n The words save and store here refer to two different operations. The Save operation saves the created data as a le to an external device (in the File mode), whereas the Store operation stores the data to internal memory in each mode.
Move the cursor to the Quantize Value of Track 1, then select the 8th note icon. Move the cursor to the Swing Rate of Track 1, then select 66%.
This parameter determines the strength or amount of swing applied. Selecting 66% delays each of the up beat notes to triplet values.
n If youve recorded a bass part to track 2, make sure to apply the same settings to this track as well.
After completing the settings, press the [P] (Top) button, then press the [F] (Play) button to start the Song. You can hear the swing feel playback.

Step 5:

Creating a Pattern
The Patterns of the MOTIF XS feature short but fully realized instrumental parts that you can repeat (loop), combine, and arrange in any order you wantgiving you the basic material for creating a Song. This section covers what you can do in the Pattern mode.

Pattern Structure

The MOTIF XS provides two modes for creating a Song: Song mode and Pattern mode. In the Song mode, you can record the Song from the beginning to the end by playing the keyboard. In the Pattern mode, on the other hand, you can create the accompaniment of the Song by creating several sections, such as intro, melody A, main theme and ending by recording your rhythm pattern to the different Sections, then combining them as a Pattern Chain. The Pattern mode also lets you record your rhythm patterns or riffs to the different Sections as you wishand as the inspiration hitsthen combine the Sections into a Pattern Chain to create a complete Song. Along with the Arpeggio feature and Performance recording, you have a wide range of easy-to-use tools to quickly create fully arranged, professional sounding Songs.
1st measure... 120th measure Intro Section A Melody A Section B Main theme Section C Melody B Section D Ending Section E

Section

Pattern number, Pattern name

Section A P

Track 1 16
n As indicated in the Pattern Play display, a Pattern consists of 16 separate tracks. Accordingly, a Pattern is played back via the various instrument Voices such as bass, guitar and keyboard.

How to enter the mode

[VOICE] [EDIT] [VOICE] [JOB] [VOICE] [STORE] [PERFORM] [PERFORM] [EDIT] [PERFORM] [JOB] [PERFORM] [STORE] [SONG] [SONG] [I] (Record) [SONG] [EDIT] [SONG] [JOB] [SONG] [STORE] [PATTERN] [PATTERN] [I] (Record) [PATTERN] [EDIT] [PATTERN] [JOB] [PATTERN] [STORE] [SONG]/[PATTERN] [MIXING] [SONG]/[PATTERN] [MIXING] [EDIT] [SONG]/[PATTERN] [MIXING] [JOB] [SONG]/[PATTERN] [MIXING] [STORE] [SONG]/[PATTERN] [MIXING] [F6] Vce Edit [SONG]/[PATTERN] [MIXING] [F6] Vce Edit [JOB] [SONG]/[PATTERN] [MIXING] [F6] Vce Edit [STORE] [VOICE]/[PERFORM] [INTEGRATED SAMPLING] [SONG]/[PATTERN] [INTEGRATED SAMPLING] [INTEGRATED SAMPLING] [EDIT] [INTEGRATED SAMPLING] [JOB] [UTILITY] [UTILITY] [JOB] [SONG]/[PATTERN] [SEQ SETUP] [MASTER] [MASTER] [EDIT] [MASTER] [JOB] [MASTER] [STORE] [FILE]

Performance mode

Performance Play mode Performance Edit mode Performance Job mode Performance Store mode
Basic Structure Basic Operation

Song mode

Song Play mode Song Record mode Song Edit mode Song Job mode Song Store mode

Pattern mode

Pattern Play mode Pattern Record mode Pattern Edit mode Pattern Job mode Pattern Store mode

Mixing mode

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

Sampling mode

Sampling Record mode Sampling Record mode Sampling Edit mode Sampling Job mode

Utility mode

Utility mode Utility Job mode Sequencer Setup

Master mode

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

File mode

n In addition to the modes above, the MOTIF XS features the Remote Control mode. In this mode, you can control the DAW software on your computer from the panel operations of the MOTIF XS connected to the computer via USB. For details, see page 51.

Basic Structure

Selecting Modes
Mode and sub mode selection is accomplished by using the corresponding mode buttons. For details, see the Mode table above. To return back from the sub mode to the parent mode, press the [EXIT] button.

Now that youve listened to the Arpeggio Types assigned to the preset Voice, go on and try out some of the other Arpeggio Types available.
n The three playback types above are not distinguished by category name or type name. Youll have to actually play the types and hear the difference. n Since these types are programmed for Drum Voices, using them with Normal Voices may not give musically appropriate results.
During Arpeggio playback, press the [F4] button to call up the Arpeggio display, then select an Arpeggio type.
For best results, you should select a Category and Sub Category containing Arpeggio Types that most closely match the currently selected Voice. Once you nd an Arpeggio Type that ts, keep it in the display settings and store the Voice (below).
Arpeggio Types containing mainly nonnote events (Category: Cntr)
These arpeggio types are programmed primarily with Control Change and Pitch Bend data. They are used to change the tone or pitch of the sound, rather than play specic notes. In fact, some types contain no note data at all. When using a type of this category, set the Key Mode parameter to direct, thru+direct, or sort+direct.
n The Key Mode parameter can be set in the Arpeggio Main display of Voice Common Edit (page 101), Performance Part Edit (page 154) and Mixing Part Edit (page 235).
Store the Arpeggio settings as a User Voice.
For detailed instructions on storing a Voice, see page 97.
Playing a note or notes will trigger a rhythm pattern using only the notes played (assigned drum instruments). Keep in mind that even if you play the same notes, the triggered rhythm pattern differs depending on the order of the notes played. This gives you access to different rhythm patterns using the same instruments simply by changing the order in which you play the notes when the Key Mode parameter is set to thru or thru+direct.
Use the knobs to control Arpeggio playback after pressing the [SELECTED PART CONTROL] button a few times (the ARP FX lamp lights).
Playback only of the played notes (assigned drum instruments)

VCM Equalizer 501

This effect emulates the characteristics of analog equalizers used in the 1970s, recreating a warm, highquality anger effect.
Preset settings can be selected here.

