Yamaha Motif 8 Owners Manual

							41MOTIF  Basic StructureSystem Overview
Basic Structure
●In the Song/Pattern mode: 
Reference (page 210)
The diagram below indicates the connection when the Vocal Harmony Plug-in Board (PLG100-VH) is installed to 
slot 1 and the Multi part Plug-in Board (PLG-100XG) is installed to slot 3.
* Please note that the Insertion Effect, Insertion Effect (Plug-in), and the System Effect cannot cannot be applied to 
parts 17~32 (using the Multi-part Plug-in board). The signal from parts 17~32 is directly sent to the Master 
Equalizer.
nThe Vocal Harmony Plug-in Board (PLG100-VH) can be installed only to slot 1. It cannot be installed to slot 2 or 3.  
nThe Multi part Plug-in Board (PLG100-XG) can be installed only to slot 3. It cannot be installed to slot 1 or 2. 
Part 17-32 *(When the Multi-part Plug-
in board has been installed)
Plug-in Part 2
(When the Single part Plug-
in board has been installed) Part 1~16
Tone Generator
block
A/D Input
• External audio source
• Microphone sound
Select the part to which the Insertion 
effect is applied. The connection type 
depends on the setting of the Voice 
assigned to the selected part.
Select the part to which 
the Plug-in Insertion 
effect is applied.
Return Level
Send Level
Output System Effect
Reverb
Chorus
Variation
Insertion Effect
PLG100-VH
Insertion Effect
(Plug-in)
1
2
Master Equalizer 
						

							42MOTIF  Basic Structure
Main functions
Basic Structure
Main functions
Voices and Performances
 Quick Start Guide (pages 80, 88) · Reference (pages 121, 160)
A Voice is the main sound of the MOTIF, made up of a variety of parameter settings.  Each Voice can consist of up to 
four separate Elements, each of which is a high-quality wave, or basic sound.
A Performance, on the other hand, is a program in which multiple Voices (parts) are combined — in a layer, or in 
other configurations. Each Performance can contain up to four different Parts. 
       
One VoiceOne Performance
Element 1Element 2Element 3Element 4
Up to four elements
Parameter settings
(Voice Edit)
+
Voice 1 Voice 2 Voice 3 Voice 4
Up to four voices
Parameter settings
(Performance Edit)
+
Oscillator
See page 46 See page 47 See page 47 See page 45Pitch
Pitch Envelope
GeneratorFilter Envelope
Generator
Low Frequency
Oscillator
Amplitude Envelope
Generator
Filter Amplitude
Parameters related to the
Tone Generator block
Parameters released to the Effect block Parameters related to the Controller blockPEG FEGLFO
AEG
Set the following parameters for each Element to create the Voice.
Return
level Send
levelSystem Effect
Reverb
Chorus
Insertion Effect
1
2Master
Equalizer
KN 1 KN 2 KN 3 KN 4 
						

