y

Motif
Power User:
Working with and Understanding
Physical Controllers

How to use this document:

This is a tutorial and assumes you are making the button pushes as it advances. By following the example setup,
you will gain an insight into how the controllers work and how they can be assigned to your advantage. All
possibilities could never be covered in a short guide but this should get you on your way. After going through this
article feel free to experiment with other assignments.

Background:
Get your Motif DATA LIST booklet and refer to the CONTROL LIST on page 39: VOICE CONTROL SET
DESTINATIONS and “ASSIGN A/B DESTINATIONS”. You will also want to refer to the EFFECT PARAMETER LIST
(pages 25-34).

Phil Clendeninn
Technology Products
Pro Audio and Combo
©Yamaha Corporation of America
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Assigning Controllers in Voice Mode • There are 6 sets (3 pair) selectable via the
SF1-3 buttons
Within the architecture of each AWM2 • Setting the SRC/DEST: select a Source
(sampled-based) Voice is a set of 6 controller controller and assign a target Destination
assignment setups, called Control Sets. You (Dest) parameter.
can program how the physical controllers will • Control Elements or Common: The
be assigned to affect a specific part of the ‘ElementSw’ or Element Switch activates
sound. The physical controllers are: control for each element. If the destination
is ‘common’ to all elements you will see
MW – Modulation wheel parenthesis (----) around the four dashes
PB – Pitch bend wheel that represent the individual elements.
AT - Aftertouch Parenthesis around a parameter means
FC1 – Foot Controller 1 (optional FC7 pedal)
you cannot get at it (This is the equivalent
FC2 – Foot Controller 2 (optional FC7 pedal)
FS – Foot Switch (optional FC4 or FC5 pedal)
of being ‘grayed-out’). In this case because
Assign 1 – Knob all four elements will be treated together.
Assign 2 – Knob The Common parameter destinations are
BC – Breath Controller (optional BC3a) Volume, Reverb Send or Chorus Send. If
the destination can be assigned to a
What about the Assign A and B knobs? ASSIGN specific Element(s) you will see the
A and ASSIGN B knobs are each assignable for destination parameter name as ELM-Lvl =
the entire Voice Mode (global) and will behave Element level, ELM-Dly = Element delay,
the same in all Voices, where Assign 1 & 2 are or ELM-Pan, etc. You can select which
programmable per Voice. We are talking about elements are to respond to this control
the “destination parameter” is programmable, setting. An “ElementSw” Element Switch
per Voice. Certain Control Set assignments are setting of “-2--“, represents a setting
common to all elements and others can be where element 2 will be affected, and the
specific to a particular element of the sound. others are unaffected. (See example
assignment below).
There are 6 Control Sets, each allows the user • Real-time Control over Insertion
to pick a physical controller and assign it a Effects: Other possible destinations
parameter destination (the target parameter include real-time control over the powerful
you will be changing). It is possible with this DUAL INSERTION EFFECTS that can be
system to assign more than one controller to applied to a VOICE. Refer to the Effect
the same destination by using more than one Parameter List (page 25-34) for an idea of
SET. And it is also possible to have a single potential here. When targeting a control
destination under the control of more than one destination if an effect parameter can be
physical controller. The degree or depth of the real-time controlled you will see an
control of each physical controller can be abbreviation of the parameter name
programmed, as well. In fact, the Depth is appear in the Control Set. If not, the
very important – because without a Depth parameter will be designated with a “P”
amount the assignment is meaningless. Think number, as in “INS2P10”. For example, call
about the Depth setting as controlling how far up the B3 Organ sound “Or:16+8+5&1/3”;
the controller will be moved to get the This Voice uses the Dual Rotor Speaker 2
response you wish. This is your performing algorithm for INSERTION 2. You will find
gesture and should be set to your taste. data about this effect on the bottom right
You can view and set the parameters for of page 29 of the DATA LIST booklet.
the Controller Setups in the MOTIF itself or via Navigate to its Control Set1/2; [EDIT]/
the “Voice Editor for Motif 6/7/8” in your [COMMON]/ [F4]:CTL SET/ [SF1]:Set1/2;
computer. To navigate to the Controller Sets in
the MOTIF from Voice mode: Press [EDIT]/
[COMMON]/ [F4] CTL Set:

This Voice has the destination set to

“EF2:EfSpCtl” which translates to “Insert
Effect 2: Effect Speed Control”. It has two
speeds (like a Leslie) Slow and Fast. This
 3
Control Set is using the Mod wheel to This will create an INIT VOICE with just a
switch between Slow/Fast speeds. Most of piano wave in it.
the parameters of the Dual Rotor Speaker • Press [EDIT]
2 algorithm are assignable for real-time • Let’s select a synth wave. Navigate to the
control. There are 16 possible parameters OSCILLATOR WAVE page: Press Program
in the processor. Speed Control is listed as button [1] to drop to the Element level of
MIDI Parameter Number 16. MIDI editing. (Notice the Inverse video ‘E’ and
Parameters 10 and 15 are unavailable for the ‘EL1’ on the top line – denoting the
real-time control assignment. If you Voice has been edited but not yet stored
attempt to select them you will see and we are editing Element 1.) Press [F1]
“EF2:INS2P10” and “EF2:INS2P15” instead OSC/ [SF1] Wave
of a parameter abbreviation – meaning • Select sample wave #0397 [Wv:ModSaw ]
they are unavailable. (MIDI Parameter
Number 10: (typically Wet/Dry Balance) is
totally unavailable because of phase
cancellation possibilities - it is not even
listed; and Number 15 “Microphone L-R
angle” is the angle of the modeled stereo
microphone on the Leslie cabinet…simply • Now, for fun, lets activate a second
not a parameter you would move in real- element in this Voice. Press the Program
time. Mic angle is a “set and forget” [2] button that represents Element 2. You
parameter. Parameters that are can now turn the Element Switch ON.
unavailable typically have no musical or • Set Element 2 to waveform #0427 [Wv:Mg
practical use. If you want to see and tweak Bass3]
this effect press [F6]:EFFECT/ [SF3]:INS2
• DEPTH The setting here must be set with
care and some thought. The range here is
–64 ~ 0 ~ +63. How the MOTIF responds
to a setting will depend on which
parameter and which controller is selected.
(See below some example assignments). A • You can use Program buttons [1], [2], [3],
Depth setting of 0 defeats all other settings and [4] to select Elements, and buttons
in the Controller Set (and renders them [9], [10], [11], and [12] to turn the sound
meaningless). In general, the higher the on/off. Try it! Currently we can use [1]
number the more it increases the range of and [2] to select and [9] and [10] to
control. Negative value settings reverse temporarily mute and un-mute our two
the effective direction of the controller. You Element Voice. This will allow you to isolate
will have to be logical here. each element when you want to
concentrate on just one at a time. Practice
Example Assignment: In this example we deal this basic skill.
with controlling VOLUME via controllers within • Navigate to the CTL Set 1/2 (Control Set 1)
a MOTIF sample-based Voice. This can be page. (Press the [COMMON] button to
tricky, but this example should make it clear return to Common edit. [F4]:CTL SET
how it works. • Set the CTL SET 1 as follows:

--Let’s say you want to control the total

Volume of the Voice with the Modulation
Wheel. MIDI control change message #001 is
the Modulation Wheel. The modulation wheel
can be assigned to control all manner of
parameters within a synthesizer, not just
vibrato. But for our example let’s see what
happens when you attempt to assign the MW In the above example, the Volume parameter
to control overall volume. For our experiment is ‘common’ to all Elements. We know this
let’s initialize a voice. This way we are not because the Element Switches are grayed out
inheriting values from a preprogrammed (parenthesis). If you were to activate
Controller Set. From Voice mode: additional Elements they would also share the
• Press the following buttons: [JOB]/ same setting when you select a ‘common’
[F1]:INIT/ [ENTER]/ [INC/YES] to execute.
 4
destination. The modulation wheel will effect respond to this Control Set’s Depth setting
all the Elements. The +63 Depth setting sets when the physical controller is moved.
the maximum range of the controller. Try
it...move the mod wheel… Return to Control Sets, press [F4]:CtlSet/
[SF1]:Set 1/2. Select ‘ELM-Lvl’ as the DEST
Hey! What gives...I thought we would now be (destination). Set only Element 2’s level to be
controlling the volume completely with the controlled via the MW (Element Switch). This
modulation wheel! But no, it doesn’t work. Is is accomplished by moving the cursor to the
the unit broken? Should I call someone? - Not Element Switch line and setting it so it reads:
at all. Here’s why it is not working: This is not “-2—“
the place that the overall volume of the sound
is set, only where you assign control to it.
We need to go to the overall Voice volume
parameter and reduce it to zero. In other
words something else is controlling how loud
this sound is as well – of course, it’s the main
Volume assignment that responds to note-on. And in a similar fashion to before, you would
Here is how to change it. need to set the initial level of the Element(s)
that you are controlling to zero (bias its level
Navigate to the Common OUTPUT page [F2]. to the MW). Instead of “Total Voice Volume”
Here you will see a parameter for the total we are looking for the level of this particular
volume of the Voice = 127. Program it to 0. Element. This is found on the Element
That’s right, 0. Amplitude page: Return to Element Level
editing by pressing program button [2]
(Element 2 Select)

Press [F4]:Amp/ [SF1]:Lvl/Pan

Set Level to 0

Now when you move the modulation wheel you

have total control over the volume of the
Voice. The position of the modulation wheel is
now an absolute representation of the current
common volume, 0-127. We call this process
‘biasing’ the parameter (in this case, volume) When you set Element 2’s Level to 0, it is
to the controller. In other words, it will now biased to the MW. This is a very flexible
look to this controller (mod wheel) for volume arrangement. You can expand upon it and
instructions. dream up your own configurations. For
example, you could take Control Set 2 and
Okay, return the Common Voice Volume to 127 program it to control just Element 1 with the
before continuing. same Mod Wheel but set the ELM–Lvl DEPTH to
–64. Now when you move the wheel it will fade
out one sound and fade in the other.

