as suspended, sleep, standby) of the
computer.
•Before turning on the power to the instrument, connect the computer to the USB TO HOST connector.
•Execute the following before turning the power to the instrument on/off or plugging/unplugging the USB cable to/from the USB TO HOST
connector.
-Quit any open applications (such as Voice Editor, Multi Part Editor, and SQ01).
-Make sure that data is not being transmitted from the instrument. (Data is transmitted only by playing notes on the keyboard or playing back a
song.)
•While a USB device is connected to the instrument, you should wait for three seconds or more between these operations: When turning the power
of the instrument off then on again, or when alternately connecting/disconnecting the USB cable.
Using an IEEE1394 interface (when an optional mLAN16E has been installed)
By installing an optional mLAN16E interface, you can connect a computer (with an IEEE 1394 interface) to this instrument via a
single cable.
When connecting via this method, make sure to set the following parameter to “mLAN.”
The mLAN connection using an IEEE1394 cable lets you transfer both MIDI data and audio data. For example, you can record
your keyboard performance and Song/Pattern playback to hard disk of the computer as audio data (page 153).
About the Thru Port Setting
MIDI ports can be used to divide playback among multiple synthesizers, as well as expand the MIDI channel capacity
beyond sixteen.
In the example below, a separate synthesizer connected to the MOTIF ES is played by MIDI data via port 5, as set in the
Only MIDI data over ports 1, 2, and 3 are recognized. For details on the
relationship between the MIDI port and the tone generator block, see page 163.
CAUTION
MUSIC PRODUCTION SYNTHESIZER
MOTIF ES
mLAN16EmLAN connector
Computer with an IEEE1394 interface
IEEE1394 cable
Setting Up
Connections
40Owner’s Manual
Using a MIDI interface
• Using the computer’s MIDI interface
• Using an external MIDI interface
nPlease use the appropriate MIDI interface for your computer.
nIf you are using a computer that has a USB interface, make sure to connect the computer and this synthesizer by USB. (The data transfer rate is faster than
MIDI and you’ll have access to multiple MIDI ports.)
Selecting Voices from a computer
You can select Voices on this instrument from your computer software by specifying the following MIDI messages.
• Bank Select MSB
• Bank Select LSB
• Program Change
For details on what values are assigned to the Voice Bank/Number of this synthesizer, refer to the separate Data List.
MUSIC PRODUCTION SYNTHESIZER
MOTIF ES
MIDI OUTMIDI IN
MIDI OUTMIDI IN
MIDI cable
Computer with MIDI interface
MUSIC PRODUCTION SYNTHESIZER
MOTIF ES
MIDI OUTMIDI IN
MIDI cableMIDI interface
Serial port (modem or printer port)
or USB port
Computer
Setting Up
Connections
41
Owner’s Manual
Local On/Off – when Connected to a Computer
When connecting this synthesizer to a computer, the keyboard performance data is generally sent to the computer, and
then returned from the computer to play the tone generator block. If the Local Control in the Utility mode is set to “on,” a
“double” sound may result, since the tone generator is receiving performance data from both the keyboard directly and the
computer. Use the setting suggestions below as a guideline; specific instructions may differ depending on your computer
and the software used.
• When MIDI “Echo” (MIDI through) is set to on the software/computer:
nWhen transmitting or receiving System Exclusive data (such as with the Bulk Dump function), use the setting example below, making sure that MIDI
“Echo” (MIDI through) on the computer software is set to “off.”
• When MIDI “Echo” (MIDI through) is set to off the software/computer:
nAlthough not indicated in the illustration above, the MOTIF ES actually receives and responds to MIDI data from the computer application
(sequencer), regardless of the Local Control setting on the MOTIF ES.
* MIDI “Echo” is a function on sequencers that takes any data received via the MIDI IN and “echoes” it (or sends it as is) through the MIDI
OUT. In some software, this function is also called “MIDI Thru.”
nFor details about the MIDI Echo, refer to the owner’s manual of your particular software.
The MOTIF ES features several controller jacks on the rear panel — letting you independently control various aspects of the
sound and a variety of functions with optional controllers.
■ Breath Controller
You can connect an optional Breath Controller (BC3) to the BREATH jack on the rear panel. Then use it to control a large number
of this synthesizer’s parameters, particularly those controlled by a wind player’s breath: dynamics, timbre, pitch and so on. The
Breath Controller is ideally suited for realistic expression with wind instrument type Voices.
nBreath Controller parameters can be set for each Voice (page 192).
■ Footswitch (assignable)
An optional Yamaha FC4 or FC5 Foot Switch connected to the rear panel FOOT SWITCH ASSIGNABLE jack can be assigned to
a range of parameters. It is suited for switch-type (on/off) controls, such as Portamento Switch, increment/decrement of a Voice
or Performance Number, start/stop of the Sequencer, and holding the Arpeggiator on or off.
nThe parameter assigned to the Footswitch is set in the Utility mode (page 263).
■ Footswitch (sustain)
An optional FC4 or FC5 Footswitch connected to the SUSTAIN jack on the rear panel lets you control sustain — particularly
useful when playing piano and strings voices.
Keep in mind that some sounds may not be suitable for use in all situations with the Sustain footswitch. For example, for organ
sounds that have no natural decay, the sound continues at the same level when holding down the Sustain footswitch.
On the other hand, many sounds benefit from the use of Sustain, such as piano, which has a natural decay when a note is held.
Using Sustain with these kinds of Voices provides a smooth after-sound and gives you expressive control in your performance.
nThe sustain level of the Amplitude EG (page 162) is maintained while holding down the Sustain footswitch, even when releasing your fingers from the keys.
nYou cannot assign a function other than Sustain to the SUSTAIN jack.
■ Foot Controller
Optional Foot Controllers (such as the FC7), connected to the FOOT CONTROLLER jacks on the rear panel, can be assigned to
a number of controller parameters. By using a foot controller for parameter control, both your hands are left free to play the
keyboard (or to operate other controllers) — exceptionally convenient when you’re playing live.
nFoot Controller parameters can be set for each Voice (page 192).
GREEN
YELLOW
ORANGE
Plug-in SLOT
A/D INPUT
LR
OUTPUT
RL/MONOPHONES
ASSIGNABLE OUTPUT
LR
FOOT
CONTROLLER
BREATH
ASSIGNABLE
SUSTAIN
OUTTHRU
USB
TO HOSTTO DEVICEmLAN I/O EXPANSION
AC INLET
ONOFF
FOOT
SWITCH
CARD
3.3V
1IN
MIDI2GAIN
FOOT
CONTROLLER
BREATH
ASSIGNABLE
SUSTAIN
FOOT
SWITCH
12
MOTIF ES rear panel
BC3FC4 or FC5FC4 or FC5FC7FC7
Setting Up
Turning the power on/off
43
Owner’s Manual
Turning the power on/off
Power-on Procedure
Once you’ve made all the necessary connections between your MOTIF ES and any other devices, make sure that all volume
settings are turned down all the way to zero. Then turn on the every device in your setup in the order of MIDI masters (senders),
MIDI slaves (receivers), then audio equipment (mixers, amplifiers, speakers, etc.). This ensures smooth signal flow from the first
device to the last (first MIDI, then audio). When powering down the setup, first turn down the volume for each audio devices,
then switch off each device in the reverse order (first audio devices, then MIDI).
When using the MOTIF ES as MIDI receiver:
Turning the MOTIF ES on/off
The explanations here apply when audio equipment (amplifier and speaker) is connected to the MOTIF ES.
1Make sure that the external audio equipment is connected to the MOTIF ES properly. Also be sure to set the volume of the
MOTIF ES and the external audio equipment to 0.
2Press the POWER switch on the rear panel to turn the MOTIF ES on.
The Opening display (together with the message that confirms the status of the Plug-in Board installation) appears and after
a while, the Master mode display appears.
nAt the time this synthesizer is shipped from the factory, the Master mode display will appear when turning the power on. You can change the default display
when turning the power on with the following operation. [UTILITY] → [F1] GENERAL → [SF4] OTHER → PowerOnMode (page 261)
nBecause the Auto Load parameter (page 135) is set to on at the time this synthesizer is shipped from the factory, it takes a short amount of time before the
instrument assumes normal playing status (in which you can play the keyboard).
You can switch the on/off status of the Auto Load function from the [UTILITY] → [F1] GENERAL → [SF5] OTHER display (page 135).
3Turn the power of the connected audio equipment on.
4Raise the sound system volume of the audio equipment and the MOTIF ES gradually to a reasonable level.
5If necessary, adjust the legibility of the LCD display by using the LCD Contrast Control.
6After turning the power of the audio equipment off or turning down the volume of the audio equipment, turn the MOTIF ES’s
power off.
MUSIC PRODUCTION SYNTHESIZER
POWER
ON!!
123
MUSIC SYNTHESIZER
Modular Synthesis Plug-in System
MIDI senderMOTIF ES
Audio equipment (first mixer, then amplifier)
AC INLET
POWER
ONOFF
Rear panel of the MOTIF ESMaster mode display
Setting Up
Resetting the User Memory to the Initial Factory Settings
44Owner’s Manual
Resetting the User Memory to the Initial Factory Settings
The original factory setting of this synthesizer’s User Memory (page 186) can be restored as follows.
When the factory settings are restored, all the Voice, Performance, Song, Pattern, and system setting in the Utility mode you created will be erased.
Be sure to save all important data to SmartMedia or USB storage device before executing this procedure (pages 85, 91 and 131).
1Press the [UTILITY] button to enter the Utility mode (the lamp lights).
2Press the [JOB] button to enter the Utility Job mode.
3Press the [ENTER] button. (The display prompts you for confirmation.)
nTo cancel the Job, press the [DEC/NO] button.
4Press the [INC/YES] button to execute the Job.
After the Job has been completed, a “Completed” message appears and operation returns to the original display.
An “Executing...” or “Please keep power on” message is shown when it takes a short amount of time to execute the Job. Never attempt to turn off the power
while data is being written to Flash ROM (while an “Executing...” or “Please keep power on” message is shown). Turning the power off in this state results
in loss of all user data and may cause the system to freeze (due to corruption of data in the Flash ROM). This means that this synthesizer may not be able
to start up properly, even when turning the power on next time.
nAll settings in the Utility mode that are related to the Plug-in boards are stored only to the memory on those respective boards, and not to the User memory
of this synthesizer. Because of this, the Factory Set operation cannot be used to restore settings for those boards.
CAUTION
SONGPATTERNFILE
SEQUENCER
INTEGRATED
SAMPLINGMIXINGUTILITY
EDIT
COMPARESCENE STORE
SET LOCATE
JOBSTORE
DEMO
SONGPATTERNFILE
SEQUENCER
INTEGRATED
SAMPLINGMIXINGUTILITY
EDIT
COMPARESCENE STORE
SET LOCATE
JOBSTORE
DEMO
CAUTION
Modes
45
Owner’s Manual
Basic Operation
In this section, we’ll take a look at the fundamental operating conventions of the MOTIF ES. 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.
Before reading further, familiarize yourself with the basic terms used with the MOTIF ES in the chart below.
Modes
Mode Structure
This synthesizer is organized into various modes, each covering a different set of operations and functions.
Keep in mind that there are two basic types of modes, depending on the status of the tone generator block. The first type
includes the Voice and Performance modes, and the internal tone generator is used in single timbre operation — meaning that
only one Voice, or one channel of MIDI data is used. The second type includes the Song and Pattern modes, and the internal
tone generator is used in multi-timbral operation — meaning that several Voices, or multiple MIDI channels are used. Along with
each of these types are sub modes — the Sampling mode and the Utility mode. Remember that the particular displays and
parameters in these two modes differ depending on which type of mode (Voice/Performance or Song/Pattern) was active before
calling up the sub-mode. In addition to the above mentioned, there are two special modes. The Master mode lets you memorize
your desired settings in each mode (Voice/Performance/Song/Pattern) and recall them instantly anytime you need them with a
single button. The File mode lets you manage your created data.
Basic Operation
TermDescriptionPage
VoiceMusical instrument voices158
PerformanceA program in which multiple Voices are combined in a layer158
SongMusic data consisting of MIDI events166
PatternRhythm pattern data which consist of MIDI events used for looped playback167
SamplingThe function that lets you record the audio data (such as your own voice and CD playback sound) and play
those sounds just like any other synthesizer’s Voice.172
MasterA program which lets you register the settings in each mode – Voice, Performance, Song, and Pattern136
FileA collection of settings for storing and managing your created data186
VOICE
SONG
PERFORMMASTER
PATTERNFILE
MODE
SEQUENCER
INTEGRATED
SAMPLINGMIXINGUTILITY
DEMO
VOICE
PERFORM
SONG
PATTERN
MIXING
MASTER
FILE
INTEGRATED
SAMPLING
UTILITY
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 modeMaster mode
Master Play mode
Master Edit mode
Master Job mode
Master Store mode
File mode
Keyboard Playback mode (single timbre tone generator)
Sampling mode
Sampling Record mode
Sampling Edit mode
Sampling Job mode
Utility mode
Utility Job mode
Song mode
Song Play mode
Song Record mode
Song Edit mode
Song Job mode
Song Mixing mode
Song Mixing Edit mode
Song Mixing Job mode
Song Mixing Store mode
Pattern mode
Pattern Play mode
Pattern Record mode
Pattern Edit mode
Pattern Job mode
Pattern Mixing mode
Pattern Mixing Edit mode
Pattern Mixing Job mode
Pattern Mixing Store mode
Keyboard Playback mode
(multi-timbral tone generator)
(Mixing Voice mode)
Mixing Voice Edit mode
Mixing Voice Job mode
Mixing Voice Store mode
Basic Operation
Modes
46Owner’s Manual
Mode table
The functions of each mode and how to enter each mode are as follows:
■ How to leave the current display
For most operations or displays (except for the File mode, Song/Pattern Record mode, and Remote Control mode), pressing the
[EXIT] button will let you leave the current display and return you to the previous one. You can return back to any of the modes —
Voice Play, Performance Play, Song Play, Pattern Play, and Master Play — by pressing the [EXIT] button several times in the
respective mode.
ModeFunctionHow to enter the mode
Voice modeVoice Play modePlaying a Voice[VOICE]
Voice Edit modeEditing/Creating a Voice[VOICE] → [EDIT]
Voice Job modeInitializing a Voice, etc.[VOICE] → [JOB]
Voice Store modeStoring a Voice to internal memory[VOICE] → [STORE]
Performance modePerformance Play modePlaying a Performance[PERFORM]
Performance Edit modeEditing/Creating a Performance[PERFORM] → [EDIT]
Performance Job modeInitializing a Performance, etc.[PERFORM] → [JOB]
Performance Store modeStoring a Performance to internal memory[PERFORM] → [STORE]
Song modeSong Play modePlaying a Song[SONG]
Song Record modeRecording a Song[SONG] → [●] (REC)
Song Edit modeEditing a Song MIDI events[SONG] → [EDIT]
Song Job modeConverting and transforming Song data[SONG] → [JOB]
Song Mixing modeSetting tone generator parameters[SONG] → [MIXING]
Song Mixing Edit modeSetting tone generator parameters in detail[SONG] → [MIXING] → [EDIT]
Song Mixing Job modeInitializing a Song Mixing, etc.[SONG] → [MIXING] → [JOB]
Song Mixing Store modeStoring a Song Mixing internal memory[SONG] → [MIXING] → [STORE]
Pattern modePattern Play modePlaying a Pattern[PATTERN]
Pattern Record modeRecording a Pattern[PATTERN] → [●] (REC)
Pattern Edit modeEditing a Pattern MIDI events[PATTERN] → [EDIT]
Pattern Job modeConverting and transforming Pattern data[PATTERN] → [JOB]
Pattern Mixing modeSetting tone generator parameters[PATTERN] → [MIXING]
Pattern Mixing Edit modeSetting tone generator parameters in detail[PATTERN] → [MIXING] → [EDIT]
Arpeggio[SONG] → [JOB] → [F5] TRACK → 07: Put Track To Arp 130
[PATTERN] → [JOB] → [F5] TRACK → 06: Put Track To Arp 130
Volume Label of the SmartMedia/
USB storage device[FILE] → [F1] CONFIG → [SF3] FORMAT 266
File/Folder saved to the SmartMedia/
USB storage device[FILE] → [F2] SAVE or [F4] RENAME 132
INFORMATION
INFORMATION
When Note Limit is selected, the [KBD] mark appears,
indicating that you can use the keyboard to set the value.
Simultaneously hold down the [INFORMATION] button
and press the appropriate key.
Basic Operation
Naming
54Owner’s Manual
■ Basic naming operation
As shown below, you can set the name by repeating the two operations – moving the cursor to the desired location by using the
Cursor button and selecting a character by using the data dial, [INC/YES] button, and [DEC/NO] button.
■ Using the character list
If you find it difficult to select the desired characters with the above method, you may want to use the following method —
selecting the characters from a list.
EXITENTER
EXECUTE
DEC/NOINC/YES
DEC/NOINC/YES
Moving the cursor to the desired location on the nameSelecting a character at the cursor location
EXITENTER
EXECUTE
DEC/NOINC/YES
DEC/NOINC/YES
INFORMATION
INFORMATIONINFORMATION
When the cursor is located at the Name, this [LIST]
icon appears and you can call up the Character List
display by holding the [INFORMATION] button.
Release the [INFORMATION] button to return back
to the original display.
Select a character for the cursor location on the name.
Move the cursor to the desired location.
Perform the operations below while holding the [INFORMATION] button.
Playing the Demo Songs/Patterns
55
Owner’s Manual
Quick Guide — Playing the MOTIF ES
Playing the Demo Songs/Patterns
Here’s the best place to start your explorations of the MOTIF ES. The Song and Pattern Demos have been specially programmed
so you can hear just how amazing the sounds are, and find out just how powerful the instrument really is — for music creation,
performance and production. Before you can play the Demos, you’ll need to load the Demo data (contained in ROM) to the
DRAM memory location as shown below.
nFor details about ROM and DRAM, see page 187.
When the Demo Song/Pattern data is loaded, the memory area for playback will be overwritten and
the following Utility settings will be changed in order to play back the Demo Song/Pattern properly.
[UTILITY] →→
→→ [F1] GENERAL →→
→→ [SF1] TG →→
→→ Volume, NoteShift, Tune
[UTILITY] →→
→→ [F1] GENERAL →→
→→ [SF4] OTHER →→
→→ CtrlRest
[UTILITY] →→
→→ [F1] GENERAL →→
→→ [SF3] EF BYPAS
Important data should always be backed up to a SmartMedia/USB storage device.
In some cases such as those listed below, the Demo
Song/Pattern data will be loaded automatically when
turning the power on.
•When turning the power on with no SmartMedia card
in the CARD slot when the instrument is in its factory-
shipped state or after the Factory Set (page 44) is
executed.
•When turning the power on with a SmartMedia card
containing no Auto Load files in the CARD slot when
the instrument is in its factory-shipped state or after
the Factory Set (page 44) is executed.
In cases such as those listed above, steps #1-#3 are
unnecessary. Press the [SONG] button to enter the
Song mode, then perform the instructions below from
step #4.
nThis synthesizer features an Auto Load function by which the
Demo Song/Pattern data or the specified files in the
SmartMedia card inserted in the CARD slot will be loaded
automatically when turning the power on. For details about
the Auto Load function, see page 135.
Quick Guide — Playing the MOTIF ES
(ROM)
Load
Load
Song 01
Sections A - PSections A - P
Song 02
(DRAM)
(ROM)(DRAM)
APAP
Song 01
Song 02
Song 64
Pattern 01
Pattern 02
Pattern 01
Pattern 02
Pattern 64
Demo Song dataMemory area for Song playback
Memory area for Pattern playback
Demo Pattern data
CAUTION
1Press the [FILE] button and [UTILITY] button
simultaneously.
VOICE
SONG
PERFORMMASTER
PATTERNFILE
MODE
SEQUENCER
INTEGRATED
SAMPLINGMIXINGUTILITY
DEMO
Quick Guide — Playing the MOTIF ES
Playing the Demo Songs/Patterns
56Owner’s Manual
You can select from the three Load Types listed below. Here,
we’ll select “All.”
After the data is loaded, the Song Play display is
automatically called up.
If “Pattern” is selected in step #2 above, the Pattern Play
display is automatically called up once the data is loaded.
nKeep in mind that the example displays shown in this manual are for
instruction purposes only, and the contents (for example, the Demo
Song/Pattern names) may differ slightly from those on your instrument.
When playback of the selected Song is finished, the Song
automatically stops. You can stop the Song anytime during
playback by pressing the [■] (Stop) button. This pauses the
song at the current position. To resume playback of the Song
from that point, press the [F] (Play) again. To instantly
return to the beginning of the Song, press the [] (Top)
button.
Move the cursor to “Song Number: Name” (with the cursor
buttons) then select another song by using the Data Dial, or
the [INC/YES] and [DEC/NO] buttons.
Next, let’s play a Demo Pattern.
2Set the LoadType to “All.”
AllLoads both the Demo Song and Pattern data.
SongLoads only the Demo Song data.
PatternLoads only the Demo Pattern data.
3Press the [ENTER] button to load the Demo data.
4Press the [F] (Play) button to start Song
playback.
SEQ TRANSPORT
LOCATE12
SEQ TRANSPORT
LOCATE12
StartStop
Top button
5Select and play another Demo Song.
6Press the [PATTERN] button to enter the Pattern
mode.
SEQ TRANSPORT
LOCATE12
DEC/NOINC/YES
Decreases numberIncreases number
Increases numberDecreases number
Song Number: Name
Start
VOICE
SONG
PERFORMMASTER
PATTERNFILE
MODE
SEQUENCER
INTEGRATED
SAMPLINGMIXINGUTILITY
DEMO
Quick Guide — Playing the MOTIF ES
Playing the Demo Songs/Patterns
57
Owner’s Manual
There is another way to start Pattern playback – by pressing the
note son the keyboard. Move the cursor to the keyboard icon
and press the [INC/YES] button so that the F mark appears.
In this status, press any key to start the pattern playback.
Press the [DEC/NO] button with the cursor located at the
keyboard icon to turn the F mark off.
Make sure that the [SECTION] lamp is on (press the button if
necessary), then press any of the buttons shown below to
select and play the various Sections contained in a Pattern.
Pressing the [A] - [H] buttons calls up Sections A - H and
pressing the [PRE5] - [PLG3] buttons calls up the Sections I -
P. Try out various rhythm variations by changing the Section.
nSome Sections of the Demo Pattern may have no data. Because of
this, selecting some Sections may result in no sound.
Unlike Song playback, Pattern playback continues in a loop
until the [■] (Stop) button is pressed.
You can stop the Pattern anytime during playback by
pressing the [■] (Stop) button. This pauses the Pattern at the
current position. To resume playback of the Pattern from that
point, press the [F] (Play) again.
To instantly return to the beginning of the Pattern, press the
[] (Top) button.
Selecting a Pattern is done in the same way as selecting a
Song. Refer to step #5 above.
Parameters in the Song Play mode
7Press the [F] (Play) button to start Pattern
playback.
8Select different Sections of the Pattern.
A. PIANOKEYBOARDORGAN
PRE 5PRE 6USER 1
GUITAR/
PLUCKED
SYN LEAD
ABCDEFGHSECTIONGROUP
CATEGORY
SEARCHBANK
SYN PAD/
CHOIRSYN COMP
CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SEMUSICAL FXCOMBI
USER 2
STRINGS
PLG 1
BRASS
PLG 2
REED/PIPE
PLG 3
BASS
GM
9Press the [■] (Stop) button to stop Pattern
playback.
10Select and play another Demo Song.
SEQ TRANSPORT
LOCATE12
SEQ TRANSPORT
LOCATE12
StartStop
Top button
03 : New Song 1
Song track number and
track mute/solo status
Track data status
Indicates muted track.
Indicates soloed track (page 58).
Indicates that the track has no recorded data.
Indicates a sample track (page 168)
containing a Sample Voice (page 173).
Indicates a MIDI track (page 168) containing
MIDI sequence data.
Location settings for the selected Song
Measure : Beat
(for current playback location)
ARP1-ARP5
Use the [SF1] - [SF5] buttons to call up the
Arpeggio type and Song Scene assigned
to each button (page 123).
Tempo for the selected Song
Time signature for the selected Song
(You can change the value by
moving the cursor here and using the
[INC/YES]/[DEC/NO] buttons and
data dial.)
Transpose setting
(for entire Song)
Currently selected Song
Song numberSong name
Quick Guide — Playing the MOTIF ES
Playing the Demo Songs/Patterns
58Owner’s Manual
Using Mute/Solo with the Song and
Pattern tracks
Try this with the Demo Songs to hear how the tracks sound
both in isolation and in various combinations.
■ To mute a track
The corresponding track is set to mute (its lamp goes off) and
produces no sound. When pressing the same number button
again, the track mute is canceled (its lamp lights).
To turn Mute off, press the [MUTE] button again (the lamp
goes off).
■ To solo a track
Simultaneously hold down the [MUTE] button and press one
of the NUMBER buttons [1] to [16] to solo the corresponding
track. Once you’ve selected a track for soloing, the [MUTE]
button’s lamp flashes, indicating the Solo function is active.
While Solo is active, you can change the soloed track simply
by pressing the corresponding NUMBER button [1] to [16].
To cancel the Solo function, press the [MUTE] button again.
Selecting a Song/Pattern track and
playing the keyboard
You can play along with the Song or Pattern using the sound
of a track — for example, playing additional drum/percussion
sounds on a drum track while the Song plays. Press the
[TRACK SELECT] button so that its lamp lights, and select a
track by pressing the one of the NUMBER buttons [1] to [16].
If you want you can also mute a track and play the part of the
track yourself. To do this, select the desired track as
described, then mute the track (as explained in “To mute a
track” above).
Song Location
The Song Play mode has a convenient Location function that
lets you jump to user-specified parts of a song. This lets you
assign a specific measure number in the selected song, and
instantly jump to the assigned measure – either during
playback or when the song is stopped. Two Locations can be
assigned.
■ Assigning Locations
Select the desired measure in the recorded song for the
Location. (Highlight “MEAS” and use the [INC/YES] and
[DEC/NO] buttons or data dial.) Then, to assign the measure
to Location 1, simultaneously hold down the [SET LOCATE]
button and press the [G] (Reverse) button.
To assign Location 2, use the [H] (Forward) button.
■ Jumping to an assigned Location
To instantly jump to the assigned Location 1 or 2,
simultaneously hold down the [LOCATE] button and pressing
the [G] (Reverse) button (for Location 1) or the [H]
(Forward) button (for Location 2).
1Press the [MUTE] button (the lamp lights).
2Press any of the NUMBER [1] - [16] buttons to
select the track number to be muted.
ELEMENT/PERF. PART/ZONE
87654321
16MUTE
TRACK
SELECT
NUMBER
SOLO
15
141213
11
10
9
ELEMENT/PERF. PART/ZONE
87654321
16MUTE
TRACK
SELECT
NUMBER
SOLO
15
141213
11
10
9
ELEMENT/PERF. PART/ZONE
87654321
16MUTE
TRACK
SELECT
NUMBER
SOLO
15
141213
11
10
9
EDIT
COMPARESCENE STORE
SET LOCATE
JOBSTORESEQ TRANSPORT
LOCATE12
Specify a measure number
to be registered.
In this example, the selected measure
is assigned to Location 1. The current
settings for Locations 1 and 2 are
shown at the top right of the display.
SEQ TRANSPORT
LOCATE12
Playing the Demo Songs/Patterns
59
Owner’s Manual
Quick Guide — Playing the MOTIF ES
Song Chain
This function allows Songs to be “chained” together for
automatic sequential playback. In this section, try using the
Song Chain features with the Demo Songs.
From this display you can program and play your own custom
Song sequences.
Move the cursor to “001” by using the cursor buttons and
select the desired Song by using the Data Dial, or the [INC/
YES] and [DEC/NO] buttons. Likewise, assign the other
Songs to locations 002, 003, 004, and so on.
In addition, the following parameters can be set in the Song
Chain.
Move the cursor to the top of the Song Chain display, and
press the [F] (Play) button to start Song playback.
When the Song Chain programmed in step #2 reaches to the
end, playback stops automatically. Press the [■] (Stop) button
during playback to stop Song Chain playback.
nThe Song Chain can only be played back in the Song Chain display,
and not from any other display.
Parameters in the Pattern Play mode
Pattern Chain
Pattern Chain allows you to string several different Sections together to make a single Song.
About the Pattern Chain structure, see page 168. For information on how to create Pattern Chain data, see page 115.
1Press the [F6] CHAIN button to call up the Song
Chain display.
2Program the desired order of the Songs.
skipSkips past (ignores) the selected chain number and
continues playback from the next chain number.
stopStops Song Chain playback at that chain number. You
can restart Song Chain playback from the next chain
number by pressing the [F] (Play) button.
endIndicates the end mark of the Song Chain data.
3Play the Song Chain.
SEQ TRANSPORT
LOCATE12
01 : New Pattern A
Pattern track number and
track mute/solo status
When theFmark appears, pressing
any note on the keyboard starts
Pattern playback (page 57).
Track data status
Indicates a MIDI track (page 168) containing MIDI
sequence data.
Indicates a sample track (page 168)
containing a Sample Voice (page 173).
Indicates that the track has no
recorded data. (No Phrase is
assigned.)
Indicates soloed track (page 58).
Indicates muted track.
Measure : Beat
(for current playback location)
ARP1-ARP5
Use the [SF1] - [SF5] buttons to
call up the Arpeggio type
assigned to each button (page
123).
Tempo for the selected
Pattern
Time signature for the selected pattern
(You can change the value by moving
the cursor here and using the [INC/
YES]/[DEC/NO] buttons and data dial.)
Transpose setting
(for entire Pattern)
Pattern number
Currently
selected Pattern
and Section
Pattern numberSection
Playing the Keyboard (in the Voice Play mode)
60Owner’s Manual
Quick Guide — Playing the MOTIF ES
Playing the Keyboard (in the Voice Play mode)
The Voice Play mode is where you select and play the instrument sounds (voices) of this synthesizer.
Selecting a Voice
Selecting a Normal 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. In this section, we’ll show you how to select a Normal Voice.
You can select the desired Voice from various Voice Banks (Preset 1~6, User 1~2, GM preset, Plug-in 1~3) as shown below.
In this condition, playing the keyboard sounds the Voice indicated in the display.
The parameters shown in the Voice Play mode are briefly explained below.
nKeep in mind that the example displays shown in this manual are for instruction purposes only, and the contents (for example, the Voice name here) may
differ slightly from those on your instrument.
1Press the [VOICE] button to enter the Voice Play mode.
A. PIANOKEYBOARDORGAN
PRE 5PRE 6
PRE 1PRE 2PRE 3PRE 4
USER 1
GUITAR/
PLUCKED
USER 2
STRINGS
PLG 1
SLOT 1SLOT 2SLOT 3
BRASS
PLG 2
REED/PIPE
PLG 3
BASS
GM
Preset Bank
Contains the Voices
built into this
instrument.
User Bank
Contains the voices you create in
the Voice Edit mode.
Plug-in Bank
Available when Plug-in Boards have
been installed. See page 74.
GM Bank
Contains the voices allocated according to the
GM standard. For details, see page 160.
Voice Bank
USR1 : 001 (A01)Gt : MegaAcGtr
VOICEPERFORMMASTER
MODE
ARP1-ARP5
Use the [SF1] - [SF5] buttons to call
up the Arpeggio type assigned to
each button (page 66).
Indicates the Keyboard MIDI
transmit channel. See page
64 for details.
Indicates the Keyboard Octave
setting set via the [OCTAVE]
buttons. See page 63 for details.
Indicates the functions assigned to the respective Control
knobs. See page 81.
Bank
(selected via the
BANK buttons)
Number
(selected via the NUMBER
[1]-[16] buttons)
Group
(selected via the GROUP [A]-[H] buttons)
Voice Program number
(corresponding to Groups A to H and Numbers 01 to 16)
Bank and Voice Program number
Indicates the currently selected voice.
Category and Voice name
CategoryVoice name
Playing the Keyboard (in the Voice Play mode)
61
Owner’s Manual
Quick Guide — Playing the MOTIF ES
Select one of the Banks from Preset 1~6, User 1~2, and GM.
Voices in each Bank are divided into Groups [A] ~ [H]. Select
a Group to display the Voices that belong to the selected
Group.
Press one of the NUMBER [1] - [16] buttons.
Selecting a 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. In this
section, we’ll show you how to select a Drum Voice.
While holding the [DRUM KITS] button, press one of the
parameter is available for the Voice mode/Performance mode but not
for the Song mode/Pattern mode.
Using Controllers
Pitch Bend Wheel
Use the Pitch Bend wheel to bend notes up (roll the wheel
away from you) or down (roll the wheel toward you) while
playing the keyboard. This wheel is self-centering and will
automatically return to normal pitch when released. Try out the
Pitch Bend wheel while pressing a note on the keyboard.
nEach preset Voice has its own default Pitch Bend Range setting. The
Pitch Bend Range setting for each Voice can be changed in the
[VOICE] → [EDIT] → [COMMON] → [F1] GENERAL → [SF5] OTHER
display and stored as a User Voice in the Voice Store mode. From this
display you can also reverse the Pitch Bend function — so that moving
the wheel up lowers the pitch, and moving it down raises the pitch.
nFunctions other than Pitch Bend can be assigned to the Pitch Bend
Wheel in the [VOICE] → [EDIT] → [COMMON] → [F4] CTL SET
display. These assignment settings can be stored as a User Voice in
the Voice Store mode. Even if a different function is assigned to this
wheel, the Pitch Bend function is available and Pitch Bend messages
are still generated when the wheel is used.
nUsing the Pitch Bend wheel generates the same MIDI message to
extend devices, regardless of the assignments made in the Voice Edit
mode.
Modulation Wheel
Even though the Modulation wheel is conventionally used to
apply vibrato to the sound, many of the preset Voices have
other functions and effects assigned to the wheel. The more
you move this wheel up, the greater the effect that is applied
to the sound. Try out the Modulation wheel with various preset
voices while playing the keyboard.
nTo avoid accidentally applying effects to the current Voice, make sure
the Modulation Wheel is set to minimum before you start playing.
n
Various functions can be assigned to the Modulation Wheel in the [VOICE]
→ [EDIT] → [COMMON] → [F4] CTL SET display. These assignment
settings can be stored as a User Voice in the Voice Store mode.
nUsing the Modulation wheel generates the same MIDI message to
external devices, regardless of the assignments made in the Voice
Edit mode.
SCENESF1SF2SF3SF4SF5
F1F2F3F4F5F6
INFORMATION
CAUTION
CAUTION
ELEMENT/PERF. PART/ZONE
87654321
16MUTE
TRACK
SELECT
NUMBER
SOLO
15
141213
11
10
9
Pitch Up
Pitch Down
Pitch Bend Wheel
Maximum
Minimum
Modulation Wheel
Playing the Keyboard (in the Voice Play mode)
65
Owner’s Manual
Quick Guide — Playing the MOTIF ES
Ribbon Controller
The Ribbon Controller is touch sensitive, and is controlled by
running your finger laterally across the surface. Various
function are assigned to each preset Voice.
Try out the Ribbon Controller with various preset Voices while
playing the keyboard.
nYou can set the Ribbon Controller to control different functions on
connected external MIDI devices from the functions assigned for the
instrument itself. You can also determine whether the Ribbon
Controller value returns to the center, or stays at the point where you
released your finger. Both of these setting can be made in the Utility
mode ([UTILITY] → [F3] VOICE → [SF4] CTL ASN).
Knobs (KN)
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. For each preset
Voice, various functions are assigned to four knobs. Try out
these knobs with various preset Voices while playing keyboard.
You can change which particular group of functions or
parameters the knobs are assigned to by pressing any of the
[KNOB CONTROL FUNCTION] buttons. For details, see page
81.
nIn certain situations, using the knobs may not result in any change in
the sound. For more information, refer to page 50 in the Basic
Operation section.
Edit Indicator
Tweaking the knobs in the Voice mode directly changes
the parameters of the Voice. When any of the Voice
parameters are changed, the [E] (Edit) Indicator
appears in the top left of the display. This indicates that
the current voice has been modified but not yet stored.
If you’re satisfied with the tweaks you made and the
resulting sound, you can store the changes as a User
Voice in the Voice Store mode (page 85).
If you select another Voice during editing, the [E] (Edit) indicator will
disappear and all your edits will be lost.
It is a good idea to store the edited Voice data from the Voice Store
mode (page 85). Even if you lose the edited Voice data, you can
restore it by using the Edit Recall function (page 82).
Control Sliders
In the Voice mode, the four Control Sliders let you
independently adjust the levels of the Elements of a
Normal Voice or the Drum Voice keys. When Normal
Voice is selected, you can adjust the volume balance
among the four Elements.
nInadvertent use of the sliders may result in no sound. If this
occurs, move the sliders upward.
SWING
LOW
KN 1
CUTOFF
PAN
ASSIGN A
GATE TIME
RESONANCE
REVERB
ASSIGN B
VELOCITY
ATTACK
CHORUS
ASSIGN 1
UNITMULTIPLY
RELEASE
TEMPO
ASSIGN 2
LOW MID
KN 2
HIGH MID
KN 3
HIGH
KN 4
Edit Indicator
CAUTION
ZONE 1
CS 1
VOLUME 1
ZONE 1
VOLUME 1
ZONE 1
VOLUME 1
ZONE 1
VOLUME 1
ZONE 1
CS 1
VOLUME 1VOLUME 2VOLUME 3VOLUME 4
CS 2
ZONE 2
CS 3
ZONE 3
CS 4
ZONE 4
Quick Guide — Playing the MOTIF ES
Playing the Keyboard (in the Voice Play mode)
66Owner’s Manual
Using the Arpeggio feature
This function lets you trigger rhythm patterns, riffs and phrases using the current Voice by simply playing notes on the keyboard.
Since the preset Voices already have their own Arpeggio types pre-assigned, all you need to do is select the desired Voice and
turn on the Arpeggio function. Try selecting different Voices and check out the various Arpeggio types.
nFor details about Arpeggio, see page 169.
For certain Voices, simply selecting the Voice will turn Arpeggio on.
The particular rhythm pattern or phrase that plays depends on the
actual notes or chords you play, as well as on the selected Arpeggio
type. For details, refer to page 169 in the Basic Operation section.
■ Changing the Arpeggio type during keyboard
performance
A different Arpeggio type is assigned to each of the [SF1] ARP1 -
[SF5] ARP5 buttons for each preset Voice. When a musical note icon
appears to the right of each Arpeggio number in the display (see
below), the corresponding button is assigned an Arpeggio type. Try
out various Arpeggio types by pressing the [SF1] - [SF5] buttons.
You can confirm the currently selected Arpeggio type in the [F6] ARP
display.
Register your favorite Arpeggio types to the [SF1] - [SF5] buttons
You can change the default settings and assign any Arpeggio
types you like to the [SF1] - [SF5] buttons. The selected
Arpeggio indication is highlighted in white. If two buttons
share the same type, both will appear in white. The settings
can be stored as a User Voice in the Voice Store mode.
1Press the [ARPEGGIO ON/OFF] button to turn
Arpeggio on.
2Select the desired Arpeggio type in the [VOICE] →→
→→
[F6] ARP display.
3While holding the [STORE] button, press one of
the [SF1] - [SF5] button.
The currently selected Arpeggio type is assigned to
the pressed button. If you execute this operation with
the [ARPEGGIO ON/OFF] lamp off, no Arpeggio type
will be assigned to the pressed button.
4Repeat steps #2 - 3 as necessary.
5Press and release the [STORE] button to enter the
Voice Store mode and store the setting as a User
Voice (page 85).
nKeep in mind that holding and releasing the [STORE] button
WITHOUT pressing one of the [SF1] - [SF5] buttons will
automatically enter the Voice Store mode, instead of storing the
Arpeggio type.
■
Controlling Arpeggio playback by using the knobs
You can adjust the Arpeggio related parameters such as volume
and tempo by rotating the knobs. If you are satisfied with the results,
you can store the changes as a User Voice in the Voice Store mode.
Selecting some voices automatically turns this lamp on.
For details on what functions each knob controls while the
[ARP FX] lamp is on, see page 81.
1Press the [ARPEGGIO ON/OFF] button to turn
Arpeggio on.
2Play a note or notes on the keyboard to trigger
the Arpeggio playback.
BankIndicates “pre (preset)” or “usr (user).”
CtgrSee page 169.
TypeRefer to the separate Data List booklet.
REMOTEARPEGGIO
ON/OFFON/OFF
R-AUDIO
G-MIDI
SF 1SF 2SF 3SF 4SF 5
Arpeggio type currently selected
1Press the KNOB CONTROL FUNCTION [ARP FX]
button (the lamp lights).
2Tweak the knobs while the Arpeggio is playing.
3If you’re satisfied with the results, you can store
the changes as a User Voice in the Voice Store
mode (page 85).
SWING
LOW
KN 1
KNOB
CONTROL
FUNCTION
ARP FX
EQ
TONE
ASSIGN
PAN/SEND
CUTOFF
PAN
ASSIGN A
GATE TIME
RESONANCE
REVERB
ASSIGN B
VELOCITY
ATTACK
CHORUS
ASSIGN 1
UNITMULTIPLY
RELEASE
TEMPO
ASSIGN 2
LOW MID
KN 2
HIGH MID
KN 3
HIGH
KN 4
Playing the Keyboard (in the Performance Play mode)
67
Owner’s Manual
Quick Guide — Playing the MOTIF ES
Playing the Keyboard (in the Performance Play mode)
As in the Voice Play mode, the Performance Play mode is where you select and play the instrument sounds of this synthesizer.
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.
Selecting a Performance
128 Performances (1 bank) are provided in internal User memory (Flash ROM). In the Performance Play mode, you can select
and play individual User performances. Since there is only one bank for Performances, you need not select a Performance Bank.
In this condition, playing the keyboard sounds the Performance indicated in the display.
The parameters shown in the Performance Play mode are briefly explained below.
nKeep in mind that the example displays shown in this manual are for instruction purposes only, and the contents (for example, the Performance name here)
may differ slightly from those on your instrument.
Performances are divided into Groups [A] ~ [H]. Select a
Group to show a list of the Performances.
Press one of the NUMBER [1] - [16] buttons.
1Press the [PERFORM] button to enter the Performance Play mode.
USER : 001 (A01)Ap : New Peform
VOICEPERFORMMASTER
MODE
Indicates the Keyboard MIDI
transmit channel. See page 68 for
details.
Indicates the Keyboard Octave
setting set via the [OCTAVE]
buttons. See page 68 for details.
Indicates settings related to the Control knobs.
See page 90.
Number
(selected via the NUMBER
[1]-[16] buttons)
Bank and Performance Program number
Indicates the currently selected Performance.
Category and Performance name
CategoryPerformance name
Bank
ARP1-ARP5
Use the [SF1] - [SF5] buttons to call
up the Arpeggio type assigned to
each button (page 70).
Group
(selected via the GROUP [A]-[H] buttons)
Performance Program number
(corresponding to Groups A to H and Numbers 01 to 16)
2Select a Performance Group.
SYN LEAD
ABCDEFGHSECTIONGROUP
SYN PAD/
CHOIRSYN COMP
CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SEMUSICAL FXCOMBI
GroupPerformance
3Select a Performance Number.
ELEMENT/PERF. PART/ZONE
87654321
16MUTE
TRACK
SELECT
NUMBER
SOLO
15
141213
11
10
9
Quick Guide — Playing the MOTIF ES
Playing the Keyboard (in the Performance Play mode)
68Owner’s Manual
Using the [INC/YES], [DEC/NO] buttons and data dial
Rather than using the BANK/NUMBER buttons
described in steps #2 and 3 above, you can select a
Performance by using the [INC/YES], [DEC/NO] buttons
and data dial.
Performance Part mute/solo
Each performance can contain a maximum of four Parts, each
of which can be turned on or off independently.
Muting and soloing of Parts is done in the same way as that of
tracks in a Song/Pattern. See page 58.
Using the Category Search function
As in the Voice Play mode, you can use the Category Search
and Favorite Category functions in the Performance Play
mode. For details on how to use the function, see page 62.
Keyboard octave setting
(MOTIF ES6/MOTIF ES7)
As in the Voice Play mode, you can use the [OCTAVE UP/
DOWN] button to shift the note of the keyboard up or down in
octaves.
nThe Octave setting made here is automatically reflected in the
identical Octave parameter in the Utility mode ([UTILITY] → [F1]
GENERAL → [SF2] KBD → Octave). This setting is available in all
modes.
Transpose setting of the keyboard
As in the Voice Play mode, you can set the amount in
semitones by which the range of the keyboard is shifted
up or down in the Utility mode.
nThe transpose setting is available in all modes.
Keyboard MIDI transmit channel
setting
As in the Voice Play mode, you can change the MIDI transmit
channel for the keyboard. Press the [TRACK SELECT] button
(the lamp lights), then press the appropriate NUMBER button
([1] - [16]). The transmit channel setting is shown at the top
right of the display.
nYou can also set the MIDI keyboard transmit channel from the Utility
parameter is available for the Voice mode/Performance mode but not
for the Song mode/Pattern mode.
4Play the keyboard.
DEC/NOINC/YES
Decreases numberIncreases number
Decreases numberIncreases number
ELEMENT/PERF. PART/ZONE
87654321
16MUTE
TRACK
SELECT
SOLO
15
141213
11
10
9
TIP
Playing the Keyboard (in the Performance Play mode)
69
Owner’s Manual
Quick Guide — Playing the MOTIF ES
Using Controllers
Pitch Bend Wheel
This is basically the same as in the Voice Play mode (page
64).
nThe Pitch Bend Range setting depends on the setting (made in the
Voice mode) of the Voice assigned to each Part.
nThe functions assigned to the Pitch Bend Wheel depend on the setting
(made in the Voice mode) of the Voice assigned to each Part.
nEven if a different function is assigned to the wheel, Pitch bend is still
available and Pitch Bend messages are still generated when the
wheel is used.
Modulation Wheel
This is basically the same as in the Voice Play mode (page
64).
nTo avoid accidentally applying effects to the current Voice, make sure
the Modulation Wheel is set to minimum before you start playing.
nThe functions assigned to the Modulation Wheel depend on the
settings (made in the Voice mode) of the Voice assigned to each Part.
nUsing the Modulation wheel generates the same MIDI message to
external devices, regardless of the assignments made in the Voice
Edit mode.
Ribbon Controller
This is basically the same as in the Voice Play mode (page
65).
nThe functions assigned to the Ribbon Controller depend on the
settings (made in the Voice mode) of the Voice assigned to each Part.
nYou can set the Ribbon Controller to control a different functions on
connected external MIDI devices from the functions assigned for the
Performance on the instrument itself. You can also determine whether
the Ribbon Controller value returns to the center for each
Performance, or stays at the point where you released your finger.
Both of these setting can be made in the Performance Edit mode
([PERFORM] →Performance selection → [EDIT] → COMMON → [F4]
CTL ASN).
Knobs (KN)
These knobs let you change various aspects of the
Performance sound in real time – while you play. Turn a knob
to the right to increase the value, and left to decrease it. For
each Performance, various functions are assigned to four
knobs. Try out these knobs with various Performances while
playing the keyboard.
You can change which particular group of functions or
parameters the knobs are assigned to by pressing any of the
[KNOB CONTROL FUNCTION] buttons. For details, see page
90.
nIn certain situations, using the knobs may not result in any change in
the sound. For more information, refer to page 50 in the Basic
Operation section.
Edit Indicator
Tweaking the knobs in the Performance mode directly
changes the parameters of the Performance. When any
of the Performance parameters are changed, the [E]
(Edit) Indicator appears in the top left of the display. This
indicates that the current Performance has been
modified but not yet stored.
If you’re satisfied with the tweaks you made and the
resulting sound, you can store the changes as a User
Performance in the Performance Store mode (page 91).
If you select another Performance during editing, the [E] (Edit)
indicator will disappear and all your edits will be lost. It is a good
idea to store the edited Performance data from the Performance
Store mode (page 91). Even if you lose the edited Performance data,
you can restore it by using the Edit Recall function (page 91).
When shipped from the factory, this synthesizer contains a full set
of specially programmed 128 User Performances in the User bank.
You can edit and store these Performances and overwrite them in
the Performance Store mode. You can also restore them to the
original factory presets by pressing the [ENTER] button in the
[UTILITY] →→
→→ [JOB] display (page 44).
Control Sliders
In the Performance mode, the four Control Sliders let
you independently adjust the levels of the Parts of a
Performance. You can adjust the volume balance
among four parts.
nInadvertent use of the sliders may result in no sound. If this
occurs, move the sliders upward.
nIn certain situations, using the Control Sliders may not result in
any change in the sound. For more information, refer to page
50 in the Basic Operation section.
Edit Indicator
CAUTION
CAUTION
ZONE 1
CS 1
VOLUME 1
ZONE 1
VOLUME 1
ZONE 1
VOLUME 1
ZONE 1
VOLUME 1
ZONE 1
CS 1
VOLUME 1VOLUME 2VOLUME 3VOLUME 4
CS 2
ZONE 2
CS 3
ZONE 3
CS 4
ZONE 4
Playing the Keyboard (in the Performance Play mode)
70Owner’s Manual
Quick Guide — Playing the MOTIF ES
Using the Arpeggio feature
As in the Voice mode, you can use the Arpeggio feature in the Performance mode.
In the Performance mode, you can make independent Arpeggio playback settings for each Part of the Performance — including
the on/off setting, as well as the Arpeggio type and related parameters. This means you can set the Performance such that any
or all Parts can be used to trigger Arpeggio playback. A useful application of this would be to assign a Drum Voice to one Part
and use Arpeggio playback on only that Part — so that you can have a rhythm pattern accompaniment playing while you play
another Voice.
Since the preset Performances already have their own Arpeggio types pre-assigned, all you need to do is select the desired
Performance and turn on the Arpeggio function. Try selecting different Performances and check out the various Arpeggio types.
nDifferent Arpeggio types cannot be played back for each Part.
nFor details about Arpeggio, see page 169.
■ Changing the Arpeggio type during your performance
As in the Voice Play mode (page 66), the Performance play mode lets you use the [SF1] - [SF5] buttons to assign the Arpeggio
types and recall them.
The Arpeggio type for the current Performance can be selected in the [PERFORM] → [F6] ARP display or the [PERFORM] →
[EDIT] → [COMMON] → [F3] ARP display.
If you assign the desired Arpeggio type to the [SF1] - [SF5] buttons, store the settings as a User Performance in the Performance
Store mode (page 91).
■ Controlling Arpeggio playback by using the knobs
You can tweak Arpeggio related parameters such as volume and tempo by using the knobs. If you’re satisfied with the tweaks
you made and the resulting sound, you can store the changes as a User Performance in the Performance Store mode.
For information on using the knobs, refer to the Voice Play mode (page 66).
Assigning desired Voices to each part
Performances can be made up of a maximum of four Parts (Voices), selected from the internal tone generator Parts 1 - 4 and
Plug-in board Parts 1 - 3.
You can create a Performance by layering several Voices together, and by assigning different Voices to separate ranges of the
keyboard. You can then store up to 128 of your original, edited Performances to internal User memory.
1234
PLG1PLG2PLG31234PLG1PLG2PLG3
Built-in tone
generator Parts
Layer (example)Split (example)
Plug-in Parts*
*Available when the Plug-in
Board has been installed.
Built-in tone
generator PartsPlug-in Parts*
Playing the Keyboard (in the Performance Play mode)
71
Owner’s Manual
Quick Guide — Playing the MOTIF ES
This calls up a list indicating which Voice is assigned to each
Part of the current Performance.
Move the cursor to the desired Part. When a Voice has
already been assigned to the selected Part, change the Voice
Bank or Number by using the data dial, the [INC/YES] and the
[DEC/NO] button. When no Voice is assigned to the selected
Part, press the [SF1] ADD INT button or [SF2] ADD PLG
button to execute the assignment, then change the Voice
Bank or Number.
You can also select a Voice Bank/Number by using the BANK,
GROUP, and NUMBER buttons (page 60).
nVoices of the Multi part Plug-in Board PLG100-XG cannot be assigned
to Performance parts.
When an internal Voice is assigned to a Part, the following
Voice Banks are available.
When a Plug-in Board Voice is assigned to a Part, the
available Voice Banks differ depending on the installed Plug-
in Board. For details, refer to the Owner’s Manual that came
with the Plug-in Board.
You can set the lowest note of the range over which the Voice
of the selected Part sounds by simultaneously holding the
[SF4] button and pressing the desired key. To set the highest
note of the range, simultaneously hold the [SF5] button and
press the desired key.
Press the [STORE] button to enter the Performance Store
mode, select the destination Performance number, then press
the [ENTER] button to execute the store operation. For details
about Performance Store, see page 91.
1Press the [F2] VOICE button in the Performance
Play mode.
2Assign the desired Voice to each Part.
SCENESF1SF2SF3SF4SF5
F1F2F3F4F5F6
INFORMATION
SCENESF1SF2SF3SF4SF5
F1F2F3F4F5F6
INFORMATION
DEC/NOINC/YES
Select a Voice
Bank/Number at
the cursor location.
Voice BankVoice Number
Assign an internal Voice
to the selected Part.
Delete the Voice assignment of the
selected Part.
Assign a Plug-in Voice to the selected Part.
(Available when the Plug-in Board has been installed.)
PRE1 (Preset1) ~
PRE6 (Preset 6)Preset Banks 1 - 6 of the Normal Voice. These
correspond to the [PRE1] - [PRE6] buttons in the Voice
mode.
USER1 ~ USER2User Banks 1 - 2 of the Normal Voice. These correspond
to the [USER1] - [USER2] buttons in the Voice mode.
GMGM Normal Voice Bank. This corresponds to the [GM]
button in the Voice mode.
PDR (Preset Drum)Preset Bank of the Drum Voice. This corresponds to
pressing the [DRUM KITS] button and the [PRE5] button
simultaneously.
GMDR (GM Drum)GM Drum Voice Bank. This corresponds to pressing the
[DRUM KITS] button and the [GM] button simultaneously.
UDR (User Drum)User Bank of the Drum Voice. This corresponds to
pressing the [DRUM KITS] button and the [USER1]
button simultaneously.
3Specify the note range of each part, as required.
4Change the volume of each Part and adjust the
relative balance among the four Parts by using
the Control sliders.
5Store the settings as a User Performance in the
Performance Store mode.
SF 4SF 5
Note Limit LowNote Limit High
Quick Guide — Playing the MOTIF ES
Playing the Keyboard (in the Performance Play mode)
72Owner’s Manual
Using the A/D input sound
One of the enormous benefits of the Performance mode is that you can have the A/D input sound — such as your voice through
a microphone, a guitar, bass, or CD player — assigned as one of the four Parts of a Performance. Various Part parameters such
as volume, pan, and effects can be set for this Part, and the sound of the Part is mixed and output together with the other Parts.
These parameters are set and stored in the Performance Store mode for each Performance.
nThe Audio Input part is available also in the Song mode/Pattern mode, but is not available in the Voice mode. The procedure andexplanations here apply to
the Song and Pattern modes as well. The microphone related parameters (corresponding to step #8 below) of each Song/Pattern are edited in the Song
Mixing mode/Pattern Mixing mode.
Connecting a microphone to the A/D
INPUT jack
The explanation below applies in particular to low-level
equipment, such as microphones, guitars and basses.
nA standard dynamic microphone is recommended. (The MOTIF ES
does not support phantom-powered condenser microphones.)
Move the cursor to the “Mic/Line” parameter by using the
Cursor button and set it to “mic” by using the [INC/YES]
button, [DEC/NO] button, or data dial.
nWhen the output level of the connected equipment (such as a
microphone, guitar, bass) is low, set this parameter to “mic.” When the
output level of the connected equipment (such as a synthesizer
keyboard, CD player) is high, set this parameter to “line.”
nThis setting is available for all modes. If you wish to store this setting,
press the [STORE] button.
1Make sure to turn the power of the MOTIF ES off
and set the GAIN knob on the rear panel to the
minimum.
2Plug the microphone to the A/D INPUT jack on
the rear panel.
3Turn the power on.
4Press the [PERFORM] button to enter the
Performance Play mode and select the desired
Performance.
A/D INPUT
LRGAIN
5Press the [UTILITY] button to enter the Utility
mode, press the [F2] I/O button, then press the
[SF1] INPUT button.
6Set Mic/Line to “mic.”
SONGPATTERNFILE
SEQUENCER
INTEGRATED
SAMPLINGMIXINGUTILITY
DEMO
SCENESF1SF2SF3SF4SF5
F1F2F3F4F5F6
INFORMATION
Playing the Keyboard (in the Performance Play mode)
73
Owner’s Manual
Quick Guide — Playing the MOTIF ES
For details about each parameter, refer to page 214 in the
Reference section.
Connecting audio equipment to the A/D
INPUT jack
The explanation below applies in particular to high-level audio
equipment, such as CD players, synthesizers, and other
keyboards.
Move the cursor to the “Mic/Line” parameter by using the
Cursor button and set it to “line” by using the [INC/YES]
button, [DEC/NO] button, or data dial.
nWhen the output level of the connected equipment (such as a
microphone, guitar, bass) is low, set this parameter to “mic.” When the
output level of the connected equipment (such as a synthesizer
keyboard, CD player) is high, set this parameter to “line.”
nThis setting is available for all modes. If you wish to store this setting,
press the [STORE] button.
For details about each parameter, refer to
page 214
in the
Reference section. When an optional AIEB2 or mLAN16E has
been installed, press the [SF5] button to call up the A/D display.
nAudio input signals from the OPTICAL INPUT and DIGITAL INPUT
connector (when the optional AIEB2 has been installed) or the mLAN
connector (when the optional mLAN16E has been installed) can also
be handled as Audio Input Parts. For details, see page 165.
7Adjust the microphone input level by using the
GAIN knob on the rear panel.
8
Set the audio input related parameters as
necessary from the AUDIO IN display ([PERFORM]
→→
→→ [EDIT] →→
→→ [COMMON] →→
→→ [F5] AUDIO IN).
9Store the settings as a User Performance in the
Performance Store mode (page 91).
1Make sure to turn off the power of both the
MOTIF ES and the relevant audio equipment.
2Plug the audio equipment cable to the A/D INPUT
jack on the rear panel.
3Switch the power of the connected audio
equipment on, then switch the power of the
MOTIF ES on.
A/D INPUT
LRGAIN
When the optional AIEB2 or mLAN16E has been installed,
the [F5] AUDIO IN menu has two indications: “A/D” and
“AIEB2” or “mLAN16E.” Here, call up the A/D display by
pressing the [SF5] button.
A/D INPUT
LR
LR
GAIN
4Press the [PERFORM] button to enter the
Performance Play mode and select the desired
Performance.
5Press the [UTILITY] button to enter the Utility
mode, press the [F2] I/O button, then press the
[SF1] INPUT button.
6Set Mic/Line to “line.”
7Adjust the audio input level by using the GAIN
knob on the rear panel.
8
Set the audio input related parameters as
necessary from the AUDIO IN display
([PERFORM] →→
→→ [EDIT] →→
→→ [COMMON] →→
→→ [F5]
AUDIO IN).
9Store the settings as a User Performance in the
Performance Store mode (page 91).
A/D INPUT
LR
LR
GAIN
Quick Guide — Playing the MOTIF ES
Using the Plug-in Board
74Owner’s Manual
Using the Plug-in Board
Plug-in Boards give you an enormous amount of additional sonic flexibility and power. When installed, they work seamlessly and
transparently within the system of this synthesizer – meaning that you can use their sounds and functions just as if they were built
right into this synthesizer at the factory.
The boards that are available for and can be installed to this synthesizer are described below.
Up to three Plug-in boards can be installed to the MOTIF ES. These boards are not simply a source of more Voices; they are also
full-featured, editable tone generators in their own right and extend the system-level specifications such as maximum polyphony.
In addition, they allow you to use synthesis systems besides AWM2. You can play Plug-in Voices just like ordinary internal Voices
and use them as Parts in a Song/Pattern/Performance.
This synthesizer is compatible with the Modular Synthesis Plug-in System (see below).
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 sophisticated synthesizer and effects technology, allowing you to keep pace with the rapid and multi-faceted
advances in modern music production.
Available Plug-in Boards
There are three types of Modular Synthesis Plug-in System-compatible Plug-in Boards: Single Part, Multi-Part and Effect Plug-in
Board. Using these, you can build your own system based on the sounds you require.
Single Part Plug-in Boards
Single Part Plug-in Boards let you add a completely different
synthesizer or single timbre tone generator (page 162) and
play its voices by using a single part of this synthesizer. Some
boards allow you to use synthesis systems besides AWM2.
ASSIGN AAdjusts parameters assigned to these knobs in the [UTILITY] → [F4] CTL ASN → [SF2] ASSIGN display. Page 263
ASSIGN B
ASSIGN 1Depends on the settings of the Voice assigned to the selected Performance.Page 192
ASSIGN 2
TIP
Quick Guide — Advanced Course
Editing a Performance
91
Owner’s Manual
Editing a Performance by using the Con-
trol Sliders (CS)
In the Performance mode, the four Control Sliders let you
independently adjust the levels of the Parts (Voices), letting you
control the overall balance of the Parts.
nInadvertent use of the sliders may result in no sound. If this
occurs, move the sliders upward.
Edit Recall
If you are editing a Performance and select a different
Performance without storing the one you were editing, all the edits
you’ve made will be erased. If this happens, you can use Edit
Recall to restore the Performance with your latest edits intact.
1Press the [JOB] button in the Performance mode to
enter the Performance Job mode.
2
Press the [F2] RECALL button to call up the Recall display.
3Press the [ENTER] button. (The display prompts you
for confirmation.)
If you wish to cancel the operation, press the [DEC/NO]
button.
4
Press the [INC/YES] button to execute the Edit Recall
to restore the Performance.
Storing/Saving the created Performance
Two steps are necessary in order to store (save) your Performance – storing the edited Performance to internal memory and saving the stored
Performances to a SmartMedia/USB storage device.
Keep in mind that edited Performance data is stored to internal User memory (Flash ROM) and is stored even when turning the power off. As
such it is not necessary to save the data to SmartMedia card or another device; however, you may want to save it to another media for backup or
organizational purposes, using the Save operation.
Storing the edited Performance as a User Performance to internal memory
Make sure to execute the Store operation before selecting another
Performance.
Select a Performance number by using the data dial, [INC/YES] and
[DEC/NO] button.
When you execute the Store operation, the settings for the destination
memory will be overwritten. Important data should always be backed up to
a separate SmartMedia/USB storage device.
The display prompts you for confirmation.
To cancel the Store operation, press the [DEC/NO] button.
[PERFORM] →→
→→Performance selection →→
→→ [EDIT] →→
→→
Part selection →→
→→ [F2] OUTPUT →→
→→ [SF1] VOL/PAN
→→
→→ Volume
TIP
Performance Edit
STORESAVEUSB storage
device
SmartMedia
Performance 001
Performance 002
Performance 003
Performance 128
Internal memory
(Flash ROM)
Storing edited
Performances individually
All the User
Performance data in
internal memory can
be saved as a single
file. File extension: W7A
[PERFORM] → [STORE]
1
After editing the Performance, press the [STORE]
button to enter the Performance Store mode.
2Select the destination Performance memory.
3Press the [ENTER] button.
CAUTION
EXITENTER
EXECUTE
Editing a Performance
92Owner’s Manual
Quick Guide — Advanced Course
After the Performance has been stored, a “Completed” message
appears and operation returns to the Performance Play display.
Keep in mind that the Store operation may take a short time to complete,
during which an “Executing..” or “Please keep power on” message may be
shown. Never attempt to turn off the power while data is being written to
Flash ROM while such a message is displayed. Turning the power off in this
state results in loss of all user data and may cause the system to freeze (due
to corruption of data in the Flash ROM). This may also result in the MOTIF ES
being unable to properly start up the next time the power is turned on.
If you select another Performance without storing, the currently edited
Performance will be lost. Make sure to store the edited Performance before
selecting another Performance.
