Yamaha Motif ES6-motif Es7-motif Es8
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Yamaha Motif ES6-motif Es7-motif Es8 Voice Editor Manual
Yamaha Motif ES6-motif Es7-motif Es8 Data List
Yamaha Motif ES6-motif Es7-motif Es8 Installation Guide
Yamaha Motif ES6-motif Es7-motif Es8 Multi Part Editor Manual
Yamaha Motif ES6-motif Es7-motif Es8
Yamaha Motif Es8 Demo Part 1 3 by S4K ( performance Mode ) ...
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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 specic Voices or sounds for processing with your favorite outboard effect unit. The parts which can be assigned to these jacks are as follows:
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 xed to a resolution of 24 bit/44.1 kHz.
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 xed at 44.1 kHz.
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.
When the optional AIEB2 has been installed:
Please read this section carefully before using your new MOTIF ES. This section explains how to connect your MOTIF ES to an AC power source, external audio and MIDI devices, and a computer system. Only switch the MOTIF ES on after you have made all the necessary connections (page 43).
Power cord (included)
Make sure the POWER switch on the MOTIF ES is set to OFF. Connect the supplied power cord to the AC INLET on the instruments rear panel. 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.
Make sure your MOTIF ES is rated for the AC voltage supplied in the area in which it is to be used (as listed on the rear panel). Connecting the unit to the wrong AC supply can cause serious damage to the internal circuitry and may even pose a shock hazard!
Use only the AC power cord supplied with the MOTIF ES. If the supplied cord is lost or damaged and needs to be replaced, contact your Yamaha dealer. The use of an inappropriate replacement can pose a re and shock hazard!
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.
In this section, well take a look at the fundamental operating conventions of the MOTIF ES. Here, youll 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 youll 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 Voice Performance Song Pattern Sampling Master File Musical instrument voices A program in which multiple Voices are combined in a layer Music data consisting of MIDI events Rhythm pattern data which consist of MIDI events used for looped playback 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 synthesizers Voice. A program which lets you register the settings in each mode Voice, Performance, Song, and Pattern A collection of settings for storing and managing your created data Description Page
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 rst 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
PERFORM VOICE PERFORM MASTER
Sampling mode Sampling Record mode Sampling Edit mode Sampling Job mode Utility mode Utility Job mode
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 conrm the selected instrument sound.
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 Categoryand changing the setting.
Create your original drum kit by repeating steps #3 - 4. 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. If desired, save the edited and stored voices to a SmartMedia/USB storage device.
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.
TIP Setting the drum key for independent open and closed hi-hat sounds
[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. Call up the [F1] OSC [SF5] OTHER display.
Press the key which corresponds to Hi-Hat Close and set it to the same Alternate Group (1) as in step #3.
Press the key which corresponds to Hi-Hat Open and set the Alternate Group to 1.
Conrm 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 rst.
Since the settings above are included in the Drum Voice data, store them as a Drum Voice in the Voice Store mode.
TIP Determining how the Drum Voice responds when the key is released
[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.
Press the [EDIT] button to enter the Sampling Edit mode, then press the [F4] RANGE button to call up the Range setting display.
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.
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.
Set the key range within which the sample is sounded.
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.
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.
Sample The sound obtained via the Sampling function is referred to as Sample. Key Bank In order to play the sample from the keyboard, the sample must be assigned to notes on the keyboard. First, assign the sample to a specied 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
Saving a Sample Voice as a WAV le/AIFF le
In the Song mode/Pattern mode, select a Song/ Pattern including the desired Sample, press the [FILE] button to enter the File mode, then execute the basic settings. Refer to Basic settings for using SmartMedia or a USB storage device on page 30. Press the [F2] SAVE button to call up the Save display. Set the TYPE parameter to Wav or Aiff, press the [ENTER] button, then select a sample to be saved.
Select the track containing the sample to be saved.
You can load the le (extension: W7A) saved as All by selecting one of the following le types.
All All data in a le that is saved to the SmartMedia/USB storage device as an All type can be loaded and restored to this instrument. A specied Voice in a le can be individually selected and loaded to this instrument. A specied Performance in a le can be individually selected and loaded to this synthesizer. A specied Song in a le can be individually selected and loaded to this instrument. A specied Pattern in a le can be individually selected and loaded to this instrument. A specied Waveform in a le can be individually selected and loaded to this instrument. A specied Sample Voice in a le can be individually selected and loaded to this instrument.
This is available only when the cursor is located at KeyBank. Each press of the [SF2] SELECT button selects, one by one, the Key Banks assigned to specic velocity ranges for the selected key.
Voice Performance Song
Pattern Waveform Sample Voice
Move the cursor to the le (extension: W7A) which was saved as All on previous page. When Type is set to All, go to step #5. When Type is set to something other than All, follow the instructions below then go to step #5. When Type is set to Voice or Performance: You can select and load a specied Voice or Performance in the le (extension: W7A) to this instrument.
Move the cursor to the le (extension: W7A) which was saved as All on previous page.
All Voices or Performances in the selected le are listed. Move the cursor to the desired Voice or Performance to be loaded.
Select the desired Voice or Performance. Select the destination Voice number or Performance number.
