Package Contents

Power adaptor (PA-300, PA-300B, PA-301 or an equivalent)* Owners Manual (this book) Data List Installation Guide CD-ROM
* May not be included in your area. Please check with your Yamaha dealer.
About the included CD-ROM
This CD-ROM contains special software for use with this instrument. It includes Voice Editor, which gives you comprehensive and intuitive sound editing tools and Multi Part Editor, for editing the Mixing parameters of Multis. Details are given in the separate Installation Guide or the online manuals included with the software.

Main Features

Wide range of dynamic and authentic Voices in a 1U rack-mounted tone generator
An enhanced new user bank, with the addition of 128 Normal Voices to the included wide range of dynamic and authentic Voices of the original top-of-the-line Yamaha MOTIF ES Synthesizer to give you whatever sound you need, for any musical style. Comprehensive effect processing, including Insertion Effects for up to eight Parts, independent three-band Part Equalizers for each Part and high-quality Reverb Effects, provides pro-level sound enhancement for your music creation and performance.
Compatibility with Plug-in Boards, for wide-ranging sound expansion
Thanks to the two Modular Synthesis Plug-in System connectors and the optional Plug-in Boards, you can upgrade the MOTIFRACK ES with completely new sound-processing engines. These Plug-in Boards give you more Voices, more effects and more instrument Parts. Plus, special Plug-in Voices have already been programmed and stored to the MOTIF-RACK ES, ready to be played as soon as you install the proper board.
Simple, intuitive panel layout
A detailed 160x64 dot graphic display provides comprehensive and easy-to understand control over virtually all operations. Use the PAGE buttons, cursor buttons, and the data dial to quickly and easily edit any of the parameters.
Playing layered sounds Performance Mode
The MOTIF-RACK ES features 128 different Performances, which lets you use four different Voices together in layers or in a keyboard split.
Large selection of versatile, instantly selectable multiple Voice setups Multi Mode
The MOTIF-RACK ES also features 32 different Multis, each specially programmed with its own effect, equalizer and other settings, and each designed particularly for a specic style of music or application letting you quickly and easily call up the settings you need.

n The output from the DIGITAL OUTPUT jack or OPTICAL OUTPUT jack is not affected by the [VOLUME] knob.
External MIDI keyboard or synthesizer, such as the MOTIF ES.

MIDI IN

MIDI Transmit Channel and Receive Channel
Make sure to match the MIDI Transmit Channel of the external MIDI instrument with the MIDI Receive Channel of the MOTIFRACK ES. For details on setting the MIDI Transmit Channel of the external MIDI instrument, refer to the owners manual of your particular MIDI instrument. For details on setting the MIDI Receive Channel of the MOTIF-RACK ES, check the following points.
In the Voice mode/Performance mode (using the MOTIFRACK ES as a single timbre tone generator; page 57)
Check the MIDI Basic Receive Channel with the following operation.
[UTILITY] MIDI display BasicRcvCh
If necessary, change this parameter to the same number as the MIDI Transmit Channel of the external MIDI instrument.
In the Multi mode (using the MOTIF-RACK ES as a multitimbral tone generator; page 57)
Check the MIDI Receive Channel for each Part of the Multi with the following operation.
[MULTI] [EDIT] [MUTE/SEL/ENTER] (LED turns off) select Part Voice display RcvCh
Change the settings of the desired Parts to match the MIDI Transmit Channel settings on the external MIDI instrument. Please note that all Parts whose MIDI Receive Channels match the MIDI Transmit Channel of the external MIDI instrument are sounded by your keyboard performance.
n For details about the functions of the internal tone generator, see page 51.
Playback using an external MIDI sequencer
In this case, make sure that the MOTIF-RACK ES is set to the Multi mode. If the instrument is set to the Voice mode or to the Performance mode in which multi-channel MIDI messages are not recognized, the external sequence data (containing multi-channel data) will not play back properly on the MOTIF-RACK ES. In addition, when using the Arpeggio function (page 42), you may have to make certain MIDI synchronization settings (see below).
Controlling another MIDI instrument via MIDI THRU
If you have more synthesizers and tone generators than MIDI ports, you can use the MIDI THRU jack to connect and control additional devices. Here, the playback data of an external MIDI sequencer is output via the MIDI THRU connector.
MIDI tone generator MIDI sequencer such as the QY/QX series, RM1x, RS7000 Sounding the MOTIF-RACK ES tone generator from a MIDI sequencer, such as the QX/QY series, RM1x, RS7000
MIDI IN MIDI OUT MIDI IN MIDI THRU
MOTIF-RACK ES MOTIF-RACK ES
Synchronizing with an external MIDI instrument (Master and Slave)
When using multiple MIDI devices, the tempo settings of the MIDI devices must be synchronized by clock signal. The device set to internal clock serves as a reference for all connected devices, and is referred to as the master instrument. The connected devices set to external clock are referred to as slaves. When using playback data of an external MIDI sequencer to trigger the Arpeggio function on the MOTIF-RACK ES, make sure to set the MIDI synchronization parameter in the Utility mode so that the external clock is used (as shown below).

The indicator is shown at the top of the display (in place of the indicator), and the original, unedited Voice is restored for monitoring.
The Voice Edit mode gives you comprehensive tools for creating your own original Voices, either from scratch by changing the basic sounds, or by tweaking the various Voice parameters. Create your custom sounds by calling up a preset Voice and editing as desired. The actual parameters available and the methods for editing differ depending on the Voice type.

Normal Voice Edit

A Normal Voice can consist of up to four Elements. There are two types of Voice Edit displays: Common Edit, for editing the settings common to all four Elements; and Element Edit, for editing individual Elements.
2. Hold down the [SHIFT] button and press the [COMPARE]
button simultaneously again to disable the Compare function and restore the settings for your edited Voice.
Compare the edited sound with the unedited sound as desired by repeating steps 1 and 2.
n The Compare function is also available in the Performance/Multi Edit mode. n While Compare is active, you cannot make edits to the parameters.

Drum Voice Edit

There are two types of Drum Voice Edit displays: Common Edit, for editing the settings that apply to all Drum keys in the Voice; and Element Edit, for editing individual keys (Elements).

Plug-in Voice Edit

This is basically the same as Normal Voice Edit. Unlike with Normal Voices, the Plug-in Voices only have one Element for editing.
1. Press the [VOICE] button to enter the Voice mode, then
select a Normal Voice to be edited (page 23).
If you are creating a Voice from scratch, use the convenient Initialize function ([UTILITY] JobSel display) to initialize a Voice in the User Banks (page 47).

About Elements

An Element is the basic and the smallest unit for a Voice, and is created by applying the several parameters (Effect, EG, etc.) to the wave of the instrument sound. Each Voice of the MOTIF-RACK ES consists of several Elements.

TIP Performance Part mute
[MUTE/SEL/ENTER] (LED lights) select Part with [1/5/9/13] [4/8/12/ 16]
Each Performance can contain a maximum of four Parts, each of which can be turned on or off independently. The operation for muting individual Parts is same as that of muting individual Elements of a Voice (page 26).
TIP Using the Category Search function
[CATEGORY] select Main Category with BANK [E][F] select Sub Category with [SHIFT] + BANK [E][F] select Performance [CATEGORY]

Split (example)

As in the Voice Play mode, you can use the Category Search and Favorite Category functions in the Performance Play mode (page 24).
*Available when the Plug-in Board has been installed.
Performance mode, then select a Performance to be edited (page 30).
If you are creating a Performance from scratch, use the convenient Initialize function (in the [UTILITY] JobSel display) to initialize a Performance in the User Banks (page 47).
2. Press the [EDIT] button once or twice to call up the
Performance Voice Assign mode.
The following display appears.

Voice display

Limit display
3. Select the Voice display with the PAGE [E][F] buttons. 4. Assign the desired Voice to each Part.
Move the cursor to the desired setting with the cursor [L][M] buttons. Set the parameters with the data dial.
TIP Set the note/velocity range with a Note On

message

You can also set the note/velocity range directly from a connected MIDI keyboard by pressing the appropriate keys.
1. Select the Limit display, then press the [SHIFT] + [MUTE/

SEL/ENTER] buttons.

