YAMAHA MOTIF XS6 SYNTH

[Anderton]

Hey! A synthesizer pro review...I've been waiting to do this for a while, what with the option to do audio examples and such. And this is quite a box to kick off the concept -- it's very, very deep, as we'll see.

Check out http://www.yamahasynth.com for some background info on the Motif XS; and note that there are already new drivers available for Vista as well as XP.

So...does that give you an idea of where this box is going? It's very computer-centric, and even ships with a copy of Cubase 4 AI ("Advanced Integration").

We'll start off with the customary photos, and spend the first few days of the review giving and overview, and going over specs. Next week we'll get into the sounds, then segue into the computer-controlled aspects.

[Anderton]

Here's a picture of the keyboard; click on it to see the Big Picture. The left side is pretty much a control surface, not just for programming the XS6, but also for controlling sequencers. The integration with Cubase is particularly tight.

In the middle, there's a big, bright, colorful display. Further to the right are the usual navigation tools (buttons, increment/decrement, data wheel, etc.). Finally off to the right, there are buttons that do program selection, call up the database and search functions, and do part selects, mutes, etc. for the sequencer.

The case is metal with plastic ends, and the buttons have a really positive, sturdy feel. The faders have a tiny bit of side to side wiggle, as do the knobs, but they still feel very solid. And this is a small thing, I know, but I like the blue/green color. It's a nice change from Basic Black.

Overall, this has the vibe of being a serious workhorse. This is consistent with the Motif series, which Steve Fortner of Keyboard magazine termed a "workhorse" as well.

By the way, I understand these keyboards are in short supply -- apparently they're way backordered. We're pretty lucky to have one here.

[Anderton]

I thought you might like seeing a close-up of the eight knobs. Note that these have multiple banks (click on the picture), with control over all kinds of parameters. The top bank of three options contorls selected parts, a second bank of three options handles multi-part control with reverb, chorus, and pan. I suspect these interact with Cubase as well; we'll find out soon enough...

[Anderton]

And equal time for the faders, too...these appear to have a 60 mm throw (where's my centimeter ruler? Anyway...), and probably not surprisingly, they're not motorized. What's cool is that between the faders and knobs, you have a pretty complete 8-channel control surface. Sure beats the days when synths had one fader...or just a couple of buttons for parameter control.

[Anderton]

And here's a picture of the display, which is 320 x 340 pixels and full color. Actually the picture doesn't really do the display justice, because of the moire patterns you get by using a digital camera on a pixelated source. Having a big color display is not only helpful when programming, but is also aesthetically pleasing. I consider that an important factor with any musical instrument; after all, you want an instrument to inspire you. The whole vibe of the XS6 is friendly (thanks to the color, the display, the rubberized feel of the fader buttons and knobs), and also, business-like due to the open, obvious layout.

Okay, I'm off to take more photos...

[Anderton]

Another part of the control surface is the Sequencer Transport controls. These are bigger buttons than the other pushbuttons, so they make for a decent target. Also, note that you can store two locate points in the sequencer - once you're on the measure you want to set as a locate point, you press the rewind or fast forward button and store, and it's stored.

There's also another location function where you can enter a measure number and jump to it, but these aren't stored; you have to enter the measure number whenever you want to jump to it. The second picture shows the keys you use to enter the measure number - they're the lower row of numbers on the function keys.

And this is where I'm realizing that maybe trying to present this Pro Review as a series of "modules" might not be the best approach...I had planned on doing Cubase integration as a separate section, but then I run across things like the locate function, and wonder if it will also locate to Cubase. Well, I'll finish out the overview part, but then install Cubase ASAP so I can test as I go along.

[Anderton]

Of course, there are pitch bend and mod wheels, but check out the ribbon controller as well. I must say it's encouraging to see more and more keyboards, not just the XS6 series, go beyond just wheels. Control is good!

The keybed for all three keyboards (the XS6 with 61 keys, the XS7 with 76 keys, and the XS8 with 88 hammer-action keys) all have velocity and aftertouch. Unfortunately, in keeping with the current trend that seems to be trying to erase all memory that polyphonic aftertouch ever existed, the aftertouch is channel aftertouch only. (Come to think of it, are ANY keyboards being manufacturered with poly aftertouch? Guess I'll have to hold on to my Ensoniq TS-10 a while longer.) I don't want to go on a rant here, but poly aftertouch is so expressive, it's a shame there isn't more of a clamoring for it from end users. Yes, it adds to the cost...but at least as far as I'm concerned, it's worth it.

On the other hand, aftertouch of any kind seemed like an endangered species in recent years, so I'm grateful it's included. What's more, it has a good feel - it's not just what some people refer to as "afterswitch," as you can play quite expressively with it.

We already mentioned the faders as real-time controllers, but there are also two assignable switches.

[Anderton]

Maybe this isn't a big deal to some people, but there are two expression pedal ins and two footswitch ins (one assignable, one fixed to control sustain). Although I would guess not a lot of people use two footpedals, try it sometime.

To get philosophical for a bit, synthesizers of all kinds have traditionally been less nuanced than acoustic instruments. Think of a guitar: Just holding the pick differently changes the sound. The lineage of synth expressiveness is the organ, and although we do have velocity and aftertouch nowadays, the more parameters you can control, the better. Given that you'll have your hands on the keyboard a lot, having multiple foot control options is welcome...as Wendy Carlos said, "For every parameter you CAN control, you MUST control." Control is indeed the key to expressive synthesis.

[Anderton]

The Motif XS has an Ethernet connector (yes, real ethernet, not something that just uses a CAT 5 cable to connect to something non-Ethernet). So the Motif XS can be part of a local area network, and mount/access drives on that network.

There are also two USB connectors. One goes to a host computer (USB TO HOST) and carries MIDI data to and from the host. Note that the Motif XS is not an audio interface to your computer; this USB line does not carry audio. If you want the Motif XS to carry digital audio, you need to use an mLAN expansion card (this is standard on the Motif XS8, but optional on the XS6 and XS7). Note, however, that you're limited to 24 bit/44.1kHz audio.

The other USB connector goes to USB devices, like hard drives and (my favorite) USB memory sticks. You can save data to these USB devices, and load data from them as well. USB devices can be self-powered or bus-powered, but Yamaha makes no claims that the XS series supports all USB devices; the manual recommends you check http://www.yamahasynth.com for advice on what works and what doesn't. However, I couldn't find anything there about USB devices...I suppose the XS is just too new for this kind of information to be available yet.

[Anderton]

Not surprisingly, the Motif XS series has MIDI in, out, and thru. There's also a coax SPDIF out that outputs at 44.1kHz/24-bit. With respect to MIDI, the Motif XS can receive MIDI Time Code and send MIDI Machine Control from the transport, thus allowing for sync with a variety of devices.

Well it's Friday night, and I'm going to visit my mom for mother's day...but I won't be taking the Motif XS6 as carry-on baggage :) So there will be a brief pause in this Pro Review, and I'll resume on Tuesday when I get home.

While we're at it...happy mother's day to all the mothers out there! And by proxy, to all the kids who owe so much to their moms. It looks to me like being a mother is an even tougher gig than trying to make a living as a professional musician...

[Mo6]

Not surprisingly, the Motif XS series has MIDI in, out, and thru. There's also a coax SPDIF out that outputs at 44.1kHz/24-bit. With respect to MIDI, the Motif XS can receive MIDI Time Code and send MIDI Machine Control from the transport, thus allowing for sync with a variety of devices.


Forgive me in case you have not arrived to this portion of the review yet.
I was under the impression that XS series had Firewire and Ethernet. Could you please give us some details as to the implementation of the Firewire ports?
Great job so far, as an owner of a MO6 I can see this why these boards are on back order. I am just trying to to decide when (not if) to buy this model.

[Anderton]

Forgive me in case you have not arrived to this portion of the review yet. I was under the impression that XS series had Firewire and Ethernet. Could you please give us some details as to the implementation of the Firewire ports?

Well the review is just starting, so welcome! Please feel free to keep asking questions, that's what makes these Pro Reviews interesting. I must say this is a pretty deep board...

Anyway, the XS series does not have general purpose Firewire. Rather, the XS8 has built-in mLAN, which means it can interface with IEEE-1394. The XS6 and XS7 have space for an mLAN expansion card, but this is optional at extra cost. For most computer communications, the USB port does the job.

However, all three machines have Ethernet connections as standard. In fact, although I had planned on covering Ethernet later, as you've expressed interest I think I'll plug the Ethernet from the XS6 into the Ethernet on my computer to see what happens...might as well cover it now!

Stand by...

[Anderton]

Okay, I'm in over my head on this one...I know nothing, repeat nothing, about setting up a network except once when I did it with the Muse Receptor. So I'm following the instructions in the Motif manual, also it does have the "Refer to your computer's manual" for how I need to create a network on my computer...and of course, we all know about computer manuals...

Well, I've tried running the network wizard in Windows XP, and lets see if it creates a Shared Documents folder...that appears to be essential to the process. Reboot time...

Son of a gun! Right there on "My Computer," there's a shared documents folder! Let's see what happens next, I have no clue whether my computer is running a DHCP connection or not. But at least the computer's Network Connections shows that it's connected to the Motif XS6, although it also shows it's firewalled...hmmm...I wonder if that will cause problems.

[Anderton]

Well I'm really having a hard time believing this, but the Motif is communicating with my computer and found the Shared Documents folder...furthermore, I was able to create a new folder in Shared Documents from the XS6. Now, I don't exactly know what to do with this just yet, but it's clear that the Motif and my computer are getting along just fine, and able to exchange information.

