Motif ES Reference for Blind Users
Author: Bryan Smart (bsmart@pobox.com)
Last Modified:
This document is an expanded version of the Motif ES User Guides reference section. The text has been reworked and expanded to make this a reference suitable for blind Motif ES and classic owners. I dont own this file, and I dont claim any rights. Modify as youd like, but Id ask that you send contributions to me so that I can add them into my version.
You can create and edit your original Voices by setting various parameters in both the Voice Play mode and Voice Edit mode, while the Voice Job mode provides some basic parameter-related tools, such as Initialize and Copy. Once you've edited a Voice, you can store it to a User Bank in internal memory (Flash ROM) and save all edited Voices to a SmartMedia/USB storage device in the File mode.
The Voice Play mode lets you perform a variety of general editing operations on the selected voice. For more detailed and comprehensive editing operations, use the Voice Edit mode.
NOTE. In the Voice Play mode and Voice Edit mode, you can set the parameters for each Voice. The parameters for all the Voices such as Master EQ and Master Effect can be set from the [UTILITY] -> [F3] VOICE display in the Utility mode.
NOTE. The parameters that have the same name in the Voice Play mode and in the Voice Edit mode have the same functions and settings.
NOTE. When a Plug-in voice is selected, certain parameters are not available for editing, even if they're described here.
TCH (Transmit Channel). "Indicates the Keyboard MIDI transmit channel. You can change the Keyboard MIDI transmit channel by pressing the [TRACK SELECT] button so that its indicator lights and pressing any of the NUMBER [1] to [16] buttons. The Keyboard MIDI transmit channel can be changed also with the following operation: [UTILITY] -> [F5] MIDI -> [SF1] CH -> KBDTransCh."
OCT (Octave). "Indicates Keyboard Octave setting set via the [OCTAVE] buttons. This can be changed also with the following operation: [UTILITY] -> [F1] GENERAL -> [SF2] KBD -> Octave."
ASA (ASSIGN A), ASB (ASSIGN B). Indicates the functions assigned to the respective Knobs (printed "ASSIGN A" and "ASSIGN B") when the lamps of both the [PAN/SEND] and [TONE] buttons are turned on. The functions are assigned with the following operation: [UTILITY] -> [F4] CTL ASN -> [SF2] ASSIGN.
NOTE. TCH (Transmit Channel), OCT (Octave), ASA (ASSIGN A), and ASB (ASSIGN B) settings do not belong to each Voice. Because of this, these are not stored as an individual Voice in the Voice Store mode (page 208).
AS1 (ASSIGN 1), AS2 (ASSIGN 2). Indicates the functions assigned to the respective Knobs (printed "ASSIGN 1" and "ASSIGN 2") when the lamps of both the [PAN/SEND] and [TONE] buttons are turned on. The functions are assigned by setting the Voice Edit common parameters with the following operation: [VOICE] -> [EDIT] -> [COMMON] -> [F4] CTL SET.
[SF1] ARP1 (Arpeggio 1) to [SF5] ARP5 (Arpeggio 5). You can register the desired Arpeggio types to these buttons and call them up any time during your keyboard performance. Refer to page 66 in the Quick Guide section.
"This display is available only when a Plug-in Board has been installed and a Voice of the Plug-in Board is selected. From this display you can select the particular bank on the Plug-in board, and determine whether you will be using a Plug-in voice or a ""Board"" voice. Board voices are unprocessed, unaltered voices of the Plug-in board -- the ""raw material"" for Plug-in voices. Plug-in voices are edited Board voices -- voices that have been specially programmed and processed for optimum use with this synthesizer. For more details, see page 74."
Settings: The following selections are available, for example, when a Plug-in voice using the Plug-in board installed to slot 1 is selected: PLG1USR (User Plug-in voice), PLGPRE1 (Preset Plug-in voice), 032/000 ... (Indicates the Bank Select MSB/LSB of the Board voice. These values differ depending on the installed Plug-in board.)
Pressing the [F3] EFFECT button in the Voice Play mode calls up the same EFFECT display in the Voice Edit mode ([VOICE] -> [EDIT] -> [COMMON] -> [F6] EFFECT). From this display, you can set the effect related parameters for the current Voice. See page 194.
"From this display you can select monophonic or polyphonic playback and set the Portamento parameters. Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to the next."
Mono/Poly. Determines whether the Voice is played back monophonically (single notes only) or polyphonically (multiple simultaneous notes).
Settings: mono, poly.
NOTE. When pressing the second note while holding the first note with the PortaSw set to on and the Mono/Poly set to on, the second note sound starts succeeding the transition of the first note, or the second note starts not from the EG (AEG/PEG/FEG) start point but from the EG (AEG/PEG/FEG) point the first note reaches. This realizes the legato performance. This legato degree can be set with the following operation: [VOICE] -> [EDIT] -> [COMMON] -> [F1] GENERAL -> [SF4] PORTA -> LegatoSlope (page 190).
PortaSw (Portamento Switch). Determines whether Portamento is applied to the current Voice or not.
Settings: off, on.
PortaTime (Portamento Time). Determines the pitch transition time. Higher values result in longer transition times.
Settings: 0 to 127.
PortaMode (Portamento Mode) Determines the Portamento mode. The behavior of the Portamento varies depending on whether Mono/Poly is set to "mono" or "poly."
Settings: fingered, fulltime.
"fingered Portamento is only applied when you play legato (playing the next note before releasing the previous one). "
"fulltime Portamento is always applied."
This display contains the basic EG settings, both volume and filter, for the voice, as well as the filter's cutoff frequency and resonance settings. The settings made here are applied as offsets to the AEG and FEG settings in the Voice Edit mode. The full names of the available parameters are shown in the chart below, as they appear in the display.
<Table>
ATK DCY SUS REL DEPTH CUTOFF RESO AEG Sustain level --- --- ---Attack time Decay time Release Time FEG --- Depth Cutoff frequency Resonance
Settings: minus 64 to 0 to plus 63 (except --- above)
This display contains the basic settings for Arpeggio playback, including Type and Tempo. About the [SF1] to [SF5] buttons, see the explanation of the [F1] PLAY display.
Bank, Ctgr (Category), Type These three parameters determine the Arpeggio Type. The three-letter prefix number before the Type name indicates the number within the selected Category.
Settings: Refer to the separate Data List.
Tempo. Determines the Arpeggio Tempo. When MIDI Sync ([UTILITY] -> [F5] MIDI -> [SF3] SYNC -> MIDI Sync) is set to "MIDI," "MIDI" is displayed here and cannot be set.
Settings: 1 to 300.
VelLimit (Velocity Limit). Determines the lowest and highest velocity which can trigger the Arpeggio playback. The Arpeggio plays when you play notes at velocities within in this range.
Settings: 1 to 127.
NOTE. Keys played outside the set limit sound normally without any Arpeggio.
Switch. Determines whether Arpeggio is on or off. You can also turn Arpeggio on/off from the front panel with the [ARPEGGIO ON/OFF] button.
Settings: off, on.
Hold. Determines whether the Arpeggio playback is "held" or not. When this is set to "on," the Arpeggio cycles automatically, even if you release your fingers from the keys, and it continues to cycle until the next key is pressed.
Settings: sync-off (see below), off, on.
sync-off When set to "sync-off," the Arpeggio playback continues to run silently, even when you release the keys. Pressing any key turns the Arpeggio playback on again. In other words, you can use the key to "un-mute" or "mute" (not start or stop) the Arpeggio playback by, respectively, holding it down or releasing it.
There are three kinds of Voices: Normal Voices, Drum Voices and Plug-in Voices (if a Plug-in board has been installed). The following section shows how to edit the different types of voices and explains the parameters available. Note that available parameters to be edited differ depending on the Voice types (Normal Voice, Drum Voice, Plug-in Voice).
When a Normal Voice is selected, the Voice Edit parameters are divided into Common Edit (parameters common to all four Elements), and Element Edit (parameters of individual Elements).
These parameters are for making global (or common) edits to all four Elements of the selected Normal Voice.
From this display you can assign the category (sub and main) of the selected voice, and create a name for the voice. The voice name can contain up to 10 characters. For detailed instructions on naming a voice, see "Basic Operation" on page 53.
From this display you can make various settings for the tone generator of this synthesizer, and assign different Micro Tuning settings.
Mono/Poly. Determines whether the Voice is played back monophonically (single notes only) or polyphonically multiple simultaneous notes).
Settings: mono, poly.
KeyAsgnMode (Key Assign Mode). When this is set to "single," double playback of the same note is prevented. This is useful when two or more instances of the same note are received nearly simultaneously, or without a corresponding note off message. To allow playback of each instance of the same note, set this to "multi."
Settings: single, multi.
M. TuningNo. (Micro Tuning Number). Determines the tuning system for the voice. Normally, this should be set to 00 (Equal temperament); however additional tuning systems are available for a variety of tuning applications and effects.
Settings: See the Micro Tuning List on page 209.
M. TuningRoot (Micro Tuning Root). Determines the root note of the Micro Tuning set above.
Settings: C to B.
From this display you can adjust the master (global) EQ settings for the entire Voice. The settings made here are applied as offsets to the EQ settings (with the exception of "MID") from the Utility mode, with the following operation: [VOICE] -> [UTILITY] -> [F3] VOICE -> [SF1] MEQ. You can edit these parameters by using the Knobs.
Settings: minus 64 to 0 to plus 63.
This display allows you to set the Portamento related parameters. Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to the next.
Switch. Determines whether Portamento is applied to your keyboard performance using the current Voice or not.
Settings: off, on.
Time. Determines the pitch transition time. Higher values result in a longer pitch change time, when Time Mode below is set to "Time."
Settings: 0 to 127.
Mode. Determines how the Portamento is applied to your keyboard performance.
Settings: fingered, fulltime.
"fingered Portamento is only applied when you play legato (playing the next note before releasing the previous one)."
"fulltime Portamento is always applied."
TimeMode. This determines how the pitch changes in time.
Settings: rate1, time1, rate2, time2
"rate1 Pitch changes at the specified rate. "
"time1 Pitch changes in the specified time."
"rate2 Pitch changes at the specified rate within a octave."
"time2 Pitch changes in the specified time within a octave."
LegatoSlope. Determines the speed of the attack of legato notes, when Switch above is set to on and Mono/Poly is set to mono. (Legato notes "overlap" each other, the next being played before the previous is released.) The higher the value, the slower the attack rate.
Settings: 0 to 7.
From this display you can set the control functions for the Knobs, and determine the up/down range for the Pitch Bend wheel.
KnobAssign. Determines the function for the assignable Knobs (1 to 4). Pressing the [KNOB CONTROL FUNCTION] button on the panel sets the desired function row, which is automatically stored to memory with the currently selected voice.
Settings: pan, tone, assign, MEQofs, MEF, arpFx.
PB Upper (Pitch Bend range Upper). These two parameters determine the pitch change range of the Pitch Bend wheel.
PB Lower (Pitch Bend range Lower).
Settings: minus 48 to 24.
AssignA, AssignB, Assign1, Assign2. Simply tweaking the knob with setting the Knob Assign (above) to "assign" to the desired value, which is automatically stored to memory with the currently selected voice.
Volume Determines the output level of the Voice.
Settings: 0 to 127.
Pan. Determines the stereo pan position of the Voice. You can also adjust this parameter using the PAN knob on the front panel.
Settings: L63 (Left) to C (Center) to R63 (Right).
NOTE. When a stereo Voice is selected, this parameter setting may not be effective. Voices with Elements set to opposite Pan settings (set in [F4] AMP -> [SF1] LVL/PAN -> Pan) -- i.e., one at L63 and another at R63 -- are considered stereo Voices.
RevSend. Determines the Send level of the signal sent from Insertion Effect A/B (or the bypassed signal) to the Reverb effect. You can also adjust this parameter using the REVERB knob on the front panel.
Settings: 0 to 127.
ChoSend. Determines the Send level of the signal sent from Insertion Effect A/B (or the bypassed signal) to the Chorus effect. You can also adjust this parameter using the CHORUS knob on the front panel.
NOTE. See page 179 for the Effect connection in the Voice mode.
The basic Arpeggio parameters (e.g., type, tempo) are provided in this display.
Bank, Ctgr (Category), Type. These three parameters determine the Arpeggio Type. The three-letter prefix number before the Type name indicates the number within the selected Category. When user arpeggio is selected here, you can clear the selected arpeggio data by using the [SF5] button.
Settings: Refer to the separate Data List.
Tempo. Determines the Arpeggio Tempo. When MIDI Sync ([UTILITY] -> [F5] MIDI -> [SF3] SYNC -> MIDI Sync) is set to "MIDI," "MIDI" is displayed here and Tempo cannot be set.
Settings: 1 to 300.
ChgTiming (Change Timing). Determines the actual timing at which the Arpeggio type is switched when you select another type during Arpeggio playback.
Settings: realtime, measure.
"realtime The Arpeggio type is switched immediately when you select another type. "
"measure The Arpeggio type is switched at the top of the next measure after you select another type."
Switch. Determines whether Arpeggio is on or off. You can also turn Arpeggio on/off from the front panel with the [ARPEGGIO ON/OFF] button.
Settings: off, on.
Hold. Determines whether the Arpeggio playback is "held" or not. When this is set to "on," the Arpeggio cycles automatically, even if you release your fingers from the keys, and it continues to cycle until the next key is pressed.
Settings: sync-off (see below), off, on.
"sync-off When set to ""sync-off,"" the Arpeggio playback continues to run silently, even when you release the keys. Pressing any key turns the Arpeggio playback on again. In other words, you can use the key to ""un-mute"" or ""mute"" (not start or stop) the Arpeggio playback by, respectively, holding it down or releasing it."
KeyMode. Determines how the Arpeggio plays back when playing the keyboard.
Settings: sort, thru, direct.
sort... When you play specific notes (for example, the notes of a chord), the same sequence plays, no matter what order you play the notes.
thru... When you play specific notes (for example, the notes of a chord), the resulting sequence differs depending on the order of the notes.
direct... Note events of the Arpeggio sequence do not play; only the notes you play on the keyboard are heard. This setting is for use with non-note Arpeggio data, such as Control Change or Pitch Bend. When the Arpeggio plays back, these events are applied to the sound of your keyboard performance. Use this setting when the Arpeggio types includes non-note data or when the Category type ""Ctrl"" is selected.
sortdirect... Both""sort"" and ""direct"" are applied to your keyboard performance.
thrudirect... Both ""thru"" and ""direct"" are applied to your keyboard performance.
NOTE. If the Arpeggio Category (above) is set to "Ctrl," the Voice will not sound unless "direct" is selected here.
NOTE. With the "sort" and "thru" settings, the order in which notes are played back will depend on the Arpeggio sequence data.
VelMode (Velocity Mode). This determines the playback velocity of the Arpeggio, or how it responds to your own playing strength.
Settings: original, thru.
original... The Arpeggio plays back at the preset velocities included in the Arpeggio sequence data.
thru... The Arpeggio plays back according to the velocity of your playing. For example, if you play the notes strongly, the playback volume of the Arpeggio increases.
NoteLimit. Determines the lowest and highest notes in the Arpeggio's note range. Notes played in this range trigger the Arpeggio.
Settings: C -2 to G8.
NOTE. You can also create a lower and an upper trigger range for the Arpeggio, with a note range "hole" in the middle, by specifying the highest note first. For example, setting a Note Limit of "C5 to C4" lets you trigger the Arpeggio by playing notes in the two ranges of C -2 to C4 and C5 to G8; notes played between C4 and C5 have no effect on the Arpeggio.
NOTE. You can also set the range directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired low and high keys.
VelocityLimit. Determines the lowest and highest velocity in the Arpeggio's velocity range. This lets you control when the Arpeggio sounds by your playing strength.
Settings: 1 to 127.
NOTE. You can also create separate low and high trigger ranges for the Arpeggio playback, with a velocity "hole" in the middle, by specifying the maximum value first. For example, setting a Velocity Limit of 93 - 34 lets you play the Arpeggio from two separate velocity ranges: soft (1 to 34) and hard (93 to 127). Notes played at middle velocities between 35 and 92 do not play the Arpeggio.
These Play Effect parameters let you control the playback of the Arpeggio in useful and interesting ways. By changing the timing and velocity of the notes, you can change the rhythmic "feel" of the Arpeggio.
UnitMultiply (Unit Multi Play). Adjust the Arpeggio playback time. For example, if you set a value of 200 percent, the playback time will be doubled (tempo is halved). On the other hand, if you set a value of 50 percent, the playback time will be halved (tempo is doubled). Normal playback time is 100 percent.
Settings: 50 percent, 66 percent, 75 percent, 100 percent, 133 percent, 150 percent, 200 percent.
Swing. Delays notes on even-numbered beats (backbeats) to produce a swing feel.
Settings: minus 120 to plus 120.
QuntValue (Quantize Value). Determines to what beats the note data in the Arpeggio sequence data will be aligned, or determines to what beats in the Arpeggio sequence data the swing is applied.
Settings: 32nd note, 16th note triplet, 16th note, 8th note triplet, 8th note, 1/4 note triplet, 1/4 note.
QuntStrength (Quantize Strength). The Strength value sets the "strength" by which note events are pulled toward the nearest quantize beats. A setting of 100 percent produces exact timing set via the QuntValue parameter above. A setting of 0 percent results in no quantization.
Settings: 0 percent to 100 percent.
VelocityRate. Determines how much the Velocity of the Arpeggio playback is offset from the original value. For example, a setting of 100 percent means the original values are used. Settings below 100 percent will reduce the velocity of the Arpeggio notes, whereas settings above 100 percent will increase the velocities.
Settings: 0 percent to 200 percent
NOTE. The Velocity cannot be decreased or increased beyond its normal range of 1 to 127; any values outside that range will automatically be limited to the minimum or maximum.
GateTimeRate. Determines how much the Gate Time (length) of the Arpeggio notes is offset from the original value. A setting of 100 percent means the original values are used. Settings below 100 percent will shorten the gate times of the Arpeggio notes, whereas settings above 100 percent will lengthen them.
Settings: 0 percent to 200 percent
NOTE. The Gate Time cannot be decreased beyond its normal minimum of 1; any values outside that range will automatically be limited to the minimum.
Since up to six Controller Sets can be assigned to each Voice, three pages (Sets 1/2, Sets 3/4 and Sets 5/6) are provided. For more information on Controller Sets, see page 155.
ElementSw. Determines whether or not the selected controller affects each individual Element.
Settings: Elements 1 to 4 enabled ("1" to "4") or disabled ("-")
NOTE. This parameter is disabled when the Dest (Destination) described below is set to a parameter unrelated to the Voice Elements.
Source. Determines which panel controller is to be assigned and used for the selected Set. This controller then is used to control the parameter set in Destination below.
Settings: PB (Pitch Bend Wheel), MW (Modulation Wheel), AT (After Touch), FC1 (Foot Controller 1), FS (Footswitch), RB (Ribbon Controller), BC (Breath Controller), AS1 (Knob ASSIGN 1), AS2 (Knob ASSIGN 2), FC2 (Foot Controller2).
NOTE. Keep in mind that unlike the other controllers, the ASSIGN A and B knobs can each be assigned to one common function for the entire system of this synthesizer, and not to different functions for each individual voice. Also refer to the Utility mode (page 263).
Dest (Destination) Determines the parameter that is controlled by the Source controller (above).
Settings: For a complete list of the available parameters/controls, refer to the separate Data List booklet.
Depth. Determines the degree to which the Source controller affects the Destination parameter. For negative values, the controller operation is reversed; maximum controller settings produce minimum parameter changes.
Settings: minus 64 to 0 to plus 63.
From these displays, you can make a variety of LFO related settings. As its name suggests, the LFO creates waveforms of a low frequency. These waveforms can be used to vary the pitch, filter or amplitude to create effects such as vibrato, wah and tremolo.
Wave. Determines the LFO Wave.
Settings: tri, triplus, sawup, sawdwn, squ1/4, squ1/3, squ, squ2/3, squ3/4, trpzp, S/H 1, S/H 2, user.
Speed. Determines the speed of the LFO Wave modulation. Higher values result in faster modulation speeds.
Settings: 0 to 63.
TempoSync. Determines whether or not the LFO is synchronized to the tempo of the Arpeggio or sequencer (song or pattern).
Settings: off (not synchronized), on (synchronized)
TempoSpeed. This parameter is available only when TempoSync above has been set to "on." It allows you to make detailed note value settings that determine how the LFO pulses in sync with the Arpeggio or sequencer.
Settings: 16th, 8th/3 (eighth-note triplets), 16th. (dotted sixteenth notes), 8th, 4th/3 (quarter-note triplets), 8th. (dotted eighth notes), 4th (quarter notes), 2nd/3 (half-note triplets), 4th. (dotted quarter notes), 2nd (half notes), whole/3 (whole-note triplets), 2nd. (dotted half notes), 4th x 4 (quarter-note quadruplets; four quarter notes to the beat), 4th x 5 (quarter-note quintuplets; five quarter notes to the beat), 4th x 6 (quarter-note sextuplets; six quarter notes to the beat), 4th x 7 (quarter-note septuplets; seven quarter notes to the beat), 4th x 8 (quarter-note octuplets; eight quarter notes to the beat)
NOTE. The actual length of the note depends on the internal or external MIDI tempo setting.
KeyOnReset. Determines whether or not the LFO is reset each time a note is pressed. The following three settings are available.
Settings: off, each-on, 1st-on.
off... The LFO cycles freely with no key synchronization. Pressing a key starts the LFO wave at whatever phase the LFO happens to be at that point.
each-on... The LFO resets with each note you play and starts a waveform at the phase specified by the Phase parameter (below).
1st-on... The LFO resets with every note you play and starts the waveform at the phase specified by the Phase parameter (below). However, if you play a second note while the first is being held, the LFO continues cycling according to the same phase as triggered by the first note. In other words, the LFO only resets if the first note is released before the second is played."
RandomSpeed. Determines the degree to which the LFO speed changes at random. A setting of "0" results in the original speed. Higher values result in a larger degree of speed change.
Settings: 0 to 127.
Delay (Delay Time). Determines the delay time before the LFO comes into effect. A higher value results in a longer delay time.
Settings: 0 to 127.
FadeIn (Fade In Time). Determines the amount of time for the LFO effect to fade in (after the Delay time has elapsed). A higher value results in a slower fade-in.
Settings: 0 to 127.
Hold (Hold Time). Determines the length of time during which the LFO is held at its maximum level. A higher value results in a longer Hold time.
Settings: 0 to 127.
FadeOut. Determines the amount of time for the LFO effect to fade out (after the Delay time has elapsed). A higher value results in a slower fade-out.
Settings: 0 to 127.
Phase. Determines the starting phase point for the LFO Wave when it is reset.
Settings: 0, 90, 120, 180, 240, 270.
Offset EL1 to EL4 (Phase Offset Element1 to Element4) Determines the offset values of the Phase parameter (above) for the respective Elements.
Settings: plus 0, plus 90, plus 120, plus 180, plus 240, plus 270.
From this display you can select the destination parameter for the LFO (which aspect of the sound the LFO controls), the Elements to be affected by the LFO, and the LFO Depth. Three pages (boxes) provided for setting the destination let you assign multiple destinations.
ElementSw (Element Switch). Determines whether or not each Element is to be affected by the LFO. The Element number (1 to 4) is shown when the LFO is enabled; a dash (-) indicates the LFO is disabled for that Element.
Dest (Destination). Determines the parameters which are to be controlled (modulated) by the LFO Wave.
Settings: amd, pmd, fmd, reso (Resonance), pan, ELFOSpd (Element LFO Speed)
Depth. Determines the LFO Wave Depth.
Settings: 0 to 127.
DptRatio EL1 to EL4 (Depth Offset Element1 to Element4). Determines the offset values of the Depth parameter (above) for the respective Elements.
Settings: 0 to 127.
This menu is available only when the User LFO wave is selected. You can create a custom LFO wave consisting of up to sixteen steps.
Template. You can select a pre-programmed template for the LFO wave. The selected template's wave graph appears on the display and you can create the LFO wave by viewing it. Each time pressing the [SF1] random button, different LFO wave is appears on the display randomly.
Settings: all0... Values of all the steps are set to 0.
all64... Values of all the steps are set to 64.
all127... Values of all the steps are set to 127.
saw up... Creates a saw shaped upward wave.
saw down... Creates a saw shaped downward wave.
even step... Values of all even steps are set to 127, and values of all odd steps are set to 0.
odd step... Values of all odd steps are set to 127, and values of all even steps are set to 0.
Slope. Determines the slope or ramp characteristics of the LFO wave.
Settings: OFF (no slope), up, down, up and down.
Value. Edits the value for each step.
Settings: 0 to 127.
Step. Selects the step number of the LFO wave.
Settings: 1 to 16.
NOTE. For details on the Effect connections in the Voice mode, see page 179. For details on the Effect Types, refer to the Effect Type list in the separate Data List booklet.
This display gives you comprehensive control over the effects.
EL: OUT 1 to 4 (Element 1 to 4 Effect Output). Determines which Insertion effect (A or B) is used to process each individual Element. The "thru" setting lets you bypass the Insertion effects for the specific Element.
Settings: insA, insB, thru.
InsEF Connect (Insertion Effect Connect). Determines the effect routing for Insertion effects A and B. The setting changes are shown on the diagram in the display, giving you a clear picture of how the signal is routed.
Settings: Para, InsA to B, InsB to A (See page 179.)
InsA Ctgry (Insertion A Category) Determines the effect type for Insertion A.
InsA Type (Insertion A Type)
InsB Ctgry (Insertion B Category) Determines the effect type for Insertion B.
InsB Type (Insertion B Type)
Reverb Type Determines the effect type for Reverb.
Chorus Ctg (Chorus Effect Category), Determines the effect type for Chorus.
Chorus Typ (Chorus Effect Type)
Reverb Send. Determines the level of the sound (from Insertion A or B, or the bypassed signal) that is sent to Reverb effect. A setting of "0" results in no Reverb processing of the sound.
Settings: 0 to 127.
Chorus Send. Determines the level of the sound (from Insertion 1 or 2, or the bypassed signal) that is sent to Chorus effect. A setting of "0" results in no Chorus processing of the sound.
Settings: 0 to 127.
Reverb Return. Determines the Return level of the Reverb Effect.
Settings: 0 to 127.
Chorus Return. Determines the Return level of the Chorus Effect.
Settings: 0 to 127.
Chorus To Reverb. Determines the Send level of the signal sent from the Chorus Effect to the Reverb Effect.
Settings: 0 to 127.
Reverb Pan. Determines the pan position setting for the Reverb effect.
Settings: L63 (far left) to cnt (center) to R63 (far right)
Chorus Pan. Determines the pan position setting for the Chorus effect.
Settings: L63 (far left) to cnt (center) to R63 (far right)
These are for adjusting the various parameters of the Effect blocks. The number of parameters and values available differs depending on the currently selected effect type. For more information, see the Effect Type List in the separate Data List booklet. Note that the menu of the corresponding Effect block disappears when the ""thru"" type is selected. "
These parameters are for editing the individual Elements that make up a Normal Voice.
From this display you can select the desired waveform or sound used for the Element.
ElementSw (Element Switch). Determines whether the currently selected Element is on or off.
Settings: off (inactive), on (active)
Bank. Determines whether the Preset Waveform or User Waveform is used.
Settings: preset, usr wav.
NOTE. The User Waveform contains audio data you have created with the Sampling function or imported (as WAV or AIFF files) from a SmartMedia/USB storage device.
Wave No. (Waveform Number),WaveCtgry (Waveform Category) Determines the Waveform for the selected Element. See the Waveform list in the separate Data List.
From this display you can set certain output parameters for the selected Element.
KeyOnDelay. Determines the time (delay) between the moment you press a note on the keyboard and the point at which the sound is played. You can set different delay times for each Element.
Settings: 0 to 127.
DelayTempoSync. Determines whether or not the KeyOnDelay is synchronized to the tempo of the Arpeggio or sequencer (song or pattern).
Settings: off (not synchronized), on (synchronized)
DelayTempo. Determines the timing of the KeyOnDelay when the DelayTempoSync is set to on.
Settings: 16th, 8th/3 (eighth-note triplets), 16th. (dotted sixteenth notes), 8th, 4th/3 (quarter-note triplets), 8th. (dotted eighth notes), 4th (quarter notes), 2nd/3 (half-note triplets), 4th. (dotted quarter notes), 2nd (half notes), whole/3 (whole-note triplets), 2nd. (dotted half notes), 4th x 4 (quarter-note quadruplets; four quarter notes to the beat), 4th x 5 (quarter-note quintuplets; five quarter notes to the beat), 4th x 6 (quarter-note sextuplets; six quarter notes to the beat), 4th x 7 (quarter-note septuplets; seven quarter notes to the beat), 4th x 8 (quarter-note octuplets; eight quarter notes to the beat)
InsEffectOut (Insertion Effect Output). Determines which Insertion effect (1 or 2) is used to process each individual Element. The "thru" setting lets you bypass the Insertion effects for the specific Element. (This parameter is the same as "EL: OUT" on the [F6] EFFECT -> [SF1] CONNECT display in Normal Common Edit. Making a setting here automatically changes the setting of that parameter as well.)
Settings: thru, insA (Insertion Effect A), insB (Insertion Effect B)
NoteLimit. Determines the lowest and highest notes of the keyboard range for each Element. The selected Element will sound only when you play notes within this range.
Settings: C -2 to G8.
NOTE. You can also create a lower and an upper range for the Element, with a note range "hole" in the middle, by specifying the highest note first. For example, setting a Note Limit of "C5 to C4" lets you play the Element from two separate ranges: C -2 to C4 and C5 to G8. Notes played between C4 and C5 do not play the selected Element.
NOTE. You can also set the range directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired low and high keys. Refer to the Basic Operation section, page 53.
VelocityLimit. Determines 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 specified 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 to 127.
NOTE. You can also create separate low and high ranges for the Element, with a velocity "hole" in the middle, by specifying the maximum value first. For example, setting a Velocity Limit of 93 to 34 lets you play the Element from two separate velocity ranges: soft (1 to 34) and hard (93 to 127). Notes played at middle velocities between 35 and 92 do not play the selected Element.
VelCrossFade (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 practical application of this parameter is to create natural-sounding velocity crossfades, in which different Elements change gradually depending on how strongly or softly you play. The higher the value, the more gradual the level change.
Settings: 0 to 127
From this display you can set various pitch-related parameters for the selected Element.
Coarse. Determines the pitch of each Element in semitones.
Settings: minus 48 to 0 to plus 48.
Fine. Determines the fine tuning for the pitch of each Element.
Settings: minus 64 to 0 to plus 63.
FineScaling. "Determines the degree to which the notes (specifically, their position or octave range) affect the pitch in fine 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. Negative values will have the opposite effect."
Settings: minus 64 to 0 to plus 63.
Random. This lets you randomly vary the pitch of the Element for each note you play. This is effective in reproducing the natural pitch variations in acoustic instruments. It is also useful for creating unusual random pitch changes. The higher the value, the greater the pitch variation. A value of "0" results in no pitch change.
Settings: 0 to 127.
From this display you can determine how the Pitch EG responds to velocity.
"EGTime, Segment" Determines the velocity sensitivity of the PEG's Time parameters. Select the Segment first, then set its Time parameter. Positive Time settings will play back the specified Segment faster in proportion to the played velocity and negative values will play it back slower.
Settings: EGTime: minus 64 to 0 to plus 63.