2. The keyboard mark appears in the top right of the display.
Part Switch (PartSw) Voice Bank (Bank)

Voice Number (Number)

Part Switch (PartSw) Voice Bank (Bank) Voice Number (Number)
Determines whether the internal Voices or Plugin Board Voices are used. Select a Bank for the selected Part. Select a Voice number in the selected Bank.
3. Press the desired key on the keyboard to transmit the Note
On message to the MOTIF-RACK ES.
n Voices of the Multi-part Plug-in Board PLG100-XG cannot be assigned to Performance Parts. n You can also assign Voices to a Performance in the Part Edit display (page 33).
4. When the cursor is set to NoteLimitH or NoteLimitL, the
parameter is set to the note of the pressed key (note number).
When the cursor is set to VelLimitH or VelLimitL, the parameter is set to the volume of the pressed keyboard (Velocity).
When a Plug-in Board Voice is assigned to a Part, the available Voice Banks differ depending on the installed Plug-in Board. For details, refer to the Owners Manual of the Plug-in Board.
TIP Using Category Search to assign Voices to

By pressing the BANK [E][F] buttons or selecting the BankMSB/ BankLSB parameter with the cursor [L][M] buttons and using the data dial, you can call up the Voice Banks listed below. Normal Voice Pr1-6: Preset Banks GM: GM Bank Us1-3: User Voice Banks Drum Voice Plug-in Voice
PD: Preset Drum Bank Pp (Pp1-2): Plug-in Preset Bank(s) GD: GM Drum Bank UD: User Drum Bank Pu1-2: Plug-in User Banks PB: Plug-in Board Voice Bank*
Playing Plug-in Board Voices in the Multi mode
When playing a Plug-in Voice or Board Voice, be sure to make the following settings. Assign the desired Board Voice or Plug-in Voice to the Plug-in Part. In the Voice display of the Mixing Edit mode or Multi Part Edit mode, select the appropriate bank and desired Voice number (pages 38, 39). For example, when you play a Plug-in Board Voice installed to PLG1, select PRE1 (preset Plug-in Voice bank 1) or Pp1 (Board Voice bank 1) in the Bank parameter.
n In the Mixing Edit/ Multi Part Edit mode, you can select Parts in succession by simultaneously holding the [SHIFT] button and using the PART [E][F] buttons. The Plug-in Parts can be selected following Part 16.
* For details about Plug-in Board Voices, refer to page 52.
You can select Voices using the Category Search function, just as is done in the Voice Play mode (page 24).
TIP Assigning Voices to the Parts from a

computer

You can use a computer to select Voices to be assigned to the Parts by specifying appropriate MIDI messages. If you transmit the relevant Bank Select MSB/LSB and Program Change messages to the MOTIF-RACK ES, the Part Voice corresponding to the MIDI channel of these messages can be changed (page 24).
n Make sure that the MIDI Channel of the MIDI message is set to the same value as the receive channel of the desired Part.
Set the Receive Channel of the Plug-in Part to the same value as the Transmit Channel of the track of the connected device (such as a sequencer) from which the data is to be played. This setting can be changed from the ReceiveCh parameter in the Voice display of the Multi Part Edit mode. The default settings are 1 for PLG1 Part, and 2 for PLG2.
n When a Note On message is received, the internal Parts which are set to the same receive channel as that of the Plug-in Part are also played. To prevent this from happening, set the receive channels of the Parts that you wish not to play to off, or set the MIDI port of the Plug-in Part(s) to 2 or 3 (page 58). n When the MOTIF-RACK ES is connected to a computer, the MIDI ports of Plug-in Part(s) can be changed. ([UTILITY] PLG1Sys/PLG2Sys display PortNo., page 91)
From this display you can set the Pan and Volume for each Part.
TIP Editing the Voice of each Part (Multi Voice
[MULTI] (LED lights in green) select Multi [MULTI] (LED lights in red) Multi Mixing select Part [SHIFT] + [EDIT]

Data Type to be transmitted
All Bulk Dump: Saves the data of all the following items via Bulk Dump.
Source Voice Data type (Source) Data type (Destination)
Nrml (All User Normal Voices), Drum (All User Drum Voices), or PLG (All User Plug-in Voices) All Performances All Multis Overall system settings

Perf Multi System

Data type to be copied
Common: Copies the Common Edit settings Elem1-4 (Key C0-C6): Copies each Element/Key Edit settings
Current 1 Voice/Performance/Multi: Saves the current Voice/ Performance/Multi using the Bulk Dump.

Saving Data

1. Start the real time recording function in the external

sequencer software.

Performance/Multi mode
Part01-04 (Performance), Part01-16 (Multi), Part P1, Part P2: Copies each Part/Plug-in Part settings
n In the Performance/Multi mode, you can also select Effect and Arp in Data type (Destination). Effect: This lets you copy the System Effect (Reverb/Chorus) settings of the Parts Voice selected in Data type (Source) to the System Effect of the current Performance/Multi. Arp: This lets you copy the Arpeggio settings of the Parts Voice in Data type (Source) to the Arpeggio of the current Performance/Multi.
2. Transmit the desired bulk data from the MOTIF-RACK

ES to the sequencer.

The bulk data will be recorded in the song le of sequencer.

Loading Data

1. From your sequencer, play back the song le
containing the bulk data.
Copying the Performance settings to the Multi
In the Multi mode, you can also select the Copy Multi from Perf display with the PAGE [F] button. This display lets you to copy each Performance setting to the current Multi.
2. The bulk data is transmitted to the MOTIF-RACK ES and
the settings are restored.
When the MOTIF-RACK ES receives the bulk data, the settings are overwritten and replaced with the settings from the bulk data. Be careful not to overwrite any important data. n In order to properly use Bulk Dump, the appropriate MIDI Device Number must be set. For details, see page 91. When bulk data transmission does not work properly, try increasing the transmit interval value (BulkIntrval parameter). See page 90. n For details about how to connect the instrument to a computer, see pages 18 and 36. For details about the sequencer settings, refer to the owners manual of your sequencer.
Data type of Performance (source) Settings (other than Part settings) to be copied

VelLmtLow/High (VlLmtL/H)

Velocity Limit Low/High

Sets the minimum and maximum values of the velocity range within which each Element will respond. Each Element will only sound for notes played within its specied velocity range. For example, this lets you have one Element sound when you play softly and have a different one sound when you play strongly.
Settings: 1 ~ 127 n If you specify the maximum value rst and the minimum value second, for example 93 to 34, then the velocity range covered will be 1 to 34 and 93 to 127.

VelCrsFade (CrsFd)

Velocity Cross Fade
This determines how gradually the sound of an Element decreases in volume in proportion to the distance of velocity changes outside the Velocity Limit setting (above). The higher the value, the more gradual the level change.
CoarseTune (Coarse) FineTune (Fine)
Coarse Fine Determines the pitch of each Element in semitones.

Settings: -48 ~ 0 ~ +48

Determines the ne tuning for the pitch of each Element.
FineScalSns (SclSns) Fine Scaling Sensitivity
Determines the degree to which the notes (specically, their position or octave range) affect the pitch in ne tuning (set above) of the selected Element, regarding C3 as the basic pitch. A positive setting will cause the pitch of lower notes to change lower and that of higher notes to change higher. A negative setting will have the opposite effect.
RandomTune (Random) PitchVelSns (VelSns) FlwPchSns (FlwSns)

Random

This lets you randomly vary the pitch of the Element for each note you play. The higher the value, the greater the pitch variation. A value of 0 results in no pitch change.
Pitch Velocity Sensitivity Pitch Key Follow Sensitivity
Determines the velocity sensitivity of the Pitch. Extreme values produce greater variation in PEG Depth.
Determines the sensitivity of the Key Follow effect (the pitch interval of adjacent notes). The CntrKy (Center Key: next parameter) is used as the basic pitch for this parameter. At +100 (the normal setting), adjacent notes are pitched one semitone (100 cents) apart. At 0, all notes are the same pitch. At +50, one octave is stretched out over twenty-four notes. For negative values, the settings are reversed.
Settings: -200 ~ 0 ~ +200 n This parameter is useful for creating alternate tunings, or for use with sounds that do not need to be spaced in semitones, such as pitched drum sounds in a Normal Voice.

FlwCntrKey (CntrKy)

Pitch Key Follow Sensitivity Center Key
Determines the basic note for the FlwSns parameter above. The note number set here is the same pitch as normal, regardless of the FlwSns setting.