							43MOTIF  Basic StructureMain functions
Basic Structure
In the Voice Play mode, you can select and play any of these Voices. In the Performance Play mode, you can select and 
play any of these Performances. 
On the previous page, the illustration shows the structure of one Voice/Performance. The illustration below shows 
the overall memory structure of all Voices and Performances.  Taken together, these illustrations can help you better 
understand the structure of the MOTIF’s Voices and Performances. These two illustrations help you to understand 
the structure of Voice/Performance. 
Preset 1(128 Normal Voices)
Group A~H
Number 1~16
Voice
Preset 2(128 Normal Voices)
Preset Voice
(384 Normal Voices + 48 Drum Voices)
Group A~H
Number 1~16
Voice
Preset 3(128 Normal Voices)
Group A~H
Group A~CGroup A~H
Number 1~16
Voice
Preset 1(48 Drum Voices)
Preset 1
Number 1~16
Voice
Plug-in Voice(The maximum amount of Preset and Users Banks is three -depending on 
the number of Plug-in Board that are installed.)User
(128)
GM Preset(128 Normal Voices)
Group A~H
Number 1~16
Voice
GM Preset(1 Drum Voices)
GM Preset Voice(128 Normal Voices+1Drum Voices)
Voice
User(128 Normal Voices)
Group A~H
Number 1~16
Voice
User(16 Drum Voices)
User Voice(128 Normal Voices+16 Drum Voices)
Voices Performance
(AN, PF, DX board: 64 voice VL 
board: 192 voice )
Preset 2
Number 1~16
Voice (AN, PF, DX board: 64 voice  VL 
board: 192 voice )
Preset 3
Number 1~16
Voice (AN, PF, DX board: 64 voice  VL 
board: 192  voice )
User 1(64 Voice)
Number 1~16
Voice Group A~H
User 2(64 Voice)
Number 1~16
Voice Group A~H
User 3(64 Voice)
Number 1~16
Voice Group A~HNumber 1~16
Performance
For instructions on selecting Voices / 
Performances, see pages 124 and 162.
Indicates the separate Banks 
of Voices / Performances.
Number 1~16
Voice
Group A~C
Number 1~16
Voice 
						

							44MOTIF  Basic Structure
Main functions
Basic Structure
Waves and Elements
Waves are the waveforms that make up the Elements, which in turn make up a Voice.  A total of 1309 high-quality 
preset Waves are available. As shown in the following illustration, when creating a Voice, you can select the Wave to 
be used as an Element and then set its level, pitch, tone and other parameters.
User Waves — Samples
One very powerful feature of the MOTIF is its ability to import external audio samples (such as computer WAV/
AIFF files), and record audio as well — and then use those samples as instrument sounds for playback. You can 
record Waves through the microphone or line level jacks, and you can load Waves saved on Memory Card or an 
external SCSI device. 
The Waves can then be processed and assigned to notes on the keyboard. You can play them via the keyboard or you 
can assign them as Parts of a Song/Pattern. 
Element 1
Element 4 Element 2Element 3
Velocity
One Voice
Wave 1~1309
CD
Memory Card
SCSI device
Load MD
A/D INPUT jacks
DIGITAL IN 
connector
mLAN (IEEE1394)
connector
SEQ
TRANSPORT
LOCATE
12
REC
When the optional AIEB2 
has been installed to the 
MOTIF.
When the optional 
mLAN8E has been 
installed to the MOTIF.
Sampling
Internal DRAM 4MB (Can be expanded up to 64 MB
by installing optional SIMM memory modules.)Wave 
						

							45MOTIF  Basic Structure
Main functions
Basic Structure
Normal Voice and Drum Voice
Internally, there are two Voice Types: Normal Voices 
and Drum Voices. Normal Voices are mainly pitched 
musical instrument-type sounds that can be played 
over the range of the keyboard. Drum Voices are 
mainly percussion/drum sounds that are assigned to 
individual notes on the keyboard. A collection of 
assigned percussion/drum wave or Normal Voice is 
known as a Drum Kit.
GM voice
GM is a worldwide standard for Voice organization and 
MIDI functions of synthesizers and tone generators.  It 
was designed primarily to ensure that any song data 
created with a specific GM device would sound 
virtually the same on any other GM device — no 
matter the manufacturer or the model.  The GM Voice 
bank on the MOTIF is designed to appropriately play 
back GM song data.  However, keep in mind that the 
sound may not be exactly the same as played by the 
original tone generator.
Voice structure
One voice consists of Oscillator, Pitch, Filter, 
Amplitude, LFO and various parameters as shown 
on page 42. You can create the basic voice character by 
setting these four parameters. 
■Oscillator
Reference (page 137)
This unit outputs the wave of each Element.
You can set the note range for each Element (the range 
of notes on the keyboard over which the Element will 
sound) as well as the velocity response (the range of 
note velocities within which the Element will sound).For example, you could set one Element to sound in an 
upper range of the keyboard, and another Element to 
sound in a lower range. Thus, even within the same 
Voice, you can have two different sounds for different 
areas of the keyboard or you can make the two Element 
ranges overlap so that their sounds are layered over a 
set range.
Furthermore, you can set each Element to respond to 
different velocity ranges so that one Element sounds 
for lower note velocities, whereas another Element 
sounds for higher note velocities.
Drum Voice
Key 1 Key 2Key 3Key 4 Key 5 Key 76
Normal Voice
VoiceElement 1~ 4Element 1
Element 4 Element 2Element 3Velocity
Note Range 
						