When Type is set to Song or Pattern: You can select and load a specied Song or Pattern in the le (extension: W7A) to this instrument.
All Songs or Patterns in the selected le are listed. Move the cursor to the desired Song or Pattern to be loaded.
Select the desired Song or Pattern. Select the destination Song number or Pattern number.
When Type is set to Waveform: You can select and load a specied Waveform in the le (extension: W7A) to this instrument.
All Waveforms in the selected le are listed. Move the cursor to the desired Waveform to be loaded.
Select the desired Waveform. Select the destination. (See below.)
Even if you record your keyboard performance to a Song track, the setup data (non-note events such as voice, pan, volume) which for proper playback should be recorded at the top of the Song will not be recorded to it. For this reason, the setup data handled as Song Mixing settings should be stored in the Song Mixing Store mode. Because the Song Mixing is a collection of settings related to the tone generator, it can be applied to the sequence data transmitted from the external MIDI sequencer as well as this synthesizers Song playback.
n When the Multi-Part Plug-in Board PLG100-XG has been installed, Mixing of sixteen parts (17 - 32) can be set. Please note that the Multipart Plug-in Part (17 - 32) settings apply not to one individual Song but to all 64 Songs.
A Song Scene is a snapshot of important settings, and contains parameter settings such as transpose, tempo, and track mute and the tone generator related parameters controllable from the Knobs with the [PAN/SEND] or [TONE] lamp turned on, and the Control Sliders. Five settings can be registered to the [SF1] - [SF5] buttons for each Song.
This function allows songs to be chained together for automatic sequential playback. The Song Chain can be created and played back from the [SONG] [F6] CHAIN display. This instrument allows you to create one Song Chain data.
Pattern data structure
The following illustration shows the track structure of a Pattern. Patterns are created by recording MIDI sequence data to individual tracks, by assigning Phrases (Preset and User) which is material for a Pattern to individual tracks, and by setting tone generator related parameters (in a Pattern Mixing).
Mixing settings Groove, Transmit Channel/Port, Track loop, Track Voice settings Pattern Mixing (Tone Generator related settings) Part 1 Part 2 Part 3 Mixing settings Mixing settings Mixing settings Part 17 Part 18 Part 19 Mixing settings Mixing settings Mixing settings Part PLG1 Part PLG2 Part PLG3 Audio Input part Part 16 Mixing settings Part 32 Mixing settings Mixing settings Mixing settings Mixing settings Mixing settings
Mixing settings Mixing Common Edit Parameters
applied to all Mixing settings the parts
Mixing Common Edit Parameters User Phrase 1 - 256 (MIDI sequence data) applied to all the parts
User Phrase 1 - 256 (MIDI sequence data)
Sample Voice 16 Sections
Copy the Phrase recorded to a track of another pattern
Track 1 Track 2 Track 3
MIDI sequence data MIDI sequence data MIDI sequence data Preset Phrase 1 - 687 (MIDI sequence data)
Please note that the Multi-part Plug-in Part (17-32) settings apply not to one individual Pattern but to all 64 Patterns.
Settings: PB (Pitch Bend), CC (Control Change)*, CAT (Channel Aftertouch), EXC (System Exclusive), TMP (Tempo) * You can also specify the CC No. (Control Change number).
05: Create Continuous Data
Data (Data Range)
Determines the lower and upper limits for the data range to be created. The left value is the lower limit, and the right value is the upper limit.
Settings: When Event Type is set to PB: -8192~+8191 When Event Type is set to TMP: 1.0~300.0 When Event Type is set to other: 0~127
Determines the number of clocks to be inserted between each created event.
Determines the curve of the continuous data. Refer to the graph for approximate curve shapes.
Settings: -16 ~+16
Curve = +16
Curve = 0 (linear)
Curve = -16
End point Start point
This distance specied by Clock
Determines the number of times the data creation is to be repeated. For example, if data is created in the range M001:1:000 ~ M003:1:000 and this parameter is set to 03, the same data will be created at M003:1:000 ~ M005:1:000 and M005:1:000 ~ M007:1:000. This Job lets you insert continuous volume or lter cutoff variations to create tremolo or wah effects.
06: Thin Out
This Job thins out the specied type of continuous data in the specied range allowing you to free up memory space for other data or further recording. Determines the track (01 - 16, TMP, all) and range of measures/beats/clocks over which the Job is applied. Determines the event type to be thinned.
Settings: PB (Pitch Bend), CC (Control Change)*, CAT (Channel Aftertouch), PAT (Polyphonic Aftertouch), TMP (Tempo) * You can also specify the CC No. (Control Change number). n The Thin Out Job will not work on continuous data that has a clock interval of greater than 60 clocks per event.
07: Modify Control Data
This Job lets you change the values of a specied type of control change data pitch bend, control change, aftertouch, etc. in the specied range. Data changes are calculated as follows: Modied value = (original value x Rate) + Offset. The modied value cannot exceed the minimum/maximum limits of the parameter. Any result lower than the minimum is set to the minimum; any result higher than the maximum is set to the maximum. Determines the track (01 - 16, TMP, all) and range of measures/beats/clocks over which the Job is applied. Determines the event type to be modied.
