Eddie Clayton, No comments 0. How do i save different sound patches for easy access whilst playing. Answer this question Send. About the Yamaha Motif ES8.
Yamaha Motif ES8 specifications. Related product manuals. How can I best clean my Keyboard? Unlimited Undo with undo history - back out of any editing changes. Find patches in large banks quickly by entering a partial name. Transfer patches from the bank into the editor with manual or auto save options. Unique computer keyboard only bank organization. Automatic import of SysEx stored in. Imported SysEx is automatically displayed in the appropriate Midi Quest editor. Active Receive - when enabled, any SysEx bulk dump manually transmitted from an instrument is automatically received into the appropriate editor.
Autosense automatically configures communication for most MIDI hardware. Create Logic environment files containing the Motif ES8 patch names. Create Pro Tools , Performer and Ardour compatible midnam xml files with patch names. Those who need reminding of the typical Yamaha architecture can start by considering the Element, which would be a subtractive synth in its own right in other circumstances.
An Element's oscillator is a waveform selected from the central ROM or, on the Motif ES, from any user samples currently in RAM , and this is shaped by the Motif ES's resonant filter choose from a possible 18 types , an LFO which includes user-defineable modulation 'waveforms' , pitch parameters, and three EGs — one each for pitch, amplitude and filter.
There are up to four Elements in a Voice, which is the first level at which the user can play something. A Voice also allows you to mix, key-split and velocity-split the Elements, and add effects — two main effects, and two inserts that can be applied to individual Elements if desired more detaiIs on the ES's effects engine in just a moment.
An arpeggiator can be added to the brew; actually five arpeggiators can be added, and you can then instantly switch between them via five of the keys beneath the LCD. There are a couple of buzz words floating around in the brochures and advertising for the Motif ES which don't appear in the manual.
One of these is 'Mega Voice', a term that was introduced with Yamaha's Tyros home-arranger keyboard. It seemed odd that the company's top pro keyboard should inherit ideas from one of their home instruments, but there is an underlying logic.
For a start, there are many automatic music creation tools built into the Motif ES — which you don't have to use, I hasten to add! As mentioned earlier, a finished voice, typically a simulation of a 'real' instrument, is given many of the performance attributes of the real thing for example, guitar voices will offer hammer-ons, string squeaks and body thumps. These attributes are supplied by special samples, and are accessed by changes in playing velocity or by giving them their own key range.
In practice, this means that many of these sonic elements are difficult to play in real time with any sensitivity. But some of the ES's new complex arpeggiator patterns take advantage of 'Mega Voice' performance-oriented samples, so that the squeaks, bumps and so on are generated in a musically valid way see the box on arpeggiation below for more on this. As always, a Yamaha drum kit can have a sample assigned to each key of your keyboard, with each functioning like an independent synth.
Insert effects are also available in a drum kit, along with the two main effects with sends to each from every sample in the kit. Arpeggiation can also be added at this level, again with five variations. If you have optional PLG synth boards installed up to three will fit in the ES , then Voices from these boards can also be added to a Performance, so if you've spent the money, your Performance can be seven Voices strong.
Nor is there a way, as there was with Yamaha's own SY85 of several years back, to use Performances directly in a multitimbral Song. Both Voices and Performances benefit from Yamaha's Category Search facility — you'll appreciate it, too, when trying to navigate the hundreds of memories on offer.
The Categories are accessed via clearly labelled front-panel buttons shown on the previous page , and the on-screen display is clear about what you're seaching. Many Categories are actually further divided into sub-categories such as 'Synth Lead' with hard and soft types , 'Electric Piano' and 'Acoustic Piano'. The Category Search function can be accessed within sequencer Songs and Patterns for selecting Voices. In addition, the Favourites Category allows you to highlight all the sounds you use most, from within all the other Categories, and corral them into one collection.
When using Category Search, the Favourites button lets you access all the Voices or Performances you know you like. Finally, your own custom Patches can be assigned to Yamaha's Categories, and this is actually a good habit to get into, even if you then further assign most of them to the Favourites macro-Category! For me, arpeggiators remain fascinating and fun tools that I am happy to see continuing to be specified on modern music technology.
Whether it's a simple straight up-and-down classic device or something much more complex, as here, an arpeggiator is a welcome tool. The Motif ES's arpeggiator is obviously related to that on the original Motif. It can provide classic broken arpegggio patterns, and breaks the mould by heading into instant phrase-generation territory. In all, there are presets and space for user memories, but there is no arpeggio editor as such with which to fill the used arpeggio memories.
What you do instead is convert phrases or bits of data in a Song into an arpeggio, which is using a sledgehammer to crack a nut — but at least you can create pretty much anything in a Song or import it as MIDI File from your computer software and turn it into an arpeggio pattern via this method. The non-standard patterns include MIDI controller patterns and a large selection of stylistically correct instant performance styles for various real-world instrument simulations.
