Yamaha Audio MOTIF-RACK User Manual

TONE GENERATOR

SPECIAL MESSAGE SECTION

This product utilizes batteries or an external power supply (adapter). DO NOT connect this product to any power supply or adapter other than one described in the manual, on the name plate, or speciﬁcally recommended by Yamaha.

WARNING:

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.

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

Do not place this product in a position where

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.

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 long periods 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 mounting ﬁxtures that are either supplied with 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.

Battery Notice:

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

This product may also use “household” type batteries. Some of these may be rechargeable. Make sure that the battery being charged is a rechargeable type and that the charger is intended for the battery being charged.

When installing batteries, do not mix batteries with new, or with batteries of a different type. Batteries MUST be installed correctly. Mismatches or incorrect installation may result in overheating and battery case rupture.

Warning:

Do not attempt to disassemble, or incinerate any battery. Keep all batteries away from children. Dispose of used batteries promptly and as regulated by the laws in your area. Note: Check with any retailer of household type batteries in your area for battery disposal information.

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. If your dealer is unable to assist you, please contact Yamaha directly.

NAME PLATE LOCATION:

The name plate is located on the rear of the product. 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.

NOTICE:

Service charges incurred due to a 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.

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:

92-BP (rear)

PLEASE KEEP THIS MANUAL

Model

Serial No.

Purchase Date

FCC INFORMATION (U.S.A.)

1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!

This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product.

2. IMPORTANT: When connecting this product to accessories and/or another

product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA.

3. NOTE: This product has been tested and found to comply with the

requirements listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.

can be determined by turning the unit “OFF” and “ON”, please try to eliminate the problem by using one of the following measures:

Relocate either this product or the device that is being affected by the interference.

Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s.

In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to coaxial type cable.

If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA90620

The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.

(class B)

•

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.

• Use the speciﬁed adaptor (PA-300 or an equivalent recommended by Yamaha) only. Using the wrong adaptor can result in damage to the instrument or overheating.

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

• Do not place the AC adaptor 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

Do not open the instrument or attempt to disassemble the internal parts or modify them in any way. The instrument contains no userserviceable parts. If it should appear to be malfunctioning, discontinue use immediately and have it inspected by qualiﬁed Yamaha service personnel.

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 AC adaptor 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 adaptor 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/AC power adaptor Location

• When removing the electric plug from the instrument or an outlet, always hold the plug itself and not the cord.

• Unplug the AC power adaptor when not using the instrument, 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 adaptor and other cables.

• Use only the rack speciﬁed for the instrument. When attaching the rack, use the provided screws only. Failure to do so could cause damage to the internal components or result in the instrument falling over.

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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 instrument.

• Never insert or drop paper, metallic, or other objects into the gaps on the panel. 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.

• 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

•Voice/Multi parameter settings are lost when you turn off the power to the instrument without saving. Make sure to save important data to internal (User) memory (see page 57).

Saved data may be lost due to malfunction or incorrect operation. Save important data to external media such as the Yamaha MDF3 MIDI data ﬁler.

Never attempt to turn off the power while data is being written to internal memory (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.

When you exit from the Utility mode, Effect Bypass mode, or Favorite Category function, the parameter you changed in the display is automatically stored. However, this edited data is lost if you turn off the power without properly exiting from the display.

Backing up the external media

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

Even when the power switch is in the “STANDBY” position, electricity is still ﬂowing to the instrument at the minimum level. When you are not using the instrument for a long time, make sure you unplug the AC power adaptor from the wall AC outlet.

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Introduction

Thank you for purchasing the Yamaha MOTIF-RACK Tone Generator. In order to get the most out of your new MOTIF-RACK and its sophisticated functions, we suggest you read through this manual thoroughly. Also keep it in a safe, convenient place so that you can regularly refer to it when necessary.

Package Contents

❏

AC Adaptor*

❏

Owner’s Manual

*May not be included in your area. Please check with your Yamaha dealer.

About the Included CD-ROM

Application software for your MOTIF-RACK is included on this CD-ROM. The Voice Editor lets you edit the Voices of the MOTIF-RACK with a highly intuitive graphical interface. With the included sequencing software (Windows only), you can easily create and edit your own original songs on your computer. For details, refer to the separate Installation Guide or the on-line manual included with the software.

❏

CD-ROM

❏

Data List

❏

Installation Guide

Main Features

■

Wide range of dynamic and authentic voices — in a 1U rack-mounted tone generator

•A huge total of 896 normal voices and 59 drum kits — including most of the sounds from Yamaha’s top-of-the-line Synthesizer MOTIF — give you whatever sound you need, for any musical style.

• Comprehensive effect processing, including Insertion effects for up to four parts, independent three-band Part Equalizers for each Part and high-quality Reverb effects, provides pro-level sound enhancement for your music creation and performance.

■

Easy, wide-ranging sound expansion — Plug-in Boards

• Thanks to the two Modular Synthesis Plug-in System connectors and the optional Plug-in Boards, you can upgrade the MOTIF-RACK with completely new sound-processing engines. 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-RACK, ready to be played as soon as you install the proper board.

■

Simple, intuitive panel layout

•A detailed 160x64 dot graphic display provides comprehensive and easy-to understand control over virtually all operations. Use the PAGE buttons, cursor buttons, and the data dial to quickly and easily edit any of the parameters.

■

Large selection of versatile Voice sets for instant setups — Multi Library

• The MOTIF-RACK also features a library of 124 different Multis, each specially programmed with its own effect, equalizer and other settings, and each designed particularly for a speciﬁc style of music or application. Since they are categorized according to music type, you can quickly and easily call up the settings you need. They also serve as convenient templates to create new, original Multis - just select a Multi, then tweak it and customize it as needed.

■

Wide variety of output terminals

•Four ASSIGNABLE OUTPUT jacks let you output different Parts of the MOTIF-RACK to external devices and processors. Moreover, two digital output jacks (DIGITAL and OPTICAL) ensure completely noise-free, distortion-free sound output.

• Use the USB terminal to easily and directly connect the MOTIF-RACK to your computer. You can also conveniently edit the MOTIF-RACK’s voices from your computer with the Voice Editor software for the MOTIFRACK (included in the CD-ROM).

About This Manual

This manual consists of the following sections.

■

Before Using (page 12)

This section explains how to set up the MOTIF-RACK and connect external equipment.

■

Basics Section (page 18)

This section provides an overview of the main functions and features of the MOTIF-RACK and introduces you to the basic operating conventions.

■

Quick Guide (page 34)

This section explains how to use the basic functions.