Saving the edited Performances to a
SmartMedia/USB storage device
Whether you are saving data to SmartMedia or a USB storage
device, the procedure is the same. Insert a SmartMedia card
(to the CARD slot) or connect the USB device and follow the
instructions below.
Refer to “Basic settings for using SmartMedia or a USB
storage device” on page 30.
Move the cursor to TYPE, then select a file type by using the
data dial, [INC/YES] and [DEC/NO] buttons. When Type is set
to “All,” execute the Save operation to save all the created
data, including the Performances as well as the Voices
assigned to them, as a single file (extension: W7A).
Move the cursor to the file name input location, then input a
file name. For detailed instructions on naming, refer to page
53 in the Basic Operation section.
If you are about to overwrite an existing file, the display
prompts you for confirmation. Press the [INC/YES] button to
execute the Save operation to overwrite the existing file, or
press the [DEC/NO] button to cancel it.
While the data is being saved, make sure to follow these precautions:
•Never remove or eject the media from the device (SmartMedia or USB
storage).
•Never unplug or disconnect any of the devices.
•Never turn off the power of the MOTIF ES or the relevant devices.
■ Loading the Performance data from the
SmartMedia/USB storage device
In the previous section, we saved Performance data as an
“All” file (extension: W7A) to a SmartMedia card or USB
storage device. Here, we’ll recall that Performance data and
load it to the instrument with the Load operation.
Refer to “Basic settings for using SmartMedia or a USB
storage device” on page 30.
4Press the [INC/YES] button to execute the Store
operation.
[FILE] → [F2] SAVE
1Press the [FILE] button to enter the File mode,
then execute the basic settings.
2Press the [F2] SAVE button to call up the Save
display.
3Set the Type parameter to “All.”
EXITENTER
EXECUTE
DEC/NOINC/YES
CAUTION
CAUTION
4Input a file name.
5Press the [ENTER] button to execute the Save
operation.
[FILE] → [F3] LOAD
1Press the [FILE] button to enter the File mode,
then execute the basic settings.
2Press the [F3] LOAD button to call up the Load
display.
File name
EXITENTER
EXECUTE
DEC/NOINC/YES
CAUTION
Editing a Performance
93
Owner’s Manual
Quick Guide — Advanced Course
The file saved in operation explained on the previous page contains all the Performances.
If you wish to load all the Performances, set Type to “All.” In this case, all data that can be created on the MOTIF ES will be
loaded in step #5 below. If you wish to load only a specific Performance, set Type to “Performance.”
When Type (file type) is set to “All” and the Load operation is executed, all data that can be created on the instrument will be loaded. This means that any
existing data in User memory will automatically be overwritten and lost. Make sure to save any important data to a SmartMedia/USB storage device before
performing the Load operations, especially when Type is set to “All.”
nWhen Type (file type) is set to “Performance” and the Load operation is executed, the sound of the Performances may not be reproduced properly if the
User Voices assigned to the Performances saved in the file have been changed by editing.
Move the cursor to the file (extension: W7A) saved in the operation explained on the previous page. If you set the Type
parameter to “All” in step #3, go to step #5. If you set the Type parameter to “Performance” in step #3, execute the operations in
the following box, then go to step #5.
When Type is set to “Performance”:
When Type is set to “Performance,” you can specify and load a specific Performance from a file (with the extension W7A).
Loading data to this synthesizer automatically erases and replaces any existing data in the User memory. Make sure to save any important data to a
SmartMedia/USB storage device before performing any Load operations.
After the data has been loaded, a “Completed” message appears and operation returns to the original display.
While the data is being saved, make sure to follow these precautions:
•Never remove or eject the media from the device (SmartMedia or USB storage).
•Never unplug or disconnect any of the devices.
•Never turn off the power of the MOTIF ES or the relevant devices.
3Select the file type to be loaded.
4Select a file () to be loaded.
5Press the [ENTER] button to execute the Load operation.
SmartMedia/USB storage device
Performance 001
Performance 002
Performance 003
Performance 128
File extension: W7A
Internal Memory
(Flash ROM)
Performance 001
Performance 002
Performance 003
Performance 128
Loading a specific
Performance when Type
is set to “Performance.”
All Performances are
loaded when Type is set
to “All.”
CAUTION
ENTER
EXECUTE
ENTER
EXECUTE
Move the cursor to the file (extension:
W7A) saved in the operation
explained on the previous page.
All the Performances contained in
the selected file are listed on the
display. Move the cursor to the
desired Performance.
Select the desired
Performance to be loaded.
Select the destination Performance number.
CAUTION
CAUTION
Creating a Voice by using the Sampling function
94Owner’s Manual
Quick Guide — Advanced Course
Creating a Voice by using the Sampling function
Sampling is a powerful function that lets you bring your own recorded sounds – your voice, an instrument, rhythms, special
sound effects, etc. – into the system of this synthesizer, and play those sounds just like any other voices. These sounds, the
audio data you capture with the Sampling function, are referred to as “Samples.”
The data you create by Sampling differs depending on which mode you enter the Sampling mode from — the Voice/
Performance mode or the Song/Pattern mode. In this section, we’ll describe how to use the Sampling function from the Voice/
Performance mode in creating a User Voice.
nSee page 173 for instructions on using the Sampling function in the Song mode/Pattern mode.
In order to use the Sampling function, DIMM modules must be installed to the instrument. For details on installing DIMMs, see page 289.
Depending on the size of the audio (sample) data obtained via the Sampling function, you may not be able to save all of the desired data to a SmartMedia
card (maximum capacity: 128MB). For this reason, we recommend using a large-capacity USB storage device for your Sampling data.
Sampling your voice with a microphone and creating a Normal Voice
Follow steps #1 - 8 on page 72.
Type: sample
Source:A/D
Next:off
Mono/Stereo:L mono
Frequency:44.1k
For details about each parameter, see page 251.
nIf the Voice parameter above is set to “off,” you won’t be able to play
the sampled sound as a Voice after completing this operation.
However, you can call up the sampled sound by selecting a
Waveform. For details on how to select a Waveform, see .
1Connect a microphone to the instrument.
2Press the [INTEGRATED SAMPLING] button in
the Voice mode or Performance mode to enter
the Sampling mode.
3Press the [F2] SOURCE button to call up the
display for setting the Sampling Source, then set
the parameters as shown below.
VOICE
SONG
PERFORMMASTER
PATTERNFILE
MODE
SEQUENCER
INTEGRATED
SAMPLINGMIXINGUTILITY
DEMO
4Press the [F1] DEST button to call up the display
for setting the Sampling Destination, then set the
parameters as described below.
WaveformDetermines the Waveform number. Select a number
which has no data ([--- : -----------] is indicated). For
details about the Waveform, see page 173.
KeybankHere, set this parameter to “C3.” After the Sampling is
completed, you can hear the sampled sound by
pressing the note set here. For details about the
Keybank, see page 173.
PartThis is available when entering the Sampling mode
from the Performance mode. This parameter
determines the Performance Part to which the Voice
(below) created by sampling is assigned.
VoiceSet the Bank to “USR1” or “USR2” (one of the User
Normal Voice Banks), then select a User Normal Voice
Number. After the Sampling is completed, you can hear
the created Voice by selecting the Voice number set
here.
Quick Guide — Advanced Course
Creating a Voice by using the Sampling function
95
Owner’s Manual
●Setting the Confirm function
When the [F2] CONFM (Confirm function) is turned on ( is
indicated), you can easily listen back to your just-recorded
sample and conveniently re-record it if you’re not satisfied
with the results. Here, set the [F2] CONFM button on.
●Setting the Trigger mode
The Trigger mode lets you determine how the Sampling
actually starts. For example, you can start the Sampling
simply by pressing the button or when the Song/Pattern
playback reaches a specified point. Here, set the TrggrMode
(Trigger mode) to “level” which lets you start sampling as
soon as the microphone level exceeds the specified Trigger
Level.
●Setting the Trigger Level
When the Trigger mode is set to “level,” you’ll also need to set
the Trigger Level. This determines when sampling actually
starts, depending on the level of the input signal (in this case,
your voice). As you sing into the microphone, notice the
movement of the level meter (bar), and when the bar crosses
the Trigger Level arrow. If necessary, select the Trigger Level
value and use the data dial to change it, moving the arrow as
low or as high as needed.
Doing this puts sample recording on standby, waiting for an
input signal that exceeds the Trigger level.
Sing into the microphone. (You may want to match the pitch
of your voice to the note C3, set in step #4 above.) The
sampling actually starts as soon as the an input signal
exceeding the specified trigger level is received.
Press the [F3] AUDITION button to hear the sampled sound.
If you’re not satisfied with the results and you wish to try
again, press the [F4] CANCEL button to return to the
Sampling Standby display and try sampling from step #5
again. If you are satisfied with the results, press the [F5] OK
button to store the sampled sound as a “sample” and return
to the [F1] DEST or [F2] SOURCE display.
Keep in mind that if the Confirm function is turned off in step
#5 above, the display shown above will not appear when
Immediately after sampling, the sample is assigned only to
one key — the one set in step #4 as “KeyBank.” This display
lets you expand the key range within which the sample is
sounded. Here, set the key range to C2 - B3.
For example, in step #4 set Keybank to “G4,” sing into the
microphone as described in step #7 (matching the pitch G4, if
necessary), and set the Key Range to C4 - E5 in step #10. As a
result, the sample is assigned to the keys as illustrated below.
When you play the sample from the keyboard, the more
distant the played samples are from the original key, the less
natural the samples sound. For this reason, you should try to
make multiple samples and multiple key ranges, so that each
key range is shorter and the samples sound more natural.
Refer to “Saving a Sample” on page 97.
The recorded (edited) sample data resides temporarily in DIMM (page 187).
Because data contained in DIMM is lost when the power is turned off, you
should always save any data residing in DIMM to a SmartMedia /USB
storage device before turning off the power.
About Samples, Key Banks, Waveforms, and Voices
Understanding the Sampling-related terms below will
help you better understand the Sampling function itself
and how to use it. Keep in mind the hierarchy here as it
relates to sampling — the audio source (e.g., your voice)
starts as a Sample, becomes part of a Key Bank, which
makes up a Waveform, which is used to create a Voice.
●Sample
The sound obtained via the Sampling function is
referred to as “Sample.”
●Key Bank
In order to play the sample from the keyboard, the
sample must be assigned to notes on the keyboard.
First, assign the sample to a specified key when
sampling (step #4 on page 94), then expand the key
range within which the sample is sounded (step #10 on
page 96). The Key Range and the Velocity Range within
which the sample is sounded is referred to as a “Key
Bank.” In step #10 above, you saw how to set the Key
Range. From the same display, you can also set a
Velocity Range. Using these two parameters, you can
create a Key Bank.
●Waveform
The group of Key Banks to which sample data is
assigned is referred to as a “Waveform.” The Waveform
is assigned to each Element of a Normal Voice. In step
#11 above, you saw how to add Key Banks one by one
to create a Waveform.
●Voice
After completing a Waveform, you can create an
Element by applying various sound-making parameters
such as Pitch, Filter, Amplitude and other parameters
such as Effect and EQ to it. Finally, combine four
Elements (each containing its own Waveform) to create
a Normal Voice.
nYou can select and hear the Waveforms created via the
Sampling function as well as all the preset Waveforms in the
WAVE display ([VOICE] → [EDIT] → Element selection →
[F1] OSC → [SF1] WAVE).
9Press the [EDIT] button to enter the Sampling
Edit mode, then press the [F4] RANGE button to
call up the Range setting display.
10Set the key range within which the sample is
sounded.
11Repeat step #4 - 10 to add another sample to the
same Voice (Waveform).
F4
EDIT
COMPARE
Set the key
range.
Use the data
dial, [INC/YES]
and [DEC/NO]
button, or press
the key while
holding the
[INFORMATION]
button.
Play the keyboard within the key range set above.
Your sampled voice is sounded, following the pitches of the
notes you play.
Indicates the original key of the currently selected sample.
If you wish to select a different sample, call up the [F1]
KEYBANK display, then press a different key while holding
the [INFORMATION] button.
C3G4
The sample is sounded
within this key range.
The sample is sounded
within this key range.
The original sample is
assigned to this key.
The original sample is
assigned to this key.
12Save your newly created User Voice to a
SmartMedia/USB storage device.
CAUTION
Quick Guide — Advanced Course
Creating a Voice by using the Sampling function
97
Owner’s Manual
Assign the Samples obtained via the Sampling function to specific Key Ranges to create a Waveform. Because the Waveform data
including Samples which resides temporarily in DIMM (page 187) is lost when the power is turned off, you should always save the
Waveform data or Samples to a SmartMedia/USB storage device before turning off the power. The following four methods can be used to
save a Sample that is assigned to a Waveform. Execute the Save operation in the File mode.
While the data is being saved, make sure to follow these precautions:
•Never remove or eject the media from the device (SmartMedia or USB storage).
•Never unplug or disconnect any of the devices.
•Never turn off the power of the MOTIF ES or the relevant devices.
●Saving as a User Voice
When you save a User Voice that contains Samples, all the
related data — the Waveform assigned to the Voice, the
Samples assigned to the Waveform, as well as the User Voice
itself — is automatically saved together. Insert a SmartMedia
into the CARD slot or connecting the USB storage device to
this synthesizer, and follow the instructions below.
1Press the [FILE] button to enter the File mode, then
execute the basic settings.
Refer to “Basic settings for using SmartMedia or a USB
storage device” on page 30.
2Press the [F2] SAVE button to call up the Save display.
3Set the TYPE parameter to “All” or “AllVoice.”
When “All” is selected, execute the Save operation to save
all the created data including the User Voices as a single
file. When “AllVoice” is selected, execute the Save
operation to save all User Voices, including Waveforms
assigned to Normal Voice Elements or Drum Voice Keys, as
a single file.
4Input a file name.
Move the cursor to the file name input location, then input a
file name. For detailed instructions on naming, refer to page
53 in the Basic Operation section.
5Press the [ENTER] button to execute the Save
operation.
If you are about to overwrite an existing file, the display
prompts you for confirmation. Press the [INC/YES] button to
execute the Save operation to overwrite the existing file, or
press the [DEC/NO] button to cancel it.
●Saving as a Waveform
When you save a Waveform that makes up a Voice, all the
Samples that are assigned to the Waveform are automatically
saved together. The procedure for saving is the same as
described in “Saving a User Voice” above, with the exception
that Type is set to “AllWaveform” in step #3.
●Saving as a WAV file
You can select a specific Sample from a Waveform and save it
as a WAV file (Windows audio format). Insert a SmartMedia into
the CARD slot or connecting the USB storage device to this
synthesizer, and follow the instructions below.
1Select a Voice containing the Sample to be saved in the
Voice Play mode, then press the [FILE] button to enter
the File mode, and execute the basic settings.
Refer to “Basic settings for using SmartMedia or a USB
storage device” on page 30.
2
Set the TYPE parameter to “Wav” in the [F2] SAVE display.
3Input a file name.
Move the cursor to the file name input location, then input a file
name. For detailed instructions on naming, refer to page 53 in
the Basic Operation section.
4Press the [ENTER] button, then select a Sample to be saved.
When a Normal Voice is selected in step #1:
Specify the Element and Key Bank to call up the Sample
assigned to the selected Voice. You can hear the Sample by
pressing the [SF1] AUDITION button. Go through the Samples
in this way to find the desired Sample.
When a Drum Voice is selected in step #1:
Specify the Note and Key Bank to call up the Sample assigned
to the selected Drum Voice. You can hear the Sample by
pressing the [SF1] AUDITION button. Go through the Samples
in this way to find the desired Sample.
5Press the [ENTER] button to execute the Save operation.
If you are about to overwrite an existing file, the display prompts
you for confirmation. Press the [INC/YES] button to execute the
Save operation and overwrite the existing file, or press the
[DEC/NO] button to cancel it.
●Saving as a AIFF file
You can select a specific Sample from a Waveform and save it as a
AIFF file (Macintosh audio format). The procedure for saving is the
same as described in “Saving as a WAV file” above with the
exception that Type is set to “AIFF” in step #2.
Saving a Sample[FILE] → [F2] SAVE
CAUTION
This is available only when the cursor is located at
the KeyBank. Each press of the [SF2] button calls up
a different Key Bank assigned to a specific velocity
range (for the same key).
You can hear the selected sample by
pressing the [SF1] button. (Audition function)
You can hear the selected sample by pressing
the [SF1] button. (Audition function)
Creating a Voice by using the Sampling function
98Owner’s Manual
Quick Guide — Advanced Course
Sampling the sound of an audio device to create a Drum Voice
In the previous section on
page 94, you learned how to record a Sample using a microphone. Here, you’ll learn how to record
Samples from an audio device, such as a CD player or MD player, and use the Samples to create a Drum Voice.
In order to use the Sampling function, DIMM modules must be installed to the instrument. For details on installing DIMMs, see page 289.
Depending on the size of the audio (sample) data obtained via the Sampling function, you may not be able to save all of the desired data to a SmartMedia
card (maximum capacity: 128MB). For this reason, we recommend using a large-capacity USB storage device for your Sampling data.
Follow steps #1 - 8 on page 73.
Type: sample
Source:A/D
Next:on
Mono/Stereo:stereo
Frequency:44.1k
When creating a Drum Voice consisting of many separate
Samples, you’ll want to quickly be able to record a Sample,
assign it to a key, then move on to the next one. To do this
smoothly and easily, set the Next parameter to “on.”
For details about each parameter, see page 251.
nIf the Voice parameter above is set to “off,” you won’t be able to play
the sampled sound as a Voice after completing this operation.
However, you can call up the sampled sound by selecting a
Waveform. For details on how to select a Waveform, see page 174.
●Setting the Confirm function
When the [F2] CONFM (Confirm function) is turned on ( is
indicated), you can easily listen back to your just-recorded
sample and conveniently re-record it if you’re not satisfied
with the results. Here, set the [F2] CONFM button on.
●Setting the Trigger mode
The Trigger mode lets you determine how the Sampling
actually starts. For example, you can start the Sampling
simply by pressing the button or when the Song/Pattern
playback reaches a specified point. Here, set the TrggrMode
(Trigger mode) to “level” which lets you start sampling as
soon as the input signal from the audio device exceeds the
specified Trigger Level.
●Setting the Trigger Level
When the Trigger mode is set to “level,” you’ll also need to set
the Trigger Level. This determines when sampling actually
starts, depending on the level of the input signal of the audio
device. As the sound plays, notice the movement of the level
meter (bar), and when the bar crosses the Trigger Level arrow.
If necessary, select the Trigger Level value and use the data
dial to change it, moving the arrow as low or as high as needed.
1Connect an audio device (CD player, etc.) to the
instrument.
2Press the [INTEGRATED SAMPLING] button in
the Voice mode or Performance mode to enter
the Sampling mode.
3Press the [F2] SOURCE button to call up the
display for setting the Sampling Source, then set
the parameters as shown below.
4Press the [F1] DEST button to call up the display
for setting the Sampling Destination, then set the
parameters as described below.
PartThis is available when entering the Sampling mode from the
Performance mode. This parameter determines the Performance
Part to which the Voice (below) created by sampling is assigned.
Voice
Set the Bank to “UDR” (User Drum Voice Bank), then select a User
Drum Voice Number. After the Sampling is completed, you can
hear the created Voice by selecting the Voice number set here.
KeyHere, set this parameter to “C3.” After the Sampling is
completed, you can hear the sampled sound by pressing the
note set here.
5Press the [F6] REC button to call up the
Sampling Record display (Sampling Standby
status), then set the parameters as required.
F6
Turn the Confirm
function on or off
You can also change the
Keybank (set in step #4)
in this display.
Indicates
Sampling
Standby status.
Trigger Level
Indicates
Sampling
Standby status.
The section of the bar exceeding the
Trigger Level becomes black.
Trigger Level
Trigger Level
Quick Guide — Advanced Course
Creating a Voice by using the Sampling function
99
Owner’s Manual
Doing this puts sample recording on standby, waiting for an
input signal that exceeds the Trigger level.
The sampling actually starts as soon as the an input signal
exceeding the specified trigger level is received.
Press the [F3] AUDITION button to hear the sampled sound.
If you’re not satisfied with the results and you wish to try
again, press the [F4] CANCEL button to return to the
Sampling Standby display and try sampling from step #5
again. If you are satisfied with the results, press the [F5] OK
button to store the sampled sound as a “sample” and return
to the Sampling Standby display.
Keep in mind that if the Confirm function is turned off in step
#5 above, the display shown above will not appear when
pads, etc. You should set the [INTEGRATED SAMPLING] →
[F2] SOURCE → Source parameter to “resample.”
●WAV or AIFF audio files
Audio data created and edited on a computer can also be
used for Samples. (For details, see the next page.)
6Press the [F6] REC button again to enable
Sampling Trigger Waiting.
7Start the external audio device.
8Press the [F6] STOP button to stop sampling,
then stop the external audio device.
9Repeat steps #5 - 8 above to assign additional
Samples to the notes as desired to create your
Drum Voice.
F6
Indicates that sample recording is waiting
for a signal of an appropriate level.
10Save your newly created User Voice to a
SmartMedia/USB storage device.
Sound Effect CSound Effect Y
Sound Effect B
Sound Effect A
CAUTION
Creating a Voice by using the Sampling function
100Owner’s Manual
Quick Guide — Advanced Course
Loading WAV or AIFF audio files to create a Waveform/Voice
Any audio data created and edited on a computer and saved in the WAV or AIFF format can also be used as material for
Samples on the MOTIF ES. Set up the media containing the desired WAV/AIFF audio files (e.g., insert a SmartMedia card
to the CARD slot or connect a USB storage device), then follow the instructions below.
In order to use the Sampling function, DIMM modules must be installed to the instrument. For details on installing DIMMs, see page 289.
Depending on the size of the audio (sample) data obtained via the Sampling function, you may not be able to save all of the desired data to a
SmartMedia card (maximum capacity: 128MB). For this reason, we recommend using a large-capacity USB storage device for your Sampling data.
nThe instructions here apply when you enter the File mode from the Voice mode. When entering the File mode from the Performance mode, the
instructions are the same with the exception that you should set the destination Performance number and Part in step #4.
1In the Voice mode, press the [FILE] button to enter
the File mode, then execute the basic settings.
Refer to “Basic settings for using SmartMedia or a
USB storage device” on page 30.
2Press the [F3] LOAD button to call up the Load
display.
3Select the file type to be loaded.
Set Type to “Waveform.” This setting lets you select
and load a specific Waveform from a file (extension:
W7W) saved as “AllWaveform” or load a WAV file/
AIFF file as a Waveform.
4Select the file () to be loaded and specify the
destination.
When moving the cursor to a WAV file (extension:
WAV) or AIFF file (extension: AIF), the destination
parameter automatically appears in the display.
When assigning a WAV file/AIFF file to a Normal
Voice:
When assigning a WAV file/AIFF file to a Drum Voice:
nWhen assigning a WAV file/AIFF file to a Drum Voice, a
Sample from the WAV file/AIFF file is assigned to the empty
Waveform automatically.
Loading data to this synthesizer automatically erases and
replaces any existing data in the User memory. Make sure to save
any important data to a SmartMedia/USB storage device before
performing any Load operations.
5Press the [ENTER] button to execute the Load
operation.
After the data has been loaded, a “Completed” message
appears and operation returns to the original display.
While the data is being saved, make sure to follow these
precautions:
•Never remove or eject the media from the device (SmartMedia
or USB storage).
•Never unplug or disconnect any of the devices.
•Never turn off the power of the MOTIF ES or the relevant
devices.
TIP
VoiceWhen this is set to “on,” you can load and assign a
WAV file/AIFF file to the destination Voice set
below.
USR1:001
(A01)This is available when the Voice (above) is set to
“on.” Select “USR1” or “USR2” as the destination
Normal Voice Bank and select a destination Voice
number.
WaveformDetermines the destination Waveform number.
KeyBankDetermines the destination Key Bank of the
Waveform set above.
VoiceWhen this is set to “on,” you can load and assign a
WAV file/AIFF file to the destination Voice set below
UDR:001
(A01)This is available when the Voice (above) is set to
“on.” Select “UDR” as the destination Drum Voice
Bank and select a destination Voice number.
NoteDetermines the destination key of the Drum Voice
set above.
CAUTION
CAUTION
Quick Guide — Advanced Course
Creating a Voice by using the Sampling function
101
Owner’s Manual
6Depending on whether you’re creating a Normal
Voice or a Drum Voice, follow the appropriate
instructions below.
When creating a Normal Voice in steps #4 - 5
After entering the Sampling Edit mode
([INTEGRATED SAMPLING] → [EDIT]), press the
[F1] KEYBANK button to call up the Key Bank
display. From this display, select a Waveform and
Key Bank. To specify the Key Bank, simultaneously
hold down the [INFORMATION] button and press the
desired note on the keyboard. To select Waveforms
assigned to different velocities, hold down the
[INFORMATION] button and press the [SF2] SELECT
button.
After selecting a Waveform and Key Bank above,
press the [F4] RANGE button.
Once you’ve loaded the sample in step #5, it can
only be sounded by playing the note specified in
step #4. From this display however, you can expand
the note range over which the loaded sample will
sound.
When creating a Drum Voice in steps #4 - 5
By repeating steps #5 - 8 above, you can create a Drum
Voice in which each key has a different sound (as
shown below).
After creating the Normal or Drum Voice, go on to step
#7 below.
7Play the Voice created by the Load operation.
Press the [VOICE] button to enter the Voice Play mode,
then select the Voice number set in step #4.
Determine the Key Range.
Use the data dial, [INC/YES] and [DEC/NO]
buttons or press the note on the keyboard while
holding the [INFORMATION] button.
Play the keyboard within the Key Range set above.
You can hear the loaded sample following the pitches of the
notes you play.
Sound Effect CSound Effect Y
Sound Effect B
Sound Effect A
Creating a Song on the MOTIF ES
102Owner’s Manual
Quick Guide — Advanced Course
Creating a Song on the MOTIF ES
The MOTIF ES is a full-featured and enormously powerful music production machine, and all of the instrument’s advanced
features and functions come together seamlessly in the creation of a Song. Here, you’ll learn how to get the most out of the
sequencer-related functions of the MOTIF ES, using primarily the Song and Pattern modes.
This section is quite detailed and comprehensive. However, rather than following it step-by-step all the way through and trying to
use every feature in a single song, use it instead as a guide or a springboard for further exploration.
Recording your keyboard performance
Generally, you’ll start recording a Song or Pattern by playing a Voice from the keyboard. Since the instrument is set to multi-
timbral operation (page 162), the Voice you actually play and record depends on the Voice settings for the Song or Pattern,
made in the Mixing settings described below.
Selecting a Voice
Selecting a Voice for recording is different than selecting a
Voice for playing. Voice settings for the Song/Pattern mode
are handled in Song Mixing/Pattern Mixing.
See page 56 for instructions on how to select a Song or
Pattern.
For information on how to select a Song track or Pattern track,
see page 58.
●Move the cursor to “Bank” and select the desired Voice
Bank by using the data dial, [INC/YES] and [DEC/NO]
buttons.
●Move the cursor to “Number” and select the desired Voice
Number by using the data dial, [INC/YES] and [DEC/NO]
button. Refer to the separate Data List.
nWith the [TRACK SELECT] lamp turned off, Normal Voices can be
selected in the way described on page 60.
nWith the exception of Sample Voices and Mixing Voices, you can also
use the Category Search (page 62) in this display.
n
The Voice for each Part of the current Song or Pattern can be selected
also in the [SONG] →Song selection → [MIXING] →[F2] VOICE display
or the [PATTERN] → Pattern selection → [MIXING] → [F2] VOICE
display. You can also use the Category Search (page 62) in this display.
n
For information on how to select a voice of a Plug-in Board in the Song
mode/Pattern mode, see page 121.
1Press the [SONG] button/[PATTERN] button to
enter the Song mode/Pattern mode, then select a
Song number/Pattern number to be created.
2Enter the Mixing Edit mode ([MIXING] →→
→→ [EDIT]),
then select a Part (track) and call up the Voice
setting display ([F1] VOICE →→
→→ [SF1] VOICE).
SONGPATTERNFILE
SEQUENCER
INTEGRATED
SAMPLINGMIXINGUTILITY
EDIT
COMPARESCENE STORE
SET LOCATE
JOBSTORE
DEMO
ELEMENT/PERF. PART/ZONE
87654321
16MUTE
TRACK
SELECT
NUMBER
SOLO
15
141213
11
10
9
SCENESF1SF2SF3SF4SF5
F1F2F3F4F5F6
INFORMATION
Turn the [TRACK SELECT] indicator on and
select one of the [1] - [16] buttons.
Indicates the current Part number. Parts 01-16 are internal tone
generator Parts. Parts 17-32 are tone generator Parts of the
PLG100-XG Multi Part Plug-in Board. Parts PLG01-03 are tone
generator parts of the Single Part Plug-in Board. Keep in mind
that the example instructions here use the internal tone generator.
Press the [F6] button
to switch between
the display for Parts
01-16, 17-32, and
PLG1-3.
3Select a voice referring to the instructions below.
PRE1 (Preset1) ~ PRE6
(Preset 6)Preset Banks 1 - 6 of the Normal Voice. These
correspond to the [PRE1] - [PRE6] buttons in the
Voice mode.
USER1 ~ USER2User Banks 1 - 2 of the User Voice. These
correspond to the [USER1] - [USER2] buttons in
the Voice mode.
GMGM Normal Voice Bank. This corresponds to the
[GM] button in the Voice mode.
PDR (Preset Drum)Preset Bank of the Drum Voice. This corresponds
to pressing the [DRUM KITS] button and the
[PRE5] button simultaneously.
GMDR (GM Drum)GM Drum Voice Bank. This corresponds to
pressing the [DRUM KITS] button and the [GM]
button simultaneously.
UDR (User Drum)User Bank of the Drum Voice. This corresponds to
pressing the [DRUM KITS] button and the
[USER1] button simultaneously.
SMPL (Sample Voice)Indicates the Bank for the Sample Voices created
via the Sampling function (page 173).
MIXV (Mixing Voice)This bank is for the Mixing Voices (page 105)
dedicated for the Song mode/Pattern mode.
4Play the keyboard to confirm the selected Voice.
5Repeat steps #2 - 4 to set the Voice settings
(Mixing Settings) for each Part (track).
Quick Guide — Advanced Course
Creating a Song on the MOTIF ES
103
Owner’s Manual
●First, store the Voice settings as Song Mixing/Pattern
Mixing. Press the [STORE] button to enter the Song Mixing
Store mode/Pattern Mixing Store mode, then press the
[ENTER] button to execute the Store operation (page 131).
●Next, save the stored Song Mixing as a file for all Songs
created on the instrument before turning the power off.
Press the [FILE] button to enter the File mode, then execute
the Save operation by following the instructions described
on page 132.
Selecting a Mixing Template
Here is an exceptionally convenient Song/Pattern creation
tool. The MOTIF ES has 32 different Mixing Templates for use
with a Song or Pattern, each pre-programmed for a variety of
music styles and applications. Simply dial up the template
that comes closest to the type of Song or Pattern you wish to
create, tweak the settings as desired, then start recording. It’s
a quick, smooth and inspiring way to get your ideas down.
Select a Template number by using the data dial, or the [INC/
YES]/[DEC/NO] buttons. For details, refer to the Mixing
Template list in the separate Data List booklet.
You can confirm the Voice settings for the Parts by selecting
tracks one by one and playing the keyboard with each. If you
wish to check the detailed settings, call up and view each
display in the Song Mixing mode and Song Mixing Edit mode.
Tweak and change the Mixing parameters — especially the
Voices — to fit the song you intend to create. For details about
the Mixing Edit mode, see page 127.
6If desired, make a backup of the Voice (Mixing)
settings made above.
1Press the [SONG]/[PATTERN] button to enter the
Song mode/Pattern mode, then select a Song/
Pattern number to be created.
2Call up the Mixing Template selection display in
the Song Mixing Job mode ([MIXING] →→
→→ [JOB] →→
→→
[F6] TEMPLATE).
F6
SONGPATTERNFILE
SEQUENCER
INTEGRATED
SAMPLINGMIXINGUTILITY
EDIT
COMPARESCENE STORE
SET LOCATE
JOBSTORE
DEMO
3Move the cursor to the Template number
location, then select a Mixing Template.
4Press the [SF4] button to actually call up the
selected Mixing Template for the current Song.
5Play the keyboard to check the Mixing settings
— especially the Voices.
6Change the Mixing settings as desired.
Template numberTemplate name
SF4
EXIT
The Edit indicator appears.
Creating a Song on the MOTIF ES
104Owner’s Manual
Quick Guide — Advanced Course
●First, store the Voice settings as Song Mixing/Pattern Mixing. Press the [STORE] button to enter the Song Mixing Store mode/
Pattern Mixing Store mode, then press the [ENTER] button to execute the Store operation (page 131).
●Next, save the stored Song Mixing as a file for all Songs created on the instrument before turning the power off. Press the
[FILE] button to enter the File mode, then execute the Save operation by following the instructions described on page 132.
The Mixing settings you make can be stored as a Template — letting you create your own custom Mixing/Voice configurations for
future use in recording Songs. Press the [SF5] PUT button in step #4 above to store the settings to the destination (current)
Template number. The following illustration shows the memory structure for Mixing.
Whereas Mixing Template data resides in internal Flash ROM, Song data and Pattern data — including the Mixing settings — resides in DRAM. Because
data contained in DRAM is lost when the power is turned off, you should always save any data residing in DRAM to a SmartMedia/USB storage device in the
File mode before turning off the power.
The currently edited Mixing program will be lost when selecting a different Song/Pattern or going to a different mode without saving (putting) it to a
template or storing it to the current Song/Pattern. In addition, simply playing back the Song/Pattern or receiving any MIDI messages from an external MIDI
instrument may change the current Mixing program. Make sure to put or store the Mixing program before executing these operations.
Using Controllers
Just as in the Voice/Performance mode, the controllers of the
instrument — Pitch Bend wheel, Modulation wheel, Ribbon
Controller, Knobs, and Control Sliders — can also be used in
the Song/Pattern mode.
nThe Pitch Bend Range in the Song mode/Pattern mode can be set in
the Mixing Edit made for each Song/Pattern. This can be changed with
the PB Upper/Lower parameters ([SONG] or [PATTERN] → Song or
If you assign User Voices to your Song or Pattern and then
edit them (in the Voice Edit mode), the Voices may sound
different than expected. This convenient feature lets you
create dedicated Mixing Voices for your songs and Patterns
— ensuring that the Voices will play exactly as they were
edited for the Song/Pattern.
nOnly Normal Voices can be created/edited as Mixing Voices.
See page 56 for instructions on how to select a Song or
Pattern.
nYou can enter the Mixing Voice Edit mode only when a Normal Voice is
assigned to the current Part.
These displays are the same as in the Voice mode. See page
79.
The actual parameters and procedures for editing them are
the same as in the Voice Edit mode. See page 80.
1
Set the ArpSwitch parameter for the current part
to “on” ([SONG] or [PATTERN] →→
→→ [MIXING] →→
→→
[EDIT] →→
→→ Part selection →→
→→ [F1] VOICE →→
→→ [SF2]
MODE).
2Select an Arpeggio type ([SONG] or [PATTERN]
→→
→→ [MIXING] →→
→→ [EDIT] →→
→→ [COMMON] →→
→→ [F3] ARP
→→
→→ [SF1] TYPE).
3With the [ARPEGGIO ON/OFF] lamp turned on,
press any note on the keyboard to trigger
Arpeggio playback.
1
Press the [SONG] button/[PATTERN] button to
enter the Song mode/Pattern mode, then select
the desired Song/Pattern for which the Mixing
settings will be edited.
2
Press the [MIXING] button (the lamp lights) to
enter the Song Mixing mode/Pattern Mixing
mode, then select the Part containing the desired
Voice.
3Press the [F5] VCE ED (Voice Edit) button to
enter the Mixing Voice Edit mode.
4Call up the Common Edit or Element Edit display
as required.
5Select the desired menu for editing by pressing
the [F1] - [F6] and [SF1] - [SF5] buttons, then edit
the parameters.
6Repeat steps #4 and 5 as desired.
MIXING
ELEMENT/PERF. PART/ZONE
87654321
16MUTE
TRACK
SELECT
SOLO
15
141213
11
10
9
F5
Creating a Song on the MOTIF ES
106Owner’s Manual
Quick Guide — Advanced Course
Input a name in the [COMMON] → [F1] GENERAL → [SF1]
NAME display.
For detailed instructions on naming, refer to page 53 in the
Basic Operation section.
1
Press the [STORE] button to enter the Mixing Voice Store mode.
2Set the destination Voice Bank to “MIXV” and select the
destination Voice number.
3Press the [ENTER] button to execute the Store operation.
n
You can store the Voice edited in the Mixing Voice Edit mode as a User
Normal Voice by setting the Voice Bank to “USER1” or “USER2.”
Press the [EXIT] button several times to return to the Song
Mixing mode/Pattern Mixing mode, press the [STORE] button
to enter the Song Mixing Store mode/Pattern Mixing Store
mode, then press the [ENTER] button to execute the Store
operation (page 131).
Mixing Voices are assigned to Parts of the Song/Pattern and stored to
internal DRAM. Because data contained in DRAM is lost when the power is
turned off, you should always save any data residing in DRAM to a
SmartMedia/USB storage device in the File mode before turning off the
power.
Creating a Pattern
When you create a Song, one of the most essential aspects is the rhythm. It is almost always the first thing you start with, and
provides a foundation for the rest of the music. The Pattern mode gives you the tools to create rhythm patterns for the
accompaniment of the Song. Here, in brief, are the basic steps in using Patterns to create a Song:
1) In the Pattern mode, create and chain together the phrases that will be used for the accompaniment and the Song.
2) Convert the Pattern data to a Song.
3) In the Song mode, record a melody on a separate track of the Song.
Here, we’ll explain in detail the first of these steps.
The created pattern (phrase) data resides temporarily in DRAM (page 187). Because data contained in DRAM is lost when the power is turned off, you
should always store any data residing in DRAM to a SmartMedia/USB storage device before turning off the power.
Creating a Phrase by recording a rhythm pattern to a track
In the following sections you’ll learn various different methods of creating Pattern data (also called “Phrases” — the raw material
for a Pattern) to a single track. The following five methods are explained.
●Sampling a rhythm loop (audio data) to a Pattern track................................................................................................Page 107
●Loading a WAV file/AIFF file to a Pattern track ..............................................................................................................Page 109
●Recording your keyboard performance to a Pattern track............................................................................................Page 110
●Recording a rhythm pattern created by Arpeggio playback to a Pattern track.............................................................Page 112
●Assigning a pre-programmed Phrase to a Pattern track ..............................................................................................Page 113
The first two methods involve using both audio data (created via Sampling, or imported from another device) and MIDI data.
Keep in mind that to use audio data, DIMM modules must be installed (page 289). The other three use only MIDI data.
7Name the edited Mixing Voice.
8Store the edited Mixing Voice to internal User
memory.
Destination Voice Number
Destination Voice Bank
9Store the edited Song Mixing/Pattern Mixing to
internal User memory.
10Save the Song data/Pattern data to a
SmartMedia/USB storage device in the File mode
(page 132) before turning off the power.
CAUTION
CAUTION
Quick Guide — Advanced Course
Creating a Song on the MOTIF ES
107
Owner’s Manual
■ Sampling a rhythm loop (audio data) to a Pattern track
With this method, you can record drum loops and rhythm patterns from CDs to the MOTIF ES by using the Sampling function, then
slice the sample into separate components and assign the slices to different keys. This powerful feature lets you match the
sampled rhythm to virtually any tempo without stretching or compressing the audio, since each “hit” becomes a separate MIDI note.
In order to use the Sampling function, DIMM modules must be installed to the instrument. For details on installing DIMMs, see page 289.
Follow steps #1 - 8 on page 73, substituting the instructions
below for steps #4 and 8. In step #4, press the [PATTERN]
button to enter the Pattern mode, then select a pattern
number and section to be created. In step #8, set the related
parameters in the [PATTERN] → [MIXING] → [EDIT] →
[COMMON] → [F5] AUDIO display.
Type: slice+seq
Source:A/D
Next:off
Mono/Stereo:stereo
Frequency:44.1k
For details about each parameter, see page 253.
Refer to step #5 on page 98.
Doing this puts sample recording on standby, waiting for an
input signal that exceeds the Trigger level.
The sampling actually starts as soon as an input signal
exceeding the specified trigger level is received.
Press the [F6] STOP button at the point you want sample
recording to stop, and the Slice display is automatically called
up. After stopping recording, stop playback of the connected
audio device.
Sampling
Sample
Slice
Sample Voice
MIDI sequence data
CANCEL
1Connect an audio device (CD player, etc.) to the
instrument.
2
Press the [INTEGRATED SAMPLING] button in the
Pattern Play mode to enter the Sampling mode.
3Press the [F2] SOURCE button to call up the
display for setting the Sampling Source, then set
the parameters as shown below.
4Press the [F1] DEST button to call up the display
for setting the Sampling Destination, then set the
parameters as described below.
TrackThis parameter determines the Pattern track to which the
Sample Voice is assigned.
5
Press the [F6] REC button to call up the
Sampling Record display (Sampling Standby
status), then set the TrggrMode to “level” and set
an appropriate Trigger Level value.
6Press the [F6] REC button again to enable
Sampling Trigger Waiting.
7Start the audio device (CD player, etc.).
8Press the [F6] STOP button to stop sampling.
F6Indicates that sample
recording is waiting for a
signal of an appropriate level.
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1Press the [SF1] AUDITION button to hear the recorded sample.
2Set the start and end points to determine the actual portion of
the sample to be used.
The “Start” parameter determines the actual start of the sample
(letting you cut unwanted sound at the beginning), while the “End”
parameter determines the end of the sample (letting you cut
unwanted sound at the end).
Pressing [SF3] SET END calls up the following convenient display
for making rhythmically accurate End point edits.
Many commercially available sample/loop CDs include information
on the tempo and meter of specific loops. Use that information to
make the settings here and ensure proper playback.
After setting the parameters (above right), press the [ENTER]
button to automatically determine the proper End point. Listen
back to the edited sample by pressing the [SF1] AUDITION button.
If you’re satisfied with the results, press the [F6] OK button. If
you’re not and you want to continue editing, press [F5] CANCEL.
3Once you’ve trimmed the sample above, you may want to
delete the unneeded portions of the sound (before and after
the Start/End points), to free up memory space. Press the
[SF4] EXTRACT button to delete this excess data.
4Press the [F2] SLICE button to call up the Slice display.
1Set the parameters shown below.
Set other parameters as necessary, referring to page 254.
2Press the [ENTER] button (the display prompts you for
confirmation), then press the [INC/YES] button to execute the
Slice.
3Confirm the result of the operation.
Play the assigned keys in order (C3, C#3, D3, etc.) to hear the
individual slices of the sample.
To hear how the resulting pattern would sound when played by
MIDI sequence data, press the [SF1] AUDITION button.
4If you’re satisfied with the results of the Slice operation, press
the [F6] OK button.
If you’re not satisfied with the results and want to continue editing,
press the [F5] CANCEL button and attempt the operation again
from step #10-1 above.
9Edit the sample data in the [F1] TRIM display.
AThese parameters determine the portion of the sample that will be used.
BPress the [SF1] AUDITION button to sound the recorded sample
according to the settings in this display.
C
When the menu indication here is “LP=ST,” the Start (Start Point) and the
Loop (Loop Start Point) will share the same address, meaning that both
of them will be changed simultaneously, even if just one of them is
changed. Pressing the [SF2] button in this condition changes the menu
from “LP=ST” to “LP≠ST.” When the menu indication here is “LP≠ST,” the
Start (Start Point) and the Loop (Loop Start Point) can be changed
independently. When pressing the [SF2] button in this condition, the
address value of the Start will be copied to the one of the Loop, with the
result that both of them share the same address value. The menu
indication also changes from “LP≠ST” to “LP=ST.”
DSee below.
E
Press the [SF4] EXTRACT button to delete all unnecessary sample data
(located ahead of the Start point and located after the End point).
F
Press the [F5] and [F6] buttons to zoom in and out of the wave display.
A
BCDEF
Start
(Start Point)
Loop
(Loop Point)
[SF4] EXTRACT
End
(End Point)
Start
(Start Point)
Loop
(Loop Point)
End
(End Point)
10Execute the Slice operation in the [F2] SLICE
display.
MeasureDetermines the number of measures the sample is
recognized as having.
MeterDetermines the rhythmic meter the sample is
recognized as having.
11Return to the Pattern Play mode by pressing the
[PATTERN] button or [EXIT] button.
12Press the [FF
FF] (Play) button to play the created
Pattern.
13Save the created Pattern data to a SmartMedia/
USB storage device (page 132) before turning the
power off.
Slice display (before executing Slice)
Slice display (after
executing the Slice)
[ENTER] button
[F5] CANCEL button
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Owner’s Manual
■ Loading a WAV file/AIFF file to a Pattern track
Audio data you’ve created and stored in the common WAV or AIFF computer audio formats can be loaded to the instrument and
used with the Slice function to divide the sample and assign the slices to different MIDI notes — letting you match the sampled
rhythm to virtually any tempo. Set up the media containing the desired WAV/AIFF audio files (e.g., insert a SmartMedia card to
the CARD slot or connect a USB storage device), then follow the instructions below.
In order to use the Sampling function, DIMM modules must be installed to the instrument. For details on installing DIMMs, see page 289.
Depending on the size of the audio (sample) data obtained via the Sampling function, you may not be able to save all of the desired data to a SmartMedia
card (maximum capacity: 128MB). For this reason, we recommend using a large-capacity USB storage device for your Sampling data.
Refer to “Basic settings for using SmartMedia or a USB
storage device” on page 30.
Set Type to “Waveform.” This setting lets you select and load
a specific Waveform from a file (extension: W7W) saved as
“AllWaveform” or load a WAV file/AIFF file as a Waveform.
When moving the cursor to a WAV file (extension: WAV) or
AIFF file (extension: AIF), the destination parameter
automatically appears in the display.
Loading data to this synthesizer automatically erases and replaces any
existing data in the User memory. Make sure to save any important data to
a SmartMedia/USB storage device before performing any Load operations.
After the data has been loaded, a “Completed” message
appears and operation returns to the original display.
While the data is being saved, make sure to follow these precautions:
•Never remove or eject the media from the device (SmartMedia or USB
storage).
•Never unplug or disconnect any of the devices.
•Never turn off the power of the MOTIF ES or the relevant devices.
Load
Sample
Slice
Sample Voice
MIDI sequence data
CANCEL
1In the Pattern mode, select a Pattern and Section
to be created, press the [FILE] button to enter the
File mode, then execute the basic settings.
2Press the [F3] LOAD button to call up the Load
display.
3Select a file type to be loaded.
4Select the file () to be loaded and specify the
destination.
Track
Determines the destination Track number of the current pattern.
KeyBankDetermines the key to which the loaded file is to be
assigned. Immediately after loading, you can hear the
loaded file sound by pressing the key set here.
5Press the [ENTER] button to execute the Load
operation.
6Press the key set in step #4 for Key Bank to
confirm the loaded file sound.
7Press the [INTEGRATED SAMPLING] button,
then the [JOB] button to enter the Sampling Job
mode.
CAUTION
CAUTION
Creating a Song on the MOTIF ES
110Owner’s Manual
Quick Guide — Advanced Course
Press the [F1] KEYBANK button, move the cursor to “12:
Slice,” then press the [ENTER] button.
1Set the parameters shown below.
Set other parameters as necessary, referring to page 258.
2Press the [ENTER] button (the display prompts you for
confirmation), then press the [INC/YES] button to execute
Slice.
3Confirm the result of the operation.
Play the assigned keys in order (from the one set in step #9-1
above) to hear the individual slices of the sample.
To hear how the resulting pattern would sound when played by
MIDI sequence data, press the [SF1] AUDITION button.
4If you’re satisfied with the results of the Slice operation, press
the [F6] OK button.
If you’re not satisfied with the results and want to continue editing,
press the [F5] CANCEL button and attempt the operation again
from step #9-1 above.
■ Recording your keyboard performance to a
Pattern track
You can make changes to the Voice settings after entering the
Record mode (in step #4 below). However, if you intend to
make detailed settings to the Mixing parameters, you should
do so before enabling recording.
8Call up the Slice Job display.
9Execute the Slice Job.
MeasureDetermines the number of measures the sample is
recognized as having.
MeterDetermines the rhythmic meter the sample is recognized
as having.
LowestKeyDetermines the lowest key (first MIDI note) from which the
sample slices will be assigned in order.
Slice display (before executing Slice)
Indicates the Waveform and Key Bank containing the
sample for which the Job is applied. In this case, you
won’t need to change these settings since they were
set when loading the data.
Slice display (after executing Slice)
[F5] CANCEL button
[ENTER] button
10Return to the Pattern Play mode by pressing the
[PATTERN] button or [EXIT] button.
11Press the [F] (Play) button to play the created
Pattern.
12Save the created Pattern data to a SmartMedia/
USB storage device (page 132).
1In the Pattern Play mode, select a Pattern and
Section to be created.
2Set the Mixing parameters (including the Voice
settings) by following the instructions on pages
127 - 128.
3Set the meter (time signature), tempo, and length
of the pattern.
4Press the [●] (Record) button to enter the Pattern
Record mode.
Meter (time signature)TempoLength of pattern
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Set the Type to “overdub” then set the Loop to “on.” These
settings let you repeat the pattern recording in a “loop” and
record additional note events without deleting already-
recorded data.
Set other parameters as necessary. See page 243 for details.
Call up the display for setting a Voice by pressing the [F2]
VOICE button. You won’t need to make settings in this display
if you’ve already completed Voice/Mixing settings in step #2
above.
When a Drum Voice is selected, for example, try recording the
rhythm pattern shown below.
As shown in the example below, notes that you record will
play back from the next repetition (loop), letting you record
while hearing previously recorded material.
This operation exits from the Pattern Record mode to the
Pattern Play mode.
5Press the [TRACK SELECT] button (the lamp
lights), then select the desired track from the
number buttons [1] - [16].
6Set the parameters related to recording in the
[F1] SETUP display.
7Set the parameters related to the Voice you wish
to use during recording in the [F2] VOICE
display.
ELEMENT/PERF. PART/ZONE
87654321
16MUTE
TRACK
SELECT
SOLO
15
141213
11
10
9
Recording track
This lets you turn the click sound (metronome)
on/off for recording. (Press the [F5] button.)
BankNumber
8Press the [F] (Play) button to start recording.
9Press the [■] (Stop) button to stop recording.
10Press the [F] (Play) button to hear your newly
recorded phrase.
11Record different phrases to other tracks by
repeating steps #4 - 10.
12Save the created Pattern data to a SmartMedia/
USB storage device (page 132) before turning the
power off.
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Bass Drum
Snare Drum
Bass Drum
Snare Drum
Hi-Hat
Bass Drum
Actual recording starts
after one measure.
Loop 1st round
Loop 2nd round
Loop 3rd round
Start recording
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112Owner’s Manual
Quick Guide — Advanced Course
■ Recording a rhythm pattern created by Arpeggio
playback to a Pattern track
The Arpeggio function is a virtually endless source of creative
inspiration, putting a huge variety of rhythm patterns, riffs and
phrases at your fingertips — patterns that change depending
on the notes you play. Once you come with some patterns
you like and want to use in a Song, you can record them to a
Pattern track.
You can make changes to the Voice settings after entering the
Record mode (in step #5 below). However, if you intend to
make detailed settings to the Mixing parameters, you should
do so before enabling recording.
1Enter the Mixing Edit mode ([MIXING] →→
→→ [EDIT]), select the
desired Part (track to be recorded), then press the [F1] VOICE
button, followed by the [SF2] MODE button.
2Set the ArpSwitch (Arpeggio Switch) parameter to “on.”
3Call up the Arpeggio Type selection display ([COMMON] →→
→→ [F3]
ARP →→
→→ [SF1] TYPE).
4Select the desired Arpeggio type in the [SF1] TYPE display,
then press the [ARPEGGIO ON/OFF] button (the lamp lights).
Try out various Arpeggio types, and also try tweaking various
parameters in the [SF1] - [SF4] displays. When you find a
rhythm or phrase that you like and want to use, go to step #4.
For details about how to select a track, see page 58.
Set Type to “replace” and set Loop to “off.”
Set other parameters as necessary. See page 243 for details.
Call up the display for setting a Voice by pressing the [F2]
VOICE button. You won’t need to make settings in this display
if you’ve already completed Voice/Mixing settings in step #2
above.
Call up the display for setting a Voice by pressing the [F3]
ARP button. You won’t need to make settings in this display if
you’ve already completed Arpeggio settings in the Mixing Edit
mode, in step #3 above.
1In the Pattern mode, select a Pattern and Section
to be created.
2Set the Mixing parameters (including the Voice
settings) by following the instructions on pages
127 - 128.
3Play with the Arpeggio features and find a
rhythmic pattern/phrase you like.
REMOTEARPEGGIO
ON/OFFON/OFF
R-AUDIO
G-MIDI
Select an Arpeggio Type and Bank.
4Go back to the Pattern Play mode, then set the
meter, tempo, and length of the current pattern.
5Press the [●] (Record) button to enter the Pattern
Record mode.
6Select the desired track for recording ([1] - [16]).
7Set the parameters related to recording in the
[F1] SETUP display.
8Set the parameters related to the Voice you wish
to use during recording in the [F2] VOICE
display.
9Set the parameters related to an Arpeggio you
wish to use during recording in the [F3] ARP
display.
10Set the RecArp parameter to “on” in the [F4]
RECARP display.
When this is set to “on,” the Arpeggio playback data is
recorded to a track as MIDI sequence data.
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During recording, play the note or notes needed to trigger the Arpeggio you found in step #3.
■ Assigning a pre-programmed Phrase to a Pattern track
The Pattern mode also has a versatile Patch function that lets you assign pre-programmed one-track rhythm “Phrases” to each
track. Use the special preset Phrases already in internal memory, or create your own User Phrases — by recording, or loading
Pattern data from the included CD-ROM (Sound Library for MOTIF ES6/MOTIF ES7/MOTIF ES8). Use the Assigning Phrases
function to assemble your original Patterns, with up to 16 tracks.
The instrument provides a total capacity of 256 User Phrases. Keep in mind that these are originally empty and have no data,
unless you record or load data to them.
11Press the [F] (Play) button to start recording.
12
Turn the [ARPEGGIO ON/OFF] indicator off, and press the [F] (Play) button to hear your newly recorded phrase.
13Save the created Pattern data to a SmartMedia/USB storage device (page 132) before turning the power off.
1In the Pattern Play mode, select a Pattern and Section to be created.
2Press the [F4] PATCH button to call up the Patch display.
3Select the desired track and assign a Phrase to the selected track.
4Select another track and assign a User Phrase to it.
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Recording stops automatically
when Pattern playback reaches
the end, since Loop is set to “off.”
Start recording
Actual recording
starts after one
measure.
Arpeggio playback
ELEMENT/PERF. PART/ZONE
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TRACK
SELECT
SOLO
15
141213
11
10
9DEC/NOINC/YES
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Select a track.Select a Preset Phrase.
Play the Pattern to
confirm the
assigned Phrase.
Indicates the category
of the preset Phrases.
Indicates the Phrase
number.
ELEMENT/PERF. PART/ZONE
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TRACK
SELECT
SOLO
15
141213
11
10
9
DEC/NOINC/YES
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Select a track.Select a User Phrase.
Play the Pattern to
confirm the
assigned Phrase.
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114Owner’s Manual
The User Phrases that can be assigned with the Patch function are limited to the ones contained in the currently selected
Pattern. To copy Phrases from other Patterns for use in the current one, follow the instructions below.
1In the [F4] PATCH display, press the [SF5] COPY button to call up the Copy Phrase display.
2First, specify the source Pattern number and Phrase number as well as the destination (current Pattern) Phrase number and track
number. Then, press the [ENTER] button to execute the Copy operation.
3Press the [EXIT] button to return to the [F4] PATCH display, then check the assigned Phrase by pressing the [FF
FF] (Play) button to
play the Pattern.
Using the Groove function
The Groove function makes it possible to adjust the pitch, timing, length, and velocity of notes in a specified track via a 1-measure
16th-note grid to create interesting, unique “grooves” that would not be possible with precise sequencer-like programming.
nThe Groove settings are applied to all measures of the current Pattern. Keep in mind that you cannot apply different Groove settings to each measure.
nThe Grid Groove function affects Pattern playback without actually changing the MIDI sequence data (created via the Recording, Sampling, File Loading,
and Patch functions). The Groove settings are handled separately from MIDI sequence data. See page 167.
5Select a different track and copy the User Phrase from the another pattern to the selected Pattern’s track.
6Save the created Pattern data to a SmartMedia/USB storage device (page 132) before turning the power off.
1In the Pattern Play mode, select a Pattern and Section for which the Groove is to be applied.
2Press the [F2] GROOVE button to call up the Groove display.
3Select the desired track and adjust the Groove parameters.
Source Pattern number, Phrase number
Destination Phrase and track of the current
edited Pattern.
When this box is checkmarked, Sample Voices
assigned to the source Phrase are copied to
the destination Phrase as Sample Voices, and
are assigned to the corresponding tracks in
the selected Pattern.
ELEMENT/PERF. PART/ZONE
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TRACK
SELECT
SOLO
15
141213
11
10
9
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DEC/NOINC/YES
EXITENTER
EXECUTE
DEC/NOINC/YES
0
VELO OFST
GATE OFST
CLOCK SFT
NOTE OFST
Move the cursor...Set the value.
Grid
minusplus
NOTE OFST (Note Offset)Raises or lowers the pitch of the note(s) on the selected grid in semitones.
CLOCK SFT (Clock Shift)Shifts the timing of the note(s) on the selected grid forward or backward
in clock increments.
GATE OFST (Gate time Offset)Lengthens or shortens the note(s) on the selected grid in clock
increments.
VELO OFST (Velocity Offset)Increases or decreases the velocity of the note(s) on the selected grid.
nYou can edit the Groove parameters in real time
during playback.
Select a track.
Set each
parameter.
Play the Pattern
to check the
result of the
Groove settings.
Move the cursor to the desired
parameter and grid point and set
the offset value.
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Using the Groove settings to change the Pattern data
Grid Groove is a playback-only feature that processes the recorded data of a Pattern without actually changing it. In other
words, the original data (created via the Recording, Sampling, File Loading and Patch functions) remains intact. If you
want to make the Grid Groove settings permanent and change the data, use Normalize Play Effect in the Pattern Jobs
([PATTERN] → [JOB] → [F5] TRACK → 04: Normalize Play Effect). From this display, specify the track to be changed
according to the Groove settings, and press the [ENTER] button to execute.
Creating a Section and Pattern Chain
■ Creating a Section
Each Pattern consists of 16 Sections (A~H) which can be used as Pattern variations. Create the desired rhythm pattern
variations, or Sections, that you wish to use as accompaniment and backing for your new Song. After you’ve created the
Sections, you can string these Sections together in any order desired to assemble the backing part of the Song, over which you
can record a melody line and any other parts, in the Song Record mode.
nPattern Mixing, Groove, and Phrase Voice (Track Voice) on/off (page 167) cannot be set independently for each Section, but apply to all Sections.
The same User Phrases can be assigned to different Sections within a pattern. Keep in mind, however, that the Section data will automatically be changed
if another Section sharing the same User Phrase is changed. For example, if you’ve assigned a certain User Phrase to both Section A and Section D, and
you change that User Phrase for Section A, the same Phrase will be changed for Section D as well.
■ Creating a Pattern Chain by changing a Section
while playing a Pattern
Switching of sections, track muting, scene/mute changes,
and tempo changes can all be recorded in real time as the
Pattern Chain.
In the Pattern Chain Record Setup display, you can set the
Recording track and tempo. Three Pattern Chain track types
are available. The Tempo track lets you record tempo
changes for the Chain, and the Scene track lets you record
track on/off changes.
The Pattern (“patt”) track lets you record Section changes at
the desired measure points in the Song.
4Save the created Pattern data to a SmartMedia/USB storage device (page 132) before turning the power off.
TIP
........
Section ASection BSection FSection H
Convert
Song
Pattern Chain.....Enter the desired Sections for the Song
CAUTION
1In the Pattern Play mode, select a Pattern for
which data has already been created.
2Press the [F6] CHAIN button to call up the
Pattern Chain Play display.
3
Press the [
●
] (REC) button to enter the Pattern
Chain Record mode, then set the basic parameters.
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Pattern Chain Play display
Pattern Chain Record Setup display
Set the recording track to “patt” and enter
the Sections to the desired measures.
Tempo
Creating a Song on the MOTIF ES
116Owner’s Manual
Quick Guide — Advanced Course
Change the Section at the desired points, as the Pattern plays.
Operation returns to the Pattern Chain display.
You can also record the Tempo track and Scene track as
desired. When the recording track is set to “tempo,” move the
cursor to tempo value (during recording in step #4 above)
and use the data dial and the [INC/YES]/[DEC/NO] buttons to
change the tempo while the Chain is playing. When the
recording track is set to “scene,” press the [MUTE] button
(the lamp lights) and use the number buttons [1] - [16] to turn
each track on/off as desired during recording.
■ Editing a Pattern Chain
The Pattern Chain Edit mode makes it possible to edit the
order of the Sections in a chain as well as inserting tempo,
and scene/mute event data.
4Press the [F] (Play) button to start recording
and play the Pattern.
5Press the [■] (Stop) button to stop recording.
6Press the [F] (Play) button to hear the recorded
Pattern Chain.
7Save the created Pattern data to a SmartMedia/
USB storage device (page 132) before turning the
power off.
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A. PIANOKEYBOARDORGAN
PRE 5PRE 6USER 1
GUITAR/
PLUCKED
SYN LEAD
ABCDEFGHSECTION
CATEGORY
SEARCH
SYN PAD/
CHOIRSYN COMP
CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SEMUSICAL FXCOMBI
USER 2
STRINGS
PLG 1
BRASS
PLG 2
REED/PIPE
PLG 3
BASS
GM
Section I-P
Section A-H
1In the Pattern Play mode, select a Pattern for
which data has already been created.
2Press the [F6] CHAIN button to call up the
Pattern Chain Play display.
3Press the [EDIT] button to enter the Pattern
Chain Edit mode, then edit each track of the
Pattern Chain.
4Press the [EXIT] button to return to the Pattern
Chain Play display, then press the [F] (Play)
button to hear the edited Pattern Chain.
5Save the created Pattern Chain as Pattern data to
a SmartMedia/USB storage device (page 132)
before turning the power off.
EDIT
Press the [F6] button to
clear the event at the
cursor location.
Press the [F5] button to insert
the event to the cursor location.
Press the [F6] button to delete
the event at the cursor location.
Pattern Track Edit
Scene Track Edit
Tempo Track Edit
[F4] button
[F4] button
[F4] button
Enter the desired section
(A - P) or the End mark by
using the [INC/YES] and
[DEC/NO] buttons.
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■ Converting a Pattern Chain to Song data
The Pattern Chain data is converted to Song data and copied
to the top measure of the destination Song.
This operation overwrites any data already existing at the destination
Song.
The created Song data resides temporarily in DRAM (page 187). Because
data contained in DRAM is lost when the power is turned off, you should
always store any data residing in DRAM to a SmartMedia/USB storage
device before turning off the power.
Creating a Song
The following chart illustrates the basic procedure for creating a Song, using the various methods and functions described in this
tutorial. Now, that you’ve assembled the backing tracks for your Song (by converting the Phrases or Pattern Chain to Song data,
you can now record melody parts on top of them.
The created Song data resides temporarily in DRAM (page 187). Because data contained in DRAM is lost when the power is turned off, you should always
store any data residing in DRAM to a SmartMedia/USB storage device before turning off the power.
1In the Pattern Play mode, select a Pattern for
which Pattern Chain data has already been
created.
2Press the [F6] CHAIN button to call up the
Pattern Chain Play display.
3Press the [EDIT] button to enter the Pattern
Chain Edit mode.
4Press the [F3] SONG button to call up the
“Convert to Song” display, then specify the
destination Song.
When this box is checkmarked, program change
messages in the MIDI sequence data are not copied.