Settings: C -2 ~ G8

Pitch Key Follow Sensitivity and Center Key
When Pitch Sensitivity is set to 100 Large Small

Amount of pitch change

Lower range CntrKy (Center key) Higher range
PEG (Pitch Envelope Generator)
Hold Time (HoldTm) AttackTime (AtkTm) Decay1/2Time (Dcy1/2Tm) ReleaseTime (RelTm) HoldLvl (HoldLv) AttackLvl (AtkLv) Decay1/2Lvl (Dcy1/2Lv) ReleaseLvl (RelLv) Depth (Depth)
PEG Hold Time PEG Attack Time PEG Decay Time PEG Release Time PEG Hold Level PEG Attack Level PEG Decay Level PEG Release Level PEG Depth Determines the velocity sensitivity of the PEGs Time parameters. Select the Segmnt (Segment) parameter, then set its TmVel parameter. Positive TmVel settings will play back the specied Segment faster and negative values will play it back slower. A negative setting will have the opposite effect.
Settings: TmVel: -64 ~ 0 ~ +63 Settings: Segmnt: atk, atk+dcy, dcy, atk+rls, all atk (attack).. TmVel parameter affects Attack time. atk+dcy (attack + decay). TmVel parameter affects Attack/Decay1 time. dcy (decay).. "TmVel parameter affects Decay time. atk+rls (attack + release). "TmVel parameter affects Attack/Release time. all.. TmVel affects all PEG Time parameters. Performance mode Multi mode
Makes all the time and level settings for the Pitch EG, which determine how the pitch of the sound changes over time. You can control the transition in pitch from the moment the sound starts to the moment the sound stops.
Settings: HoldTm, AtkTm, Dcy1Tm, Dcy2Tm, RelTm: 0 ~ 127 HoldLv, AtkLv, Dcy1Lv, Dcy2Lv, RelLv: -128 ~ 0 ~ +127 Depth: -64 ~ 0 ~ +63 n For details about the PEG, see page 55.
EGTmVelSns (TmVel) PEG Time Velocity Sensitivity SgmntVelSns (Segmnt)
PEG Time Velocity Sensitivity Segment
EGLvVelSns (LvlVel) CurvVelSns (CrvVel)
PEG Velocity Level Sensitivity PEG Velocity Sensitivity Curve PEG Time Key Follow Sensitivity
Determines the velocity sensitivity of the PEG Level. Positive settings will cause the pitch change to rise the harder you play the note, and negative values will cause it to fall. The CrvVel parameter lets you select from ve different preset velocity curves, that determine how velocity affects the LvlVel.
Settings: LvlVel: -64 ~ 0 ~ +63 Settings: CrvVel: 0 ~ 4
PEG Time Key Follow Sensitivity Center Key
Determines the central note for the FlwSns parameter above. When the Center Key note is played, the PEG behaves according to its actual settings. The pitch change characteristics for other notes will vary in proportion to the TmVel parameter settings.

Set1/2Source Set1/2Dest Set1/2Depth MW Filter MW PMod
Controller Set Source Controller Set Destination Controller Set Depth Modulation Wheel Filter MW Wheel Pitch Modulation Depth Modulation Wheel Filter Modulation Depth Modulation Wheel Amplitude Modulation Depth Aftertouch Pitch
Same as the CtrlSet display in Normal Voice Common Edit. See page 66. Please note that the Element Switch parameter is not available in the Plug-in Voice Common Edit mode. Same as the CtrlSet display in Normal Voice Common Edit. See page 66. Please note that the Element Switch parameter is not available in the Plug-in Voice Common Edit mode.
Determines the depth of control of the Modulation Wheel over the lter cutoff frequency. Determines the depth of control the Modulation Wheel has over pitch modulation. The higher the setting, the greater the depth of control.
Settings: 0 ~ 127 Voice mode Multi mode Performance mode Settings: -64 ~ 0 ~ +63

MW FMod

Determines the depth of control the Modulation Wheel has over lter cutoff modulation. The larger the setting, the greater the depth of control.

MW AMod

Determines the depth of control the Modulation Wheel has over amplitude modulation. The larger the setting, the greater the depth of control.

AT Pitch

Determines the depth of control of keyboard aftertouch over pitch. You can set a value (in semitones) of up to two octaves.

Settings: -24 ~ 0 ~ +24

AT Filter AT PMod
Aftertouch Filter Aftertouch Pitch Modulation Depth Aftertouch Filter Modulation Depth Aftertouch Amplitude Modulation Depth Assignable Control Source Assignable Control Filter
Determines the depth of control of keyboard aftertouch over the Filter Cutoff Frequency.
Determines the depth of control that keyboard aftertouch has over pitch modulation. The higher the setting, the greater the depth of control.

AT FMod

Determines the depth of control that keyboard aftertouch has over the lter cutoff modulation. The larger the setting, the greater the depth of control.

AT AMod

Determines the depth of control that keyboard aftertouch has over the amplitude modulation. The larger the setting, the greater the depth of control.

PureMaj (Pure major)

PureMin (Pure minor) Werckmeist (Werckmeister) Kirnberger Vallot&Yng (Vallotti & Young) 1/4 Shift (1/4 shifted) 1/4 tone 1/8 tone Indian Arabic 1 Arabic 2 Arabic 3

C~B C~B C~B C~B ----C~B

Filter Type List
[VOICE] select Normal Voice [EDIT] [MUTE/SEL/ENTER] (LED turns off) select Element with [1/5/9/13]-[4/8/12/16] Filter display Type (page 70)
LPF24D (24dB/oct Digital Low Pass Filter) A dynamic 24dB/oct low-pass lter with a characteristic digital sound. Compared to the LPF24A type (below), this lter can produce a more pronounced resonance effect.
LPF12 (12dB/oct Low Pass Filter) 12dB/oct low-pass lter. This lter is designed to be used in conjunction with a high-pass lter.

Resonance

HPF12 (12dB/oct High Pass Filter) 12dB/oct dynamic high-pass lter.
Performance mode Frequency Cutoff range Frequency
These frequencies are passed by the lter.
BPF12D (12dB/oct Digital Band Pass Filter) LPF6 (6dB/oct low-pass Filter) 1-pole 6dB/oct low-pass lter. No resonance. This lter is designed to be used in conjunction with a high-pass lter.
Level Cutoff range Resonance Cutoff range Effect
LPF24A (24dB/oct Analog Low Pass Filter) A digital dynamic low-pass lter with characteristics similar to a 4-pole analog synth lter.

12db/oct

Range passed
Level Resonance Cutoff range
LPF18s (18dB/oct Staggered Low Pass Filter) 3-pole 18dB/oct low-pass lter. This lter has a smoother cutoff slope than the LPF18 type.

Resonance LPF18 LPF18s

Width can be increased
LPF18 (18dB/oct Low Pass Filter) 3-pole 18dB/oct low-pass lter.
HPF24D (24dB/oct Digital High Pass Filter) A dynamic 24dB/oct high-pass lter with a characteristic digital sound. This lter can produce a pronounced resonance effect.
BPFw (Wide Band Pass Filter) A 12dB/oct BPF that combines HPF and LPF lters to allow wider bandwidth settings.
BPF6 (6dB/oct Band Pass Filter)
Level Cutoff range Resonance Cutoff range
Dual HPF (Dual High Pass Filter) Two 12dB/oct high-pass lters connected in parallel.

Level Distance

LPF12 + BPF6 (12dB/oct Low Pass Filter + 6dB/oct Band Pass Filter) A combined low-pass and high-pass lter.

6db/oct

Frequency Range passed Frequency The lower cutoff frequency is set directly on the display. Distance The lower cutoff frequency is set directly on the display. Frequency

BEF12 (12dB/oct Band Elimination Filter) BEF6 (6dB/oct Band Elimination Filter)

Level Cutoff range

Dual BPF (Dual Band Pass Filter) Two 6dB/oct band-pass lters connected in parallel.
thru The lters are bypassed and the entire signal is unaffected.
Frequency Range passed Range passed Center frequency Frequency The lower cutoff frequency is set directly on the display.
Dual LPF (Dual Low Pass Filter) Two 12dB/oct low-pass lters connected in parallel.
Dual BEF (Dual Band Elimination Filter) Two 6dB/oct band-elimination lters connected in serial.
Frequency The lower cutoff frequency is set directly on the display. The lower cutoff frequency is set directly on the display.
Setting example of Filter Scaling
[VOICE] select Normal Voice [EDIT] [MUTE/SEL/ENTER] (LED turns off) select Element with [1/5/9/13]-[4/8/12/16] Filter display ScaleBP1-4 (7BP1-4), ScaleOfst1-4 (Ofst1-4) (page 70)

ScaleBP1-4

ScaleOfst1-4

Break Point 1

Setting example of Amplitude Scaling
[VOICE] select Normal Voice [EDIT] [MUTE/SEL/ENTER] (LED turns off) select Element with [1/5/9/13]-[4/8/12/16] AMP display ScaleBP1-4 (BP1-4), ScaleOfst1-4 (Ofst1-4) (page 71)

Performance Voice Assign

[SHIFT]+[PERFORM] select Performance select Performance Edit by pressing [EDIT] once or twice select each display with PAGE [E][F] From this mode you can select a Voice for each Part and determine the note range it can be played from. The display shown at right appears. Voice (Voice Assign)

PartSw

Part Switch Determines whether the internal Voices or Plug-in Board Voices are assigned to the Parts of the Performance (up to four Parts). Part01-04 indicate that the internal Voices are used. PartP1 and PartP2 indicate that the Plug-in Voices are used.
Settings: 1 ~ 4 (Part01 ~ Part04), P1 (PartP1), P2 (PartP2), off

Bank Number

Determines the Bank and Number which are assigned to the Part selected in the PartSw parameter. You can also determine the Limit settings using a Note On message from an external device. See page 32.

