Yamaha Motif 8 Owners Manual

							131MOTIF  Reference
Voice Edit mode
Reference  Voice mode
•Mono/Poly
Determines whether the Voice is played back 
monophonically (single notes only) or polyphonically 
(multiple simultaneous notes). 
❏Settings Mono, Poly
•KeyAsgnMode
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
•MicroTuning
Determines the tuning system for the voice. Normally, this 
should be set to 00 (Equal temperament); however thirty-
one additional tuning systems are available for a variety of 
tuning applications and effects.
❏Settings See below.
● [F1]-[SF3] Normal Common   General   
Master EQ Offset
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”) in the Utility mode, 
page 253. 
❏Settings -64 ~ 0 ~+63
●[F1]-[SF4] Normal Common   General  
Por
tamento
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 on or off.
❏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.” (When Time Mode is set to “Rate,” higher 
values result in a faster pitch change time.)
❏Settings 0 ~127
•Mode
Determines the Portamento mode. With the “fingered” 
setting, Portamento is only applied when you play legato 
(playing the next note before releasing the previous one). 
With the “fulltime” setting, Portamento is always applied.
❏Settings fulltime, fingered 
•TimeMode
This determines how the Time parameter above affects the 
Portamento effect. Setting this to “Time” makes the above 
parameter a true time scale — the higher the value, the 
longer the time. The “Rate” setting simply reverses this, 
for a rate scale — the higher the value, the faster the rate 
(in other words, the shorter the time). Naturally, you 
should set this to your own personal preference, depending 
on whether you think of Portamento in terms of time or 
rate.
❏Settings rate, time
r
ate
Sets the Time parameter range to reflect “rate”: 
0 (slow) - 127 (fast)
No.TypeKeyComments
00 Equal 
temperamentThe “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.
01~12 Pure major C~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~B) you will be 
playing in.
13~24 Pure minor A~G
#The same as Pure Major, but designed 
for the minor scale.
25 Werckmeister 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.
26 Kirnberger Johann Philipp Kirnberger was also 
concerned with tempering the scale to 
allow performances in any key.
27 Vallotti & Young Francescatonio Vallotti and Thomas 
Young (both mid-1700s) devised this 
adjustment the Pythagorean tuning which 
the first six fifths are lower by the same 
amount.
28 1/4 shifted This is the normal equal tempered scale 
shifted up 50 cents.
29 1/4 tone Twenty-four equally spaced notes per 
octave. (Play twenty-four notes to move 
one octave.)
30 1/8 tone Forty-eight equally spaced notes per 
octave. (Play forty-eight notes to move 
one octave.)
31 Indian C~B Usually observed in the Indian music 
(white keys [C~B] only).
KNOB
CONTROL
FUNCTION
PA N
REVERBCHORUS
TEMPO
ATTACK RELEASE CUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
MEQ LOW
ME Q HI  MID MEQLOWMID ME Q HIGHKN 1 KN 2 KN 3 KN 4 
						

							132MOTIF  Reference
Voice Edit mode  
Reference  Voice mode
timeSets the Time parameter range to reflect “time”: 
0 (fast) - 127 (slow)
●[F1]-[SF5] Normal Common   General   Other
From this display you can set the control functions 
for the Knobs, and determine the up/down range 
for the Pitch Bend wheel.
•Knob Assign
Determines the function for the assignable Knobs (1-4). 
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
•ChoCtrl
Determines the depth of the Chorus effect, as controlled by 
the Knob assigned to Chorus Send.
❏Settings -64 ~ 63
•PBUpper, PBLower
These two parameters determine the pitch change range of 
the Pitch Bend wheel.
❏Settings -48 ~ 24
•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.
●[F2] Normal Common   Output
•Volume
Determines the output level of the Voice.
❏Settings 0 ~ 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) ~ C (Center) ~ R63 (Right)
•RevSend
Determines the Send level of the signal sent from Insertion 
Effect 1/2 (or the bypassed signal) to the Reverb effect. 
You can also adjust this parameter using the REVERB 
knob on the front panel. 
❏Settings 0 ~ 127
•ChoSend
Determines the Send level of the signal sent from Insertion 
Effect 1/2 (or the bypassed signal) to the Chorus effect. 
You can also adjust this parameter using the [CHORUS] 
knob on the front panel of the MOTIF.
❏Settings 0 ~ 127
●[F3]-[SF1] Normal Common   Arpeggio   
Arpeggio type
Basic Structure (page 55)
The basic parameters (e.g., type, tempo) of the 
Arpeggio are provided in this display.
When user arpeggio is selected, you can clear the 
selected arpeggio data by using the [SF5] button.
•Bank
Determines the Bank.
❏Settings pre1, pre2, user
•Type 
Determines the Arpeggio type. The two-letter prefix before 
the name indicates the general Arpeggio category. 
•Tempo
Determines the Arpeggio Tempo. When MIDI sync 
(page 258) is turned on, “MIDI” is displayed here and 
cannot be set.
❏Settings 1 ~ 300
•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
KNOB
CONTROL
FUNCTION
PA N
REVERBCHORUS
TEMPO
ATTACK RELEASE CUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
KN 1 KN 2 KN 3 KN 4
MEQ LOW
ME Q HI  MID MEQLOWMID ME Q HIGH
Pan & Send 
Tone
 Assign
MeqGain
This apppears only when user arpeggio is 
selected and cursor is located at Type. 
						