Pressing the [F3] EFFECT button in the Song Mixing mode calls up the [SONG] [MIXING] [EDIT] [COMMON] [F6] EFFECT display in the Song Mixing Edit mode. From this display, you can set the effect related parameters for the current Song. See page 235 for details.
[F4] EF SEND (Effect Send)
From this display you can make basic effect settings for each Part Send Level for the System Effect (Reverb, Chorus) as well as the Dry Level for Insertion Effects.
n For information on the effect connections in the Song mode, see page 180.
[F5] VCE ED (Mixing Voice Edit)
Press the [F5] VCE ED button in the Song Mixing mode to enter the Mixing Voice Edit mode. Press the [EXIT] button to return to the original display in the Song Mixing mode. For details, see page 105. Normal Voices can be edited specically for use with the Song/Pattern modes, creating a dedicated Mixing Voice. Refer to Mixing Voice mode on page 249 for details.
Song Mixing Edit mode
You can switch between the displays for three types of parts by pressing this button. 1 - 16 are Parts of the internal tone generator, 17 - 32 are Multi Plug-in Parts of the optionally installed PLG100-XG, and PLG1 - 3 are Plug-in Parts of the optionally installed Single Part Plug-in board.
n n Please note that the Multi-Part Plug-in Part (17~32) settings apply not to one individual Song but to all 64 Songs. If you wish to edit more detailed Mixing parameters, you can enter the Song Mixing Edit mode by pressing the [EDIT] button.
[SONG] Song selection [MIXING] [EDIT]
This mode provides more detailed Mixing parameters than in the Song Mixing mode. Keep in mind that Song Mixing parameters are not actually part of the Song sequence data in each track, but rather are settings for the tone generator, as it is played back by the Song data. As such, the Song Mixing parameter settings are not recorded to the Song tracks.
[SONG] Song selection [MIXING] [EDIT] [COMMON]
Use Common Edit to edit the settings common to all Parts.
n Common Edit operations cannot be performed on the Multi-part Plug-in Parts 17 - 32.
[F1] GENERAL [SF1] MEQ OFS (Master EQ Offset) [SF5] OTHER
KnobAssign Determines the function for the assignable Knobs (1 - 4). Pressing any of the [KNOB CONTROL FUNCTION] buttons on the panel sets the desired function row, which is automatically stored to memory with the currently selected Song.
Settings: pan, tone, assign, partEQ, MEF, arpFx
The Song Mixing parameters feature global EQ settings for all Parts of the selected Song (see MEQ, below). The settings made here in this display are applied as offsets to those MEQ settings.
1 Change this to an eighth note (240), since well be entering an eighth-note rest.
Enter the last 8th note, F.
Press and release F.
2 Enter the selected rest value (eighth note) by pressing the [F3] button
Enter the next 8th note A.
Move the pointer to the top (beginning) of the song and press the [F] (Play) button to hear the note data you just recorded in steps #1 - #7.
TIP Entering a chord
In Step recording, you can also enter chords. Press and hold down each note of the chord in succession, then release them all together to record them as a chord. Keep in mind that notes are not actually recorded to a track until they are released.
Pattern Play mode
Creating Patterns basic procedure
Patterns consist of the following three types of data: MIDI sequence data (created in the Pattern Record mode, Pattern Edit mode, and Pattern Job mode) Setup data (created in the Pattern Play mode) Mixing data (created in the Pattern Mixing mode/Mixing Edit mode and stored in the Pattern Mixing Store mode) After creating the data in these modes described above, store the Mixing settings in the Pattern Mixing Store mode to archive it as Pattern data and save the entire Pattern to the SmartMedia/USB storage device in the File mode.
n Non-note MIDI events (such as Voice number, volume, pan, and effect send level) which are necessary at the start of a Pattern are not recorded as MIDI sequence data, but are stored instead as Mixing data.
Because Pattern data (MIDI sequence data, Setup data, and Mixing data) is recorded to DRAM (page 187), it will be lost when turning the power off. Make sure to save any Pattern data created via the Record, Edit, Job, and Mixing setting to the SmartMedia/USB storage device in the File mode before turning the power off. For details on saving Pattern data, see page 132.
[PATTERN] Pattern selection
Refer to page 56 in the Quick Guide section. Determines the key transpose setting for the Pattern, and can be adjusted in semitones.
Settings: -36 ~ +36 n If Transpose is applied to a Drum Voice, the results may not be musically appropriate. To ensure proper playback of a Drum Voice, set the Note Shift parameter for the Drum Voice Part to an appropriate value ([PATTERN] [MIXING] [EDIT] Part selection [F4] TONE [SF1] TUNE NoteShift).
Indicates the current measure number and beat for the current Pattern. During playback, this indication changes automatically according to the Pattern playback. You can input the desired measure number directly by using the Number Input window called up via the [INFORMATION] button. You can register the desired Arpeggio types to these buttons and call them up any time during your keyboard performance.
