Yamaha MOTIFESE1 User Manual

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SPECIAL MESSAGE SECTION

PRODUCT SAFETY MARKINGS:

Yamaha electronic

products may have either labels similar to the graphics shown below or molded/stamped facsimiles of these graphics on the enclosure. The explanation of these graphics appears on this page. Please observe all cautions indicated on this page and those indicated in the safety instruction section.

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK.

DO NOT REMOVE COVER (OR BACK).

NO USER-SERVICEABLE PARTS INSIDE.

REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

The exclamation point within the equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product.

Battery Notice:

This product MAY contain a small non-rechargable battery which (if applicable) is soldered in place. The average life span of this type of battery is approximately ﬁve years. When replacement becomes necessary, contact a qualiﬁed service representative to perform the replacement.

Warning:

Do not attempt to recharge, disassemble, or incinerate this type of battery. Keep all batteries away from children. Dispose of used batteries promptly and as regulated by applicable laws. Note: In some areas, the servicer is required by law to return the defective parts. However, you do have the option of having the servicer dispose of these parts for you.

Disposal Notice:

Should this product become damaged beyond repair, or for some reason its useful life is considered to be at an end, please observe all local, state, and federal regulations that relate to the disposal of products that contain lead, batteries, plastics, etc.

NOTICE:

Service charges incurred due to lack of knowledge relating to how a function or effect works (when the unit is operating as designed) are not covered by the manufacturer’s warranty, and are therefore the owners responsibility. Please study this manual carefully and consult your dealer before requesting service.

NAME PLATE LOCATION:

The graphic below indicates the location of the name plate. The model number, serial number, power requirements, etc., are located on this plate. You should record the model number, serial number, and the date of purchase in the spaces provided below and retain this manual as a permanent record of your purchase.

The lightning ﬂash with arrowhead symbol, within the equilateral triangle, is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufﬁcient magnitude to constitute a risk of electrical shock.

IMPORTANT NOTICE:

All Yamaha electronic products are tested and approved by an independent safety testing laboratory in order that you may be sure that when it is properly installed and used in its normal and customary manner, all foreseeable risks have been eliminated. DO NOT modify this unit or commission others to do so unless speciﬁcally authorized by Yamaha. Product performance and/or safety standards may be diminished. Claims ﬁled under the expressed warranty may be denied if the unit is/has been modiﬁed. Implied warranties may also be affected.

SPECIFICATIONS SUBJECT TO CHANGE:

The information contained in this manual is believed to be correct at the time of printing. However, Yamaha reserves the right to change or modify any of the speciﬁcations without notice or obligation to update existing units.

ENVIRONMENTAL ISSUES:

Yamaha strives to produce products that are both user safe and environmentally friendly. We sincerely believe that our products and the production methods used to produce them, meet these goals. In keeping with both the letter and the spirit of the law, we want you to be aware of the following:

MOTIF ES6

POWER ON OFF

AC INLET

MOTIF ES7

MOTIF ES8

POWER

AC INLET

ON OFF

Model

Serial No.

Purchase Date

I/O EXPANSION

POWER ON OFF

AC INLET

USB

TO HOSTTO DEVICEmLAN

mLAN I/O EXPANSION

MIDI OUTTHRU

BREATH

92-469- ➀ (rear)

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IMPORTANT SAFETY INSTRUCTIONS

INFORMATION RELATING TO PERSONAL INJURY, ELECTRICAL SHOCK,

AND FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST.

WARNING-

precautions should always be followed. These precautions include, but are not limited to, the following:

Read all Safety Instructions, Installation Instructions, Special Message Section items, and any Assembly Instructions found in this manual BEFORE making any connections, including connection to the main supply.

Do not attempt to service this product beyond that described in the user-maintenance instructions. All other servicing should be referred to qualiﬁed service personnel.

Main Power Supply Veriﬁcation: Yamaha products are

manufactured speciﬁcally for the supply voltage in the area where they are to be sold. If you should move, or if any doubt exists about the supply voltage in your area, please contact your dealer for supply voltage veriﬁcation and (if applicable) instructions. The required supply voltage is printed on the name plate. For name plate location, please refer to the graphic found in the Special Message Section of this manual.

DANGER

and therefore has been equipped with a three pin attachment plug. If this product should malfunction, the ground pin provides a path of low resistance for electrical current, reducing the risk of electrical shock. If your wall socket will not accommodate this type plug, contact an electrician to have the outlet replaced in accordance with local electrical codes. Do NOT modify the plug or change the plug to a different type!

WARNING:

power cord or place it in a position where anyone could walk on, trip over, or roll anything over power or connecting cords of any kind. The use of an extension cord is not recommended! If you must use an extension cord, the minimum wire size for a 25’ cord (or less) is 18 AWG. NOTE: The smaller the AWG number, the larger the current handling capacity. For longer extension cords, consult a local electrician.

Ventilation: Electronic products, unless speciﬁcally designed for

enclosed installations, should be placed in locations that do not interfere with proper ventilation. If instructions for enclosed installations are not provided, it must be assumed that unobstructed ventilation is required.

When using any electrical or electronic product, basic

-Grounding Instructions: This product must be grounded

Do not place this product or any other objects on the

This product was NOT designed for use in wet/damp locations and

should not be used near water or exposed to rain. Examples of wet / damp locations are; near a swimming pool, spa, tub, sink, or wet basement.

This product should be used only with the components supplied or; a cart,rack, or stand that is recommended by the manufacturer. If a cart, rack, or stand is used, please observe all safety markings and instructions that accompany the accessory product.

The power supply cord (plug) should be disconnected from the

10.

outlet when electronic products are to be left unused for extended periods of time. Cords should also be disconnected when there is a high probability of lightning and/or electrical storm activity.

11.

Care should be taken that objects do not fall and liquids are not

spilled into the enclosure through any openings that may exist.

Electrical/electronic products should be serviced by a qualiﬁed

12.

service person when:

a. The power supply cord has been damaged; or b. Objects have fallen, been inserted, or liquids have been spilled

into the enclosure through openings; or c. The product has been exposed to rain; or d. The product does not operate, exhibits a marked change in

performance; or e. The product has been dropped, or the enclosure of the product

has been damaged.

13.

This product, either alone or in combination with an ampliﬁer and headphones or speaker/s, may be capable of producing sound levels that could cause permanent hearing loss. DO NOT operate for a long period of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist. IMPORTANT: The louder the sound, the shorter the time period before damage occurs.

Some Yamaha products may have benches and/or accessory

14.

mounting ﬁxtures that are either supplied as a part of the product or as optional accessories. Some of these items are designed to be dealer assembled or installed. Please make sure that benches are stable and any optional ﬁxtures (where applicable) are well secured BEFORE using. Benches supplied by Yamaha are designed for seating only. No other uses are recommended.

Temperature considerations: Electronic products should be

installed in locations that do not seriously contribute to their operating temperature. Placement of this product close to heat sources such as; radiators, heat registers etc., should be avoided.

PLEASE KEEP THIS MANUAL

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PRECAUTIONS

PLEASE READ CAREFULLY BEFORE PROCEEDING

* Please keep this manual in a safe place for future reference.

WARNING

Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, ﬁre or other hazards. These precautions include, but are not limited to, the following:

Power supply/AC power adaptor

• Only use the voltage speciﬁed as correct for the instrument. The required voltage is printed on the name plate of the instrument.

• Check the electric plug periodically and remove any dirt or dust which may have accumulated on it.

• Use only the supplied power cord/plug.

• Do not place the power cord near heat sources such as heaters or radiators, and do not excessively bend or otherwise damage the cord, place heavy objects on it, or place it in a position where anyone could walk on, trip over, or roll anything over it.

Do not open

• This instrument contains no user-serviceable parts. Do not attempt to disassemble or modify the internal components in any way.

Water warning

• Do not expose the instrument to rain, use it near water or in damp or wet conditions, or place containers on it containing liquids which might spill into any openings.

• Never insert or remove an electric plug with wet hands.

Fire warning

• Do not put burning items, such as candles, on the unit. A burning item may fall over and cause a ﬁre.

If you notice any abnormality

• If the power cord or plug becomes frayed or damaged, or if there is a sudden loss of sound during use of the instrument, or if any unusual smells or smoke should appear to be caused by it, immediately turn off the power switch, disconnect the electric plug from the outlet, and have the instrument inspected by qualiﬁed Yamaha service personnel.

CAUTION

Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to the instrument or other property. These precautions include, but are not limited to, the following:

Power supply/Power cord Location

• Always connect the three-pin attachment plug to a properly grounded power source. (For more information about the main power supply, see page 26.)

• When removing the electric plug from the instrument or an outlet, always hold the plug itself and not the cord. Pulling by the cord can damage it.

• Remove the electric plug from the outlet when the instrument is not to be used for extended periods of time, or during electrical storms.

• Do not connect the instrument to an electrical outlet using a multiple-connector. Doing so can result in lower sound quality, or possibly cause overheating in the outlet.

• Do not expose the instrument to excessive dust or vibrations, or extreme cold or heat (such as in direct sunlight, near a heater, or in a car during the day) to prevent the possibility of panel disﬁguration or damage to the internal components.

• Do not use the instrument in the vicinity of a TV, radio, stereo equipment, mobile phone, or other electric devices. Otherwise, the instrument, TV, or radio may generate noise.

• Do not place the instrument in an unstable position where it might accidentally fall over.

• Before moving the instrument, remove all connected cables.

• Do not place objects in front of the instrument’s air vent, since this may prevent adequate ventilation of the internal components, and possibly result in the instrument overheating.

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Page 5

Connections

• Before connecting the instrument to other electronic components, turn off the power for all components. Before turning the power on or off for all components, set all volume levels to minimum. Also, be sure to set the volumes of all components at their minimum levels and gradually raise the volume controls while playing the instrument to set the desired listening level.

Maintenance

• When cleaning the instrument, use a soft, dry cloth. Do not use paint thinners, solvents, cleaning ﬂuids, or chemical-impregnated wiping cloths.

Handling caution

• Do not insert a ﬁnger or hand in any gaps on the key cover or instrument.

• Never insert or drop paper, metallic, or other objects into the gaps on the panel or keyboard. If this happens, turn off the power immediately and unplug the power cord from the AC outlet. Then have the instrument inspected by qualiﬁed Yamaha service personnel.

• Do not place vinyl, plastic or rubber objects on the instrument, since this might discolor the panel or keyboard.

• Do not rest your weight on, or place heavy objects on the instrument, and do not use excessive force on the buttons, switches or connectors.

• Do not operate the instrument for a long period of time at a high or uncomfortable volume level, since this can cause permanent hearing loss. If you experience any hearing loss or ringing in the ears, consult a physician.

Saving data

Saving and backing up your data

• DRAM data (see page 186) is lost when you turn off the power to the instrument. Save the data to a SmartMedia/USB storage device.

• 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.

Backing up the SmartMedia/external media

•To protect against data loss through media damage, we recommend that you save your important data onto two SmartMedia/external media.

Yamaha cannot be held responsible for damage caused by improper use or modiﬁcations to the instrument, or data that is lost or destroyed.

Always turn the power off when the instrument is not in use.

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Introduction

Congratulations and thank you for your purchase of the Yamaha MOTIF ES6/MOTIF ES7/MOTIF ES8 Music Production Synthesizer! You now own what is perhaps the best-sounding, most versatile, and certainly most powerful synthesizer and total music production instrument on the planet. We strove to put virtually all our synthesizer technology and music making know-how into one instrument — and we succeeded. The new MOTIF ES not only gives you the latest and greatest sounds and rhythms (as well as the ability to create and sample your own), it gives you powerful, easy-to-use tools for playing, combining and controlling these dynamic sounds/rhythms — in real time, as you perform! Take time to look through this manual carefully. It’s packed with important information on how to get the most from this amazing instrument. Dive in now and enjoy!

Accessories

The following items have been included with your MOTIF ES 6/MOTIF ES 7/MOTIF ES 8. Check to see that you have everything listed here.

• AC Power cord

• CD-ROM x 3

• Owner’s Manual (this book)

• Data List

• Installation Guide

About the included CD-ROMs

The following three CD-ROMs are included in the MOTIF ES package.

• TOOLS for MOTIF ES6/MOTIF ES7/MOTIF ES8

This CD-ROM contains special software for use with this instrument. It includes the latest version of SQ01 (V2), a full-featured audio/MIDI sequencer/mixer for comprehensive music production, Voice Editor, which gives you comprehensive and intuitive sound editing tools, and Multi Part Editor, for editing the Mixing parameters of Songs and Patterns. For details, see the separate Installation Guide or the online manuals included with the software.

• Sound Library for MOTIF ES6/MOTIF ES7/MOTIF ES8

This CD-ROM contains various types of data for use with the MOTIF ES. For information on the contents, refer to the List ﬁle in the CD-ROM. You can use the data by loading it in the File mode. Insert the CD-ROM into a CD-ROM drive* connected to the USB TO DEVICE connector via USB and execute the Load operation. Alternately, you can access the data from a USB storage device (such as a hard disk) or a SmartMedia card (inserted to the CARD slot) to which the data has been copied. For details about how to load each type of data, refer to the following pages.

• Voice extension: W7V page 87

• Pattern extension: W7P page 132

• WAV ﬁle extension: WAV pages 100 and 109

* For information on what USB devices (model name, etc.) can be used with the MOTIF ES, see page 29.

n If you are loading audio WAV ﬁles, make sure that DIMM modules are installed to the imt. (For DIMM compatibility information,

see page 289.) Also, when loading Voice data from this CD-ROM, make sure to install DIMM modules, because the Voice data contains User Waveforms. If DIMM modules are not installed, an error message appears when you try to load a WAV ﬁle or Voice data from this CD-ROM.

• TOOLS for Modular Synthesis Plug-in System

This CD-ROM contains a variety of computer applications, including the Voice Editor for editing Voices of the optional Plug-in Boards. For more information, refer to the “Readme” ﬁle in the CD-ROM.

• Copying of commercially available music sequence data and/or digital audio ﬁles for any purpose other than your own personal use is strictly prohibited.

• This product incorporates and bundles computer programs and contents in which Yamaha owns copyrights or with respect to which it has license to use others' copyrights. Such copyrighted materials include, without limitation, all computer software, styles ﬁles, MIDI ﬁles, WAVE data and sound recordings. Any unauthorized use of such programs and contents outside of personal use is not permitted under relevant laws. Any violation of copyright has legal consequences. DON'T MAKE, DISTRIBUTE OR USE ILLEGAL COPIES.

Owner’s Manual

Page 7

page 115

page 123

page 136

page 47

page 147

page 74

page 39

page 29

page 142

Main Features

Wide range of the

Category Search

sounds you want, based on their instrument type.

Performance mode

together — in layers or in a keyboard split.

Integrated Sampling Sequencer

combines audio and MIDI recording.

Full

•

to 512MB of sample memory (with optional DIMM modules).

•

Wide ﬁles, as well as samples and program/voice data from other popular samplers, such as the Yamaha Aseries.

•

Convenient the sound of the MOTIF itself directly. Play your own melodies, riffs and rhythms — and use them as samples.

•

Unique rhythms and riffs into their individual beats and notes. This lets you manipulate the component parts of your sample loops as MIDI data, and gives you the power to easily change tempo and even the rhythmic feel, without disturbing the pitch or sound quality.

Extensive Chorus (49 types), eight separate Insertion blocks

each of which has two blocks

Master Effect (8 types), and a digital equalizer (3-band Part EQ and 5-band Master EQ).

Comprehensive

and four sliders

effects, EG, and more, while you play.

Pattern mode

sections and riffs as individual elements — which you can easily and intuitively combine in real time to create full rhythm tracks.

In addition to being able to create User voices in the Voice mode, you can create special Songs and Patterns. These voices can be edited and stored in the Song/Pattern mode, making it exceptionally easy and convenient to create voices for use with Songs and Patterns.

The versatile variety of sequenced phrases in response to the keys you play. This function is especially powerful with drum voices — letting you easily call up various rhythm patterns at the touch of a key, and providing instant inspiration for song creation and performance. When used with normal voices, the Arpeggio phrase changes harmonically and melodically with the chords you play, giving you intuitive control over the patterns as you compose or perform. Arpeggios can be triggered not only according to the keys you play, but also by how strongly you play them — for even greater performance power.

dynamic and authentic voices

function to quickly call up the

lets you use four different voices

— seamlessly

Sample recording and editing

data compatibility

Resampling

Slice feature

effect processing

real-time control with four knobs

— letting you adjust ﬁlter, levels,

functions let you craft different rhythmic

Arpeggio

lets you load AIFF and WAV

function lets you sample

automatically chops up your

, with Reverb (20 types),

(total 116 types),

Mixing voices

feature automatically plays a

features, and up

. Use

for

page 60

page 67

page 172

page 289

pages 100, 270

page 99

page 107

page 177

page 50

page 106

page 105

page 66

Once you’ve collected all the audio samples, loops, MIDI data, and patterns you need for your song, use

Pattern Chain

hands-on approach makes it easier than ever to come up with great ideas and amazing songs.

Song Scene

“snapshots” of the sequencer track settings (such as pan, volume, track mute and so on). Then, during playback or recording, simply switch among the Scenes for instant, dynamic changes.

Master mode

keyboard controller (with independent Zones), and for easily reconﬁguring the instrument between Voice/ Performance play and Song/Pattern play in live applications.

Exceptionally tiered operation buttons: [F1] - [F6] and [SF1] - [SF5]

Remote Control

sequencing software from the panel controls. Mute tracks, control transport (Play, Stop, Record, etc.), mix both MIDI and audio tracks (up to 16) with this instrument’s knobs and sliders, pan the tracks, control EQ, and tweak effect sends — all without ever touching the mouse.

Three you upgrade the MOTIF ES with a completely new synthesizer or sound-processing engine. These Plug-in boards give you more voices, more effects, more polyphony and more instrument parts. Plus, special Plug-in voices have already been programmed and stored to the MOTIF ES, ready to be played as soon as you install the proper board.

A full rear panel of input/output connections provides maximum interfacing ﬂexibility. These include Assignable Outputs, A/D Inputs, MIDI, two USB connectors and a memory card slot. Moreover, an optional AIEB2 or mLAN16E board can be installed. The

mLAN interface

it possible to transfer both digital audio and MIDI data via a single broadband cable.

The instrument features TO HOST for connecting to computer, and USB TO DEVICE for connecting to storage devices, such as a hard disk drive or ﬂash disk.

Included software

your instrument (Tools for MOTIF ES) features a variety of convenient and powerful programs for using the MOTIF ES with a computer. These include the

Editor

editing features and parameters, and a

Editor

parameters from your computer screen.

to arrange the pieces in real time. This

is another powerful tool that lets you take

— for using the MOTIF ES as a master

easy-to-understand interface

— for operating your favorite

Modular Synthesis Plug-in System

is particularly powerful — making

two USB connectors

— the CD-ROM accompanying

which provides comprehensive, easy-to-use

for intuitive editing of Song/Pattern Mixing

with two-

slots let

— USB

Voice

Multi Part

Owner’s Manual

Page 8

How to use this manual

The Controls & Connectors ...............................................................................................Page 16

Use this section to ﬁnd out about all of the buttons, controls and connectors of this instrument.

Setting Up ..........................................................................................................................Page 26

Before going on to any other part of the manual, we strongly suggest you read this section ﬁrst. It shows you how to get started playing and using your new instrument.

Application Index ................................................................................................................Page 9

This special index is organized not by single words, but by functions and applications — allowing you to quickly and easily ﬁnd how to perform a particular operation or explore a topic of interest.

Basic Structure ................................................................................................................. Page 154

This section provides a detailed overview of all of the main functions and features of this instrument, and shows how they ﬁt together.

Basic Operation.................................................................................................................. Page 45

This section introduces you to the basic operating conventions of this instrument, such as editing values and changing settings.

Quick Guide........................................................................................................................ Page 55

In this tutorial section, you will take a guided tour through the various functions of this instrument, and get some hands-on experience in playing and using it.

Reference .........................................................................................................................Page 188

The MOTIF ES encyclopedia. This section explains all parameters, settings, functions, features, modes and operations in full detail.

Troubleshooting...............................................................................................................Page 279

If this instrument does not function as expected or you have some problem with the sound or operation, refer to this section before calling your Yamaha dealer or service center. Most common problems and their solutions are covered here in a very simple and easy-to-understand way.

Appendix .......................................................................................................................... Page 275

This section contains detailed information on this instrument such as Speciﬁcations and an Alert Message List as well as instructions for installing optional equipment (e.g., DIMM modules, AIEB2, mLAN16E interface, and Plug-in Boards).

Data List (separate booklet)

This contains various important lists such as the Voice List, Preset Pattern Phrase List, Effect List, MIDI Data Format, and MIDI Implementation Chart.

Installation Guide (separate booklet)

Refer to this for instructions on installing the included software programs (on the “TOOLS for MOTIF ES6/MOTIF ES7/ MOTIF ES8” CD-ROM) to your computer.

Various pages and menus appear on the LCD display of this instrument depending the selected mode or function. Throughout this manual, arrows are used in the instructions, indicating in shorthand the process of calling up certain displays and functions. The example instructions below indicate to 1) press the [VOICE] button, 2) select a Normal Voice,

3) press the [EDIT] button, 4) select an Element, 5) press the [F1] OSC button, and 6) press the [SF2] OUTPUT button.

[VOICE]

n When a conﬁrmation message (page 52) or Control Function window (page 50) is shown in the display, press the [EXIT] button to exit from that

* Apple and Macintosh are trademarks of Apple Computer, Inc. * Windows is the registered trademark of Microsoft * All other trademarks are the property of their respective holders. * The illustrations and LCD screens as shown in this owner’s manual are for instructional purposes only, and may appear somewhat different

from those on your instrument.

→→→→ Normal Voice selection

condition, then execute the instructions as in the above example. Likewise, press the REMOTE [ON/OFF] button to exit from the Remote Control mode, then execute the instructions as in the above example when the MOTIF ES is in the Remote Control mode.

Owner’s Manual

→→→→ [EDIT]

Corporation.