Destination Song number and
the top measure number
5Press the [ENTER] button to execute the Convert
operation.
6Save the Song data to a SmartMedia/USB
storage device (page 132) before turning the
power off.
CAUTION
CAUTION
Song track 1
Song track 2
Song track 3
Song track 4
Song track 5
Song track 6
Song track 7
Song track 8
Song track 9
Song track 10
Song track 11
Song track 12
Song track 13
Song track 14
Song track 15
Song track 16
Record your keyboard performance to each track one
by one in the Song Record mode, called up via [SONG]
→ [●] (REC).
Record audio data in the Sampling mode.
Copy the Phrase to the Song in the [SONG] → [F5]
PHRASE display.
Convert the Pattern Chain to Song data ([PATTERN]
→ [F6] CHAIN → [EDIT] → [F3] SONG).
Page 118
Page 122
Page 222
Page 117
Keyboard
Performance
Audio data
Phrase
Pattern Chain
Song track
CAUTION
Creating a Song on the MOTIF ES
118Owner’s Manual
Quick Guide — Advanced Course
Recording with the keyboard to a Song
track (in the Song Record mode)
■ Recording your keyboard performance to an
empty track (Replace)
Use the Replace recording method to record your keyboard
performance to an empty track or overwriting an already
recorded track with new data.
You can make changes to the Voice settings after entering the
Record mode (in step #3 below). However, if you intend to make
detailed settings to the Mixing parameters, you should do so
before enabling recording.
Song data is made up of three different types — Scene, Tempo and
Pattern — each of which have their own separate tracks. The Scene
track contains Song Scene (page 123) changes and the Tempo track
contains playback tempo changes. The Song tracks (1 - 16) contain
the actual note data. Since you’ll be recording a melody with the
keyboard, select one of the number tracks, using the [1] - [16] buttons.
nWhen the RecTrack is set to “multi,” you can simultaneously record
multiple channels of MIDI data (up to 16 channels) to all 16 tracks.
For details, see page 143.
Set the Type parameter to “replace.”
Set other parameters as necessary. See page 222 for details.
Call up the display for setting a Voice by pressing the [F2]
VOICE button. You won’t need to make settings in this display
if you’ve already completed Voice/Mixing settings in step #2
above.
nNon-note settings (such as Voice, volume and pan) that are made at
the beginning of a Song are not recorded as MIDI sequence data but
rather as Mixing setup data. However, when these non-note settings
are recorded in the middle of a Song, they are recorded as part of the
MIDI sequence data.
Listen to the playback of the already recorded tracks and play
(record) the keyboard along with them.
This operation exits from the Song Record mode to the Song
Play mode.
1
In the Song Play mode, select a Song to be created.
2
Set the Mixing parameters (including the Voice settings)
by following the instructions on pages 103 - 104.
3Press the [●] (Record) button to enter the Song
Record mode.
4Press the [TRACK SELECT] button (the lamp
lights), then select the desired track from the
number buttons [1] - [16].
SEQ TRANSPORT
LOCATE12
ELEMENT/PERF. PART/ZONE
87654321
16MUTE
TRACK
SELECT
SOLO
15
141213
11
10
9
tempo
scene1-16
5Set the parameters related to recording in the
[F1] SETUP display.
6
Set the parameters related to the Voice you wish
to use during recording in the [F2] VOICE display.
7Press the [F] (Play) button to start recording.
8Press the [■] (Stop) button to stop recording.
9Press the [F] (Play) button to hear your newly
recorded song.
10Record additional melody parts to the other
tracks as needed by repeating steps #3 - 9 above.
11Save the created Song data to a SmartMedia/USB
storage device (page 132) before turning the
power off.
This lets you turn the click sound (metronome)
on/off for recording. (Press the [F5] button.)
BankNumber
SEQ TRANSPORT
LOCATE12
Start recording
Actual recording
starts after one
measure.
Quick Guide — Advanced Course
Creating a Song on the MOTIF ES
119
Owner’s Manual
■
Re-recording a specific part of a Song (Punch In/Out)
Use the Punch In/Out recording method to record over only a
specific portion of the track. In the example instructions
below, you’ll see how to re-record measures three through five
of an already recorded Song.
Set the Type parameter to “punch” and specify the area to be
re-recorded.
Set other parameters as necessary. See page 222 for details.
nPunch In/Out recording is available only in the Song Record mode.
This is not available in the Pattern Record mode.
■ Recording additional notes to an already-
recorded track (Overdub)
Use the Overdub recording method when you want to add
more data to a track that already contains data. This is useful
not only for recording more notes to a track; it’s also
convenient for adding non-note, sound-shaping data, such as
that of the Knobs and Ribbon Controller.
Set the Type parameter to “overdub.”
Set other parameters as necessary. See page 222 for details.
Playback starts, and the notes (or controller data) you play
are added to the existing data.
1
In the Song Play mode, select a Song to be created.
2Press the [●] (Record) button to enter the Song
Record mode.
3Press the [TRACK SELECT] button (the lamp
lights), then select the desired track from the
number buttons [1] - [16].
4Set the parameters related to recording in the
[F1] SETUP display.
5Press the [F] (Play) button to start recording.
6Press the [■] (Stop) button to stop recording
after the Song playback reaches the Punch Out
point.
7Press the [F] (Play) button to hear the part
you’ve just re-recorded.
Punch In (Recording start measure : beat)
Playback of the recording track is turned off from this point, and
your keyboard performance will be recorded to the track. Location setting
(page 58)
Punch Out (Recording end measure : beat)
Recording ends at this point and normal playback of the
recording track starts.
Press the [SF1] COPY LOC to assign the measure numbers registered to
the Locations (Loc1 and Loc2) to the Punch In and Punch Out points.
SEQ TRANSPORT
LOCATE12
When Song playback
reaches the Punch In
point, play the keyboard.
Playback start
8Save the created Song data to a SmartMedia/USB
storage device (page 132) before turning the
power off.
1In the Song Play mode, select a song to be
created.
2Press the [●] (Record) button to enter the Song
Record mode.
3Press the [TRACK SELECT] button (the lamp
lights), then select the desired track from the
number buttons [1] - [16].
4Set the parameters related to recording in the
[F1] SETUP display.
5Press the [F] (Play) button to start recording.
6Press the [■] (Stop) button to stop recording
after the Song playback reaches the Punch Out
point.
7Press the [F] (Play) button to hear the part
you’ve just re-recorded.
8Save the created Song data to a SmartMedia/USB
storage device (page 132) before turning the
power off.
Creating a Song on the MOTIF ES
120Owner’s Manual
Quick Guide — Advanced Course
Rehearsing parts before recording
The MOTIF ES has a convenient Rehearsal mode in
recording, that lets you easily and temporarily disable
recording in order to practice a part or try out various
ideas (while listening to the other tracks) without actually
recording.
To temporarily disengage the record mode and enter
the “Rehearsal” mode, simply press the [●] (Record)
button during realtime recording – the [●] (Record)
indicator will flash and playback will continue
uninterrupted but no data will be recorded. To return to
the record mode press the [●] (Record) button again –
the [●] (Record) indicator will light continuously. You
can repeat this process as often as you wish, pressing
the [■] (Stop) button to cancel the Rehearsal mode.
Listen back to the Song (the sample automatically sounds
along with playback) and check that the timing is correct. If
you’re not satisfied with the timing, you can adjust it as
needed in the Song Edit mode. For details about Song Edit,
see page 124.
Registering a Song Scene and Arpeggio type simultaneously to the [SF1] - [SF5] buttons
Song Scenes and Arpeggio types can both be registered to the [SF1] - [SF5] buttons (when the ARP1 - ARP5 menu items are shown
at the bottom of the display). These settings are stored as Song data. Song Scene is a powerful function that allows you to store five
different “snapshots” of important Song related parameters – including transpose, tempo, track mute status, and the basic sound/
mixing controls (all parameter settings controllable from the Knobs with the [PAN/SEND] or [TONE] lamp turned on, and the Control
Sliders). The Arpeggio function and Arpeggio types are discussed in detail in the Voice mode, on page 66. You can call up both the
Song Scene and Arpeggio type simultaneously by simply pressing one of the [SF1] - [SF5] buttons (when ARP1 - ARP5 are shown at
the bottom of the display in the Song mode).
6Press the [F6] REC button again enable Punch In
Waiting.
7Press the [F] (Play) button to start Song
playback.
8Start the audio equipment when the Song
reaches the Punch In point (when sampling
actually starts).
F6
Indicates that sample recording is waiting for song/pattern
playback to reach the specified Punch-in measure.
9Stop the audio equipment when the Song
reaches the Punch Out point (when sampling
stops).
10Press the [SONG] button or [EXIT] button to
return to the Song Play mode.
11Press the [F] (Play) button to play the Song.
12Save the Song data to a SmartMedia/USB
storage device in the File mode (page 132) before
turning the power off.
SCENESF1SF2SF3SF4SF5
SCENE STORE
SET LOCATE
STORESCENESF1SF2SF3SF4SF5
ARPEGGIO
ON/OFF
●Registering a Song Scene and Arpeggio type
simultaneously to the [SF1] - [SF5] buttons
●Recalling a Song Scene and Arpeggio type
simultaneously from the [SF1] - [SF5] buttons
In the Song mode, you can register the Song Scene and Arpeggio
type simultaneously to the [SF1] - [SF5] buttons only when the
ARP1 - ARP5 menus appear at the bottom in the display.
Simultaneously hold
the [STORE] button
and press one of
the [SF1] - [SF5]
buttons.
Creating a Song on the MOTIF ES
124Owner’s Manual
Quick Guide — Advanced Course
■ Recalling a Song Scene and Arpeggio type during recording
ARP1 - ARP5 menus appear also in the [F3] ARP display in the Song Record mode as well as the [F1] PLAY display in the Song
Play mode. These indicate that you can change the Song Scene and Arpeggio type simultaneously during Song recording from
the [F3] ARP display.
■ Recording Song Scene changes to a song
Each Song contains a Scene track to which you can record Scene changes. When the RecTrack is set to “scene” in step #4
described on page 118, you can record Scene changes from any display (even from those in which ARP1 - ARP5 are not shown)
by pressing the [SF1] - [SF5] buttons during recording.
nThe explanations on Arpeggio here also apply to the Pattern mode.
nAs in the Voice mode and Performance mode, Arpeggio types can only be registered to the [SF1] - [SF5] buttons when the [ARPEGGIO ON/OFF] button is
turned off.
nFor details on how to select an Arpeggio type in the Song mode/Pattern mode, see page 105.
Editing the recorded song
The Song Edit mode and Song Job mode can be used to edit or change the data of the already recorded song.
The Song Edit mode lets you change the recorded data and insert new data if needed. This includes note data as well as non-
note data, such as program (Voice) changes and MIDI control change messages. The Song Job mode on the other hand
provides a comprehensive variety of tools you can use to transform the recorded data — such as cleaning up the timing
(Quantize), transposing, changing the velocity of notes, modifying the length of notes, and other useful operations for altering the
sound. 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.
nThe explanations here also apply to the Pattern mode.
■ Editing the recorded Song data by MIDI event (in the Song Edit mode)
1Press the [SONG] button to enter the Song Play mode, then select a Song to be edited.
2Enter the Song Edit mode by pressing the [EDIT] button (the lamp lights), then press the [F1] CHANGE
button to call up the MIDI event list display.
EDIT
007:1-007
Song positionMIDI events
Clock (480 clocks
per quarter-note)
Beat
Measure
number
Quick Guide — Advanced Course
Creating a Song on the MOTIF ES
125
Owner’s Manual
Select one of the three available track types by pressing the
[F4] TR SEL (Track Select) button. Each press of the button
alternates among the track types.
To select one of the Pattern tracks (1 - 16), make sure the 1-16
track edit display is selected (see below), then turn the
[TRACK SELECT] button on and press any of the [1] - [16]
buttons.
●Editing/Deleting Existing Events
To edit data in the Event List, use the up/down cursor buttons
to highlight the specific event you want to edit, and use the
left/right cursor buttons to highlight the data type or
parameter to be edited. Then, change the value as needed
by using the [INC/YES] and [DEC/NO] buttons or the data
dial.
The entire line of the edited event will flash on the display.
Press the [ENTER] button to actually enter the edited data
(the entire line of the edited event will stop flashing). To abort
an edit simply highlight to a new event location without
pressing the [ENTER] button.
Press the [F6] button to delete the event at the current
location.
●Inserting New Events
To insert an event, use the up/down cursor buttons to
highlight an event at the desired point in the track measure,
beat, clock) – this is the location to which the new event will
be inserted. Then, follow the steps below.
In the Event List display, you can edit various types of events
such as Voice, volume, and pan as well as note events. This
means that you could, for example, enter Voice changes to
the middle of a track, even if the track was recorded using
only one Voice.
nFor details about the MIDI events handled in the Event List display,
see page 225.
nIf you find the display too cluttered, you can filter out certain event
types with the View Filter. Simply press the [F2] VIEW FLT button and
select the event types you want to be displayed. For details, see page
225.
3Select a track to be edited.
4Edit the MIDI events of the Song.
ELEMENT/PERF. PART/ZONE
8
7654321
16
MUTE
TRACK
SELECT
SOLO
15
141213
11
10
9
Select a track to be edited from 1 - 16.
1 - 16 track edit display
Scene track edit display
Tempo track edit display
[F4] button
[F4] button
[F4] button
When changing the value, the entire line will flash on the
display indicating this is being edited and not fixed yet.
This value has been
fixed as data.
Press the [F6] button to delete the
event at the current location.
[ENTER] button
ENTER
EXECUTE
Press the [F1] button or [EXIT] button
to abort and return to the main Event
List display.
Press the [F6] SET button to actually insert
the event shown in the display and remain
in display. If you wish to insert the event
type currently shown in the display several
times, use [F6] SET and press the [F1] or
[EXIT] button to return to the main Event
List display.
Press the [ENTER] button to actually insert the
event and return to the main Event List display.
[F5] button
[F1] button or
[EXIT] button
Creating a Song on the MOTIF ES
126Owner’s Manual
Quick Guide — Advanced Course
Since the Song can be played back from within the Song Edit
mode, you can instantly hear and check the changes you’ve
made while editing. If you want to hear just the track being
edited, use the Solo function (page 58).
■ Transforming the recorded data and other
operations — Song Job mode
The Song Job mode has a wide variety of operations for
changing and working with Song data. Virtually all of the Jobs
share the same procedure, so we’ll explain only one of them
here — Quantize, which lets you clean up the timing of a
previously recorded track.
In the following example, this musical passage has been
written with exact quarter-note and eighth-note values.
Even though you think you may have recorded the passage
accurately, your actual performance may be slightly ahead of
or behind the beat (or both!). Quantize allows you to align all
the notes in a track so that the timing is absolutely accurate to
the specified note value.
As shown below, the Jobs are divided into six main groups,
each of which is selected using the [F1] - [F6] buttons.
After specifying the track and range over which the Job is to
be applied, set Quantize to “” (8th note) according to the
notation example above. Set the Strength to “100%,”
SwingRate to “050%,” and GateTime to “100%.” Regarding
these parameters, see page 227.
nSet the Quantize value to correspond to the smallest value notes in the
track you are working with. For example, if the data was recorded with
both quarter notes and eighth notes, use eighth note for the quantize
value.
After the Job has been completed, a “Completed” message
appears and operation returns to the original display.
An “Executing...” message is shown when it takes a short amount of time to
execute the Job. Never attempt to turn off the power while the Job is being
executed. Turning the power off in this state results in loss of all user data.
If you are satisfied with the result of the Job, go to step #7.
If not, execute the UNDO Job in the [F1] UNDO display in the
Song Job mode to restore the data to its previous state, then
try out the Job (from step #4) again. For details about Undo,
see next page.
In addition to Quantize, you’ll find a variety of other useful and
powerful Jobs in the Song Job mode (page 226) and Pattern
Job mode (page 244).
5Press the [F] (Play) button to hear your edited
data.
6Edit other tracks as required by repeating steps
#3 through #5 as desired.
7After editing, press the [SONG] button to return
to the Song Play mode.
8Save the edited Song data to a SmartMedia/USB
storage device (page 132) before turning the
power off.
1Press the [SONG] button to enter the Song Play
mode, then select a Song for which the Job is to
be applied.
2
Press the [JOB] button to enter the Song Job mode.
[F1][F2][F3][F4][F5][F6]
Indicates the Job List. Because all the Jobs cannot be
displayed simultaneously, you will need to use the cursor
buttons to scroll the display in order to find the desired Job.
[F1] UNDOUndo (Canceling the executed Job)/Redo
(Restoring the executed Job) functions
[F2] NOTENote Data Job
[F3] EVENTEvent Job
[F4] MEASMeasure Job
[F5] TRACKTrack Job
[F6] SONGSong Job
3Press the [F2] NOTE button, move the cursor to
“01: Quantize” then press the [ENTER] button to
call up the Quantize Job display.
4Set the relevant Job parameters.
5Press the [ENTER] button to execute the Job.
6Press the [SONG] button to return to the Song
Play mode, then press the [F] button to hear
the song over which the Job is applied.
7Save the Song data to a SmartMedia/USB
storage device in the File mode (page 132) before
turning the power off.
Track over which the Job is appliedRange over which the Job is applied
CAUTION
Creating a Song on the MOTIF ES
127
Owner’s Manual
Quick Guide — Advanced Course
Using the Undo/Redo functions
If you’re not satisfied with the results of a just-executed Job, or you want to hear the difference of the sound before and
after using a Job, you can use the convenient Undo and Redo functions. After changing the data with a particular Job,
repeat steps #1 -4 as desired.
1Press the [SONG] button to return to the Song Play mode, then press the [F] button to hear the Song as it was
changed by the Job.
This lets you check the results of the Job.
2After stopping the song, press the [JOB] button followed by the [F1] UNDO button to call up the Undo display.
Press the [ENTER] button to execute Undo.
The Song data is restored to its previous state.
3Press the [SONG] button to return to the Song Play mode, then press the [FF
FF] (Play) button to play the song.
This lets you check the sound before actually making changes to it with the Job.
4After stopping the song, press the [JOB] button followed by the [F1] UNDO button to call up the Undo display.
Press the [ENTER] button to execute the Redo.
This lets you “redo” the Job, restoring the Song to the changes you made before using Undo in step #2 above.
nUndo/Redo is applied to the most recent operation (Job, Edit, Record, etc.).
nThe Undo/Redo Job is available also in the Pattern Job mode.
Editing Mixing parameters to complete a Song (in the Mixing mode/Mixing Edit mode)
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.
nThe explanations here also apply to the Pattern mode.
Select the menu you wish to edit by pressing the [F1] - [F4] buttons, then edit the parameters in each display.
You can use the Song Mixing mode for Sample Mixing as well. For information on the available parameters, see page 233.
If you wish to edit more detailed Mixing parameters, enter the Song Mixing Edit mode.
1
Press the [SONG] button to enter the Song Play mode, then select a Song for which Mixing edits have been made.
2Enter the Song Mixing mode by pressing the [MIXING] button (the lamp lights).
TIP
Indicates the operation to be affected by Undo.Changes to “Redo.”
[ENTER]
button
Indicates the operation to be affected by Redo.Changes to “Undo.”
[ENTER]
button
If you alter any parameters, the [E] indicator will appear in the top left of the display.
Press the [F6] button to switch between the display for
Parts 01-16 (for the internal tone generator), 17-32 (for
the Multi-Part Plug-in Board PLG100-XG), and PLG1-3
(for the Single Part Plug-in Board).
Press the [F5] VCE ED button to enter the Mixing
Voice Edit mode (page 105).
Quick Guide — Advanced Course
Creating a Song on the MOTIF ES
128Owner’s Manual
Use Part Edit to edit the parameters for each Part. Use Common Edit to edit the parameters for all of the Parts.
For details on the available parameters, see page 234.
After pressing the [EXIT] button to return to the Song Mixing mode, press the [STORE] button to enter the Song Mixing Store
mode, then press the [ENTER] button to execute the Store operation (page 131).
3Press the [EDIT] button to enter the Song Mixing Edit mode.
4Call up the Common Edit display or Part Edit display.
5Select the menu you wish to edit by pressing the [F1] - [F5] buttons and [SF1] - [SF5] buttons, then edit the
parameters in each display.
6Repeat steps #4 - 5 as desired.
7Store the edited Song Mixing settings to internal User memory (DRAM).
8Before turning the power off, save the stored Song Mixing settings to a SmartMedia/USB storage device as
Song data in the File mode (page 132).
EDIT
COMPARESCENE STORE
SET LOCATE
JOBSTORE
COMMONELEMENT/PERF. PART/ZONE
FAVORITES
DRUM KITS
A. PIANOKEYBOARDGUITAR/
PLUCKED
PRE 5PRE 6USER 1
GUITAR
SYN LEAD
ABCD
321
11
10
9
SYN PAD/
CHOIRSYN COMP
CHROMATIC
PERCUSSION
USER 2
8
16
......
......
..........
F6
Calling up the Common Edit display
Press the [COMMON] button to call up the
Common Edit display.
In the Edit mode, the [DRUM KITS] button
functions as the [COMMON] button.
While in the Song Mixing Edit mode, you can switch
between the Common Edit display and the Element
Edit display as shown below.
Indicates a Common Edit
display.
Calling up the Part Edit display
Press the desired Part number from the PART [1] -
[16] buttons to call up the Part Edit display.
Indicates the display for editing Part 1.
Common Edit
Part1 Edit
To switch between the Part 1 - 16
display, Part 17 - 32, and Part PLG1
- 3 display, press the [F6] button.
nCommon Edit operations cannot be
performed on the Multi-part Plug-in parts
17 - 32. The Mixing settings for the Multi-
Part Plug-in Part (17~32) apply not to one
individual song but to all 64 songs.
Internal Tone
Generator
Multi-Part Plug-in
Board PLG100-XG
Single Part
Plug-in
Board
nYou can mute or solo a Part just as is done with
tracks in the Song Play mode or Pattern Play mode. Part2 Edit
Part3 Edit
Part4 Edit
Part 16 Edit
Part 17 Edit
Part 32 Edit
Plug-in part 1 (PLG1) Edit
Plug-in part 2 (PLG2) Edit
Plug-in part 3 (PLG3) Edit
Creating a Song on the MOTIF ES
129
Owner’s Manual
Quick Guide — Advanced Course
Editing a Mixing by using the Knobs (in the Song mode/Pattern mode)
The four knobs at the top left of the instrument can be used to tweak the Song/Pattern Mixing settings as they play (in the
Song Play/Pattern Play mode). What’s mode, you can use them to edit the Mixing settings, in the Song Mixing Edit/Pattern
Mixing Edit modes.
For details on the parameters edited by the knobs, refer to the descriptions in the Performance mode (page 90).
●When the [PAN/SEND] indicator is turned on:
●When the [TONE] indicator is turned on:
●When the [ARP FX] indicator is turned on:
●When the [EQ] indicator is turned on:
●When both the [PAN/SEND] and [TONE] indicators are turned on (by pressing them simultaneously):
nIn addition to the above functions, Master Effect related parameters ([SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] →
[COMMON] →[F2] MEQ/MEF →[SF2] MEF) can be assigned to these four knobs, and the knobs can be used for these assignments by pressing
the [ARP FX] and [EQ] buttons simultaneously to turn them on. The particular parameters assigned to the four knobs can be set in the [UTILITY] →
[F4] CTL ASN → [SF5] MEF display.
Compare function and Edit Recall (in the Song mode/Pattern mode)
These are the same as in the Voice mode and Performance mode. See pages 80 and 82.
PAN[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → Part selection → [F2] OUTPUT →
[SF1] VOL/PAN → Pan
Page 235
REVERB[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → Part selection → [F2] OUTPUT →
[SF2] EF SEND → RevSend
Page 235
CHORUS[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → Part selection → [F2] OUTPUT →
[SF2] EF SEND → ChoSend
Page 235
TEMPOTempo of the current Song/PatternPages 57
and 59
CUTOFF[SONG] or [PATTERN] →Song/Pattern selection → [MIXING] → [EDIT] →Part selection →[F4] TONE →[SF2] FILTER →
Cutoff
Page 236
RESONANCE[SONG] or [PATTERN] →Song/Pattern selection → [MIXING] → [EDIT] →Part selection →[F4] TONE →[SF2] FILTER →
Resonance
Page 236
ATTACK[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → Part selection → [F4] TONE → [SF4] AEG →
Attack
Page 236
RELEASE[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → Part selection → [F4] TONE → [SF4] AEG →
Release
Page 236
SWING[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → [COMMON] → [F3] ARP → [SF3] PLAY FX →
Swing
Page 234
GATE TIME[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → [COMMON] → [F3] ARP → [SF3] PLAY FX →
GateTimeRate
Page 234
VELOCITY[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → [COMMON] → [F3] ARP → [SF3] PLAY FX →
VelocityRate
Page 234
UNITMULTIPLY
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → [COMMON] → [F3] ARP → [SF3] PLAY FX →
UnitMultiply
Page 234
LO[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → Part selection → [F3] EQ → Low GainPage 236
LO MID[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → Part selection → [F3] EQ → Mid GainPage 236
HI MID—-
HI[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → Part selection → [F3] EQ → High GainPage 236
ASSIGN AAdjusts parameters assigned to these knobs in the [UTILITY] → [F4] CTL ASN → [SF2] ASSIGN display. Page 263
ASSIGN BPage 263
ASSIGN 1Depend on the settings of the voice assigned to the currently selected part.Page 192
ASSIGN 2Page 192
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Quick Guide — Advanced Course
Creating a Song on the MOTIF ES
130Owner’s Manual
Editing a Mixing by using Control Sliders (in the Song mode/Pattern mode)
In the Song/Pattern mode, the four Control Sliders let you independently adjust the levels of the Parts (Voices), letting you
control the overall balance of the Parts.
nInadvertent use of the sliders may result in no sound. If this occurs, move the sliders upward.
Creating an Arpeggio
In addition using the preset Arpeggios, you can also create your own original Arpeggio data.
Actually, there is no direct operation for recording Arpeggios. First, you have to record a Phrase to a Song or Pattern track.
Then, use the appropriate Song or Pattern Job function to convert the data to Arpeggio data.
■ Determining how Song/Pattern data is converted to an Arpeggio — Convert Type
MIDI sequence data (of Song/Pattern tracks) can be converted to Arpeggio data in one of three ways, according to the
Convert types below. These types can also be selected independently for each destination track — providing enormous
flexibility and performance control.
[SONG] →→
→→ Song selection →→
→→ [MIXING] →→
→→ [EDIT] →→
→→ Part selection →→
→→ [F2] OUTPUT →→
→→ [SF1] VOL/PAN →→
→→ Volume
Normal The Arpeggio is played back using only the played note and its octave notes.
FixedPlaying any note(s) will trigger the same MIDI sequence data.
OrgNotes (Original Notes)Basically same as “Fixed” with the exception that the Arpeggio playback notes differ according to the played chord.
TIP
TIP
Track 1
Track 2
Track 3
Track 4
Track 5
Track 6
Track 7
Track 8
Track 9
Track 10
Track 11
Track 12
Track 13
Track 14
Track 15
Track 16
12
Track 1
Track 2
Track 3
Track 4
Record
User Arpeggio 256
User Arpeggio 001
Song or PatternArpeggio
[SONG] → [JOB] → [F5] TRACK → 07: Put Track To Arp
Record
Record
Record
Convert
You can record MIDI sequence data for
the Arpeggio to any of the tracks. After
recording, select four tracks from all
sixteen and convert them to Arpeggio
data.
Specify the tracks of the source Song or
Pattern. Set unused tracks to “off.”
Set the root note when the
convert type of any track is
set to “OrgNote.”
Specify the destination Arpeggio number.
Specify the source Song/
Pattern number and
measure range.
Select a convert type by track (see below).
After setting the parameters as shown below,
press the [ENTER] button to execute Convert.
Convert the MIDI sequence data (recorded to
the Song or Pattern) as Arpeggio data.
Record the MIDI sequence data to be
used as the basis for base of the Arpeggio
to a Song or Pattern.
Creating a Song on the MOTIF ES
131
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Quick Guide — Advanced Course
Record the MIDI sequence data to a Song or Pattern track, referring to the previous instructions in this chapter as needed.
The examples listed below are used as reference.
●Creating a rhythm pattern (using a Drum Voice)
●Creating a bass line (using a Normal Voice)
●Creating a guitar backing (using a Keyboard Mega Voice)
nUp to 16 unique note numbers can be recorded to the Arpeggio track. (This does not apply to multiple instances of the same note number.) If more
than 16 different note numbers have been recorded to the MIDI sequence data, the Convert operation reduces the notes in excess of the limit.
Because of this, be careful to record only up to 16 different notes when you create an Arpeggio, especially when using all four tracks.
■ Convert type which determines how the Song/Pattern data is converted to the Arpeggio data
The Arpeggio data created via the above instructions is stored on internal Flash ROM, meaning that it will not be lost, even
if you turn the power off. When saving the Arpeggio data to a SmartMedia/USB storage device, set the file type (TYPE) to
“All” or “UsrArp” in step #3 described on page 132.
Storing/Saving the created Song/Pattern
The created Song/Pattern data resides on DRAM (page 187). Because data contained in DRAM is lost when the power is turned
off, you should always save any data residing in DRAM to a SmartMedia/USB storage device in the File mode before turning off
the power. Please note that the edited Mixing settings should be stored before saving to a SmartMedia/USB storage device.
Storing the edited Song Mixing/Pattern Mixing settings to internal memory (DRAM)
Press the [STORE] button to enter the Song Mixing Store mode/Pattern Mixing Store mode, then press the [ENTER] button to
execute the Store operation. The Mixing settings are actually stored to a Song/Pattern by executing the Store operation.
The currently edited Mixing program will be lost when selecting a different Song/Pattern or going to a different mode without storing it to the current Song/
Pattern. In addition, simply playing back the Song/Pattern or receiving any MIDI messages from an external MIDI instrument may change the current Mixing
program.
Make sure to store the Mixing program before executing these operations.
Track 1Record a basic rhythm pattern using various drum instruments. ➔ Convert via “Fixed.”
Track 2 - 4Record a different rhythm pattern using a specific drum instrument to each track. ➔ Convert via “Normal.”
Track 1Record a bass line using a specific desired key (root). ➔ Convert via “OrgNote” after the
OrgNotesRoot is set.
Track 2 - 4➔ off
Track 1Record a guitar backing part using a specific desired key (root). ➔ Convert via “Normal.”
Track 2Record a different rhythm using one of the “special” sounds, such as a finger
mute or scratching noise.
➔ Convert via “Fixed.”
Track 3 - 4➔ off
[MIXING] →→
→→ [STORE]
Mixing Edit
Song/PatternSmartMedia
USB storage device
Save
Store
Store
Internal memory (DRAM)
Mixing Voice Edit
Record
Sampling
Settings in the Play mode
Mixing
Mixing Voice
MIDI sequence data
Sample
Groove, etc.
File extension: W7A
File extension: W7S
File extension: W7P
Save all Songs or Patterns
in internal DRAM as a
single file.
CAUTION
Creating a Song on the MOTIF ES
132Owner’s Manual
Quick Guide — Advanced Course
Saving the Song/Pattern data to the
SmartMedia/USB storage device
The recorded Song, Pattern and Sample (Waveform) data resides
temporarily in DIMM (page 187). Because data contained in DIMM is lost
when the power is turned off, you should always save any data residing in
DIMM to a SmartMedia /USB storage device before turning off the power.
After inserting a SmartMedia into the CARD slot or connecting
the USB storage device to this synthesizer, follow the
instructions below.
Refer to “Basic settings for using SmartMedia or a USB
storage device” on page 30.
Move the cursor to the TYPE, then set the File type by using
the data dial, [INC/YES] and [DEC/NO] button. You can select
one of the following four file types to save the Song or Pattern
data. Here, select “All” because various kinds of data have
been created in order to complete a song.
Move the cursor to the file name input location, then input a
file name. For detailed instructions on naming, refer to page
53 in the Basic Operation section.
If you are about to overwrite an existing file, the display
prompts you for confirmation. Press the [INC/YES] button to
execute the Save operation to overwrite an existing file, or
press the [DEC/NO] button to cancel it.
After the data has been saved, a “Completed” message
appears and operation returns to the original display.
While the data is being saved, make sure to follow these precautions:
•Never remove or eject the media from the device (SmartMedia or USB
storage).
•Never unplug or disconnect any of the devices.
•Never turn off the power of the MOTIF ES or the relevant devices.
Saving a Song or a Pattern Section as a
Standard MIDI File
After inserting a SmartMedia into the CARD slot or
connecting the USB storage device to the instrument,
follow the instructions below.
1Press the [FILE] button to enter the File mode,
then execute the basic settings.
Refer to “Basic settings for using SmartMedia or a
USB storage device” on page 30.
2Press the [F2] SAVE button to call up the Save
display.
3Set the TYPE parameter to “SMF” then select a
Song/Pattern to be saved.
4Input a file name.
Move the cursor to the file name input location, then
input a file name. For detailed instructions on
naming, refer to page 53 in the Basic Operation
section.
[FILE] →→
→→ [F2] SAVE
1Press the [FILE] button to enter the File mode,
then execute the basic settings.
2
Press the [F2] SAVE button to call up the Save display.
3Set the TYPE parameter to “All.”
AllAll data in this synthesizer’s internal User Memory is treated as a
single file (extension: W7A), and can be saved to a SmartMedia/
USB storage device.
All SongAll the User Song data in this synthesizer’s internal User Memory
(DRAM) is treated as a single file (extension: W7S), and can be
saved to a SmartMedia/USB storage device. Please keep in mind
that Sample Voices and assigned Waveforms created via the
Sampling function in the Song mode are also saved together.
All
PatternAll the User Pattern data in this synthesizer’s internal User Memory
(DRAM) is treated as a single file (extension: W7P), and can be
saved to a SmartMedia/USB storage device. Please keep in mind
that Sample Voices and assigned Waveforms created via the
Sampling function in the Pattern mode are also saved together.
SMFSequence track (1 - 16) and Tempo track data of a Song/Pattern
created in the Song/Pattern mode can be saved to a SmartMedia/
USB storage device as Standard MIDI File (format 0) data.
4Input a file name.
CAUTION
File name input
location
5Press the [ENTER] button to execute the Save
operation.
CAUTION
Select a Song number.
Select a Pattern number and Section.
When saving a Pattern as SMF:
When saving a Song as SMF:
Quick Guide — Advanced Course
Creating a Song on the MOTIF ES
133
Owner’s Manual
5Press the [ENTER] button to execute the Save
operation.
If you are about to overwrite an existing file, the
display prompts you for confirmation. Press the [INC/
YES] button to execute the Save operation to
overwrite an existing file, or press the [DEC/NO]
button to cancel it. After the data has been saved, a
“Completed” message appears and operation
returns to the original display.
nWhen loading a SMF (Standard MIDI File), set the file type to
“Song” or “Pattern.”
nOnly the sequence track (1 - 16) and tempo track data of a
Song/Pattern created in the Song/Pattern mode can be saved
to a SmartMedia/USB storage device as Standard MIDI File
(format 0) data. The Mixing settings will not be saved to a
Standard MIDI File. If you wish to save the entire Song/Pattern
including the Mixing settings, set the file type to “All” or
“AllSong.” or “AllPattern.”
Saving a Sample Voice as a WAV file/AIFF file
After inserting a SmartMedia into the CARD slot or
connecting the USB storage device to the instrument,
follow the instructions below.
1In the Song mode/Pattern mode, select a Song/
Pattern including the desired Sample, press the
[FILE] button to enter the File mode, then execute
the basic settings.
Refer to “Basic settings for using SmartMedia or a
USB storage device” on page 30.
2
Press the [F2] SAVE button to call up the Save display.
3
Set the TYPE parameter to “Wav” or “Aiff,” press the
[ENTER] button, then select a sample to be saved.
4Press the [ENTER] button to execute the Save
operation.
If you are about to overwrite an existing file, the
display prompts you for confirmation. Press the [INC/
YES] button to execute the Save operation to
overwrite an existing file, or press the [DEC/NO]
button to cancel it.
After the data has been saved, a “Completed”
message appears and operation returns to the
original display.
Loading a file saved to a SmartMedia/
USB storage device
These instructions describe how to recall the data saved as a file type
“All (extension: W7A)” described on page 132 from the SmartMedia/
USB storage device to the instrument by using the Load operation.
Loading a file (extension: W7A) to this synthesizer automatically erases
and replaces all existing data in the User memory. Make sure to save any
important data to a SmartMedia/USB storage device before performing any
Load operations.
nIf you wish to select and load a specified Waveform in the file
(extension: W7A), enter the File mode (in step #1 below) after
executing the following operations:
•
Enter the Voice mode if you wish to assign the Waveform to a Voice.
•Select a Performance in the Performance mode if you wish to assign
the Waveform to a Part of the Performance.
•Select a Song in the Song mode if you wish to assign the Waveform
to a Part of the Song.
•Select a Pattern in the Pattern mode if you wish to assign the
Waveform to a Part of the Pattern.
nIf you wish to select and load a specified Sample Voice in the file
(extension: W7A), enter the File mode (in step #1 below) after
executing the following operations:
•Select a Song in the Song mode if you wish to assign the Sample
Voice to a Song.
•Select a Pattern in the Pattern mode if you wish to assign the Sample
Voice to a Pattern.
Refer to “Basic settings for using SmartMedia or a USB
storage device” on page 30.
You can load the file (extension: W7A) saved as “All” by
selecting one of the following file types.
Select the track containing the
sample to be saved.
This is available only when the cursor is
located at KeyBank. Each press of the [SF2]
SELECT button selects, one by one, the Key
Banks assigned to specific velocity ranges
for the selected key.
You can hear the selected
sample by pressing the
[SF1] button.
(Audition function)
[FILE] →→
→→ [F3] LOAD
1Press the [FILE] button to enter the File mode,
then execute the basic settings.
2
Press the [F3] LOAD button to call up the Load display.
3Select a file type to be loaded.
AllAll data in a file that is saved to the SmartMedia/USB storage
device as an “All” type can be loaded and restored to this
instrument.
VoiceA specified Voice in a file can be individually selected and
loaded to this instrument.
PerformanceA specified Performance in a file can be individually selected
and loaded to this synthesizer.
SongA specified Song in a file can be individually selected and
loaded to this instrument.
PatternA specified Pattern in a file can be individually selected and
loaded to this instrument.
WaveformA specified Waveform in a file can be individually selected and
loaded to this instrument.
Sample VoiceA specified Sample Voice in a file can be individually selected
and loaded to this instrument.
CAUTION
Quick Guide — Advanced Course
Creating a Song on the MOTIF ES
134Owner’s Manual
Move the cursor to the file (extension: W7A) which was saved as “All” on previous page.
When Type is set to “All,” go to step #5.
When Type is set to something other than “All,” follow the instructions below then go to step #5.
●When Type is set to “Voice” or “Performance”:
You can select and load a specified Voice or Performance in the file (extension: W7A) to this instrument.
●When Type is set to “Song” or “Pattern”:
You can select and load a specified Song or Pattern in the file (extension: W7A) to this instrument.
●When Type is set to “Waveform”:
You can select and load a specified Waveform in the file (extension: W7A) to this instrument.
In this case, the destination differs depending on the mode selected before entering the File mode.
4Select a file () to be loaded.
When entering the File mode from the Voice mode:Set the Voice bank and number as the destination.
When entering the File mode from the Performance mode:Set the Part of the current Performance then set the Voice bank/number of the Part as the
destination.
When entering the File mode from the Song mode/Pattern mode:Set the track of the current Song/Pattern as the destination.
ENTER
EXECUTE
ENTER
EXECUTE
Move the cursor to the file (extension:
W7A) which was saved as “All” on
previous page.
All Voices or Performances in the
selected file are listed. Move the
cursor to the desired Voice or
Performance to be loaded. Select the destination Voice number
or Performance number.
Select the desired Voice or
Performance.
ENTER
EXECUTE
ENTER
EXECUTE
Move the cursor to the file (extension:
W7A) which was saved as “All” on
previous page.
All Songs or Patterns in the
selected file are listed. Move the
cursor to the desired Song or
Pattern to be loaded. Select the destination Song number
or Pattern number.
Select the desired Song or Pattern.
ENTER
EXECUTE
ENTER
EXECUTE
Move the cursor to the file (extension:
W7A) which was saved as “All” on
previous page.
All Waveforms in the selected file
are listed. Move the cursor to the
desired Waveform to be loaded. Select the destination. (See below.)
Select the desired Waveform.
Quick Guide — Advanced Course
Creating a Song on the MOTIF ES
135
Owner’s Manual
●When Type is set to “Sample Voice”:
Only when entering the File mode from the Song mode/Pattern mode, you can select and load a specified Sample Voice in the
file (extension: W7A) to this instrument.
Loading data to this synthesizer automatically erases and replaces any existing data in the User memory. Make sure to save any important data to a
SmartMedia/USB storage device before performing any Load operations.
After the data has been loaded, a “Completed” message appears and operation returns to the original display.
While the data is being saved, make sure to follow these precautions:
•Never remove or eject the media from the device (SmartMedia or USB storage).
•Never unplug or disconnect any of the devices.
•Never turn off the power of the MOTIF ES or the relevant devices.
Setting a specific file to load automatically when the power is turned on
The MOTIF ES is very easy to use and you can create Voices, Performances, Patterns and Songs very quickly on it. However, there
may be times that creating and editing of data may be spread out over several sessions. In such a case, you may find it convenient to
have the instrument automatically load the appropriate files for you when you turn it on, so you can easily resume your editing session.
nThe Auto Load parameter is set to on when this synthesizer is
shipped from the factory.
nThe file types which can be loaded automatically are “All,”
“Plugin All Bulk 1,” “Plugin All Bulk 2,” and “Plugin All Bulk 3.”
1
Change the names of the files you wish to have load
automatically when the power is turned on as described below,
and save them together in a single folder or in the root directory.
After you’ve finished naming the appropriate files, keep the
corresponding folder selected in the display and go to step #2.
2
Enter the Utility mode and call up the Auto Load display
([UTILITY] →→
→→ [F1] GENERAL →→
→→ [SF4] OTHER).
3
Set “Auto Load” to on, and press the [SF5] GET button.
The device and folder selected in step #1 (the folder
containing the desired files for auto loading) are
registered as the Auto Load path.
4
Press the [STORE] button to store the Auto Load setting.
nIf the Auto Load files cannot be found (for example, a SmartMedia/USB
storage device is not installed properly or a SmartMedia/USB storage
device containing no Auto Load files is installed, etc.) when turning the
power on even with the Auto Load parameter set to on, the Demo Song/
Pattern data (page 55) in the internal ROM will be loaded automatically.
5Press the [ENTER] button to execute the Load operation.
ENTER
EXECUTE
ENTER
EXECUTE
ENTER
EXECUTE
ENTER
EXECUTE
Move the cursor to the file
(extension: W7A) which was
saved as “All” on previous page.
Select “Pattern” or “Song.”All Songs or Patterns which contain the Sample
Voices are listed.
Move the cursor to the desired Song or Pattern.
All Sample Voices assigned to the selected Song
or Pattern in the selected file are listed. Move the
cursor to the desired Sample Voice to be loaded.
Select the track of the current
Song or Pattern as destination.
CAUTION
CAUTION
TIP
MUSIC PRODUCTION SYNTHESIZERMUSIC PRODUCTION SYNTHESIZER
Save the data after editing.The saved files are loaded automatically
when you turn the power on next time.
Turn the power off
SaveAuto Load
File typeFile name
AllAUTOLOAD. W7A
Plugin All Bulk 1 (for slot 1)AUTOLD1. W7B
Plugin All Bulk 2 (for slot 2)AUTOLD2. W7B
Plugin All Bulk 3 (for slot 3)AUTOLD3. W7B
Set this to on.
Quick Guide — Advanced Course
Using as a Master Keyboard
136Owner’s Manual
Using as a Master Keyboard
This synthesizer is loaded with such a wealth of different features, functions and operations, you may find it difficult to locate and
call up the particular feature you need. This is where the Master function comes in handy. You can use it to memorize the
operations you use most often in each mode, and call them up instantly anytime you need them with a single button press. This
synthesizer has space for a total of 128 of your own User Master settings.
Selecting a Master
The MOTIF ES features 128 specially programmed Masters, stored to internal User memory (Flash ROM). Try some of these out
now.
Selecting a Master is done in basically the same way as selecting a Voice. Since the there is only one bank for Masters, you
need not select a Master Bank.
When the Mode is set to Voice or Performance, play the keyboard.
When the Mode is set to Song or Pattern, press the [F] (Play) button.
Master
NumberSetting examples
Memorized modeMemorized program numberZone Switch *
001Voice modeVoice number 102 (Preset 1)Off
002Voice modeVoice number 088 (Preset 3)Off
003Voice modeVoice number 049 (Preset 2)Off
004Voice modeVoice number 092 (Preset 2)Off
005Performance modePerformance number 044Off
::::
127Pattern modePattern number 061On
128Song modeSong number 025On
1Press the [MASTER] to enter the Master Play mode.
2Select a Master.
3Play the selected Master program.
MASTER
Mode memorized to the current Master.
Program number (Voice number in this
example) memorized to the current Master.
Use the [SF1] - [SF5] buttons to call up the
Arpeggio type assigned to each button
(page 66). Assigned types depend on the
program number memorized to the current
Master.
Indicates information related to the Control
Knobs. The settings depend on the program
number memorized to the current Master.
Indicates the currently
selected Master.
Indicates the Keyboard Octave setting set
via the [OCTAVE] buttons. Same as in the
Voice mode/Performance mode (page 63).
SEQ TRANSPORT
LOCATE12
* See page 137 about “Zone Switch.”
Quick Guide — Advanced Course
Using as a Master Keyboard
137
Owner’s Manual
Memorize to a Master
Input a name in the [EDIT] → [COMMON] → [F1] NAME
display.
For detailed instructions on naming, refer to page 53 in the
Basic Operation section.
1
Press the [STORE] button to enter the Master Store mode.
2Select the destination Master by using the data dial,
[INC/YES] and [DEC/NO] button.
When you execute the Store operation, the settings for the destination
memory will be overwritten. Important data should always be backed up
to a separate SmartMedia/USB storage device.
3Press the [ENTER] button. (The display prompts you for
confirmation.)
To cancel the Store operation, press the [DEC/NO] button.
4Press the [INC/YES] button to execute the Store
operation.
Keep in mind that the Store operation may take a short time to
complete, during which an “Executing..” or “Please keep power on”
message may be shown. Never attempt to turn off the power while data
is being written to Flash ROM while such a message is displayed.
Turning the power off in this state results in loss of all user data and
may cause the system to freeze (due to corruption of data in the Flash
ROM). This may also result in the MOTIF ES being unable to properly
start up the next time the power is turned on.
If you select another Master without storing, the currently edited Master
will be lost. Make sure to store the edited Master before selecting
another Master.
For details, see page 132. Set the file type to “All.”
Using Zones (keyboard area)
In the Master mode, you can divide the keyboard into (up to) four independent areas (called “Zones”). To each Zone can be
assigned different MIDI channels and different functions of the Knobs and Control Sliders. This makes it possible to control
several parts of the multi-timbral tone generator simultaneously by a single keyboard or to control voices of an external MIDI
instrument over several different channels in addition to the internal voices of this synthesizer itself — letting you use the MOTIF
ES to effectively do the work of several keyboards. You can set the parameters related to the four Zones in the Master Edit mode
and store the settings as a User Master.
1Select a Master to be created.
2Press the [F2] MEMORY button to call up the
Mode setting display.
3Set the Mode, Program number and Zone Switch
on/off (page 138) which you wish to memorize to
the Master.
When the Mode is set to VoiceSelect a Voice bank and number.
When the Mode is set to Performance Select a Performance bank and number.
When the Mode is set to SongSelect a Song number.
When the Mode is set to PatternSelect a Pattern number.
4Name the edited Master.
Determine the mode that is called up
when the Master number is selected.
Set the Zone Switch (below) to
on or off.
Determine the Program number that is
called up when the Master is selected.
Input a Master name.
5Store the edited Master to internal User memory.
6As necessary, save the edited and stored
Masters to a SmartMedia/USB storage device.
CAUTION
CAUTION
CAUTION
1Select a Master to be created.
Quick Guide — Advanced Course
Using as a Master Keyboard
138Owner’s Manual
Use Zone Edit to edit the parameters for each Zone. Use Common Edit to edit the parameters for all of the Zones.
See the next page for details and some setting examples.
Input a name in the [EDIT] → [COMMON] → [F1] NAME display.
For detailed instructions on naming, refer to page 53 in the Basic Operation section.
For details, refer to steps #5 - 6 on page 137.
2Press the [F2] MEMORY button to call up the Mode setting display.
3After setting the Mode and Program number which you wish to memorize to the Master, set the Zone Switch
to “on”.
4Press the [EDIT] button to enter the Master Edit mode.
5Call up the Common Edit display or Zone Edit display.
6
Select the menu you wish to edit by pressing the [F1] - [F6] and [SF1] - [SF5] buttons, then edit the parameters.
7Name the edited Master.
8Store the edited Master to internal User memory.
Determine the mode that is called
up when the Master number is
selected.
Set the Zone Switch to “on.”
Determine the Program number that is called up when the Master is selected.
EDIT
COMPARESCENE STORE
SET LOCATE
JOBSTORE
COMMONELEMENT/PERF. PART/ZONE
FAVORITES
DRUM KITS
A. PIANOKEYBOARDGUITAR/
PLUCKED
PRE 5PRE 6USER 1
GUITAR
SYN LEAD
ABCD
4321
12
11
10
9
SYN PAD/
CHOIRSYN COMP
CHROMATIC
PERCUSSION
USER 2
Calling up the Common Edit display
Press the [COMMON] button to call up the
Common Edit display.
In the Edit mode, the [DRUM KITS] button
functions as the [COMMON] button.
While in the Master Edit mode, you can switch
between the Common Edit display and the Zone
Edit display as shown below.
Calling up the Zone Edit display
Press the desired Zone number from the ZONE
[1] - [4] buttons to call up the Zone Edit display.
Indicates a Common Edit
display.
Indicates the display for editing Zone 1.
Common Edit
Zone 1 Edit
Zone 2 Edit
Zone 3 Edit
Zone 4 Edit
Using as a Master Keyboard
139
Owner’s Manual
Quick Guide — Advanced Course
Using Zones effectively with external
The two examples below show how to use the Zones with both the internal tone generator and a connected external tone
generator. These instructions correspond to step #6 on the previous page.
nThough all four Zones are used in the example below, you can use any number of Zones (two, three, or four). The settings are made with the MIDISwitch
parameter ([MASTER] → [EDIT] → Zone selection → [F1] TRANS → MIDISwitch) and the TGSwitch parameter ([MASTER] → [EDIT] → Zone selection →
[F1] TRANS → TGSwitch).
nIn these examples, the Zones are assigned to different areas of the keyboard. However, two or more Zones can also be assigned to the same area in a
layer, from the NOTE display ([MASTER] → [EDIT] → Zone selection → [F2] NOTE).
■ Master settings with the Voice mode/Performance mode (Single-timbre tone generator mode)
■ Master settings with the Song mode/Pattern mode (Multi-timbral tone generator mode)
For each Zone, set whether or not MIDI data is transmitted
to the external instrument.
Corresponds to step #6 on the previous page
Determine the MIDI Transmit Channel for each zone.
[MASTER] → [EDIT] → Zone selection → [F1] TRANS → TransCh
For each Zone, set whether or not MIDI data is transmitted
to each Part of the internal tone generator.
[MASTER] → [EDIT] → Zone selection → [F1] TRANS → TGSwitch
You can determine which Control Change numbers are used for the Knobs
and Sliders for each zone in the [MASTER] → [EDIT] → Zone selection →
[F5] KN/CS display.
Using as a Master Keyboard
141
Owner’s Manual
Quick Guide — Advanced Course
Setting up the Master Zones to Split or Layer
This operation lets you easily determine whether the Zones of the selected Master are to be used in a Split or a Layer. The
note range settings for each Zone can be determined by setting the NoteLimitH and NoteLimitL parameters from the NOTE
display ([MASTER] → [EDIT] → Zone selection → [F2] NOTE).
nZones 1 and 2 are used in the explanations here.
1In the Master Play mode, press the [JOB] button to enter the Master Job mode.
2Press the [F1] INIT button to call up the Initialize display.
3Uncheckmark the box of “All” by using the [DEC/NO] button and checkmark the box of “Zone.”
4Set the Type to “Split” or “Layer.”
When Type is set to “Split”
Set the UpperCh (MIDI transmit channel of the upper range), LowerCh (MIDI transmit channel of the lower range), and Split
Point (which separates the keyboard into the upper range and lower range).
When Type is set to “Layer”
Set the UpperCh (MIDI transmit channel of Zone 1) and LowerCh (MIDI transmit channel of Zone 2).
5Press the [ENTER] button. (The display prompts you for confirmation.)
To cancel the Job, press the [DEC/NO] button.
6Press the [INC/YES] button to execute the Job.
After the Job has been completed, a “Completed” message appears and operation returns to the original display.
Keep in mind that the Job may take a short time to complete, during which an “Executing..” or “Please keep power on” message may be shown.
Never attempt to turn off the power while data is being written to Flash ROM while such a message is displayed. Turning the power off in this state
results in loss of all user data and may cause the system to freeze (due to corruption of data in the Flash ROM). This may also result in the MOTIF
ES being unable to properly start up the next time the power is turned on.
TIP
LowerUpper
Split Point
(C3)
Layer (Upper)
Layer (Lower)
CAUTION
Quick Guide — Computer applications
Setting up
142Owner’s Manual
Although the MOTIF ES is a powerful instrument in its own right and can effectively be used by itself for music creation and
production, it is also designed for easy and comprehensive interfacing with a computer system. In this section, we’ll show you
how set up the instrument with a computer (via USB) and how to use it with the software provided on the included CD-ROM,
“Tools for MOTIF ES.”
nFor information on how to install each software and the minimum system requirements, refer to the separate Installation Guide.
nAbout how to use each software, refer to the relevant documentation (PDF manual or on-line Help).
nBy installing an optional mLAN16E board and using the mLAN connection with your computer, you can transfer both audio and MIDI data between the
devices over the same mLAN cable. See page 39.
Setting up
•
For software on the included “Tools for MOTIF ES” CD-ROM
(Voice Editor, USB MIDI driver, etc.), refer to the separate
Installation Guide.
•For other software, refer to the relevant manual or
documentation.
nYou can also connect the instrument to a computer by using MIDI
cables (page 40) or IEEE1394 cable (page 39).
•
For a computer running Windows, the Add New Hardware
Wizard may appear on the computer display. In this case,
install the driver following the on-screen instructions. For
details, refer to the separate Installation Guide.
•For a Macintosh computer, install OMS then install the USB
MIDI driver. Refer to the separate Installation Guide.
nIf you have installed the optional mLAN16E and are connecting the
instrument to a computer with an IEEE 1394 cable, you’ll need to install
the mLAN driver.
•To install software from the included “Tools for MOTIF ES”
CD-ROM (Voice Editor, SQ01, etc.), refer to the separate
Installation Guide.
•To install other software, refer to the relevant manual or
documentation.
The settings in the Utility mode are stored as system settings to internal
Flash ROM. Never attempt to turn off the power while data is being written
to Flash ROM (while a “Please keep power on” message is shown). Turning
the power off in this state results in loss of all user data and may cause the
system to freeze (due to corruption of data in the Flash ROM). This may
also result in the MOTIF ES being unable to properly start up the next time
the power is turned on.
Quick Guide — Computer applications
1Confirm the minimum system requirements of
the software you wish to use.
2Connect the computer to the instrument with a
USB cable.
3Start the computer and insert the “Tools for
MOTIF ES” CD-ROM into the CD drive of the
computer.
4Turn the power of the MOTIF ES on.
5Install the USB MIDI driver to the computer.
USB
TO HOSTTO DEVICE
USB connector
A typeUSB cableB type
Rear panel
USB TO HOST
connector
6Install the desired software to the computer.
7
Set the MIDI IN/OUT parameter to “USB”
([UTILITY] →→
→→ [F5] MIDI →→
→→ [SF4] OTHER), then
press the [ENTER] button to store the Utility
settings.
EDIT
COMPARESCENE STORE
SET LOCATE
JOBSTORE
CAUTION
Controlling the instrument from a computer
143
Owner’s Manual
Quick Guide — Computer applications
Controlling the instrument from a computer
Using a sequencer to play multiple Voices on the MOTIF ES
The sequence software program SQ01 contained in the included CD-ROM lets you create and edit multi-part song data — which
can be played using the sounds of the MOTIF ES.
Refer to the separate Installation Guide.
For details on the MIDI settings, refer to the separate
Installation Guide.
For details on synchronization settings, refer to the on-line
help of the SQ01.
From the “File” menus on the SQ01, select “Open” to call up
the dialog box. Then select the desired song file.
These settings make it possible for the Songs and Patterns on
the MOTIF ES to start, play and stop in exact synchronization
with the external controlling device (in this case, the computer
sequencer).
Click the [F] (Play) button on the SQ01 to start the selected
song.
Recording sequencer song data to Song tracks on the MOTIF ES
If you have MIDI sequence data on your computer and want to use it as a Song on the MOTIF ES, you can play back the
data on a MIDI sequencer (such as the SQ01) and record it to the MOTIF ES.
1Follow the instructions described in “Setting up for
using a computer” (page 142).
2Start the SQ01 on the computer then set all MIDI-
related parameters, including synchronization.
For details on the MIDI settings, refer to the separate
Installation Guide.
For details on synchronization settings, refer to the on-
line help of the SQ01.
3Open the desired song file on the SQ01.
From the “File” menus on the SQ01, select “Open” to
call up the dialog box. Then select the desired song.
4Set the MIDI Sync parameter to “MIDI” and the
SeqCtrl to “in” in the SYNC display ([UTILITY] →→
→→ [F5]
MIDI →→
→→ [SF3] SYNC).
These settings make it possible for the Songs and
Patterns on the MOTIF ES to start, play and stop in
exact synchronization with the SQ01.
5Press the [SONG] button to enter the Song Play
mode, then select a Song to be recorded.
6Press the [●] (Record) button to enter the Song
Record mode.
7Set RecTrack to “multi.”
This setting makes it possible to record MIDI sequence
data to 16 tracks simultaneously.
8Start song playback on the SQ01.
Song recording on the MOTIF ES automatically starts at
the same time.
9Stop the song playback on the SQ01.
Song recording on the MOTIF ES automatically stops at
the same time.
10 Save the recorded song on the MOTIF ES.
Before selecting a different Song, store the Mixing
settings as Song data (page 131).
Before turning the power off, save the recorded Song to a
SmartMedia/USB storage device (page 132).
1Follow the instructions described in “Setting up
for using a computer” (page 142) then install the
SQ01 to the computer.
2Start the SQ01 on the computer then set all MIDI-
related parameters, including synchronization.
3Open the desired song file on the SQ01.
4Set the MIDI Sync parameter to “MIDI” and
SeqCtrl to “in” in the SYNC display ([UTILITY] →→
→→
[F5] MIDI →→
→→ [SF3] SYNC).
5Press the [SONG] button to enter the Song mode.
6Start the song playback on the SQ01.
TIP
Quick Guide — Computer applications
Controlling the instrument from a computer
144Owner’s Manual
Using the Multi Part Editor to create/edit Mixing settings
The Multi Part Editor software (included on the CD-ROM) provides an intuitive way to create and edit the Mixing settings of the
currently selected Song or Pattern. Thanks to the easy-to-understand graphical interface, you can edit virtually all of the Mixing
parameters right from your computer – using the mouse to adjust the virtual knobs, sliders, and buttons and entering values from
the computer keyboard.
nIf you want to assign a User Voice to a Part, make sure to transfer the User Voice data on the MOTIF ES to the computer (with the Bulk Dump function) before
editing parameters on the Multi Part Editor.
nParts to which Mixing Voices have been assigned cannot be edited with the Multi Part Editor.
For details about how to install the Multi Part Editor, refer to
the separate Installation Guide.
Refer to the PDF manual of the Multi Part Editor.
Refer to the PDF manual of the Multi Part Editor.
Refer to the PDF manual of the Multi Part Editor.
Press the [MIXING] button then [STORE] button to enter the
Song Mixing mode/Pattern Mixing mode, then press the
[ENTER] button to execute the Store operation.
nYou can store the settings as a Mixing Template. See page 132.
MUSIC PRODUCTION SYNTHESIZER
Edit the Mixing
To edit Mixing settings based on data saved to
computer, make sure to transfer the Mixing data
to the current Song/Pattern on the MOTIF ES
(with the Bulk Transmission function) before
editing.
To edit Mixing settings based on data
contained on the MOTIF ES, make sure to
transfer the Mixing data of the current Song/
Pattern to the computer (with the Bulk Dump
function) before editing.
Save a set of Mixing
settings as a single file. After storing the Mixing settings
as a Song Mixing/Pattern Mixing,
save all the Songs/Patterns.
SmartMedia/USB
storage device
1Follow the instructions described in “Setting up
for using a computer” (page 142) then install the
Multi Part Editor to the computer.
2Enter the Song mode or Pattern mode on the
MOTIF ES, then select the desired Song or
Pattern.
3Start the Multi Part Editor on the computer.
4Set the MIDI related parameters on the Multi Part
Editor.
5Edit the parameters on the Multi Part Editor to
create your original Mixing.
6Check the results of your edits by playing the
Song/Pattern or playing the keyboard on the
MOTIF ES.
7Store the edited Mixing settings to the current
Song Mixing/Pattern Mixing.
8Save all the songs or patterns to a SmartMedia/
USB storage device.
9Also save the edited data as a Multi Part Editor
file to your computer’s hard disk.
Controlling the instrument from a computer
145
Owner’s Manual
Quick Guide — Computer applications
Using the Voice Editor to create/edit a Voice
The Voice Editor software (included on the CD-ROM) provides an intuitive way to create and edit Voices for the MOTIF ES.
Thanks to the easy-to-understand graphical interface, you can edit virtually all of the Voice parameters right from your computer
– using the mouse to adjust the virtual knobs, sliders, and buttons and entering values from the computer keyboard.
For details about how to install the Voice Editor, refer to the
separate Installation Guide.
Refer to the PDF manual of the Multi Part Editor.
Refer to the PDF manual of the Voice Editor.
Create a new Library file or open an existing Library file. To
edit data contained on the MOTIF ES, use the Bulk Receive
function to transfer User Voice data to the computer.
For details, refer to the PDF manual of the Voice Editor.
Refer to the PDF manual of the Voice Editor.
Refer to the PDF manual of the Voice Editor.
The Bulk Transmission from the computer to the MOTIF ES will erase
(overwrite) the destination Voice Bank data on the MOTIF ES. If you wish to
maintain the voices of the destination Bank, save the Voice data to a
SmartMedia/USB storage device before executing Bulk Transmission.
MUSIC PRODUCTION SYNTHESIZER
Edit the VoiceUse the Bulk Transmission function to
transfer the edited Voice data (in a Voice
bank) to the MOTIF ES.
Library file = Voice Editor file (extension: W7E)
All voices stored on internal User memory are
saved to a single file which can be loaded to
the Voice Editor on the computer.
Load a Library file
(extension: W7E).
Save the result of editing
as a Library file
(extension: W7E).
Load a Voice
Editor file
(extension: W7E).
Save the result of
editing as a Voice Editor
file (extension: W7E).
Use the Bulk Receive function to
transfer the specified User Voice bank
from the MOTIF ES to the computer.
SmartMedia/USB storage device
1Follow the instructions described in “Setting up
for using a computer” (page 142) then install the
Voice Editor to the computer.
2Enter the Voice mode on the MOTIF ES, then
start the Voice Editor on the computer.
3Set the MIDI related parameters on the Voice
Editor.
4Call up the Voice data to be edited on the Voice
Editor.
5Edit the parameters on the Voice Editor to create
your original Voice.
6After editing the Voice, store the data, then
transfer it to the MOTIF ES with the Bulk
Transmission function on the Voice Editor.