Settings: When Meter is set to 1 ~ 8/4. quarter note (1/1), 8th note (1/2), 4th note triplet (1/3), 16th note (1/4), 8th note triplet (1/6), 32nd note (1/8), 16th note triplet (1/12) When Meter is set to 1 ~ 16/8. 8th note (1/1), 16th note (1/2), 8th note triplet (1/3), 32nd note (1/4), 16th note triplet (1/6) When Meter is set to 1 ~ 16/16. 16th note (1/1), 32nd note (1/2), 16th note triplet (1/3) n This parameter has no effect when the Slice Type parameter is set to beat 1~3. n The maximum slice resolution for stereo samples is 64 slices, and for mono samples 128 slices.
Sens (Envelope Sensitivity)
Further adjusts the sub-divisions specied by the SubDivide parameter. Higher values result in higher resolution, allowing even ner notes and smaller sounds to be detected and sliced. Use the Audition function (press [SF1]) to hear the results, and if youre not satised with them, change the setting and try again.
Settings: 1 ~ 5 n This parameter has no effect when the quick slice type is selected.
[INTEGRATED SAMPLING] [EDIT]
This mode gives you a variety of sample editing tools, with which you can change the samples youve recorded in the Sampling Record mode, and customize them for your applications as needed.
n For samples that have been recorded in stereo (with Stereo Sampling), both the left and right waves of the sample are edited together. In the actual process, any edits made to the left channel wave are duplicated exactly in the right channel. The exception to this, of course, is Pan since the sample already is in stereo. Unlike in the Sampling Record mode, all parameters and functions of the Sampling Edit mode are the same, no matter which mode was previously selected. All Sampling Edit operations apply to the Waveform (actual sample), not the voice.
From this display you can determine the destination location to which the recorded sample will be stored. Waveform Select a Waveform that contains a Sample you wish to edit. Move the cursor to the Waveform number and select the desired number by using the [INC/YES] button, [DEC/NO] button, or the data dial. To select the desired Key Bank, simultaneously hold down the [INFORMATION] button and press the appropriate key on the keyboard. Press the [SF2] SELECT button to call up in order the Samples assigned to the selected Key Bank. Indicates information about the selected Key Bank. The Key Range and Velocity Range (which cannot be edited here) can be edited in the [F4] RANGE display.
[SF1] AUDITION [SF2] SELECT
You can hear (audition) the selected sample by pressing the [SF1] button. Press the [SF2] button to call up in order the Samples assigned to the selected Key Bank.
The [SF1] AUDITION and [SF2] SELECT buttons can be used in the same way also with other displays in the Sampling Edit mode and the Sampling Job mode.
To return to the next highest level, press the [EXIT] button. To call up the contents of a desired folder, highlight the folder and press the [ENTER] button.
Set the Volume Label.
Move the cursor to the Volume Label and input a Volume Label. For instructions on naming, refer to page 53 in the Basic Operation section.
Press the [DEC/NO] button to cancel the Format operation.
Press the [INC/YES] button to execute the Format.
After formatting has been completed, a Completed message appears and operation returns to the original display.
While formatting is in process, make sure to follow these precautions: Never remove or eject the media from the device (SmartMedia or USB storage). Never unplug or disconnect any of the devices. Never turn off the power of the MOTIF ES or the relevant devices.
Formatting a SmartMedia/USB storage device
Before you can use a new SmartMedia/USB storage device with this synthesizer, you will need to format it. Follow the instructions below.
If data is already saved on the SmartMedia/USB storage device, be careful not to format it. If you format the SmartMedia/USB storage device, all the previously recorded data will be deleted.
Press the [SF1] CURRENT button and check whether the currently recognized device is CARD (SmartMedia in the CARD slot) or USB (USB storage device connected to this synthesizer).
Volume Level of the selected partition.
Insert a SmartMedia into the CARD slot or connect a USB storage device to the USB TO DEVICE connector.
If necessary, insert the proper media into the slot of the USB storage device.
Press the [FILE] mode to enter the File mode.
Change the Current setting as needed.
n By executing the Format operation in the File mode, the SmartMedia/ USB storage device will be formatted to MS-DOS or Windows format. The formatted SmartMedia/USB storage device may not be compatible with other devices such as a Macintosh computer or digital camera.
Press the [F1] CONFIG button, then [SF3] FORMAT button to call up the Format display.
File types that can be handled by the MOTIF ES
File types that can be saved from the instrument to the SmartMedia/USB storage device [FILE]
TYPE Dir All AllVoice.W7A.W7V File extension* Description When this is set to TYPE, only the directories (folders) are displayed in the File/Folder selection box and the Save operation cannot be executed. All data in this synthesizers internal User Memory (Flash ROM) is treated as a single le, and can be saved to the SmartMedia/ USB storage device. All the User Voice data in this synthesizers internal User Memory (Flash ROM) is treated as a single le, and can be saved to the SmartMedia/USB storage device. Also the Waveforms obtained via the Sampling function and assigned to any of the voices are saved together. All the data in a Plug-in board (Board Voice data created by using the editor software that comes with the Plug-in Board and the Board related settings in the Utility mode) is treated as a single le, and can be saved to the SmartMedia/USB storage device. The numbers 1, 2, and 3 correspond to the Plug-in slots. All the User Arpeggio data in this synthesizers internal User Memory (Flash ROM) is treated as a single le, and can be saved to the SmartMedia/USB storage device. All the User Song data in this synthesizers internal User Memory (DRAM) is treated as a single le, and can be saved to the SmartMedia/USB storage device. All the User Pattern data in this synthesizers internal User Memory (DRAM) is treated as a single le, and can be saved to the SmartMedia/USB storage device. Sequence track (1 - 16) and Tempo track data of Songs or Patterns created in the Song/Pattern mode can be saved to the SmartMedia/USB storage device as Standard MIDI File (format 0) data. All the User Wave and Sample data in this synthesizers internal User Memory (DRAM) is treated as a single le, and can be saved to the SmartMedia/USB storage device. Sample data created in the Sampling mode can be saved to the SmartMedia/USB storage device as a WAV le (Windows audio format). Sample data created in the Sampling mode can be saved to the SmartMedia/USB storage device as an AIFF le (Macintosh audio format). All the User Voice data stored on User Banks (Flash ROM) is handled as a single le and saved to the SmartMedia/USB storage device. The saved le can be loaded to the Voice Editor software (included in the CD-ROM) on your computer.