Emboldened by this, I think I'll install Cubase AI4, hook up USB, and see if I can get the two to talk.

Apologies to those who are waiting to hear some sound examples. Hey, it's a Yamaha keyboard, the sounds are just fine. But let's put off posting examples just yet so we can check out some of the unique features of this keyboard, like the Cubase AI4 integration.

[Anderton]

Well, I just managed to save the entire synth contents (file with a .XOA file extension) to my computer. I was under the impression you had to save first to a USB device then access that from the computer, but apparently that's not the case.

None of the above should imply that I'm a Yamaha Motif network expert (yet), and truthfully, a little more documentation about how to actually use this feature would be helpful. But for now, one thing's for sure: It works! Cool.

[Anderton]

The final piece of the network puzzle is together: I'm now able to access the XS6 from my computer (or precisely, the USB memory stick connected to it; this is how it's supposed to work, you can't access the Flash memory directly). It shows up under My Network Places, you enter the File Server Account and password (heads-up - it's case-sensitive), and you're good to go.

Well, I definitely file this under Life's Little Victories, considering I'm a moron when it comes to network. I have to give the props to Yamaha, for making the setup instructions not too arcane, and Microsoft, for making it easy to set up a network under Windows XP. Very cool.

I'm signing off for now, but with a sense of accomplishment :)

[zarquin]

thanks for the review..

Just reading the yamaha website at the moment.. it looks like its a very complete workstation.. Im mostly curious about the patch editing and the sampling..

is it easy to edit the existing patches?
is it a smooth process??

and can you use samples as waveforms to make instrument patches?
or does the sampler only let you do phrase sampling??

appologies if this is jumping ahead :)

[Rabid]

Thanks for the review Craig. You are the perfect person to answer my question.

With the acquisition of Cubase by Yamaha I know they are working hard to integrate the Motif into Cubase while stating that they are not going to leave out other DAW's. What features of integration within Cubase are missing from users of Sonar and Logic.

Robert

[Anderton]

Thanks for the review Craig. You are the perfect person to answer my question.

With the acquisition of Cubase by Yamaha I know they are working hard to integrate the Motif into Cubase while stating that they are not going to leave out other DAW's. What features of integration within Cubase are missing from users of Sonar and Logic.

Robert

We'll all find out soon :)

[Athan Billias]

Hi, I'll jump in and answer this one.

"What features of integration within Cubase are missing from users of Sonar and Logic ? "

There are no features that are missing. Advanced Integration simply makes it easier to use Yamaha hardware with Steinberg software.

Here are a couple of examples from the Motif XS and AI extensions (which will install into Cubase AI that comes bundled with the Motif XS and also commercial versions of Steinberg products like Cubase 4 Studio and Cubase 4.

Motif XS Song Import into Cubase AI

You can save a song on a USB device (or as Craig did save a file via Ethernet to your computer). Then you can open Cubase AI , select import and Motif XS Song is a choice. You can then open that Motif XS file. For example if it's an All file you can view all the songs saved in the All files , select a song, select either all tracks or which tracks you want to import and then import the song into Cubase including both MIDI and Audio. Using the Motif XS Studio Manager multi part editor you can send the mix from the Motif Xs to the editor and save it. Now you ahve ported all the settings from your Motif song into your DAW.

Is this possible to do with Sonar, yes , but you need to do a lot more work.
Import the MIDI as SMF file, copy over the audio as wav files and make notes about where they went in the song, have the studio manager open as a stand alone program and manually sync Studio manager and the Motif XS. In fact , most people would probably just do it the old fashion way and re-record the parts into the computer sequencer by syncing them up. In fact in Sequencer setup we have given you a quick setup to do just that, so we really didn't forget about our shared customers with Sonar, DP and Logic.

Here is another example which is the AI peer to peer driver. Craig can't test this out because he has a Motif XS 6 and we haven't recieved mLAN16E2 yet.

However the Motif XS 8 comes with Firewire on board. When you install the driver and launch a version of Cubase with the AI extensions installed everything is automatically connected and your MIDI and Audio Ports in Cubase are all named. It's totally simple.

With other DAWs , it is possible to make the same connections and name all the ports but you have to do that yourself.

There may in the future be actual features that are only available between Yamaha and Steinberg products , but right now it more steamlining the workflow and interface that has been the focus.

[Athan Billias]

BTW, I'm the director of marketing for Yamaha and Steinberg here in the US so the above is 'straight from the horse's mouth' as they say.

[Athan Billias]

is it easy to edit the existing patches?
is it a smooth process??

You can edit Voices using the knobs and sliders and store those settings. If you wnat to dig deeper , press edit and all of the parameters are available on the LCD display. Once Craig gets his USb hooked up , we will let him talk about the Motif XS multi part editor ( downloadable from www.yamahasynth.com for free so you can check it out even if you don't own the keyboard by the way). Two cool things about the editor.

First, it's multi part so you can edit MIxes and all the voices in a mix as well as using it for singel voice editing.

Second, it has bi-driectional communication. That means you can twist a knob on the synth and it's reflected in the editor. Change a parameter in the editor and it's reflected in the display on the synth. This let's you just work and not think about whether you are editing in hardware or virtually.

and can you use samples as waveforms to make instrument patches?

Yes, you have complete mapping capabilities and many of the convertor programs like Chicken Systems will output Motif ES format ( they are wokring on XS format now) which can be read by XS. Also there are native XS format libraries in the works at www.motifator.com.


or does the sampler only let you do phrase sampling??

We won't hijack Craig's review, but only jump into answer specific end user questions as we normally do on motifator.com

[Anderton]

Athan! Great to have you here. You have a bit of an advantage on me in terms of knowing the unit :) But one of the reasons I'm digging doing this review is there's SO MUCH to cover. It's kind of hard to know where to start sometimes...

Anyway, I'm about to install the USB...the network thing kind of hijacked me for a day but it was an experience well worth having, as I was very surprised I could get the system working without any hiccups. That bodes well for Cubase AI.

[Anderton]

I went to http://www.yamahasynth.com to download the USB driver, and was pleasantly surprised to find out that not only Vista and XP/x64 edition are supported, but support extends backward to Windows 98SE (the first version of Windows where USB worked reliably, IMHO), ME, and 2000. On the Mac side, of course there's support for OS X but also for systems 8.6 - 9.2.

In these days when manufacturers seem less and less inclined to support older operating systems, I think that's kinda cool.

I've downloaded the driver, time to install.....

[Anderton]

Well, I was up until four in the morning try to get the XS6 to show up in any host sequencer, but it wouldn't. The Yamaha USB-MIDI configuration menu showed up in the computer's control panel, and as some of the port numbers were blinking, I assume it was receiving data (MIDI clock or active sensing, perhaps). The driver also showed up under device manager, in the Sound, Video, and Games controller section, and said it was working properly; no X or ! symbols. And the little USB system tray icon showed it the XS6 as something that could be removed.

I made sure the XS6 was set to USB as the MIDI I/O, checked channels, and so on...but it would not show up as a MIDI device under Cubase 4, Cubase AI, Sonar, or Acid Pro. It's like the Motif could talk to the computer, but the computer couldn't pass that information along to the host software.

I rebooted, disconnected and re-connected the USB cable, uninstalled and re-installed the driver, tried doing a driver update...nothing. I followed instructions to the letter, including removing all USB devices prior to installation.

The only thing I can think of is when I opened the Driver folder (which listed .INF files for seemingly every Yamaha product introduced since the Dawn of Time), there were INF files for the Motif and Motif ES, but not the Motif XS. Maybe it's just too new and there's no Windows driver yet?

Athan, any clues? Guess I'll try doing this with the Mac and see what happens there, but I'd really like to know why I can't get it to show up under Windows. I guess if all else fails I can just go from the XS6 MIDI hardware I/O to an interface's MIDI I/O.

[Athan Billias]

The newest Yamaha USB driver supports the Motif XS because we ( and many other XS users) have it setup and running.

Not sure why you had a problem.

Did you get the Windows Hardware Wizard to appear ? You need to run the new hardware wizard then manually point the Wizard to the folder with the Yamaha USB driver in it.

Once the Hardware Wizard has been completed successfully you should be all set.

As you test a lot of gear is it possible you have exceeded the number of Windows registry entries that are possible ?

[Anderton]

The newest Yamaha USB driver supports the Motif XS because we ( and many other XS users) have it setup and running.

Not sure why you had a problem.

Did you get the Windows Hardware Wizard to appear ? You need to run the new hardware wizard then manually point the Wizard to the folder with the Yamaha USB driver in it.

Yes, the hardware wizard appeared, and I manually pointed the wizard to the folder with the Yamaha USB driver in it.

As you test a lot of gear is it possible you have exceeded the number of Windows registry entries that are possible ?

That's entirely possible...any suggestions on how to cure this particular problem? Is there some document on the web you can point me to?

Meanwhile, I'll try installing on some other machines. If they work, then I bet your "registry overload" theory is correct.

[Anderton]

Athan, you're good :)

I installed the USB driver on my notebook computer, which only has installed a few interfaces during its lifetime, and everything is working perfectly...just as expected.

Just to check it out, I called up Sonar to see if the Motif XS6 could do the controller thing, and it worked like a champ.

So...obviously the problem is at this end. I'll do a little googling and see if I can get my music computer up to speed.

