Yamaha Motif 8 Owners Manual

							231MOTIF  Reference
Pattern Job mode
Reference  Pattern mode
● [F5]-05 Divide Drum Track
Separates the note events in a drum performance 
assigned to a specified track, and places the notes 
corresponding to different drum instruments in 
separate tracks (tracks 1 through 8). 
One useful application for this would be to use 
Quantize (page 225) and Shift Clock (page 227) to 
independently adjust the timing of different drum 
parts in the rhythm, to tighten up the timing and yet 
create a more natural sounding feel.
Same as in the Song Job mode. See page 203. 
[F6] Pattern Job
Press the [F6] button in step #3 of the Basic Procedure 
on page 225 so that the Pattern Job list appears on the 
display. Scroll the cursor to the desired Job and press 
the [ENTER] button to go to the display of the selected 
Job. 
The following explanations apply to step #6
 of the 
Basic Procedure on page 225. 
● [F6]-01 Copy Pattern
This job copies all data from a selected source 
pattern to a selected destination pattern. 
Undo/Redo (page 225) cannot be used to undo/redo a 
sample voice copy operation.
● [F6]-02 Append Pattern
Appends one pattern to the end of another to create 
one longer pattern with all 16 tracks. 
nWhen the KEEP ORIGINAL PHRASE checkbox is 
checked, this job requires twice the number of 
empty user phrases as the number of tracks 
containing data in which to store the appended 
phrase data. If the required phrases are unavailable 
the alert message will appear and the job will be 
aborted. If this occurs use the Clear Phrase Job 
(page 230) to delete unused phrases and try again. 
nIf this job is applied to patterns which use sample 
voices, the sample voices will not be appended.
nIf the pattern length becomes greater than 256 
measures as a result of the Append Pattern Job, an 
error message will be displayed and the Job will be 
aborted.
● [F6]-03 Split Pattern
This Job splits a selected pattern (all 16 tracks data) 
into two patterns.
Source style and section
Destination style and section
 When this box is checkmarked, sample voices
 (if included in the source style) are copied to 
 the destination style.
When this box is checkmarked, Preset Phrases (if included
in the source style) are copied to the User Phrase.
Source pattern
(style and Section)Destination pattern
(style and section)
When this box is checkmarked, the original Destination
pattern data is retained in memory, along with the new
appended pattern data. If the box is not checkmarked,
the original Destination pattern is erased and replaced
with the newly created data.
When this box is checkmarked, Sample Voices 
(if included in the source style) are copied to the
Destination Style.
After the Split Pattern operation, the part of the pattern before
the specified Split Point will remain, and the part following
the Split Point will be moved to the destination pattern.
Destination pattern
(style and section) Source pattern
(style and section)
When this box is checkmarked, the original Source pattern
data is retained in memory, along with the new appended
pattern data. If the box is not checkmarked, the split
portion of the original Source pattern is erased and moved
to the Destination pattern. 
						

							232MOTIF  Reference
Pattern Mixing mode  
Reference  Pattern mode
The job overwrites any data already existing in the 
destination pattern.
nWhen the KEEP ORIGINAL PHRASE checkbox is 
checked, this job requires twice the number of 
empty user phrases as the number of tracks 
containing data in which to store the appended 
phrase data. If the required phrases are unavailable 
the alert message will appear and the job will be 
aborted. If this occurs use the Clear Phrase Job 
(page 230) to delete unused phrases and try again. 
● [F6]-04 Clear Pattern
This job deletes all data from the selected pattern, 
or from all patterns.
● [F6]-05 Style Name
Basic Operation (page 75)
This Job lets you assign a name to the selected style.
See “Basic Operation” on page 75. 
Pattern Mixing mode
In this mode, you can set up and save mixing data for 
your patterns, and set various parameters for the tone 
generator parts — including the desired voice, as well 
as its level, pan, EQ, effect and other settings.
How the Pattern Mixing mode affects the tone 
generator parts, and how it is affected by other 
elements, is made clear by the following diagram.
Pattern Mixing parameters are not actually part of the 
pattern data, but rather are settings for the tone 
generator, as it is played back by the pattern data.  As 
such, the Pattern Mixing parameter settings are not 
recorded to the pattern tracks. 
Even though the modes are different, the actual Pattern 
Mixing operations and parameters are the same as 
those of the Song Mixing mode.  See page 205.