■

Reference (page 59)

The MOTIF-RACK encyclopedia. This section explains all functions and parameters.

■

Appendix (page 76)

This section contains detailed information on the MOTIF-RACK such as MIDI, instructions for installing optional Plug-in board, Display Messages, Troubleshooting and Speciﬁcations.

■

Installation Guide (separate booklet)

Refer to this for instructions on installing the included software programs (on the CD-ROM) to your computer.

■

Data List (separate booklet)

This contains various important lists such as the Voice List, Wave List, Multi List, and MIDI Implementation Chart.

About the Reference Numbers

In addition to the regular page references, this manual also includes special Reference Numbers (e.g., Ref. #15). These let you easily and quickly cross-reference the corresponding parameters in the Function List on page 63.

• 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.

• The illustrations and LCD screens as shown in this owner’s manual are for instructional purposes only, and may appear somewhat different from those on your instrument.

• The company names and product names in this Owner’s Manual are the trademarks or registered trademarks of their respective companies.

Application index

This convenient, easy-to use index is divided into general categories to help you when you want to ﬁnd information on a speciﬁc topic or function. The number entries (“No.”) in this index correspond to the Reference Numbers in the Reference section (page 63).

Listening/Playing

• Listening to Demo songs ............................................................................................................................................Page 34

• Playing the Voices .......................................................................................................................................................Page 35

• Listening the selected Voice (Audition function) .....................................................................................................Page 36

• Playing back songs from an external sequencer .......................................................................................................Page 43

• Splitting the keyboard — setting upper and lower ranges for the Voices......................................No.22 ...............Page 64

•Layering two Voices (Parts) together............................................................................................... No.32...............Page 64

• Changing the volume response to your playing strength (velocity) ..................................No.29, No.30...............Page 64

• Playing Arpeggios .......................................................................................................................................................Page 53

•Making MIDI OUT setting for Arpeggio ........................................................................................ No.71...............Page 52

• Changing the Arpeggio tempo.......................................................................................................... No.61...............Page 54

Copying

• Copying Multi data in the Multi Library to the edit buffer......................................................................................Page 47

• Copying Element/key parameter settings of the Voice to another Element/key ....................................................Page 56

• Copying Part parameter settings of the Multi to another Part .................................................................................Page 56

• Copying an entire Voice/Multi to another memory location (Store function) .......................................................Page 57

Changing the sound

•Voice Edit structure ....................................................................................................................................................Page 26

• Editing a Voice ............................................................................................................................................................Page 37

• Effect structure and signal ﬂow.................................................................................................................................Page 23

• Editing Voices using a computer................................................................................................................................Page 16

• Editing the Voice effect settings .................................................................................................................................Page 41

• Editing the Multi effect settings.................................................................................................................................Page 47

•Adjusting the Voice sustain............................................................................................................ No.119...............Page 68

• Getting a brighter sound ..................................................................................................................No.76...............Page 66

• Getting a more pronounced effect ................................................................................................... No.77 ...............Page 66

• Simulating monophonic instruments ................................................................................................ No.3...............Page 63

• Using velocity to switch between different Elements/Parts .......................................................... No.23...............Page 64

• Getting smooth transition in pitch from one note to the next............................................... No.7, No.8...............Page 63

• Synchronizing the LFO to the tempo of the Arpeggio .................................................................No.136...............Page 68

•Modulating the Resonance with the LFO .....................................................................................No.146...............Page 69

• Setting the User LFO.................

The separate Installation Guide and Voice Editor for MOTIF-RACK Owner’s manual.

Application index

Changing the pan position

• Setting the stereo pan position......................................................................................................... No.34...............Page 64

•Moving the pan position alternately each time a key is played.................................................... No.112 ...............Page 67

•Moving the pan position randomly each time a key is played ..................................................... No.113...............Page 67

•Moving the pan position according to the key position................................................................ No.114...............Page 67

•Modulating the pan position with the LFO ..................................................................................No.146...............Page 69

Changing the pitch

•Transposing the sound/adjusting the pitch ....................................................................................No.31...............Page 64

• Voice (Element) settings.......................................................................................No.44, No.45 ...............Page 65

• Plug-in Voice, Multi (Part) settings.................................................................... No.31, No.127.......Pages 64, 68

•Response — enabling to other instruments ..................................................................................No.185...............Page 70

• Setting all notes (keys) to the same pitch........................................................................................ No.55...............Page 65

•Making microtuning settings for the Voice .......................................................................................No.5 ...............Page 63

Setting the volume/level

•Adjusting the total volume ...............................................................................................................No.33.......Pages 14, 64

•Adjusting the Multi volume (affects all parts) ................................................................................No.33 ...............Page 64

•Adjusting each Part’s volume...........................................................................................................No.33.......Pages 44, 64

•Adjusting the Voice volume (affects all elements).......................................................................... No.33...............Page 64

•Adjusting each Element/key’s volume .......................................................................................... No.111...............Page 67

•Adjusting the output gain of OUTPUT jacks .....................................................................No.42, No.43...............Page 65

Setting the sound of a drum voice

• Setting the drum keys for independent open and closed hi-hat sounds........................................No.28 ...............Page 64

• Setting the key release response — enabling a sound to decay naturally

even when a key is released, or having the sound cut off when key is released...........................No.27...............Page 64

Selectively disabling sounds

•Keeping certain Elements/Parts from sounding temporarily during editing (Mute function) ..............................Page 38

• Disabling the sound of speciﬁc Elements/parts .............................................................................. No.19...............Page 64

• Disabling the sound of speciﬁc Parts in a Multi .............................................................................No.32 ...............Page 64

Convenient editing functions

•Creating a completely new Voice/Multi from scratch (Initialize)............................................................................Page 55

• Comparing the sound of an edited Voice/Multi with that of the original (Compare function) .............................Page 38

• Isolating the sound of a single Element/Part for editing (Mute function)..............................................................Page 38

Entering data

• Entering characters (Voice/Multi name settings)................................................................... No.1, No.2 ...............Page 58

Application index

Saving data

• Storing the edited data to the MOTIF-RACK’s internal (USER) memory.............................................................Page 57

•Saving MOTIF-RACK’s settings to an external device such as a computer (Bulk dump).....................................Page 56

Resetting parameters (Initializing)

• Initializing Voice/Multi parameters...........................................................................................................................Page 55

•Resetting the MOTIF-RACK to its default settings (Factory set)............................................................................Page 56

Connecting the MOTIF-RACK to other devices

• Connecting a computer ..............................................................................................................................................Page 16

•Recording the MOTIF-RACK’s performance to external media (e.g., MD recorder).............................................Page 15

• Using the MOTIF-RACK as a multitimbral tone generator.....................................................................................Page 43

• Using the included sequencing software (Windows only)

.................................................................................... The separate Installation Guide and the application’s online help.

