Yamaha Motif 8 Owners Manual
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211MOTIF Reference Song Mixing mode Reference Song mode ● [F2]-[SF1] Song Mixing Part Output V olume/Pan Same as in Performance Part Edit. See page 172. nThe Voice Pan setting is not available for Plug-in voice parts. ● [F2]-[SF2] Song Mixing Part Output Effect Send Same as in Performance Part Edit. See page 172. ● [F3] Song Mixing Part Output Select From this display you can determine the specific jack or terminal to which the selected part is to be output. Same as in Performance Part Edit. See page 173. ● [F4]-[SF1] Song Mixing Part Tone Tune Same as in Performance Part Edit. See page 173. ● [F4]-[SF2] Song Mixing Part Tone Filter Basic Structure (page 46) From this display you can set various Filter related settings, to change the tonal qualities of the selected part’s voice. Same as in Performance Part Edit. See page 173. nThe FEG Depth setting is not available for Plug-in voice parts. ● [F4]-[SF3] Song Mixing Part Tone FEG Basic Structure (page 47) From this display you can set the FEG (Filter Envelope Generator) parameters for each part. The following parameters offset the same parameters in the Voice (Element) Edit mode (page 143). Same as in Performance Part Edit. See page 173. nThe FEG setting is not available for Plug-in voice parts or parts to which Drum voices have been assigned. ● [F4]-[SF4] Song Mixing Part Tone AEG Basic Structure (page 47) From this display you can set AEG (Amplitude Envelope Generator) parameters for each part. The following parameters offset the same parameters in the Voice (Element) Edit mode (page 145). Same as in Performance Part Edit. See page 174. nThe Sustain setting is not available for Plug-in voice parts or parts to which Drum voices have been assigned. nThe Release setting is not available for parts to which Drum voices have been assigned.
212MOTIF Reference Song Mixing Job mode Reference Song mode ● [F5] Song Mixing Part Receive Switch From this display you can set how each individual part responds to various MIDI data, such as Control Change and Program Change messages. When the relevant parameter is set to “on,” the corresponding part responds to the appropriate MIDI data. Note that two different display types (below) are provided. • 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] - [16] buttons (making sure that the [TRACK SELECT] button is on). The two display types are linked and feature the same settings, only in different formats. Use the type you feel most comfortable with. Song Mixing Job mode ◆ Basic Procedure 1 In the Song Play mode, select a Song you wish to execute the Job on. 2 Press the [MIXING] button to enter the Song Mixing mode. 3 Press the [JOB] button to enter the Song Mixing Job mode. 4 Select the desired Job menu by pressing the appropriate button, [F1] - [F5]. 5 Set the relevant Job parameters. 6 Press the [ENTER] button. (The display prompts you for confirmation.) 7 Press the [INC/YES] button to execute the Job. After the Job has been completed, a “Completed” message appears and operation returns to the original display. nTo cancel the Job, press the [DEC/NO] button. For Jobs that take longer to process, you will see the message “Executing…” during processing. If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data. 8 Press the [MIXING] button to exit from Song Mixing Job mode and return to Song Mixing mode. • For detailed instructions on steps #3 - #5 , see the explanations below. ● [F1] Initialize 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. [SF5] button
213MOTIF Reference Song Mixing Job mode Reference Song mode ❏Type of parameter to be initialized ALL All settings for the selected Song Mixing are initialized. Common Common parameter settings for the selected Song Mixing program are initialized. P art 1~16, PLG 1~3Part parameter settings for the selected Song Mixing program are initialized. ● [F2] Edit Recall 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. ● [F3] Copy From this display you can copy part parameter or effect settings from any Song Mixing program to the one you are editing. This would come in handy when you want to use some settings from another program. • Source song Select a song and Mixing data type to be copied. ❏Data type Part 1~32, PLG 1~3 • Data type of Destination song (current selected song) Set the Part of the destination song. ❏Data type Part 1~32, Plug 1~3, Arp, Effect (Reverb, Chorus) nIf you choose Arp (Arpeggio) or Effect, the Arpeggio data or Effect settings for the Voice assigned to the source Part will be copied. ● [F4] Bulk Dump This function lets you send all your edited parameter settings for the currently selected Song Mixing program to a computer or another MIDI device for data archiving. nYou must set the correct MIDI Device Number in order to execute a Bulk Dump. For details, see page 258. ● [F5] Performance Copy 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 260). 