7Save the edited data as a Library file to your
computer’s hard disk.
8Check the results of your edits by selecting the
User Voice and playing the keyboard in the Voice
Play mode.
CAUTION
Controlling the instrument from a computer
146Owner’s Manual
Quick Guide — Computer applications
Editing Plug-in Voices and Board Voices
As described on page 76, the voices of a Plug-in Board installed to the MOTIF ES can be divided into two types: Board
voices and Plug-in voices. Plug-in Voices can be edited in the Voice Edit mode on the MOTIF ES or can be edited by using
the Voice Editor on the computer. Board Voices, however, are edited using the dedicated editor software contained on the
included CD-ROM, “TOOLS for Modular Synthesis Plug-in System.”
Using the TWE Wave Editor to edit Samples
The TWE wave editing software (included on the CD-ROM) lets you edit audio on your computer and save them as samples for
use with the MOTIF ES. Thanks to the easy-to-understand graphical interface, you can edit virtually all of the wave parameters
right from your computer.
nFor details on how to install TWE and the minimum system requirements, refer to the separate Installation Guide.
nFor information on how to use TWE, refer to the TWE manual (PDF format) on the CD-ROM.
MUSIC PRODUCTION SYNTHESIZER
■ Plug-in Voice
■ Board Voice
Plug-in Board
Edit in the Voice Play
mode/Voice Edit.
Voice Play display
Voice Edit display
Use the Voice Editor contained
in the included CD-ROM,
“TOOLS for MOTIF ES6/7/8.”
SmartMedia/USB
storage device
Use the dedicated Editor
contained in the included
CD-ROM, “TOOLS for
Modular Synthesis
Plug-in System.”
Save
Select and call up
Store
Select
Bulk transmission/Edit
Board Custom
Voice
Board Preset
Voice
or
MOTIF ES
Save*
* Set the file type to Plugin All Bulk 1, 2 or 3 (file extension: W2B)
Plug-in
Preset Voice
Plug-in
User Voice
Computer
MUSIC PRODUCTION SYNTHESIZER
Edit the Wave using TWE
Save the result of editing as
a WAV file or AIFF file.
SmartMedia/USB storage device
Load a WAV file or AIFF file.
Load a WAV file or
AIFF file (page 100).
Save the sample as a WAV file or
AIFF file (page 97).
Quick Guide — Computer applications
Controlling a computer from the instrument
147
Owner’s Manual
Controlling a computer from the instrument
As you’ve seen in previous sections, the MOTIF ES can be controlled from a computer. In this section, we’ll see how it can do the
opposite — control the operation of music/audio software on the computer. This powerful feature lets you control two different
software programs by using knobs, sliders and buttons on the panel of the MOTIF ES, rather than your computer’s mouse and
keyboard. The MOTIF ES can be used to control DAW (digital audio workstation) software, such as Cubase SX and SONAR, as
well as the Multi Part Editor program (contained on the included CD-ROM). The Remote Control function emulates popular
hardware controllers such as the Yamaha 01X, letting you use the panel buttons/controllers on the MOTIF ES for controlling your
music/audio software.
As shown in the example below, the MOTIF ES uses two of the four available USB ports to control two different software
programs, while the two remaining ports handle MIDI sequence data.
MUSIC PRODUCTION SYNTHESIZER
REMOTE
ON/OFFR-AUDIO
G-MIDI
DEC/NOINC/YES
SEQ TRANSPORT
LOCATE12
USB cable
Mode A- Cubase, Port 4....
Mode B- General, Port 3....
Among other things, the Remote Control mode
lets you start/stop the playback of the DAW
software on the computer by using the SEQ
TRANSPORT buttons and control the song
position on the DAW software by using the
data dial, [INC/YES] and [DEC/NO] buttons.
For more information about the functions
assigned to the panel buttons in the Remote
Control mode, see page 151.
The functions of eight knobs/faders on the emulated hardware controllers (such as the Yamaha 01X) are
assigned to the four Knobs/Sliders on the MOTIF ES. Pressing the [SF5] button changes which group's functions
(1 - 4 or 5 - 8) are assigned to the four Knobs/Sliders.
The eight knobs on the emulated hardware controllers (such as the Yamaha 01X) can also be used as switches.
However, since the four Knobs on the MOTIF ES do not have switch capability, the [PRE1] - [PRE4] buttons are
used instead. While the eight knobs on the emulated devices have “endless” rotary control, the four Knobs on
the MOTIF ES stop at certain points. For some parameters this may mean that the value may not reach to the
minimum and maximum points. If this occurs, you can use the data dial to adjust the value as desired. The data
dial is active for the parameter corresponding to the Knob last turned.
Various functions are assigned to the [F1] - [F6] and [SF1]
- [SF5] buttons depending on the DAW software to be
controlled. The assigned functions are shown at the
bottom of the display. For details, see page 151 and the
separate Data List.
nAs with the USB connection explained
here, Remote Control can also be used
with an IEEE1394 cable connection when
the optional mLAN16E has been installed.
Press the REMOTE [ON/
OFF] button (the lamp
flashes) to enter the Remote
Control mode. Press this
button again to exit from the
Remote Control mode.
Panel operations on the MOTIF ES control
sequencer (Cubase SX) functions on the
computer via MIDI port 4.
Panel operations on the MOTIF ES control
mixing software (Multi Part Editor) functions
on the computer via MIDI port 3. The
“General” mode setting lets you control
Yamaha software.
The MIDI data played back by the
Cubase SX is transferred to the MOTIF
ES via the MIDI ports 1 and 2.
Multi Part Editor
(Mixing software)
Cubase SX
(DAW software)
Change the software (port) to
be controlled.
USB TO HOST
connector
Computer with a USB interface
Quick Guide — Computer applications
Controlling a computer from the instrument
148Owner’s Manual
■ Computer Software that can be controlled from the instrument
• For Windows • For Macintosh
Setting up for Remote Control
Setting up on the MOTIF ES
The settings in the Utility mode are actually stored on internal User
memory (Flash ROM) by pressing the [STORE] button. Please keep in mind
that the settings will be lost if you turn off the power without executing the
Store operation.
The settings in the Utility mode are stored as system settings to internal
Flash ROM. Never attempt to turn off the power while data is being written
to Flash ROM (while a “Please keep power on” message is shown). Turning
the power off in this state results in loss of all user data and may cause the
system to freeze (due to corruption of data in the Flash ROM). This may
also result in the MOTIF ES being unable to properly start up the next time
the power is turned on.
Setting up on the computer
For details on the Yamaha software contained in the included
CD-ROM, refer to the separate Installation Guide.
For instructions on how to start the software, refer to the
relevant documentation.
Set the MIDI port, referring to the illustration on the previous
page.
For details, refer to the documentation of the particular
software. Instructions on how to set up the various software
follow on the next page.
SQ01 V2Logic 5.5
Cubase SXDigital Performer 3.1
SONAR 2.0
Multi Part Editor for MOTIF-RACK
Multi Part Editor for MOTIF ES6/7/8
1
Set the MIDI IN/OUT parameter to “USB”
([UTILITY] →→
→→ [F5] MIDI →→
→→ [SF4] OTHER), When
connecting the computer to the MOTIF ES via
mLAN (with the optional mLAN16E installed), set
this parameter to “mLAN.”
2Call up the Remote Control Setup display by
pressing the [F4] CTL ASN button, followed by
the [SF4] REMOTE button.
3Set the software to be controlled and Port
number, referring to the illustration on the
previous page.
4Press the [ENTER] button to actually call up the
settings made in step #3 above.
5Press the [STORE] button to store the settings
made in steps #1 and 4 above.
CAUTION
CAUTION
1After following the instructions in “Setting up for
using a computer” on page 147, install the
desired software to your computer.
2Enter the Song mode or Pattern mode on the
MOTIF ES, then start the software on the
computer.
3Set the parameters related to MIDI and Remote
Control on the computer software.
Controlling a computer from the instrument
149
Owner’s Manual
Quick Guide — Computer applications
■ Cubase SX
1Pull down the [Devices] menu and select [Device Setup]
to call up the “Device Setup” window.
2
Click the [Add/Remove] tab and add the “Mackie Control.”
3Select the added Mackie Control device and click the
[Setup] tab.
4When setting the Port to “4,” for example, in step #3 of
“Setting up on the MOTIF ES,” set the MIDI Input to
“YAMAHA USB IN 0-4” and the MIDI Output to
“YAMAHA USB OUT 0-4.”
nThe functions of buttons on the Mackie Control are assigned to the
buttons of the MOTIF ES, with the exception of UserA and UserB
(FootSw) which are not supported by the MOTIF ES.
■ SONAR
1Pull down the [Options] menu and select [MIDI Devices]
to call up the “MIDI Devices” window.
2When setting the Port to “4” for example in step #3 of
“Setting up on the MOTIF ES,” add “YAMAHA USB IN
0-4” to the “Inputs” and add “YAMAHA USB OUT 0-4” to
the “Outputs.”
3Pull down the [Options] menu and select [Control
Surfaces] to call up the Control Surface window.
4Click the “New” icon, select “Mackie Control,” then set
the Input Port to “YAMAHA USB IN 0-4” and the Output
Port to “YAMAHA USB OUT 0-4” (for example, when
setting the Port to “4” in step #3 of “Setting up on the
MOTIF ES”).
■ Digital Performer
1Pull down the [Basics] menu and select [Control
Surface Setup] to call up the “Control Surface” window.
2Select “Mackie Control” in the Driver section.
If Mackie Control is not available here, see the
supplementary instructions below.
3In the box for setting “Unit” and “MIDI,” select “Mackie
Control” in the “Unit” section and select the MIDI port in
the “MIDI” section.
When you cannot select “Mackie Control” in step #2:
1)Download the Mackie Control Plug-in software from
“www.motu.com” and save it to your hard disk.
2)Move the Mackie Control file to the “Plug-ins” folder
contained in the folder to which Digital Performer has
been installed.
3)Start Digital Performer.
* Mackie Control is the trademark of Mackie Designs, Inc.
■ Logic
When turning on the power of the MOTIF ES before
starting Logic:
1Set the software to be controlled to “Logic” in the Utility
mode, then enter the Remote Control mode.
2Start Logic on the computer.
Logic automatically recognizes the MOTIF ES and
performs the required settings.
When starting Logic before turning on the power of the
MOTIF ES:
1Start Logic on the computer, then turn the power to the
MOTIF ES on.
If you have already set the software to be controlled to
“Logic” in the Utility mode, you need not perform step #2
because Logic automatically recognizes the MOTIF ES
when this step is performed.
2Set the software to be controlled to “Logic” in the Utility
mode, then enter the Remote Control mode.
Logic automatically recognizes the MOTIF ES and
performs the required settings.
If for some reason Logic fails to recognize the MOTIF ES,
follow the instructions below.
1)Select [Option] →→
→→ [Preference] →→
→→ [Control Surface] →→
→→
[Install] from the menu.
2)Scan Logic Control on the window called up in step #1).
When the scanning is successful, the Logic recognizes the
MOTIF ES and performs the required settings automatically.
If Logic still fails to recognize the MOTIF ES even after
performing the above instructions, follow the instructions
below.
1)Select [Option] →→
→→ [Preference] →→
→→ [Control Surface] →→
→→
[Install] from the menu.
2)Add Logic Control on the window called up in step #1).
3)Specify the Input Port and Output Port on the
CONTROL SURFACE SETUP window called up in step
#2).
* Logic Control is the registered trademark of Emagic, Inc.
■ SQ01
For information about how to set the MIDI port, refer to the
separate Installation Guide. For information on using Remote
Control, follow the instructions below.
1Select [Setup] →→
→→ [Remote Control] to call up the
Remote Control Setup window.
2Select “01X” as mode, then set the Input Device/Output
Device to the appropriate port number.
Controlling a computer from the instrument
150Owner’s Manual
Quick Guide — Computer applications
Functions assigned to the panel buttons in the Remote Control mode
To enter the Remote Control mode, press the REMOTE [ON/OFF] button (the lamp flashes). The REMOTE display appears (like
those shown below), and the panel controls are enabled for Remote operation of the computer software (their normal functions
are disabled).
Press this button again to exit from the Remote Control mode.
REMOTE
ON/OFFR-AUDIO
G-MIDI
REMOTE
ON/OFFR-AUDIO
G-MIDI
SF5
F6
KNOB
CONTROL
FUNCTION
ARP FX
EQ
TONE
ASSIGN
PAN/SEND
Mode AMode B
This button is available when the Mode is set to
“General” and is used to switch between editing audio
tracks (lamp is red) and MIDI tracks of the sequence
software (lamp is green).
Changing the Mode
(Changing the software to be
controlled)
Change the Mode by pressing the REMOTE [ON/OFF] button
while holding the [F6] SHIFT button.
This is the cursor which indicates the currently edited
track/part by the knob/slider.
Controlling the knob/slider moves the cursor to the
corresponding track/part automatically. You can also
move the cursor by using the Cursor [<] and [>] buttons.
Press the [KNOB
CONTROL FUNCTION]
button to change the
functions assigned to the
[F1] - [F6] and [SF1] -
[SF5] buttons (shown at
the bottom of the
display).
Refer to the separate
Data List.
Parameters and their values controlled by knobs/
sliders are shown in two rows, in the boxes.
nParameter names are shown
according to the information
transferred from the DAW
software on the computer.
The characters may be
garbled depending on the
DAW software or OS language
of your computer.
When [<<BANK] and [BANK>>] are shown
here, you can use the [F4] and [F5] buttons to
change the bank of eight tracks/parts (shown
in the display) to be controlled.
Controlling the knob may change the [SF4] menu to indicate [DIAL].
When [DIAL] is shown here, the function of the last operated knob is
assigned to the data dial, [INC/YES] and [DEC/NO] buttons. If you wish
to restore these to the original function (song position control), press the
[SF4] button to delete the [DIAL] menu. To switch the cursor
between the upper
and lower row, press
the [SF5] button.
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151
Owner’s Manual
Quick Guide — Computer applications
The following explains which sequencer functions are assigned to which panel controls in the Remote Control mode.
■ SEQ TRANSPORT buttons
The Remote Control mode lets you start/stop playback of the
DAW software on the computer by using the SEQ
TRANSPORT buttons and control the song position on the
DAW software by using the data dial, [INC/YES] and [DEC/
NO] buttons.
nWhen the cursor is shown at any track/part in the boxes of two rows of
the LCD display, the data dial, [INC/YES] and [DEC/NO] buttons
function as the last operated knob and cannot be used to control the
song position. To restore these to the original song position control,
press the Cursor [<]/[>] buttons several times or press the [SF4]
button (if the [DIAL] menu is shown) to delete the cursor.
■ Knob, Data dial, and [PRE1] - [PRE4] buttons
The functions of eight knobs on the emulated hardware
controllers (such as the Yamaha 01X) are assigned to the four
Knobs on the MOTIF ES. Pressing the [SF5] button changes
which group’s functions (1 - 4 or 5 - 8) are assigned to the four
Knobs. When [<<BANK] and [BANK>>] are shown in the
display, you can use the [F4] and [F5] buttons to change the
bank of eight tracks/parts (shown in the display) to be
controlled.
The eight knobs on the emulated hardware controllers (such
as the Yamaha 01X) can also be used as switches. However,
since the four Knobs on the MOTIF ES do not have switch
capability, the [PRE1] - [PRE4] buttons are used instead. For
convenience, the switch function corresponding to the last
Knob operated is also assigned automatically to the [ENTER]
button.
While the eight knobs on the emulated devices have
“endless” rotary control, the four Knobs on the MOTIF ES stop
at certain points. With some parameters this may mean that
the value may not reach to the minimum and maximum points.
If this occurs, you can use the data dial to adjust the value as
desired. For convenience, the data dial is active for the
parameter corresponding to the Knob last turned.
nTo restore the function of the data dial, [INC/YES] and [DEC/NO]
buttons to the original song position control, press the [SF4] button (if
the [DIAL] menu is shown) to delete the cursor.
■ Control Sliders
The functions of eight faders on the Mackie Control, Logic
Control and 01X are assigned to the four Sliders on the MOTIF
ES. Pressing the [SF5] button changes which group’s
functions (1 - 4 or 5 - 8) are assigned to the four Sliders. When
[<<BANK] and [BANK>>] are shown in the display, you can
use the [F4] and [F5] buttons to change the bank of eight
tracks/parts (shown in the display) to be controlled.
■ [F1] - [F6] buttons and [SF1] - [SF5] buttons
The functions assigned to these buttons depends on the
selected Mode (A or B) and the particular software being
used (as set in step #3 in “Setting up on the MOTIF ES” on
page 148).
When the Mode is set to “General,” these buttons are assigned
to perform the same functions as panel buttons on the Yamaha
01X, for controlling various Yamaha music/audio software. The
corresponding names of the 01X panel buttons are also
indicated at the bottom of the display of the MOTIF ES.
When the Mode is set to “Logic,” these buttons are assigned
to perform the same functions as panel buttons on the Logic
Control, for controlling Logic on the computer. The
corresponding names of the Logic Control panel buttons are
also indicated at the bottom of the display of the MOTIF ES.
When the Mode is set to “Cubase” or “SONAR” or “D.Perf,”
these buttons are assigned to perform the same functions as
panel buttons on the Mackie Control, for controlling the
corresponding software on the computer. The corresponding
names of the Mackie Control panel buttons are also indicated
at the bottom of the display of the MOTIF ES.
The function assignment can be changed by pressing the
[KNOB CONTROL FUNCTION] buttons.
The function assignment tables of the [F1] - [F6] buttons and
[SF1] - [SF5] buttons for each DAW software are contained in
the separate Data List.
nAmong the functions assigned to the [F1] - [F6] buttons and [SF1] -
[SF5] buttons, the functions indicated with brackets (such as [DIAL])
are not related to the Mackie Control, Logic Control and 01X but are
unique to the MOTIF ES.
■ Data dial, [INC/YES] and [DEC/NO] buttons
Although the data dial and [INC/YES]/[DEC/NO] buttons are
generally to change the song position on the DAW software,
when you turn one of the Knobs on the MOTIF ES, the control
function assigned to that Knob is automatically assigned to
these panel controls as well, and the [DIAL] menu appears (at
the [SF4] button). In this condition, these controllers cannot
be used to control the song position. To restore the function of
the data dial, [INC/YES] and [DEC/NO] buttons to the original
song position control, press the [SF4] button (if the [DIAL]
menu is shown) to delete the [DIAL] menu.
Quick Guide — Computer applications
Controlling a computer from the instrument
152Owner’s Manual
■ Cursor [<] and [>] buttons
By moving the cursor left/right, you can change the track or
part to controlled by the data dial and [INC/YES]/[DEC/NO]
buttons. For example, when the cursor is at the upper box in
the display, pressing the Cursor [>] button moves through the
columns in succession (1, 2, 3, 4...). After 4, the cursor is
hidden and wraps around to 1. When the cursor is shown in
the display, the parameter at which the cursor is located can
be edited by the data dial, [INC/YES] and [DEC/NO] buttons.
When the cursor is hidden, the data dial and [INC/YES]/[DEC/
NO] buttons can be used for their normal function —
controlling the song position.
■ Cursor [] and [] buttons
When the Mode is set to “General,” the Cursor []/[]
buttons perform the same function as that of the DISPLAY
[]/[] buttons on the 01X.
When the Mode is set to something other than “General,” the
Cursor []/[] buttons perform the same function as that of
the Cursor []/[] buttons on the Mackie Control and Logic
Control.
■ [EXIT] button
When the Mode is set to “General,” this button performs the
same function as that of the [PAGE SHIFT] button on the 01X.
When the Mode is set to something other than “General,” the
button has no control function.
■ BANK, GROUP and NUMBER button
These buttons are assigned to perform the same functions as
the buttons directly over the faders on the 01X, Mackie
Control and Logic Control.
Checking the Remote Control assignments
If you’re unsure as to which software function has been
assigned to a particular panel control on the MOTIF ES,
this convenient feature lets you quickly check it from the
display.
1In the Remote Control mode, press the
[INFORMATION] button to call up the information
display, indicating the function of the last pressed
button.
2Press the button for which you want to check the
assignment.
This display shown above appears when you press
the [F] (Play) button of SEQ TRANSPORT. In this
way, you can check each button’s control assignment
simply by pressing it.
3Press the [INFORMATION] button again to return
to the Remote Control mode.
nWhile the Information display is shown, the panel buttons
cannot be used to control the computer software.
[PRE1] - [PRE4]
buttons
The eight knobs on the 01X, Mackie Control
and Logic Control can also be used as
switches. However, since the four Knobs on
the MOTIF ES do not have switch capability,
the [PRE1] - [PRE4] buttons are used instead.
[PRE5] - [PLG3]
buttons
The functions of the eight [REC/RDY] buttons
on the Mackie Control and Logic Control are
assigned to these buttons. Please note that
these buttons are not available when the
Mode is set to “General.”
[A] - [H] buttonsThe functions of the eight [SOLO] buttons on
the Mackie Control and Logic Control are
assigned to these buttons. Please note that
these buttons are not available when the
Mode is set to “General.”
[1] - [8] and [TRACK
SELECT] buttons
When the Mode is set to “General,” the
functions of the nine [SEL] buttons on the 01X
are assigned to these buttons. When the
Mode is set to something other than
“General,” the functions of the eight [MUTE]
buttons on the Mackie Control and Logic
Control are assigned to the [1] - [8] buttons.
[9] - [16] and [MUTE]
buttons
When the Mode is set to “General,” the
functions of the nine [ON] buttons on the 01X
are assigned to these buttons. When the
Mode is set to something other than
“General,” the functions of the eight [SELECT]
buttons on the Mackie Control and Logic
Control are assigned to the [9] - [16] buttons.
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Owner’s Manual
Quick Guide — Computer applications
Recording the sounds of the MOTIF ES to computer via mLAN
By using the optional mLAN16E interface and an IEEE 1394 cable connection, you can record multitrack audio from the
MOTIF ES to an mLAN-compatible DAW (digital audio workstation) program on your computer. This lets you transfer the
audio data of multi-part Songs on the MOTIF ES to the DAW application for further editing and storage on your computer’s
hard disk drive.
In the example instructions below, Song playback and/or your keyboard performance in the Song mode can be recorded
to the computer, on separate tracks of the DAW application.
Setup for connecting the computer to the MOTIF ES via mLAN
1
Install the optional mLAN16E to the MOTIF ES (page 288).
2
After turning the power on, set the MIDI IN/OUT
parameter to “mLAN” ([UTILITY]
→
[F5] MIDI
→
[SF4] OTHER).
3
Press the [SONG] button to enter the Song mode
and select the desired Song for playback, or the
particular Mixing settings you want to use.
4
Set the mLAN MonitorSw parameter to “on”
([UTILITY]
→
[F2] I/O
→
[SF2] OUTPUT).
When this parameter is set to on, the audio signal output
via mLAN to the computer is also output to the external
audio equipment via the main OUTPUT L/MONO and R
jacks.
This allows you to monitor the sound going to the
computer with a set of headphones.
5
Determine the Output connector or channel of audio
signal for each part.
Make the desired OutputSel parameter settings
([SONG]
→
[MIXING]
→
[EDIT]
→
Part selection
→
[F2]
OUTPUT
→
[SF3] SELECT). For example, set the
OutputSel parameter for Part 1 to “as1&2,” Part 2 to
“as3&4,” and Part 3 to “as5&6.”
These settings (as1&2, as3&4, etc.) indicate the
hardware output jacks on the optional AIEB2, when the
device has been installed. When the mLAN16E is
installed, these indicate the different audio channels
within the single mLAN connection.
1
Connect the computer to the MOTIF ES using an
IEEE1394 cable.
2
Install all necessary software to the computer,
including the mLAN driver.
Refer to the relevant documentation for the mLAN16E.
3
Install an mLAN-compatible audio sequencer or
DAW application to the computer.
Refer to the separate Installation Guide for information
on how to install mLAN-compatible Yamaha
applications.
4
Set the audio related parameters on the DAW
software.
Refer to the relevant documentation for the particular
software.
Executing the Hard Disk Recording
After completing the setup described above, try out to
record your keyboard performance to the hard disk of the
computer by using the DAW software. For details about
how to execute this, refer to the relevant document of the
software.
MUSIC PRODUCTION SYNTHESIZER
MOTIF ESComputer with an IEEE1394 interface
mLAN input
Audio signal of the MOTIF ES sound
mLAN16E
Setup on the MOTIF ES
Setup on the computer
Basic Structure
Internal Structure (System Overview)
154Owner’s Manual
This section gives you an easy-to-understand overview of the MOTIF ES — its wide range of sophisticated features, its MIDI
control and performance functions, and its convenient file management system for original data you’ve created with the
instrument.
Internal Structure (System Overview)
This synthesizer is made up of several blocks, as shown here.
Controller Block
This block consists of the keyboard, Pitch Bend and
Modulation Wheels, Ribbon Controller, Knobs, Control Sliders
and so on.
The keyboard itself doesn’t generate sounds, but instead
generates/transmits note on/off, velocity and other information
(MIDI messages) to the synthesizer’s tone generator block
when you play notes. The controllers also generates/transmits
MIDI messages.
The synthesizer’s tone generator block produces the sound
according to the MIDI messages transmitted from the
keyboard and controllers.
Controller supported by the MOTIF ES
The controllers you can use on this synthesizer and the
Element by setting the Element Switch on or off as
desired. Note that this applies only to Normal Voices.
nThe Element Switch parameters are not available
when a function unrelated to Elements (1 - 40) is set
as the destination.
Internal Structure (System Overview)
156Owner’s Manual
Basic Structure
● Using one source to control several destinations
For example, set the Source parameter of Control Set 1 to MW (Modulation Wheel) and the Destination parameter to ELFO-PM
(Element LFO Pitch Modulation Depth). Then set the Source parameter of Control Set 2 also to MW, but set the Destination
parameter to ELM PAN (Element Pan). You will also need to specify the Element to be controlled and also the depth (amount) of
control.
In this example, when you move the Modulation Wheel upward, the amount of Pitch Modulation increases accordingly, and the
Element is panned from left to right. In this way, you can have the sound change in several different ways, simply by adjusting a
single controller.
● Using several sources to control one destination
For example, set the Source parameter of Control Set 1 to MW (Modulation Wheel) and the Destination parameter to ELFO-PM
(Element LFO Pitch Modulation Depth). Then set the Source parameter of Control Set 2 to FC (Foot Controller) and set the
Destination parameter also to ELFO-PM (Element LFO Pitch Modulation Depth).
Now, Pitch Modulation is assigned to both the Modulation Wheel and Foot Controller. In this way, you can have several different
controllers affect the same aspect of the sound. This can be useful in live performance situations, letting you use any one of
several controllers depending on which is convenient at the time.
nThe Controller Set edited in the Voice Edit mode is available when the corresponding Voice is selected in the Performance mode, Song mode, and Pattern
mode.
nThe function assigned to the Controller by the Controller Set function can be applied only to the internal tone generator block. Operating the Controller will
transmit the MIDI message (Control Change Number assigned below) to the external MIDI instrument.
Assigning Control Change numbers to the controllers
The functions assigned to the controllers by the Controller Set function can be applied only to the internal tone generator block.
For connected external MIDI instruments, use of the controllers generates MIDI Control Change messages, as shown in the
chart below.
* These Controllers are not used in the Controller Set function
As shown above, the keyboard Aftertouch, Pitch Bend Wheel, Modulation Wheel, Footswitch connected to the SUSTAIN
connector, were originally designed for a particular purpose, and send pre-defined MIDI Control Change messages when used,
regardless of their Control Set allocations within the synthesizer. For example, when the pan function is assigned to the Pitch
Bend Wheel with the Controller Set, using the Pitch Bend Wheel will apply the pan function to the internal tone generator and will
transmit the Pitch Bend messages to the external MIDI instrument.
Using the other controllers will transmit the Control Change messages set from the display shown above to the external MIDI
instrument while it will apply the functions set via the Controller Set to the internal tone generator block.
You can also set up a controller such that it sends one kind of Control message to the synthesizer’s internal tone generator yet
another kind to the external MIDI instrument. For example, in a Controller Set you could assign Resonance to the ASSIGN Knob
1. Then, in the Utility mode, you could assign Control Change Number 1 (modulation) to the same knob. Now, when you turn the
knob, resonance will be applied to the sound of the internal tone generator block; however, at the same time, modulation
messages will be transmitted to the external MIDI instrument.
Pressing the key (Key on)Releasing the key (Key off)
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163
Owner’s Manual
Basic Structure
Part structure of the tone generator block
This synthesizer plays the sounds in the tone generator block in
response to MIDI messages received from the controller or
sequencer block. The MIDI messages are assigned to sixteen
independent channels, and this synthesizer is capable of
simultaneously playing sixteen separate parts, via the sixteen
MIDI channels. However, the sixteen-channel limit can be
overcome by using separate MIDI “ports,” each supporting
sixteen channels. The multiple sound sources of this
synthesizer (internal tone generator and Plug-in Boards) take
advantage of the three MIDI ports included on the instrument.
As shown in the above illustration, up to 48 parts are provided
for the modes (excepting the Voice mode). However, the
number of parts that are actually used is a maximum of 34 in
the Song and Pattern modes, as we will see later in some
examples.
nThe USB cable supports up to eight separate MIDI ports. The Tone
Generator block of this synthesizer supports three separate ports as
illustrated above.
nA single MIDI cable/connection cannot handle data over multiple MIDI
ports.
■ Part structure of the tone generator block in the
Voice mode
In this mode, a Voice is played from the keyboard, using a
single part. This part is used also when the Plug-in Voice is
selected. The tone generator block in the Voice mode
receives MIDI data over a single channel. Keep in mind that
song data on an external sequencer consisting of multiple
MIDI channels will not play back properly in this mode. If you
are using an external MIDI sequencer or computer to play the
instrument, make sure to use the Song mode or Pattern mode.
nThe MIDI receive channel in the Voice mode can be set from the
following display in the Utility mode.
[UTILITY] → [F5] MIDI → [SF1] CH → BasicRcvCh
The MIDI port number which this synthesizer can recognize in the
Voice mode is 1.
nThe Multi-Part Plug-in Board (PLG100-XG) cannot be used in the Voice
mode.
■ Part structure of the tone generator block in the
Performance mode
This mode lets you play a Performance (which multiple Voices
(parts) are combined – in a layer, or in other configurations)
using the keyboard. While a total of seven parts are available
in this mode (as shown below), a maximum of four parts can
be used simultaneously. Although this mode lets you play
several parts at the same time, all are set to receive over the
same single MIDI channel, as in the Voice mode. For this
reason, song data on an external sequencer consisting of
multiple MIDI channels will not play back properly in this
mode. If you are using an external MIDI sequencer or
computer to play the instrument, make sure to use the Song
mode or Pattern mode.
nThe MIDI receive channel in the Performance mode can be set with
the following operation in the Utility mode.
[UTILITY] → [F5] MIDI → [SF1] CH → BasicRcvCh
In the Voice mode, the instrument recognizes only data over MIDI Port 1.
nThe Multi-part Plug-in Board (PLG100-XG) cannot be used in the
Performance mode.
Port 1
Part 1
Part 2
Part 14
Part 15
Part 16
Port 2
Part 17
Part 18
Part 30
Part 31
Part 32
Port 3
Part 33
Part 34
Part 46
Part 47
Part 48
Tone Generator block
Parts used in modes other than the Voice mode
Part for Voice mode
Port 1
Part 1
Part 2
Part 3
Part 4
Part 5
Part 16
Port 2
Part 17
Part 18
Part 30
Part 31
Part 32
Port 3
Part 33
Part 34
Part 46
Part 47
Part 48
Tone generator block
Parts used in modes other than the Voice mode
Part for Voice mode
Parts 1-48 are not used.
PLG1 part
PLG3 part
PLG2 part
Port 1
Part 1
Part 2
Part 3
Part 4
Part 5
Part 13
Part 14
Part 15
Part 16
Port 2
Part 17
Part 18
Part 30
Part 31
Part 32
Part 46
Part 47
Part 48
Port 3
Part 33
Part 34
PLG1
PLG3
PLG2
Tone generator block
When three single part Plug-in boards
are installed to the synthesizer.
Parts 5-13 and 17-48 are not used.
These seven parts (1, 2, 3, 4, 14, 15, 16) are reserved for use in the
Performance mode; however, only up to four of them can be used
at the same time.
Internal Structure (System Overview)
164Owner’s Manual
Basic Structure
■ Part structure of the tone generator block in the Song mode/Pattern mode
In these modes, multiple parts are provided and different voice and different melodies or phrases can be played back for each
part. Because these modes let you set the MIDI channel for each part of the tone generator block, you can use an external MIDI
sequencer as well as the sequencer block of the instrument to play the sounds.
As illustrated below, the sequence data of each track plays the corresponding parts (those having the same MIDI channel
assignment) in the tone generator block.
The MIDI Transmit Channel/Port of the Song/Pattern can be set with the following operation.
When sounding the internal tone generator block, assign the tracks to Transmit Port 1 and use Parts 1 - 16. Keep in mind that
data over Transmit Ports 2 or 3 cannot sound the internal tone generator block. The tone generator of the installed Plug-in Board
can be sounded via any of the MIDI ports 1 - 3.
The MIDI Receive Channel of the tone generator’s part can be set with the following operation.
You can set the port number assignment for the Plug-in Board with the following operation.
nFor details about MIDI, see page 181.
nThe Plug-in Board lets you use only a single Voice at the same time. Please note that you cannot assign multiple Voices of the Plug-in Board to multiple parts
at the same time.
nThe Voice and related settings (volume, pan, etc.) are sounded by the keyboard according to the Part parameters in the Mixing settings of the current Song/
Pattern and Part. Other settings such as Controllers and Effect types correspond to the Common parameters in the Mixing settings of the current Song/
Pattern.
In the Song mode: [SONG] → Song selection → [F3] TRACK → [SF1] CHANNEL
In the Pattern mode: [PATTERN] → Pattern selection → [F3] TRACK → [SF1] CHANNEL
I
n the Song mode: [SONG] → Song selection → [MIXING] → [EDIT] → Part selection → [F1] VOICE → [SF2] MODE → ReceiveCh
In the Pattern mode: [PATTERN] → Pattern selection → [MIXING] → [EDIT] → Part selection → [F1] VOICE → [SF2] MODE → ReceiveCh
Pattern Chain allows you to string several different Sections
(within a single Pattern) together to make a single Song. You
can have the synthesizer automatically change Sections by
creating Pattern Chains in this way beforehand.
You can create the Pattern Chain by recording a Pattern
playback with Section changes from the [PATTERN] → [F6]
CHAIN display or by editing the timing of Section changes
from the [PATTERN] → [F6] CHAIN → [EDIT] display. The
created Pattern Chain can be played back when calling up
the [PATTERN] → [F6] CHAIN display.
You can also use them when creating Songs based on a
certain Pattern, since the created Pattern Chain can be
converted into a Song from the [PATTERN] → [F6] CHAIN →
[EDIT] →[F3] SONG display. This synthesizer lets you create
one Pattern Chain for each Pattern.
■ MIDI tracks and Sample tracks
The Song/Pattern tracks (1 - 16) of this synthesizer are
divided into two groups: MIDI tracks and Sample tracks.
MIDI tracks are created by recording your keyboard
performance in the Song Record mode/Pattern Record mode.
On the other hand, Sample tracks are created by recording
and obtaining a Sample in the Sampling mode.
● Sample tracks — with Sample Voices
Voices which are automatically created and stored using the
Sampling feature in the sequencer (Song/Pattern) mode, are
referred to as “Sample Voices.” Tracks using these Sample
Voices are referred to as “Sample” tracks — to distinguish
them from the MIDI tracks. Sample Voices are stored as
original, dedicated Voices for each Song or Pattern. If you
wish to use a Sample Voice of a certain song/pattern for
another song/pattern, execute the copy operation in the Song
Job mode (page 226) or in the Pattern Job mode (page 244).
■ MIDI track recording method
The following explanations are important points for you to
keep in mind as you record your User Songs/Patterns. The
recording methods explained here should be set from the
Setup display in the Song Record mode/Pattern Record mode
before recording.
nSee page 173 for details about the Sample track recording method.
● Realtime recording and Step recording
Realtime recording
With realtime recording, the instrument functions in the same
way as a tape recorder, recording the performance data as it
is played. This allows you to capture all the nuances of an
actual performance. This method is used for the Recording
types explained below, such as Replace, Overdub, Loop, and
Punch In/Out.
Step recording (Type = step)
With step recording, you can compose your performance by
“writing” it down one event at a time. This is a non-realtime,
step recording method — similar to writing music notation
onto paper.
● Replace and Overdub (Song/Pattern)
Replace
You can use this method when you want to overwrite an
already recorded track with new data. The first recording is
lost, and the new one takes its place.
Overdub
You can use this method when you want to add more data to a
track that already contains data. The first recording is kept,
and the new one is added. This method lets you build up a
complex phrase together with Loop recording (below).
● Loop Recording (Pattern)
Pattern repeats the rhythm pattern of several measures (1 to
256 measures) in a “loop,” and its recording is also done
using loops. This method is used when recording a Pattern
Phrase using the Overdub method (above). As shown in the
example below, notes that you record will play back from the
next repetition (loop), letting you record while hearing
previously recorded material.
When recording a rhythm of Bass Drum, Snare Drum,
Hi-Hat cymbal in order:
nLoop Recording can only be used with Realtime recording.
[SONG] or [PATTERN] → [●] (Record) →[F1] SETUP → Type
Pattern Chain
Example
Pattern track
Section JSection HSection P
Scene track
Tempo track
Section change
Track mute setting
Tempo change
[PATTERN] → [●] (Record) → [F1] SETUP → loop = on
Loop 1st round
Loop 2nd round
Loop 3rd round
Bass Drum
Snare Drum
Bass Drum
Hi-Hat
Snare Drum
Bass Drum
Basic Structure
Internal Structure (System Overview)
169
Owner’s Manual
● Punch In/Out (Song)
You can use this method when you want to re-record only over a specific area of the track. You’ll need to set the start and end
points before re-recording.
In the eight-measure example below, the third measures through the fifth measure are re-recorded.
nPunch In/Out Recording can only be used with Realtime recording.
nNote that the Punch In/Out method always replaces (destroys) the original data over the specified area.
Arpeggio
This function lets you automatically trigger musical and rhythmic phrases using the current Voice by simply pressing a note or
notes on the keyboard. The Arpeggio sequence also changes in response to the actual notes or chords you play, giving you a
wide variety of inspiring musical phrases and ideas — both in composing and performing.
nA single Arpeggio type can be played back at the same time even in the Performance, Song, and Pattern mode, enabling you to play multiple tone
generator’s parts simultaneously.
■ Category of the Arpeggio type
The Arpeggio types are divided into 18 categories as listed below.
nKeyboard Mega Voices
Normal voices use velocity switching to make the sound quality and/or level of a voice according to how strongly or softly you play it. This makes the voices
sound authentic and natural. However, with Keyboard Mega Voices, each velocity range (the measure of your playing strength) has a completely different
sound. For example, a guitar voice includes the sounds of various performance techniques. In conventional instruments, different voices having those
sounds would be called up via MIDI and played in combination to achieve the desired effect. However, now with Keyboard Mega voices, a convincing guitar
part can be played with just a single voice, using specific velocity values to play the desired sounds.
LCDCategory NameDescription
SeqSynth SequenceVarious arpeggio phrases suited for synth voices.
ChSqSynth Chord SequenceVarious rhythmic chord phrases or synth voices.
HySqSynth Hybrid SequenceVarious arpeggio types programmed so that bass phrases are played with the lower keys and chords or melodies
are played with the midrange and higher keys. These arpeggio types are useful for split voice combinations. In
addition, there are also Hybrid Velocity (“HybVel...”) types that feature different phrases for different velocity
ranges, letting you change the arpeggio phrase depending on how strongly you play the keyboard.
APKbAcoustic Piano & KeyboardVarious arpeggio types suited for piano and other keyboard voices, such as electric piano and clav.
OrgnOrganVarious arpeggio types suited for organ voices.
GtPl Guitar & PluckedVarious arpeggio types suited for guitar and harp voices.
GtKMGuitar - Keyboard Mega VoiceVarious arpeggio types suited for guitar Keyboard Mega voices (see note below).
BassBassVarious arpeggio types suited for bass or synth bass voices.
BaKM Bass - Keyboard Mega VoiceVarious arpeggio types suited for bass Keyboard Mega voices (see note below).
Strn StringsVarious arpeggio types suited for strings and pizzicato voices.
Bras BrassVarious arpeggio types suited for brass voices.
RdPp Reed & PipeVarious arpeggio types suited for saxophone and flute voices.
Lead Synth LeadVarious arpeggio types suited for synth lead voices.
PdMeSynth Pad & Musical FXVarious arpeggio types suited for synth pad voices and special musical effects voices, including percussive
sounds.
CPrc Chromatic PercussionVarious arpeggio types suited for chromatic percussion voices.
DrPc Drum & PercussionVarious arpeggio types suited for drum and percussion voices (drum kits).
CombCombinationVarious arpeggio types suited for Performances. These are combination arpeggios, with separate phrases
suitable for drum voices, bass voices, and chord/melody instruments.
CntrControlVarious arpeggio types programmed primarily with Control Change and Pitch Bend data. These arpeggio types
change the tone or pitch of the sound, rather than play specific notes. In fact, some types contain no note data at
all. When using a type of this category, set the KeyMode parameter to “direct” in each mode.
12345678
12345678
Recording startRecording stop
Before re-recording
Punch In
After re-recording
Newly recorded data
Punch Out
Internal Structure (System Overview)
170Owner’s Manual
Basic Structure
■ Arpeggio playback types
The MOTIF ES features a total of 1787 Arpeggio types divided into 18 categories, each with its own playback type designed for
use with particular types of Voices, as described below.
● Arpeggios for Normal Voices
Arpeggio types (belonging to the categories except for the DrPC and Cntr) created for use of Normal Voices have the following
two playback types.
nThe two playback types above are not distinguished by the category name or type name. You’ll have to actually play the types and hear the difference.
nSince these types are programmed for Normal Voices, using them with Drum Voices may not give musically appropriate results.
● Arpeggios for Drum/Percussion Voices — Category: DrPc
These arpeggio types are programmed specifically for use with Drum Voices, giving you instant access to various rhythm
patterns. Three different playback types are available.
nThe three playback types above are not distinguished by the category name or type name. You’ll have to actually play the types and hear the difference.
nSince these types are programmed for Drum Voices, using them with Normal Voices may not give musically appropriate results.
● Arpeggios for Performances — Category: Comb
The Arpeggio types belonging to the category “Comb” are programmed so that different arpeggios are triggered — an arpeggio
for a Normal Voice and an arpeggio for a Drum Voice — depending on the played note. These types are useful in the
Performance mode in which multiple voices (Drum Voice and Normal Voice) are combined in a layer since these types enable
you trigger the arpeggio for the Normal Voice and the Drum Voice at the same time.
The Arpeggio related parameters can be set from the following displays, depending on the selected mode.
● Voice mode
nMIDI output parameters for Arpeggio playback are set for each Voice in the Voice mode. In the other modes, however, they can be set for each
Performance, Song, and Pattern.
● Performance mode
● Song mode
nArpeggio related parameters in the Song mode belong to the Mixing. Therefore, if desired, store them to internal memory (DRAM) in the Song Mixing Store
mode and save them to the SmartMedia/USB storage device as Song data in the File mode.
● Pattern mode
nArpeggio related parameters in the Pattern mode belong to the Mixing. Therefore, if desired, store them to internal memory (DRAM) in the Pattern Mixing
Store mode and save them to the SmartMedia/USB storage device as Pattern data in the File mode.
Arpeggio type parameters called up when selecting a Voice[VOICE] → Voice selection → [F6] ARPPage 189
Arpeggio type parameters in recording[PATTERN] → Pattern selection → [●] (Record) → [F4] REC ARPPage 243
Internal Structure (System Overview)
172Owner’s Manual
Basic Structure
Sampling Block
Sampling is a powerful function that lets you bring your own recorded sounds – voice, instrument, rhythm, special sound effects,
etc. – into the system of this synthesizer, and play those sounds just as you would the Voices of the instrument.
In order to use the Sampling features of the instrument, you’ll need to install DIMM memory modules (sold separately) to the instrument.
nIn addition to being able to record samples directly with the MOTIF ES, you can also import existing audio data (in WAV or AIFFfile format) in the File mode.
This lets you use audio you’ve recorded and edited on computer with the instrument.
40
127
D2A2G2F4
A/D INPUT
LRGAIN
OPTICALDIGITAL
OUTINOUTIN
DATCARD
3.3V
Microphone, etc.CD, MD, etc.
USB connector
mLAN device
(Data Rate S400)
A/D INPUT jacksOPTICAL IN connector or
DIGITAL IN connector
(when the optional AIEB2
has been installed)
mLAN connector
(when the optional
mLAN16E has been
installed)
Optional DIMM (up to 512MB)
Velocity
Key number (Note number)
Waveform
Sample 1
(Key bank)
Sample 2
(Key bank)Sample 4
(Key bank)
Sample 3
(Key bank)Sample 5
(Key bank)
USB
TO HOSTTO DEVICE
Sampling Source
Loading the WAV file/AIFF file from
the [FILE] → [F3] LOAD display,
setting the file type to “Waveform.”
Before sampling, connect the source to the
appropriate connector.
SmartMedia/
USB storage device
Load
Sampling
Executing from the [INTEGRATED SAMPLING] →
[F6] REC display in the Sampling mode
Sample (Wave)
Sampling Destination
Before sampling, set the appropriate location for storing the sample (Waveform, User
Voice) from the [INTEGRATED SAMPLING] → [F1] DEST display.
Waveform
User VoiceSample Voice
(When executing the Sampling function
in the Voice mode/Performance mode)(When executing the Sampling function
in the Song mode/Pattern mode)
Internal Structure (System Overview)
173
Owner’s Manual
Basic Structure
Data created by Sampling
Regardless of the mode, the raw Sampled data is the same,
of course. However, various parameters are different,
depending on the particular mode or settings. Briefly, here is
an explanation of what kinds of data are created in the
Sampling function.
● Sampling data common to all modes
Wave (Sample data)
This is the raw audio data stored in this synthesizer’s internal
memory when sampling.
Key Bank
The note range and velocity range to which the Sample is
assigned, is called the Key Bank.
Waveform
The group of Key Banks to which sample data is assigned is
called the Waveform.
●Data created by sampling in the Voice/Performance
mode
User Voice
Before you can play the recorded/imported sample data
(Waves), you’ll need to save them as User Voices, after which
they can be selected and played from the keyboard or
sequencer — the same as other Voices. Also, these User
Voices can be assigned as Performance parts – just as with
the Preset Voices.
● Data created by sampling in the Song/Pattern mode
Sample Voice
When sampling in the Song/Pattern mode, the recorded/
imported sample data is automatically stored as a Sample
Voice.
Sample Voices can be assigned to the Mixing parts
corresponding to the track which was assigned from the
[INTEGRATED SAMPLING] → [F1] DEST display, and they
can be sounded while Song/Pattern data is being played
back. Sample Voices are original, dedicated Voices for the
particular Song/Pattern that was selected when sampling.
Because of this, you cannot take a Sample Voice belonging to
one Song or Pattern and use it in another Song or Pattern.
n
You cannot select Sample Voices in the Voice or Performance mode.
(However, you CAN select the Wave of the Sample Voice in Voice Edit.)
Note Data
When you set the Type to “Sample + note” from the [SONG] or
[PATTERN] → [INTEGRATED SAMPLING] → [F2] SOURCE
display and execute Sampling, a Sample Voice is created
and the sampled wave is assigned to a specified note and
recorded as simple MIDI sequence data to a specified track
(as shown below).
Key Bank and Sequence data
When you set the Type to “Sample + seq” from the [SONG] or
[PATTERN] → [INTEGRATED SAMPLING] → [F2] SOURCE
display and execute Sampling, a Sample Voice is created
and the sampled wave is “sliced” or divided into several
component samples — and each is assigned to specific
notes, with sequence data for playing the notes to recreate
the sample. This is useful with rhythmic samples, giving you
fine control over the playback, including tempo changes.
Song or Pattern
Sampling
Track 1
Track 2
Track 3
Track 16
Specify the track.
Record to create a
Sample Voice.
Sample
Assign the Sample to a
specified key (note) to
create a Sample Voice.
Sequence data
Sample
Slice the Sample and
assign the sliced Sample
to specified keys (notes)
to create a Sample Voice.
Sequence data
Basic Structure
Internal Structure (System Overview)
174Owner’s Manual
Waveform and User Voices/Sample Voices
nWhen executing the Sampling in the Sampling mode entered from the
Voice mode/Performance mode, you can specify the Waveform
number and User Voice number as a Destination (location to which the
sampled wave is stored) beforehand. Likewise, you can specify the
same parameters also when loading the WAV file/AIFF file in the File
mode entered from the Voice mode/Performance mode.
nWhen executing the Sampling in the Sampling mode entered from the
Song mode/Pattern mode, you can specify the track number as a
Destination (location to which the sampled wave is stored)
beforehand. Likewise, you can specify the same parameters also
when loading the WAV file/AIFF file in the File mode entered from the
Song mode/Pattern mode. When creating Waveforms, sampled audio
waves are automatically stored starting from the lowest numbered
available space.
nUp to 128 keybanks can be assigned to a single waveform. Up to a
maximum of 4096 key banks can be created on the instrument.
■ How to select and hear the Waveform
You can select and hear any of Waveforms from the following
display in the Voice Edit mode.
If you set the Bank parameter to “usr wave,” you can select
and hear the Waveform obtained by using the Sampling
function or loading the WAV file/AIFF file.
You can also select and hear the User Waveform from the
Among all of the audio input Parts, the Insertion effect can be applied
only to the A/D Input Part.
[PERFORM] → Performance selection → [EDIT] →
[COMMON] → [F2] OUT/MEF → [SF2] MEQ
[PERFORM] → Performance selection → [EDIT] →
[COMMON] → [F1] GENERAL → [SF3] MEQ OFS
Part 1
Part EQ
Insertion Effect
(VCE INS)
Audio Input part
Plug-in Insertion Effect
(PLG-EF)
When the PLG100-VH
has been installed
Tone Generator
block
Part 1
[PERFORM] → Performance selection → [EDIT] →
[COMMON] → [F2] OUT/MEF → [SF3] MEF
Master EffectMaster EQOutput
*1
*2
*3
*4
*5
A
B
*2
*3
*4
*5
*2
*1
Send LevelReturn Level
Reverb (REV), Chorus (CHO)
System Effect
Internal Structure (System Overview)
180Owner’s Manual
Basic Structure
● In the Song mode/Pattern mode
The Effect parameters in the Song mode/Pattern mode are set for each Song/Pattern. The Effect settings are stored to internal
DRAM in the Song Mixing mode/Pattern Mixing mode and saved to the SmartMedia/USB storage device in the File mode.
nThe Insertion Effect, Plug-in Insertion Effect, and the System Effect cannot be applied to Parts 17-32 (using the Multi-part Plug-in board PLG100-XG).
nThe Part EQ cannot be applied to parts of the Plug-in Board.
nThe System Effects (Reverb, Chorus), the Master EQ, and the Master Effect are not applied to the sound output through the ASSIGNABLE OUTPUT jacks
(including those of the AIEB2) or the mLAN connector of the mLAN16E board. (Only the Part EQ and the Insertion Effect are applied.)
Tone Generator block
[SONG] or [PATTERN] → Song/Pattern
selection → [MIXING] → [EDIT] → [COMMON]
→ [F2] MEQ/MEF → [SF2] MEF
The Insertion effects can be applied to up to eight Parts, selectable from Parts 1-4, Plug-in
Parts 1-3, and the A/D input Part in the following display.
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING]
→ [EDIT] → [COMMON] → [F6] EFFECT → [SF1] CONNECT
Part 1-16Insertion Effects
(VCE INS)
Tone Generator block
Part 1
Reverb (REV), Chorus (CHO)
System Effects
Part 1
Part EQ
Plug-in Part 1-3
(When the Single part
Plug-in board has
been installed)
Audio Input part
Plug-in Insertion Effect
(PLG-EF)
When the PLG100-VH
has been installed
Send LevelReturn Level
Master EffectMaster EQOutput
About MIDI
181
Owner’s Manual
Basic Structure
About MIDI
MIDI (Musical Instrument Digital Interface) is a standard which allows electronic musical instruments to communicate with each
other, by sending and receiving compatible Note, Control Change, Program Change and various other types of MIDI data, or
messages.
This synthesizer can control other MIDI devices by transmitting note related data and various types of controller data. It can also
be controlled by incoming MIDI messages which automatically determine the tone generator mode, select MIDI channels,
voices and effects, change parameter values, and of course play the voices specified for the various Parts.
Many MIDI messages are expressed in hexadecimal or binary numbers. Hexadecimal numbers may include the letter “H” as a
suffix. The letter “n” indicates a certain whole number.
The chart below lists the corresponding decimal number for each hexadecimal/binary number.
MIDI channels
MIDI performance data is assigned to one of sixteen MIDI channels. Using these channels, 1 - 16, the performance data for
sixteen different instrument parts can be simultaneously sent over one MIDI cable.
Think of the MIDI channels as TV channels. Each TV station transmits its broadcasts over a specific channel.
Your home TV set receives many different programs simultaneously from several TV stations and you select the appropriate
channel to watch the desired program.
MIDI operates on the same basic principle.
The transmitting instrument sends MIDI data on a specific MIDI channel (MIDI Transmit Channel) via a single MIDI cable to the
receiving instrument. If the receiving instrument’s MIDI channel (MIDI Receive Channel) matches the Transmit Channel, the
receiving instrument will sound according to the data sent by the transmitting instrument.
For information on how to set the MIDI transmit channel and the MIDI receive channel, see page 35.
MIDI data is assigned to one of sixteen channels. However, we can overcome the sixteen-channel limit by using separate MIDI
“ports,” each supporting sixteen channels. For details, see page 38.
MIDI Messages Transmitted/Recognized by this synthesizer
MIDI messages can be divided into two groups: Channel messages and System messages. Below is an explanation of the various
types of MIDI messages which this synthesizer can recognize/transmit. The messages transmitted/recognized by this synthesizer
are shown in the MIDI Data Format and MIDI Implementation Chart of the separate Data List.
nThis synthesizer’s tone generator and sequencer blocks handle different MIDI events. These are listed separately in the MIDI Data Format as well as in the
MIDI Implementation Chart.
1
Weather Report
News
2
2
News
MIDI Transmit channel 2MIDI Receive channel 2
MIDI
cable
Basic Structure
About MIDI
182Owner’s Manual
CHANNEL MESSAGES
Channel messages contain data related to the performance
on the keyboard for the specific channel.
■ Note On/Note Off (Key On/Key Off)
Messages which are generated when the keyboard is played.
These messages control the sequencer, that is to say Song
and Pattern.
Active Sensing (FEH)
Once FEH (Active Sensing) has been received, if no MIDI
data is subsequently received for longer than an interval of
approximately 300 msec, the MOTIF ES will perform the same
function as when All Sounds Off, All Notes Off, and Reset All
Controllers messages are received, and will then return to a
status in which FEH is not monitored
Timing Clock (F8H)
This message is transmitted with a fixed interval (24 times per
1/4 note) to synchronize connected MIDI instruments.
You can select whether the sequencer block uses the internal
Timing Clock, or external Timing Clock messages received
via MIDI IN by setting the MIDI Sync parameter: [UTILITY] →
[F5] MIDI → [SF3] SYNC → MIDI Sync.
Start (FAH)
This message lets the MIDI sequence data start playing back
from the beginning. This message will be transmitted when
pressing the [F] (Play) button at the top of the Song or
Pattern.
Continue (FBH)
This message lets the MIDI sequence data start playing back
from the current song position. This message will be
transmitted when pressing the [F] (Play) button at the
middle of the Song or Pattern.
Stop (FCH)
This message causes MIDI sequence data (song) to stop
playing back. This message will be transmitted when
pressing the [■] (Stop) button during playback.
nYou can select whether this synthesizer will transmit Timing Clock,
Start, Continue, and Stop messages by setting the SeqCtrl parameter:
[UTILITY] → [F5] MIDI → [SF3] SYNC → SeqCtrl.
■ System Common Message
System Common messages also control the sequencer,
including Song Select and Song Position Pointer messages.
Basic Structure
Internal Memory and File Management
185
Owner’s Manual
Internal Memory and File Management
As you use the MOTIF ES, you’ll create many different kinds of data, including Voices, Performances, Songs, and Patterns. This
section describes how to maintain the various types of data and use the memory devices/media for storing them.
Maintaining data
You can maintain the data you’ve created via the following three methods.
● Store
This is a process of transferring or saving the created data of this synthesizer to a dedicated location (User Memory) in the
internal memory. Each type of data can be stored with the following operations.
* Please note that pressing the [STORE] in the Utility mode starts the Store operation of the System settings immediately.
Since Song Mixing, Pattern Mixing, and Mixing Voice data is stored to DRAM (page 187), all such data is lost when turning off the power — even if the data
has been stored with the operations above. Make sure to save this data to the SmartMedia/USB storage device in the File mode after storing.
Never attempt to turn off the power while data (e.g., Voice) is being written to Flash ROM (while an “Executing...” or “Please keep power on” message is
shown). Turning the power off in this state may cause the system to freeze (due to corruption of data in the Flash ROM) and prevent normal startup the next
time the power is turned on, as well as resulting in the loss of all user data.
This is a process of transferring or saving the created data of this synthesizer to an external memory device (SmartMedia/USB storage device).
This process can be done in the File mode. The Save operation can be done via various methods, such as saving all data as a single file or
saving a specified type of data (e.g., only Voices) as a single file. For details, see Memory Structure (page 186) and Reference (page 188). The
saved data as files can be recalled by loading them in the File mode.
● Bulk Dump
This function lets you save the data in the Edit buffer (DRAM) or Flash ROM by transmitting it as Bulk data (system exclusive message) to an
external MIDI instrument or sequence software on a computer. This can be done with the following operations.
nMixing Voice data cannot be transmitted as Bulk data via panel operations.
nUser Arpeggio data and some of the System settings are not handled as Bulk data.
nThe data in the User Memory of Flash ROM can be transmitted to an external MIDI instrument or computer upon reception of a bulk request message. For
details about the bulk request message and bulk dump format, see the separate Data List.
Voice and Plug-in Voice data can be transmitted to a computer for editing with the Voice Editor software (on the included CD-ROM). The edited
Voice data can then be transmitted back to the instrument in banks as bulk data. Similarly, Voice data created in the Voice Edit mode can be
sent to the computer in banks as bulk data.
Song Mixing and Pattern Mixing data can also be transmitted to a computer for editing, using the Multi Part Editor software (onthe included CD-
ROM). The edited Mixing data can then be transmitted back to the instrument as bulk data. Mixing data created in the Song Mixing Edit and
Pattern Mixing modes can also be sent to the computer in banks as bulk data.
This diagram details the relationship among the functions of the MOTIF ES and the internal memory and SmartMedia/USB storage device.
*1 For details on the Bulk Dump, Save, and Store operations, see page 185.
*2 Only the currently edited data can be transmitted as Bulk data. Note that the Mixing Voice cannot be transmitted as Bulk data.
*3 The Mixing settings can be stored/recalled as a template in the Song Mixing Job mode/Pattern Mixing Job mode.
*4 You can convert the MIDI sequence data recorded in the Song Record mode/Pattern Record mode to Arpeggio data. This can be executed with the following
operations: • [SONG] → [JOB] → [F5] TRACK → 07: Put Track to Arp • [PATTERN] → [JOB] → [F5] TRACK → 06: Track to Arp
*5 In order to create a Waveform by sampling or importing an audio file, optional DIMM modules must be installed.
Sequence software
Voice Editor in the included CD-ROM
Multi Part Editor in the included
CD-ROM
MIDI instrument or computer
SmartMedia/USB storage device
*4
*3
*3
*5
*2
Excluding Master and
Utility settings
Recall Buffer
Compare Buffer
(DRAM)• Voice
• Plug-in Voice
• Preset Phrase (Pattern)
• Preset Arpeggio
• Demo
Preset Data (ROM)
Edit Buffer
(DRAM)User Memory
Flash ROM
Bulk Dump *1
Store *1
Store *1
Store *1
Bulk Dump
*1
Internal Memory
• Voice Edit• User Voice (Normal, Drum)File extensions “.W7V” and “.W7E”
• File extensions “.WAV” and “.AIF”
• A5000/4000/3000 data
• AKAI format data
File extensions “.W7G”
File extensions “.W7A”
(including all the data on the User Memory)
File extensions “.MID”
File extensions “.W7S”
File extensions “.W7P”
File extensions “.W7W”
• File extensions “.WAV” and “.AIF”
• A5000/4000/3000 data
• SU700 data
• AKAI format data
File extensions “.W2B”
Internal data communication
Data communication between this
synthesizer and the external device
• Mixing Voice Edit
• Plug-in Voice Edit
• Master Edit
• Utility settings
• Pattern Mixing Edit
• Song Mixing Edit
• Pattern Record
• System settings
(Utility settings
+ Mixing Template)
• Pattern Patch
• Pattern Chain
• Sampling• Waveform
• Song Record
• Song Chain
• Phrase
• Pattern
• Pattern Chain
• Song
• Song Chain
• Performance Edit
• User Plug-in Voice
• User Master
• User Arpeggio
• User Performance
Editing the Board Voice
(page 76) using the
software Plug-in Board
Editor supplied with
each Plug-in Board
Computer
DRAM
• Plug-in All Bulk
Plug-in board (DRAM)
Load/Save (executed in the File mode) *1
Basic Structure
Internal Memory and File Management
187
Owner’s Manual
Internal Memory
Below are explanations of the basic terms used in the Memory Structure illustration on the previous page.
● Flash ROM
ROM (Read Only Memory) is memory designed specifically for reading out of data, and as such data cannot be written to it.
Unlike conventional ROM, Flash ROM can be overwritten – allowing you to store your own original data. The contents of Flash
ROM are maintained even when the power is turned off.
● DRAM
RAM (Random Access Memory) is memory designed specifically for data writing and data reading operations. There are two
different kinds of RAM, depending on the condition for storing the data: SRAM (Static RAM) and DRAM (Dynamic RAM).
The created data stored on DRAM is lost when the power is turned off. Because of this, you should always store any data
residing in DRAM to the SmartMedia/USB storage device before turning off the power.
● DIMM
DIMM modules must be installed in order to use the Sampling function or to load audio data (Waveform/WAV file/AIFF file) to the
instrument. As with DRAM described above, the created data stored on DIMM is lost when the power is turned off. Because of
this, you should always store any data residing in DIMM to the SmartMedia/USB storage device before turning off the power.
● Edit Buffer and User Memory
The edit buffer is the memory location for edited data of these types: Voice, Performance, Master, Song Mixing, and Pattern
Mixing. Data edited in this location will be stored to the User Memory.
If you select another Voice, Performance, Master, Song, or Pattern, the entire contents of the edit buffer will be rewritten with the
newly selected Voice/Performance/Master/Song Mixing/Pattern Mixing data. Make sure to store any important data before
selecting another Voice, etc.
● Edit Buffer and Recall Buffer
If you’ve selected another Voice/Performance/Song/Pattern without storing the one you were editing, you can recall your original
edits, since the edit buffer’s contents are stored in backup memory.
nKeep in mind that the recall buffer is not available in the Master Edit mode.
Reference Voice Mode
Voice Play mode
188Owner’s Manual
Voice mode
■ Creating Voices — basic procedure
You can create and edit your original Voices by setting various parameters in both the Voice Play mode and Voice Edit mode, while the Voice Job
mode provides some basic parameter-related tools, such as Initialize and Copy. Once you’ve edited a Voice, you can store it to a User Bank in
internal memory (Flash ROM) and save all edited Voices to a SmartMedia/USB storage device in the File mode.