Settings: Segment: atk, atk plus dcy, dcy, atk plus rls, all
atk (attack)... EG Time Value affects Attack time.
atk plus dcy (attack plus decay)... EG Time Value affects Attack/Decay1 time.
dcy (decay)... EG Time Value affects Decay time.
atk plus rls (attack plus release)... EG Time Value affects Attack/Release time.
all... EG Time Value affects all PEG Time parameters.
EGDepth, Curve. Determines the velocity sensitivity of the PEG Level. Positive settings will cause the pitch change to rise the harder you play the keyboard, and negative values will cause it to fall. The Curve parameter lets you select from five different preset velocity curves (graphically indicated in the display), that determine how velocity affects the Pitch EG Depth.
Settings: EGDepth: minus 64 to 0 to plus 63.
Settings: Curve: 0 to 4.
Pitch. Determines the velocity sensitivity of the Pitch. Extreme values produce greater variation in PEG Depth. For positive values, the harder you play the keys, the greater the change in PEG Depth. For negative values, the softer you play the keys, the greater the change in PEG Depth.
Settings: minus 64 to 0 to plus 63.
From this display you can make all the time and level settings for the Pitch EG, which determine how the pitch of the sound changes over time. These can be used to control the change in pitch from the moment a note is pressed on the keyboard to the moment the sound stops. The full names of the available parameters are shown in the chart below, as they appear in the display.
HOLD ATK DCY1 DCY2 REL DEPTH TIME Hold time Attack time Decay1 time Decay2 time Release time LEVEL Hold level Attack level Decay1 level Decay2 level Release level Depth
Settings: TIME: 0 to 127.
LEVEL: minus 128 to 0 to plus 127.
DEPTH: minus 64 to 0 to plus 63.
NOTE. For details on the PEG, see page 160.
From this display you can set the Key Follow effect -- in other words, how the pitch of the Element and its Pitch EG respond to the particular notes (or octave range) you play.
PitchSens (Pitch Sensitivity). Determines the sensitivity of the Key Follow effect (the pitch interval of adjacent notes). At plus 100 (the normal setting), adjacent notes are pitched one semitone (100 cents) apart. At 0, all notes are the same pitch. At plus 50, one octave is stretched out over twenty-four notes. For negative values, the settings are reversed.
Settings: minus 200 to 0 to plus 200.
NOTE. 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.
>CenterKey Determines the central note or pitch for the Key Follow effect on pitch. The note number set here is the same pitch as normal regardless of the Pitch Sensitivity setting. Depending on the Pitch Sensitivity parameter above, the further away from the Center Key the keys are played, the greater the degree of pitch change.
Settings: C -2 to G8.
NOTE. You can also set the Center Key directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired key. Refer to the Basic Operation section, page 53.
EGTimeSens (EG Time Sensitivity). "Determines the degree to which the notes (specifically, their position or octave range) affect the Pitch EG times of the selected Element. The Center Key (next parameter) is used as the basic pitch for this parameter. A positive setting will cause the pitch of lower notes to change slower and that of higher notes to change faster. Negative values will have the opposite effect."
Settings: minus 64 to 0 to plus 63.
>CenterKey. "Determines the central note or pitch for the Key Follow effect on Pitch EG. 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 EG Time settings."
Settings: C -2 to G8.
NOTE. You can also set the Center Key directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired key. Refer to the Basic Operation on page 53.
From this display you can make comprehensive settings for the Filter unit. The available parameters differ depending on which Filter type is selected here. For more information on the Filter types as well as illustrations of each type, refer to page 161.
Type. Basically, there are four different Filter types: an LPF (Low Pass Filter), an HPF (High Pass Filter), a BPF (Band Pass Filter) and a BEF (Band Elimination Filter). Each type has a different frequency response and produces a different effect on the sound. This synthesizer also features special combination Filter types, for additional sonic control.
Settings: Refer to page 209.
Gain. Determines the Gain (the amount of boost applied to the signal sent to the Filter).
Settings: 0 to 255.
Cutoff. Determines the cutoff frequency for the Filter, or the central frequency around which the Filter is applied.
Settings: 0 to 255.
Resonance/Width. This parameter's function varies according to the selected Filter Type. If the selected filter is an LPF, HPF, BPF (excluding the BPFw), or BEF, this parameter is used to set the Resonance. For the BPFw, it is used to adjust the Width of the band. Resonance is used to set the amount of Resonance (harmonic emphasis) applied to the signal at the cutoff frequency. This can be used in combination with the cutoff frequency parameter to add further character to the sound. The Width parameter is used to adjust the width of the band of signal frequencies passed by the filter with the BPFw.
Settings: 0 to 127.
Distance. Determines the distance between the Cutoff frequencies, for the Dual Filter types (which feature two identical filters combined in parallel, and the LPF12 plus BPF6 type).
Settings: 0 to 255.
HPFCutoff. Determines the central frequency for the Key Follow parameter (below) of the HPF. When a filter type "LPF12" or "LPF6" is selected, this parameter is available.
Settings: 0 to 255.
HPFKeyFlw (Key Follow). Determines the Key Follow setting for the HPF Cutoff frequency. This parameter varies the center frequency according to the position of the notes played on the keyboard. A positive setting will raise the center frequency for higher notes and lower it for lower notes. A negative setting will have the opposite effect. When a filter type "LPF12" or "LPF6" is selected, this parameter is available.
Settings: minus 200 to 0 to plus 200.
From this display you can determine how the Filter and the FEG respond to velocity.
EGTime, Segment. "Determines the velocity sensitivity of the FEG's Time parameters. Select the Segment first, then set its Time parameter. Positive Time settings will play back the specified Segment faster in proportion to the played velocity and negative values will play it back slower."
Settings: EG Time: minus 64 to 0 to plus 63.
Settings: Segment: atk, atk plus dcy, dcy, atk plus rls, all.
atk (attack) EG Time Value affects Attack time.
atk plus dcy (attack plus decay) EG Time Value affects Attack/Decay1 time.
dcy (decay) EG Time Value affects Decay time.
atk plus rls (attack plus release) EG Time Value affects Attack/Release time.
all EG Time Value affects all FEG Time parameters.
EGDepth, Curve. Determines the velocity sensitivity of the FEG Level. For positive settings, the more strongly you play the keyboard, the more Filter changes the sound. Negative settings do the opposite; the more softly you play, the more the sound changes. The Curve parameter lets you select from five different preset velocity curves (graphically indicated in the display), that determine how velocity affects the Filter EG.
Settings: EGDepth: minus 64 to 0 to plus 63.
Settings: Curve: 0 to 4.
Cutoff. Determines the degree to which velocity affects the Cutoff frequency of the Filter EG. For positive values, the more strongly you play the keys, the greater the change in the Cutoff frequency. Negative values do the opposite; the more softly you play, the greater the change in frequency.
Settings: minus 64 to 0 to plus 63.
Resonance. Determines the degree to which velocity affects the Resonance of the Filter EG. For positive values, the more strongly you play the keys, the greater the Resonance change. Negative values do the opposite; the more softly you play, the greater the change in Resonance.
Settings: minus 64 to 0 to plus 63.
From this display you can make all the time and level settings for the Filter EG, which determine how the tonal quality of the sound changes over time. These can be used to control the change in Cutoff Frequency from the moment a note is pressed on the keyboard to the moment the sound stops. The full names of the available parameters are shown in the chart below, as they appear in the display.
HOLD ATK DCY1 DCY2 REL DEPTH TIME Hold time Attack time Decay1 time Decay2 time Release time LEVEL Hold level Attack level Decay1 level Decay2 level Release level Depth
Settings: TIME: 0 to 127.
LEVEL: minus 128 to 0 to plus 127.
DEPTH: minus 64 to 0 to plus 63.
NOTE. For details on the FEG, see page 161.
From this display you can set the Key Follow effect for the Filter -- in other words, how the tonal qualities of the Element and its Filter EG respond to the particular notes (or octave range) you play.
CutoffSens (Cutoff Sensitivity). Determines the degree to which the notes (specifically, their position or octave range) affect the Filter of the selected Element. A Center Key setting (next parameter) of C3 is used as the basic setting by the Cutoff parameter. A positive setting will lower the Cutoff frequency for lower notes and raise it for higher notes. A negative setting will have the opposite effect.
Settings: minus 200 to 0 to plus 200.
>CenterKey. This indicates that the central note for Cutoff Sensitivity above is C3. At C3, the tone remains unchanged. For other notes played, the Cutoff Frequency varies according to the particular note and the Cutoff Sensitivity setting. Keep in mind that this is for display purposes only; the value cannot be changed.
Settings: C -2 to G8.
EGTimeSens (EG Time Sensitivity). "Determines the degree to which the notes (specifically, their position or octave range) affect the Filter EG times of the selected Element. The basic speed of change for the FEG is at the note specified in the Center Key (next parameter). A positive setting will cause slower changes for lower notes and faster changes for higher notes. A negative setting will have the opposite effect. "
Settings: minus 64 to 0 to plus 63.
>CenterKey. Determines the central note or pitch for the Key Follow effect on Filter EG. Depending on the EG Time Sensitivity parameter above, the further away from the Center Key the keys are played, the more the time of the Filter EG deviates from the normal. 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 EG Time settings.
Settings: C -2 to G8.
NOTE. You can also set the Center Key directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired key. Refer to the Basic Operation section, page 53.
Filter Scaling controls the filter cutoff frequency according to the positions of the notes on the keyboard. You can divide the entire keyboard by four break points, and assign different offset values of Cutoff Frequency to them respectively. Refer to the setting example on page 211.
Settings: BREAK POINT 1 to 4: C-2 to G8.
Settings: OFFSET 1 to 4: 128 to 0 to plus 127.
NOTE. You can also set the Break Point directly from the Keyboard, by holding down the [INFORMATION] button and pressing the desired key. Refer to the Basic Operation section, page 53.
This display not only lets you make basic Level and Pan settings for each individual Element, it also gives you some detailed and unusual parameters for affecting Pan position.
Level. Determines the output level for the selected Element.
Settings: 0 to 127.
Pan. 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 (Left) to C (Center) to R63 (Right).
AlternatePan. Determines the amount by which the sound of the selected Element is panned alternately left and right for each note you press. The Pan setting (above) is used as the basic Pan position.
Settings: L64 to 0 to R63.
RandomPan. Determines the amount by which the sound of the selected Element is panned randomly left and right for each note you press. The Pan setting is used as the Center Pan position.
Settings: 0 to 127.
ScalingPan. Determines the degree to which the notes (specifically, their position or octave range) affect the Pan position, left and right, of the selected Element. At note C3, the main Pan setting (above) is used for the basic Pan position.
Settings: minus 64 to 0 to plus 63.
From this display you can determine how the Amplitude (volume) EG responds to velocity.
EG Time, Segment Determines the velocity sensitivity of the AEG's Time parameters. Select the Segment first, then set its Time parameter. Positive Time settings will play back the specified Segment faster in proportion to the played velocity and negative values will play it back slower.
Settings: EG Time: minus 64 to 0 to plus 63.
Settings: Segment: atk, atk plus dcy, dcy, atk plus rls, all.
atk (attack)... EG Time Value affects Attack time.
atk plus dcy (attack plus decay)... EG Time Value affects Attack/Decay1 time.
dcy (decay)... EG Time Value affects Decay time.
atk plus rls (attack plus release)... EG Time Value affects Attack/Release time.
all... EG Time Value affects all AEG Time parameters.
Level, Curve. Determines the velocity sensitivity of the Amplitude EG Level. For positive settings, the more strongly you play the keyboard, the more the volume changes. Negative settings do the opposite; the more softly you play, the more the volume changes. The Curve parameter lets you select from five different preset velocity curves (graphically indicated in the display), that determine how velocity affects the Amplitude EG.
Settings: Level: 64 to 0 to plus 63.
Settings: Curve: 0 to 4.
From this display you can make all the time and level settings for the Amplitude EG, which determine how the volume of the sound changes over time. These can be used to control the change in volume from the moment a note is pressed on the keyboard to the moment the sound stops. The full names of the available parameters are shown in the chart below, as they appear in the display.
INIT ATK DCY1 DCY2 REL DEPTH TIME --- Attack time Decay1 time Decay2 time Release time LEVEL Initial level Attack level Decay1 level Decay2 level --- ---
Settings: TIME: 0 to 127.
LEVEL: 0 to 127.
NOTE. For details on the AEG, see page 162.
From this display you can set the Key Follow effect for Amplitude -- in other words, how the volume of the Element and its Amplitude EG respond to the particular notes (or octave range) you play.
LevelSens (Level Sensitivity). Determines the degree to which the notes (specifically, their position or octave range) affect the volume of the selected Element. A Center Key setting of C3 is used as the basic setting. A positive setting will lower the output level for lower notes and raise it for higher notes. A negative setting will have the opposite effect.
Settings: minus 200 to 0 to plus 200.
>CenterKey. This indicates that the central note for Level Sensitivity above is C3. At C3, the volume (level) remains unchanged. For other notes played, the volume varies according to the particular note and the Level Sensitivity setting. Keep in mind that this is for display purposes only; the value cannot be changed.
EGTimeSens (EG Time Sensitivity). "Determines the degree to which the notes (specifically, their position or octave range) affect the Amplitude EG times of the selected Element. The Center Key (next parameter) is used as the basic amplitude for this parameter. A positive setting will cause the amplitude of lower notes to change slower and that of higher notes to change faster. Negative values will have the opposite effect."
Settings: minus 64 to 0 to plus 63.
>CenterKey. "Determines the central note or pitch for the Key Follow effect on Amplitude EG. Depending on the EG Time Sensitivity parameter above, the further away from the Center Key the keys are played, the more the time of the Amplitude EG deviates from the norm. When the Center Key is played, the AEG behaves according to its actual settings. The amplitude change characteristics for other notes will vary in proportion to the EGTime settings."
Settings: C -2 to G8.
NOTE. You can also set the Center Key directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired key. Refer to the Basic Operation section, page 53.
Amplitude Scaling controls the output level (set in the [F4] AMP -> [SF1] LVL /PAN display) according to the positions of the notes on the keyboard. You can divide the entire keyboard by four break points, and assign different offset values of amplitude to them respectively. Refer to the setting example on page 211.
Settings: BREAK POINT 1 to 4: C-2 to G8.
Settings: OFFSET 1 to 4: minus 128 to 0 to plus 127.
NOTE. You can also set the Break Point directly from the Keyboard, by holding down the [INFORMATION] button and pressing the desired key. Refer to the Basic Operation section, page 53.
This display gives you a comprehensive set of controls over the LFO for each individual Element. The LFO can be used to create vibrato, wah, tremolo and other special effects, by applying it to the pitch, filter and amplitude parameters.
Wave. Determines the LFO waveform used to vary the sound.
Settings: saw, tri, squ.
Speed. Determines the speed of the LFO waveform. The higher the value, the faster the speed.
Settings: 0 to 63.
KeyOnReset. Determines whether or not the LFO is reset each time a note is played.
Settings: off, on.
KeyOnDelay. Determines the delay time between the moment you play a note on the keyboard and the moment the LFO comes into effect. A higher value results in a longer delay time.
Settings: 0 to 127.
Pmod (Pitch Modulation Depth). "Determines the amount (depth) by which the LFO waveform varies (modulates) the pitch of the sound. The higher the value, the greater the amount of pitch modulation. "
Settings: 0 to 127.
Fmod (Filter Modulation Depth). Determines the amount (depth) by which the LFO waveform varies (modulates) the Filter Cutoff frequency. The higher the value, the greater the amount of filter modulation.
Settings: 0 to 127.
Amod (Amplitude Modulation Depth). Determines the amount (depth) by which the LFO waveform varies (modulates) the amplitude or volume of the sound. The higher the value, the greater the amount of amplitude modulation.
Settings: 0 to 127.
FadeInTime. "Determines the amount of time for the LFO effect to fade in (after the KeyOnDelay time has elapsed). A higher value results in a slower fade-in."
Settings: 0 to 127.
Type. Determines the Equalizer Type. This synthesizer features a wide selection of various equalizer types, which can be used not only to enhance the original sound, but even completely change the character of the sound. The particular parameters and settings available depend on the specific Equalizer Type that is selected.
Settings: EQ L/H, P.EQ, boost6, boost12, boost18, thru.
EQ L/H (Low/High)... This is a shelving"" equalizer, which combines separate high and low frequency bands.
P.EQ (Parametric EQ)... The Parametric EQ is used to attenuate or boost signal levels (gain) around the Frequency. This type features 32 different "Q" settings, which determine the frequency band width of the equalizer."
boost6 (boost 6dB)/boost12 (boost 12dB)/boost18 (boost 18dB). These can be used to boost the level of the entire signal by 6dB, 12dB and 18dB, respectively.
thru... If you select this, the equalizers are bypassed and the entire signal is unaffected.
When a Drum Voice is selected, Voice Edit parameters are divided into Common Edit (parameters common to all keys, up to 73), and Key Edit (parameters of individual keys).
These parameters are for making global (or common) edits to all keys of the selected Drum Voice.
Same as in Normal Voice Common Edit. See page 189.
Same as in Normal Voice Common Edit. See page 190. In addition, the following two parameters are also available.
InsRevSend (Insertion Reverb Send). Determines the Send level for the entire Drum voice (all keys), sent from Insertion Effect A/B to the Reverb effect.
Settings: 0 to 127.
InsChoSend (Insertion Chorus Send). Determines the Send level for the entire Drum voice (all keys), sent from Insertion Effect A/B to the Chorus effect.
Settings: 0 to 127.
NOTE. Send level (to Reverb and Chorus) cannot be set independently for each Drum key; the value is fixed at 127 (maximum).
Same as in Normal Voice Common Edit. See page 191.
Same as in Normal Voice Common Edit. See page 192. Please note that the Element Switch parameter is not available in Drum Voice Common edit.
Same as in Normal Voice Common Edit. See page 194. The only difference here is that gKEY: OUTh appears in the [SF1] CONNECT display instead of gEL: OUTh (in Normal Common Effect).
These parameters are for editing the individual keys that make up a Drum Voice.
From this display you can select the desired wave or Normal voice used for the individual Drum key.
Type. Determines whether a Wave or a Normal voice is to be used for the
selected key. Also, use the Bank, Number and Category parameters below
to specify the desired Wave or
Settings: pre wav (Preset wave), voice, usr wav (User wave)
NOTE. When the Type is set to gvoiceh here, some parameters in the Drum Voice Edit mode cannot be edited.
ElementSw (Element Switch). This parameter is available when Type (above) is set to gpre wavh or guser wav.h This determines whether the currently selected key is on or off, or in other words, whether the wave for the key is active or inactive.
Settings: on, off.
Bank. This parameter is available when Type
(above) is set to gvoice.h Any
of the
NOTE. Plug-in voices cannot be selected for Drum keys.
Number. Determines the Wave/Voice number. The number differs depending on the selected Type. For details about available Waves and Voices, refer to the separate Data List booklet.
Settings: When Type is set to gpre wavh: 001 to 1859.
When Type is set to gvoiceh: 001 to 128.
When Type is set to gusr wavh: 001 to 1024.
Category. Determines the Category of the Wave/Normal Voice. If you switch to another Category, the first Wave/Normal Voice in that Category will be selected.
NOTE. For more information about the Categories, refer to the separate Data List booklet.
From this display you can set certain output parameters for the selected Drum key.
InsEFOut (Insertion Effect Output). Determines which Insertion effect (A or B) is used to process each individual Drum key. The gthruh setting lets you bypass the Insertion effects for the specific key.
Settings: thru, insA (Insertion Effect A), insB (Insertion Effect B)
RevSend (Reverb Send). Determines the level of the Drum key sound (the bypassed signal) that is sent to Reverb effect. A setting of g0h results in no Reverb processing of the Drum key sound. This is available only when Insertion Effect Output (above) is set to gthru.h
Settings: 0 to 127.
ChoSend (Chorus Send). Determines the level of the Drum key sound (the bypassed signal) that is sent to Chorus effect. A setting of g0h results in no Chorus processing of the Drum key sound. This is available only when Insertion Effect Output (above) is set to gthru.h
Settings: 0 to 127.
OutputSel (Output Select). Determines the specific output(s) for the individual Drum key signal. You can assign each individual Drum key sound to be output from a specific hardware output jack on the rear panel. This is available only when Insertion Effect Output (above) is set to gthru.h
Settings: See page 31.
From this display you can set various parameters related
to how the individual notes of the Drum voice respond to the keyboard and
AssignMode. When this is set to gsingle,h double playback of the same note is prevented. This is useful when two or more instances of the same note are received nearly simultaneously, or without a corresponding note off message. To allow playback of each instance of the same note, set this to gmulti.h
Settings: single, multi.
RcvNoteOff (Receive Note Off). Determines whether or not the selected Drum key responds to MIDI Note Off messages.
Settings: off, on.
NOTE. This parameter is available when the Type is set to gpre wavh or gusr wavh in the [F1] OSC -> [SF1] WAVE display (page 202).
AltnateGroup. Set the Alternate Group to which the key is assigned. In a real drum kit, some drum sounds cannot physically be played simultaneously, such as open and closed hi-hats. You can prevent keys from playing back simultaneously by assigning them to the same Alternate Group. Up to 127 Alternate Groups can be defined. You can also select goffh here if you wish to allow the simultaneous playback of sounds.
Settings: off, 1 to 127.
From this display you can set various pitch-related parameters for the selected key.
Coarse Determines the pitch of each Drum Key Wave (or Normal Voice) in semitones.
Settings: minus 48 to plus 48.
NOTE. If a
Fine. Determines the fine tuning for the pitch of each Drum Key Wave (or Normal Voice).
Settings: minus 64 to plus 63
Pitch Determines how the pitch of the selected Drum key responds to velocity. For positive values, the more strongly you play the key, the higher the pitch becomes. For negative values, the more strongly you play the key, the lower the pitch.
Settings: minus 64 to plus 63.
This synthesizer lets you apply a low pass filter and high pass filter to each individual Drum key -- giving you exceptionally detailed and comprehensive sonic control over the Drum voice.
NOTE. This parameter is available when the Type is set to gpre wavh or gusr wavh in the [F1] OSC -> [SF1] WAVE display (page 202).
LPFCutoff. Determines the Cutoff frequency of the Low Pass Filter.
Settings: 0 to 255.
LPFReso. Determines the amount of Resonance (harmonic emphasis) applied to the signal at the Cutoff frequency.
Settings: 0 to 127.
HPFCutoff. Determines the Cutoff frequency of the High Pass Filter.
Settings: 0 to 255.
LPFCutoff. Determines the velocity sensitivity of the Low Pass Filter Cutoff frequency. For positive settings, the more strongly you play the keyboard, the higher the cutoff frequency becomes. For negative settings, the more strongly you play, the lower the cutoff frequency.
Settings: minus 64 to 0 to plus 63.
This display not only lets you make basic Level and Pan settings for the sound of each individual Drum key, it also gives you some detailed and unusual parameters for affecting Pan position.
Level. Determines the output for the selected Drum key (Wave). This lets you make detailed balance adjustments among the various sounds of the Drum voice.
Settings: 0 to 127.
Pan. Determines the stereo Pan position for the selected Drum key (Wave). This will also be used as the basic Pan position for the Alternate and Random settings.
Settings: L63 (Left) to C (Center) to R63 (Right).
AlternatePan. Determines the amount by which the sound of the selected Drum key is panned alternately left and right for each note you press. The Pan setting (above) is used as the basic Pan position.
Settings: L64 to 0 to R63
NOTE. This parameter is available when the Type is set to gpre wavh or gusr wavh in the [F1] OSC -> [SF1] WAVE display (page 202).
RandomPan. Determines the amount by which the sound of the selected Drum key is panned randomly left and right for each note you press. The Pan setting (above) is used as the Center Pan position.
Settings: 0 to 127
NOTE. This parameter is available when the Type is set to gpre wavh or gusr wavh in the [F1] OSC -> [SF1] WAVE display (page 202).
Level. Determines the velocity sensitivity of the Amplitude Envelope Generator's output level. Positive settings will cause the output level to rise the harder you play the keyboard and, conversely, negative values will cause it to fall.
Settings: minus 64 to 0 to plus 63.
AttackTime. Settings: 0 to 127.
Decay1Time . Settings: 0 to 127.
Decay1Lvl (Level). Settings: 0 to 127.
Decay2Time. Settings: 0 to 126, hold.
Same as in Normal Voice Element Edit. See page 201.
NOTE This parameter is available when the Type is set to gpre wavh or gusr wavh in the [F1] OSC -> [SF1] WAVE display (page 202).
These parameters are basically the same as in Normal Voice Edit. Unlike with Normal voices, the Plug-in voices only have one Element for editing.
NOTE. Depending on the particular Plug-in board you are using, some of the parameters described here may not be available. For details, refer to the relevant owner's manual of the Plug-in board.
NOTE. For details on the current lineup of available Plug-in boards, see page 74.
Same as in
Same as in Normal Voice Common Edit. See page 190. Please note that Micro Tuning is not available in Plug-in Voice Common Edit.
Same as in
Same as in
Same as in
Same as in Normal Voice Common Edit. See page 190.
Same as in Normal Voice Common Edit. See page 191.
Same as in Normal Voice Common Edit. See page 192. Please note that Element Switch is not available in Plug-in Voice Common Edit.
From this display you can set how the Plug-in voice responds to the Modulation wheel, by changing the control depth for the filter, pitch and amplitude (volume).
Filter. Determines the depth of control of the Modulation Wheel over the filter cutoff frequency. Negative settings result in reversed Modulation wheel operation (i.e., moving the wheel up results in less modulation).
Settings: minus 64 to 0 to plus 63.
PMod (Pitch Modulation Depth). Determines the depth of control the Modulation Wheel has over pitch modulation. The higher the setting, the greater the depth of control.
Settings: 0 to 127.
FMod (Filter Modulation Depth). Determines the depth of control the Modulation Wheel has over filter cutoff modulation. The higher the setting, the greater the depth of control.
Settings: 0 to 127.
AMod (Amplitude Modulation Depth). Determines the depth of control the Modulation Wheel has over amplitude modulation. The higher the setting, the greater the depth of control.
Settings: 0 to 127.
This synthesizer gives you a comprehensive set of after touch controls for the Plug-in voice, allowing you to change the pitch and filter settings, and produce modulation effects (pitch, filter and amplitude) ? simply by pressing down hard on the keys.
Pitch. Determines the depth of control of keyboard aftertouch over pitch. You can set a value (in semitones) of up to two octaves.
Settings: minus 24 to 0 to plus 24.
Filter. Determines the depth of control of keyboard aftertouch over the filter cutoff frequency.
Settings: minus 64 to 0 to plus 63.
PMod (Pitch Modulation Depth). Determines the depth of control that keyboard aftertouch has over pitch modulation. The higher the setting, the greater the depth of control.
Settings: 0 to 127.
FMod (Filter Modulation Depth). Determines the depth of control that keyboard aftertouch has over filter cutoff modulation. The higher the setting, the greater the depth of control.
Settings: 0 to 127.
AMod (Amplitude Modulation Depth). Determines the depth of control that keyboard aftertouch has over amplitude modulation. The higher the setting, the greater the depth of control.
Settings: 0 to 127.
From this display you can assign MIDI Control Change numbers (as Src) and determine the degree to which the assigned controllers affect the filter and the modulation effects (pitch, filter and amplitude).
Src (Source). Determines the MIDI Control Change number used to control the filter, PMod, FMod, and AMod.
Settings: 0 to 95.
Filter. Determines the depth of control the Control Change numbers (set in the Src parameter above) have over the filter cutoff frequency.
Settings: minus 64 to 0 to plus 63.
PMod (Pitch Modulation Depth). Determines the depth of control the Control Change messages (set in the Src parameter above) have over pitch modulation. The larger the setting, the greater the depth of control.
Settings: 0 to 127.
FMod (Filter Modulation Depth). Determines the depth of control the Control Change messages (set in the Src parameter above) have over filter cutoff modulation. The larger the setting, the greater the depth of control.
Settings: 0 to 127.
AMod (Amplitude Modulation Depth). Determines the depth of control the Control Change messages (set in the Src parameter above) have over amplitude modulation. The larger the setting, the greater the depth of control.
Settings: 0 to 127.
"Same as in Normal Voice Common Edit. See page 194. Please note that the EL: OUT settings are not available in the [SF1] CONNECT display and the parallel setting (Insertion Connection) is not available in the [SF1] CONNECT display."
From this display you can select the desired Board Voice used for the Element of the Plug-in voice. Keep in mind that a Plug-in voice only has one Element.
Bank. Determines the Board Voice Bank.
Settings: These depend on the particular Plug-in board; refer to the relevant owner's manual for details.
Number Determines the Board Voice Number.
Settings: These depend on the particular Plug-in board; refer to the relevant owner's manual for details.
VelocityDepth. Determines the velocity sensitivity of the Plug-in Voice. For higher values, the harder you play the keyboard, the louder the voice becomes.
Settings: 0 to 127.
VelocityOffset. This lets you specify an offset value for Velocity Depth (above). In other words, you can increase the relative velocity (or level) of the voice by a set amount -- so that all the notes you play have the added velocity.
Settings: 0 to 127.
NoteShift. Determines the transpose setting for the Plug-in voice, or the amount (in semitones) by which the pitch is raised or lowered. The pitch range is two octaves, up or down.
Settings: minus 24 to 0 to plus 24.
From this display you can make various time and level settings for the Pitch EG, which determine how the pitch of the Plug-in Voice changes over time. The full names of the available parameters are shown in the chart below, as they appear in the display.
INIT ATK DCY1 DCY2 REL DEPTH TIME --- Attack time --- --- Release time LEVEL Initial level --- --- --- Release level ---
HPFCutoff (High Pass Filter Cutoff frequency). Determines the Cutoff frequency for the High Pass Filter.
Settings: minus 64 to 0 to plus 63.
"With a Plug-in board installed to this synthesizer, you can create a Plug-in Voice by editing both native parameters (those parameters exclusive to the particular board) and unique parameters (related specifically to this synthesizer). Pressing [F4] gives you access to the native parameters of the Plug-in board. The parameters will vary depending on the Plug-in Board. For details about each parameter and its functions, refer to the Owner's Manual or the on-line help that came with your Plug-in Board."
From this display you can set the basic LFO parameters for modulating the pitch to create vibrato and other special effects.
Speed . Determines the speed of the LFO waveform. Positive settings increase the speed and negative settings decrease it.
Settings: minus 64 to 0 to plus 63.
Delay. Determines the delay time between the moment you press note on the keyboard and the moment the LFO comes into effect. Positive settings lengthen the delay and negative settings shorten it.
Settings: minus 64 to 0 to plus 63.
PMod (Pitch Modulation Depth). Determines the amount by which the LFO waveform controls the pitch. Positive settings increase the amount and negative settings decrease it.
Settings: minus 64 to 0 to plus 63.
From this display you can apply equalizer settings to the Plug-in Voice. This is a shelving equalizer with two bands; one for high frequencies and the other for low frequencies.
NOTE. For details on the EQ, see page 178.
LowFreq (Low Frequency). Determines the shelving point for the low frequencies. The levels of signals below this frequency will be boosted/attenuated by the amount set in the LowGain parameter.
Settings: 32Hz to 2.0kHz.
LowGain (Low Gain). Determines the amount by which signals below the LowFreq frequency will be boosted/attenuated.
Settings: minus 64 to 0 to plus 63.
HighFreq (High Frequency). Determines the shelving point for the high frequencies. The levels of signals above this frequency will be boosted/attenuated by the amount set in the HighGain parameter.
Settings: 500Hz to 16.0kHz.
HighGain (High Gain). Determines the amount by which signals above the HighFreq frequency will be boosted/attenuated.