• Setting the MOTIF-RACK to either receive or ignore program changes from an external device..... No.156

• Setting the Arpeggio tempo to synchronize with an external sequencer....................................No.159...............Page

• Using MOTIF6/MOTIF7/MOTIF8 voices on the MOTIF-RACK..........................................................................Page 58

• Independently outputting each part of a Multi via the ASSIGNABLE OUTPUT jacks..............No.96...............Page 67

• Independently outputting each key of a Drum Voice via the ASSIGNABLE OUTPUT jacks ....No.96...............Page 67

...............Page

69 69

Using the optional Plug-in Boards

• Plug-in board line-up ..................................................................................................................................................Page 19

• Installing the Plug-in Board .......................................................................................................................................Page 82

• Using two identical Plug-in Boards as one board to increase polyphony....................................No.175 ...............Page

• Editing the Native Part parameters ...........................................................................................................................Page 39

• Selecting a Plug-in Voice in the Voice mode..............................................................................................................Page 35

• Playing a Plug-in Voice in the Multi mode ................................................................................................................Page 45

•Saving the Plug-in board parameter settings edited on the computer to internal memory....................................Page 56

Using controllers

• Using the external controllers to control the MOTIF-RACK’s parameters ............................................................Page 40

Reference materials

•Parameter structure and display structure ................................................................................................................Page 59

• Display indications .....................................................................................................................................................Page 32

•Parameter index ..........................................................................................................................................................Page 62

•[MUTE/SEL] button functions..................................................................................................................................Page 38

•Memory structure of the Voice ..................................................................................................................................Page 24

•Voice/Multi structure .................................................................................................................................................Page 30

• Filter Types .................................................................................................................................................................Page 27

• General information on MIDI ...................................................................................................................................Page 77

• Lists of the Voices, Multis, Arpeggio types, Effect types, etc. ....................................................... The separate Data List

Quick solutions

•Meaning of the display messages ...............................................................................................................................Page 76

•Troubleshooting..........................................................................................................................................................Page 85

Application index

Table of Contents

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

Package Contents ...............................................6

Main Features ....................................................6

About This Manual............................................7

Application index.......................................8

Before Using the MOTIF-RACK..... 12

The Controls & Connectors........................12

Front Panel.......................................................12

Rear Panel ........................................................13

Setting Up ................................................14

Power Supply ...................................................14

Power-on Procedure.........................................14

Turning on the MOTIF-RACK........................14

Connections......................................................15

Basics Section ............................. 18

Overview of the MOTIF-RACK ...................18

Tone Generator ................................................18

Effects...............................................................22

Voices & Multis ........................................24

Voice Structure ................................................24

Voice Edit Structure.........................................26

Multi Structure.................................................30

Basic Operations ......................................31

Modes ...............................................................31

Mode selection and Display indications ..........32

Using the Arpeggio function .....................52

What is the Arpeggio function?.......................52

Arpeggio playback............................................53

Change the Arpeggio settings ..........................53

Using the Jobs .........................................55

Performing a Job ..............................................55

Saving the Settings (Store)........................ 57

Reference....................................59

Function Tree............................................59

Parameter/Display List ....................................62

Function List ............................................. 63

Appendix....................................76

Display Messages ....................................76

About MIDI ..............................................77

Optional Plug-in Board Installation.......... 82

Installation Precautions...................................82

Installing the Plug-in Board.............................83

Troubleshooting ....................................... 85

Specifications ........................................... 87

Index.......................................................88

Before Using

Basics Section

Quick Guide

Reference

Quick Guide ............................... 34

Demo playback........................................34

Playing the voices .................................... 35

Selecting a voice ...............................................35

Using the Category Search function ................36

Voice Editing ....................................................37

Using Voice Effects ..........................................41

Using the Multi Mode ...............................43

Playing in the Multi mode ...............................43

Simple Mixer functions (Mixing Edit Mode)..44 Detailed Mixing function (Multi Edit Mode)..45

Multi Library....................................................47

Using Multi Effects ..........................................49

Appendix

Table of Contents

Before Using the MOTIF-RACK

The Controls & Connectors

Before Using

Front Panel

1468

1 [VOLUME] knob (page 14) 2 PHONES jack (page 15) 3 LCD (Liquid Crystal Display) (page 32) 4 Data dial (page 33) 5

Cursor [ ] [ ] buttons (page 33)

6 [EXIT] button (page 32) 7 PAGE [EEEE] [FFFF] buttons (page 33)

Dual-function buttons (Using the [SHIFT] button)

Some of the panel buttons have two functions. The primary one is printed above the button and the secondary one is printed below. Use the [SHIFT] button (!) to select the secondary function — by simultaneously holding down [SHIFT] and pressing the relevant button.

For example, the [EXIT] button (6) has two functions: EXIT and DEMO. To select the Exit function, press the [EXIT] button. To select the Demo function, hold down the [SHIFT] button and press the [EXIT] button.

Throughout this manual, the secondary name of a button is used when describing the secondary function. For example, a description of the Demo function may contain the sentence, “Hold down the [SHIFT] button and press the [DEMO] button.”

7)5

8 [MUTE/SEL] button (page 38) 9 PART/ELEMENT buttons (pages 38, 44) ) BANK [EEEE] [FFFF] buttons (page 35) ! [SHIFT] button (see below) @ [CATEGORY] button (page 36) # MODE buttons (page 31) $ [STANDBY/ON] switch (page 14)

!@ $

Dual-function buttons

6 [EXIT] button → [DEMO] button 8 [MUTE/SEL] button → [ENTER] button 9 [1/5/9/13] button → PART[EE

[2/6/10/14] button → PART[FF [3/7/11/15] button → [COMMON] button [4/8/12/16] button → [AUDITION] button

@ [CATEGORY] button → [FAVORITES] button # [MULTI] button → [LIBRARY] button

[VOICE] button → [DRUM] button [UTILITY] button → [STORE] button [EFFECT] button → [BYPASS] button [EDIT] button → [COMPARE] button [ARPEGGIO] button → [ARP EDIT] button

EE FF

] button

The Controls & Connectors

Rear Panel

MODEL MOTIF-RACK

AC POWER ADAPTOR:

YAMAHA PA-300 16V

THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION.

THIS CLASS B DIGITAL APPARATUS COMPLIES WITH CANADIAN ICES-003.