Pattern (style and section) to be cleared
Sequencer block
Tone Generator
block
Tone GeneratorPattern Data
Pattern Mixing
MIDI data from
external devices
affects the Pattern
Mixing settings.
Editing in the
Pattern Mixing
mode determines
the Pattern Mixing
settings. Playback of pattern data affects
the Pattern Mixing settings. 
						

							233MOTIF  ReferenceFunction Tree
Reference  Sampling mode
Sampling Mode
Basic Structure  (page 58)
Function Tree
This section is devoted to the Sampling mode.  To see how the Sampling 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 Sampling modes — giving 
you a quick, easy-to-understand overview of the sampling-related functions of the MOTIF.
Brackets around a word or phrase (e.g., [F1]) indicate specific button names or panel operations.
[INFORMATION]  SAMPLE
[SAMPLE]  SAMPLE REC SETUP
[F1]  DESTINATION
[F2]  SOURCE
[F6]  SAMPLE RECORD
[F6]  SAMPLE RECORDING
RECORDING (Slice+Seq)
[AFTER COMPLETING RECORDING] 
[F1]  TRIM
[INFO]  TRIM INFORMATION
[SF1]  AUDITION
[SF2]  START-LOOP
[SF3]  GET TEMPO
[SF4]  EXTRACT
[F5]  ZOOM OUT
[F6]  ZOOM IN
[F2]  SLICE
RECORDING (Sample, Sample+Note)
[F6]  SAMPLE REC SETUP
[EDIT]  SAMPLE EDIT
[F1]  KEYBANK SELECT
[F2]  TRIM
[INFO]  TRIM INFO
[SF1]  AUDITION
[SF2]  START-LOOP
[SF3]  GET TEMPO
[SF4]  EXTRACT
[F5]  ZOOM OUT
[F6]  ZOOM IN
[F3]  PARAMETER
[F4]  RANGE
[JOB]  SAMPLE JOB
[F1]  KEYBANK JOB LIST
COPY
DELETE
EXTRACT
MOVE
NORMALIZE
TIME-STRETCH
CONVERT PITCH
FADE IN/OUT
CONVERT FREQUENCY
STEREO TO MONO
LOOP-REMIX
SLICE
[F2]  WAVEFORM JOB LIST
COPY
DELETE
TRANSPOSE
NAME
[F3]  OTHER JOB LIST
CLEAN UP MEMORY
OPTIMIZE MEMORY
DELETE ALL
CONVERT TO DRUM VOICE (User Drum Voice Number, Name)
[SAMPLE]
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							234MOTIF  Reference
Sampling Record mode 
Reference  Sampling mode
Sampling Record mode
Basic Operation (page 58)
In this mode, you can record sounds to the MOTIF (for 
example,  your voice, a guitar, or sounds from a CD), 
edit them, and use them to create special Sample voices 
you can play from the keyboard.  Or, if you enter this 
mode from the Song or Pattern mode, the sounds you 
record can be assigned to the tracks and played back 
automatically with the song or pattern.  What’s more, 
by using the Resampling function, you can create new 
samples from your edits, or make samples from the 
sounds of the MOTIF itself.
◆ Data created by Sampling
Regardless of the mode, the raw Sampled data is the 
same, of course. However, various parameters are 
different, depending on the particular mode or settings. 
See page 59 for details on the kinds of data that are 
created in the Sampling function. 
◆ Basic Procedure
1 To use a microphone or external audio source, 
make all the appropriate connections. For details, 
see “Analog input” and “Digital input” on page 23. 
nIf you want to use the sound of the MOTIF as a 
recording source (with the Resampling function), 
step #1 above is unnecessary.
2 Depending on how you want to use your created 
sample, there are two ways you should proceed:
• To create a normal (User) voice —
Enter the Voice or Performance mode.  To use the sound of 
the MOTIF as a recording source (with the Resampling 
function), select the desired voice or performance.
• To create a Sample track in a song 
or pattern — 
Enter the Song or Pattern mode and select the desired song 
or pattern. 
3 Press the [INTEGRATED SAMPLING] button to 
call up the Setup display in the Sampling Record 
mode.  (The indicator lights.)
nEven when you enter the Sampling Record mode, 
the indicator of the previous mode’s button 
remains lit, allowing you to confirm which mode 
you entered from.