VCM Flanger

These effects emulate the characteristics of analog anger used in the 1970s, recreating a warm, high-quality anger effect.
VCM Phaser Mono, VCM Phaser Stereo
This effect emulates the characteristics of analog phasers used in the 1970s, recreating a warm, high-quality phaser effect.
VCM Auto Wah, VCM Touch Wah, VCM Pedal Wah
These effects emulate the characteristics of analog Wah used in the 1970s, recreating a warm, high-quality wahwah effect.

Effect Parameters

n Some parameters below may appear in different effect types with the same name, but actually have different functions depending on the particular effect type. For these parameters, two or three types of explanations are given.

Parameter name

AEG Phase AM Depth

Descriptions

Offsets the phase of the AEG. Determines the depth of the amplitude modulation. Determines the phase of the amplitude modulation for the R channel. Determines the amplitude modulation speed. Selects the wave for modulating the amplitude. Selects the amplier type to be simulated. Adds the characteristics of an analog anger to the sound. Determines the amount of time that elapses between the playing of a key and the start of the compressor effect. Determines the amount of time that elapses between the playing of a key and the start of the wah effect. Determines the attack time of the envelope follower. Determines how the Word Length is applied to the sound. Determines the minimum value of the wah lter. Determines each output gain of BPFs of the Vocoder effect. Determines the frequency at which the click sounds. Determines the click level. Determines the xed phase modulation. This is a parameter of Multi Band Comp. This parameter determines the amount of time that elapses between the releasing of a note and the end of the effect. Determines the minimum input level at which the compressor effect is applied. This is a parameter of Control Delay. When set to Normal, the delay effect is always applied to the sound. When set to Scratch, the delay effect is not applied if both the Delay Time and Delay Time Offset are set to 0. When the half-damper compatible FC3 footswitch is connected to the SUSTAIN jack, the Damper Control parameter is controlled by the FC3 over a range of 0 127, allowing for partial damper effects, such as is available on an actual grand piano. Controls how the reverb sound decays. Determines the level of the delayed sound for the center channel. Determines the level of the delayed mixed sound when multiple effects are applied. Determines the offset value of the delay modulation. Determines the delay of the sound in note value or absolute time. Determines the delay time for each channel: center, left and right. Determines the amount of time between the moment the sound is input from the L channel and the moment the sound is output to the R channel. Determines the delay time for the R channel as offset. Determines the amount of time between the moment the sound is input from the R channel and the moment the sound is output to the L channel. Determines the speed (rate) at which the delay time is changed from the current value to the specied new value. Determines the density of the reverberations or reections. When Space Simulator is selected, this parameter determines the depth of the simulated room. When VCM Flanger is selected, this parameter determines the amplitude of the LFO wave which controls the cyclic change of the delay modulation.

Determines the attack time of the Vocoder sound. Determines the release time of the Vocoder sound. Selects a vowel type. Determines the wall status of the simulated room. Higher settings produces more diffuse reections. Determines the width of the simulated room. Determines the degree of sound roughness.
*1 The Bottom parameter is available only when the value is less than that of the Top parameter. *2 The Color parameter may not be effective depending on the values of the Mode and Stage parameters. *3 The Top parameter is available only when the value is more than that of the Bottom parameter.
Pedal Response Phase Shift Offset Pitch 1, 2 PM Depth Pre Mod HPF Cutoff Frequency Pre-LPF Cutoff Frequency Pre-LPF Resonance

About MIDI

MIDI (Musical Instrument Digital Interface) is a standard which allows electronic musical instruments to communicate with each other, by sending and receiving compatible Note, Control Change, Program Change and various other types of MIDI data, or messages. This synthesizer can control other MIDI devices by transmitting note related data and various types of controller data. It can also be controlled by incoming MIDI messages which automatically determine the tone generator mode, select MIDI channels, voices and effects, change parameter values, and of course play the voices specied for the various Parts.

MIDI channels

MIDI performance data is assigned to one of sixteen MIDI channels. Using these channels, 1 16, the performance data for sixteen different instrument parts can be simultaneously sent over one MIDI cable. Think of the MIDI channels as TV channels. Each TV station transmits its broadcasts over a specic channel. Your home TV set receives many different programs simultaneously from several TV stations and you select the appropriate channel to watch the desired program.

Weather Report

MIDI events handled by the MOTIF XS
This section covers MIDI events, the data format by which the MIDI messages generated by your keyboard performance are recorded to a track of a Song/Pattern. Theses events described below can be edited or inserted in the displays of the Song Edit/Pattern Edit modes.

2 News

Note name

Velocity Gate time

Bar graph of velocity
MIDI operates on the same basic principle. The transmitting instrument sends MIDI data on a specic MIDI channel (MIDI Transmit Channel) via a single MIDI cable to the receiving instrument. If the receiving instruments MIDI channel (MIDI Receive Channel) matches the Transmit Channel, the receiving instrument will sound according to the data sent by the transmitting instrument. For information on how to set the MIDI transmit channel and the MIDI receive channel, see page 267.

