MOTIF Basic Structure
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
nFoot Controller parameters can be set for each Voice.
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
nThe parameter assigned to the Footswitch is set in the
Utility mode (page 256).
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
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 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
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
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
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
Depth of control
ON/OFF ON/OFF ON/OFF ON/OFF