→→→→ Element selection

→→→→ [F1] OSC

→→→→ [SF2] OUTPUT

Page 9

Application Index

Listening to the MOTIF ES

• Listening to the Demo song/pattern

• Listening to Song Chain playback

• Listening to Pattern Chain playback

• Listening to Arpeggio playback

Playing the keyboard

• Selecting a Voice and playing the keyboard

• Selecting a Voice of the Plug-in Board and playing the keyboard

• Selecting a Performance and playing the keyboard

• Using the instrument as a Master Keyboard

• Sounding the metronome

• Splitting the keyboard – Setting upper and lower ranges for the Voices

•Layering two Voices (or Parts) together

..................................... [SONG] or [PATTERN] → [UTILITY] → [F3] SEQ → [SF1] CLICK → Mode = all ................Page 262

Selecting programs and making settings on the MOTIF ES

• Selecting a Voice Using the Category Search function

• Selecting a Performance

• Selecting a Song

• Selecting a Pattern Selecting a Section Selecting a Phrase and assigning it to a Pattern track

• Selecting a Mixing template for a Song/Pattern

• Selecting a Master

• Selecting an Arpeggio type........................................................................ Pages 66 (Voice mode), 70 (Performance mode), 105 (Song/Pattern mode)

• Selecting a Waveform ..........................................................................................................................................................................................Page 174

• Selecting a Filter type..........................................................................................................................................................................................Page 209

• Selecting an Effect type Selecting a Reverb type/Chorus type/Insertion type

[VOICE] → Voice selection → [F3] EFFECT .........................................................................................................................................................Page 194

[PERFORM] → Performance selection → [F3] EFFECT → [SF1] CONNECT ......................................................................................................Page 215

[SONG] or [PATTERN] → Song/Pattern selection→ [MIXING] → [F3] EFFECT → [SF1] CONNECT ................................................................... Page 235

Selecting a Master Effect type

[VOICE] → [UTILITY] → [F3] VOICE → [SF2] MEF ..............................................................................................................................................Page 262

[PERFORM] → Performance selection → [EDIT] → [COMMON] → [F2] OUT/MEF → [SF3] MEF ...................................................................... Page 214

[SONG] or [PATTERN] → Song/Pattern selection→ [MIXING] → [EDIT] → [COMMON] → [F2] MEQ/MEF → [SF2] MEF .................................Page 234

Selecting a Master EQ type

[VOICE] → [UTILITY] → [F3] VOICE → [SF1] MEQ .............................................................................................................................................Page 262

[PERFORM] → Performance selection→ [EDIT] → [COMMON] → [F2] OUT/MEF → [SF2] MEQ ......................................................................Page 214

[SONG] or [PATTERN] → Song/Pattern selection→ [MIXING] → [EDIT] → [COMMON] → [F2] OUT/MEF → [SF1] MEQ .................................Page 234

................................................................................................................................. Pages 60 (Voice mode), 102 (Song/Pattern mode)

.......................................................................................................................................................................................Page 67

....................................................................................................................................................................................................Page 56

................................................................................................................................................................................................Page 57

.....................................................................................................................................................................Page 55

........................................................................................................................................................................Page 59

..................................................................................................................................................................Page 115

.................................................................Pages 66 (Voice mode), 70 (Performance mode), 105 (Song/Pattern mode)

..................................................................................... Pages 60 (Voice mode), 102 (Song/Pattern mode)

.................................................. Pages 75 (Voice mode), 121 (Song/Pattern mode)

...........................................................................................................................................Page 67

.....................................................................................................................................................Page 136

..................................... Pages 70 (Performance mode), 141 (Master mode)

.......................................................................................... Pages 70 (Performance mode), 141 (Master mode)

....................................................................................................................................................................Page 62

.....................................................................................................................................Page 113

................................................................................................................................................Page 103

Using controllers .............................................. Pages 66 (Voice mode), 69 (Performance mode), 104 (Song/Pattern mode)

• 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

• 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

..............Page 235

Owner’s Manual

Page 10

Application Index

• Determining how the sound responds to a Breath Controller

[UTILITY] → [F1] GENERAL → [SF1] TG → BCCurve ......................................................................................................................................... Page 260

•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

[VOICE] → [EDIT] → Element selection → [F1] OSC → [SF1] WAVE → ElementSw = on/off ............................................................................. Page 195

• Determining whether each Part is used or not in the Performance mode

[PERFORM] → Performance selection→ [EDIT] → Part selection → [F1] VOICE → [SF1] VOICE → PartSw = on/off ....................................... Page 216

•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

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)

[VOICE] → Voice selection→ [EDIT] → [COMMON] → [F2] OUTPUT → Volume ............................................................................................... Page 190

• In the Performance mode Adjusting the volume balance of the Parts of an edited Performance with the Control Sliders

[PERFORM] → Performance selection → [EDIT] → Part selection → [F2] OUTPUT → [SF1] VOL/PAN → Volume .......................................Page 81

Adjusting the entire volume for the selected Performance (common to all Parts)

[PERFORM] → Performance selection → [EDIT] → [COMMON] → [F2] OUT/MEQ → [SF1] OUT → Volume .................................................. Page 213

Adjusting the volume of the audio input (of a microphone or external audio equipment)

[PERFORM] → Performance selection → [EDIT] → [COMMON] → [F5] AUDIO IN → [SF1] OUTPUT → Volume ............................................ Page 215

• In the Song mode/Pattern mode Adjusting the volume balance of the Parts of an edited Song with the Control Sliders

[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → Part Selection → [F1] VOL/PAN → VOLUME ................................................ Page 130

Adjusting the volume of the audio input (of a microphone or external audio equipment)

[SONG] or [PATTERN] → Song/Pattern selection → [MIXING → [EDIT] → [COMMON] → [F5] AUDIOIN → [SF1] OUTPUT → Volume .......... Page 235

..... [UTILITY] → [F1] GENERAL → [SF1] TG → Volume ................ Page 260

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

• Setting audio input related parameters

[PERFORM] → Performance selection → [EDIT] → [COMMON] → [F5] AUDIO IN ............................................................................................ Page 214

[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

Owner’s Manual

Page 11

Application Index

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

[SONG] → [●] (Record) → [F1] SETUP → Type = punch ....................................................................................................................................Page 119

Recording additional material to an existing Song track (without erasing previous material) — Overdub Recording

[SONG] → [●] (Record) → [F1] SETUP → Type = overdub ................................................................................................................................Page 119

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

• Storing an edited Performance to internal memory (Flash ROM) and saving all the Performances in internal memory to a

SmartMedia/USB storage device..........................................................................................................................................................................Page 91

•Saving the Song/Pattern data

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

storage device .....................................................................................................................................................................................................Page 137

•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

.............Page 85

Owner’s Manual

Page 12

Application Index

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

• Initializing the edited Voice ............................................................................................................... [VOICE] → [JOB] → [F1] INIT ................Page 208

• Initializing the edited Performance............................................................................................. [PERFORM] → [JOB] → [F1] INIT ................ Page 219

• Initializing the edited Master.......................................................................................................... [MASTER] → [JOB] → [F1] INIT ................Page 273

• Initializing the edited Song Mixing settings................................................................ [SONG] → [MIXING] → [JOB] → [F1] INIT ................ Page 236

• Initializing the edited Pattern Mixing settings........................................................ [PATTERN] → [MIXING] → [JOB] → [F1] INIT ................Page 248

Pitch related settings (Tune, Note Shift, etc.)

• Overall

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

• In the Voice mode Setting the tuning system for the voice

[VOICE] → Voice selection → [EDIT] → [COMMON] → [F1] GENERAL → [SF2] PLY MODE → M.TuningNo. ............................................ Page 190

Adjusting the pitch for each Element of the edited Voice in semitones

[VOICE] → Voice selection→ [EDIT] → Element selection→ [F2] PITCH → [SF1] TUNE → Coarse .................................................................. Page 196

Finely adjusting the pitch for each Element of the edited Voice

[VOICE] → Voice selection→ [EDIT] → Element selection→ [F2] PITCH → [SF1] TUNE → Tune ......................................................................Page 196

Setting the all notes (keys) to the same pitch

[VOICE] → Voice selection→ [EDIT] → Element selection→ [F2] PITCH → [SF4] KEY FLW → PitchSens = 0 ..................................................Page 197

• In the Performance mode Shifting the note up or down for each Part of the edited Performance

[PERFORM] → Performance selection → [EDIT] → Part selection → [F4] TONE → [SF1] TUNE → NoteShift ...................................................Page 218

Finely adjusting the pitch for each Part of the edited Performance

[PERFORM] → Performance selection → [EDIT] → Part selection → [F4] TONE → [SF1] TUNE → Detune ...................................................... Page 218

• In the Song mode/Pattern mode Shifting the note up or down for each Part of the current Song/Pattern

[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → Part selection → [F4] TONE→ [SF1] TUNE → NoteShift ............... Page 236

Finely adjusting the pitch for each Part of the current Song/Pattern

[SONG] or [PATTERN] → Song/Pattern selection→ [MIXING] → [EDIT] → Part selection → [F4] TONE → [SF1] TUNE → Detune ............. Page 236

• In the Master mode Shifting the keyboard octave up or down for each zone of the edited Master

[MASTER] → Master selection → [F2] MEMORY → ZoneSwitch = on → [EDIT] → Zone selection → [F2] NOTE → Octave ............................Page 272

Finely adjusting the keyboard pitch for each zone of the edited Master

[MASTER] → Master selection→ [F2] MEMORY → ZoneSwitch = on → [EDIT] → Zone selection → [F2] NOTE → Transpose ........................ Page 272

Owner’s Manual

Page 13

Application Index

Connecting to a computer/external MIDI instrument

• Determining which connector (among the MIDI, USB TO HOST, mLAN) is used as a MIDI input/output connector

[UTILITY] → [F5] MIDI → [SF4] OTHER → MIDI IN/OUT .....................................................................................................................................Page 265

• 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

[UTILITY] → [F5] MIDI → [SF2] SWITCH → RevBulk = on/protect ......................................................................................................................Page 264

• Sounding only the external MIDI tone generator and turning the internal tone generator off

[UTILITY] → [F5] MIDI → [SF2] SWITCH → LocalCtrl = off .................................................................................................................................Page 264

• Synchronizing with an external MIDI instrument/computer Using the MOTIF ES as a MIDI master

[UTILITY] → [F5] MIDI → [SF3] SYNC → MIDI Sync = internal, ClockOut = on, Seqctrl = out .......................................................................... Page 36

Using the MOTIF ES as a MIDI slave

[UTILITY] → [F5] MIDI → [SF3] SYNC → MIDI Sync = MIDI, ClockOut = off, Seqctrl = in ....................................................................................Page 36

Using the MOTIF ES as a MTC slave

[UTILITY] → [F5] MIDI → [SF3] SYNC → MIDI Sync = MTC, ClockOut = off, Seqctrl = in ....................................................................................Page 37

• Disabling synchronization with the external MIDI instrument/computer Maintaining normal playback on an external MIDI sequencer, even when starting/stopping Song/Pattern playback on the MOTIF ES

[UTILITY] → [F5] MIDI → [SF3] SYNC → MIDI Sync = internal, Seqctrl = off .................................................................................... ................Page 264

Maintaining normal Song/Pattern playback on the MOTIF ES, even when starting/stopping playback on an external MIDI sequencer

[UTILITY] → [F5] MIDI → [SF3] SYNC → Seqctrl = off ...................................................................................................................... ................Page 264

• Synchronizing the LFO wave speed of the Voice with an external MIDI instrument/computer

[UTILITY] → [F5] MIDI → [SF3] SYNC → MIDI Sync = MIDI ................................................................................................................................Page 264

[VOICE] → Normal Voice selection → [EDIT] → [COMMON] → [F5] LFO → [SF1] WAVE → TempoSync = on ................................................Page 193

• Setting which MIDI events will be transmitted or recognized via the MIDI, USB TO HOST, and mLAN connectors

[SONG] or [PATTERN] → [UTILITY] → [F3] SEQ → [SF2] FILTER .......................................................................................................................Page 262

• Setting the MIDI transmit channel Setting the MIDI transmit channel of the keyboard in the Voice mode/Performance mode

[UTILITY] → [F5] MIDI → [SF1] CH → KBDTransCh ..............................................................................................................................................Page 64

Setting the MIDI transmit channel and port for each track of a Song/Pattern

[SONG] or [PATTERN] → Song/Pattern selection → [F3] TRACK → [SF1] CHANNEL ........................................................................................Page 221

Setting the MIDI transmit channel of Arpeggio playback

[UTILITY] → [F3] VOICE → [SF3] ARP CH → TransmitCh ...................................................................................................................................Page 262

• Setting the MIDI receive channel Setting the MIDI receive channel of the keyboard in the Voice mode/Performance mode

[UTILITY] → [F5] MIDI → [SF1] CH → BasicRcvCh .............................................................................................................................................Page 263

Setting the MIDI receive channel for each part of a Song/Pattern

[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → Part selection→ [F1] VOICE → [SF2] MODE → ReceiveCh

• Setting parameters for Program Change transmission/recognition Enabling or disabling the sending of Bank Select and Program Change messages, when selecting a Voice or Performance

[UTILITY] → [F5] MIDI → [SF2] SWITCH → BankSel, PgmChange .....................................................................................................................Page 264

Enabling or disabling selection of MOTIF ES Voices/Performances from an external MIDI device

[UTILITY] → [F5] MIDI → [SF2] SWITCH → BankSel, PgmChange .....................................................................................................................Page 264

[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → Part selection→ [F5] RCV SW → BankSel, PgmChange ...............Page 235

Setting related parameters so that the MIDI messages produced by the Song/Pattern playback will not be transmitted via MIDI

[SONG] or [PATTERN] → [UTILITY] → [F3] SEQ → [SF2] FILTER ....................................................................................................................Page 262

• Setting whether each track playback sounds the internal tone generator or an external tone generator

[SONG] or [PATTERN] → Song/Pattern selection → [F3] TRACK → [SF2] OUT SW ..........................................................................................Page 222

..................Page 235

Other tips

• Loading the speciﬁed ﬁle on the SmartMedia/USB storage device automatically when the power is turned on...................................... Page 135

• Setting the Mode set automatically when the power is turned on

[UTILITY] → [F1] GENERAL → [SF4] OTHER → PowerOnMode .........................................................................................................................Page 261

• Setting an individual Output connector for each key of the Drum Voice or for each part of the Performance/Song/Pattern......................Page 31

Owner’s Manual

Page 14

Table of Contents

Introduction.................................................................... 6

Accessories ................................................................... 6

Main Features ................................................................ 7

How to use this manual ................................................ 8

Application Index................................... 9

The Controls & Connectors .................. 16

Front panel................................................................... 16

Rear Panel.................................................................... 22

Setting Up ............................................. 26

Power Supply............................................................... 26

About data storage to SmartMedia cards and

USB storage devices................................................... 27

Data lost and data retained when power is turned off........ 27

Using the SmartMedia™* cards .........................................28

Using USB storage devices................................................ 29

Connections................................................................. 31

Connecting to External Audio Equipment........................... 31

Connecting External MIDI Instruments ............................... 34

Connecting to a Computer .................................................38

Connecting Various Controllers .......................................... 42

Turning the power on/off............................................ 43

Power-on Procedure ........................................................... 43

Turning the MOTIF ES on/off............................................... 43

Resetting the User Memory to the Initial Factory

Settings ........................................................................ 44

Basic Operation .................................... 45

Modes........................................................................... 45

Mode Structure ...................................................................45

Mode table..........................................................................46

Functions and Sub-Functions.................................... 47

Selecting a Program.................................................... 47

Moving the Cursor and Setting Parameters.............. 49

Knob (KN) and Control Slider (CS)............................ 50

Knob (KN) ........................................................................... 50

Control Slider (CS) .............................................................. 51

About the editing functions........................................ 51

Edit Indicator....................................................................... 51

Compare Function ..............................................................52

Edit Recall Function ............................................................ 52

Confirmation Message................................................ 52

Information Display..................................................... 53

Note (Key) settings...................................................... 53

Naming ......................................................................... 53

Quick Guide — Playing the MOTIF ES.. 55

Playing the Demo Songs/Patterns .............................55

Playing the Keyboard (in the Voice Play mode)........60

Selecting a Voice ................................................................ 60

Using Controllers ................................................................64

Using the Arpeggio feature ................................................66

Playing the Keyboard (in the Performance Play mode)

Selecting a Performance ....................................................67

Using Controllers ................................................................69

Using the Arpeggio feature ................................................70

Assigning desired Voices to each part............................... 70

Using the A/D input sound.................................................. 72

.........67

Using the Plug-in Board..............................................74

Available Plug-in Boards ....................................................74

Using a Single Part Plug-in Board ......................................75

Using a Multi Part Plug-in Board......................................... 77

Using an Effect Plug-in Board ............................................78

Quick Guide — Advanced Course ........ 79

Editing a Voice.............................................................79

Normal Voice Edit ...............................................................79

Drum Voice Edit .................................................................. 82

Plug-in Voice Edit................................................................ 85

Storing/Saving the created Voice .......................................85

Editing a Performance.................................................87

Storing/Saving the created Performance............................ 91

Creating a Voice by using the Sampling function....94

Sampling your voice with a microphone and creating a Normal

Voice ................................................................................... 94

Sampling the sound of an audio device to create a Drum Voice

Creating a Song on the MOTIF ES............................102

Recording your keyboard performance ...........................102

Creating a Pattern.............................................................106

Creating a Song................................................................117

Storing/Saving the created Song/Pattern .........................131

Using as a Master Keyboard.....................................136

Selecting a Master ............................................................ 136

Memorize to a Master .......................................................137

Using Zones (keyboard area)...........................................137

Quick Guide — Computer applications

Setting up ...................................................................142

Controlling the instrument from a computer ..........143

Using a sequencer to play multiple Voices on the MOTIF ES

Using the Multi Part Editor to create/edit Mixing settings.144

Using the Voice Editor to create/edit a Voice ................... 145

Using the TWE Wave Editor to edit Samples....................146

Controlling a computer from the instrument ..........147

Setting up for Remote Control ..........................................148

Functions assigned to the panel buttons in

the Remote Control mode.................................................150

......98

....142

....143

Owner’s Manual

Page 15

Table of Contents

Basic Structure ....................................154

Internal Structure (System Overview)......................154

Controller Block.................................................................154

Tone Generator block .......................................................157

Sequencer Block...............................................................165

Sampling Block .................................................................172

Effect Block .......................................................................177

About MIDI..................................................................181

MIDI channels ...................................................................181

MIDI Messages Transmitted/Recognized by this synthesizer

........181

Internal Memory and File Management....................185

Maintaining data ...............................................................185

Reference ............................................188

Voice mode.................................................................188

Voice Play mode ...............................................................188

Voice Edit mode................................................................189

Voice Store mode..............................................................208

Voice Job mode ................................................................208

Performance mode ....................................................212

Performance Play mode....................................................212

Performance Edit mode ....................................................213

Performance Job mode ....................................................219

Performance Store mode ..................................................220

Song mode..................................................................221

Song Play mode................................................................221

Song Record mode........................................................... 222

Song Edit mode ................................................................225

Song Job mode.................................................................226

Song Mixing mode ............................................................233

Song Mixing Edit mode.....................................................234

Song Mixing Job mode .....................................................236

Song Mixing Store mode...................................................237

Pattern mode..............................................................241

Pattern Play mode.............................................................241

Pattern Record mode........................................................ 243

Pattern Edit mode .............................................................244

Pattern Job mode..............................................................244

Pattern Mixing mode .........................................................248

Pattern Mixing Edit mode..................................................248

Pattern Mixing Job mode ..................................................248

Pattern Mixing Store mode................................................248

Mixing Voice mode.....................................................249

Mixing Voice Edit mode ....................................................249

Mixing Voice Store mode ..................................................250

Mixing Voice Job mode ....................................................250

Sampling mode ..........................................................251

Sampling Record mode ....................................................251

Sampling Edit mode..........................................................255

Sampling Job mode..........................................................256

Utility mode.................................................................260

Utility mode .......................................................................260

Utility Job mode ................................................................265

File mode ....................................................................266

File mode ..........................................................................266

Master mode...............................................................271

Master Play mode .............................................................271

Master Edit mode..............................................................271

Master Job mode ..............................................................273

Master Store mode............................................................274

Appendix ............................................ 275

Information Displays................................................. 275

Display Messages...................................................... 277

Troubleshooting........................................................ 279

Installing Optional Hardware....................................282

Available devices..............................................................282

Installation locations..........................................................282

Installation Precautions .....................................................282

Optional Plug-in Board Installation ...................................283

Optional AIEB2 or mLAN16E Installation ..........................285

Optional DIMM Installation................................................289

Glossary..................................................................... 290

Specifications............................................................ 292

Index ................................................... 294

The Controls & Connectors

Setting Up

Basic Operation

Quick Guide — Playing the MOTIF ES

Quick Guide — Advanced Course

Quick Guide — Computer applications

Basic Structure

Reference

Voice mode

Performance mode

Song mode

Pattern mode

Mixing Voice mode

Sampling mode

Utility mode

File mode

Master mode

Appendix

Owner’s Manual

Page 16

Front Panel

The Controls & Connectors

Front Panel

7 9 # $ %! )

MOTIF ES6

OCTAVE

DOWN UP

PAN/SEND

ASSIGN

TONE

KNOB CONTROL FUNCTION

ARP FX

6 8

ASSIGN A

ASSIGN B

PAN

CUTOFF

RESONANCE GATE TIME

SWING

LOW

VOLUME

VOLUME 2

MASTER

CS 1

VOLUME

ZONE 1

ASSIGN 2

ASSIGN 1

REVERB

CHORUS ATTACK VELOCITY

LOW MID

HIGH MID

VOLUME 3

CS 2

CS 3

ZONE 2

ZONE 3

TEMPO

RELEASE

UNITMULTIPLY

HIGH

VOLUME 4

CS 4

ZONE 4

REMOTE ARPEGGIO

R-AUDIO

ON/OFF ON/OFF

G-MIDI

EFFECT

MASTER

BYPASS

EFFECT

INSERTION SYSTEM

SEQ TRANSPORT

LOCATE 1 2

MODE

VOICE

PERFORM MASTER

SEQUENCER

PATTERN FILE

SONG

INTEGRATED

MIXING UTILITY

SAMPLING

EDIT

JOB STORE

COMPARE SCENE STORE

SET LOCATE

DEMO

SCENE

SF1 SF

F1 F2 F3 F4 F5 F6

@ ^& *

2 SF3 SF4 SF5

INFORMATION

MOTIF ES7

C1 D1 E1 F1 G1 A1 B1 C2 C3

OCTAVE

DOWN UP

7 9 #! )

ASSIGN B

ASSIGN 1

ASSIGN 2

REVERB

CHORUS

PAN

CUTOFF

RESONANCE

SWING

GATE TIME

LOW MID

LOW

VOLUME 2

CS 1

ZONE 1

ZONE 2

TEMPO

ATTACK

RELEASE

VELOCITY

UNITMULTIPLY

HIGH MID

HIGH

VOLUME 3

VOLUME 4

CS 2

CS 3

CS 4

ZONE 3

ZONE 4

CONTROL

FUNCTION

PAN/SEND

ASSIGN

TONE

KNOB

ARP FX

ASSIGN A

VOLUME

MASTER VOLUME

6 8

REMOTE ARPEGGIO

R-AUDIO

ON/OFF ON/OFF

G-MIDI

EFFECT

BYPASS

INSERTION SYSTEM

SEQ TRANSPORT

LOCATE 1 2

MASTER EFFECT

MODE

VOICE

PERFORM MASTER

SEQUENCER

PATTERN FILE

SONG

INTEGRATED

SAMPLING

MIXING UTILITY

EDIT

JOB STORE

COMPARE SCENE STORE

@ &

SET LOCATE

DEMO

SCENE

SF1 SF

F1 F2

E0 F0 G0 A0 B0 C1 D1 E1 F1 G1 A1 B1 C2

Owner’s Manual

Page 17

Front Panel

(¡ º ∞

DEC/NO INC/ YES

EXIT ENTER

EXECUTE

™

PRE 1 PRE 2 PRE 3 PRE 4

DRUM KITS

PRE 5 PRE 6

USER 1

A. PIANO KEYBOARD ORGAN

FAVORITES

ABCDEFG

SYN COMP

SYN LEAD

SYN PAD/

CHOIR

ELEMENT/PERF. PART/ZONE

COMMON

Integrated Sampling Sequencer /

MUSIC PRODUCTION SYNTHESIZER

USER 2

BASS

GUITAR/ PLUCKED

DRUM/

CHROMATIC

PERCUSSION

•¶£ ¢

Modular Synthesis Plug-in System / Real-time External Control Surface

SLOT 1 SLOT 2 SLOT 3

PLG 1

PLG 2

PLG 3

STRINGS

REED/PIPE

BRASS

SE MUSICAL FX COMBI

87654321

1412 13

CATEGORY

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

ª ‚ ⁄

C4 C5 C6

n When 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.

The Controls & Connectors

$ % (¡ º ∞

DEC/NO INC/ YES

F2 SF3 SF4 SF5

F3 F4 F5 F6

^ •¶* £ ¢

INFORMATION

EXIT ENTER

EXECUTE

™

PRE 1 PRE 2 PRE 3 PRE 4

DRUM KITS

PRE 5 PRE 6

USER 1

A. PIANO KEYBOARD ORGAN

FAVORITES

ABCDEFG

SYN COMP

SYN LEAD

SYN PAD/

CHOIR

ELEMENT/PERF. PART/ZONE

COMMON

Integrated Sampling Sequencer /

MUSIC PRODUCTION SYNTHESIZER

USER 2

BASS

GUITAR/ PLUCKED

DRUM/

CHROMATIC

PERCUSSION

C4 C5 C6

Modular Synthesis Plug-in System / Real-time External Control Surface

SLOT 1 SLOT 2 SLOT 3

PLG 1

PLG 2

PLG 3

STRINGS

REED/PIPE

BRASS

SE MUSICAL FX COMBI

87654321

1412 13

CATEGORY

SECTION

TRACK SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

ª ‚ ⁄

Owner’s Manual

Page 18

Front Panel

7 9 #! )

The Controls & Connectors

MOTIF ES8

4 3

CONTROL

FUNCTION

PAN/SEND

ASSIGN

TONE

KNOB

ARP FX

ASSIGN A

ASSIGN B

PAN

CUTOFF

RESONANCE

SWING

GATE TIME

LOW

LOW MID

VOLUME

VOLUME 2

MASTER

CS 1

VOLUME

6 8

ZONE 1

ASSIGN 2

ASSIGN 1

REVERB

CHORUS

ATTACK

VELOCITY

HIGH MID

VOLUME 3

CS 2

CS 3

ZONE 2

ZONE 3

TEMPO

RELEASE

UNITMULTIPLY

HIGH

VOLUME 4

CS 4

ZONE 4

REMOTE ARPEGGIO

ON/OFF ON/OFF

BYPASS

INSERTION SYSTEM

SEQ TRANSPORT

LOCATE 1 2

A-1 B-1 C0 D0 E0 F0 G0 H0 B0 C1 C2

EFFECT

R-AUDIO G-MIDI

MASTER EFFECT

MODE

VOICE

PERFORM MASTER

SEQUENCER

PATTERN FILE

SONG

INTEGRATED

MIXING UTILITY

SAMPLING

EDIT

JOB STORE

COMPARE SCENE STORE

SET LOCATE

DEMO

1 Keyboard

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.

2 OCTAVE [UP] and [DOWN] buttons Page 63

Use these buttons to change the note range of the keyboard. To restore the normal octave setting, press both buttons simultaneously.

n Because of its extended keyboard, the MOTIF ES8 does not have

OCTAVE buttons.

