S Y N T H G U I D E - EasySounds

50 Pages·2011·4.61 MB·English

S Y N T H G U I D E
Content
Introduction 2
Part 1)
Synthesizers and Workstations 3
Part 2)
10 years of MOTIF - from „Classic“ to „XF“ 7
Part 3)
MOTIF Basics 14
Part 4)
MOTIF sound architecture and controls 20
Part 5)
MOTIF control section 25
Part 6)
The Voice-Mode 30
Part 7)
Expanded Articulation and Mega Voices 35
Part 8)
The Performance Mode 41
Part 9)
The Song Mode 46
The Authors 50
I N T R O D U C T I O N
The Synth Guide is a workshop series that introduces the basic concepts of synthesizers
and workstations with special reference to the Yamaha MOTIF series. A special feature of
the MOTIF series is the continuity in the sound architecture and operation. So if you
have once understood the device‘s concept you can apply this knowledge on the following
models.
The following devices are primarily considered:
• MOTIF XF
• MOTIF XS
• MOX
• MOTIF-RACK XS
• S90 XS
However, owners of older models such as the MOTIF „Classic“ or the MOTIF ES can also benefit from this
workshop series, since, as stated above, the basic sound architecture is unchanged throughout the
complete MOTIF series (including S-and MO-series).
This Synth Guide contains all parts which were released between the years 2011 and 2013 in the MUSIC
PRODUCTION GUIDE.
The MUSIC PRODUCTION GUIDE is the official News Guide from Yamaha & EASY SOUNDS for Yamaha
Music Production Instruments.
© Dezember 2013 YAMAHA Music Europe GmbH, Siemensstraße 22-34, 25462 Rellingen
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Part 1: sYntHesIzers anD
wOrkstatIOns
For the past 20 years, Yamaha The following devices are primarily consi- how does it differ from a synthesizer? There
releases free Quick Guides to their dered: are many questions like these - we want to
respective new synthesizers, tone •MOTIF XF
bring some clarity to the confusion.
generators, and workstations. •MOTIF XS
•MOX
For several years, the Quick Guides are
tHe sYntHesIzer
•MOTIF-RACK XS
integral parts of the Music Production
•S90 XS
Guides (until August 2010 „MOTIF News For centuries the sound generation of mu-
Guide“). However, owners of older models such as sical instruments based on natural mate-
the MOTIF „Classic“ or the MOTIF ES can rials, such as wood, metal, natural furs,
Since those guides and workshops were
also benefit from this workshop series,
skins, or gut. The extended possibilities of
mostly based on a specific model, we will
since, as stated above, the basic sound
an alternative sound generation arose with
try and start a new concept in this series.
architecture is unchanged throughout the
the electricity. Robert Moog is regarded as
complete MOTIF series (including S-and
Ten years ago, the first synthesizer of the
a pioneer and inventor of the first synthe-
MO-series).
very popular MOTIF series was introdu-
sizer, having constructed the first electronic
ced. With the MOTIF 6 / 7 / 8 (or MOTIF The workshop also wants to enable new-
analog synthesizer in the mid-sixties of the
„Classic“) began a success story that was comers to the world of the MOTIF series
last century.
most recently continued with the MOTIF XF to step beyond the basic operation. One
models and the MOX. goal is to use the enormous potential of the A trip into the detailed distinction between
instruments and to optimize the workflow.
A special feature of the MOTIF series is the analog and digital technology would at this
continuity in its sound architecture and ope- Let‘s start with some basic definitions. The point deviate too far from the real issue.
ration. So if you have once understood the variety of instruments that are played with So - at the time of the first synthesizer the
a keyboard is very broad. The question is:
device‘s concept you can apply this know- analog technology was the only available.