Limit (Voice Limit)

NoteLimitL/H VelLimitL/H
Note Limit Low/High Velocity Limit Low/High
Use these to set the note range, low and high, for the Parts Voice. Use these to set the velocity range, low and high, for the Parts Voice.
When a Performance is selected, the Performance Edit parameters are divided into Common Edit (parameters common to all four Parts), and Part Edit (parameters of individual Part). The display shown at right appears.
Voice mode Multi mode Performance mode
[SHIFT]+[PERFORM] select Performance select Performance Edit by pressing [EDIT] once or twice [SHIFT]+[COMMON] select each display with PAGE [E][F]
These parameters are for making global (or common) edits to all four Parts of the selected Performance. General

Specifications

Specications

Tone Generator Section

Tone Generator Maximum polyphony Wave Memory AWM2 (complying with the Modular Synthesis Plug-in System) 128 notes + the polyphony of the Plug-in Board (if installed) 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: 384 Normal Voices + 32 drum kits Preset for the PLG150-AN/DX/PF/AP/DR/PC: 64 Voices Preset for the PLG-150VL: 192 Voices User: 64 Voices for each Plug-in connector User: 128 Performances User: 128 Multis 20 types 49 types 116 types (up to 8 blocks available in the Multi mode) 116 types (up to 8 blocks available in the Multi mode) 8 types 5 bands (High, High Mid, Mid, Low Mid, Low) 3 bands (High, Mid, Low) 1,787 types
* MIDI Sync, MIDI transmit/receive channel, Velocity Limit, and Note Limit can be set.

Voice Selection

Performance Multi Effects
Performance Multi Reverb Chorus Insertion 1 Insertion 2 Master Effect Master Equalizer Part Equalizer

Arpeggio Controls

STANDBY/ON switch, VOLUME knob, data dial, cursor buttons, EXIT button, PAGE buttons, MULE/SEL/ENTER button, Part/Element buttons, BANK buttons, SHIFT button, CATEGORY button, Mode buttons Front Panel Rear Panel Controls Top panel PHONES DC IN, USB, MIDI IN/OUT/THRU/ DIGITAL OUTPUT, OPTICAL OUTPUT, ASSIGNABLE OUTPUT 1-4, OUTPUT L/MONO, R PGL1, PLG2 160- x 64-dot graphic backlit LCD Power adaptor, Owners Manual set, CD-ROM 17W (maximum; 22W when two Plug-in Boards are installed) 44.1kHz, 24bit 480 (w) x 372.4 (D) x 44 (H) mm 4.1kg

Jacks and Terminals

Display Supplied Accessories Power Consumption Optical/Digital Output Dimensions Weight
* Specications and descriptions in this owners manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products or specications at any time without prior notice. Since specications, equipment or options may not be the same in every locale, please check with your Yamaha dealer.
A.PhraseNo. (Audition Phrase Number).20, 65 A.PhrNtSft (Audition Phrase Note Shift)..20, 65 A.PhrVelSft (Audition Phrase Velocity Shift).20, 65 AC AMod (Assignable Control Amplitude Modulation Depth)... 75 AC Filter (Assignable Control Filter)..75 AC FMod (Assignable Control Filter Modulation Depth)... 75 AC PMod (Assignable Control Pitch Modulation Depth)... 75 AC Source (Assignable Control Source).75 Active Sensing... 95 AEG (Amplitude Envelope Generator).26, 57, 71 AEGAtk (AEG Attack)..66, 80, 82 AEGDcy (AEG Decay)..66, 80, 82 AEGRel (AEG Release).66, 80, 82 AEGSus (AEG Sustain).66, 80, 82 Aftertouch... 46, 75, 82 All Bulk Dump.. 48 All Notes Off... 95 All Sounds Off.. 94 All User Multi... 47 All User Performance... 47 All User Voice.. 47 AltnateGrp (Alternate Group)..28, 74 AltnatePan (Alternate Pan)..71, 74 AltPan (Alternate Pan).. 71 Amod (LFO Amplitude Modulation Depth).72 AMP (Amplitude)..26, 57, 71, 74 Amplitude Envelope Generator..57 Amplitude Scaling... 78 APKb... 63 Arp (Arpeggio)... 48 [ARP EDIT] button... 21 ArpAsgn (Arpeggio Assign)..43, 90 ArpAsgnMode (Arpeggio Assign Mode)..43, 90 Arpeggio... 42, 63, 88 [ARPEGGIO] button.. 21, 43 Arpeggio Edit... 21, 43, 88 Arpeggio Store... 89 Arpeggios 1-5.. 43 ArpHold (Arpeggio Hold).. 90 ArpOutSw (Arpeggio Output Switch).42, 90 ArpSw (Arpeggio Switch).44, 64, 80, 84 ArpSwitch (Arpeggio Switch).64, 80, 84, 90 ArpTransCh (Arpeggio Transmit Channel).90 as... 15 AS1/2 Assign (Assign 1/2).. 90 AS1/AS2 (Assign 1/2)..66, 80, 82 AS1/AS2/ASA/ASA.. 46 ASA/B Asgn (Assign A/B)..46, 90 ASA/B Dest (Assign A/B Destination)..46, 90 Asn1/2/3/4/Gain (Assignable 1/2/3/4 Gain)..90 AssignA/B/1/2.. 65, 79, 84 Assignable Controller.. 46, 82 ASSIGNABLE OUTPUT.13, 15, 62 AT (Aftertouch).. 46, 66 AT AMod (Aftertouch Amplitude Modulation Depth).75 AT Filter (Aftertouch Filter).. 75 AT FMod (Aftertouch Filter Modulation Depth).75 AT Pitch (Aftertouch Pitch).. 75 AT PMod (Aftertouch Pitch Modulation Depth).75 AtkLv (Attack Level).. 70, 71 AtkTm (Attack Time)... 69, 71 AtkTm (FEG Attack Time).. 70 Attack Time... 94