CET APPAREIL NUMÉRIQUE DE LA CLASSE B EST CONFORME À LA NORME NMB-003 DU CANADA.

USB

MIDI

THRU OUT IN

DIGITAL

OUTPUT

OPTICAL

OUTPUT

ASSIGNABLE OUTPUT OUTPUT

4321

L/MONO

N89

SER NO.

&(*%^ º¡

% DC IN terminal (page 14) ^ USB terminal (page 16) & MIDI IN/OUT/THRU terminals (page 16) * DIGITAL OUTPUT jack (page 15) ( OPTICAL OUTPUT jack (page 15) º ASSIGNABLE OUTPUT 1-4 jacks (page 15) ¡ OUTPUT L/MONO & R jacks (page 15)

USB is an abbreviation for Universal Serial Bus. It is a serial interface for connecting a computer with peripheral devices, and allows “hot swapping” (connecting peripheral devices while the power to the computer is on).

Before Using

The Controls & Connectors

Setting Up

Before Using

Power Supply

Make sure that the MOTIF-RACK’s [STANDBY/ON] switch is set to the STANDBY (off) position.

1 Connect one end of the AC cable to the PA-300.

2 Connect the PA-300’s DC plug to the MOTIF-

RACK’s DC IN terminal on the instrument’s rear panel.

3 Connect the other end (normal AC plug) to the

nearest electrical outlet.

Rear Panel

MODEL MOTIF-RACK

AC POWER ADAPTOR:

YAMAHA PA-300 16V

PA-300

DC IN

Use only the AC power adaptor supplied with the MOTIF-RACK or an equivalent recommended by Yamaha. The use of an inappropriate replacement can pose a ﬁre and shock hazard!

Make sure your MOTIF-RACK 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!

Even when the switch is in the “STANDBY” position, electricity is still ﬂowing to the instrument at the minimum level. When not using the MOTIF-RACK for an extended period of time, be sure to unplug the AC power adaptor from the wall AC outlet.

To electrical outlet

AC cable

device in the reverse order (audio devices ﬁrst, then MIDI).

MUSIC

SYNTHESIZER

PRODUCTION

Sequencer

Sampling

Integrated

Real-timeExternalControl

Surface

Modular

SynthesisPlug-in

System

MIDI master (transmitting device)

POWER

ON!!

MOTIF-RACK as MIDI slave

(MIDI receiving device)

123456789101112 13 14 15 16 L R

Audio equipment

(mixer ﬁrst, then ampliﬁer)

Turning on the MOTIFRACK

Before you switch your MOTIF-RACK on or off, turn down the volume of any connected audio equipment.

1 Press the [STANDBY/ON] switch.

Power-on Procedure

Once you’ve made all the necessary connections (page

15) between your MOTIF-RACK 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).

n When powering down the setup, ﬁrst turn down the

volume for each audio device, then switch off each

Setting Up

After a while, the default display appears (as set in the Utility parameter, Power On Mode display).

n If the LCD is difﬁcult to read, you may need to adjust

the display contrast. To do this, simultaneously hold down the [UTILITY] button and turn the data dial.

2 Raise the sound system volume to a reasonable

level.

3 Turn the MOTIF-RACK’s [VOLUME] knob

clockwise to set an appropriate volume level.

Connections

Connecting to External Audio Equipment

Since the MOTIF-RACK has no built-in speakers, you’ll need an external audio system or a set of stereo headphones to properly monitor it. Alternatively, you could use a pair of headphones. There are several methods of connecting to external audio equipment, as described in the following illustrations. The following illustrations show various connection examples; use the one most similar to your intended setup.

n To use the MOTIF-RACK, you’ll also need a proper

MIDI controller (such as a keyboard) or other MIDI device (such as a sequencer or computer). For MIDI connections, see the next section.

Connecting to a mixer

There are extra audio outputs in addition to the OUTPUT (L/MONO and R) jacks. Connect these outputs to a mixer for separately controlling the outputs of up to six Parts in the Multi mode (page 31). You can specify the output routing of each Part in the Multi Edit Mode (Ref. #96). If your mixer or other audio device features digital input connections, we recommend using the DIGITAL OUTPUT (coaxial) terminal or the OPTICAL OUTPUT terminal. These ensure completely noisefree, distortion-free sound output.

n Using the DIGITAL OUTPUT/OPTICAL OUTPUT, you

can record the performance of the MOTIF-RACK to external media (e.g. MD recorder) with exceptionally high-quality sound.

n The sounds from the DIGITAL OUTPUT and OPTICAL

OUTPUT jacks are the same as those from the OUTPUT L/MONO and R jacks.

Speaker

Before Using

Connecting Stereo Powered Speakers

A pair of powered speakers can accurately produce the instrument’s rich sounds with their own pan and effect settings. Connect your powered speakers to the OUTPUT L/ MONO and R jacks on the rear panel.

Powered speaker (Left)

OUTPUT L /MONO

PHONES

Headphones

MOTIF-RACK

n When using just one powered speaker, connect it to the

OUTPUT L/MONO jack on the rear panel.

Powered speaker (Right)

INPUTINPUT

OUTPUT R

OUTPUT L /

MONO

PHONES

Mixer

OUTPUT L

MOTIF-RACK

Headphones

Ampliﬁer

ASSIGNABLE OUTPUT

External recorder

DIGITAL OUTPUT

OPTICAL OUTPUT

n Connecting a pair of headphones does not affect audio

output from the OUTPUT (L/MONO and R) jacks. You can monitor the same sounds via headphones and at the OUTPUT jacks. However, you cannot monitor the sounds from the ASSIGNABLE OUTPUT 1-4 with headphones.

n System effects and Master equalizer settings are not

applied to the sounds output from the ASSIGNABLE OUTPUT 1-4 jacks.

n The Volume Knob does not affect the signals at the

DIGITAL OUTPUT, OPTICAL OUTPUT and ASSIGNABLE OUTPUT.

Setting Up

Connecting External MIDI Equipment

Playback using an external MIDI sequencer

Before Using

Using a standard MIDI cable (available separately), you can use an external MIDI device (such as a keyboard or sequencer) to control the sounds on the MOTIF-RACK. Below are several different MIDI connection examples; use the one most similar to your intended setup.

n The “MIDI IN/OUT” parameter (UTILITY MIDI

display) should be set to “MIDI.” Otherwise, MIDI data will not be transmitted from the MOTIF-RACK’s MIDI OUT connector.