which the MOTIF XS is also connected. Keep in mind that edited Voice data is stored to internal User memory (Flash ROM) and is maintained even when turning the power off. As such it is not necessary to save the data to an external device; however, we still recommend that you save or archive all important data to an external device. Refer to page 278 for details. n Other convenient functions are also available in the Drum Voice Edit mode. For details, see page 97.
[VOICE] Drum Voice selection [EDIT] [COMMON EDIT]
The Common Edit lets you edit the parameters common to all Drum Keys of the selected Drum Voice.
General Settings for the selected Voice[F1] General
n The Common Edit parameters of the Drum Voice are basically the same as those of the Normal Voice. However, some parameters having the same name as those of the Normal Voice are not available for the Drum Voice.
This is the same as in Normal Voice Common Edit. See page 101.
This is the same as in Normal Voice Common Edit. See page 98.
By changing the timing and velocity of the notes, you can change the rhythmic feel of the Arpeggio playback. This is the same as in Normal Voice Common Edit. See page 102.
This is the same as in Normal Voice Common Edit. See page 104. Please note that the Element Switch parameter is not available in Drum Voice Common edit.
This is the same as in Normal Voice Common Edit. See page 100.
This display gives you comprehensive control over the effects. The functions on this display are basically same as in Normal Voice Common Edit (page 107). The different point is that the Insertion Effect Out parameter is set not for each Element but for each Drum Key. In addition to that, three more parameters ($ ^) are available.
% REV SEND (Key Reverb Send)
$ 1 % 3 ^ 5 ! ) # @ Determines the level of the Drum key sound (the bypassed signal) that is sent to Reverb effect. The setting here is available only when the Insertion Effect Out parameter (1) is set to thru.
n When the Insertion Effect Out parameter (1) is set to Ins A or Ins B, you can determine the level of the Drum Key sound (output from Insertion Effect A or B) that is sent to the Reverb effect by setting the value of the Insertion Reverb Send parameter indicated only in this case.
1 Out (Insertion Effect Out)
Determines which Insertion Effect (A or B) is used to process each individual Drum Key. Parameters can be set for each Drum Key. When INSERTION CONNECT (2) is set to ins L, the signal from each Drum Key is output to the Insertion L regardless of the setting here.
Settings: thru (through), Ins A (Insertion A), Ins B (Insertion B)
^ CHO SEND (Key Chorus Send)
Determines the level of the Drum key sound (the bypassed signal) that is sent to Chorus effect. The setting here is available only when the Insertion Effect Out parameter (1) is set to thru.

Reverb and Chorus Settings[SF3] Reverb, [SF4] Chorus

Part Edit parameters

[PERFORM] Performance selection [EDIT] Part selection
In the Performance Part Edit mode, you can edit the parameters of the individual Parts such as Voice, Arpeggio, EG and EQ settings. About the asterisk (*) marks
For users who are new to editing and may be confused by the large amount of parameters, the most basic and easy-to-understand parameters are conveniently marked with asterisks in this section. If you are just starting out with editing Performance Parts, try these parameters rst.
Selected Part display/Four-Part display
In the Performance Part Edit mode, you can use two types of display. One type of display lets you edit parameters for the currently selected Part and the other type of display lets you view parameters for four Parts. You can switch between these two types by pressing the [SF5] button. Note that the display for four Parts is not available for the [F2] ARP Main and the [F3] ARP Other displays.
The display for the currently selected Part
Setting the Wave and Note range of the Part[F1] Voice
Voice Settings for each Part[SF1] Voice

) ! @ #

Determines whether the currently edited Part is on or off. When this is set to off, the currently edited Element will not sound.

2 Bank* 3 Number*

Determines the Voice assigned to the current Part by specifying the Voice Bank and Number.
The display for all four Parts of the current Performance
4 Param. with Voice (Parameter with Voice)
Selecting a Part to be edited
After pressing the [PERFORMANCE CONTROL] or [TRACK] button so that its lamp lights, press one of the [1] [4] buttons to select a Part to be edited.

COMMON EDIT 7 8

Determines whether or not the following parameter settings of the selected Voice are copied from the Voice to the current Part when you change a Voice for the current Part individually.
Arpeggio settings Filter Cutoff Frequency Filter Resonance Amplitude EG Filter EG Pitch Bend Range (Upper/Lower) Note Shift

n The word Pattern refers to a short rhythmic passage of several measures which is looped and played back indenitely. A Pattern includes 16 variations called Sections. You can use Sections by changing them during playback. A Pattern consists of 16 tracks and can be created by assigning a Phrase to each track from the Patch display (page 212). For details about the Patterns, Sections and Phrases, see page 60. n From the Play display in the Pattern Play mode, you can select the Voice of the Mixing Part corresponding to the current Track by pressing the [CATEGORY SEARCH] button.
Pattern Playback Procedure
Press the [PATTERN] button to call up the Pattern Play display (page 210).
Section Pattern number, Pattern name
Press the [F] (Play) button to start playback of the Pattern.
Pattern playback continues repeatedly until you press the [J] (Stop) button. Press the [J] (Stop) button to stop playback of the Pattern. Press the [F] (Play) button again to resume playback from that point.

Select a Pattern.

Move the cursor to the Pattern number, then select the desired Pattern by using the data dial, [INC/YES] and [DEC/NO] button. The name of the selected Pattern is displayed. If you press the [PROGRAM] button so that its lamp lights, you can select the desired Pattern by using the Group [A] [D] buttons and the Number [1] [16] buttons. Pattern numbers and the corresponding buttons are as follows.
Starting playback by pressing a note
When the Keyboard Start function is set to on, Pattern playback begins as soon as you press a key on the keyboard. Move the cursor to the Keyboard Start icon then press the [INC/YES] button to enable Keyboard Start. In this status, press any key to start Pattern playback.

Keyboard Start

Pattern Number
Select a Section (A P) of the selected Pattern.
Move the cursor to the Section, then select the desired Section by using the data dial, [INC/YES] and [DEC/ NO] button. If you press the [TRACK] button so that its lamp lights, you can select the desired Section by using the SECTION [A] [H] buttons for Sections A H, [USER 1] [USER DR] buttons and [ETHNIC] button for Sections I P.
Playback from the middle of the Pattern
To start playback of the Pattern from midway through the Pattern, set the desired location by using the controls below, then press the [F] (Play) button. These operations can also be executed during playback.
Forward Fast forward Rewind Fast Rewind Move to the top of the Pattern Press the [H] (Forward) button. Hold the [H] (Forward) button. Press the [G] (Rewind) button. Hold the [G] (Rewind) button. Press the [P] button.

The Event List display (page 221) of the Pattern appears.
n You can select the desired track with the Number buttons [1] [16] by pressing the [TRACK] button (the lamp lights) after entering the Pattern Edit mode.
Press the [EXIT] button to go back to the Pattern Play display. Press the [STORE] button to call up the Pattern Store window (page 218), then store the created Pattern.
n For details about each event and parameter, see page 76. n Use the View Filter function (page 221) to help you quickly nd desired events.