What is a „keyboard“, what is a „worksta-
ledge on the following models. Analog technology results in almost infinite-
tion“? Where does a „stage piano“ begin, at
ly variable signals. In contrast, the signal of
Considering this we had the idea of a uni- which point is the term „master keyboard“
versal „Yamaha Synth Guide“, which covers no longer applicable? What is referred as the digital technology is always divided into
all eligible topics in a series and one by „analog“ or „digital“? What instrument is steps, each representing a fixed value of the
one. called „ROMpler“ (Wave-ROM player) and total possible value range.
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The Minimoog was one of the most popular and successful
models of synth history
The first synthesizers were monophonic at fixed levels. However, today, every hybrid „The sound engine of the CS80 based on
only, meaning they could always produce is possible. There are units with a combi- the analog subtractive synthesis, its 16 os-
cillators could generate two independent
nation of sound generation to operation in
only one tone at a time. They were also
sounds with eight voices each, which then
all variants: Analog/analog, digital/digital,
built modularily. The sound generation was could be mixed. The other sound shaping
analog/digital, and digital/analog.
done by at least one oscillator, additional was done by a resonant envelope-con-
Going back to history. A major advan- trolled high- and low-pass filter (12dB/
modules for the modulation of the sound
ce was the polyphony. The „Polymoog“ octave), a LFO (sine, sawtooth) and a ring
were such as filters and envelope gene-
modulator ... „
had six voices and no longer consisted of
rators. All these terms are currently in our
modules. But it was not affordable for the (translated from: http://de.wikipedia.org/
technical language, too. We will return to „average musician“ from a house with ave- wiki/Yamaha_CS-80)
these in detail later. rage income. In a price list from the early Thanks to the almost unlimited availability
80s the instrument was listed with about of media and information any interested
The distinction between analog and digital
16.000 DM (sorry, I can‘t figure the equi- reader can find much more comprehensi-
not only occurs in the signal generation, but valent in your whatever currency in the ve information about the development of
also in the operation of electronic musical early 80s. In 1982 one US-Dollar was worth electronic instruments and different forms
of synthesis.
instruments. Traditional synthesizers from about 2,40 Deutschmark. However, a new
car like the middle class Mercedes Benz For we want to make a time jump to the
the early days were operated analogous.
190 or W201 costed about 26.000 DM in here and now. What is it that justifies the
They had rotary or sliding controls (poten-
term „synthesizer“? To get to the point:
1982).
tiometers) to alter values, the modules were A very clear line can barely be drawn.
A milestone in the development of the poly-
connected using cables. Modern digital Let us first consider the core of the ques-
phonic synthesizer was the Yamaha CS-80,
equipment operation can be done with the tion: the basis of sound generation. Befo-
which came on the market in 1977. Unlike
re the era of sampling the sound of every
help of push buttons to change values, and
the Polymoog or other polyphonic synthe-
synthesizer was produced by at least one
knobs and faders work digitally, allowing sizers from this time, the CS80 no longer oscillator. Today the vast majority of sound
changes within the given value range only based on organ technology. generation is based on samples.
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Now, a sample - in contrast to an used to create extremely complex sounds pre-produced audio or MIDI data.
oscillator - can already include all possible with - to express it traditionally - up to 128
A workstation‘s sequencer can record mul-
modulations and effects etc. So a machi- oscillators. I‘m not sure if Mr. Moog has da- tiple tracks, extensively edit the recorded
ne that plays back ready-made samples is
red to have this vision at his time. data, delete or add individual data, resolve
sufficient to generate sound. Such equip-
the recordings in pattern or song structures
ment is called a sample player, ROM sam- So the preliminary summary is: Every
and much more. Even the integration of au-
ple player, or in short „Rompler“. Only the instrument from the MOTIF / S / MO / MOX
dio data is possible.
possibility of actual sound processing, for series includes a full-fledged synthesizer.
example using filters, envelopes, LFOs, etc. The latter leads us to another option of the
workstation: sampling.