Similarly, a volume assignment can be made

on the Element level. This would allow the Notice you did not have to set the Element
player/programmer to have control over Level in this case to 0. This is because if you
specific parts of the sound (Elements) within a did and then applied a minus value to it…this
Voice. In our Control Set instead of making the would be illogical…levels below 0 are still
Destination = Volume (common overall inaudible. Experiment.
volume) like before, this time assign it to ELM-
Lvl or Element Level. When ELM-Lvl is selected A similar scenario occurs when you assign a
you can individually assign which elements will Voice to Breath Control. You want the Voice to
only pay attention to (be biased to) input from
 5
the Breath Controller (cc #002). In such a case MW, above, to assign the Foot Controller
you will want to reduce the overall volume of (FC04) to be the Source and set volume as the
the Voice to 0 or the element level to 0. Which (DEST) destination. When you set the Volume
one you use will depend on what it is you are to 0 you will have biased total volume to the
trying to accomplish. This way the volume will Foot Controller.
be entirely determined by the amount of
breath pressure applied to the BC3. Note-ons Note: If the parameter to be controlled is set at any
do not turn the sound on alone. They must be value other than 0, you are, in affect, setting a
accompanied by a burst of breath (air) minimum value. In the case of our volume example,
pressure (cc #002) applied to the mouthpiece. this would be the minimum volume when the
controller was in the heel down position. In some
instances you may wish to set the minimum to a
Note: It must be stated here that Breath Control value other than zero as the stored condition
works best of all on VL physical modeled voices (especially for Live players this is invaluable). The
(optional PLG150-VL board). The Virtual Acoustic example above is useful in a scenario where you
technology is meant to respond perfectly with breath want to control the internal MOTIF sound with a
control input. In the technology there is an separate foot pedal from what is sent via MIDI.
acoustically accurate change in timbre, pitch and
amplitude in response to BC ‘pressure’ control. The
sound of VL will mimic the ‘behavior’ of acoustic After any and all Voice edit procedures you
instruments. When controlling non-VL type voices should STORE and then SAVE data (if it is
you might try assigning breath control (BC) to vary worthy of keeping). If you started editing a
the cutoff frequency of the filter. In such a case you Preset or you started editing an Internal Voice,
may want to program the initial value of the filter to simply point the Store procedure towards a
something other than zero – set to taste. This would desirable Internal location. Press [STORE];
require you to go into the Voice element level and Select a location; press [ENTER]; then [YES].
set the cutoff frequency of the filter for each element
you want to control. Each element can have a
different filter type and cutoff/resonance. Each Note: At the end of any editing session you should
element that you add can have its own filter and make a backup copy of all your new Voice edits.
filter settings. Save sounds either to the optional SmartMedia card
Note 2: When using Breath Control on sampled- in ALL or ALL-VOICE files or backup the current set
based Voices you may find it easier to just reassign via a MOTIF Voice Editor
the BC to Expression. Here’s how: from Voice mode
press [UTILITY]/ [F3]:VOICE/ [SF3]:CtlAsn and set What other things can be assigned
BC = 11 Expression. This will allow you to To answer this question we must recognize
immediately control any internal sound with BC - that there are answers for internal
without any further programming. Voices/Performances and answers for external
communication via MIDI Master Keyboard
FOOT PEDALS
setups. But first, let’s gain an understanding of
The same scenario holds true for controlling
how the controllers work. MIDI provides for
volume with an optional Yamaha FC7 (sweep
standard physical controllers. Some are fixed
control pedal) plugged into the Foot Control
as to what control change message they send,
jack (FC2). Foot Control (cc #004) can be
while others are assignable. We must
assigned to control many different parameters
consider what these controllers are doing to
within a synth voice. (Not to be confused with
the internal MOTIF sounds and what they are
Foot Volume (cc #007) which always controls
doing out via MIDI. These two things can be
MIDI Channel Volume). There is always some
quite different, by design.
confusion here because they both use the
First, here is how it works with Voices.
same FC7 pedal – however, the function can
MOTIF Voice banks hold the factory
be quite different. One key difference is that if
programmer’s best work. These are your
you use cc007 every thing connected to that
fundamental, playable sounds. A Voice can
MIDI channel will be controlled the same. If
have as many as four completely independent
you use the assignable Foot Control cc004 you
sample waveform sets within it – Yamaha calls
can choose the destination parameter for the