Insertion point

Parameter
In the Event List display, MIDI events (including mainly values such as note number, velocity, and control change value) are listed and can be edited. Here you can edit or delete previously recorded events. This is the same as the Event List display in the Song Edit mode. For details, see page 193.
Changing the MIDI event view[F2] ViewFilter
This is the same as the View Filter in the Song Edit mode. For details, see page 194.
When the cursor is located on the Event Type, you can call up the list of event types to be input by pressing the [SF6] LIST button and select one from the list. For details about each event and parameter, see page 76.

Pattern Jobs

The Pattern Job mode contains a comprehensive set of editing tools and data transform functions you can use to change the sound of the Pattern or Phrase. It also includes a variety of convenient operations, such as copying or erasing data. 36 Pattern Jobs are available.
Function [F1] Undo/Redo [F2] Note
01: Quantize 02: Modify Velocity 03: Modify Gate Time
Sampling mode 1 Song mode Pattern mode
Voice mode Performance mode
Undo Job cancels the changes made by the most recent operation, restoring the data to its previous state. Redo Job cancel Undo and restores the changes. Note data Jobs These are the same as in the Song Job mode. See page 195.
04: Crescendo 05: Transpose 06: Glide 07: Create Roll 08: Sort Chord 09: Separate Chord

[F3] Event

01: Shift Clock 02: Copy Event 03: Erase Event 04: Extract Event 05: Create Continuous Data 06: Thin Out 07: Modify Control Data 08: Beat Stretch
Event Jobs These are the same as in the Song Job mode. See page 195.

[F4] Phrase

01: Copy Phrase 02: Exchange Phrase 03: Mix Phrase 04: Append Phrase 05: Split Phrase 06: Get Phrase from Song 07: Put Phrase to Song 08: Clear Phrase
Phrase Jobs This Job copies a selected Phrase to the designated destination Phrase. This Job exchanges the contents of two specied Phrases. This Job mixes all data from two selected user Phrases. This Job appends one Phrase to the end of another to create one longer Phrase. This Job splits a selected Phrase into two separate Phrases. This Job copies a segment of sequence-track data from a Song into the designated destination Phrase. This Job copies a selected user Phrase into a specied area of a selected Song. This Job deletes all data from the selected Phrase. Track Jobs This Job copies all data of the selected type from a specied source track to a specied destination track. This Job exchanges or swaps the specied type of data between two specied tracks in the current Song. This Job mixes all data from two selected tracks. This Job deletes all data of the selected type from the selected track. This Job rewrites the data in the selected track so that it incorporates the current Play FX/Groove/MIDI Delay settings. This Job separates the note events in a drum performance assigned to a specied track, and places the notes corresponding to different drum instruments in separate tracks (tracks 1 through 8). This Job copies data in the specied measures of a track for creating Arpeggio data. Pattern Jobs This Job copies all data from a selected source Pattern to a selected destination Pattern. This Job appends one Pattern to the end of another to create one longer Pattern. This Job splits a selected Pattern into two separate Patterns. This Job deletes all data from the selected Pattern, or from all Patterns.

Determines the Pattern number (01 64) and Phrase number (001 256) of the source and destination respectively.

3 Copy Sample Voice

When this box is checkmarked, Sample Voices assigned to the source Phrase are copied to the destination Phrase as Sample Voices, and are assigned to the corresponding tracks in the selected Pattern. Make sure to set this parameter to on when coping the Phrase using the Sample Voice. When there is no memory available in the destination Pattern for Sample Voice data, an alert message will appear on the display and the Sample Voice data will not be copied. If this occurs, use Sample Job 02: Delete to delete any unused samples, then try again.
This is the same as in the Song Job mode. See page 196.
The Note Jobs in the Pattern mode are basically same as in the Song Job mode. However, unlike in the Song Job
1 Source Phrase 2 Destination Phrase
Press the [EXIT] button twice to go back to the Pattern Play display.
Any previous data in the copy destination will be overwritten.

04: Append Phrase

This Job appends one Phrase (1) to the end of another (2) to create one longer Phrase.

02: Exchange Phrase

This Job exchanges or swaps the contents of two specied Phrases. This is useful if you wish to exchange two Phrases each of which is assigned to a different Pattern. 2
1 Original Phrase 2 Original Phrase and Destination Phrase
Determines the Pattern numbers (01 64) and Phrase numbers (001 256) to be appended respectively. Executing the Job appends one Phrase (1) to the end of the Phrase (2).
n If this Job is applied to Phrases which use Sample Voices, the Sample Voices of the source Phrase (1) will not be appended.
1 Phrase to be exchanged 2 Phrase to be exchanged
Determines the Pattern number (01 64) and Phrase number (001 256) to be exchanged respectively.
n If this Job is applied to Phrases which use Sample Voices, the Sample Voices will not be exchanged.

Press one of the [1] [16] buttons to select a Part to be edited.
n For details about useful functions such as Mute and Solo, see page 233.

[SF1] Voice

This display lets you specify the MIDI receive channel for the current Part as well as the Voice. The other parameters except for Receive Channel (1) are the same as those in the Voice display (page 151) in the Performance Part Edit mode. 1
These settings let you control the sound transition from the moment a key is pressed to the moment at which it is released. You can also adjust the tone brilliance by setting the Cutoff Frequency and Resonance. The function of this display is the same as the one in the EG display page 157) in the Performance Part Edit mode.
EG Settings[F4] EG (Envelope Generator)
Part Basic Settings[F1] Voice
By changing the timing and velocity of the notes, you can change the rhythmic feel of the Arpeggio playback. The function of this display is the same as the one in the Arpeggio Other display (page 156) in the Performance Part Edit mode.
Changing rhythmic feel of the Arpeggio [F3] ARP Other (Arpeggio Other)
Equalizer (EQ) Settings[F5] EQ (Equalizer)
You can apply 3-band parametric EQ to each Part to adjust the sound. The function is the same as the one in the EQ display (page 158) in the Performance Part Edit mode.
MIDI Receive Settings[F6] RcvSwitch (Receive Switch)
From this display you can set how each individual Part responds to various MIDI data, such as Control Change and Program Change messages. When the relevant parameter is set to on, the corresponding Part responds to the appropriate MIDI data. The function is the same as the one in the Receive Switch display (page 158) in the Performance Part Edit mode. In addition to the parameters which can be set in the Performance Part Edit mode, the Program Change and Bank Select can be set in this display of the Mixing mode.
Mixing JobConvenient functions
The Mixing Job mode features some convenient data organization and initialization tools, for use when creating Performances and archiving them. To enter the Mixing Job mode, press the [JOB] button in the Mixing mode. Press the [EXIT] button to return to the Mixing Play mode.