Now, this sort of thing isn't my cup of tea and you can ignore it if it's not yours , but there's no denying the clever programming that's gone on here. Some patterns feel like mini-multitrack sequences, which is effectively what they are. It's in this context that the rationale for those 'Mega Voices' becomes clear. Once they're allied to some of the more sophisticated arpeggiator patterns, you'll hear guitar strumming that includes including rhythmic body thumps and string squeaks, acoustic bass lines that include thumps and slides, and so on.
There are also drum pattern arpeggiations that play drum kit voices in Performances, making for one-finger fun. Real-time fun can be had courtesy of the front-panel control knobs, since one of their options is to change how arpeggios play back. But note that some of the complex patterns don't work with external sounds, because they won't be programmed in the same way as internal ES Voices. Throughout the long history of AWM2 instruments, Yamaha haven't really done much to change the effects configuration of their instruments — until now.
The ES sees a big change in the way Yamaha handle effects in a synth workstation. Of course, there are send effects, and here there are two main categories: Chorus 49 types including delay effects as well as modulation and Reverb 20 types. They are accessed by a send system whether you're working with the individual Elements in a Voice, Voices in a Performance, or Voices assigned to a sequencer Pattern or Song.
In addition, there are insert effects. For Voices, there are two freely assignable inserts — and they're quite sophisticated ones, too, many newly designed from scratch for the ES. Splendidly, these choices are maintained when the Voices are used in a Performance, so there's no need for insert effects per se within Performances. However, each part in a Performance also has its own three-band EQ new for the ES , plus synth offset controls which allow you to customise a Voice from within the Performance without having to overwrite the original Voices.
In Song and Pattern modes, however, the insert effects complement is multiplied by four. You read correctly: eight insert effects, of the same quality and range, can be used within any Song or Pattern. While this arrangement doesn't quite equal the superb flexibility of Korg's Triton, it moves much closer, and is rather more powerful than what Yamaha have previously offered.
There are no new effect names as such — tempo-sync'ed delays and flangers, distortion, rotary-speaker effects and enhancers are joined by the usual 'Jump', 'Slice' and 'Talking Modulation' effects that we've grown to love on Yamaha instruments.
Some, however, especially those with a vintage feel, have been redesigned frorm scratch with reference to classic pedals and the like. Even that isn't even the whole story: a five-band master EQ similar to that on the original Motif is here joined by a mastering effects processor, the gem of which is a multi-band compressor, which is perfect for sweetening the mixes output by the ES.
Other mastering options include DJ effects such as a dynamic filter, lo-fi and distortion effects — although these don't really count as 'mastering' processes in my dictionary, fun and useful as they are! Finally, of course, there's the aforementioned three-band EQ, which can be added to all four parts of a Performance and all 16 tracks of a sequencer in Song or Pattern mode.
It all adds up to a lot of built-in signal processing. As on the original Motif, there's plenty of assignable real-time control potential. Photo: Mark Ewing The Motif, when interfaced with a computer, could be used to control the on-screen controls of some music software. But while you'll be able to control lots of on-screen parameters, don't expect it to be completely easy: the Motif has a small number of knobs and sliders compared to the 01X, and you'll have to do a bit of bank switching to access all the channels of a typical session's on-screen mixer.
Yamaha do make life a little easier for you, by providing templates that are ready to go with the Motif for Cubase, Logic, Sonar and Digital Performer. Yamaha are actually quite pleased about the way the ES's control surface integrates with software; not only are the above-mentioned links provided, but in the UK, demos of several Native Instruments software synths are included with the Motif ES package for just this reason.
Sequencing on the Motif ES is, in the same way as on the original, divided into two modes: Pattern and Song. The actual recording and editing process is roughly the same in both, in that up to 16 channels of MIDI data can be recorded in step or real time, with user control over global sequencing parameters such as time signature, tempo, input quantise, and so on.
Post-recording editing functions almost equal those in a dedicated software sequencer, except that you have to edit via the Motif ES's relatively small display, of course! What's more, the Fantom S offers the option of connecting a mouse and monitor, and the Triton features Korg's nifty touchscreen, which helps OS navigation and parameter editing more than you might think. Standard editing functions such as quantise, transpose, velocity- and gate-time manipulation, and cut, paste and delete are joined in Pattern mode by a couple of nifty functions.
It's a good trick to apply to tracks on which samples have been recorded and split more on sample tracks in a moment. P The beefed-up sequencer transport controls and mode-selection buttons. Photo: Mark Ewing attern mode feels, as it did on the original Motif, as if it's borrowed from a home arranger-style keyboard.
If you've used pattern-based sequencing on a drum machine or hardware sequencer before, you might find some of the terms confusing; the 64 available 'Patterns' are here merely the memory locations in which you store sequence data. Within each Pattern memory, you can have up to 16 different 'Sections', which more closely resemble what were called patterns in drum machines and sequencers of years gone by. Each Section, which can be up to bars long on the Motif ES, can have a completely different set of Voices assigned to each track, if desired, with full mixing facilities: level and pan, three-band EQ, eight insert effects freely assignable as you need them, two send effects, plus the master effects and master EQ.
The integrated sampling sequencer really comes into its own here: not only can Voices be assigned to sequencer tracks, but sampled audio can be recorded there, too, for something not a million miles away from hard disk recording without the hard disk.
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