							133MOTIF  Reference
Voice Edit mode
Reference  Voice mode
•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
The first time you press a key, the first note of the 
arpeggiator pattern is played. From the second and 
subsequent key presses, the arpeggiator note that is 
played back depends on the arpeggiator tempo and the 
timing of the arpeggio pattern. For example, in the case 
of a 1-bar arpeggio pattern, if the second key press falls 
on the third beat of the bar, the arpeggio pattern plays 
back from the third beat onward. In other words, the 
first key press is used to start the arpeggio pattern and 
thereafter you can use the key to “mute” or “un-mute” 
the pattern by, respectively, holding it down or 
releasing it. This is particularly useful when the 
arpeggiator is being used to generate drum patterns.
•KeyMode
Determines how the Arpeggio plays back when playing the 
keyboard. Three modes are available.
❏Settings sort, thru, direct
sort
Plays back notes in ascending order from the lowest 
key pressed to the highest.
thru
Plays back notes in the order in which the keys are 
pressed.
dir
ectPlays back the notes exactly as you play them. If 
changes to Voice parameters (such as Pan or Cutoff 
frequency) are included in the Arpeggio sequence data, 
they will be applied and reproduced whenever the 
Arpeggio plays back.
nIf the Arpeggio Category is set to Ct, you will not 
hear any sounds unless you select “direct” here.
nWith the “sort” and “thru” settings, the order in 
which notes are played back will depend on the 
Arpeggio sequence data.
•VelMode
This determines the playback velocity of the Arpeggio, or 
how it responds to your own playing strength. Two modes 
are available: original and thru.
❏Settings original, thru 
original
The Arpeggio plays back at the preset velocities.
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.
●[F3]-[SF2] Normal Common   Arpeggio   
Arpeggio limit
•Note Limit
Determines the lowest and highest notes in the Arpeggio’s 
note range. Notes played in this range trigger the Arpeggio.
❏Settings C -2 ~ G8
nYou can also create a lower and an upper trigger 
range for the Arpeggio, with a “hole” in the middle, 
by specifying the highest note first. For example, 
setting a Note Limit of “C5 -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.
nYou can also set the range directly from the 
keyboard, by holding down the [INFORMATION] 
button and pressing the desired low and high keys.
•Velocity Limit
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 ~ 127
nYou 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 - 34) and hard (93 - 
127). Notes played at middle velocities between 35 
and 92 do not play the Arpeggio.
●[F3]-[SF3] Normal Common   Arpeggio   
Play FX (Effect)
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.
•Unit
Adjust the Arpeggio playback time. For example, if you set 
a value of 200%, the playback time will be doubled and the 
tempo halved. On the other hand, if you set a value of 
50%, the playback time will be halved and the tempo 
doubled. Normal playback time is 100%. 
❏Settings 50%, 66%, 75%, 100%, 133%, 150%, 
200% 
						