M.Freq (Mid Frequency)... 82 M.Gain (Mid Gain).. 82 M.Q (Mid Frequency Characteristic).. 82 M.TuningNo. (Micro Tuning Number).. 65, 77 M.TunRoot (Micro Tuning Root).. 65, 77 Main Volume... 94 Master... 17, 30, 35, 41 Master Effect... 60, 61, 62, 87 Master EQ... 60, 61, 62 Master Volume... 95 Maximum Polyphony... 57 MEF (Master Effect).. 61, 62, 80, 84, 90 Memory.. 54 MEQ (Master EQ).. 60, 61, 62 MEQ (Master Equalizer).. 79, 84, 90 MEQ Low/LowMid/HighMid/High (Master EQ Offset)... 65, 79, 84 Micro Tuning List.. 77 MIDI... 91, 93 MIDI channel.. 18, 93 MIDI Data Format... 96 MIDI equipment... 16 MIDI IN/OUT... 16, 18, 36, 91 MIDI IN/OUT/THRU.. 13 MIDI interface.. 18 MIDI keyboard... 45 MIDI Message... 93 MIDI port... 18, 93 MIDI Sync... 17, 44, 91 MIDI THRU... 17, 19 Mixing Edit... 21, 37 Mode... 20 Mode (Mono/Poly).. 80, 84 MODE buttons... 12 Mode Change.. 31, 37, 95 MODULAR SYNTHESIS PLUG-IN SYSTEM.. 52 Modulation.. 93 Modulation Wheel.. 45, 75, 82 Mono... 95 Mono/Poly... 65, 80, 84 Multi... 48, 53, 54 [MULTI] button.. 21, 36, 37 Multi Edit... 39, 84 Multi Effect Edit.. 87 Multi Mixing... 83 Multi Mode.. 20, 36, 58, 62, 83 Multi Voice Edit.. 38, 83 Multi Voice Effect Edit.. 83
Job.. 21, 47 JobSel (Job Selection).. 47, 91
Key... 29 Key Edit... 27, 73 KeyAsgnMode (Key Assign Mode).. 65, 73 Keyboard Mega Voice.. 53 KeyMode (Key Mode).. 64, 88 KeyOnDelay (Key On Delay).. 68 KeyOnDelay (LFO Key On Delay Time).. 72 KeyOnDelay (LFO Key On Delay). 76 KeyOnSync (LFO Key On Sync).. 72 KeyReset (Key On Reset).. 67 KOnDly (Key On Delay)... 68 KOnDly (LFO Key On Delay Time).. 72 KOnDlyTempo (Key On Delay Tempo).. 68 KOnDlyTpSyn (Key On Delay Tempo Sync).. 68 KOnSyn (LFO Key On Sync).. 72
Gain (Filter Gain)... 70 Gate Time... 89 GateTimeRt (Gate Time Rate)..89 GD... 38 General..65, 73, 75, 79, 84, 89 General MIDI (GM) System On.95 GM... 23, 55 GM Bank... 23 GM on... 91 GM Voice... 54, 55 GtKM... 63 GtPl... 63
L&R... 15 L&R Gain... 90 L.Freq (Low Frequency)... 82 L.Gain (Low Gain).. 82 Layer... 31 LCD (Liquid Crystal Display).. 12
Multi-part Plug-in Board... 52, 62 Multi-timbral Tone Generator.. 57 Mute... 26, 31, 34 [MUTE/SEL/ENTER] button..12, 26, 34 MW (Modulation Wheel)..46, 66, 82 MW AMod (Modulation Wheel Amplitude Modulation Depth)... 75 MW Filter (Modulation Wheel Filter)..75 MW FMod (Modulation Wheel Filter Modulation Depth)... 75 MW PMod (MW Wheel Pitch Modulation Depth).75
Performance Voice Assign. 31, 79 PgmChangeSw (Program Change Switch).. 91 Phase... 67 PhaseOffset (LFO Phase Offset).. 72 PHONES jack.. 12 Pitch... 55, 68, 74, 75 Pitch Bend.. 95 Pitch Bend Wheel.. 45, 46, 65, 81, 82 Pitch Envelope Generator.. 55 PitchVelSns (Pitch Velocity Sensitivity).. 69, 74 Play... 21 PLG... 33, 38, 47 PLG (All User Plug-in Voices).. 48 PLG (Plug-in Insertion Effect).. 87 PLG1/2Sys (Plug-in Board System). 38, 59, 91 PlgAutoLoad (Plug-in Auto Load). 90 PLGPRE... 24 PLGUSR... 24 Plug-in Bank... 23 Plug-in Board.. 23, 51, 52, 99 Plug-in Load... 47, 49 Plug-in Part.. 33, 37, 62 Plug-in Save... 47, 49 Plug-in Voice.. 23, 52, 75, 86 PMod (LFO Pitch Modulation Depth). 76 Pmod (LFO Pitch Modulation Depth). 72 Poly... 95 PolyExpand (Poly Expand).. 91 PortaLgtSlp (Legato Slope)... 65 Portamento.. 65, 79, 81, 84 Portamento Switch.. 94 Portamento Time.. 93 PortaMode (Portamento Mode).. 65, 81, 84 PortaSwitch (Portamento Switch). 65, 79, 81, 84 PortaT.Mode (Portamento Time Mode).. 65 PortaTime (Portamento Time).. 65, 79, 81, 84 PortNo. (Port Number).. 38, 59, 91 Power Supply.. 14 PowerOnMode (Power On Mode). 89 Pp... 38 Pr... 38 PRE... 23 Preset Bank... 23 Preset Voice... 54 Program Change.. 95 PrtMd (Portamento Mode).. 81, 84 PrtSw (Portamento Switch). 81, 84 PrtTm (Portamento Time).. 81, 84 Pu... 38

NOTICE:

Service charges incurred due to a lack of knowledge relating to how a function or effect works (when the unit is operating as designed) are not covered by the manufacturers warranty, and are therefore the owners responsibility. Please study this manual carefully and consult your dealer before requesting service.
Model Serial No. Purchase Date

ENVIRONMENTAL ISSUES:

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

92-BP (rear)

PLEASE KEEP THIS MANUAL

FCC INFORMATION (U.S.A.)

1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA. 3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class B digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which

Wide variety of output terminals
Four ASSIGNABLE OUTPUT jacks let you output different Parts of the MOTIF-RACK ES to external devices and processors. Moreover, two digital output jacks (DIGITAL and OPTICAL) ensure completely noise-free, distortion-free sound output (44.1kHz, 24 bit). Use the USB terminal to easily and directly connect the MOTIF-RACK ES to your computer. You can also conveniently edit the MOTIF-RACK ESs Voices or Multis from your computer with the Voice Editor or Multi Part Editor software for the MOTIF-RACK ES (included in the CD-ROM).

Owners Manual

About This Manual
This manual consists of the following sections.
The Controls & Connectors (page 12) Starting Up (page 14) Quick Guide (page 20)
This section explains the basic functions of the MOTIF-RACK ES and shows you how to get star ted using it as quickly as possible.
Basic Structure (page 51)
This section provides an overview of the main functions and features of the MOTIF-RACK ES.

Reference (page 65)

Explains the parameters in the various modes of the MOTIF-RACK ES.

Appendix (page 92)

This section contains detailed information on the MOTIF-RACK ES, including MIDI, instructions for installing optional Plug-in Boards, Display Messages, Troubleshooting and Specications.
Installation Guide (separate booklet)
Refer to this for instructions on installing the included software programs (on the CD-ROM) to your computer.
Data List (separate booklet)
This contains various important lists such as the Voice List, Wave List, Multi List, and MIDI Implementation Chart, for use in combination with the section About MIDI (page 93) in this manual.
The illustrations and LCD screens as shown in this Owner's Manual are for instructional purposes only, and may appear somewhat different from those on your instrument. Copying of commercially available music sequence data and/or digital audio les for any purpose other than your own personal use is strictly prohibited. This product incorporates and bundles computer programs and contents in which Yamaha owns copyrights or with respect to which it has license to use others' copyrights. Such copyrighted materials include, without limitation, all computer software, styles les, MIDI les, WAVE data and sound recordings. Any unauthorized use of such programs and contents outside of personal use is not permitted under relevant laws. Any violation of copyright has legal consequences. DON'T MAKE, DISTRIBUTE OR USE ILLEGAL COPIES. The company names and product names in this Owner's Manual are the trademarks or registered trademarks of their respective companies.
Various pages and menus appear on the LCD display of this instrument depending the selected mode or function. Throughout this manual, arrows are used in the instructions, indicating in shorthand the process of calling up certain displays and functions. The example instructions below indicate to 1) press the [VOICE] button, 2) select a Normal Voice, 3) press the [EDIT] button, 4) press the [COMMON] ([3/7/11/15]) button while holding the [SHIFT] button, 5) select the General display by pressing the PAGE [E][F] buttons, and 6) select the Category parameter.

Using a MIDI interface

Using the computers MIDI interface

MIDI cable

Using an USB connector
When connecting via this method, make sure to set the following parameter to USB.
[UTILITY] MIDI display MIDI IN/OUT = USB

MIDI IN MIDI OUT

Computer with MIDI interface

USB cable

Using an external MIDI interface
MIDI interface Serial port (modem or printer port) or USB port Computer with a USB interface

MIDI cable MOTIF-RACK ES

n When connecting to a computer (Windows/Macintosh) via USB, make sure to install the USB-MIDI driver to the computer as well as the desired software (sequence software, Voice Editor, etc.). For details, refer to the separate Installation Guide. n Audio data cannot be transmitted or received via USB on the MOTIF-RACK ES.

Computer

MIDI channels and MIDI ports
While a MIDI cable can transfer MIDI messages of up to 16 channels simultaneously, a USB cable can transfer MIDI messages of more than 16 channels simultaneously. MIDI data is assigned to one of sixteen channels, and this synthesizer is capable of simultaneously playing sixteen separate Parts, via the sixteen MIDI channels. However, the sixteen-channel limit can be overcome by using separate MIDI ports, each supporting sixteen channels. A USB cable can handle MIDI data on up to eight ports, letting you use up to 128 channels (8 ports x 16 channels) on your computer.
n Please use the appropriate MIDI interface for your computer. n If you are using a computer that has a USB interface, make sure to connect the computer and this synthesizer by USB. (The data transfer rate is faster than MIDI and youll have access to multiple MIDI ports.)
By installing one Multi-part Plug-in Board and one Single-part Plug-in Board in the MOTIF-RACK ES, you can use a maximum of 33 Parts via USB.
n This synthesizer can recognize and use up to three ports at the same time (page 58). n When using a USB connection, make sure to match the MIDI transmit port and the MIDI receive port as well as the MIDI transmit channel and the MIDI receive channel.
TIP About the Thru Port Setting
MIDI ports can be used to divide playback among multiple synthesizers, as well as expand the MIDI channel capacity beyond sixteen. In the example below, a separate synthesizer connected to the MOTIF-RACK ES is played by MIDI data via port 5, as set in the ThruPort parameter with the following operation.