Mixing Job Procedure

In the Mixing mode or Mixing Edit mode, press the [JOB] button to enter the Mixing Job mode. Call up the desired Mixing Job menu by pressing the appropriate button ([F1] [F6]). Set the parameters for executing the Job.
1 All Parameters Press the [ENTER] button. (The display prompts you for conrmation.)
To cancel the Job, press the [DEC/NO] button. All settings for the selected Mixing are initialized. When this is set to on, the Common parameters (2) and Part parameters (3) cannot be set.

MEAS..193, 215 Meas...182, 187 meas (measure)...246 Measure.141, 169, 176, 193, 207,..210, 213, 219, 243, 245, 248, 249 Measure Jobs..203 Measure number..182 Mega Voice..62 Mega Voice Arpeggio..62 Memory..254 Memory location...275 Memory Structure...80 Meter..169, 176, 248, 249 Meter of measures to be inserted.204 Metronome Settings..270 Mic Gate Threshold...110 Mic Level..110 Mic/Line...263 Micro Tuning...99, 265 Micro Tuning Copy..265 Micro Tuning List..99 Micro Tuning Name...265 Micro Tuning No..265 Mid Frequency..144 Mid Gain...144 MIDI...76, 267 MIDI channel...76 MIDI event..76 MIDI Filter...270 MIDI IN/OUT..259, 268 MIDI IN/OUT/THRU connectors.18, 83 MIDI interface..44 MIDI Out Channel..157 MIDI Out Switch..157 MIDI Send...257 MIDI Settings...267 MIDI Sync...268 MIDI track...61 Misc..72 Mix..238 Mix Phrase..224 Mix Track..205, 226 Mixing..33, 58, 229 Insertion Effect...230 setup...230 structure...229 Mixing Edit..233 Mixing Job..236 Mixing Play..231 Mixing Setup..181 Mixing Store...233 Mixing Template...238 Mixing Voice..230 Mixing Voice Edit..239 Mixing Voice Job..240 Mixing Voice Store..240 Mixing Voice to be deleted..241 MIXV (Mixing Voice)..188 mLAN...17 mLAN (IEEE1394) connector 1, 2..17, 44 mLAN expansion board cover.17 mLAN Gain..263 mLAN Monitor Setup..263 mLAN16E2..17, 294 MMC (MIDI Machine Control)..85, 268 Mode..251, 252, 254, 270 select...55 table...54 MODE buttons..14, 20 Modify Control Data...203 Modify Gate Time..198 Modify Velocity..197 Modulation Wheel..256 Modulation wheel..12, 67 Mono/Poly..93, 99, 152 Mono/Poly Mode..93 Mono/Stereo..147, 265
MOTIF XS Editor... 274 Mount... 273, 276, 277 Move... 173 MTC (MIDI Time Code).. 84, 268 MTC Start Offset... 268 multi.. 100, 130 [MULTI PART CONTROL] button.. 13 Mute.. 182, 187, 210, 219, 231 [MUTE] button... 15 MW (Modulation Wheel).. 25, 92
Name.. 93, 98, 128, 138, 143, 254 Naming.. 82 Network... 260 Network Information.. 259 Network Settings.. 86 New Dir... 276 New Password.. 262 New settings... 271 No.. 212 Noise Input Level.. 110 Non-Registered Parameter Number (NRPN). 79 normal 01 16.. 217 Normal Voice... 56 Edit... 96 Normalize... 173 Normalize Play Effect.. 205, 226 Note.. 76, 78, 177, 199, 255 Note Jobs.. 196, 223 Note Limit.. 101, 114, 152, 154 Note Limit High.. 255 NOTE LIMIT LO-HI.. 139 Note Limit Low.. 255 Note Shift.. 99, 152, 184, 259 NRPN (Non-Registered Parameter Number). 77 NUM.. 81, 169, 248 Number... 151, 232 Number [1] [16] buttons.. 14 number input... 81 Number of measures to be inserted.. 204 Number of Times.. 201, 202, 215
OCT RANGE... 90 Octave.. 92, 138, 177, 251, 255, 260 OCTAVE [UP] and [DOWN] buttons.. 14 Octave Range... 103, 156 Offset.. 198, 203 Offset 1 4... 121, 125 one shot.. 105, 170 Optimize Memory.. 177 Original Notes Root... 206 Original Pattern.. 227, 228 Original Phrase.. 224 Oscillator.. 57, 112, 129 Other.. 100, 128, 145, 153, 235, 254, 271 Other Jobs.. 177 Out... 129, 184 Output.. 147, 152, 234, 235, 265 OUTPUT L/MONO and R jacks. 18, 19 Output Level.. 110 Output Octave Shift.. 102, 155 Output Select. 130, 148, 153, 266 Overdub Recording.. 191