Thanks for the help! The controller function rocks, FYI. One thing I noticed with Sonar's WAI ("Where Am I") function and the Motif XS6 is that Yamaha went one step further than most other companies. For those not familiar with WAI, it allows using a, say, 8-channel control surface with more than 8 tracks by letting you drag a bar next to any 8 consecutive channels. For example, you can use 8 faders to control tracks 1-8, 9-16, 5-12, etc.

What the Yamaha software does that's cool is that it shows the control number in the XS6 next to the track number in Sonar, so if you are controlling (for example) tracks 5-12, next to 5 you'll see 1, next to 6 you'll see 2, etc. This makes it really easy to correlate the XS6 control surface controls to the tracks in Sonar.

FWIW, the more I work with the XS6, the more impressed I become with the overall level of, for lack of a better term, "professionalism." The display has a lot to do with that, as it displays lots of information without being cryptic, and even the web site makes things really clear. Good job.

EDIT: I thought it would be clearer to add a picture. The WAI strip is blue, and shows that Sonar tracks 6-13 are being controlled. But note the little numbers in the WAI strip: they correspond to the XS6 "channels."

[Anderton]

This is really cool. Athan mentioned that the communication is bi-directional, with respect to the editor, but that's also true in remote mode. When you do something like name a track in Sonar, the name shows up on the XS6 display as well. There's also some intelligence: For example, you can't dial in EQ settings for the MIDI channels, because, well, MIDI data doesn't get EQed. Data changes are bi-directional as well; tweaks on either Sonar or the XS6 show up in each other's displays.

I really like the fact that you can use the XS6 navigation buttons to choose parameters, and being able to adjust parameter values with the data wheel is extremely precise -- much more so than using the typical faders in a control surface.

I don't want to get too hung up on the remote elements right now, as we haven't even gotten into the sounds yet! But this is in response to the question about "missing features" when not using Cubase. I'm impressed with the Sonar implementation, it's clear Yamaha isn't "crippling" usage with other hosts -- it's just that when you're using Cubase, there's the opportunity for tighter integration (as Athan pointed out) regarding things like song transfers.

For the record, although the manual says that the XS6 remote function works with Sonar 5.2, I'm testing it with 6.2, no problems. There are also remote functions for Logic 7.2.1 and Digital Performer 5.1 as well as Cubase 4/Cubase Studio 4/Cubase AI 4.

[Anderton]

Here's a reference on the MIDI port limit issue:

http://www.rme-audio.de/en_support_techinfo.php?page=content/support/en_support_faq_10entryd

Guess I'll set a system restore and start poking around....

[Anderton]

Well, I followed the directions in the previous reference, deleted two MIDI registry entries that appeared to be duplicates, rebooted, and...yup, it's all working now! Thanks for the tip, Athan. It just may help some other people as well.

Tonight is ending on a much better note than last night :)

[Anderton]

Oh, one quick user "wish list" request. Do you plan on offering templates for additional host programs at some point? If so I'd recommend Live and Pro Tools.

[Athan Billias]

The protocol for the XS remote is basically like Mackie control so if Live supports that it may work, but has not be tested by Yamaha.

The only thing that is available for third party Pro Tools control is HUI which has not be updated recently and is ....... well not very elegant, to put it nicely.

BTW, the registry limitation is a common problem for people and it is good to let people know how to solve the issue which is a Windows limitation and not an issue with Yamaha USB:love: driver at all as you pointed out.

You have a great deal of patience because most people can't wait to dive into the sounds and performances on the XS !

[Anderton]

You have a great deal of patience because most people can't wait to dive into the sounds and performances on the XS !

Just because I haven't covered the sounds yet doesn't mean I haven't been playing with them :) But frankly, it's not like Yamaha has to prove itself about its sounds...and the computer/integration/networking capabilities are something that set the Motif XS apart. I was concerned that if I said "Hey, the clavs sound really good!" the reaction would be "yeah, okay, but what about this Cubase AI thing?!?"

I figured once I got the whole computer communication thing squared away (thanks again, Athan), then we could get into the more standard stuff.

But there are so many aspects to the XS it's going to be hard not to jump around a bit anyway....

[Mo6]

Major Kudos to both Anderton and Athan Billias. Very nice to have someone from Yamaha giving us a view from the "horses mouth".

Anderton your recent network adventure has given me the reassurance that I was hoping for. Thanks for taking that diversion. Yamaha has really done their homework. This board is going to be a worthy addition to the line.

As a someone who was so impressed with the Mo6 (enough to make it my "board name") I am looking forward to purchasing the XS. Since I have some experience with integrating the Mo with Logic, I have no doubt that the XS will have no troubles in this area.

As for the remote control feature, this is also a feature that is well implemented already. If your DAW works with a Mackie control and you do not have a control surface already, you will be amazed at just how much you can do right from the synth.

The communication with the editor as Athan has pointed out is a dream since it is truly is a two way system and it is SO nice to edit on the computer screen and have it reflected instantly in the sound on the board.

Knowing the reactions I have recieved from the sound of my board, I am sure that the sounds of the XS will be killer.

Thanks, Anderton, Athan and Yamaha.

Yamaha you have figured out how to keep me a fan of the best synth out there in my opinion, take a DEEP board and make it DEEPER!

[FRETPICK]

Bottom line.

Should I buy an XS & is it really worth that amount of money?

Of course my music is very important to me.:)

http://reviews.harmony-central.com/reviews/Keyboard+And+MIDI/product/Yamaha/Motif+XS8/10/1
^
This has given me second thoughts. One guy is as happy as Larry & the other is
peed off.

YOur thought's would be a great help as this is loads of dosh.lol

[Anderton]

http://reviews.harmony-central.com/reviews/Keyboard+And+MIDI/product/Yamaha/Motif+XS8/10/1
^
This has given me second thoughts. One guy is as happy as Larry & the other is
peed off.

YOur thought's would be a great help as this is loads of dosh.lol

Well the Pro Review concept is to give my thoughts, but also allow others to contribute their opinions. As to the two diametrically opposed user reviews, I do have some comments on the negative review.

It's true that the display angle is not adjustable, but I wonder if the reviewer realized there's a contrast control on the back. Because I have the XS6 set up on an office desk rather than a keyboard stand to make it easier to post in the Pro Review, it's quite high..about the level of my sternum. By adjusting the contrast I have no problems reading the display, although one with an adjustable angle would be nicer.

As to the sequencer, I haven't gotten to that...the user reviewer is also upset that the XS6 seems designed to serve as a front end for sequencers as well as a keyboard (not just Cubase, he got that wrong), but frankly, that's one of the things i like about the XS6...having sequencer control right on the keyboard, and a control surface, makes for a more ergonomic package.

Regarding screen redraws...:idea:

...hold on a few minutes...I'll be back....:idea:

[Anderton]

So I made a little video of the screen redraws you can download, so you can decide for yourself whether it's fast enough. I hit the buttons real hard so you can hear where the changes were initiated (and didn't break the buttons, either). :)

For the first four changes, i chose what was pretty much the four slowest redraw situations I could find. The second group of four are more like what you'd expect. If screen is just refreshing text, the changeover is pretty much instantaneous. If there's extensive redrawing of graphical elements, it takes a little longer.

I've included both a WMV and MOV movie, however, the "fidelity" of the WMV is far superior...as a side note, it seems Windows Media works much better than QuickTime if you need to create super-compressed files.

By the way...if your computer only lets you download the file as attachment.php, go ahead and download it, then change the file name to a .MOV or .WMV suffix, depending on which one youd ownloaded.

[FRETPICK]

It's not that bad at all really. I could live with that.:wave: Thank you.

The only other question I have is.

I've heard the song demos (done by sound designers) but what I'd like to hear is just a normal person's attempts. I don't mean for that to come of how it sounds.

Could you demo some of your own user presets?

Of course the big question is the orchestral sounds. There is only one song I can find & I'd love to hear more.

A....You are the man & thanks so much for you report & care.:thu:

Errr... Sorry to ask.

Your Mr...OMG!!!!

Cough....er....please to meet you sir.:) Wow.
P.s your gnx4 book has really helped me.:wave:

[Athan Billias]

There are lots of reviews and tons of information at www.motifator.com.
Most of the people who have Motif XS post there so you may want to check that site out.

[FRETPICK]

There are lots of reviews and tons of information at www.motifator.com.
Most of the people who have Motif XS post there so you may want to check that site out.

Tar very much dude.:thu:

[Anderton]

Before getting into the sounds, I figured I'd try one more experiment. I set up Live for Mackie Control, and the XS6 works with it. The only glitch I've found so far is that the panpots don't cover their full travel when adjusted from the XS6 - they only cover from about the 10 o'clock to 2 o'clock position. But one very cool feature is that you can use the data wheel to select different scenes. :thu:

Also, lots of the other buttons (for OK, Cancel, selecting draw mode, etc.) work as well. I'm eager to get to the sounds so I'm not going to check out every button and control, but while Live is not "officially" supported, it does indeed work to some extent.

[Anderton]

Update - I've spent all night recording some sound examples, but it's too late to edit and post them...see you tomorrow (yawn).

[the stranger]

:thu:

[Anderton]

Okay...the following posts have a bunch of audio examples. Most of them are based on performances containing multiple sounds, and use arpeggiation to good effect, with my playing on top of the background riffs.

This not only shows off the "backup band" aspect of the performances, but it's an easy way to show off lots of sounds at once. For example, pay attention to the drums, which are pretty hip and different for the various performances. Incidentally, these are all factory preset performances and really, I just kinda stepped through them...there's so much more than this, but at least you'll get a taste.