n When the Mode is set to Voice or Performance and the Zone Switch is turned on, only Zone 1 can be used in the default setting (playing Zones 2-4 will produce no sound). You can use these Zones by setting various parameters in the Master Edit mode.
Master Edit mode
[MASTER] Master selection [EDIT]
The Master Edit is divided into Common Edit, for setting parameters common to all four Zones, and Zone Edit, for setting parameters of individual Zones. When Zone Switch is set to on in the [F2] MEMORY display in the Master Play mode, only the Common Edit is available.
Reference Master Mode
[MASTER] Master selection [EDIT] [COMMON]
These parameters are for making global (or common) edits to all four Zones of the selected Master.
From this display you can create a name for the Master. For instructions on naming, refer to page 53 in the Basic Operation section.
From this display you can set which row of Knob/Slider functions will be lit and selected.
Settings: pan..Selecting the Master lights the [PAN/SEND] lamp, for control over the Pan/Send row. tone.Selecting the Master lights the [TONE] lamp, for control over the Tone row. assign..Selecting the Master lights the [PAN/SEND] and [TONE] lamps, for control over the Assign row. MEQofs or partEQ.Selecting the Master lights the [EQ] lamp, for control over the EQ row. When the Mode is set to Voice, MEQofs is available. When the Mode is set to Performance, Song, or Pattern, partEQ is available. MEF.Selecting the Master lights the [ARP FX] and [EQ] lamps, for control over the Master Effects row. arpFx.Selecting the Master lights the [ARP FX] lamp, for control over the Arpeggio FX row. zone.Selecting the Master lights no lamp and automatically calls up the Knob/Slider functions specically set for each respective Zone (page 137). This is available only when the Zone Switch is set to on in the [F2] MEMORY display in the Master Play mode.
[MASTER] Master selection [EDIT] Zone selection
These parameters are for editing the individual Zones that make up a Master. Zone Edit is available only when the Zone Switch is turned on in the [F2] MEMORY display in the Master Play mode.
CARD (Card slot)...25 CAT (Channel Aftertouch)..229, 230 Category Search...62 [CATEGORY SEARCH] button..21 CD-ROM...6 CenterKey...197, 199, 200 Chain...247 Channel...290 Channel Aftertouch...184 ChAT (Channel Aftertouch)...273 ChgTiming (Change Timing)..191 CHORUS..81, 90, 129, 195, 216, 235 Chorus...177 Chorus Ctg (Category)...215 Chorus Ctg (Chorus Effect Category)..195 Chorus Pan..195, 215 Chorus Return...195, 215 Chorus Send...195 Chorus to Reverb...195, 215 Chorus Typ (Chorus Effect Type).195 Chorus Type...215 ChoSend..191, 203, 213, 215, 217 Clean Up Memory..259 Clear Pattern...248 Clear Phrase...246 Clear Song...233 Clear Track...232, 246 Clock...229, 230, 290 CLOCK SFT..114, 221 ClockOut...264 Coarse...196, 203 Common...290 Common Edit (Drum Voice)..202 Common Edit (Master)...138 Common Edit (Normal Voice).79, 189 Common Edit (Performance)..88 Common Edit (Plug-in Voice)..205 Common Edit (Song Mixing/Pattern Mixing)..128 Compare...52 CONFIG...266 Confirmation Message..52 Connections..5, 31 Control Change...182 Control Change numbers...140, 156 Controller...42, 154 Controller Block...154 Controller Set..155 Convert Freq...258 Convert Pitch...257 Convert to Drum Voice...259 COPY..208, 220, 242, 243, 250 Copy...256, 258 Copy Event...229, 245 Copy Pattern...247 Copy Phrase...245 Copy Sample...233, 245, 246 Copy Song...232 Copy Track...231, 246 Create Continuous Data..230, 245 Create Measure...231 Create Roll...228, 244 Crescendo...228, 244 CS (Control Sliders)...19, 50 [CS1] - [CS4] (Control Slider)..19 CTL ASN (Controller Assign).214, 234, 262, 263 CTRL NO (Control Number)..226 CtrlChange (Control Change mode)..264 CtrlChange (Control Change)..219 CtrlReset (Controller Reset)..261 CURRENT..266 Cursor...49 Cursor buttons...20, 152 Curve...196, 198, 200, 230 CUTOFF..81, 90, 129, 189, 203 Cutoff...197, 198, 218