allows the comparison to the original syn-
tHe wOrkstatIOn
thesizer. Samplers were also separate devices in the
anD samPlInG
past. They were used for recording, editing
Whether the - as an example - sine wave
and playing back audio data, but not in
is generated directly from an oscillator or Taken literally, one might translate the term
the style of a tape recorder. The audio data
is the result of playing back a sample can workstation to perhaps as a „machine
was cut into small individual samples, then
be neglected at least for the terminology. It doing the main workload“. If you enter the
edited and prepared to be played with a
is obvious that a saxophone sample should
term in Wikipedia, you get the explanation
keyboard or the pads of a drum machine.
in principle sound like a saxophone without
of a powerful computer system.
any processing. But it is this sample that For the proper processing of the recorded
may result in sounds, that can‘t be achie- Strictly speaking the workstation for us audio data (graphical representation of the
ved with a traditional oscillator (or only with musicians is both. Modern electronic waveforms) the first samplers had their own
much effort), if it is processed by the modu- instruments are specialized computers monitors or at least a monitor connector.
lation capabilities of a synthesizer. Many modern workstations, including the
that are restricted to musical applications.
MOTIF series from „classic“ to XF, feature a
Keeping that in mind we can make abso- They become a „machine“ by the enhan-
full-fledged sampler, which can perform all
lutely clear that the sound generation in cing combination of applications that go
necessary edits directly on the instrument.
each of the instruments discussed in this beyond just playing sounds. In principle,
workshop series can definitely be called a Additional options of a workstation - but
one can see it again as a modular system,
synthesizer. not limited to - can be master keyboard
only within a single unit.
functions, that make it possible to control
A closer look at the Yamaha editor soft-
An important component which elevates a multiple instruments and expanders from a
ware shows the vast variety of parameters
synthesizer to a workstation is a recording single keyboard.
that each of the up to eight Parts (similar
to oscillators) within a Voice offers to pro- and playback ability. So a built-in sequen- The remote control of a computer software
cess and modulate a signal. Both the pre- cer has probably the widest distribution for such as Cubase can be part of a work-
sets as well as the „sample-free“ versions of that purpose. station, too. (A brief glance here: Softwares
optional soundsets include plenty of great The MOTIF XF is the current top model of the MOTIF-series
examples. In earlier times generally available as a such as Cubase, Logic, Ableton Live, Pro-
standalone device, the sequencer is used Tools and many more are often referred to
The ability to play 16 Voices in parallel has
not necessarily to be used as a multi-mode in a workstation for recording and editing as a DAW = „Digital Audio Workstation“
for working with MIDI files. It can also be your own performance and playing back - so here‘s this term, too.)
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tHe sOunD mODule As already indicated, the diversity of the
electronic musical instruments currently on
This term is mostly used for the keyboard- the market rarely allows an unambiguous
classification. In some contexts, for example
less versions of a synthesizer, sampler, or
the term „keyboard“ alone means the ar-
even a workstation. Only the development
ranger or entertainer keyboard. There are
of the MIDI protocol, including its interface, of course some „hybrids“, like arranger
workstations, stage pianos, performance
made it possible to „outsource“ the tone
synthesizer, home keyboards. There is no
generation of an electronic instrument into end in sight.
a separate unit. A good example is the For the instruments with which we want to
milestone-synthesizer Yamaha DX7. deal in this workshop, in any case the term
synthesizer shall fit.
Apart from the MO-
TIF-RACK XS the term
workstation is appli-
cable, too.
COmInG
neXt
In the next part of
this workshop series
we will discuss the
history of the MOTIF
Published in 1983, the Yamaha DX7 turned the synthesizer series. In addition to
world upside down and even pushed legends like describing the de-
Moog synthesizers or Oberheim to the background velopment from the
MOTIF „Classic“ to
Some time after the introduction of the the XF, we will also
DX7 in 1983 the TX-816 was introduced, discuss the compatibility of the devices with
each other and give advice on upgrading.
being a 19“ expander, which could accom-
modate up to eight TF-1 modules. Each of
these modules corresponded to the full
tone generation of a DX7. However, this
system was not available for those with a
small budget. The first expander sound mo-
dules were in their majority determined on
a particular instrument. For example there
were expanders used exclusively for piano,
organ, or drum sounds. Only in the course
of time many keyboard versions were offe-
red in a 19“ rack version, too.