4 Press the [F1] button and set the destination-
related parameters for the sample.  (These 
determine the memory location to which the 
sample will be recorded and assigned.)
nWhen entering the Sampling Record mode from the 
Voice/Performance mode, the recorded sample is 
automatically stored to the Waveform and User 
voice set in this display. 
nWhen entering the Sampling Record mode from the 
Song/Pattern mode, the recorded sample is 
automatically stored to the track set in this display 
as a Sample voice. 
5 Press the [F2] button and set the source-related 
parameters for the audio input.
6 Press the [F6] button to go to the Sampling standby 
display and set the Trigger mode in this display. 
7 Press the [F6] button again to start sampling, and 
play the input source at the proper time.  How and 
when you should play the source depends on the 
settings made in step #5 above (and described 
on page 236), and the process you use (described 
briefly below).
• When the Source is set to “A/D” or “digital”:
Any of the following audio input jacks/terminals on the 
MOTIF can be used for sample recording:
- A/D INPUT jacks
- mLAN terminals (when the optional mLAN8E has been 
installed)
- DIGITAL IN jack (when the optional AIEB2 has been 
installed)
- OPTICAL IN jack (when the optional AIEB2 has been 
installed)
• When the Source is set to “resample”:
The sound generated by the MOTIF itself (Song/Pattern 
playback, keyboard performance) can be recorded as a 
sample.
How sampling actually starts depends on the 
Trigger mode setting made in step #6 above (and 
described on page 237), and the process you use 
(described briefly below).
When Trigger mode is
set to “Manual”:When Trigger mode is
set to “Level”:
Sampling Standby Sampling Standby
Sampling Start
Sampling StartTrigger Waiting
Press the [F6] button. Press the [F6] button.
When the level of the input
signal exceeds the Trigger
level, sampling starts. 
						

							235MOTIF  Reference
Sampling Record mode
Reference  Sampling mode
8 Stop the Sampling following the instructions above 
and stop the recording source playback. 
9 Set the Slice parameters as needed— if you’ve 
entered the Sampling Record mode from the Song/
Pattern mode, and you’ve set the Sampling type to 
“slice+seq” in step #5 above.
10 Save the recorded sample to the memory card/
SCSI storage device as a Waveform, User voice, or 
Sample voice, as required. 
The recorded (edited) phrase data resides temporarily in 
DRAM (page 64). Because data contained in DRAM is 
lost when the power is turned off, you should always save 
any data residing in DRAM to a memory card or an 
external SCSI device before turning off the power.
• The operations corresponding to steps #4 - 9 are 
covered in the following explanations.
• For details on step #10, refer to “File mode” on 
page 264.
Sampling Setup
The explanations here apply to steps #4 and #5 of the 
Basic Procedure on page 234. 
■ [F1]  Sampling Destination settings
The explanations here apply to step #4 of the Basic 
Procedure on page 234. 
● When entering the Sampling mode from the 
Voice/Performance mode
nThe MOTIF can transfer wave data to and from the 
computer (with TWE software) only when this display is 
called up.
• Waveform
Determines the Waveform number to which the recorded 
sample is assigned. 
❏Settings 001~256
• Keybank
Determines the note number located at the center of the 
Key Bank. 
❏Settings C-2 ~G8
nFor details about the Waveform and Key Bank, see 
page 60. 
• Part
Determines the performance part to which the recorded 
sample is assigned. This is available only when entering 
the Sampling mode from the Performance mode. 
❏Settings off, 1~ 4
• Voice
The recorded sample can be stored as a User Normal voice. 
This parameter determines a User Normal voice number 
to which the recorded sample is assigned. 
❏Settings off, 1~128
nWhen this is set to “off,” only a Waveform is 
created; the sample is not stored as a User voice.  
The sample is stored to the smallest numbered 
Waveform available.  If you wish to hear the new 
sample and later assign it to a User voice, go to the 
Element Oscillator display ([F1]-[SF1]) in the 
Voice Edit mode and search the User Waveforms 
to find the sample. For details, see page 135. 
● When entering the Sampling mode from the 
Song/Pattern mode
• Track
Determines the track number to which the recorded 
sample is assigned. 
❏Settings 1~16
• Keybank
Determines the note number located at the center of the 
Key Bank. This parameter is available only when the 
Sampling type is set to “sample” or “sample+note” (in the 
Type parameter below).