3 Pitch bend wheel Page 64

Controls the pitch bend effect. You can also assign other functions to this controller.

4 Modulation wheel Page 64

Controls the modulation effect. You can also assign other functions to this controller.

5 Ribbon controller Page 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.

6 MASTER VOLUME

Adjusts the volume of the overall sound, as output from the rear-panel OUTPUT L/MONO and R jacks as well as the PHONES jack.

7 Four KNOB CONTROL FUNCTION buttons and

four Knobs Page 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.

Owner’s Manual

Page 19

Front Panel

$ % (¡ º ∞

DEMO

SCENE

2 SF3 SF4 SF5

SF1 SF

F1 F2 F3 F4 F5 F6

INFORMATION

^ •& ¶* £ ¢

DEC/NO INC/ YES

EXIT ENTER

EXECUTE

™

PRE 1 PRE 2 PRE 3 PRE 4

DRUM KITS

PRE 5 PRE 6

USER 1

A. PIANO KEYBOARD ORGAN

FAVORITES

ABCDEFG

SYN COMP

SYN LEAD

SYN PAD/

CHOIR

ELEMENT/PERF. PART/ZONE

COMMON

Integrated Sampling Sequencer /

MUSIC PRODUCTION SYNTHESIZER

USER 2

BASS

GUITAR/ PLUCKED

DRUM/

CHROMATIC

PERCUSSION

Modular Synthesis Plug-in System / Real-time External Control Surface

SLOT 1 SLOT 2 SLOT 3

PLG 1

PLG 2

PLG 3

STRINGS

REED/PIPE

BRASS

SE MUSICAL FX COMBI

87654321

1412 13

CATEGORY

SECTION

TRACK SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

ª ‚ ⁄

The Controls & Connectors

C3 C4 C5 C6 C7

n When [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.

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.

n If 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.

n The [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.

9 REMOTE buttons Page 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.

) EFFECT buttons Page 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.

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).

n When 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.

! [ARPEGGIO ON/OFF] button Page 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.

Owner’s Manual

Page 20

Front Panel

@ SEQ TRANSPORT buttons Page 56

These buttons control recording and playback of the Song/Pattern sequence data.

The Controls & Connectors

[ ](Top) button

Instantly returns to the beginning of the current song or pattern (i.e., the ﬁrst beat of the ﬁrst measure).

* [INFORMATION] button Page 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

[ ](Reverse) button

Press brieﬂy to move back one measure at a time, or hold

lengths (page 49), or for selecting keys or note names (page 53).

to continuously rewind.

[ ](Forward) button

Press brieﬂy to move forward one measure at a time, or hold to continuously fast-forward.

( Data dial Page 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

[●] (Record) button

Press this to enable recording (Song or pattern phrase).

with a wide value range is selected, you can change the value in broader strokes by quickly turning the dial.

(The indicator lights.)

[ ](Stop) button

Press to stop recording or playback.

[ ](Play) button

º [INC/YES] button Page 49

For increasing the value of the currently selected parameter. Also use it to actually execute a Job or a Store operation.

Press to start playback from the current point in the song or pattern. During recording and playback, the indicator ﬂashes at the current tempo.

¡ [DEC/NO] button Page 49

For decreasing the value of the currently selected parameter. Also use it to cancel a Job or a Store

# MODE buttons Page 45

These buttons select the operating modes (e.g., Voice mode).

$ LCD Display

The large backlit LCD displays the parameters and values

operation.

n You 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].

related to the currently selected operation or mode.

™ Cursor Buttons Page 49

% LCD Contrast Control Page 43

Use this control to set the LCD display for optimum

The cursor buttons move the “cursor” around the LCD display screen, highlighting and selecting the various parameters.

legibility.

^ [F1] - [F6] (Function) buttons Page 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) buttons Page 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.

Owner’s Manual

£ [EXIT] button Page 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.

Page 21

Front Panel

∞ SLOT 1-3 lamps Page 284

These three lamps show the installation status of the Plugin Boards. If the Plug-in Board has been correctly installed, the corresponding SLOT lamp will light.

n The Vocal Harmony Plug-in Board (PLG100-VH) can be installed

only to slot 1. It cannot be installed to slot 2 or 3.

n The Multi part Plug-in Board (PLG100-XG) can be installed only to

slot 3. It cannot be installed to slot 1 or 2.

§ BANK buttons Page 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] buttons Page 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.

Functions of the NUMBER [1] - [16] buttons

Voice Play mode

Voice Edit mode

Performance Play mode

Performance Edit mode

Master Play mode

Master Edit mode

Song/Pattern Play mode

Song/Pattern Mixing mode

Mixing Voice Edit mode

When [TRACK SELECT] is on

Keyboard transmit channel setting

Element selection (1 - 4) and Element Mute setting (9 - 12)

Keyboard transmit channel setting

Performance part selection (1 - 4)

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)

Zone selection (1 - 4)

Song/Pattern track selection

Song/Pattern part selection

Element selection (1- 4) and Element Mute setting (9- 12)

When [MUTE] is on

—

Performance part Mute setting (1 - 4)

—

——

Song/Pattern track Mute setting

Song/Pattern part Mute setting

When both [TRACK SELECT] [MUTE] are off

Voice selection, according to Groups A - H

—

Performance or Voice selection (if cursor is located at Voice name), according to Groups A - H

Master selection, according to Groups A - H

Song/Pattern selection, according to Groups A - H

—

ª [CATEGORY SEARCH] button Page 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] button Page 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] button Page 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] button Page 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.)

The Controls & Connectors

Owner’s Manual

Page 22

Rear Panel

The Controls & Connectors

MOTIF ES6

MOTIF ES7

MOTIF ES8

POWER ON OFF

AC INLET

I/O EXPANSION

USB

TO HOSTTO DEVICEmLAN

1 2 3 4 65

POWER ON OFF

AC INLET

mLAN I/O EXPANSION

1 2 3

MIDI OUTTHRU

BREATH

ASSI

POWER

ON OFF

AC INLET

mLAN I/O EXPANSION

1 2 3

Owner’s Manual

Page 23

Rear Panel

The Controls & Connectors

$ %

Plug-in SLOT

OUTPUT

RL/MONO

PHONES

GREEN YELLOW ORANGE

A/D INPUT

GAIN

SSIGNABLE

3.3V

CARD

FOOT

CONTROLLER

SWITCH

SUSTAIN

ASSIGNABLE OUTPUT

! #7 8 9 ) @

$ %

3.3V

CARD

FOOT

SWITCH

USB

TO HOSTTO DEVICE

MIDI

BREATH

ASSIGNABLE

CONTROLLER

SUSTAINOUTTHRU

ASSIGNABLE OUTPUT

1IN

Plug-in SLOT

OUTPUT

RL/MONO

PHONES

GREEN YELLOW ORANGE

A/D INPUT

GAIN

4 6 ! #5 7 8 9 ) @

3.3V

CARD

FOOT

SWITCH

USB

TO HOSTTO DEVICE

Plug-in SLOT

GREEN YELLOW ORANGE

MIDI

BREATH

ASSIGNABLE

CONTROLLER

SUSTAINOUTTHRU

1IN

ASSIGNABLE OUTPUT

OUTPUT

PHONES

RL/MONO

4 6 ! #5% 7 8 9 ) @

A/D INPUT

GAIN

Owner’s Manual

Page 24

Rear Panel

1 POWER Switch Page 43

Press to turn power ON or OFF.

6 BREATH Controller Jack Page 42

Connect an optional Yamaha BC3 Breath Controller here for expressive breath control capability.

The Controls & Connectors

2 AC 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.

7 FOOT SWITCH jacks Page 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. The use of an inappropriate replacement can pose a ﬁre and shock hazard!

8 FOOT CONTROLLER jacks Page 42

For connection of optional foot controllers (FC7, etc.).

3 mLAN expansion board (mLAN16E) or I/O

expansion board (AIEB2) cover Page 25

Either the mLAN expansion board (mLAN16E) or the I/O

Each jack lets you continuously control one of various

different assignable functions – such as volume, tone,

pitch, or other aspects of the sound. 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).

9 ASSIGNABLE OUT L and R jacks 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 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.

4 USB connectors Page 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

The parts which can be assigned to these jacks are as

follows:

• Drum Voice key to which the drum/percussion instrument is assigned Page 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

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

) 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.

operations can be performed in the File mode.

n For details about USB, see Page 29.

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.

! PHONES jack Page 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

5 MIDI IN/OUT/THRU connectors Page 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

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.

playback data from the MOTIF to another MIDI device, such as an external sequencer.

Owner’s Manual

Page 25

Rear Panel

# 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:

mLAN EXPANSION BOARD mLAN16E

1 mLAN (IEEE1394) connector 1, 2

For connecting mLAN devices or IEEE1394-compatible (FireWire) devices via standard IEEE1394 (6-pin) cables.

ACTIVE

IEEE1394

MADE IN JAPAN

■ When the optional AIEB2 has been

installed:

1 2 3

The Controls & Connectors

1 OPTICAL 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.

2 DIGITAL IN, OUT connectors Pages 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.

3 ASSIGNABLE 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.

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.

* The name “mLAN” and its logo (above) are trademarks.

n The digital audio output via the mLAN connector is ﬁxed to a

resolution of 24 bit/44.1 kHz.

The parts which can be assigned to these jacks are as follows:

• Drum Voice key to which the drum/percussion instrument is assigned Page 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

n Digital 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.

Owner’s Manual

Page 26

Power Supply

Setting Up

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).

Setting Up

Power Supply

Rear panel

AC INLET

Power cord (included)

1 Make sure the POWER switch on the MOTIF ES is set to OFF. 2 Connect the supplied power cord to the AC INLET on the instrument’s rear panel. 3 Connect 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.

WARNIN

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!

WARNIN

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!

WARNIN

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.

Owner’s Manual

Page 27

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.

Setting Up

SmartMedia (page 28)

USB TO DEVICE connector

MUSIC PRODUCTION SYNTHESIZER

MOTIF ES

n The 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 device connected 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.

USB storage device (page 29)

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.

CAUTION

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.

Data types Page Mode in which data is created Internal memory types to which data is stored

Voice 79 Voice mode Flash ROM Mixing Voice 105 Mixing Voice mode DRAM ➜ Will be lost when turning the power off! Performance 87 Performance mode Flash ROM Song* 117 Song mode DRAM ➜ Will be lost when turning the power off! Song Chain 59 Song Chain mode DRAM ➜ Will be lost when turning the power off! Pattern* 106 Pattern mode DRAM ➜ Will be lost when turning the power off! Pattern Chain 115 Pattern Chain mode DRAM ➜ Will be lost when turning the power off! Phrase (Pattern) 110 Pattern mode DRAM ➜ Will be lost when turning the power off! Arpeggio 130 Song mode, Pattern mode Flash ROM Master 136 Master mode Flash ROM Waveform** 94 Sampling mode DIMM (DRAM) ➜ Will be lost when turning the power off! Mixing Template*** 103 Song Mixing mode, Pattern Mixing mode Flash ROM System settings 185 Utility mode Flash ROM

* 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 speciﬁc Song/Pattern).

n For 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.

CAUTION

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.

Owner’s Manual

Page 28

About data storage to SmartMedia cards and USB storage devices

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

Setting Up

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.

■ 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.

CAUTION

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.

n The SmartMedia cards formatted with this instrument may be

unusable with other instruments or devices.

Owner’s Manual

■ 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:

1 Remove the metallic part using a Phillips screwdriver. 2 Tu rn the metallic part upside down and replace it in the

new position.

Page 29

About data storage to SmartMedia cards and USB storage devices

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

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, CDROM, 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 selfpowered (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/

n Although CD-R/W drives can be used to load data to the instrument,

they cannot be used for saving data. However, you can transfer 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).

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.

Setting Up

Precautions when using the USB TO DEVICE connector

CAUTION

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

■ 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.

n The 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.

n Though 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.

Owner’s Manual

Page 30

About data storage to SmartMedia cards and USB storage devices

Setting Up

Basic settings for using SmartMedia or a USB storage device

1 Press the [FILE] button to enter the File mode. 2 Press 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.

Volume Label of the selected device

Backing up your data to a computer

TIP

• 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.

Saving created data to the USB storage device in the File mode (page 266)

3 Set 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).

• 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.

Computer

MOTIF ES

Backing up data to a computer and organizing ﬁles/folders

Computer

MOTIF ES

n Though 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.

USB storage device

USB TO DEVICE connector

MUSIC PRODUCTION SYNTHESIZER

Disconnect the USB storage device from the synthesizer and connect it to the computer

USB storage device

MUSIC PRODUCTION SYNTHESIZER

Copying the ﬁles of the hard disk of the computer to the USB storage device

Computer

MOTIF ES

Loading ﬁles on the USB storage device to the synthesizer in the File mode (page 266)

Computer

MOTIF ES

USB storage device

MUSIC PRODUCTION SYNTHESIZER

Disconnect the USB storage device from the computer and connect it to the synthesizer

USB storage device

USB TO DEVICE connector

MUSIC PRODUCTION SYNTHESIZER

Owner’s Manual

Page 31

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.

Audio Output

■ Connecting stereo powered speakers (analog output)

For optimum, accurate reproduction of the instrument’s rich sounds, effects and full stereo image, use a pair of powered speakers. Connect the powered speakers to the OUTPUT L/MONO and R jacks on the rear panel.

Powered speaker (Left)

Headphones

OUTPUT L/MONO

PHONES

n When using just one powered speaker, connect it to the OUTPUT L/MONO jack on the rear panel.

■ Connecting a mixer

There are extra audio outputs in addition to the OUTPUT (L/MONO and R) jacks. Connect these outputs to a mixer for separately controlling the analog outputs of Drum keys or parts (Performance, Song, and Pattern). You can expand the output capabilities by installing the optional I/O board (AIEB2) or the optional mLAN16E. Installing the AIEB2 adds six extra OUTPUT jacks, while installing the mLAN16E expands the output capabilities with fourteen addition digital outputs, over a single FireWire (IEEE 1394) connector/cable. For details on how to set the Part/output jack assignments, refer to the chart below.

Powered speaker (Right)

OUTPUT R

MUSIC PRODUCTION SYNTHESIZER

MOTIF ES

Setting Up

Outputting separate notes (keys) of a Drum Voice

Outputting separate Parts of a Performance

Outputting separate Parts of a Song

Outputting separate Parts of a Pattern

Determined from the OutputSel parameter (as selected below) as Drum Voice data. Page 203

[VOICE] ➞ Drum Voice selection ➞ [EDIT] ➞ Drum Key selection ➞ [F1] OSC ➞ [SF2] OUTPUT ➞ OutputSel

This setting is available for the Part for which the OutputSel parameter is set to “drum” in another mode (e.g., Performance or Song).

Determined from the OutputSel parameter (as selected below). Page 218

[PERFORM] ➞ Performance selection ➞ [EDIT] ➞ Part selection ➞ [F2] OUTPUT ➞ [SF3] SELECT ➞ OutputSel

Assigning an audio input Part of a Performance to an output is done from the OutputSel parameter (as selected below).

[PERFORM] ➞ Performance selection ➞ [EDIT] ➞ [COMMON] ➞ [F5] AUDIO IN ➞ [SF1] OUTPUT ➞ OutputSel

Determined from the OutputSel parameter (as selected below). Page 235

[SONG] ➞ Song selection ➞ [MIXING] ➞ [EDIT] ➞ Part selection ➞ [F2] OUTPUT ➞ [SF3] SELECT ➞ OutputSel

Assigning an audio input Part of a Song to an output is done from the OutputSel parameter (as selected below).

[SONG] ➞ Song selection ➞ [MIXING] ➞ [EDIT] ➞ [COMMON] ➞ [F5] AUDIO IN ➞ [SF1] OUTPUT ➞ OutputSel

Determined from the OutputSel parameter (as selected below). Page 235

[PATTERN] ➞ Pattern selection ➞ [MIXING] ➞ [EDIT] ➞ Part selection ➞ [F2] OUTPUT ➞ [SF3] SELECT ➞ OutputSel

Assigning an audio input Part of a Pattern to an output is done from the OutputSel parameter (as selected below).

[PATTERN] ➞ Pattern selection ➞ [MIXING] ➞ [EDIT] ➞ [COMMON] ➞ [F5] AUDIO IN ➞ [SF1] OUTPUT ➞ OutputSel

Owner’s Manual

Page 32

Connections

The following settings can be made from the parameter pages listed above.

LCD Output jacks Stereo/Mono LCD Output jacks Stereo/Mono

L&R OUTPUT L and R Stereo asL ASSIGNABLE OUTPUT L Mono

asL&R ASSIGNABLE OUTPUT L and R Stereo asR ASSIGNABLE OUTPUT R Mono

as1&2 ASSIGNABLE OUTPUT 1 and 2 Stereo (1: L, 2: R) * as1 ASSIGNABLE OUTPUT 1 Mono *

Setting Up

as3&4 ASSIGNABLE OUTPUT 3 and 4 Stereo (3: L, 4: R) * : : :

as5&6 ASSIGNABLE OUTPUT 5 and 6 Stereo (5: L, 6: R) * as6 ASSIGNABLE OUTPUT 6 Mono *

as7&8 ASSIGNABLE OUTPUT 7 and 8 Stereo (7: L, 8: R) ** as7 ASSIGNABLE OUTPUT 7 Mono **

as9&10 ASSIGNABLE OUTPUT 9 and 10 Stereo (9: L, 10: R) ** : : :

as11&12 ASSIGNABLE OUTPUT 11and 12 Stereo (11: L, 12: R) ** as14 ASSIGNABLE OUTPUT 14 Mono **

as13&14 ASSIGNABLE OUTPUT 13 and 14 Stereo (13: L, 14: R) **

* Available only when the optional AIEB2 board or mLAN16E board has been installed. ** Available only when the optional mLAN16E board has been installed.

Connection example when the optional AIEB2 board has been installed (analog output)

Headphones

OUTPUT L/MONO

OUTPUT R

ASSIGNABLE OUTPUT L

ASSIGNABLE OUTPUT R

Pro R3

PHONE jack

Mixer Ampliﬁer

AIEB2

MUSIC PRODUCTION SYNTHESIZER

MOTIF ES

OUTPUT L OUTPUT R

Speaker (Left)

Connection example when the optional mLAN16E board has been installed (analog and digital output)

Headphones

OUTPUT L OUTPUT R

PHONE jack

OUTPUT L/MONO

OUTPUT R

ASSIGNABLE OUTPUT L

ASSIGNABLE OUTPUT R

IEEE1394 cable

Mixer

mLAN16E

MUSIC PRODUCTION SYNTHESIZER

Speaker (Right)

Ampliﬁer

MOTIF ES

n About the main output jacks and the Assignable Output jacks

• Connecting a set of headphones to the PHONES jack does not affect the sound output from the OUTPUT L/MONO and R jacks. The sound monitored through the headphones is identical to the sound of the OUTPUT L/MONO and R jacks.

• Any parts assigned to the ASSIGNABLE OUTPUT jacks (including those of the optional AIEB2 interface or mLAN16E interface) will not be output through the OUTPUT L/MONO and R jacks or PHONES jack.

• The 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 optional AIEB2 interface or mLAN16E interface). (Only the Part EQ and the Insertion Effect are applied.)

Owner’s Manual

Speaker (Left)

Speaker (Right)

Page 33

Connections

■ Digital Output using the optional AIEB2

When the optional AIEB2 board has been installed to the rear panel, the sound output through the OUTPUT jacks by analog can also be output by digital through the OPTICAL OUTPUT jack and the DIGITAL OUTPUT jack. Using these digital output jacks, you can record the keyboard performance or Song/Pattern playback of this synthesizer to external media (e.g., an MD recorder) with exceptionally high-quality sound.

AIEB2

MOTIF ES

Recording

Coaxial cable

Recording

DIGITAL OUTPUTOPTICAL OUTPUT

MUSIC PRODUCTION SYNTHESIZER

DIGITAL INPUT

DAT DAT

DAT or CD recorder

Optical cable

OPTICAL INPUT

n The digital output resolution of the optionally installed AIEB2 board can be set in the UTILITY mode with the following operation.

[UTILITY] ➞ [F2] I/O ➞ [SF2] OUTPUT Page 261

Audio Input

■ Connecting a microphone or other audio equipment to the A/D INPUT jacks (analog input)

External instruments and audio equipment, such as a microphone, guitar, bass, CD player or even another synthesizer/keyboard can be connected to the A/D INPUT jacks. This audio can be used as input for the AUDIO IN Part in the Performance/Song/ Pattern mode, and can be used to create samples with the Sampling function (page 172). With the use of an optional PLG100VH Plug-in Board, you can even apply an automatic vocal harmony effect to the microphone sound.

Stereo audio equipment (CD player, etc.)

L R

Microphone (MONO)

Apply effects to the microphone sound by using the Vocal Harmony Plug-in board (PLG100-VH)

Bass

Guitar

Setting Up

A/D INPUT R

MUSIC PRODUCTION SYNTHESIZER

MOTIF ES

A/D INPUT L A/D INPUT L A/D INPUT L

MOTIF ES

MUSIC PRODUCTION SYNTHESIZER

MOTIF ES

MUSIC PRODUCTION SYNTHESIZER

n Depending on the connected equipment, change the parameter settings in the Utility mode as needed, with the following operations.

• When the output level of the connected equipment (such as a microphone, guitar, bass) is low:

[UTILITY] ➞ [F2] I/O ➞ [SF1] INPUT ➞ Mic/Line = mic

• When the output level of the connected equipment (such as a synthesizer, keyboard, CD player) is high:

[UTILITY] ➞ [F2] I/O ➞ [SF1] INPUT ➞ Mic/Line = line

n After the above connections are complete, you may need to adjust the input gain of the audio source using the GAIN knob (page 73).

n The audio input sound is not available in the Voice mode because the Voice mode does not have an AUDIO IN Part.

MUSIC PRODUCTION SYNTHESIZER

MOTIF ES

Owner’s Manual

Page 34

Connections

■ 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).

Coaxial cable Sampling

MUSIC PRODUCTION SYNTHESIZER

Setting Up

AIEB2

Optical cable

Sampling

OPTICAL INPUT

MUSIC PRODUCTION SYNTHESIZER

DAT

OPTICAL OUTPUT

AIEB2

DAT

DIGITAL OUTPUTDIGITAL INPUT

DAT or CD recorder

MOTIF ES

DAT or CD recorder

MOTIF ES

n Either one of the connectors (OPTICAL or DIGITAL) can be used; however, both cannot be used at the same time. Select which connector is used for digital

input in the Utility mode with the following operation.

[UTILITY] ➞ [F2] I/O ➞ [SF1] INPUT ➞ Digital Page 261

■ 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.

mLAN device (Data Rate S400)

mLAN16E

MOTIF ES

IEEE1394 cable

Computer with an IEEE1394 interface

IEEE1394

MUSIC PRODUCTION SYNTHESIZER

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.

n Any 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.

[UTILITY] ➞ [F5] MIDI ➞ [SF4] OTHER ➞ MIDI IN/OUT Page 265

■ Controlling from an external MIDI keyboard

Use an external keyboard to remotely select and play Voices of the MOTIF ES.

Owner’s Manual

MIDI IN

MOTIF ES

MUSIC PRODUCTION SYNTHESIZER

External MIDI keyboard or synthesizer, such as the S/SY/EX series

MIDI OUT

Page 35

Connections

MIDI Transmit Channel and Receive Channel

Make sure match the MIDI Transmit Channel of the external MIDI instrument with the MIDI Receive Channel of the MOTIF ES. For details on setting the MIDI Transmit Channel of the external MIDI instrument, refer to the Owner’s Manual of the MIDI instrument. For details on setting the MIDI Receive Channel of the MOTIF ES, check the following points.

• In the Voice mode/Performance mode (using the MOTIF ES as a single timbre tone generator)

Check the MIDI Basic Receive Channel with the following operation.

[UTILITY] ➞ [F5] MIDI ➞ [SF1] CH ➞ BasicRcvCh

If necessary, change this parameter to the same number as the MIDI Transmit Channel of the external MIDI instrument.

• In the Song mode/Pattern mode (using the MOTIF ES as a multi-timbral tone generator)

Check the MIDI Receive Channel for each part of the Song/Pattern with the following operation.

[SONG] or [PATTERN] ➞ [MIXING] ➞ [EDIT] ➞ Part selection ➞ [F1] VOICE ➞ [SF2] MODE ➞ ReceiveCh

Change the settings of the desired parts to match the MIDI Transmit Channel settings on the external MIDI instrument. Please note that all the parts whose MIDI Receive Channel are same as MIDI Transmit Channel of the external MIDI instrument are sounded by your keyboard performance.

n The functions of the internal tone generator differ depending on whether the Voice/Performance mode (single timbre, keyboard playback) or the

Song/Pattern mode (multi-timbral, sequencer playback) is selected. For details, see page 163.