Controlling from an External MIDI Keyboard

External MIDI keyboard or synthesizer

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

MIDI OUT

MIDI IN

MOTIF-RACK

External MIDI sequencer

MIDI OUT

MIDI IN

MIDI OUT

MOTIF-RACK

n Set “Echo Back” (or “MIDI Echo,” etc.) on your

sequencer on or off as necessary, depending on your MIDI setup. For details, refer to the owner’s manual of your particular sequencer.

Connecting to a Personal Computer

By connecting a computer, you can transfer data between the MOTIF-RACK and the computer via MIDI, and use the computer to control, edit and organize data on the MOTIF-RACK. For example, you can use the included Voice Editor program to edit the MOTIF-RACK’s voices.

There are two ways to connect your MOTIF-RACK to a computer:

1. USB connection

2. MIDI connection

Controlling another MIDI device via MIDI THRU

External MIDI synthesizer 1

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

MIDI OUT

MIDI IN

MIDI THRU

MIDI IN

External MIDI synthesizer 2

In the above setup, Synthesizer 1 plays Synthesizer 2 (via MIDI THRU).

MOTIF-RACK

MUSIC

SYNTHESIZER

PRODUCTION

Sequencer

Sampling

Integrated Real-timeExternalControl

Surface

Modular

SynthesisPlug-in

System

Depending on your particular computer, the connections may differ. (See below.)

1. USB connection

When using the USB terminal on the MOTIF-RACK, set the “MIDI IN/OUT” parameter to “USB” in the Utility mode.

USB cable

USB terminal

MOTIF-RACK

n When connecting the MOTIF-RACK to a computer with

a USB cable, make sure that the USB cable is properly connected before turning on the power. Be careful not to turn off the power of the MOTIFRACK if an application using the USB/MIDI connection is currently running.

n Once connected via USB, the MOTIF-RACK begins

communication after a short time.

Computer with a USB interface

Setting Up

n When connecting the MOTIF-RACK and your computer

via USB, make sure to connect them directly without routing through a USB hub.

n The USB connection can only be used for transfer of

MIDI data. No audio data can be transferred via USB.

2. Using a MIDI interface

When using MIDI terminals on the MOTIF-RACK, set the “MIDI IN/OUT” parameter to “MIDI” in the Utility mode.

Using with a computer and an external MIDI keyboard

If you are using a computer with sequencing software to control the MOTIF-RACK, you can connect an external MIDI keyboard to record note and other data (and even play back recorded data). Use the setting suggestions below as a guideline; speciﬁc instructions may differ depending on your computer and the software used.

Before Using

n Make sure to set the “MIDI IN/OUT” parameter

(Ref. #160) to “USB.”

Using the computer’s MIDI interface

MIDI OUT

MIDI IN

Computer with MIDI Interface

MIDI cable

MIDI IN

MOTIF-RACK

Using an external MIDI interface

MIDI Interface

MIDI OUT

MIDI IN

MIDI IN MIDI OUT

MOTIF-RACK

n Make sure to use the appropriate MIDI interface for

your computer.

n If you are using a computer that has a USB interface,

make sure to connect the computer and the MOTIFRACK by USB. (The data transfer rate is faster than MIDI and you’ll have access to multiple MIDI ports.)

Computer

Serial port (modem or printer port) or USB port

External MIDI keyboard or synthesizer

MUSIC

SYNTHESIZER

PRODUCTION

Sequencer

Sampling

Integrated Real-timeExternalControl

Surface

Modular

SynthesisPlug-in

System

MIDI OUT MIDI IN

MIDI OUTMIDI IN

Computer with

Application

Software

MOTIF-RACK

Tone Generator

USB cable

Echo Back On

n When using the USB terminal (“MIDI IN/OUT” is

set to “USB”), the MOTIF-RACK also receives and relays any data received via the MIDI IN terminal.

*MIDI “Echo” is a function on sequencers that

takes any data received via the MIDI IN and “echoes” it (or sends it as is) through the MIDI OUT. In some software, this function is also called “MIDI Thru.”

n Refer to the owner’s manual of your particular

software for speciﬁc instructions.

Setting Up

Basics Section

Overview of the MOTIF-RACK

This section gives you an overview of the MOTIF-RACK’s features. The following diagram shows the various component sections or “blocks” of the MOTIF-RACK.

Basics Section

Computer with

Application Software

External MIDI

keyboard

MIDI IN

Tone Generator Effect

AWM2

Plug-in Board

Reverb

Chorus

Master Equalizer

Part Equalizer

Insertion 1

Insertion 2

Headphone

External Speaker

MIDI T ransmitting device

OutputMOTIF-RACK

Tone Generator

This block plays back sounds according to MIDI data received from the external keyboard or sequencer. The following example illustrates the path taken by the signal from an Element in the Voice Mode (page 25).

Changes the tonal quality of each Element output from the PITCH section.

FILTER

Controls the output level (amplitude) of each Element output from the FILTER section. The signals are then sent at this level to the Effect block.

AMP

(Amplitude)

To Effect Units

Tone Generator

OSC

(Oscillator)

Outputs the waveform of each Element.

Controls the pitch of each Element output from the OSC section.

PITCH

Overview of the MOTIF-RACK

Internal AWM2 Tone Generator and optional Plug-in board

The tone generator block in the MOTIF-RACK consists of the built-in AWM2 and optional Plug-in units.

Internal AWM2 Tone Generator

Plug-in boards (optional)

● AWM2 (Advanced Wave Memory 2) & Waveform

AWM2 (Advanced Wave Memory 2) is a synthesis system based on sampled waves (sound material), and is used in many Yamaha synthesizers. For extra realism, each AWM2 Voice uses multiple samples of a real instrument’s waveform. Furthermore, a wide variety of envelope generator, ﬁlter, modulation, and other parameters can be applied to the basic waveform.

n AWM2 is not just limited to general musical instruments (Normal Voices). It can also be used for setting up percussive

instruments (Drum Voices). For details on Normal and Drum Voices, see page 25.

● Plug-in Boards

Plug-in Boards give you an enormous amount of additional sonic ﬂexibility and power. When installed, they work seamlessly and transparently within the system of the MOTIF-RACK – meaning that you can use their sounds and functions just as if they were built right into the MOTIF-RACK at the factory. Up to two Plug-in Boards can be installed to the MOTIF-RACK (see box below for available boards). These boards are not simply a source of more Voices; they are also tone generators in their own right and extend the system-level speciﬁcations such as maximum polyphony. In addition, they allow you to use synthesis systems besides AWM2. You can play Plug-in Voices just like ordinary internal Voices and use them as Parts in a Multi (page The MOTIF-RACK is compatible with the Modular Synthesis Plug-in System. Two types of Modular Synthesis Plugin System-compatible Plug-in Boards can be installed to the MOTIF-RACK: Single Part and Multi-Part Plug-in Board. Using these, you can build your own system based on the sounds you want or need.

n The Effect Plug-in Board cannot be used with the MOTIF-RACK.