❏Settings C-2~G8
When Trigger mode is set to  Meas :
Sampling Standby
Sampling Stop Sampling Start Punch-in Waiting
Press the [F6] button.
Start playback of the song or pattern.
When the appropriate Punch-in
measure is reached, sampling starts.
When the appropriate Punch-out
measure is reached, sampling
stops. Otherwise, to stop
sampling, press the [F6] button. 
						

							236MOTIF  Reference
Sampling Record mode 
Reference  Sampling mode
■ [F2] Sampling Source settings
The explanations here apply to step #5 of the Basic 
Procedure on page 234. 
• Type 
Determines the Sampling type. When entering the 
Sampling mode from the Song/Pattern mode, the data 
created by the Sampling varies depending on this setting. 
Keep in mind that this parameter is fixed to “sample” 
when entering the Sampling mode from the Voice/
Performance mode. 
❏Settings sample, sample + note, slice + seq 
sample
Only the sample (wave) data is created. 
sample + note
In addition to the sample data, the appropriate note data 
for playing the sample is created and recorded to the 
specified track. 
slice + seq 
The recorded sample is automatically divided into “slices,” 
and these are assigned to successive notes on the keyboard.  
These notes are then automatically arranged in sequence 
data (to the specified track) for playback.  
This is especially useful for rhythm samples.  For example, 
if you’ve recorded a drum part, each beat of the rhythm is 
converted to a separate slice and a separate note, and the 
notes are made into a sequence.  In this way, playing back 
the sequence data plays the entire rhythm sample.  The 
advantage to this is that you can then adjust the tempo of 
the sequencer over a wide range, and still keep the rhythm 
perfectly in sync with the other tracks.nDetailed settings (meter, measure number etc,) are 
specified in the Slice display after sampling. 
• Source
Determines the recording source.
❏Settings
A/D
Analog audio from the A/D INPUT jacks or mLAN 
terminal (with optional mLAN8E) is recognized as the 
recording source.
r
esampleThe signal (already recorded sample or preset wave) 
output from the MOTIFs OUTPUT jacks is recognized as 
a recording source and “resampled”.
Digital 
Digital audio from the DIGITAL IN terminal or OPTICAL 
IN terminal (with optional AIEB2) is recognized as the 
recording source.
• Mono/Stereo 
Determines whether new samples will be recorded as 
stereo or mono samples.
❏Settings
monoL
The L-channel signal will be recorded as a mono sample.
monoR
The R-channel signal will be recorded as a mono sample.
monoL+R
The L-channel and R-channel signals will be mixed and 
recorded as a mono sample.
ster
eoA stereo sample will be recorded.
• Frequency  (Sampling Frequency)
Specifies the sampling frequency. The rate at which digital 
readings are taken is referred to as the sampling frequency. 
Higher sampling frequencies result in higher quality sound.
❏Settings
44.1k (44.1 kHz), 22kLo (22.05 kHz Lo-Fi), 11kLo 
(11.025 kHz Lo-Fi), 5kLo (5.5125 kHz Lo-Fi)
nWhen the Source is set to A/D and the mLAN 
terminal is used as an analog input, the Frequency 
is fixed to 44.1 kHz and cannot be changed. 
nAt settings other than 44.1 kHz, the sound 
monitored during recording may be different from 
the recorded sound, depending on the source 
signal.
Sample Voice
Assigned to a
specified key
Sequence data







Sample Voice
Assigned to a
specified key
Sequence data






 
						

							237MOTIF  Reference
Sampling Record mode
Reference  Sampling mode
Sampling Standby
The explanations here apply to step #6 of the Basic 
Procedure on page 234. 
• TriggerMode
Specifies the method by which sampling will be triggered.
❏Settings
le
vel Sampling will begin as soon as an input signal exceeding 
the specified trigger level is received after the [F6] 
(START) button is pressed. 
When this is selected, you need also set the Trigger Level 
(1~127). 
meas
This is available only when entering the Sampling mode 
from the Song/Pattern mode and should be set together 
with the Punch-in/out measure. 
After the [F6] (START) button is pressed, sampling will 
begin at the specified punch-in measure, and end at the 
specified punch-out measure. Sampling will also stop when 
the Song/Pattern is stopped by pressing the [■] button. 
manual 
Sampling will begin as soon as the [F6] (START) button is 
pressed, regardless of the Song/Pattern playback status. 