The Voice Play mode lets you perform a variety of general editing operations on the selected voice. For more detailed and comprehensive
editing operations, use the Voice Edit mode.
nIn the Voice Play mode and Voice Edit mode, you can set the parameters for each Voice. The parameters for all the Voices such as Master EQ and Master
Effect can be set from the [UTILITY] → [F3] VOICE display in the Utility mode.
nThe parameters that have the same name in the Voice Play mode and in the Voice Edit mode have the same functions and settings.
nWhen a Plug-in voice is selected, certain parameters are not available for editing, even if they’re described here.
Reference
Voice Play mode[VOICE] → Voice selection
[F1] PLAY
TCH (Transmit Channel)Indicates the Keyboard MIDI transmit channel.
You can change the Keyboard MIDI transmit channel by pressing the [TRACK SELECT] button so that its indicator
lights and pressing any of the NUMBER [1] - [16] buttons. The Keyboard MIDI transmit channel can be changed
also with the following operation: [UTILITY] → [F5] MIDI → [SF1] CH → KBDTransCh.
OCT (Octave)Indicates Keyboard Octave setting set via the [OCTAVE] buttons.
This can be changed also with the following operation: [UTILITY] → [F1] GENERAL → [SF2] KBD → Octave.
ASA (ASSIGN A),
ASB (ASSIGN B)Indicates the functions assigned to the respective Knobs (printed “ASSIGN A” and “ASSIGN B”) when the lamps of
both the [PAN/SEND] and [TONE] buttons are turned on. The functions are assigned with the following operation:
[UTILITY] → [F4] CTL ASN → [SF2] ASSIGN.
nTCH (Transmit Channel), OCT (Octave), ASA (ASSIGN A), and ASB (ASSIGN B) settings do not belong to each Voice. Because of this,these are not stored as an individual
Voice in the Voice Store mode (page 208).
AS1 (ASSIGN 1),
AS2 (ASSIGN 2)Indicates the functions assigned to the respective Knobs (printed “ASSIGN 1” and “ASSIGN 2”) when the lamps of
both the [PAN/SEND] and [TONE] buttons are turned on. The functions are assigned by setting the Voice Edit
common parameters with the following operation: [VOICE] → [EDIT] → [COMMON] → [F4] CTL SET.
[SF1] ARP1 (Arpeggio 1) - [SF5]
ARP5 (Arpeggio 5)
You can register the desired Arpeggio types to these buttons and call them up any time during your keyboard
performance. Refer to page 66 in the Quick Guide section.
[F2] BANK
This display is available only when a Plug-in Board has been installed and a Voice of the Plug-in Board is selected.
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. Board
voices are unprocessed, unaltered voices of the Plug-in board – the “raw material” for Plug-in voices. Plug-in voices are edited Board voices – voices that have
been specially programmed and processed for optimum use with this synthesizer. For more details, see page 74.
Settings:The following selections are available, for example, when a Plug-in voice using the Plug-in board installed to slot 1 is selected: PLG1USR (User Plug-in voice), PLGPRE1 (Preset
Plug-in voice), 032/000 ... (Indicates the Bank Select MSB/LSB of the Board voice. These values differ depending on the installed Plug-in board.)
[F3] EFFECT
Pressing the [F3] EFFECT button in the Voice Play mode calls up the same EFFECT display in the Voice Edit mode ([VOICE] → [EDIT] → [COMMON] → [F6]
EFFECT). From this display, you can set the effect related parameters for the current Voice. See page 194.
[F4] PORTA (Portamento)
From this display you can select monophonic or polyphonic playback and set the Portamento parameters.
Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to the next.
Mono/PolyDetermines whether the Voice is played back monophonically (single notes only) or polyphonically (multiple
simultaneous notes).
Settings:mono, poly
nWhen pressing the second note while holding the first note with the PortaSw set to on and the Mono/Poly set to on, the second
note sound starts succeeding the transition of the first note, or the second note starts not from the EG (AEG/PEG/FEG) start
point but from the EG (AEG/PEG/FEG) point the first note reaches. This realizes the legato performance. This legato degree
can be set with the following operation: [VOICE] → [EDIT] → [COMMON] → [F1] GENERAL → [SF4] PORTA → LegatoSlope
(page 190).
PortaSw (Portamento Switch)Determines whether Portamento is applied to the current Voice or not.
Settings:off, on
Reference Voice Mode
Voice Edit mode Normal Voice Edit Common Edit
189
Owner’s Manual
There are three kinds of Voices: Normal Voices, Drum Voices and Plug-in Voices (if a Plug-in board has been installed). The following section
shows how to edit the different types of voices and explains the parameters available. Note that available parameters to be edited differ
depending on the Voice types (Normal Voice, Drum Voice, Plug-in Voice).
Normal Voice Edit
When a Normal Voice is selected, the Voice Edit parameters are divided into Common Edit (parameters common to all four Elements), and
Element Edit (parameters of individual Elements).
These parameters are for making global (or common) edits to all four Elements of the selected Normal Voice.
PortaTime (Portamento Time)Determines the pitch transition time. Higher values result in longer transition times.
Settings:0 ~ 127
PortaMode (Portamento Mode)Determines the Portamento mode. The behavior of the Portamento varies depending on whether Mono/Poly is set to
“mono” or “poly.”
Settings:fingered, fulltime
fingered...........Portamento is only applied when you play legato (playing the next note before releasing the previous one).
fulltime.............Portamento is always applied.
[F5] EG (Envelope Generator)
This display contains the basic EG settings, both volume and filter, for the voice, as well as the filter’s cutoff frequency and resonance settings. The settings made
here are applied as offsets to the AEG and FEG settings in the Voice Edit mode.
The full names of the available parameters are shown in the chart below, as they appear in the display.
Settings:-64 ~ 0 ~ +63 (except --- above)
[F6] ARP (Arpeggio)
This display contains the basic settings for Arpeggio playback, including Type and Tempo. About the [SF1] - [SF5] buttons, see the explanation of the [F1] PLAY
display.
Bank,
Ctgr (Category),
Type
These three parameters determine the Arpeggio Type. The three-letter prefix number before the Type name
indicates the number within the selected Category.
Settings:Refer to the separate Data List.
TempoDetermines the Arpeggio Tempo. When MIDI Sync ([UTILITY] → [F5] MIDI → [SF3] SYNC → MIDI Sync) is set to
“MIDI,” “MIDI” is displayed here and cannot be set.
Settings:1 ~ 300
VelLimit (Velocity Limit)Determines the lowest and highest velocity which can trigger the Arpeggio playback. The Arpeggio plays when you
play notes at velocities within in this range.
Settings:1 ~ 127
nKeys played outside the set limit sound normally without any Arpeggio.
SwitchDetermines whether Arpeggio is on or off. You can also turn Arpeggio on/off from the front panel with the
[ARPEGGIO ON/OFF] button.
Settings:off, on
HoldDetermines whether the Arpeggio playback is “held” or not. When this is set to “on,” the Arpeggio cycles
automatically, even if you release your fingers from the keys, and it continues to cycle until the next key is pressed.
Settings:sync-off (see below), off, on
sync-off............When set to “sync-off,” the Arpeggio playback continues to run silently, even when you release the keys. Pressing any
key turns the Arpeggio playback on again. In other words, you can use the key to “un-mute” or “mute” (not start or stop)
the Arpeggio playback by, respectively, holding it down or releasing it.
Voice Edit mode[VOICE] → Voice selection → [EDIT]
Common Edit[VOICE] → Normal Voice selection → [EDIT] → [COMMON]
[F1] GENERAL
[SF1] NAMEFrom this display you can assign the category (sub and main) of the selected voice, and create a name for the
voice. The voice name can contain up to 10 characters. For detailed instructions on naming a voice, see “Basic
Keep in mind that unlike the other controllers, the ASSIGN A and B knobs can each be assigned to one common function for the
entire system of this synthesizer, and not to different functions for each individual voice. Also refer to the Utility mode (page 263).
Dest (Destination)Determines the parameter that is controlled by the Source controller (above).
Settings:For a complete list of the available parameters/controls, refer to the separate Data List booklet.
DepthDetermines the degree to which the Source controller affects the Destination parameter. For negative values, the
controller operation is reversed; maximum controller settings produce minimum parameter changes.
Settings:-64 ~ 0 ~+63
[F5] LFO (Low Frequency Oscillator)
From these displays, you can make a variety of LFO related settings. As its name suggests, the LFO creates waveforms of a low frequency. These waveforms can
be used to vary the pitch, filter or amplitude to create effects such as vibrato, wah and tremolo.
Element1 - Element4)Determines the offset values of the Depth parameter (above) for the respective Elements.
Settings:0 ~ 127
[SF5] USERThis menu is available only when the User LFO wave is selected. You can create a custom LFO wave consisting of
up to sixteen steps.
TemplateYou can select a pre-programmed template for the LFO wave. The selected template's wave graph appears on the
display and you can create the LFO wave by viewing it. Each time pressing the [SF1] random button, different LFO
wave is appears on the display randomly.
Settings:
all0...................Values of all the steps are set to 0.
all64.................Values of all the steps are set to 64.
all127...............Values of all the steps are set to 127.
saw up.............Creates a saw shaped upward wave.
saw down.........Creates a saw shaped downward wave.
even step.........Values of all even steps are set to 127, and values of all odd steps are set to 0.
odd step...........Values of all odd steps are set to 127, and values of all even steps are set to 0.
SlopeDetermines the slope or ramp characteristics of the LFO wave.
Settings:OFF (no slope), up, down, up&down
ValueEdits the value for each step.
Settings:0 ~ 127
StepSelects the step number of the LFO wave.
Settings:1 ~ 16
[F6] EFFECT
nFor details on the Effect connections in the Voice mode, see page 179. For details on the Effect Types, refer to the Effect Type list in the separate Data List booklet.
[SF1] CONNECT This display gives you comprehensive control over the effects.
EL: OUT 1-4
(Element 1-4 Effect Output)Determines which Insertion effect (A or B) is used to process each individual Element. The “thru” setting lets you
bypass the Insertion effects for the specific Element.
Settings:insA, insB, thru
InsEF Connect
(Insertion Effect Connect)Determines the effect routing for Insertion effects A and B. The setting changes are shown on the diagram in the
display, giving you a clear picture of how the signal is routed.
Settings:Para, InsAtoB, InsBtoA (See page 179.)
InsA Ctgry
(Insertion A Category),
InsA Type (Insertion A Type)
Determines the effect type for Insertion A.
Time
Phase0°90°
120°240°
180°270°
Reference Voice Mode
Voice Edit mode Normal Voice Edit Element Edit
195
Owner’s Manual
These parameters are for editing the individual Elements that make up a Normal Voice.
InsB Ctgry
(Insertion B Category),
InsB Type (Insertion B Type)
Determines the effect type for Insertion B.
Reverb TypeDetermines the effect type for Reverb.
Chorus Ctg
(Chorus Effect Category),
Chorus Typ (Chorus Effect Type)
Determines the effect type for Chorus.
Reverb SendDetermines the level of the sound (from Insertion A or B, or the bypassed signal) that is sent to Reverb effect. A
setting of “0” results in no Reverb processing of the sound.
Settings:0 ~ 127
Chorus SendDetermines the level of the sound (from Insertion 1 or 2, or the bypassed signal) that is sent to Chorus effect. A
setting of “0” results in no Chorus processing of the sound.
Settings:0 ~ 127
Reverb ReturnDetermines the Return level of the Reverb Effect.
Settings:0 ~ 127
Chorus ReturnDetermines the Return level of the Chorus Effect.
Settings:0 ~ 127
Chorus to ReverbDetermines the Send level of the signal sent from the Chorus Effect to the Reverb Effect.
Settings:0 ~ 127
Reverb PanDetermines the pan position setting for the Reverb effect.
Pitch Sensitivity and Center KeyEG Time Sensitivity and Center Key
Reference Voice Mode
Voice Edit mode Normal Voice Edit Element Edit
198Owner’s Manual
Resonance/Width
This parameter’s function varies according to the selected Filter Type. If the selected filter is an LPF, HPF, BPF (excluding
the BPFw), or BEF, this parameter is used to set the Resonance. For the BPFw, it is used to adjust the Width of the band.
Resonance is used to set the amount of Resonance (harmonic emphasis) applied to the signal at the cutoff frequency.
This can be used in combination with the cutoff frequency parameter to add further character to the sound. The Width
parameter is used to adjust the width of the band of signal frequencies passed by the filter with the BPFw.
Settings:0 ~ 127
DistanceDetermines the distance between the Cutoff frequencies, for the Dual Filter types (which feature two identical filters
combined in parallel, and the LPF12 + BPF6 type).
Settings:0 ~ 255
HPFCutoffDetermines the central frequency for the Key Follow parameter (below) of the HPF. When a filter type “LPF12” or
“LPF6” is selected, this parameter is available.
Settings:0 ~ 255
HPFKeyFlw (Key Follow)Determines the Key Follow setting for the HPF Cutoff frequency. This parameter varies the center frequency
according to the position of the notes played on the keyboard. A positive setting will raise the center frequency for
higher notes and lower it for lower notes. A negative setting will have the opposite effect. When a filter type “LPF12”
or “LPF6” is selected, this parameter is available.
Settings:-200 ~ 0 ~ +200
[SF2] VEL SENS
(Velocity Sensitivity)
From this display you can determine how the Filter and the FEG respond to velocity.
EGTime,
SegmentDetermines the velocity sensitivity of the FEG’s Time parameters.
Select the Segment first, then set its Time parameter. Positive Time settings will play back the specified Segment
faster in proportion to the played velocity and negative values will play it back slower.
Settings:EG Time -64 ~0 ~+63
Settings:Segment: atk, atk+dcy, dcy, atk+rls, all
atk (attack).............................EG Time Value affects Attack time.
atk+dcy (attack + decay)......EG Time Value affects Attack/Decay1 time.
dcy (decay)............................EG Time Value affects Decay time.
atk+rls (attack + release).......EG Time Value affects Attack/Release time.
all ..........................................EG Time Value affects all FEG Time parameters.
EGDepth,
CurveDetermines the velocity sensitivity of the FEG Level.
For positive settings, the more strongly you play the keyboard, the more Filter changes the sound. Negative settings
do the opposite; the more softly you play, the more the sound changes. The Curve parameter lets you select from
five different preset velocity curves (graphically indicated in the display), that determine how velocity affects the
Filter EG.
Settings:EGDepth: -64 ~ 0 ~ +63
Settings:Curve: 0 ~ 4
CutoffDetermines the degree to which velocity affects the Cutoff frequency of the Filter EG. For positive values, the more
strongly you play the keys, the greater the change in the Cutoff frequency. Negative values do the opposite; the
more softly you play, the greater the change in frequency.
Settings:-64 ~ 0 ~ +63
ResonanceDetermines the degree to which velocity affects the Resonance of the Filter EG. For positive values, the more
strongly you play the keys, the greater the Resonance change. Negative values do the opposite; the more softly you
play, the greater the change in Resonance.
Settings:-64 ~ 0 ~ +63
[SF3] FEG
(Filter Envelope Generator)
From this display you can make all the time and level settings for the Filter EG, which determine how the tonal quality
of the sound changes over time. These can be used to control the change in Cutoff Frequency from the moment a
note is pressed on the keyboard to the moment the sound stops.
The full names of the available parameters are shown in the chart below, as they appear in the display.
Settings:TIME: 0 ~ 127
LEVEL: -128 ~ 0 ~+127
DEPTH: -64 ~ 0 ~+63
nFor details on the FEG, see page 161.
[SF4] KEY FLW (Key Follow)From this display you can set the Key Follow effect for the Filter – in other words, how the tonal qualities of the
Element and its Filter EG respond to the particular notes (or octave range) you play.
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 (next parameter) of C3 is used as the basic setting by the Cutoff parameter. A positive
setting will lower the Cutoff frequency for lower notes and raise it for higher notes. A negative setting will have the
opposite effect.
Settings:-200 ~ 0 ~ +200
HOLDATKDCY1DCY2RELDEPTH
TIMEHold timeAttack timeDecay1 timeDecay2 timeRelease time
Level Sensitivity and Center KeyEG Time Sensitivity and Center Key
Reference Voice Mode
Voice Edit mode Normal Voice Edit Element Edit
201
Owner’s Manual
[F5] LFO (Low Frequency Oscillator)
This display gives you a comprehensive set of controls over the LFO for each individual Element. The LFO can be used to create vibrato, wah, tremolo and other
special effects, by applying it to the pitch, filter and amplitude parameters.
WaveDetermines the LFO waveform used to vary the sound.
Settings:saw, tri, squ
SpeedDetermines the speed of the LFO waveform. The higher the value, the faster the speed.
Settings:0 ~ 63
KeyOnResetDetermines whether or not the LFO is reset each time a note is played.
Settings:off, on
KeyOnDelayDetermines the delay time between the moment you play a note on the keyboard and the moment the LFO comes
into effect. A higher value results in a longer delay time.
Settings:0 ~ 127
PMod
(Pitch Modulation Depth)Determines the amount (depth) by which the LFO waveform varies (modulates) the pitch of the sound.
The higher the value, the greater the amount of pitch modulation.
Settings:0 ~ 127
FMod
(Filter Modulation Depth)Determines the amount (depth) by which the LFO waveform varies (modulates) the Filter Cutoff frequency. The
higher the value, the greater the amount of filter modulation.
Settings:0 ~ 127
AMod
(Amplitude Modulation Depth)Determines the amount (depth) by which the LFO waveform varies (modulates) the amplitude or volume of the
sound. The higher the value, the greater the amount of amplitude modulation.
Settings:0 ~ 127
FadeInTimeDetermines the amount of time for the LFO effect to fade in (after the KeyOnDelay time has elapsed).
A higher value results in a slower fade-in.
Settings:0 ~ 127
[F6] EQ (Equalizer)
TypeDetermines the Equalizer Type. This synthesizer features a wide selection of various equalizer types, which can be
used not only to enhance the original sound, but even completely change the character of the sound. The particular
parameters and settings available depend on the specific Equalizer Type that is selected.
nWhen the Type is set to “voice” here, some parameters in the Drum Voice Edit mode cannot be edited.
ElementSw (Element Switch)This parameter is available when Type (above) is set to “pre wav” or “user wav.” This determines whether the
currently selected key is on or off, or in other words, whether the wave for the key is active or inactive.
Settings:on, off
BankThis parameter is available when Type (above) is set to “voice.” Any of the Normal voice banks can be selected.
nPlug-in voices cannot be selected for Drum keys.
NumberDetermines the Wave/Voice number. The number differs depending on the selected Type. For details about available
Waves and Voices, refer to the separate Data List booklet.
Settings:When Type is set to “pre wav”: 001 ~ 1859
When Type is set to “voice”: 001 ~ 128
When Type is set to “usr wav”: 001 ~1024
Reference Voice Mode
Voice Edit mode Drum Voice Edit Key Edit
203
Owner’s Manual
CategoryDetermines the Category of the Wave/Normal Voice. If you switch to another Category, the first Wave/Normal Voice in
that Category will be selected.
nFor more information about the Categories, refer to the separate Data List booklet.
[SF2] OUTPUTFrom this display you can set certain output parameters for the selected Drum key.
InsEFOut
(Insertion Effect Output)Determines which Insertion effect (A or B) is used to process each individual Drum key. The “thru” setting lets you
bypass the Insertion effects for the specific key.
Settings:thru, insA (Insertion Effect A), insB (Insertion Effect B)
RevSend (Reverb Send)Determines the level of the Drum key sound (the bypassed signal) that is sent to Reverb effect. A setting of “0”
results in no Reverb processing of the Drum key sound. This is available only when Insertion Effect Output (above) is
set to “thru.”
Settings:0 ~ 127
ChoSend (Chorus Send)Determines the level of the Drum key sound (the bypassed signal) that is sent to Chorus effect. A setting of “0”
results in no Chorus processing of the Drum key sound. This is available only when Insertion Effect Output (above) is
set to “thru.”
Settings:0 ~ 127
OutputSel (Output Select)Determines the specific output(s) for the individual Drum key signal. You can assign each individual Drum key sound
to be output from a specific hardware output jack on the rear panel. This is available only when Insertion Effect
Output (above) is set to “thru.”
Settings:See page 31.
[SF5] OTHERFrom this display you can set various parameters related to how the individual notes of the Drum voice respond to
the keyboard and MIDI data.
AssignModeWhen this is set to “single,” double playback of the same note is prevented. This is useful when two or more
instances of the same note are received nearly simultaneously, or without a corresponding note off message. To
allow playback of each instance of the same note, set this to “multi.”
Settings:single, multi
RcvNoteOff (Receive Note Off)Determines whether or not the selected Drum key responds to MIDI Note Off messages.
Settings:off, on
nThis parameter is available when the Type is set to “pre wav” or “usr wav” in the [F1] OSC → [SF1] WAVE display (page 202).
AlternateGroupSet the Alternate Group to which the key is assigned. In a real drum kit, some drum sounds cannot physically be
played simultaneously, such as open and closed hi-hats.You can prevent keys from playing back simultaneously by
assigning them to the same Alternate Group. Up to 127 Alternate Groups can be defined. You can also select “off”
here if you wish to allow the simultaneous playback of sounds.
Settings:off, 1 ~ 127
[F2] PITCH
[SF1] TUNEFrom this display you can set various pitch-related parameters for the selected key.
CoarseDetermines the pitch of each Drum Key Wave (or Normal Voice) in semitones.
Settings:-48 ~ +48
n
If a Normal voice has been assigned to the key, this parameter adjusts the position of its note (not its pitch) relative to note C3.
FineDetermines the fine tuning for the pitch of each Drum Key Wave (or Normal Voice).
Settings:-64 ~ +63
[SF2] VEL SENS
(Velocity Sensitivity)
PitchDetermines how the pitch of the selected Drum key responds to velocity. For positive values, the more strongly you
play the key, the higher the pitch becomes. For negative values, the more strongly you play the key, the lower the
pitch.
Settings:-64 ~ +63
[F3] FILTER
[SF1] CUTOFFThis synthesizer lets you apply a low pass filter and high pass filter to each individual Drum key — giving you
exceptionally detailed and comprehensive sonic control over the Drum voice.
Settings:This parameter is available when the Type is set to “pre wav” or “usr wav” in the [F1] OSC →[SF1] WAVE display (page 202).
LPFCutoffDetermines the Cutoff frequency of the Low Pass Filter.
Settings:0 ~ 255
LPFResoDetermines the amount of Resonance (harmonic emphasis) applied to the signal at the Cutoff frequency.
Settings:0 ~ 127
HPFCutoffDetermines the Cutoff frequency of the High Pass Filter.
Settings:0 ~ 255
Reference Voice Mode
Voice Edit mode Drum Voice Edit Key Edit
204Owner’s Manual
[SF2] VEL SENS
(Velocity Sensitivity)
LPFCutoffDetermines the velocity sensitivity of the Low Pass Filter Cutoff frequency. For positive settings, the more strongly
you play the keyboard, the higher the cutoff frequency becomes. For negative settings, the more strongly you play,
the lower the cutoff frequency.
Settings:-64 ~ 0 ~ +63
[F4] AMP (Amplitude)
[SF1] LVL/PAN (Level/Pan)This display not only lets you make basic Level and Pan settings for the sound of each individual Drum key, it also
gives you some detailed and unusual parameters for affecting Pan position.
LevelDetermines the output for the selected Drum key (Wave). This lets you make detailed balance adjustments among
the various sounds of the Drum voice.
Settings:0 ~ 127
PanDetermines the stereo Pan position for the selected Drum key (Wave). This will also be used as the basic Pan
position for the Alternate and Random settings.
Settings:L63 (Left) ~ C (Center) ~ R63 (Right)
AlternatePanDetermines the amount by which the sound of the selected Drum key is panned alternately left and right for each
note you press. The Pan setting (above) is used as the basic Pan position.
Settings:L64 ~ 0 ~ R63
nThis parameter is available when the Type is set to “pre wav” or “usr wav” in the [F1] OSC → [SF1] WAVE display (page 202).
RandomPanDetermines the amount by which the sound of the selected Drum key is panned randomly left and right for each note
you press. The Pan setting (above) is used as the Center Pan position.
Settings:0 ~ 127
nThis parameter is available when the Type is set to “pre wav” or “usr wav” in the [F1] OSC → [SF1] WAVE display (page 202).
[SF2] VEL SENS
(Velocity Sensitivity)
LevelDetermines the velocity sensitivity of the Amplitude Envelope Generator's output level. Positive settings will cause
the output level to rise the harder you play the keyboard and, conversely, negative values will cause it to fall.
Settings:-64 ~ 0 ~ +63
[SF3] AEG
(Amplitude Envelope Generator)
AttackTimeSettings:0 ~ 127
Decay1TimeSettings:0 ~ 127
Decay1Lvl (Level)Settings:0 ~ 127
Decay2TimeSettings:0 ~ 126, hold
[F6] EQ (Equalizer)
Same as in Normal Voice Element Edit. See page 201.
nThis parameter is available when the Type is set to “pre wav” or “usr wav” in the [F1] OSC → [SF1] WAVE display (page 202).
Attack levelAttack level
Key on
Attack
timeDecay1
timeDecay2
timeAttack
timeDecay1
timeDecay2
time
Decay1 levelDecay1 level
Key on
Level
TimeTime
Level
Decay2Time=0 – 126Decay2Time=hold
Reference Voice Mode
Voice Edit mode Plug-in Voice Edit Common Edit
205
Owner’s Manual
Plug-in Voice Edit
These parameters are basically the same as in Normal Voice Edit. Unlike with Normal voices, the Plug-in voices only have one Element for
editing.
nDepending on the particular Plug-in board you are using, some of the parameters described here may not be available. For details, refer to the relevant
owner's manual of the Plug-in board.
nFor details on the current lineup of available Plug-in boards, see page 74.
Common Edit[VOICE] → Plug-in Voice selection → [EDIT] → [COMMON]
[F1] GENERAL
[SF1] NAMESame as in Normal Voice Common Edit. See page 189.
[SF2] PLY MODE (Play mode)Same as in Normal Voice Common Edit. See page 190.
Please note that Micro Tuning is not available in Plug-in Voice Common Edit.
[SF3] MEQ OFS
(Master EQ Offset)
Same as in Normal Voice Common Edit. See page 190.
[SF4] PORTA (Portamento)Same as in Normal Voice Common Edit. See page 190.
Please note that Portamento Mode and Time Mode are not available in Plug-in Voice Common Edit.
[SF5] OTHERSame as in Normal Voice Common Edit. See page 190.
Unlike with Normal Voice Edit, the Upper and Lower ranges cannot be independently set here.
[F2] OUTPUT
Same as in Normal Voice Common Edit. See page 190.
[F3] ARP (Arpeggio)
[SF1] TYPESame as in Normal Voice Common Edit. See page 191.
[SF2] LIMIT
[SF3] PLAY FX
[F4] CTL SET (Controller Set)
[SF1] SET1/2Same as in Normal Voice Common Edit. See page 192.
Please note that Element Switch is not available in Plug-in Voice Common Edit.
[SF2] MW (Modulation Wheel)From this display you can set how the Plug-in voice responds to the Modulation wheel, by changing the control
depth for the filter, pitch and amplitude (volume).
FilterDetermines the depth of control of the Modulation Wheel over the filter cutoff frequency. Negative settings result in
reversed Modulation wheel operation (i.e., moving the wheel up results in less modulation).
Settings:-64 ~ 0 ~ +63
PMod (Pitch Modulation Depth)Determines the depth of control the Modulation Wheel has over pitch modulation. The higher the setting, the greater
the depth of control.
Settings:0 ~ 127
FMod (Filter Modulation Depth)Determines the depth of control the Modulation Wheel has over filter cutoff modulation. The higher the setting, the
greater the depth of control.
Settings:0 ~ 127
AMod
(Amplitude Modulation Depth)Determines the depth of control the Modulation Wheel has over amplitude modulation. The higher the setting, the
greater the depth of control.
Settings:0 ~ 127
[SF3] AT (After Touch)This synthesizer 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.
PitchDetermines the depth of control of keyboard aftertouch over pitch. You can set a value (in semitones) of up to two
octaves.
Settings:-24 ~ 0 ~ +24
FilterDetermines the depth of control of keyboard aftertouch over the filter cutoff frequency.
Settings:-64 ~ 0 ~ +63
PMod (Pitch Modulation Depth)Determines the depth of control that keyboard aftertouch has over pitch modulation. The higher the setting, the
greater the depth of control.
Settings:0 ~ 127
Reference Voice Mode
Voice Edit mode Plug-in Voice Edit Element Edit
206Owner’s Manual
FMod (Filter Modulation Depth)Determines the depth of control that keyboard aftertouch has over filter cutoff modulation. The higher the setting, the
greater the depth of control.
Settings:0 ~ 127
AMod
(Amplitude Modulation Depth)Determines the depth of control that keyboard aftertouch has over amplitude modulation. The higher the setting, the
greater the depth of control.
Settings:0 ~ 127
[SF4] AC (Assignable Control)From this display you can assign MIDI Control Change numbers (as Src) and determine the degree to which
the assigned controllers affect the filter and the modulation effects (pitch, filter and amplitude).
Src (Source)Determines the MIDI Control Change number used to control the filter, PMod, FMod, and AMod.
Settings:0 ~ 95
FilterDetermines the depth of control the Control Change numbers (set in the Src parameter above) have over the filter
cutoff frequency.
Settings:-64 ~ 0 ~ +63
PMod (Pitch Modulation Depth)Determines the depth of control the Control Change messages (set in the Src parameter above) have over pitch
modulation. The larger the setting, the greater the depth of control.
Settings:0 ~ 127
FMod (Filter Modulation Depth)Determines the depth of control the Control Change messages (set in the Src parameter above) have over filter
cutoff modulation. The larger the setting, the greater the depth of control.
Settings:0 ~ 127
AMod
(Amplitude Modulation Depth)Determines the depth of control the Control Change messages (set in the Src parameter above) have over amplitude
modulation. The larger the setting, the greater the depth of control.
Settings:0 ~ 127
[F6] EFFECT
Same as in Normal Voice Common Edit. See page 194.
Please note that the EL: OUT settings are not available in the [SF1] CONNECT display and the parallel setting (Insertion Connection) is not available in the [SF1]
CONNECT display.
Element Edit[VOICE] → Plug-in Voice selection → [EDIT] → Element selection
[F1] OSC (Oscillator)
[SF1] WAVEFrom 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.
BankDetermines the Board Voice Bank.
Settings:These depend on the particular Plug-in board; refer to the relevant owner’s manual for details.
NumberDetermines the Board Voice Number.
Settings:These depend on the particular Plug-in board; refer to the relevant owner’s manual for details.
[SF5] OTHER
VelocityDepthDetermines the velocity sensitivity of the Plug-in Voice. For higher values, the harder you play the keyboard, the
louder the voice becomes.
Settings:0 ~ 127
VelocityOffsetThis lets you specify an offset value for Velocity Depth (above). In other words, you can increase the relative velocity
(or level) of the voice by a set amount – so that all the notes you play have the added velocity.
Settings:0 ~ 127
NoteShiftDetermines the transpose setting for the Plug-in voice, or the amount (in semitones) by which the pitch is raised or
lowered. The pitch range is two octaves, up or down.
Settings:-24 ~ 0 ~ +24
Reference Voice Mode
Voice Edit mode
207
Owner’s Manual
[F2] PITCH
From this display you can make various time and level settings for the Pitch EG, which determine how the pitch of the Plug-in Voice changes over time.
The full names of the available parameters are shown in the chart below, as they appear in the display.
[F3] FILTER
HPFCutoff (High Pass Filter
Cutoff frequency)Determines the Cutoff frequency for the High Pass Filter.
Settings:-64 ~ 0 ~ +63
[F4] NATIVE
With a Plug-in board installed to this synthesizer, you can create a Plug-in Voice by editing both native parameters (those parameters exclusive to the particular
board) and unique parameters (related specifically to this synthesizer).
Pressing [F4] gives you access to the native parameters of the Plug-in board. The parameters will vary depending on the Plug-in Board. For details about each
parameter and its functions, refer to the Owner’s Manual or the on-line help that came with your Plug-in Board.
[F5] LFO (Low Frequency Oscillator)
From this display you can set the basic LFO parameters for modulating the pitch to create vibrato and other special effects.
SpeedDetermines the speed of the LFO waveform. Positive settings increase the speed and negative settings decrease it.
Settings:-64 ~ 0 ~ +63
DelayDetermines the delay time between the moment you press note on the keyboard and the moment the LFO comes
into effect. Positive settings lengthen the delay and negative settings shorten it.
Settings:-64 ~ 0 ~ +63
PMod (Pitch Modulation Depth)Determines the amount by which the LFO waveform controls the pitch. Positive settings increase the amount and
negative settings decrease it.
Settings:-64 ~ 0 ~ +63
[F6] EQ (Equalizer)
From this display you can apply equalizer settings to the Plug-in Voice. This is a shelving equalizer with
two bands; one for high frequencies and the other for low frequencies.
nFor details on the EQ, see page 178.
LowFreq (Low Frequency)Determines the shelving point for the low frequencies. The levels of signals below this frequency will be boosted/
attenuated by the amount set in the LowGain parameter.
Settings:32Hz ~ 2.0kHz
LowGain (Low Gain)Determines the amount by which signals below the LowFreq frequency will be boosted/attenuated.
Settings:-64 ~ 0 ~ +63
HighFreq (High Frequency)Determines the shelving point for the high frequencies. The levels of signals above this frequency will be boosted/
attenuated by the amount set in the HighGain parameter.
Settings:500Hz ~ 16.0kHz
HighGain (High Gain)Determines the amount by which signals above the HighFreq frequency will be boosted/attenuated.
Settings:-64 ~ 0 ~ +63
Initial level
0
Release level
Original pitch
Attack timeRelease time
Key off
Time
Pitch
Settings:-64 ~ 0 ~ +63
INITATKDCY1DCY2RELDEPTH
TIME---Attack time------Release time
LEVELInitial level---------Release level---
LowFreq
LowGain
HighFreq
HighGain
Freque
n
-
+
0
Gain
Reference Voice Mode
Voice Job mode
208Owner’s Manual
The Voice Job mode features several basic operations, such as Initialize and Copy. After setting parameters as required from the selected
display, press the [ENTER] button to execute the Job.
This function lets you store your edited voice to User memory (Flash ROM).
For details, refer to page 85 in the Quick Guide section.
Voice Job mode[VOICE] → Voice selection → [JOB]
[F1] INIT (Initialize)
This function lets you reset (initialize) all Voice parameters to their default settings. It also allows you to selectively initialize certain parameters, such as Common
settings, settings for each Element/Drum key, and so on – very useful when creating a completely new voice from scratch.
Type of parameter to be initializedWhen a Normal Voice is selected: ALL, Common, EL1 ~ 4, without Wave
When a Drum Voice is selected: ALL, Common, EL, without Wave
When a Plug-in Voice is selected: ALL, Common, EL, without Wave
nIf you turn the check mark on when a Drum voice is selected, you can select a Drum key. For details on selecting a key, refer
to page 53 in the Basic Operation section.
[F2] RECALL (Edit Recall)
If you are editing a Voice and select a different Voice without storing your edited one, all the edits you’ve made will be erased. If this happens, you can use Edit
Recall to restore the Voice with your latest edits intact.
[F3] COPY
From this display you can copy Common and Element/Drum Key parameter settings from any Voice to
the Voice you are editing. This is useful if you are creating a Voice and wish to use some parameter
settings from another Voice.
Source voiceDetermines the Voice and data type to be copied.
Data type
When a Normal voice is selected: Common, Element 1 ~ 4
When a Drum voice is selected: Common, Drum key C0 ~ C6
When a Plug-in voice is selected: Common, Element
nIf the source Voice type (Normal/Drum/Plug-in) differs from one of the Voice you are currently editing (destination), you will only
be able to copy Common parameters.
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: Common, Element 1 ~ 4
When a Drum voice is selected: Common, Drum key C0 ~ C6
nIf you choose to copy Common parameters from the source, this display will change to “Common.”
[F4] BULK (Bulk Dump)
This function lets you send all your edited parameter settings for the currently selected Voice to a computer or another MIDI instrument for data archiving.
For details, see page 185.
nIn order to execute Bulk Dump, you’ll need to set the correct MIDI Device Number, with the following operation: [UTILITY] → [F5] MIDI → [SF1] CH → DeviceNo.
Voice Store mode[VOICE] → Voice selection → [STORE]
Source Voice
Destination Voice (Current Voice)
Reference Voice Mode
Supplementary infomation
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Owner’s Manual
■ Supplementary information
Micro Tuning List
Filter Type List
LPF24D (24dB/oct Digital Low Pass Filter)
A dynamic 24dB/oct low-pass filter with a
characteristic digital sound. Compared to the
LPF24A type (below), this filter can produce a more
pronounced resonance effect.
LPF24A (24dB/oct Analog Low Pass Filter)
A digital dynamic low-pass filter with characteristics
similar to a 4-pole analog synth filter.
LPF18 (18dB/oct Low Pass Filter)
3-pole 18dB/oct low-pass filter.
LPF18s (18dB/oct Staggered Low Pass Filter)
3-pole 18dB/oct low-pass filter. This filter has a
smoother cutoff slope than the LPF18 type.
LPF12 (12dB/oct Low Pass Filter)
12dB/oct low-pass filter. This filter is designed to be
used in conjunction with a high-pass filter.
LPF6 (6dB/oct low-pass Filter)
1-pole 6dB/oct low-pass filter. No resonance. This
filter is designed to be used in conjunction with a
high-pass filter.
HPF24D (24dB/oct Digital High Pass Filter)
A dynamic 24dB/oct high-pass filter with a
characteristic digital sound. This filter can produce
You can create and edit your original Performances by setting various parameters in both the Performance Play mode and Performance Edit
mode, while the Performance Job mode provides some basic parameter-related tools, such as Initialize and Copy. Once you’ve edited a
Performance, you can store it to a User Bank in internal memory (Flash ROM) in the Performance Store mode and save all the edited
Performances to a SmartMedia/USB storage device in the File mode.
The Performance Play mode lets you perform a variety of general editing operations on the selected Performance. For more detailed and
comprehensive editing operations, use the Performance Edit mode.
nThe parameters that have the same name in the Performance Play mode and in the Performance Edit mode have the same functions and settings.
Performance Play mode[PERFORM] → Performance selection
[F1] PLAY
TCH (Transmit Channel)Same as in Voice Play mode.
These parameters are available both in the Voice mode and the Performance mode regardless of the selected Voice
or Performance.
OCT (Octave)
ASA (ASSIGN A),
ASB (ASSIGN B)
nTCH (Transmit Channel), OCT (Octave), ASA (ASSIGN A), and ASB (ASSIGN B) settings do not belong to each Performance. Because of this, these are not stored as an
individual Performance in the Performance Store mode (page 220).
AS1 (ASSIGN 1),
AS2 (ASSIGN 2)Indicates the values obtained by controlling the respective Knobs (printed “ASSIGN 1” and “ASSIGN 2”) when the
lamps of both the [PAN/SEND] and [TONE] buttons are turned on. The functions assigned to these knobs depend on
the setting of the Voice assigned to each Part of the Performance.
[SF1] ARP1 (Arpeggio 1) - [SF5]
ARP5 (Arpeggio 5)
You can register the desired Arpeggio types to these buttons and call them up any time during your keyboard
performance. Refer to page 70 in the Quick Guide section.
[F2] VOICE
From this display you can select a Voice for each Part and determine the note range it can be played from.
[SF1] ADD INT
(Add Internal Voice)
Press this button to assign an internal Voice to the selected Part.
[SF2] ADD PLG
(Add Plug-in Voice)
Press this button to assign a Plug-in Voice to the selected Part.
[SF3] DELETEPressing this button deletes the Voice assignment for the selected Part, leaving the Part blank.
[SF4] LIMIT L (Note Limit Low)This sets the lowest note of the range over which the Voice of the selected Part sounds. Simultaneously hold down
this button and press the desired key on the keyboard to set the note.
[SF5] LIMIT H (Note Limit High)This sets the highest note of the range over which the Voice of the selected Part sounds. Simultaneously hold down
this button and press the desired key on the keyboard to set the note.
[F3] EFFECT
Pressing the [F3] EFFECT button in the Performance Play mode calls up the same EFFECT display in the Performance Edit mode ([PERFORM] → [EDIT] →
[COMMON] → [F6] EFFECT). From this display, you can set the effect related parameters for the current Performance. See page 215.
[F4] PORTA (Portamento)
From this display you can set the Portamento parameters. Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to
the next.
PortaSw (Portamento Switch)Determines whether Portamento is on or off for all Parts. (This is a global switch and overrides the individual Part
settings in Part Switch below.)
Settings:off, on
PortaTime (Portamento Time)Determines the pitch transition time. This parameter offsets the same parameter in Part Edit (page 216). Higher
values result in longer transition times.
Settings:-64 ~ 0 ~ +63
PartSwitchDetermines whether Portamento is on or off for each individual Part. This is available only when the PortaSw (above)
is set to on.
Reference Performance Mode
Performance Edit mode Common Edit
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Owner’s Manual
Voice Edit parameters are divided into Common Edit (parameters common to all four Parts), and Part Edit (parameters of individual Parts).
[F5] EG (Envelope Generator)
This display contains the basic EG settings, both volume and filter, for the Performance, as well as the filter’s cutoff frequency and resonance settings. The settings
made here are applied as offsets to the AEG and FEG settings in the Performance Edit mode (pages 218, 219).
The parameters are same as in Voice Play mode. See page 189.
[F6] ARP (Arpeggio)
This display contains the basic settings for Arpeggio playback, including Type and Tempo. Note that the Performance mode lets you independently enable or
disable Arpeggio playback for each Part.
The parameters are same as in the Voice Play mode (page 189) except for the following one.
PartSwDetermines whether Arpeggio is on or off for the selected Part. The Parts for which boxes are checkmarked are
GAINDetermines the level gain for the Frequency (set above), or the amount the selected frequency band is attenuated or
boosted.
Settings:-12dB ~ 0dB ~ +12dB
Q (Frequency Characteristic)This varies the signal level at the Frequency setting to create various frequency curve characteristics.
Settings:0.1 ~ 12.0
nFor details on the EQ, see page 178.
[SF3] MEF (Master Effect)From this display you can set the Master Effect related parameters. This display can be called up by pressing and
holding the [MASTER EFFECT] button on the front panel.
SwitchDetermines whether Master Effect is applied or not to the selected Performance. You can turn it on or off by pressing
the [MASTER EFFECT] button on the front panel.
Settings:off, on
TypeDetermines the Master effect type.
Settings:Refer to the Effect Types list in the separate Data List booklet.
nThe available parameters except for the above two differ depending on the currently selected effect type. For more information, refer to the separate Data List booklet.
[F3] ARP (Arpeggio)
From this display you can set the Arpeggio related parameters.
[SF1] TYPESame as in Normal Voice Common Edit. See page 191.
[SF2] LIMIT
[SF3] PLAY FX (Play Effect)
[SF4] OUT CH (Output Channel)From this display you can set a separate MIDI output channel for the Arpeggio playback data, letting you have the
Arpeggio sound from an external tone generator or synthesizer.
OutputSwitchWhen this is set to on, Arpeggio playback data is output via MIDI.
Settings:on, off
TransmitChDetermines the MIDI transmit channel for Arpeggio playback data. When set to “KbdCh,” the Arpeggio playback
data is output via the MIDI Keyboard Transmit Channel ([UTILITY] → [F5] MIDI → KBDTransCh).
Settings:1 ~ 16, KbdCh (Keyboard Channel)
[F4] CTL ASN (Controller Assign)
You can assign Control Change numbers to the controllers listed below, letting you use the hardware controllers on the keyboard to alter the sound of external
MIDI devices, via the appropriate MIDI messages. When the MOTIF ES receives Control Change data corresponding to the settings here, the internal tone
generator responds as if the instrument's controllers were used.
BC (Breath Controller)Determines the Control Change number generated when you apply breath pressure to the Breath Controller
connected to the BREATH connector.
RB (Ribbon Controller)Determines the Control Change number generated when you run your finger across the surface of the Ribbon
Controller.
RBMode
(Ribbon Controller Mode)Determines whether the Ribbon Controller value returns to a center value when you release your finger from the
Ribbon Controller (reset), or the value is retained at the value at the last point of contact (hold).
AS1 (Assign 1),
AS2 (Assign 2)Determines the Control Change number generated when you control the KN3 (Knob3) and the KN4 (Knob4) with
both the [PAN/SEND] and [TONE] lamp turned on.
FC1 (Foot Controller 1),
FC2 (Foot Controller 2)Determines the Control Change number generated when you use the Foot Controller connected to the FOOT
CONTROLLER jack.
nKeep in mind that the functions of these controllers set here are not changed for the internal tone generator. The controller assignments for the MOTIF ES itself depend on
the settings of the Voices assigned to each Part.
[F5] AUDIO IN
The audio signal input from the A/D INPUT jack, mLAN connector (when the optional mLAN16E has been installed to this synthesizer), DIGITAL IN or OPTICAL IN
connector (when the optional AIEB2 has been installed to this synthesizer) can be handled as an Audio Input Part. You can apply various parameters such as
Effect settings to this Part, just as with the other Parts.
nFor details about the Audio Input Parts, see page 165.
Reference Performance Mode
Performance Edit mode Common Edit
215
Owner’s Manual
[SF1] OUTPUT
VolumeDetermines the output level of the Audio Input Part.
Settings:0 ~ 127
PanDetermines the stereo pan position of the Audio Input Part.
Settings:L63 (Left) ~ C (Center) ~ R63 (Right)
RevSendDetermines the Send level of the Audio Input Part signal sent to the Reverb effect.
Settings:0 ~ 127
ChoSendDetermines the Send level of the Audio Input Part signal sent to the Chorus effect.
Settings:0 ~ 127
DryLevelDetermines the level of the Audio Input Part which has not been processed with the System Effects (Reverb,
Chorus).
Settings:0 ~ 127
nFor details about Effect connection in the Performance mode, see page 179.
Mono/StereoDetermines the signal configuration for the Audio Input Part, or how the signal or signals are routed (stereo or mono).
Settings:stereo, L mono, R mono, L+R mono
stereo...............Both the L and R channels of the audio input are used.
L (left) mono....Only the L channel of the audio input is used.
R (right) mono.Only the R channel of the audio input is used.
L+R mono........The L and R channels of the audio input are mixed and processed in mono.
OutputSel (Output Select)Determines the output jack assignment for the Audio Input Part.
Settings:See page 31.
[SF2] INS TYPE (Insertion Type)This display is available only when the AD (A/D Part) is set to on from the [F6] EFFECT →[SF2] INS SW display. The
type and connection of the Insertion Effect applied to the A/D Part can be set from this display.
InsEF Connect
(Insertion Effect Connection)Same as in the CONNECT display in the Voice Edit mode ([VOICE] → [EDIT] → [COMMON] →[F6] EFFECT → [SF1]
CONNECT). Please note that the InsEF Connect cannot be set to “parallel” here.
InsA Ctgry (Insertion A Category)
InsA Type (Insertion A Type)
InsB Ctgry (Insertion B Category)
InsB Type (Insertion B Type)
nInsertion effects can be applied only to the A/D Part, among the Audio Input Parts.
[F6] EFFECT
This menu gives you comprehensive control over the effects. For details about the Effect connections in the Performance mode, see page 179.
[SF1] CONNECT (Connection)
EF PART → PLG-EF
(Plug-in Insertion Effect)Determines the Part to which the Insertion effect is applied. This parameter is available only when a special Effect
Plug-in board (PLG100-VH) has been installed.
Settings:Part 1~4, PartP2~P3, AD, off
Chorus Ctg (Category),
Chorus TypeDetermines the Chorus effect type.
Settings:Refer to the Effect Types list in the separate Data List booklet.
Chorus Return (Level)Determines the Return level of the Chorus Effect.
Settings:0 ~ 127
Chorus PanDetermines the pan position of the Chorus effect sound.
Settings:L63 (far left) ~ C (center) ~ R63 (far right)
Chorus to ReverbDetermines the Send level of the signal sent from the Chorus Effect to the Reverb Effect.
Settings:0 ~ 127
Reverb TypeDetermines the Reverb effect type.
Settings:Refer to the Effect Types list in the separate Data List booklet.
Reverb ReturnDetermines the Return level of the Reverb Effect.
Settings:0 ~ 127
Reverb PanDetermines the pan position of the Reverb effect sound.
Settings:L63 (far left) ~ C (center) ~ R63 (far right)
Reference Performance Mode
Performance Edit mode Part Edit
216Owner’s Manual
These parameters are for editing the individual Parts that make up a Performance.
To switch between the display for Parts 1 - 4 to which the internal Voices are assigned and the display for Plug-in Parts (PLG1 - 3) to which the
Plug-in Voices are assigned, press the [F6] button.
nWhen a Plug-in Voice is assigned to a Part of the selected Performance, some parameters may not be available depending on the installed Plug-in board.
[SF2] INS SW (Insertion Switch)The Insertion Effects can be applied to up to eight Parts. This display lets you set to which Parts the Insertion Effects
are applied.
[SF3] PLG-EF (Plug-in Effect)This display lets you set the Plug-in Insertion Effect related parameters when the Effect Plug-in Board PLG100-VH
has been installed to this synthesizer. For details on each parameter, refer to the Owner’s Manual included with the
PLG100-VH.
[SF4] REVERBThe 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.
[SF5] CHORUS
Part Edit[PERFORM] → Performance selection → [EDIT] → Part selection
[F1] VOICE
[SF1] VOICE
PartSw (Part Switch)Determines whether each Part is on or off. Since a Performance can consist of up to four Parts, you can select four
Parts from Parts 1 - 4 and the Plug-in Parts 1 - 3.
Settings:on, off
BankDetermines the Voice Bank (page 60) for each Part.
For details about the Plug-in Voice Bank, refer to the Owner’s Manual included with your Plug-in Board.
nWhen the cursor is located on the Bank, you can select a Voice via the way explained on page 60.
NumberDetermines the Voice Program number for each Part.
For details about the Plug-in Voice Program number, refer to the Owner’s Manual included with your Plug-in Board.
[SF2] MODE
Mono/PolyDetermines the playback method of the Voice for each Part — monophonic (single notes only) or polyphonic
(multiple notes).
Settings:mono, poly
nThis parameter is not available for the Part to which a Drum Voice is assigned.
ArpSwitch (Arpeggio Switch)Determines whether Arpeggio is on or off for the currently selected Part.
Settings:on, off
[SF3] LIMIT
NoteLimitH (Note Limit High)Determines the lowest and highest notes of the keyboard range for each Part. Each Part will only sound for notes
played within its specified range.
Settings:C -2~G8
nIf you specify the highest note first and the lowest note second, for example “C5 to C4,” then the note range covered will be
“C-2 to C4” and “C5 to G8.”
nYou can set the note by pressing the keyboard while holding the [INFORMATION] button.
NoteLimitL (Note Limit Low)
VelLimitH (Velocity Limit High)Determines the minimum and maximum values of the velocity range within which each Part will respond. Each Part
will only sound for notes played within its specified velocity range.
Settings:1~127
nIf you specify the maximum value first and the minimum value second, for example “93 to 34,” then the velocity range covered
will be “1 to 34” and “93 to 127.”
VelLimitL (Velocity Limit Low)
[SF4] PORTA (Portamento)Determines 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.
SwitchDetermines whether Portamento is on or off.
Settings:off, on
TimeDetermines the pitch transition time. Higher values mean longer transition times.
Settings:0 ~127
ModeDetermines the Portamento mode.
Settings:fingr (fingered), full (full time)
fingr (fingered).........Portamento is only applied when you play legato (playing the next note before releasing the previous one).
full (full time).............Portamento is always applied.
nThe Mode setting is not available for the Plug-in Part.
nThese Portamento parameters above are not available for the Part to which the Drum Voice is assigned.
Reference Performance Mode
Performance Edit mode Part Edit
217
Owner’s Manual
[SF5] OTHER
PB (Pitch Bend) Upper,
PB (Pitch Bend) LowerThese two parameters are available for Parts 1 - 4 to which the internal Normal Voices are assigned. These
determine the pitch change range (in semitones) of the Pitch Bend wheel for the Part’s Voice. For example, a Lower
setting of -12 would result in the pitch being lowered up to a maximum of one octave (12 semitones) when the Pitch
Bend wheel is moved downwards. Similarly, setting the Upper parameter to +12 would result in a maximum pitch
rise of one octave when the wheel is moved upwards.
Settings:-48 ~0 ~+24
PB (Pitch Bend) RangeThis parameter is available for Parts 1 - 4 to which the internal Drum Voices are assigned and Plug-in Parts 1 - 3. This
determines the pitch change range (in semitones) of the Pitch Bend wheel. Unlike the Pitch Bend setting for Parts 1
- 4 to which the internal Normal Voices are assigned described above, the Upper and Lower ranges of the Drum
Voice Parts and Plug-in Parts cannot be set independently.
Settings:-24 ~ 0 ~ +24
VelSensDpt
(Velocity Sensitivity Depth)Determines the degree to which the resulting volume of
the tone generator responds to your playing strength.
The higher the value, the more the volume changes in
response to your playing strength (as shown at right).
Settings:0 ~ 127
VelSensOfst
(Velocity Sensitivity Offset)Determines the amount by which played velocities are adjusted for the actual resulting velocity effect. This lets you
raise or lower all velocities by the same amount — allowing you to automatically compensate for playing too strongly
or too softly.
Settings:0 ~ 127
[F2] OUTPUT
[SF1] VOL/PAN (Volume/Pan)
VolumeDetermines the volume for each Part, giving you detailed control over the level balance among the Parts.
Settings:0~127
PanDetermines the stereo pan position for each Part.
Settings:L63 (far left) ~ C (center) ~ R63 (far right)
VoiceELPan (Voice Element Pan)Determines whether the individual pan settings for each Voice (made via [VOICE] → [EDIT] → Element selection →
[F4] AMP → [SF1] LVL/PAN → Pan) are applied or not. When this is set to “off,” the basic pan position for the
selected Part is set to center.
Settings:on, off
nThis parameter is not available for the Plug-in Parts.
[SF2] EF SEND (Effect Send)From this display you can set the Send Level and Dry Level sent to the System Effects for each Part. For details
about the Effect connection in the Performance mode, see page 179.
RevSend (Reverb Send)Determines the send level for the Reverb effect of the selected Part, giving you detailed control over the Reverb
balance among the Parts.
Settings:0~127
ChoSend (Chorus Send)Determines the send level for the Chorus effect of the selected Part, giving you detailed control over the Chorus
balance among the Parts.
Settings:0~127
Dry LevelDetermines the level of the unprocessed (dry) sound of the selected Part, letting you control the overall effect
balance among the Parts.
Settings:0~127
127
0127
Depth = 127
Depth = 32
Depth = 64
Depth = 0
When Offset (below) is set to 64:
Actual resulting
velocity (affecting the
tone generator)
Velocity with which you play a note
127
01276412764127
64
127
0
127
0
When Depth (above) = 64 and Offset = 32When Depth (above) = 64 and Offset = 64When Depth (above) = 64 and Offset = 96
Actual resulting
velocity (affecting
the tone generator)
Velocity with which you play a note
Reference Performance Mode
Performance Edit mode Part Edit
218Owner’s Manual
[SF3] SELECT (Output Select)From this display you can assign individual Parts to sound from independent output connectors (jacks).
OutputSel (Output Select)Determines the specific output(s) for the individual Part. You can assign each individual Part’s Voice to be output
from a specific hardware output jack on the rear panel.
Settings:See page 31.
InsEF (Insertion Effect)Determines whether the Insertion effects are applied to individual Parts or not.
Settings:on, off
[F3] EQ (Equalizer)
From this display you can adjust the EQ settings for each Part. Note that two different display types listed below are provided and you can switch between them
by pressing the [SF5] button. Each display type features the same settings in a different format; use the type you feel most comfortable with.
• Display showing four Parts
• Display showing all parameters for one Part
Keep in mind that since all the available parameters cannot be simultaneously displayed in the four-Part display, you will need to use the cursor controls to scroll
the display in order to see and set the other parameters.
For details about the Effect connection including the EQ in the Performance mode, see page 179.
nThis display is not available for the Plug-in Part.
LowFreq (Low Frequency)Determines the center frequency of the low EQ band that is attenuated/boosted.
Settings:50.1 ~ 2.00K
LowGain (Low Gain)Determines the amount of boost or attenuation applied to the low EQ band.
Settings:-32 ~ +32
MidFreq (Middle Frequency)Determines the center frequency of the middle EQ band that is attenuated/boosted.
Settings:139.7 ~ 10.1K
MidGain (Middle Gain)Determines the amount of boost or attenuation applied to the middle EQ band.
Settings:-32 ~ +32
MidReso (Middle Resonance)Determines the resonance applied to the center frequency of the middle EQ band.
Settings:0 ~ 31
HighFreq (High Frequency)Determines the center frequency of the high EQ band that is attenuated/boosted.
Settings:503.8 ~ 14.0K
HighGain (High Gain)Determines the amount of boost or attenuation applied to the high EQ band.
Settings:-32 ~ +32
[F4] TONE
You can set parameters related to the pitch and tone for each Part. Keep in mind that the settings made here are applied as offsets to the Voice Edit settings.
[SF1] TUNE
NoteShiftDetermines the pitch (key transpose) setting for each Part in semitones.
Settings:-24 ~ +24
DetuneDetermines the fine tuning for each Part.
Settings:-12.8Hz ~+12.7Hz
[SF2] FILTER
CutoffDetermines the cutoff frequency for each Part. This parameter is available for the LPF when the filter used by the Part
is a combination type of LPF and HPF.
Settings:-64 ~ 0 ~ +63
ResonanceDetermines the amount of filter resonance or emphasis of the Cutoff Frequency for each Part. The setting here
attenuates/boosts the resonance applied to the element of the Voice assigned to each Part.
Settings:-64 ~ 0 ~ +63
FEGDepthDetermines the Filter Envelope Generator depth (amount of cutoff frequency) for each Part.
Settings:-64 ~ 0 ~ +63
nThe FEG Depth setting is not available for the Plug-in Parts.
nFor details about Filter, see page 161.
[SF3] FEG
(Filter Envelope Generator)
From this display you can set the FEG (Filter Envelope Generator) parameters for each Part.
nThe FEG settings are not available for Plug-in Parts.
Attack (Attack Time)Determines each parameter of the FEG for each Part.
For details about FEG, see page 161.
Settings:-64 ~ 0 ~ +63
Decay (Decay Time)
Sustain (Sustain Level)
Release (Release Level)
Reference Performance Mode
Performance Job mode
219
Owner’s Manual
The Performance Job mode features several basic operations, such as Initialize and Copy. After setting parameters as required from the
selected display, press the [ENTER] button to execute the Job.
nAmong the Audio Parts shown in the Job display, Audio 1 indicates the A/D Input Part. When the optional AIEB2 has been installed to this synthesizer,
Audio 2 indicates the AIEB2 Input Part. When the optional mLAN16E has been installed, Audio 2, 3, 4, and 5 indicate the mLAN Input Parts.
[SF4] AEG
(Amplitude Envelope Generator)
From this display you can set the AEG (Amplitude Envelope Generator) parameters for each Part.
Attack (Attack Time)Determines each parameter of the AEG for each Part. Please note that Sustain Level is not available for the Plug-in
Part.
For details about AEG, see
.
Settings:-64 ~ 0 ~ +63
Decay (Decay Time)
Sustain (Sustain Level)
Release (Release Level)
[F5] RCV SW (Receive Switch)
From this display you can set how each individual Part responds to various MIDI data, such as Control Change and Program Change messages. When the
relevant parameter is set to “on,” the corresponding Part responds to the appropriate MIDI data.
Note that two different display types listed below are provided and you can switch between them by pressing the [SF5] button. Each display type features the
same settings in a different format; use the type you feel most comfortable with.
• Display showing four Parts
• Display showing all parameters for one Part
Keep in mind that since all the available parameters cannot be simultaneously displayed in the four-Part display, you will need to use the cursor controls to scroll
the display in order to see and set the other parameters.
Settings:See below. Parameters marked with * are not available for the Plug-in Part.
CtrlChange (Control Change)Indicates all the Control Change messages.
PB (Pitch Bend)MIDI messages generated by using the Pitch Bend Wheel.
MW (Modulation Wheel)MIDI messages generated by using the Modulation Wheel.
RB (Ribbon Controller)*MIDI messages generated by using the Ribbon Controller.
ChAT (Channel After Touch)MIDI messages generated by pressing and holding the note on the keyboard.
FC1 (Foot Controller 1)*MIDI messages generated by using the optional Foot Controller connected to the rear panel.
FC2 (Foot Controller 2)*
Sus (Sustain)MIDI messages generated by using the optional Footswitch connected to the SUSTAIN jack on the rear panel.
FS (Footswitch)*MIDI messages generated by using the optional Footswitch connected to the ASSIGNABLE jack on the rear panel.
AS1 (Assign1)*, AS2 (Assign2)*MIDI messages generated by using the ASSIGN1 and ASSIGN2 Knobs with both the [PAN/SEND] and [TONE]
lamps turned on.
BC (Breath Controller)*MIDI messages generated by using the optional Breath Controller connected to the BREATH jack on the rear panel.
Exp (Expression)MIDI messages generated by using the optional Foot Controller connected to the rear panel.
This function lets you reset (initialize) all Performance parameters to their default settings. It also allows you to selectively initialize certain parameters, such as
Common settings, settings for each Part, and so on — very useful when creating a completely new Performance from scratch.
Type of parameter to be initialized
All (all settings for the selected Performance are initialized)
Common (Common parameter settings for the selected Performance are initialized)
Part 1 - 4, PLG 1 - 3 (Plug-in Part 1 - 3), Audio 1 - 5
[F2] RECALL (Edit Recall)
If you are editing a Performance and select a different Performance without storing your edited one, all the edits you’ve made will be erased. If this happens, you
can use Edit Recall to restore the Performance with your latest edits intact.
Reference Performance Mode
Performance Store mode
220Owner’s Manual
This function lets you store your edited Performance to User memory (Flash ROM).
For details, refer to page 91 in the Quick Guide section.
[F3] COPY
From this display you can copy Part parameter settings from any Performance including the currently
edited (but not yet stored) one to a particular Part of the Performance you are editing. This is useful if you
are creating a Performance and wish to use some parameter settings from another Performance.
Source Performance/PartDetermines the Performance and Part to be copied. You can specify “Current” (the Performance you are editing but
have not yet stored) as a Source Performance.
Type: Part 1 - 4, PartP1 - P3 (Plug-in Part 1 - 3), PartA1 - A5 (Audio Part 1 - 5)
Data type of Destination
Performance (currently selected
Performance)/Part
Determines the Part of the destination Performance.
nIf you choose Arp (Arpeggio) or Effect, the Arpeggio data or Effect settings for the Voice assigned to the source Part will be
copied.
[F4] BULK (Bulk Dump)
This function lets you send all your edited parameter settings for the currently selected Performance to a computer or another MIDI instrument for data archiving.
For details, see page 185.
nIn order to execute Bulk Dump, you’ll need to set the correct MIDI Device Number, with the following operation: [UTILITY] → [F5] MIDI → [SF1] CH → DeviceNo.
Performance Store mode[PERFORM] → Performance selection → [STORE]
Source Performance/Part
Data type of Destination Performance (currently selected
Performance)/Part
Reference Song Mode
Song Play mode
221
Owner’s Manual
Song mode
■ Creating Songs — basic procedure
Songs consist of the following three types of data:
• MIDI sequence data (created in the Song Record mode, Song Edit mode, and Song Job mode)
• Setup data (created in the Song Play mode)
• Mixing data (created in the Song Mixing mode/Mixing Edit mode and stored in the Song Mixing Store mode)
After creating the data in these modes described above, store the Mixing settings in the Song Mixing Store mode to archive it as Song data and
save the entire Song to the SmartMedia/USB storage device in the File mode.
nNon-note MIDI events (such as Voice number, volume, pan, and effect send level) which are necessary at the start of a Song are not recorded as MIDI
sequence data, but are stored instead as Mixing data.
Because Song data (MIDI sequence data, Setup data, and Mixing data) is recorded to DRAM (page 187), it will be lost when turning the power off. Make sure
to save any Song data created via the Record, Edit, Job, and Mixing setting to the SmartMedia/USB storage device in the File mode before turning the
power off. For details on saving Song data, see page 132.