these components Elements. Each Element can
foot pedal and it will only effect the Motif and
be individually controlled by MOTIF parameters
only the Elements of the Motif sound that you
such as filters, envelopes, LFOs, etc. You can
designate.
assign the various physical controllers to
control specific areas within the sound. The
Foot Control (cc004) can be assigned to control
physical controls available are:
the internal volume of the MOTIF in a similar PB – Pitch bend wheel
fashion to how we did the MW experiment. MW – Modulation wheel
Simply follow the same steps we did with the Assignable KN 1 – Knob 1
 6
Assignable KN 2 – Knob 2
AT – Aftertouch
FC1 – Foot Volume (Expression)
FC2 – Foot Control
FS – Foot Switch
BC – Breath Controller
SUS – Sustain
Assign A – Knob A Above you see a typical synth lead Voice
Assign B – Knob B PRE2:057 [Ld:SmoothSaw]. A two Element
Control Sliders 1 / 2 / 3 / 4 Voice that has the Mod wheel as the ELFO-PM
depth control – this translates to Element Low
PB (fixed) – Pitch Bend wheel will always Frequency Oscillator- Pitch Modulation control.
send information that is Pitch Bend data (its Depth = +22. As you move the wheel up you
own category of message) both internally and will add vibrato (pitch modulation) to the Voice
out via MIDI. How this data is interpreted by
the tone generator/receiving device, is AS 1 – ASSIGN 1 does not have a fixed
programmable. For example, it is possible to message. It can be assigned as an internal
use the wheel for something other than just control device. You can use Assign 1 to change
pitch bend by programming the sound to have Element level, filter cutoff/resonance, effect
a pitch bend depth of 0 and then assigning the send, etc., etc. (See the Control Set
PB wheel to a different parameter. For Destination list). It can independently be
example, in physical modeling VL technology assigned any control change message, (cc1-
(PLG150-VL) the PB wheel is often used for cc95), for transmitting out via MIDI. The
embouchure (mouth position/tightness of the default assignment is cc #016 called: “General
lips) – most horns don’t pitch bend like a Purpose control 1”. If you reassign the default
synth. It makes a good control for embouchure control change assignment (global setting
because embouchure can be tightened (wheel found in UTILITY) to cc #001 Modulation, for
up) or loosened (wheel down) or returned to example, you will in effect have a modulation
normal (centered). These VL Voices are often wheel on a knob.
programmed such that the PB range = +0.
Typically, however, on the internal AWM2
sample-based Voices PB range is set to
up/down 2 steps (a whole step; see below).
Pitch Bend range is a COMMON parameter and
can be set per Voice:
AS 2 – ASSIGN 2 does not have a fixed
message. It can be assigned as an internal
control device. You can use it to change
Element level, filter, effects, etc., etc. (See the
Control Set Destination list). It can
independently be assigned any control
MW (fixed) – Modulation wheel will always change message for transmitting out via MIDI.
send control change message 001 and this The default assignment is cc #017: “General
data is typically used for vibrato depth both Purpose control 2”. If you reassign the default
internally and out via MIDI. How this data assignment (global setting found in UTILITY) to
(control change message 001 – written cc001) cc #002, for example, you will in effect have a
is interpreted by the tone generator/receiving breath control on a knob.
device, is programmable. For example, it is
possible to use the modulation wheel for AFTERTOUCH (fixed) – will always be sent
something other than just vibrato depth by when extra pressure is applied to the key. How
programming the sounds PMD (pitch this controller data is interpreted, if at all, is a
modulation depth to 0) and assigning it function of the voice parameters in the tone
another parameter. (PMD is another name for generator/receiving device. Some players use
vibrato.) For example, the mod wheel makes a aftertouch to vary PMD (pitch modulation
good mix control. You can use it to fade one depth), vibrato. Others like it to brighten the
layer in (+ depth/level at 0) while a second sound and assign it to filter cutoff, still others
layer is programmed to fade out (- depth/level assign it to control an effect, like the rotating
at 127). The assignment to vibrato (Pitch Mod) speaker speed.
is not automatic. Each Voice that uses the MW
as vibrato has it assigned in a Control Set.
 7
FOOT CONTROL 1 (FC1) – An FC7 pedal
plugged into the Foot Control 1 jack is BREATH CONTROL – defaults to sending
available as an assignable controller. You control change message 002, but can be
select what it will send globally for the MOTIF assigned to any cc number from 1-95 (global
from VOICE mode press [UTILITY]/ [F3] setting found in UTILITY). How this data is
VOICE/ [SF3] CTL ASN. The default is 011 interpreted by the tone generator, is
(expression) which is similar but not the same programmable. For example, in VL Voices
as control 007 (Main volume). Many people (PLG150-VL) breath control often applies a
mistake these two as being the same thing. virtual ‘Pressure’ to the virtual mouthpiece (or