							46MOTIF  Basic Structure
Main functions
Basic Structure
■Pitch
Reference (page 138)
This unit controls the pitch of each Element output 
from OSC. You can detune Elements, apply Pitch 
Scaling and so on. Also, by setting the PEG (Pitch 
Envelope Generator), you can control how the pitch 
changes over time.
●PEG (Pitch Envelope Generator)
Using the PEG, you can control the transition in 
pitch from the moment a note is pressed on the 
keyboard to the point at which it is released. As 
illustrated at right, the Pitch Envelope consists of 
five Time (transition speed) parameters and five 
Level (pitch) parameters. This is useful for creating 
automatic changes in pitch. Furthermore, different 
PEG parameters can be set for each Element.
■Filter
Quick Start Guide (page 84) · Reference (page 140)
This unit modifies the tone of each Element output 
from Pitch by cutting the output of a specific frequency 
portion of the sound. You can also set the Filter 
Envelope Generator (FEG), to control how the filter 
works over time — letting you set up dynamic changes 
in tone.
●Cutoff Frequency and Resonance
Filters work by allowing the portion of the signal 
lower than a given frequency to pass, and cutting 
the portion of the signal above that frequency. This 
frequency is referred to as the cutoff frequency. You 
can produce a relatively bright or darker sound by 
setting the cutoff. 
A parameter that boosts the level of the signal in the 
area of the cutoff frequency is called Resonance. By 
emphasizing the overtones in this area, this can 
produce a distinctive “peaky” tone, making the 
sound brighter and harder. ●About the main Filter types
The Low Pass Filter is shown in the illustration 
above — however, the MOTIF features other Filter 
types as well.  This section introduces you to the 
four types.
•Low Pass Filter (above)
This only passes signals below the Cutoff frequency. 
You can then use the Reso (Resonance) parameter to 
add further character to the sound. 
•High Pass Filter
This only passes signals above the Cutoff frequency. 
You can then use the Reso (Resonance) parameter to 
add further character to the sound. 
0
Release
LevelAttackLevel
Hold Level
Attack
Time Hold
TimeDecay1TimeDecay2TimeRelease
Time
Decay1LevelSustain
LevelKey off
Time
Le v e l
Cutoff frequency
Frequency (pitch) Level
These resonance are 
passed by the filter.
Cutoff frequencyResonance
Frequency (pitch) Level
Resonance
Cutoff Frequency
These frequencies are 
passed by the filter. 
						