							134MOTIF  Reference
Voice Edit mode  
Reference  Voice mode
•Velocity Rate 
Determines how much the Velocity of the Arpeggio 
playback is offset from the original value. For example, a 
setting of 100% means the original values are used. 
Settings below 100% will reduce the velocity of the 
Arpeggio notes, whereas settings above 100% will increase 
the velocities.
❏Settings 0% ~ 200%
nThe 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.
•Gate Time Rate 
Determines how much the Gate Time (length) of the 
Arpeggio notes is offset from the original value. A setting 
of 100% means the original values are used.
Settings below 100% will shorten the gate times of the 
Arpeggio notes, whereas settings above 100% will 
lengthen them.
❏Settings 0% ~ 200%
nThe Gate Time cannot be decreased beyond its 
normal minimum of 1; any values outside that 
range will automatically be limited to the 
minimum.
●[F4]-[SF1], [SF2], [SF3] Normal Common   
Control Set  Set1/2, Set3/4, Set5/6
Basic Structure (page 48)
The controllers and knobs on the front panel can be 
used to change and adjust a variety of parameters — in 
real time, and simultaneously.
For example, keyboard aftertouch can be used to 
control vibrato and the Modulation Wheel could be 
used to control Resonance. They can even be used to 
control parameters within individual Elements. These 
control assignments are called “Control Sets.” You can 
assign up to six different Control Sets per Voice. The 
six individual Control Sets are divided into pairs in the 
display: Sets 1/2, Sets 3/4 and Sets 5/6.
•ElementSw
Determines whether or not the selected controller affects 
each individual element.
❏Settings Elements 1 to 4 enabled (“1” to “4”) or 
disabled (“-”)
nThis parameter is disabled if the Destination 
parameter below is set to a value from 00 to 33.
•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), FC2 (Foot Controller2), 
FS (Footswitch), BC (Breath Controller), 
KN1 (Knob ASSIGN 1), KN2 (Knob 
ASSIGN 2)
nKeep in mind that unlike the other controllers, the 
ASSIGN A and B knobs can each be assigned to 
one common function for the entire Voice mode, 
and not to different functions for each individual 
voice. Also see the Utility mode (page 256).
•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 -64 ~ 0 ~+63
Control Set 1~6
Keyboard
Modulation wheel
Knob
Controller
Set 1Element 1Element 2
Element 3
Element 4 
						

							135MOTIF  Reference
Voice Edit mode
Reference  Voice mode
●[F5]-[SF1] Normal Common   LFO   Wave
Basic Structure (page 47)
From this display you can make a variety of LFO-
related settings, including Wave, Speed, Tempo, and 
sync/phase settings.
•Wave
Determines the LFO Wave.
❏Settings tri, tri+, 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 ~ 63
•Tempo Sync
Determines whether or not the LFO is synchronized to the 
tempo of the Arpeggio or sequencer (song or pattern). 
Setting this to “on” allows you to keep the LFO effects in 
perfect sync with the Arpeggio or sequencer playback.
❏Settings off (not synchronized), on (synchronized)
•Tempo Speed
This parameter is available only when Tempo Sync 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.
❏Settings16th, 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)
nThe actual length of the note depends on the 
internal or external MIDI tempo setting. 
•Key On Reset
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-onoff
 
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.
.
•Phase
Determines the starting phase point for the LFO Wave 
when a note is played.
❏Settings 0, 90, 120, 180, 240, 270
Speed = fast Speed = slow
TimeTime
Time
Key on
Key on
(second note)
Time
Key on
(first note)
Key on 
(second note)
Time
Key on
(first note)
Time
0°90°
120°240° 180°270° Phase 
						

							136MOTIF  Reference
Voice Edit mode  
Reference  Voice mode
●[F5]-[SF2] Normal Common   LFO   Delay
From this display you can set various delay and 
fade-in/-out parameters, and give the LFO a more 
natural sound.
•DelayTime
Determines the delay time before the LFO comes into 
effect. A higher value results in a longer delay time. 
❏Settings 0 ~ 127
•FadeInTime
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 ~ 127
•HoldTime
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 ~ 127
•FadeOutTime
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 ~ 127
●[F5]-[SF3], [SF4], [SF5] Normal Common   LFO
Destination
 1, 2, 3
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 Destinations can 
be assigned, and you can choose from several 
parameters per Destination.
•ElemSw (Element Switch)
Determines whether or not each element is to be affected 
by the LFO. The element number (1- 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 ~ 127
Short delay Long delay
Key onKey on
FadeIn
Max
Delay
Time
Key on
Low FadeIn value
Faster fade-in
High FadeIn value
Slower fade-in
FadeIn
Delay
Time
Key on
Max
Hold
Time
Max
FadeOut Hold
Max
Time
Low FadeOut value
Faster fade-out
FadeOut
Time
HoldMax
High FadeOut value 
						