While they both control ‘how loud’, they have driver), and can be responsible for parameters
different functions. For example, in a Song you like Scream and Throat Formant.
plan to play a B3 Voice on top of a sequenced
rhythm section. You set the mix volume of the SUSTAIN (fixed) – will always send a control
organ to a level of 96. (Because 96 is the change message 064. This control number is
perfect setting for as “loud” as you will ever HOLD 1 and will latch the current sound.
need to be compared to the rhythm section). (Other controllers can be assigned to send
You are setting how loud the organ sound will cc064 sustain but a pedal plugged into the
play on a scale from 0-127 - relative to the sustain jack will always send sustain). Whew!
other sounds. If your FC1 pedal is set to
control 011 (expression) – toe down will never Assign A / B – default to cc18 and cc19 but
exceed the ‘96’ Main volume setting of the are assignable to any control change number.
Part. If, on the other hand, you have the FC1 Additionally, and independently they can be
assigned to cc007 (Main volume) the volume assigned to System Controller Destination
will be set by the absolute position of the pedal parameters (Master EQ, Arpeggio, and other
– toe down will reset the volume to 127 – and global parameters). See page 39 of the DATA
you will be too loud. Expression (cc11) is LIST booklet for more details. These are
relative volume within the maximum set by assigned globally in UTILITY mode. The default
the individual parts Level. Volume (cc07) is assignments have these 2 knobs controlling
absolute volume for the current MIDI channel. Amplitude Envelope Sustain and Decay
parameters internally.
FOOT CONTROL 2 – defaults to sending
control change message 004, but can be
reassigned to any control change number 1-95
(global setting found in UTILITY). How this
data is interpreted by the tone
generator/receiving device, is programmable.
For example, it is possible to use the foot CONTROL SLIDERS 1 / 2 / 3 / 4 – default
control for filter cutoff (wah-wah) on an to controlling volume levels in both Voice and
internal sound and have an external sound set Performance modes and are assignable per
to interpret cc #004 as something entirely zone in a 4-zone Master Keyboard setup. (See
different. separate section below). In Voice mode you
are always controlling Element levels 1-4 via
FOOT SWITCH – Use a Yamaha FC4 or FC5 System Exclusive messages, while in
(sustain like switch). It can be assigned any cc Performance the default is Voice volumes via
number between 1-101. It will always send a System Exclusive message. In a Master
control change value of 127 when activated; Keyboard setup they are individually
otherwise the value is 0. The nature of the programmable – CS 1 will be for zone 1, CS 2
switch makes it ideal for OFF/ON operations. for zone 2 and so on. But you select the
This message can be used to turn something parameter they each control.
from off to on or vice versa. The default
assignment is cc #088 an unassigned number. Control Sets Summary: Each AWM2
Assigned to cc #099 or 100 you can advance (sample-based) Motif Voice has six Control
or move backward through Voices or Setups where a physical controller, called the
Performances. You could even use it to Source, is assigned a specific controllable
start/stop the arpeggiator (cc96*), hold the parameter, called the Destination (DEST) and a
arpeggiator (97*) or the sequencer (cc98). Depth value that determines how much effect
*The MOTIF default for Arp Sw and Arp Hold. the controller will have. This flexible system
Set to cc66 it will become a sustenuto pedal. will enable the user to tailor the sensitivity of
Set to 101 it will reset the OCTAVE transpose. each controller’s movement. Sensitivity or
 8
Depth refers to how far you move the The PLG150 Voices will have the following
controller to get a desired result. This is an additional Controller (CTL) screens that will let
important setting because you want to be you route controllers to the following areas:
comfortable working the controller while you
perform. Modulation Wheel Assignment: In each
MOTIF PLG150 Voice you can assign MW to
The destinations are listed in detail on page 36 directly control the Filter (cutoff/resonance);
of the Data List booklet that comes with your Pitch Modulation (PMod) – vibrato; Filter
Motif. They include Voice volume, reverb send, Modulation (FMod) – wah-wah; and Amplitude
chorus send, and some 26 Insertion Effect Modulation (AMod) - tremolo.
parameters (not all Insertion Effect parameters
are real time controllable). And if you are
dealing with the internal sample-based Voices,
an array of Common and individual Element
parameters like filter cutoff, resonance, LFO
speed and depth, tuning, key on delay, Pan
position, Pitch, Filter and Amplitude envelopes, Aftertouch Assignment: Aftertouch can be
etc., etc., can be programmed. PLG1, PLG2 assigned to Filter, Pitch Mod, Filter Mod,
and PLG3 Voices will be able to be assigned to Amplitude Mod and the direct control of Pitch
volume, reverb send, chorus send and the 26 with (AT) key pressure
possible Insertion Effect parameters, only.