As to how these were recorded, I just played them in real time...no fancy MIDI editing or anything, recorded the results, and trimmed 'em down to about 30 seconds so they'd fit the BBS's current limitation of 400k MP3 files. This also means I had to cut them at 96kbps, so the highs don't really do the Motif XS6 justice, but they're definitely good enough to give you some idea of what this board can do.

[Anderton]

The "Rock of the 80s" performance features a wa-wa guitar solo over drums, bass, and rhythm guitar. The trill effects are from working the ribbon controller; the rest of the pitch changes are from the pitch wheel.

"Body Pumping" is more of a fusion-oriented piece. It also has a really cool guitar sound. Incidentally, those harmonic effects are not something I had to add; they're built in to the patch.

"80s Young Gun" should probably be called "Hair Band Meets Van Halen." This has arpeggiated drums, bass, and rhythm guitar; I played the OB8-ish keyboard part over it.

[Anderton]

"East Sider" really makes me wish the bit rate was higher, the high end on the XS6 is great and it doesn't come through here. Check out the almost Kraftwerk-like lead line, reminds me of the sound in "Neon Lights" (then again, there always was a connection between Kraftwerk and hip hop).

"Coastal" has a pretty typical rhythm section, with a funky little guitar part and a sort of "flute filigree" going on over it.

I couldn't resist putting an Eminem-type clav/harpsi part in the "Hip Hop Girl" performance. It wouldn't surprise me if you hear some of these XS6 performances lifted direct into commercials and who knows, maybe even some hit records.

BTW if anyone wants some higher-res versions of particular sounds, let me know. I can run them in mono and use shorter examples to keep the bit rate up.

[Anderton]

The XS6 is excellent at creating long, evocative sounds that evolve over time. I call this "cinematic" for reasons you'll understand when you listen to the files :)

"Abyss of the Sea" is taken from about 2 minutes of playing, and it never repeated itself. The original had a whole bunch of atonal swells, you can get a hint of that at the very beginning. Then a sequenced section kicks in...this is all very visual stuff IMHO.

"Semi Finale" has tympani, so how can you go wrong? This file is also a great example of how the MP3 format murders lows as well as highs. :( You'll also hear some of the XS6 string sounds in the process.

[the stranger]

I've been making it a habit to download all these bits you do for the Pro Reviews. Loop fodder!

Although some of the guitar sounds in the DD Heavy Mental review were quite scary! :eek: (Not my cup of tea!)

[Anderton]

These are sort of chill/new agey performances, but don't let that put you off, the sounds are still cool :)

"Chilln Keys" has a really nice keyboard sound, part piano, part something else layered in the background (haven't quite figured out what). Notice how the character of the drums is quite different from what we've heard before.

"Dark Continent" is, I suspect, an homage to Toto's "Africa" period. Again, nice keyboard sounds, particularly the pseudo-analog synths; the drums are very straightforward and effective.

"Motif XSperience" is what comes up when you turn on the XS6. I like the sort of Kraftwerk-meets-world music vibe. Note the bass, there are some really solid bass sounds on the XS6.

[Anderton]

I've been making it a habit to download all these bits you do for the Pro Reviews. Loop fodder!

I was wondering when people would start tumbling to the fact that most of the audio examples I'm doing are cut to be loops...

Although some of the guitar sounds in the DD Heavy Mental review were quite scary! :eek: (Not my cup of tea!)

That's the part of me that listens to Nine Inch Nails, thought the Damned were way underrated, and paid to see the Clash...

[Anderton]

I'm more of a techo/trance/electro kinda guy, and maybe I'll do some examples of that, but I was really taken by these more house-oriented performances.

The lead line (well, actually lead chords) in "Dry Wash" go through all sorts of tonal permutations thanks to the arpeggiation. It sounds a lot more interesting than my playing actually was :)

"Nasty Dirty Funk" is kind of like electrohouse or some other mutant dance genre. Check out the sound effects, fun stuff.

"Double Dip the Funk" is really more funk than dance, but it has sort of a disco drum part that fit in with the dance genre. All that wa-wa action is NOT me - the XS is doing it all by itself.

[Anderton]

And finally (at least for today!), some solo instruments.

"Full Concert Grand" is your basic piano sound. Well hey, if we're talking about a synthesizer, we HAVE to include a piano sound, right? After all, it's the law.

"Nylon Guitar" shows that the Motif XS can sound really expressive with an acoustic instrument; check out the dynamics.

"Mega Steel" uses the arpeggiation to give really cool strumming effects where you can easily change the key.

"Killer Whammy" complies with the Congressional Mandate on Audio Examples to be Included with Synth Pro Reviews: It offers your basic nasty distorted rock guitar sound.

(Sorry Stranger, none of these were designed to be loops.)

[Anderton]

Obviously I could create and post sounds from this thing for the next year, so next I'll cover the search function for patches, and the general architecture. But if you have any specific requests ("Is there a bitchin' Kalimba sound in there?") let me know, and I'll try to oblige.

[swardle]

Thanks for the valuable information, Craig. I was realy impressed with the nylon guitar. Wow, that sounds like the real thing. What's your opinion on the orchestral voices?

[Anderton]

Thanks for the valuable information, Craig. I was realy impressed with the nylon guitar. Wow, that sounds like the real thing. What's your opinion on the orchestral voices?

There are other nylon string guitars, too; they're all pretty tasty. I agree it's pretty impressive, but do note that I voiced the chords like a guitar, which helps further the illusion. I think that what you may be picking up on is the excellent use of velocity-switched samples within the program.

I have not had a chance yet to get really deep into the orchestral voices. I'm one of those people who believes that instruments like violins are devilishly hard to synthesize/sample convincingly if you're going for a solo voice; probably the best I've heard is done with a dedicated software instrument, Garritan's Stradivari. For massed sounds, the XS6 does fine. However, I did get what I feel were some convincing solo violins and cellos as I checked out the various sounds.

How about I proceed with a bit more description, and then we can re-visit the orchestral patches? I have to say this is a somewhat overwhelming keyboard - there's LOTS to explore. Even spending a few hours each day, I feel like I've hardly scratched the surface...I think many users would perhaps gravitate to particular "favorite" sounds and functions, but given that this is a review, I feel like I really need to cover as much as possible. That's a lot to learn, but I'm not complaining - this is a fun synth!

[swardle]

Thanks Craig! We are all enjoying this review.

[Anderton]

The Category Search function is designed to help you find instrument voices rapidly. Like all such systems, it has its limitations (your idea of what a sound represents may not be the same as the person who set up the categories), but of course, also has its strengths when you're thinking something like "Okay, I was asked about the orchestral sounds...let me find some violins."

The first image shows where the search button is located, right below the logo in the upper right...whoever was responsible for ergonomics at Yamaha obviously figured this was something important. The second image shows all the category buttons.

The way the function works is fairly obvious. When in Voice mode, you hit the Category Search button, then one of the Categories. From there you can pick a sub-category with one of the sub-category buttons shown in the second image, or you can use the standard navigation buttons (lert/right/up/down to scroll around the display among Categories, Sub-Categories, and Voices.

For example, suppose you pick the Bass category. The sub-categories are Acoustic, Electric, Synth, and Arpeggiated (depending on the category, there can be up to 5 sub-categories). Upon selecting a sub-category, a list (often very long) appears in the right pane of the screen...and while taking a photo of an LCD screen is always an exercise in frustration as there's no "house sync" out from the screen or "house sync in" on the digital camera :), the third image is definitely good enough to show what's going on.

Although the search function is helpful, for many sub-categories there are a huge number of patches to wade through, and you can only step through them one at a time (using the data wheel or up/down buttons). I would really like to see an option to jump one screen at a time, like the way QWERTY keyboards have PageUp/PageDown keys (Athan, if there's a shortcut for this, lay it on us!).

One great feature is that it seems the patches take no time to load; as soon as one is selected, you can play the keyboard and audition it. Again turning to my wish list, though, I'd like to see the ability to program a short musical phrase into the search function that would play as soon as you selected a patch. With 1,920 patches, I found myself playing a lot of repetitive phrases as I listened. Maybe there's some way to use the sequencer in conjunction with finding voices...I guess I'll find out.

However, one feature that is extremely helpful is that it's easy to tag patches as favorites, so they show up in a separate pane under a particular category - for example, all your favorite acoustic basses. It's also easy to "unfavorite" something in case you find something you like more. I found myself turning to this function whenever I found a cool sound, thus building up a large, but manageable, selection of patches I was sure I would return to in the future.

So overall, category search is quite helpful - particularly the way favorites are handled - but I think including the enhancements mentioned above would make it even easier to get around.

Which actually brings up a question to Athan/Yamaha - I'm assuming that because the Motif XS series is software-based, it would be possible to add updates...or did the engineers use up every single byte in the available flash RAM to the point where there's no room left for changes?

[acmaddox0825]

Thats a nice feature, i see alot of positive things about this synth. i cant wait till their in stock again so i can get one.

[Athan Billias]

"Which actually brings up a question to Athan/Yamaha - I'm assuming that because the Motif XS series is software-based, it would be possible to add updates...or did the engineers use up every single byte in the available flash RAM to the point where there's no room left for changes?"

The OS can be updated by USB memory. There is room in the design for new features and updates. In fact, in Europe the XS shipped with 1.04. This did not have sampling with note and some other key features. In the US, we updated all the units in our US warehouse before we shipped to 1.05.