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. Source song Destination song (current selected song)
214MOTIF Reference Song Mixing Store mode Reference Song mode Song Mixing Store mode Basic Structure (page 63) This function lets you store your edited Song Mixing program to User memory. When you execute this, the settings for the destination memory will be overwritten. Important data should always be backed up to a memory card or SCSI device. ◆ Basic Procedure 1 After editing the Song Mixing, press the [STORE] button to enter the Song Mixing Store mode. 2 Press the [ENTER] button. (The display prompts you for confirmation.) 3 To execute the Store operation, press the [INC/ YES] button. After the Song Mixing program has been stored, a “Completed” message appears and operation returns to the original display. nTo cancel the Store operation, press the [DEC/NO] button. For Store operations that take longer to process, you will see the message “Executing…” during processing. If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data. nThe stored settings are recalled automatically when the corresponding song is selected.
215MOTIF ReferenceFunction Tree Reference Pattern mode Pattern Mode Basic Structure (page 51) Function Tree This section is devoted to the Pattern mode. To see how the Pattern mode relates to the entire structure of the MOTIF and its other modes and functions, see the simplified chart in “Basic Structure” on page 30. The following detailed chart shows all of the display menus and parameter groups of the Pattern modes — giving you a quick, easy-to-understand overview of the pattern- related functions of the MOTIF. Brackets around a word or phrase (e.g., [F1]) indicate specific button names or panel operations. [INFORMATION] PATTERN INFORMATION [PATTERN] PATTERN PLAY [F1] PATTERN PLAY [F2] PATTERN GRID GROOVE [F3] PATTERN TRACK OUTPUT CHANNEL [F4] PATTERN PATCH [SF4] CLEAR PHRASE [SF5] COPY PHRASE [F5] TRACK VOICE [F6] PATTERN CHAIN PLAY [EDIT] PATTERN CHAIN EDIT [SF1] INSERT MEASURE [SF2] DELETE MEASURE [SF3] COPY EVENT [SF4] CONVERT TO SONG [SF5] TRACK SELECT [REC] PATTERN CHAIN RECORD [REC] PATTERN RECORD PATTERN REC SETUP [F1] SETUP [F2] VOICE [CATEGORY] VOICE CATEGORY SEARCH [F3] ARP [PLAY] PATTERN RECORDING [EDIT] PATTERN EDIT [F1] CHANGE [F5] INSERT [F6] DELETE [F2] VIEW FILTER [F5] CLEAR ALL [F6] SET ALL [JOB] PATTERN JOB [F1] UNDO/REDO [F2] NOTE JOB LIST QUANTIZE MODIFY VELOCITY MODIFY GATE TIME CRESCENDO TRANSPOSE GLIDE CREATE ROLL SORT CHORD SEPARATE CHORD [F3] EVENT JOB LIST SHIFT CLOCK COPY EVENT ERASE EVENT EXTRACT EVENT CREATE CONTINUOUS DATA THIN OUT MODIFY CONTROL DATA BEAT STRETCH [F4] PHRASE JOB LIST COPY PHRASE EXCHANGE PHRASE MIX PHRASE APPEND PHRASE SPLIT PHRASE GET PHRASE FROM SONG PUT PHRASE TO SONG CLEAR PHRASE PHRASE NAME [PATTERN] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 276 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 217 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 217 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 218 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 218 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 219 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 219 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 219 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 218 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 219 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 220 . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 220 . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 220 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 220 . . . . . . . . . . . . . . . . . . . . . . . . . . P. 220 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 220 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 220 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 221 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 222 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 222 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 223 . . . . . . . . . . . . . P. 223 . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 223 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 223 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 224 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 224 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 224 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 224 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 224 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 224 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 224 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 225 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 225 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 225 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 225 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 227 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 227 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 227 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 227 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 227 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 227 .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 227 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 228 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 228 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 228 . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 228 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 228 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 228 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 229 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 229 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 229 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 229 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230
216MOTIF Reference Function Tree Reference Pattern mode [MIXING] PATTERN MIXING [INFORMATION] MIX INFORMATION [MIX] MIXING PART [F1] MIX VOLUME/PAN [F2] MIX AD [F3] MIX VOICE [F4] EFFECT SEND [F5] MIX TEMPLATE [EDIT] MIXING EDIT [COMMON] [F1] COMMON GENERAL [SF1] MEQ OFFSET [SF5] OTHER [F2] COMMON MASTER EQ [F3] COMMON ARPEGGIO [SF1] TYPE [SF2] LIMIT [SF3] PLAY FX [SF4] OUTPUT CHANNEL [SF5] CLEAR USER ARPEGGIO [F4] COMMON CONTROLLER ASSIGN CONTROLLER ASSIGN [F6] COMMON EFFECT [SF1] EFFECT CONNECT [SF2] PLG-EF [SF3] VARIATION [SF4] REVERB [SF5] CHORUS [PART SELECTION] [F1] PART VOICE [SF1] VOICE [SF2] PLYMODE [SF3] LIMIT [SF4] PORTAMENTO [SF5] OTHER [F2] PART OUTPUT [SF1] VOLUME/PAN [SF2] EFFECT SEND [F3] PART OUTPUT SELECT OUTPUT SELECT [F4] PART TONE [SF1] TUNE [SF2] FILTER [SF3] FEG [SF4] AEG [F5] PART RECEIVE SWITCH [JOB] MIXING JOB [F1] INITIALIZE [F2] EDIT RECALL [F3] COPY [F4] BULK DUMP [F5] COPY FROM PERFORMANCE [STORE] MIX STORE [SONG] [F5] TRACK JOB LIST COPY TRACK EXCHANGE TRACK CLEAR TRACK NORMALIZE PLAY EFFECT DIVIDE DRUM TRACK [F6] PATTERN JOB LIST COPY PATTERN APPEND PATTERN SPLIT PATTERN CLEAR PATTERN STYLE NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 231 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 231 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 231 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 231 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 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217MOTIF Reference Pattern Play mode Reference Pattern mode Pattern Play mode Basic Structure (page 67) In this mode, you can select and play individual User patterns. nFor details about patterns and their track and memory structure, see page 51. ◆ Basic Procedure Basic Structure (page 67) 1 Press the [PATTERN] button to enter the Pattern Play mode. (The indicator lights.) 2 Select a style and its section. 3 Start/Stop pattern playback. 4 Make necessary or desired settings (e.g., transpose, tempo, individual track on/off status, and so on) in the above display. 5 Select the menu you wish to edit by pressing the [F2] - [F6] buttons and edit the parameters in each display. nCreating patterns is done with the Patch function, selected with the [F4] button. (See page 219.) nThe Pattern Chain function, selected with the [F6] button, lets create a song by chaining together several different patterns. (See page 219.) 