Yamaha MOTIF7 Owner's Manual - Page 121

Reference, Voice Mode, Function Tree

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Reference Voice mode Reference Function Tree This section is devoted to explaining the function of every setting of every parameter in every display of the MOTIF. If you have questions like "I wonder what this button does..." or "How does this parameter work?" - this is the section you should refer to.The Reference section is divided according to the various modes of the MOTIF. As you use this section, please keep in mind the following points: ● The section for each main mode (Voice, Performance, Song, Pattern, Sampling, Utility, File, and Master) begins with a Function Tree chart. Each chart shows the various menus and parameter groups for the mode - exactly as they are organized and appear in the display. Using these and the simplified chart of the modes on page 30, you can easily understand the relationship of the various functions and parameters as they apply to the entire operation of the MOTIF. ● At the beginning of the section of each mode, you'll find "Basic Procedure" instructions. These briefly show you the necessary operation steps for the relevant mode, and are applicable to all of the functions and parameters in that mode. In other words, once you've mastered the Basic Procedure of the mode, you'll be able to quickly and easily work your way through any and all of the operations in the mode. Voice Mode Function Tree Basic Structure (page 42) This section is devoted to the Voice mode. To see how the Voice 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 Voice modes - giving you a quick, easy-to-understand overview of the voice-related functions of the MOTIF.Brackets around a word or phrase (e.g., [F1]) indicate specific button names or panel operations. [VOICE] [INFORMATION] VOICE INFORMATION P. 275 [VOICE] VOICE PLAY P. 124 [F1] VOICE PLAY P. 124 [F2] PLUG-IN BANK P. 128 [F4] VOICE PORTA P. 128 [F5] VOICE EG P. 128 [F6] VOICE ARPEGGIO P. 128 [CATEGORY] VOICE CATEGORY SEARCH P. 126 [FAVORITE P. 127 [EDIT] VOICE EDIT (NORMAL P. 129 [COMMON] NORMAL COMMON P. 130 [F1] NORMAL COMMON GENERAL P. 130 [SF1] NAME P. 130 [SF2] PLAYMODE P. 130 [SF3] MEQ OFFSET P. 131 [SF4] PORTA P. 131 [SF5] OTHER P. 132 [F2] NORMAL COMMON OUTPUT P. 132 OUTPUT P. 132 [F3] NORMAL COMMON ARPEGGIO P. 132 [SF1] TYPE P. 132 [SF2] LIMIT P. 133 [SF3] PLAY FX P. 133 [SF5] CLEAR USER ARPEGGIO P. 132 [F4] NORMAL COMMON CONTROLLER SET P. 134 [SF1] SET1/2 P. 134 [SF2] SET3/4 P. 134 [SF3] SET5/6 P. 134 [F5] NORMAL COMMON LFO P. 135 [SF1] WAVE P. 135 [SF2] DELAY P. 136 [SF3] DESTINATION1 P. 136 [SF4] DESTINATION2 P. 136 [SF5] DESTINATION3 P. 136 MOTIF Reference 121

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121
MOTIF
Reference
Function Tree
Reference
Voice mode
Reference
This section is devoted to explaining the function of every setting of every parameter in every display of the MOTIF. If you
have questions like “I wonder what this button does...” or “How does this parameter work?” — this is the section you should
refer to.The Reference section is divided according to the various modes of the MOTIF. As you use this section, please keep in
mind the following points:
●
The section for each main mode (Voice, Performance, Song, Pattern, Sampling, Utility, File, and Master) begins
with a Function Tree chart. Each chart shows the various menus and parameter groups for the mode — exactly as
they are organized and appear in the display. Using these and the simplified chart of the modes on page 30, you
can easily understand the relationship of the various functions and parameters as they apply to the entire
operation of the MOTIF.
●
At the beginning of the section of each mode, you’ll find “Basic Procedure” instructions. These briefly show you
the necessary operation steps for the relevant mode, and are applicable to all of the functions and parameters in
that mode. In other words, once you’ve mastered the Basic Procedure of the mode, you’ll be able to quickly and
easily work your way through any and all of the operations in the mode.
Voice Mode
Basic Structure (page 42)
Function Tree
This section is devoted to the Voice mode. To see how the Voice 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 Voice modes — giving you a
quick, easy-to-understand overview of the voice-related functions of the MOTIF.Brackets around a word or phrase
(e.g., [F1]) indicate specific button names or panel operations.
[INFORMATION]
VOICE INFORMATION
[VOICE]
VOICE PLAY
[F1]
VOICE PLAY
[F2]
PLUG-IN BANK
[F4]
VOICE PORTA
[F5]
VOICE EG
[F6]
VOICE ARPEGGIO
[CATEGORY]
VOICE CATEGORY SEARCH
[FAVORITE]
[EDIT]
VOICE EDIT (NORMAL)
[COMMON]
NORMAL COMMON
[F1]
NORMAL COMMON GENERAL
[SF1]
NAME
[SF2]
PLAYMODE
[SF3]
MEQ OFFSET
[SF4]
PORTA
[SF5]
OTHER
[F2]
NORMAL COMMON OUTPUT
OUTPUT
[F3]
NORMAL COMMON ARPEGGIO
[SF1]
TYPE
[SF2]
LIMIT
[SF3]
PLAY FX
[SF5]
CLEAR USER ARPEGGIO
[F4]
NORMAL COMMON CONTROLLER SET
[SF1]
SET1/2
[SF2]
SET3/4
[SF3]
SET5/6
[F5]
NORMAL COMMON LFO
[SF1]
WAVE
[SF2]
DELAY
[SF3]
DESTINATION1
[SF4]
DESTINATION2
[SF5]
DESTINATION3
[VOICE]
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 275
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 124
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 124
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 128
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 128
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 128
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 128
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 126
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 127
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 129
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 130
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 130
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 130
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 130
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 131
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 131
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 132
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 132
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 132
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 132
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 132
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 133
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 133
. . . . . . . . . . . . . . . . . . . . . P. 132
. . . . . . . . . . . . . . . . . . . . . . . . . . . P. 134
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 134
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 134
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 134
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 135
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 135
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 136
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 136
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 136
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 136