So the first update with new features is already available. We just updated all the units in the US before we shipped as a convenience to our US customers.

[Athan Billias]

"Again turning to my wish list, though, I'd like to see the ability to program a short musical phrase into the search function that would play as soon as you selected a patch. "

We have this feature on the Motif ES rack because you may not always have a keyboard connected. On the Motif XS, try turning on the arp button. The arps are programmed per voice, but may not always be turned by default.

[Athan Billias]

Craig, did you use Direct Performance recording in making these demos.

Try hitting the rec button while in Performance Mode and selecting a pattern section to record to. This will instantly create loops of any length (up to 256 measures). You can record to either Song or Pattern directly from Performance mode.

[Anderton]

Cool! Thanks, Athan. BTW I like the idea of being able to update via USB memory stick. That seems less scary than doing it via USB or MIDI with a computer, because if the computer screws up, it can screw up any flash memory big-time.

While you're here...wanna give a shout out to who developed the sounds and patches? Was it a bunch of engineers at Yamaha, one guy chained to his desk with an urn of coffee and 46 packs of cigarettes, adaptations from previous units, or...? I'm always curious as to the story behind the sounds.

[Athan Billias]

We have an international team of programmers.

Scott Plunkett ( whose out on tour with Stevie Nick and Chris Issacs right now), Dave Polich, and bunch of young guys who focus on hiphop sounds are in the US, there are a European team from both the UK and around Europe and also a team from Japan. There are evensome things in there that I worked on <g>.

There's a blog on www.motifator.com about the team.

http://charlie.keyfax.com/motif_xs_sound_designers

[Anderton]

There was a question about how easy the XS is to program, so I thought this would be a good time to get into voice architecture, and editing voices. None of this is really earth-shakingly different from what's come before, but there are a few unique wrinkles.

What Yamaha calls a Voice is basically a single preset playing over a single channel, as opposed to the multi-timbral Performance option. Each voice can have up to eight elements. These elements can be split or layered, for example, you could have eight elements multi-sampled across the keyboard and restricted to particular note ranges. They can also be layered using velocity switching, so that some elements are brought in at higher velocities, and others at lower velocities.

Velocity crossfading is possible, so you can get a smooth velocity transition going from one sample to another. However, I did not find a way to do positional crossfading with multisamples (i.e., as one multisample fades out over a particular keyboard range, another multisample fades in). This feature doesn't seem to be too common in keyboards these days, but I wish it would make a comeback...it can help "cover up" problematic transitions between samples.

One feature that has made a comeback is the ability to use an element as a key off sound. This was available on many Ensoniq keyboards; one application is to create the distinctive key-off sound of a harpsichord, or add finger squeaks for note transitions on guitar sounds.

This part of the quartet of features that Yamaha calls Expanded Articulation, or XA. These are designed to create more realistic sounds. Another option uses separate elements for legato sounds, which allows more realism than simply extending an envelope from one note to the next.

Of the remaining two XA features, one adds subtle waveform changes to impart animation, rather than using the more brute force "detune the oscillators sometimes" approach. The remaining one allows switching between different performance oriented sounds while you play, e.g., having velocity cause a note slide on a guitar sound.

As to modules within the element itself, it's the usual: Oscillator with pitch controls, followed by filter, followed by amp, with various modulation sources.

[Anderton]

You have two main editing options, Common Edit, which applies changes to all elements, and Element Edit, if you want to work on a specific element. It's also possible to turn elements on and off or solo them, if you want to work on a particular element or group of elements without being distracted by the other ones.

I started my editing journeys with the patch DX Legend, which gives that infamous DX electric piano sound. The Motif XS has a fair amount of dedicated buttons, which is helpful. For example, there's a dedicated Common Edit button, and mutually exclusive Solo and Mute buttons. Eight buttons are available for the Solo and Mute functions.

At first, I wondered why soloing some elements produced no sound. Aha! They were velocity-switched, and I wasn't hitting the keys enough. This particular voice is structured with a main element that covers lower and medium velocity ranges, with two velocity-switched element that add "growl" at higher velocities. A final element adds the metallic, sort of plucked attack sound so characteristic of FM synths. (Of course, the Motif XS isn't actually doing FM synthesis for this sound, but rather, "deconstructed" an FM sound and sampled the strategic sonic characteristics.)

I figured I might as well dive in to editing an element. When you hit the edit switch, you're presented with a logical main screen with six tabbed views for oscillator, pitch control, filter, amplitude, element LFO, and EQ; refer to the image, which shows the oscillator tab screen. (By the way, I'm thrilled to see more instruments including EQ as a standard voice parameter - you can really make major sonic alterations with the right EQ settings).

The parameters are pretty self-explanatory: You can see where you can choose different waves, set velocity crossfade and velocity/note limits, key on delay (like predelay for a sound), etc. This is also where you choose the XA control characteristics; more on this later.

Next, let's take a look at the other Edit screens.

[Anderton]

Before proceeding, two things...

I asked Yamaha if they had any way to capture Motif screen shots, so you wouldn't have to suffer through my trying to take pictures of the screen. They obliged with an alternate operating system that can in fact grab screen shots. It does this by connecting to the Motif through Ethernet, and when you enter the Motif's IP address in a browser, voila - the screen shows up in the browser. From there, I copy and enlarge the screen shots for your viewing pleasure :) This is going to make the Pro Review a whole lot cooler, I think. Props to Athan and also Avery Burdette (who walked me through the procedure) for their help on this.

Anyway, you'll note in the bottom of the previous shot there's a tab in the lower right that says "4 Elm." If you click on this with the associated button, it takes you to a text-oriented view that lets you see what's happening with four elements at a glance (see the attached image). For example, note how you can see the note limits, velocity limits, delay tempo sync, etc. Element 1 is highlighted, which shows the one that's selected for editing.

What happens if you also have parameters you want to see in parameters 5-8? Select any of them for editing, and the screen jumps to that group of elements. I should add this is not a "read-only" display; you can edit the values with the cursor buttons and data wheel.

[Anderton]

But aren't "oscillator" and "pitch" the same thing? Well, on some synths, yes. In this case, thought, the Motif makes a distinction between the raw waveform and how its assigned, and the tuning/scaling aspects.

Referring to the image, there are two pitch-oriented screens; this one covers tuning, where you have the usual coarse, fine, scaling, randomness (good for slight detunings to keep things interesting), center key, etc. Again, these are all fairly standard parameters.

The other image shows the PEG (Pitch Envelope Generator) screen. As you can see, this uses a Rate/Level-type envelope with additional parameters for envelope depth, key follow, time velocity sensitivity, and the like.

Having parameters neatly divided into separate tabs in a hierarchical structure is very helpful, especially when you take the color screen into account.

[Anderton]

The first image shows the main filter screen. There are 18 filter types including lowpass, highpass, bandpass, and band reject, as well as combination filters (remember the old modular Moogs, and the Korg MS-20 for that matter, where you created a bandpass filter by combining high and lowpass filters?). This doesn't represent the pinnacle of filter technology; I'd still have to give E-Mu's synths the nod for that distinction, what with their Z-Plane roster of filters. Still, what we have here goes beyond the "big four" options and given the number of elements, it's easy to take two elements with different filter types and "morph" them in various ways.

Again, there's nothing too out of the ordinary here; the FEG uses the same basic envelope type as the pitch section. Scale, shown in the second image, lets you determine how the keyboard affects filter frequency. I remember this back in the days of TX802 synths and their ilk, and always found it very handy for things like taming "shrillness" on the high end of sound while leaving the low end alone.

[Anderton]

It's dinner time, so we'll get to the other edit screens either later tonight or tomorrow. But I wanted to close out with the main voice screen, as it looks cool :) and shows how parameters relate to the Motif XS6 control surface.

The eight knobs at the top show which parameters they control, such as cutoff, decay, release, etc. These knobs have a nice "rubbery" feel, and while they do have a little bit of side-to-side play "wobble," it's much less than I've encountered with other gear, and I suspect these would stand up to a significant amount of real-time tweaking.

The eight sliders in this case control the levels of the elements.

Also, note toward the bottom there's data on what various controllers are used for, including the mod wheel (MW) and ribbon controller (RB).

See you later! Let me know if you have any questions.

[Anderton]

The first image shows where you control "static" amplitude characteristics, as opposed to dynamic settings that result from envelopes or scaling. Note the random pan and scaling pan options; everything else is fairly standard.

The envelope page in the second image is similar to the filter envelope, but note the addition of parameters for the half damper switch and half damper time.

The final tab is for scaling, but this is pretty much the same as the scaling display for the filter.

[Anderton]

When I first looked at the Element LFO screen, I thought it was a joke: Here you have Yamaha's top-of-the-line keyboard, but with LFO parameters more befitting of an entry-level keyboard. Ah, but things aren't that simple. It turns out there are two LFO options, one for Common Edit (i.e., it affects all elements) that has all the cool goodies, and a simpler one for individual elements.

The first image shows the Element LFO options. This is fairly common stuff: LFO waveform choices are triangle, saw, and square. Unlike the Common Edit LFO, Speed (which is calibrated in arbritary numbers rather than the actual speed in Hz) doesn't sync to tempo. Right below Speed, you'll find fields for setting the amplitude for pitch, filter, and amplitude; there are also the expected delay, fade in time, and key on reset parameters.