Each PLG-series board may have controller

sets of their own, depending on the technology
involved – these will be programmed in the
PLG Voice Editor software. For example, if you
program (using the provided AN Expert Editor) Assignable Controller: For each PLG150
a PLG150-AN Voice to respond to cc16 for filter Voice you will find a screen for an Assignable
cutoff and cc17 for filter resonance, it will have Control – AC Control. Here you can pick a
its ‘virtual analog’ filter controlled by the device (physical controller) or control change
MOTIF assignable Knobs 1 / 2. number to do various tasks: Control the Filter,
Pitch Modulation, Filter Modulation, and
Note: PLG150-series Plug-in Voices will have Amplitude Modulation. These will enable the
a different set of Controller Set screens in the user to customize routing for the PLG150
MOTIF (explained below). Also, look in the Voices.
Voice Editors for additional assignable
controller routings. For example, the PLG150-
AN has some 8 AC (assignable control devices)
and 15 Control Sets available. The PLG150-AN
is based on the AN1x keyboard synth, which
had 8 front panel assignable knobs AC1-AC8.
You can reassign as many as you wish to your Depending on the PLG board you may have
available Motif physical controllers. Each board access, via the Motif front panel, to selecting a
will have a different controller setup specific parameter to control with the AC
arrangement depending on the technology selected here. Look in the PLG boards NATIVE
involved. parameter area.
PLG150 Series boards are single PART boards
and have two kinds of Voices: PLUG-IN and Understanding how the Controller and the
BOARD. PLUG-IN Voices are those that have Parameter ranges work:
been integrated with Motif Effects and Put on your thinking caps...this is tricky.
Controller routings (discussed below). BOARD Remember I mentioned logic – well here we
Voices are resident on the Board itself and go. Minimum-to-Maximum controls versus
have not yet been integrated with the host Negative-to-Positive controls: Consider the
parameters (hopefully you will customize them Mod wheel versus the Pitch Bend wheel as a
to your liking). Each board comes with a Motif physical control device. One has its zero
different amount of Board Voices for you to position in the middle, while the other is at
build PLUG-IN Voices and the Motif gives you zero in the down position. One changes values
64 blank USER locations for you to place them. from minimum towards maximum, the other
 9
above and below a 0 center value. These (sampled) elements you have a slider for each
factors must be considered when you make an Element. Of course, they do not send cc007
assignment of a parameter to a physical (Main Volume) in Voice mode – which would be
control. Think about all physical controllers in silly. You would lose individual control. It would
these two groups: set all Elements to the same Volume no matter
which slider you moved.
Minimum to Maximum Controllers Why don’t the Control Sliders send cc007
Modulation Wheel in Performance Mode? The Control Sliders
Foot Controllers: FC1/FC2 send Voice Level (again via system exclusive
Breath Controller messages – which will affect only the S90, not
Aftertouch out via MIDI). In a Performance that has up to
Control Slider 1/2/3/4 4 Voices each slider controls the volume of one
Foot Switch/Sus *min. or max. only of the Voices. Performances can combine
Voices and PLG150* Voices. *One Voice
Negative ~ 0 ~ Positive Controllers contributed per PLG150 series board. Of
Pitch Bend Wheel course, the sliders do not send cc007 in
Assign 1/2 (center détente) Performance mode - that would be silly. Again
Assign A/B (center détente) you would lose individual control. It would set
all Voices to the same Volume no matter which
Now think about the parameters and the range slider you moved.
of possible values. Some parameters go from What about the Control Sliders in Master
minimum to maximum (like volume and effect Keyboard Mode? The Control Sliders are
sends: 0-127) while others move above and assignable to any control change number from