Settings: minus 64 to 0 to plus 63.
The Voice Job mode features several basic operations, such as Initialize and Copy. After setting parameters as required from the selected display, press the [ENTER] button to execute the Job.
This function lets you reset (initialize) all Voice parameters to their default settings. It also allows you to selectively initialize certain parameters, such as Common settings, settings for each Element/Drum key, and so on ? very useful when creating a completely new voice from scratch.
Type of parameter to be initialized. When a Normal Voice is selected: ALL, Common, EL1 to 4, without Wave
When a Drum Voice is selected: ALL, Common, EL, without Wave
When a Plug-in Voice is selected: ALL, Common, EL, without Wave
NOTE. If you turn the check mark on when a Drum voice is selected, you can select a Drum key. For details on selecting a key, refer to page 53 in the Basic Operation section.
If you are editing a Voice and select a different Voice without storing your edited one, all the edits you've made will be erased. If this happens, you can use Edit Recall to restore the Voice with your latest edits intact.
From this display you can copy Common and Element/Drum Key parameter settings from any Voice to the Voice you are editing. This is useful if you are creating a Voice and wish to use some parameter settings from another Voice.
Source voice. Determines the Voice and data type to be copied.
Data type
When a
When a Drum voice is selected: Common, Drum key C0 to C6.
When a Plug-in voice is selected: Common, Element.
NOTE. If the source Voice type (Normal/Drum/Plug-in) differs from one of the Voice you are currently editing (destination), you will only be able to copy Common parameters.
Data type of
Destination voice (current selected voice). If
the source is a
Data type.
When a
When a Drum voice is selected: Common, Drum key C0 to C6.
NOTE. If you choose to copy Common parameters from the source, this display will change to gCommon.h
This function lets you send all your edited parameter
settings for the currently selected Voice to a computer or another
NOTE. In order to execute Bulk Dump, you'll need to
set the correct MIDI Device Number, with the following operation: [UTILITY]
-> [F5]
This function lets you store your edited voice to User memory (Flash ROM). For details, refer to page 85 in the Quick Guide section.
[VOICE] -> [EDIT] -> [COMMON] -> [F1] GENERAL -> [SF2] PLY MODE -> M.TuningNo./M.TuningRoot. (page 190)
<Table>
M.TuningNo. Type. M.TuningRoot. Comments.
00. Equal Temp (Equal temperament). -- The compromise tuning used for most of the last 200 years of Western music, and found on most electronic keyboards. Each half step is exactly 1/12 of an octave, and music can be played in any key with equal ease. However, none of the intervals are perfectly in tune.
01. PureMaj (Pure major). C to B. This tuning is designed so that most of the intervals (especially the major third and perfect fifth) in the major scale are pure. This means that other intervals will be correspondingly out of tune. You need to specify the key (C to B) you will be playing in.
02. PureMin (Pure minor). C to B. The same as Pure Major, but designed for the minor scale.
03. Werckmeist (Werckmeister). C to B. Andreas Werckmeiser, a contemporary of Bach, designed this tuning so that keyboard instruments could be played in any key. Each key has a unique character.
04. Kirnberger. C to B. Johann Philipp Kirnberger, an 18th century composer, created this tempered scale to allow performances in any key.
05. VallotandYng (Vallotti and Young). C to B Francescatonio Vallotti and Thomas Young (both mid-1700s) devised this adjustment to the Pythagorean tuning, in which the first six fifths are lower by the same amount.
06. 1/4 Shift (1/4 shifted). -- This is the normal equal tempered scale shifted up 50 cents.
07. 1/4 tone. -- Twenty-four equally spaced notes per octave. (Play twenty-four notes to move one octave.)
08. 1/8 tone. -- Forty-eight equally spaced notes per octave. (Play forty-eight notes to move one octave.)
09. Indian. -- Usually observed in Indian music (white keys only).
10. Arabic 1. C to B. Usually observed in Arabic music.
11. Arabic 2.
12. Arabic 3.
[VOICE] -> [EDIT] -> Element selection -> [F3] FILTER -> [SF1] TYPE -> Type. (page 197)
LPF24D (24dB/oct Digital Low Pass Filter).
A dynamic 24dB/oct low-pass filter with a characteristic digital sound. Compared to the LPF24A type (below), this filter can produce a more pronounced resonance effect.
LPF24A (24dB/oct Analog Low Pass Filter).
A digital dynamic low-pass filter with characteristics similar to a 4-pole analog synth filter.
LPF18 (18dB/oct Low Pass Filter).
3-pole 18dB/oct low-pass filter.
LPF18s (18dB/oct Staggered Low Pass Filter).
3-pole 18dB/oct low-pass filter. This filter has a smoother cutoff slope than the LPF18 type.
LPF12 (12dB/oct Low Pass Filter).
12dB/oct low-pass filter. This filter is designed to be used in conjunction with a high-pass filter.
LPF6 (6dB/oct low-pass Filter).
1-pole 6dB/oct low-pass filter. No resonance. This filter is designed to be used in conjunction with a high-pass filter.
HPF24D (24dB/oct Digital High Pass Filter)
A dynamic 24dB/oct high-pass filter with a characteristic digital sound. This filter can produce a pronounced resonance effect.
HPF12 (12dB/oct High Pass Filter).
12dB/oct dynamic high-pass filter.
BPF12D (12dB/oct Digital Band Pass Filter).
BPFw (
A 12dB/oct BPF that combines HPF and LPF filters to allow wider bandwidth settings.
BPF6 (6dB/oct Band Pass Filter)
BEF12 (12dB/oct Band Elimination Filter).
BEF6 (6dB/oct Band Elimination Filter)
Dual LPF (
Two 12dB/oct low-pass filters connected in parallel.
Dual HPF (
Two 12dB/oct high-pass filters connected in parallel.
Dual BPF (
Two 6dB/oct band-pass filters connected in parallel.
Dual BEF (Dual Band Elimination Filter).
Two 6dB/oct band-elimination filters connected in serial.
LPF12 plus BPF6 (12dB/oct Low Pass Filter plus 6dB/oct Band Pass Filter).
A combined low-pass and high-pass filter.
thru.
The filters are bypassed and the entire signal is unaffected.
[VOICE] -> [EDIT] -> Element selection -> [F3] FILTER -> [SF5] SCALE (page 199)
The best way to understand Filter Scaling is by example. For the settings shown in the example display below, the basic Cutoff frequency value is 64, and the various Offset values at the selected Break point settings change that basic value accordingly. The specific changes to the Cutoff frequency are shown in the diagram below. The Cutoff frequency changes in a linear fashion between successive Break Points as shown.
[VOICE] -> [EDIT] -> Element selection -> [F4] AMP -> [SF5] SCALE (page 200)
The best way to understand Amplitude Scaling is by example.
For the settings shown in the example display above, the basic Amplitude (volume) value for the selected Element is 80, and the various Offset values at the selected Break point settings change that basic value accordingly. The specific changes to the Amplitude are shown in the diagram below. The Amplitude changes in a linear fashion between successive Break Points as shown.
You can create and edit your original Performances by setting various parameters in both the Performance Play mode and Performance Edit mode, while the Performance Job mode provides some basic parameter-related tools, such as Initialize and Copy. Once you've edited a Performance, you can store it to a User Bank in internal memory (Flash ROM) in the Performance Store mode and save all the edited Performances to a SmartMedia/USB storage device in the File mode.
The Performance Play mode lets you perform a variety of general editing operations on the selected Performance. For more detailed and comprehensive editing operations, use the Performance Edit mode.
NOTE. The parameters that have the same name in the Performance Play mode and in the Performance Edit mode have the same functions and settings.
TCH (Transmit Channel). Same as in Voice Play mode. These parameters are available both in the Voice mode and the Performance mode regardless of the selected Voice or Performance.
OCT (Octave).
ASA (ASSIGN A), ASB (ASSIGN B).
NOTE. TCH (Transmit Channel), OCT (Octave), ASA (ASSIGN A), and ASB (ASSIGN B) settings do not belong to each Performance. Because of this, these are not stored as an individual Performance in the Performance Store mode (page 220).
AS1 (ASSIGN 1), AS2 (ASSIGN 2). Indicates the values obtained by controlling the respective Knobs (printed "ASSIGN 1" and "ASSIGN 2") when the lamps of both the [PAN/SEND] and [TONE] buttons are turned on. The functions assigned to these knobs depend on the setting of the Voice assigned to each Part of the Performance.
[SF1] ARP1 (Arpeggio 1) to [SF5] ARP5 (Arpeggio 5). You can register the desired Arpeggio types to these buttons and call them up any time during your keyboard performance. Refer to page 70 in the Quick Guide section.
From this display you can select a Voice for each Part and determine the note range it can be played from.
[SF1] ADD INT (Add Internal Voice). Press this button to assign an internal Voice to the selected Part.
[SF2] ADD PLG (Add Plug-in Voice). Press this button to assign a Plug-in Voice to the selected Part.
[SF3] DELETE. Pressing this button deletes the Voice assignment for the selected Part, leaving the Part blank.
[SF4] LIMIT L (Note Limit Low). This sets the lowest note of the range over which the Voice of the selected Part sounds. Simultaneously hold down this button and press the desired key on the keyboard to set the note.
[SF5] LIMIT H (Note Limit High). This sets the highest note of the range over which the Voice of the selected Part sounds. Simultaneously hold down this button and press the desired key on the keyboard to set the note.
Pressing the [F3] EFFECT button in the Performance Play mode calls up the same EFFECT display in the Performance Edit mode ([PERFORM] -> [EDIT] -> [COMMON] -> [F6] EFFECT). From this display, you can set the effect related parameters for the current Performance. See page 215.
From this display you can set the Portamento parameters. Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to the next.
PortaSw (Portamento Switch). Determines whether Portamento is on or off for all Parts. (This is a global switch and overrides the individual Part settings in Part Switch below.)
Settings: off, on.
PortaTime (Portamento Time). Determines the pitch transition time. This parameter offsets the same parameter in Part Edit (page 216). Higher values result in longer transition times.
Settings: minus 64 to 0 to plus 63.
PartSwitch. Determines whether Portamento is on or off for each individual Part. This is available only when the PortaSw (above) is set to on.
"This display contains the basic EG settings, both volume and filter, for the Performance, as well as the filter's cutoff frequency and resonance settings. The settings made here are applied as offsets to the AEG and FEG settings in the Performance Edit mode (pages 218, 219). The parameters are same as in Voice Play mode. See page 189."
"This display contains the basic settings for Arpeggio playback, including Type and Tempo. Note that the Performance mode lets you independently enable or disable Arpeggio playback for each Part. The parameters are same as in the Voice Play mode (page 189) except for the following one."
PartSw. Determines whether Arpeggio is on or off for the selected Part. The Parts for which boxes are checkmarked are enabled for Arpeggio play.
Voice Edit parameters are divided into Common Edit (parameters common to all four Parts), and Part Edit (parameters of individual Parts).
From this display you can assign the category (sub and main) of the selected Performance, and create a name for the Performance. The Performance name can contain up to 10 characters. For detailed instructions on naming a Performance, see "Basic Operation" on page 53.
From this display you can adjust the master (global) EQ settings for all Parts of the selected Performance. The level of each of the four bands (with the exception of "MID") can be adjusted. Moreover, you can also tweak these settings directly from the four Knobs on the front panel. Editing by Knobs can be done in the Performance Play mode.
Settings: minus 64 to 0 to plus 63.
This display allows you to set the Portamento related parameters. The parameters are the same as in the Performance Play mode. See page 212."
From this display you can set the control functions for the Knobs and related parameters. With the exception of Pitch Bend, which cannot be set here, these parameters are the same as in the Voice Edit mode (page 190).
Volume. Determines the output level of the selected Performance. You can adjust the overall volume, keeping the balance between all Parts.
Settings: 0 to 127.
Pan. Determines the stereo pan position of the selected Performance. This parameter offsets the same parameter in the Part Edit setting. You can also adjust this parameter using the PAN knob (with the [PAN/SEND] lamp turned on) on the front panel. Editing by using the Knobs can be done also in the Performance Play mode.
Settings: L63 (Left) to C (Center) to R63 (Right).
NOTE. A setting of "C" (center) maintains the individual Pan settings of each Part.
RevSend. Determines the Send level of the signal sent from Insertion Effect A/B (or the bypassed signal) to the Reverb effect. You can also adjust this parameter using the REVERB knob (with the [PAN/SEND] lamp turned on) on the front panel. Editing by using the Knobs can be done also in the Performance Play mode.
Settings: 0 to 127.
ChoSend. Determines the Send level of the signal sent from Insertion Effect A/B (or the bypassed signal) to the Chorus effect. You can also adjust this parameter using the [CHORUS] knob (with the [PAN/SEND] lamp turned on) on the front panel. Editing by using the Knobs can be done also in the Performance Play mode.
Settings: 0 to 127.
NOTE. For details on Effect connections in the Performance mode, see page 179.
From this display you can apply five-band equalization to all Parts of the selected Performance. You can raise or lower the signal level at the Frequency of each band (LOW, LOWMID, MID, HIGHMID, HIGH).
SHAPE. Determines whether the equalizer type used is Shelving or Peaking. The Peaking type attenuates/boosts the signal at the specified Frequency setting, whereas the Shelving type attenuates/boosts the signal at frequencies above or below the specified Frequency setting. This parameter is available only for the LOW and HIGH frequency bands.
Settings: shelv (Shelving type), peak (Peaking type).
FREQ (Frequency). Determines the center frequency. Frequencies around this point are attenuated/boosted by the Gain setting.
Settings: LOW: Shelving 32Hz to 2.0kHz, Peaking 63Hz to 2.0kHz.
LOWMID, MID, HIGHMID: 100Hz to 10.0kHz.
HIGH: 500Hz to 16.0kHz.
GAIN. Determines the level gain for the Frequency (set above), or the amount the selected frequency band is attenuated or boosted.
Settings: minus 12dB to 0dB to plus 12dB.
Q (Frequency Characteristic). This varies the signal level at the Frequency setting to create various frequency curve characteristics.
Settings: 0.1 to 12.0.
NOTE. For details on the EQ, see page 178.
From this display you can set the Master Effect related parameters. This display can be called up by pressing and holding the [MASTER EFFECT] button on the front panel.
Switch. Determines whether Master Effect is applied or not to the selected Performance. You can turn it on or off by pressing the [MASTER EFFECT] button on the front panel.
Settings: off, on.
Type. Determines the Master effect type.
Settings: Refer to the Effect Types list in the separate Data List booklet.
NOTE. The available parameters except for the above two differ depending on the currently selected effect type.
For more information, refer to the separate Data List booklet.
From this display you can set the Arpeggio related parameters.
Same as in Normal Voice Common Edit. See page 191.
From this display you can set a separate
OutputSwitch. When this is set to on, Arpeggio playback data is output via MIDI.
Settings: on, off.
TransmitCh. Determines the MIDI transmit channel for Arpeggio playback data. When set to "KbdCh," the Arpeggio playback data is output via the MIDI Keyboard Transmit Channel ([UTILITY] -> [F5] MIDI -> KBDTransCh).
Settings: 1 to 16, KbdCh (Keyboard Channel).
You can assign Control Change numbers to the controllers listed below, letting you use the hardware controllers on the keyboard to alter the sound of external MIDI devices, via the appropriate MIDI messages. When the MOTIF ES receives Control Change data corresponding to the settings here, the internal tone generator responds as if the instrument's controllers were used.
BC (Breath Controller). Determines the Control Change number generated when you apply breath pressure to the Breath Controller connected to the BREATH connector.
RB (Ribbon Controller). Determines the Control Change number generated when you run your finger across the surface of the Ribbon Controller.
RBMode (Ribbon Controller Mode). Determines whether the Ribbon Controller value returns to a center value when you release your finger from the Ribbon Controller (reset), or the value is retained at the value at the last point of contact (hold).
AS1 (Assign 1), AS2 (Assign 2). Determines the Control Change number generated when you control the KN3 (Knob3) and the KN4 (Knob4) with both the [PAN/SEND] and [TONE] lamp turned on.
FC1 (Foot Controller 1), FC2 (Foot Controller 2). Determines the Control Change number generated when you use the Foot Controller connected to the FOOT CONTROLLER jack.
NOTE Keep in mind that the functions of these controllers set here are not changed for the internal tone generator. The controller assignments for the MOTIF ES itself depend on the settings of the Voices assigned to each Part.
The audio signal input from the A/D INPUT jack, mLAN connector (when the optional mLAN16E has been installed to this synthesizer), DIGITAL IN or OPTICAL IN connector (when the optional AIEB2 has been installed to this synthesizer) can be handled as an Audio Input Part. You can apply various parameters such as Effect settings to this Part, just as with the other Parts.
NOTE. For details about the Audio Input Parts, see page 165.
Volume. Determines the output level of the Audio Input Part.
Settings: 0 to 127.
Pan. Determines the stereo pan position of the Audio Input Part.
Settings: L63 (Left) to C (Center) to R63 (Right).
RevSend Determines the Send level of the Audio Input Part signal sent to the Reverb effect.
Settings: 0 to 127.
ChoSend Determines the Send level of the Audio Input Part signal sent to the Chorus effect.
Settings: 0 to 127.
DryLevel. Determines the level of the Audio Input Part which has not been processed with the System Effects (Reverb, Chorus).
Settings: 0 to 127.
NOTE. For details about Effect connection in the Performance mode, see page 179.
Mono/Stereo. Determines the signal configuration for the Audio Input Part, or how the signal or signals are routed (stereo or mono).
Settings: stereo, L mono, R mono, L plus R mono.
stereo Both the L and R channels of the audio input are used.
L (left) mono Only the L channel of the audio input is used.
R (right) mono Only the R channel of the audio input is used.
L plus R mono The L and R channels of the audio input are mixed and processed in mono.
OutputSel (Output Select). Determines the output jack assignment for the Audio Input Part.
Settings: See page 31.
This display is available only when the AD (A/D Part) is set to on from the [F6] EFFECT -> [SF2] INS SW display. The type and connection of the Insertion Effect applied to the A/D Part can be set from this display.
InsEF Connect (Insertion Effect Connection)InsA Ctgry (Insertion A Category)InsA Type (Insertion A Type)InsB Ctgry (Insertion B Category)InsB Type (Insertion B Type). Same as in the CONNECT display in the Voice Edit mode ([VOICE] -> [EDIT] -> [COMMON] -> [F6] EFFECT -> [SF1] CONNECT). Please note that the InsEF Connect cannot be set to "parallel" here.
NOTE. Insertion effects can be applied only to the A/D Part, among the Audio Input Parts.
This menu gives you comprehensive control over the effects. For details about the Effect connections in the Performance mode, see page 179.
EF PART -> PLG-EF (Plug-in Insertion Effect) Determines the Part to which the Insertion effect is applied. This parameter is available only when a special Effect Plug-in board (PLG100-VH) has been installed.
Settings: Part 1 to 4, PartP2 to P3, AD, off.
Chorus Ctg (Category), Chorus Type. Determines the Chorus effect type.
Settings: Refer to the Effect Types list in the separate Data List booklet.
Chorus Return (Level). Determines the Return level of the Chorus Effect.
Settings: 0 to 127.
Chorus Pan. Determines the pan position of the Chorus effect sound.
Settings: L63 (far left) to C (center) to R63 (far right).
Chorus To Reverb. Determines the Send level of the signal sent from the Chorus Effect to the Reverb Effect.
Settings: 0 to 127.
Reverb Type. Determines the Reverb effect type.
Settings: Refer to the Effect Types list in the separate Data List booklet.
Reverb Return. Determines the Return level of the Reverb Effect.
Settings: 0 to 127.
Reverb Pan Determines the pan position of the Reverb effect sound.
Settings: L63 (far left) to C (center) to R63 (far right).
The Insertion Effects can be applied to up to eight Parts. This display lets you set to which Parts the Insertion Effects are applied.
This display lets you set the Plug-in Insertion Effect related parameters when the Effect Plug-in Board PLG100-VH has been installed to this synthesizer. For details on each parameter, refer to the Owner's Manual included with the PLG100-VH.
The number of parameters and values available differs depending on the currently selected effect type. For more information, see the Effect Type List in the separate Data List booklet.
"These parameters are for editing the individual Parts that make up a Performance. To switch between the display for Parts 1 to 4 to which the internal Voices are assigned and the display for Plug-in Parts (PLG1 to 3) to which the Plug-in Voices are assigned, press the [F6] button."
NOTE. When a Plug-in Voice is assigned to a Part of the selected Performance, some parameters may not be available depending on the installed Plug-in board.
PartSw (Part Switch). Determines whether each Part is on or off. Since a Performance can consist of up to four Parts, you can select four Parts from Parts 1 to 4 and the Plug-in Parts 1 to 3.
Settings: on, off.
Bank. "Determines the Voice Bank (page 60) for each Part. For details about the Plug-in Voice Bank, refer to the Owner's Manual included with your Plug-in Board."
NOTE. When the cursor is located on the Bank, you can select a Voice via the way explained on page 60.
Number. "Determines the Voice Program number for each Part. For details about the Plug-in Voice Program number, refer to the Owner's Manual included with your Plug-in Board."
Mono/Poly. Determines the playback method of the Voice for each Part -- monophonic (single notes only) or polyphonic (multiple notes).
Settings: mono, poly.
NOTE This parameter is not available for the Part to which a Drum Voice is assigned.
ArpSwitch (Arpeggio Switch). Determines whether Arpeggio is on or off for the currently selected Part.
Settings: on, off.
NoteLimitH (Note Limit High). Determines the lowest and highest notes of the keyboard range for each Part. Each Part will only sound for notes played within its specified range.
Settings: C-2 to G8.
NOTE. If you specify the highest note first and the lowest note second, for example "C5 to C4," then the note range covered will be "C-2 to C4" and "C5 to G8."
NOTE. You can set the note by pressing the keyboard while holding the [INFORMATION] button.
NoteLimitL (Note Limit Low). Determines the minimum and maximum values of the velocity range within which each Part will respond. Each Part will only sound for notes played within its specified velocity range.
VelLimitH (Velocity Limit High).
Settings: 1 to 127.
NOTE. If you specify the maximum value first and the minimum value second, for example "93 to 34," then the velocity range covered will be "1 to 34" and "93 to 127."
VelLimitL (Velocity Limit Low).
Determines the Portamento parameters for each Part. Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to the next.
Switch. Determines whether Portamento is on or off.
Settings: off, on.
Time. Determines the pitch transition time. Higher values mean longer transition times.
Settings: 0 to 127.
Mode. Determines the Portamento mode.
Settings: fingr (fingered), full (full time).
fingr (fingered) Portamento is only applied when you play legato (playing the next note before releasing the previous one).
full (full time) Portamento is always applied.
NOTE. The Mode setting is not available for the Plug-in Part.
NOTE. These Portamento parameters above are not available for the Part to which the Drum Voice is assigned.
PB (Pitch
Settings: minus 48 to 0 to plus 24.
PB (Pitch
Settings: minus 24 to 0 to plus 24.
VelSensDpt (Velocity Sensitivity Depth). "Determines the degree to which the resulting volume of the tone generator responds to your playing strength. The higher the value, the more the volume changes in response to your playing strength (as shown at right)."
Settings: 0 to 127.
VelSensOfst (Velocity Sensitivity Offset). Determines the amount by which played velocities are adjusted for the actual resulting velocity effect. This lets you raise or lower all velocities by the same amount - allowing you to automatically compensate for playing too strongly or too softly.
Settings: 0 to 127.
Volume. Determines the volume for each Part, giving you detailed control over the level balance among the Parts.
Settings: 0 to 127.
Pan. Determines the stereo pan position for each Part.
Settings: L63 (far left) to C (center) to R63 (far right).
VoiceELPan (Voice Element Pan). Determines whether the individual pan settings for each Voice (made via [VOICE] -> [EDIT] -> Element selection -> [F4] AMP -> [SF1] LVL/PAN -> Pan) are applied or not. When this is set to "off," the basic pan position for the selected Part is set to center.
Settings: on, off.
NOTE This parameter is not available for the Plug-in Parts.
From this display you can set the Send Level and Dry Level sent to the System Effects for each Part. For details about the Effect connection in the Performance mode, see page 179.
RevSend (Reverb Send). Determines the send level for the Reverb effect of the selected Part, giving you detailed control over the Reverb balance among the Parts.
Settings: 0 to 127.
ChoSend (Chorus Send). Determines the send level for the Chorus effect of the selected Part, giving you detailed control over the Chorus balance among the Parts.
Settings: 0 to 127.
DryLevel. Determines the level of the unprocessed (dry) sound of the selected Part, letting you control the overall effect balance among the Parts.
Settings: 0 to 127.
From this display you can assign individual Parts to sound from independent output connectors (jacks).
OutputSel (Output Select). Determines the specific output(s) for the individual Part. You can assign each individual Part's Voice to be output from a specific hardware output jack on the rear panel.
Settings: See page 31.
InsEF (Insertion Effect). Determines whether the Insertion effects are applied to individual Parts or not.
Settings: on, off.
From this display you can adjust the EQ settings for each Part. Note that two different display types listed below are provided and you can switch between them by pressing the [SF5] button. Each display type features the same settings in a different format; use the type you feel most comfortable with. - Display showing four Parts - Display showing all parameters for one Part Keep in mind that since all the available parameters cannot be simultaneously displayed in the four-Part display, you will need to use the cursor controls to scroll the display in order to see and set the other parameters.
For details about the Effect connection including the EQ in the Performance mode, see page 179.
NOTE. This display is not available for the Plug-in Part.
LowFreq (Low Frequency). Determines the center frequency of the low EQ band that is attenuated/boosted.
Settings: 50.1 to 2.00K.
LowGain (Low Gain). Determines the amount of boost or attenuation applied to the low EQ band.
Settings: minus 32 to plus 32.
MidFreq (Middle Frequency). Determines the center frequency of the middle EQ band that is attenuated/boosted.
Settings: 139.7 to 10.1K.
MidGain (Middle Gain). Determines the amount of boost or attenuation applied to the middle EQ band.
Settings: minus 32 to plus 32.
MidReso (Middle Resonance). Determines the resonance applied to the center frequency of the middle EQ band.
Settings: 0 to 31.
HighFreq (High Frequency). Determines the center frequency of the high EQ band that is attenuated/boosted.
Settings: 503.8 to 14.0K.
HighGain (High Gain) Determines the amount of boost or attenuation applied to the high EQ band.
Settings: minus 32 to plus 32.
You can set parameters related to the pitch and tone for each Part. Keep in mind that the settings made here are applied as offsets to the Voice Edit settings.
NoteShift. Determines the pitch (key transpose) setting for each Part in semitones.
Settings: minus 24 to plus 24.
Detune. Determines the fine tuning for each Part.
Settings: minus 12.8Hz to plus 12.7Hz.
Cutoff. Determines the cutoff frequency for each Part. This parameter is available for the LPF when the filter used by the Part is a combination type of LPF and HPF.
Settings: minus 64 to 0 to plus 63.
Resonance. Determines the amount of filter resonance or emphasis of the Cutoff Frequency for each Part. The setting here attenuates/boosts the resonance applied to the element of the Voice assigned to each Part.
Settings: minus 64 to 0 to plus 63.
FEGDepth. Determines the Filter Envelope Generator depth (amount of cutoff frequency) for each Part.
Settings: minus 64 to 0 to plus 63.
NOTE. The FEG Depth setting is not available for the Plug-in Parts.
NOTE. For details about Filter, see page 161.
From this display you can set the FEG (Filter Envelope Generator) parameters for each Part.
NOTE. The FEG settings are not available for Plug-in Parts.
Attack (Attack Time) Decay (Decay Time) Sustain (Sustain Level) Release (Release Level). Determines each parameter of the FEG for each Part. For details about FEG, see page 161. "
Settings: minus 64 to 0 to plus 63.
From this display you can set the AEG (Amplitude Envelope Generator) parameters for each Part.
"Attack (Attack Time) Decay (Decay Time) Sustain (Sustain Level) Release (Release Level)" "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 162."
Settings: minus 64 to 0 to plus 63.
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. Note that two different display types listed below are provided and you can switch between them by pressing the [SF5] button. Each display type features the same settings in a different format; use the type you feel most comfortable with. - Display showing four Parts - Display showing all parameters for one Part Keep in mind that since all the available parameters cannot be simultaneously displayed in the four-Part display, you will need to use the cursor controls to scroll the display in order to see and set the other parameters.
Settings: See below. Parameters marked with *(asterisk) are not available for the Plug-in Part.
CtrlChange (Control Change). Indicates all the Control Change messages.
PB (Pitch Bend). MIDI messages generated by using the Pitch Bend Wheel.
MW (Modulation
Wheel).
RB (Ribbon Controller)*(asterisk).
ChAT (Channel After Touch).
FC1 (Foot Controller 1)*(asterisk).
FC2 (Foot Controller 2)*(asterisk).
Sus (Sustain).
FS (Footswitch)*(asterisk).
AS1 (Assign1)*(asterisk), AS2 (Assign2)*(asterisk).
BC (Breath Controller)*(asterisk).
Exp (Expression).
The Performance Job mode features several basic operations, such as Initialize and Copy. After setting parameters as required from the selected display, press the [ENTER] button to execute the Job.
NOTE. Among the Audio Parts shown in the Job display, Audio 1 indicates the A/D Input Part. When the optional AIEB2 has been installed to this synthesizer, Audio 2 indicates the AIEB2 Input Part. When the optional mLAN16E has been installed, Audio 2, 3, 4, and 5 indicate the mLAN Input Parts.
This function lets you reset (initialize) all Performance parameters to their default settings. It also allows you to selectively initialize certain parameters, such as Common settings, settings for each Part, and so on - very useful when creating a completely new Performance from scratch.
Type of parameter to be initialized.
All (all settings for the selected Performance are initialized)
Common (Common parameter settings for the selected Performance are initialized)
Part 1 to 4, PLG 1 to 3 (Plug-in Part 1 to 3), Audio 1 to 5
If you are editing a Performance and select a different Performance without storing your edited one, all the edits you've made will be erased. If this happens, you can use Edit Recall to restore the Performance with your latest edits intact.
From this display you can copy Part parameter settings from any Performance including the currently edited (but not yet stored) one to a particular Part of the Performance you are editing. This is useful if you are creating a Performance and wish to use some parameter settings from another Performance.
<Figure>
Source Performance/Part.
Data type of Destination Performance (currently selected Performance)/Part.
Source Performance/Part. Determines the Performance and Part to be copied. You can specify "Current" (the Performance you are editing but have not yet stored) as a Source Performance.
Type: Part 1 to 4, PartP1 to P3 (Plug-in Part 1 to 3), PartA1 to A5 (Audio Part 1 to 5).
Data type of Destination Performance (currently selected Performance)/Part. Determines the Part of the destination Performance.
Type: Part 1 to 4, PartP1 to P3, PartA1 to A5, Arp, Effect (Reverb, Chorus).
NOTE. If you choose Arp (Arpeggio) or Effect, the Arpeggio data or Effect settings for the Voice assigned to the source Part will be copied.
This function lets you send all your edited parameter
settings for the currently selected Performance to a computer or another
NOTE. In order to execute Bulk Dump, you'll need to
set the correct MIDI Device Number, with the following operation: [UTILITY]
-> [F5]
This function lets you store your edited Performance to User memory (Flash ROM).
For details, refer to page 91 in the Quick Guide section.
Creating Songs - basic procedure.
Songs consist of the following three types of data:
Setup data (created in the Song Play mode)
Mixing data (created in the Song Mixing mode/Mixing Edit mode and stored in the Song Mixing Store mode)
After creating the data in these modes described above, store the Mixing settings in the Song Mixing Store mode to archive it as Song data and save the entire Song to the SmartMedia/USB storage device in the File mode.
NOTE. Non-note MIDI events (such as Voice number, volume, pan, and effect send level) which are necessary at the start of a Song are not recorded as MIDI sequence data, but are stored instead as Mixing data.
<Caution> Because
Song data (
Loc1 (Location1), Loc2 (Location 2). Indicates the measure number to which the Song playback can be jumped by using the Location feature (page 58).
Trans (Transpose). Determines the key transpose setting for the entire Song, and can be adjusted in semitones.
Settings: minus 36 to plus 36.
NOTE. If Transpose is applied to a Drum Voice, the results may not be musically appropriate. To ensure proper playback of a Drum Voice, set the Note Shift parameter for the Drum Voice Part to an appropriate value ([SONG] -> [MIXING] -> [EDIT] -> Part selection -> [F4] TONE -> [SF1] TUNE -> NoteShift).
MEAS (Measure). Indicates the current measure number and beat for the current Song. During playback, this indication changes automatically according to the Song playback. You can input the desired measure number directly by using the Number Input window called up via the [INFORMATION] button.
[SF1] ARP1 (Arpeggio 1) to [SF5] ARP5 (Arpeggio 5). You can register the desired Arpeggio types to these buttons and call them up any time during your keyboard performance. Refer to page 105 in the Quick Guide section.
The Grid Groove function makes it possible to adjust the pitch, timing, length, and velocity of notes in a specified track via a 1-measure 16th-note grid to create "grooves" that would not be possible with precise sequencer-like programming. The Grid Groove function affects Song playback without actually changing the sequence data.
NOTE OFST (Note Offset). Raises or lowers the pitch of the note(s) on the selected grid in semitones.
Settings: minus 99 to plus 99.
CLOCK SFT (Clock Shift). Shifts the timing of the note(s) on the selected grid forward or back ward in clock increments.
Settings: minus 120 to plus 120.
GATE OFST (Gate time Offset). Lengthens or shortens the note(s) on the selected grid in clock increments.
Settings: minus 120 to plus 120.
VELO OFST (Velocity Offset). Increases or decreases the velocity of the note(s) on the selected grid.
Settings: minus 127 to plus 127.
From this display you can set the
OUT CH (Output Channel). Sets
up the
Settings: 1 to 16, off.
NOTE. In the Song/Pattern mode, the
PORT. "Determines the
Settings: off, 1 to 3.
NOTE. Port data can be output only through the USB
terminal. No port data is transmitted through the
INT SW (Internal Switch) Determines whether playback data is transmitted to the internal tone generator block or not.
Settings: on, off.
EXT SW
(External Switch). Determines whether
playback data is output to the external
Settings: on, off.
From this display you can determine whether the data in
the selected track loops or not in playback. Using
Settings: off, on.
You can copy Pattern track data (Phrase) to a Song track. You can also copy preset phrases that are not assigned to the Pattern track by using the Patch function (page 241). For details, refer to page 113 in the Quick Guide section.
<Figure>
Source Phrase.
If sample data is included in the original Phrase and you want to copy all of the data, make sure to checkmark this box. After completing the settings, press the [ENTER] button to execute Copy Phrase.
Specify the destination track and measure of the current selected song.
This function allows Songs to be "chained" together for automatic sequential playback. For details, refer to the Quick Guide on page 59.
skip... Skips past (ignores) the selected chain number and continues playback from the next chain number.
stop... Stops Song chain playback at that chain number. You can restart the Song chain playback from the next chain number by pressing the [>] (Play) button.
end... Indicates the end mark of the Song chain data.
Type (Recording Type). Determines the recording method. For details on each method, refer to page 168 in the Basic Structure section.
Settings: When the RecTrack is set to any of 1 to 16: replace, overdub, punch, step.
When the RecTrack is set to tempo: replace, punch, step.
When the RecTrack is set to scene: replace, punch.
When the RecTrack is set to multi: replace, overdub, punch.
NOTE. When "punch" is selected, "Punch-in measure: beat" and "Punch-out measure: beat" appear in the display and should be set. If you've set the Locate 1 and 2 points (Loc1, Loc2; see page 58), the punch-in/out points can be set with a single button press. Move the cursor to the punch-in/out value, and notice that a "COPYLOC" menu item appears. Press the [SF1] COPYLOC button, and the punch-in/out settings are automatically assigned to the existing Locate points.
NOTE. When "step" is selected, you should specify the event type to be entered.
Quantize. This parameter is available when the Recording Type is set to something other than "step." Record quantize aligns the timing of notes automatically, as you record. You can set this parameter also by using the Note Type selection window called up via the [INFORMATION] button. For details, see page 49.
Settings: off, 60 (32nd note), 80 (16th note triplet), 120 (16th note), 160 (8th note triplet), 240 (8th note), 320 (1/4 note triplet), 480 (1/4 note).
Event. This parameter is available when the Recording Type is set to "step." This lets you specify the event type to be entered.
Settings: note, p.bend (pitch bend), CC#000 to #119 (Control Change).
RecTrack. Determines the track to be recorded. Pressing the [F6] button lets you switch between Single Track recording and All Track recording.
Settings: tempo, scene, 1 to 16, multi.
(Tempo). Determines the Song tempo.
Settings: 001.0 to 300.0.
Meas (Measure). Determines the measure from which Song recording will be started.
In this display you can set the voice related parameters for the recording track. The settings here affect the Part for which the receive channel (set in the Mixing mode) matches the transmit (output) channel of the recording track.
Voice. Determines the voice used in the recording track. When the cursor is located here, you can select a voice by using the BANK, GROUP, NUMBER buttons and the Category Search function (page 62). You can also select a Sample Voice obtained via the Sampling function.
Volume. Determines the volume of the recording track.
Settings: 0 to 127.
Pan. Determines the stereo pan position of the recording track.
Settings: L63 (Left) to C (Center) to R63 (Right).
InsEF (Insertion Effect Part Switch). Determines whether the Insertion effects are applied to the recording track or not.
Settings: on, off.
(Tempo). Determines the Song tempo.
Settings: 001.0 to 300.0
Meas (Measure). Determines the measure from which Song recording will be started.
From this display you can set parameters related to the Arpeggio of the recording track.
Bank, Ctgr (Category), Type. These three parameters determine the Arpeggio Type. The three-letter prefix number before the Type name indicates the number within the selected Category.
Settings: Refer to the separate Data List.
VelLimit (Velocity Limit). Determines the lowest and highest velocity which can trigger the Arpeggio playback. The Arpeggio plays when you play notes at velocities within this range.
Settings: 1 to 127.
Hold. Determines whether the Arpeggio playback is "held" or not. When this is set to "on," the Arpeggio cycles automatically, even if you release your fingers from the keys, and it continues to cycle until the next key is pressed.
Settings: sync-off, off, on.
NOTE. About sync-off, see page 191.
PartSw (Part Switch). Determines whether Arpeggio is on or off for the tone generator Part corresponding to the recording track.
Settings: off, on.
Meas (Measure). Determines the measure from which Song recording will be started. This parameter is same as the Meas parameter in the [F1] SETUP display.
[SF1] ARP1 (Arpeggio 1) to [SF5] ARP5 (Arpeggio 5). You can register the desired Arpeggio types to these buttons and call them up any time during your keyboard performance. Refer to page 123 in the Quick Guide section.
RecArp (Record Arpeggio). Determines whether the sequence data played by Arpeggio is recorded to the Song track or not. When this is set to on, the played sequence data is recorded.
Settings: off, on.
OutputSwitch Determines
whether the sequence data played by Arpeggio during recording is output via
Settings: off, on.
TransmitCh (Transmit Channel). Determines the
Settings: 1 to 16, KbdCh.
Pressing the [F5] button lets you turn the click sound (metronome) on/off for recording.
Pressing the [F6] button lets you switch between Single Track recording and All Track recording.
During Song Recording. [SONG] -> Song selection -> [] (Record) -> [>] (Play)
Refer to page 118 in the Quick Guide section.
Examples of Step Recording are described on page 238.
<Figure>
Pointer indicating the current note position.
Beat Graph. This is the display in which notes are ""placed"" during step recording. When the meter is 4/4, the display is divided into four beats (one measure). Each diamond-shaped marker in the display represents one 32nd beat (each 1/4 note division is divided into eight 32nd beats). For example, if the following rhythmic pattern """" is entered in 4/4 time, a display like the one shown above right will appear."
Pointer Determines the data-entry position. The triangular pointer above the beat graph indicates the data-entry position. To move the pointer right or left, use the [INC/YES] and [DEC/NO] buttons or the data dial.
Value. When the Event to be entered ([F1] SETUP -> Event) is set to "note," this value specifies the velocity with which the note will be entered.
Settings: When the Event is set to "note": 1 to 127, kbd, rnd1 to rnd4.
When the Event is set to "p.bend": minus 8192 to plus 8191.
When the Event is set to "CC (Control Change 001 to 119)": 000 to 127.
When the Event is set to "tempo" with the RecTrack equal tempo: 001 to 300.
NOTE. You can select "kbd" (keyboard) and "rnd1" to "rnd4" (random1 to 4) as well as the values 1 to 127 when the Event to be entered is set to "note." When "kbd" is selected, the actual playing strength will be entered as the velocity value. When one of the random settings is selected, a random velocity value will be entered.
StepTime. The "size" of the current recording step time for the next note to be entered. This determines to what position the pointer will advance after a note has been entered.
Settings: 0001 to 0059, 32nd note, 16th note triplet, 16th note, 8th note triplet, 8th note, 1/4 note triplet, 1/4 note, half note, whole note.
GateTime. Sets the gate time to produce slurs, staccato notes, etc. "Gate time" refers to the actual length of time the note sounds. For the same 1/4 note, for example, a long gate time will produce a slur while a short gate time will produce a staccato effect. Gate time is indicated as a percent value of the step time. A setting of 50 percent produces a staccato sound, values between about 80 percent and 90 percent produce normal note length, and a value of 99 percent will produce a slur.
Settings: 1 percent to 200 percent.
Press [F3] to enter a rest as long as the specified step time. The point will move ahead to the next data-entry position. Rests do not appear on the display.
NOTE. There is no actual data representing rests in
the
When the [F4] button is pressed to enter a tie, the preceding note is lengthened to the full step time.
For example, in the phrase shown at left, note 1 is entered with 1/4 note step time. If the step time is then changed to an 8th note and [F4] is pressed, note 2 is entered.
Dotted notes can also be entered using the TIE function. To produce a dotted 1/4 note, for example, set the step time to an 8th note, enter a note and then press [F4] twice.
NOTE. @This display is available only when the Event to be entered is set to "note."
Press this to actually delete the note events at the current cursor position.
Moves the pointer backward by one step and deletes all notes at that location.
NOTE. Mistakenly entered notes can be erased by pressing [F6] immediately after they are entered (before changing the step time value).
This mode gives you comprehensive, detailed controls for
editing the
Shows the Event List of the selected Song track. For information on how to edit the Event List, see page 124.
The Event View Filter lets you select the event types that appear on the Event List display ([F1] CHANGE display). For example, if you wish to edit only note events, place a checkmark in the box next to "Note" so that only the note events appear in the Event List display.
Settings: Note, PitchBend, ProgramChange, ControlChange, Ch.AfterTouch, PolyAfterTouch, RPN (Registered Parameter Number), NRPN (Non Registered Parameter Number), Exclusive.
[F5] CLR ALL (Clear All). Press the [F5] button to remove all checkmarks at once.
[F6] SET ALL. Press the [F6] button to set checkmarks into all boxes.
You can switch between the display for 1 to 16 tracks, SCN (Scene) track, and TMP (Tempo) track by pressing this button.
When the cursor is located at the desired position in the
[F1] CHANGE display (Event List), pressing this button calls up the display for
inserting new
Note. This is the most common and prevalent type of data - the individual notes of a Song.
@NOTE (Note name). Determines the note name or the specific keyboard pitch of the note.
Settings: C -2 to G8.
GATE (Gate time). Determines the length of time that a note actually sounds in beats and clocks.
Settings: 000 : 001 to 999 : 479.
NOTE. On this synthesizer, one clock is 1/480th of a quarter note.
VELO (Velocity). Determines how strongly the selected note sounds.
Settings: 001 to 127.
PitchBend. These are the events that define continuous changes in pitch and these events are generated by Pitch Bend Wheel operation.
@DATA. Determines the Pitch Bend data.
Settings: minus 8192 to plus 8191.
ProgramChange. These events determine the Voice for the selected track.
@BANK. Determines the Voice bank.
Settings: 000 to 127, ***.
NOTE. Bank select MSB and LSB are actually part of the Control Change set of messages (below). However, since they apply specifically to Voice selection, they are grouped and described here.
PC NO (Program Change Number). Determines the specific Voice (from the bank selected by MSB and LSB above).
Settings: 000 to 127.
NOTE. For a complete list of the available voice banks and numbers, refer to the Voice List in the separate Data List booklet.
ControlChange. These events control the sound and certain response characteristics of the voice, and are usually generated/recorded by moving a controller (such as a modulation wheel, knob, slider or foot controller).
@CTRL NO (Control Number). Determines the Control Change number.
Settings: 000 to 127.
NOTE. For details on the specific functions assigned to each of the numbers, see page 182.
@DATA. See page 182.
Settings: 000 to 127.
Ch.AfterTouch (Channel After Touch). This event is generated when pressure is applied to a key after the note is played.
@DATA. This represents the amount of pressure applied to the key.
Settings: 000 to 127.
PolyAfterTouch (Polyphonic Aftertouch). This event is generated when pressure is applied to a key after the note is played. Unlike Channel Aftertouch above, this is recorded and applied independently for each key pressed.
@NOTE (Note name). Determines the key to which aftertouch is applied.
Settings: C -2 to G8.
@DATA. This represents the amount of pressure applied to the key.
Settings: 000 to 127.
RPN (Registered Parameter Number). This event changes parameter values for each tone generator Part. This event is used to set Part settings such as Pitch Bend Sensitivity or Tuning.
@MSB-LSB See page 183.
Settings: 000 to 127.
DATA (Data Entry MSB-LSB). See page 182.
Settings: 000 to 127, ***.
NOTE. Normally three types of control change data are sent: RPN MSB (101), RPN LSB (100), and Data Entry MSB (6). In this synthesizer, Data Entry LSB (38) is added to this and the resulting group of control change events is handled as one in this display.
NRPN (Non
Registered Parameter Number). These
events are used to change the parameter values for each tone generator Part.
They can be is used to edit sounds via
@MSB-LSB. See page 183.
Settings: 000 to 127.
@DATA (Data Entry MSB-LSB). See page 183.
Settings: 000 to 127, ***.
NOTE. Normally three types of control change data are sent: NRPN MSB (99), NRPN LSB (98), and Data Entry MSB (6). In this synthesizer, this group of control change events is handled as one in this display. For a complete list of the available RPN and NRPN numbers and their corresponding controls, refer to the MIDI Data Format in the separate Data List booklet.
Exclusive
(System Exclusive). A type of
@DATA (HEX). See page 184.
Settings: 00 to 7F, F7 (Data must be entered in hexadecimal format.)
The Song Job mode contains a comprehensive set of editing tools and data transform functions you can use to change the sound of the Song. It also includes a variety of convenient operations, such as copying or erasing data. After setting parameters as required from the selected display, press the [ENTER] button to execute the Job.
<Caution> An "Executingc" message is shown when it takes a short amount of time to execute the Job. Never attempt to turn off the power while an "Executing..." message is shown. Turning the power off in this state results in loss of all user data.
The Undo Job cancels the changes you made in your most recent recording session, editing session, or Job, restoring the data to its previous state. This allows you to recover from accidental data loss. Redo is available only after using Undo, and lets you restore the changes you made before undoing them.
<Caution> Undo/Redo does not work with Sample Voice and Mixing Voice operations.
NOTE. Before executing the Note data Job, make sure that you specify the track (01 to 16, all) and range (measure : beat : clock) to which the Job is applied.
01: Quantize. Quantization is the process of adjusting the timing of note events by moving them closer to the nearest exact beat. You can use this feature, for example, to improve the timing of a performance recorded in real time.
TR (Track) 001 : 1 : 000 to 999 : 4 : 479 Determines the track (01 to 16, all) and range of measures/beats/clocks over which the Job is applied.
Quantize (Resolution). Determines to what beats the note data in the specified track will be aligned.
Settings: 32nd note, 16th note triplet, 16th note, 8th note triplet, 8th note, 1/4 note triplet, 1/4 note, 16th note plus 16th note triplet, 8th note plus 8th note triplet
Strength. The Strength value sets the "strength" by which note events are pulled toward the nearest quantize beats. A setting of 100 percent produces exact timing. A setting of 0 percent results in no quantization.
Settings: 000 percent to 100 percent.
SwingRate.. "Delays notes on even-numbered beats (backbeats) to produce a swing feel. For example, if the meter is 4/4 and the quantize value is quarter notes, the 2nd and 4th beats of the measure will be delayed. When a triplet quantize value is used, the last note of each triplet is delayed. When the quantize value is even-numbered, beats will be delayed."
Settings: See below.
If the quantize value is 1/4 note, 8th note, 16th note, 32nd note: 50 percent to 75 percent.
A setting of 100 percent is equivalent to twice the length of the specified quantize value. A setting of 50 percent produces exact timing and therefore no swing feel. Settings above 51 percent increase the amount of swing, with 75 percent being equivalent to a dotted-note delay.
If the quantize value is 1/4 note triplet, 8th note triplet, 16th note triplet: 66 percent to 83 percent.
A setting of 100 percent is equivalent to three times the length of the specified quantize value. A setting of 66 percent produces exact timing and therefore no swing feel. Settings above 67 percent increase the amount of swing, with 83 percent being equivalent to a sextuplet delay.
If the quantize value is 8th note plus 8th note triplet, 16th note plus 16th note triplet: 50 percent to 66 percent.
A setting of 100 percent is equivalent to twice the length of a 8th note or 16th note. A setting of 50 percent produces exact timing and therefore no swing feel. Settings above 51 percent increase the amount of swing, with 66 percent being equivalent to a triplet delay.
NOTE. If a swing value other than 100 percent results in notes being positioned after other non-swing notes, the latter notes are delayed accordingly.
GateTime. Determines the gate time (the length of time a note sounds) of the even-numbered backbeat notes to enhance the swing feel. When a triplet quantize value is used, the gate time of the last note of each triplet is adjusted. When the quantize value is 8th note plus 8th note triplet or 16th note plus 16th note triplet, the gate time of the even-numbered 8th note or 16th note beats will be adjusted. A setting of 100 percent leaves the original gate time unchanged. If an adjusted gate time value is less than 1, the value is rounded off to 1.
Settings: 000 percent to 200 percent.
02: Modify Velocity. This Job alters the velocity values of the specified range of notes, letting you selectively boost or cut the volume of those notes. Velocity changes are calculated as follows:
@@@Adjusted velocity equal (original velocity x Rate) plus Offset.
If the result is 0 or less, the value is set to 1. If the result is higher than 127, the value is set to 127.
TR (Track) 001 : 1 : 000 to 999 : 4 : 479. Determines the track (01 to 16, all) and range of measures/beats/clocks over which the Job is applied.
SetAll. Sets the velocities of all target notes to the same fixed value (1 to 127). When set to "off" the Set All parameter has no effect. When set to a value other than "off" the Rate and Offset parameters are unavailable and appear as "***" on the display.
Settings: off (0), 001 to 127.
Rate. Determines the percentage by which the target notes will be shifted from their original velocities. Settings below 100 percent reduce the velocities, and settings above 100 percent increase the velocities proportionately. When the Set All parameter is not "OFF" this parameter appears as "***" and cannot be changed.
Settings: 000 percent to 200 percent, ***.
Offset. Adds a fixed value to the Rate-adjusted velocity values. A setting of 0 produces no change. Settings below 0 reduce the velocities, and settings above 0 increase the velocities. When the Set All parameter is not "OFF" this parameter appears as "***" and cannot be changed.
Settings: minus 127 to plus 127, ***.
03: Modify Gate Time. This Job alters the gate times of the specified range of notes. Gate time changes are calculated as follows:
@@@Adjusted gate time equal (original gate time x Rate) plus Offset.
If the result is 0 or less, the value is rounded off to 1.
TR (Track) 001 : 1 : 000 to 999 : 4 : 479. Determines the track (01 to 16, all) and range of measures/beats/clocks over which the Job is applied.
SetAll. Sets the gate times of all target notes to the same fixed value. When set to "off" the Set All parameter has no effect. When set to a value other than "off," the Rate and Offset parameters are unavailable and appear as "***" on the display.
Settings: off (0), 0001 to 9999.
Rate. Determines the percentage by which the gate time of the target notes will be changed. Settings below 100 percent shorten the notes, and settings above 100 percent lengthen the notes proportionately. When the Set All parameter (above) is set to something other than "off," this parameter appears as "***" and cannot be changed.
Settings: 000 percent to 200 percent, ***.
Offset. Adds a fixed value to the Rate-adjusted gate time values. A setting of 0 produces no change. Settings below 0 shorten the gate time, and settings above 0 lengthen the gate time. When the Set All parameter (above) is set to something other than "off," this parameter appears as "***" and cannot be changed.
Settings: minus 9999 to plus 9999, ***.
04: Crescendo. This Job lets you create a crescendo or decrescendo over the specified range of notes. (Crescendo is a gradual increase in volume, and decrescendo is a gradual decrease.)
TR (Track) 001 : 1 : 000 to 999 : 4 : 479. Determines the track (01 to 16, all) and range of measures/beats/clocks over which the Job is applied.
VelocityRange.
Determines the intensity of the crescendo or decrescendo. The velocity values
of the notes in the specified range are gradually increased or decreased
starting at the first note in the range. The velocity of the last note in the
range becomes the original velocity of the note plus the
Settings: minus 127 to plus 127
05: Transpose. Transpose lets you change the key or pitch of the notes in the specified range.
TR (Track) 001 : 1 : 000 to 999 : 4 : 479. Determines the track (01 to 16, all) and range of measures/beats/clocks over which the Job is applied.
Note Determines the range of note pitches over which the Job is applied. You can also set the Note directly from the Keyboard, by holding down the [INFORMATION] button and pressing the desired key (page 53).
Settings: C -2 to G8.
Transpose. Transposes notes in the specified range (in semitones). A setting of plus 12 transposes up one octave, while a setting of minus 12 transposes down an octave. A setting of 0 produces no change.
Settings: minus 127 to plus 127.
06: Glide. The Glide Job replaces all notes following the first note in the specified range with pitch bend data, producing smooth glides from note to note. This is ideal for producing guitar-like slide or note-bending effects.
TR (Track) 001 : 1 : 000 to 999 : 4 : 479. Determines the track (01 to 16, all) and range of measures/beats/clocks over which the Job is applied.
GlideTime Determines the length of the glide. Higher values produce a longer glide between notes.
Settings: 000 to 100.
PBRange (
Settings: 01 to 24.
07: Create Roll. This Job creates a series of repeated notes (like a drum roll) in the specified range with the specified continuous changes in clock step and velocity. This is ideal for creating fast staccato rolls and special stuttering effects.
TR (Track) 001 : 1 : 000 to 999 : 4 : 479. Determines the track (01 to 16) and range of measures/beats/clocks over which the Job is applied.
"StartStep (Starting Step) EndStep (Ending Step)" Determines the size of the step (i.e. the number of clocks) between each note in the roll. Both the starting and ending clock values can be specified, making it easy to create rolls in which the step size varies during the roll.
Settings: StartStep: 001 to 999, EndStep: 001 to 999
Note. Determines the specific note (or instrument in Drum voices) for the roll effect. You can also set the note directly from the Keyboard, by holding down the [INFORMATION] button and pressing the desired key (page 53).
Settings: C -2 to G8.
StartVelo (Starting Velocity), EndVelo (Ending Velocity). Determines the velocity of the notes in the roll. Both the starting and ending velocity values can be specified, making it easy to create rolls in which the velocity increases or decreases. This lets you create rolls that gradually increase or decrease in volume (crescendo/decrescendo) - a technique often used in dance music.
Settings: StartVelo: 001 to 127, EndVelo: 001 to 127.
08: Sort Chord. This Job sorts chord events (simultaneous note events) by order of pitch. The sort affects the order of the notes in the Event List display (page 124), but does not change the timing of the notes. When used to pre-process chords before using the Separate Chord Job (below), Chord Sort can be used to simulate the "stroke" or strumming sound of guitars and similar instruments.
TR (Track) 001 : 1 : 000 to 999 : 4 : 479. Determines the track (01 to 16, all) and range of measures/beats/clocks over which the Job is applied.
Type. Determines how the chord note data is sorted.
Settings: up, down, up and down, down and up
up... The notes are sorted in ascending order. After executing this Job with this setting, execute the Separate Chord Job to create a guitar-like upstroke strum.
down... The notes are sorted in descending order. After executing this Job with this setting, execute the Separate Chord Job to create a guitar-like downstroke strum."
up and down... Sorts chord notes on downbeats in ascending order and chord notes on upbeats in descending order, based on the Grid setting (below).
down and up... Sorts chord notes on downbeats in descending order and chord notes on upbeats in ascending order, based on the Grid setting (below)."
Grid. Determines the type of note that serves as the basis for the Chord Sort Job.
Settings: 32nd note, 16th note triplet, 16th note, 8th note triplet, 8th note, 1/4 note triplet, 1/4 note.
09: Separate Chord. This Job slightly separates notes in chords within the specified range, inserting a specified number of clocks between each note. Use this Job after the Chord Sort Job above, to create guitar-like upstroke or downstroke effects.
TR (Track) 001 : 1 : 000 to 999 : 4 : 479. Determines the track (01 to 16, all) and range of measures/beats/clocks over which the Job is applied.
Clock. Determines the number of clock cycles inserted between adjacent chord notes.
Settings: 000 to 999.
NOTE. Note that there are 480 clock cycles per quarter note.
NOTE. It is not possible to separate chords so that they cross the next chord or they overstep the range (set above).
NOTE. Before executing the Event Job, make sure that you specify the track and range (measure : beat : clock) to which the Job is applied. Please note that the track to be specified varies depending on the Job.
01: Shift Clock. This Job shifts all data events in the specified range forward or backward by the specified number of clocks.
TR (Track) 001 : 1 : 000 to 999 : 4 : 479. Determines the track (01 to 16, TMP, SCN, all) and range of measures/beats/clocks over which the Job is applied.
Clock. Determines the amount by which the data will be delayed or advanced in measures, beats, and clocks.
Settings: 000:0:000 to 999:3:479.
Direction. Determines the direction in which the data will be shifted. ADVANCE moves the data toward the beginning of the sequence, while DELAY shifts the data toward the end of the sequence.
Settings: Advance, Delay.
02: Copy Event. This Job copies all data from a specified source range to a specified destination location.
Execute this Job after setting:
Source track (01 to 16, TMP, SCN, all)
Source range (measure : beat : clock)
Destination track (01 to 16, TMP, SCN, all)
Destination range (measure : beat : clock)
Top measure of destination Count (number of times data is to be copied)
<Figure>
Source track and range in measures, beats, and clocks.
Destination track and the top (measure, beat, and clock) of the destination.
NumberOfTimes. Determines the number of times the data is copied.
Settings: x01 to x99.
<Caution> When Copy Event is executed, any data already existing at the Destination location will be overwritten.
03: Erase Event. This Job clears all specified events from the specified range, effectively producing a segment of silence.
TR (Track) 001 : 1 : 000 to 999 : 4 : 479. Determines the track (01 to 16, TMP, SCN, all) and range of measures/beats/clocks over which the Job is applied.
Event Type. Determines the event type to be erased. All events are cleared when ALL is selected. Individual control change numbers can be specified when erasing control change events.
Settings: When TR is set to 01 to 16: Note (Note events), PC (Program Change), PB (Pitch Bend), CC (Control Change)*, CAT (Channel Aftertouch), PAT (Polyphonic Aftertouch), EXC (System Exclusive), All (all events)
When TR is set to "TMP" (Tempo): TMP (tempo)
When TR is set to "SCN" (Scene): SceneMemory (Scene change information), TrackMute (Track mute setting change information)
* You can also specify the CC No. (Control Change number).
NOTE. Keep in mind that applying this Job to a track with Sample Voices erases the events that trigger the samples, but it does not erase the actual samples themselves.
04: Extract Event. This Job moves all instances of specified event data from a specified range of a track to the same range in a different track.
TR (Track) 001 : 1 : 000 to 999 : 4 : 479. Determines the track (01 to 16) and range of measures/beats/clocks over which the Job is applied.
EventType. Selects the event type to be extracted. Specific note and control change numbers can also be specified as required.
Settings: Note, PC (Program Change), PB (Pitch
-> TR. Determines the destination track (01 to 16).
05: Create Continuous Data. This Job creates continuous pitch bend or control change data over the specified range.
TR (Track) 001 : 1 : 000 to 999 : 4 : 479. Determines the track (01 to 16, TMP, all) and range of measures/beats/clocks over which the Job is applied.
EventType. Determines the event type to be created.
Settings: PB (Pitch
* You can also specify the CC No. (Control Change number).
Data (
Settings: When Event Type is set to PB: minus 8192 to plus 8191.
When Event Type is set to TMP: 1.0 to 300.0.
When Event Type is set to other: 0 to 127.
Clock. Determines the number of clocks to be inserted between each created event.
Settings: 001 to 999.
Curve. "Determines the ""curve"" of the continuous data. Refer to the graph for approximate curve shapes."
Settings: minus 16 to plus 16.
NumberOfTimes. "Determines the number of times the data creation is to be repeated. For example, if data is created in the range M001:1:000 to M003:1:000 and this parameter is set to 03, the same data will be created at M003:1:000 to M005:1:000 and M005:1:000 to M007:1:000. This Job lets you insert continuous volume or filter cutoff variations to create tremolo or wah effects."
Settings: 01 to 99.
06: Thin Out. This Job thins out the specified type of continuous data in the specified range - allowing you to free up memory space for other data or further recording.
TR (Track) 001 : 1 : 000 to 999 : 4 : 479. Determines the track (01 to 16, TMP, all) and range of measures/beats/clocks over which the Job is applied.
EventType. Determines the event type to be thinned.
Settings: PB (Pitch
* You can also specify the CC No. (Control Change number).
NOTE. The Thin Out Job will not work on continuous data that has a clock interval of greater than 60 clocks per event.
07: Modify Control Data. This Job lets you change the values of a specified type of control change data - pitch bend, control change, aftertouch, etc. - in the specified range. Data changes are calculated as follows:
@@Modified value equal (original value x Rate) plus Offset.
The modified value cannot exceed the minimum/maximum limits of the parameter. Any result lower than the minimum is set to the minimum; any result higher than the maximum is set to the maximum.
TR (Track) 001 : 1 : 000 to 999 : 4 : 479. Determines the track (01 to 16, TMP, all) and range of measures/beats/clocks over which the Job is applied.
EventType. Determines the event type to be modified.
Settings: PB (Pitch
* You can also specify the CC No. (Control Change number).
SetAll. Sets all target events to the same fixed value. When set to "off," the Set All parameter has no effect. When set to a value other than "off," the Rate and Offset parameters are unavailable and appear as "***" on the display.
Settings: off, 000 to 127 (minus 8192 to plus 8191 for pitch bend, 0.1 to 300.0 for tempo).
Rate. Determines the percentage by which the target events will be shifted from their original values. When the Set All parameter (above) is set to something other than "off," this parameter appears as "***" and cannot be changed.
Settings: 000 percent to 200 percent, ***.
Offset. Adds a fixed value to the Rate-adjusted event values. When the Set All parameter (above) is set to something other than "off," this parameter appears as "***" and cannot be changed.
Settings: minus 127 to 127 (minus 8192 to plus 8191 for pitch bend, minus 275 to plus 275 for tempo), ***.
08: Beat Stretch. This Job performs time-expansion or compression over the selected range. Keep in mind that this operation affects all event timing, note step times, and note gate times.
TR (Track) 001 : 1 : 000 to 999 : 4 : 479. Determines the track (01 to 16, all) and range of measures/beats/clocks over which the Job is applied.
Rate. Determines the amount of time expansion or compression as a percentage. Settings higher than 100 percent produce expansion, and settings below 100 percent produce compression.
Settings: 025 percent to 400 percent.
NOTE. Only
01: Create Measure. This Job creates empty measures at the specified location in all tracks.
<Figure>
Meter (time signature) of measures to be inserted.
Number of measures to be inserted.
Insertion point (measure number).
8 measures inserted at measure 5.
The inserted 8 measures"
Meter of measures to be inserted. Determines the meter or time signature of the measures to be created. You may find it convenient to use this parameter when you need to create a Song that incorporates meter changes.
Settings: 1/16 to 16/16, 1/8 to 16/8, 1/4 to 8/4.
Insertion point (Measure number). Determines the insert point (measure number) at which the newly created blank measures will be inserted.
Settings: 001 to 999.
Number of measures to be inserted. Determines the number of empty measures to be created and inserted.
Settings: 01 to 99.
NOTE. When empty measures are inserted, measure and meter data following the insert point are moved forward accordingly.
NOTE. If the insert point is set after the last measure containing data, only the meter data at that point is set without actually inserting the measures.
02: Delete Measure. This Job deletes the specified measures. Measure and meter data following the deleted measures are moved backward accordingly.
Delete Range.
Settings: 001 to 999.
NOTE. Keep in mind that applying this Job to a range of measures with Sample Voices erases the events that trigger the samples, but it does not erase the actual samples themselves.
01: Copy Track. This Job copies all data from a specified source track to the specified destination track.
<Caution> The copy operation overwrites any data previously existing on the destination track.
<Caution> Undo/Redo cannot be used to undo/redo a sample voice copy operation.
Data Type to be copied. Determines the type(s) of data to be copied. Select the desired type by checkmarking the appropriate box.
Settings: Seq Event (all events in the track), Grid Groove (for the selected track), Mix Part Param (all Mixing Part parameters), Sample (all samples used by the track).
NOTE. When there is no memory available in the destination Song 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" (page 256) to delete any unused samples, then attempt the operation again.
02: Exchange Track. This Job exchanges or "swaps" the specified type of data between two specified tracks in the current Song.
Data Type to be exchanged. Determines the type(s) of data to be exchanged. Select the desired type by checkmarking the appropriate box.
Settings: Seq Event (all events in the track), Grid Groove (for the selected track), Mix Part Param (all Mixing Part parameters).
03: Mix Track. This Job mixes all data from two selected tracks ("A" and "B"), and places the result in track B. One useful application for this would be to free up the data in track A, letting you record new data to it.
"Track A (01 to 16) Track B (01 to 16)"
Target tracks for the Mix operation.
Settings: 01 to 16.
NOTE. Keep in mind that applying this Job to tracks with Sample Voices does not mix the Sample Voices.
04: Clear Track. This Job deletes all data of the selected type from the selected track, or from all tracks.
<Caution> Undo/Redo cannot be used to undo/redo a Clear operation for tracks that contain sample data.
Data type to be cleared. Determines the type(s) of data to be cleared. Select the desired type by checkmarking the appropriate box.
Settings: Seq Event (all events in the track), Grid Groove (for the selected track), Mix Part Param (all Mixing Part parameters), Sample (all samples used by the track).
05: Normalize Play Effect. This Job rewrites the data in the selected track so that it incorporates the current Grid Groove settings.
TR (Track). Determines the Song track to which the Job is applied.
Settings: 01 to 16, all.
06: Divide Drum Track. Separates the note events in a drum performance assigned to a specified track, and places the notes corresponding to different drum instruments in separate tracks (tracks 1 through 8).
TR (Track). Determines the Song track to which the Job is applied.
Settings: 01 to 16.
07: Put Track To Arp. This Job copies data in the specified measures of a track for creating Arpeggio data. For details, refer to page 130 in the Quick Guide section.
01: Copy Song. This Job copies all data from a selected source Song to a selected destination Song. The Sample Voice and Mixing Voice used by the source Song are also copied.
<Caution> This Job overwrites any data already existing in the destination Song.
02: Split Song To Pattern. This Job allows you to copy a part of the current Song - all 16 tracks over a specific range of measures - to a specific Pattern, letting you use Song data to create a Pattern.
<Caution> This Job overwrites any data already existing in the destination Pattern and section.
Copy Sample. When this box is checkmarked, sample voices assigned to each track in the source Song are copied to the split destination Pattern as Sample Voices and are assigned to the corresponding tracks in that Pattern. This checkbox has no effect if no Sample Voices are assigned to the tracks in the source Song.
03: Clear Song. This Job deletes all data from the selected Song or all Songs, including the Sample Voices and Mixing Voices.
04: Song Name. This Job lets you assign a name to the selected Song. See "Basic Operation" on page 53.
In this mode, you can set up mixing data for your songs, and set various parameters for the tone generator parts - including the desired Voice, as well as its level, pan, EQ, effect and other settings. Pressing the [F6] button can switch between the display for the Parts 1 to 16 to which the internal Voices are assigned, the display for Multi Plug-in Parts (17 to 32) to which the PLG100-XG voices are assigned and the display for Plug-in Parts (PLG1 to 3) to which the Plug-in Voices of the single part Plug-in board are assigned. Song Mixing parameters are not actually part of the Song sequence data in each track, but rather are settings for the tone generator, as it is played back by the Song data. As such, the Song Mixing parameter settings are not recorded to the Song tracks.
<Caution> Parameter settings made in the Song Mixing mode and Song Mixing Edit mode should be stored to internal memory (DRAM) as part of the Song data. In addition, make sure to save the entire Song data (including the Mixing settings) to the SmartMedia/USB storage device, since the data in DRAM is stored only temporarily (page 187).
NOTE. Parameter settings in the Song Mixing mode and Song Mixing Edit mode can be stored as a template to internal Flash ROM, as well as being stored as part of a Song. See page 104 for details.
From this display you can set the Pan and Volume for each Part (track).
NOTE. You can select a Part by moving the cursor or by using the NUMBER buttons while the [TRACK SELECT] indicator is on (page 58).
PAN. Determines the stereo pan position for each part.
Settings: L63 (far left) to C (center) to R63 (far right).
VOLUME. Determines the volume for each Part, allowing you to set the optimum level balance of all the Parts.
Settings: 0 to 127.
NOTE. You can also adjust the Volume by using the Control Sliders. See page 130 for details.
From this display you can select a voice for each Part. Sample Voices and Mixing Voices can also be selected.
NOTE. You can select a Part by moving the cursor or by using the NUMBER buttons while the [TRACK SELECT] indicator is on (page 58).
NOTE. The Category Search function can also be used to select Voices here, except for Voices of the Multipart Plug-in Parts 17 to 32 (when the PLG100-XG has been installed), Sample Voices, and Mixing Voices.
Pressing the [F3] EFFECT button in the Song Mixing mode calls up the [SONG] -> [MIXING] -> [EDIT] -> [COMMON] -> [F6] EFFECT display in the Song Mixing Edit mode. From this display, you can set the effect related parameters for the current Song. See page 235 for details.
From this display you can make basic effect settings for each Part - Send Level for the System Effect (Reverb, Chorus) as well as the Dry Level for Insertion Effects.
NOTE. For information on the effect connections in the Song mode, see page 180.
Press the [F5] VCE ED button in the Song Mixing mode to enter the Mixing Voice Edit mode. Press the [EXIT] button to return to the original display in the Song Mixing mode. For details, see page 105. Normal Voices can be edited specifically for use with the Song/Pattern modes, creating a dedicated "Mixing Voice."" Refer to ""Mixing Voice mode" on page 249 for details.
You can switch between the displays for three types of parts by pressing this button. 1 to 16 are Parts of the internal tone generator, 17 to 32 are Multi Plug-in Parts of the optionally installed PLG100-XG, and PLG1 to 3 are Plug-in Parts of the optionally installed Single Part Plug-in board.
NOTE. Please note that the Multi-Part Plug-in Part (17 to 32) settings apply not to one individual Song but to all 64 Songs.
NOTE. If you wish to edit more detailed Mixing parameters, you can enter the Song Mixing Edit mode by pressing the [EDIT] button.
This mode provides more detailed Mixing parameters than in the Song Mixing mode. Keep in mind that Song Mixing parameters are not actually part of the Song sequence data in each track, but rather are settings for the tone generator, as it is played back by the Song data. As such, the Song Mixing parameter settings are not recorded to the Song tracks.
<Caution> Parameter settings made in the Song Mixing mode and Song Mixing Edit mode should be stored to internal memory (DRAM) as part of the Song data. In addition, make sure to save the entire Song data (including the Mixing settings) to the SmartMedia/USB storage device, since the data in DRAM is stored only temporarily (page 187).
NOTE. Parameter settings in the Song Mixing mode and Song Mixing Edit mode can be stored as a template to internal Flash ROM, as well as being stored as part of a Song. See page 104 for details.
Use Common Edit to edit the settings common to all Parts.
NOTE. Common Edit operations cannot be performed on the Multi-part Plug-in Parts 17 to 32.
The Song Mixing parameters feature global EQ settings for all Parts of the selected Song (see "MEQ," below). The settings made here in this display are applied as offsets to those MEQ settings.
minus 64 to plus 63.
KnobAssign Determines the function for the assignable Knobs (1 to 4). Pressing any of the [KNOB CONTROL FUNCTION] buttons on the panel sets the desired function row, which is automatically stored to memory with the currently selected Song.
Settings: pan, tone, assign, partEQ, MEF, arpFx.
Assign A, Assign B, Assign 1, Assign 2 This lets you directly set and memorize the value for each Assign Knob (A, B, 1, and 2), from the Knob itself. Simply tweak the knob to the desired setting.
Settings: minus 64 to 0 to plus 63 plus C474.
From this display you can apply five-band equalization to all Parts of the selected Song. The parameters are the same as in Performance Common Edit. See page 214.
From this display you can set parameters related to the Master Effect (page 177). The parameters are the same as in Performance Common Edit. See page 214.
The basic parameters (e.g., type) of the Arpeggio are provided in this display. This is the same as in Normal Voice Common Edit (page 191), except that the Tempo setting is not available here, since the Arpeggio plays according to the Song tempo.
Same as in Normal Voice Common Edit. See page 191.
Same as in Normal Voice Common Edit. See page 192.
Same as in Performance Common Edit. See page 214.
From this display, you can assign Control Change numbers to the hardware controllers of the instrument (such as the Knobs), for each Song. The parameters are the same as in Performance Common Edit. See page 214.
From this display, you can set parameters related to the Audio Input Part in the Song mode. The parameters are the same as in Performance Common Edit. See page 214.
NOTE. For information on the effect connections in the Song mode, see page 180.
This display gives you comprehensive control over the effect connections. The parameters are the same as in Performance Common Edit. See page 215.
The Insertion Effects can be applied to up to eight parts. This display lets you set to which parts the Insertion Effects are applied.
This display lets you set the Plug-in Insertion Effect related parameters when the Effect Plug-in Board PLG100-VH has been installed. For details on each parameter, refer to the Owner's Manual included with the PLG100-VH.
The number of parameters and values available differs depending on the currently selected effect type. For more information, see the Effect Type List in the separate Data List booklet.
These parameters are for editing the individual Parts that make up a Song Mixing. Press the [F6] button to switch among the various Part displays - the display for Parts 1 to 16 to which the internal Voices are assigned, the display for Multi-part Plug-in Parts (17 to 32) to which the PLG100-XG voices are assigned, and the display for Plug-in Parts (PLG1 to 3) to which the Plug-in Voices of the single part Plug-in board are assigned.
NOTE Please note that the Multi-Part Plug-in Part (17 to 32) settings apply not to one individual Song but to all 64 Songs.
Determines the Voice for each Part. For details, see page 102.
NOTE. When the cursor is located on the Bank, you can select a Voice (with the exception of Sample Voices, Mixing Voices, and Voices of Multi-part Plug-in Parts) via the method explained in the Quick Guide on page 102.
Mono/Poly. Determines the playback method of the Voice for each Part - monophonic (single notes only) or polyphonic (multiple notes).
Settings: mono, poly
NOTE. This parameter is not available for the part to which a Drum Voice is assigned.
ArpSwitch (Arpeggio Switch). Determines whether Arpeggio is on or off for the currently selected Part.
Settings: off, on.
NOTE. Arpeggio Switch is applied to only one Part at the same time. It cannot be applied to multiple Parts simultaneously.
NOTE. Arpeggio Switch is not available for the Multi-part Plug-in Parts 17 to 32.
ReceiveCh (Receive Channel) Determines the MIDI receive channel for the selected Part. Since MIDI data may be coming from many channels at once, you should set this to match the particular channel over which the desired controlling data is being sent.
Settings: 01 to 16, off.
From this display you can determine the note range and velocity range for each Part. The parameters are the same as in Performance Part Edit. See page 216.
Determines the Portamento parameters for each Part. The parameters are the same as in Performance Part Edit. See page 216.
NOTE. The Mode setting is not available for the Multi Plug-in parts 17 to 32 and the Plug-in parts 1 to 3.
Same as in Performance Part Edit. See page 217.
NOTE. For Multi-part Plug-in Parts 17 to 32 and Plug-in Parts 1 to 3, Pitch Bend Upper and Lower become a single parameter: PB Range. Upper and Lower values cannot be set independently for Plug-in Parts. See page 164.
Same as in Performance Part Edit. See page 217.
NOTE. The Voice Element Pan setting is not available for Multi-part Plug-in Parts 17 to 32 and Plug-in Parts 1 to 3.
Same as in Performance Part Edit. See page 217.
From this display you can assign individual Parts to sound from independent output connectors (jacks). The parameters are the same as in Performance Part Edit. See page 218.
From this display you can set parameters related to the Part EQ (page 178). The parameters are the same as in Performance Part Edit. See page 218.
Same as in Performance Part Edit. See page 218.
Same as in Performance Part Edit. See page 218.
NOTE. The FEG Depth setting is not available for Multi-part Plug-in Parts 17 to 32 and Plug-in Parts 1 to 3.
From this display you can set the FEG (Filter Envelope Generator) parameters for each Part. The parameters offset the same parameters of the assigned Voice set in the Voice (Element) Edit mode (page 198). The parameters are the same as in Performance Part Edit. See page 218.
NOTE. The FEG setting is not available for Multi-part Plug-in Parts 17 to 32, Plug-in Parts 1 to 3, or Parts to which Drum Voices have been assigned.B
From this display you can set the AEG (Amplitude Envelope Generator) parameters for each Part. The parameters offset the same parameters of the assigned Voice set in the Voice (Element) Edit mode (page 200). The parameters are the same as in Performance Part Edit. See page 219.
NOTE. The Sustain setting is not available for Multi-part Plug-in Parts 17 to 32, Plug-in Parts 1 to 3 or Parts to which Drum Voices have been assigned.
NOTE. The Release setting is not available for Parts to which Drum Voices have been assigned.
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. Note that two different display types listed below are provided and you can switch between them by pressing the [SF5] button. Each display type features the same settings in a different format; use the type you feel most comfortable with.
Display showing four Parts.
This display type shows the Receive Switch status for four Parts at a time. Set the desired Part on or off, for the corresponding MIDI data type. To view and edit another set of four Parts, press the appropriate [NUMBER] button, [1] to [16]. Keep in mind that since all the available parameters cannot be simultaneously displayed, you will need to use the cursor controls to scroll the display in order to see and set the other parameters."
Display showing all parameters for one Part.
This display type shows all of the Receive Switch settings for a single selected Part. Set the desired MIDI data type on or off for the selected Part. To select other Parts, use the NUMBER [1] to [16] buttons (making sure that the [TRACK SELECT] button is on).
The Song Mixing Job mode features several basic operations, such as Initialize and Copy. After setting parameters as required from the selected display, press the [ENTER] button to execute the Job.
NOTE Among the Audio Parts shown in the Song Mixing Job display, Audio Part 1 indicates the A/D Input Part. When the optional AIEB2 has been installed, Audio Part 2 indicates the AIEB2 Input Part. When the optional mLAN16E has been installed, Audio Parts 2 to 5 are mLAN Input Parts.
This function lets you reset (initialize) all Song Mixing parameters to their default settings. It also allows you to selectively initialize certain parameters, such as Common settings, settings for each Part, and so on - very useful when creating a completely new Song Mixing program from scratch.
Type of parameter to be initialized: All, Common (Common parameter settings for the selected Song Mixing), Part 1 to 16, PLG 1 to 3, Audio1 to 5.
If you are editing a Song Mixing program and select a different program without storing your edited one, all the edits you've made will be erased. If this happens, you can use Edit Recall to restore the Song Mixing program with your latest edits intact.
From this display you can copy Part parameter settings from any Song Mixing program including the currently edited (but not yet stored) one to a particular Part of the Song Mixing program you are editing. This would come in handy when you want to use some settings from another program.
Source song. Select a Song and Part to be copied. You can specify "Current" (the Song Mixing program you are editing and have not yet stored) as a Source Song.
Part to be copied (Type): Part 1 to 16, PartP1 to P3 (Plug-in Part 1 to 3), PartA1 to A5 (Audio Part 1 to 5)
Data type of Destination Song (current selected song). Set the Part of the destination Song.
Destination part (Type): Part 1 to 16, PartP1 to P3 (Plug-in Part 1 to 3), PartA1 to A5 (Audio Part 1 to 5), Arp, Effect (Reverb, Chorus).
NOTE. If you choose Arp (Arpeggio) or Effect, the Arpeggio data or Effect settings for the Voice assigned to the source Part will be copied.
This function lets you send all your edited parameter settings for the currently selected Song Mixing program to a computer or another MIDI instrument for data archiving.
NOTE In order to execute Bulk Dump, you'll need to set the correct MIDI Device Number. For details, see page 264.
This convenient operation lets you copy certain settings of the four Parts in a performance to the Song Mixing program currently being edited. This would come in handy when a certain performance has settings that you want to use in your Song Mixing program. Use this Job to simply copy the settings you need. The MIDI receive channel settings are set to match the basic channel settings (page 263). When the basic channel is set to "omni," the receive channel here is set to 1. To select a group of parameters for copying, checkmark the appropriate box in the display.
"This convenient function lets you store your mixing settings as a template - allowing you to easily set up similar mixes by calling up the proper template, then tweaking it as needed. Templates are saved as part of the System data (page 186) in the Utility mode and not as data for each song. After inputting a Template number and name, press the [SF5] PUT button to save the current setting to the Template. After selecting the desired Template number, press the [SF4] GET button to call it up.
<Caption> Template Number Template Name Pressing the [SF4] button lets you call up the template selected at left. Press the [SF5] button lets you save the current setting to the template selected at left.
NOTE. Since the Mixing templates are stored as System data (page 186) in Flash ROM, the data is maintained even when the power is turned off. The Mixing template stored here can be called up in the Pattern mode as a Pattern Mixing program.
This function lets you store your edited Song Mixing program to User memory (DRAM). For details, refer to page 131 in the Quick Guide section.
[SONG] -> [F3] TRACK -> [SF3] TR LOOP (Track Loop). page 222.
In the example below, a 40-measure song has been recorded and Track 1 is set to play back normally over the 40 measures. Track 2 has been set to loop, and will repeat until the [ ] (Stop) button is pressed.
When Track Loop has been set to on, you can specify the range to be looped. (Only the end point can be set; the start point of looped playback is fixed to the beginning of the song.)
<CAUTION>
Please note that changing the Track Loop from off to on will delete the data of the area that is not looped.
1. Press [F1] to call up the Song Play display. Here, change the change the current measure this will be used for the last measure of the loop.
2. Call up the [F3] TRACK -> [SF3] TR LOOP display and move the cursor to the track to be looped.
3. Set the selected track to on by using the [INC/YES] and [DEC/NO] buttons or the data dial. (The display prompts you for confirmation.)
4. Press the [INC/YES] button. The Loop is set to on and the data after the loop end is deleted
If you want to restore the deleted data and return the selected track to off, press the [SF5] UNDO button.
<CAUTION>
The Undo function can only be used on the last Track Loop operation. If youve set other tracks to loop, the data of those previous tracks cannot be recovered.
[SONG] or [PATTERN] -> [] (Record) -> [F1] SETUP -> Type equal step. page 224.
This section explains how to step-record notes, using three specific examples.
NOTE. The explanations here using the Song mode display apply also to the Pattern mode.
Example 1.
1. Set the parameters as illustrated below.
Press the Record button to call up the display below. Here, we'll set the Step Time to (480) so that quarter notes will be entered, and set the GateTime to 100 percent to have the notes play in legato.
2. Play the keys C, D, E, F, G, A, B and C in order.
Each time you press a key and release it, the pointer moves forward by one step and the played note is recorded.
3. Move the pointer to the top (beginning) of the song and press the [>] (Play) button to hear the note data you just recorded in steps No.1 and 2.
Example 2 (Using the Tie function)
1. Set the parameters as illustrated below.
Since the first note is a half note, set the StepTime to the half-note icon (a value of 960), and set the GateTime to 80 percent, since you don't want the notes to play in legato.
2. Enter the first note F.
2-1. Press and release F.
2-2. Change this to an eighth note (240).
2-3. Press the [F4] button to tie the two F notes (half note and 8th note).
3. Enter the next 8th notes.
Keep the display settings unchanged for the remaining notes in the measure, and press/release each key one by one as shown below.
<Figure>
4. Follow the instructions below to enter the next dotted half note.
4-1. Change this to a quarter note (480).
4-2. Press and release A.
4-3. Press the [F4] button twice to expand the quarter note to a dotted half note.
5. Enter the last quarter note by pressing and releasing F.
6. Move the pointer to the top (beginning) of the song and press the [F] (Play) button to hear the note data you just recorded in steps No.1 to 5.
Example 3 (Using the Rest function).
1. Set the parameters as illustrated below.
Set the StepTime to a quarter note (480) and the Gate Time to 80 percent.
2. Enter the first note, F.
Press and release A.
3. Enter the next 8th rest as shown below.
3-1. Change this to an eighth note (240), since we'll be entering an eighth-note rest.
3-2. Enter the selected rest value (eighth note) by pressing the [F3] button
4. Enter the next 8th note A.
Press and release A.
5. Enter the next 4th note C as shown below.
5-1. Change this value to 480, since the rest value is a quarter note.
5-2. Press and release C.
6. Enter the next 8th rest as you did in step No.3 above.
7. Enter the last 8th note, F.
Press and release F.
8. Move the pointer to the top (beginning) of the song and press the [>] (Play) button to hear the note data you just recorded in steps No.1 to No.7.
[TIP] Entering a chord
In Step recording, you can also enter chords. Press and hold down each note of the chord in succession, then release them all together to record them as a chord. Keep in mind that notes are not actually recorded to a track until they are released.
Creating Patterns - basic procedure.
Patterns consist of the following three types of data:
MIDI sequence data (created in the Pattern Record mode, Pattern Edit mode, and Pattern Job mode)
Setup data (created in the Pattern Play mode)
Mixing data (created in the Pattern Mixing mode/Mixing Edit mode and stored in the Pattern Mixing Store mode)
After creating the data in these modes described above, store the Mixing settings in the Pattern Mixing Store mode to archive it as Pattern data and save the entire Pattern to the SmartMedia/USB storage device in the File mode.
NOTE. Non-note MIDI events (such as Voice number, volume, pan, and effect send level) which are necessary at the start of a Pattern are not recorded as MIDI sequence data, but are stored instead as Mixing data.
<Caution> Because Pattern data (MIDI sequence data, Setup data, and Mixing data) is recorded to DRAM (page 187), it will be lost when turning the power off. Make sure to save any Pattern data created via the Record, Edit, Job, and Mixing setting to the SmartMedia/USB storage device in the File mode before turning the power off. For details on saving Pattern data, see page 132.
Trans (Transpose) Determines the key transpose setting for the Pattern, and can be adjusted in semitones.
Settings: minus 36 to plus 36.
NOTE. If Transpose is applied to a Drum Voice, the results may not be musically appropriate. To ensure proper playback of a Drum Voice, set the Note Shift parameter for the Drum Voice Part to an appropriate value ([PATTERN] -> [MIXING] -> [EDIT] -> Part selection -> [F4] TONE -> [SF1] TUNE -> NoteShift).
MEAS (Measure). Indicates the current measure number and beat for the current Pattern. During playback, this indication changes automatically according to the Pattern playback. You can input the desired measure number directly by using the Number Input window called up via the [INFORMATION] button.
[SF1] ARP1 (Arpeggio 1) to [SF5] ARP5 (Arpeggio 5). You can register the desired Arpeggio types to these buttons and call them up any time during your keyboard performance.
Same as in the Song Play mode. See page 221.
Same as in the Song Play mode. See page 221.
Same as in the Song Play mode. See page 222.
Determines whether the program change data contained in the phrase data is effective or not. For most purposes, this should be set to "off." For example, if a phrase has embedded Voice changes (program change messages) but you don't want the Voice to change in the middle of the phrase, set this to "off." Tracks that are set to "off" here automatically play back with the Voice number assigned to the Part set in the Mixing mode.
NOTE. The Phrase Voice embedded in the Phrase can be specified from the Voice display in the Pattern Record mode (page 243).
Refer to page 113 in the Quick Guide section.
From this display, you can assign a Preset phrase or a User phrase (recorded in the Pattern Record mode) to each track and create a Pattern that contains up to 16 tracks.
NOTE. The Patch function allows you to use only User phrases recorded to a track of the currently selected Pattern. If you wish to use User phrases recorded to tracks of other Patterns, use the Phrase Data Copy function, selected with [SF5] button.
Section. Shows the current edited section. For details about how to change sections, see page 56.
Meas. Shows Measure : Beat for current playback location.
This clears the Phrase assignment to the currently selected track and leaves the track empty.
<Figure>
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.
Source Pattern number,phrase number.
Destination phrase and track of the current edited Pattern.
After setting, press the [ENTER] button to copy the phrase.
The User phrases that can be assigned with the Patch function are limited to the ones contained in the currently selected Pattern. This function lets you copy phrases in another Pattern to the selected one. Press the [SF5] button to call up the display shown at left. After setting the parameters as needed, press the [ENTER] button to copy the phrase data.
<Caution> The copy operation overwrites any data previously existing in the destination phrase.
This function gives you a variety of semi-random presets for dividing the MIDI sequence data and altering the note lengths, letting you create completely new variations of a Pattern. This function is particularly effective when used on a track which contains a sample voice created by using the Sampling feature with the SLICE plus SEQ sample type or samples sliced using the Sample Slice Job.
Set the parameters below, then press the [ENTER] button to execute the Remix operation. You can press the Play button at this point to hear the results of the Remix. If you're not satisfied with the results, try another Type/Variation and press [ENTER]. If you want to keep the changes, press [SF5] OK. (Undo cannot be used with Remix.) To return to the original display without altering the data, press the [SF4] CANCEL button.
NOTE. Since the remixed data is stored as a new phrase and assigned to the current track, the original phrase data remains as an unassigned phrase.
Type. Determines how the data in the selected track will be divided and rearranged. The division and rearrangement rules are different for each remix type. The type is also shown graphically in the display.
Settings: 1 to 16.
Variation. Determines how the original MIDI sequence data will be modified.
Settings: Normal1 to 16, Reverse1 to 16, Break 1 to 16, Pitch 1 to 16, Roll 1 to 16.
Normal 1 to 16... The original data is only divided and rearranged. 16 variations are provided.
Reverse1 to 16... In addition to division and rearrangement, some portions of the data may be played in reverse. 16 variations are provided.
Break 1 to 16... In addition to division and rearrangement, some portions of the data may be deleted to create breaks. 16 variations are provided.
Pitch 1 to 16... In addition to division and rearrangement, some portions of the data may be pitch-shifted. 16 variations are provided.
Roll 1 to 16... In addition to division and rearrangement, some portions of the data may be played with a roll effect. 16 variations are provided.
Refer to page 115 in the Quick Guide section.
This mode lets you play the programmed section chain sequence created in the Pattern Record mode and Pattern Edit mode. The parameters are the same as in the [F1] PLAY display.
You can select one of the following tracks for recording.
patt (Pattern): Records section changes during playback.
tempo: Records tempo change information during playback .
scene: Records track mute settings during playback.
During Recording. [PATTERN] -> [F6] -> [] (Record) -> [>] (Play).
When recording the tempo track, you can change the tempo value.
When recording the scene track, you can change the track mute setting.
When recording the Pattern track, you can change the section."
The Pattern Chain Edit mode makes it possible to edit the order of the sections in a chain, as well as insert tempo, and scene/mute event data. Call up the desired track display by pressing the [F4] TR SEL button to edit the selected track.
From this display, you can edit the section changes for each measure. Move the cursor to the "Section" column for the desired measure, and enter the desired section. To set the end of the chain, enter an END mark at the appropriate measure. (For more information, see page 116.) To clear the event at the currently selected location, press the [F6] CLEAR button.
You can edit the track mute change in beats. Use the [F5] INSERT and [F6] DELETE button to insert/delete the event.
You can edit the tempo change in beats. Use the [F5] INSERT and [F6] DELETE button to insert/delete the event.
This display lets you copy all Pattern chain events from a specified range of measures (source) to a destination location. After specifying the source range in measures, the top measure of the destination location, and NumberOfTimes (number of times the data is copied), press the [ENTER] button to execute the Copy operation.
<Caution> This operation overwrites any events already existing at the destination.
This function converts the Pattern chain data to Song data (standard MIDI format) and places the results in the normal Song tracks. After specifying the desired destination Song and measure number to which the converted data is to be copied, then press the [ENTER] button to execute.
<Caution> This operation overwrites any data already existing at the destination range.
Type (Recording Type). Determines the recording method. For information on each method, refer to page 168 in the Basic Structure section.
Settings: replace, overdub, step.
NOTE. Unlike in the Song Record mode, Punch recording is not available for Pattern recording.
Loop. Turns loop recording ON or OFF. When ON, the phrase will play repeatedly during real-time recording. This can be handy when recording drum parts (page 168), allowing you to add different instruments on each pass. When OFF recording stops after one pass through the phrase.
Settings: on, off.
Quantize. Same as in the Song Record mode. See page 222.
Event. Same as in the Song Record mode. See page 223.
(Tempo). Determines the Pattern tempo.
Settings: 001.0 to 300.0.
NOTE. Unlike in Songs, Scene track and Tempo track are not available for Patterns.
Meas (Measure). Determines the measure from which Pattern recording will be started.
From this display you can set Voice-related parameters for the selected track. The settings made here affect the tone generator parts whose MIDI receive channels match the MIDI transmit channel of the song track. The Voice set here becomes the phrase Voice (page 167). Parameters are the same as in the Song Record mode. See page 223.
From this display you can set parameters related to the Arpeggio of the recording track. Parameters are the same as in the Song Record mode. See page 223.
From this display you can determine whether the sequence data played by Arpeggio is recorded to the Pattern track or not. Parameters are the same as in the Song Record mode. See page 223.
Pressing the [F5] button lets you turn the click sound (metronome) on/off for recording.
During Pattern Recording. [PATTERN] -> Pattern selection -> [] (Record) -> [>] (Play).
Realtime Recording. Refer to page 110 in the Quick Guide section.
Step Recording. Examples of Step Recording are described on page 238. Parameters in the displays are the same as in the Song Record mode. See page 224.
Same as in the Song Edit mode. See page 225.
The Pattern Job mode contains a comprehensive set of editing tools and functions you can use to change the sound of the Pattern. It also includes a variety of convenient operations, such as copying or erasing data.
After setting parameters as required from the selected display, press the [ENTER] button to execute the Job.
<Caution> An "Executingc" message is shown when it takes a short amount of time to execute the Job. Never attempt to turn off the power while an "Executingc" message is shown. Turning the power off in this state results in loss of all user data.
The Undo Job cancels the changes you made in your most recent recording session, editing session, or Job, restoring the data to its previous state. This allows you to recover from accidental data loss. Redo is available only after using Undo, and lets you restore the changes you made before undoing them.
<Caution> Undo/Redo does not work with Sample Voice and Mixing Voice operations.
The Note data Jobs in the Pattern mode are basically same as in the Song Job mode. However, unlike in the Song Job mode, Pattern Note data Jobs are applied to the phrases (001 to 256) and a selected range in the phrase (measure : beat : clock).
01: Quantize. Same as in the Song Job mode. See page 227.
02: Modify Velocity. Same as in the Song Job mode. See page 227.
03: Modify Gate Time. Same as in the Song Job mode. See page 227.
04: Crescendo. Same as in the Song Job mode. See page 228.
05: Transpose. Same as in the Song Job mode. See page 228.
06: Glide. Same as in the Song Job mode. See page 228.
07: Create Roll. Same as in the Song Job mode. See page 228.
08: Sort Chord. Same as in the Song Job mode. See page 228.
09: Separate Chord. Same as in the Song Job mode. See page 229.
The Event Jobs in the Pattern mode are basically same as in the Song Job mode. However, unlike in the Song Job mode, Pattern Event Jobs are applied to the phrases (001 to 256) and a selected range in the phrase (measure : beat : clock).
01: Shift Clock. Same as in the Song Job mode. See page 229.
02: Copy Event. Same as in the Song Job mode. See page 229.
03: Erase Event. Same as in the Song Job mode. See page 229.
NOTE. Unlike in the Song Job mode, "Tempo," "Scene Memory," or "Track Mute" cannot be selected as Event Types.
04: Extract Event. Same as in the Song Job mode. See page 230.
05: Create Continuous Data. Same as in the Song Job mode. See page 230.
NOTE. Unlike in the Song Job mode, "Tempo" cannot be selected as an Event Type.
06: Thin Out. Same as in the Song Job mode. See page 230.
07: Modify Control Data. Same as in the Song Job mode. See page 230.
NOTE. Unlike in the Song Job mode, "Tempo" cannot be selected as an Event Type.
08: Beat Stretch. Same as in the Song Job mode. See page 231.
01: Copy Phrase. This Job copies a selected phrase to the designated destination phrase. After specifying the source Pattern and phrase, the destination Pattern and phrase, and setting the checkbox of Copy Sample, press the [ENTER] button to execute this Job. When the Copy Sample box is checkmarked, Sample Voices used by the source phrase are copied to the destination Pattern as Sample Voices, and are assigned to the destination phrase. This is available only when the Sample Voice is used in the source phrase.
NOTE. When there is no memory available in the destination Pattern for Sample Voice data, an error 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 Sample Voices, then try again.
<Caution> Any previous data in the copy destination will be overwritten.
<Caution> Undo/Redo (page 244) cannot be used to undo/redo a Sample Voice copy operation.
02: Exchange Phrase. This Job exchanges or "swaps" the contents of two specified phrases ("A" and "B").
NOTE. If this Job is applied to phrases which use Sample Voices, the Sample Voices will not be exchanged.
03: Mix Phrase. This Job mixes all data from two selected user phrases ("A" and "B"), and places the result in phrase B.
NOTE. Keep in mind that applying this Job to phrases with Sample Voices does not mix the Sample Voices.
04: Append Phrase. This Job appends one phrase (A) to the end of another (B) to create one longer phrase (B).
NOTE. If this Job is applied to phrases which use Sample Voices, the Sample Voices will not be appended.
05: Split Phrase. This Job splits a selected phrase (A) into two separate phrases (A and B). The data before the split point is stored to the original phrase A and the data after the split point is moved and stored to another phrase B. You can also set the Meter of the phrase B after the Split Phrase Job.
NOTE. When either Pattern or Phrase is set to "off," the split Phrase B data is erased.
NOTE. If this Job is applied to phrases which use Sample Voices, the Sample Voices will not be split.
<Caution> The Job overwrites any data already existing in destination phrase B.
06: Get Phrase From Song. This Job copies a segment of sequence-track data from a Song into the designated destination phrase. After specifying the source Song/track/range of measures to be copied, the destination phrase, and setting the checkbox of Copy Sample, press the [ENTER] button to execute this Job. When the Copy Sample box is checkmarked, Sample Voices used by the source track are copied to the destination Pattern as Sample Voices, and are assigned to the destination phrase. This parameter has no effect when no Sample Voice is used by the source track.
NOTE. When there is no memory available in the destination Pattern for Sample Voice data, an error 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.
<Caution> The Job overwrites any data already existing in the destination phrase.
<Caution> Undo/Redo (page 244) cannot be used to undo/redo a Sample Voice copy operation.
07: Put Phrase To Song. This Job copies a selected user phrase into a specified area of a selected song. After specifying the source phrase, destination Song/track/top measure, and setting the Copy Sample checkbox, press the [ENTER] button to execute this Job. When the Copy Sample box is checkmarked, Sample Voices used by the source phrase are copied to the destination Song as Sample Voices, and are assigned to the destination Song track. This parameter has no effect when no Sample Voice is used by the source phrase.
NOTE. When there is no memory available in the destination Song for Sample Voice data, an error message will appear on the display and the Sample Voice data will not be copied. If this occurs, use Sample Job "Delete" to delete any unused samples, then try again.
<Caution> The Job overwrites any data already existing in the destination track.
<Caution> Undo/Redo (page 244) cannot be used to undo/redo a Sample Voice copy operation.
08: Clear Phrase. This Job deletes all data from the selected phrase. When the Delete Sample box is checkmarked, sample data assigned to the selected phrase will be deleted. This parameter has no effect when no Sample Voice is used by the selected phrase.
<Caution> Undo/Redo (page 244) cannot be used to undo/redo a Delete Sample operation.
09: Phrase Name. This Job lets you assign a name (of up to eight characters) to the selected phrase. For instructions on naming, refer to page 53 in the Basic Operation section.
01: Copy Track. This Job copies all data from a specified source track to the specified destination track. The types of data to be copied are the same as in the Song Job mode. See page 231.
02: Exchange Track. This Job exchanges or "swaps" the specified type of data between two specified tracks in the current Pattern and section. The types of data to be exchanged are the same as in the Song Job mode. See page 232.
03: Clear Track. This Job deletes all data of the selected type from the selected Pattern track. The types of data to be cleared are the same as in the Song Job mode. See page 232.
04: Normalize Play Effect. This Job rewrites the data in the selected track so that it incorporates the current Grid Groove settings. After specifying a track (TR 01 to 16) to which this Job is applied, press the [ENTER] button to execute this Job.
05: Divide Drum Track Separates the note events in a drum performance assigned to a specified track, and places the notes corresponding to different drum instruments in separate tracks (tracks 1 through 8). After specifying a track (TR 01 to 16) to which this Job is applied, press the [ENTER] button to execute this Job.
NOTE. In order to use this Job, tracks 1 to 8 must be empty. If there aren't enough empty tracks, an error message appears. If this happens, use the Clear Track Job (page 246) to delete tracks 1 to 8, then try the Job again.
06: Put Track To Arp. This Job copies data in the specified measures of a section/track for creating Arpeggio data. For details, refer to page 130 in the Quick Guide section.
01: Copy Pattern. This Job copies all data from a selected source Pattern to a selected destination Pattern. After specifying the source Pattern/section, and the destination Pattern/section, as well as setting the checkboxes as necessary, press the [ENTER] button to execute this Job.
NOTE. If you set the source section to "all," the destination section is also set to "all" automatically. With this status, execute this Job to copy the entire source Pattern data to the destination.
Preset Phrase -> User. When this box is checkmarked, Preset Phrases (if included in the source Pattern) are copied to the User Phrase, which will be assigned to the destination Pattern.
Duplicate User Phrase. When this box is checkmarked, User Phrases (if included in the source Pattern) are copied to another User Phrase, which will be assigned to the destination Pattern.
Chain. When this box is checkmarked, Pattern chain data (if included in the source Pattern) is copied to the destination Pattern.
02: Append Pattern. Appends one Pattern to the end of another to create one longer Pattern with all 16 tracks.
NOTE. If this job is applied to Patterns which use Sample Voices, the Sample Voices will not be appended.
NOTE. If the Pattern length becomes greater than 256 measures as a result of the Append Pattern Job, an error message will be displayed and the Job will be aborted.
Keep Original Phrase. When this box is checkmarked, the original destination Pattern data is retained in memory, along with the new appended Pattern data. If the box is not checkmarked, the original destination Pattern is erased and replaced with the newly created data.
NOTE. When the KEEP ORIGINAL PHRASE checkbox is checked, this Job requires twice the number of empty user phrases as the number of tracks containing data in which to store the appended phrase data. If the required space is unavailable, an alert message will appear and the Job will be aborted. If this occurs use the Clear Phrase Job (page 246) to delete unused phrases and try again.
03: Split Pattern. This Job splits a selected Pattern (all 16 tracks data) into two Patterns. After the Split Pattern operation, the part of the Pattern before the specified Split Point will remain, and the part following the Split Point will be moved to the destination Pattern.
<Caution> The Job overwrites any data already existing in the destination Pattern.
Split Point. Determines the Split Point by setting a measure number.
Keep Original Phrase. When this box is checkmarked, the original Source Pattern data is retained in memory and the results of the Split Job are written to empty phrases. When this box is not checkmarked, the original Source Pattern is erased and replaced with the newly created data.
Sample. When this box is checkmarked, Sample Voices (if included in the source pattern) are copied to the destination Pattern.
NOTE. When the KEEP ORIGINAL PHRASE checkbox is checked, this Job requires twice the number of empty user phrases as the number of tracks containing data in which to store the appended phrase data. If the required space is unavailable, an alert message will appear and the job will be aborted. If this occurs use the Clear Phrase Job (page 246) to delete unused phrases and try again.
04: Clear Pattern.
This Job deletes all data from the selected Pattern, or from all Patterns. When the specific section is selected to be cleared, you can unmark the Chain box. If the Chain box is not checkmarked, the Pattern Chain data will be kept even though the Clear Pattern Job is executed.
05: Pattern Name.
This Job lets you assign a name to the selected Pattern. For instructions on naming, refer to page 53 in the Basic Operation section.
In this mode, you can set up mixing data for your patterns, and set various parameters for the tone generator parts - including the desired Voice, as well as its level, pan, EQ, effect and other settings.
Pattern Mixing parameters are not actually part of the Pattern sequence data in each track, but rather are settings for the tone generator, as it is played back by the Pattern data. As such, the Pattern Mixing parameter settings are not recorded to the Pattern tracks.
Mixing operations and parameters are the same as those of the Song Mixing mode. See page 236.
<Caution> Parameter settings made in the Pattern Mixing mode and Pattern Mixing Edit mode should be stored to internal memory (DRAM) as part of the Pattern data. In addition, make sure to save the entire Pattern data (including the Mixing settings) to the SmartMedia/USB storage device, since the data in DRAM is stored only temporarily (page 187).
NOTE. Parameter settings in the Pattern Mixing mode and Pattern Mixing Edit mode can be stored as a template to internal Flash ROM, as well as being stored as part of a Pattern. See page 104 for details.
This mode provides more detailed Mixing parameters than in the Pattern Mixing mode. Keep in mind that Pattern Mixing parameters are not actually part of the Pattern sequence data in each track, but rather are settings for the tone generator, as it is played back by the Pattern data. As such, the Pattern Mixing parameter settings are not recorded to the pattern tracks. Mixing operations and parameters are the same as those of the Song Mixing mode. See page 234.
<Caution> Parameter settings made in the Pattern Mixing mode and Pattern Mixing Edit mode should be stored to internal memory (DRAM) as part of the Pattern data. In addition, make sure to save the entire Pattern data (including the Mixing settings) to the SmartMedia/USB storage device, since the data in DRAM is stored only temporarily (page 187).
NOTE. Parameter settings in the Pattern Mixing mode and Pattern Mixing Edit mode can be stored as a template to internal Flash ROM, as well as being stored as part of a Pattern. See page 104 for details.
Same as in the Song Mixing Job mode. See page 236.
This function lets you store your edited Pattern Mixing to User memory (DRAM).
For details, refer to page 131 in the Quick Guide section.
Creating Mixing Voices - basic procedure.
"The Mixing Voice mode provides most of the same Normal Voice editing parameters as the Voice mode, with the main exception that these Voices are dedicated for use with the Songs and Patterns, and are stored specifically as Mixing Voices. The Mixing Voice Job mode lets you use the supplementary functions like Copy and Delete. After completing the Mixing Voice editing, you can store the edited Voice to a User Bank to internal memory (Flash ROM) or you can store it as a part of the current Song/Pattern data to internal memory (DRAM). When storing the edited Mixing Voice as a part of the current Song/Pattern data, make sure to save the data to a SmartMedia/USB storage device in the File mode. "
The Mixing Voice Edit mode is divided into Common Edit, for setting parameters common to all four Elements, and Element Edit, for setting parameters of individual Elements.
These parameters are for making global (or common) edits to all four Elements of the selected Normal Voice.
NOTE. The Mixing Voice Edit parameters are basically the same as those in the Voice Edit mode. However, some parameters having the same name as those in the Song Mixing/Pattern Mixing Part Edit mode are not available in the Mixing Voice Edit mode.
Same as in the Normal Voice Common Edit mode. See page 189. Please note that the [SF3] MEQ OFS (Master EQ Offset) display is not available in the Mixing Voice Edit mode.
Same as in the Normal Voice Common Edit mode. See page 190.
Same as in the Normal Voice Common Edit mode. See page 192.
Same as in the Normal Voice Common Edit mode. See page 192.
Same as in the Normal Voice Common Edit mode. See page 194. Please note that the [SF4] REVERB and [SF5] CHORUS displays are not available in the Mixing Voice Edit mode.
These parameters are for editing the individual Elements that make up a Normal Voice.
Same as in the Normal Voice Element Edit mode. See page 195.
Same as in the Normal Voice Element Edit mode. See page 196.
Same as in the Normal Voice Element Edit mode. See page 197.
Same as in the Normal Voice Element Edit mode. See page 199.
Same as in the Normal Voice Element Edit mode. See page 201.
Same as in the Normal Voice Element Edit mode. See page 201.
The Mixing Voice Job mode features two basic operations, Copy and Delete. After setting parameters as required from the selected display, press the [ENTER] button to execute the Job.
If you are editing a Mixing Voice and select a different Mixing Voice, Mixing program, Song or Pattern without storing your edited one, all the edits you've made will be erased. Edits are also erased if the current part to which the edited Mixing Voice is assigned receives a program change from an external MIDI instrument. If this happens, you can use Edit Recall to restore the Mixing Voice with your latest edits intact by pressing the [ENTER] button from the [F2] RECALL display.
NOTE. Since a Recall Buffer for the Mixing Voice is prepared for each Part of the current Song or Pattern, you can specify the Part to which the Mixing Voice to be recalled is assigned before executing the Edit Recall.
This Job lets you copy the Mixing Voice stored to a specified Part in one Song/Pattern to a Part in another Song/Pattern.
This Job lets you delete a Mixing Voice assigned to a specified Song/Pattern's Part.
This function lets you store your edited Mixing Voice to User memory (Flash ROM or DRAM). For details, refer to page 106 in the Quick Guide section.
In the Sampling mode, the following three types of data can be created.
Waveform. Created by recording a sample.
Sample Voice. Created by recording a sample (depending on the settings before recording) in the Sampling mode entered from the Song mode/Pattern mode. The resulting Waveform can be assigned to a Sample Voice.
User Voice. Created by recording a sample (depending on the settings before recording) in the Sampling mode entered from the Voice mode/Performance mode. The resulting Waveform can be assigned to a User Voice.
After creating the data described above, save them to a SmartMedia/USB storage device in the File mode. Sample Voices that are assigned to Song tracks can be saved along with Song data. When saving Song data (that includes Sample Voices) or User Voice data, all Waveforms assigned to the data will be saved automatically. Waveforms assigned to the Sample Voices or User Voices will be saved together automatically. Waveforms which are not assigned to any Song or Voice data should be saved individually as Waveforms.
IMPORTANT: The Sampling mode is available only when optional DIMMs (page 289) have been installed to the MOTIF ES.
<Caution> The waveforms created in the Sampling mode reside temporarily in the optionally installed DIMMs (page 187). Because data contained in DIMM is lost when the power is turned off, you should always save the waveforms created by recording, editing, and using Jobs to a SmartMedia/USB storage device before turning off the power. For information on how to save, see page 97.
In this mode, you can record sounds to this synthesizer (for example, your voice, a guitar, or sounds from a CD), edit them, and use them to create voices you can play from the keyboard. Or, if you enter this mode from the Song or Pattern mode, the sounds you record (commonly called "sample") can be assigned to the tracks and played back automatically with the song or pattern. What's more, by using the Resampling function, you can create new samples from your edits, or make samples from the sounds of this synthesizer itself.
In this case, you can create a Waveform or User Voice by recording sounds input from external devices such as a microphone and audio equipment.
From this display you can determine the destination location to which the recorded sample will be stored.
Waveform. Determines the Waveform number to which the recorded sample is assigned.
Settings: 001 to 1024.
Keybank. Determines the note number located at the center of the Key Bank.
Settings: C-2 to G8.
NOTE. For details about Waveform and Key Bank, see page 173.
Part. Determines the Performance Part to which the recorded sample is assigned. This is available only when entering the Sampling mode from the Performance mode. When set to "off," only the Voice will be created by sampling.
Settings: off, 1 to 4.
Voice. The recorded sample can be stored as a User voice. This parameter determines the User voice bank and number to which the recorded sample is assigned.
NOTE. When this is set to "---," only a Waveform is created; the sample is not stored as a User voice. The sample is stored to the smallest numbered Waveform available. If you wish to hear the new sample, go to the WAVE display ([VOICE] -> Voice selection -> [EDIT] -> Element selection -> [F1] OSC -> [SF1] WAVE) or KEYBANK display ([INTEGRATED SAMPLING] -> [EDIT] -> [F1] KEYBANK) and search through the User Waveforms to find the desired sample.
Key. Available only when the User voice bank is set to UDR (User Drum). This parameter lets you determine the key to which the sample obtained via the Sampling feature will be assigned.
Settings: C0 to C6
From this display you can set parameters related to the audio source.
Type. Determines the Sampling type. Keep in mind that this parameter is fixed to "sample" when entering the Sampling mode from the Voice/Performance mode.
Source. Determines the recording source.
Settings: A/D, resample, AIB2, mLAN1 to 4.
A/D... Analog audio from the A/D INPUT jacks is recognized as the recording source.
resample... The audio signal produced from the instrument when you play the keyboard along with the Audio Input part (in other words all the audio signals output from the OUTPUT jacks) is recognized as a recording source and "resampled.
AIEB2... Digital audio from the DIGITAL IN terminal or OPTICAL IN terminal (with optional AIEB2) is recognized as the recording source.
mLAN1 to 4... The mLAN connector (with optional mLAN16E) is recognized as the recording source."
Next "Determines whether multiple samples can be recorded without exiting from the Record mode (on) or not (off). When you wish to assign individual samples to the keys one by one to create a Drum Voice, set this parameter to on. Keep in mind that the Next parameter may be fixed to ""off"" and cannot be changed. This occurs when you enter the Sampling mode from the Voice mode/Performance mode, set the Voice to something other than ""off"" in the [F1] DEST display, and set the Source (above) to ""resample"" in the [F2] SOURCE display.
Mono/Stereo. Determines whether new samples will be recorded as stereo or mono samples.
Settings: monoL, monoR, monoL plus R, stereo.
L mono... The L-channel signal will be recorded as a mono sample.
R mono... The R-channel signal will be recorded as a mono sample.
L plus Rmono... The L-channel and R-channel signals will be mixed and recorded as a mono sample.
stereo... A stereo sample will be recorded.
Frequency (Sampling Frequency). Specifies the sampling frequency. The rate at which digital readings are taken is referred to as the sampling frequency. Higher sampling frequencies result in higher quality sound, but use up more memory.
Settings: 44.1k (44.1 kHz), 22.0kLo (22.05 kHz Lo-Fi), 11.0kLo (11.025 kHz Lo-Fi), 5.5kLo (5.5125 kHz Lo-Fi).
NOTE. When the Source is set to any of mLAN1 to 4 and the mLAN terminal is used as an audio input, the Frequency is fixed to 44.1 kHz and cannot be changed.
NOTE. At settings other than 44.1 kHz, the sound monitored during recording may be different from the recorded sound, depending on the source signal.
Even if you press the [F6] REC button, recording (sampling) will not start immediately. Set various parameters such as Trigger Mode in the Sampling Standby display, then start the actual sampling according to the settings.
Press the [REC] button to enter the Sampling Standby display. From this display you can turn the Confirm function on or off by pressing the [F2] CONFM button as well as set parameters listed below. For details on the Confirm function, refer to page 95 in the Quick Guide section.
TrggrMode (Trigger Mode). Specifies the method by which sampling will be triggered.
Settings: level, manual.
level... When this is selected, press the [F6] REC button to enable the Trigger Waiting condition. Sampling will then begin as soon as an input signal exceeding the specified trigger level is received. When this is selected, you need also set the Trigger Level (1 to 127).
manual... When this is selected, sampling will begin as soon as the [F6] START button is pressed, regardless of the input signal level.
Key. This is the same parameter as Keybank in the [F1] DEST display.
RecMonitor (Recording Monitor). Determines the output level of the monitor for the input signal. This monitor signal is output from the PHONES jack or the OUTPUT R and L/MONO jacks. This has no effect on the recording level.
Settings: 0 to 127.
RecGain (Recording Gain). Determines the recording gain when resampling. This parameter is available only when the Source is set to "resample."
Settings: minus 12dB to plus 12dB.
When Trigger Mode is set to "level" in the Sampling Standby display, press the [F6] REC button again to enter the Trigger Waiting condition; the [F6] menu changes to "STOP." In this status, sampling will begin as soon as an input signal exceeding the specified trigger level is received. Before recording starts, press the [F6] STOP button or [EXIT] button to return to the Sampling Standby display. Keep in mind that the Confirm function can also be turned on or off by using the [F2] CONFM button in the Trigger Waiting condition.
During recording, press the [F6] STOP button or [EXIT] button to stop the sampling.
After sampling (recording) stops: The following menus appear only when the Confirm function is turned on.
Pressing this lets you hear the sample obtained by recording (sampling).
Pressing this deletes the sample obtained by recording (sampling) and return to the Sampling Standby display.
Pressing this stores the sample obtained by recording (sampling) to the specified destination.
In this case, you can create a Waveform or Sample Voice by recording sounds input from external devices such as a microphone and audio equipment.
From this display you can determine the destination location to which the recorded sample will be stored.
Track. Determines the track number to which the recorded sample is assigned.
Settings: 1 to 16.
Keybank. Determines the note number located at the center of the Key Bank. This parameter is available only when the Sampling type is set to "sample" or "sample plus note" (in the Type parameter below).
Settings: C-2 to G8.
From this display you can set parameters related to the audio source.
Type. Determines the Sampling type. When entering the Sampling mode from the Song/Pattern mode, the data created by Sampling varies depending on this setting.
Settings: sample, sample plus note, slice plus seq.
sample... Only sample (wave) data is created.
sample plus note... In addition to sample data, the appropriate note data for playing the sample is created and recorded to the track specified in the [F1] DEST display.
slice plus seq... The recorded sample is automatically divided into ""slices,"" and these are assigned to successive notes on the keyboard.
NOTE. Detailed settings (meter, measure number etc,) are specified in the Slice display after sampling.
Source. Determines the recording source. Same as in the Sampling mode from the Voice mode/Performance mode. See above.
Next. Determines whether multiple samples can be recorded without exiting from the Record mode (on) or not (off). When you wish to assign individual samples to the keys one by one to create a Drum Voice, set this parameter to on. Keep in mind that this parameter is fixed to off when the Source is set to "slice plus seq."
Mono/Stereo. Determines whether new samples will be recorded as stereo or mono samples. Same as in the Sampling mode from the Voice mode/Performance mode. See above.
Frequency (Sampling Frequency). Specifies the sampling frequency. Same as in the Sampling mode from the Voice mode/Performance mode. See above.
Even if you press the [F6] REC button, recording (sampling) will not start immediately. Set various parameters such as Trigger Mode in the Sampling Standby display, then start the actual sampling according to the settings.
"Press the [REC] button to enter the Sampling Standby display. From this display you can turn the Confirm function on or off by pressing the [F2] CONFM button as well as set parameters listed below. For details about the Confirm function, refer to page 95 in the Quick Guide section. Please keep in mind that the Confirm function is not available when the Type in the [F2] SOURCE display is set to ""slice plus seq."
TrggrMode (Trigger Mode). Specifies the method by which sampling will be triggered.
Settings: level, meas, manual.
level Same as in the Sampling mode from the Voice mode/Performance mode. See above.
meas (measure) This should be set together with the Punch-in/out measure. After the [F6] START button is pressed, sampling will begin at the specified punch-in measure, and end at the specified punch-out measure. Sampling will also stop when the Song/Pattern is stopped by pressing the [ ] (Stop) button.
"manual Same as in the Sampling mode from the Voice mode/Performance mode. See above. "
Key. This appears when Type in the [F2] SOURCE display is set to something other than "slice plus seq." This is the same parameter as Keybank in the [F1] DEST display.
RecMonitor (Recording Monitor). Determines the output level of the monitor for the input signal. This monitor signal is output from the PHONES jack or the OUTPUT R and L/MONO jacks. This has no effect on the recording level."
Settings: 0 to 127.
RecGain (Recording Gain). Determines the recording gain when resampling. This parameter is available only when the Source is set to "resample."
Settings: minus 12dB to plus 12dB.
When Trigger Mode is set to "level" in the Sampling Standby display, press the [F6] REC button again to enter the Trigger Waiting condition; the [F6] menu changes to "STOP." In this condition, sampling will begin as soon as an input signal exceeding the specified trigger level is received. When the Trigger Mode is set to "meas" in the Sampling Standby display, press the [F6] REC button again to enter the Punch-in Waiting condition; the [F6] menu changes to "STOP." In this condition, sampling will begin as soon as a song or pattern playback reaches the punch-in measure. Before recording starts in either condition, press the [F6] STOP button or [EXIT] button to return to the Sampling Standby display. Keep in mind that the Confirm function can be tuned on or off by using the [F2] CONFM button also in the Trigger Waiting or Punch-in Waiting condition if the Sampling type is set to other than "slice plus seq."
During recording, press the [F6] STOP button or [EXIT] button to stop sampling.
After sampling (recording) stops: The following menus appear when the Sampling type is set to "sample" or "sample plus note" and the Confirm function is turned on.
Pressing this lets you hear the sample obtained by recording (sampling).
Pressing this deletes the sample obtained by recording (sampling) and return to the Sampling Standby display.
Pressing this stores the sample obtained by recording (sampling) to the specified destination.
If you've entered the Sampling Record mode for the Song or Pattern mode and you've set the sampling type to "slice plus seq," you should set the following Slice related parameters after the Sampling stops. Please note that the Confirm function is not available in this case.
The trim function makes it possible to specify the beginning and end points to be played back within an entire sample. You can also specify the tempo for the range of the looped playback and determine its beat.
Start (Start Point). Determines the Start point for the sample playback.
Loop (Loop Start Point). Determines the Top point of the loop playback (the point where the loop begins) within the range of the entire sample.
End (End Point). Determines the End point of the loop playback within the range of the entire sample.
Beat. Indicates the (beat) and tempo of the range from the Loop Start Point to the End Point.
Press the [SF1] button to sound the recorded sample according to the settings in this display.
When the menu indication here is "LP equal ST," the Start (Start Point) and the Loop (Loop Start Point) will share the same address, meaning that both of them will be changed simultaneously, even if just one of them is changed. Pressing the [SF2] button in this condition changes the menu from "LP equal ST" to "LP equal ST." When the menu indication here is "LP equal ST," the Start (Start Point) and the Loop (Loop Start Point) can be changed independently. When pressing the [SF2] button in this condition, the address value of the Start will be copied to that of the Loop, with the result that both of them will have the same address value. The menu indication also changes from "equal" to "LP equal ST."
Pressing this calls up the display for determining the End Point, from which you can set the tempo, beat, and measure for the sample. Press the [ENTER] button to actually set End Point. If you are satisfied with the results (press [SF1] to audition the sample), press the [F6] OK button to return to the original display. Doing this stores your edited sample to the DIMM memory. To return to the original display without changing the data, press the [F5] CANCEL button.
Delete all unnecessary sample data located ahead of the Start point and located after the End point) by pressing the [SF4] button.
Press the [F5] and [F6] buttons to zoom in and out of the wave display.
This powerful feature lets you automatically divide the recorded sample into separate "slices." These slices are then assigned to successive notes and arranged as sequence data.
NOTE. Before executing the Slice operation, you'll need to accurately adjust the length of the sample. Use the [SF1] AUDITION button in the [F1] TRIM display to loop the sample and precisely set the Start and End points as required.
After specifying the following parameters, press the [ENTER] button. (The display prompts you for confirmation.) Press the [INC/YES] button to execute the Slice. You can hear and confirm the sliced samples by pressing the [SF1] AUDITION button. If you are satisfied with the result of the operation, press the [F6] OK button to store the result of the Slice operation and go back to the Sampling Setup display. If not, press the [F5] CANCEL button to go back to the Sampling Setup display without storing the result.
Type (Slice Type). Specifies how the sample is sliced, and to some extent determines the resulting sound quality. Select the type that best suits the original phrase.
Settings: beat1 to 3, phrase1 to 4, quick.
beat1 to 3... This slice type is suited for percussive phrases such as drums or bass with a fast attack and short decay. Three variations are provided.
phrase1 to 4... Ideal for phrases containing cymbals or other instruments with a long decay. Four variations are provided.
quick... Regardless of the phrase content, the sample is divided at the specified note sub-divisions. The number of slices per measure is calculated by multiplying the top number of the Meter (time signature) parameter by the bottom number of the SubDivide parameter.
NOTE. For helpful hints on getting the Slice Type parameter to work for different samples, see "Tips for using the Slice Types" on page 259.
Measure. Determines the number of measures in the sample to be sliced. When the slice operation is executed, sequence data corresponding to the specified number of measures is created. The sequence data is created from the beginning of the current measure at which sampling is started.
Settings: 1 to 8.
Meter. Specifies the meter (time signature) of the sample. The setting here is the basic slice unit.
Settings: 1/16 to 16/16, 1/8 to 16/8, 1/4 to 8/4.
SubDivide. The Meter parameter sets the basic slice unit, and SubDivide specifies even finer resolution for phrases containing regions with shorter notes. For the phrase shown at right, for example, the Meter should be set to 4/4 and SubDivide to 1/2.
Settings:
When Meter is set to 1 to 8/4... quarter note (1/1), 8th note (1/2), 4th note triplet (1/3), 16th note (1/4), 8th note triplet (1/6), 32nd note (1/8), 16th note triplet (1/12).
When Meter is set to 1 to 16/8 ... 8th note (1/1), 16th note (1/2), 8th note triplet (1/3), 32nd note (1/4), 16th note triplet (1/6)
When Meter is set to 1 to 16/16... 16th note (1/1), 32nd note (1/2), 16th note triplet (1/3)
NOTE. This parameter has no effect when the Slice Type parameter is set to beat 1 to 3.
NOTE. The maximum slice resolution for stereo samples is 64 slices, and for mono samples 128 slices.
Sens (Envelope Sensitivity). Further adjusts the sub-divisions specified by the SubDivide parameter. Higher values result in higher resolution, allowing even finer notes and smaller sounds to be detected and sliced. Use the Audition function (press [SF1]) to hear the results, and if you're not satisfied with them, change the setting and try again.
Settings: 1 to 5.
NOTE This parameter has no effect when the "quick" slice type is selected.
This mode gives you a variety of sample editing tools, with which you can change the samples you've recorded in the Sampling Record mode, and customize them for your applications as needed.
NOTE. For samples that have been recorded in stereo (with Stereo Sampling), both the left and right waves of the sample are edited together. In the actual process, any edits made to the left channel wave are duplicated exactly in the right channel. The exception to this, of course, is Pan - since the sample already is in stereo.
NOTE. Unlike in the Sampling Record mode, all parameters and functions of the Sampling Edit mode are the same, no matter which mode was previously selected.
NOTE. All Sampling Edit operations apply to the Waveform (actual sample), not the voice.
From this display you can determine the destination location to which the recorded sample will be stored.
Waveform. Select a Waveform that contains a Sample you wish to edit. Move the cursor to the Waveform number and select the desired number by using the [INC/YES] button, [DEC/NO] button, or the data dial. To select the desired Key Bank, simultaneously hold down the [INFORMATION] button and press the appropriate key on the keyboard. Press the [SF2] SELECT button to call up in order the Samples assigned to the selected Key Bank.
Keybank. Indicates information about the selected Key Bank. The Key Range and Velocity Range (which cannot be edited here) can be edited in the [F4] RANGE display.
You can hear (audition) the selected sample by pressing the [SF1] button.
Press the [SF2] button to call up in order the Samples assigned to the selected Key Bank.
NOTE. The [SF1] AUDITION and [SF2] SELECT buttons can be used in the same way also with other displays in the Sampling Edit mode and the Sampling Job mode.
This operation is the same as in the Sampling Record mode (when Sampling Type is set to "slice plus seq"). See page 253.
Level. Determines the output level of the selected sample.
Settings: minus 94.5dB to minus 0.0dB.
Pan. Determines the stereo position of the selected sample. Please note that this is not available for samples recorded in stereo.
Settings: L64 (far left) to C (center) to R63 (far right).
PlayMode. Determines how the selected sample is to be played back.
Settings: oneshot, reverse, loop.
oneshot... The Sample plays back one time from Start point to End point.
reverse... The Sample plays back one time in reverse from End point to Start point.
loop... Sample playback begins from the Start point, continues to the Loop point, then repeats indefinitely between the Loop point and End point.
NOTE. For details on the above settings, see page 176.
OriginalKey. Determines the base key for the sample. Since the sample will be pitched shifted for keys played around this base key, this should be set as close as possible to the original pitch or note value of the actual sample.
Settings: C - 2 to G8.
FineTune. Determines the fine tuning for the pitch of the sample.
Settings: minus 100 cent to 0 cent to 99 cent
You can hear (audition) the selected sample by pressing the [SF1] button.
Press the [SF2] button to call up in order the Samples assigned to the selected Key Bank.
From this display you can set the Key Range and the Velocity Range for the sample assigned to the selected Key Bank. Note that both the Key range and Velocity range values are graphically indicated in the display.
NOTE. When the cursor is at one of the Key Range values, you can directly set the Key Range parameter from the keyboard. (Simultaneously hold down the [INFORMATION] button and press the appropriate key on the keyboard.)
You can hear (audition) the selected sample by pressing the [SF1] button.
Press the [SF2] button to call up in order the Samples assigned to the selected Key Bank.
The Sampling Job mode contains a comprehensive set of editing tools and functions you can use to change the sound of the sample you've created and edited in the Sampling Edit mode. It also includes a variety of convenient operations, such as copying or erasing data. After setting parameters as required in the selected display, press the [ENTER] button to execute the Job.
NOTE. Unlike in the Sampling Record mode, all parameters and functions of the Sampling Job mode are the same, no matter which mode was previously selected. The only exception to this is the Slice Job ([F1] ->12 below), which varies depending on whether the previously selected mode was Voice/Performance or Song/Pattern.
NOTE. All Sampling Job operations apply to the Waveform (actual sample), not the Voice.
Before executing the Key Bank Job by pressing the [ENTER] button, you'll need to specify the Waveform and Key Bank. First, select the desired Waveform by moving the cursor to the 4-digit number in the display and change it by using the [INC/YES] and [DEC/NO] buttons or the data dial. Second, move the cursor to the Key value, select the desired key by using the [INC/YES] and [DEC/NO] buttons or the data dial, then use the [SF2] SELECT button to select in order the Key Bank (sample) assigned to the selected key. You can select the desired key also by pressing the note on the keyboard directly while holding the [INFORMATION] button. As in the Sampling Edit mode, the [SF1] AUDITION button lets you hear the sample assigned to the selected Key Bank.
01: Copy. This Job copies the data of a sample contained in a specified Key Bank to another Key Bank. After specifying the source Waveform and Key Bank as well as the destination Waveform and Key Bank, press the [ENTER] button to execute the Copy Job.
02: Delete. This Job deletes the specified Key Bank and its sample. After specifying the Waveform and Key Bank, press the [ENTER] button to execute the Delete Job. If the Key Bank is set to "all" and the Job is executed, all the samples of the selected Waveform are deleted.
NOTE. If all the samples of the specified Waveform are deleted, the Waveform itself is deleted.
03: Extract. This Job deletes all unnecessary sample data (located ahead of the Start point and located after the End point). In effect, it extracts only the sample data you want to use, trimming all unneeded sound from the start and end of the sample. After specifying the Waveform and Key Bank, press the [ENTER] button to execute the Extract Job. If the Key Bank is set to "all" and the Job is executed, this Job is applied to all the samples of the selected Waveform."
04: Move. This Job lets you move a sample contained in a specified Key Bank to another Key Bank. This would be useful for creating a new Waveform from the samples of various other existing Waveforms. After specifying the source Waveform and Key Bank as well as the destination Waveform and Key Bank, press the [ENTER] button to execute the Move Job.
NOTE. If the last remaining sample is moved from the source Waveform, the source Waveform itself is deleted.
05: Normalize. This Job maximizes (normalizes) the overall level of the specified sample. The "100" (100 percent) setting is a quick and convenient way to boost the level of an entire sample, to make it as loud as possible without distorting. After specifying the Waveform and Key Bank, then press the [ENTER] button to execute the Normalize Job. "
<Figure>
Press the [F5] (CANCEL) button to cancel the operation.
Press the [F6] (OK) button to assign the normalized sample to the specified Key Bank.
Press the [ENTER] button to execute the operation. If you are not satisfied with the results, change the Ratio value and press the [ENTER] button again. This automatically reverts back to the original settings and executes the operation again with the new settings.
Ratio. Specifies the post-normalization sample level. A setting of 100 percent maximizes the level so that the highest peak level in the sample is just below clipping (maximum digital signal level). Settings below 100 percent reduce the level of the sample accordingly. Settings higher than 100 percent will raise the sample level above the maximum, producing deliberate clipping.
Settings: 001 to 800 percent.
06: Time-Stretch. This Job lets you change the length of the sample without changing the pitch. The basic steps in using this Job are the same as in 05: Normalize explained above.
Ratio. Determines the length of post-process sample as a ratio of the length of the original sample (100 percent). Lower values compress the sample, while higher values expand the sample.
Settings: 0 to 400 percent.
Accuracy. Determines the quality of the resulting sample by specifying which aspect of the original is to be emphasized: sound quality or rhythmic feel.
Settings: sound4 to sound1, normal, rhythm1 to rhythm 2
sound4 to sound1 These settings place emphasis on sound quality, with the "SOUND 4" setting producing the highest sound quality.
normal Produces an optimum balance of sound quality and rhythmic feel.
rhythm1 to rhythm 2 These settings place emphasis on rhythmic feel, with the "Rhythm 2" setting producing the most accurate rhythmic feel.
07: Convert Pitch. This Job lets you change the pitch of the sample without changing the length.
The basic steps in using this Job are the same as in 05: Normalize explained above.
Pitch. Determines the amount and direction of pitch shift in semitone increments.
Settings: minus 12 to 0 to plus 12.
Fine. Determines the amount and direction of fine pitch shift in cent increments (1 cent equal 1/100th of a semitone).
Settings: minus 50 to 0 to plus 50.
08: Fade In/Out. This Job lets you create fade-ins and fade-outs for the sample. The basic steps in using this Job are the same as in 05: Normalize explained above.
Type. Determines the type of level fade: fade-in or fade-out.
Settings: in (fade-in), out (fade-out).
Length. Determines the length of the fade-in or fade-out. When a fade-in is selected, this parameter specifies the length of the fade starting at the specified Start point. When a fade-out is selected, this parameter specifies the length of the fade starting at the beginning of the fade and ending at the specified End point.
Settings: 0000000 to End point.
09: Convert Freq (Convert Frequency). This Job lets you halve the sampling frequency of the specified sample. This can be used to convert hi-fi samples to a lo-fi sound, and reduce the sample size by half to conserve memory. The basic steps in using this Job are the same as in 05: Normalize explained above.
10: Stereo to Mono. This Job lets you convert a stereo sample to a mono sample. The basic steps in using this Job are the same as in 05: Normalize explained above.
Type. Determines which channel, or both channels, of the stereo sample will be converted to a mono sample.
Settings: L plus R>mono, L>mono, R>mono.
L plus R>mono... The left and right channels of the stereo sample are mixed and converted to a mono sample.
L>mono... The left channel of the stereo sample is converted to a mono sample.
R>mono... The right channel of the stereo sample is converted to a mono sample.
11: Loop-Remix. This Job lets you automatically cut the sample into separate "slices" and randomly rearrange the slices for special effects and unusual rhythmic variations. A variety of audio transform operations are also included for even greater changes in the sound. The basic steps in using this Job are the same as in 05: Normalize explained above.
Type. Determines the degree to which the looped portion of the sample will be sliced.
Settings: 1 to 4.
Variation. Determines how the original sample is varied by the this Job.
Settings: normal1 to 2, reverse1 to 2.
normal1 to 2 These settings slice and rearrange the sample data, without performing any other audio changes.
reverse1 to 2 In addition to slicing and rearranging, these settings reverse the playback of some of the slices.
12: Slice. This Job lets you divide the sample into separate "slices," the number of which is determined by the note length (with Measure, Meter, and SubDivide). When entering this Job from the Song/Pattern mode, note data for playing the slices in sequence is also created. (Keep in mind that the results of this Job vary depending on the previously selected mode: Voice/Performance or Song/Pattern.) The basic steps in using this Job are the same as in 05: Normalize explained above. With the exception of the parameter below, all parameters and settings are the same as in the Slice display of the Sampling Record mode (page 254).
Lowest Key. Specifies the lowest key number from which the sliced samples are assigned in order.
Settings: C - 2 to G8.
NOTE. In the Slice display of the Sampling Record mode (page 254), this parameter is fixed to "C-1" for the MOTIF ES6, "E0" for the MOTIF ES7, and "A-1" for the MOTIF ES8, and cannot be set.
01: Copy. This Job lets you copy the data of one Waveform to another. After specifying the source Waveform and destination Waveform, press the [ENTER] button to execute the Copy Job.
02: Delete. This Job lets you delete a specific Waveform from memory.
03: Transpose. This Job lets you transpose the Key bank setting of a specified Waveform.
Octave. Determines the amount in octaves by which the Key Bank is transposed. When you want to transpose by less than one octave, set this to "0" and use the Note parameter below.
Settings: minus 3 to 0 to plus 3.
Note. Determines the amount in semitones by which the Key Bank is transposed. When you want to transpose by exact octaves, set this to "0" and use the Octave parameter above.
Settings: minus 11 to 0 to plus 11.
04: Name. "This Job lets you assign a name to the selected Waveform. For specific instructions on naming, refer to page 53 in the Basic Operation section.
01: Clean Up Memory. This Job deletes all the waveforms to which User voices or Sample voices are not assigned.
02: Optimize Memory . This Job optimizes the memory (DRAM) for sampling.
03: Delete All. This Job deletes all the waveforms.
04: Convert to Drum Voice. This Job lets you convert the selected waveform to a specific Drum voice.
Slicing percussive phrases having short decays.
First, try slicing using "beat1." If the result has a weak attack or the release portions of the phrase seem to overlap, try again using "beat2." Try adjusting the envelope sensitivity for finer control.
If after using "beat1" the attack portions overlap or the overall rhythmic feel is degraded, try again using "beat3." Use the SubDivide parameter to adjust the slice resolution, and make final adjustments with the Envelope Sensitivity parameter.
Slicing phrases having long decays.
First, try slicing using "phrase1." If the result has a weak attack or the release portions of the phrase seem to overlap, try again using "phrase2." Use the SubDivide parameter to adjust the slice resolution, and make final adjustments with the Envelope Sensitivity parameter.
If after using "phrase1" the points between the slices sounds rough and the overall feel is choppy, try again using "phrase3" or "phrase4" and set SubDivide to a finer resolution. Make final adjustments with the Envelope Sensitivity parameter. The "phrase3" setting is generally best for sustained strings or brass type sounds with no vibrato - in other words, the pitch remains constant. It can also produce echo-like effects when applied to percussive phrases with short decay. The "phrase4" setting is generally best for sustained strings or brass type sounds with vibrato, as well as vocal phrases.
Individual wave data slices created through slice operations require approximately 1.5 times the original memory because a tail section is automatically added and fade-in and fade-out sections are automatically created at the beginning and end of the wave data. This helps to maintain maximum sound quality when the tempo is increased, and results in smoother connections between slices (no tail section is created when the "quick" slice type is selected).
A memory work area is required for the processing calculations carried out for each slice operation, as well as sufficient memory to hold the completed waveforms. When the sampling frequency is 44.1 kHz, the approximate amount of memory (expressed in kilobytes) required for each slice type is listed below.
beat1: Original wave size x N plus (0.3 x number of slices)
beat2: Original wave size x N plus (0.2 x number of slices)
beat3: Original wave size x N plus (0.3 x number of slices)
phrase1: Original wave size x N plus (5.8 x number of slices)
phrase2: Original wave size x N plus (1.4 x number of slices)
phrase3: Original wave size x N plus (0.4 x number of slices)
phrase4: Original wave size x N v (1.4 x number of slices)
quick: Original wave size x 3 plus (0.7 x number of slices)
For monaural samples N equal 5.5, and for stereo samples N equal 8.
Also, the number of slices is doubled for stereo samples.
The Utility mode features a variety of important settings related to overall operation of the MOTIF ES. These settings can also be stored - simply press the [STORE] button from any mode (with the exception of the Utility Job mode), and store the data to internal Flash ROM as system settings (page 186). You can also save the settings to a SmartMedia/USB storage device in the File mode.
Utility mode. [UTILITY].
"In this mode, you can set parameters that apply to the entire system of the MOTIF ES. This mode is actually a sub-mode of the Voice/Performance/Song/Pattern mode. Press the [UTILITY] button in each mode to enter the Utility mode and press the [EXIT] button after making settings to go back to the previous mode."
From this display you can make overall settings for the internal tone generator. Settings here do not affect MIDI messages transmitted to the external MIDI instrument.
Volume. Determines the overall volume of the instrument.
Settings: 0 to 127.
NoteShift. Determines the amount (in semitones) by which the pitch of all notes is shifted.
Settings: minus 24 to 0 to plus 24.
Tune Determines the fine tuning (in 0.1 cent steps) of the internal tone generator's overall sound.
Settings: minus 102.4 to plus 102.3.
BCCurve (Breath Controller Curve). These four curves determine how the sound of the internal tone generator responds to use of a Breath Controller. The setting here affects the Destination parameters when the Source is set to "BC," both of which can be set in the CTL SET displays ([VOICE] -> [EDIT] -> [COMMON] -> [F4] CTL SET). The graph shown in the display indicates the controller response curve. (The horizontal line represents the received breath control values, while the vertical line represents the actual response of the internal tone generator.)
Settings: thru, soft, hard, wide.
From this display you can set the keyboard-related parameters. The settings here affect the MIDI messages generated by playing the keyboard.
Octave. Determines the amount in octaves by which the range of the keyboard is shifted up or down. This setting can be changed also by pressing any of the [OCTAVE] buttons.
Settings: minus 3 to 0 to plus 3
Transpose. Determines the amount in semitones by which the range of the keyboard is shifted up or down.
Settings: minus 11 to 0 to plus 11
NOTE. If you transpose beyond the note range limits (C-2 and G8), notes in the adjacent octaves will be used. For example, a transposed note of F9 will be changed to F8.
VelCurve (Velocity Curve). These five curves determine how the actual velocity will be generated and transmitted according to the velocity (strength) with which you play notes on the keyboard. The graph shown in the display indicates the velocity response curve. (The horizontal line represents the received velocity values (strength of your playing), while the vertical line represents the actual velocity values transmitted to the internal/external tone generators.)
Settings: norm, soft, hard, wide, fixed.
norm (normal)... This linear "curve" produces one-to-one correspondence between the strength of your keyboard playing (velocity) and the actual sound change.
soft... This curve provides increased response, especially for lower velocities. In other words, playing softly results in higher response than the "norm" curve.
hard This curve provides increased response, especially for higher velocities. In other words, playing hard results in higher response than the "norm" curve.
wide... This setting provides opposite response curves for lower and higher velocities. It widens the apparent dynamic range of the controller, producing less sound change in the softer range and more change in the higher range.
fixed... This setting produces the same amount of sound change (set in Fixed Velocity below), no matter what your playing strength.
FixedVelocity. This parameter is only available if you select the "fixed" Velocity Curve above. The velocity of the note you play is fixed at the value set here.
Settings: 1 to 127.
From this display you can select the specific effect(s) to be bypassed when the [INSERTION] or [SYSTEM] button of EFFECT BYPASS buttons is turned on.
Insertion.
> Internal. When this is set to on and the [INSERTION] button is turned on, the internal Insertion effect is bypassed.
> FPLG-EF (Plug-in Effect). When this is set to on and the [INSERTION] button is turned on, the PLG100-VH Insertion effect is bypassed. This is available only when the PLG100-VH has been installed.
System.
@> Reverb. When this is set to on and the [SYSTEM] button is turned on, the Reverb effect is bypassed.
@> Chorus. When this is set to on and the [SYSTEM] button is turned on, the Chorus effect is bypassed.
NOTE. For details about the Effects, see page 177.
AutoLoad. Determines whether the Auto Load function is on or off. When this is on, the instrument will automatically load the specified files (from SmartMedia/USB storage device) to User memory - whenever the power is turned on. For details about the Auto Load function, see page 135.
Settings: on, off.
PowerOnMode. This determines the default power-on mode (and memory bank) - letting you select which condition is automatically called up when you turn the power on.
Settings: performance, voice (USR1), voice (PRE1), GM, last, master.
performance... When turning the power on next time, the Performance Play mode is entered and the first program number (USER: 001) is selected automatically.
voice (USR1)... When turning the power on next time, the Voice Play mode is entered and the first program number of the User Voices (USR1: 001) is selected automatically.
voice (PRE1)... When turning the power on next time, the Voice Play mode is entered and the first program number of the Preset Voices (PRE 1: 001) is selected automatically.
GM... When turning the power on next time, the Voice Play mode is entered and the first program number of the GM Voices (GM: 001) is selected automatically.
last... When turning the power on next time, the mode and program number (Voice/Performance/Song/Pattern/Master) registered the last time before turning the power off are called up. For information on how to register the mode and program number for "last," see page 265.
master... When turning the power on next time, the Master Play mode is entered and the first program number (001) is selected automatically."
CtrlReset (Controller Reset). Determines the status of the controllers (Modulation Wheel, Aftertouch, Foot Controller, Breath Controller, Knobs, etc.) when switching between voices. When this is set to "hold," the controllers are kept at the current setting. When this is set to "reset," the controllers are reset to the default states (below).
Settings: reset, hold.
If you select "reset," the controllers will be reset to the following states/positions:
Pitch Bend... Center.
Modulation Wheel... Minimum.
Aftertouch... Minimum.
Foot Controller... Maximum.
Breath Controller... Maximum.
Foot Switch... Off.
Expression... Maximum.
Foot Volume... Maximum.
Sustain... Off.
From this display you can set parameters related to audio input.
Mic/Line. When using the A/D INPUT jacks, this determines the input source, microphone (mic) or line.
Settings: mic, line.
mic... Intended for low output equipment, such as a microphone, electric guitar or bass.
line... Intended for high output equipment, such as a keyboard, synthesizer, or CD player.
Digital. When the optional AIEB2 board is installed, two separate input connections for digital audio transfer are available: coaxial and optical. One or the other must be set; the two cannot be used at the same time.
Settings: coaxial, optical.
From this display you can set parameters related to audio output.
L and Rgain,AssignL and Rgain, Assign1 and 2Gain. Set the output gain of each jack.
Settings: 0dB, plus 6dB.
Digital Specify the digital output resolution of the optionally installed AIEB2 board (page 25).
Settings: 20bit, 24bit.
mLAN MonitorSw. When this is set to on, the audio signal of the instrument output via an IEEE1394 cable to a computer will be output also via the main OUTPUT L/MONO and R jacks. When this is set to on, the audio signal sent from a computer to the instrument will be output via the main OUTPUT L/MONO and R jacks directly, bypassing the Effect block.
Settings: on, off.
These special voice-related settings are available only when entering the Utility mode from the Voice mode, letting you set parameters related to all the Voices.
From this display you can apply five-band equalization to all Voices, raising or lowering the level of each frequency band (LOW, LOWMID, MID, HIGHMID, HIGH). The parameters are the same as in the Performance Common Edit. See page 214.
Settings: For details about EQ, see page 178.
From this display you can set the Master Effect related parameters applied to all the Voices. This display can be called up by pressing and holding the [MASTER EFFECT] button on the front panel in the Voice mode. The parameters are the same as in the Performance Common Edit. See page 214.
From this display you can set parameters related to output of the Arpeggio MIDI data in the Voice mode.
OutputSwitch. This enables or disables MIDI data output for the Arpeggio function. When this is set to "on," Arpeggio data is sent via MIDI - allowing you to send the Arpeggio data to an external sequencer or play back the Arpeggios on connected MIDI tone generators.
Settings: on (enable), off (disable).
TransmitCh (Transmit channel). Determines the MIDI channel through which Arpeggio playback data will be sent (when Output Switch above is on).
Settings: 1 to 16.
Sets the parameters related to the controllers in the Voice mode. Details on each parameter are the same as in Performance Common Edit. See page 214.
These special song- and pattern-related settings are available only when entering the Utility mode from the Song or Pattern mode.
From this display you can set the parameters related to the click sound (metronome) that is used during recording or playback in the Song/Pattern mode.
Mode. Determines whether and when the metronome click will sound.
Settings: off, rec, rec/play, all.
off... The click will not sound.
rec... The click will sound during song/pattern recording only.
rec/play... The click will sound during song/pattern recording and playback.
all... The click will always sound.
Beat. Determines on which beats the metronome click will sound.
Settings: 16 (16th notes), 08 (8th notes), 04 (quarter notes), 02 (half notes), 01 (whole notes).
Volume. Determines the click sound volume.
Settings: 0 to 127.
Type. Determines the click sound type.
Settings: 1 to 10.
RecCount. Sets the number of count-in measures provided before recording actually starts after pressing the [>] (Play) button in the Record standby mode.
Settings: off (Recording starts as soon as the [Play] button is pressed), 1 meas to 8 meas.
SmplPrCnt (Sampling pre-count). This is available when entering the Sampling mode from the Song mode/Pattern mode, setting the Type to "sample plus note" then setting the Trigger mode to "meas." This parameter sets the number of count-in measures provided before a song/pattern starts after starting sampling.
NOTE. Since the click sound is created with the internal tone generator, using click playback affects the overall polyphony of this synthesizer.
From this display you can set which MIDI events will be recognized/transmitted via MIDI. The settings made here apply only to Song/Pattern playback data; they do not affect the MIDI events generated by your keyboard playing or panel operations in the Voice and Performance modes.
MIDI events to which the Filter is applied: Note, PgmChange (Program Change), CtrlChange (Control Change), PB (Pitch Bend), ChAt (Channel Aftertouch), PolyAT (Polyphonic Aftertouch), Exclusive.
PtnQuantize (Pattern Quantize) Determines the quantize value for Pattern switching during playback. When set to "1," Patterns (sections) will always switch on the first beat of the measure during playback. When "1/16" is selected, Patterns (sections) can be switched on any 16th beat during playback.
Settings: 1 (1 measure), 1/2 (Half note), 1/4 (Quarter note), 1/8 (8th note), 1/16 (16th note).
PtnTempoHold (Pattern Tempo Hold). Determines whether or not the tempo setting will switch to the tempo value stored with each Pattern when a new Pattern is selected during playback. When set to "on," the tempo will be retained when Patterns are switched. When set to "off," the tempo will switch to that stored with the new Pattern when Patterns are switched.
Settings: on, off.
NOTE. The tempo setting data in the Pattern Chain is not affected by this parameter.
SongEventChase. Event Chase allows you to specify which non-note data types are properly recognized during fast-forward and rewind operations. Normally, if a Song or Pattern is played back from mid-point and/or fast-forward or rewind are used, certain data types (such as Program Change, Pitch Bend, and Control Change) may not play back as expected. Setting this to a specific event ensures the playback integrity of the event, even when fast forwarding or rewinding.
Settings: Off, PC (Program Change), PCplusPBplusCtrl (Program ChangeplusPitch BendplusControl Change), all (All events).
NOTE. Keep in mind that settings other than "off" may result in slower operation - for example, a pause before starting playback, or slower rewind/fast forward speed.
NOTE. When this is set to "all," an excessive amount of MIDI data may be generated, possibly resulting in a MIDI error on the connected device.
DumpInterval (Bulk Dump Exclusive Interval Time). When playing back system exclusive data (bulk data) that is recorded on the sequence tracks, this sets the interval that is inserted for each 1KB. When sending bulk data from this synthesizer to a connected MIDI device, a MIDI error may result if the device cannot handle large amounts of data in a short time. This parameter compensates for that by setting an interval that provides enough time for the receiving device to process the bulk data.
Settings: 0 to 900 (msec).
NOTE. The playback may be a little slower depending on the currently set interval. Also when a MIDI error occurs, try to set the interval a little higher and send the data again.
LoadMix. Determines whether the Mixing settings are loaded (on) or not (off) when the Song/Pattern number is changed.
Settings: off, on.
NOTE. This setting affects the Song/Pattern change during Song/Pattern chain playback.
SendXGOn. Determines whether an XG reset message is sent to the Multi-part Plug-in board tone generator block (on) or not (off) when starting an XG song or changing the Song/Pattern number.
Settings: on, off.
Switch. Determines the Control Change Number that controls on/off status of Arpeggio playback.
Settings: off, 00 to 95.
Hold. Determines the Control Change Number that controls on/off status of Arpeggio Hold (page 189).
Settings: 00 to 95.
From this display you can assign specific functions to the ASSIGN A and B knobs (when the [PAN/SEND] and [TONE] lamps are on).
ASA (Assign A) Dest (Destination). Two parameters are available here. The first (ASA) determines the Control Change number generated by the ASSIGN A knob. The second, Destination (Dest), determines what parameter or aspect of the sound is affected by the knob. Keep in mind that if the same MIDI Control Change messages as set here are received from an external device, the internal tone generator also responds to those messages.
Settings: Refer to the separate Data List booklet.
ASB (Assign B) Dest (Destination). Two parameters are available here. The first (ASB) determines the Control Change number generated by the ASSIGN B knob. The second, Destination (Dest), determines what parameter or aspect of the sound is affected by the knob. Keep in mind that if the same MIDI Control Change messages as set here are received from an external device, the internal tone generator also responds to those messages.
Settings: Refer to the separate Data List booklet.
From this display you can determine the Control Change number generated by using the Footswitch connected to the ASSIGNABLE jack. Keep in mind that if the same MIDI Control Change messages as set here are received from an external device, the internal tone generator also responds to those messages as if the Footswitch of the instrument was used.
Settings: 000 to 100 (000, 032: off, 096: Arpeggio Switch, 097: Arpeggio Hold, 098: Song/Pattern playback start/stop, 099/100: Program Change INC/DEC 101: Octave Rest).
Two different computer sequencer control modes can be selected here, as well as the respective MIDI port settings for control. When you've made the desired settings, press the [ENTER] button to actually call up the preset control templates for the software. For details, refer to the Quick Guide on page 147.
From this display you can set the parameters related to the Master Effect Knob operations. (Press both the [ARP FX] and [EQ] buttons so that their lamps light.)
Knob1 to Knob4 Assigns a parameter of the Master Effect to each knob. Available parameters differ depending on the selected Master Effect type.
From this display you can make basic MIDI settings.
BasicRcvCh (Basic Receive Channel). Determines the MIDI receive channel when this synthesizer is set to single-timbre tone generator mode (Voice/Performance modes).
Settings: 1 to 16, omni (all channels), off.
NOTE. In the multi-timbral tone generator mode (Song/Pattern modes), each Part receives MIDI data according to its assigned MIDI receive channel ([SONG] or [PATTERN] -> [MIXING] -> [EDIT] -> Part selection -> [F1] VOICE -> [SF2] MODE -> ReceiveCh).
KBDTransCh (Keyboard Transmit Channel). Determines the MIDI channel over which the instrument sends MIDI data (to an external sequencer, tone generator, or other device). This parameter is available in the single-timbre tone generator mode (Voice/Performance modes).
Settings: 1 to 16, off.
NOTE. In the multi-timbral tone generator mode (Song/Pattern modes), MIDI data generated by playing the keyboard (and its controllers) is sent to the internal tone generator and external devices via the MIDI output channel, set from the CHANNEL display ([SONG] or [PATTERN] -> [F3] TRACK -> [SF1] CHANNEL).
DeviceNo. (Device Number). Determines the device number used by this synthesizer in receiving or transmitting data. This number must match the Device Number of the external MIDI device when transmitting/receiving bulk data, parameter changes or other system exclusive messages.
Settings: 1 to 16, all, off.
BankSel This switch enables or disables Bank Select messages, both in transmission and reception. When this is set to "on," this synthesizer responds to incoming Bank Select messages, and it also transmits appropriate Bank Select messages (when using the panel).
Settings: off, on.
PgmChange (Program Change). This switch enables or disables Program Change messages, both in transmission and reception. When this is set to "on," this synthesizer responds to incoming Program Change messages, and it also transmits appropriate Program Change messages (when using the panel).
Settings: off, on.
CtrlChange (Control Change mode). Determines how this synthesizer receives and recognizes the AEG Sustain MIDI message. When set to mode1, it is received as a Parameter Change. When set to mode2, it is received as a Control Change message.
Settings: mode1, mode2.
LocalCtrl (Local Control On/Off). This determines whether or not the tone generator of the instrument responds to your keyboard playing. Normally, this should be set to "on" - since you'll want to hear the sound of the MOTIF ES as you play it. However, for external sequencer applications, you may need to set this to "off" to avoid getting "double" notes, in which the tone generator of the instrument is played twice - once by the keyboard and once again by the keyboard data routed through the sequencer. Even if this is set to "off," the data will be transmitted via MIDI. Also, the internal tone generator block will respond to messages received via MIDI.
Settings: off, on.
RcvBulk (Receive Bulk). Determines whether or not Bulk Dump data can be received.
Settings: protect (not received), on (received).
From this display you can set various parameters related to MIDI clock and synchronization.
MIDI Sync. Determines whether Song/Pattern/Arpeggio playback will be synchronized to the instrument's internal clock or an external MIDI clock.
Settings: internal, MIDI, MTC.
internal Synchronization to internal clock. Use this setting when this synthesizer is to be used alone or as the master clock source for other equipment.
MIDI Synchronization to a MIDI clock received from an external MIDI instrument via MIDI.
MTC (MIDI Time Code) Synchronization to an MTC signal received via MIDI. MMC signals are transmitted via MIDI. Use this setting when this synthesizer is to be used as a MIDI slave, such as when synchronized to an MTC-capable MTR. The MTC Sync function is available only in the Song mode.
NOTE. Please keep in mind that the song or pattern will not start even if you press the [>] (Play) button when the MIDI Sync is set to other than "internal."
NOTE. MTC (MIDI Time Code) allows simultaneous synchronization of multiple audio devices via standard MIDI cables. It includes data corresponding to hours, minutes, seconds, and frames. This synthesizer does not transmit MTC. A device such as the Yamaha AW4416 is necessary in order to use this synthesizer as an MTC master.
NOTE. MMC (MIDI Machine Control) allows remote control of multitrack recorders, MIDI sequencers, etc. A MMC-compatible multitrack recorder, for example, will automatically respond to start, stop, fast forward, and fast reverse operations performed on the controlling sequencer, thus keeping playback of the sequencer and multitrack recorder aligned.
ClockOut. Determines whether MIDI clock (F8) messages will be transmitted via MIDI.
Settings: on (transmitted), off.
SeqCtrl (Sequencer Control). Determines whether Sequencer Control signals - start, continue, stop, and song position pointer - will be received and/or transmitted via MIDI.
Settings: off, in, out, in/out.
off... Not transmitted/recognized.
in... Recognized but not transmitted.
out... Transmitted but not recognized.
in/out... Transmitted/recognized.
MTC StartOffset. Determines the specific time code point from which sequence playback starts, when MTC is received. This feature can be used to accurately align playback of this synthesizer with an external MTC-compatible device.
Settings: Hour : Minute : Second : Frame.
Hour... 00 to 23.
Minute... 00 to 59.
Second... 00 to 59.
Frame... 00 to 29.
MIDI IN/OUT. Determines which physical output terminal(s) will be used for transmitting/receiving MIDI data: MIDI IN/OUT, USB, or mLAN (when the optional mLAN16E has been installed).
Settings: MIDI, USB, mLAN.
NOTE. Three types of terminals above cannot be used at the same time. Only one of them can be used to transmit/receive MIDI data.
ThruPort (Through Port). Many computer sequencers are capable of transmitting data over several MIDI ports, effectively breaking the 16 channel barrier. When using the USB terminal or mLAN terminal (when the optional mLAN16E has been installed) for MIDI transmission/reception, you can have this synthesizer respond to MIDI data over one port, while relaying the data for another port number (you can set here) to a separate tone generator (connected to the MIDI OUT terminal). In this way, 16 channels of data can be played on this synthesizer and another 16 can be played on the connected MIDI device.
Settings: 1 to 8.
NOTE. When the mLAN16E has been installed and the MIDI IN/OUT is set to mLAN, ports 5 to 8 are not available even if you set them here.
Plug1: to Plug3: Indicates the name of the Plug-in Board which has been installed to this synthesizer.
PolyExpand. This parameter is accessible only when you have two or three identical Plug-in boards installed. The "off" setting enables two or three boards to work separately (you can select them for two or three different Parts). When this is set to "on," the two boards effectively function together as one board (used in a single part) - giving you double the amount of polyphonic notes you can play at one time.
Settings: on, off.
From this display you can set various MIDI-related parameters for the Plug-in board.
DEVNO. (Device Number). 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.
Settings: 1 to 16, all, off.
PORTNO. (Port number). Determines the MIDI Port number over which the Plug-in board receives MIDI data in the multi-timbral tone generator mode (Song/Pattern modes). One port can be set for a Multi-part Plug-in board and two ports can be set for a Single part Plug-in board.
Settings: off, 1 to 3.
NOTE. The Port number for the Effect Plug-in board (VH) is fixed to 1.
NOTE. For information on the Plug-in board and the internal tone generator block, see page 163.
GM/XG. 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 3.
Settings: on, off.
From this display you can set the Native System parameters of the Plug-in board installed to slot 1. For details on the parameters, refer to the owner's manual of your particular Plug-in board.
From this display you can set the Native System parameters of the Plug-in board installed to slot 2. For details on the parameters, refer to the owner's manual of your particular Plug-in board.
From this display you can set the Native System parameters of the Plug-in board installed to slot 3. For details on the parameters, refer to the owner's manual of your particular Plug-in board.
In this Mode, you can restore this synthesizer's User memory (page 186) to the factory default settings (Factory Set). For details, see page 44.
NOTE. Since the settings of the Plug-in Boards in the Utility mode are stored not to internal User memory but to the memory on the respective boards themselves, the data cannot be restored with this Job.
[UTILITY] -> [F1] GENERAL -> [SF4] OTHER -> PowerOnMode.
1. Enter the desired mode and the program number you wish to call up first when turning the power on.
2. Press the [ENTER] button while holding the [STORE] button to register the mode and program number set in step No.1.
3. Set the PowerOnMode parameter to "last" in the [UTILITY] -> [F1] GENERAL -> [SF4] OTHER display.
4. Press the [STORE] button to store the Utility setting made in step No.3 above.
5. Turn the power off and turn the power on again to call up the mode/program number set in step No.2 to the display.
The File mode provides tools for transferring data between the instrument and various storage media and devices, such as SmartMedia cards, hard disk drives and compact flash devices.
NOTE. For details about SmartMedia and USB storage devices, see page 27.
NOTE. For details about the relationship between the data created on this synthesizer and the files for saving, see page 186.
File mode. [FILE].
NOTE. For information on how to select a file/folder and how to create a new folder, see page 268.
From this display you can set the parameters about the currently recognized device (SmartMedia/USB storage device).
Current. In this display you can select the device to be recognized by this synthesizer - a SmartMedia inserted to the Card slot or a properly USB storage device connected to the USB TO DEVICE connector. When Current is set to CARD, the Volume Label is shown on the second line. When Current is set to USB, the partition information is shown on the second line. If the connected USB storage device supports multiple media, set the slot number at the right corner of the display."
Settings: CARD, USB.
Status. Indicates the status of the storage device recognized by this synthesizer.
@> free. Indicates the amount of unused (free) memory on the current device.
@> total. Indicates the amount of total memory on the current device.
From this display you can select specific partitions for saving/loading data, within the device mounted in the [SF1] CURRENT display (above).
Before you can use a new SmartMedia/USB storage device with this synthesizer, you will need to format it. Use this operation to format the SmartMedia/USB storage device and assign a Volume Label to it. For instructions on formatting, see page 268.
Format. Determines the storage device to be formatted. When set to "USB," "Slot" appears at the right corner of this display. Select a slot to be accessed when the connected USB storage device supports multiple media.
Settings: CARD, USB.
Type. This is available when Format (above) is set to "USB." Specify the partition to be formatted.
Settings: all, partition1 to 4
Volume Label. Names the Volume Label. For instructions on naming, refer to page 53 in the Basic Operation section.
This operation lets you save files to a SmartMedia/USB storage device. For instructions on saving files of the various data types, refer to the following pages: page 86 (Voices), page 92 (Performances), page 97 (Waveforms), page 132 (Songs/Patterns).
Current. Indicates the current directory (folder). This indication is automatically changed according to the current directory (folder) specified in the File/Folder selection box.
TYPE. Among the various types of data created on this synthesizer, you can save all of them or only a specific type of data to a single file. This parameter determines which specific type of data will be saved to a single file.
Settings: Refer to "Supplementary information" on page 268.
This operation lets you load files from a SmartMedia/USB device to this synthesizer.
Current. Indicates the current directory (folder). This indication is automatically changed according to the current directory (folder) specified in the File/Folder selection box.
TYPE. Among the various types of data saved in a single file on a SmartMedia/USB storage device, you can load all of them or only a specific type of data to this synthesizer. This parameter determines which specific type of data will be loaded from a single file.
Settings: Refer to "Supplementary information" on page 268.
From this display you can rename files or folders in the selected SmartMedia/USB storage device, using up to eight alphabetic and numeric characters.
Files are named according to the MS-DOS naming convention. If the file name contains spaces and other characters unrecognized in MS-DOS, these characters will automatically be replaced by "_" (underscore) characters when saving.
<Figure>
Select the desired file type.
Select the file/folder to be renamed.
Rename the selected file/folder here.
See gBasic Operationh on page 53.
Press the [F6] NEW button to create a new folder.
From this display you can delete files/folders from the selected SmartMedia/USB storage device. Select the desired file or folder as shown below, then press the [ENTER] button.
NOTE. When you wish to delete a folder, delete all the files and folders contained in the folder beforehand. Please keep in mind that only folders that contain no files or other nested folders can be deleted.
<Figure>
Select the desired file type.
Select the file or folder to be deleted.
The illustrations and instructions below show you how to select files and folders on the SmartMedia/USB storage devices within the File mode.
<Figure>
To return to the next highest level, press the [EXIT] button.
Move the cursor to the desired file or folder by using the [INC/YES] and [DEC/NO] buttons or the data dial.
To call up the contents of a desired folder, highlight the folder and press the [ENTER] button.
Before you can use a new SmartMedia/USB storage device with this synthesizer, you will need to format it. Follow the instructions below.
<Caution>
If data is already saved on the SmartMedia/USB storage device, be careful not to format it. If you format the SmartMedia/USB storage device, all the previously recorded data will be deleted.
1. Insert a SmartMedia into the CARD slot or connect a USB storage device to the USB TO DEVICE connector.
If necessary, insert the proper media into the slot of the USB storage device.
2. Press the [FILE] mode to enter the File mode.
3. Press the [F1] CONFIG button, then [SF3] FORMAT button to call up the Format display.
4. Select the media to be formatted.
Move the cursor to the Format value location and select "CARD" or "USB." When selecting "USB," specify the slot number at the right top of the display as necessary and select the partition to be formatted at the Type value location in the second line of the display.
5. Set the Volume Label.
Move the cursor to the "Volume Label" and input a Volume Label. For instructions on naming, refer to page 53 in the Basic Operation section.
6. Press the [ENTER] button. (The display prompts you for confirmation.)
Press the [DEC/NO] button to cancel the Format operation.
7. Press the [INC/YES] button to execute the Format.
After formatting has been completed, a "Completed" message appears and operation returns to the original display.
<Caution>
While formatting is in process, make sure to follow these precautions:
Never remove or eject the media from the device (SmartMedia or USB storage).
Never unplug or disconnect any of the devices.
Never turn off the power of the MOTIF ES or the relevant devices.
8. Press the [SF1] CURRENT button and check whether the currently recognized device is "CARD" (SmartMedia in the CARD slot) or "USB" (USB storage device connected to this synthesizer).
Change the Current setting as needed.
NOTE. By executing the Format operation in the File mode, the SmartMedia/USB storage device will be formatted to MS-DOS or Windows format. The formatted SmartMedia/USB storage device may not be compatible with other devices such as a Macintosh computer or digital camera.
File types that can be saved from the instrument to the SmartMedia/USB storage device [FILE] -> [F2] SAVE -> TYPE.
<Table>
TYPE. File extension(* Automatically assigned to the saved file.) Description.
Dir. When this is set to "TYPE," only the directories (folders) are displayed in the File/Folder selection box and the Save operation cannot be executed.
All. .W7A All data in this synthesizer's internal User Memory (Flash ROM) is treated as a single file, and can be saved to the SmartMedia/USB storage device.
AllVoice. .W7V All the User Voice data in this synthesizer's internal User Memory (Flash ROM) is treated as a single file, and can be saved to the SmartMedia/USB storage device. Also the Waveforms obtained via the Sampling function and assigned to any of the voices are saved together.
PluginAllBulk1, 2, 3. .W2B All the data in a Plug-in board (Board Voice data created by using the editor software that comes with the Plug-in Board and the Board related settings in the Utility mode) is treated as a single file, and can be saved to the SmartMedia/USB storage device. The numbers 1, 2, and 3 correspond to the Plug-in slots.
UserARP. .W7G All the User Arpeggio data in this synthesizer's internal User Memory (Flash ROM) is treated as a single file, and can be saved to the SmartMedia/USB storage device.
AllSong. .W7S All the User Song data in this synthesizer's internal User Memory (DRAM) is treated as a single file, and can be saved to the SmartMedia/USB storage device.
AllPattern. .W7P All the User Pattern data in this synthesizer's internal User Memory (DRAM) is treated as a single file, and can be saved to the SmartMedia/USB storage device.
SMF. .MID Sequence track (1 to 16) and Tempo track data of Songs or Patterns created in the Song/Pattern mode can be saved to the SmartMedia/USB storage device as Standard MIDI File (format 0) data.
AllWaveform .W7W All the User Wave and Sample data in this synthesizer's internal User Memory (DRAM) is treated as a single file, and can be saved to the SmartMedia/USB storage device.
Wav. .WAV Sample data created in the Sampling mode can be saved to the SmartMedia/USB storage device as a WAV file (Windows audio format).
Aiff. .AIF Sample data created in the Sampling mode can be saved to the SmartMedia/USB storage device as an AIFF file (Macintosh audio format).
Voice Editor. W7E All the User Voice data stored on User Banks (Flash ROM) is handled as a single file and saved to the SmartMedia/USB storage device. The saved file can be loaded to the Voice Editor software (included in the CD-ROM) on your computer.
NOTE. When selecting "AllSong" or "AllPattern" as a file type, Sample Voices and assigned Waveforms created via the Sampling function in the Song/Pattern mode are also saved together.
File types that can be loaded from SmartMedia/USB storage device to the instrument [FILE] -> [F3] LOAD -> TYPE.
TYPE. File extension* Description
Dir. When this is set to "TYPE," only the directories (folders) are displayed in the File/Folder selection box and the Load operation cannot be executed.
All. .W7A Files of the "All" type saved to SmartMedia/USB storage device can be loaded and restored to the instrument. When the box at the left of "without System" is checkmarked, only the Utility mode settings will not be loaded.
AllVoice. .W7V Files of the "All Voice" type saved to SmartMedia/USB storage device can be loaded and restored to the instrument.
Voice. .W7A .W7V A specified voice in a file that is saved to the SmartMedia/USB storage device as "All" or "All Voice" type can be individually selected and loaded to the instrument. Please note that the file icons of "W7A" and "W7V" are changed to (as virtual folders) when this file type is selected (Quick Guide on page 87).
Performance. .W7A A specified performance in a file that is saved to the SmartMedia/USB storage device as "All" type can be individually selected and loaded to the instrument. Please note that the file icon of "W7A" is changed to (as a virtual folder) when this file type is selected (Quick Guide on page 92).
PluginAllBulk 1, 2, 3. .W2B A file that is saved to the SmartMedia/USB storage device as "Plugin All Bulk 1, 2, 3" type can be loaded and restored to the Plug-in board installed to the instrument. Please note that the same Plug-in Boards should be installed to the same slot as when the file was saved.
UserARP. .W7G Files of the "Usr ARP" type saved to SmartMedia/USB storage device can be loaded and restored to the instrument.
AllSong. .W7S Files of the "All Song" type saved to SmartMedia/USB storage device can be loaded and restored to the instrument.
Song. .W7A .W7S .MID A specified Song in a file that is saved to the SmartMedia/USB storage device as "All" or All Song. type can be individually selected and loaded to the instrument. Please note that the file icons of "W7A" and "W7S" are changed to (as virtual folders) when this file type is selected (Quick Guide on page 133). In addition, selecting this file type lets you load the Standard MIDI file (format 0, 1) to a specific Song.
AllPattern. .W7P Files of the "All Pattern" type saved to SmartMedia/USB storage device can be loaded and restored to the instrument.
Pattern. .W7A .W7P .MID A specified Song in a file that is saved to the SmartMedia/USB storage device as "All" or "All Pattern" type can be individually selected and loaded to the instrument. Please note that the file icons of "W7A" and "W7P" are changed to (as virtual folders) when this file type is selected (Quick Guide on page 133). In addition, selecting this file type lets you load the Standard MIDI file (format 0, 1) to a specific section of a Pattern.
AllWaveform. .W7W W7W Files of the "All" or "All Waveform" types saved to SmartMedia/USB storage device can be loaded and restored to the instrument.
Waveform. .W7A .W7W .WAV .AIF A specified Waveform in a file that is saved to the SmartMedia/USB storage device as "All" or "All Waveform" type can be individually selected and loaded to the instrument. Please note that the file icons of "W7A" and "W7W" are changed to (as virtual folders) when this file type is selected (Quick Guide on page 133). In addition, selecting this file type lets you load the WAV file and AIFF file to the specified destination, which differs depending on the mode before entering the File mode (Quick Guide on pages 100 and 109).
SampleVoice. .W7A .W7S .W7P A specified Sample Voice in a file that is saved to the SmartMedia/USB storage device as "All" or "All Song" or "All Pattern" type can be individually selected and loaded to the instrument. Please note that the file icons of "W7A" and "W7S" and "W7P" are changed to (as virtual folders) when this file type is selected (Quick Guide on page 133). This file type is available only when entering the File mode from the Song mode/Pattern mode.
Voice Editor. .W7E The Voice data edited via the included Voice Editor software on your computer can be loaded to the instrument.
* Assigned to the file which can be loaded.
NOTE. In addition to the file types above, Yamaha A5000/A4000/A3000/SU700 files and AKAI S1000/S3000 files can be loaded to the MOTIF ES.
NOTE. When files of the Yamaha A series samplers (A5000/4000/3000) are loaded, an "S" mark by the file name indicates the file contains only sample data and a "P" mark indicates program data (voice related parameters and so on). When entering the File mode from the Voice/Performance mode, the "P" marked file can be loaded and the following two types can be selected instead of Waveform or Key Bank.
Type 1: Only one sample is imported to a certain waveform. This type utilizes the various settings of the MOTIF ES, and the parameters corresponding to the four elements are also loaded. Extra samples are not loaded.
Type 2: Several samples are imported to a certain waveform. Parameters corresponding to the four elements are not loaded to the MOTIF ES. Extra samples are not loaded.
Data Compatibility with the MOTIF 6/MOTIF 7/MOTIF 8.
Among the data created on the MOTIF 6/MOTIF 7/MOTIF 8, Voices, Waveforms, Sample Voices can be loaded to the MOTIF ES6/MOTIF ES7/MOTIF ES8.
Voices.
A specified Voice in a file (extension: W2A, W2V) that is saved to the storage device as "All" or "AllVoice" type on the MOTIF can be individually selected and loaded to the MOTIF ES. Set the TYPE in the [F3] LOAD display to "Voice" and execute the Load procedure.
Likewise, a file (extension: W2V) that is saved to the SmartMedia/USB storage device as "AllVoice" type on the MOTIF can be loaded to the MOTIF ES. Set the TYPE in the [F3] LOAD display to "AllVoice" and execute the Load procedure.
In addition, Voice Editor files (extension: W2E) can be loaded to the MOTIF ES. Set the TYPE in the [F3] LOAD display to "Voice Editor" and execute the Load procedure.
NOTE. The Voices loaded to the MOTIF ES 6/7/8 may not produce the exact same sound as those on the original MOTIF 6/7/8, since the contents of the preset Waveforms and the Effect structure are different between the two instrument series.
Waveforms.
A specified Waveform in a file (extension: W2A, W2W) that is saved to the storage device as "All" or "AllWaveform" type on the MOTIF can be individually selected and loaded to the MOTIF ES. Set the TYPE in the [F3] LOAD display to "Waveform" and execute the Load procedure.
Likewise, a file (extension: W2W) that is saved to the storage device as "AllWaveform" type on the MOTIF can be loaded to the MOTIF ES. Set the TYPE in the [F3] LOAD display to "AllWaveform" and execute the Load procedure.
Sample Voices.
A specified Sample Voice (extension: W2A, W2S, W2P) in a file that is saved to the storage device as "All" or "AllSong" or "AllPattern" type on the MOTIF can be individually selected and loaded to the MOTIF ES. Set the TYPE in the [F3] LOAD display to "SampleVoice" and execute the Load procedure.
Creating Masters - basic procedure.
The Master mode lets you play and edit special program combinations called "Masters." A Master can contain up to four different Voices or Performances, each assigned to a separate MIDI "Zone." Alternately, it can contain specific Songs or Patterns. As such, it lets you set up the instrument just as you need for live performance, switching through the Masters in order as you need them. To create a Master, set the various parameters below in the Master Play and Master Edit modes. Use the Master Job mode to initialize data or transfer it to another device. Once you've edited a Master, you can store it to a User Bank in internal memory (Flash ROM) and save all the edited Masters to a SmartMedia/USB storage device in the File mode.
The Master Play mode lets you perform a variety of general editing operations on the selected Master. For more detailed and comprehensive editing operations, use the Master Edit mode. Edited parameters with the exception of some parameters are stored to internal Flash ROM as a User Master.
OCT (Octave). Indicates Keyboard Octave setting set via the [OCTAVE] buttons. This can be changed also with the following operation: [UTILITY] -> [F1] GENERAL -> [SF2] KBD -> Octave.
ASA (ASSIGN A), ASB (ASSIGN B). Indicates the functions assigned to the respective Knobs (printed "ASSIGN A" and "ASSIGN B") when the lamps of both the [PAN/SEND] and [TONE] buttons are turned on. The functions are assigned from the [UTILITY] -> [F4] CTL ASN -> [SF2] ASSIGN display.
NOTE. OCT (Octave), ASA (ASSIGN A), and ASB (ASSIGN B) settings are not independently assignable for each Master. Because of this, these are not stored as an individual Master in the Master Store mode (page 137).
AS1 (ASSIGN 1), AS2 (ASSIGN 2). Indicates the values obtained by controlling the respective Knobs (printed "ASSIGN 1" and "ASSIGN 2") when the lamps of both the [PAN/SEND] and [TONE] buttons are turned on. The functions assigned to these knobs depend on the setting of the Voice selected as a Master program.
[SF1] ARP1 (Arpeggio 1) to [SF5] ARP5 (Arpeggio 5). You can call up the Arpeggio types by pressing these buttons to which the Arpeggio types are assigned. The Arpeggio type assigned to each button depends on the program (Voice, Performance, Song, Pattern) selected as a Master.
From this display you can set basic parameters for the Master, including the mode that is called up with the Master and the program number.
Mode. Determines the mode that is called up when the Master number is selected.
Settings: Voice, Performance, Pattern, Song
Memory. Determines the Program number that is called up when the Master is selected.
Settings:
When the Mode is set to Voice: Select a Voice bank and number. Refer to the instructions page 60.
When the Mode is set to Performance: Select a Performance bank and number. Refer to the instructions on page 67.
When the Mode is set to Pattern: Select a Pattern and section. Refer to the instructions on page 57.
When the Mode is set to Song: Select a Song number. Refer to the instructions on page 56.
ZoneSwitch. Determines whether the Zone function is used (on) or not (off). See page 137 for details about the Zone function.
NOTE. When the Mode is set to "Voice" or "Performance" and the Zone Switch is turned on, only Zone 1 can be used in the default setting (playing Zones 2 to 4 will produce no sound). You can use these Zones by setting various parameters in the Master Edit mode.
The Master Edit is divided into Common Edit, for setting parameters common to all four Zones, and Zone Edit, for setting parameters of individual Zones. When Zone Switch is set to on in the [F2] MEMORY display in the Master Play mode, only the Common Edit is available.
These parameters are for making global (or common) edits to all four Zones of the selected Master.
From this display you can create a name for the Master. For instructions on naming, refer to page 53 in the Basic Operation section.
Knob/Slider. From this display you can set which row of Knob/Slider functions will be lit and selected.
Settings:
pan... Selecting the Master lights the [PAN/SEND] lamp, for control over the Pan/Send row.
tone... Selecting the Master lights the [TONE] lamp, for control over the Tone row.
assign... Selecting the Master lights the [PAN/SEND] and [TONE] lamps, for control over the Assign row.
MEQofs or partEQ... Selecting the Master lights the [EQ] lamp, for control over the EQ row. When the Mode is set to Voice, MEQofs is available. When the Mode is set to Performance, Song, or Pattern, partEQ is available.
MEF... Selecting the Master lights the [ARP FX] and [EQ] lamps, for control over the Master Effects row."
arpFx... Selecting the Master lights the [ARP FX] lamp, for control over the Arpeggio FX row.
zone... Selecting the Master lights no lamp and automatically calls up the Knob/Slider functions specifically set for each respective Zone (page 137). This is available only when the Zone Switch is set to on in the [F2] MEMORY display in the Master Play mode.
These parameters are for editing the individual Zones that make up a Master. Zone Edit is available only when the Zone Switch is turned on in the [F2] MEMORY display in the Master Play mode.
From this display you can set how each Zone transmits MIDI messages when you play the keyboard.
TransCh (Transmit Channel). Determines the MIDI Transmit Channel for each Zone.
Settings: 1 to 16.
TGSwitch (Tone Generator Switch). Determines whether or not MIDI data for each Zone is transmitted to the internal tone generator.
Settings: on, off.
MIDISwitch. Determines whether or not MIDI data for each Zone is transmitted to an external MIDI device.
Settings: on, off.
From this display you can set the pitch- and keyboard-related parameters for each Zone - allowing you to set up Zone splits and determine the pitch range for each Zone.
Octave. Determines the amount in octaves by which the range of the Zone is shifted up or down.
Settings: minus 3 to 0 (Default) to plus 3.
Transpose. Determines the amount in semitones by which the range of the Zone is shifted up or down.
Settings: minus 11 to 0 (Default) to plus 11.
NoteLimitH, L (High, Low). Determines the lowest and highest notes of the range for each Zone. The selected Zone will sound only when you play notes within this range.
Settings: C -2 to G8
NOTE. You can also set the range directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired low and high keys.
From this display you can set how the playing of each individual Zone affects transmission of various MIDI messages, such as Control Change and Program Change messages. When the relevant parameter is set to "on," playing the selected Zone will transmit the corresponding MIDI messages. Note that two different display types are provided (see below). Each display type features the same settings in a different format; use the type you feel most comfortable with.
Display showing four Zones.
Display showing all parameters for one Zone.
Keep in mind that since all the available parameters cannot be simultaneously displayed in the four-Zone display, you will need to use the cursor controls to scroll the display in order to see and set the other parameters.
Settings:
Bank (TG). Determines whether or not to transmit Bank Select MSB/LSB messages to the internal tone generator.
PC (TG). Determines whether or not to transmit Program Change messages to the internal tone generator.
Bank (MIDI). Determines whether or not to transmit Bank Select MSB/LSB messages to the external tone generator via MIDI.
PC (MIDI). Determines whether or not to transmit Program Change messages to the external tone generator via MIDI.
PB (Pitch Bend). Determines whether or not to transmit Pitch Bend messages to the internal and external tone generator.
MW (Modulation Wheel). Determines whether or not to transmit MIDI messages generated by using the Modulation Wheel to the internal and external tone generator.
RB (Ribbon Controller). Determines whether or not to transmit MIDI messages generated by using the Ribbon Controller to the internal and external tone generator.
ChAT (Channel Aftertouch). Determines whether or not to transmit Channel Aftertouch messages generated by pressing the keys to the internal and external tone generator.
FC1 (Foot Controller1), FC2 (Foot Controller2). Determines whether or not to transmit MIDI messages generated by pressing the optional Foot Controller to the internal and external tone generator.
Sus (Sustain). Determines whether or not to transmit Sustain messages generated by pressing the Footswitch connected to the SUSTAIN jack to the internal and external tone generator.
FS (Footswitch). Determines whether or not to transmit MIDI messages generated by pressing the Footswitch connected to the ASSIGNABLE jack to the internal and external tone generator.
Knob. Determines whether or not to transmit MIDI messages generated by using the Knobs to the internal and external tone generator.
Slider. Determines whether or not to transmit MIDI messages generated by using the Sliders to the internal and external tone generator.
BC (Breath Controller). Determines whether or not to transmit MIDI messages generated by using the Breath controller connected to the BREATH connector to the internal and external tone generator.
Vol (Volume). Determines whether or not to transmit Volume messages to the internal and external tone generator.
Pan. Determines whether or not to transmit Pan messages to the internal and external tone generator.
From this display you can make the Voice-related settings for each Zone, in the selected Master program number. In this way, selecting a different Master automatically calls up a completely different set of Voices and Voice-related settings for the four Zones.
BankMSB, BankLSB, PgmChange (Program Change). Determines the Voice assignment for each Zone in the selected Master.
Settings: Refer to the Voice List in the separate Data List booklet.
Volume. Determines the output level of the Voice in each Zone.
Settings: 0 to 127.
Pan. Determines the stereo pan position of the Voice in each Zone.
Settings: L64 (Left) to C (Center) to R63 (Right).
From this display you can determine which Control Change numbers are used for the Knobs and Sliders for each Zone. These settings are available only when the Knob/Slider parameter (in the [F2] OTHER display in Common Edit) is set to "zone."
Settings: off, 1 to 95.
The Master Job mode contains two convenient operations (called "Jobs") - one letting you initialize (reset) the Master data, and the other letting you transmit your edited Master data to an external MIDI device or computer. After setting parameters as required from the selected display, press the [ENTER] button to execute the Job.
This function lets you reset (initialize) all Master parameters to their default settings. It also allows you to selectively initialize certain parameters, such as Common settings, settings for each Zone, and so on - very useful when creating a completely new Master from scratch.
Parameter Types (for Initializing): AllACommonAZone.
ALL. All settings for the selected Master are initialized.
Common. Common parameter settings for the selected Master are initialized.
Zone. You can initialize the Zone setting to one of the following three types.
Split. Splits the keyboard range using Zone 1 and Zone 2. "UpperCh" determines the MIDI transmit channel of the upper range of the keyboard, "LowerCh" determines the MIDI transmit channel of the lower range of the keyboard, and "SplitPoint" determines the note (C2 to G8) number which separates the upper range and lower range of the keyboard.
4Zone. Initializes all four Zones.
Layer. Lets you layer two parts using Zone 1 and Zone 2. "UpperCh" and "LowerCh" determine the MIDI transmit channels of the two Zones respectively.
This function lets you send all your edited parameter settings for the currently selected Master to a computer or another MIDI device for data archiving. For details, see page 185.
NOTE. In order to execute Bulk Dump, you'll need to set the correct MIDI Device Number, with the following operation: [UTILITY] -> [F5] MIDI -> [SF1] CH -> DeviceNo.
This function lets you store your edited Master to User memory (Flash ROM). For details, refer to page 137 in the Quick Guide section.