The second image shows the main screen for the Common Edit LFO. Here you have 12 waveform shapes, as well as a user-definable one (shown in the fourth image - we'll get to that shortly). There are a variety of cool features, like being able to use the LFO as a one-shot, set hold and fade out LFO times as well as the usual delay and fade in, vary phase, do tempo sync (which does triplets and dotted values, thank you), and add a little randomness to the speed. This is all good stuff.

The third image shows the Destination Assignment screen. This lets you choose three control destinations with a master depth, and toward the right, you can set up which elements will be modulated, as well as specify an offset to the depth if you want some elements to respond to the master LFO modulation differently than other elements. Here is also where you can shift the phase going to each element. It's definitely handy to have all these parameters on a single screen.

The final screen shows the user waveform construction page. You can program up to 16 steps, and although there's no "smoothing" control (add that to my wish list along with speed calibration in Hz), you can set "slopes" instead of having a stairstep/step-sequenced type wave. Also, note the Random button toward the bottom: Every time you press this, you get a different waveform with different slope settings.

The bottom line is that between the two different modes, Common and Element, the LFOs do quite a lot and can add a lot of animation to a patch - we're not just talking vibrato and tremolo. Of particular note is the settings screen, as you can apply very subtle amounts of modulation to particular elements if you're so inclined.

[Anderton]

That's pretty much it for the voice editing synth-type parameters, although there are plenty more editing options to say the least...

I was thinking of recording some more sounds next, particularly orchestral ones. But this is your review, too. Anything you'd like to see? Are you happy with it so far? Do you have any questions for Yamaha, as they're being very conscientious about following this thread?

In any event, I'll just keep on going :) but any feedback is welcome.

[LameAim]

I would definitely like to hear some more orchestral sounds, especially some strings and brass in both the soloed and choir variety....

Did we cover drum kits already? I can't quite recall. Guess I'll have to reread this thread from the start (not that I'm complaining - some good stuff in here.)

[Anderton]

Nope, haven't done drum kits per se, but I included as many different drum kits as possible in the various audio examples done so far.

[thefunk]

Do these keyboards have the ability to do basic transport control of ProTools (Mac)? Anything beyond just the basics?

[avl_digital]

Hi. Dope review. I'm thinking about to buy this nice machine, but I've got the EDIROL FA-66 Audio Interface connected to my PC via firewire. Can I do something to connect both in order to have the audio interface as the main component of my "studio"?

Maybe I'll buy a workstation too, like AKAI MPC1000 or the ROLAND MV-8800 and I wish to have all integrated.

Thanks you in advance.

[Anderton]

Hi. Dope review. I'm thinking about to buy this nice machine, but I've got the EDIROL FA-66 Audio Interface connected to my PC via firewire. Can I do something to connect both in order to have the audio interface as the main component of my "studio"?

I don't have the Firewire add-on for the XS6, so I'll be speculating, but I'm sure someone from Yamaha will correct me if I'm wrong.

I believe there's no technical reason why you couldn't hook up the FA-66 to one Firewire port and the Motif XS6 to another port (it seems to be good practice to have separate ports for each firewire device you use rather than try to daisy-chain them). However, at the DAW end of things, if you plan to use the FA-66 as an ASIO interface, that "locks out" the possibility of using other interfaces, at least with Windows. A company called CEntrance has a driver that accommodates using multiple Firewire ASIO interfaces, but I don't know if it accommodates ASIO and mLAN; I would tend to doubt it.

WDM/KS drivers for Windowsdo allow for having multiple interfaces working simultaneously, and while I think that would mean mLAN would also be available, I can't vouch for that without trying it myself.

The Mac is another story, what the ability to aggregate interfaces, but that's not a technique I have tried.

Hope this helps....

[Anderton]

I went to the http://www.yamahasynth.com site, and found a couple programs to download: Studio Manager software, and a Motif XS editor. So here we go again - another learning curve!

I installed the software, and so far, so good although both applications seem somewhat complex, and it took me a while to figure out how to set up the MIDI ports so they would communicate properly. At the moment, I have the computer synchronizing with the XS6 so that as I make changes in the editor, they're reflected at the keyboard itself. You can also do the reverse, where changes you make on the keyboard alter settings in the editor.

Refer to the image, which I had to reduce to fit the BBS size limits for screens...the actual graphics are nice and crisp. This shows an editor screen for all elements; you'd use this if you wanted to, for example, change the filter cutoff for all elements simultaneously. But you can also call up screens for individual elements, organized similarly to the instrument interface (separate views for Oscillator/Pitch, Filter, Amplitude, LFO, etc.) so there's no need to acclimate yourself to a different UI.

Okay, and now I'm going to forget this program ever existed :) so I can get back to the keyboard itself...otherwise I'll probably find myself exploring the software for the next few days, and there's so much we need to cover in terms of sounds, the sequencer, etc. But again, I must say I appreciate Yamaha's relentless approach to support. You don't just get a keyboard, you get an editor, the Studio Manager software, some serious web resources, networking...I'll admit it's a bit overwhelming sometimes, but there sure is a lot of cool stuff going on here.

[Athan Billias]

In answer to avl_digital, The Motif XS has a built-in SP/DIF output so you could just connect that to the SP/DIF in of the EDIROL FA-66 to integrate the Motif XS into your studio.

The Motif XS has complete mixing capabilities so you can mix all your Motif XS sounds digitally and record the stereo output digitally via the Edirol or set some tracks to an assignable L & R digital output and record Motif XS tracks one at time.

As far as using two Firewire devices, as Craig pointed out, most Fireiwire devices are peer to peer so you can use both but not at the same time.

You need to switch the ASIO driver in your application between the two devices.

So our recommendation would be to just use what comes standard on the XS and connect digitally via SP/DIF to your Edirol interface.

[Anderton]

And now, in response to your requests :)

The attached files are of solo violin, solo cello, and solo contrabass. As with the previous examples, I just played these into my sequencer, and saved them as MP3s...nuthin' fancy. This time around, though, I converted them to mono so they would have somewhat higher quality when played back as MP3s. I figured the gain in quality would offset some of the loss of spatiality that would occur by going from stereo to mono.

I'd also like to add that these riffs are played strictly off the keyboard: No added modulation, footpedals, etc. I wanted these samples to represent as "naked" a sound of the keyboard as possible. Obviously, if you start adding aftertouch, mod wheel, footpedals, etc, you could get more expressiveness. What's important about these examples is that I feel the expressiveness of the samples themselves is quite noteworthy.

Listen away :)

[Anderton]

There are various ensemble sounds in the XS6, here's a (very) small taste.

The Ensemble patch was converted to mono, for the reasons given in the previous post. I like the thickness of the sound alot.

The Cello Duet patch is in stereo, because I figured you already heard the naked cello in the previous patch, and would find the difference in spatiality interesting. The cello duet patch is really quite warm and expressive...

Anyway, check 'em out. I'll do some more orchestral patches (pizzicato, brass, etc.) tomorrow. I had a bit of a setback today as we had a bunch of lightning storms, and when I started hearing crackles through the headphones that were timed with the lightning strikes, I figured that turning off the computers for a bit was a good idea :)

[avl_digital]

Athan_Billias a lot of thanks for your reponse. But I think the EDIROL FA-66 has not SPDIF.

Check it out:

http://www.stofflermusik.ch/prodimages/if_fa66_xl.jpg

How could I connect then the XS to the EDIROL? Thanks in advance again.

[Anderton]

I'm not Athan, but I think I can answer that. On the rear panel, the FA-66 has optical SPDIF (the Out - Digital - In connectors). The XS6 has coaxial (RCA jack) SPDIF. The data format is exactly the same, only the connector is different, but you can buy optical to coaxial adapters (it's handy to have one around anyway).

This M-Audio converter (http://www.musiciansfriend.com/product/MAudio-Co2-CoaxialOptical-Converter?sku=701056) would do the job, and costs only about $60.

[Athan Billias]

You actually only need the optical to coaxial conversion one way (you just need a digital input to the Edirol and don"t need both SP/Dif in and out) so you can get boxes for about half the price.

A quick Google search found this.


http://www.svideo.com/toslinkcoax1.html

[Anderton]

Thanks for the tip, Athan!

But a note to AVL Digital: You still might want to get the bi-directional box, because you never know when some other piece of gear will show up in your studio that needs optical-to-SPDIF conversion...This is a corollary of Murphy's Law, namely, "Any adapter you don't have will be needed sometime in the near future."

[Anderton]

Here are some brass sounds for ya :)

Same ground rules as before: Real-time noodling into a sequencer recording the audio output, no expressive mechanism other than playing the keys.

First up is classical trumpet, then French horn.

[Anderton]

These examples are of muted trumpet and sax. For the muted trumpet, I was trying to go for a bit of a Miles Davis vibe 'cause I always thought he had the muted trumpet thing totally down.

The saxophone example broke my rule of "no extra expressive gestures." Seems I simply cannot try to play a sax part without messing with the pitch bend wheel, so I figured, why fight it?

[Anderton]

Over the course of doing these examples, I've become more and more into using the control surface to control the recording process. I've been using this with Sonar (sorry Athan, Cubase will get its turn...) and increasingly, find myself turning to the computer less and less.

While recording, I would turn remote mode off while looking for sounds, then turn it back on when I was about to actually begin recording. The transport buttons did most of the work here, as the faders weren't really needed for what I was doing.