5. DISCLAIMER OF WARRANTY ON SOFTWARE
You expressly acknowledge and agree that use of the SOFTWARE is at your sole risk. The SOFTWARE and related documentation are provided AS IS and without warranty of any kind. NOTWITHSTANDING ANY OTHER PROVISION OF THIS AGREEMENT, YAMAHA EXPRESSLY DISCLAIMS ALL WARRANTIES AS TO THE SOFTWARE, EXPRESS, AND IMPLIED, INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT OF THIRD PARTY RIGHTS. SPECIFICALLY, BUT WITHOUT LIMITING THE FOREGOING, YAMAHA DOES NOT WARRANT THAT THE SOFTWARE WILL MEET YOUR REQUIREMENTS, THAT THE OPERATION OF THE SOFTWARE WILL BE UNINTERRUPTED OR ERROR-FREE, OR THAT DEFECTS IN THE SOFTWARE WILL BE CORRECTED.
Copyrighted data, including but not limited to MIDI data for songs, obtained by means of the SOFTWARE, are subject to the following restrictions which you must observe.
Data received by means of the SOFTWARE may not be used for any commercial purposes without permission of the copyright owner. Data received by means of the SOFTWARE may not be duplicated, transferred, or distributed, or played back or performed for listeners in public without permission of the copyright owner. The encryption of data received by means of the SOFTWARE may not be removed nor may the electronic watermark be modied without permission of the copyright owner.
6. LIMITATION OF LIABILITY
YAMAHAS ENTIRE OBLIGATION HEREUNDER SHALL BE TO PERMIT USE OF THE SOFTWARE UNDER THE TERMS HEREOF. IN NO EVENT SHALL YAMAHA BE LIABLE TO YOU OR ANY OTHER PERSON FOR ANY DAMAGES, INCLUDING, WITHOUT LIMITATION, ANY DIRECT, INDIRECT, INCIDENTAL OR CONSEQUENTIAL DAMAGES, EXPENSES, LOST PROFITS, LOST DATA OR OTHER DAMAGES ARISING OUT OF THE USE, MISUSE OR INABILITY TO USE THE SOFTWARE, EVEN IF YAMAHA OR AN AUTHORIZED DEALER HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. In no event shall Yamaha's total liability to you for all damages, losses and causes of action (whether in contract, tort or otherwise) exceed the amount paid for the SOFTWARE.

3. TERMINATION

This Agreement becomes effective on the day that you receive the SOFTWARE and remains effective until terminated. If any copyright law or provisions of this Agreement is violated, the Agreement shall terminate automatically and immediately without notice from Yamaha. Upon such termination, you must immediately destroy the licensed SOFTWARE, any accompanying written documents and all copies thereof.

7. GENERAL

This Agreement shall be interpreted according to and governed by Japanese law without reference to principles of conict of laws. Any dispute or procedure shall be heard before the Tokyo District Court in Japan. If for any reason a court of competent jurisdiction nds any portion of this Agreement to be unenforceable, the remainder of this Agreement shall continue in full force and effect.

Specifications

Keyboards MOTIF XS8 MOTIF XS7 MOTIF XS6 Tone Generator block Tone Generator Polyphony Multi Timbral Capacity Wave Voice AWM2 with Expanded Articulation 128 notes 16 Parts (internal), Audio Input Parts (A/D, IEEE 1394*)

*1 stereo Part

Sequencer block 88 keys, Balanced Hammer Effect Keyboard (Initial Touch/Aftertouch) 76 keys, FSX Keyboard (Initial Touch/Aftertouch) 61 keys, FSX Keyboard (Initial Touch/Aftertouch) Note Capacity Note Resolution Maximum Polyphony Tempo (BPM) Recording type Approx. 130,000 notes 480 ppq (parts per quarter note) 124 notes Real time replace Real time overdub (with the exception of the Pattern Chain) Real time punch in/out (Song only) Pattern: 16 Phrase tracks Pattern Chain: Pattern track, Tempo track, Scene Song: 16 sequence tracks (Loop on/off can be set for each track), Tempo track, Scene track 64 Patterns (x 16 sections), Measures: 256 maximum Mixing Voices: 16 Voices per Pattern and up to 256 Voices for all Patterns Mixing Templates: 32 for all Songs and Patterns User Phrases: 256 per Pattern 64 Songs Mixing Voices: 16 Voices per Song and up to 256 Voices for all Songs Mixing Templates: 32 for all Songs and Patterns Preset: Approx. 6,000 types User: 256 types *MIDI Sync, MIDI transmit/receive channel, Velocity Limit, and Note Limit can be set. 5 per Song Format Original format, SMF format 0, 1 (Format 1 load only)
Others Master Sequence Software compatible with the Remote Control function Controllers User: 128
*8 Zones (Master keyboard settings), Assignable Knob/Slider settings, Program Change Table
For Windows : Cubase 4, Cubase AI, SONAR 5.2 For Macintosh : Cubase 4, Cubase AI, Logic 7.2, Digital Performer 5
*Functions to be controlled differ depending on the software.
Pitch Bend wheel, Modulation wheel, Ribbon Controller, Assignable Control Sliders x 8, Assignable Knobs x 8, Assignable Function buttons x 2, Data dial 320 x 240 dot, 5.7 inch graphic color backlit LCD OUTPUT L/MONO, R (standard phone jack) ASSIGNABLE OUTPUT L, R (standard phone jack) A/D INPUT L, R (standard phone jack) DIGITAL OUT PHONES (standard stereo phone jack) FOOT CONTROLLER 1, 2 FOOT SWITCH x 2 (SUSTAIN, ASSIGNABLE) MIDI IN/OUT/THRU USB (TO HOST, TO DEVICE) AC IN ETHERNET IEEE 1394 (MOTIF XS8 only) 30W MOTIF XS8: 1,457 (W) x 466 (D) x 168 (H) mm, 28.6 kg MOTIF XS7: 1,252 (W) x 391 (D) x 122 (H) mm, 17.0 kg MOTIF XS6: 1,045 (W) x 391 (D) x 122 (H) mm, 14.8 kg