Multi-part Plug-in Board

Multi-part Plug-in Boards let you expand the Voice polyphony of the MOTIF-RACK ES by providing an additional sixteen independent instrument Parts. This is an ideal way to play back song data from a sequencer (from the Multi-part board), yet have full polyphony left over on the MOTIF-RACK ES for your live performance Parts.
XG Plug-in Board (PLG100-XG)
This Plug-in Board is a 16-part XG sound generator. You can play back XG/GM song les using the rich variety of sounds and effects on this board.
MODULAR SYNTHESIS PLUG-IN SYSTEM
The Yamaha Modular Synthesis Plug-in System (MSPS) offers powerful expansion and upgrade capabilities for MSPScompatible synthesizers, tone generators and sound cards. This enables you to easily and effectively take advantage of the latest and most sophisticated synthesizer and effects technology, allowing you to keep pace with the rapid and multi-faceted advances in modern music production.

Available Plug-in Boards

Single-part Plug-in Boards Analog Physical Modeling Plug-in Board (PLG150-AN)
Using Analog Physical Modeling (AN) synthesis, the very latest digital technology is used to accurately reproduce the sound of analog synthesizers. With this board installed, you have real-time control over the playback of vintage synthesizer sounds as well as the very latest sounds heard in todays club-oriented music.
Plug-in Voices and Board Voices
The Voices of a Single-part Plug-in Board installed to this synthesizer can be divided into two types: Board Voices and Plugin Voices. Board Voices are unprocessed, unaltered Voices of the Plug-in Board the raw material used for the Plug-in Voices. Plug-in Voices, on the other hand, are edited Board Voices Voices that have been specially programmed and processed for optimum use with the host synthesizer. Plug-in Voice
Board Voice Plug-in Voice parameters
Piano Plug-in Board (PLG150-PF/PLG150-AP)
These boards have the AWM2 tone generators mounted a massive waveform memory (16MB), which is dedicated to the reproduction of piano sounds. The PLG150-PF offers 136 stereo sounds, including a number of acoustic and electric pianos. The PLG150-AP offers 32 stereo sounds, including a wide variety of exceptionally high-quality, authentic acoustic piano sounds, as well as an assortment of unusual effect-processed piano sounds. Each board enables you to expand the polyphony of the instrument by up to 64 notes. You can even install two of these boards to double the polyphony to 128 notes.

Hold Time

Attack Time

Decay 1 Time

Decay 2 Time

Release Time

Pressing the key (Note on)
Releasing the key (Note off)

Center frequency

Filter
[VOICE] select Voice [EDIT] [MUTE/SEL/ENTER] (LED turns off) select Element/Key Filter display, FEG display

Band Pass Filter

This passes only those a band of signals around the Cutoff frequency. The width of this band can be varied.

Level Range passed

This unit modies the tone of the sound output from Pitch by cutting (or ltering) the output of a specic frequency portion of the sound. Cutoff Frequency and Resonance
In the example below (a low pass lter), a portion of the signal lower than a given frequency is allowed to pass, and signals above that frequency are cut. This frequency is referred to as the cutoff frequency. You can produce a relatively bright or darker sound by setting the cutoff appropriately. Resonance is a parameter that boosts the level of the signal in the area of the cutoff frequency. By emphasizing the overtones in this area, this can produce a distinctive peaky tone, making the sound brighter and harder.

Cutoff frequency Level

Center frequency Cutoff range

Frequency

Band Elimination Filter
This attenuates a band of signals around the Cutoff frequency, but passes everything else.

Cutoff range Level

Center frequency These frequencies are passed by the lter. Resonance Frequency (pitch) Range passed
FEG (Filter Envelope Generator)
Using the FEG, you can control the transition in tone from the moment the sound starts to the moment it stops. You can create the FEG by setting parameters as illustrated below. When the instrument receives a Note On message, the cutoff frequency of the Voice will change according to these envelope settings. This is useful for creating automatic wah or lter sweep effects, for example. Furthermore, different FEG parameters can be set for each Element or Key.
Attack Level Hold Level Decay 1 Level Sustain Level (Decay 2 Level) Release Level

Cutoff frequency

Frequency (pitch)

Cutoff Frequency

About the main Filter types
The Low Pass Filter is shown in the illustration above however, this synthesizer features other Filter types (four total) as shown below.

Low Pass Filter (above)

This passes only those signals below the Cutoff frequency. You can then use the Reso (Resonance) parameter to add further character to the sound.
Single timbre tone generator (Voice/Performance mode) and multi-timbral tone generator (Multi mode)

Amplitude

[VOICE] select Voice [EDIT] [MUTE/SEL/ENTER] (LED turns off) select Element/Key AMP display, AEG display
This unit controls the output level (amplitude) of the sound output from Filter. The signals are then sent at this level to the Effect block. Also, by setting the AEG (Amplitude Envelope Generator), you can control how the volume changes over time. AEG (Amplitude Envelope Generator)
Using the AEG, you can control the transition in volume from the moment the sound starts to the moment it stops. You can create the AEG by setting parameters as illustrated below. When the instrument receives a Note On message, the volume of the Voice will change according to these envelope settings. Furthermore, different AEG parameters can be set for each Element Key.

Attack Level

The internal tone generator block operates in two different ways (single timbre and multi-timbral) depending on the selected mode. The difference between the two is whether they can handle multiple MIDI channels at the same time or not.
Single Timbre Tone Generator (Voice/Performance mode)
A MIDI tone generator that receives over a single MIDI channel and plays a single instrument Part is referred to as a single timbre tone generator. This is the operating status of the internal tone generator in the Voice and Performance modes.

Level (Volume)

Initial Level
Sustain Level (Decay 2 Level) Release Level Decay 1 Time Decay 2 Time Release Time Time
n To set the MIDI receive channel for single timbre operation (Voice and Performance modes), use the following operation in the Utility mode. [UTILITY] MIDI display BasicRcvCh
Multi-timbral Tone Generator (Multi mode)
A MIDI tone generator that simultaneously receives over multiple MIDI channels and plays multiple instrument Parts is referred to as a multi-timbral tone generator. This allows playback of multichannel MIDI song data such as on a MIDI sequencer or computer with each internal Part being assigned to and played by a different track or channel. This is the operating status of the internal tone generator in the Multi mode.
n To set the MIDI receive channel for multi-timbre operation (Multi mode), use the following operation in the Multi mode. [MULTI] select Multi [EDIT] [MUTE/SEL/ENTER] (LED turns off) select Part Voice display RcvCh
LFO (Low Frequency Oscillator)
[VOICE] select Voice [EDIT] [MUTE/SEL/ENTER] (LED turns off) select Element/Key LFO display [VOICE] select Voice [EDIT] [SHIFT]+[COMMON] LFO display

PEG Time Velocity Sensitivity Segment
EGLvVelSns (LvlVel) CurvVelSns (CrvVel)
PEG Velocity Level Sensitivity PEG Velocity Sensitivity Curve PEG Time Key Follow Sensitivity
Determines the velocity sensitivity of the PEG Level. Positive settings will cause the pitch change to rise the harder you play the note, and negative values will cause it to fall. The CrvVel parameter lets you select from ve different preset velocity curves, that determine how velocity affects the LvlVel.
Settings: LvlVel: -64 ~ 0 ~ +63 Settings: CrvVel: 0 ~ 4
PEG Time Key Follow Sensitivity Center Key
Determines the central note for the FlwSns parameter above. When the Center Key note is played, the PEG behaves according to its actual settings. The pitch change characteristics for other notes will vary in proportion to the TmVel parameter settings.
EG Time Key Follow Sensitivity and Center Key
Utility Faster speed +63 +30 Higher range -40 Slower speed Center Key (CntrKy) Positive value

Negative value

Lower range

FlwEGTmSns (FlwSns)

Determines the degree to which the notes (specically, their position or octave range) affect the Pitch EG times of the selected Element. The CntrKy (Center Key, next parameter) is used as the basic pitch for this parameter. A positive setting will cause the amplitude of lower notes to change slower and that of higher notes to change faster. A negative setting will have the opposite effect.
Filter Type Makes comprehensive settings for the Filter unit. Parameters will vary according to the Type. Basically, there are four different lters: an LPF (Low Pass Filter), an HPF (High Pass Filter), a BPF (Band Pass Filter) and a BEF (Band Elimination Filter). Each available lter has a different frequency response. There are also combinations of LPF and HPF.

Settings: See page 77.