6 Repeat steps #3 through #5 as desired. 7Press any other mode button to exit from the Pattern Play mode. • For detailed instructions on steps #2, 3, 4, and 5, see the following explanations. Style Selection The explanations here apply to step #2 of the Basic Procedure see above. The method for selecting a style is the same as that for selecting songs (page 179), as shown below. You can also select a style by moving the cursor to the style number location and using the [INC/YES] and [DEC/NO] buttons or the data dial. PATTERN Pattern track number and data status In addition to MIDI sequence data, the sample data has been recorded. (Indicates an sample track.) MIDI sequence data has been recorded. (Indicates a MIDI track.) No data has been recorded. (A Phrase has not been assigned.) Tempo for the selected style ❒ Setting 010.0 ~ 300.0 Measure : Beat (for current playback location)/ Total length of the selected pattern Time signature for the selected style ❒ Setting 1/16 ~16/16, 1/8 ~16/8, 1/4 ~8/4 Transpose setting (for all style data) Can be adjusted in semitones. For example, when a value of +12 is set, the pitch of all of the data becomes one octave higher. ❒ Settings -36 ~ +36 Currently selected pattern (style and section) Style name Section Style number Indicates muted track. Pattern track on/off status Indicates soloed track (page 218). Start playback Stop playback nThe explanations here apply when these four button indicators are off. 1 2 PLG 2 AB CD E FG H 15CATEGORY SEARCH DRUM KITS FAVORITES PRE 1PRE 2 PRE 3 GMUSER PLG 1PLG 3 A. PIANOKEYBOARD ORGANGUITAR / PLUCKEDBASSSTRINGSBRASS REED / PIPE SYN LEAD SYN PAD/ CHOIRSYN COMP CHROMATIC PERCUSSIONDRUM / PERCUSSIONSE MUSICAL FX COMBI 1 234 56 7 8 91011 12 1314 16SECTION TRACK SELECT MUTE SOLO BANK GROUP NUMBER COMMON ELEMENT / PERF. PART / ZONE
218MOTIF Reference Pattern Play mode Reference Pattern mode ● Style numbers and the corresponding Group/ Numbers Same as in the Song Play mode. See page 179. Section Selection The explanations here apply to step #2 of the Basic Procedure on page 217. 1 Press the [SECTION] button. (The indicator lights.) 2 Press any of the [PRE1]~[PLG3], [A]~[H] buttons to select a section from the 16 available sections Pattern track on/off — Solo and Mute The explanations here apply to step #4 of the Basic Procedure on page 217. Details are same as “Song track on/off — Solo and Mute” on page 180, as illustrated below. ● To mute a track ● To solo a track Pattern track selection The explanations here apply to step #4 of the Basic Procedure on page 217. In order to edit the Song data, you’ll need to select a track for editing. Details are same as “Song track selection” on page 181 as illustrated below. Pattern editing in the Pattern Play mode The explanations here apply to step #5 of the Basic Procedure on page 217. ● [F2] Pattern Play Groove Same as in the Song Play mode. See page 181. ● [F3] Pattern Play Output Channel Same as in the Song Play mode. See page 182. ● [F4] Pattern Play Patch Explained later. See page 219. ● [F5] Pattern Play Track Voice 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. PLG 2 AB CD E FG HCATEGORY SEARCH PRE 1PRE 2 PRE 3 GMUSER PLG 1PLG 3 A. PIANOKEYBOARD ORGANGUITAR / PLUCKEDBASSSTRINGSBRASS REED / PIPE SYN LEAD SYN PAD/ CHOIRSYN COMP CHROMATIC PERCUSSIONDRUM / PERCUSSIONSE MUSICAL FX COMBI SECTION BANK GROUP 15 1 234 56 7 8 91011 12 1314 16TRACK SELECT MUTE SOLO NUMBERELEMENT / PERF. PART / ZONE 15 1 234 56 7 8 91011 12 1314 16TRACK SELECT MUTE SOLO NUMBERELEMENT / PERF. PART / ZONE 15 1 234 56 7 8 91011 12 1314 16TRACK SELECT MUTE SOLO NUMBERELEMENT / PERF. PART / ZONE