Tracks

Display Connectors
355MB (when converted to 16-bit linear format), 2,670 waveforms Preset: 1,024 Normal Voices + 64 Drum Kits GM: 128 Normal Voices + 1 Drum Kit User: 128 x 3 (selected and copied from Preset bank) Normal Voice + 32 Drum Kits User: 128 x 3 (up to 4 Parts) 18 types Reverb x 9 types, Chorus x 22 types, Insertion (A, B, L) x 53 types x 8 blocks, Master Effect x 9 types, Master Equalizer (5 bands), Part EQ (3 bands, stereo) Phrases Songs Patterns
Performance Filter Effect System Sampling block Samples
Arpeggio 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), IEEE 1394 Digital input (available on the MOTIF XS6 and 7 when the optional board has been installed) 24-bit, 64x oversampling 24-bit, 128x oversampling 16 44.1kHz, 22.05kHz, 11.025kHz, 5.5125kHz (Stereo/Mono) Sampling Frequency via IEEE 1394 (when the optional board has been installed): 44.1kHz (fixed) Optionally installed, expandable to 1GB (512MB DIMM x 2 slots)
*DIMMs are not installed to the instrument when shipped from the factory.
Power Consumption Dimensions, Weight

Scene Memory Sequence

Sampling Sources

Accessories

AC Power cord, Cubase AI Disc x 1, Owners Manual, Data List
A/D Conversion D/A Conversion Sample Data Bits Sampling Frequency

Rear Connectors

Sampling Memory Sample Length Sampling Time
Mono: 32 MB Stereo: 64 MB 44.1kHz: 6 min. 20 sec. 22.05kHz: 12 min. 40 sec. 11.025kHz: 25 min. 20 sec. 5.0125kHz: 55 min. 40 sec.

*Mono/Stereo

Sample Format
Original format, WAV, AIFF
Specifications and appearance subject to change without notice. All trademarks and registered trademarks are property of their respective owners.
For details please contact:

www.yamahasynth.com

Printed in Japan

LCK-0603

Preliminary
Instant Inspiration, Infinite Possibilities
Get inspired! With the new Yamaha MOTIF XS, inspiration is just a key press away. High-quality sounds to inspire you, intelligent arpeggiators to fuel your creativity, recording features to capture every idea, built-in sampling to create full audio/MIDI arrangements, rhythmic Patterns to compose with, studio-style mixing controls and versatile effect processing to master your final productions. With all this and more, the MOTIF XS will soon be your favorite go-to instrumentwhether youre composing at home, recording in the studio, or playing live. Its got absolutely everything you need to make professional quality music. Close your eyes, play the gorgeous sounds and rhythms of the MOTIF XSand feel the inspiration.
High Quality Sounds to Spark Your Creativity
he MOTIF XS provides an exceptionally broad selection of realistic sounds to spark your creativity, with a massive 355 MB of high-quality waveforms and samples on board. A single Voice can have up to eight separate sound Elements, enabling composite sounds of remarkable complexity and nuance. Among the standout Voices is a resonant, meticulously recorded concert grand piano sound that is practically worth the price of admission by itself. New acoustic piano, electric piano and orchestral samplesnot to mention the richly textured and distinctly electronic synthesizer wavesgive you the sonic tools to fully realize virtually any style of music and any instrumentation.
VCM REV-X HALL VCM Effect
new feature is the Expanded Articulation tone generation system. A notherthe eight available Elements, XA allows you(XA)more effectively recreate Using to realistic sound and natural performance techniquessuch as legato, staccato and key release soundsoften used on acoustic instruments but unavailable or difficult to realize on electronic keyboards. It also lets you assign Elements to on/off panel switches, and change sounds within a Voice in real timefor example, playing a classical guitar voice and switch between playing normally and playing high harmonics. XA also offers other unique modes for random and alternate sound changes as you play.
VCM FLANGER VCM EQUALIZER 501

VCM COMPRESSOR

A wide selection of special Mega Voices provide even more

expressive nuance, when used with sequencer tracks or the special Mega Voice Arpeggios. Mega Voices are not meant to be played from the keyboard because of their complex velocity layers, but have special expressive sounds that are designed to be precisely triggered by recorded datafor example, letting you create an acoustic guitar track with authentic sounding muted playing, slides and bell-like harmonics.

Mega Voice

VCM PHASER
a uniquely natural half damper effect O ther Voice-related features include you nuanced control over the sustained for acoustic piano sounds. This gives sound when pressing the damper pedal, depending on how far down you press the pedal. The MOTIF XS has a full complement of effects, both insert (Insertion) and send (System), and includes a special set of VCM (Virtual Circuitry Modeling) effects that authentically model the elements in analog circuitry, realistically recreating the uniquely warm characteristics of vintage processing gear. Speaking of vintage, the instrument also includes a sophisticated Vocoder effect that produces classic robotic synthesizer sounds, molded by your speaking or singing voice through a connected microphone.

Vocoder

Intuitive Interface, Easy Operation
technology D espite all the advancedpacked tightly and wealth of features into the instrument, the MOTIF XS is exceptionally intuitive and easy to use. It gives you a large, full-dot color LCD that lets you see multiple parameters at a glance, and has clear, high-resolution graphics with virtual sliders, knobs and more. he panel of the MOTIF XS provides an amazing level of control and flexibility. Eight knobs and eight sliders let you instantly tweak a variety of parameters and effects as
O ther convenient operation features include the improved Category Search function, which now is organized with Dual Categories that help you find the Voice you want. Calling up
the Guitar category, for instance, gives you access to the Dual (sub) Categories, such as Acoustic, Electric Clean and Electric Distortion. The Mega Arpeggio Voices also have their own Dual Category for easy selection of those unique Voices. he MOTIF XS is not only exceptionally intuitive and easy to operate, its a true joy to playright down to the newly designed expressive keyboards.
Ideal for Live Performance, Song Creating and Arranging
he MOTIF XS has so many sophisticated features that help jump-start your creativity worry about running out of recording space. You can record your keyboard playing, freely calling up various Arpeggio types as you improvise, then edit the Song later as necessary. You may even want to keep the recorder running as you play, then listen back later and pick out the best parts to create your final composition. feature the Integrated Sampling A nother powerfuland MIDIisrecording. Simply install Sequencer, which seamlessly combines audio optional DIMM modules (up to 1 GB) and record the audio directly to tracks on the MOTIF XS. Record your vocals or acoustic guitar (with a microphone), electric guitar or bass, or even short rhythm loops from a sample CD. Theres also a Slice feature that automatically chops up your rhythms and riffs into their individual beats and notes, letting you manipulate the component parts of your sample loops as MIDI datagiving you the power to easily change tempo and rhythmic feel, without disturbing the pitch or sound quality. and live performance potential. One of the most powerful of these is Arpeggio, which lets you trigger a variety of sequenced phrases from the keyboard. There are approximately 6,000 different Arpeggio phrases on board, and you can have four different Arpeggios, playing four different instrument parts, running simultaneously-in perfect sync, of course. The music making possibilities are virtually endless. Have a drum Voice play an automatic rhythm, add an Arpeggio bass phrase, and fly in other instrument phrases as the inspiration hits you. Everything stays in sync, and everything follows your chord changes. with W hile you experiment and play around the song Arpeggios in the Performance mode, ideas will come fast and fierce-maybe too many to remember. No worries, though. You can capture them easily and directly by recording them to a Song or Pattern (which can be stored to the built-in flash memory). Since the data is MIDI, you dont have to