Song Play mode[SONG] → Song selection
[F1] PLAYSee page 55.
Loc1 (Location1),
Loc2 (Location 2)Indicates the measure number to which the Song playback can be jumped by using the Location feature (page 58).
Trans (Transpose)Determines the key transpose setting for the entire Song, and can be adjusted in semitones.
Settings:-36 ~ +36
nIf Transpose is applied to a Drum Voice, the results may not be musically appropriate. To ensure proper playback of a Drum
Voice, set the Note Shift parameter for the Drum Voice Part to an appropriate value ([SONG] → [MIXING] → [EDIT] → Part
selection → [F4] TONE → [SF1] TUNE → NoteShift).
MEAS (Measure)Indicates the current measure number and beat for the current Song. During playback, this indication changes
automatically according to the Song playback. You can input the desired measure number directly by using the
Number Input window called up via the [INFORMATION] button.
[SF1] ARP1 (Arpeggio 1) - [SF5]
ARP5 (Arpeggio 5)
You can register the desired Arpeggio types to these buttons and call them up any time during your keyboard
performance. Refer to page 105 in the Quick Guide section.
[F2] GROOVE (Grid Groove)
The Grid Groove function makes it possible to adjust the pitch, timing, length, and velocity of notes
in a specified track via a 1-measure 16th-note grid to create “grooves” that would not be possible
with precise sequencer-like programming. The Grid Groove function affects Song playback without
actually changing the sequence data.
NOTE OFST (Note Offset)Raises or lowers the pitch of the note(s) on the selected grid in semitones.
Settings:-99 ~ +99
CLOCK SFT (Clock Shift)Shifts the timing of the note(s) on the selected grid forward or back ward in clock increments.
Settings:-120 ~ +120
GATE OFST (Gate time Offset)Lengthens or shortens the note(s) on the selected grid in clock increments.
Settings:-120 ~ +120
VELO OFST (Velocity Offset)Increases or decreases the velocity of the note(s) on the selected grid.
Settings:-127 ~ +127
[F3] TRACK
[SF1] CHANNELFrom this display you can set the MIDI output channel/port for each of the sixteen tracks of the corresponding
internal/external tone generator.
OUT CH (Output Channel)Sets up the MIDI output channel for each track. Tracks set to “Off” will not sound.
Settings:off, 01 ~ 16
nIn the Song/Pattern mode, the MIDI message created by playing the keyboard/knobs/wheels is sent to the tone generator
block or the external MIDI instruments via the MIDI output channel of the currently selected track.
CAUTION
+
VELO OFST (Velocity Offset)
GATE OFST (Gate Time Offset)
CLOCK SFT (Clock Shift)
NOTE OFST (Note Offset)
0
–
Reference Song Mode
Song Record mode Song Record Standby mode
222Owner’s Manual
Song Record Standby mode
PORTDetermines the MIDI transmission port for the corresponding track. Playback data of tracks set to off is output
without Port signal via MIDI.
When using the internal tone generator block, the Port setting here is available for the tracks assigned to the Plug-in
Parts 1-3 (when the single Plug-in Board has been installed) and Multi Plug-in Parts 17-32 (when the PLG100-XG
has been installed) are assigned. Tracks using the internal tone generator parts of this synthesizer are automatically
fixed to Port 1.
Settings:off, 1 ~ 3
nPort data can be output only through the USB terminal. No port data is transmitted through the MIDI OUT terminal, even if the
corresponding track is set to a specific port number.
[SF2] OUT SW (Output Switch)
INT SW (Internal Switch)Determines whether playback data is transmitted to the internal tone generator block or not.
Settings:on, off
EXT SW (External Switch)Determines whether playback data is output to the external MIDI tone generator via MIDI or not.
Settings:on, off
[SF3] TR LOOP (Track Loop)From this display you can determine whether the data in the selected track loops or not in playback. Using Loop can
be an effective way to repeat short patterns and phrases throughout the Song. For details, see page 238.
Settings:off, on
[F5] PHRASE
You can copy Pattern track data (Phrase) to a Song track. You can also copy preset
phrases that are not assigned to the Pattern track by using the Patch function (page
241). For details, refer to page 113 in the Quick Guide section.
[F6] CHAIN
This function allows Songs to be “chained” together for automatic sequential playback. For details, refer to the Quick Guide on page 59.
skip..................Skips past (ignores) the selected chain number and continues playback from the next chain number.
stop.................Stops Song chain playback at that chain number. You can restart the Song chain playback from the next chain number by pressing the [F] (Play) button.
end...................Indicates the end mark of the Song chain data.
Song Record mode[SONG] → Song selection → [I] (Record)
[F1] SETUP
Type (Recording Type)Determines the recording method. For details on each method, refer to page 168 in the Basic Structure section.
Settings:When the RecTrack is set to any of 1-16: replace, overdub, punch, step
When the RecTrack is set to tempo: replace, punch, step
When the RecTrack is set to scene: replace, punch
When the RecTrack is set to multi: replace, overdub, punch
nWhen “punch” is selected, “Punch-in measure: beat” and “Punch-out measure: beat” appear in the display and should be set.
If you’ve set the Locate 1 and 2 points (Loc1, Loc2; see page 58), the punch-in/out points can be set with a single button
press. Move the cursor to the punch-in/out value, and notice that a “COPYLOC” menu item appears. Press the [SF1]
COPYLOC button, and the punch-in/out settings are automatically assigned to the existing Locate points.
nWhen “step” is selected, you should specify the event type to be entered.
QuantizeThis parameter is available when the Recording Type is set to something other than “step.” Record quantize aligns
the timing of notes automatically, as you record.
You can set this parameter also by using the Note Type selection window called up via the [INFORMATION] button.
Pressing the [F6] button lets you switch between Single Track recording and All Track recording.
Settings:tempo, scene, 1~16, multi
(Tempo)Determines the Song tempo.
Settings:001.0 ~300.0
Meas (Measure)Determines the measure from which Song recording will be started.
[F2] VOICE
In this display you can set the voice related parameters for the recording track. The settings here affect the Part for which the receive channel (set in the Mixing
mode) matches the transmit (output) channel of the recording track.
VoiceDetermines the voice used in the recording track. When the cursor is located here, you can select a voice by using
the BANK, GROUP, NUMBER buttons and the Category Search function (page 62). You can also select a Sample
Voice obtained via the Sampling function.
VolumeDetermines the volume of the recording track.
Settings:0 ~ 127
PanDetermines the stereo pan position of the recording track.
Settings:L63 (Left) ~ C (Center) ~ R63 (Right)
InsEF
(Insertion Effect Part Switch)Determines whether the Insertion effects are applied to the recording track or not.
Settings:on, off
(Tempo)Determines the Song tempo.
Settings:001.0 ~300.0
Meas (Measure)Determines the measure from which Song recording will be started.
[F3] ARP (Arpeggio)
From this display you can set parameters related to the Arpeggio of the recording track.
Bank, Ctgr (Category), TypeThese three parameters determine the Arpeggio Type. The three-letter prefix number before the Type name
indicates the number within the selected Category.
Settings:Refer to the separate Data List.
VelLimit (Velocity Limit)Determines the lowest and highest velocity which can trigger the Arpeggio playback. The Arpeggio plays when you
play notes at velocities within this range.
Settings:1 ~ 127
HoldDetermines whether the Arpeggio playback is “held” or not. When this is set to “on,” the Arpeggio cycles
automatically, even if you release your fingers from the keys, and it continues to cycle until the next key is pressed.
Settings:sync-off, off, on
nAbout sync-off, see page 191.
PartSw (Part Switch)Determines whether Arpeggio is on or off for the tone generator Part corresponding to the recording track.
Settings:off, on
Meas (Measure)Determines the measure from which Song recording will be started. This parameter is same as the Meas parameter
in the [F1] SETUP display.
[SF1] ARP1 (Arpeggio 1) - [SF5]
ARP5 (Arpeggio 5)
You can register the desired Arpeggio types to these buttons and call them up any time during your keyboard
performance. Refer to page 123 in the Quick Guide section.
[F4] RECARP (Record Arpeggio)
RecArp (Record Arpeggio)Determines whether the sequence data played by Arpeggio is recorded to the Song track or not. When this is set to
on, the played sequence data is recorded.
Settings:off, on
OutputSwitchDetermines whether the sequence data played by Arpeggio during recording is output via MIDI or not. When this is
set to on, the played sequence data by Arpeggio during recording is output via MIDI.
Settings:off, on
TransmitCh (Transmit Channel)Determines the MIDI transmit channel of the Arpeggio playback during recording.
Settings:1 ~ 16, KbdCh
[F5] CLICK
Pressing the [F5] button lets you turn the click sound (metronome) on/off for recording.
Reference Song Mode
Song Record mode During Song Recording Step Recording
224Owner’s Manual
[F6] ALL TR (All Track)/1TR (1 track)
Pressing the [F6] button lets you switch between Single Track recording and All Track recording.
During Song Recording[SONG] → Song selection → [I] (Record) → [F] (Play)
Realtime RecordingRefer to page 118 in the Quick Guide section.
Step RecordingExamples of Step Recording are described on page 238.
[F1] SETUP
Beat GraphThis is the display in which notes are “placed” during step recording. When the meter is 4/4, the display is divided
into four beats (one measure). Each diamond-shaped marker in the display represents one 32nd beat (each 1/4 note
division is divided into eight 32nd beats).
For example, if the following rhythmic pattern “” is entered in 4/4 time, a display like the one shown
above right will appear.
PointerDetermines the data-entry position. The triangular pointer above the beat graph indicates the data-entry position. To
move the pointer right or left, use the [INC/YES] and [DEC/NO] buttons or the data dial.
ValueWhen the Event to be entered ([F1] SETUP → Event) is set to “note,” this value specifies the velocity with which the
note will be entered.
Settings:When the Event is set to “note”: 1 ~ 127, kbd, rnd1 ~ rnd4
When the Event is set to “p.bend”: -8192 ~ +8191
When the Event is set to “CC (Control Change 001 - 119)”: 000 ~ 127
When the Event is set to “tempo” with the RecTrack = tempo: 001 ~ 300
nYou can select “kbd” (keyboard) and “rnd1” - “rnd4” (random1 - 4) as well as the values 1 - 127 when the Event to be entered
is set to “note.” When “kbd” is selected, the actual playing strength will be entered as the velocity value. When one of the
random settings is selected, a random velocity value will be entered.
StepTimeThe “size” of the current recording step time for the next note to be entered. This determines to what position the
pointer will advance after a note has been entered.
GateTimeSets the gate time to produce slurs, staccato notes, etc. “Gate time” refers to the actual length of time the note
sounds. For the same 1/4 note, for example, a long gate time will produce a slur while a short gate time will produce
a staccato effect. Gate time is indicated as a percent value of the step time. A setting of 50% produces a staccato
sound, values between about 80% and 90% produce normal note length, and a value of 99% will produce a slur.
Settings:1% ~ 200%
[F3] REST
Press [F3] to enter a rest as long as the specified step time. The point will move ahead to the next data-entry position. Rests do not appear on the display.
nThere is no actual data representing rests in the MIDI sequencer. When a “rest” is entered the pointer simply moves ahead to the next data-entry position, effectively leaving a rest.
[F4] TIE
When the [F4] button is pressed to enter a tie, the preceding note is lengthened to the full step time.
For example, in the phrase shown at left, note 1is entered with 1/4 note step time. If the step time is then changed
to an 8th note and [F4] is pressed, note 2 is entered.
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.
nThis display is available only when the Event to be entered is set to “note.”
Pointer indicating the current note position.
Beat Graph
12
Reference Song Mode
Song Edit mode
225
Owner’s Manual
This mode gives you comprehensive, detailed controls for editing the MIDI events of individual Song tracks. MIDI events are messages (such as
note on/off, note number, program change number, etc.) that make up the data of a recorded Song.
[F5] DELETE
Press this to actually delete the note events at the current cursor position.
[F6] BAK DEL (Back Delete)
Moves the pointer backward by one step and deletes all notes at that location.
nMistakenly entered notes can be erased by pressing [F6] immediately after they are entered (before changing the step time value).
Song Edit mode[SONG] → Song selection → [EDIT]
[F1] CHANGE
Shows the Event List of the selected Song track. For information on how to edit the Event List, see page 124.
[F2] VIEW FLT (View Filter)
The Event View Filter lets you select the event types that appear on the Event List display ([F1] CHANGE display). For example,if you wish to edit only note events,
place a checkmark in the box next to “Note” so that only the note events appear in the Event List display.
[F5] CLR ALL (Clear All)Press the [F5] button to remove all checkmarks at once.
[F6] SET ALLPress the [F6] button to set checkmarks into all boxes.
[F4] TR SEL (Track Select)
You can switch between the display for 1 - 16 tracks, SCN (Scene) track, and TMP (Tempo) track by pressing this button.
[F5] INSERT
When the cursor is located at the desired position in the [F1] CHANGE display (Event List), pressing this button calls up the display for inserting new MIDI events
in the Song mode or Pattern mode.
NoteThis is the most common and prevalent type of data — the individual notes of a Song.
FNOTE (Note name)Determines the note name or the specific keyboard pitch of the note.
Settings:C -2 ~ G8
FGATE (Gate time)Determines the length of time that a note actually sounds in beats and clocks.
Settings:00:001 ~ 999:479
nOn this synthesizer, one clock is 1/480th of a quarter note.
FVELO (Velocity)Determines how strongly the selected note sounds.
Settings:1 ~ 127
PitchBendThese are the events that define continuous changes in pitch and these events are generated by Pitch Bend Wheel
operation.
FDATADetermines the Pitch Bend data.
Settings:-8192 ~ +8191
ProgramChangeThese events determine the Voice for the selected track.
FBANKDetermines the Voice bank.
Settings:000 ~ 127, ***
nBank select MSB and LSB are actually part of the Control Change set of messages (below). However, since they apply
specifically to Voice selection, they are grouped and described here.
FPC NO
(Program Change Number)Determines the specific Voice (from the bank selected by MSB and LSB above).
Settings:000 ~ 127
nFor a complete list of the available voice banks and numbers, refer to the Voice List in the separate Data List booklet.
Reference Song Mode
Song Job mode
226Owner’s Manual
The Song Job mode contains a comprehensive set of editing tools and data transform functions you can use to change the sound of the Song.
It also includes a variety of convenient operations, such as copying or erasing data.
After setting parameters as required from the selected display, press the [ENTER] button to execute the Job.
An “Executing...” message is shown when it takes a short amount of time to execute the Job. Never attempt to turn off the power while an “Executing...”
message is shown. Turning the power off in this state results in loss of all user data.
ControlChangeThese events control the sound and certain response characteristics of the voice, and are usually generated/
recorded by moving a controller (such as a modulation wheel, knob, slider or foot controller).
FCTRL NO (Control Number)Determines the Control Change number.
Settings:000 ~ 127
nFor details on the specific functions assigned to each of the numbers, see page 182.
FDATASee page 182.
Settings:000 ~ 127
Ch.AfterTouch
(Channel After Touch)This event is generated when pressure is applied to a key after the note is played.
FDATAThis represents the amount of pressure applied to the key.
Settings:000 ~127
PolyAfterTouch
(Polyphonic Aftertouch)This event is generated when pressure is applied to a key after the note is played. Unlike Channel Aftertouch above,
this is recorded and applied independently for each key pressed.
FNOTE (Note name)Determines the key to which aftertouch is applied.
Settings:C -2 ~ G8
FDATAThis represents the amount of pressure applied to the key.
Settings:000 ~ 127
RPN
(Registered Parameter Number)This event changes parameter values for each tone generator Part. This event is used to set Part settings such as
Pitch Bend Sensitivity or Tuning.
FMSB-LSBSee page 183.
Settings:000 ~ 127
FDATA (Data Entry MSB-LSB)See page 182.
Settings:000 ~ 127, ***
nNormally three types of control change data are sent: RPN MSB (101), RPN LSB (100), and Data Entry MSB (6). In this synthesizer, Data Entry LSB (38) is added to this and
the resulting group of control change events is handled as one in this display.
NRPN (Non Registered
Parameter Number)These events are used to change the parameter values for each tone generator Part. They can be is used to edit
sounds via MIDI, allowing you to edit filter or EG settings, or adjust the pitch or level for each instrument of a drum
voice.
FMSB-LSBSee page 183.
Settings:000 ~ 127
FDATA (Data Entry MSB-LSB)See page 182.
Settings:000 ~ 127, ***
nNormally three types of control change data are sent: NRPN MSB (99), NRPN LSB (98), and Data Entry MSB (6). In this synthesizer, this group of control change events is
handled as one in this display. For a complete list of the available RPN and NRPN numbers and their corresponding controls, refer to the MIDI Data Format in the separate
Data List booklet.
Exclusive (System Exclusive)A type of MIDI message used to exchange data unique to a specific model or type of device.
Unlike other MIDI events, these events differ depending on the manufacturer/device, and are incompatible among
different devices.
FDATA (HEX)See page 184.
Settings:00 ~7F, F7 (Data must be entered in hexadecimal format.)
Song Job mode[SONG] → Song selection → [JOB]
[F1] UNDO/REDO
The Undo Job cancels the changes you made in your most recent recording session, editing session, or Job, restoring the data to its previous state. This allows
you to recover from accidental data loss. Redo is available only after using Undo, and lets you restore the changes you made before undoing them.
Undo/Redo does not work with Sample Voice and Mixing Voice operations.
[F2] NOTE (Note data Job)
CAUTION
CAUTION
Reference Song Mode
Song Job mode
227
Owner’s Manual
nBefore executing the Note data Job, make sure that you specify the track (01~16, all) and range (measure : beat : clock) to which the Job is applied.
01: QuantizeQuantization 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.
TR (Track)
001 : 1 : 000 - 999 : 4 : 479Determines the track (01-16, all) and range of measures/beats/clocks over which the Job is applied.
Quantize (Resolution)Determines to what beats the note data in the specified track will be aligned.
09: Separate ChordThis 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.
TR (Track)
001 : 1 : 000 - 999 : 4 : 479Determines the track (01-16, all) and range of measures/beats/clocks over which the Job is applied.
ClockDetermines the number of clock cycles inserted between adjacent chord notes.
Settings:000 ~999
nNote that there are 480 clock cycles per quarter note.
nIt is not possible to separate chords so that they cross the next chord or they overstep the range (set above).
[F3] EVENT (Event Job)
nBefore executing the Event Job, make sure that you specify the track and range (measure : beat : clock) to which the Job is applied. Please note that the track to be specified
varies depending on the Job.
01: Shift ClockThis Job shifts all data events in the specified range forward or backward by the specified number of clocks.
TR (Track)
001 : 1 : 000 - 999 : 4 : 479Determines the track (01-16, TMP, SCN, all) and range of measures/beats/clocks over which the Job is applied.
ClockDetermines the amount by which the data will be delayed or advanced in measures, beats, and clocks.
Settings:000:0:000 ~ 999:3:479
DirectionDetermines the direction in which the data will be shifted. ADVANCE moves the data toward the beginning of the
sequence, while DELAY shifts the data toward the end of the sequence.
Settings:Advance, Delay
02: Copy EventThis Job copies all data from a specified source
range to a specified destination location.
Execute this Job after setting:
• Source track (01-16, TMP, SCN, all)
• Source range (measure : beat : clock)
• Destination track (01-16, TMP, SCN, all)
• Destination range (measure : beat : clock)
• Top measure of destination
• Count (number of times data is to be copied)
NumberOfTimesDetermines the number of times the data is copied.
Settings:01 ~ 99
When Copy Event is executed, any data already existing at the Destination location will be overwritten.
03: Erase EventThis Job clears all specified events from the specified range, effectively producing a segment of silence.
TR (Track)
001 : 1 : 000 - 999 : 4 : 479Determines the track (01-16, TMP, SCN, all) and range of measures/beats/clocks over which the Job is applied.
Event TypeDetermines the event type to be erased. All events are cleared when ALL is selected. Individual control change
numbers can be specified when erasing control change events.
Settings:
When TR is set to 01~16: Note (Note events), PC (Program Change), PB (Pitch Bend), CC (Control Change)*, CAT (Channel Aftertouch),
PAT (Polyphonic Aftertouch), EXC (System Exclusive), All (all events)
When TR is set to “TMP” (Tempo): TMP (tempo)
When TR is set to “SCN” (Scene): SceneMemory (Scene change information), TrackMute (Track mute setting change information)
* You can also specify the CC No. (Control Change number).
nKeep in mind that applying this Job to a track with Sample Voices erases the events that trigger the samples, but it does not erase the actual samples themselves.
Source track and range in measures, beats, and clocks
Destination track and the top (measure, beat, and clock)
of the destination.
CAUTION
Reference Song Mode
Song Job mode
230Owner’s Manual
04: Extract EventThis Job moves all instances of specified event data from a specified range of a track to the same range in a
different track.
TR (Track)
001 : 1 : 000 - 999 : 4 : 479Determines the track (01 - 16) and range of measures/beats/clocks over which the Job is applied.
EventTypeSelects the event type to be extracted. Specific note and control change numbers can also be specified as required.
Settings:Note, PC (Program Change), PB (Pitch Bend), CC (Control Change), CAT (Channel Aftertouch), PAT (Polyphonic Aftertouch),
EXC (System Exclusive)
→ TRDetermines the destination track (01 - 16).
05: Create Continuous DataThis Job creates continuous pitch bend or control change data over the specified range.
TR (Track)
001 : 1 : 000 - 999 : 4 : 479Determines the track (01 - 16, TMP, all) and range of measures/beats/clocks over which the Job is applied.
* You can also specify the CC No. (Control Change number).
Data (Data Range)Determines the lower and upper limits for the data range to be created. The left value is the lower limit, and the right
value is the upper limit.
Settings:When Event Type is set to PB: -8192~+8191
When Event Type is set to TMP: 1.0~300.0
When Event Type is set to other: 0~127
ClockDetermines the number of clocks to be inserted between each created event.
Settings:001~999
CurveDetermines the “curve” of the continuous data.
Refer to the graph for approximate curve shapes.
Settings:-16 ~+16
NumberOfTimesDetermines the number of times the data creation is to be repeated.
For example, if data is created in the range M001:1:000 ~ M003:1:000 and this parameter is set to 03, the same data
will be created at M003:1:000 ~ M005:1:000 and M005:1:000 ~ M007:1:000. This Job lets you insert continuous
volume or filter cutoff variations to create tremolo or wah effects.
Settings:01~99
06: Thin OutThis Job thins out the specified type of continuous data in the specified range — allowing you to free up memory
space for other data or further recording.
TR (Track)
001 : 1 : 000 - 999 : 4 : 479Determines the track (01 - 16, TMP, all) and range of measures/beats/clocks over which the Job is applied.
EventTypeDetermines the event type to be thinned.
Settings:PB (Pitch Bend), CC (Control Change)*, CAT (Channel Aftertouch), PAT (Polyphonic Aftertouch), TMP (Tempo)
* You can also specify the CC No. (Control Change number).
nThe Thin Out Job will not work on continuous data that has a clock interval of greater than 60 clocks per event.
07: Modify Control DataThis Job lets you change the values of a specified type of control change data — pitch bend, control change,
aftertouch, etc. — in the specified range. Data changes are calculated as follows:
Modified value = (original value x Rate) + Offset.
The modified value cannot exceed the minimum/maximum limits of the parameter. Any result lower than the minimum
is set to the minimum; any result higher than the maximum is set to the maximum.
TR (Track)
001 : 1 : 000 - 999 : 4 : 479Determines the track (01 - 16, TMP, all) and range of measures/beats/clocks over which the Job is applied.
EventTypeDetermines the event type to be modified.
Settings:PB (Pitch Bend), CC (Control Change)*, CAT (Channel Aftertouch), PAT (Polyphonic Aftertouch), TMP (Tempo)
* You can also specify the CC No. (Control Change number).
SetAllSets all target events to the same fixed value. When set to “off,” the Set All parameter has no effect. When set to a
value other than “off,” the Rate and Offset parameters are unavailable and appear as “***” on the display.
Settings:off, 000 ~127 (-8192 ~ +8191 for pitch bend, 0.1 ~ 300.0 for tempo)
RateDetermines the percentage by which the target events will be shifted from their original values. When the Set All
parameter (above) is set to something other than “off,” this parameter appears as “***” and cannot be changed.
Settings:000% ~ 200%, ***
OffsetAdds a fixed value to the Rate-adjusted event values. When the Set All parameter (above) is set to something other
than “off,” this parameter appears as “***” and cannot be changed.
Settings:-127~127 (-8192 ~ +8191 for pitch bend, -275 ~ +275 for tempo), ***
Curve = +16Curve = 0 (linear)Curve = -16
Start point
End point
This distance specified by Clock
Reference Song Mode
Song Job mode
231
Owner’s Manual
08: Beat StretchThis Job performs time-expansion or compression over the selected range. Keep in mind that this operation affects
all event timing, note step times, and note gate times.
TR (Track)
001 : 1 : 000 - 999 : 4 : 479Determines the track (01 - 16, all) and range of measures/beats/clocks over which the Job is applied.
RateDetermines the amount of time expansion or compression as a percentage. Settings higher than 100% produce
expansion, and settings below 100% produce compression.
Settings:025%~400%
nOnly MIDI data is affected by this Job. Sample Voices are not expanded or compressed. However, for samples recorded using
the Slice+Seq feature, the Beat Stretch Job expands or compresses the timing of the note data, step times, and gate times
that control playback of the sliced samples. The sample data itself is not affected.
[F4] MEAS (Measure Job)
01: Create MeasureThis Job creates empty measures at the specified location in all tracks.
Meter of measures to be insertedDetermines the meter or time signature of the measures to be created. You may find it convenient to use this
parameter when you need to create a Song that incorporates meter changes.
Settings:1/16~16/16, 1/8~16/8, 1/4~8/4
Insertion point
(Measure number)Determines the insert point (measure number) at which the newly created blank measures will be inserted.
Settings:001~999
Number of measures to be
insertedDetermines the number of empty measures to be created and inserted.
Settings:01~99
nWhen empty measures are inserted, measure and meter data following the insert point are moved forward accordingly.
nIf the insert point is set after the last measure containing data, only the meter data at that point is set without actually inserting the measures.
02: Delete MeasureThis Job deletes the specified measures. Measure and meter data following the deleted measures are moved
backward accordingly.
Delete RangeSettings:001~999
nKeep in mind that applying this Job to a range of measures with Sample Voices erases the events that trigger the samples, but
it does not erase the actual samples themselves.
[F5] TRACK (Track Job)
01: Copy TrackThis Job copies all data from a specified source track
to the specified destination track.
The copy operation overwrites any data
previously existing on the destination
track.
Undo/Redo cannot be used to undo/
redo a sample voice copy operation.
Data Type to be copiedDetermines the type(s) of data to be copied. Select the desired type by checkmarking the appropriate box.
Settings:Seq Event (all events in the track), Grid Groove (for the selected track), Mix Part Param (all Mixing Part parameters), Sample
(all samples used by the track)
nWhen there is no memory available in the destination Song for sample voice data, an alert message will appear on the display and the Sample Voice data will not be
copied. If this occurs, use Sample Job 02 “Delete” (page 256) to delete any unused samples, then attempt the operation again.
001 – 004005013
001 – 004005016
024012––
–
Meter (time signature) of
measures to be insertedNumber of measures
to be inserted
Insertion point (measure number)
8 measures inserted at measure 5
The inserted 8 measures
Source data
001 – 004005013
001 – 004005016
024012––
–
Delete range
Measures M006 – M012 deleted
Source data
Source Song and TrackDestination Song and Track
Data Type to be copied
CAUTION
CAUTION
Reference Song Mode
Song Job mode
232Owner’s Manual
02: Exchange TrackThis Job exchanges or “swaps” the specified type of
data between two specified tracks in the current Song.
Data Type to be exchangedDetermines the type(s) of data to be exchanged. Select the desired type by checkmarking the appropriate box.
Settings:Seq Event (all events in the track), Grid Groove (for the selected track), Mix Part Param (all Mixing Part parameters)
03: Mix TrackThis Job mixes all data from two selected tracks (“A” and “B”), and places the result in track B. One useful
application for this would be to free up the data in track A, letting you record new data to it.
Target tracks for the Mix
operation
Settings:01~16
nKeep in mind that applying this Job to tracks with Sample Voices does not mix the Sample Voices.
04: Clear TrackThis Job deletes all data of the selected type from the
selected track, or from all tracks.
Undo/Redo cannot be used to undo/redo
a Clear operation for tracks that contain
sample data.
Data type to be clearedDetermines the type(s) of data to be cleared. Select the desired type by checkmarking the appropriate box.
Settings:Seq Event (all events in the track), Grid Groove (for the selected track), Mix Part Param (all Mixing Part parameters), Sample
(all samples used by the track)
05: Normalize Play EffectThis Job rewrites the data in the selected track so that it incorporates the current Grid Groove settings.
TR (Track)Determines the Song track to which the Job is applied.
Settings:01~16, all
06: Divide Drum TrackSeparates 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).
TR (Track)Determines the Song track to which the Job is applied.
Settings:01 ~ 16
07: Put Track To ArpThis Job copies data in the specified measures of a track for creating Arpeggio data. For details, refer to page 130
in the Quick Guide section.
[F6] SONG (Song Job)
01: Copy SongThis Job copies all data from a selected source Song to
a selected destination Song. The Sample Voice and
Mixing Voice used by the source Song are also copied.
This Job overwrites any data already
existing in the destination Song.
Data Type to be exchanged
Target tracks for the Exchange operation (01-16)
Track B
Mix Track
Track B
Track A
Track A (01-16)Track B (01-16)
Track for which data will be cleared (01-16, TMP, SCN, all)
Data to be cleared
CAUTION
Source Song
Destination Song
CAUTION
Reference Song Mode
Song Mixing mode
233
Owner’s Manual
In this mode, you can set up 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.
Pressing the [F6] button can switch between the display for the Parts 1 - 16 to which the internal Voices are assigned, the display for Multi Plug-
in Parts (17 - 32) to which the PLG100-XG voices are assigned and the display for Plug-in Parts (PLG1 - 3) to which the Plug-in Voices of the
single part Plug-in board are assigned.
Song Mixing parameters are not actually part of the Song sequence data in each track, but rather are settings for the tone generator, as it is
played back by the Song data. As such, the Song Mixing parameter settings are not recorded to the Song tracks.
Parameter settings made in the Song Mixing mode and Song Mixing Edit mode should be stored to internal memory (DRAM) as part of the Song data. In
addition, make sure to save the entire Song data (including the Mixing settings) to the SmartMedia/USB storage device, since the data in DRAM is stored
only temporarily (page 187).
nParameter settings in the Song Mixing mode and Song Mixing Edit mode can be stored as a template to internal Flash ROM, as wellas being stored as part
of a Song. See page 104 for details.
02: Split Song To PatternThis Job allows you to copy a part of the current Song –
all 16 tracks over a specific range of measures – to a
specific Pattern, letting you use Song data to create a
Pattern.
This Job overwrites any data already
existing in the destination Pattern and
section.
Copy SampleWhen this box is checkmarked, sample voices assigned to each track in the source Song are copied to the split
destination Pattern as Sample Voices and are assigned to the corresponding tracks in that Pattern. This checkbox
has no effect if no Sample Voices are assigned to the tracks in the source Song.
03: Clear SongThis Job deletes all data from the selected Song or all Songs, including the Sample Voices and Mixing Voices.
04: Song NameThis Job lets you assign a name to the selected Song. See “Basic Operation” on page 53.
Song Mixing mode[SONG] → Song selection → [MIXING]
[F1] VOL/PAN
From this display you can set the Pan and Volume for each Part (track).
nYou can select a Part by moving the cursor or by using the NUMBER buttons while the [TRACK SELECT] indicator is on (page 58).
PANDetermines the stereo pan position for each part.
VOLUMEDetermines the volume for each Part, allowing you to set the optimum level balance of all the Parts.
Settings:0~127
nYou can also adjust the Volume by using the Control Sliders. See page 130 for details.
[F2] VOICE
From this display you can select a voice for each Part. Sample Voices and Mixing Voices can also be selected.
nYou can select a Part by moving the cursor or by using the NUMBER buttons while the [TRACK SELECT] indicator is on (page 58).
nThe Category Search function can also be used to select Voices here, except for Voices of the Multipart Plug-in Parts 17 - 32 (when the PLG100-XG has been installed), Sample
Voices, and Mixing Voices.
[F3] EFFECT
Pressing the [F3] EFFECT button in the Song Mixing mode calls up the [SONG] → [MIXING] → [EDIT] → [COMMON] → [F6] EFFECT display in the Song Mixing
Edit mode. From this display, you can set the effect related parameters for the current Song. See page 235 for details.
[F4] EF SEND (Effect Send)
From this display you can make basic effect settings for each Part — Send Level for the System Effect (Reverb, Chorus) as well as the Dry Level for Insertion
Effects.
nFor information on the effect connections in the Song mode, see page 180.
[F5] VCE ED (Mixing Voice Edit)
Press the [F5] VCE ED button in the Song Mixing mode to enter the Mixing Voice Edit mode. Press the [EXIT] button to return to the original display in the Song
Mixing mode. For details, see page 105.
Normal Voices can be edited specifically for use with the Song/Pattern modes, creating a dedicated “Mixing Voice.” Refer to “Mixing Voice mode” on page 249 for
details.
Source Song range (in measures)
Destination Pattern and section
CAUTION
CAUTION
Reference Song Mode
Song Mixing Edit mode Common Edit
234Owner’s Manual
This mode provides more detailed Mixing parameters than in the Song Mixing mode.
Keep in mind that Song Mixing parameters are not actually part of the Song sequence data in each track, but rather are settings for the tone
generator, as it is played back by the Song data. As such, the Song Mixing parameter settings are not recorded to the Song tracks.
Parameter settings made in the Song Mixing mode and Song Mixing Edit mode should be stored to internal memory (DRAM) as part of the Song data. In
addition, make sure to save the entire Song data (including the Mixing settings) to the SmartMedia/USB storage device, since the data in DRAM is stored
only temporarily (page 187).
nParameter settings in the Song Mixing mode and Song Mixing Edit mode can be stored as a template to internal Flash ROM, as wellas being stored as part
of a Song. See page 104 for details.
Use Common Edit to edit the settings common to all Parts.
nCommon Edit operations cannot be performed on the Multi-part Plug-in Parts 17 - 32.
[F6] 17-32/PLG1-3/1-16
You can switch between the displays for three types of parts by pressing this button. 1 - 16 are Parts of the internal tone generator, 17 - 32 are Multi Plug-in Parts
of the optionally installed PLG100-XG, and PLG1 - 3 are Plug-in Parts of the optionally installed Single Part Plug-in board.
nPlease note that the Multi-Part Plug-in Part (17~32) settings apply not to one individual Song but to all 64 Songs.
nIf you wish to edit more detailed Mixing parameters, you can enter the Song Mixing Edit mode by pressing the [EDIT] button.
Song Mixing Edit mode[SONG] → Song selection → [MIXING] → [EDIT]
Common Edit[SONG] → Song selection → [MIXING] → [EDIT] → [COMMON]
[F1] GENERAL
[SF1] MEQ OFS
(Master EQ Offset)
The Song Mixing parameters feature global EQ settings for all Parts of the selected Song (see “MEQ,” below). The
settings made here in this display are applied as offsets to those MEQ settings.
Settings:-64~+63
[SF5] OTHER
KnobAssignDetermines the function for the assignable Knobs (1 - 4). Pressing any of the [KNOB CONTROL FUNCTION] buttons
on the panel sets the desired function row, which is automatically stored to memory with the currently selected Song.
Settings:pan, tone, assign, partEQ, MEF, arpFx
Assign A, Assign B,
Assign 1, Assign 2This lets you directly set and memorize the value for each Assign Knob (A, B, 1, and 2), from the Knob itself. Simply
tweak the knob to the desired setting.
Settings:-64 ~ 0 ~+63
[F2] MEQ/MEF (Master EQ/Master Effect)
[SF1] MEQ (Master EQ)From this display you can apply five-band equalization to all Parts of the selected Song.
The parameters are the same as in Performance Common Edit. See page 214.
[SF2] MEF (Master Effect)From this display you can set parameters related to the Master Effect (page 177).
The parameters are the same as in Performance Common Edit. See page 214.
[F3] ARP (Arpeggio)
[SF1] TYPEThe basic parameters (e.g., type) of the Arpeggio are provided in this display.
This is the same as in Normal Voice Common Edit (page 191), except that the Tempo setting is not available here,
since the Arpeggio plays according to the Song tempo.
[SF2] LIMITSame as in Normal Voice Common Edit. See page 191.
[SF3] PLAY FX (Play Effect)Same as in Normal Voice Common Edit. See page 192.
[SF4] OUT CH (Output Channel)Same as in Performance Common Edit. See page 214.
[F4] CTL ASN (Controller Assign)
From this display, you can assign Control Change numbers to the hardware controllers of the instrument (such as the Knobs), for each Song.
The parameters are the same as in Performance Common Edit. See page 214.
CAUTION
Reference Song Mode
Song Mixing Edit mode Part Edit
235
Owner’s Manual
These parameters are for editing the individual Parts that make up a Song Mixing. Press the [F6] button to switch among the various Part
displays — the display for Parts 1 - 16 to which the internal Voices are assigned, the display for Multi-part Plug-in Parts (17 - 32) to which the
PLG100-XG voices are assigned, and the display for Plug-in Parts (PLG1 - 3) to which the Plug-in Voices of the single part Plug-in board are
assigned.
nPlease note that the Multi-Part Plug-in Part (17~32) settings apply not to one individual Song but to all 64 Songs.
[F5] AUDIO IN
From this display, you can set parameters related to the Audio Input Part in the Song mode.
The parameters are the same as in Performance Common Edit. See page 214.
[F6] EFFECT
nFor information on the effect connections in the Song mode, see page 180.
[SF1] CONNECTThis display gives you comprehensive control over the effect connections.
The parameters are the same as in Performance Common Edit. See page 215.
[SF2] INS SW (Insertion Switch)The Insertion Effects can be applied to up to eight parts. This display lets you set to which parts the Insertion Effects
are applied.
[SF3] PLG EF (Plug-in Effect)This display lets you set the Plug-in Insertion Effect related parameters when the Effect Plug-in Board PLG100-VH
has been installed. For details on each parameter, refer to the Owner’s Manual included with the PLG100-VH.
[SF4] REVERBThe 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.
[SF5] CHORUS
Part Edit[SONG] → Song selection → [MIXING] → [EDIT] → Part selection
[F1] VOICE
[SF1] VOICEDetermines the Voice for each Part. For details, see page 102.
nWhen the cursor is located on the Bank, you can select a Voice (with the exception of Sample Voices, Mixing Voices, and
Voices of Multi-part Plug-in Parts) via the method explained in the Quick Guide on page 102.
[SF2] MODE
Mono/PolyDetermines the playback method of the Voice for each Part — monophonic (single notes only) or polyphonic
(multiple notes).
Settings:mono, poly
nThis parameter is not available for the part to which a Drum Voice is assigned.
ArpSwitch (Arpeggio Switch)Determines whether Arpeggio is on or off for the currently selected Part.
Settings:on, off
nArpeggio Switch is applied to only one Part at the same time. It cannot be applied to multiple Parts simultaneously.
nArpeggio Switch is not available for the Multi-part Plug-in Parts 17~32.
ReceiveCh (Receive Channel)Determines the MIDI receive channel for the selected Part. Since MIDI data may be coming from many channels at
once, you should set this to match the particular channel over which the desired controlling data is being sent.
Settings:01~16, off
[SF3] LIMITFrom this display you can determine the note range and velocity range for each Part.
The parameters are the same as in Performance Part Edit. See page 216.
[SF4] PORTA (Portamento)Determines the Portamento parameters for each Part.
The parameters are the same as in Performance Part Edit. See page 216.
nThe Mode setting is not available for the Multi Plug-in parts 17-32 and the Plug-in parts 1-3.
[SF5] OTHERSame as in Performance Part Edit. See page 217.
nFor Multi-part Plug-in Parts 17 - 32 and Plug-in Parts 1 - 3, Pitch Bend Upper and Lower become a single parameter: PB
Range. Upper and Lower values cannot be set independently for Plug-in Parts. See page 164.
[F2] OUTPUT
[SF1] VOL/PAN (Volume/Pan)Same as in Performance Part Edit. See page 217.
nThe Voice Element Pan setting is not available for Multi-part Plug-in Parts 17 - 32 and Plug-in Parts 1 - 3.
[SF2] EF SEND (Effect Send)Same as in Performance Part Edit. See page 217.
[SF3] SELECT (Output Select)From this display you can assign individual Parts to sound from independent output connectors (jacks).
The parameters are the same as in Performance Part Edit. See page 218.
Reference Song Mode
Song Mixing Job mode
236Owner’s Manual
The Song Mixing Job mode features several basic operations, such as Initialize and Copy. After setting parameters as required from the
selected display, press the [ENTER] button to execute the Job.
nAmong the Audio Parts shown in the Song Mixing Job display, Audio Part 1 indicates the A/D Input Part. When the optional AIEB2 has been installed, Audio
Part 2 indicates the AIEB2 Input Part. When the optional mLAN16E has been installed, Audio Parts 2 - 5 are mLAN Input Parts.
[F3] EQ (Equalizer)
From this display you can set parameters related to the Part EQ (page 178).
The parameters are the same as in Performance Part Edit. See page 218.
[F4] TONE
[SF1] TUNESame as in Performance Part Edit. See page 218.
[SF2] FILTERSame as in Performance Part Edit. See page 218.
nThe FEG Depth setting is not available for Multi-part Plug-in Parts 17 - 32 and Plug-in Parts 1 - 3.
[SF3] FEG
(Filter Envelope Generator)
From this display you can set the FEG (Filter Envelope Generator) parameters for each Part. The parameters offset
the same parameters of the assigned Voice set in the Voice (Element) Edit mode (page 198).
The parameters are the same as in Performance Part Edit. See page 218.
nThe FEG setting is not available for Multi-part Plug-in Parts 17-32, Plug-in Parts 1-3, or Parts to which Drum Voices have been
assigned.
[SF4] AEG
(Amplitude Envelope Generator)
From this display you can set the AEG (Amplitude Envelope Generator) parameters for each Part. The parameters
offset the same parameters of the assigned Voice set in the Voice (Element) Edit mode (page 200).
The parameters are the same as in Performance Part Edit. See page 219.
nThe Sustain setting is not available for Multi-part Plug-in Parts 17 - 32, Plug-in Parts 1 - 3 or Parts to which Drum Voices have
been assigned.
nThe Release setting is not available for Parts to which Drum Voices have been assigned.
[F5] RCV SW (Receive Switch)
From this display you can set how each individual Part responds to various MIDI data, such as Control Change and Program Change messages. When the
relevant parameter is set to “on,” the corresponding Part responds to the appropriate MIDI data.
Note that two different display types listed below are provided and you can switch between them by pressing the [SF5] button. Each display type features the
same settings in a different format; use the type you feel most comfortable with.
• Display showing four Parts
This display type shows the Receive Switch status for four Parts at a time. Set the desired Part on or off, for the corresponding MIDI data type. To view and edit
another set of four Parts, press the appropriate [NUMBER] button, [1] to [16].
Keep in mind that since all the available parameters cannot be simultaneously displayed, you will need to use the cursor controls to scroll the display in order to
see and set the other parameters.
• Display showing all parameters for one Part
This display type shows all of the Receive Switch settings for a single selected Part. Set the desired MIDI data type on or off for the selected Part. To select other
Parts, use the NUMBER [1] - [16] buttons (making sure that the [TRACK SELECT] button is on).
Song Mixing Job mode[SONG] → Song selection → [MIXING] → [JOB]
[F1] INIT (Initialize)
This function lets you reset (initialize) all Song Mixing parameters to their default settings. It also allows you to selectively initialize certain parameters, such as
Common settings, settings for each Part, and so on — very useful when creating a completely new Song Mixing program from scratch.
Type of parameter to be initialized: All, Common (Common parameter settings for the selected Song Mixing), Part 1~16, PLG 1~3, Audio1~5
[F2] RECALL (Edit Recall)
If you are editing a Song Mixing program and select a different program without storing your edited one, all the edits you’ve made will be erased. If this happens,
you can use Edit Recall to restore the Song Mixing program with your latest edits intact.
[F3] COPY
From this display you can copy Part parameter settings from any Song Mixing program including the
currently edited (but not yet stored) one to a particular Part of the Song Mixing program you are
editing. This would come in handy when you want to use some settings from another program.
Source songSelect a Song and Part to be copied. You can specify “Current” (the Song Mixing program you are editing and have
not yet stored) as a Source Song.
Part to be copied (Type): Part 1~16, PartP1~P3 (Plug-in Part 1~3), PartA1~A5 (Audio Part 1~5)
Source song and part
Destination song (current song) and part
Reference Song Mode
Song Mixing Store mode
237
Owner’s Manual
This function lets you store your edited Song Mixing program to User memory (DRAM).
For details, refer to page 131 in the Quick Guide section.
Data type of Destination Song
(current selected song)Set the Part of the destination Song.
Destination part (Type): Part 1~16, PartP1~P3 (Plug-in Part 1~3), PartA1~A5 (Audio Part 1~5), Arp, Effect (Reverb, Chorus)
nIf you choose Arp (Arpeggio) or Effect, the Arpeggio data or Effect settings for the Voice assigned to the source Part will be
copied.
[F4] BULK (Bulk Dump)
This function lets you send all your edited parameter settings for the currently selected Song Mixing program to a computer or another MIDI instrument for data
archiving.
nIn order to execute Bulk Dump, you’ll need to set the correct MIDI Device Number. For details, see page 264.
[F5] PF COPY (Performance Copy)
This convenient operation lets you copy certain settings of the four Parts in a performance to the Song Mixing program currently being edited. This would come in
handy when a certain performance has settings that you want to use in your Song Mixing program. Use this Job to simply copy the settings you need.
The MIDI receive channel settings are set to match the basic channel settings (page 263). When the basic channel is set to “omni,” the receive channel here is set
to 1. To select a group of parameters for copying, checkmark the appropriate box in the display.
[F6] TEMPLATE
This convenient function lets you store your mixing settings as a template — allowing
you to easily set up similar mixes by calling up the proper template, then tweaking it
as needed. Templates are saved as part of the System data (page 186) in the Utility
mode and not as data for each song.
After inputting a Template number and name, press the [SF5] PUT button to save the
current setting to the Template. After selecting the desired Template number, press the
[SF4] GET button to call it up.
nSince the Mixing templates are stored as System data (page 186) in Flash ROM, the data is
maintained even when the power is turned off. The Mixing template stored here can be called
up in the Pattern mode as a Pattern Mixing program.
Song Mixing Store mode[SONG] → Song selection → [STORE]
Template
NumberTemplate
Name
Pressing the [SF4] button lets you
call up the template selected at left.
Press the [SF5] button lets you save the current
setting to the template selected at left.
Reference Song Mode
Supplementary information
238Owner’s Manual
■ Supplementary information
Song Track Loop — setting example
In the example below, a 40-measure song has been recorded and
Track 1 is set to play back normally over the 40 measures. Track 2 has
been set to loop, and will repeat until the [J] (Stop) button is
pressed.
When Track Loop has been set to on, you can specify the range to be
looped. (Only the end point can be set; the start point of looped
playback is fixed to the beginning of the song.)
Please note that changing the Track Loop from off to on will delete the data
of the area that is not looped.
1Press [F1] to call up the Song Play display. Here, change
the change the current measure — this will be used for the
last measure of the loop.
2Call up the [F3] TRACK → [SF3] TR LOOP display and
move the cursor to the track to be looped.
3Set the selected track to on by using the [INC/YES] and
[DEC/NO] buttons or the data dial. (The display prompts
you for confirmation.)
4Press the [INC/YES] button. The Loop is set to on and the
data after the loop end is deleted
If you want to restore the deleted data and return the selected
track to off, press the [SF5] UNDO button.
The Undo function can only be used on the last Track Loop operation.
If you’ve set other tracks to loop, the data of those previous tracks can-
not be recovered.
Step Recording — examples
This section explains how to step-record notes, using three specific
examples.
nThe explanations here using the Song mode display apply also to the
Pattern mode.
• Example 1
1Set the parameters as illustrated below.
Press the Record button to call up the display below. Here, we'll
set the Step Time to (480) so that quarter notes will be entered,
and set the GateTime to 100% to have the notes play in legato.
2Play the keys C, D, E, F, G, A, B and C in order.
Each time you press a key and release it, the pointer moves
forward by one step and the played note is recorded.
3Move the pointer to the top (beginning) of the song and
press the [F] (Play) button to hear the note data you just
Since the first note is a half note, set the StepTime to the half-note
icon (a value of 960), and set the GateTime to 80%, since you
don't want the notes to play in legato.
2Enter the first note F.
3Enter the next 8th notes.
Keep the display settings unchanged for the remaining notes in
the measure, and press/release each key one by one as shown
below.
4Follow the instructions below to enter the next dotted half
note.
5Enter the last quarter note by pressing and releasing F.
6Move the pointer to the top (beginning) of the song and
press the [F] (Play) button to hear the note data you just
recorded in steps #1 - 5.
1 Press and release F.
2 Change this to an eighth
note (240).
3 Press the [F4] button to tie the two F notes (half note and
8th note).
1 Change this to a quarter
note (480).
2 Press and release A.
3Press the [F4] button twice to expand the quarter note to
a dotted half note.
SEQ TRANSPORT
LOCATE12
Reference Song Mode
Supplementary information
240Owner’s Manual
• Example 3 (Using the Rest function)
1Set the parameters as illustrated below.
Set the StepTime to a quarter note (480) and the Gate Time to
80%.
2Enter the first note, F.
3Enter the next 8th rest as shown below.
4Enter the next 8th note A.
5Enter the next 4th note C as shown below.
6Enter the next 8th rest as you did in step #3 above.
7Enter the last 8th note, F.
8Move the pointer to the top (beginning) of the song and
press the [F] (Play) button to hear the note data you just
recorded in steps #1 - #7.
Press and release A.
1Change this to an eighth note (240), since we’ll
be entering an eighth-note rest.
2 Enter the selected rest value (eighth note) by
pressing the [F3] button
Press and release A.
Entering a chord
In Step recording, you can also enter chords. Press and hold
down each note of the chord in succession, then release them
all together to record them as a chord. Keep in mind that notes
are not actually recorded to a track until they are released.
1 Change this value to 480, since the rest value
is a quarter note.
2 Press and release C.
Press and release F.
SEQ TRANSPORT
LOCATE12
TIP
Reference Pattern Mode
Pattern Play mode
241
Owner’s Manual
Pattern mode
■ Creating Patterns — basic procedure
Patterns consist of the following three types of data:
• MIDI sequence data (created in the Pattern Record mode, Pattern Edit mode, and Pattern Job mode)
• Setup data (created in the Pattern Play mode)
• Mixing data (created in the Pattern Mixing mode/Mixing Edit mode and stored in the Pattern Mixing Store mode)
After creating the data in these modes described above, store the Mixing settings in the Pattern Mixing Store mode to archive it as Pattern data
and save the entire Pattern to the SmartMedia/USB storage device in the File mode.
nNon-note MIDI events (such as Voice number, volume, pan, and effect send level) which are necessary at the start of a Pattern are not recorded as MIDI
sequence data, but are stored instead as Mixing data.
Because Pattern data (MIDI sequence data, Setup data, and Mixing data) is recorded to DRAM (page 187), it will be lost when turning the power off. Make
sure to save any Pattern data created via the Record, Edit, Job, and Mixing setting to the SmartMedia/USB storage device in the File mode before turning
the power off. For details on saving Pattern data, see page 132.
Pattern Play mode[PATTERN] → Pattern selection
[F1] PLAYRefer to page 56 in the Quick Guide section.
Trans (Transpose)Determines the key transpose setting for the Pattern, and can be adjusted in semitones.
Settings:-36 ~ +36
nIf Transpose is applied to a Drum Voice, the results may not be musically appropriate. To ensure proper playback of a Drum
Voice, set the Note Shift parameter for the Drum Voice Part to an appropriate value ([PATTERN] → [MIXING] → [EDIT] → Part
selection → [F4] TONE → [SF1] TUNE → NoteShift).
MEAS (Measure)Indicates the current measure number and beat for the current Pattern. During playback, this indication changes
automatically according to the Pattern playback. You can input the desired measure number directly by using the
Number Input window called up via the [INFORMATION] button.
[SF1] ARP1 (Arpeggio 1) - [SF5]
ARP5 (Arpeggio 5)
You can register the desired Arpeggio types to these buttons and call them up any time during your keyboard
performance.
[F2] GROOVE (Grid Groove)
Same as in the Song Play mode. See page 221.
[F3] TRACK
[SF1] CHANNELSame as in the Song Play mode. See page 221.
[SF2] OUT SW (Output Switch)Same as in the Song Play mode. See page 222.
[SF3] TR VCE (Track Voice)Determines whether the program change data contained in the phrase data is effective or not. For most purposes,
this should be set to “off.” For example, if a phrase has embedded Voice changes (program change messages) but
you don’t want the Voice to change in the middle of the phrase, set this to “off.” Tracks that are set to “off” here
automatically play back with the Voice number assigned to the Part set in the Mixing mode.
nThe Phrase Voice embedded in the Phrase can be specified from the Voice display in the Pattern Record mode (page 243).
[F4] PATCHRefer to page 113 in the Quick Guide section.
From this display, you can assign a Preset phrase or a User phrase (recorded in the Pattern Record mode) to each track and create a Pattern that contains up to
16 tracks.
nThe Patch function allows you to use only User phrases recorded to a track of the currently selected Pattern. If you wish to use User phrases recorded to tracks of other Patterns,
use the Phrase Data Copy function, selected with [SF5] button.
SectionShows the current edited section. For details about how to change sections, see page 57.
MeasShows Measure : Beat for current playback location.
[SF4] CLEARThis clears the Phrase assignment to the currently selected track and leaves the track empty.
CAUTION
Reference Pattern Mode
Pattern Play mode
242Owner’s Manual
[SF5] COPYThe User phrases that can be assigned with
the Patch function are limited to the ones
contained in the currently selected Pattern.
This function lets you copy phrases in another
Pattern to the selected one. Press the [SF5]
button to call up the display shown at left. After
setting the parameters as needed, press the
[ENTER] button to copy the phrase data.
The copy operation overwrites any data
previously existing in the destination
phrase.
[F5] REMIX
This function gives you a variety of semi-random presets for dividing the MIDI sequence data and altering the note lengths, letting you create completely new
variations of a Pattern. This function is particularly effective when used on a track which contains a sample voice created by using the Sampling feature with the
SLICE+SEQ sample type or samples sliced using the Sample Slice Job.
Set the parameters below, then press the [ENTER] button to execute the Remix operation. You can press the Play button at this point to hear the results of the
Remix. If you’re not satisfied with the results, try another Type/Variation and press [ENTER]. If you want to keep the changes, press [SF5] OK. (Undo cannot be
used with Remix.) To return to the original display without altering the data, press the [SF4] CANCEL button.
nSince the remixed data is stored as a new phrase and assigned to the current track, the original phrase data remains as an unassigned phrase.
TypeDetermines how the data in the selected track will be divided and rearranged. The division and rearrangement rules
are different for each remix type. The type is also shown graphically in the display.
Settings:1~16
VariationDetermines how the original MIDI sequence data will be modified.
Settings:Normal1~16, Reverse1~16, Break 1~16, Pitch 1~16, Roll 1~16
Normal 1~16....The original data is only divided and rearranged. 16 variations are provided.
Reverse1~16...In addition to division and rearrangement, some portions of the data may be played in reverse. 16 variations are
provided.
Break 1~16......In addition to division and rearrangement, some portions of the data may be deleted to create breaks. 16 variations are
provided.
Pitch 1~16........In addition to division and rearrangement, some portions of the data may be pitch-shifted. 16 variations are provided.
Roll 1~16..........In addition to division and rearrangement, some portions of the data may be played with a roll effect. 16 variations are
provided.
[F6] CHAINRefer to page 115 in the Quick Guide section.
Pattern Chain Play mode[PATTERN] → [F6]
This mode lets you play the programmed section chain sequence created in the Pattern Record mode and Pattern
Edit mode. The parameters are the same as in the [F1] PLAY display.
Pattern Chain Record mode[PATTERN] → [F6] → [I] (Record)
Recording Standby mode
You can select one of the following tracks for recording.
• patt (Pattern): Records section changes during
playback
• tempo: Records tempo change information during
playback
• scene: Records track mute settings during playback
When recording the tempo track, you can change the tempo value.
When recording the scene track, you can change the track mute setting.
When recording the Pattern track, you can change the section.
Pattern Chain Edit mode[PATTERN] → [F6] → [EDIT]
[F1] CHANGEThe Pattern Chain Edit mode makes it possible to edit the order of the sections in a chain, as well as insert tempo,
and scene/mute event data.
Call up the desired track display by pressing the [F4] TR SEL button to edit the selected track.
Pattern Track EditFrom this display, you can edit the section changes for each measure. Move the cursor to the “Section” column for
the desired measure, and enter the desired section. To set the end of the chain, enter an END mark at the
appropriate measure. (For more information, see page 116.)
To clear the event at the currently selected location, press the [F6] CLEAR button.
Scene Track EditYou can edit the track mute change in beats. Use the [F5] INSERT and [F6] DELETE button to insert/delete the event.
Tempo Track EditYou can edit the tempo change in beats. Use the [F5] INSERT and [F6] DELETE button to insert/delete the event.
Source Pattern number,
phrase number
When this box is checkmarked, Sample Voices
assigned to the source phrase are copied to
the destination phrase as Sample Voices, and
are assigned to the corresponding tracks in the
selected Pattern.
Destination phrase and track
of the current edited PatternAfter setting, press the
[ENTER] button to copy
the phrase.
CAUTION
Recording track
Reference Pattern Mode
Pattern Record mode Pattern Record Standby mode
243
Owner’s Manual
Pattern Record Standby mode
[F2] COPYThis display lets you copy all Pattern chain events from
a specified range of measures (source) to a destination
location.
After specifying the source range in measures, the top
measure of the destination location, and
NumberOfTimes (number of times the data is copied),
press the [ENTER] button to execute the Copy
operation.
This operation overwrites any events already existing at the destination.
[F3] SONGThis function converts the Pattern chain data to Song data (standard MIDI format) and places the results in the
normal Song tracks.
After specifying the desired destination Song and measure number to which the converted data is to be copied,
then press the [ENTER] button to execute.
This operation overwrites any data already existing at the destination range.
Pattern Record mode[PATTERN] → Pattern selection → [I] (Record)
[F1] SETUP
Type (Recording Type)Determines the recording method.For information on each method, refer to page 168 in the Basic Structure section.
Settings:replace, overdub, step
nUnlike in the Song Record mode, Punch recording is not available for Pattern recording.
LoopTurns loop recording ON or OFF.
When ON, the phrase will play repeatedly during real-time recording. This can be handy when recording drum parts
(page 168), allowing you to add different instruments on each pass.
When OFF recording stops after one pass through the phrase.
Settings:on, off
QuantizeSame as in the Song Record mode. See page 222.
EventSame as in the Song Record mode. See page 223.
(Tempo)Determines the Pattern tempo.
Settings:001.0 ~300.0
nUnlike in Songs, Scene track and Tempo track are not available for Patterns.
Meas (Measure)Determines the measure from which Pattern recording will be started.
[F2] VOICE
From this display you can set Voice-related parameters for the selected track. The settings made here affect the tone generator parts whose MIDI receive
channels match the MIDI transmit channel of the song track. The Voice set here becomes the phrase Voice (page 167).
Parameters are the same as in the Song Record mode. See page 223.
[F3] ARP (Arpeggio)
From this display you can set parameters related to the Arpeggio of the recording track.
Parameters are the same as in the Song Record mode. See page 223.
[F4] REC ARP (Record Arpeggio)
From this display you can determine whether the sequence data played by Arpeggio is recorded to the Pattern track or not.
Parameters are the same as in the Song Record mode. See page 223.
[F5] CLICK
Pressing the [F5] button lets you turn the click sound (metronome) on/off for recording.
Source range
Top measure of destination
CAUTION
CAUTION
Reference Pattern Mode
Pattern Edit mode
244Owner’s Manual
Same as in the Song Edit mode. See page 225.
The Pattern Job mode contains a comprehensive set of editing tools and functions you can use to change the sound of the Pattern. It also
includes a variety of convenient operations, such as copying or erasing data.
After setting parameters as required from the selected display, press the [ENTER] button to execute the Job.
An “Executing...” message is shown when it takes a short amount of time to execute the Job. Never attempt to turn off the power while an “Executing...”
message is shown. Turning the power off in this state results in loss of all user data.
The Undo Job cancels the changes you made in your most recent recording session, editing session, or Job, restoring the data to its previous state. This allows
you to recover from accidental data loss.
Redo is available only after using Undo, and lets you restore the changes you made before undoing them.
Undo/Redo does not work with Sample Voice and Mixing Voice operations.
[F2] NOTE (Note data Job)
The Note data Jobs in the Pattern mode are basically same as in the Song Job mode. However, unlike
in the Song Job mode, Pattern Note data Jobs are applied to the phrases (001 - 256) and a selected
range in the phrase (measure : beat : clock).
01: QuantizeSame as in the Song Job mode. See page 227.
02: Modify VelocitySame as in the Song Job mode. See page 227.
03: Modify Gate TimeSame as in the Song Job mode. See page 227.
04: CrescendoSame as in the Song Job mode. See page 228.
05: TransposeSame as in the Song Job mode. See page 228.
06: GlideSame as in the Song Job mode. See page 228.
07: Create RollSame as in the Song Job mode. See page 228.
08: Sort ChordSame as in the Song Job mode. See page 228.
09: Separate ChordSame as in the Song Job mode. See page 229.
[F3] EVENT (Event Job)
The Event Jobs in the Pattern mode are basically same as in the Song Job mode. However, unlike in the Song Job mode, Pattern Event Jobs are applied to the
phrases (001 - 256) and a selected range in the phrase (measure : beat : clock).
01: Shift ClockSame as in the Song Job mode. See page 229.
CAUTION
CAUTION
Specify the phrase and the range (in measures/beats/clocks)
over which the Job is applied.
Reference Pattern Mode
Pattern Job mode
245
Owner’s Manual
02: Copy EventSame as in the Song Job mode. See page 229.
03: Erase EventSame as in the Song Job mode. See page 229.
nUnlike in the Song Job mode, “Tempo,” “Scene Memory,” or “Track Mute” cannot be selected as Event Types.
04: Extract EventSame as in the Song Job mode. See page 230.
05: Create Continuous DataSame as in the Song Job mode. See page 230.
nUnlike in the Song Job mode, “Tempo” cannot be selected as an Event Type.
06: Thin OutSame as in the Song Job mode. See page 230.
07: Modify Control DataSame as in the Song Job mode. See page 230.
nUnlike in the Song Job mode, “Tempo” cannot be selected as an Event Type.
08: Beat StretchSame as in the Song Job mode. See page 231.
[F4] PHRASE (Phrase Job)
01: Copy PhraseThis Job copies a selected phrase to the designated
destination phrase.
After specifying the source Pattern and phrase, the
destination Pattern and phrase, and setting the
checkbox of Copy Sample, press the [ENTER] button to
execute this Job.
When the Copy Sample box is checkmarked, Sample
Voices used by the source phrase are copied to the
destination Pattern as Sample Voices, and are assigned
to the destination phrase. This is available only when
the Sample Voice is used in the source phrase.
nWhen there is no memory available in the destination Pattern for Sample Voice data, an error message will appear on the
display and the Sample Voice data will not be copied. If this occurs, use Sample Job 02 “Delete” to delete any unused Sample
Voices, then try again.
Any previous data in the copy destination will be overwritten.
Undo/Redo (page 244) cannot be used to undo/redo a Sample Voice copy operation.
02: Exchange PhraseThis Job exchanges or “swaps” the contents of two specified phrases (“A” and “B”).
nIf this Job is applied to phrases which use Sample Voices, the Sample Voices will not be exchanged.