■ Controlling an external MIDI keyboard from this synthesizer

This connection lets you sound an external MIDI tone generator (synthesizer, tone generator module, etc.) by playing the MOTIF ES or playing back the Song/Pattern of the MOTIF ES. Use this connection when you wish to sound the other instrument as well as the MOTIF ES.

Setting Up

MIDI OUT

MUSIC PRODUCTION SYNTHESIZER

External MIDI keyboard or synthesizer, such as

MOTIF ES

TIP

Splitting the sound between the MOTIF ES and an external tone generator by MIDI channel (Part 1)

the S/SY/EX series

MIDI IN

Using the connection example shown above, you can play both instruments and have them separately sound different parts — for example, having your keyboard performance sound the external instrument while the Song/Pattern plays the sounds of the MOTIF ES. Check the following points.

• In the Voice mode/Performance mode

You can check the MIDI Transmit Channel at the right corner of the [F1] PLAY display in the Voice Play mode/Performance Play mode. If necessary, you can change the MIDI Transmit Channel by turning the [TRACK SELECT] button on and entering the desired value with the [NUMBER] buttons.

When you wish to sound only the external tone generator, set Master Volume to “0” or set Local Control to “off” with the following operation.

[UTILITY] ➞ [F5] MIDI ➞ [SF2] SWITCH ➞ LocalCtrl

About how to set the MIDI Receive Channel of the external MIDI instrument, refer to the Owner’s Manual of the external MIDI instrument.

• In the Song mode/Pattern mode

You can check the MIDI Transmit Channel for each track of the current Song/Pattern with the following operation. Change this setting as necessary.

[SONG] or [PATTERN] ➞ [F3] TRACK ➞ [SF1] CHANNEL

Alternately, you can set the output destination (Internal or external MIDI tone generator) for each track from the following display.

[SONG] or [PATTERN] ➞ [F3] TRACK ➞ [SF2] OUTSW

In this case, you’ll need to set the external MIDI tone generator to multi-timbral operation and set the MIDI Receive Channel for each part. For details, refer to the owner’s manual of the external MIDI tone generator.

Alternately, you can have your keyboard performance split and assigned to different MIDI channels by using the Zone settings in the Master mode. (See page 137.)

n The functions of the internal tone generator differ depending on whether the Voice/Performance mode (single timbre, keyboard playback) or the

Song/Pattern mode (multi-timbral, sequencer playback) is selected. For details, see page 163.

Owner’s Manual

Page 36

Connections

■ Recording and playback using an external MIDI sequencer

In this connection example, song data on the external MIDI sequencer plays the sounds of the tone generator on the MOTIF ES. The external song data can also be recorded to Song/Pattern tracks on the MOTIF ES.

Setting Up

MIDI OUTMIDI IN

MOTIF ES

MUSIC PRODUCTION SYNTHESIZER

Sounding the MOTIF ES tone generator from a MIDI sequencer, such as the QX/QY series, RM1x, RS7000

MIDI OUTMIDI IN

Synchronizing with an external MIDI instrument (Master and Slave)

The Songs and Patterns of this instrument can be synchronized to the playback of an external MIDI sequencer, To do this, one device must be set to internal clock operation and the other (as well as all other devices to be controlled) to external clock. The device set to internal clock serves as a reference for all connected devices, and is referred to as the “master” instrument. The connected devices set to external clock are referred to as “slaves.” When recording playback data of the external MIDI sequencer to a Song/Pattern of the MOTIF ES in the above connection example, make sure to set the MIDI synchronization parameter to the use of external clock in the Utility mode with the following operation.

[UTILITY] ➞ [F5] MIDI ➞ [SF3] SYNC ➞ MIDI Sync = MIDI

n For details on how to record the playback data of an external MIDI sequencer to a Song on the MOTIF ES, see page 143.

■ Controlling another MIDI instrument via MIDI THRU

If you have more synthesizers and tone generators than MIDI ports, you can use the MIDI THRU jack to connect and control additional devices. Here, the playback data of a MIDI sequencer is used to play the sounds of another MIDI instrument (connected to the MIDI THRU connector) as well as the MOTIF ES. The MIDI THRU connector simply redirects any received MIDI data (via MIDI IN) to connected instrument.

MIDI OUT

MIDI THRUMIDI IN

MUSIC PRODUCTION SYNTHESIZER

MIDI tone generator

MOTIF ES

MIDI synthesizer

MIDI sequencer such as the QY/ QX series, RM1x, RS7000

In this case, make sure that the MOTIF ES is set to the Song mode or Pattern mode. If the instrument is set to the Voice mode or to the Performance mode in which multi-channel MIDI messages are not recognized, the external sequence data (containing multi-channel data) will not play back properly on the MOTIF ES. In addition, you may have to make certain MIDI synchronization settings (see below). Likewise, make sure to set the MIDI tone generator (connected to the MIDI THRU connector) to the multi-timbral mode. Beside, you need to set the MIDI synchronization related parameters of the MOTIF ES to use of the external clock from the following display.

[UTILITY] ➞ [F5] MIDI ➞ [SF3] SYNC ➞ MIDI Sync = MIDI

MIDI OUTMIDI IN MIDI IN

Owner’s Manual

Page 37

Connections

TIP

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.

[SONG] or [PATTERN] ➞ [MIXING] ➞ [EDIT] ➞ Part selection ➞ [F1] VOICE ➞ [SF2] MODE ➞ ReceiveCh

On the connected MIDI tone generator, assign the parts to be sounded to MIDI Receive Channels 10 through 16, and set the rest of the parts (not to be sounded) to off.

■ 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.

[UTILITY] ➞ [F5] MIDI ➞ [SF3] SYNC ➞ MIDI Sync = MTC

n MTC 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).

MIDI IN

MIDI cable

MTC OUT

MUSIC PRODUCTION SYNTHESIZER

Setting Up

MOTIF ES

n MTC (MIDI Time Code) allows simultaneous synchronization of multiple audio devices via standard MIDI cables. It includes data corresponding to hours,

minutes, seconds, and frames. The MOTIF ES does not transmit MTC. An instrument such as the Yamaha AW4416 is necessary as an MTC master.

AW4416, etc.

• 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.

MIDI cable

SEQ TRANSPORT

LOCATE 1 2

n MMC (MIDI Machine Control) allows remote control of multitrack recorders, MIDI sequencers, etc. A MMC-compatible multitrack recorder, for example, will

automatically respond to start, stop, fast forward, and rewind operations performed on the controlling sequencer, thus keeping playback of the sequencer and multitrack recorder aligned.

MIDI IN MIDI OUTMIDI OUT MIDI IN

MUSIC PRODUCTION SYNTHESIZER

MOTIF ES

AW4416, etc.

Owner’s Manual

Page 38

Connections

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.

n When 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

Setting Up

(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.”

[UTILITY] ➞ [F5] MIDI ➞ [SF4] OTHER ➞ MIDI IN/OUT = USB

USB cable

USB TO HOST

MUSIC PRODUCTION SYNTHESIZER

MOTIF ES

n USB 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.

n When 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.

n If you are using the Remote Control function to control operations on a computer sequencer, you should make connections with a USB cable.

Computer with a USB interface

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.

n This synthesizer can recognize and use up to three ports at the same time.

n When 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.

Owner’s Manual

Page 39

Connections

MUSIC PRODUCTION SYNTHESIZER

MIDI OUT USB TO HOST

MIDI IN

Only MIDI data over port 5 will be transmitted through the MOTIF ES to this tone generator.

MIDI cable USB cable

Outputting the MIDI data via multiple ports

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

TIP

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 ThruPort parameter with the following operation.

[UTILITY] ➞ [F5] MIDI ➞ [SF4] OTHER ➞ ThruPort = 5

Setting Up

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.”

[UTILITY] ➞ [F5] MIDI ➞ [SF4] OTHER ➞ MIDI IN/OUT = mLAN

IEEE1394 cable

mLAN16E

mLAN connector

MUSIC PRODUCTION SYNTHESIZER

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).

MOTIF ES

Computer with an IEEE1394 interface

Owner’s Manual

Page 40

Connections

Using a MIDI interface

• Using the computer’s MIDI interface

MIDI cable

Setting Up

MIDI OUTMIDI IN

MOTIF ES

MUSIC PRODUCTION SYNTHESIZER

MIDI OUTMIDI IN

Computer with MIDI interface

• Using an external MIDI interface

MIDI cable

MIDI OUTMIDI IN

MUSIC PRODUCTION SYNTHESIZER

MOTIF ES

n Please use the appropriate MIDI interface for your computer.

n If you are using a computer that has a USB interface, make sure to connect the computer and this synthesizer by USB. (The data transfer rate is faster than

MIDI and you’ll have access to multiple MIDI ports.)

MIDI interface

Serial port (modem or printer port) or USB port

Computer

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.

Owner’s Manual

Page 41

Connections

MOTIF ES

IN OUT

USB TO HOST

OUT

Computer (SQ01, etc.)

MIDI Echo (MIDI thru) = on

Tone generator block

Keyboard

[UTILITY] ➞ [F5] MIDI ➞ [SF2] SWITCH ➞ LocalCtrl = off

OUT

USB TO HOST

MOTIF ES

Computer (SQ01, etc.)

MIDI Echo (MIDI thru) = off

Tone generator block

Keyboard

[UTILITY] ➞ [F5] MIDI ➞ [SF2] SWITCH ➞ LocalCtrl = on

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:

n When transmitting or receiving System Exclusive data (such as with the Bulk Dump function), use the setting example below, making sure that MIDI

“Echo” (MIDI through) on the computer software is set to “off.”

• When MIDI “Echo” (MIDI through) is set to off the software/computer:

Setting Up

n Although 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.”

n For details about the MIDI Echo, refer to the owner’s manual of your particular software.

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Page 42

Connections

Connecting Various Controllers

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.

FOOT

SWITCH

FOOT

CONTROLLER

Setting Up

GREEN

3.3V

CARD

YELLOW ORANGE

Plug-in SLOT

FOOT

CONTROLLER

ON OFF

AC INLET

I/O EXPANSION

USB

SWITCH

MIDI OUTTHRU

ASSIGNABLE

BREATH

TO HOSTTO DEVICEmLAN

A/D INPUTLROUTPUT

ASSIGNABLE OUTPUT

1IN

SUSTAIN

PHONES

RL/MONO

BREATH

ASSIGNABLE

GAIN

SUSTAIN

MOTIF ES rear panel

BC3

FC4 or FC5

FC7

■ 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.

n Breath 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.

n The 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.

n The sustain level of the Amplitude EG (page 162) is maintained while holding down the Sustain footswitch, even when releasing your ﬁngers from the keys.

n You 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.

n Foot Controller parameters can be set for each Voice (page 192).

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Page 43

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:

1 2 3

POWER

ON!!

Setting Up

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

MIDI sender MOTIF ES

MUSIC PRODUCTION SYNTHESIZER

Audio equipment (ﬁrst mixer, then ampliﬁer)

Turning the MOTIF ES on/off

The explanations here apply when audio equipment (ampliﬁer and speaker) is connected to the MOTIF ES.

1 Make 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.

2 Press 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.

POWER

ON OFF

AC INLET

Rear panel of the MOTIF ES Master mode display

n At 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)

n Because 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).

3 Tu rn the power of the connected audio equipment on. 4 Raise the sound system volume of the audio equipment and the MOTIF ES gradually to a reasonable level. 5 If necessary, adjust the legibility of the LCD display by using the LCD Contrast Control. 6 After turning the power of the audio equipment off or turning down the volume of the audio equipment, turn the MOTIF ES’s

power off.

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Page 44

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.

CAUTION

When the factory settings are restored, all the Voice, Performance, Song, Pattern, and system setting in the Utility mode you created will be erased.

Setting Up

Be sure to save all important data to SmartMedia or USB storage device before executing this procedure (pages 85, 91 and 131).

1 Press the [UTILITY] button to enter the Utility mode (the lamp lights).

SEQUENCER

PATTERN FILE

SONG

INTEGRATED

MIXING UTILITY

SAMPLING

JOB STORE

EDIT

COMPARE SCENE STORE

DEMO

SET LOCATE

2 Press the [JOB] button to enter the Utility Job mode.

SEQUENCER

PATTERN FILE

SONG

INTEGRATED

MIXING UTILITY

SAMPLING

JOB STORE

EDIT

COMPARE SCENE STORE

DEMO

SET LOCATE

3 Press the [ENTER] button. (The display prompts you for conﬁrmation.)

n To cancel the Job, press the [DEC/NO] button.

4 Press the [INC/YES] button to execute the Job.

After the Job has been completed, a “Completed” message appears and operation returns to the original display.

CAUTION

An “Executing...” or “Please keep po wer 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.

n All 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.

Owner’s Manual

Page 45

Modes

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.

Term Description Page Voice Musical instrument voices 158 Performance A program in which multiple Voices are combined in a layer 158 Song Music data consisting of MIDI events 166 Pattern Rhythm pattern data which consist of MIDI events used for looped playback 167

Sampling

Master A program which lets you register the settings in each mode – Voice, Performance, Song, and Pattern 136 File A collection of settings for storing and managing your created data 186

Modes

Mode Structure

The 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

Basic Operation

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.

Keyboard Playback mode (single timbre tone generator)

Voice mode

Voice Play mode Voice Edit mode Voice Job mode Voice Store mode

Performance mode

Performance Play mode Performance Edit mode Performance Job mode Performance Store mode

Keyboard Playback mode (multi-timbral tone generator)

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

VOICE

PERFORM

SONG

PATTERN

Sampling mode

Sampling Record mode Sampling Edit mode Sampling Job mode

Utility mode

Utility Job mode

(Mixing Voice mode)

Mixing Voice Edit mode Mixing Voice Job mode Mixing Voice Store mode

INTEGRATED

SAMPLING

UTILITY

MIXING

VOICE

SEQUENCER

SONG

INTEGRATED

SAMPLING

MODE

PERFORM MASTER

PATTERN FILE

MIXING UTILITY

DEMO

Master mode

Master Play mode Master Edit mode Master Job mode Master Store mode

File mode

MASTER

FILE

Owner’s Manual

Page 46

Modes

Mode table

The functions of each mode and how to enter each mode are as follows:

Voice mode Voice Play mode Playing a Voice [VOICE]

Basic Operation

Performance mode Performance Play mode Playing a Performance [PERFORM]

Song mode Song Play mode Playing a Song [SONG]

Pattern mode Pattern Play mode Playing a Pattern [PATTERN]

(Mixing Voice mode)

Sampling mode Sampling Record mode Recording a Sample [INTEGRATED SAMPLING]

Utility mode Utility mode Setting System related parameters [UTILITY]

Master mode Master Play mode Playing a Master [MASTER]

File mode File mode Managing Files and Folders (Directories) [FILE]

Mode Function How to enter the mode

Voice Edit mode Editing/Creating a Voice [VOICE] → [EDIT] Voice Job mode Initializing a Voice, etc. [VOICE] → [JOB] Voice Store mode Storing a Voice to internal memory [VOICE] → [STORE]

Performance Edit mode Editing/Creating a Performance [PERFORM] → [EDIT] Performance Job mode Initializing a Performance, etc. [PERFORM] → [JOB] Performance Store mode Storing a Performance to internal memory [PERFORM] → [STORE]

Song Record mode Recording a Song [SONG] → [●] (REC) Song Edit mode Editing a Song MIDI events [SONG] → [EDIT] Song Job mode Converting and transforming Song data [SONG] → [JOB] Song Mixing mode Setting tone generator parameters [SONG] → [MIXING] Song Mixing Edit mode Setting tone generator parameters in detail [SONG] → [MIXING] → [EDIT] Song Mixing Job mode Initializing a Song Mixing, etc. [SONG] → [MIXING] → [JOB] Song Mixing Store mode Storing a Song Mixing internal memory [SONG] → [MIXING] → [STORE]

Pattern Record mode Recording a Pattern [PATTERN] → [●] (REC) Pattern Edit mode Editing a Pattern MIDI events [PATTERN] → [EDIT] Pattern Job mode Converting and transforming Pattern data [PATTERN] → [JOB] Pattern Mixing mode Setting tone generator parameters [PATTERN] → [MIXING] Pattern Mixing Edit mode Setting tone generator parameters in detail [PATTERN] → [MIXING] → [EDIT] Pattern Mixing Job mode Initializing a Pattern Mixing, etc. [PATTERN] → [MIXING] → [JOB] Pattern Mixing Store mode Storing a Pattern Mixing internal memory [PATTERN] → [MIXING] → [STORE]

Mixing Voice Edit mode Editing/Creating a Voice dedicated for Song/Pattern

Mixing Voice Job mode Initializing a Mixing Voice, etc.

Mixing Voice Store mode Storing a Mixing Voice to internal memory

Sampling Edit mode Editing a sample [INTEGRATED SAMPLING] → [EDIT] Sampling job mode Converting and transforming Sample data [INTEGRATED SAMPLING] → [JOB]

Utility Job mode

Master Edit mode Editing/Creating a Master [MASTER] → [EDIT] Master Job mode Initializing a Master, etc. [MASTER] → [JOB] Master Store mode Storing a Master to internal memory [MASTER] → [STORE]

Resetting the User Memory to the Initial Factory Settings

[SONG] or [PATTERN] → [MIXING] → [F5] VCE ED

[SONG] or [PATTERN] → [MIXING] → [F5] VCE ED → [JOB]

[SONG] or [PATTERN] → [MIXING] → [F5] VCE ED → [STORE]

[UTILITY] → [JOB]

■ 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.

DEC/NO INC/YES

EXIT ENTER

EXECUTE

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Page 47

Functions and Sub-Functions

Each mode described above contains various displays, with various functions and parameters. To navigate your way through these displays and select a desired function, use the [F1] - [F6] buttons and the [SF1] - [SF5] buttons. When you select a mode, the available displays or menus appear directly above the buttons at the bottom of the display (as shown below).

Using the Function buttons [F1] - [F6]

These functions can be selected via the

SCENE

SF1 SF

2 SF3 SF4 SF5

F1 F2 F3 F4 F5 F6

INFORMATION

Depending on the currently selected mode, up to six functions are available and can be called up with the [F1] - [F6] buttons. Keep in mind that the available functions differ depending on the selected mode.

Using the Sub-Function buttons [SF1] - [SF5]

corresponding button ([F1] - [F6]).

In this example, press the [F5] button to go to the LFO display.

Basic Operation

These functions can be selected via the corresponding button ([SF1] - [SF5]).

SCENE

SF1 SF

2 SF3 SF4 SF5

F1 F2 F3 F4 F5 F6

INFORMATION

In this example, press the [SF5] button to go to the OTHER display.

Depending on the currently selected mode, up to ﬁve functions (sub-functions) are available and can be called up with the [SF1]

- [SF5] buttons. Keep in mind that the available functions differ depending on the selected mode. (Some displays may not have any sub-functions for these buttons.)

Selecting a Program

In order to play the MOTIF ES you’ll need to call up one of its programs, i.e., a Voice, Performance, Song, Pattern, or Master. These programs can be selected in each Play mode via the same procedure.

■ Using the [INC/YES], [DEC/NO] buttons and the data dial

The [INC/YES] and [DEC/NO] buttons let you step up or down through the program numbers in any of the Play modes (Voice, Performance, Song, Pattern, and Master). Rotating the data dial to the right (clockwise) increases the program number, while rotating it to the left (counter-clockwise) decreases it. This control works in the same way as the [INC/YES] and [DEC/NO] buttons, but lets you scroll through the programs more quickly.

Decreases number Increases number

Decreases number

DEC/NO INC/YES

Increases number

Owner’s Manual

Page 48

Selecting a Program

■ Using the [GROUP], [NUMBER] buttons

As shown below, you can select a program number by pressing any of the GROUP [A] - [H] buttons and pressing any of the NUMBER [1] - [16] buttons.

Basic Operation

The explanations here apply when these four button indicators are off.

PRE 5 PRE 6 USER 1

A. PIANO KEYBOARD ORGAN

ABCDEFG

SYN LEAD

SYN PAD/

CHOIR

SYN COMP

USER 2

GUITAR/

PLUCKED

CHROMATIC PERCUSSION

BASS

DRUM/

PERCUSSION

SLOT 1 SLOT 2 SLOT 3

PLG 1

PLG 2

STRINGS

BRASS

SE MUSICAL FX COMBI

PLG 3

REED/PIPE

87654321

CATEGORY

SECTION

TRACK

SELECT

BANK

GROUP

ELEMENT/PERF. PART /ZONE

1412 13

MUTE

SOLO

NUMBER

n The convenient Category Search function (page 62) lets you easily locate and select the Voices you want by type.

The Voice program numbers and the corresponding Group/Numbers are listed below.

Program

Number

Group Number

001 A 1 033 C 1 065 E 1 097 G 1

002 A 2

003 A 3

004 A 4

005 A 5

006 A 6

007 A 7

008 A 8

009 A 9

010 A 10

011 A 11

012 A 12

013 A 13

014 A 14

015 A 15

016 A 16

017 B 1

018 B 2

019 B 3

020 B 4

021 B 5

022 B 6

023 B 7

024 B 8

025 B 9

026 B 10

027 B 11

028 B 12

029 B 13

030 B 14

031 B 15

032 B 16

n When selecting a Voice, it is necessary to press one of the [BANK] buttons before pressing the [GROUP] and [NUMBER] buttons.

n The amount of numbers differ depending on the program. For example, while the selected number range of the Normal Voice, Performance, and Master is

001 - 128, the selected number range of the Song and Pattern is 001- 064.

Program

Number

Group Number

Program

Number

Group Number

Program

Number

Group Number

034 C 2 066 E 2 098 G 2

035 C 3 067 E 3 099 G 3

036 C 4 068 E 4 100 G 4

037 C 5 069 E 5 101 G 5

038 C 6 070 E 6 102 G 6

039 C 7 071 E 7 103 G 7

040 C 8 072 E 8 104 G 8

041 C 9 073 E 9 105 G 9

042 C 10 074 E 10 106 G 10

043 C 11 075 E 11 107 G 11

044 C 12 076 E 12 108 G 12

045 C 13 077 E 13 109 G 13

046 C 14 078 E 14 110 G 14

047 C 15 079 E 15 111 G 15

048 C 16 080 E 16 112 G 16

049 D 1 081 F 1 113 H 1

050 D 2 082 F 2 114 H 2

051 D 3 083 F 3 115 H 3

052 D 4 084 F 4 116 H 4

053 D 5 085 F 5 117 H 5

054 D 6 086 F 6 118 H 6

055 D 7 087 F 7 119 H 7

056 D 8 088 F 8 120 H 8

057 D 9 089 F 9 121 H 9

058 D 10 090 F 10 122 H 10

059 D 11 091 F 11 123 H 11

060 D 12 092 F 12 124 H 12

061 D 13 093 F 13 125 H 13

062 D 14 094 F 14 126 H 14

063 D 15 095 F 15 127 H 15

064 D 16 096 F 16 128 H 16

Owner’s Manual

Page 49

Moving the Cursor and Setting Parameters

Changing (editing) parameter values

Rotating the data dial to the right (clockwise) increases the value, while rotating it to the left (counter-clockwise)

Moving the cursor

Use these four buttons to navigate the display, moving the cursor around the various selectable items and parameters in the screen. When selected, the rele vant item is highlighted (the cursor appears as a dark block with inverse characters). You can change the value of the item (parameter) at which the cursor is located by using the data dial, [INC/YES] and [DEC/NO] buttons.

DEC/NO INC/YES

EXIT ENTER

EXECUTE

■ Inputting a number directly

For parameters having large value ranges (such as the start and end points of a sample), you can also enter the value directly, using the buttons below the LCD display as a numeric keypad. When the cursor is located on such a parameter, the [NUM] icon appears at the lower right corner of the LCD display indicating that you can call up the number input window by pressing the [INFORMATION] button. From this window, you can input a number directly by pressing the [F1] - [F6] buttons and the [SF1] [SF5] buttons. First, press the [F6] button so that the cursor appears at the Input Number within the bracket. Move the cursor to the desired digit by using the Cursor buttons [>] and [<], then input the number of the selected digit. After completing the number input, press the [ENTER] button to actually enter the number. Press the [EXIT] button to go back to the original display.

decreases it. For parameters with large value ranges, you can increase

the value by 10 by simultaneously holding down the [INC/ YES] button and pressing the [DEC/NO] button. To decrease by 10, do the opposite; simultaneously hold down the [DEC/NO] button and press the [INC/YES] button.

Basic Operation

Number Input window Input Number

SCENE

SF1 SF

2 SF3 SF4 SF5

F1 F2 F3 F4 F5 F6

INFORMATION

SCENE

SF1 SF

2 SF3 SF4 SF5

F1 F2 F3 F4 F5 F6

INFORMATION

■ Selecting a note type

When the cursor is located on the parameter to which the note type is set, the note icon appears at the lower right corner indicating that you can call up the Note Type selection window by pressing the [INFORMATION] button. You can specify the note type by pressing the [F1] - [F6] buttons and the [SF1] - [SF5] buttons. After selecting one of the note types, press the [ENTER] button to actually enter the selection. Press the [EXIT] button to go back to the original display.