							47MOTIF  Basic Structure
Main functions
Basic Structure
•Band Pass Filter
This only passes a band of signals around the Cutoff 
frequency. The width of this band can be varied. 
• Band Elimination Filter
This attenuates a band of signals around the Cutoff 
frequency, but passes everything else.
●FEG (Filter Envelope Generator)
Using the FEG, you can control the transition in 
tone from the moment a note is pressed on the 
keyboard to the point at which it is released. As 
illustrated at right, the Filter Envelope consists of 
five Time (transition speed) parameters and five 
Level parameters (for the amount of filtering). 
When you press a note on the keyboard, the cutoff 
frequency will change according to these envelope 
settings. This is useful for creating automatic wah 
effects, for example. Furthermore, different FEG 
parameters can be set for each Element.
■Amplitude
Reference (page 145)
This unit controls the output level (amplitude) of each 
Element output from Filter. The signals are then sent 
at this level to the Effect block. Also, by setting the 
AEG (Amplitude Envelope Generator), you can 
control how the volume changes over time.●AEG (Amplitude Envelope Generator)   
Using the AEG, you can control the transition in 
volume from the moment a note is pressed on the 
keyboard to the point at which it is released. As 
illustrated at right, the Amplitude Envelope consists 
of five Time (transition speed) parameters and five 
Level parameters (for the amount of filtering). 
When you press a note on the keyboard, the volume 
will change according to these envelope settings. 
Furthermore, different AEG parameters can be set 
for each Element.
■LFO (Low Frequency Oscillator)
Reference (page 147)
As its name suggests, the LFO creates waveforms of a 
low frequency. 
These waveforms can be used to vary the pitch, filter or 
amplitude of each Element to create effects such as 
vibrato, wah and tremolo. LFO can be set 
independently for each Element; it can also be set 
globally for all Elements.
Range passed
Frequency Level
Cutoff range Cutoff range
Center frequency
Cutoff range
Frequency Level
Range passed Range passed
Center frequency
0
Release
LevelAttackLevel
Hold Level
Attack
Time Hold
TimeDecay1TimeDecay2TimeRelease
Time
Decay1LevelSustain
LevelKey off
Time
Level
0
Release
LevelAttackLevel
Init
Level
Attack
TimeDecay1TimeDecay2TimeRelease
Time
Decay1LevelSustain
LevelKey off
Time
Level 
						

							48MOTIF  Basic Structure
Main functions
Basic Structure
Controllers
The MOTIF gives you an amazing amount of control 
options.  Not only is it equipped with the conventional 
Pitch Bend and Modulation Wheels, it also features 
special knobs and sliders — and has an additional set 
of rear-panel jacks for connecting foot controllers and 
footswitches. You can connect controllers to the rear 
panel jacks to control various parameters by foot as 
well as by hand. 
This section explains the basic functions of each 
controller. 
Pitch Bend Wheel
This wheel’s prime function is to control pitch.
Move the wheel up or down to bend the pitch up or 
down.
nPitch Bend Range can be set for each Voice (page 132). 
The wheel can also be assigned other parameters 
(page 134). 
nEven if a different parameter is assigned to the wheel, 
Pitch Bend messages are still transmitted through MIDI 
OUT when it is being used. 
Modulation Wheel
The more you move this wheel up, the greater the 
modulation that is applied to the sound.
nModulation depth can also be set beforehand. Also, the 
wheel can be assigned to different parameters, such as 
volume or pan (page 134). 
Knobs
These knobs let you change various aspects of the 
Voice’s sound in real time —  while you play.  Turn a 
knob to the right to increase the value, and left to decrease it.  You can change which particular group of 
functions or parameters the knobs are assigned to by 
pressing the [KNOB CONTROL FUNCTION] button.  
Selecting the ASSIGN group (A, B, 1, 2) lets you 
control a group of user-assignable functions. 
nCommon system parameters are assigned to Knobs [A] 
and [B] (page 256). Voice-specific parameters are 
assigned to Knobs [1] and [2] (page 132). Knobs [1] and 
[2] can be assigned to Control Set Source. 
nA preset of suitable parameter settings is assigned to each 
Voice. By using each knobs [1] and [2], you are in effect 
adjusting these settings by a certain amount. If these 
parameters are already preset at their minimum or 
maximum settings, the settings cannot be exceeded.
Control Sliders (CS)
In the Voice mode, these are used to control the volume 
of each of the four Elements.  In the Performance 
mode, these are used to control the volume of the 
four parts.  In the Song/Pattern mode, these let you 
adjust the volume of specific tracks,(parts) 
depending on which group of tracks is currently 
selected.
When the Zone Switch is set to on in the Master Play 
mode, various functions (Control Number) can be 
assigned to these Control Sliders (page 273). 
Pitch Bend
WheelModulation
Wheel
Pitch Up
Pitch Down
Pitch Bend
WheelModulation
Wheel
Deeper
KNOB
CONTROL
FUNCTION
PA N
REVERBCHORUS
TEMPO
AT TA C KRELEASE CUTOFF
RESONANCE
ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2
MEQ LOW
ME Q HI  MID MEQ LOW MID  ME Q HIGHKN 1 KN 2 KN 3 KN 4
When the selected 
tracks (parts) are 1-4:12 3 4
When the selected 
tracks (parts) are 5-8:5678
When the selected 
tracks (parts) are 9-12:9101112
When the selected 
tracks (parts) are 13-16:13 14 15 16
VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4
CS 1 CS 2 CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4 
						