30).

Basics Section

lug-in board line-up

Single Part Plug-in Boards

• 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 dance and pop music.

• Piano Plug-in Board (PLG150-PF)

A massive amount of 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 with PCM-based tone generators, this board uses the powerful FM Synthesis system— the same as found on DX-series synthesizers— for extraordinarily versatile and dynamic sound shaping potential. Sounds are compatible with those of the DX7, and the board can even receive DX7 data via MIDI bulk dump.

• Virtual Acoustic Plug-in Board (PLG150-VL)

With Virtual Acoustic (VA) synthesis, the sounds of real instruments are modeled (simulated) in real time, giving a degree of realism that cannot be achieved using conventional PCM-based synthesis techniques. When playing these sounds using an optional MIDI Wind Controller (WX5), you can even capture some of the physical feel of woodwind instruments.

• Drums Plug-in Board/Percussion Plug-in Board (PLG150-DR/PLG150-PC)

Incorporates the highly-acclaimed AWM2 engine dedicated to the reproduction of drum/percussion sounds. This board also has its own dedicated effects processing. This means that you can apply Reverb and insertion effect to the voice, letting you use all of the effects on the “mother” device for the other Parts.

Overview of the MOTIF-RACK

Basics Section

Maximum Polyphony

The maximum sonic polyphony is 128 for AWM2, plus the polyphony of the Plug-in Board(s) (if installed). The actual note polyphony will vary depending on the type of tone generator unit used, the number of Elements in the Voice, and the note polyphony of the Plug-in Board. In the case of AWM2 Voices, the polyphony ﬁgure of 128 is divided by the number of Elements in the Voice.

Multi-Part Plug-in Board

Multi-Part Plug-in Boards let you expand the voice polyphony of the MOTIF-RACK by providing an additional sixteen independent instrument parts. This is an ideal way to play back song data from a sequencer (from the Multi-Part board), yet have full polyphony left over on the MOTIF-RACK for your live performance 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.

About MODULAR SYNTHESIS PLUG-IN SYSTEM

The Yamaha Modular Synthesis Plug-in System offers powerful expansion and upgrade capabilities for Modular Synthesis-Plug-incompatible synthesizers, tone generators and sound cards. This enables you to easily and effectively take advantage of the latest and most sophisticated synthesizer and effects technology, allowing you to keep pace with the rapid and multi-faceted advances in modern music production.

Part structure of the Tone Generator block

The MOTIF-RACK plays its sounds (with the Tone Generator block) in response to MIDI data, received from the external keyboard or sequencer. MIDI data is assigned to one of sixteen channels, and the MOTIF-RACK is capable of simultaneously playing sixteen separate parts, via the sixteen MIDI channels. However, we can overcome the sixteen-channel limit by using separate MIDI “ports,” each supporting sixteen channels. The multiple sound sources of the MOTIF-RACK (internal tone generator and Plug-in Boards) take advantage of the three MIDI ports included on the instrument.

Tone Generator block

Part for Voice mode

Port 1 Port 2 Port 3

part 1

part 2

part 14 part 15 part 16

As shown in the above illustration, up to 48 parts can be used in the modes in the Multi mode. However, the number of parts that are actually used a maximum of 33 (as shown in the example on the next page).

part 17

part 18

part 30 part 31 part 32

part 33

part 34

part 46 part 47 part 48

Part for Multi mode

n See page 31 for details about the modes.

n The USB connection supports up to eight separate MIDI ports. The tone generator of the MOTIF-RACK supports three separate

MIDI ports, as shown above. However, you can control an external tone generator with a fourth port by using the Thru Port function to relay MIDI data from one of the ports to the MIDI OUT terminal.

n A single MIDI cable connection cannot handle multiple port data.

Overview of the MOTIF-RACK

Part Structure – Voice/Multi Modes

● Voice mode

Tone Generator block (Internal / Plug-in)

External MIDI keyboard

External sequencer

Part for Voice mode

Port 1 Port 2 Port 3

part 1

part 2 part 3

part 4

part 5

part 16

part 17

part 18

part 30

part 31

part 32

Parts 1-48 are not used.

part 33

part 34

Output

part 46

part 47

part 48

n In the Voice mode, the MIDI port number is 1.

n The Multi-Part Plug-in Board cannot be used in the Voice mode. Only Single-Part Plug-in Boards can be used.

● Multi mode

Tone Generator block (example)

When the Multi-Part Plug-in Board and one Single Part Plug-in Board have been installed:

External sequencer External MIDI keyboard

MIDI cables by themselves cannot handle data from multiple ports. If a MIDI cable is used to transmit data from an external sequencer, only the Port 1 parts are used. To take advantage of the multiple ports of the MOTIF-RACK, use a USB cable.

Port 1 Port 2

Part 1

Part 2

Part 3

Part 4

Part 15

Part 16

(Multi-Part Plug-in

Board)

Part 17

Part 18

Part 30

Part 31

Part 32

Port 3

(Single Part Plug-in

Board)

Part 33

Part 34

Part 47

Part 48

PLG1 part

Part 34-48 are not used.

Basics Section

n The Multi-Part Plug-in Board (PLG100-XG) can be installed only to PLG2.

n The MIDI port number for Parts 1-16 is 1.

n You can assign the PLG1/PLG2 part to any of the available ports with the Port Number parameter (Ref. #176).

Overview of the MOTIF-RACK

Effects

The effects of the MOTIF-RACK employ sophisticated DSP (digital signal processing) technology, letting you enhance or dramatically change the sound. In the ﬁnal stages of programming, you can set the effects parameters to further change the sound’s character. The MOTIF-RACK’s effect processing features the following four effect units: System effects, Insertion effects, Part equalizer, and Master equalizer.

● System Effects (Reverb, Chorus)

System Effects are applied to the overall sound, whether it be a voice, or an entire multi setup. With System effects, the sound of each part is sent to the effect according to the effect Send Level for each part. The processed sound (referred to as “wet”) is sent back to the mixer, according to the Return Level, and output — after being mixed with the unprocessed “dry” sound. This arrangement lets you prepare an optimum balance of the effect

Basics Section

sound and the original sound of the parts.

Reverb

The Reverb effects add a warm ambience to the sound, simulating the complex reﬂections of actual performance spaces, such as a concert hall or a small club. A total of 20 different Reverb types are available.