Note Type selection window

SCENE

SF1 SF

2 SF3 SF4 SF5

F1 F2 F3 F4 F5 F6

INFORMATION

SCENE

SF1 SF

2 SF3 SF4 SF5

F1 F2 F3 F4 F5 F6

INFORMATION

Owner’s Manual

Page 50

Knob (KN) and Control Slider (CS)

Knob (KN)

You can change the brightness and tone characteristics of the current Voice or Performance in realtime by turning the knobs while you play. Rotating it to the right (clockwise) increases the program number, while rotating it to the left (counter-clockwise) decreases it. You can select the function set assigned to the knobs among the following seven sets by pressing the appropriate [KNOB CONTROL FUNCTION] button.

Basic Operation

Function sets assigned to the Knobs (KN)

Operation

When pressing the [PAN/ SEND] button

Button of which the lamp is turned on

KN1 (Knob 1) KN2 (Knob 2) KN3 (Knob 3) KN4 (Knob 4)

[PAN/SEND] button Pan (stereo position)

of the Voice/

Functions controlled by each Knob

Reverb Send Level Chorus Send Level Tempo of the Song/

Performance

When pressing the [TONE] button

[TONE] button Filter Cutoff

Frequency (degree of brightness)

Resonance (the level of the signal in the area of the cutoff frequency)

When pressing the [ARP FX] button

[ARP FX] button Swing degree of the

Arpeggio playback

Gate time (length) of the Arpeggio playback

When pressing the [EQ] button

When pressing the [PAN/ SEND] button and the [TONE] button simultaneously

When pressing the [TONE] button and the [ARP FX] button simultaneously**

When pressing the [ARP FX] button and the [EQ] button simultaneously

[EQ] button Low band of the

Master EQ in the Voice/Performance mode, part EQ in the Song/Pattern mode

[PAN/SEND] button [TONE] button

Function assigned from the [UTILITY] → [F4] CTLASN → [SF2] ASSIGN display (page 263) in

Low-mid band of the Master EQ in the Voice/Performance mode, Mid band of the Part EQ in the Song/Pattern mode

the Utility mode

All the buttons are off Function assigned for each Master from the [MASTER] → [EDIT] → Zone selection → [F5] KN/CS

display (page 140)

[ARP FX] button [EQ] button

Function assigned to the Master Effect parameters from the [UTILITY] → [F4] CTLASN → [SF5] MEF display.

* For Drum Voices, this affects the release time for all played notes, whether held or released. ** Available only when setting the Zone Switch to on in the Master Mode (page 137)

Pattern/Arpeggio playback

Attack Time of the sound

Release Time of the sound (decay time after the key is released)*

Velocity of the Arpeggio playback

High-mid band of the Master EQ in the Voice/Performance mode. (Not available in the Song/Pattern mode.)

Arpeggio playback time

High band of the Master EQ in the Voice/Performance mode, part EQ in the Song/Pattern mode

Function assigned for each Voice from the [VOICE] → [EDIT] → [COMMON] → [F4] CTLSET display (page 155)

When pressing any of the [KNOB CONTROL FUNCTION] buttons, the lamp(s) of the buttons will light according to the above table and the status of the Knobs and Control Sliders (currently assigned functions and set values) is shown on the LCD display. The appearance of the knob in the display indicates the actual control status of the knob. When a knob indication is black, the control knob on the panel affects the sound. When an indication is white, moving the panel knob does not affect the sound, until the current value is reached (after which the indication turns black, indicating normal control).

Turning these Knobs will affect the sound.

Turning these Knobs will not affect the sound.

KNOB

CONTROL

FUNCTION

PAN/SEND

ASSIGN

TONE

ARP FX

Owner’s Manual

ASSIGN A

PAN

CUTOFF

SWING

LOW

ASSIGN B

REVERB RESONANCE GATE TIME

LOW MID

ASSIGN 1

CHORUS

VELOCITY

HIGH MID

ATTACK

ASSIGN 2

TEMPO

RELEASE

UNITMULTIPLY

HIGH

Page 51

About the editing functions

Control Slider (CS)

You can adjust the volume of the Voice/Performance you play on the keyboard, or the volume of the speciﬁed part (track) of the Song/Pattern by using the Control Sliders (CS). In the Master mode, various functions as well as the volume can be assigned to the Control Sliders (CS) when the Zone Switch is set to on (page 137).

Function sets assigned to the Control Slider (CS)

Mode

Voice mode When a Normal Voice is

selected (page 60)

When a Drum Voice is selected (page 61)

Performance mode Part1 Volume Part2 Volume Part3 Volume Part4 Volume Song mode/Pattern mode When tracks (Parts) 1 - 4

are selected

When tracks (Parts) 5 - 8 are selected

When tracks (Parts) 9 - 12 are selected

When tracks (Parts) 13 - 16 are selected

Master mode When the Zone Switch is

set to on (page 137)

n The [MASTER VOLUME] slider adjusts the overall output level of the instrument, while the Control Sliders adjust the MIDI Volume setting of the

corresponding Element or Part.

CS1 CS2 CS3 CS4

Element1 Volume Element2 Volume Element3 Volume Element4 Volume

Volume of the entire Voice sound (moving any Slider produces same volume)

Track1 (Part1) Volume Track2 (Part2) Volume Track3 (Part3) Volume Track4 (Part4) Volume

Track5 (Part5) Volume Track6 (Part6) Volume Track7 (Part7) Volume Track8 (Part8) Volume

Track9 (Part9) Volume

Track13 (Part13) Volume

Function assigned for each Master from the [MASTER] → [EDIT] → Zone selection → [F4] KN/CS display (page 140)

Functions controlled by each Slider

Track10 (Part10) Volume

Track14 (Part14) Volume

Track11 (Part11) Volume

Track15 (Part15) Volume

Track12 (Part12) Volume

Track16 (Part16) Volume

About the editing functions

There are three types of method for creating data – Editing parameters (Voice, Performance, etc.), Recording MIDI data (Song, Pattern, etc.), and Recording audio data (Sampling). In this section, we’ll explain the basic operations for editing the Voice, Performance, Song Mixing, Pattern Mixing, Mixing Voice settings.

n For details on recording MIDI data, see pages 118 (Song) and 110 (Pattern). For details on recording audio data (for Sampling), see pages 94 and 107.

n The Song Edit function (for editing the Song MIDI sequence data) and the Pattern Edit function (for editing the Pattern MIDI sequence data) are not

explained here. See page 124.

Basic Operation

Edit Indicator

You can adjust or set various parameters by using the data dial, [INC/YES] button, [DEC/NO] button, Knobs, and Control Sliders in the Voice mode (Play/Edit mode), Performance mode (Play/Edit mode), Song Mixing mode, Pattern Mixing mode, and Mixing Voice mode. When changing the value of the parameter in these modes, the [E] (Edit Indicator) will appear on the top left corner of the LCD display. This indicates that the current program has been modiﬁed but not yet stored. If you wish to store your sound obtained by edit operation, be sure to store the current program to internal User memory in the Store mode before selecting another program.

Edit Indicator

EDIT

JOB STORE

If the Edit Indicator

Voice Edit

Performance Edit

Song Mixing Edit

Pattern Mixing Edit

Mixing Voice Edit

appears...

COMPARE SCENE STORE

Performance Store Song Mixing Store

Pattern Mixing Store

Mixing Voice Store

SET LOCATE

Voice Store

Owner’s Manual

Page 52

Confirmation Message

Compare Function

This convenient function lets you switch between the edited sound and its original, unedited condition – allowing you to listen to the difference between the two and better hear how your edits affect the sound. For example, when editing a Voice in the Voice Edit mode, the “E” Edit indicator is shown. Pressing the [COMPARE] button in this condition reverts to the original unedited sound (the button lamp ﬂashes and the “C” Compare indicator is shown). Press the [COMPARE] button again to return to the edited sound.

Basic Operation

Edit Indicator (newly edited sound) Changes to the Compare Indicator (original sound)

EDIT

JOB STORE

JOB STOREEDIT

COMPARE SCENE STORE

SET LOCATE

COMPARE SCENE STORE

Lamp ﬂashes

SET LOCATE

Edit Recall Function

If you are editing a program and select a different program without storing your edited one, all the edits you’ve made will be erased. However, the edited program is maintained in a backup memory location called the Recall buffer (page 187). To restore the lost data with your latest edits intact, use the Edit Recall function in the Job mode.

Job mode How to call up the Edit Recall display Voice [VOICE] → [JOB] → [F2] RECALL Performance [PERFORM] → [JOB] → [F2] RECALL Song Mixing [SONG] → [MIXING] → [JOB] → [F2] RECALL Pattern Mixing [PATTERN] → [MIXING] → [JOB] → [F2] RECALL Mixing Voice [SONG] or [PATTERN] → [MIXING] → [F5] VCE ED → [JOB] → [F2] RECALL

Conﬁrmation Message

When you execute certain operations, such as those in the Job, Store, and File modes, this synthesizer shows a conﬁrmation message. This lets you actually execute the operation or cancel it if desired.

If a conﬁrmation message (like the one illustrated above) appears, press the [INC/YES] button to execute the operation or press the [DEC/NO] button to cancel it.

Owner’s Manual

Page 53

Information Display

This convenient function lets you call up relevant details about the selected mode – simply by pressing the [INFORMATION] button. For example, when the Voice mode is active, you can quickly check information about which voice bank is selected, what Play mode (poly or mono) is being used, which effects are applied, and so on.

INFORMATION

For details, see page 275.

Note (Key) settings

Several parameters let you set a key range for a function – for example, in setting up a keyboard split – by specifying certain note values. You can use the [INC/YES] and [DEC/NO] buttons or data dial to set these parameters, or you can directly enter the values from the keyboard by pressing the appropriate keys (as shown below).

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.

n About the note name assigned to each key, see page 16.

Naming

You can freely name the created data like Voice and the ﬁle saved to the SmartMedia/USB storage device. The chart below lists the types of data that can be named along with the operations for calling up the respective naming displays.

Data types that can be named How to call up the naming display Page Voice [VOICE] → [EDIT] → [F1] GENERAL → [SF1] NAME 80 Performance [PERFORM] → [EDIT] → [F1] GENERAL → [SF1] NAME 89 Song [SONG] → [JOB] → [F6] SONG → 04: Song Name 233 Pattern [PATTERN] → [JOB] → [F6] PATTERN → 05: Pattern Name 248 Mixing Template [SONG] or [PATTERN] → [MIXING] → [JOB] → [F6] TEMPLATE 237 Mixing Voice [SONG] or [PATTERN] → [MIXING] → [F5] VCEED → [F1] GENERAL →[SF1] NAME 106 Phrase [PATTERN] → [JOB] → [F4] PHRASE → 09: Phrase Name 246 Master [MASTER] → [EDIT] → [F1] NAME 138 Waveform [INTEGRATED SAMPLING] → [JOB] → [F2] WAVE → 04: NAME 259 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/Folder saved to the SmartMedia/ USB storage device

[FILE] → [F1] CONFIG → [SF3] FORMAT 266

[FILE] → [F2] SAVE or [F4] RENAME 132

Basic Operation

First, call up the name input display according to the above table, then, move the cursor by using the Cursor button to the desired location and input a character. See below for details.

n Since the name of the program is part of the data, make sure that you properly save the program after naming it.

Owner’s Manual

Page 54

Naming

■ 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.

Moving the cursor to the desired location on the name Selecting a character at the cursor location

Basic Operation

■ 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.

DEC/NO INC/YES

EXIT ENTER

EXECUTE

INFORMATION

DEC/NO INC/YES

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.

Perform the operations below while holding the [INFORMATION] button.

Move the cursor to the desired location.

DEC/NO INC/YES

INFORMATION INFORMATION

EXIT ENTER

EXECUTE

Select a character for the cursor location on the name.

DEC/NO INC/YES

Owner’s Manual

Page 55

Playing the Demo Songs/Patterns

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.

Demo Song data

Memory area for Song playback

(ROM)

Load

Song 02

Song 01

Demo Pattern data

Song 02

Song 01

Memory area for Pattern playback

(ROM) (DRAM)

Load

Pattern 02

Pattern 01

A P

n For details about ROM and DRAM, see page 187.

Sections A - P Sections A - P

Pattern 02

Pattern 01

A P

CAUTION

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.

Press the [FILE] button and [UTILITY] button

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 factoryshipped state or after the Factory Set (page 44) is executed.

simultaneously.

(DRAM)

Song 64

Pattern 64

MODE

VOICE

PERFORM MASTER

SEQUENCER

PATTERN FILE

SONG

Quick Guide — Playing the MOTIF ES

• 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.

n This 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.

INTEGRATED

SAMPLING

MIXING UTILITY

DEMO

Owner’s Manual

Page 56

Playing the Demo Songs/Patterns

Quick Guide — Playing the MOTIF ES

Set the LoadType to “All.”

You can select from the three Load Types listed below. Here, we’ll select “All.”

All Loads both the Demo Song and Pattern data. Song Loads only the Demo Song data. Pattern Loads only the Demo Pattern data.

Press the [ENTER] button to load the Demo data.

Select and play another Demo Song.

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.

Decreases number Increases number

DEC/NO INC/YES

Increases numberDecreases number

Song Number: Name

SEQ TRANSPORT

LOCATE 1 2

Start

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.

n Keep 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.

Press the [F] (Play) button to start Song

playback.

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.

SEQ TRANSPORT

Top button

LOCATE 1 2

SEQ TRANSPORT

LOCATE 1 2

Next, let’s play a Demo Pattern.

Press the [PATTERN] button to enter the Pattern

mode.

MODE

VOICE

PERFORM MASTER

SEQUENCER

PATTERN FILE

SONG

INTEGRATED

SAMPLING MIXING UTILITY

DEMO

Start Stop

Owner’s Manual

Page 57

Playing the Demo Songs/Patterns

Press the [F] (Play) button to start Pattern

playback.

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.

Select different Sections of the Pattern.

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.

PRE 5 PRE 6 USER 1

A. PIANO KEYBOARD ORGAN

ABCDEFG

SYN LEAD

SYN PAD/

CHOIR

SYN COMP

USER 2

GUITAR/

PLUCKED

CHROMATIC PERCUSSION

BASS

DRUM/

PERCUSSION

PLG 1

PLG 2

STRINGS

BRASS

SE MUSICAL FX COMBI

PLG 3

REED/PIPE

CATEGORY

SECTION

BANK

GROUP

n Some Sections of the Demo Pattern may have no data. Because of

this, selecting some Sections may result in no sound.

Press the [■] (Stop) button to stop Pattern

playback.

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.

SEQ TRANSPORT

Top button

LOCATE 1 2

Start Stop

Select and play another Demo Song.

SEQ TRANSPORT

LOCATE 1 2

Selecting a Pattern is done in the same way as selecting a Song. Refer to step #5 above.

Quick Guide — Playing the MOTIF ES

Parameters in the Song Play mode

Transpose setting (for entire Song)

Currently selected Song

03 : New Song 1

Song number Song name

Song track number and track mute/solo status

Track data status

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.)

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).

Owner’s Manual

Page 58

Playing the Demo Songs/Patterns

Quick Guide — Playing the MOTIF ES

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

Press the [MUTE] button (the lamp lights).

Press any of the NUMBER [1] - [16] buttons to

select the track number to be muted.

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).

TRACK

87654321

SELECT

ELEMENT/PERF. PART /ZONE

1412 13

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.

MUTE

SOLO

NUMBER

TRACK

87654321

SELECT

ELEMENT/PERF. PART /ZONE

1412 13

MUTE

SOLO

NUMBER

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.

TRACK

87654321

SELECT

ELEMENT/PERF. PART /ZONE

1412 13

MUTE

SOLO

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].

Owner’s Manual

NUMBER

Specify a measure number to be registered.

EDIT

JOB STORE

COMPARE SCENE STORE

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.

SET LOCATE

SEQ TRANSPORT

LOCATE 1 2

■ 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).

SEQ TRANSPORT

LOCATE 1 2

Page 59

Playing the Demo Songs/Patterns

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.

Press the [F6] CHAIN button to call up the Song

Chain display.

From this display you can program and play your own custom Song sequences.

Program the desired order of the Songs.

Move the cursor to “001” by using the cursor buttons and select the desired Song by using the Data Dial, or the [INC/ YES] and [DEC/NO] buttons. 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.

skip Skips past (ignores) the selected chain number and

stop Stops Song Chain playback at that chain number. You

end Indicates the end mark of the Song Chain data.

Play the Song Chain.

continues playback from the next chain number.

can restart Song Chain playback from the next chain number by pressing the [F] (Play) button.

Move the cursor to the top of the Song Chain display, and press the [F] (Play) button to start Song playback.

SEQ TRANSPORT

LOCATE 1 2

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.

n The Song Chain can only be played back in the Song Chain display,

and not from any other display.

Quick Guide — Playing the MOTIF ES

Parameters in the Pattern Play mode

Currently selected Pattern and Section

Transpose setting (for entire 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.)

01 : New Pattern A

Pattern number

Pattern track number and track mute/solo status

Track data status

Pattern number Section

Indicates a MIDI track (page 168) containing MIDI sequence data.

Indicates muted track.

Indicates a sample track (page 168) containing a Sample Voice (page 173).

Tempo for the selected Pattern

Indicates soloed track (page 58).

Indicates that the track has no recorded data. (No Phrase is assigned.)

When theFmark appears, pressing any note on the keyboard starts Pattern playback (page 57).

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).

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.

Owner’s Manual

Page 60

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.

Voice Bank

Preset Bank

Contains the Voices built into this instrument.

Press the [VOICE] button to enter the Voice Play mode.

PRE 1 PRE 2 PRE 3 PRE 4

PRE 5 PRE 6

A. PIANO KEYBOARD ORGAN

USER 1

USER 2

GUITAR/

PLUCKED

User Bank

Contains the voices you create in the Voice Edit mode.

SLOT 1 SLOT 2 SLOT 3

PLG 1

BASS

STRINGS

PLG 2

PLG 3

REED/PIPE

BRASS

GM Bank

Contains the voices allocated according to the GM standard. For details, see page 160.

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.

MODE

VOICE PERFORM MASTER

Indicates the functions assigned to the respective Control knobs. See page 81.

Plug-in Bank

Available when Plug-in Boards have been installed. See page 74.

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.

ARP1-ARP5

Use the [SF1] - [SF5] buttons to call up the Arpeggio type assigned to each button (page 66).

Indicates the currently selected voice.

Bank and Voice Program number

Category and Voice name

USR1 : 001 (A01) Gt : MegaAcGtr

Bank

(selected via the BANK buttons)

Voice Program number

(corresponding to Groups A to H and Numbers 01 to 16)

n Keep 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.

Owner’s Manual

Number

(selected via the NUMBER [1]-[16] buttons)

Group

(selected via the GROUP [A]-[H] buttons)

Category

Voice name

Page 61

Select a Normal Voice Bank.

Select one of the Banks from Preset 1~6, User 1~2, and GM.

PRE 1 PRE 2 PRE 3 PRE 4

BASS

PLG 1

STRINGS

SLOT 1 SLOT 2 SLOT 3

PLG 2

PLG 3

REED/PIPE

BRASS

PRE 5 PRE 6

A. PIANO KEYBOARD ORGAN

USER 1

USER 2

GUITAR/

PLUCKED

Playing the Keyboard (in the Voice Play mode)

Selecting a Drum Voice

Internally, there are two Voice Types: Normal Voices and Drum Voices. Normal Voices are mainly pitched musical instrumenttype 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.

Press the [VOICE] button to enter the Voice Play

mode.

VoiceGroup

Select a Normal Voice Group.

Voices in each Bank are divided into Groups [A] ~ [H]. Select a Group to display the Voices that belong to the selected Group.

ABCDEFG

DRUM/

CHROMATIC

SYN LEAD

SYN COMP

SYN PAD/

CHOIR

PERCUSSION

Select a Normal Voice Number.

PERCUSSION

SE MUSICAL FX COMBI

SECTION

GROUP

Press one of the NUMBER [1] - [16] buttons.

TRACK

87654321

SELECT

ELEMENT/PERF. PART /ZONE

1412 13

MUTE

SOLO

NUMBER

Select a Drum Voice Bank.

While holding the [DRUM KITS] button, press one of the arrow-indicated buttons: [PRE5] (Preset Drum), [USER1] (User Drum), or [GM] (GM Drum).

DRUM KITS

FAVORITES

Select a Drum Voice Group.

PRE 5 PRE 6 USER 1

A. PIANO KEYBOARD ORGAN

USER 2

GUITAR/

PLUCKED

BASS

This operation is basically the same as in selecting a Normal Voice. You can select a Group from A to D when selecting the Preset Drum Bank in step #2. You can select a Group from A or B when selecting the User Drum Bank in step #2. You can select only A when selecting the GM Drum Bank in step #2.

Select a Drum Voice Number.

This is the same as in selecting a Normal Voice.

Play the keyboard and check what instrument is

assigned to each key.

n For details about the instrument assignments for each key, refer to the

separate Data List.

Quick Guide — Playing the MOTIF ES

Play the keyboard.

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

You can select a Voice Number by using the [INC/YES], [DEC/NO] buttons and data dial in steps #3 and #4.

Decreases number Increases number

DEC/NO INC/YES

Decreases number Increases number

n The procedure for selecting Voices in other modes differs

from above. For details on selecting Voices in the Performance mode, see page 71. For details on selecting Voices in the Song/Pattern mode, see page 102.

Owner’s Manual

Page 62

Playing the Keyboard (in the Voice Play mode)

Quick Guide — Playing the MOTIF ES

Using the Category Search function

This synthesizer features a powerful Category Search function that gives you quick access to the sounds you want, irrespective of their bank locations. Simply select a Voice category, such as A. PIANO or SYN LEAD, and you can browse through all related Voices one by one – and audition each of them, too. If you’ve installed a Plug-in Board to the instrument, those Voices are automatically included in the search as well. Plus, you can use the special Favorites category to store the Voices you use most.

Turn the Category Search function on by

pressing the [CATEGORY SEARCH] button.

In this condition with the button lit, you can use the BANK and GROUP buttons to specify the Category. Press the [CATEGORY SEARCH] button again to turn this function off.

PRE 5 PRE 6 USER 1

A. PIANO KEYBOARD ORGAN

ABCDEFG

SYN LEAD

SYN PAD/

CHOIR

SYN COMP

USER 2

GUITAR/ PLUCKED

CHROMATIC PERCUSSION

BASS

DRUM/

PERCUSSION

PLG 1

PLG 2

STRINGS

BRASS

SE MUSICAL FX COMBI

Category

PLG 3

REED/PIPE

Voice

CATEGORY

SECTION

BANK

GROUP

All Categories are divided into two or three Sub Categories for further ease in selection. The Sub Category names are displayed at the bottom of the Category Search display. Press the [F1] - [F3] buttons to select the ﬁrst Voice in the corresponding Sub Category.

SF 1SF 2SF 3

F1 F2 F3

n An alternate way of selecting categories is to use the Cursor buttons to

select and highlight the Category name in the display, then use the [INC/YES] and [DEC/NO] buttons or the data dial to select the Category. Then, move the cursor to the Voice list at the right of the display to select the Voice (see step #3 below).

n Some Voices such as User Voices may not be registered to any

Category. You can search for these Voices by setting the Category to “--------------.”

Select a Voice from the Voice List in the display.

Step through the available Voices by using the data dial. You can also use the [INC/YES] and [DEC/NO] buttons, or use the Cursor [ ]/[ ] buttons.

Sub Category

Select a Category.

Press one of the BANK and GROUP buttons to call up the selected Category name and the Voice list. The ﬁrst Voice in the Category is selected.

PRE 5 PRE 6 USER 1

A. PIANO KEYBOARD ORGAN

ABCDEFG

SYN LEAD

SYN PAD/

CHOIR

CHROMATIC

SYN COMP

PERCUSSION

Category

USER 2

GUITAR/

PLUCKED

BASS

DRUM/

PERCUSSION

PLG 1

PLG 2

STRINGS

BRASS

SE MUSICAL FX COMBI

Voice List

Sub Category

Category names

PLG 3

REED/PIPE

CATEGORY

SECTION

BANK

GROUP

DEC/NO INC/YES

EXIT ENTER

EXECUTE

Press the [CATEGORY SEARCH] button to turn this

function off and go back to the original display.

n You can also use the [ENTER] button or [EXIT] button to exit from the

Category function.

Owner’s Manual

Page 63

Playing the Keyboard (in the Voice Play mode)

■ Favorite Category

Use this convenient function to store all your favorite, oftenused Voices in a single, easy-to-access location – and call them up by pressing the [FAVORITES] button. Select any Voice you want, from any desired category, and enter each to the Favorites Category. In this way, you can go directly to all the Voices you use the most, without having to hop around other Categories – a great aid when playing live.

Turn the Category Search function on by

pressing the [CATEGORY SEARCH] button.