each-on...193 Echo...41 Edit Buffer...187 Edit Indicator..51, 65, 69, 104 Edit Recall..52, 82, 91, 129 EF BYPS (Effect Bypass)..260 EF PART...215 EF SEND (Effect Send)..217, 233, 235 Effect...177 Effect Block...177 EFFECT buttons..19, 177 Effect Bypass...177, 260 [EFFECT BYPASS] buttons...177 Effect connection...179 Effect Plug-in Board...74, 78 Effect structure...177 EG (=Envelope Generator)...158 EGDepth..196, 198 EGTime...196, 198 EGTimeSens...197, 199, 200 Element...158 Element Edit...79 ElementSw...192, 195, 202 end...222 End (End Point)...254 End Point...176 EndStep...228 EndVelo...228 [ENTER] button...20 Envelope Generator (EG)..158
BAK DEL... 225 Band Elimination Filter... 161 Band Pass Filter... 161 BANK buttons... 21 Bank Select... 40, 182 BankLSB... 273 BankMSB... 273 BankSel... 264 BasicRcvCh (Basic Receive Channel).. 263 BC (Breath Controller).. 214, 219, 273 BCCurve... 76 BCCurve (Breath Controller Curve).. 260 Beat... 57, 59 Beat Graph... 224 Beat Stretch... 231, 245 BEF12... 210 BEF6... 210 Board Voice... 146 BPF12D... 210 BPF6... 210 BPFw... 210
I/O Expansion Board
Keyboards MOTIF ESkeys MOTIF ESkeys MOTIF ESkeys Balanced Hammer Effect Keyboard (Initial Touch/Aftertouch) FS Keyboard (Initial Touch/Aftertouch) FS Keyboard (Initial Touch/Aftertouch) AWM2 (complying with the Modular Synthesis Plug-in System) 128 notes + the polyphony of the Plug-in Board (if installed) 16 parts (internal) + 3 or more Plug-in Board parts (1 for each Single Plug-in Board; 16 for Multi Plug-in Board), Audio Input parts (A/D, AIEB2, mLAN*) * 4 stereo parts 175MB (when converted to 16-bit linear format), 1,859 waveforms Preset: 768 Normal Voices + 64 Drum Kits GM: 128 Normal Voices + 1 Drum Kit User: 128 x 2 (Bank1: Original, Bank2: Picked up from Preset) Normal Voice + 32 Drum Kits Preset for the PLG150-AN/DX/PF/DR/PC: 64 Preset for the PLG150-VL: 192 User: 64 for each Plug-in slot User: 128 (up to 4 parts) 18 types Reverb x 20 types, Chorus x 49 types, Insertion (A, B) x 116 types x 8 blocks, Master Effect x 8 types, Master Equalizer (5 bands), Part EQ (3 bands, stereo), Plug-in Insertion (available when the PLG100-VH has been installed to slot 1) 3 Slots for Modular Synthesis Plug-in Boards Up to 1,024 Waveforms (Multi Samples) Up to 128 Key Banks per Waveform Up to 4,096 Key Banks Analog input L/R, Stereo output (Resampling), Digital/Optical (available when the AIEB2 has been installed), mLAN (available when the mLAN16E has been installed) 44.1kHz, 22.05kHz, 11.025kHz, 5.5125kHz (Stereo/Mono) Digital Sampling Frequency (when the AIEB2 has been installed) 48kHz, 44.1kHz, 32kHz
* Can be input, with converted to the Sampling Frequency of the MOTIF ES.
Sequencer block Note Note Resolution
Capacity Approx. 226,000 notes 480 ppq (parts per quarter note)
Tone Generator block Tone Generator Polyphony Multi Timbral Capacity
Maximum Polyphony 124 notes Tracks Pattern Mode: 16 phrase tracks Pattern Chain Mode: Pattern track, Tempo track, Scene track Song Mode: 16 sequence tracks (Loop on/off can be set for each track), Tempo track, Scene track 64 patterns (x 16 sections) Measures: 256 maximum Preset Phrases: 687 phrases User Phrases: 256 per pattern Songs Arpeggio 64 songs Preset x 1,787 types User x 256 types
* MIDI Sync, MIDI transmit/receive channel, Velocity Limit, and Note Limit can be set.