• RecMonitor (Recording Monitor)
Determines the output level of the monitor for the input 
signal. 
This monitor signal is output from the PHONES jack or 
the OUTPUT R and L/MONO jacks. This has no effect on 
the recording level.
❏Settings 0~127
• RecGain (Recording Gain)
Determines the recording gain when resampling. 
This parameter is available only when the Source is set to 
“resample.”
❏Settings -12dB~+12dB
Trigger Waiting
The following display applies to step #7 of the Basic 
Procedure on page 234. The following display is 
available when the Trigger mode is set to “level.” In 
this case, sample recording is on standby, waiting for 
an input signal that exceeds the Trigger level.
Punch-in Waiting
The following display applies to step #7 of the Basic 
Procedure on page 234. 
The following display is available when entering the 
Sampling mode from the Song/Pattern mode and when 
the Trigger mode is set to “meas.” In this case, sample 
recording is on standby, waiting for song/pattern 
playback to reach the specified Punch-in measure.
Slice setting after sampling
The explanations here apply to step #9 of the Basic 
Procedure on page 235. 
If you’ve entered the Sampling Record mode for the 
Song or Pattern mode and you’ve set the sampling type 
to “slice+seq,” you should set the following Slice-
related parameters.
■ [F1] Trim
The trim function makes it possible to specify the 
beginning and end points to be played back within an 
entire sample. You can delete all unnecessary sample 
data (located ahead of the Start point and located after 
the End point) by pressing the [SF5] button (Extract 
function). This function is especially useful in creating 
drum loops, since it helps you isolate only the beats 
you need for your loop.You can also specify the tempo 
for the range of the looped playback to determine its 
beat. 
Indicates the MOTIF is in the Sampling Standby mode.
Indicates that sample recording is waiting
for a signal of an appropriate level.
Indicates that sample recording is waiting
for a signal of an appropriate level. 
						

							238MOTIF  Reference
Sampling Record mode 
Reference  Sampling mode
• Start (Start Point)
Determines the Start point for the sample playback.
• Loop (Loop Start Point) 
Determines the Top point of the loop playback (the point 
where the loop begins) within the range of the entire 
sample. 
• End (End Point) 
Determines the End point of the loop playback within the 
range of the entire sample. 
• Beat 
The Beat of the range from the Loop Start Point to the End 
Point is automatically displayed according to the Tempo 
(below). This is displayed only and cannot be changed. 
If you use the GET TMP (Get Tempo) function by 
pressing the [SF4] button, this Beat value is automatically 
changed to match the extracted tempo.
• (Tempo)
Execute the GET TMP (Get Tempo) operation by pressing 
the [SF4] button to calculate the tempo when the Sample 
data playback of the range from the Loop Start Point to the 
End Point is treated as one measure. The result of the 
calculation appears here. 
You can also change the tempo by using the [INC/YES] 
and [DEC/NO] buttons, or the data dial.
■ [F2] Slice
This powerful feature lets you automatically divide the 
recorded sample into separate “slices.”  These slices are 
then assigned to successive notes and arranged as 
sequence data.  This effectively lets you recreate the 
original sample by playing back its slices in order, in 
any tempo — perfect for matching samples of different 
original tempos.  This is also useful for melodic 
samples, such as bass parts, since it lets you play back 
the sample at any tempo without changing the overall 
pitch.
nIt is necessary to accurately adjust the length of the 
sample before executing the slice operation. Use the [SF1] (AUDITION) button in the Trim display 
to loop the sample and precisely set the Start and 
End points as required.
• Type (Slice Type) 
Specifies how the sample is sliced, and to some extent 
determines the resulting sound quality. Select the type that 
best suits the original phrase.
❏Settings
beat1~3 
This slice type is suited for percussive phrases such as 
drums or bass with a fast attack and short decay. Three 
variations are provided.
phr
ase1~4 Ideal for phrases containing cymbals or other instruments 
with a long decay. Four variations are provided.
quick
Regardless of the phrase content, the sample is divided at 
the specified note sub-divisions.  The number of slices per 
measure is calculated by multiplying the top number of the 
Meter (time signature) parameter by the bottom number 
of the SubDivide parameter. 
nFor helpful hints on getting the Slice Type 
parameter to work for different samples, see “Tips 
for using the Slice Types” on page 239.