A typical application of sound modules has
been playing back standard MIDI files of
different formats, like GM, GS, and XG. For
Yamaha‘s advanced XG standard, there
were some models of the MU series. The
most current sound module covered with
this guide is the MOTIF-RACK XS.
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PArt 2: 10 YeArs oF motiF -
From the „ClAssiC“ to the „xF“
In this episode we will discuss the •61 / 76 / 88 keys •256 Preset Arpeggio Patterns,
history of the MOTIF series, which •62 notes of polyphony 128 User Arpeggios
celebrates its 10th anniversary. •84MB Wave-ROM (when converted •4MB built-in sample memory, expan-
to 16-bit linear format) dable to 64MB with SIMMs
In addition to the description of the deve-
lopment from the MOTIF „Classic“ to the •1,309 Waveforms The MOTIF Classic was introduced in 2001
„XF“, associated with a list of the relevant •384 Preset Voices, 48 Preset Drum- to the market and uses - like all models of
features, we also will discuss the compatibi- Kits, 1 GM Drum-Kit the MOTIF series - the AWM2 technology,
in which sampled Waveforms are pro-
lity of the instruments with each other and •128 User Voices, 8 User Drum-Kits
cessed using the principle of subtractive
give tips on upgrading.
•128 Performances, 128 Masters
synthesis with envelopes, filters and LFOs.
•64 Songs / 64 Patterns This soundprocessing is applied to the ROM
motiF 6 / 7 / 8
•MIDI Sequencer capacity: Waveforms as well as the User Waveforms
(„motiF ClAssiC“) 110,000 notes (samples).
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For storing user data (Voices, Performan- the MOTIF. The Pattern mode offers the •175MB of Wave-ROM (when conver-
ces, Songs, Patterns, Samples, Arpeggios) same options as the Song mode. There are ted to 16-bit linear format)
the MOTIF Classic uses SmartMedia cards, 16 Tracks available, which are assigned •1,859 Waveforms
which were available in capacities from with Voices or Sample Voices.
•768 Preset Voices, 64 Preset Drum-
8 to 64 MB. Compared to the floppy dri- In addition up to 16 Sections (A - P) can
Kits, 1 GM Drum-Kit
ves of earlier devices these were impressive be formed, which together make up a Style.
•384 User Voices, 32 User Drum-Kits
memory sizes. These Sections can be used to freely arran-
ge a song or for those traditional sections •128 Performances, 128 Masters
An outstanding feature is the Song / Pat-
of a song like intro, verse, chorus, bridge, •64 Songs / 64 Patterns
tern recording concept of the MOTIF. MIDI
fills, end etc.
and audio recordings are be combined by •MIDI Sequencer capacity:
the Integrated Sampling in innovative ways. The multi-settings for Songs and Patterns 226,000 notes
can be found in the Mixing mode, which
Samples can be directly recorded in the •1,787 Preset Arpeggio Patterns,
is only available from the Song or Pattern
Song or Pattern mode and used as Samp- 256 User Arpeggios
mode. Each Song and each Pattern has its
le Voices. These have the same processing •Optional sample memory up to
own Mixing settings that are invoked along
options as „normal“ Voices in the Mixing 512MB using DIMMs
with the Song or Pattern. The most impor-
mode.
tant Mixing settings like volume, panning The MOTIF ES was launched in 2003 and
The sampling type Slice + Sequence allows and effect sends can be set from the Play offered significant improvements over the
loops or phrases to be played back with va- screen. MOTIF Classic in many areas, such as:
riable speed or to process sections of the Other parameters are available in the •Expanded Wave-ROM
recording („slices“) with filters, envelopes Mixing Edit mode.