Chorus

The Chorus effects provide a wide variety of sound transformations and enhancements. A total of 44 different Chorus types are available.

● Insertion Effects (1, 2)

Insertion effects can be applied individually to each part. Insertion effects are mainly used to directly process a single part. The depth of the effect is adjusted by setting the dry/wet balance. Since an Insertion effect can only be applied to one particular part, it should be used for sounds you want to drastically change. You can also set the balance so that only the effect sound is heard, by setting Wet to 100%. The MOTIF-RACK features two Insertion effect systems (Insertion 1 and 2) — each with a total of 107 internal effect types.

● Part Equalizer

The Part Equalizer is used to correct the tonal balance of Voices assigned to each Part by raising or lowering three frequency bands. In other words, this lets you ﬁne-tune the sound of each Part to make it “sit better” in the overall mix. For example, you can emphasize an important Part in the mix by making it brighter or boosting the mid range, while making other sounds around it softer. Or if a bass Part and piano Part are competing in the mix, you can make the two sound better by cutting the low range of the piano.

● Master Equalizer

Usually an equalizer is used to correct the sound output from amps or speakers to match the special character of the room. The sound is divided into several frequency bands, then by raising or lowering the level for each band, the correction is made. The MOTIF-RACK has a high-quality ﬁve-band digital equalizer that lets you adjust the overall sound according to the type of music you play — classical music being more reﬁned and soft, pop music more crisp, and rock music more dynamic. This allows you to emphasize the special characteristics of the music and make your performance more enjoyable.

Overview of the MOTIF-RACK

Effect connection

● In the Voice mode:

Three different Insertion connection types are available, as shown below.

Tone Generator block

Element 1

Insertion

Send Level Return LevelReverb

Effects

Element 2

Element 3

Element 4

This determines which Insertion system, 1 or 2, is applied to each Element (or to each key when the Drum Voice is selected). The Insertion effect can also be bypassed.

1 to 2 2 to 1

n The parallel connection type is not available for Plug-in voices.

System Effects

Chorus

You can select the Insertion connection from the three types shown below.

parallel

Master Equalizer

Output

Basics Section

● In the Multi mode:

The diagram below indicates the connection when the Multi-Part Plug-in Board (PLG100-XG) is installed to PLG2.

Tone Generator block

Part 1 Part 2

Part

Equalizer

Part 16

PLG part

(Multi-Part

Plug-in board)

Part 17-32

The insertion effect is applied to up to four parts.

Insertion

Effects

Send Level

Dry Level

* Insertion Effect settings differ depending on the particular Voice assigned to the selected part.

System

Effects

Reverb

Chorus

Return Level

Master

Equalizer

Output

n The Part Equalizer in not applied to the Parts of Plug-in board.

n The Insertion effects and System effect are not applied to the Parts of the Multi-part Plug-in board.

Overview of the MOTIF-RACK

Voice Structure

Memory Structure

A Voice is a single instrument sound, created by using the Elements and setting various parameters. In the Voice Play mode (page 35), you can select and play any of these Voices.

Basics Section

Voices & Multis

Voices

Normal V oice Drum V oice

Preset V oice

Normal Voices: 640 Drum Voices: 48

GM V oice

Normal Voices: 128 Drum Voice: 1

User V oice

Normal Voices: 256 Drum Voices: 32

Preset 1

(128 Voices)

12 128

......

Preset 2

(128 Voices)

12 128

......

Preset 3

(128 Voices)

12 128

......

GM Preset

(128 Voices)

12 128

......

User 1

(128 Voices)

12 128

......

Preset 4

(128 Voices)

12 128

......

Preset 5

(128 Voices)

12 128

......

User 2

(128 Voices)

12 128

......

Preset Drum

(48 Voices)

12 48

......

GM Drum

(1 Voice)

User Drum

(32 Voices)

12 32

......

Voices & Multis

Plug-in V oice

* When the PLG150-VL is installed, there are three Preset Banks and 192 preset voices.

PLG1 Preset

(64 Voices)

12 64

......

PLG1 User (64 Voices)

12 64

......

PLG2 Preset

(64 Voices)

12 64

......

PLG2 User (64 Voices)

12 64

......

Normal Voices & Drum Voices

Internally, there are two Voice Types: Normal Voices and Drum Voices. Normal Voices are mainly pitched musical instrument-type sounds that can be played over the range of the keyboard. Drum voices are mainly percussion/drum sounds that are assigned to individual notes on the keyboard. A collection of assigned percussion/drum waves or Normal Voices is known as a Drum Kit.

Normal V oice

Voice

Element 1~4

Individual drum sounds (different for each key)

Key 1 Key 2 Key 3 Key 4 Key 5 Key 73

Drum V oice

GM voices

GM is a worldwide standard for Voice organization and MIDI functions of synthesizers and tone generators. It was designed primarily to ensure that any song data created with a speciﬁc GM device would sound virtually the same on any other GM device — no matter the manufacturer or the model. The GM Voice bank on the MOTIF-RACK is designed to appropriately play back GM song data. However, keep in mind that the sound may not be exactly the same as played by the original tone generator.

Normal Voices & Elements

Each Normal Voice can consist of up to four Elements. Each Element itself is a high-quality waveform or instrument sound. Since you can combine up to four Elements together in a voice, highly expressive and richly textured sounds are possible. You can also split different instrument sounds across the external keyboard to be playable separately with your left and right hands – without having to specially set up a Multi program.

Basics Section

One Voice (up to four elements)

Element 4

Element 3

Element 2

Element 1

Oscillator

Wave (AWM2)

C-2 G8

PITCH FILTER AMP

PEG

(Pitch Envelope

Generator)

LFO

(Low Frequency

Oscillator)

FEG

(Filter Envelope

Generator)

AEG

(Amplitude Envelope

Generator)

Element 1 Element 2 Element 3 Element 4

Common Edit

parameters

Arpeggio

Effects

Voices & Multis

Voice Edit Structure

One voice consists of Oscillator, Pitch, Filter, Amplitude, LFO and various parameters as shown on page 25. You can create the basic voice character by setting these ﬁve parameters.

● Oscillator

This unit outputs the wave of each Element. You can set the note range for Element (the range of notes on the keyboard over which the Element will sound) as well as the velocity response (the range of note velocities within which the Element will sound). For example, you could set one Element to sound in an upper range of the keyboard, and another Element to

Basics Section

sound in a lower range. Thus, even within the same Voice, you can have two different sounds for different areas of the keyboard or you can make the two Element ranges overlap so that their sounds are layered over a set range. Furthermore, you can set each Element to respond to different velocity ranges so that one Element sounds for lower note velocities, whereas another Element sounds for higher note velocities.