							137MOTIF  Reference
Voice Edit mode
Reference  Voice mode
●[F6]-[SF1] Normal Common   Effect   
Connection
This display gives you comprehensive control over 
the effects.
•EL: OUT 1-4 (Element 1-4 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 “InsEFOut” in Normal 
Element below. Making a setting here automatically 
changes the setting of that parameter as well.)
❏Settings ins1, ins2, thru
•InsConnect (Insertion Effect Connect)
Determines the effect routing for Insertion effects 1 and 2. 
The setting changes are shown on the diagram in the 
display, giving you a clear picture of how the signal is 
routed.
❏Settings parallel, 1 to 2, 2 to 1
•Ins1Category, Ins1Type
Determines the effect type for Insertion 1.
❏Settings Refer to the Effect Types list in the separate 
Data List booklet.
•Ins2Category, Ins2Type
Determines the effect type for Insertion 2.
❏Settings Refer to the Effect Types list in the separate 
Data List booklet.
•RevType (Reverb Effect Type)
Determines the effect type for Reverb.
❏Settings Refer to the Effect Types list in the separate 
Data List booklet.
•ChoType (Chorus Effect Type)
Determines the effect type for Chorus.
❏Settings Refer to the Effect Types list in the separate 
Data List booklet.
•RevSend (Reverb Send)
Determines the level of the sound (from Insertion 1 or 2, 
or the bypassed signal) that is sent to Reverb effect. A 
setting of “0” results in no Reverb processing of the sound.
❏Settings 0 ~ 127
•ChoSend (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 ~ 127
•RevRtn (Reverb Return Level)
Determines the Return level of the Reverb Effect. 
❏Settings 0 ~ 127
•ChoRtn (Chorus Return Level)
Determines the Return level of the Chorus Effect. 
❏Settings 0 ~ 127
•ChoToRev (Chorus to Reverb)
Determines the Send level of the signal sent from the 
Chorus Effect to the Reverb Effect. 
❏Settings 0 ~ 127
•RevPan (Reverb Pan)
Determines the pan position setting for the Reverb effect.
❏SettingsL63 (far left)~cnt (center)~R63 (far right) 
•ChoPan (Chorus Pan)
Determines the pan position setting for the Chorus effect.
❏SettingsL63 (far left)~cnt (center)~R63 (far right)
●[F6]-[SF2], [SF3], [SF4], [SF5] Normal 
Common   Effect Parameter   
Inser
tion 1, 2, Reverb, Chorus
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.
■Element Edit 
For instructions on selecting and editing individual 
elements, refer to step #4 in the Basic Procedure on 
page 124.
●[F1]-[SF1] Normal Element   Oscillator   Wave 
Basic Structure (page 44)
From this display you can select the desired wave 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
This determines the specific bank of waves, from which 
you can select the desired sound. The Preset bank features 
the factory programmed waves; the User bank contains 
any audio data you have created with the Sampling 
function (page 58).
❏Settings preset, usr wav
•Wave No. (Wave Number), WaveCtgry (Wave 
Category)
❏Settings See the Wave list of the separate Data List. 
						

							138MOTIF  Reference
Voice Edit mode  
Reference  Voice mode
●[F1]-[SF2] Normal Element   Oscillator   
Output
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 ~ 127
•InsEFOut (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” in Normal 
Common above. Making a setting here automatically 
changes the setting of that parameter as well.)
❏Settings thru, ins1 (Insertion Effect 1), ins2 
(Insertion Effect 2)
●[F1]-[SF3] Normal Element   Oscillator   Limit
From this display you can create different key and 
velocity “zones” for each of the elements, and even 
set up a velocity crossfade between elements.
•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 ~ G8
nYou can also create a lower and an upper range for 
the element, with a “hole” in the middle, by 
specifying the highest note first. For example, 
setting a Note Limit of “C5 - 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.
nYou can also set the range directly from the 
keyboard, by holding down the [INFORMATION] 
button and pressing the desired low and high keys. 
See “Basic Operation” on page 75.
•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 ~127
nYou 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 - 34 lets you 
play the element from two separate velocity 
ranges: soft (1 - 34) and hard (93 - 127). Notes 
played at middle velocities between 35 and 92 do 
not play the selected element.
•VelCrossFade (Velocity Cross Fade)
This determines how smoothly or abruptly elements 
switch between each other in response to velocity. (This 
only applies to elements that have been set for velocity 
splits with Velocity Limit above.) Minimum values create 
an abrupt change between elements, while maximum 
values let you smoothly change elements depending on 
your playing strength.
❏Settings 0 ~ 127
●[F2]-[SF1] Normal Element   Pitch   Tune
From this display you can set various pitch-related 
parameters for the selected element.
•Coarse 
Determines the pitch of each element in semitones.
❏Settings -48 ~ 0 ~+48
•Fine
Determines the fine tuning for the pitch of each element.
❏Settings -64 ~ 0 ~+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 ~127
Short Delay Long Delay
Key onKey on 
						