03: Mix PhraseThis Job mixes all data from two selected user phrases (“A” and
“B”), and places the result in phrase B.
nKeep in mind that applying this Job to phrases with Sample Voices
does not mix the Sample Voices.
04: Append PhraseThis Job appends one phrase (A) to the end of another (B) to
create one longer phrase (B).
nIf this Job is applied to phrases which use Sample Voices, the
Sample Voices will not be appended.
05: Split PhraseThis Job splits a selected phrase (A) into two separate phrases (A
and B).
The data before the split point is stored to the original phrase A
and the data after the split point is moved and stored to another
phrase B. You can also set the Meter of the phrase B after the Split
Phrase Job.
nWhen either Pattern or Phrase is set to “off,” the split Phrase B data
is erased.
nIf this Job is applied to phrases which use Sample Voices, the
Sample Voices will not be split.
The Job overwrites any data already existing in destination phrase B.
Selects the Pattern and phrase to be copied.
(Preset phrase also can be selected.)
Specify the destination Pattern and phrase.
CAUTION
CAUTION
Phrase APhrase B
Phrase B
Mix Phrase
Phrase A
Phrase B
Append Phrase
Phrase A
Phrase B
Phase A is divided at the Split Point
Phrase A
CAUTION
Reference Pattern Mode
Pattern Job mode
246Owner’s Manual
06: Get Phrase From SongThis Job copies a segment of sequence-track data from
a Song into the designated destination phrase.
After specifying the source Song/track/range of
measures to be copied, the destination phrase, and
setting the checkbox of Copy Sample, press the
[ENTER] button to execute this Job.
When the Copy Sample box is checkmarked, Sample
Voices used by the source track are copied to the
destination Pattern as Sample Voices, and are assigned
to the destination phrase. This parameter has no effect when no Sample Voice is used by the source track.
nWhen there is no memory available in the destination Pattern for Sample Voice data, an error message will appear on the
display and the Sample Voice data will not be copied. If this occurs, use Sample Job 02 “Delete” to delete any unused
samples, then try again.
The Job overwrites any data already existing in the destination phrase.
Undo/Redo (page 244) cannot be used to undo/redo a Sample Voice copy operation.
07: Put Phrase To SongThis Job copies a selected user phrase into a specified
area of a selected song.
After specifying the source phrase, destination Song/
track/top measure, and setting the Copy Sample
checkbox, press the [ENTER] button to execute this
Job.
When the Copy Sample box is checkmarked, Sample
Voices used by the source phrase are copied to the
destination Song as Sample Voices, and are assigned
to the destination Song track. This parameter has no effect when no Sample Voice is used by the source phrase.
nWhen there is no memory available in the destination Song for Sample Voice data, an error message will appear on the display
and the Sample Voice data will not be copied. If this occurs, use Sample Job “Delete” to delete any unused samples, then try
again.
The Job overwrites any data already existing in the destination track.
Undo/Redo (page 244) cannot be used to undo/redo a Sample Voice copy operation.
08: Clear PhraseThis Job deletes all data from the selected phrase.
When the Delete Sample 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.
Undo/Redo (page 244) cannot be used to undo/redo a Delete Sample operation.
09: Phrase NameThis Job lets you assign a name (of up to eight characters) to the selected phrase.
For instructions on naming, refer to page 53 in the Basic Operation section.
[F5] TRACK (Track Job)
01: Copy TrackThis Job copies all data from a specified source track to
the specified destination track.
The types of data to be copied are the same as in the
Song Job mode. See page 231.
02: Exchange TrackThis Job exchanges or “swaps” the specified type of
data between two specified tracks in the current Pattern
and section. The types of data to be exchanged are the
same as in the Song Job mode. See page 232.
03: Clear TrackThis Job deletes all data of the selected type from the
selected Pattern track.
The types of data to be cleared are the same as in the
Song Job mode. See page 232.
Source Song, track, and range of measures
to be copied.Destination phrase
CAUTION
CAUTION
Source phraseDestination Song, track,
and top measures
CAUTION
CAUTION
CAUTION
Source Pattern, section, and track
Types of data to be copiedDestination Pattern, section,
and track
Target tracks for the Exchange operation
Types of data to be exchanged
Section and track from which data is to be cleared
Types of data to be cleared
Reference Pattern Mode
Pattern Job mode
247
Owner’s Manual
04: Normalize Play EffectThis Job rewrites the data in the selected track so that it incorporates the current Grid Groove settings.
After specifying a track (TR 01-16) to which this Job is applied, press the [ENTER] button to execute this Job.
05: Divide Drum TrackSeparates 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).
After specifying a track (TR 01-16) to which this Job is applied, press the [ENTER] button to execute this Job.
nIn order to use this Job, tracks 1 - 8 must be empty. If there aren’t enough empty tracks, an error message appears. If this
happens, use the Clear Track Job (page 246) to delete tracks 1 - 8, then try the Job again.
06: Put Track To ArpThis Job copies data in the specified measures of a section/track for creating Arpeggio data. For details, refer to
page 130 in the Quick Guide section.
[F6] PATTERN (Pattern Job)
01: Copy PatternThis Job copies all data from a selected source Pattern
to a selected destination Pattern.
After specifying the source Pattern/section, and the
destination Pattern/section, as well as setting the
checkboxes as necessary, press the [ENTER] button to
execute this Job.
nIf you set the source section to “all,” the destination section is also set to “all” automatically. With this status, execute this Job to copy the entire source Pattern data to the
destination.
Preset Phrase → UserWhen this box is checkmarked, Preset Phrases (if included in the source Pattern) are copied to the User Phrase,
which will be assigned to the destination Pattern.
Duplicate User PhraseWhen this box is checkmarked, User Phrases (if included in the source Pattern) are copied to another User Phrase,
which will be assigned to the destination Pattern.
ChainWhen this box is checkmarked, Pattern chain data (if included in the source Pattern) is copied to the destination
Pattern.
02: Append PatternAppends one Pattern to the end of another to create
one longer Pattern with all 16 tracks.
nIf this job is applied to Patterns which use Sample Voices,
the Sample Voices will not be appended.
nIf the Pattern length becomes greater than 256 measures
as a result of the Append Pattern Job, an error message
will be displayed and the Job will be aborted.
Keep Original PhraseWhen this box is checkmarked, the original destination Pattern data is retained in memory, along with the new
appended Pattern data. If the box is not checkmarked, the original destination Pattern is erased and replaced with
the newly created data.
nWhen the KEEP ORIGINAL PHRASE checkbox is checked, this Job requires twice the number of empty user phrases as the
number of tracks containing data in which to store the appended phrase data. If the required space is unavailable, an alert
message will appear and the Job will be aborted. If this occurs use the Clear Phrase Job (page 246) to delete unused phrases
into two Patterns. After the Split Pattern operation, the
part of the Pattern before the specified Split Point will
remain, and the part following the Split Point will be
moved to the destination Pattern.
The Job overwrites any data already
existing in the destination Pattern.
Split PointDetermines the Split Point by setting a measure number.
Keep Original PhraseWhen this box is checkmarked, the original Source Pattern data is retained in memory and the results of the Split Job
are written to empty phrases. When this box is not checkmarked, the original Source Pattern is erased and replaced
with the newly created data.
Source Pattern and sectionDestination Pattern and section
Source Pattern
and sectionDestination Pattern and section
Source Pattern and sectionDestination Pattern
and section
CAUTION
Reference Pattern Mode
Pattern Mixing mode
248Owner’s Manual
In this mode, you can set up mixing data for your patterns, and set various parameters for the tone generator parts — including the desired
Voice, as well as its level, pan, EQ, effect and other settings.
Pattern Mixing parameters are not actually part of the Pattern sequence data in each track, but rather are settings for the tone generator, as it is
played back by the Pattern data. As such, the Pattern Mixing parameter settings are not recorded to the Pattern tracks.
Mixing operations and parameters are the same as those of the Song Mixing mode. See page 236.
Parameter settings made in the Pattern Mixing mode and Pattern Mixing Edit mode should be stored to internal memory (DRAM) as part of the Pattern data.
In addition, make sure to save the entire Pattern data (including the Mixing settings) to the SmartMedia/USB storage device, since the data in DRAM is
stored only temporarily (page 187).
nParameter settings in the Pattern Mixing mode and Pattern Mixing Edit mode can be stored as a template to internal Flash ROM, as well as being stored as
part of a Pattern. See page 104 for details.
This mode provides more detailed Mixing parameters than in the Pattern Mixing mode.
Keep in mind that Pattern Mixing parameters are not actually part of the Pattern sequence data in each track, but rather are settings for the tone
generator, as it is played back by the Pattern data. As such, the Pattern Mixing parameter settings are not recorded to the pattern tracks.
Mixing operations and parameters are the same as those of the Song Mixing mode. See page 234.
Parameter settings made in the Pattern Mixing mode and Pattern Mixing Edit mode should be stored to internal memory (DRAM) as part of the Pattern data.
In addition, make sure to save the entire Pattern data (including the Mixing settings) to the SmartMedia/USB storage device, since the data in DRAM is
stored only temporarily (page 187).
nParameter settings in the Pattern Mixing mode and Pattern Mixing Edit mode can be stored as a template to internal Flash ROM, as well as being stored as
part of a Pattern. See page 104 for details.
Same as in the Song Mixing Job mode. See page 236.
This function lets you store your edited Pattern Mixing to User memory (DRAM).
For details, refer to page 131 in the Quick Guide section.
SampleWhen this box is checkmarked, Sample Voices (if included in the source pattern) are copied to the destination
Pattern.
nWhen the KEEP ORIGINAL PHRASE checkbox is checked, this Job requires twice the number of empty user phrases as the number of tracks containing data in which to
store the appended phrase data. If the required space is unavailable, an alert message will appear and the job will be aborted. If this occurs use the Clear Phrase Job
(page 246) to delete unused phrases and try again.
04: Clear Pattern
This Job deletes all data from the selected Pattern, or from all Patterns. When the specific section is selected to be cleared, you can unmark the Chain box.
If the Chain box is not checkmarked, the Pattern Chain data will be kept even though the Clear Pattern Job is executed.
05: Pattern Name
This Job lets you assign a name to the selected Pattern.
For instructions on naming, refer to page 53 in the Basic Operation section.
The Mixing Voice mode provides most of the same Normal Voice editing parameters as the Voice mode, with the main exception that these
Voices are dedicated for use with the Songs and Patterns, and are stored specifically as Mixing Voices.
The Mixing Voice Job mode lets you use the supplementary functions like Copy and Delete. After completing the Mixing Voice editing, you can
store the edited Voice to a User Bank to internal memory (Flash ROM) or you can store it as a part of the current Song/Pattern data to internal
memory (DRAM). When storing the edited Mixing Voice as a part of the current Song/Pattern data, make sure to save the data to a SmartMedia/
USB storage device in the File mode.
The Mixing Voice Edit mode is divided into Common Edit, for setting parameters common to all four Elements, and Element Edit, for setting
parameters of individual Elements.
These parameters are for making global (or common) edits to all four Elements of the selected Normal Voice.
nThe Mixing Voice Edit parameters are basically the same as those in the Voice Edit mode. However, some parameters having the same name as those in the
Song Mixing/Pattern Mixing Part Edit mode are not available in the Mixing Voice Edit mode.
These parameters are for editing the individual Elements that make up a Normal Voice.
Common Edit[SONG] or [PATTERN] → [MIXING] → [F2] VOICE → Normal Voice selection → [F5] VCE ED → [COMMON]
[F1] GENERAL
Same as in the Normal Voice Common Edit mode. See page 189.
Please note that the [SF3] MEQ OFS (Master EQ Offset) display is not available in the Mixing Voice Edit mode.
[F2] OUTPUT
Same as in the Normal Voice Common Edit mode. See page 190.
[F4] CTL SET (Controller Set)
Same as in the Normal Voice Common Edit mode. See page 192.
[F5] LFO
Same as in the Normal Voice Common Edit mode. See page 192.
[F6] EFFECT
Same as in the Normal Voice Common Edit mode. See page 194.
Please note that the [SF4] REVERB and [SF5] CHORUS displays are not available in the Mixing Voice Edit mode.
Element Edit[SONG] or [PATTERN] → [MIXING] → [F2] VOICE → Normal Voice selection → [F5] VCE ED →
Element selection
[F1] OSC (Oscillator)
Same as in the Normal Voice Element Edit mode. See page 195.
[F2] PITCH
Same as in the Normal Voice Element Edit mode. See page 196.
[F3] FILTER
Same as in the Normal Voice Element Edit mode. See page 197.
[F4] AMP (Amplitude)
Same as in the Normal Voice Element Edit mode. See page 199.
[F5] LFO (Low Frequency Oscillator)
Same as in the Normal Voice Element Edit mode. See page 201.
[F6] EQ (Equalizer)
Same as in the Normal Voice Element Edit mode. See page 201.
Reference Mixing Voice Mode
Mixing Voice Job mode
250Owner’s Manual
The Mixing Voice Job mode features two basic operations, Copy and Delete. After setting parameters as required from the selected display,
press the [ENTER] button to execute the Job.
This function lets you store your edited Mixing Voice to User memory (Flash ROM or DRAM).
For details, refer to page 106 in the Quick Guide section.
Mixing Voice Job mode[SONG] or [PATTERN] → [MIXING] → [F5] VCE ED → [JOB]
[F2] RECALL
If you are editing a Mixing Voice and select a different Mixing Voice, Mixing program, Song or Pattern without storing your edited one, all the edits you’ve made will
be erased. Edits are also erased if the current part to which the edited Mixing Voice is assigned receives a program change from an external MIDI instrument.
If this happens, you can use Edit Recall to restore the Mixing Voice with your latest edits intact by pressing the [ENTER] button from the [F2] RECALL display.
nSince a Recall Buffer for the Mixing Voice is prepared for each Part of the current Song or Pattern, you can specify the Part to which the Mixing Voice to be recalled is assigned
before executing the Edit Recall.
[F3] COPY
This Job lets you copy the Mixing Voice stored to a specified Part in one Song/Pattern to a Part in
another Song/Pattern.
[F5] DELETE
This Job lets you delete a Mixing Voice assigned to a specified Song/Pattern’s Part.
Mixing Voice Store mode[SONG] or [PATTERN] → [MIXING] → [F5] VCE ED → [STORE]
Source song/pattern and part
Destination song/pattern and part
Reference Sampling Mode
Sampling Record mode When entering the Sampling mode from the Voice mode/Performance mode
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Owner’s Manual
Sampling mode
■ Creating samples — basic procedure
In the Sampling mode, the following three types of data can be created.
• Waveform: Created by recording a sample.
• Sample Voice:Created by recording a sample (depending on the settings before recording) in the Sampling mode entered from the Song
mode/Pattern mode. The resulting Waveform can be assigned to a Sample Voice.
• User Voice: Created by recording a sample (depending on the settings before recording) in the Sampling mode entered from the Voice
mode/Performance mode. The resulting Waveform can be assigned to a User Voice.
After creating the data described above, save them to a SmartMedia/USB storage device in the File mode. Sample Voices that are assigned to
Song tracks can be saved along with Song data. When saving Song data (that includes Sample Voices) or User Voice data, all Waveforms
assigned to the data will be saved automatically. Waveforms assigned to the Sample Voices or User Voices will be saved together automatically.
Waveforms which are not assigned to any Song or Voice data should be saved individually as Waveforms.
IMPORTANT:
The Sampling mode is available only when optional DIMMs (page 289) have been installed to the MOTIF ES.
The waveforms created in the Sampling mode reside temporarily in the optionally installed DIMMs (page 187). Because data contained in DIMM is lost when
the power is turned off, you should always save the waveforms created by recording, editing, and using Jobs to a SmartMedia/USB storage device before
turning off the power. For information on how to save, see page 97.
In this mode, you can record sounds to this synthesizer (for example, your voice, a guitar, or sounds from a CD), edit them, and use them to
create voices you can play from the keyboard. Or, if you enter this mode from the Song or Pattern mode, the sounds you record (commonly
called “sample”) can be assigned to the tracks and played back automatically with the song or pattern. What’s more, by using the Resampling
function, you can create new samples from your edits, or make samples from the sounds of this synthesizer itself.
When entering the Sampling mode from the Voice mode/Performance mode
In this case, you can create a Waveform or User Voice by recording sounds input from external devices such as a microphone and audio
equipment.
Sampling Record mode[INTEGRATED SAMPLING]
[F1] DEST (Destination)
From this display you can determine the destination location to which the recorded sample will be stored.
WaveformDetermines the Waveform number to which the recorded sample is assigned.
Settings:001~1024
KeybankDetermines the note number located at the center of the Key Bank.
Settings:C-2 ~G8
nFor details about Waveform and Key Bank, see page 173.
PartDetermines the Performance Part to which the recorded sample is assigned. This is available only when entering the
Sampling mode from the Performance mode. When set to “off,” only the Voice will be created by sampling.
Settings:off, 1~ 4
VoiceThe recorded sample can be stored as a User voice. This parameter determines the User voice bank and number to
which the recorded sample is assigned.
nWhen this is set to “---,” only a Waveform is created; the sample is not stored as a User voice. The sample is stored to the
smallest numbered Waveform available. If you wish to hear the new sample, go to the WAVE display ([VOICE] → Voice
selection → [EDIT] → Element selection → [F1] OSC → [SF1] WAVE) or KEYBANK display ([INTEGRATED SAMPLING] →
[EDIT] → [F1] KEYBANK) and search through the User Waveforms to find the desired sample.
KeyAvailable only when the User voice bank is set to UDR (User Drum). This parameter lets you determine the key to
which the sample obtained via the Sampling feature will be assigned.
Settings:C0 ~ C6
[F2] SOURCE
From this display you can set parameters related to the audio source.
TypeDetermines the Sampling type. Keep in mind that this parameter is fixed to “sample” when entering the Sampling
mode from the Voice/Performance mode.
CAUTION
Reference Sampling Mode
Sampling Record mode When entering the Sampling mode from the Voice mode/Performance mode
252Owner’s Manual
SourceDetermines the recording source.
Settings:A/D, resample, AIB2, mLAN1~4
A/D...................Analog audio from the A/D INPUT jacks is recognized as the recording source.
resample..........The audio signal produced from the instrument when you play the keyboard along with the Audio Input part (in other
words all the audio signals output from the OUTPUT jacks) is recognized as a recording source and “resampled.”
AIEB2...............Digital audio from the DIGITAL IN terminal or OPTICAL IN terminal (with optional AIEB2) is recognized as the recording
source.
mLAN1~4.........The mLAN connector (with optional mLAN16E) is recognized as the recording source.
NextDetermines whether multiple samples can be recorded without exiting from the Record mode (on) or not (off). When
you wish to assign individual samples to the keys one by one to create a Drum Voice, set this parameter to on.
Keep in mind that the Next parameter may be fixed to “off” and cannot be changed. This occurs when you enter the
Sampling mode from the Voice mode/Performance mode, set the Voice to something other than “off” in the [F1]
DEST display, and set the Source (above) to “resample” in the [F2] SOURCE display.
Mono/StereoDetermines whether new samples will be recorded as stereo or mono samples.
Settings:monoL, monoR, monoL+R, stereo
L mono.............The L-channel signal will be recorded as a mono sample.
R mono.............The R-channel signal will be recorded as a mono sample.
L+Rmono.........The L-channel and R-channel signals will be mixed and recorded as a mono sample.
stereo...............A stereo sample will be recorded.
Frequency
(Sampling Frequency)Specifies the sampling frequency. The rate at which digital readings are taken is referred to as the sampling
frequency. Higher sampling frequencies result in higher quality sound, but use up more memory.
nWhen the Source is set to any of mLAN1~4 and the mLAN terminal is used as an audio input, the Frequency is fixed to 44.1
kHz and cannot be changed.
nAt settings other than 44.1 kHz, the sound monitored during recording may be different from the recorded sound, depending
on the source signal.
[F6] REC
Even if you press the [F6] REC button, recording (sampling) will not start immediately. Set various parameters such as Trigger Mode in the Sampling Standby
display, then start the actual sampling according to the settings.
STANDBY (Sampling Standby)Press the [REC] button to enter the Sampling Standby display. From this display you can turn the Confirm function on
or off by pressing the [F2] CONFM button as well as set parameters listed below. For details on the Confirm function,
refer to page 95 in the Quick Guide section.
TrggrMode (Trigger Mode)Specifies the method by which sampling will be triggered.
Settings:level, manual
level..................When this is selected, press the [F6] REC button to enable the Trigger Waiting condition. Sampling will then begin as
soon as an input signal exceeding the specified trigger level is received. When this is selected, you need also set the
Trigger Level (1~127).
manual.............When this is selected, sampling will begin as soon as the [F6] START button is pressed, regardless of the input signal
level.
KeyThis is the same parameter as Keybank in the [F1] DEST display.
RecMonitor (Recording Monitor)Determines the output level of the monitor for the input signal.
This monitor signal is output from the PHONES jack or the OUTPUT R and L/MONO jacks. This has no effect on the
recording level.
Settings:0 ~ 127
RecGain (Recording Gain)Determines the recording gain when resampling. This parameter is available only when the Source is set to
“resample.”
Settings:-12dB ~ +12dB
WAITING (Trigger Waiting)When Trigger Mode is set to “level” in the Sampling Standby display, press the [F6] REC button again to enter the
Trigger Waiting condition; the [F6] menu changes to “STOP.” In this status, sampling will begin as soon as an input
signal exceeding the specified trigger level is received. Before recording starts, press the [F6] STOP button or
[EXIT] button to return to the Sampling Standby display.
Keep in mind that the Confirm function can also be turned on or off by using the [F2] CONFM button in the Trigger
Waiting condition.
RECORDING During recording, press the [F6] STOP button or [EXIT] button to stop the sampling.
After sampling (recording) stops:
The following menus appear only when the Confirm function is turned on.
[F3] AUDITIONPressing this lets you hear the sample obtained by recording (sampling).
[F4] CANCELPressing this deletes the sample obtained by recording (sampling) and return to the Sampling Standby display.
[F5] OKPressing this stores the sample obtained by recording (sampling) to the specified destination.
Reference Sampling Mode
Sampling Record mode When entering the Sampling mode from the Song mode/Pattern mode
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Owner’s Manual
When entering the Sampling mode from the Song mode/Pattern mode
In this case, you can create a Waveform or Sample Voice by recording sounds input from external devices such as a microphone and audio
equipment.
[F1] DEST (Destination)
From this display you can determine the destination location to which the recorded sample will be stored.
TrackDetermines the track number to which the recorded sample is assigned.
Settings:1 ~ 16
KeybankDetermines the note number located at the center of the Key Bank. This parameter is available only when the
Sampling type is set to “sample” or “sample+note” (in the Type parameter below).
Settings:C-2 ~ G8
[F2] SOURCE
From this display you can set parameters related to the audio source.
TypeDetermines the Sampling type. When entering the Sampling mode from the Song/Pattern mode, the data created by
Sampling varies depending on this setting.
Settings:sample, sample+note, slice+seq
sample..................Only sample (wave) data is created.
sample+note........In addition to sample data, the appropriate note data for playing the sample is created and recorded to the track
specified in the [F1] DEST display.
slice+seq..............The recorded sample is automatically divided into “slices,” and these are assigned to successive notes on the
keyboard.
nDetailed settings (meter, measure number etc,) are specified in the Slice display after sampling.
SourceDetermines the recording source.
Same as in the Sampling mode from the Voice mode/Performance mode. See above.
NextDetermines whether multiple samples can be recorded without exiting from the Record mode (on) or not (off). When
you wish to assign individual samples to the keys one by one to create a Drum Voice, set this parameter to on.
Keep in mind that this parameter is fixed to off when the Source is set to “slice + seq.”
Mono/StereoDetermines whether new samples will be recorded as stereo or mono samples.
Same as in the Sampling mode from the Voice mode/Performance mode. See above.
Frequency
(Sampling Frequency)Specifies the sampling frequency.
Same as in the Sampling mode from the Voice mode/Performance mode. See above.
[F6] REC
Even if you press the [F6] REC button, recording (sampling) will not start immediately. Set various parameters such as Trigger Mode in the Sampling Standby
display, then start the actual sampling according to the settings.
STANDBY (Sampling Standby)Press the [REC] button to enter the Sampling Standby display. From this display you can turn the Confirm function on
or off by pressing the [F2] CONFM button as well as set parameters listed below. For details about the Confirm
function, refer to page 95 in the Quick Guide section.
Please keep in mind that the Confirm function is not available when the Type in the [F2] SOURCE display is set to
“slice+seq.”
TrggrMode (Trigger Mode)Specifies the method by which sampling will be triggered.
Settings:level, meas, manual
level......................Same as in the Sampling mode from the Voice mode/Performance mode. See above.
meas (measure)...This should be set together with the Punch-in/out measure. After the [F6] START button is pressed, sampling will
begin at the specified punch-in measure, and end at the specified punch-out measure. Sampling will also stop when
the Song/Pattern is stopped by pressing the [J] (Stop) button.
manual..................Same as in the Sampling mode from the Voice mode/Performance mode. See above.
KeyThis appears when Type in the [F2] SOURCE display is set to something other than “slice+seq.” This is the same
parameter as Keybank in the [F1] DEST display.
RecMonitor (Recording Monitor)Determines the output level of the monitor for the input signal.
This monitor signal is output from the PHONES jack or the OUTPUT R and L/MONO jacks. This has no effect on the
recording level.
Settings:0 ~ 127
RecGain (Recording Gain)Determines the recording gain when resampling. This parameter is available only when the Source is set to
“resample.”
Settings:-12dB ~ +12dB
Reference Sampling Mode
Sampling Record mode When entering the Sampling mode from the Song mode/Pattern mode
254Owner’s Manual
WAITING (Trigger Waiting or
Punch-in Waiting)
When Trigger Mode is set to “level” in the Sampling Standby display, press the [F6] REC button again to enter the
Trigger Waiting condition; the [F6] menu changes to “STOP.” In this condition, sampling will begin as soon as an
input signal exceeding the specified trigger level is received.
When the Trigger Mode is set to “meas” in the Sampling Standby display, press the [F6] REC button again to enter
the Punch-in Waiting condition; the [F6] menu changes to “STOP.” In this condition, sampling will begin as soon as a
song or pattern playback reaches the punch-in measure.
Before recording starts in either condition, press the [F6] STOP button or [EXIT] button to return to the Sampling
Standby display. Keep in mind that the Confirm function can be tuned on or off by using the [F2] CONFM button also
in the Trigger Waiting or Punch-in Waiting condition if the Sampling type is set to other than “slice+seq.”
RECORDINGDuring recording, press the [F6] STOP button or [EXIT] button to stop sampling.
After sampling (recording) stops:
The following menus appear when the Sampling type is set to “sample” or “sample+note” and the Confirm function
is turned on.
[F3] AUDITIONPressing this lets you hear the sample obtained by recording (sampling).
[F4] CANCELPressing this deletes the sample obtained by recording (sampling) and return to the Sampling Standby display.
[F5] OKPressing this stores the sample obtained by recording (sampling) to the specified destination.
TRIM/SLICE display after
sampling stops
If you’ve entered the Sampling Record mode for the Song or Pattern mode and you’ve set the sampling type to
“slice+seq,” you should set the following Slice related parameters after the Sampling stops.
Please note that the Confirm function is not available in this case.
[F1] TRIM
The trim function makes it possible to specify the beginning and end points to be played back within an entire sample. You can also specify the tempo for
the range of the looped playback and determine its beat.
Start (Start Point)Determines the Start point for the sample playback.
Loop (Loop Start Point)
Determines the Top point of the loop playback (the point where the loop begins) within the range of the entire sample.
End (End Point)Determines the End point of the loop playback within the range of the entire sample.
BeatIndicates the (beat) and tempo of the range from the Loop Start Point to the End Point.
[SF1] AUDITIONPress the [SF1] button to sound the recorded sample according to the settings in this display.
[SF2] LP=STWhen the menu indication here is “LP=ST,” the Start (Start Point) and the Loop (Loop Start Point) will share the same
address, meaning that both of them will be changed simultaneously, even if just one of them is changed. Pressing
the [SF2] button in this condition changes the menu from “LP=ST” to “LP≠ST.” When the menu indication here is
“LP≠ST,” the Start (Start Point) and the Loop (Loop Start Point) can be changed independently. When pressing the
[SF2] button in this condition, the address value of the Start will be copied to that of the Loop, with the result that
both of them will have the same address value. The menu indication also changes from “LP≠ST” to “LP=ST.”
[SF3] SET ENDPressing this calls up the display for determining the End Point, from which you can set the tempo, beat, and
measure for the sample. Press the [ENTER] button to actually set End Point. If you are satisfied with the results
(press [SF1] to audition the sample), press the [F6] OK button to return to the original display. Doing this stores your
edited sample to the DIMM memory. To return to the original display without changing the data, press the [F5]
CANCEL button.
[SF4] EXTRACTDelete all unnecessary sample data located ahead of the Start point and located after the End point) by pressing the
[SF4] button.
[F5] ZOOM-
[F6] ZOOM+
Press the [F5] and [F6] buttons to zoom in and out of the wave display.
[F2] SLICE
This powerful feature lets you automatically divide the recorded sample into separate “slices.” These slices are then assigned to successive notes and
arranged as sequence data.
nBefore executing the Slice operation, you’ll need to accurately adjust the length of the sample. Use the [SF1] AUDITION button in the [F1] TRIM display to loop the sample
and precisely set the Start and End points as required.
After specifying the following parameters, press the [ENTER] button. (The display prompts you for confirmation.) Press the [INC/YES] button to execute the
Slice. You can hear and confirm the sliced samples by pressing the [SF1] AUDITION button. If you are satisfied with the result of the operation, press the
[F6] OK button to store the result of the Slice operation and go back to the Sampling Setup display. If not, press the [F5] CANCEL button to go back to the
Sampling Setup display without storing the result.
Type (Slice Type)Specifies how the sample is sliced, and to some extent determines the resulting sound quality. Select the type that
best suits the original phrase.
Settings:beat1~3, phrase1~4, quick
beat1~3...........This slice type is suited for percussive phrases such as drums or bass with a fast attack and short decay. Three
variations are provided.
phrase1~4.......Ideal for phrases containing cymbals or other instruments with a long decay. Four variations are provided.
quick................Regardless of the phrase content, the sample is divided at the specified note sub-divisions. The number of slices per
measure is calculated by multiplying the top number of the Meter (time signature) parameter by the bottom number of
the SubDivide parameter.
nFor helpful hints on getting the Slice Type parameter to work for different samples, see “Tips for using the Slice Types” on page
259.
Reference Sampling Mode
Sampling Edit mode
255
Owner’s Manual
This mode gives you a variety of sample editing tools, with which you can change the samples you’ve recorded in the Sampling Record mode,
and customize them for your applications as needed.
nFor samples that have been recorded in stereo (with Stereo Sampling), both the left and right waves of the sample are edited together. In the actual process,
any edits made to the left channel wave are duplicated exactly in the right channel. The exception to this, of course, is Pan —since the sample already is in
stereo.
nUnlike in the Sampling Record mode, all parameters and functions of the Sampling Edit mode are the same, no matter which mode was previously selected.
nAll Sampling Edit operations apply to the Waveform (actual sample), not the voice.
MeasureDetermines the number of measures in the sample to be sliced.
When the slice operation is executed, sequence data corresponding to the specified number of measures is
created. The sequence data is created from the beginning of the current measure at which sampling is started.
Settings:1~8
MeterSpecifies the meter (time signature) of the sample. The setting here is the basic slice unit.
Settings:1/16 ~ 16/16, 1/8 ~ 16/8, 1/4 ~ 8/4
SubDivideThe Meter parameter sets the basic slice unit, and SubDivide
specifies even finer resolution for phrases containing regions with
shorter notes. For the phrase shown at right, for example, the
Meter should be set to 4/4 and SubDivide to 1/2.
Settings:
When Meter is set to 1 ~ 8/4.............quarter note (1/1), 8th note (1/2), 4th
When Meter is set to 1 ~ 16/8...........8th note (1/1), 16th note (1/2), 8th note triplet (1/3), 32nd note (1/4), 16th note triplet (1/6)
When Meter is set to 1 ~ 16/16.........16th note (1/1), 32nd note (1/2), 16th note triplet (1/3)
nThis parameter has no effect when the Slice Type parameter is set to beat 1~3.
nThe maximum slice resolution for stereo samples is 64 slices, and for mono samples 128 slices.
Sens (Envelope Sensitivity)Further adjusts the sub-divisions specified by the SubDivide parameter. Higher values result in higher resolution,
allowing even finer notes and smaller sounds to be detected and sliced. Use the Audition function (press [SF1]) to
hear the results, and if you’re not satisfied with them, change the setting and try again.
Settings:1 ~ 5
nThis parameter has no effect when the “quick” slice type is selected.
Sampling Edit mode[INTEGRATED SAMPLING] → [EDIT]
[F1] KEYBANK
From this display you can determine the destination location to which the recorded sample will be stored.
WaveformSelect a Waveform that contains a Sample you wish to edit. Move the cursor to the Waveform number and select the
desired number by using the [INC/YES] button, [DEC/NO] button, or the data dial.
To select the desired Key Bank, simultaneously hold down the [INFORMATION] button and press the appropriate
key on the keyboard. Press the [SF2] SELECT button to call up in order the Samples assigned to the selected Key
Bank.
KeybankIndicates information about the selected Key Bank. The Key Range and Velocity Range (which cannot be edited
here) can be edited in the [F4] RANGE display.
[SF1] AUDITIONYou can hear (audition) the selected sample by pressing the [SF1] button.
[SF2] SELECTPress the [SF2] button to call up in order the Samples assigned to the selected Key Bank.
nThe [SF1] AUDITION and [SF2] SELECT buttons can be used in the same way also with other displays in the Sampling Edit mode and the Sampling Job mode.
[F2] TRIM
This operation is the same as in the Sampling Record mode (when Sampling Type is set to “slice+seq”). See page 253.
[F3] PARAM (Parameter)
LevelDetermines the output level of the selected sample.
Settings:-94.5dB ~ -0.0dB
PanDetermines the stereo position of the selected sample. Please note that this is not available for samples recorded in
stereo.
Settings:L64 (far left) ~ C (center) ~ R63 (far right)
Reference Sampling Mode
Sampling Job mode
256Owner’s Manual
The Sampling Job mode contains a comprehensive set of editing tools and functions you can use to change the sound of the sample you’ve
created and edited in the Sampling Edit mode. It also includes a variety of convenient operations, such as copying or erasing data.
After setting parameters as required in the selected display, press the [ENTER] button to execute the Job.
nUnlike in the Sampling Record mode, all parameters and functions of the Sampling Job mode are the same, no matter which mode was previously selected.
The only exception to this is the Slice Job ([F1] →12 below), which varies depending on whether the previously selected mode was Voice/Performance or
Song/Pattern.
nAll Sampling Job operations apply to the Waveform (actual sample), not the Voice.
PlayModeDetermines how the selected sample is to be played back.
Settings:oneshot, reverse, loop
oneshot............The Sample plays back one time from Start point to End point.
reverse.............The Sample plays back one time in reverse from End point to Start point.
loop..................Sample playback begins from the Start point, continues to the Loop point, then repeats indefinitely between the Loop
point and End point.
nFor details on the above settings, see page 176.
OriginalKeyDetermines the base key for the sample. Since the sample will be pitched shifted for keys played around this base
key, this should be set as close as possible to the original pitch or note value of the actual sample.
Settings:C - 2 ~ G8
FineTuneDetermines the fine tuning for the pitch of the sample.
Settings:-100 cent ~ 0 cent ~ 99 cent
[SF1] AUDITIONYou can hear (audition) the selected sample by pressing the [SF1] button.
[SF2] SELECTPress the [SF2] button to call up in order the Samples assigned to the selected Key Bank.
[F4] RANGE
From this display you can set the Key Range and the Velocity Range for the sample assigned to the selected Key Bank. Note that both the Key range and Velocity
range values are graphically indicated in the display.
nWhen the cursor is at one of the Key Range values, you can directly set the Key Range parameter from the keyboard. (Simultaneously hold down the [INFORMATION] button and
press the appropriate key on the keyboard.)
[SF1] AUDITIONYou can hear (audition) the selected sample by pressing the [SF1] button.
[SF2] SELECTPress the [SF2] button to call up in order the Samples assigned to the selected Key Bank.
Sampling Job mode[INTEGRATED SAMPLING] → [JOB]
[F1] KEYBANK (Key Bank Job)
Before executing the Key Bank Job by pressing the [ENTER] button, you’ll need to specify the Waveform and Key Bank.
First, select the desired Waveform by moving the cursor to the 4-digit number in the display and change it by using the [INC/YES] and [DEC/NO] buttons or the
data dial. Second, move the cursor to the Key value, select the desired key by using the [INC/YES] and [DEC/NO] buttons or the data dial, then use the [SF2]
SELECT button to select in order the Key Bank (sample) assigned to the selected key. You can select the desired key also by pressing the note on the keyboard
directly while holding the [INFORMATION] button. As in the Sampling Edit mode, the [SF1] AUDITION button lets you hear the sample assigned to the selected
Key Bank.
01: CopyThis Job copies the data of a sample contained in a
specified Key Bank to another Key Bank. After
specifying the source Waveform and Key Bank as well
as the destination Waveform and Key Bank, press the
[ENTER] button to execute the Copy Job.
02: DeleteThis Job deletes the specified Key Bank and its sample. After specifying the Waveform and Key Bank, press the
[ENTER] button to execute the Delete Job. If the Key Bank is set to “all” and the Job is executed, all the samples of
the selected Waveform are deleted.
nIf all the samples of the specified Waveform are deleted, the Waveform itself is deleted.
03: ExtractThis Job deletes all unnecessary sample data
(located ahead of the Start point and located after the
End point). In effect, it extracts only the sample data
you want to use, trimming all unneeded sound from
the start and end of the sample.
After specifying the Waveform and Key Bank, press
the [ENTER] button to execute the Extract Job. If the
Key Bank is set to “all” and the Job is executed, this Job is applied to all the samples of the selected Waveform.
Source Waveform and Key Bank
Destination Waveform and Key Bank
Start PointEnd Point
Extract
Start PointEnd Point
Reference Sampling Mode
Sampling Job mode
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Owner’s Manual
04: MoveThis Job lets you move a sample contained in a
specified Key Bank to another Key Bank. This would be
useful for creating a new Waveform from the samples of
various other existing Waveforms.
After specifying the source Waveform and Key Bank as
well as the destination Waveform and Key Bank, press
the [ENTER] button to execute the Move Job.
nIf the last remaining sample is moved from the source
Waveform, the source Waveform itself is deleted.
05: NormalizeThis Job maximizes (normalizes) the overall level of the
specified sample. The “100” (100%) setting is a quick
and convenient way to boost the level of an entire
sample, to make it as loud as possible without distorting.
After specifying the Waveform and Key Bank, then press
the [ENTER] button to execute the Normalize Job.
RatioSpecifies the post-normalization sample level. A setting of 100% maximizes the level so that the highest peak level in
the sample is just below clipping (maximum digital signal level). Settings below 100% reduce the level of the sample
accordingly. Settings higher than 100% will raise the sample level above the maximum, producing deliberate
clipping.
Settings:001 ~ 800%
06: Time-StretchThis Job lets you change the length of the sample without changing the pitch.
The basic steps in using this Job are the same as in 05: Normalize explained above.
RatioDetermines the length of post-process sample as a ratio of the length of the original sample (100%). Lower values
compress the sample, while higher values expand the sample.
Settings:0~400%
AccuracyDetermines the quality of the resulting sample by specifying which aspect of the original is to be emphasized: sound
The graph shown in the display indicates the controller response curve. (The horizontal line represents the received
breath control values, while the vertical line represents the actual response of the internal tone generator.)
Settings:thru, soft, hard, wide
[SF2] KBD (Keyboard)From this display you can set the keyboard-related parameters. The settings here affect the MIDI messages
generated by playing the keyboard.
OctaveDetermines the amount in octaves by which the range of the keyboard is shifted up or down. This setting can be
changed also by pressing any of the [OCTAVE] buttons.
Settings:-3~0~+3
TransposeDetermines the amount in semitones by which the range of the keyboard is shifted up or down.
Settings:-11~ 0 ~+11
nIf you transpose beyond the note range limits (C-2 and G8), notes in the adjacent octaves will be used. For example, a
transposed note of F9 will be changed to F8.
VelCurve (Velocity Curve)These five curves determine how the actual velocity will be generated and transmitted according to the velocity
(strength) with which you play notes on the keyboard.
The graph shown in the display indicates the velocity response curve. (The horizontal line represents the received
velocity values (strength of your playing), while the vertical line represents the actual velocity values transmitted to
the internal/external tone generators.)
Settings:norm, soft, hard, wide, fixed
norm (normal).......This linear “curve” produces one-to-one correspondence between the strength of your keyboard playing (velocity)
and the actual sound change.
soft........................This curve provides increased response, especially for lower velocities. In other words, playing softly results in
higher response than the “norm” curve.
hard.......................This curve provides increased response, especially for higher velocities. In other words, playing hard results in
higher response than the “norm” curve.
wide......................This setting provides opposite response curves for lower and higher velocities. It widens the apparent dynamic
range of the controller, producing less sound change in the softer range and more change in the higher range.
fixed......................This setting produces the same amount of sound change (set in Fixed Velocity below), no matter what your playing
strength.
FixedVelocityThis parameter is only available if you select the “fixed” Velocity Curve above. The velocity of the note you play is
fixed at the value set here.
Settings:1 ~ 127
[SF3] EF BYPS (Effect Bypass)From this display you can select the specific effect(s) to be bypassed when the [INSERTION] or [SYSTEM] button of
EFFECT BYPASS buttons is turned on.
Insertion
FInternalWhen this is set to on and the [INSERTION] button is turned on, the internal Insertion effect is bypassed.
FPLG-EF (Plug-in Effect)When this is set to on and the [INSERTION] button is turned on, the PLG100-VH Insertion effect is bypassed. This is
available only when the PLG100-VH has been installed.
Reference Utility Mode
Utility mode
261
Owner’s Manual
System
F
Reverb
When this is set to on and the [SYSTEM] button is turned on, the Reverb effect is bypassed.
F
Chorus
When this is set to on and the [SYSTEM] button is turned on, the Chorus effect is bypassed.
n
For details about the Effects, see page 177.
[SF4] OTHER
AutoLoad
Determines whether the Auto Load function is on or off. When this is on, the instrument will automatically load the
specified files (from SmartMedia/USB storage device) to User memory — whenever the power is turned on.
For details about the Auto Load function, see page 135.
Settings:
on, off
PowerOnMode
This determines the default power-on mode (and memory bank) — letting you select which condition is automatically
called up when you turn the power on.
Settings:
performance, voice (USR1), voice (PRE1), GM, last, master
performance....When turning the power on next time, the Performance Play mode is entered and the first program number (USER: 001)
is selected automatically.
voice (USR1)...When turning the power on next time, the Voice Play mode is entered and the first program number of the User Voices
(USR1: 001) is selected automatically.
voice (PRE1)....When turning the power on next time, the Voice Play mode is entered and the first program number of the Preset Voices
(PRE 1: 001) is selected automatically.
GM...................When turning the power on next time, the Voice Play mode is entered and the first program number of the GM Voices
(GM: 001) is selected automatically.
last...................When turning the power on next time, the mode and program number (Voice/Performance/Song/Pattern/Master)
registered the last time before turning the power off are called up. For information on how to register the mode and
program number for “last,” see page 265.
master.............When turning the power on next time, the Master Play mode is entered and the first program number (001) is selected
automatically.
CtrlReset (Controller Reset)
Determines the status of the controllers (Modulation Wheel, Aftertouch, Foot Controller, Breath Controller, Knobs,
etc.) when switching between voices. When this is set to “hold,” the controllers are kept at the current setting. When
this is set to “reset,” the controllers are reset to the default states (below).
Settings:
reset, hold
If you select “reset,” the controllers will be reset to the following states/positions:
Pitch Bend.....................Center
Modulation Wheel..........Minimum
Aftertouch .....................Minimum
Foot Controller ..............Maximum
Breath Controller ..........Maximum
Foot Switch ...................Off
Expression ....................Maximum
Foot Volume ..................Maximum
Sustain ..........................Off
[F2] I/O (Input/Output)
[SF1] INPUT
From this display you can set parameters related to audio input.
Mic/Line
When using the A/D INPUT jacks, this determines the input source, microphone (mic) or line.
Settings:
mic, line
mic...................Intended for low output equipment, such as a microphone, electric guitar or bass.
line...................Intended for high output equipment, such as a keyboard, synthesizer, or CD player.
Digital
When the optional AIEB2 board is installed, two separate input connections for digital audio transfer are available:
coaxial and optical. One or the other must be set; the two cannot be used at the same time.
Settings:
coaxial, optical
[SF2] OUTPUT
From this display you can set parameters related to audio output.
L&RGain
Set the output gain of each jack.
Settings:
0dB, +6dB
Assign Gain L&R, 1&2, 3&4, 5&6,
7&8, 9&10, 11&12, 13&14
Digital
Specify the digital output resolution of the optionally installed AIEB2 board (page 25).
Settings:
20bit, 24bit
mLAN MonitorSw
When this is set to on, the audio signal of the instrument output via an IEEE1394 cable to a computer will be output
also via the main OUTPUT L/MONO and R jacks. When this is set to on, the audio signal sent from a computer to the
instrument will be output via the main OUTPUT L/MONO and R jacks directly, bypassing the Effect block.
Settings:
on, off
[F3] VOICE
[VOICE]
→
[UTILITY]
→
[F3]
These special voice-related settings are available only when entering the Utility mode from the Voice mode, letting you set parameters related to all the Voices.
Reference Utility Mode
Utility mode
262Owner’s Manual
[SF1] MEQ (Master EQ)From this display you can apply five-band equalization to all Voices, raising or lowering the level of each frequency
band (LOW, LOWMID, MID, HIGHMID, HIGH).
The parameters are the same as in the Performance Common Edit. See page 214.
Settings:For details about EQ, see page 178.
[SF2] MEF (Master Effect)From this display you can set the Master Effect related parameters applied to all the Voices. This display can be
called up by pressing and holding the [MASTER EFFECT] button on the front panel in the Voice mode.
The parameters are the same as in the Performance Common Edit. See page 214.
[SF3] ARP CH
(Arpeggio Channel)
From this display you can set parameters related to output of the Arpeggio MIDI data in the Voice mode.
OutputSwitchThis enables or disables MIDI data output for the Arpeggio function. When this is set to “on,” Arpeggio data is sent
via MIDI — allowing you to send the Arpeggio data to an external sequencer or play back the Arpeggios on
connected MIDI tone generators.
Settings:on (enable), off (disable)
TransmitCh (Transmit channel)Determines the MIDI channel through which Arpeggio playback data will be sent (when Output Switch above is on).
Settings:1 ~ 16
[SF4] CTL ASN
(Controller Assign)
Sets the parameters related to the controllers in the Voice mode.
Details on each parameter are the same as in Performance Common Edit. See page 214.
[F3] SEQ (Sequencer)[SONG] or [PATTERN] → [UTILITY] → [F3]
These special song- and pattern-related settings are available only when entering the Utility mode from the Song or Pattern mode.
[SF1] CLICKFrom this display you can set the parameters related to the click sound (metronome) that is used during recording or
playback in the Song/Pattern mode.
ModeDetermines whether and when the metronome click will sound.
Settings:off, rec, rec/play, all
off.....................The click will not sound.
rec....................The click will sound during song/pattern recording only.
rec/play............The click will sound during song/pattern recording and playback.
all.....................The click will always sound.
BeatDetermines on which beats the metronome click will sound.
in......................Recognized but not transmitted.
out....................Transmitted but not recognized.
in/out ...............Transmitted/recognized.
MTC StartOffsetDetermines the specific time code point from which sequence playback starts, when MTC is received. This feature
can be used to accurately align playback of this synthesizer with an external MTC-compatible device.
Settings:Hour : Minute : Second : Frame
Hour ................00~23
Minute .............00~59
Second ............00~59
Frame ..............00~29
Reference Utility Mode
Utility Job mode
265
Owner’s Manual
In this Mode, you can restore this synthesizer’s User memory (page 186) to the factory default settings (Factory Set). For details, see page 44.
nSince the settings of the Plug-in Boards in the Utility mode are stored not to internal User memory but to the memory on the respective boards themselves,
the data cannot be restored with this Job.
■ Supplementary
Setting the default display when turning the power on
1Enter the desired mode and the program number you wish to call up first when turning the power on.
2Press the [ENTER] button while holding the [STORE] button to register the mode and program number set in step #1.
3Set the PowerOnMode parameter to “last” in the [UTILITY] →→
→→ [F1] GENERAL →→
→→ [SF4] OTHER display.
4Press the [STORE] button to store the Utility setting made in step #3 above.
5Turn the power off and turn the power on again to call up the mode/program number set in step #2 to the display.
[SF4] OTHER
MIDI IN/OUTDetermines which physical output terminal(s) will be used for transmitting/receiving MIDI data: MIDI IN/OUT, USB, or
mLAN (when the optional mLAN16E has been installed).
Settings:MIDI, USB, mLAN
nThree types of terminals above cannot be used at the same time. Only one of them can be used to transmit/receive MIDI data.
ThruPort (Through Port)Many computer sequencers are capable of transmitting data over several MIDI ports, effectively breaking the 16-
channel barrier. When using the USB terminal or mLAN terminal (when the optional mLAN16E has been installed) for
MIDI transmission/reception, you can have this synthesizer respond to MIDI data over one port, while relaying the
data for another port number (you can set here) to a separate tone generator (connected to the MIDI OUT terminal).
In this way, 16 channels of data can be played on this synthesizer and another 16 can be played on the connected
MIDI device.
Settings:1~8
nWhen the mLAN16E has been installed and the MIDI IN/OUT is set to mLAN, ports 5 ~ 8 are not available even if you set them
here.
[F6] PLUG
[SF1] STATUS
Plug1: ~ Plug3:Indicates the name of the Plug-in Board which has been installed to this synthesizer.
PolyExpandThis parameter is accessible only when you have two or three identical Plug-in boards installed. The “off” setting
enables two or three boards to work separately (you can select them for two or three different Parts). When this is set
to “on,” the two boards effectively function together as one board (used in a single part) — giving you double the
amount of polyphonic notes you can play at one time.
Settings:on, off
[SF2] MIDIFrom 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.
Settings:1~16, all, off
PORTNO. (Port number)Determines the MIDI Port number over which the Plug-in board receives MIDI data in the multi-timbral tone
generator mode (Song/Pattern modes). One port can be set for a Multi-part Plug-in board and two ports can be set
for a Single part Plug-in board.
Settings:off, 1~3
nThe Port number for the Effect Plug-in board (VH) is fixed to 1.
nFor information on the Plug-in board and the internal tone generator block, see page 163.
GM/XGDetermines whether “GM on” and “XG on” messages are recognized (on) or not (off). This parameter is available
only when a Multi-part Plug-in board has been installed to slot 3.
Settings:on, off
[SF3] NATIVE1From this display you can set the Native System parameters of the Plug-in board installed to slot 1.
For details on the parameters, refer to the owner’s manual of your particular Plug-in board.
[SF4] NATIVE2From this display you can set the Native System parameters of the Plug-in board installed to slot 2.
For details on the parameters, refer to the owner’s manual of your particular Plug-in board.
[SF5] NATIVE3From this display you can set the Native System parameters of the Plug-in board installed to slot 3.
For details on the parameters, refer to the owner’s manual of your particular Plug-in board.
Utility Job mode[UTILITY] → [JOB]
[UTILITY] →→
→→ [F1] GENERAL →→
→→ [SF4] OTHER →→
→→ PowerOnMode
Reference File Mode
File mode
266Owner’s Manual
File mode
The File mode provides tools for transferring data between the instrument and various storage media and devices, such as SmartMedia cards,
hard disk drives and compact flash devices.
nFor details about SmartMedia and USB storage devices, see page 27.
nFor details about the relationship between the data created on this synthesizer and the files for saving, see page 186.
nFor information on how to select a file/folder and how to create a new folder, see page 268.
File mode[FILE]
[F1] CONFIG
[SF1] CURRENTFrom this display you can set the parameters about the currently recognized device (SmartMedia/USB storage
device).
CurrentIn this display you can select the device to be recognized by this synthesizer — a SmartMedia inserted to the Card
slot or a properly USB storage device connected to the USB TO DEVICE connector.
When Current is set to CARD, the Volume Label is shown on the second line. When Current is set to USB, the
partition information is shown on the second line. If the connected USB storage device supports multiple media, set
the slot number at the right corner of the display.
Settings:CARD, USB
StatusIndicates the status of the storage device recognized by this synthesizer.
FFreeIndicates the amount of unused (free) memory on the current device.
FTotalIndicates the amount of total memory on the current device.
[SF2] MOUNTFrom this display you can select specific partitions for saving/loading data, within the device mounted in the [SF1]
CURRENT display (above).
[SF3] FORMATBefore you can use a new SmartMedia/USB storage device with this synthesizer, you will need to format it. Use this
operation to format the SmartMedia/USB storage device and assign a Volume Label to it. For instructions on
formatting, see page 268.
FormatDetermines the storage device to be formatted. When set to “USB,” “Slot” appears at the right corner of this display.
Select a slot to be accessed when the connected USB storage device supports multiple media.
Settings:CARD, USB
TypeThis is available when Format (above) is set to “USB.” Specify the partition to be formatted.
Settings:all, partition1 ~ 4
Volume LabelNames the Volume Label. For instructions on naming, refer to page 53 in the Basic Operation section.
[F2] SAVE
This operation lets you save files to a SmartMedia/USB storage device.
For instructions on saving files of the various data types, refer to the following pages:
CurrentIndicates the current directory (folder). This indication is automatically changed according to the current directory
(folder) specified in the File/Folder selection box.
TYPEAmong the various types of data created on this synthesizer, you can save all of them or only a specific type of data
to a single file. This parameter determines which specific type of data will be saved to a single file.
Settings:Refer to “Supplementary information” on page 268.
[F3] LOAD
This operation lets you load files from a SmartMedia/USB device to this synthesizer.
CurrentIndicates the current directory (folder). This indication is automatically changed according to the current directory
(folder) specified in the File/Folder selection box.
TYPEAmong the various types of data saved in a single file on a SmartMedia/USB storage device, you can load all of
them or only a specific type of data to this synthesizer. This parameter determines which specific type of data will be
loaded from a single file.
Settings:Refer to “Supplementary information” on page 268.
File/Folder nameFile/Folder selection box
Press the [F6] NEW button to create a new folder.
Reference File Mode
File mode
267
Owner’s Manual
[F4] RENAME
From this display you can rename files or folders in the selected SmartMedia/USB storage device,
using up to eight alphabetic and numeric characters.
Files are named according to the MS-DOS naming convention. If the file name contains spaces and
other characters unrecognized in MS-DOS, these characters will automatically be replaced by “_”
(underscore) characters when saving.
[F5] DELETE
From this display you can delete files/folders from the selected SmartMedia/USB storage device.
Select the desired file or folder as shown below, then press the [ENTER] button.
nWhen you wish to delete a folder, delete all the files and folders contained in the folder beforehand.
Please keep in mind that only folders that contain no files or other nested folders can be deleted.
Select the desired file type.Select the file/folder to be renamed.
Rename the selected file/folder here.
See “Basic Operation” on page 53.
Press the [F6] NEW button to create a new folder.
Select the desired file type.
Select the file or folder to be deleted.
Reference File Mode
Supplementary information
268Owner’s Manual
■ Supplementary information
File ()/Folder () selection
The illustrations and instructions below show you how to select files
and folders on the SmartMedia/USB storage devices within the File
mode.
Formatting a SmartMedia/USB storage device
Before you can use a new SmartMedia/USB storage device with this
synthesizer, you will need to format it. Follow the instructions below.
If data is already saved on the SmartMedia/USB storage device, be careful
not to format it. If you format the SmartMedia/USB storage device, all the
previously recorded data will be deleted.
1Insert a SmartMedia into the CARD slot or connect a USB
storage device to the USB TO DEVICE connector.
If necessary, insert the proper media into the slot of the USB
storage device.
2Press the [FILE] mode to enter the File mode.
3Press the [F1] CONFIG button, then [SF3] FORMAT
button to call up the Format display.
4Select the media to be formatted.
Move the cursor to the Format value location and select “CARD”
or “USB.” When selecting “USB,” specify the slot number at the
right top of the display as necessary and select the partition to
be formatted at the Type value location in the second line of the
display.
5Set the Volume Label.
Move the cursor to the “Volume Label” and input a Volume Label.
For instructions on naming, refer to page 53 in the Basic
Operation section.
6Press the [ENTER] button. (The display prompts you for
confirmation.)
Press the [DEC/NO] button to cancel the Format operation.
7Press the [INC/YES] button to execute the Format.
After formatting has been completed, a “Completed” message
appears and operation returns to the original display.
While formatting is in process, make sure to follow these precautions:
• Never remove or eject the media from the device (SmartMedia or
USB storage).
• Never unplug or disconnect any of the devices.
• Never turn off the power of the MOTIF ES or the relevant devices.
8Press the [SF1] CURRENT button and check whether the
currently recognized device is “CARD” (SmartMedia in
the CARD slot) or “USB” (USB storage device connected
to this synthesizer).
Change the Current setting as needed.
nBy executing the Format operation in the File mode, the SmartMedia/
USB storage device will be formatted to MS-DOS or Windows format.
The formatted SmartMedia/USB storage device may not be
compatible with other devices such as a Macintosh computer or
digital camera.
Move the cursor to the desired file or folder by using the [INC/YES] and
[DEC/NO] buttons or the data dial.
To return to the next
highest level, press
the [EXIT] button.
To call up the contents of a
desired folder, highlight the
folder and press the [ENTER]
button.
Move the cursor to the desired file or folder by using the [INC/YES]
and [DEC/NO] buttons or the data dial.
CAUTION
CAUTION
Volume Level of the selected partition.
Reference File Mode
Supplementary information
269
Owner’s Manual
File types that can be handled by the MOTIF ES
File types that can be saved from the instrument to the SmartMedia/USB storage device [FILE] → [F2] SAVE → TYPE
* Automatically assigned to the saved file.
nWhen selecting “AllSong” or “AllPattern” as a file type, Sample Voices and assigned Waveforms created via the Sampling function in the Song/Pattern mode
are also saved together.
File types that can be loaded from SmartMedia/USB storage device to the instrument [FILE] → [F3] LOAD → TYPE
TYPEFile
extension*Description
DirWhen this is set to “TYPE,” only the directories (folders) are displayed in the File/Folder selection box and the Save operation
cannot be executed.
All .W7AAll data in this synthesizer’s internal User Memory (Flash ROM) is treated as a single file, and can be saved to the SmartMedia/
USB storage device.
AllVoice.W7VAll the User Voice data in this synthesizer’s internal User Memory (Flash ROM) is treated as a single file, and can be saved to
the SmartMedia/USB storage device. Also the Waveforms obtained via the Sampling function and assigned to any of the
voices are saved together.
PluginAllBulk1, 2, 3.W2BAll the data in a Plug-in board (Board Voice data created by using the editor software that comes with the Plug-in Board and
the Board related settings in the Utility mode) is treated as a single file, and can be saved to the SmartMedia/USB storage
device. The numbers 1, 2, and 3 correspond to the Plug-in slots.
UserARP.W7GAll the User Arpeggio data in this synthesizer’s internal User Memory (Flash ROM) is treated as a single file, and can be saved
to the SmartMedia/USB storage device.
AllSong.W7SAll the User Song data in this synthesizer’s internal User Memory (DRAM) is treated as a single file, and can be saved to the
SmartMedia/USB storage device.
AllPattern.W7PAll the User Pattern data in this synthesizer’s internal User Memory (DRAM) is treated as a single file, and can be saved to the
SmartMedia/USB storage device.
SMF.MIDSequence track (1 - 16) and Tempo track data of Songs or Patterns created in the Song/Pattern mode can be saved to the
SmartMedia/USB storage device as Standard MIDI File (format 0) data.
AllWaveform.W7WAll the User Wave and Sample data in this synthesizer’s internal User Memory (DRAM) is treated as a single file, and can be
saved to the SmartMedia/USB storage device.
Wav.WAVSample data created in the Sampling mode can be saved to the SmartMedia/USB storage device as a WAV file (Windows
audio format).
Aiff.AIFSample data created in the Sampling mode can be saved to the SmartMedia/USB storage device as an AIFF file (Macintosh
audio format).
Voice Editor.W7EAll the User Voice data stored on User Banks (Flash ROM) is handled as a single file and saved to the SmartMedia/USB
storage device. The saved file can be loaded to the Voice Editor software (included in the CD-ROM) on your computer.
TYPEFile
extension*Description
DirWhen this is set to “TYPE,” only the directories (folders) are displayed in the File/Folder selection box and the Load operation
cannot be executed.
All.W7AFiles of the “All” type saved to SmartMedia/USB storage device can be loaded and restored to the instrument. When the box at
the left of “without System” is checkmarked, only the Utility mode settings will not be loaded.
AllVoice.W7VFiles of the “All Voice” type saved to SmartMedia/USB storage device can be loaded and restored to the instrument.
Voice.W7A
.W7V
A specified voice in a file that is saved to the SmartMedia/USB storage device as “All” or “All Voice” type can be individually
selected and loaded to the instrument. Please note that the file icons of “W7A” and “W7V” are changed to (as virtual
folders) when this file type is selected (Quick Guide on page 87).
Performance.W7AA specified performance in a file that is saved to the SmartMedia/USB storage device as “All” type can be individually selected
and loaded to the instrument. Please note that the file icon of “W7A” is changed to (as a virtual folder) when this file type
is selected (Quick Guide on page 92).
PluginAllBulk 1, 2, 3.W2BA file that is saved to the SmartMedia/USB storage device as “Plugin All Bulk 1, 2, 3” type can be loaded and restored to the
Plug-in board installed to the instrument. Please note that the same Plug-in Boards should be installed to the same slot as when
the file was saved.
UserARP.W7GFiles of the “Usr ARP” type saved to SmartMedia/USB storage device can be loaded and restored to the instrument.
AllSong.W7SFiles of the “All Song” type saved to SmartMedia/USB storage device can be loaded and restored to the instrument.
Song.W7A
.W7S
.MID
A specified Song in a file that is saved to the SmartMedia/USB storage device as “All” or “All Song” type can be individually
selected and loaded to the instrument. Please note that the file icons of “W7A” and “W7S” are changed to (as virtual
folders) when this file type is selected (Quick Guide on page 133). In addition, selecting this file type lets you load the Standard
MIDI file (format 0, 1) to a specific Song.
AllPattern.W7PFiles of the “All Pattern” type saved to SmartMedia/USB storage device can be loaded and restored to the instrument.
Pattern.W7A
.W7P
.MID
A specified Song in a file that is saved to the SmartMedia/USB storage device as “All” or “All Pattern” type can be individually
selected and loaded to the instrument. Please note that the file icons of “W7A” and “W7P” are changed to (as virtual
folders) when this file type is selected (Quick Guide on page 133). In addition, selecting this file type lets you load the Standard
MIDI file (format 0, 1) to a specific section of a Pattern.
Reference File Mode
Supplementary information
270Owner’s Manual
* Assigned to the file which can be loaded.
nIn addition to the file types above, Yamaha A5000/A4000/A3000/SU700 files and AKAI S1000/S3000 files can be loaded to the MOTIF ES.
nWhen files of the Yamaha A series samplers (A5000/4000/3000) are loaded, an “S” mark by the file name indicates the file contains only sample data and a
“P” mark indicates program data (voice related parameters and so on). When entering the File mode from the Voice/Performance mode, the “P” marked file
can be loaded and the following two types can be selected instead of Waveform or Key Bank.
• Type 1: Only one sample is imported to a certain waveform. This type utilizes the various settings of the MOTIF ES, and the parameters corresponding to
the four elements are also loaded. Extra samples are not loaded.
• Type 2: Several samples are imported to a certain waveform. Parameters corresponding to the four elements are not loaded to the MOTIF ES. Extra
samples are not loaded.