● PITCH

This unit controls the pitch of each Element output from OSC. You can detune separate Elements, apply Pitch Scaling and so on. Also, by setting the PEG (Pitch Envelope Generator), you can control how the pitch changes over time.

Velocity

Element 1

C-2 G8

Element 3

Element 2

Element 4

Note Range

Pitch

Hold Level

Hold Time

Attack

Time

Attack

Level

Decay1

Level

Decay1

Time

Decay2

(Sustain) Level

Decay2

Time

Key off

Release

Time

Release

Level

Time

● Filter

This unit modiﬁes the tone of each Element output from Pitch by cutting the output of a speciﬁc frequency portion of the sound. You can also set the Filter Envelope Generator (FEG), to control how the ﬁlter works over time — letting you set up dynamic changes in tone.

Cutoff Frequency and Resonance

Filters work by allowing the portion of the signal lower than a given frequency to pass, and cutting the portion of the signal above that frequency. This frequency is referred to as the cutoff frequency. You can produce a relatively bright or darker sound by setting the cutoff. Resonance is a parameter that boosts the level of the signal in the area of the cutoff frequency. By emphasizing the overtones in this area, this can produce a distinctive “peaky” tone, making the sound brighter and harder.

Level

Cutoff frequency

PEG (Pitch Envelope Generator)

Using the PEG, you can control the transition in pitch from the moment a Note On message is received to the point at which the sound stops. As illustrated below, the Pitch Envelope consists of ﬁve Time (transition speed) parameters and ﬁve Level (pitch) parameters. This is useful for creating automatic changes in pitch. Furthermore, different PEG parameters can be set for each Element.

Voices & Multis

Frequency (pitch)

These resonance are “passed” by the ﬁlter.

Level

Resonance

Frequency (pitch)

Cutoff frequency

n About the ﬁlter types of the MOTIF-RACK, see page 27.

FEG (Filter Envelope Generator)

Using the FEG, you can control the transition in tone from the moment a Note On message is received to the point at which the sound stops. As illustrated below, the Filter Envelope consists of ﬁve Time (transition speed) parameters and ﬁve Level parameters (for the amount of ﬁltering). When you press a note on the keyboard, the cutoff frequency will change according to these envelope settings. This is useful for creating automatic wah effects, for example. Furthermore, different FEG parameters can be set for each Element.

● LFO (Low Frequency Oscillator)

As its name suggests, the LFO creates waveforms of a low frequency. These waveforms can be used to vary the pitch, ﬁlter or amplitude of each Element to create effects such as vibrato, wah and tremolo. These waveforms can be used to vary the pitch, ﬁlter or amplitude of each Element to create effects such as vibrato, wah and tremolo. LFO can be set independently for each Element; it can also be set globally for all Elements.

Release

Time

Release

Level

Time

Cutoff

Frequency

Hold Level

Hold Time

Attack

Time

Attack

Level

Decay1

Level

Decay1

Time

Decay2

(Sustain) Level

Decay2

Time

Key off

● Amplitude

This unit controls the output level (amplitude) of each Element output from Filter. The signals are then sent at this level to the Effect block. Also, by setting the AEG (Amplitude Envelope Generator), you can control how the volume changes over time.

AEG (Amplitude Envelope Generator)

Using the AEG, you can control the transition in volume from the moment a Note On message is received to the point at which the sound stops. As illustrated below, the Amplitude Envelope consists of four Time (transition speed) parameters and three Level parameters (for the amount of ﬁltering). When you press a note on the keyboard, the volume will change according to these envelope settings. Furthermore, different AEG parameters can be set for each Element.

Level

Decay1

Level

Decay2

(Sustain) Level

Key off

About the Filter Type of the MOTIF-RACK

Low Pass Filter

This only passes signals below the Cutoff frequency. You can then use the Resonance parameter to add further character to the sound. The MOTIF-RACK features six Low Pass ﬁlter types as follows.

Basics Section

LPF24D (Low Pass Filter 24dB/oct Digital) A 4-pole (-24db/oct) dynamic LPF with a strong

Resonance.

Resonance

These frequencies are “passed” by the ﬁlter.

LPF24A (Low Pass Filter 24dB/oct Analog) A 4-pole (-24db/oct) dynamic LPF with a character similar

to those found on analog synthesizers.

Resonance

LPF18 (Low Pass Filter18dB/oct) A 3-pole (-18db/oct) dynamic LPF.

LPF18s (Low Pass Filter 18dB/oct Staggered) A 3-pole (-18db/oct) dynamic LPF, but with a shallower

frequency curve.

Initial

Level

Attack

Decay1

Time

Decay2

Time

Release

Time

Resonance

LPF18 LPF18s

Voices & Multis

LPF12 (Lo

w Pass Filter12dB/oct)

A 2-pole (-12db/oct) dynamic LPF, designed to be used in combination with an HPF (High Pass Filter).

Resonance

Band Pass Filter

This only passes a band of signals around the Cutoff frequency. The width of this band can be varied. The MOTIF-RACK features four Band Pass ﬁlter types as follows.

BPF12D (Band P

Level

Cutoff range Range passed Cutoff range

ass Filter 12dB/oct Digital)

Basics Section

LPF6 (Low Pass Filter 6dB/oct) A 1-pole (-6db/oct) dynamic LPF with no resonance,

designed to be used in combination with an HPF (High Pass Filter).

High Pass Filter

This only passes signals above the Cutoff frequency. You can then use the Resonance parameter to add further character to the sound. The MOTIF-RACK features two High Pass ﬁlter types as follows.

HPF24D (High Pass Filter 24dB/oct Digital) A 4-pole (-24db/oct) dynamic HPF with a strong

Resonance.

Resonance

–12db/oct

Frequency

BPF12s (Band Pass Filter 12dB/oct Staggered) Basically same as BPF12D, but with a shallower frequency

curve.

BPF6 (Band Pass Filter 6dB/oct)

Level

Cutoff range Range passed

–6db/oct

Cutoff range

Frequency

BPFw (Band Pass Filter Wide) Also the combination of a –12dB/oct HPF and LPF, but

allows a wider frequency band.

Level

Cutoff range Range passed

Cutoff range

Cutoff Frequency

HPF12 (High Pass Filter 12dB/oct) A 2-pole (-12db/oct) dynamic HPF.

Resonance

Voices & Multis

width can be

increased

Frequency

These frequencies are “passed” by the ﬁlter.

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