below a center zero point (pan position: L-C- 1-95, when you are setting up a 4-zone setup.
R), and filter cutoff: -64 closed, 0 normal, +63 You determine what each slider sends to each
open). corresponding zone. You determine the MIDI
channel and destination (internal TG or MIDI or
This can be an issue if, for example, you assign both) for each zone. The default is cc #007
a minimum to maximum parameter, like (volume) for each zone and this is sent out via
volume 0-127, to a negative to positive MIDI (if you want). Controllers can be
controller like Assign (Knob) 1. activated or deactivated per Zone. Of course,
they can send cc007 in Master mode because
Here’s what happens: each Voice can be on a separate MIDI channel!
The 12 o’clock position will be 0 volume, while
+63, the 5 o’clock position, will be maximum What happens when I want to control
volume. For all settings left of 12 o’clock, 0 Voices in a Performance, independently?
through –64, the minimum volume is sent out, A Performance is literally, up to 4 Voices
0. The control seemingly only works half the addressed together. So all these things apply.
time. You can’t hear less than 0. If you want to control one Voice a certain way
and another a different way within the same
It is not an issue when you assign a Performance you may need to program each
negative/positive parameter, like pan position, individually back in Voice mode. That is what
to a negative/positive controller like a Motif you learned about in this article – assignment
Knob. In such a case, counterclockwise pans of controllers in Voice mode. You now can
left, clockwise pans right and 12 o’clock is assign parameters in a Voice and when you
center. place that Voice in a Performance all of your
controller routings will apply. This can be very
Conclusion: Consider the above when selecting interesting because a single slider can be doing
a controller for a specific parameter. different things to different Voices in your
Performance. Cool. For example, you want to
The Control Sliders control a Performance with three sounds:
There are 4 Control Sliders, CS1-CS4. We need STRING/PIANO/FLUTE. You want to control the
to talk about their function in Voice, string sound independently with a FOOT
Performance and Master Keyboard modes. CONTROL pedal. You may need to program the
individual Voice, however, you do have the
Why don’t the Control Sliders send cc007 option of activating or deactivating a controller
in Voice Mode? The Control Sliders send for an individual PART within a Performance.
Element Level (via system exclusive So you will have to determine if you need to
messages). In Voices that combine up to four make adjustments to individual Voices or can
 10
you simply activate or deactivate certain
controllers to accomplish your goal. In a
Performance you can see which Controllers are
active per Part by pressing:
[EDIT]/ Touch program button [1] to select
PART edit level/ [F5]: RCV SW or Receive
Switch.

In general, each Performance is pretty much

autonomous when it comes to control
assignments. In other words BC, Assign1,
Assign2, FC1, and FC2 can be assigned
differently per Performance, as necessary,
whereas in Voice mode the assignment for
these was global.

One last tip concerning your controller

assignments. There is a default condition for
each when a Voice or Performance is recalled.
This is affected by the CONTROLLER RESET
parameter which can be set globally in
[UTILITY]/ [F1]:GENERAL/ [SF4]:Other. This
parameter can be set to either RESET or HOLD.
Hold will allow each Voice to inherit the current
condition of a controller. For example, if you
have a BC plugged in and the Controller Reset
is set to HOLD, you will not have to blow air
into the BC3 to initialize it each time. If you
use a Foot Controller as your master Volume
level, setting this to HOLD will mean that the
next setup you call up will hold at the current
volume of your pedal. Cool…enjoy!

Phil Clendeninn
Technology Products
Pro Audio and Combo
©Yamaha Corporation of America