Performance Filter Effect System
Sequence Format Others Master
Original format, SMF format 0, 1 (Format 1 load only) User: 128
* 4 Zones (Master keyboard settings), Assignable Knob/Slider settings, Program Change Table
Expandability Sampling block Samples
Sequence Software compatible with the Remote Control function For Windows SQ01 V2, Cubase SX, SONAR 2.0, Multi Part Editor for MOTIF-RACK, Multi Part Editor for MOTIF ES For Macintosh Logic 5.5, Digital Performance 3.1 Controllers Display External Memory Connectors Pitch Bend wheel, Modulation wheel, Ribbon Controller, Assignable Control Sliders (4), Assignable Knobs (4), Data dial 240 x 64 dot graphic backlit LCD SmartMedia (3.3V) * Up to 128MB can be used. OUTPUT L/MONO, R (standard phone jack), ASSIGNABLE OUTPUT L, R (standard phone jack), AD INPUT L, R (standard phone jack), PHONES (standard stereo phone jack), FOOT CONTROLLER 1/ 2, FOOT SWITCH x 2 (SUSTAIN, ASSIGNABLE), BREATH, MIDI IN/OUT/THRU, USB (TO HOST, TO DEVICE), AC INLET
Sampling Frequency via the mLAN (when the mLAN16E has been installed) 44.1kHz (fixed) Sampling Memory Sampling Time Optionally installed, expandable to 512MB (256MB DIMM x 2 slots) 44.1kHz: 6 min. 20 sec., 22.05kHz: 12 min. 40 sec., 11.025kHz: 25 min. 20 sec., 5.0125kHz: 55 min. 40 sec.
Power Consumption 38W Dimensions, Weight MOTIF ES8: 1,458 (W) x 465 (D) x 167.4 (H)mm, 28.3kg MOTIF ES7: 1,255 (W) x 394 (D) x 136.4 (H)mm, 19.2kg MOTIF ES6: 1,048 (W) x 394 (D) x 136.4 (H)mm, 16.5kg Accessories AC Power cord, CD-ROM x 3, Owners Manual, Data List, Installation Guide
Original format, WAV, AIFF, A3000/4000/5000/SU700 format (loadable only), AKAI S1000/S3000 format (loadable only)
Specifications and appearance subject to change without notice. Firewire is a trademark of Apple Computer, Inc. All trademarks and registered trademarks are property of their respective owners.
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The all new MOTIF Expanded System Music Production Synthesizers completely redesigned from the inside out to be the most powerful MOTIFs yet.
An Enhanced Sound set with an Evolved Synthesis Engine
Not only do the new MOTIF ES Music Production Synthesizers feature the largest wave ROM of any workstation keyboard available (175 MB in 16-bit linear format), but that Extensive Sonic library is at the heart of the most expressive, most musical synthesis system on the planet, bar none. The Enhanced Sound set of the ES 1,859 waveforms the majority of them newly sampled specifically for the MOTIF ES series provide the foundation for 1,024 outstanding normal voices plus 65 drum kits. There are even Mix Voices so you can edit and create your own Voices will listening to your songs and store them right along with the song data. The MOTIF ES delivers an extraordinary sonic depth and musical response. The range of sounds it produces is stunning from the Emulative Sounds of acoustic piano and orchestra to the Extreme Synthesis of cutting-edge hiphop and electronica. You only have to hear the ES once to know this is the best sounding, most Evolved Synthesizer Yamaha has ever made.
The Next Generation of Inspiration
Enhanced Signal Processing Effects
If youve ever felt limited by the Effect Systems in other keyboards, be prepared for total liberation: system effects include 20 reverb types and 49 chorus/delay types, while each Voice can have two large blocks of 116 insertion effect types. In the song or pattern modes, up to Eight Separate parts can have their voice insertion Effects Simultaneously. Theres also independent three-band part EQ Settings for each of the 16 parts in Mix, eight types of mastering effects including multi band compression, and a five-band master EQ to complete your productions right to the final mastering stage. New reverbs, vintage phasers, flangers and wah-wahs ensure that you get the highest quality effects that are available in Yamahas vast arsenal of DSP algorithms.
The Heart of the Expanded System
The newly designed tone generator chip offers true 128-note polyphony that gives you the freedom to create intricate compositions using the full gamut of the MOTIF ES Exceptional Sonic power. These instruments are designed for serious music production. The newly developed synth engine offers new synthesizer parameters and faster, more precise envelope control.
Easy Song Making with new ES
Much more than a simple arpeggiator, the MOTIF ES Phrase Factory offers unprecedented versatility for creating sequenced phrases. Use it with the drum kits to produce innovative rhythm patterns, or take advantage of its chord-recognition capabilities to generate pitched phrases using the normal voices. You have 1,787 preset arpeggiator phrases to start with from standard synth arps to drum loops to natural-sounding acoustic-instrument grooves. The Phrase Factory system works seamlessly with Keyboard Mega Voice technology so you can take advantage of all the expressive Keyboard Mega Voice nuances. You can even assign five different arp phrases to the switches below the display and switch them in real time. Plus the arpeggiators new chord recognition and performance play parameters let you easily create your own user arps or modify presets to make them your own. Finally if your creative runs dry, Real Time Loop Remix lets you generate literally thousands of instant variations on any phrase either MIDI or audio.
Exceptional Sampling & Extensive Sequencing
The Integrated Sampling Sequencer in the ES provides the seamless integration of MIDI and audio sample sequencing places the MOTIF ES synthesizers right on the leading edge of music production. Of course you can BPM-sync playback of MIDI and sample loops, and our Time Slice function lets you handle samples with the same freedom as MIDI sequence data without altering pitch or losing audio quality. A maximum sample RAM (DIMM) capacity of 512 MB places the MOTIF ES sampler section in the same league as some of the most advanced stand-alone samplers available. The ES comes with a bundled CD-ROM with over 170 MB of sample voices including the S90 three layer piano, sweet sax and woodwind voices and drum loops. The sequencer section can handle up to 226,000 notes in 16 tracks, and with lots of new features like Rehearsal Rec mode. You are only limited by your imagination.