•Additional Voice Banks
and effects, which can result in significant
Another top feature of the MOTIF Classic
•Extended Polyphony
changes in the audio material.
- as well as of all of the derived models -
•MegaVoice technology
Integrated Sampling means that samples is the continuously enhanced Arpeggiator.
can be directly integrated in all modes. The Arpeggiator is available in all modes of •Advanced Arpeggiator
Immediately after the sampling process, the MOTIF. Arpeggios can thus be integra- •New effects
ted into Songs and Patterns.
the sample is playable in the desired mode •New filter chip
without having to program Waveforms, The sound generation of the MOTIF Clas-
•Mixing Voices
Voices or Performances. The Integra- sic can be expanded with optional plug-in
•Song Scenes
ted Sampling mode is a sub-mode of the boards, which are based on different syn-
Voice / Performance / Song / Pattern mode. thesis like Analog Physical Modeling (AN) •Optional sample memory, expandab-
or Frequency Modulation (DX). le up to 512MB
The Pattern mode offers the very popular
•Faster loading of samples with Smart-
recording method using Patterns, which
motiF es 6 / 7 / 8 Media card or USB device
was already implemented in the Yamaha
QS300 or the sequencers of the QY series •61 / 76 / 88 keys •Real Time Loop Remix
and was further developed for the use in •128 notes of polyphony •Advanced Remote Control
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loADiNG motiF Therefore the only way is to save the The MOTIF XS was published in 2007 and
ClAssiC Files iNto MOTIF Classic Song as a Standard MIDI file again offered many new features and nu-
merous detail improvements over the MO-
(File type „SMF“) and then load it into the
the motiF es
TIF ES, the most important are:
MOTIF ES as a Song. The Mixing must then
MOTIF Classic Voices can be loaded into •Expanded Wave-ROM
be recreated.
MOTIF ES from the file type „AllVoice“ or •Additional Voice and
It is also not possible to import Performan-
„Voice“, using a SmartMedia card, a USB Performance Banks
ces or Masters of the MOTIF Classic into the
device or the Voice Editor. An automatic •8 Elements per Voice
MOTIF ES.
conversion takes place here, considering •4-part Arpeggiator with
the modified Waveform and Arpeggio as- Here, the only possibility is a „manual con- re-harmonising
signments. version“. The settings have to recreated in •Optional sample memory up
the MOTIF ES by hand, using similar Voices to 1 GB (doubled!)
Although the conversion results are very
in the MOTIF ES. •Loading samples is much faster
good overall, in some cases a Voice in the
via USB 2.0 connection
MOTIF ES can sound somewhat different
•Expanded Articulation
motiF xs 6 / 7 / 8
than in the MOTIF Classic.
•VCM effects
•61 / 76 / 88 keys
Imported MOTIF Classic Voices are some-
•Vocoder
•128 notes of polyphony
times considerably enhanced due to the
•Direct Performance Recording
assignment to the new reverb effects, other •355MB Wave-ROM (when converted
•Assignable Switches
Waveforms, new Arpeggio Patterns, im- to 16-bit linear format)
•Color LC-display
proved filter characteristics, etc. •2,670 Waveforms
•Ethernet data transfer
Also Waveforms in the format of the MOTIF •1,024 Preset Voices, 64 Preset Drum- •Optional FireWire (mLAN) connection
Classic can be loaded into the MOTIF ES Kits, 1 GM Drum-Kit
•Master mode with 8 Zones
(File Type „AllWaveform“ or „Waveform“). •384 User Voices, 32 User Drum-Kits
MOTIF Classic „All“ files that contain Wave- •384 Performances, 128 Masters loADiNG motiF es
forms must first be saved as „AllVoice“ files •64 Songs / 64 Patterns AND motiF ClAssiC
and can then be loaded into the MOTIF ES. Files iNto the
•MIDI Sequencer capacity:
motiF xs
It is not possible to directly import Songs 130,000 notes
and Patterns in the MOTIF Classic format. •6,000 Preset Arpeggio Patterns, Voices, Performances, User Waveforms,
Sample Voices, User Arpeggios, Songs,
This would be difficult to achieve, because 256 User Arpeggios
and Patterns in the MOTIF ES format can
the Voice Banks on the MOTIF ES were set •Optional sample memory up to be loaded separately or completely into the
up from the scratch. 1GB using DIMMs MOTIF XS.