219MOTIF Reference Pattern Play mode Reference Pattern mode nThe Phrase Voice embedded in the Pattern phrase can be specified from the Voice display in the Pattern Record mode (page 223). ● [F6] Pattern Play Chain Play/Edit Explained later. See below. [F4] Patch Function Basic Structure (page 52) · Quick Start Guide (page 105) The explanations here apply to step #5 of the Basic Procedure on page 217. In the following 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. ● Track number, Data status, Phrase bank/ number For details about the Track number and Data status, see the illustration in step #1 of the Basic Procedure on page 217. The phrase bank and number can be selected via the data dial, [INC/YES] button, or [DEC/NO] button and assigned to the selected track. The assigned phrase name, its time signature and length are indicated at the top right of the display. nThe Patch function allows you to use only User phrases recorded to a track of the currently selected style. If you wish to use User phrases recorded to tracks of other styles, use the Phrase Data Copy function, selected with [SF5] button. ● Section Shows the current edited section. For details about how to change sections, refer to “Section selection” on page 218. ● Measure : Beat (for current playback location) The buttons can be used to change the location (in measures/beats), even during playback. ● [SF4] Patch Clear You can clear the Phrase assignment to the currently selected track by pressing the [SF4] button. As a result, the track becomes empty. ● [SF5] Phrase Data Copy The User phrases that can be assigned with the Patch function are limited to the ones contained in the currently selected pattern style. This function lets you copy phrases on other pattern styles to the selected one. Press the [SF5] button to call up the following display. After setting the parameters as needed, press the [ENTER] button to copy the phrase data. The copy operation overwrites any data previously existing in the destination phrase. [F6] Pattern Chain Basic Structure (page 52) · Quick Start Guide (page 108) The explanations here apply to step #5 of the Basic Procedure on page 217. Pattern Chain allows you to string several different Patterns (Style and Section) together to make a single Song. The created Pattern Chain data can then be converted into a Song. nFor details about Pattern Chain and its track and memory structure, see page 54. Track number, Data status (page 217), Phrase bank : number Section[SF5] Phrase Data Copy [SF4] Patch Clear Measure : Beat (for current playback location)/Total length of the selected patternPhrase name, Time Signature, and length of the Phrase assigned to the selected track Source style number, phrase number After setting, press the [ENTER] button to copy the phrase.When this box is checkmarked, sample voices assigned to the source phrase are copied to the destination phrase as sample voices, and are assigne to the corresponding tracks in the selected pattern. Destination phrase and track of the current edited style.
220MOTIF Reference Pattern Play mode Reference Pattern mode ■ Creating Pattern Chains with Realtime Playback (Pattern Chain Recording) This function makes it possible to specify a sequence of patterns for pattern chain playback. Switching of styles/sections, track muting, scene/ mute changes, and tempo changes can all be recorded in real time. 1 In the Pattern Play mode, press the [F6] button to enter the Pattern Chain Play mode as shown below. Details about parameters in this display are same as in step #1 of the Basic Procedure on page 217. 2 Press the [REC] button to enter the Pattern Chain Record mode. The indicator lights and the Record Setup Display appears. 3Set basic parameters for recording (e.g., Style number/Section, Recording Type, Track, Tempo and so on). • The Recording Type, Time Signature and Tempo settings are same as in the Song Record mode. • To record a track, select the desired track from “TMP” (Tempo), “SCN” (Scene), and “PTN” (Pattern). For details about the Pattern Chain track structure, see page 54. 4Press the [F] button to start recording and play the pattern as you like. • When a Pattern track (1 - 16) is selected, you can record style and section changes. • When the Tempo track is selected, you can record tempo changes. • When the Scene track is selected, you can record track muting settings. 5Press the [■] button to stop recording. ■ Pattern Chain Editing The Pattern Chain Edit mode makes it possible to edit the order of the patterns in a chain as well as inserting tempo, and scene/mute event data. Call up the desired display by following the instructions below and edit the events (Style/Section changes, Scene/ Mute changes, and Tempo changes) in each display. REC REC Pattern Chain Edit mode [EDIT] button [PATTERN] button Pattern Track Edit [F4] button [F4] button [F4] button Scene Track Edit Tempo Track Edit Pattern Chain Edit mode