• Measure
Determines the number of measures in the sample to be 
sliced.
When the slice operation is executed, sequence data 
corresponding to the specified number of measures is 
created. The sequence data is created from the beginning 
of the current measure at the point at which sampling is 
started.
❏Settings 1~8
• Meter
Specifies the meter (time signature) of the sample. The 
setting here is the basic slice unit. 
❏Settings 1/16 ~ 16/16, 1/8 ~ 16/8, 1/4 ~ 8/4
Press the [F5] and [F6]
buttons to zoom in and
out of the wave display. Tempo
Press the [SF1] button to
sound the recorded
sample according to the
settings in this display.Delete all unnecessary sample dat
a(located ahead of the Start point 
and located after the End point) by 
pressing the [SF4] button.Press the [SF2] button so that 
the address of the Start Point 
is changed to the one of the 
Loop Start Point. 
Press the [SF3] button to calculate the 
tempo/beat when the Sample data playback of 
the range from the Loop Start Point to the End 
Point is treated as one measure. The result of 
the calculation appears at the left in this display.
Press the [F5] button to go back to 
the Sampling Setup display without 
storing the result.
Press the [F6] button to store the result of the Slice 
operation and go back to the Sampling Setup display.You can hear and confirm 
the sliced
amples by pressing the 
[SF1] button.
Press the [ENTER] button. (The display 
prompts you for confirmation.) Press the 
[INC/YES] button to execute the Slice. 
						

							239MOTIF  Reference
Sampling Record mode
Reference  Sampling mode
• SubDivide
The Meter parameter sets the basic slice unit, and 
SubDivide specifies even finer resolution for phrases 
containing regions with shorter notes.
For the following phrase, for example, the Meter should be 
set to 4/4 and SubDivide to 1/2.
❏Settings
When Meter is set to 1 ~ 8/4: 
quarter note (1/1), 8th note (1/2), 4th note triplet (1/3), 
16th note (1/4), 8th note triplet (1/6), 16th note 1/8), 
32nd note triplet (1/12)
When Meter is set to 1 ~ 16/8: 
8th note (1/1), 16th note (1/2), 8th note triplet (1/3), 
32nd note 1/4), 16th note triplet (1/6)
When Meter is set to 1 ~ 16/16: 
16th note (1/1), 32nd note 1/2), 16th note triplet (1/3)
nThis parameter has no effect when the Slice Type 
parameter is set to beat 1~2.
nThe maximum slice resolution for stereo samples 
is 64 slices, and for mono samples 128 slices.
• Sens (Envelope Sensitivity)
Further adjusts the sub-divisions specified by the 
SubDivide parameter. Higher values result in higher 
resolution, allowing even finer notes and smaller sounds to 
be detected and sliced.
Use the Audition function (press [SF1]) to hear the 
results, and if you’re not satisfied with them, change the 
setting and try again.
❏Settings 1~5
nThis parameter has no effect when the “quick” 
slice type is selected.
◆ Tips for using the Slice Types
● Slicing percussive phrases having short decays
• First, try slicing using “beat1.”
• If the result has a weak attack or the release portions 
of the phrase seem to overlap, try again using “beat2.” 
Try adjusting the envelope sensitivity for finer 
control.
• If after using “beat1” the attack portions overlap or 
the overall rhythmic feel is degraded, try again using 
“beat3.”  Use the SubDivide parameter to adust the 
slice resolution, and make final adjustments with the 
Envelope Sensitivity parameter.
● Slicing phrases having long decays
• First, try slicing using “phrase1.”
• If the result has a weak attack or the release portions 
of the phrase seem to overlap, try again using 
“phrase2.”  Use the SubDivide parameter to adust the 
slice resolution, and make final adjustments with the 
Envelope Sensitivity parameter.
•  If after using “phrase1” the points between the slices 
sounds rough and the overall feel is choppy, try again 
using “phrase3” and set SubDivide to a finer 
resolution.  Make final adjustments with the 
Envelope Sensitivity parameter. The “phrase3” 
setting is generally best for sustained strings or brass 
type sounds with no vibrato — in other words, the 
pitch remains constant. It can also produce echo-like 
effects when applied to percussive phrases with short 
decay.