Efficient Storage via USB Hosting and
In addition to the USB TO HOST port mentioned above, the MOTIF ES synthesizers feature a USB TO DEVICE port that can be connected to a USB storage device such as hard disks, flash disks, or card memory readers for convenient, safe external storage of your samples, sequences, and other production data. A built-in SmartMedia slot accepts memory cards with capacities up to 128 megabytes for convenient external data storage.
Expressive Sampled Sounds with the New Keyboard Mega Voices
A significant leap forward from simple single layer samples, Keyboard Mega Voices technology makes it possible to include all the nuances of an instruments realtime performance. Imagine a guitar voice, for example, with hammer-ons, pull-offs, harmonics, slides, fret noises, and other elements of the real thing all accessible from the keyboard at the same time. Keyboard Mega Voice technology takes MOTIF ES guitar, bass, and other instrument voices to new expressive heights.
Expansion Slot for mLAN Networking
or more Audio I/O
When you want to move up to mLAN networking Yamahas high-performance music networking protocol simply install the optional mLAN16E expansion board (available soon) in your MOTIF ES synthesizer and youre ready to network and share multiple ports of MIDI data and multiple channels of 24-bit/96 kHz audio data with other mLAN compatible devices or computers with 1394 Firewire connectors. If your system requires more audio inputs and outputs than come standard with the MOTIF ES, add an optional AIEB2 I/O Expansion Board for an additional six independent analog inputs and outputs as well as coaxial and optical stereo digital inputs and outputs.
Expressive Surface for Real Time Control
For truly musical expression theres no substitute for realtime hands-on control. The MOTIF ES gives you four rotary controllers and four faders that can be assigned to control filters, volume, effects, envelops any of an extensive range of voice parameters. These same controls provide a digital mixer feel when mixing multiple sequenced parts. They can also be used as MIDI controllers to control external MIDI devices. Weve even added a ribbon controller for intimate fingertip voice control. And since you need to be able to find and recall voices as quickly as possible, the MOTIF ES synthesizers feature a Category Search function. The Category Search function includes a Favorite category that can store up to 128 of the voices that you use most frequently for instant recall from any mode.
Modular Synthesis Plugin System
Right out of the box the MOTIF ES synthesizers are powerhouses of music production features and sounds. If you want additional capabilities, however, the Modular Synthesis Plug-in System lets you simply plug-in appropriate optional expansion boards. For analog-modeling synthesis theres the PLG150-AN, or for advanced 6-operator FM synthesis theres the PLG150-DX. The incredibly real sound of virtual analog synthesis is available via the PLG150-VL board, the PLG150-DR delivers outstanding AWM-generated drum sounds, choose the PLG150-PC for percussion, or install the PLG150-PF for outstanding piano sound. The MOTIF ES synthesizers have three expansion slots that can accommodate the extra features you need. Multi Part Editor
Elegant System Integration with DAWs
If you use a computer-based sequencer or DAW as part of your music production setup, with press of a button you can turn the MOTIF ES into a full function control surface that supports the same protocols as the new 01X Digital Mixing Studio. Simply connect a USB cable between the instruments TO HOST USB port and your computers USB port, and you can directly access your sequencer/DAW softwares fader, pan, EQ effect send, track mute, transport, and other parameters from the MOTIF ES controllers. You can even open and close windows on your computer directly from your ES.
Computer Integration with the bundled Voice Editor and Multi Part Editor.
LE40C535 CF-20D70 SRF-M97 SC-HD350 FAR-2827W S-301 GR-131R GB-10 1000S R530-JS07 SGH-D528 NVT 400 DSP-A492 26LC7R T4YBF LA32B450 MC-110 DTB-9401 Kdadv38J-KD-adv38 HBH-PV702 SL-65LIV-T KS-FX833R PL42C450b1M Powershot S300 Janome 525S Beninca Head AG-DVX100B WD-10390NDK CS-E12ekeb ZT1121S WF-J1263 PCG-FR285E GZ-HD30 AEQ6Q Cafe 125 Beovision 10 MA350 Deere 6020 EP716 VR3845A Agoris 5660 Abit AV8 KX-P1080 Louis Cc24 STR-DE805G TD-V75120E MDR-RF5000K ET700 GCC-H21N LAV920 Display Donkey Kong SHR-5042P PC-1401 M5640 EC710 702NK IES-1000 PF-A700B Mitsubishi SE2U Timex W-11 2309M VK2020 4200F RA-05 RX-V592RDS Sigma SD15 LH-C6238M NAD C740 Fujifilm Z30 DSS-5- Review TA-F240 12 V CDX-GT430IP PLC-XU37 AX45533U2 SLV-D300P EP1031 MW112 Rescue 2010 VSX-LX50 NK50V CC-CD200 Yamaha QY20 EL-506W T 100 HS850 SN 23 SR-S20FTC GSA-E10L PDP-S63 SS-MB105 ZTE275 KVT-719DVD M55-S3292 BX305FW LP32-TDR1 11069912990 E1489 T2-P ITD 62
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