							139MOTIF  Reference
Voice Edit mode
Reference  Voice mode
●[F2]-[SF2] Normal Element   Pitch   
V
elocity Sensitivity
From this display you can determine how the Pitch 
EG responds to velocity. (For Pitch EG settings, see 
“PEG Time, Level” below.)
•EG Time, Segment
Determines the velocity sensitivity of the PEG’s Time 
parameters. Select the Segment, then set its Time 
parameter. Positive Time settings will play back the 
specified Segment faster and negative values will play it 
back slower. 
❏Settings Time -64 ~0 ~+63
Segment ATK, ATK+DCY, DCY, 
ATK+RLS, all
A
TKEG Time Value affects Attack time.
A
TK+DCYEG Time Value affects Attack/Decay1 time.
DCY
EG Time Value affects Decay time.
A
TK+RLSEG Time Value affects Attack/Release time.
all
EG Time Value affects all PEG Time parameters.
•EG Level, Curve
Determines the velocity sensitivity of the PEG Level. 
Positive settings will cause the level 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.
❏Settings EG Level -64 ~0 ~+63
Curve 0~4
•Pitch
Determines the degree to which velocity affects the pitch 
change of the Pitch EG. Extreme values produce greater 
variation in pitch change. For positive values, the harder 
you play the keys, the greater the change in pitch. For 
negative values, the softer you play the keys, the greater 
the change in pitch.
❏Settings -64 ~ 0 ~+63
●[F2]-[SF3] Normal Element   Pitch   
PEG Time, Level
Basic Structure (page 46)
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.
•TIME
❏Settings 0 ~127
•LEVEL
❏Settings -128 ~ 0 ~+127 (-4800cent ~ 0 
~+4800cent)
•DEPTH*
❏Settings -64 ~ 0 ~+63
●[F2]-[SF4] Normal Element   Pitch   Key Follow
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 degree to which the notes (specifically, 
their position or octave range) affect the pitch 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 lower and that of higher notes to change higher. 
Negative values will have the opposite effect. 
❏Settings -200% ~ 0 ~ +200% 
nFor a setting of 100%, neighboring notes are 
pitched one semitone (100 cents) apart.
HOLD ATK DCY1 DCY2 REL DEPTH*
TIME Hold time Attack timeDecay 1 
timeDecay 2 
timeRelease 
time
LEVEL Hold level Attack levelDecay 1 
levelDecay 2 
levelRelease 
levelDepth
0
Release
LevelAttack
Level
Hold level
Attack
Time Hold
TimeDecay1
TimeDecay2
TimeRelease
Time
Decay1
LevelDecay2
LevelKey off
Time
Pitch 
						

							140MOTIF  Reference
Voice Edit mode  
Reference  Voice mode
•Center Key 
Determines the central note or pitch for the Key Follow 
effect on pitch. 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 ~ G8
nYou can also set the Center Key directly from the 
keyboard, by holding down the [INFORMATION] 
button and pressing the desired key. See “Basic 
Operation” on page 75. 
•EG Time Sens (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 -64 ~ 0 ~+63
•Center Key
Determines the central note or pitch for the Key Follow 
effect on Pitch 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 Pitch EG deviates 
from the norm.
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 ~ G8
nYou can also set the Center Key directly from the 
keyboard, by holding down the [INFORMATION] 
button and pressing the desired key.
●[F3]-[SF1] Normal Element   Filter   Type
Basic Structure (page 46)
From this display you can make comprehensive 
settings for the Filter section. The available 
parameters differ depending on which Filter type is 
selected here.
•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. The MOTIF also features 
special combination Filter types, for additional sonic 
control.
❏Settings See below. 
LPF24D (Lo
w Pass Filter 24dB/oct Digital)A 4-pole (-24db/oct) dynamic LPF with a strong 
resonance.
LPF24A (Lo
w Pass Filter 24dB/oct Analog)A 4-pole (-24db/oct) dynamic LPF with a character 
similar to those found on analog synthesizers
LPF18 (Lo
w Pass Filter18dB/oct)A 3-pole (-18db/oct) dynamic LPF.
LPF18s (Lo
w Pass Filter [18dB/oct Staggered)Also a 3-pole (-18db/oct) dynamic LPF, but with a 
shallower frequency curve.  
Center(basic pitch)
Higher range Lower range
Large
Small
— + Amount of
pitch change
Basic pitchHigher range
Lower range
Basic pitchHigher range
Lower range+
–
Speed of PEG
pitch change
Speed of PEG
pitch range Positive value
Negative value+
–
Resonance
Resonance
LPF18
LPF18S
Resonance