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So there is a high degree of compatibility MOTIF ES can then be easily loaded into In addition to the doubling of the Wave-
between the ES and the XS. the MOTIF XS. ROM the optional expansion with Flash-
However, the following restrictions have to Since the Wave-ROM of the MOTIF XS dif- ROM boards for samples is the outstanding
be considered: fers considerably from that of the MOTIF innovation of the MOTIF XF.
Classic, significant differences in sound can
Voices or Performances can sound a little Here is an overview of the major new fea-
occur.
different due to the updated Wave-ROM or tures in comparison to the MOTIF XS:
modified effect types in the MOTIF XS. A direct conversion from the Classic to the
•Expanded 741MB Wave-ROM
Performances can only be played back cor- XS can only refer to User Voices and Wave-
•1,307 new Waveforms
rectly if used User Voices are present in the forms (samples). All other data such as
MOTIF XS on the same storage locations. Songs, Patterns, Performances and Masters •128 new Voices (User 1), based on
are not convertible. the new Waveforms
Thus, if single Performances are imported,
possibly related User Voices have to be loa- For this purpose the storage structures of •128 new Performances (User 1),
ded, too. the instruments are far too different. based on new Voices and Arpeggios
•8 new Drum-Kits, based on the new
The same applies to Songs and Patterns,
which can also be reproduced correct- motiF xF 6 / 7 / 8 Waveforms
ly if all Users Voices are also present in •61 / 76 / 88 keys •1,248 new Preset Arpeggios
the same place in the MOTIF XS. An ele-
•128 notes of polyphony •32 new Masters, based on the new
gant solution is to store any User Voices in
•741MB of Wave-ROM (when conver- Voices and Performances
the MOTIF ES as Mixing Voices using the
ted to 16-bit linear format)
VCE ED function. As Mixing Voices they are •„On board“ 128MB SDRAM for
automatically loaded along with the Song •3,977 Waveforms samples
or Pattern, without the prior User Voices •1,024 Preset Voices, 64 Preset Drum- •Optional Flash-ROM boards for
being present. Kits, a GM Drum-Kit
samples (max. 2 x 1GB)
Using the detour MOTIF ES even MOTIF •512 User Voices, 32 User Drum-Kits
•Excellent, flexible sample manage-
Classic Voices (including Samples) can be
•512 Performances, 128 Masters
ment with newly designed file-mode
loaded into the MOTIF XS.
•64 Songs / 64 Patterns
•New keyboards for MOTIF XF6,
To do so, it is necessary to first store the
•MIDI Sequencer Capacity: 130,000
XF7, XF8
Voices with the file type „AllVoice“ (not
notes
„All“) in the MOTIF Classic. Understanda- •User-definable LCD (type and
•7,881 Preset arpeggio Patterns, 256
bly this should be done before any sale of color selection)
User arpeggio
the instrument!
•Drum-Kit Edit in the Mixing mode for
•128MB built-in SDRAM sample
Then the Voices can also be loaded into the User Drum Voices
memory
MOTIF ES using the file type „AllVoice“ and
•Optimized Category Search function
stored again - this time in the MOTIF ES for- As preliminary climax the MOTIF XF was int-
•Optimized Arpeggio functions
mat. Here you can use either the file type roduced to the market in 2010 - the current
„AllVoice“ or „All“. The files stored with the top model of the Yamaha synthesizers. •TAP tempo input
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