Gain Cutoff Resonance (Reso)
Filter Gain Filter Cutoff Filter Resonance
Sets the Gain (the amount of boost applied to the signal sent to the Filter Unit).

Settings: 0 ~ 255

Sets the cutoff frequency. This is used as the basic frequency for the selected Filter Type.
This parameters function varies according to the selected Filter Type. If the selected lter is an LPF, HPF, BPF (excluding the BPFw), or BEF, this parameter affects the amount of resonance. This can be used in combination with the Cutoff parameter to add further character to the sound. With the BPFw, the parameter is used to adjust the width of the band of signal frequencies passed by the lter.

Distance (Dstnce)

Filter Distance

FEG Time Key Follow Sensitivity Center Key
Determines the central note for the FlwSns parameter above. When the Center Key note is played, the FEG behaves according to its actual settings. The Filter change characteristics for other notes will vary in proportion to the TmVel parameter settings.
Settings: C -2 ~ G8 n For details on the relationship between the EG Time Key Follow Sensitivity and the Center Key, see page 69.

Level Pan

Level Pan Determines the output level for the selected Element.
Determines the stereo Pan position for the selected Element. This will also be used as the basic Pan position for the Alternate, Random and Scale settings.
Settings: L63 (far left) ~ C (center) ~ R63 (far right)

AltnatePan (AltPan)

Alternate Pan
Determines the amount by which the sound is panned alternately left and right for each received Note On message. The Pan setting is used as the basic Pan position.

Settings: L64 ~ -0 ~ R63

RandomPan (RdmPan) ScalingPan (SclPan)

Random Pan

Determines the amount by which the sound of the selected Drum key is panned randomly left and right for each received Note On message. The Pan setting (above) is used as the Center Pan position.

Scaling Pan

Determines the amount by which the sound is panned alternately left and right for the Note Number of each Note On message. At note C3, the main Pan setting (above) is used for the basic Pan position.

LvlFlwSns (FlwSns)

Level Key Follow Sensitivity
Determines the degree to which the notes (specically, their position or octave range) affect the volume of the selected Element. The level at C3 is used as the basic setting. A positive setting will lower the level for lower notes and raise it for higher notes. A negative setting will have the opposite effect.
ScaleBP1-4 (BP1-4) ScaleOfst1-4 (Ofst1-4)
Level Scaling Break Point Level Scaling Offset
Settings: BP (Break Point) 1-4: C-2 ~ G8 Settings: Ofst (Offset)1-4: -128 ~ 0 ~ +127
AEG (Amplitude Envelope Generator)
AttackTime (AtkTm) Decay1/2Time (Dcy1/2Tm) ReleaseTime (RelTm) InitLvl (InitLv) AttackLvl (AtkLv) Decay1/2Lvl (Dcy1/2Lv)
AEG Attack Time AEG Decay Time AEG Release Time AEG Initial Level AEG Attack Level AEG Decay Level Determines the velocity sensitivity of the AEGs Time parameters. First select the Segmnt (Segment), then set its TmVel parameter. Positive TmVel parameter settings will play back the specied Segment parameter faster in proportion to the played velocity. A negative setting will have the opposite effect.

PureMaj (Pure major)

PureMin (Pure minor) Werckmeist (Werckmeister) Kirnberger Vallot&Yng (Vallotti & Young) 1/4 Shift (1/4 shifted) 1/4 tone 1/8 tone Indian Arabic 1 Arabic 2 Arabic 3

C~B C~B C~B C~B ----C~B

Filter Type List
[VOICE] select Normal Voice [EDIT] [MUTE/SEL/ENTER] (LED turns off) select Element with [1/5/9/13]-[4/8/12/16] Filter display Type (page 70)
LPF24D (24dB/oct Digital Low Pass Filter) A dynamic 24dB/oct low-pass lter with a characteristic digital sound. Compared to the LPF24A type (below), this lter can produce a more pronounced resonance effect.
LPF12 (12dB/oct Low Pass Filter) 12dB/oct low-pass lter. This lter is designed to be used in conjunction with a high-pass lter.

Resonance

HPF12 (12dB/oct High Pass Filter) 12dB/oct dynamic high-pass lter.
Performance mode Frequency Cutoff range Frequency
These frequencies are passed by the lter.
BPF12D (12dB/oct Digital Band Pass Filter) LPF6 (6dB/oct low-pass Filter) 1-pole 6dB/oct low-pass lter. No resonance. This lter is designed to be used in conjunction with a high-pass lter.
Level Cutoff range Resonance Cutoff range Effect
LPF24A (24dB/oct Analog Low Pass Filter) A digital dynamic low-pass lter with characteristics similar to a 4-pole analog synth lter.

12db/oct

Range passed
Level Resonance Cutoff range
LPF18s (18dB/oct Staggered Low Pass Filter) 3-pole 18dB/oct low-pass lter. This lter has a smoother cutoff slope than the LPF18 type.

Resonance LPF18 LPF18s

Width can be increased
LPF18 (18dB/oct Low Pass Filter) 3-pole 18dB/oct low-pass lter.
HPF24D (24dB/oct Digital High Pass Filter) A dynamic 24dB/oct high-pass lter with a characteristic digital sound. This lter can produce a pronounced resonance effect.
BPFw (Wide Band Pass Filter) A 12dB/oct BPF that combines HPF and LPF lters to allow wider bandwidth settings.
BPF6 (6dB/oct Band Pass Filter)

Determines the ne tuning for each Part.
Settings: -12.8Hz ~ +12.7Hz
Determines the Cutoff Frequency for each Part. If you are using LPF (Low Pass Filter) and HPF (High Pass Filter) combined together, the parameters in the QED Filter page only affects LPF.

Resonance (Reso)

Determines the amount of lter resonance. The setting here attenuates/boosts the resonance applied to the Element of the Voice assigned to each Part.

FEG Depth (FEGDpt)

FEG Depth
Determines the Filter Envelope Generator depth (amount of Cutoff Frequency) for each Part.
Settings: -64 ~ 0 ~ +63 n The FEG Depth setting is not available for the Plug-in Parts. n For details about Filter, see page 56.
FEG Attack (FEGAtk) FEG Decay (FEGDcy) FEG Sustain (FEGSus) FEG Release (FEGRel) AEG Attack (AEGAtk) AEG Decay (AEGDcy) AEG Sustain (AEGSus) AEG Release (AEGRel)
FEG Attack FEG Decay FEG Sustain FEG Release AEG Attack AEG Decay AEG Sustain AEG Release
Determines each parameter of the FEG for each Part. For details about FEG, see page 70.
Settings: -64 ~ 0 ~ +63 n The FEG setting is not available for the Plug-in Parts. n The FEG settings (except for the FEG Depth) are not available for the Drum Voice Parts.
Determines each parameter of the AEG for each Part. Please note that Sustain Level is not available for the Plug-in Part. For details about AEG, see page 71.
n The AEG Sustain/Release settings are not available for the Drum Voice Parts. Settings: -64 ~ 0 ~ +63
From this display you can adjust the EQ settings for each Part. For details about the Effect connection including the EQ in the Performance mode, see page 62.
n These parameters are not available for Plug-in Voices.
L.Freq L.Gain M.Freq M.Gain M.Q H.Freq H.Gain
Low Frequency Low Gain Mid Frequency Mid Gain Mid Frequency Characteristic High Frequency High Gain
Determines the center frequency of the low EQ band that is attenuated/boosted.

Settings: 50.1 ~ 2.00k

Determines the amount of boost or attenuation applied to the low EQ band.

Settings: -32 ~ +32

Determines the center frequency of the middle EQ band that is attenuated/boosted.

Settings: 139.7 ~ 10.1k

Determines the amount of boost or attenuation applied to the middle EQ band.
Determines the center frequency characteristic applied to the middle EQ band.

Settings: 0 ~ 31

Determines the center frequency of the high EQ band that is attenuated/boosted.

Settings: 503.8 ~ 14.0k

Determines the amount of boost or attenuation applied to the high EQ band.

RcvSw (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. Determines the Control Change messages corresponding to the external controllers in the CtrlAsn display from the Performance Common Edit.

Determines the MIDI Device Number of the Plug-in Board. This number must match the Device Number of the external MIDI device when transmitting/receiving bulk data, parameter changes or other system exclusive messages.

PortNo.