• If after using “phrase1” the points between the slices 
sounds rough and the overall feel is choppy, try again 
using “phrase4” and set SubDivide to a finer 
resolution.  Make final adjustments with the 
Envelope Sensitivity parameter. The “phrase4” 
setting is generally best for sustained strings or brass 
type sounds with vibrato, as well as vocal phrases.
◆ Wave Memory Required for Slice 
Operations
Individual wave data slices created through slice 
operations require approximately 1.5 times the original 
memory because a tail section is automatically added 
and fade-in and fade-out sections are automatically 
created at the beginning and end of the wave data. This 
helps to maintain maximum sound quality when the 
BPM is increased, and results in smoother connections 
between slices (no tail section is created when the 
QUICK slice type is selected).
A memory work area is required for the synthesis 
calculations carried out for each slice operation, as well 
as sufficient memory to hold the completed waveforms. 
When the sampling frequency is 44.1 kHz, the 
approximate amount of memory (expressed in 
kilobytes) required for each slice type is listed below.
Original
waveform
Sliced
waveform
Tail section
Fade section 
						

							240MOTIF  Reference
Sampling Edit mode 
Reference  Sampling mode
BEAT1  : Original wave size X N + (0.3  X number of slices) 
BEAT2  : Original wave size X N + (0.2  X number of slices) 
BEAT3  : Original wave size X N + (0.3  X number of slices) 
PHRASE1  : Original wave size X N + (5.8  X number of slices) 
PHRASE2  : Original wave size X N + (1.4  X number of slices) 
PHRASE3  : Original wave size X N + (0.4  X number of slices) 
PHRASE4  : Original wave size X N + (1.4  X number of slices) 
QUICK  : Original wave size X  3 + (0.7  X number of slices) 
For monaural samples N = 5.5, and for stereo samples 
N = 8. Also, the number of slices is doubled for stereo 
samples. 
With the memory expanded to the maximum 64 
megabytes, for example, if the entire memory is empty 
and a 44.1 kHz sample is sliced to 32 slices, the longest 
possible sampling time will be
approximately:
BEAT1~3, PHRASE1~4: approx. 138 seconds 
(mono), 47 seconds (stereo.) QUICK: approx. 253 
seconds (mono), 126 seconds (stereo).
Sampling Edit mode
Basic Structure (page 59)
This mode gives you a variety of sample eding tools, 
with which you can change the samples you’ve 
recorded in the Sampling Record mode, and customize 
them for your applications as needed.
◆ Editing Stereo Samples
For samples that have been recorded in stereo (with 
Stereo Sampling), both the left and right waves of the 
sample are edited together by the MOTIF.  in the actual 
process, any edits made to the left channel wave are 
duplicated exactly in the right channel.  The exception 
to this, of course, is Pan — since the sample already is 
in stereo.
◆ Basic Procedure
1 Press the [INTEGRATED SAMPLING] button to 
enter the Sampling mode.  (The indicator lights.)
 nUnlike in the Sampling Record mode, all 
parameters and functions of the Sampling Edit 
mode are the same, no matter which mode was 
previously selected.
nAll Sampling Edit operations apply to the 
Waveform (actual sample), not the voice.
2 Press the [EDIT] button to enter the Sampling Edit 
mode.  (The indicator lights.)  
3 Select the desired sample for editing from the Key 
Bank display.  (Press the [F1] button.)
4 Select the menu you wish to edit by pressing the 
[F2] - [F6] buttons. 
5 Edit parameters for the selected sample. 
6 Press the [EXIT] button to exit from the Sampling 
Edit mode. 
• The operations corresponding to steps #3 - 4 are 
covered in the following explanations.
Sample selection and Audition 
function
The explanations here apply to step #3 of the Basic 
Procedure see above. 
For details about the relationship between the 
parameters below, see page 241. 
1 Select a Waveform that contains a Sample you wish 
to edit. Move the cursor to the Waveform number 
and select the desired number by using the [INC/
YES] button, [DEC/NO] button, or the data dial. 
2 To select the desired Key Bank, simultaneously 
hold down the [INFORMATION] button and 
press the appropriate key on the keyboard. The 
information about the selected Key Bank appears 
on the display and the sample assigned to the Key 
Bank is called up. 
31
2 
You can hear the selected sample by pressing
the [SF1] button. (Audition function)Indicates information about the 
selected Key Bank.