Specify the Category and Sub Category, then

select a Voice (page 62).

button to checkmark the box next to the Voice name.

You can un-checkmark it by pressing the [F5] button again.

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

Pressing [F5] toggles between the two settings:

To r emove all the marked Voices from the Favorite Category, simply press the [F6] CLR ALL button.

Checkmark on Checkmark off

Pressing the [CATEGORY SEARCH] button to exit from the Category Search display will store the Favorite

Category settings to internal Flash ROM automatically.

CAUTION

Make sure to execute step #7. The settings made in steps #3 - 4 will be lost if you turning the power off without executing step #7.

CAUTION

Never attempt to turn off the power while data (e.g., Voice) is being written to Flash ROM (while a “Please keep power on” message is shown). Turning the power off in this state may not only cause the system to freeze (due to data corruption in the Flash ROM) and prevent normal startup the next time the power is turned on, it may also result in loss of all user data.

Keyboard octave setting (MOTIF ES6/MOTIF ES7)

Sometimes when playing a voice, you may wish to play in a lower or higher pitch range. For example, you may want to shift the pitch down lower to get extra bass notes, or shift up to get higher notes for leads and solos. The Octave Up/Down controls let you do this quickly and easily. Each time you press the [OCTAVE UP] button on the panel, the overall pitch of the voice goes up by one octave. Likewise, each press of the [OCTAVE DOWN] button takes the pitch down by one octave. The range is from -3 to +3, with 0 being standard pitch. When this is set to Octave Up, the lamp of the [OCTAVE UP] button lights, and when it is set to Octave Down, the [OCTAVE DOWN] button’s lamp lights. The current octave setting is shown at the top right of the display. You can instantly restore standard pitch (0) by simultaneously pressing both the [OCTAVE UP] button and the [OCTAVE DOWN] button (both lamps turn off).

OCTAVE

DOWN UP

Quick Guide — Playing the MOTIF ES

Set other Voices to the Favorite Category as

required by repeating step #2 - 3.

Press the [FAVORITES] button to see the Voices

set to the Favorite Category in steps #2 - 4.

You can use the [F5] SET/CLR and [F6] CLR ALL buttons also in this display to register/remove the voices to/from the Favorite Category.

DRUM KITS

FAVORITES

Press the [FAVORITES] button again to return to

the Category Search display.

n The 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

TIP

You can set the amount in semitones by which the range of the keyboard is shifted up or down as well as the octave setting.

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

SEQUENCER

PATTERN FILE

SONG

INTEGRATED

SAMPLING

MIXING UTILITY

JOB STORE

EDIT

COMPARE SCENE STORE

DEMO

SET LOCATE

Owner’s Manual

Page 64

Playing the Keyboard (in the Voice Play mode)

Quick Guide — Playing the MOTIF ES

2 Press the [F1] GENERAL button, then the [SF2]

KBD button.

SCENE

F1 F2 F3 F4 F5 F6

2 SF3 SF4 SF5

SF1 SF

INFORMATION

3 Move the cursor to “Transpose” by using the

Cursor button.

4 Change the Transpose value by using the [INC/

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

5 Press the [STORE] button to store the Transpose

setting to internal Flash ROM.

CAUTION

Make sure to execute step #5. The settings made in step #4 will be lost if you turning the power off without executing step #7.

CAUTION

n The transpose setting is available in all modes.

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.

Pitch Up

Pitch Down

Pitch Bend Wheel

n Each 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.

n Functions 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.

n Using the Pitch Bend wheel generates the same MIDI message to

extend devices, regardless of the assignments made in the Voice Edit mode.

Keyboard MIDI transmit channel setting

This function is especially convenient when recording to an external sequencer or controlling another instrument via MIDI. It lets you easily change the transmit channel with just a couple of button presses. 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.

TRACK

87654321

SELECT

ELEMENT/PERF. PART /ZONE

n You can also set the MIDI keyboard transmit channel from the Utility

mode ([UTILITY] → [F5] MIDI → [SF1] CH → KBDTransCh). This parameter is available for the Voice mode/Performance mode but not for the Song mode/Pattern mode.

1412 13

MUTE

SOLO

NUMBER

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.

Maximum

Minimum

Modulation Wheel

n To avoid accidentally applying effects to the current Voice, make sure

the Modulation Wheel is set to minimum before you start playing.

Various functions can be assigned to the Modulation Wheel in the [VOICE]

→ [EDIT] → [COMMON] → [F4] CTL SET display. These assignment settings can be stored as a User Voice in the Voice Store mode.

n Using the Modulation wheel generates the same MIDI message to

external devices, regardless of the assignments made in the Voice Edit mode.

Owner’s Manual

Page 65

Playing the Keyboard (in the Voice Play mode)

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.

n You 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.

ASSIGN A

PAN

CUTOFF

SWING

ASSIGN B

REVERB

RESONANCE

GATE TIME

ASSIGN 1

CHORUS

ATTACK

VELOCITY

ASSIGN 2

TEMPO

RELEASE

UNITMULTIPLY

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.

Edit Indicator

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).

CAUTION

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.

Quick Guide — Playing the MOTIF ES

LOW

LOW MID

HIGH MID

HIGH

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.

n In 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.

1 VOLUME 2 VOLUME 3 VOLUME 4

VOLUME

CS 2

ZONE 1

ZONE 2

VOLUME

CS 3

ZONE 1

ZONE 3

VOLUME

CS 1

ZONE 1

VOLUME

CS 4

ZONE 1

ZONE 4

n Inadvertent use of the sliders may result in no sound. If this

occurs, move the sliders upward.

Owner’s Manual

Page 66

Quick Guide — Playing the MOTIF ES

Playing the Keyboard (in the Voice Play mode)

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.

n For details about Arpeggio, see page 169.

Press the [ARPEGGIO ON/OFF] button to turn

Arpeggio on.

For certain Voices, simply selecting the Voice will turn Arpeggio on.

REMOTE ARPEGGIO

R-AUDIO

ON/ OFF ON/ OFF

G-MIDI

Play a note or notes on the keyboard to trigger

the Arpeggio playback.

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.

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.

1 Press the [ARPEGGIO ON/OFF] button to turn

Arpeggio on.

2 Select the desired Arpeggio type in the [VOICE] →→

→→

[F6] ARP display.

3 While 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.

■ 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.

SF 1SF 2SF 3SF 4SF 5

You can conﬁrm the currently selected Arpeggio type in the [F6] ARP display.

4 Repeat steps #2 - 3 as necessary. 5 Press and release the [STORE] button to enter the

Voice Store mode and store the setting as a User Voice (page 85).

n Keep 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.

Press the KNOB CONTROL FUNCTION [ARP FX]

button (the lamp lights).

Selecting some voices automatically turns this lamp on.

ASSIGN B

REVERB

RESONANCE

GATE TIME

LOW MID

ASSIGN 1

CHORUS

ATTACK

VELOCITY

HIGH MID

ASSIGN 2

TEMPO

RELEASE

UNITMULTIPLY

HIGH

KNOB

CONTROL

FUNCTION

PAN/SEND

ASSIGN

TONE

ARP FX

ASSIGN A

PAN CUTOFF SWING

LOW

Arpeggio type currently selected

Bank Indicates “pre (preset)” or “usr (user).” Ctgr See page 169. Type Refer to the separate Data List booklet.

Owner’s Manual

Tweak the knobs while the Arpeggio is playing.

For details on what functions each knob controls while the [ARP FX] lamp is on, see page 81.

If you’re satisfied with the results, you can store the changes as a User Voice in the Voice Store

mode (page 85).

Page 67

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.

Press the [PERFORM] button to enter the Performance Play mode.

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.

MODE

VOICE PERFORM MASTER

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.

ARP1-ARP5

Use the [SF1] - [SF5] buttons to call

Indicates settings related to the Control knobs. See page 90.

up the Arpeggio type assigned to each button (page 70).

Indicates the currently selected Performance.

Bank and Performance Program number

USER : 001 (A01) Ap : New Peform

Bank

Group

(selected via the GROUP [A]-[H] buttons)

Performance Program number

(corresponding to Groups A to H and Numbers 01 to 16)

n Keep 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.

Select a Performance Group.

Number

(selected via the NUMBER [1]-[16] buttons)

Performances are divided into Groups [A] ~ [H]. Select a

Category and Performance name

Category

Select a Performance Number.

Performance name

Press one of the NUMBER [1] - [16] buttons.

Group to show a list of the Performances.

TRACK

87654321

ABCDEFG

DRUM/

SYN LEAD

SYN PAD/

CHOIR

SYN COMP

CHROMATIC PERCUSSION

PERCUSSION

SE MUSICAL FX COMBI

SECTION

GROUP

ELEMENT/PERF. PART /ZONE

1412 13

SELECT

MUTE

SOLO

NUMBER

Quick Guide — Playing the MOTIF ES

Group Performance

Owner’s Manual

Page 68

Playing the Keyboard (in the Performance Play mode)

Play the keyboard.

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)

Quick Guide — Playing the MOTIF ES

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.

Decreases number Increases number

DEC/NO INC/YES

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.

TRACK

87654321

SELECT

ELEMENT/PERF. PART /ZONE

1412 13

MUTE

SOLO

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.

n The 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

TIP

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.

n The 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.

n You can also set the MIDI keyboard transmit channel from the Utility

mode ([UTILITY] → [F5] MIDI → [SF1] CH → KBDTransCh). This parameter is available for the Voice mode/Performance mode but not for the Song mode/Pattern mode.

Owner’s Manual

Page 69

Using Controllers

Playing the Keyboard (in the Performance Play mode)

Pitch Bend Wheel

This is basically the same as in the Voice Play mode (page

64).

n The Pitch Bend Range setting depends on the setting (made in the

Voice mode) of the Voice assigned to each Part.

n The functions assigned to the Pitch Bend Wheel depend on the setting

(made in the Voice mode) of the Voice assigned to each Part.

n Even 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).

n To avoid accidentally applying effects to the current Voice, make sure

the Modulation Wheel is set to minimum before you start playing.

n The functions assigned to the Modulation Wheel depend on the

settings (made in the Voice mode) of the Voice assigned to each Part.

n Using 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).

n The functions assigned to the Ribbon Controller depend on the

settings (made in the Voice mode) of the Voice assigned to each Part.

n You 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).

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.

Edit Indicator

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).

CAUTION

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 P erformance data, you can restore it by using the Edit Recall function (page 91).

CAUTION

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.

1 VOLUME 2 VOLUME 3 VOLUME 4

VOLUME

Quick Guide — Playing the MOTIF ES

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.

n In 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.

CS 1

CS 2

CS 3

CS 4

ZONE 1

ZONE 2

n Inadvertent use of the sliders may result in no sound. If this

occurs, move the sliders upward.

n In 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.

ZONE 3

ZONE 1

ZONE 4

Owner’s Manual

Page 70

Quick Guide — Playing the MOTIF ES

Playing the Keyboard (in the Performance Play mode)

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.

n Different Arpeggio types cannot be played back for each Part.

n For 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.

Layer (example)

Built-in tone generator Parts

1234

Plug-in Parts*

PLG1 PLG2 PLG3

1234

Split (example)

Built-in tone generator Parts

Plug-in Parts*

PLG1 PLG2 PLG3

*Available when the Plug-in Board has been installed.

Owner’s Manual

Page 71

Playing the Keyboard (in the Performance Play mode)

Press the [F2] VOICE button in the Performance

Play mode.

This calls up a list indicating which Voice is assigned to each Part of the current Performance.

SCENE

SF1 SF

F1 F2 F3 F4 F5 F6

Assign the desired Voice to each Part.

2 SF3 SF4 SF5

INFORMATION

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).

When an internal Voice is assigned to a Part, the following Voice Banks are available.

PRE1 (Preset1) ~ PRE6 (Preset 6)

USER1 ~ USER2 User Banks 1 - 2 of the Normal Voice. These correspond

GM GM Normal Voice Bank. This corresponds to the [GM]

PDR (Preset Drum) Preset Bank of the Drum Voice. This corresponds to

GMDR (GM Drum) GM Drum Voice Bank. This corresponds to pressing the

UDR (User Drum) User Bank of the Drum Voice. This corresponds to

Preset Banks 1 - 6 of the Normal Voice. These correspond to the [PRE1] - [PRE6] buttons in the Voice mode.

to the [USER1] - [USER2] buttons in the Voice mode.

button in the Voice mode.

pressing the [DRUM KITS] button and the [PRE5] button simultaneously.

[DRUM KITS] button and the [GM] button simultaneously.

pressing the [DRUM KITS] button and the [USER1] button simultaneously.

When a Plug-in Board Voice is assigned to a Part, the available Voice Banks differ depending on the installed Plugin Board. For details, refer to the Owner’s Manual that came with the Plug-in Board.

Specify the note range of each part, as required.

You can set the lowest note of the range over which the Voice of the selected Part sounds by 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.

Quick Guide — Playing the MOTIF ES

Select a Voice Bank/Number at the cursor location.

DEC/NO INC/YES

Voice Bank Voice Number

SCENE

Assign an internal Voice to the selected Part.

n Voices of the Multi part Plug-in Board PLG100-XG cannot be assigned

to Performance parts.

SF1 SF

F1 F2 F3 F4 F5 F6

Assign a Plug-in Voice to the selected Part. (Available when the Plug-in Board has been installed.)

2 SF3 SF4 SF5

Delete the Voice assignment of the selected Part.

INFORMATION

Note Limit Low Note Limit High

SF 4 SF 5

Change the volume of each Part and adjust the relative balance among the four Parts by using

the Control sliders.

Store the settings as a User Performance in the

Performance Store mode.

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.

Owner’s Manual

Page 72

Playing the Keyboard (in the Performance Play mode)

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.

n The Audio Input part is available also in the Song mode/Pattern mode, but is not available in the Voice mode. The procedure and explanations 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.

Quick Guide — Playing the MOTIF ES

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.

Make sure to turn the power of the MOTIF ES off and set the GAIN knob on the rear panel to the

minimum.

Plug the microphone to the A/D INPUT jack on

the rear panel.

A/D INPUT

GAIN

Press the [UTILITY] button to enter the Utility mode, press the [F2] I/O button, then press the

[SF1] INPUT button.

SEQUENCER

PATTERN FILE

SONG

INTEGRATED

MIXING UTILITY

SAMPLING

SCENE

SF1 SF

F1 F2 F3 F4 F5 F6

2 SF3 SF4 SF5

DEMO

INFORMATION

n A standard dynamic microphone is recommended. (The MOTIF ES

does not support phantom-powered condenser microphones.)

Turn the power on.

Press the [PERFORM] button to enter the Performance Play mode and select the desired

Performance.

Owner’s Manual

Set Mic/Line to “mic.”

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.

n When 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.”

n This setting is available for all modes. If you wish to store this setting,

press the [STORE] button.

Page 73

Playing the Keyboard (in the Performance Play mode)

Adjust the microphone input level by using the

GAIN knob on the rear panel.

A/D INPUT

GAIN

Set the audio input related parameters as necessary from the AUDIO IN display ([PERFORM]

→→→→ [EDIT] →→→→ [COMMON] →→→→ [F5] AUDIO IN).

For details about each parameter, refer to page 214 in the Reference section.

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.

Store the settings as a User Performance in the

Performance Store mode (page 91).

Press the [PERFORM] button to enter the Performance Play mode and select the desired

Performance.

Press the [UTILITY] button to enter the Utility mode, press the [F2] I/O button, then press the

[SF1] INPUT button.

Set Mic/Line to “line.”

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.

n When the output level of the connected equipment (such as a

n This setting is available for all modes. If you wish to store this setting,

press the [STORE] button.

Adjust the audio input level by using the GAIN

knob on the rear panel.

Quick Guide — Playing the MOTIF ES

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.

Make sure to turn off the power of both the

MOTIF ES and the relevant audio equipment.

Plug the audio equipment cable to the A/D INPUT

jack on the rear panel.

A/D INPUT

Switch the power of the connected audio equipment on, then switch the power of the

MOTIF ES on.

GAIN

A/D INPUT

GAIN

Set the audio input related parameters as necessary from the AUDIO IN display

([PERFORM] →→→→ [EDIT] →→→→ [COMMON] →→→→ [F5] AUDIO IN).

For details about each parameter, refer to Reference section. When an optional AIEB2 or mLAN16E has been installed, press the [SF5] button to call up the A/D display.

Store the settings as a User Performance in the

Performance Store mode (page 91).

n Audio 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.

page 214

in the

Owner’s Manual

Page 74

Quick Guide — Playing the MOTIF ES

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 SynthesisPlug-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.

● Analog Physical Modeling Plug-in Board (PLG150-AN)

Using Analog Physical Modeling (AN) synthesis, the very latest digital technology is used to accurately reproduce the sound of analog synthesizers. With this board installed, you have real-time control over the playback of vintage synthesizer sounds as well as the very latest sounds heard in today’s club-oriented music.

● Piano Plug-in Board (PLG150-PF)

A massive waveform memory is dedicated to the reproduction of piano sounds. This board offers 136 stereo sounds, including a number of acoustic and electric pianos, and up to 64-note polyphony. You can even install two of these boards to double the polyphony to 128 notes.

● Advanced DX/TX Plug-in Board (PLG150-DX)

The sounds of the DX7 are available on this Plug-in Board. Unlike PCM-based tone generators, this board uses the powerful FM Synthesis system – the same as found on DX-series synthesizers – for extraordinarily versatile and dynamic sound shaping potential. Sounds are compatible with those of the DX7, and the board can even receive DX7 data via MIDI bulk dump.

● Drum Plug-in Board (PLG150-DR)/Percussion Plug-in

Board (PLG150-PC)

Once connected and installed, the PLG150-DR/PLG150-PC becomes a seamless additional sound source of AWM2 for the host tone generator or synthesizer – providing a total of 88 drum/ percussion voices. Thanks to the built-in effect processing power, the PLG150-DR/PLG150-PC has two separate effect blocks – Insertion and Reverb – that can be applied to each kit.

Multi-Part Plug-in Board

Multi-Part Plug-in Boards let you add a completely independent multi-timbral tone generator to the MOTIF ES (page 162) — expanding the Voice capacity and polyphony of the instrument with a full sixteen additional instrument parts.

● XG Plug-in Board (PLG100-XG)

This Plug-in Board is a 16-part XG sound generator. You can play back XG/GM song ﬁles using the rich variety of sounds and effects on this board.

Effect Plug-in Board

Effect Plug-in Boards let you add a completely different effect

● Virtual Acoustic Plug-in Board (PLG150-VL)

With Virtual Acoustic (VA) synthesis, the sounds of real instruments are modeled (simulated) in real time, giving a degree of realism that cannot be achieved using conventional PCM-based synthesis techniques. When playing these sounds using an optional MIDI Wind Controller (WX5), you can even capture some of the physical feel of woodwind instruments.

block to the host synthesizer.

● Vocal Harmony Plug-in Board (PLG100-VH)

With this board installed, you can add harmonies to selected parts using four types of effects. Chorus parts for vocals can be created automatically from chords that have been prepared and stored as MIDI data. You can also use this synthesizer like a vocoder by connecting and using a microphone while playing the keyboard.

Owner’s Manual

Page 75

Using the Plug-in Board

Using a Single Part Plug-in Board

Install any of the Single Part Plug-in Boards such as PLG150-AN, PLG150-PF, PLG150-DX, PLG150-VL, PLG150-DR, and PLG150-PC to the MOTIF ES and play the Plug-in Voice in the Voice Play mode.

After turning the power off, install a Single Part

Plug-in Board to the instrument.

See page 283.

Switch the MOTIF ES on.

The corresponding slot indicator at the right top of the front panel lights. This indicates that the board has been successfully installed.

SLOT 1 SLOT 2 SLOT 3

PLG 1

PLG 2

PLG 3

BRASS

STRINGS

REED/PIPE

Check the status of the installed Plug-in Boards in the [UTILITY] → [F6] PLUG → [SF1] STATUS

display.

MODE

VOICE

PERFORM MASTER

SEQUENCER

PATTERN FILE

SONG

INTEGRATED

SAMPLING

MIXING UTILITY

DEMO

Set the MIDI port of the installed Plug-in Board to “2” or “3” in the [UTILITY] → [F6] PLUG → [SF2]

MIDI display.

n If the MIDI Port number here is set to “1” or “off,” the Plug-in Voice may

sound simultaneously with the internal Voice, when playing back Song/Pattern data. To keep this from happening, make sure the MIDI Port number of the Plug-in Board is set to “2” or “3” — especially when using the Song/Pattern mode. To prevent a similar problem when using both a Single Part Plug-in Board and a Multi Part Plug-in Board together, set each board to a different MIDI Port number.

Press the [VOICE] button to enter the Voice Play

mode and select a Plug-in Voice.

Selecting a Plug-in Voice is done in the same way as selecting a Normal Voice (page 60) with the exception that you select one of the PLG (Plug-in) Banks. Press the PLG button which corresponds to the slot to which the Plug-in Board has been installed.

SLOT 1 SLOT 2 SLOT 3

PLG 1

PLG 2

PLG 3

BRASS

STRINGS

REED/PIPE

Quick Guide — Playing the MOTIF ES

SCENE

F1 F2 F3 F4 F5 F6

The name of the installed Plug-in Board is displayed.

2 SF3 SF4 SF5

SF1 SF

INFORMATION

You’ll also need to select a Bank within the Plug-in Board. Press the [F2] BANK button to call up the Plug-in Board Bank selection display, then select the desired Bank.

n For details about the Bank structure of each Plug-in Board, refer to the

Owner’s Manual of each Plug-in Board. Regarding the PLGPRE (Plugin Preset) bank, refer to the Plug-in Voice List. Regarding the Board Voice bank displayed as “035/000,” refer to the Voice Map/List. The PLGUSR (Plug-in User) banks contain the Voices you edited and stored as User Voices.

Play the keyboard.

n Playing Voices of the Plug-in User banks (PLG1USR, PLG2USR,

PLG3USR) will result in no sound, if the Plug-in Board has just been installed. These banks become available only after you edit a Plug-in Voice and store it as a User Plug-in Voice.

Owner’s Manual

Page 76

Quick Guide — Playing the MOTIF ES

Using the Plug-in Board

Plug-in Voices and Board Voices

The Voices of a Single Part Plug-in Board installed to this synthesizer can be divided into two types: Board Voices and Plug-in Voices. Board Voices are unprocessed, unaltered Voices of the Plug-in board – the “raw material” used for the Plugin Voices. Plug-in Voices, on the other hand, are edited Board Voices – Voices that have been specially programmed and processed for optimum use with the host synthesizer. Since the MOTIF ES includes preset Plug-in Voices for all the Plug-in Boards, you can call up and play appropriate Voices for each board immediately after installing it.

n The Plug-in Voices can be edited in the Voice Edit mode.

n The Board Voices can be edited using the computer software supplied for each Plug-in Board.

Playing the PLG150-VL sound with the Breath Controller

TIP

With Virtual Acoustic (VA) synthesis, the PLG150-VL has the sounds of real instruments modeled (simulated) in real time, giving a degree of realism that cannot be achieved using conventional PCM-based synthesis techniques. When playing these sounds using an optional Breath Controller, you can even capture some of the physical feel of woodwind instruments.

1 Install the PLG150-VL to the MOTIF ES.

2 Connect the Breath Controller BC3 to the BREA TH

connector on the rear panel (page 42).

FOOT

SWITCH

BREATH

ASSIGNABLE

SUSTAIN

3 Switch the MOTIF ES power on.

4 Set the Plug-in Board related parameters in the

Utility mode, corresponding to steps #3 and 4 in the instructions on the previous page.

5 Set the Breath Controller Curve via the [UTILITY]

→ [F1] GENERAL → [SF1] TG → BCCurve parameter (page 260).

6 Press the [VOICE] button to enter the Voice Play

mode, then select a Plug-in Voice of the PLG150-VL.

7 Play the Voice and blow into the Breath Controller to

expressively change the sound.

You can also use the MIDI Wind Controller WX5 to play the Plug-in Voice of the PLG150-VL. Connect the WX5 to the MOTIF ES with a MIDI cable.

WX5

MIDI OUT connector

MIDI cable

MIDI IN connector

MUSIC PRODUCTION SYNTHESIZER

MOTIF ES

Owner’s Manual

Page 77

Using the Plug-in Board

Using a Multi Part Plug-in Board

In this section, we’ll explain how to play back an XG for mat song, using the PLG100-XG Plug-in Board. Naturally, to get the most out of these instructions, you should have XG song data (Standard MIDI File) stored on a SmartMedia card or USB storage device.

After turning the power off, install the Multi Part Plug-in Board PLG100-XG to slot 3 of this

synthesizer.

See page 283 for details.

Switch the MOTIF ES power on.

Check the status of the installed Plug-in Boards in the [UTILITY] → [F6] PLUG → [SF1] STATUS

display.

The name of the installed Plug-in Board is displayed.

Set the MIDI port of the PLG100-XG to “2” or “3” in the [UTILITY] → [F6] PLUG → [SF2] MIDI

display.

