Yamaha MOTIF XS7 EN - Manual (Page 99)

Editing a Normal Voice
MOTIF XS Owner’s Manual 99
V
oice mode
Song mode
P
attern mode
Mixing mode
Master mode
Utility mode
File mode
P
erf
ormance mode
Sampling
mode 1
Sampling
mode 2
Ref
erence
2 Pan*
Determines the stereo pan position of the Voice. You can
also adjust this parameter using the PAN knob on the front
panel.
Settings: L63 (far left) – C (center) – R63 (far right)
n Note that this Voice Pan parameter may have little or no
audible effect if the Pan for a specific element is set to the left
position and the Pan for another element is set to the right
position.
3 Note Shift*
Determines the transpose setting for the amount (in
semitones) by which the pitch is raised or lowered.
Settings: -24 – +0 – 24
4 PB Range Upper (Pitch Bend Range Upper)*
5 PB Range Lower (Pitch Bend Range Lower)*
Determines the maximum Pitch Bend range in semitones.
Setting the Upper parameter to +12 would result in a
maximum pitch rise of one octave when the Pitch Bend
wheel is moved upwards. On the other hand, the Lower
setting of -12 would result in the pitch being lowered up to
a maximum of one octave (12 semitones) when the Pitch
Bend wheel is moved downwards.
Settings: -48 semi – +0 semi – +24 semi
6 Bank (Micro Tuning Bank)
Determines the Micro Tuning Bank.
Settings: PRE, USR
PRE (Preset)
Contains the 13 preset Micro Tuning types.
USR (User)
Contains your original Micro Tuning types created in the Micro Tuning
display (page 265) of the Utility mode.
7 Tuning Number
Determines the Micro Tuning number. The Preset Bank
provides 13 types including the most common “equal
temperament.”
Settings:
Preset Bank: 1 – 13 (See the Micro Tuning list below.)
User Bank: 1 – 8
8 Tuning Root
Sets the base note for each scale. For some scales this
setting may not be necessary.
Settings: C – B
Micro Tuning List
9 Mono/Poly*
Selects monophonic or polyphonic.
Settings: mono, poly
mono
When set to “mono,” the selected Voice is played back monophonically
(only a single note is played back simultaneously). For many
instrument sounds (such as bass and synth lead), this allows a more
natural and smooth sounding legato performance than when this
parameter is set to “poly.”
poly
When set to “poly,” the selected Voice is played back polyphonically
(multiple notes can be played back simultaneously or a chord is
played back).
What is Micro Tuning?
This function lets you change the keyboard scale from
normal tuning (equal temperament) to one of a variety of
special scales. You can determine the scale type for
each voice by simply selecting a Tuning number. You can
also use original Micro Tuning types that you’ve created
in the Micro Tuning display (page 265) of the Utility
mode.
Micro
Tuning
No.
Type
Micro
Tuning
Root
Comments
1
Equal
—
The “compromise” tuning used for
most of the last 200 years of Western
music, and found on most electronic
keyboards. Each half step is exactly
1/12 of an octave, and music can be
played in any key with equal ease.
However, none of the intervals are
perfectly in tune.
2
PureMajor
C – B
This tuning is designed so that most
of the intervals (especially the major
third and perfect fifth) in the major
scale are pure. This means that other
intervals will be correspondingly out
of tune. You need to specify the key
(C – B) you will be playing in.
3
PureMinor
C – B
The same as Pure Major, but
designed for the minor scale.
4
Werckmeist
C – B
Andreas Werckmeister, a
contemporary of Bach, designed this
tuning so that keyboard instruments
could be played in any key. Each key
has a unique character.
5
Kirnberger
C – B
Johann Philipp Kirnberger, an 18th
century composer, created this
tempered scale to allow
performances in any key.
6
Vallot&Yng
C – B
Francescatonio Vallotti and Thomas
Young (both mid-1700s) devised this
adjustment to the Pythagorean
tuning, in which the first six fifths are
lowered by the same amount.
7
1/4 Shift
—
This is the normal equal tempered
scale shifted up 50 cents.
8
1/4 tone
—
Twenty-four equally spaced notes per
octave. (Play twenty-four notes to
move one octave.)
9
1/8 tone
—
Forty-eight equally spaced notes per
octave. (Play forty-eight notes to
move one octave.)
10
Indian
—
Usually observed in Indian music
(white keys only).
11 Arabic 1
C – B
Usually observed in Arabic music.
12 Arabic 2
13 Arabic 3