Data Compatibility with the MOTIF 6/MOTIF 7/MOTIF 8
Among the data created on the MOTIF 6/MOTIF 7/MOTIF 8, Voices, Waveforms, Sample Voices can be loaded to the MOTIF ES6/MOTIF ES7/
MOTIF ES8.
• Voices
A specified Voice in a file (extension: W2A, W2V) that is saved to the storage device as “All” or “AllVoice” type on the MOTIF can be individually
selected and loaded to the MOTIF ES. Set the TYPE in the [F3] LOAD display to “Voice” and execute the Load procedure.
Likewise, a file (extension: W2V) that is saved to the SmartMedia/USB storage device as “AllVoice” type on the MOTIF can be loaded to the
MOTIF ES. Set the TYPE in the [F3] LOAD display to “AllVoice” and execute the Load procedure.
In addition, Voice Editor files (extension: W2E) can be loaded to the MOTIF ES. Set the TYPE in the [F3] LOAD display to “Voice Editor” and
execute the Load procedure.
nThe Voices loaded to the MOTIF ES 6/7/8 may not produce the exact same sound as those on the original MOTIF 6/7/8, since the contents of the preset
Waveforms and the Effect structure are different between the two instrument series.
• Waveforms
A specified Waveform in a file (extension: W2A, W2W) that is saved to the storage device as “All” or “AllWaveform” type on the MOTIF can be
individually selected and loaded to the MOTIF ES. Set the TYPE in the [F3] LOAD display to “Waveform” and execute the Load procedure.
Likewise, a file (extension: W2W) that is saved to the storage device as “AllWaveform” type on the MOTIF can be loaded to the MOTIF ES. Set
the TYPE in the [F3] LOAD display to “AllWaveform” and execute the Load procedure.
• Sample Voices
A specified Sample Voice (extension: W2A, W2S, W2P) in a file that is saved to the storage device as “All” or “AllSong” or “AllPattern” type on the
MOTIF can be individually selected and loaded to the MOTIF ES. Set the TYPE in the [F3] LOAD display to “SampleVoice” and execute the Load
procedure.
AllWaveform.W7WFiles of the “All” or “All Waveform” types saved to SmartMedia/USB storage device can be loaded and restored to the
instrument.
Waveform.W7A
.W7W
.WAV
.AIF
A specified Waveform in a file that is saved to the SmartMedia/USB storage device as “All” or “All Waveform” type can be
individually selected and loaded to the instrument. Please note that the file icons of “W7A” and “W7W” are changed to
(as virtual folders) when this file type is selected (Quick Guide on page 133). In addition, selecting this file type lets you load
the WAV file and AIFF file to the specified destination, which differs depending on the mode before entering the File mode
(Quick Guide on pages 100 and 109).
SampleVoice.W7A
.W7S
.W7P
A specified Sample Voice in a file that is saved to the SmartMedia/USB storage device as “All” or “All Song” or “All Pattern”
type can be individually selected and loaded to the instrument. Please note that the file icons of “W7A” and “W7S” and
“W7P” are changed to (as virtual folders) when this file type is selected (Quick Guide on page 133). This file type is
available only when entering the File mode from the Song mode/Pattern mode.
Voice Editor.W7EThe Voice data edited via the included Voice Editor software on your computer can be loaded to the instrument.
TYPEFile
extension*Description
Reference
Master Mode
Master Play mode
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Owner’s Manual
Master mode
■ Creating Masters — basic procedure
The Master mode lets you play and edit special program combinations called “Masters.” A Master can contain up to four different Voices or
Performances, each assigned to a separate MIDI “Zone.” Alternately, it can contain specific Songs or Patterns. As such, it lets you set up the
instrument just as you need for live performance, switching through the Masters in order as you need them.
To create a Master, set the various parameters below in the Master Play and Master Edit modes. Use the Master Job mode to initialize data or
transfer it to another device.
Once you’ve edited a Master, you can store it to a User Bank in internal memory (Flash ROM) and save all the edited Masters to a SmartMedia/
USB storage device in the File mode.
The Master Play mode lets you perform a variety of general editing operations on the selected Master. For more detailed and comprehensive
editing operations, use the Master Edit mode. Edited parameters with the exception of some parameters are stored to internal Flash ROM as a
User Master.
The Master Edit is divided into Common Edit, for setting parameters common to all four Zones, and Zone Edit, for setting parameters of
individual Zones.
When Zone Switch is set to on in the [F2] MEMORY display in the Master Play mode, only the Common Edit is available.
Master Play mode[MASTER] → Master selection
[F1] PLAY
OCT (Octave)Indicates Keyboard Octave setting set via the [OCTAVE] buttons.
This can be changed also with the following operation: [UTILITY] → [F1] GENERAL → [SF2] KBD → Octave.
ASA (ASSIGN A),
ASB (ASSIGN B)Indicates the functions assigned to the respective Knobs (printed “ASSIGN A” and “ASSIGN B”) when the lamps of
both the [PAN/SEND] and [TONE] buttons are turned on. The functions are assigned from the [UTILITY] →[F4] CTL
ASN → [SF2] ASSIGN display.
nOCT (Octave), ASA (ASSIGN A), and ASB (ASSIGN B) settings are not independently assignable for each Master. Because of this, these are not stored as an individual
Master in the Master Store mode (page 137).
AS1 (ASSIGN 1),
AS2 (ASSIGN 2)Indicates the values obtained by controlling the respective Knobs (printed “ASSIGN 1” and “ASSIGN 2”) when the
lamps of both the [PAN/SEND] and [TONE] buttons are turned on. The functions assigned to these knobs depend on
the setting of the Voice selected as a Master program.
[SF1] ARP1 (Arpeggio 1) - [SF5]
ARP5 (Arpeggio 5)
You can call up the Arpeggio types by pressing these buttons to which the Arpeggio types are assigned.
The Arpeggio type assigned to each button depends on the program (Voice, Performance, Song, Pattern) selected
as a Master.
[F2] 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.
ModeDetermines the mode that is called up when the Master number is selected.
Settings:Voice, Performance, Pattern, Song
MemoryDetermines the Program number that is called up when the Master is selected.
Settings:
When the Mode is set to Voice: Select a Voice bank and number. Refer to the instructions page 60.
When the Mode is set to Performance: Select a Performance bank and number. Refer to the instructions on page 67.
When the Mode is set to Pattern: Select a Pattern and section. Refer to the instructions on page 57.
When the Mode is set to Song: Select a Song number. Refer to the instructions on page 56.
ZoneSwitchDetermines whether the Zone function is used (on) or not (off). See page 137 for details about the Zone function.
nWhen the Mode is set to “Voice” or “Performance” and the Zone Switch is turned on, only Zone 1 can be used in the default
setting (playing Zones 2-4 will produce no sound). You can use these Zones by setting various parameters in the Master Edit
These parameters are for making global (or common) edits to all four Zones of the selected Master.
These parameters are for editing the individual Zones that make up a Master. Zone Edit is available only when the Zone Switch is turned on in the
[F2] MEMORY display in the Master Play mode.
Common Edit[MASTER] → Master selection → [EDIT] → [COMMON]
[F1] NAME
From this display you can create a name for the Master. For instructions on naming, refer to page 53 in the Basic Operation section.
[F2] OTHER
Knob/SliderFrom this display you can set which row of Knob/Slider functions will be lit and selected.
Settings:
pan...........................Selecting the Master lights the [PAN/SEND] lamp, for control over the Pan/Send row.
tone..........................Selecting the Master lights the [TONE] lamp, for control over the Tone row.
assign.......................Selecting the Master lights the [PAN/SEND] and [TONE] lamps, for control over the Assign row.
MEQofs or partEQ....Selecting the Master lights the [EQ] lamp, for control over the EQ row. When the Mode is set to Voice, MEQofs is
available. When the Mode is set to Performance, Song, or Pattern, partEQ is available.
MEF..........................Selecting the Master lights the [ARP FX] and [EQ] lamps, for control over the Master Effects row.
arpFx........................Selecting the Master lights the [ARP FX] lamp, for control over the Arpeggio FX row.
zone..........................Selecting the Master lights no lamp and automatically calls up the Knob/Slider functions specifically set for each
respective Zone (page 137). This is available only when the Zone Switch is set to on in the [F2] MEMORY display
in the Master Play mode.
Zone Edit[MASTER] → Master selection → [EDIT] → Zone selection
[F1] TRANS (Transmit)
From this display you can set how each Zone transmits MIDI messages when you play the keyboard.
TransCh (Transmit Channel)Determines the MIDI Transmit Channel for each Zone.
Settings:1 ~ 16
TGSwitch
(Tone Generator Switch)Determines whether or not MIDI data for each Zone is transmitted to the internal tone generator.
Settings:on, off
MIDISwitchDetermines whether or not MIDI data for each Zone is transmitted to an external MIDI device.
Settings:on, off
[F2] NOTE
From this display you can set the pitch- and keyboard-related parameters for each Zone — allowing you to set up Zone splits and determine the pitch range for
each Zone.
OctaveDetermines the amount in octaves by which the range of the Zone is shifted up or down.
Settings:-3 ~ 0 (Default) ~ +3
TransposeDetermines the amount in semitones by which the range of the Zone is shifted up or down.
Settings:-11 ~ 0 (Default) ~ +11
NoteLimitH, L (High, Low)Determines the lowest and highest notes of the range for each Zone. The selected Zone will sound only when you
play notes within this range.
Settings:C -2 ~ G8
nYou can also set the range directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired
low and high keys.
[F3] TX SW (Transmit Switch)
From this display you can set how the playing of each individual Zone affects transmission of various MIDI messages, such as Control Change and Program
Change messages. When the relevant parameter is set to “on,” playing the selected Zone will transmit the corresponding MIDI messages.
Note that two different display types are provided (see below). Each display type features the same settings in a different format; use the type you feel most
comfortable with.
• Display showing four Zones
• Display showing all parameters for one Zone
Keep in mind that since all the available parameters cannot be simultaneously displayed in the four-Zone display, you will needto use the cursor controls to scroll
the display in order to see and set the other parameters.
Settings:
Bank (TG)Determines whether or not to transmit Bank Select MSB/LSB messages to the internal tone generator.
PC (TG)Determines whether or not to transmit Program Change messages to the internal tone generator.
Bank (MIDI)Determines whether or not to transmit Bank Select MSB/LSB messages to the external tone generator via MIDI.
PC (MIDI)Determines whether or not to transmit Program Change messages to the external tone generator via MIDI.
PB (Pitch Bend)Determines whether or not to transmit Pitch Bend messages to the internal and external tone generator.
Reference
Master Mode
Master Job mode Zone Edit
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Owner’s Manual
The Master Job mode contains two convenient operations (called “Jobs”) — one letting you initialize (reset) the Master data, and the other letting
you transmit your edited Master data to an external MIDI device or computer.
After setting parameters as required from the selected display, press the [ENTER] button to execute the Job.
MW (Modulation Wheel)Determines whether or not to transmit MIDI messages generated by using the Modulation Wheel to the internal and
external tone generator.
RB (Ribbon Controller)Determines whether or not to transmit MIDI messages generated by using the Ribbon Controller to the internal and
external tone generator.
ChAT (Channel Aftertouch)Determines whether or not to transmit Channel Aftertouch messages generated by pressing the keys to the internal
and external tone generator.
FC1 (Foot Controller1)
FC2 (Foot Controller2)Determines whether or not to transmit MIDI messages generated by pressing the optional Foot Controller to the
internal and external tone generator.
Sus (Sustain)Determines whether or not to transmit Sustain messages generated by pressing the Footswitch connected to the
SUSTAIN jack to the internal and external tone generator.
FS (Footswitch)Determines whether or not to transmit MIDI messages generated by pressing the Footswitch connected to the
ASSIGNABLE jack to the internal and external tone generator.
KnobDetermines whether or not to transmit MIDI messages generated by using the Knobs to the internal and external
tone generator.
SliderDetermines whether or not to transmit MIDI messages generated by using the Sliders to the internal and external
tone generator.
BC (Breath Controller)Determines whether or not to transmit MIDI messages generated by using the Breath controller connected to the
BREATH connector to the internal and external tone generator.
Vol (Volume)Determines whether or not to transmit Volume messages to the internal and external tone generator.
PanDetermines whether or not to transmit Pan messages to the internal and external tone generator.
[F4] PRESET
From this display you can make the Voice-related settings for each Zone, in the selected Master program number. In this way, selecting a different Master
automatically calls up a completely different set of Voices and Voice-related settings for the four Zones.
BankMSB,
BankLSB,
PgmChange (Program Change)
Determines the Voice assignment for each Zone in the selected Master.
Settings:Refer to the Voice List in the separate Data List booklet.
VolumeDetermines the output level of the Voice in each Zone.
Settings:0 ~ 127
PanDetermines the stereo pan position of the Voice in each Zone.
Settings:L64 (Left) ~ C (Center) ~ R63 (Right)
[F5] KN/CS (Knob/Control 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 the [F2] OTHER display in Common Edit) is set to “zone.”
Settings:off, 1~95
Master Job mode[MASTER] → [JOB]
[F1] INIT (Initialize)
This function lets you reset (initialize) all Master parameters to their default settings. It also allows you to selectively initialize certain parameters, such as Common
settings, settings for each Zone, and so on — very useful when creating a completely new Master from scratch.
Parameter Types (for Initializing): All, Common, Zone
ALLAll settings for the selected Master are initialized.
CommonCommon parameter settings for the selected Master are initialized.
ZoneYou can initialize the Zone setting to one of the following three types.
Split
Splits the keyboard range using Zone 1 and Zone 2. “UpperCh” determines the MIDI transmit channel of the upper range of the keyboard, “LowerCh” determines
the MIDI transmit channel of the lower range of the keyboard, and “SplitPoint” determines the note (C2 ~ G8) number which separates the upper range and lower
range of the keyboard.
4ZoneInitializes all four Zones.
LayerLets you layer two parts using Zone 1 and Zone 2. “UpperCh” and “LowerCh” determine the MIDI transmit channels of the two Zones respectively.
Reference
Master Mode
Master Store mode Zone Edit
274Owner’s Manual
This function lets you store your edited Master to User memory (Flash ROM).
For details, refer to page 137 in the Quick Guide section.
[F4] BULK (Bulk Dump)
This function lets you send all your edited parameter settings for the currently selected Master to a computer or another MIDI device for data archiving. For details,
see page 185.
nIn order to execute Bulk Dump, you’ll need to set the correct MIDI Device Number, with the following operation: [UTILITY] → [F5] MIDI → [SF1] CH → DeviceNo.
Master Store mode[MASTER] → Master selection → [STORE]
Information Displays
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Appendix
Information Displays
The convenient Information displays let you see at-a-glance some of the more important settings relevant to each mode. Select
the desired mode, then press the [INFORMATION] button to call up the Information display for that mode. To exit from the
display, press the button again (or any other panel button).
Voice mode
Bank
Indicates the Bank/Number (page 60) of the currently
selected Voice.
EL 1234
Indicates the currently selected Voice, on/off status of the four
Elements and mono/poly (page 79) status.
Porta (Portamento)
Indicates the Portamento switch on/off status of the currently
selected Voice.
PB (Pitch Bend)
Indicates the Upper/Lower setting of the Pitch Bend range.
Indicates the installation status of the respective Plug-in board.
The Plug-in board name is displayed at the right of the
corresponding slot number. When PolyExpand (page 265) is set to
on in the Utility mode, “P” is indicated at the left of the slot number.
Ins (Insertion), InsPLG (Plug-in Insertion)
Indicates the Part number to which the Insertion effect is
applied and the Part number to which the Plug-in Insertion
effect is applied (when the PLG100-VH is installed).
Rev (Reverb), Cho (Chorus)
Indicates the currently selected effect type for each effect
block (page 179).
Song mode
●Song Play mode
Indicates the amount of currently unused (available) memory
(DRAM) for song recording.
●Song Mixing mode
PlugInfo/Port (Plug-in board installation status)
Indicates the Plug-in board name and its MIDI port number
page 265) at the right of the slot number. When PolyExpand
(page 265) is set to on in the Utility mode, “P” is indicated at
the left of the slot number.
Ins (Insertion), InsPLG (Plug-in Insertion)
Indicates the Part number to which the Insertion effect is
applied and the Part number to which the Plug-in Insertion
effect is applied (when the PLG100-VH is installed).
Rev (Reverb), Cho (Chorus)
Indicates the currently selected effect type for each effect
block (page 180).
Appendix
Appendix
Information Displays
276Owner’s Manual
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.
●Mixing Voice Edit mode
Same as in the Voice mode.
Sampling mode
●Sampling mode
SampleMemory
Indicates the amount of memory used by Sampling.
RecordableSize
Indicates the amount of the available sampling memory
(unused memory) and the available sampling time.
nKeep in mind that 320 KB of memory in the installed DIMMs is needed
for wave (sample) management, even if no actual samples are
contained in memory.
Utility mode
PlugInfo/Port (Plug-in board installation status)
Indicates the Plug-in board name and its MIDI port number
(page 265) at the right of the slot number. When PolyExpand
(page 265) is set to on in the Utility mode, “P” is indicated at
the left of the slot number.
MIDI IN/OUT
Indicates which physical output terminal(s) will be used for
transmitting/receiving MIDI data: MIDI IN/OUT/THRU, USB, or
mLAN (when the optional mLAN16E has been installed).
File mode
Card Free/USB Free
Indicates the amount of currently available (unused) memory
of the SmartMedia inserted to the Card slot or the USB
storage device connected to the MOTIF ES.
Partition
Indicates the mounted partition of the connected USB storage
device.
Current Dir (Current Directory)
Indicates the currently selected directory.
Master mode
Mode
Indicates the mode and program number memorized to the
currently selected Master.
ZoneSwitch
Indicates the on/off status of the Zone switch.
ZoneTCH (Zone Transmit Channel)
Indicates the MIDI transmit channel of each Zone (when the
Zone Switch is set to on).
Remote Control mode
For details, see page 152.
Appendix
Display Messages
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Owner’s Manual
Display Messages
LCD IndicationExplanation
Are you sure ? [YES]/[NO]Confirms whether you want to execute a specified operation or not. Press [INC/YES] or [DEC/NO] as required.
Arp memory fullThe internal memory for Arpeggio data is full, preventing storing the recorded sequence data as an Arpeggio.
Arpeggio type storedThe current Arpeggio type has been stored to one of the [SF1] - [SF5] buttons.
Bad disk or card.The SmartMedia or USB storage device is unusable. Format the SmartMedia or USB storage device and try again.
Bulk protected.Bulk data was received when RcvBulk was set to “protect.” (See page 264.)
Can’t find associated files.The related voice file cannot be found when loading an AKAI S1000/S3000 format file.
Can’t undo OK? [YES]/[NO]When certain Song/Pattern Jobs are executed, internal memory becomes too full for use of the Undo operation. Press
[INC/YES] if this is OK, or [DEC/NO] to abort the operation. Try again after erasing unwanted Songs, Patterns, or User
phrases.
Choose user phrase.You have attempted to record a Pattern track to which a preset phrase is assigned. If you wish to use a preset phrase as
raw material for Pattern recording, copy it to a User phrase before recording.
Completed.The specified load, save, format, or other Job has been completed.
Copy protected.You have attempted to export or save a copy-protected digital audio source.
Device number is off.Bulk data cannot be transmitted/received since the device number is off.
Device number mismatch.Bulk data cannot be transmitted/received since the device numbers don’t match.
Digital in unlocked.Digital input signal of the AIEB2 is unlocked (not properly received or recorded).
Disk or card full.The SmartMedia or USB storage device is full and no more data can be saved. Use a new SmartMedia or USB storage
device, or make space by erasing unwanted data from the SmartMedia or USB storage device.
Disk or card not ready.A SmartMedia or USB storage device is not properly inserted in or connected to the MOTIF ES.
Disk or card read/write error.An error occurred while reading or writing to/from a SmartMedia or USB storage device.
Disk or card write protected.The SmartMedia or USB storage device is write protected, or you have attempted to write to a read-only medium such as
CD-ROM.
Effect plug-in is not in slot 1.The Effect Plug-in board does not work because it has not been installed to slot 1. The Effect Plug-in board should be
installed to slot 1.
Executing...A format operation or Job is being executed. Please wait.
File already exists.A file having the same name as the one you are about to save already exists.
File not found.The file of the specified type cannot be found on the SmartMedia/USB storage device
Folder is too deep.Directories below this level cannot be accessed.
Illegal check box.No check boxes have been checked in a Sequencer track Job which requires a check box selection. Check the
appropriate check box.
Illegal fileThe file specified for loading is unusable by the MOTIF ES or cannot be loaded in the current mode.
Illegal file name.The specified file name is invalid. Try entering a different name.
Illegal input.An invalid input or value has been specified. Check the input method or value.
Illegal measure.An invalid measure number has been specified in the Song/Pattern mode. Select the measure again.
Illegal phrase number.An invalid phrase number has been specified in the Pattern mode. Select the phrase again.
Illegal sample data.The sample file specified for loading is unusable by the MOTIF ES.
Illegal track number.An invalid track number has been specified in the Song/Pattern mode. Select the track again.
Incompatible USB deviceA USB device which cannot be used with the MOTIF ES has been connected to the USB TO DEVICE connector.
Meter mismatchIn the Pattern Job mode, the meter (time signature) of the destination Pattern is different from the meter of the source
Pattern.
MIDI buffer full.Failed to process the MIDI data because too much data was received at one time.
MIDI checksum error.An error occurred when receiving bulk data.
MIDI data error.An error occurred when receiving MIDI data.
Mixing storedIn the Song/Pattern mode, the Mixing settings have been loaded from the file.
Mixing Voice fullThe Mixing Voice cannot be stored because the number of Voices already stored has exceeded the maximum capacity.
Multi plug-in is not in slot 3.The Multi-Part Plug-in board does not work because it has not been installed to slot 3. The Multi-Part Plug-in board
should be installed to slot 3.
No data.When a Song/Pattern Job is executed, the selected track or range contains no data. Select an appropriate track or
range. In addition, this message appears when a Job related to a Mixing Voice cannot be executed because the
specified Mixing Voice is not available.
No DIMM Memory Installed.An appropriate pair of expansion DIMMs is not properly installed, or the pair is not properly matched (page 289).
No F7 (End of Exc.)
Exclusive data has been entered or changed without the necessary “End of Exclusive” byte (F7). Make sure F7 is included.
Display Messages
278Owner’s Manual
Appendix
No response from USB device
There is no response from the USB device connected to the USB TO DEVICE terminal.
No sample data.This message appears when a sample-related Job cannot be executed because the specified sample is not available.
Not empty folderYou have attempted to delete a folder that contains data.
Now checking plug-in board.The MOTIF ES is checking the Plug-in board installation status during power-on.
Now loading... (xxxx)Indicates that a file is being loaded.
Now saving... (xxxx)Indicates that a file is being saved.
Now scanning auto loaded filesScanning for the files specified for Auto Load.
Now working...Executing the memory arrangement after finishing Sampling or canceling the Load/Save operation by pressing the
[EXIT] button.
Overwrite? [YES]/[NO]A save operation will overwrite data on the SmartMedia/USB storage device, and this message confirms whether it is OK
to continue or not. Press [INC/YES] or [DEC/NO] as required.
Pattern length mismatch.A Pattern Job will result in the length of a Pattern being greater than 256 measures.
Phrase length mismatchA Pattern Job will result in the length of a phrase being greater than 256 measures.
Phrase number overflowThe maximum number of phrases (256) has been exceeded when recording, executing a Pattern Job, or editing.
Please keep power on.
The data is being written to Flash ROM.
Never attempt to turn off the power while data is being written to Flash ROM. Turning the power off while this message is
shown results in loss of all user data and may cause the system to freeze (due to corruption of data in the Flash ROM).
This may also result in the MOTIF ES being unable to properly start up the next time the power is turned on.
Please stop sequencer.The operation you’ve attempted to execute cannot be done during Song/Pattern playback.
PLG100 not supported.The Plug-in All Bulk Save function does not apply to the PLG100 series boards.
Plug-in1 communication error.The Plug-in board that has been installed to slot 1 does not work.
Plug-in1 type mismatch.The User Voice created by using the Plug-in board previously installed to slot 1 (but now removed from the slot) has been
selected.
Plug-in2 communication error.The Plug-in board that has been installed to slot 2 does not work.
Plug-in2 type mismatch.The User Voice created by using the Plug-in board previously installed to slot 2 (but now removed from the slot) has been
selected.
Plug-in3 communication error.The Plug-in board that has been installed to slot 3 does not work.
Plug-in3 type mismatch.The User Voice created by using the Plug-in board previously installed to slot 3 (but now removed from the slot) has been
selected.
Power on mode storedThe setting of the program number automatically selected when turning the power on has been stored.
Receiving MIDI bulkThe MOTIF is receiving MIDI bulk data.
Sample freq is too low.The sampling frequency is too low and the Frequency Convert Job cannot be executed.
Sample is protected.The sample cannot be overwritten because it is protected.
Sample is too long.The sample size is too large and the Time Stretch Job cannot be executed.
Sample is too short.The sample length is too short and the Frequency Convert Job cannot be executed.
Sample memory full.The sample memory is full and further sampling operations, Jobs, or load operations cannot be executed.
Scene & Arpeggio type storedThe Song Scene and current Arpeggio type has been stored to one of the [SF1] - [SF5] buttons.
Seq memory full.The internal memory for Sequence data is full, preventing any further operation (such as recording, editing, Job
execution, MIDI reception/transmission, or loading from the SmartMedia/USB storage device). Try again after erasing
unwanted Song, Pattern, or User phrase data.
System memory crashed.Writing data to Flash ROM has failed.
This performance uses user voices.The performance you have loaded includes User voice data. Check whether the voice you saved exists at the
appropriate User voice bank.
Too many favoritesYou’ve attempted to assign more than 257 voices to the Favorite category.
Too many fixed notesWhen converting the song or pattern data to the Arpeggio data, the amount of different notes in the data to be converted
has exceeded sixteen.
Too many samples.The maximum overall number of samples (8192) has been exceeded.
Transmitting MIDI bulk The MOTIF ES is transmitting MIDI bulk data.
USB connection terminated. Press
[ENTER].A break in the connection with the USB storage device has occurred because of an abnormal electric current.
Disconnect the USB storage device from the USB TO DEVICE connector, then press the [ENTER] button.
USB device connectingRecognizing the USB storage device connected to the USB TO DEVICE terminal.
USB power consumption exceeded. The power consumption of the USB storage device connected to the USB TO DEVICE connector exceeds the regulated
value.
USB transmission errorAn error occurs when communicating with the USB storage device.
Utility storedThe settings in the Utility mode have been stored.
LCD IndicationExplanation
Appendix
Troubleshooting
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Owner’s Manual
Troubleshooting
No sound is produced even when playing the keyboard
•Are all four Sliders set to appropriate levels (other than zero or minimum)?............................................................................................................page 51
•Check the value of the [UTILITY] → [F1] GENERAL → [SF1] TG → Volume parameter. ......................................................................................page 260
•
Check the setting of the [UTILITY]
→
[F5] MIDI
→
[SF2] SWITCH
→
LocalCtrl parameter. If this is set to off, the internal tone generator will not sound.
.......page 264
•Is the power of the MOTIF ES and any external equipment connected to the MOTIF ES turned on?
•Have you made all the appropriate level settings – including the Master Volume on the MOTIF ES and the volume settings on any connected external
equipment?
•Is the Foot Controller pressed down (when it is connected to the FOOT CONTROLLER jack)?..............................................................................page 42
•Is the MOTIF ES properly connected to related external equipment (e.g., amplifier or speaker) via audio cables?
•
When the Voice produces no sound, are the effect and filter settings appropriate? (Inappropriate filter cutoff frequency settings can result in no sound.)
......page 197
•When the Voice produces no sound, are all four Elements properly turned on?......................................................................................................page 79
•When the Voice produces no sound, is the volume parameter set appropriately in the Voice Common Edit?......................................................page 190
•When the Voice produces no sound, are the parameters in the Voice Element Edit (e.g., Element Switch, Note Limit, Velocity Limit) set appropriately in
the Voice Common Edit?.........................................................................................................................................................................................page 195
•
When the Performance produces no sound, has a Voice been assigned to each Part? Check this in the [PERFORM] → [F2] VOICE display.
......page 71
•When the Performance produces no sound, are the Note Limit, volume, and output parameters of each Part set appropriately?........................page 71
•When playing the keyboard in the Song/Pattern mode produces no sound, check whether or not the Sample Voice or Mixing Voice is assigned to the
current Part. ...........................................................................................................................................................................................................page 102
•When the Song/Pattern playback produces no sound, are any or all of the tracks muted?....................................................................................page 58
•When the Song/Pattern playback produces no sound, are the output channel of each track in the play mode and the receive channel of each Part in the
Mixing mode set appropriately?.............................................................................................................................................................................page 164
•When the Song/Pattern playback produces no sound, is the volume or output setting of each Part in the Mixing mode set appropriately?.......page 233
•When the Song/Pattern playback produces no sound, is the MIDI filter set so that note-on messages are blocked in the [SONG] or [PATTERN] →
•When the [ARPEGGIO ON/OFF] button is turned on, press it so that its lamp is turned off. ..................................................................................page 19
•When in the Song mode or Pattern mode, press the [■] (Stop) button. ..................................................................................................................page 20
•
When the click sound continues, set the [SONG] or [PATTERN] → [UTILITY] → [F3] SEQ → [SF1] CLICK → Mode parameter to something other than “all.”
.....page 262
Sound level is too low
•Are the MIDI volume or MIDI expression settings too low (by using the Foot Controller)?.......................................................................................page 42
•Is the cutoff frequency of the filters set too high/low?.............................................................................................................................................page 161
•When the Song/Pattern playback produces a soft sound, is the velocity offset in the Groove display set too low?..............................................page 114
Distorted sound
•Are the effect settings appropriate?........................................................................................................................................................................page 177
•Are the filter settings appropriate? (Excessively high filter resonance settings can cause distortion.)..................................................................page 161
•Is the MASTER VOLUME set so high that clipping is occurring?.............................................................................................................................page 18
•Is the volume of each Element in the Voice mode or the volume of each part in the Performance mode or the volume of each track/Part in the Song/
Pattern mode set too high?.....................................................................................................................................................................................page 213
Sound is cut off
•Are you exceeding the maximum polyphony of the MOTIF ES?............................................................................................................................page 162
Only one note sounds at a time
•When this situation occurs in the Voice mode, is the [VOICE] → [F4] PORTA → Mono/Poly parameter set to “mono” ? If you wish to play the chord, set
this parameter to “poly.” .........................................................................................................................................................................................page 188
•When this situation occurs in the Song mode/Pattern mode, is the Mono/Poly parameter set to “mono” in the [SONG] or [PATTERN] → [MIXING] →
[EDIT] → Part selection → [F1] VOICE → [SF2] MODE display? If you wish to play chords, set this parameter to “poly.” .................................page 235
Troubleshooting
280Owner’s Manual
Appendix
Pitch or intervals are wrong
•Is the Master Tune parameter in the [UTILITY] → [F1] GENERAL → [SF1] TG display set to a value other than “0”?..........................................page 260
•Is the Note Shift parameter in the [UTILITY] → [F1] GENERAL → [SF1] TG display set to a value other than “0”?..............................................page 260
•
When the Voice produces a wrong pitch, check the Micro Tuning setting in the [VOICE]
→
[EDIT]
→
[COMMON]
→
[F1] GENERAL
→
[SF2] PLY MODE display.
....page 190
•When the Voice produces a wrong pitch, is the LFO Pitch Modulation Depth in the Voice Edit mode set too high?............................................page 201
•When the Performance produces a wrong pitch, is the Note Shift parameter of each Part set to a value other than “0”?...................................page 218
•When the Performance produces a wrong pitch, is the Detune parameter of each Part set to a value other than “0”?.......................................page 218
•
When the Song/Pattern playback produces a wrong pitch, is the Note Offset parameter in the Groove display set to a value other than “0”?
....................page 114
No effect is applied
•Is the [EFFECT BYPASS] button turned off?...........................................................................................................................................................page 177
•Have the [REVERB] and [CHORUS] knobs been turned fully counter-clockwise (to the minimum)?......................................................................page 50
•Have any or all of the Elements’ Effect Output parameters been set to “thru” in the effect setting display in the Voice Edit mode?....................page 194
•Have any or all of the effect types been set to “thru” or “off”?................................................................................................................................page 179
•
When this occurs in the Performance mode/Song mode/Pattern mode, check whether the Insertion Switch (INS SW) parameters are set properly or not.
........pages 216, 235
The Edit Indicator appears, even when parameters are not being edited
•Keep in mind that even though the Voice Play mode or Performance Play mode is active, simply moving a Knob or Slider changes the current Voice or
Performance, automatically displaying the Edit indicator. ................................................................................................................................pages 65, 69
•In the Song Mixing mode or Pattern Mixing mode, keep in mind that simply playing back a Song or Pattern may change the Mixing parameters of the
current Song/Pattern, automatically displaying the Edit indicator..........................................................................................................................page 104
Arpeggio problems
■ Cannot start the Arpeggio
Check whether the [ARPEGGIO ON/OFF] button is turned on or off. When the Arpeggio doesn’t start even though the button is
turned on, check the following points.
•When the User Arpeggio type is selected, does the currently selected Arpeggio actually contain data?............................................................page 189
•Are the Arpeggio related parameters such as Note Limit and Velocity Limit set appropriately?...........................................................................page 191
•When this situation occurs in the Performance mode, check the ArpSwitch parameters for all Parts in the [PERFORM] → [EDIT] →Part selection → [F1]
VOICE →[SF2] MODE display. If parameters of all Parts are turned off, the Arpeggio will not be played back even if the [ARPEGGIO ON/OFF] button is
turned on. ...............................................................................................................................................................................................................page 216
•When this situation occurs in the Song mode/Pattern mode, check the ArpSwitch parameter in the [SONG] or [PATTERN] → [MIXING] → [EDIT] → Part
selection → [F1] VOICE → [SF2] MODE display. If this parameter for the current Part is turned off, Arpeggio playback will not be triggered by your
keyboard performance even if the [ARPEGGIO ON/OFF] button is turned on. ....................................................................................................page 235
■ Cannot stop the Arpeggio
•When Arpeggio playback does not stop even if you release the key, set the Arpeggio Hold parameter to “off.” ................................................page 191
nFor details and a list of the Arpeggio related functions, see page 169.
Song/Pattern problems
■ The Song/Pattern cannot be started even when pressing the [F] (Play) button.
•Does the selected Song or Pattern (phrase) actually contain data?.................................................................................................................pages 57, 59
•Is the Remote Control feature turned on?...............................................................................................................................................................page 147
•Is the MIDI sync parameter set to internal (using internal clock) in the [UTILITY] → [F5] MIDI → [SF3] SYNC display?.....................................page 264
■ Song/Pattern (Phrase) cannot be recorded.
•Is there enough free memory for recording? The total MOTIF ES memory capacity determines the number of Songs/Patterns (phrases) that can be
recorded. For example, if the memory contains Songs/Patterns (phrases) that use up a large amount of memory, the memory may become full even
though the available Pattern or Song numbers are not all used............................................................................................................................page 275
•In the Pattern Record mode, does the specified track to which the Phrase is assigned have preset data? Recording cannot be done to a track that
■ Cannot enter the Pattern Job mode even when pressing the [JOB] button in the Pattern mode.
•
Check whether the MOTIF ES is in the Pattern Chain mode or not. If so, exit from the Pattern Chain mode, then press the [JOB] button
...................page 115
■ Cannot enter the Pattern Mixing mode even when pressing the [MIXING] button in the Pattern mode.
•
Check whether the MOTIF ES is in the Pattern Chain mode or not. If so, exit from the Pattern Chain mode, then press the [MIXING] button.
........................page 115
Appendix
Troubleshooting
281
Owner’s Manual
■ The drum sound is wrong or unexpected when changing the transpose value.
•This is normal. Changing the transpose setting while playing a Drum Voice will produce different sounds for the same keys played.
Microphone does not work properly
•
Check the current mode. In the Voice mode and Voice Edit mode, the A/D part which handles the microphone sound cannot be recognized.
.........page 165
•Check whether the Mic/Line parameter is set to “mic” or not in the [UTILITY] → [F2] I/O → [SF1] INPUT display. .............................................page 261
•Check whether the Gain Knob on the rear panel is set to minimum position or not. ...............................................................................................page 25
Can’t record samples
•If you cannot enter the Sampling mode, check whether DIMMs have been installed or not. In order to enter the Sampling mode and record Samples,
DIMM modules must be installed...........................................................................................................................................................................page 289
•Have you exceeded the maximum allowable number of samples (key banks)?...................................................................................................page 174
•Is there enough sample memory available?...........................................................................................................................................................page 276
•Is the Sampling Source setting appropriate?..........................................................................................................................................................page 172
•Is the Trigger mode set appropriately?...................................................................................................................................................................page 175
Plug-in Board problems
■ A Plug-in Voice cannot be selected even if the Plug-in Board has been installed.
•Check whether the SLOT lamp (from SLOT1 - 3) corresponding to the selected PLG button ([PLG1] - [PLG3]) is turned on or off. ....................page 21
•If the User bank is selected in the [VOICE] → [F2] BANK display, select the preset bank. .................................................................................page 188
•Check whether the PLG which corresponds to the PLG100-XG slot is selected or not. The Voice on the PLG100-XG cannot be selected in the Voice
mode or Performance mode. .................................................................................................................................................................................page 163
•Check whether the PLG which corresponds to the PLG100-VH slot is selected or not. The PLG100-VH contains no Voices for selection, since it is an
•Is the lamp of the corresponding slot number to which the Plug-in board has been installed lit?...........................................................................page 21
•Has the PLG100-VH been installed to slot 2 or 3? (The PLG100-VH should be installed to slot 1.)........................................................................page 78
•Has the PLG100-XG been installed to slot 1 or 2? (The PLG100-XG should be installed to slot 3.)........................................................................page 77
Computer/MIDI instrument problems
■ Data communication between the computer and the MOTIF ES does not work properly.
•Check whether the Port setting on the computer is appropriate or not.
•Check whether the MIDI IN/OUT parameter is set properly in the [UTILITY] → [F5] MIDI → [SF4] OTHER display. Set this parameter to “USB” when
using a USB cable to connect to the computer. Set this parameter to “mLAN” when using an IEEE 1394 cable to connect to the computer.
Set this parameter to “MIDI” when using MIDI cables to connect to the computer. ..............................................................................................page 265
■ Data communication between the MIDI instrument and the MOTIF ES does not work properly.
•Check whether the MIDI IN/OUT parameter is set to “MIDI” or not in the [UTILITY] → [F5] MIDI → [SF4] OTHER display. ................................page 265
■ The MOTIF ES does not sound properly even when playing back the song data on the computer or the MIDI instrument
connected to the MOTIF ES.
•Make sure to set the MOTIF ES to the Song mode or Pattern mode. The Voice mode or Performance mode may not produce the proper sound even
when playing back the Song data on the MIDI instrument or the computer connected to the MOTIF ES. .............................................................page 36
■ MIDI bulk data transmission/reception does not work properly.
•
When reception does not work properly, is the Receive Bulk parameter set to “protect” in the [UTILITY]
→
[F5] MIDI
→
[SF2] SWITCH display?
..................page 264
•When transmission does not work properly, is the device number of the MIDI instrument connected to the MOTIF ES set to match the DeviceNo.
parameter in the [UTILITY] → [F5] MIDI → [SF1] CH display? .............................................................................................................................page 263
Can’t save data to the SmartMedia card or the USB storage
•Is the SmartMedia/USB storage device being used write protected? (Write-protect should be set to off for saving data.)....................................page 28
•Is the SmartMedia/USB storage device being used properly formatted?..............................................................................................................page 268
Can’t enter the Edit mode
•Is the Category Search function turned on? After exiting from the Category Search function, press the [EDIT] button. .......................................page 62
•Is the MOTIF ES in the File mode? After exiting from the File mode, press the [EDIT] button. .............................................................................page 266
Installing Optional Hardware
282Owner’s Manual
Appendix
Installing Optional Hardware
Available devices
The following optional devices can be installed to the MOTIF ES.
Installation locations
Installation Precautions
Before installing the optional hardware, make sure you have a Philips screwdriver and ample space to work. Protective cushions
or supports for the instrument may also be needed.
•Before beginning installation, switch off the power to the instrument and connected peripherals, and unplug them from the power outlet. Then remove all
cables connecting the instrument to other devices. (Leaving the power cord connected while working can result in electric shock. Leaving other cables
connected can interfere with work.) Installation or removal of any devices should be started ONLY after the instrument (and the optional hardware)
returns to normal room temperature.
•Be careful not to drop any screws inside the instrument during installation (this can be prevented by keeping the optional units and cover away from the
instrument while attaching). If this does happen, be sure to remove the screw(s) from inside the unit before turning the power on. Loose screws inside
the instrument can cause improper operation or serious damage. If you are unable to retrieve a dropped screw, consult your Yamaha dealer for advice.
•Install the optional units carefully as described in the procedure below. Improper installation can cause shorts which may result in irreparable damage
and pose a fire hazard.
•Do not disassemble, modify, or apply excessive force to board areas and connectors on optional units. Bending or tampering with boards and
connectors may lead to electric shock, fire, or equipment failures.
•Before handling the optional units, you should briefly touch the metal surface to which the optional unit cover is attached (orother such metallic area \ be
careful of any sharp edges) with your bare hand so as to drain off any static charge from your body. Note that even a slight amount of electrostatic
discharge may cause damage to these components.
•It is recommended that you wear gloves to protect your hands from metallic projections on optional units and other components. Touching leads or
connectors with bare hands may cause finger cuts, and may also result in poor electrical contact or electrostatic damage.
•Handle the optional units with care. Dropping or subjecting them to any kind of shock may cause damage or result in a malfunction.
•Be careful of static electricity. Static electricity discharge can damage the IC chips on the Plug-in board. Before you handlethe optional Plug-in board, to
reduce the possibility of static electricity, touch the metal parts other than the painted area or a ground wire on the devices that are grounded.
•Do not touch the exposed metal parts in the circuit board. Touching these parts may result in a faulty contact.
•When moving a cable, be careful not to let it catch on the circuit Plug-in board. Forcing the cable in anyway may cut the cable, cause damage, or result in
a malfunction.
•Be careful not to misplace any of the screws since all of them are used.
•Do not use any screws other than what are installed on the instrument.
● Plug-in Boards● AIEB 2 or mLAN16E● DIMM
Up to three boards can be installed.
MOTIF ES6MOTIF ES7MOTIF ES8
MOTIF ES6MOTIF ES7MOTIF ES8
● Plug-in Boards
● AIEB2, mLAN16E, DIMM
Plug-in Board
cover
Plug-in
Board cover
Plug-in
Board cover
Bottom cover for
optional units
Rear cover for the
AIEB2 or mLAN16E
Rear cover for the
AIEB2 or mLAN16E
Rear cover for the
AIEB2 or mLAN16E
Bottom cover for
optional units
Bottom cover for
optional units
WARNING
CAUTION
Installing Optional Hardware
283
Owner’s Manual
Appendix
Optional Plug-in Board Installation
A variety of optional Plug-in boards sold separately let you expand the voice library of your instrument. For details about the
Plug-in Board line up which can be used with the MOTIF ES, see page 74.
The MOTIF ES provides three slots on the rear panel for Plug-in Boards, allowing you to install up to three boards for
simultaneous use.
nThe Vocal Harmony Plug-in board (PLG100-VH) can be installed only to slot 1.
nThe Multi part Plug-in board (PLG-100XG) can be installed only to slot 3.
nThe Single part Plug-in board can be installed to any of three slots.
Installing the Plug-in Board
1Turn the power of the MOTIF ES off, and disconnect the
AC power cord. Also, make sure to disconnect the
MOTIF ES from any connected external devices.
2Remove 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 re-
attaching the cover to the instrument.
3Remove the ribbon cables that are to be connected to
the Plug-in board from the inside of the MOTIF ES.
The slots are assigned to the color-coded cables as
follows:
4Insert the board along the guide rails about two-thirds
of the way inside the MOTIF ES, with the connector side
face up and toward you.
GREEN
YELLOW
ORANGE
3
2
1
Plug-in SLOT
OUTPUT
ASSIGNABLEOUTPUT
LMONOPHONES
ADINPUTGAIN
LRRRL
GREEN
YELLOW
ORANGE
3
2
1
Plug-in SLOT
OUTPUT
ASSIGNABLEOUTPUT
LMONOPHONES
ADINPUTGAIN
LRRRL
MOTIF ES6 / MOTIF ES7
GREEN
YELLOW
ORANGE
Plug-in SLOT
GREEN
YELLOW
ORANGE
Plug-in SLOT
MOTIF ES8
OUTPUT
ASSIGNABLEOUTPUT
LMONOPHONES
ADINPUTGAIN
RLRRL
GREEN
YELLOW
ORANGE
3
2
1
Plug-in SLOT
Slot 3
Slot 2
Slot 1
Cable for Slot 3
(Green)
Slot 1–Orange
Slot 2–Yellow
Slot 3–Green
Cable for Slot 2
(Yellow)
Cable for Slot 1
(Orange)
OUTPUT
ASSIGNABLEOUTPUT
LMONOPHONES
ADINPUTGAIN
RLRRL
GREEN
YELLOW
ORANGE
3
2
1
Plug-in SLOT
Slot 3
Slot 2
Slot 1
Securely insert the board into the appropriate slot,
taking care that the board isn’t jammed between slots.
Appendix
Installing Optional Hardware
284Owner’s Manual
5With the board still protruding slightly from the
expansion bay, bring the cable end around and connect
it to the board.
Make sure to connect the proper cable, matching the color
of the cable to the slot used. Also, take care not to pull too
strongly on the cable as you connect it to the board.
nThe Vocal Harmony Plug-in board (PLG100-VH) can be installed only
to slot 1.
n
The Multi part Plug-in board (PLG-100XG) can be installed only to slot 3.
6Insert the Plug-in board the rest of the way into the
expansion bay.
Carefully put the ribbon cable back into the MOTIF ES,
making sure that no part of the cable sticks out of the
instrument.
7Replace the cover with the screw you removed in step 2
above.
8Check that the installed Plug-in board is functioning
properly.
After connecting the AC power cord to the MOTIF ES, turn
on the power.
A message appears indicating that the installed Plug-in
Board is being checked. The main display then appears
and the corresponding slot indicator at the right top of the
front panel lights. This indicates that the board has been
successfully installed.
If the cable is not connected properly (refer to the notes
above) or firmly, the indicator will not light.
OUTPUT
ASSIGNABLEOUTPUT
LMONOPHONES
ADINPUTGAIN
RLRRL
GREEN
YELLOW
ORANGE
3
2
1
Plug-in SLOT
Plug-in ConnectorPress the connectors together until
the two notches lock into the sockets.
Notch
Connector from MOTIF ESPlug-in board
OUTPUT
ASSIGNABLEOUTPUT
LMONOPHONES
ADINPUTGAIN
RLRRL
GREEN
YELLOW
ORANGE
3
2
1
Plug-in SLOT
FAVORITES
DRUM KITS
A. PIANOKEYBOARDORGAN
PRE 5PRE 6
PRE 1PRE 2PRE 3PRE 4MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer /Modular Synthesis Plug-in System / Real-time External Control Surface
USER 1
GUITAR/
PLUCKED
SYN LEAD
ABCDEFGHSECTIONGROUP
CATEGORY
SEARCHBANK
SYN PAD/
CHOIRSYN COMP
CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SEMUSICAL FXCOMBI
USER 2
STRINGS
PLG 1
SLOT 1SLOT 2SLOT 3
BRASS
PLG 2
REED/PIPE
PLG 3
BASS
GM
Slot indicator lit
In this example, a Plug-in board has
been installed to slot 1.
Installing Optional Hardware
285
Owner’s Manual
Appendix
Optional AIEB2 or mLAN16E Installation
By installing an optional mLAN expansion board (mLAN16E) or an I/O expansion board (AIEB2), you can increase the input/output
capability and interfacing options of the MOTIF ES.
Installing the AIEB2
1Turn the power of the MOTIF ES off, and disconnect the
AC power cord. Also, make sure to disconnect the
MOTIF ES from any connected external devices.
2Turn over the MOTIF ES so that the keyboard faces
down, giving you direct access to the underside of the
instrument.
To protect the Knobs, Wheels and Sliders from damage,
place the keyboard so the four corners are supported by
something that provides sufficient support like magazines
or cushions.
Since the instrument — particularly the MOTIF ES8 — is very heavy, this
procedure should not be done alone, but by two or three people.
3Remove the cover from the bottom.
With the rear panel of the instrument facing you, remove the
screws from the cover and slide the cover away to remove
it. (The MOTIF ES6 and MOTIF ES7 have seven screws,
while the MOTIF ES8 has five.) On the MOTIF ES6/7, slide
the cover away from you (toward the front of the instrument,
as shown). On the MOTIF ES8, slide the cover to the right.
Keep the removed screws in a safe place. They will be used when re-
attaching the cover to the instrument after installing the AIEB2.
MUSIC PRODUCTION SYNTHESIZER
Place supports at all four corners, taking care
not to touch the Knobs, Wheels and Sliders.
View of the keyboard
from the bottom
CAUTION
MOTIF ES6 / MOTIF ES7
MOTIF ES8
Bottom
↓ Rear side
Slide the cover
away to remove.
Bottom
Slide the cover
away to remove.
↓ Rear side
Bottom
↓ Rear side
Bottom
↓ Rear side
Appendix
Installing Optional Hardware
286Owner’s Manual
4Remove the three screws from the rear cover while
holding it from inside the MOTIF ES with your left hand.
Keep the removed screws in a safe place. They will be used when
re-attaching the cover to the instrument after installing the AIEB2.
5Remove the AIEB2 power cables from the hook shaped
cable clip in the MOTIF ES.
6Remove the AIEB2 from its package.
The AIEB2 has one flat ribbon cable and two power cables.
Since these two power cables are used for the main body
and are not needed when installing to the MOTIF ES, you
can remove them from the AIEB2.
7Connect the flat ribbon cable coming from AIEB2 to the
circuit board of the MOTIF ES.
Be careful to connect the cable in the proper direction as
shown.
Rear side of the
MOTIF ES
MOTIF ES6 / MOTIF ES7
MOTIF ES8
↑ Top (keyboard side) of the MOTIF ES
Underside
↓ Rear panel
Unlatch the cable clip by
pulling out the tab as
shown. Replace the clip
after pulling out the
power cable.
↑ Top (keyboard side)
of the MOTIF ES
Underside
↓ Rear panel
AIEB2Remove the two
power cables.
AIEB2
Flat ribbon cable
of the AIEB2
Align the connectors
as shown.
Connector on the circuit
board of the MOTIF ES
↓ Rear panel
Installing Optional Hardware
287
Owner’s Manual
Appendix
8Connect the power cable coming from MOTIF ES to the
AIEB2.
Connect the 3-pin cable to the CN3 connector of the
AIEB2, and the 4-pin cable to the CN1 connector.
9Fasten the AIEB2 to the MOTIF ES.
Flip the unit over, so that the bottom of the plate can be
seen, and that each connector section of the AIEB2 can be
seen from the back (rear) side of MOTIF ES. Supporting the
unit with one hand, attach it to the rear of the MOTIF ES with
the three screws you removed in step 4. If you start
replacing the screws from the center screw, it will be easy
to replace the remaining screws.
10Let the ribbon cable fall into place between the AIEB2
and the circuit board of the MOTIF ES.
11Re-install the cover you removed in step #3, in reverse
order.
Connect the 4-pin
cable to the CN1
connector
Connect the 3-pin
cable to the CN3
connector
↓ Rear panel of
the MOTIF ES
*Make sure to properly match the cables and connectors.
Avoid applying excessive force when connecting.
Flip over the AIEB2 taking care not to
bend or damage the flat ribbon cable.
If you start replacing the
screws from the center screw,
it will be easy to replace the
remaining screws.
Bottom of
the AIEB2
AIEB2
AIEB2
↓ Rear panel
Slide the flat ribbon cable in
the space between the
MOTIF ES and the AIEB2.
Underside of the MOTIF ES
Underside of the MOTIF ES
↓ Rear panel
Appendix
Installing Optional Hardware
288Owner’s Manual
Installing the mLAN16E
1~4
Using the same procedure as in steps 1 - 4 of “Installing
the AIEB2” above, remove the cover on the underside
of the MOTIF ES, then remove the cover of the mLAN-I/
O expansion bay on the rear panel.
5Remove the mLAN16E from its package.
6Insert the connector on the other end of the flat ribbon
cable to the circuit board of the MOTIF ES.
7Fasten the mLAN16E to the MOTIF ES.
Flip the unit over, so that each connector section of the
mLAN16E can be seen from the back side of MOTIF ES.
Supporting the unit with one hand, attach it to the rear of
the MOTIF ES with the two screws you removed in step #4,
as shown below.
8Separate the cover you removed in step #4 into two
parts (A and B shown below), then attach part A to the
rear panel of the MOTIF ES, covering the empty space
left by the installation of the mLAN16E.
9Let the flat ribbon cable fall into place between the
mLAN16E and the circuit board of the MOTIF ES.
10Re-install the cover you removed in step #3, in reverse
order.
mLAN16E
Underside of
mLAN16E
↓Rear panel of the MOTIF ES
Flip over the mLAN16E and
fasten it to the MOTIF ES.
↓Rear panel of the MOTIF ES
A
B
Remove the screw to separate
the cover into two parts.
Installing Optional Hardware
289
Owner’s Manual
Appendix
Optional DIMM Installation
This section explains how to install DIMM memory modules to the MOTIF ES.
Compatible DIMMs
The MOTIF ES does not necessarily support all commercially
available DIMMs. Yamaha cannot guarantee operation of
DIMMs that you purchase. Before purchasing DIMMs, please
consult your Yamaha dealer, or an authorized Yamaha
distributor (see list at end of the Owner’s Manual) for advice,
or see the following page:
http://www.yamahasynth.com/
DIMM Type and DIMM Configuration
•Yamaha recommends that you purchase DIMMs that
conform to the JEDEC* standard. Please be aware,
however, that conformance to this standard does not
constitute a guarantee that the DIMMs will operate correctly
on the MOTIF ES.
*JEDEC (Joint Electron Device Engineering Council) sets standards for
terminal configurations within electronic devices.
•Use only 168-pin DIMMs of 64, 128 or 256 MB capacity
(synchronized DRAM; PC100 or PC133).
•When installing DIMMs, make sure to install them in a
matched pair of the same capacity. You cannot install only
one module and leave the second memory socket open.
Also make sure each DIMM in the pair is of the same
manufacturer and the same type. DIMMs of different
makers and configurations may not work together.
•When purchasing DIMMs, make sure that the DIMM design
does not utilize more than 18 memory chips per module.
(DIMMs comprised of more than 18 chips do not operate
correctly on the MOTIF ES.)
DIMM Installation
1~3
Use the same operation as in “Installing the AIEB2.”
4Insert the two DIMMs into the DIMM sockets.
5Re-install the cover you removed in step #3, in reverse
order (page 285).
6
Check that the installed DIMMs are functioning properly.
Set the MOTIF ES right-side up, and connect the power
cord to the rear-panel AC INLET jack and an AC outlet. Turn
on the power, go to the SAMPLING display by pressing the
[INTEGRATED SAMPLING] button, and press the
[INFORMATION] button (page 276). If the DIMMs have
been installed properly, the appropriate available memory
size is indicated in the display.
nIf the DIMMs have not been installed properly, the MOTIF ES may
freeze when you press the [INTEGRATED SAMPLING] button. If
this occurs, turn the power off, perform the instructions above
again, and make sure to install the DIMMs firmly in step #4.
Removing DIMMs
64MB x 2 = 128MB128MB x 2 = 256MB
256MB x 2 = 512MB
168-pin DIMMs
Notch for alignment
Ejector
lever
Location for DIMM installation
DIMM sockets
Underside of the MOTIF ES
Installing the DIMM modules to the sockets
Make sure that the DIMM module is
aligned correctly before you install it.
Insert the DIMM vertically
in the socket.Press it in firmly until it
“snaps” or locks in place.
↓ Rear panel
Press the ejector lever
until the DIMM unlocks.Pull the DIMM vertically
out of the socket.
Appendix
Glossary
290Owner’s Manual
Glossary
This section explains in detail various words and terms that were not covered in the manual. Another resource for looking up
unfamiliar technical terms related to music, synthesis and audio is a special website we’ve prepared, the Glossary for Electronic
Musical Instruments. If you come across a musical or technical term you don’t know, click on the following URL.
■ Glossary for Electronic Musical Instruments
http://www2.yamaha.co.jp/manual/english/word/index.html (This URL and title may be changed without notice.)
A
Audition
The function or process of hearing the edited sample (in the
Sampling function).
C
Channel
There are two types of channels: MIDI channels, which are used to
transmit MIDI messages, and audio channels, which are used to
send audio signals. You can set the MIDI channel in the display of the
MOTIF ES.
Clock
[1]A unit of note resolution for MIDI Sequence data.
The sequencer determines the playback position of the Song or
Pattern (MIDI sequence data) by using the units Measure, Beat,
and Clock.
[2]Also referred to as “MIDI Clock” or “Timing Clock” defined as
System Realtime Message in MIDI.
This message is transmitted at a fixed interval (24 times per 1/4
note) to synchronize connected MIDI instruments.
On the MOTIF ES, the Utility mode lets you select whether the
instrument’s internal clock will be used as the Timing Clock, or
external Timing Clock messages received via MIDI IN will be
used.
Common
This edit related term refers to the editing of parameters that affect all
Elements or Parts of a program. For each program, this term is used
as listed below.
•Normal Voice.................Common Edit and Element Edit
•Plug-in Voice.................Common Edit and Element Edit
•Drum Voice....................Common Edit and Key Edit
•Performance.................Common Edit and Part Edit
•Song Mixing..................Common Edit and Part Edit
•Pattern Mixing ..............Common Edit and Part Edit
•Master...........................Common Edit and Zone Edit
D
Destination
The MOTIF ES provides the following three types of destination.
[1]In copy operations, this refers to the location to which the original
“source” data or file is to be copied.
[2]In sampling operations, this refers to the internal memory area to
which the external audio “source” is to be recorded.
[3]In the Controller Set function, this refers to the parameter adjusted
by the controller defined as “Source.”
Directory
This is a path created on a data storage device (such as SmartMedia
card or hard disk), allowing a tree-like hierarchical organization of data
files and folders. Effectively a virtual file cabinet, this is the place
where files are stored and arranged according to type or application.
F
Filter
The MOTIF ES provides the following three types of Filter.
[1]A circuit or processor that modifies tone by blocking or passing a
specific frequency range of the sound. This is one of the Voice
parameters (page 161).
[2]A function (referred to as “Event View Filter”) that lets you select
the event types that appear on the Event List display in the Song
Edit/Pattern Edit display (page 225).
[3]
A function (referred to as “MIDI Filter”) that determines which MIDI
events will be transmitted/recognized via the MIDI IN/OUT (page 262).
Folder
This is an organizational feature on a data storage device (such as
SmartMedia card or hard disk), allowing you to group data files
together according to type or application. Folders can be nested in
hierarchical order for organizing data. (Also see “Directory.”)
L
LSB
[1]
An abbreviation for Least Significant Byte, referring to the lower byte of
data when MIDI control change data (such as Bank Select and Data
Entry) is divided into two bytes (the MSB and LSB) for transmission.
[2]An abbreviation for Least Significant Bit, referring to the lowest bit
among eight bits that make up one byte.
M
MSB
[1]
An abbreviation for Most Significant Byte, referring to the upper byte of
data when MIDI control change data (such as Bank Select and Data
Entry) is divided into two bytes (the MSB and LSB) for transmission.
[2]An abbreviation for Most Significant Bit, referring to the uppermost
bit among the eight bits that make up one byte. In MIDI, this “bit”
is very important because it determines whether the byte to which
this “bit” belongs is a status byte or data byte.
O
Offset
A type of editing in which a specified value (the “offset”) is added to
or subtracted from the current parameter value. Unlike normal
editing, in which the parameter is given a specific, new value, offset
editing changes the parameter relative to its current value.
Glossary
291
Owner’s Manual
Appendix
P
Parameter
A setting or data item which you can edit in the various mode and sub
mode displays.
Part
This refers to sound producing sections in the tone generator block
that make up a Song, Pattern or Performance. In the Performance
mode, all four Parts are set to the same MIDI channel; in the Song/
Pattern mode, each Part can be independently assigned to a spceifc
MIDI receive channel.
Preset
This refers to pre-programmed data supplied with the internal
memory of the instrument as shipped from the factory. There are
various types of Preset data, such as Preset Voices and Preset
Phrases. The other type of data, User, is for data you’ve created or
edited on the instrument (or computer), such as User Voices and
User Phrases.
Q
Quantize
A function that lets you “clean up” or “tighten” the timing of notes. The
MOTIF ES provides three different Quantize functions:
[1]One of the Jobs provided in the Song Job mode/Pattern Job
mode, which lets you “clean up” or “tighten” the timing of notes
you’ve recorded in Realtime recording (page 227).
[2]A function in the Song Record mode/Pattern Record mode, which
aligns the timing of notes automatically as you record (page 222).
[3]A parameter that determines the timing (such as measure, 1/2
note, and 1/4 note) by which the pattern actually switches when
changing a pattern during playback (page 262).
R
Record
On the MOTIF ES, this term refers to the following operations.
[1]Recording of your musical performance using the keyboard or
controllers to a Song track as MIDI events.
Song Record mode....................................................page 118
[2]Recording of your musical performance using the keyboard or
controllers to a Pattern track as MIDI events.
Pattern Record mode.................................................page 110
[3]Recording the audio signal from a microphone or an external
audio source (played back via the audio equipment such as a CD
player) to the internal memory as a Sample (Audio data).
Sampling Record mode................................pages 94 and 107
S
Sequencer
An instrument or function that records, edits, modifies, and plays
back a musical performance in the form of MIDI messages. You can
use the MOTIF ES as a sequencer in the Song mode and Pattern
mode.
Source
On the MOTIF ES, “source” has three different meanings or uses:
[1]In copy operations, this refers to the original file or data which is to
be copied.
[2]In sampling operations, this refers to external audio which is to be
recorded (to the internal memory “destination” area) (page 172).
[3]In the Controller Set function, this refers to the controller that is
assigned to adjust a particular parameter (the “destination”)
(page 155).
Synchronization
Refers to the function or process of “locking” the timing of two
devices (for example, two sequencers connected via MIDI), using the
timing clock of one to control the other.
T
Track
A memory location on the sequencer where musical performance
(MIDI event) and audio data is recorded.
Tune/Tuning
A process of matching the pitch of two or more instruments when
playing in an ensemble. Normally, A3 is tuned to 440 Hz. There are
two types of tune: Coarse Tune that adjusts the tuning in semitones
and Fine Tune that adjusts the tuning in cents. In addition, the MOTIF
ES has a Voice parameter (Micro Tuning) that lets you set the tuning
of each individual note of the keyboard.
U
User
Refers to the data you create via various functions on the MOTIF ES
(or computer).
There are various types of User data, such as User Voices and User
Phrases. The other type of data, Preset, refers to data that has been
created or pre-programmed for the instrument at the factory, such as
Preset Voices and Preset Phrases.
V
Velocity
A parameter within the MIDI Note On message that conveys the force
of the note.
Voice
A musical instrument sound built into the MOTIF ES. The following
types of Voices are available on the instrument.
•Normal Voice................page 160
•Drum Voice...................page 160
•Plug-in Voice.................page 76
•Board Voice..................page 76
•Mixing Voice.................page 105
•Sample Voice................page 173
•Phrase Voice.................page 167
Voice data that is supplied with the internal memory of the instruments
shipped from the factory is referred to as a “Preset Voice.” Voice data
you create or edit via the Voice Edit or the Sampling function, using
the preset waves supplied with the instrument or the wave obtained
via the Sampling function is referred to as a “User Voice.”
Volume Label
This refers to the name you can assign to storage devices such as a
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