							49MOTIF  Basic Structure
Main functions
Basic Structure
Foot Controller
An optional Foot Controller (such as the FC7), 
connected to the FOOT CONTROLLER jacks 
(page 18) on the rear panel, can be assigned to a 
number of controller parameters. By using a foot 
controller for parameter control, both your hands are 
left free to play the keyboard (or to operate other 
controllers), — exceptionally convenient when you’re 
playing live. 
nFoot Controller parameters can be set for each Voice. 
Footswitch (assignable)
An optional Yamaha FC4 or FC5 Foot Switch 
connected to the rear panel FOOT SWITCH 
ASSIGNABLE jack (page 18) can be assigned to a 
range of parameters. It is suited for  switch-type (on/
off) controls, such as Portamento Switch, increment/
decrement of a Voice or Performance Number, start/
stop of the Sequencer, and holding the Arpeggiator on 
or off. 
nThe parameter assigned to the Footswitch is set in the 
Utility mode (page 256). 
Footswitch (sustain)
An optional FC4 or FC5 Footswitch connected to the 
SUSTAIN jack on the rear panel (page 18) lets you 
control sustain — particularly useful when playing 
piano and strings voices.
nYou cannot assign a function other than Sustain to the 
SUSTAIN jack. 
Breath Controller
You can connect an optional Breath Controller (BC3) 
to the BREATH jack (page 18) on the rear panel. Then 
use it to control a large number of the MOTIF’s 
parameters, particularly those controlled by a wind 
player’s breath: dynamics, timbre, pitch and so on.
The Breath Controller is ideally suited for realistic 
expression with wind instrument type Voices.
nBreath Controller parameters can be set for each Voice. 
Aftertouch
Aftertouch lets you change the sound (adding vibrato, 
for example) by applying further pressure to a note on 
the keyboard while it is being held down. This allows 
real-time expression and control. Aftertouch can be 
used to control a wide variety of parameters 
(page 134). 
Control Sets
Aside from their default parameters, keyboard 
aftertouch, the controllers and some of the knobs on 
the front panel can be assigned to various parameters, 
as explained on page 48. For example, you could assign 
Resonance to the Modulation Wheel and set aftertouch 
to apply vibrato. You are free to assign parameters to 
suit the kind of sound being played. 
These controller assignments are known as Control 
Sets. As the following illustration shows, you can 
assign up to six different Control Sets per Voice. 
Within each Control Set, the controller is known as the 
Source (Src) and the parameter controlled by the 
Source is known as the Destination (Dest). There are 
various Dest parameters available; some will apply to 
the Voice as a whole, while some will be specific to each 
of its Elements. Details are given in the Controls List of 
the separate Data List.
nDetails about the available Dest parameter settings are 
given in the Destination Parameter List of the separate 
Data List.
nThe Element Switches (page 134) will be disabled if the 
Dest parameter setting is not specified for the Elements 
(i.e., to settings 00 to 33). 
■Using one source to control several 
destinations
By creating Control Sets, you can change soundsin a 
variety of ways.
For example, set the Src (Source) parameter of Control 
Set 1 to MW (Modulation Wheel) and the Dest 
(Destination) parameter to ELFO-PM (Element LFO 
Pitch Modulation Depth). Then set the Src parameter 
of Control Set 2 also to MW, but set the Dest parameter 
to ELM PAN (Element Pan). You will also need to 
specify the Element to be controlled and also the depth 
(amount) of control.
In this example, when you move the Modulation Wheel 
upward, the amount of Pitch Modulation increases 
accordingly, and the Element is panned from left to 
right. In this way, you can have the sound change in 
several different ways, simply by adjusting a single 
controller. 
Destination
Control Parameters
Depth
Depth of control
SourceVoice
Control SetsController
PB,MW,etc
1
ON/OFF ON/OFF ON/OFF ON/OFF
Elements234
1~6 
						