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

set the basic parameters.

Refer to “Basic settings for using SmartMedia or a USB storage device” on page 30.

3 Set the [FILE] → [F3] LOAD → TYPE parameter to

“Song.”

File/folder list

4 Move the cursor to the list of ﬁles to be loaded, select

the desired ﬁle, then press the [ENTER] button.

5 Specify the destination Song number, then press the

[ENTER] button to execute the Load operation.

Quick Guide — Playing the MOTIF ES

n If the MIDI Port number here is set to “1” or “off,” the Plug-in Voice may

sound simultaneously with the internal Voice, when playing back Song/Pattern data. To keep this from happening, make sure the MIDI Port number of the Plug-in Board is set to “2” or “3” — especially when using the Song/Pattern mode. To prevent a similar problem when using both a Single Part Plug-in Board and the PLG100-XG together, set each board to a different MIDI Port number.

Press the [SONG] button to enter the Song mode, then press the [FILE] button to enter the

File mode.

Load the XG song file (Standard MIDI file) from the SmartMedia/USB storage device to the

MOTIF ES in the [FILE] → [F3] LOAD display, as described in the sub-instructions below.

1 Insert a SmartMedia card which contains the XG

song ﬁles into the CARD slot, or use a USB storage device (connected to the USB TO DEVICE connector) containing appropriate XG song ﬁles.

CAUTION

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.

Press the [SONG] button to enter the Song Play mode, then select the Song number to which the

XG song file was loaded.

Set the MIDI transmit port of all the tracks to the number set in step #4 from the [SONG] → [F3]

TRACK → [SF1] CHANNEL display.

Set MIDI transmit ports.

Press the [FFFF] (Play) button to play the XG

song.

Owner’s Manual

Page 78

Using the Plug-in Board

Using an Effect Plug-in Board

In the example explanation below, the PLG100-VH Vocal Harmony Plug-in Board is used to apply harmony effects to the microphone sound in the Performance mode.

n For Songs/Patterns, the Effect Plug-in Board related parameters (which correspond to step #6 - 7 below) can be edited in the Song Mixing mode/Pattern

Mixing mode.

n Please note that the Effect Plug-in Board cannot be used in the Voice mode.

Quick Guide — Playing the MOTIF ES

After turning the power off, install the Effect

Plug-in Board PLG100-VH to slot 1.

See page 283 for details.

Plug the microphone to the A/D INPUT jack on

the rear panel (page 72).

A/D INPUT

n A standard dynamic microphone is recommended. (The MOTIF ES

does not support phantom-powered condenser microphones.)

Turn the MOTIF ES power on.

Press the [PERFORM] button to enter the Performance Play mode, select the desired

Performance, then set the microphone related parameters.

GAIN

Set related parameters (such as the Effect Type, and others) from the Plug-in Effect display

([PERFORM] → [EDIT] → [COMMON] → [F6] EFFECT → [SF3] PLG-EF).

For details, refer to the Owner’s Manual of the PLG100-VH.

Sing or talk into the microphone to check the effect sound, and adjust the settings as

necessary.

A/D INPUT

If desired, store the settings for the microphone sound and PLG100-VH as a Performance in the

Performance Store mode (page 91).

GAIN

For details, refer to steps #4 - 9 on page 72.

Check the status of the installed Plug-in Boards in the [UTILITY] → [F6] PLUG → [SF1] STATUS

display.

Select “PartAD” as the Part to which the Plug-in Insertion Effect is applied in the CONNECT

display ([PERFORM] →→→→ [F3] EFFECT →→→→ [SF1] CONNECT).

Move the cursor here, then select the Part.

Owner’s Manual

Page 79

Editing a Voice

EDIT

COMPARE SCENE STORE

SET LOCATE

JOB STORE

Quick Guide — Advanced Course

Editing a Voice

The Voice Edit mode ([VOICE] → [EDIT]) gives you comprehensive tools for creating your own original Voices, either from

scratch by changing the basic sounds, or by tweaking the various Voice parameters. Create your custom sounds by calling up a preset Voice and editing as desired. The actual parameters available and the methods for editing differ depending on the Voice type.

● Normal V oice Edit

A Normal Voice can consist of up to four Elements. There are two types of Voice Edit displays: those for Common Edit to edit the settings common to all four Elements, and those for editing individual Elements.

● Drum V oice Edit

Each Drum voice consists of various Waves and/or Normal voices, each assigned to notes across the keyboard, from C0 to C6. There are two types of Drum Voice Edit displays: those for Common Edit to edit the settings that apply to all Drum keys in the voice, and those for editing individual keys (Elements).

● Plug-in V oice Edit

This is basically the same as Normal Voice Edit. Unlike with Normal voices, the Plug-in voices only have one Element for editing.

Normal Voice Edit

Press the [VOICE] button to enter the Voice mode, then select a Normal Voice to be edited.

Press the [EDIT] button to enter the Voice Edit mode.

Call up the Common Edit display or Element Edit display.

If you wish to edit the sounds that make up a Voice and the basic parameters that determine the sound, such as Oscillator, Pitch, Filter, Amplitude, and EG (Envelope Generator), call up the Element Edit display. If you wish to edit more global parameters related to the overall Voice and how it’s processed, such as Arpeggio, Controller, and Effects, call up the Common Edit display.

While in the Voice Edit mode, you can switch between the Common Edit display and the Element Edit display as shown below.

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.

Indicates a Common Edit display.

DRUM KITS

FAVORITES

COMMON

PRE 5 PRE 6 USER 1

A. PIANO KEYBOARD ORGAN

ABCD

SYN LEAD

SYN PAD/

CHOIR

ELEMENT/PERF. PART /ZONE

SYN COMP

USER 2

GUITAR/

PLUCKED

CHROMATIC PERCUSSION

Calling up the Element Edit display

Press the desired element number from the ELEMENT [1]

- [4] buttons to call up the Element Edit display.

Indicates the display for editing Element 1.

4321

Quick Guide — Advanced Course

Common Edit

To turn each Element on or off (to hear how each affects the overall sound), use buttons [9] - [12]. You can also isolate or solo an Element by holding down the [MUTE] button and pressing the desired number button ([9] - [12]). To cancel the solo, press the [MUTE] button again.

Element Edit 1 Element Edit 2

Element Edit 3 Element Edit 4

Owner’s Manual

Page 80

Editing a Voice

Select the menu you wish to edit by pressing the [F1] - [F6] and [SF1] - [SF5] buttons, then edit the

parameters.

The following brieﬂy describes the main Voice parameters.

● Basic parameters for creating a sound

Element selection →→

If you wish to edit the basic sound-generating and soundshaping parameters for the Voice, such as Oscillator, Pitch, Filter, Amplitude, and EG (Envelope Generator), use the Common Edit display.

[F1] OSC (Oscillator) pages 160, 195

[F2] PITCH pages 160, 196

Quick Guide — Advanced Course

[F3] FILTER pages 161, 197

[F4] AMP (Amplitude) pages 162, 199

[F5] LFO pages 162, 201

[F6] EQ (Equalizer) pages 178, 201

→→

[F1] - [F6]

● Effect related parameters.................... Pages 177 and 194

[COMMON] →→

The Effects use DSP (Digital Signal Processing) to alter and enhance the sound of a Voice. Effects are applied in the ﬁnal stages of editing, letting you change the sound of the created Voice as desired. The Common Edit display lets you edit the Effect related parameters.

→→

[F6] EFFECT

● Controller related parameters...........Pages 155 and 192

For each Voice, you can assign various functions to built-in controllers such as Pitch Bend Wheel, Modulation Wheel, Ribbon Controller, Knobs (ASSIGN1 and 2), Keyboard Aftertouch and optionally connected controllers such as Footswitch, Foot Controller, Breath Controller. These settings can be edited in the Common Edit display.

Store the edited Voice to internal User memory

(page 187).

The edited Voice can be stored in the Voice Store mode. See page 85 for details.

If desired, save the edited and stored voices to a

SmartMedia/USB storage device.

Keep in mind that edited Voice 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. For more information, see page 85.

Compare Function

This convenient function lets you switch between the edited Voice and its original, unedited condition – allowing you to listen to the difference between the two and better hear how your edits affect the sound.

1 In the Voice Edit mode (the [EDIT] indicator

lighting), press the [EDIT] button so that its indicator ﬂashes.

The [C] indicator is shown at the top of the display (in place of the [E] indicator), and the original, unedited voice is restored for monitoring.

EDIT

JOB STORE

COMPARE SCENE STORE

SET LOCATE

● Arpeggio related parameters.............Pages 169 and 191

[COMMON] → [F3] ARP (Arpeggio)

For each Voice, you can set the Arpeggio related parameters such as Arpeggio type and playback tempo. These can be edited in the Common Edit display.

Repeat #3 - 4 as desired.

Name the edited Normal Voice.

Enter a name for the Voice from the NAME display ([COMMON]

→ [F1] GENERAL → [SF1] NAME). For detailed instructions on

naming, refer to page 53 in the Basic Operation section.

Enter the desired Voice name.

Owner’s Manual

2 Press the [EDIT] button again to disable the

“Compare” function and restore the settings for your edited Voice.

Compare the edited sound with the unedited sound by repeating steps #1 and 2.

n While Compare is active, you cannot make edits to the Voice.

Page 81

Editing a Voice

TIP

Editing a Voice by using the Knobs

The four knobs at the top left of the instrument are not only for tweaking the sound while you perform — you can also use them to edit a Voice, either in the Voice Play mode or the Voice Edit mode.

● When the [PAN/SEND] indicator is turned on:

PAN Determines the stereo pan position of the Voice. [VOICE] → Voice selection → [EDIT] → [COMMON] →

REVERB Determines the amount of Reverb effect that is applied to the Voice. [VOICE] → Voice selection → [EDIT] → [COMMON] →

CHORUS Determines the amount of Chorus effect that is applied to the Voice. [VOICE] → Voice selection → [EDIT] → [COMMON] →

TEMPO

Determines the tempo of the Arpeggio assigned to the currently selected Voice.

[F2] OUTPUT → Pan

[F2] OUTPUT → RevSend

[F2] OUTPUT → ChoSend [VOICE] → Voice selection → [F6] ARP → Tempo Page 189

● When the [TONE] indicator is turned on:

CUTOFF Raises or lowers the Filter cutoff frequency to adjust the tone brilliance. [VOICE] → Voice selection → [F5] EG → CUTOF Page 189 RESONANCE Boosts or attenuates the level at the area around the Filter cutoff

ATTACK Determines the attack time of the sound. For example, you can adjust a

RELEASE Determines the release time of the sound. Turning the knob to the right

frequency.

strings Voice so that the sound gradually swells in volume by setting a slow attack time – simply turn this knob to the right.

sets a long release time and (depending on the selected Voice) lets the sound sustain after the key is released. To produce a sharp release, in which the sound abruptly cuts off, set a short release time.

[VOICE] → Voice selection → [F5] EG → RESO Page 189

[VOICE] → Voice selection → [F5] EG → ATK (AEG) Page 189

[VOICE] → Voice selection → [F5] EG → REL (AEG) Page 189

n The settings above are applied as offsets to the AEG and FEG settings in the Voice Edit mode.

● When the [ARP FX] indicator is turned on:

SWING Adjusts the swing feel of the Arpeggio playback. [VOICE] → Voice selection → [EDIT] → [COMMON] →

GATE TIME Adjusts the Gate Time (length) of the Arpeggio notes. [VOICE] → Voice selection → [EDIT] → [COMMON] →

VELOCITY Adjusts the velocity of the Arpeggio notes. [VOICE] → Voice selection → [EDIT] → [COMMON] →

UNITMULTIPLY Adjusts the Arpeggio playback time based on tempo. [VOICE] → Voice selection → [EDIT] → [COMMON] →

[F3] ARP → [SF3] PLAY FX → Swing

[F3] ARP → [SF3] PLAY FX → GateTimeRate

[F3] ARP → [SF3] PLAY FX → VelocityRate

[F3] ARP → [SF3] PLAY FX → UnitMultiply

Page 190

Page 191

Page 192

Quick Guide — Advanced Course

● When the [EQ] indicator is turned on:

LO Determines the amount of boost or attenuation applied to the low

LO MID Determines the amount of boost or attenuation applied to the low-

HI MID Determines the amount of boost or attenuation applied to the high-

HI Determines the amount of boost or attenuation applied to the high

frequency band of the Master EQ.

midrange frequency band of the Master EQ.

frequency band of the Master EQ.

n The settings above are applied as offsets to the EQ settings in the [VOICE] → [UTILITY] → [F3] VOICE → [SF1] MEQ display.

[VOICE] → Voice selection → [EDIT] → [COMMON] → [F1] GENERAL → [SF3] MEQ OFS → LOW

[VOICE] → Voice selection → [EDIT] → [COMMON] → [F1] GENERAL → [SF3] MEQ OFS → LOW MID

[VOICE] → Voice selection → [EDIT] → [COMMON] → [F1] GENERAL → [SF3] MEQ OFS → HIGH MID

[VOICE] → Voice selection → [EDIT] → [COMMON] → [F1] GENERAL → [SF3] MEQ OFS → HIGH

Page 190

● When both the [PAN/SEND] and [TONE] indicators are turned on (by pressing them simultaneously):

ASSIGN A Adjusts parameters assigned to these knobs in the [UTILITY] → [F4] CTL ASN → [SF2] ASSIGN display. Page 263 ASSIGN B ASSIGN 1 Adjusts parameters assigned to these knobs in the [VOICE] → Voice selection → [EDIT] → [COMMON] → [F4] CTL SET display. Page 192 ASSIGN 2

n In addition to above functions, Master Effect related parameters (set in the [UTILITY] → [F3] VOICE → [SF2] MEF display) can be assigned to

these four knobs by pressing the [ARP FX] and [EQ] buttons simultaneously. The particular parameters assigned to the four knobs can be set in the [UTILITY] → [F4] CTL ASN → [SF5] MEF display.

Editing a Voice by using the Control Sliders (CS)

[VOICE] → Voice selection → [EDIT] → Element selection → [F4] AMP → [SF1] LVL/PAN → Level

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 a Normal Voice is selected, you can adjust the level balance among the four Elements.

n Inadvertent use of the sliders may result in no sound. If this occurs, move the sliders upward.

Owner’s Manual

Page 82

Editing a Voice

EDIT

COMPARE SCENE STORE

SET LOCATE

JOB STORE

To solo an Element for editing

This feature is useful for isolating the sound of single Element, for ease in editing.

1 In the Normal Voice Edit mode, simultaneously

hold down the [MUTE] button and press one of the NUMBER buttons [9] to [12] to solo the corresponding Element.

Once you’ve selected an Element for soloing, the [MUTE] button’s lamp ﬂashes, indicating the Solo function is active and only the selected Element can be edited.

In this example, only Element 3 is turned on and can be edited.

TRACK

87654321

SELECT

ELEMENT/PERF. PART /ZONE

Quick Guide — Advanced Course

1412 13

MUTE

SOLO

NUMBER

Edit Recall

If you are editing a Voice and select a different Voice 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 Voice with your latest edits intact.

1 Press the [JOB] button in the Voice mode to enter

the Voice Job mode.

2 Press the [F2] RECALL button to call up the

Recall display.

3 Press 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 Edit Recall

2 To solo another Element, simply press the

appropriate number button ([9] - [12]).

to restore the voice.

3 To exit from the Solo function, press the [MUTE]

button again.

Drum Voice Edit

Press the [VOICE] button to enter the Voice mode, then select a Drum Voice to be edited.

Press the [EDIT] button to enter the Voice Edit mode.

Call up the Common Edit display or Key Edit display.

If you want to edit the sounds that make up a Drum Voice and the basic parameters that determine the sound, such as Oscillator, Pitch, Filter, Amplitude, and EG (Envelope Generator), call up the Key Edit display. To edit more global parameters related to the overall Drum Voice and how it’s processed, such as Arpeggio, Controller, and Effects, call up the Common Edit display.

While in the Voice Edit mode, you can switch between the Common Edit display and the Element Edit display as shown below.

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.

Indicates a Common Edit display.

DRUM KITS

FAVORITES

COMMON

PRE 5 PRE 6 USER 1

A. PIANO KEYBOARD ORGAN

ABCD

SYN LEAD

SYN PAD/

CHOIR

ELEMENT/PERF. PART /ZONE

SYN COMP

USER 2

GUITAR/

PLUCKED

CHROMATIC

PERCUSSION

Calling up the Key Edit display

Press any of the ELEMENT [1] - [4] buttons to call up the Key Edit display, then select the key to which the desired instrument is assigned.

Indicates the display for editing the key C0.

4321

Common Edit

Owner’s Manual

Key Edit (1-73)

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

Page 83

Editing a Voice

TIP

Select the desired menu for editing by pressing the [F1] - [F6] and [SF1] - [SF5] buttons, then edit

the parameters.

The main parameters available are basically the same as in the Normal Voice Edit (page 80). What is called Key Edit in the Drum Voice corresponds to Element Edit in the Normal Voice. Please keep in mind that the LFO parameters are not available in the Drum Voice.

Repeat #3 - 4 as desired.

Name the edited Drum Voice.

Enter a name for the Voice from the NAME display

([COMMON] → [F1] GENERAL → [SF1] NAME). For detailed

instructions on naming a voice, refer to page 53 in the Basic Operation section.

Enter the desired Voice name.

Store the edited Voice to internal User memory

(page 186).

The edited Voice can be stored in the Voice Store mode. See page 85 for details.

If desired, save the edited and stored voices to a

SmartMedia/USB storage device.

Assigning drum/percussion instruments to individual keys

[VOICE] → Drum Voice selection → [EDIT] → Key selection → [F1] OSC → [SF1] WAVE

Quick Guide — Advanced Course

In the Drum Voice Edit mode, you can create your own original drum kits by assigning speciﬁc instrument sounds to individual keys — in any desired order — and edit detailed parameters for each key’s sound.

Call up the Key Edit display in the Voice Edit mode.

Refer to step #3 on page 82.

2 Call up the [F1] OSC → [SF1] WAVE display.

4 Select the desired Waveform to be assigned.

Move the cursor to “Number” and change the value by using the data dial, [INC/YES] button, and [DEC/NO] button. Then, press the same key set in step #3 again to conﬁrm the selected instrument sound.

3 Press the key to which you want to assign a

sound.

The drum instrument currently assigned to the pressed key will sound.

You can also select a different sound category (such as Percussion, or even a Normal Voice sound), by moving the cursor to “Category”and changing the setting.

Create your original drum kit by repeating steps #3 - 4.

6 Store the created drum kit as a Drum Voice in User

memory.

The edited Voice can be stored in the Voice Store mode. See page 85 for details.

7 If desired, save the edited and stored voices to a

SmartMedia/USB storage device.

Owner’s Manual

Page 84

Quick Guide — Advanced Course

Editing a Voice

Setting the drum key for independent open and closed hi-hat sounds

TIP

[VOICE] → Drum Voice selection → [EDIT] → Key selection → [F1] OSC → [SF5] OTHER → AltnateGroup

In a real drum kit, some drum sounds cannot physically be played simultaneously, such as open and closed hi-hats. You can prevent drum instruments from playing back simultaneously by assigning them to the same Alternate Group. The preset Drum Voices have many such Alternate Group assignments to ensure the most authentic, natural sound. When creating a Voice from scratch, you can use this feature — either to ensure authentic sound, or to create special effects, where playing one sound cancels out a previous one.

Call up the Key Edit display in the Voice Edit mode.

Refer to step #3 on page 82.

Press the key which corresponds to “Hi-Hat Close” and set it to the same Alternate Group (1) as in step #3.

2 Call up the [F1] OSC → [SF5] OTHER display.

3 Press the key which corresponds to “Hi-Hat

Open” and set the Alternate Group to “1.”

5 Conﬁrm whether the Alternate Group has been set

properly.

Immediately after pressing the “Hi-Hat Open” key, press the “Hi-Hat Close” key. Pressing the second key should cut off the sound of the ﬁrst.

Since the settings above are included in the Drum Voice data, store them as a Drum Voice in the Voice Store mode.

Determining how the Drum Voice responds when the key is released

TIP

[VOICE] → Drum Voice selection → [EDIT] → Key selection → [F1] OSC → [SF5] OTHER → RcvNoteOff

You can determine whether or not the selected Drum key responds to MIDI Note Off messages. Setting the Receive Note Off parameter to “off” can be useful for cymbal sounds and other sustaining sounds. This lets you have the selected sounds sustain to the length of their natural decay – even if you release the note, or when a Note Off message is received. If this parameter is set to “on,” the sound will stop immediately when the note is released or a Note Off message is received.

Setting the Output jack for each key (drum/percussion instrument)

TIP

[VOICE] → Drum Voice selection → [EDIT] → Key selection → [F1] OSC → [SF2] OUTPUT → OutputSel

You can change the output jack on the rear panel for the individual Drum key signal. This function is useful when you wish to apply a connected external effect to a speciﬁc drum instrument. For details, see page 31.

Owner’s Manual

Page 85

Editing a Voice

Plug-in Voice Edit

The Plug-in Voices (available when installing optional Plug-in Boards to the instrument) can be edited in basically the same way as in Normal Voice Edit (page 79). Unlike with Normal voices, the Plug-in voices only have one Element for editing. In addition, some of the other parameters may not be available. Refer to page 205 in the Reference section.

Storing/Saving the created Voice

Two steps are necessary in order to store (save) your voice – storing the edited voice to internal memory and saving the stored voices to a SmartMedia/USB storage device.

STORE

Voice Edit

Storing edited Voices individually

Internal memory (Flash ROM)

User Normal Voice 001 User Drum Voice 001 User Normal Voice 002 User Normal Voice 003

User Normal Voice Bank 1

User Normal Voice 128

User Drum Voice 002 User Drum Voice 003

User Drum Voice Bank

User Drum Voice 32

User Plug-in Voice 001

User Plug-in Voice 002

User Plug-in Voice 001

User Plug-in Voice 002

User Plug-in Voice 003

User Plug-in Voice 002

User Plug-in Voice 003

User Plug-in Voice Bank 1

User Plug-in Voice 064

SAVE

All the User Voice data in internal memory can be saved as a single ﬁle.

SmartMedia

USB storage

device

File extension: W7A File extension: W7V File extension: W7E

The W7E ﬁle can be loaded to the Voice Editor, computer software.

Storing the edited Voice as a User Voice to internal memory

[VOICE] → [STORE]

After editing the Voice, press the [STORE] button

to enter the Voice Store mode.

CAUTION

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.

Quick Guide — Advanced Course

Make sure to execute the Store operation before selecting another Voice.

Select the destination Voice memory.

Select a User Bank (“USR1” or “USR2” when storing a Normal Voice, “UDR” when storing a Drum Voice, “P1-U” ~ “P3-U” when storing a Plug-in Voice) and the desired Voice number by using the data dial, [INC/YES] and [DEC/NO] button.

Select a User Bank.

Select a Voice number.

Press the [ENTER] button.

The display prompts you for conﬁrmation. To cancel the Store operation, press the [DEC/NO] button.

DEC/NO INC/YES

EXIT ENTER

EXECUTE

Owner’s Manual

Page 86

Editing a Voice

Press the [INC/YES] button to execute the Store

operation.

After the Voice has been stored, a “Completed” message appears and operation returns to the Voice Play display.

DEC/NO INC/YES

EXIT ENTER

EXECUTE

Quick Guide — Advanced Course

CAUTION

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.

Set the Type parameter to “All Voice.”

Move the cursor to TYPE, then select a ﬁle type by using the data dial, [INC/YES] and [DEC/NO] buttons. The following three ﬁle types are available for saving Voice data. Here, select “All Voice.”

All When this is selected, execute the Save operation to

All Voice When this is selected, execute the Save operation to

Voice Editor When this is selected, execute the Save operation to

Input a file name.

save all the created data including the User Voices as a single ﬁle (extension: W7A).

save all User Voices as a single ﬁle (extension: W7V).

save all User Voices as a single ﬁle (extension: W7E) which can be exported to the Voice Editor software contained in the included CD-ROM.

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.

CAUTION

If you select another Voice without storing, the currently edited Voice will be lost. Make sure to store the edited Voice before selecting another Voice.

Saving the edited Voices to a SmartMedia/USB storage device

[FILE] → [F2] SAVE

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.

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.

Press the [F2] SAVE button to call up the Save

display.

File name

Press the [ENTER] button to execute the Save

operation.

DEC/NO INC/YES

EXIT ENTER

EXECUTE

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.

CAUTION

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.

Owner’s Manual

Page 87

■ Loading Voice data from the SmartMedia/USB

storage device

[FILE] → [F3] LOAD

In the previous section, we saved Voice data as an “All Voice” ﬁle to a SmartMedia card or USB storage device. Here, we’ll recall that Voice data and load it to the instrument with the Load operation.

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.

Press the [F3] LOAD button to call up the Load

display.

Select the file type to be loaded.