For those times I needed to undo, both undo and redo are implemented. As I recorded these examples (one after another, in the same tracks) I really didn't need to deal with the computer mouse or QWERTY keyboard at all; only when I was done recording, and ready to save out each example then bring it into Wavelab for trimming and MP3 conversion, did I actually need to move away from the keyboard and get back to the computer.

Old habits die hard, and it took me a little while to feel totally comfortable about controlling Sonar while sitting at a keyboard. But once I got into it, I have to say, it made recording go a lot faster...it took me about 2/3 of the time to generate today's examples compared to the ones I generated yesterday. To me, that's tangible evidence that the "let's add a control surface to the keyboard" concept has value.

[Athan Billias]

We completely re-did the user interface for the DAW control on the Motif XS and it is really nothing like the Motif or Motif ES. we re-grouped paramters to make them more logical and gave you access to key windows ( Project or Mix) on almost every page

That plus the the fact that the XS has 8 sliders and 8 knobs really make it a very complete and usable DAW controller.

It may well be the DAW controller with the largest sized color display on the market. Most devices like Mackie controllers usea small "scribble " strip display.

In fact , in Remote Mode by pressing SF5 Page List, you can access every DAW control parameter from one page. This is an incredibly fast way to work (even with Sonar <g>).

[randelph]

Craig,
Thanks for a great review- good to hear the ins and outs of actually getting things hooked up and running! I’ve got the XS7, and while hooking it up the computer has not been a nightmare (motifator.com keeps me sane and in the game), there still is a lot of looking everywhich where in pdf manuals and the forum for getting things hooked up (so far I’ve got the Editor going, and am working on getting all the MIDI channels to be automatically configured when I import a Song from the XS).

Having “graduated” from a high end Yamaha arranger keyboard to the XS, one thing I’ve really been looking forward to is all the controller possibilities: the ribbon, Assign 1&2 knobs, the Assignable Function buttons, footpedals, etc.

I’ve gotten stalled somewhat in this- it’s reasonably straightforward in Voice mode to establish the 6 “Controller Sets” (modulation source, destination and depth), but Performance mode is where I want to be- why play 1 Voice when a Performance can orchestrate 4?

For the most part the Performances inherit the Voice modulation control settings, but they also have a “Controller Assign” page where you can have an impact on the settings you made in Voice mode.

I’m sure I’ll understand the workings of this better over time (it’s very confusing to me now- I wish there was a Template or examples to follow). However, my question for you is as an end user who would want the possibilities this set-up has to offer (and having read your articles for many years, I know you’re also into creative control).

For your uses, how well does this set-up work for you? And most importantly, what are some of the settings so that your performances will be fully controlled/modulated to your liking, taking advantage of the XS architecture?

Thanks,
Randelph

[Anderton]

I'm getting into the articulation options, which are really quite cool. I'm recording examples now (I had a few computer issues not related to the Motif that set me back a day), and will upload over the weekend as there's quite a lot to cover here...so stay tuned, and check back for coverage of what's a very important part of the Motif XS6.

[Rabid]

Have song and patch save/load functions been updatd from the ES. One thing that bothers me on my ES is inability to save and load individual patches without using a computer. I also wish there was a way to load songs without having to overwrite all patches in the process. It would be nice to have a storage area for 16 patches dedicated to sequencer channels that would load with the song.

[Athan Billias]

First, let's clear up saving and loading on the Motif ES.

You can save all voices, all songs and all patterns and everything in the keyboard.

But you CAN load individual voices and songs on the ES. You save everything, but then can load individual pieces so it is easy it compile what you want without using a computer.

The Motif XS works the same way. You can save an All file , All Voice, All arpeggios, All Songs , All Patterns , SMF, All Waveforms, Wav and AIFF files.

You can load all of those things plus you can load individual Voices, Performances, Songs, Patterns, and Waves from within those files.

If you have questions on the specifics of how to do that on the ES , pop over to Motifator.com as that question has been answered several times over on the forums.

Regarding "It would be nice to have a storage area for 16 patches dedicated to sequencer channels that would load with the song."

That 's exactly what Mix voices are. This is from the Motif XS manual ( but the Motif ES had Mix Voices as well).
--------------------------------------------------------------------------------------------------------------------
Mixing Voices are Normal Voices that have been specially edited for and saved to specific Song/Pattern Mixs. Up to 16
Mixing Voices can be stored to each Song/Pattern Mix. In this mode, you can edit the Voices assigned to Mix Parts 1 –
16 respectively and store them as Mix Voices.

Keep in mind that Drum Voices cannot be edited in the Mixing Voice Edit mode.

Press the [F6] Vce Edit button to enter the Mixing Voice Edit mode.
-------------------------------------------------------------------------------------
First , on any Motif you have Part offset parameters. You can offset the Voices filter cutoff, resonance, Amp and Filter EGs, etc, for each Part in a Mix. Many times that is enough to tailor the sound to the Song you are working on. These Part setting get saved with Mix.

But if that isn't enough, you can Press the Mixing Voice edit button and do complete Voice editing of every parameter available in Voice mode for each of the 16 Parts ( with the exception of Drum Voices which are huge in parameter size). These Mix Voices are also stored with the Mix data that is a part of each Song/Pattern. After saving an All, All Song or All Pattern file, you can load individual songs or patterns from those All files and the Part Offsets and Mix Voices for the Song will load without effecting anything else in your Motif.

So to be clear on both the Motif ES and XS , you can fully edit each Voice in a 16 Part Mix ( with the exception of Drum Voices) , save an All Song, All Pattern or All file to external memory and then load just that individual Song or Pattern and it will load the Mix Voices associated with that song/pattern.

If you've got an ES , you just got two major requests answered immediately. If you are looking at the XS , it works just as you described that you wanted it to.

[Rabid]

Athan, first, let me just say, thank you. I asked that very question at Motifator long ago when I first got my ES and the answer I got was "when you save/load a song file you also save/load all patches". That was right after the ES hit the market. In early 2006 I bought the large patch collection from Motifator.com that had 8 different patch sets. (Bs Knees, Air, Pulse, Regenerator, etc...) After that purchase I posted a question asking if individual patches could be loaded and saved. The answer I got that time was that I have to use the software to manage patches and create my custom patch banks using patches from all those collections. No one mentioned what you just said, and no one corrected the person that posted that reply. I assumed it to be correct and gave up. Maybe they were literally corrects in that I cannot "load AND save" individual patches. Wow. I wish I had known at that time that I could load individual patches.

I will dig in and try to figure this out. Thanks again.

[Anderton]

...and thanks, Athan, for answering the question while I was still thumbing through the manual :) I was sure Rabid was under the wrong impression, but he's right a lot so I figured I'd better check!

In case anyone's wondering where the Articulation patches went that I said I'd post this weekend, as you may have heard (we made the national news!) New Mexico had some pretty wild weather yesterday, and power was an issue. I was willing to turn on my computer from time to time because the data's backed up anyway, but I wasn't about to subject an "Expensive Yamaha Keyboard On Loan" to the elements. So I'm basically running a day late.

However, I did get some fabulous pictures of nascent tornado cells hovering over my house...maybe I'll go post 'em on SSS. Thankfully none of them struck!!! Man, I thought I left that stuff behind when I moved outta Florida...

[Anderton]

As mentioned before, an individual voice can consist of 8 possible elements, which gives lots of leeway for velocity or pitch split elements that add expressiveness; the Motif XS6 has several ways to exploit those elements.

It seems that the voice names usually let you know if the assignable expression functions do something special. For example, referring to the display for voice name Classical AF1&2, the AF1&2 part (outlined in violet on the picture) indicates that Assignable Function switch options are built into the patch. However, note that just about all the patches seem to have something built in...it's worth checking the controller info strip to see what's shakin.'

Again referring to the image, the lower strip just above the tab indicates what the various controllers affect. In this case, toward the left, you can see that the Mod Wheel (MW) affects LFO depth, and Ribbon controller (RB) alters coarse tuning.

AS1 and AS2, which represent the Assignable knobs AS1 and AS2 in the control surface section (circled in red), also show their functions. I'm not sure why AF1 and AF2 don't show anything; maybe it's considered redundant due to the title. Athan?

In any event, let's here the switches in action...here's an audio example of the Classical voice. AF1 adds an upward slide - but what's really helpful is that it's different for different notes, which adds considerably to the realism. Toward the end, you'll hear the harmonics added by pressing AF2 (the lower function button).

Another really useful aspect of the buttons is that they can have a momentary or latched action. In a case like adding a slide or harmonic, you'd likely want momentary buttons so you can add a dash of spice if desired. But some AF options are almost like selecting a different sound, as if you'd hit the button on a stomp box. For these cases, the latching action is preferable.

[Anderton]

The Assignable Knobs, AS1 and AS2, are the two upper right knobs when Tone 1 bank is selected (the three Tone banks change the functions of the eight knobs).

The audio example using the voice shown in the image starts off with both latching AF switches off. For the second repeat of the figure, AF1 is latched on, changing the timbre. For the third repeat, AF2 is latched on, sending a portion of the voice through a chorus effect.

On the sustained chord following the repeat, you'll hear the tone change as I vary the EQ peak controlled by AS2. For the following, and final, sustained chord, I'm turning AS1. I did notice some quantization noise when turning these controls, so maybe they're more for set-and-forget tweaking, like tone, as opposed to something you'd control with a mod wheel or aftertouch.

[Athan Billias]

It depends on on what parameter the knobs are assigned to. Many can be changes in real time smoothly, but some DSP parameters are will have some artifacting because delay times are being reset.