Sampling Slice

you play. The eight knobs are especially versatile, letting you use the knobs to independently control eight different parameters (out of 24 selectable), or use them to control a certain effect setting (reverb, chorus or pan) for up to eight different parts (in a song, for example). The knobs can also be used to change the rhythmic feel and other settings of Arpeggios and Patterns while they play back. Two Assignable Function buttons give you added control over the sound of the new Expanded Articulation (XA) Voices, letting you change sounds within a Voice in real time.
The MOTIF XS6 and XS7 have a new, natural FSX keyboard (61/76 keys), while the MOTIF XS8 features the grand piano-like BH (Balanced Hammer) keyboard (88 keys).

Computer Integration

Software Integration
odays music production is highly dependent on software, and the MOTIF XS is designed to work seamlessly and transparently in your computer-based environment.
The Enormous Power of Cubase 4
Cubase 4 is the cutting edge, professionals choice in digital audio workstations. It now features the new SoundFrame universal sound manager, a powerful system that manages all your sounds, presets and loops-including your MOTIF XS voices-in one centralized database. This is the heart of SoundFrame and is called MediaBay. Combined with the comprehensive integration features of Studio Connections, SoundFrame and MediaBay help make your MOTIF XS an inseparable part of the Cubase 4 studio. Track Presets add further flexibility and save huge amounts of time. For example, you can call up a vocal track and instantly have your favorite EQ and compressor loaded automatically, with all your custom settings. These organizational tools radically speed up your MediaBay workflow and even help in the creative process. The mixer in Cubase 4 has been expanded with a powerful Control Room section, allowing you to connect multiple sets of control room monitors and external sources directly to your audio hardware and switch between them from a convenient Control Room panel. Theres also a talkback channel, a headphone bus, and you can create up to four studio mixes (monitor mixes), with a separate studio send section on each mixer channel for controlling those mixes.

Cubase 4

The Remote Control mode lets you control your DAW software right from the panel of the MOTIF XSfor example, starting and stopping playback/recording with the special transport buttons, changing track levels with the sliders, and tweaking parameters with the knobs. the MOTIF XS comes A full-featured music production synthesizer in every way,any application and anyequipped with a variety of connectors and interfaces-for virtually studio situation. These include independent Assignable Outputs, A/D Inputs (for recording external sources), S/P DIF Digital Output, MIDI, Ethernet, IEEE 1394 (standard on the MOTIF XS8 and available on the MOTIF XS6/7 with the optional board) and two USB connectors, compatible with the high-speed USB 2.0 standard. he comprehensive set of connectorsEthernet, IEEE 1394 and USB TO HOSTmake interfacing with computers and your favorite software exceptionally easy. he MOTIF XS is also compatible with the MOTIF XS Editora comprehensive, easy-to-use editing software program that lets you edit (via USB connection) the

Mixing setups and Mixing Voices to be used for Song/Pattern playback directly on your computer. The MOTIF XS Editor is free and can be downloaded from the Yamaha website. Naturally, the editor can be used within Cubase as part of Studio Connections, and all settings can be saved with each project for instant recall.
In particular, the new Ethernet connection gives you fast transfer of your MOTIF XS files to and from a computer on the same network. The IEEE 1394 interface gives you a one-cable, one-network solution for high-speed, realtime transfer of multi-channel digital audio and MIDI data.

Control Room

MOTIF XS Editor
The Cubase Connectionand Studio Connections
f Cubase is not yet part of your software arsenal, a copy of the new Cubase AI is bundled with the instrument, letting you dive in and start using the versatile features
of Studio Connections right out of the box. Cubase AI is a full-featured music production software that integrates fully with the MOTIF XS, and can easily be upgraded to Cubase 4. It gives you all the tools to produce professional level recordingsquickly and easilywith a system that you can expand into the future.
The MOTIF XS is specially designed to function seamlessly with Cubase 4, Steinbergs powerful DAW softwaregiving you a comprehensive, all-in-one music production system in which both hardware and software are fully integrated. With our Studio Connections system (created jointly with Steinberg), you can effectively bring the MOTIF XS into the Cubase environment and use it just as if it were a plug-in software synthesizerno complicated connections or complex setup necessary. Whenever you open a project, your MOTIF XS is automatically enabled as well, with all the custom settings you previously saved. You can use the convenient panel controls on the MOTIF XS to remotely to control a wide variety of operations on Cubase 4. And since song files on the MOTIF XS are in Cubase format, you can create material on the MOTIF XS and easily import it to tracks in Cubase 4 for further editing and mixing.
Other new Cubase 4 features include a revamped VST3 plug-in set with over thirty new plug-ins including StudioEQ, Cloner, AmpSimulator, a new Multiband Compressor, and many more. New VST instruments include three outstanding new synthesizers, as well as the HALion One sample player, with hundreds of new instrument sounds. Cubase 4 also provides full surround sound capabilities, with a full-fledged multi-channel audio path from input to output. The Score editing facilities have also been enhanced, not only extending the functionality but also making it easier to use.