Port Number
Determines the MIDI Port number over which the Plug-in Board receives MIDI data. One port can be set for the Multi-part Plug-in Board and two ports can be set for the Single-part Plug-in Board.
Settings: off, 1~3 n For information on the Plug-in Board and the internal tone generator block, see page 52.
RcvGM/XG Native System Parameter
Receive GM/XG Native System Parameter
Sets various Native System parameters for the Plug-in Board. For details on the parameters, refer to the owners manual of your particular Plug-in Board. Voice/Performance/Multi mode [UTILITY] JobSel display select Job with [MUTE/SEL/ENTER] The available functions are: Initialize, Copy, Bulk Dump, Plug-in Save, Plug-in Load, and Factory Set. For details, see the section Using the Jobs on page 47.

JobSel (Job Selection)

Determines whether GM on and XG on messages are recognized (on) or not (off). This parameter is available only when a Multi-part Plug-in Board has been installed to slot 2.

Display Messages

Messages Are you sure? Bulk protected. Completed. Device number is off. Device number mismatch. Effect plug-in is not supported. Executing. MIDI buffer full. MIDI checksum error. MIDI data error. Multi plug-in is not in PLG2. Now checking plug-in board. Please keep power on. Plug-in 1 communication error. Plug-in 2 communication error. Receiving MIDI bulk. System memory crashed. Too many favorites. Transmitting MIDI bulk. Information
Conrms whether you want to execute a specied operation or not. Bulk data was received when RcvBulkSw was set to protect. The specied save, format, or other job has been completed. Bulk data cannot be transmitted/received since the device number is off. Bulk data cannot be transmitted/received since the device numbers don't match. The Effect Plug-in Board cannot be used with the MOTIF-RACK ES. Never attempt to turn off the power while data is being written to internal memory. Turning the power off in this state results in loss of all user data and may cause the system to freeze. Failed to process the MIDI data because too much data was received at one time. An error occurred when receiving bulk data. An error occurred when receiving MIDI data. The Multi-part Plug-in Board does not work because it has not been installed to PLG2. The Multi-part Plug-in Board should be installed to PLG2. The MOTIF-RACK ES is checking the Plug-in Board installation status when powering the MOTIF-RACK ES on. Never attempt to turn off the power while data is being written to internal memory. Turning the power off in this state results in loss of all user data. The Plug-in Board that has been installed to PLG1 does not work. The Plug-in Board that has been installed to PLG2 does not work. The MOTIF-RACK ES is receiving MIDI bulk data. Writing data to internal memory has failed because the power was turned off during the operation. User data has been initialized automatically. Turn the power off, then turn the power on again. Youve attempted to assign more than 256 Voices or 128 Performances to the Favorite category. The MOTIF-RACK ES is transmitting MIDI bulk data.

Expression (Control #011)
Messages which control intonation expression of each Part during performance. Setting the value to 127 produces maximum volume and 0 results in volume off.
NRPN (Non-Registered Parameter Number) LSB (Control #098) (Plug-in Board only) NRPN (Non-Registered Parameter Number) MSB (Control #099) (Plug-in Board only)
Messages which adjust a Voice's vibrato, lter, EG, drum setup or other parameter settings. First send the NRPN MSB and NRPN LSB to specify the parameter which is to be controlled. Then use Data Entry (page 93) to set the value of the specied parameter. Note that once the NRPN has been set for a channel, subsequent data entry will be recognized as the same NRPNs value change. Therefore, after you use the NRPN, you should set a Null (7FH, 7FH) value to avoid unexpected results. For details, refer to the owner's manual of the relevant Plug-in Board.

Hold1 (Control #064)

Messages which control sustain on/off. Setting the value between 64 - 127 turns the sustain on, between 0 - 63 turns the sustain off.
Portamento Switch (Control #065)
Messages which control portamento on/off. Setting the value between 64 -127 turns the portamento on, between 0 - 63 turns the portamento off.

Sostenuto (Control #066)

Messages which control sostenuto on/off. Holding specic notes and then pressing and holding the sostenuto pedal will sustain those notes as you play subsequent notes, until the pedal is released. Setting the value between 64 -127 turns the sostenuto on, between turns the sostenuto off.
RPN (Registered Parameter Number) LSB (Control #100) RPN (Registered Parameter Number) MSB (Control #101)
Messages which offset, or add or subtract values from a Part's pitch bend sensitivity, tuning, or other parameter settings. First send the RPN MSB and RPN LSB to specify the parameter which is to be controlled. Then use Data Increment/Decrement (page 94) to set the value of the specied parameter. Note that once the RPN has been set for a channel, subsequent data entry will be recognized as the same RPNs value change. Therefore after you use the RPN, you should set a Null (7FH, 7FH) value to avoid unexpected results. The following RPN numbers can be received.
RPN MSB 00 7F RPN LSB 02 7F Fine Tune Coarse Tune Null PARAMETER Pitch Bend Sensitivity
Harmonic Content (Control #071)
Messages which adjust the lter resonance set for each Part. The value set here is an offset value which will be added to or subtracted from the Voice data. Higher values will result in a more characteristic, resonant sound. Depending on the Voice, the effective range may be narrower than the range available for adjustment.
Release Time (Control #072)
Messages which adjust the AEG release time set for each Part. The value set here is an offset value which will be added to or subtracted from the Voice data.
Attack Time (Control #073)

LCD Cntrst (LCD Contrast).. 90 Lead.... 63 Legato... 65, 81 Level... 71, 74 LFO (Low Frequency Oscillator).. 26, 57, 66, 72, 76 LFO USR (User LFO)... 68 Limit... 32, 81 Limit (Voice Limit)... 79 Low Frequency Oscillator.. 57 Low Pass Filter.. 56, 74, 77 Low/High Shape... 79 Low/LowMid/Mid/HighMid/High Freq (Frequency).. 80 Low/LowMid/Mid/HighMid/High Gain. 80 Low/LowMid/Mid/HighMid/High Q (Frequency Characteristic)... 80 LowFreq (EQ Low Frequency).. 76 LowGain (EQ Low Gain)... 76 LPF (Low Pass Filter).. 70, 77, 82 LvlFlwSns (Level Key Follow Sensitivity). 71 LvlVel (Velocity Level Sensitivity). 69, 70, 71 LvVelSns (Level Velocity Sensitivity).. 74
Factory Set... 47, 49 FadeIn (Fade In)... 67 FadeIn (LFO Fade In Time).. 72 FadeOut (Fade Out)... 67 [FAVORITES] button.. 24 Favorite Category... 24 FC1/2 Assign (Foot Controller).90 FC1/FC2 (Foot Controller).46, 66, 80, 82 FEG (Filter Envelope Generator)..56, 70 FEG Depth.. 82 FEGAtk (FEG Attack)..66, 80, 82 FEGDcy (FEG Decay)..66, 80, 82 FEGDpt (FEG Depth)..66, 80, 82 FEGRel (FEG Release).66, 80, 82 FEGSus (FEG Sustain).. 82 Filter... 56, 70, 74, 76 Filter Envelope Generator.. 56 Filter Scaling... 78 Filter Type... 77 FineScalSns (Fine Scaling Sensitivity)..68 FineTune (Fine).. 68, 74 FlwCntrKey (Key Follow Sensitivity Center Key).69, 71 FlwEGTmSns (Time Key Follow Sensitivity).69, 71 FlwFltSns (Filter Cutoff Key Follow Sensitivity).70 FlwPchSns (Pitch Key Follow Sensitivity).69 FlwSns (Filter Cutoff Key Follow Sensitivity).70 FlwSns (Level Key Follow Sensitivity).71 FlwSns (Pitch Key Follow Sensitivity)..69 FlwSns (Time Key Follow Sensitivity).69, 71 Fmod (LFO Filter Modulation Depth)..72 Foot Controller.. 46, 80, 82 Footswitch.. 46, 82 FS (Foot Switch).. 46, 66, 82 FS Asgn (Foot Switch Assign).46, 90
inc... 43 Initialize... 31, 33, 37, 47 InitLv (Initial Level).. 71 InitLvl (Initial Level).. 71, 76 Ins (Insertion Effect).. 87 Ins (Plug-in Insertion Effect).. 87 Ins 1 to 2, Ins 2 to 1... 61 Ins1, Ins2 (Insertion Effect 1, 2).. 61, 86 Ins1/2Ctgry (Insertion 1/2 Category).. 85 Ins1/2Type (Insertion 1/2 Type).. 85 InsChoSend (Insertion Chorus Send).. 73 InsEF (Insertion Effect Output). 68 InsEF (Insertion Effect Switch). 83 InsEF (Insertion Effect).. 40 InsEFCnct (Insertion Effect Connection). 85 InsEFOut (Insertion Effect Output). 68, 73 InsEFSw (Insertion Effect Switch).. 48 Insertion Effect. 59, 61, 66, 68, 73, 83, 85, 87 InsRevSend (Insertion Reverb Send). 73 Intrnl (Insertion Effect).. 87