							50MOTIF  Basic Structure
Main functions
Basic Structure
■Using several sources to control one 
destination
Continuing from the example above, now create 
another Control Set where Src is set to FC (Foot 
Controller) and Dest is set to ELFO-PM (Element LFO 
Pitch Modulation Depth). Again, specify the Element 
to be controlled and also the depth of control.
Now, Pitch Modulation is assigned to both the 
Modulation Wheel and Foot Controller. In other 
words, you can also assign several Src controllers to 
each Dest parameter.
By assigning all six Control Sets, you will have a 
stunning degree of real-time control over the 
synthesizer’s sounds.
■Control Sets and External MIDI Control
In a Control Set, the controllers are assigned to the 
internal parameters of the synthesizer. However, some 
controllers were originally designed for a particular 
purpose, and send pre-defined MIDI Control Change 
messages when used, regardless of their Control Set 
allocations within the synthesizer.
For example, the Pitch Bend Wheel, Modulation Wheel 
and keyboard aftertouch were originally designed to 
control pitch bend, modulation and aftertouch. 
Therefore, when you use these controllers, pitch bend, 
modulation and aftertouch information is always sent 
to the MIDI Out.
Let’s say the Pan parameter is assigned to the Pitch 
Bend Wheel in a Control Set. Now, when you move the 
Pitch Bend Wheel, the internal tone generator of the 
synthesizer will pan the sound; however, at the same 
time, the original pre-defined Pitch Bend messages will 
still be sent to the MIDI Out.The controllers can also send MIDI Control Change 
messages to control the parameters of external MIDI 
devices. These assignments can be set in the Utility 
Mode.
nSince Pitch Bend Wheel, Modulation Wheel and 
keyboard aftertouch are pre-defined with specific MIDI 
controls, other MIDI Control Change numbers cannot be 
assigned to them. 
You can also set up a controller such that it sends one 
kind of Control message to the synthesizer’s internal 
tone generator yet another kind to the MIDI Out.
For example, in a Control Set you could assign 
resonance to Assignable Knob [1]. Then, in the Utility 
Mode, you could assign Control Change Number 1 
(Modulation) to the same knob. Now, when you turn 
the knob, resonance will be applied to the sound of the 
internal tone generator; however, at the same time, 
modulation information will be sent to the external 
MIDI device connected to the MIDI Out.
ELFO-PMDest
ELM PANDest
SET 1 SET 2
Src
MW
(Modulation Wheel)
Src
MW
(Modulation Wheel)Moving the 
Modulation Wheel 
changes both the 
amount of Pitch 
Modulation and the 
pan position.
ELFO-PMDest
ELFO-PMDest
SET 1 SET 3
Src
MW
(Modulation Wheel)
Src
FC
(Foot Controller)
You can control the 
pitch modulation effect 
using either of 
Modulation Wheel 
(MW) and Foot 
Controller (FC).
OUT
Tone GeneratorIN
Pitch LFO1 PAN
MIDI
MIDI Control
Pitch Bend
Wheel
Controller Set