The ﬁle saved in operation explained on the previous page has all the User Voices. If you wish to load all the User Voices, set Type to “All Voice.” If you wish to load only a speciﬁc voice, set Type to “Voice.”

Editing a Performance

When Type is set to “Voice”:

When Type is set to “Voice,” you can specify and load a speciﬁc Voice from a ﬁle (with the extension W7V or W7A).

Move the cursor to the ﬁle (extension: W7V) saved in the operation explained on the previous page.

ENTER

EXECUTE

Select a source Voice Bank from the selected ﬁle with the following operation. To select a User Nor mal Voice Bank, press one of the [USER1] and [USER2] buttons. To select a User Drum Voice Bank, simultaneously hold the [DRUM KITS] button and press the [USER1] button. To select a User Plug-in Voice Bank, press one of the [PLG1], [PLG2] and [PLG3] buttons. After selecting a source Voice Bank, all the Voices contained in the selected Bank are listed in the display. Move the cursor to the desired Voice to be loaded.

ENTER

EXECUTE

Select a destination Voice Number.

You can also change the destination Voice Bank when loading a Normal Voice or a Plug-in Voice by moving the cursor to the location of “USR1” in the above display and using the data dial. When loading Plug-in Voice data, note that the Plug-in Board for the source Voice Bank should match the one for the destination Voice Bank. When a source Voice Bank is created for the PLG150-AN, for example, you should select the Voice Bank for the PLG150AN as the destination.

Quick Guide — Advanced Course

If you want to change the source Voice Bank/Number, press the [EXIT] button to return the display to the ﬁrst one (shown at

Select a file ( ) to be loaded.

Move the cursor to the ﬁle (extension: W7V) saved in the operation explained on the previous page. If you’ve set the Type to “AllVoice” in step #3, go to step #5. If you’ve set the Type to “Voice” in step #3, execute the operations in the

the top of this box) then perform the above instructions again.

CAUTION

following box, then go to step #5.

Press the [ENTER] button to execute the Load

operation.

After the data has been loaded, a “Completed” message appears and operation returns to the original display.

CAUTION

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.

Editing a Performance

The Performance Edit mode ([PERFORM] → [EDIT]) lets you create your own original Performances — containing up to four different

Parts (Voices) — by editing the various parameters. The Voices can be selected from the internal tone generator or the installed Plug-in Boards. After assigning different Voices to separate ranges of the keyboard, edit the detailed parameters in the Performance Edit mode.

Owner’s Manual

Page 88

Editing a Performance

Press the [PERFORM] button to enter the Performance mode, then select a Performance to be edited.

Press the [EDIT] button to enter the Performance Edit mode.

Call up the Common Edit display or Part Edit display.

Use the Part Edit to edit the parameters for each Part. Use Common Edit to edit the parameters for all of the Parts.

While in the Voice Edit mode, you can switch between the Common Edit display amd the Part Edit display as shown below.

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

Quick Guide — Advanced Course

functions as the [COMMON] button.

Indicates a Common Edit display.

n You can mute or solo a Part in the Performance

Edit mode, just as in the Performance Play mode or the Song/Pattern mode (page 68).

Common Edit

DRUM KITS

FAVORITES

COMMON

PRE 5PRE 6 USER 1

A. PIANO KEYBOARD ORGAN

ABCD

SYN LEAD

SYN PAD/

CHOIR

ELEMENT/PERF. PART /ZONE

SYN COMP

USER 2

GUITAR/

PLUCKED

CHROMATIC PERCUSSION

4321

Plug-in part 1 (PLG1) Edit Plug-in part 2 (PLG2) Edit Plug-in part 3 (PLG3) Edit

Calling up the Part Edit display

Press the desired Part number from the PERF. PART [1] - [4] buttons to call up the Part Edit display.

Indicates the display for editing Part 1.

To switch between the Part 1 - 4 display and the Plug-in Part 1 - 3 display, press the [F6] button.

You can select the four Performance Parts from this group of seven.

Part1 Edit Part2 Edit Part3 Edit

Parts to which Internal voices are assigned

Part4 Edit

Parts to which Plug-in Board voices are assigned

Select the menu you wish to edit by pressing the [F1] - [F6] and [SF1] - [SF5] buttons, then edit the

parameters.

The following brieﬂy describes the main Performance parameters.

●

Parameters for the Voice assigned to each Part

...Page 216

Part selection → [F1] VOICE

The Voice assigned to each part and its note range can be set also in the Performance Play mode (page 71). In addition to the parameters available in the Performance Play mode, the Performance Edit mode also lets you set Portamento (pitch glide) and Arpeggio Switch (which determines whether the Arpeggio plays a speciﬁc Part or not).

● Basic parameters for making sound................Page 218

Part selection → [F4] TONE

If you wish to edit the basic parameters for the synthesizer such as Tune, Filter, and Amplitude, use the Part Edit display.

Owner’s Manual

●

Parameters related to the Audio Input part

...........Page 214

[COMMON] → [F5] AUDIO IN

The audio signal input from the A/D INPUT jack (or the optional audio inputs) can be handled as an Audio Input part. You can apply various parameters such as Volume, Pan, and Effect settings to this Part — just as you can with the other Parts. The parameters related to the Audio Input Part can be edited in Common Edit for each Performance.

● Parameters related to the OUTPUT jacks for each

................................................................................Page 218

part

Part selection → [F2] OUTPUT → [SF3] SELECT → OutputSel

You can assign each individual Part’s Voice to be output from a speciﬁc hardware output jack on the rear panel. This function is useful when you want to output a speciﬁc Part to a separate speaker or process it with a favorite external effect.

Page 89

● Effect related parameters................ Pages 177 and 215

[COMMON] → [F6] EFFECT

[COMMON] → [F2] OUT/MEF → [SF3] MEF (Master Effect)

The Effects use DSP (Digital Signal Processing) to alter and enhance the sound of a Performance. The Common Edit display lets you edit the Effect related parameters.

● Master EQ related parameters ........ Pages 178 and 214

These parameters let you use the ﬁve-band Master EQ to process the overall sound of the Performance. Master EQ also features separate EQ shape parameters for the Low and High bands, as well as the Frequency, Gain and Q controls for each band.

● Controller related parameters........... Pages 155 and 214

[COMMON] → [F4] CTL ASN (Controller Assign)

For each Performance, you can assign the Control Change Number to built-in controllers such as Ribbon Controller, Knobs (ASSIGN1 and 2), and optionally connected controllers, such as Foot Controller and Breath Controller.

Editing a Performance

Repeat steps #3 - 4 as desired.

Name the edited Performance.

Enter a name for the Performance from the NAME display

([COMMON] → [F1] GENERAL → [SF1] NAME).

For detailed instructions on naming, refer to page 53 in the Basic Operation section.

Enter the desired Performance name.

Store the edited Performance to internal User

memory (page 186).

The edited Performance can be stored in the Performance Store mode. See page 91 for details.

n Functions assigned to Controllers depend on the settings of each

Part’s Voice edited in the Voice Edit mode.

● Arpeggio related parameters............. Pages 169 and 214

For each Performance, you can set the Arpeggio related parameters, such as Arpeggio type and playback tempo. These can be edited in the Common Edit display.

If desired, save the edited and 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. For more information, see page 91.

Compare Function

Just as in the Voice Edit mode, you can use the Compare function also in the Performance Edit mode. This convenient function lets you switch between the edited voice and its original, unedited condition – allowing you to listen to the difference between the two and better hear how your edits affect the sound.

1 In the Performance Edit mode (with the [EDIT] indicator lit), press the [EDIT] button so that its indicator ﬂashes.

The [C] indicator is shown at the top of the display (in place of the [E] indicator), and the original, unedited Performance is restored for monitoring.

2 Press the [EDIT] button again to disable the “Compare” function and restore the settings for your edited

Performance.

Quick Guide — Advanced Course

Compare the edited sound with the unedited sound as desired by repeating steps #1 and 2.

n While Compare is active, you cannot make edits to the Performance.

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Editing a Performance

The four knobs at the top left of the instrument are not only for tweaking the sound while you perform — you can also use them to edit a Performance, either in the Performance Play mode or the Performance Edit mode.

● When the [PAN/SEND] indicator is turned on:

● When the [TONE] indicator is turned on:

Quick Guide — Advanced Course

n The settings above are applied as offsets to the AEG and FEG settings in the Performance Edit mode.

Editing a Performance by using the Knobs

TIP

PAN Determines the stereo pan position of the Performance. [PERFORM] → Performance selection → [EDIT] → [COMMON]

REVERB Determines the amount of Reverb effect that is applied to the

CHORUS Determines the amount of Chorus effect that is applied to the

TEMPO Deter mines the tempo of the Arpeggio assigned to the currently selected

CUTOFF Raises or lowers the Filter cutoff frequency to adjust the tone brilliance. [PERFORM] → Performance selection → [F5] EG → CUTOF Page 213 RESONANCE Boosts or attenuates the level at the area around the Filter cutoff

ATTACK Determines the attack time of the sound. For example, you can adjust a

RELEASE

Performance.

frequency.

strings Voice so that the sound gradually swells in volume by setting a slow attack time – simply turn this knob to the right.

Determines the release time of the sound. Turning the knob to the right sets a long release time and (depending on the Voice assigned to the selected Performance) lets the sound sustain after the key is released. To produce a sharp release, in which the sound abruptly cuts off, set a short release time.

→ [F2] OUT/MEF → [SF1] OUT → Pan [PERFORM] → Performance selection → [EDIT] → [COMMON]

→ [F2] OUT/MEF → [SF1] OUT → RevSend [PERFORM] → Performance selection → [EDIT] → [COMMON]

→ [F2] OUT/MEF → [SF1] OUT → ChoSend [PERFORM] → Performance selection → [F6] ARP → Tempo Page 213

[PERFORM] → Performance selection → [F5] EG → RESO Page 213

[PERFORM] → Performance selection → [F5] EG → ATK (AEG) Page 213

[PERFORM] → Performance selection → [F5] EG → REL (AEG) Page 213

Page 213

● When the [ARP FX] indicator is turned on:

SWING Adjusts the swing feel of the Arpeggio playback. [PERFORM] → Performance selection → [EDIT] → [COMMON]

GATE TIME Adjusts the Gate Time (length) of the Arpeggio notes. [PERFORM] → Performance selection → [EDIT] → [COMMON]

VELOCITY Adjusts the velocity of the Arpeggio notes. [PERFORM] → Performance selection → [EDIT] → [COMMON]

UNITMULTIPLY

Adjusts the Arpeggio playback time based on tempo.

→ [F3] ARP → [SF3] PLAY FX → Swing

→ [F3] ARP → [SF3] PLAY FX → GateTimeRate

→ [F3] ARP → [SF3] PLAY FX → VelocityRate [PERFORM] → Performance selection → [EDIT] → [COMMON]

→ [F3] ARP → [SF3] PLAY FX → UnitMultiply

Page 214

● When the [EQ] indicator is turned on:

LO Determines the amount of boost or attenuation applied to the low

LO MID Determines the amount of boost or attenuation applied to the low-

HI MID Determines the amount of boost or attenuation applied to the high-

HI Determines the amount of boost or attenuation applied to the high

frequency band of the Master EQ.

midrange frequency band of the Master EQ.

frequency band of the Master EQ.

n The settings above are applied as offsets to the EQ settings in the [PERFORM] → Performance selection → [EDIT] → [COMMON] → [F2] OUT/MEF

→ [SF2] MEQ (Master EQ) display.

[PERFORM] → Performance selection → [EDIT] → [COMMON] → [F1] GENERAL → [SF3] MEQ OFS → LOW

[PERFORM] → Performance selection → [EDIT] → [COMMON] → [F1] GENERAL → [SF3] MEQ OFS → LOW MID

[PERFORM] → Performance selection → [EDIT] → [COMMON] → [F1] GENERAL → [SF3] MEQ OFS → HIGH MID

[PERFORM] → Performance selection → [EDIT] → [COMMON] → [F1] GENERAL → [SF3] MEQ OFS → HIGH

Page 213

● When both the [PAN/SEND] and [TONE] indicators are turned on (by pressing them simultaneously):

ASSIGN A Adjusts parameters assigned to these knobs in the [UTILITY] → [F4] CTL ASN → [SF2] ASSIGN display. Page 263 ASSIGN B ASSIGN 1 Depends on the settings of the Voice assigned to the selected Performance. Page 192 ASSIGN 2

n In addition to above functions, Master Effect related parameters (set in the [PERFORM] → Performance selection → [COMMON] → [F2] OUT/MEF

→ [SF3] MEF display) can be assigned to these four knobs by pressing the [ARP FX] and [EQ] buttons simultaneously. The particular parameters are assigned to the four knobs can be set in the [UTILITY] → [F4] CTL ASN → [SF5] MEF display.

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Page 91

Editing a Performance

TIP

Editing a Performance by using the Control Sliders (CS)

[PERFORM] →→→→ Performance selection →→→→ [EDIT] →→ Part selection →→→→ [F2] OUTPUT →→

→→

Volume

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.

n Inadvertent use of the sliders may result in no sound. If this

occurs, move the sliders upward.

→→

[SF1] VOL/PAN

→→

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.

1 Press the [JOB] button in the Performance mode to

enter the Performance Job mode.

Press the [F2] RECALL button to call up the Recall display .

3 Press the [ENTER] button. (The display prompts you

for conﬁrmation.)

If you wish to cancel the operation, press the [DEC/NO] button.

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.

Performance Edit

Storing edited Performances individually

Internal memory

(Flash ROM)

STORE SAVE

Performance 001 Performance 002 Performance 003

Performance 128

All the User Performance data in internal memory can be saved as a single ﬁle.

SmartMedia

USB storage

device

File extension: W7A

Quick Guide — Advanced Course

Storing the edited Performance as a User Performance to internal memory

[PERFORM] → [STORE]

After editing the Performance, press the [STORE]

button to enter the Performance Store mode.

Make sure to execute the Store operation before selecting another Performance.

Select the destination Performance memory.

Select a Performance number by using the data dial, [INC/YES] and [DEC/NO] button.

CAUTION

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.

Press the [ENTER] button.

The display prompts you for conﬁrmation. To cancel the Store operation, press the [DEC/NO] button.

EXIT ENTER

EXECUTE

Owner’s Manual

Page 92

Editing a Performance

Press the [INC/YES] button to execute the Store

operation.

After the Performance has been stored, a “Completed” message appears and operation returns to the Performance Play display.

DEC/NO INC/YES

EXIT ENTER

EXECUTE

Quick Guide — Advanced Course

CAUTION

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 ma y also result in the MOTIF ES being unable to properly start up the next time the power is turned on.

CAUTION

If you select another Performance without storing, the currently edited Performance will be lost. Make sure to store the edited P erf ormance bef ore selecting another Performance.

Saving the edited Performances to a SmartMedia/USB storage device

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).

Input 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 name

Press the [ENTER] button to execute the Save

operation.

DEC/NO INC/YES

EXIT ENTER

EXECUTE

[FILE] → [F2] SAVE

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.

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.

Press the [F2] SAVE button to call up the Save

display.

Set the Type parameter to “All.”

CAUTION

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

[FILE] → [F3] LOAD

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.

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.

Press the [F3] LOAD button to call up the Load

display.

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Page 93

Editing a Performance

Select the file type to be loaded.

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.”

SmartMedia/USB storage device

Performance 001 Performance 002 Performance 003

Performance 128

File extension: W7A

Loading a speciﬁc Performance when Type is set to “Performance.”

All Performances are loaded when Type is set to “All.”

Internal Memory

(Flash ROM)

Performance 001 Performance 002 Performance 003

Performance 128

CAUTION

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 sa ve any important data to a SmartMedia/USB storage device before performing the Load operations, especially when Type is set to “All.”

n When 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.

Select a file ( ) to be loaded.

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).

Quick Guide — Advanced Course

Move the cursor to the ﬁle (extension: W7A) saved in the operation explained on the previous page.

ENTER

EXECUTE

All the Performances contained in the selected ﬁle are listed on the display. Move the cursor to the desired Performance.

ENTER

EXECUTE

Select the desired Performance to be loaded.

Select the destination Performance number.

CAUTION

Press the [ENTER] button to execute the Load operation.

After the data has been loaded, a “Completed” message appears and operation returns to the original display.

CAUTION

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.

Owner’s Manual

Page 94

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.

n See 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

Quick Guide — Advanced Course

Connect a microphone to the instrument.

Follow steps #1 - 8 on page 72.

Press the [F1] DEST button to call up the display for setting the Sampling Destination, then set the

parameters as described below.

Press the [INTEGRATED SAMPLING] button in the Voice mode or Performance mode to enter

the Sampling mode.

MODE

VOICE

PERFORM MASTER

SEQUENCER

PATTERN FILE

SONG

INTEGRATED

SAMPLING

MIXING UTILITY

DEMO

Press the [F2] SOURCE button to call up the display for setting the Sampling Source, then set

the parameters as shown below.

Type: sample Source: A/D Next: off Mono/Stereo: L mono Frequency: 44.1k

Waveform Determines the Waveform number. Select a number

which has no data ([--- : -----------] is indicated). For details about the Waveform, see page 173.

Keybank Here, 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.

Part This 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 “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.

n If 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 .

For details about each parameter, see page 251.

Owner’s Manual

Page 95

Creating a Voice by using the Sampling function

Press the [F6] REC button to call up the Sampling Record display (Sampling Standby

status), then set the parameters as required.

You can change the Keybank (set in step #4) also in this display.

Trigger Level

Turn the Conﬁrm function on or off

Indicates Sampling Standby status.

● 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.

Press the [F6] REC button again to enable

Sampling Trigger Waiting.

Doing this puts sample recording on standby, waiting for an input signal that exceeds the Trigger level.

Indicates that sample recording is waiting for a signal of an appropriate level.

Sing into the microphone to start sampling.

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.

Quick Guide — Advanced Course

● 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.

Trigger Level

Indicates Sampling

Trigger Level

The section of the bar exceeding the Trigger Level becomes black.

Standby status.

Press the [F6] STOP button to stop sampling,

then check the results.

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 stopping sampling. Instead, stopping sampling returns directly to the [F1] DEST or [F2] SOURCE display.

Owner’s Manual

Page 96

Creating a Voice by using the Sampling function

Press the [EDIT] button to enter the Sampling Edit mode, then press the [F4] RANGE button to

call up the Range setting display.

EDIT

COMPARE

Quick Guide — Advanced Course

Set the key range within which the sample is

sounded.

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.

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.

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.

Save your newly created User Voice to a

SmartMedia/USB storage device.

Refer to “Saving a Sample” on page 97.

CAUTION

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.”

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.

Repeat step #4 - 10 to add another sample to the

same Voice (Waveform).

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.

The sample is sounded

within this key range.

C3 G4

The original sample is assigned to this key.

The sample is sounded

within this key range.

The original sample is assigned to this key.

● 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.

n You 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).

Owner’s Manual

Page 97

Creating a Voice by using the Sampling function

Saving a Sample

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.

[FILE] → [F2] SAVE

CAUTION

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.

1 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.

Set the TYPE parameter to “Wav” in the [F2] SAVE display.

3 Input 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.

4 Press 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.

3 Set 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.

4 Input 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.

5 Press the [ENTER] button to execute the Save

operation.

You can hear the selected sample by pressing the [SF1] button. (Audition function)

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.

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).

Quick Guide — Advanced Course

● 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.

1 Select 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.

You can hear the selected sample by pressing the [SF1] button. (Audition function)

5 Press the [ENTER] button to execute the Save operation.

If you are about to overwrite an existing ﬁle, the display prompts you for conﬁrmation. Press the [INC/YES] button to execute the Save operation 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.

Owner’s Manual

Page 98

Creating a Voice by using the Sampling function

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.

Connect an audio device (CD player, etc.) to the

instrument.

Follow steps #1 - 8 on page 73.

Press the [F6] REC button to call up the Sampling Record display (Sampling Standby

status), then set the parameters as required.

Press the [INTEGRATED SAMPLING] button in the Voice mode or Performance mode to enter

the Sampling mode.

Quick Guide — Advanced Course

Press the [F2] SOURCE button to call up the display for setting the Sampling Source, then set

the parameters as shown below.

Type: sample Source: A/D Next: on

Turn the Confirm function on or off

Trigger Level

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.”

● Setting the Conﬁrm function

● Setting the Trigger mode

For details about each parameter, see page 251.

(Trigger mode) to “level” which lets you start sampling as soon as the input signal from the audio device exceeds the speciﬁed Trigger Level.

Press the [F1] DEST button to call up the display for setting the Sampling Destination, then set the

parameters as described below.

● 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.

You can also change the Keybank (set in step #4) in this display.

Indicates Sampling Standby status.

Part This is available when entering the Sampling mode from the

Voice

Key Here, set this parameter to “C3.” After the Sampling is

n If the Voice parameter above is set to “off,” you won’t be able to play

Performance mode. This parameter determines the Performance Part to which the Voice (below) created by sampling is assigned.

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.

completed, you can hear the sampled sound by pressing the note set here.

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.

Owner’s Manual

Trigger Level

Indicates Sampling Standby status.

The section of the bar exceeding the Trigger Level becomes black.

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Creating a Voice by using the Sampling function

Press the [F6] REC button again to enable

Sampling Trigger Waiting.

Doing this puts sample recording on standby, waiting for an input signal that exceeds the Trigger level.

Indicates that sample recording is waiting for a signal of an appropriate level.

Start the external audio device.

The sampling actually starts as soon as the an input signal exceeding the speciﬁed trigger level is received.

Press the [F6] STOP button to stop sampling,

then stop the external audio device.

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 stopping sampling. Instead, stopping sampling returns directly to the Sampling Standby display.

Repeat steps #5 - 8 above to assign additional Samples to the notes as desired to create your

Drum Voice.

In step #7, select a different sound (on a CD, for example) for each Sample. Though the Key is automatically set to the note name the next one higher than that just assigned, you can change it in step #5.

By repeating steps #5 - 8 above, you can create a Drum Voice in which each key has a different sound (as shown below).

Sound Effect A

Save your newly created User Voice to a

SmartMedia/USB storage device.

Sound Effect C Sound Effect Y

Sound Effect B

Refer to “Saving a Sample” on page 97.

CAUTION

Example Sampling sources

The examples below show you some of the different audio sources you can use as raw material for your Samples and Sample Voices.

● Vocals with effects

With a PLG100-VH Plug-in Board installed, you can apply a vocal harmony effect to your voice, and sample the entire processed sound. After setting the PLG100-VH related parameters as required referring to “Using an Effect Plug-in Board” on page 78, execute the Sampling operation.

● The sound of an mLAN compatible instrument

After setting up referring to page 34, execute the Sampling operation. You should set the [INTEGRATED SAMPLING] → [F2] SOURCE → Source parameter to “mLAN1 - 4.”

● Electric guitar or bass

Instruments such as guitar and bass can also be sampled, using the A/D INPUT jack. After setting up referring to page 33, execute the Sampling operation. You should set the [INTEGRATED SAMPLING] → [F2] SOURCE → Source parameter to “A/D.”

● Digital audio

With an optional AIEB2 interface installed to the instrument, you can connect to the digital out jack on your DAT deck or CD/MD player and directly record digital audio, for the highest possible sound quality. For details on installing the AIEB2, refer to page 285; for details on connecting digital audio devices to the instrument, refer to executing AIEB2, you should set the [INTEGRATED SAMPLING] → [F2] SOURCE → Source parameter to “AIEB2.”

● Resampling the MOTIF ES

You can also resample anything you play on the MOTIF ES itself — riffs, rhythms, melodies, thick multi-layered chord 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.)

page 34

. When

Quick Guide — Advanced Course

Owner’s Manual

Page 100

Creating a Voice by using the Sampling function

Loading WAV or AIFF audio ﬁles to create a Waveform/Voice

TIP

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.

n The 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.

1 In the Voice mode, press the [FILE] b utton 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.

Quick Guide — Advanced Course

2 Press the [F3] LOAD button to call up the Load

display.

When assigning a WAV ﬁle/AIFF ﬁle to a Drum Voice:

3 Select 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.

4 Select 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:

Voice When this is set to “on,” you can load and assign a

USR1:001 (A01)

Waveform Determines the destination Waveform number. KeyBank Determines the destination Key Bank of the

WAV ﬁle/AIFF ﬁle to the destination Voice set below.

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.

Waveform set above.

Voice When this is set to “on,” you can load and assign a

UDR:001 (A01)

Note Determines the destination key of the Drum Voice

n When assigning a WAV ﬁle/AIFF ﬁle to a Drum Voice, a

WAV ﬁle/AIFF ﬁle to the destination Voice set below

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.

set above.

Sample from the WAV ﬁle/AIFF ﬁle is assigned to the empty Waveform automatically.

CAUTION

5 Press the [ENTER] button to execute the Load

operation.

After the data has been loaded, a “Completed” message appears and operation returns to the original display.

CAUTION

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.

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Owner’s Manual

Yamaha MOTIFESE1 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual