Yamaha Motif 6 Manual

							Internal Structure (System Overview)
161Owner’s Manual
Basic Structure
● Filter
This unit modifies the tone of the sound output from Pitch by 
cutting the output of a specific frequency portion of the sound.
Cutoff Frequency and Resonance
Here’s how filters work.  In the example below (a low pass 
filter), a portion of the signal lower than a given frequency is 
allowed to pass, and signals above that frequency are cut. 
This frequency is referred to as the cutoff frequency. You can 
produce a relatively bright or darker sound by setting the 
cutoff. Resonance is a parameter that boosts the level of the 
signal in the area of the cutoff frequency. By emphasizing the 
overtones in this area, this can produce a distinctive “peaky” 
tone, making the sound brighter and harder. 
About the main Filter types
The Low Pass Filter is shown in the illustration above – 
however, this synthesizer features other Filter types (four total) 
as shown below.
•Low Pass Filter (above)
This passes only those signals below the Cutoff frequency. 
You can then use the Reso (Resonance) parameter to add 
further character to the sound. 
•High Pass Filter
This passes only those signals above the Cutoff frequency. 
You can then use the Reso (Resonance) parameter to add 
further character to the sound. 
•Band Pass Filter
This passes only those a band of signals around the Cutoff 
frequency. The width of this band can be varied.
•Band Elimination Filter
This attenuates a band of signals around the Cutoff 
frequency, but passes everything else.
FEG (Filter Envelope Generator)
Using the FEG, you can control the transition in tone from the 
moment the sound starts to the moment the sound stops. You 
can create the FEG by setting parameters as illustrated 
below. When you press a note on the keyboard, the cutoff 
frequency will change according to these envelope settings. 
This is useful for creating automatic wah or filter sweep 
effects, for example. Furthermore, different FEG parameters 
can be set for each Element Key. 
[VOICE] → Voice selection → [EDIT] → Element selection/
Drum Key selection → [F3] FILTER
These frequencies are “passed” by the filter.Cutoff frequency
ResonanceFrequency (pitch) Level
Frequency (pitch)
Cutoff frequency Level
Resonance
Cutoff frequencyThese frequencies are 
“passed” by the filter. Level
Frequency Range passed
Cutoff range Level
Center frequency
LevelCutoff range
Range passedCenter frequencyFrequency
0
Cutoff
Frequency
Hold 
LevelAttack
Level
Decay1
Level
Sustain Level
(Decay2 Level)Release
Level
Hold
TimeAttack
TimeDecay1
TimeDecay2
TimeRelease
TimeTime
Pressing the key (Key on) Releasing the key (Key off) 
						

							Basic Structure
Internal Structure (System Overview)
162Owner’s Manual
● Amplitude
This unit controls the output level (amplitude) of the sound 
output from Filter. The signals are then sent at this level to the 
Effect block. Also, by setting the AEG (Amplitude Envelope 
Generator), you can control how the volume changes over time. 
AEG (Amplitude Envelope Generator)
Using the AEG, you can control the transition in volume from 
the moment the sound starts is to the moment the sound 
stops. You can create the AEG by setting parameters as 
illustrated below. When you press a note on the keyboard, the 
volume will change according to these envelope settings. 
Furthermore, different AEG parameters can be set for each 
Element Key. 
nWhen you release the key while holding the Footswitch connected to 
the SUSTAIN connector, the sound will maintain at the Sustain Level 
shown above. For Voices having a Sustain Level value greater than 0, 
the sound continues.  For Voices having a Sustain Level of 0, the 
sound decays naturally to silence.
● LFO (Low Frequency Oscillator)
As its name suggests, the LFO produces a wave of a low 
frequency.
These waves can be used to vary the pitch, filter or amplitude 
of each Element to create effects such as vibrato, wah and 
tremolo. LFO can be set independently for each Element; it 
can also be set globally for all Elements. 
Single Timbre Tone Generator (Voice/
Performance mode) and Multi-timbral 
Tone Generator (Song/Pattern mode)
The internal tone generator block operates in two different 
ways (Single timbre and Multi-timbral) depending on the 
selected mode. The difference between the two is whether 
they can handle the multi-MIDI channels or not at the same 
time. 
● Single Timbre Tone Generator (Voice/Performance mode)
A MIDI tone generator that receives over a single MIDI 
channel and plays a single instrument part is referred to as a 
“single timbre” tone generator.  This is the operating status of 
the internal tone generator in the Voice and Performance 
modes.
nTo set the MIDI receive channel for single timbre operation (Voice and 
Performance modes), use the following operation in the Utility mode.
[UTILITY] → [F5] MIDI → [SF1] CH → BasicRcvCh
● Multi-timbral Tone Generator (Song/Pattern mode)
A MIDI tone generator that simultaneously receives over 
multiple MIDI channels and plays multiple instrument parts is 
referred to as a “multi-timbral” tone generator.  This allows 
playback of multi-channel MIDI song data — such as on a 
MIDI sequencer or computer — with each internal part being 
assigned to and played by a different track or channel.  This 
is the operating status of the internal tone generator in the 
Song and Pattern modes.
nTo set the MIDI receive channel for multi-timbral operation (Song and 
Pattern modes), use the following operation in the Utility mode.
[SONG] or [PATTERN] → [MIXING] → [EDIT] → Part selection → [F1] 
VOICE → [SF2] MODE → ReceiveCh 
nWhen using an external MIDI sequencer or computer to play this 
instrument, make sure to use the Song mode or Pattern mode.
Maximum Polyphony
Maximum polyphony refers to the highest number of notes 
that can be sounded simultaneously from the internal tone 
generator of the instrument.
The maximum polyphony of this synthesizer is 128. When 
the internal tone generator block receives a number of 
notes exceeding the maximum polyphony, previously 
played notes are cut off. Keep in mind this may be 
especially noticeable with Voices not having decay.
Furthermore, the maximum polyphony applies to the 
number of voice elements used, not the number of voices. 
When the normal voices that include up to four elements 
are used, the maximum number of simultaneous notes 
may be less than 128. 
nWhen the Plug-in board is installed, the maximum polyphony 
increases accordingly.  For details on maximum polyphony for 
the Plug-in Boards, refer to the Owner’s Manual of the 
particular board.
[VOICE] →→ → →
 Voice selection →→ → →
 [EDIT] →→ → →
 Element selection/
Drum Key selection →→ → →
 [F4] AMP
[VOICE] → Voice selection → [EDIT] → Element selection/
Drum Key selection → [F5] LFO
[VOICE] → Voice selection → [EDIT] → [COMMON] → [F5] 
LFO
0
Level
(Volume)
Initial 
LevelAttack
Level
Decay1
Level
Sustain Level
(Decay2 Level)
Time
Attack
TimeDecay1
TimeDecay2
TimeRelease
Level
Release
Time
Pressing the key (Key on) Releasing the key (Key off) 
						

							Internal Structure (System Overview)
163Owner’s Manual
Basic Structure
Part structure of the tone generator block
This synthesizer plays the sounds in the tone generator block in 
response to MIDI messages received from the controller or 
sequencer block. The MIDI messages are assigned to sixteen 
independent channels, and this synthesizer is capable of 
simultaneously playing sixteen separate parts, via the sixteen 
MIDI channels. However, the sixteen-channel limit can be 
overcome by using separate MIDI “ports,” each supporting 
sixteen channels. The multiple sound sources of this 
synthesizer (internal tone generator and Plug-in Boards) take 
advantage of the three MIDI ports included on the instrument.
As shown in the above illustration, up to 48 parts are provided 
for the modes (excepting the Voice mode). However, the 
number of parts that are actually used is a maximum of 34 in 
the Song and Pattern modes, as we will see later in some 
examples.
nThe USB cable supports up to eight separate MIDI ports. The Tone 
Generator block of this synthesizer supports three separate ports as 
illustrated above. 
nA single MIDI cable/connection cannot handle data over multiple MIDI 
ports.
■ Part structure of the tone generator block in the 
Voice mode
In this mode, a Voice is played from the keyboard, using a 
single part. This part is used also when the Plug-in Voice is 
selected. The tone generator block in the Voice mode 
receives MIDI data over a single channel.  Keep in mind that 
song data on an external sequencer consisting of multiple 
MIDI channels will not play back properly in this mode.  If you 
are using an external MIDI sequencer or computer to play the 
instrument, make sure to use the Song mode or Pattern mode. 
nThe MIDI receive channel in the Voice mode can be set from the 
following display in the Utility mode. 
[UTILITY] → [F5] MIDI → [SF1] CH → BasicRcvCh
The MIDI port number which this synthesizer can recognize in the 
Voice mode is 1. 
nThe Multi-Part Plug-in Board (PLG100-XG) cannot be used in the Voice 
mode. 
■ Part structure of the tone generator block in the 
Performance mode
This mode lets you play a Performance (which multiple Voices 
(parts) are combined – in a layer, or in other configurations) 
using the keyboard. While a total of seven parts are available 
in this mode (as shown below), a maximum of four parts can 
be used simultaneously.  Although this mode lets you play 
several parts at the same time, all are set to receive over the 
same single MIDI channel, as in the Voice mode.  For this 
reason, song data on an external sequencer consisting of 
multiple MIDI channels will not play back properly in this 
mode.  If you are using an external MIDI sequencer or 
computer to play the instrument, make sure to use the Song 
mode or Pattern mode.
nThe MIDI receive channel in the Performance mode can be set with 
the following operation in the Utility mode.
[UTILITY] → [F5] MIDI → [SF1] CH → BasicRcvCh 
In the Voice mode, the instrument recognizes only data over MIDI Port 1.
nThe Multi-part Plug-in Board (PLG100-XG) cannot be used in the 
Performance mode. 
Por t 1Part 1
Part 2
Part 14
Part 15
Part 16Por t 2Part 17
Part 18
Part 30
Part 31
Part 32Por t 3Part 33
Part 34
Part 46
Part 47
Part 48
Tone Generator block
Parts used in modes other than the Voice modePart for Voice mode
Por t 1
Part 1
Part 2
Part 3
Part 4
Part 5
Part 16Por t 2
Part 17
Part 18
Part 30
Part 31
Part 32Por t 3
Part 33
Part 34
Part 46
Part 47
Part 48
Tone generator block
Parts used in modes other than the Voice modePart for Voice mode
Parts 1-48 are not used.
PLG1 part PLG3 part
PLG2 part
Por t 1
Part 1
Part 2
Part 3
Part 4
Part 5
Part 13
Part 14
Part 15
Part 16Por t 2
Part 17
Part 18
Part 30
Part 31
Part 32Part 46
Part 47
Part 48 Por t 3
Part 33
Part 34
PLG1 PLG3
PLG2
Tone generator block
When three single part Plug-in boards 
are installed to the synthesizer.
Parts 5-13 and 17-48 are not used.
These seven parts (1, 2, 3, 4, 14, 15, 16) are reserved for use in the 
Performance mode; however, only up to four of them can be used 
at the same time. 
						

							Internal Structure (System Overview)
164Owner’s Manual
Basic Structure
■ Part structure of the tone generator block in the Song mode/Pattern mode
In these modes, multiple parts are provided and different voice and different melodies or phrases can be played back for each 
part. Because these modes let you set the MIDI channel for each part of the tone generator block, you can use an external MIDI 
sequencer as well as the sequencer block of the instrument to play the sounds.
As illustrated below, the sequence data of each track plays the corresponding parts (those having the same MIDI channel 
assignment) in the tone generator block. 
The MIDI Transmit Channel/Port of the Song/Pattern can be set with the following operation.
When sounding the internal tone generator block, assign the tracks to Transmit Port 1 and use Parts 1 - 16.  Keep in mind that 
data over Transmit Ports 2 or 3 cannot sound the internal tone generator block. The tone generator of the installed Plug-in Board 
can be sounded via any of the MIDI ports 1 - 3. 
The MIDI Receive Channel of the tone generator’s part can be set with the following operation.
You can set the port number assignment for the Plug-in Board with the following operation.
nFor details about MIDI, see page 181. 
nThe Plug-in Board lets you use only a single Voice at the same time. Please note that you cannot assign multiple Voices of the Plug-in Board to multiple parts 
at the same time. 
nThe Voice and related settings (volume, pan, etc.) are sounded by the keyboard according to the Part parameters in the Mixing settings of the current Song/
Pattern and Part.  Other settings such as Controllers and Effect types correspond to the Common parameters in the Mixing settings of the current Song/
Pattern.
In the Song mode: [SONG] → Song selection → [F3] TRACK → [SF1] CHANNEL
In the Pattern mode: [PATTERN] → Pattern selection → [F3] TRACK → [SF1] CHANNEL
In the Song mode: [SONG] → Song selection → [MIXING] → [EDIT] → Part selection → [F1] VOICE → [SF2] MODE → ReceiveCh
In the Pattern mode: [PATTERN] → Pattern selection → [MIXING] → [EDIT] → Part selection → [F1] VOICE → [SF2] MODE → ReceiveCh
[UTILITY] → [F6] PLUG → [SF2] MIDI
Track 1     Transmit Channel = 1 (Port 1) Part 1     Receive Channel = 2
Por t 1
Por t 2
Por t 3
Part 2     Receive Channel = 3
Part 3     Receive Channel = 4
Part 4     Receive Channel = 1
Part 15     Receive Channel = 5
Part 16     Receive Channel = 6
Part 17     Receive Channel = 8
Part 18     Receive Channel = 7
Part 19     Receive Channel = 10
Part 20     Receive Channel = 13
Part 31     Receive Channel = 14
Part 32     Receive Channel = 15
Part 33
Part 34
Part 35
Part 46
Part 47     Receive Channel = 11
Part 48     Receive Channel = 16 Track 2     Transmit Channel = 2 (Port 1)
Track 3     Transmit Channel = 3 (Port 1)
Track 4     Transmit Channel = 4 (Port 1)
Track 5     Transmit Channel = 5 (Port 1)
Track 6     Transmit Channel = 6 (Port 1)
Track 7     Transmit Channel = 7 (Port 2)
Track 8     Transmit Channel = 8 (Port 2)
Track 9     Transmit Channel = off (Port off)
Track 10     Transmit Channel = 10 (Port 2)
Track 11     Transmit Channel = 11 (Port 3)
Track 12   Transmit Channel = off (Port off)
Track 13    Transmit Channel = 13 (Port 2)
Track 14     Transmit Channel = 14 (Port 2)
Track 15     Transmit Channel = 15 (Port 2)
Track 16     Transmit Channel = 16 (Port 3)
Sequencer block (example)
When setting the Transmit Channel/Port to the 
following example in the Song/Pattern mode or 
on the external MIDI sequencer or on the 
computer:
Tone Generator block (example)
When a Multi-part Plug-in Board (PLG100-XG) and a two 
Single part Plug-in Board are installed to this synthesizer and 
setting the Receive Channel/Port to the following example:
Multi-part 
Plug-in Board
Single part 
Plug-in Board
Single part 
Plug-in Board
Parts 33-46 are not used. 
						

							Basic Structure
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165Owner’s Manual
Audio Input Part (AUDIO IN)
The Performance mode, Song mode, and Pattern mode are capable of handling the audio input signal as a Part. Various 
parameters such as volume, pan, and effect can be set to this Part and the sound is output together with other Parts. Other 
available settings include how stereo input signals are handled, as well the output assignment of the audio Part.  
These parameters are set and stored for each Performance, Song Mixing, and Pattern Mixing. Please note that the Audio 
Input Part is not available in the Voice mode. 
Among the following three types of Audio Input parts which this synthesizer can handle, two types (five stereo parts if the 
mLAN16E has been installed) can be handled at the same time, since the optional mLAN16E and AIEB2 cannot be 
installed together. 
Parameters for the above Parts can be set with the following operations.
nAlthough the Insertion Effects of this synthesizer can be applied to the A/D Input Part, they cannot be applied to the mLAN Input part and the AIEB2 
Input part. 
Sequencer Block
This block lets you create songs and patterns by recording and editing your performances as MIDI data (from the controller 
block), then playing it back with the tone generator block. The sequencer block can be operated in the Song mode, in the 
Pattern mode, and with the Arpeggio feature. When a Song or a Pattern is played back, the musical data of each sequence track 
is transmitted to the tone generator block according to the Transmit Channel settings. 
nSongs can be played back only in the Song mode. They cannot be played back in other modes. 
Patterns can be played back only in the Pattern mode. They cannot be played back in other modes. 
Arpeggios can be played back in any modes. 
Song and Pattern
Songs and Patterns are MIDI sequence data consisting of up to 16 tracks.
A Song on this synthesizer is effectively the same as a Song on a MIDI sequencer, and playback automatically stops at the end 
of the recorded data.
In the MOTIF ES, the term “Pattern” refers to a relatively short musical or rhythmic phrase — 1 to 256 measures — which is used 
for looped playback. Therefore, once Pattern playback starts, it continues until you press the [■] (Stop) button. This synthesizer 
features a variety of preset Phrase data that is used as the basic material in making up Patterns.
A/D Input partThis part (one stereo part) is input from the external audio equipment connected to the A/D INPUT jack.
mLAN Input parts (when the 
optional mLAN16E has been 
installed)These four stereo parts are input from external mLAN-compatible audio equipment connected to the mLAN 
jack via a single IEEE1394 cable. 
AIEB2 parts (when the optional 
AIEB2 has been installed)This part (one stereo part) is input from external audio equipment connected to the OPTICAL INPUT or the 
DIGITAL INPUT (Coaxial) connector. 
Either one of the connectors (OPTICAL or DIGITAL) can be used; however, both cannot be used at the same 
time. Select which connector is used for digital input with the following operation in the Utility mode.
[UTILITY] → [F2] I/O → [SF1] INPUT → Digital
In the Performance mode[PERFORM] → Performance selection→ [EDIT] → [COMMON] → [F5] AUDIO IN
In the Song mode[SONG] → Song selection → [MIXING] → [EDIT] → [COMMON] → [F5] AUDIO IN
In the Pattern mode[PATTERN] → Pattern selection → [MIXING] → [EDIT] → [COMMON] → [F5] AUDIO IN 
						

							Basic Structure
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166Owner’s Manual
■ Song data structure
The following illustration shows the track structure of a Song. Songs are created by recording MIDI sequence data to individual 
tracks and by setting tone generator related parameters (in Song Mixing).
● Song Mixing
Even if you record your keyboard performance to a Song 
track, the setup data (non-note events such as voice, pan, 
volume) which for proper playback should be recorded at the 
top of the Song will not be recorded to it. For this reason, the 
setup data handled as Song Mixing settings should be stored 
in the Song Mixing Store mode. 
Because the Song Mixing is a collection of settings related to 
the tone generator, it can be applied to the sequence data 
transmitted from the external MIDI sequencer as well as this 
synthesizer’s Song playback. 
nWhen the Multi-Part Plug-in Board PLG100-XG has been installed, 
Mixing of sixteen parts (17 - 32) can be set. Please note that the Multi-
part Plug-in Part (17 - 32) settings apply not to one individual Song but 
to all 64 Songs.
● Scene
A Song Scene is a “snapshot” of important settings, and 
contains parameter settings such as transpose, tempo, and 
track mute and the tone generator related parameters 
controllable from the Knobs with the [PAN/SEND] or [TONE] 
lamp turned on, and the Control Sliders. Five settings can be 
registered to the [SF1] - [SF5] buttons for each Song. 
● Song Chain
This function allows songs to be “chained” together for 
automatic sequential playback. The Song Chain can be created 
and played back from the [SONG] → [F6] CHAIN display. This 
instrument allows you to create one Song Chain data. 
Song 64
Musical performance data
Song Mixing (Tone Generator related settings)
Song 63
Song 02
Song 01
Tempo track
Track 1
Track 2
Track 3
Track 16
Part 1
Part 2
Part 3
Part 16Mixing settings
Mixing settings
Mixing settings
Mixing settingsPart 17
Part 18
Part 19
Part 32Mixing settings
Mixing settings
Mixing settingsPart PLG1
Part PLG2
Part PLG3
Audio Input partMixing settings
Mixing settings
Mixing settings
Mixing settings
Mixing settings
Mixing Voice 16
Mixing Voice 01
Please note that the Multi-part Plug-in Part (17-32) settings apply not to one individual Song but to all 64 Songs.
Set in the Song Play mode
Created in the Song Record mode, Song Edit mode, and Song Job mode
Created in the Mixing Voice Edit mode
Created in the Sampling mode entered from the Song mode Set in the Song Mixing mode and Song Mixing Edit mode
MIDI sequence data
MIDI sequence data
MIDI sequence data
MIDI sequence dataGroove, Transmit Channel/Port, Track loop settings
Groove, Transmit Channel/Port, Track loop settings
Groove, Transmit Channel/Port, Track loop settings
Groove, Transmit Channel/Port, Track loop settingsSample Voice
Sample Voice
Sample Voice
Sample Voice Scene trackTempo change
Scene 1 Scene 2 Scene 3 Scene 4 Scene 5
Mixing Common Edit Parameters 
applied to all the parts
Track mute status/Scene memory 
change/Arpeggio type change 
(including tempo, transpose, etc.)
Song 01 Song 22 Song 15 
						

							Internal Structure (System Overview)
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Basic Structure
■ Pattern data structure
The following illustration shows the track structure of a Pattern. Patterns are created by recording MIDI sequence data to 
individual tracks, by assigning Phrases (Preset and User) which is material for a Pattern to individual tracks, and by setting tone 
generator related parameters (in a Pattern Mixing).
● Pattern Mixing
Even if you record your keyboard performance to a Pattern 
track, the setup data (non-note events such as voice, pan, 
volume) which for proper playback should be recorded at the 
top of the Pattern will not be recorded to it. For this reason, the 
setup data handled as Pattern Mixing settings should be 
stored in the Pattern Mixing Store mode. Unlike the Song, only 
the voice number is recorded to a track as a Track Voice 
(Phrase Voice) which is used for playback normally. Because 
the Pattern Mixing is a collection of settings related to the tone 
generator, it can be applied to the sequence data transmitted 
from the external MIDI sequencer as well as this synthesizer’s 
Pattern playback. 
nWhen the Multi-Part Plug-in Board PLG100-XG has been installed, 
Mixing of sixteen parts (17 - 32) can be set. Please note that the Multi-
Part Plug-in Part (17 - 32) settings apply not to one individual Pattern 
but to all 64 Patterns.
● Section
A Pattern consists of one or more “Sections” (Pattern 
variations). You can play the Pattern by specifying a Section 
after selecting a Pattern.
● Phrase
This is the basic MIDI sequence data – and the smallest unit – 
used in creating a Pattern. “Phrase” is a short musical/
rhythmic passage for a single instrument, such as a rhythm 
pattern for the rhythm part, a bass line for the bass part, or a 
chord backing for the guitar part. This synthesizer features 
687 Preset Phrases, and features memory space for 256 of 
your own original User Phrases. 
Mixing settings
Mixing settings
Mixing settings
Mixing settings
User Phrase 1 - 256
(MIDI sequence data)
Mixing Common Edit Parameters 
applied to all the parts
Part 1 Mixing settings Part 17 Mixing settings
Part 18 Mixing settings
Part 19 Mixing settings
Part 32 Mixing settings
16 SectionsMixing Voice 01Mixing Voice 16 Part 2 Mixing settings
Part 3 Mixing settings
Part 16 Mixing settings
Pattern ChainPart PLG1
Part PLG2
Part PLG3
Audio Input partMixing settings
Mixing settings
Mixing settings
Mixing settings
A
BP
Set in the Pattern Play mode
Created in the Pattern Record mode, Pattern Edit mode, and Pattern Job mode
Created in the Mixing Voice Edit mode
Created in the Sampling mode entered from the Pattern mode
Created in the Pattern Chain mode Set in the Pattern Mixing mode and Pattern Mixing Edit mode
Pattern 64
Pattern 01
Groove, Transmit Channel/Port, Track loop, Track Voice settings
User Phrase 1 - 256
(MIDI sequence data)
Preset Phrase 1 - 687
(MIDI sequence data)
Mixing Common Edit Parameters 
applied to all the parts
Please note that the Multi-part Plug-in 
Part (17-32) settings apply not to one 
individual Pattern but to all 64 Patterns.Copy the Phrase 
recorded to a track of 
another pattern
The Patch function lets you assign 
a Phrase to each track. 
Track 1 MIDI sequence data
Track 2 MIDI sequence data
Track 3 MIDI sequence data
Track 16 MIDI sequence dataUser Phrase
Preset PhraseSample Voice Pattern Mixing (Tone Generator related settings) 
						

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168Owner’s Manual
● Pattern Chain
Pattern Chain allows you to string several different Sections 
(within a single Pattern) together to make a single Song. You 
can have the synthesizer automatically change Sections by 
creating Pattern Chains in this way beforehand. 
You can create the Pattern Chain by recording a Pattern 
playback with Section changes from the [PATTERN] → [F6] 
CHAIN display or by editing the timing of Section changes 
from the [PATTERN] → [F6] CHAIN → [EDIT] display. The 
created Pattern Chain can be played back when calling up 
the [PATTERN] → [F6] CHAIN display. 
You can also use them when creating Songs based on a 
certain Pattern, since the created Pattern Chain can be 
converted into a Song from the [PATTERN] → [F6] CHAIN → 
[EDIT] → [F3] SONG display. This synthesizer lets you create 
one Pattern Chain for each Pattern. 
■ MIDI tracks and Sample tracks
The Song/Pattern tracks (1 - 16) of this synthesizer are 
divided into two groups: MIDI tracks and Sample tracks. 
MIDI tracks are created by recording your keyboard 
performance in the Song Record mode/Pattern Record mode. 
On the other hand, Sample tracks are created by recording 
and obtaining a Sample in the Sampling mode. 
● Sample tracks — with Sample Voices
Voices which are automatically created and stored using the 
Sampling feature in the sequencer (Song/Pattern) mode, are 
referred to as “Sample Voices.” Tracks using these Sample 
Voices are referred to as “Sample” tracks — to distinguish 
them from the MIDI tracks. Sample Voices are stored as 
original, dedicated Voices for each Song or Pattern. If you 
wish to use a Sample Voice of a certain song/pattern for 
another song/pattern, execute the copy operation in the Song 
Job mode (page 226) or in the Pattern Job mode (page 244). 
■ MIDI track recording method
The following explanations are important points for you to 
keep in mind as you record your User Songs/Patterns. The 
recording methods explained here should be set from the 
Setup display in the Song Record mode/Pattern Record mode 
before recording. 
nSee page 173  for details about the Sample track recording method. 
● Realtime recording and Step recording
Realtime recording 
With realtime recording, the instrument functions in the same 
way as a tape recorder, recording the performance data as it 
is played. This allows you to capture all the nuances of an 
actual performance. This method is used for the Recording 
types explained below, such as Replace, Overdub, Loop, and 
Punch In/Out. 
Step recording (Type = step)
With step recording, you can compose your performance by 
“writing” it down one event at a time. This is a non-realtime, 
step recording method — similar to writing music notation 
onto paper. 
● Replace and Overdub (Song/Pattern)
Replace
You can use this method when you want to overwrite an 
already recorded track with new data. The first recording is 
lost, and the new one takes its place.
Overdub
You can use this method when you want to add more data to a 
track that already contains data. The first recording is kept, 
and the new one is added. This method lets you build up a 
complex phrase together with Loop recording (below).
● Loop Recording (Pattern)
Pattern repeats the rhythm pattern of several measures (1 to 
256 measures) in a “loop,” and its recording is also done 
using loops. This method is used when recording a Pattern 
Phrase using the Overdub method (above). As shown in the 
example below, notes that you record will play back from the 
next repetition (loop), letting you record while hearing 
previously recorded material.
When recording a rhythm of Bass Drum, Snare Drum, 
Hi-Hat cymbal in order: 
nLoop Recording can only be used with Realtime recording.
[SONG] or [PATTERN] → [●] (Record) → [F1] SETUP → Type
Pattern Chain
Example
Pattern track
Section J Section H Section PScene track
Tempo trackSection change
Track mute setting
Tempo change
[PATTERN] → [●] (Record) → [F1] SETUP → loop = on
Loop 1st round
Loop 2nd round
Loop 3rd round
Bass Drum
Snare Drum
Bass Drum
Hi-Hat
Snare Drum
Bass Drum 
						

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● Punch In/Out (Song)
You can use this method when you want to re-record only over a specific area of the track. You’ll need to set the start and end 
points before re-recording.
In the eight-measure example below, the third measures through the fifth measure are re-recorded.
nPunch In/Out Recording can only be used with Realtime recording.
nNote that the Punch In/Out method always replaces (destroys) the original data over the specified area.
Arpeggio
This function lets you automatically trigger musical and rhythmic phrases using the current Voice by simply pressing a note or 
notes on the keyboard.  The Arpeggio sequence also changes in response to the actual notes or chords you play, giving you a 
wide variety of inspiring musical phrases and ideas — both in composing and performing.
nA single Arpeggio type can be played back at the same time even in the Performance, Song, and Pattern mode, enabling you to play multiple tone 
generator’s parts simultaneously. 
■ Category of the Arpeggio type
The Arpeggio types are divided into 18 categories as listed below. 
nKeyboard Mega Voices
Normal voices use velocity switching to make the sound quality and/or level of a voice according to how strongly or softly you play it. This makes the voices 
sound authentic and natural. However, with Keyboard Mega Voices, each velocity range (the measure of your playing strength) has a completely different 
sound. For example, a guitar voice includes the sounds of various performance techniques. In conventional instruments, different voices having those 
sounds would be called up via MIDI and played in combination to achieve the desired effect. However, now with Keyboard Mega voices, a convincing guitar 
part can be played with just a single voice, using specific velocity values to play the desired sounds.
LCDCategory NameDescription
SeqSynth Sequence Various arpeggio phrases suited for synth voices. 
ChSqSynth Chord Sequence Various rhythmic chord phrases or synth voices.
HySqSynth Hybrid Sequence Various arpeggio types programmed so that bass phrases ar e played with the lower keys and chor ds or melodies 
are played with the midrange and higher keys.  These arpeggio types ar e useful for split voice combinations.  In 
addition, there are also Hybrid Velocity (“HybVel...”) types that feature different phrases for different velocity 
ranges, letting you change the arpeggio phrase depending on how str ongly you play the keyboard.
APKbAcoustic Piano & Keyboard Various arpeggio types suited for piano and other keyboar d voices, such as electric piano and clav.
OrgnOrgan Various arpeggio types suited for organ voices. 
GtPl Guitar & Plucked Various arpeggio types suited for guitar and harp voices. 
GtKMGuitar - Keyboard Mega Voice Various arpeggio types suited for guitar Keyboar d Mega voices (see note below). 
BassBass Various arpeggio types suited for bass or synth bass voices. 
BaKM Bass - Keyboard Mega Voice Various arpeggio types suited for bass Keyboar d Mega voices (see note below). 
Strn Strings Various arpeggio types suited for strings and pizzicato voices. 
Bras Brass Various arpeggio types suited for brass voices. 
RdPp Reed & Pipe Various arpeggio types suited for saxophone and fl ute voices. 
Lead Synth Lead Various arpeggio types suited for synth lead voices. 
PdMeSynth Pad & Musical FX Various arpeggio types suited for synth pad voices and special musical ef fects voices, including percussive 
sounds.
CPrc Chromatic Percussion Various arpeggio types suited for chr omatic percussion voices. 
DrPc Drum & Percussion Various arpeggio types suited for drum and per cussion voices (drum kits). 
CombCombination Various arpeggio types suited for Per formances. These are combination arpeggios, with separate phrases 
suitable for drum voices, bass voices, and chor d/melody instruments. 
CntrControl Various arpeggio types programmed primarily with Contr ol Change and Pitch Bend data.  These arpeggio types 
change the tone or pitch of the sound, rather than play specifi c notes.  In fact, some types contain no note data at 
all. When using a type of this categor y, set the KeyMode parameter to “dir ect” in each mode. 
1234 567 8
1234 567 8
Recording start
Recording stop
Before re-recordingPunch InAfter re-recording
Newly recorded data Punch Out 
						

							Internal Structure (System Overview)
170Owner’s Manual
Basic Structure
■ Arpeggio playback types
The MOTIF ES features a total of 1787 Arpeggio types divided into 18 categories, each with its own playback type designed for 
use with particular types of Voices, as described below.
● Arpeggios for Normal Voices
Arpeggio types (belonging to the categories except for the DrPC and Cntr) created for use of Normal Voices have the following 
two playback types. 
nThe two playback types above are not distinguished by the category name or type name.  You’ll have to actually play the types and hear the difference.
nSince these types are programmed for Normal Voices, using them with Drum Voices may not give musically appropriate results.
● Arpeggios for Drum/Percussion Voices — Category: DrPc
These arpeggio types are programmed specifically for use with Drum Voices, giving you instant access to various rhythm 
patterns.  Three different playback types are available.
nThe three playback types above are not distinguished by the category name or type name.  You’ll have to actually play the types and hear the difference.
nSince these types are programmed for Drum Voices, using them with Normal Voices may not give musically appropriate results.
● Arpeggios for Performances — Category: Comb
The Arpeggio types belonging to the category “Comb” are programmed so that different arpeggios are triggered — an arpeggio 
for a Normal Voice and an arpeggio for a Drum Voice — depending on the played note. These types are useful in the 
Performance mode in which multiple voices (Drum Voice and Normal Voice) are combined in a layer since these types enable 
you trigger the arpeggio for the Normal Voice and the Drum Voice at the same time. 
● Arpeggios containing mainly non-note events — Category: Cntr
These arpeggio types are programmed primarily with Control Change and Pitch Bend data.  They are used to change the tone or 
pitch of the sound, rather than play specific notes.  In fact, some types contain no note data at all.  When using a type of this 
category, set the KeyMode parameter to “direct” with the following operations.
Playback only of the played notesThe Arpeggio is played back using only the played note and its octave notes. 
Playback of a programmed 
sequence according to the played 
chordThese Arpeggio types have the several sequences each of which is suited for a certain chord type. Even if you press 
only one note, the Arpeggio is played back using the programmed sequence — meaning that notes other than the 
ones you play may be sounded.  Adding notes to those already held changes the sequence accordingly — in other 
words, the arpeggio plays back according to the chord you play.
Playback of a drum patternPressing any note(s) will trigger the same rhythm pattern. 
Playback of a drum pattern, plus 
additional played notes 
(assigned drum instruments)Pressing any note will trigger the same rhythm pattern. Adding notes to the one already held produces additional 
sounds (assigned drum instruments) for the drum pattern,
Playback only of the played notes 
(assigned drum instruments)Playing a note or notes will trigger a rhythm pattern using only the notes played (assigned drum instruments).  Keep in 
mind that even if you play the same notes, the triggered rhythm pattern differs depending on the order of the notes 
played.  This gives you access to different rhythm patterns using the same instruments simply by changing the order 
in which you play the notes.
Voice mode[VOICE] → Voice selection → [EDIT] → [COMMON] → [F3] ARP → [SF1] TYPE → KeyMode
Performance[PERFORM] → Performance selection → [EDIT] → [COMMON] → [F3] ARP → [SF1] TYPE → KeyMode
Song mode[SONG] → Song selection → [MIXING] → [EDIT] → [COMMON] → [F3] ARP → [SF1] TYPE → KeyMode
Pattern mode[PATTERN] → Pattern selection → [MIXING] → [EDIT] → [COMMON] → [F3] ARP → [SF1] TYPE → KeyMode