You can store the settings of the knobs and there is also a parameter for copying these knob offsets to a Part ina Performance or Song/Pattern Mix.

[Anderton]

I'm not going to go too much more nuts about the articulations, I think after hearing the next set of examples you'll get the point.

We'll look at bass first. The first audio example is a fuzz bass sound, but hitting an articulation switch (which latches) changes the decay and sort of "mutes" the sound.

The next file has two latching switch assignments. One changes the filter characteristics by making it sharper, the other adds a sound an octave higher.

The third one is an acoustic bass. Articulation here adds various slides, effects, slaps, and the like...pretty cool.

The final bass example uses electric bass with slide articulation; the second articulation buttons adds harmonics, as you'll hear at the end.

[Anderton]

Here are five more examples of articulation in action.

The first one is an ethnic instrument, where the initial sound has a sharp attack; pressing on an articulation button slows the attack.

The second example shows some of the things you can do with the two assignable knobs. This is an organ sound with EQ and distortion on the two different knobs. The example plays a pretty constant part, with the EQ and distortion being changed in real time.

The next example also involves organ, but in this case, pressing an articulation button turns on a rotating speaker effect; once pressed the speed increases, and if you hit the button again, the speed slows down. This is a momentary button, so you can just hit it from time to time to play with the pseudo-rotating speaker speed. Toward the end, the other button takes away some harmonics.

The fourth short of example is of a sax, first plain, then with "growl" added.

The final example has a trumpet riff played without articulation, then played using the trumpet fall-off articulation option. What's cool about these articulations, as mentioned before, is that they aren't just a canned riff, but vary somewhat. For example, the fall-off won't happen with staccato parts, but will if you hold your fingers down. Initiating fall-off without having it actually fall changes the timbre so it "bites" more...those are a lot of changes to just one sound.

One other point is that many of the brass and woodwinds use articulation to switch between a monophonic/legato and polyphonic response. Using mono can give a much more realistic sound, as well as make brass/wind parts easier to play.

[rainbird]

Forgive me if you have already covered this topic -
I am awash in a combination of technical TMI and
gear lust at this point...but will you be experimenting with
and reporting upon the sampling features of the XS at some
point?

[saturnalley]

Craig, I'm new to the review pages and I just happened to see that Rainbird is asking almost what I was going to ask.

With me, it's more specific, though. As an RS 7000 owner, I'm worried about the XS's brainpower--if it's at all slow like the RS, it shouldn't have been implemented at all. Have you tried it yet? I think I've read all your pages (and enjoyed them quite a bit) but I didn't see reviews of the sampling/recording.

When you sample even twenty seconds of audio into a track on the RS, in a little while you're going to be sitting there watching it count to about 432, slowly. I was pretty disappointed--the Yamaha hype was all so positive about in-track sampling--I really like the sequencer and arps and voices on the XS, but I really want to be able to record a couple of pure audio tracks, or do some vocals and spread them out on the keys to mess with--stuff that you can't expect to do effic`iently on an RS.

Thanks for the work you're doing here,

David

[Sirgin]

Hi Craig,

I've really enjoyed your review on the XS and really like what I'm seeing so far. But will you do like a final overview of it? And your overal conclusion?

Now for my question: I'm going to buy a workstation pretty soon (somewhere in July, after the exams...) and I don't know yet whether to choose this new XS, the Fantom or the Korg M3 maybe (although i don't like the looks of that last one to be honest)

I'm into making Hiphop mostly, but also like pop, rock, funk,...that sort of stuff. I'm not really interested in performing with it (atleast for now) What would be my best choice to buy? Is the XS much more evolved than the Fantom technoloy-wise? (sorry if these are too many questions, lol)

Thanks in advance!

[Anderton]

Hi Craig,

I've really enjoyed your review on the XS and really like what I'm seeing so far. But will you do like a final overview of it? And your overal conclusion?

Yes, but that's still a ways off...this keyboard is so deep. I've been working with the effects section and performances, which I'll be posting about later this evening. I expect this review will probably wrap up in mid-July...unless I find out even more hidden features I didn't expect! For example, there's a whole phrase sampling aspect that deserves some attention.

Now for my question: I'm going to buy a workstation pretty soon (somewhere in July, after the exams...) and I don't know yet whether to choose this new XS, the Fantom or the Korg M3 maybe (although i don't like the looks of that last one to be honest)

I'm into making Hiphop mostly, but also like pop, rock, funk,...that sort of stuff. I'm not really interested in performing with it (atleast for now) What would be my best choice to buy? Is the XS much more evolved than the Fantom technoloy-wise? (sorry if these are too many questions, lol)

Thanks in advance!

Having ont worked with the Fantom or M3 - only seen them at trade shows - I really can't offer a meaningful comparison. The one thing I will say is that all three companies are pretty experienced at this point in creating sounds for their keyboards, but they may have slightly different characters. I would suggest going to a Guitar Center or equivalent where you play them side by side and try to get a sense of the sound's character - whether it's more warm, bright, hyped, etc. Each has its applications, but given what you want, you'll probably want a more "in your face" sound whereas someone doing soundtracks would want something more accurate.

After getting a sense of the sounds, compare features and see if there is any "killer app" you must have, as that will influence your decision as well.

[Anderton]

We pretty much have the Voice thing down: It's a sound, composed of up to eight elements, that you play as you would a standard synthesizer patch. So far, so good. At this point, with most synthesizers, we'd cover the multi-timbral expander module "multi" type mode, and be done with the issue of modes. However, the Motif XS offers two additional modes: Performance mode and Song mode.

Of the two, Song gets its name because it's the mode you choose when creating a song using the built-in 16-track sequencer. But it's also the mode that provides the standard multi-timbral expander mode option found on most keyboards made since the 80s.

Referring to the image, you can see the 16 tracks along the left, which correspond directly to 16 MIDI channels. For example, if your sequencer is creating data on MIDI Channel 11, it's driving the sound "Thexism" on the Motif XS.

Of course, we'll delve into the Song screen more deeply in its appropriate venue -- a discussion of the sequencer. The main reason for mentioning it now is to get the question of whether there's a "multi-timbral expander module" mode out of the way so we can move on to the more intriguing Performance mode.

[Anderton]

You can think of Performance mode as a "Quad-Timbral" mode, driven by a single MIDI channel. You can combine up to four Voices in a Performance (and remember, each Voice can have up to eight elements and internal splits and layers). Once in the Performance, there's quite a lot you can do with the various Voices, which are called Parts when they're part of a performance (in order to differentiate this application from using them as individual Voices).

The first image shows the Performance called "Deborah in Love" (there are three banks of 128 performances). The four parts (surrounded by a yellow line for clarity) that make up the Performance are shown along the middle right.

If you press the Info button, you get a screen like the second image. This shows where the Performance is located, its category and name, and also, additional information about the four Voices that make up the Performance and the effects that are used.

Each Part can be selected, soloed, or muted, which is handy when programming a Performance as well as for real-time playing; however, the selection process requires some care, because if you press the wrong button when wanting to, say, solo - which isn't hard to do - you can launch yourself to a different Performance. I found this confusing at first, but eventually got it sorted out: Always remember to hit the "Performance Control" button (see the third image for this cluster of controls) before getting into muting or selecting parts, and press the "Solo" button when you want to do soloing - and remember to press Performance Control again if you want to go back to selecting and muting.

[Anderton]

One of the things that really makes a Performance interesting is the degree of real-time control. Referring to the first image (a repeat of the first image shown in the previous post re-posted here for convenience), note the four faders. These control the levels of the four Parts. The little red triangles are the levels programmed into the Performance; you need to move the fader to "catch" that level, whereupon the fader takes over from the pre-programmed level.

Toward the top are eight virtual knobs that correspond to the eight physical knobs. They affect the selected part, but that's not all; there can be up to three banks of eight controls per part, with the bank selected by the Selected Part Control button. Referring to the second image, the button in the upper left selects among the three banks.

Furthermore, there are multi-part control options (reverb, chorus, and pan), as selected by the button in the lower left in the second image. The third image shows what the Performance screen looks like with Reverb selected; each of the four parts now has a reverb send control above each fader.

While it might seem that having this many possibilities would be an exercise in frustration (which bank do I choose for the best results?), it seems Yamaha anticipated this. With the Selected Part Control banks, the first bank is where you'll spend most of your time doing real-time tweaking. The second one tends to be more set and forget as it adjusts EQ and tone, while the third one concentrates on the arpeggiator. I found that for actual playing, I rarely strayed from the first bank...but I sure did spend a lot of "left hand time" messing with the knobs!

[Anderton]

Well I've put a few hours into tonight's segment and it's getting late, so it's time to shut down for now. Before going, though, here's an audio example that shows what can be done in Performance mode just with the mute buttons - no faders or knobs. This uses the Performance "Rain Dance," and brings various parts in and out using the mute buttons. Basically, it's a live remix (or at least, as much of a live remix as can fit into 30 seconds of an MP3 file :)). Check it out, as it gives you just a tiny idea of the kind of real-time manipulation you can do with a Performance.

[lewey]

oh man, thank you!!! :thu:

[Sirgin]

Thank you for all the useful info Craig:)

Oh maybe just one more question: is Roland going to come out with a new workstation soon? Have they announced anything (to compete with the M3 and XS)?

[Anderton]

Thank you for all the useful info Craig:)

Oh maybe just one more question: is Roland going to come out with a new workstation soon? Have they announced anything (to compete with the M3 and XS)?

You'll need to ask Roland! I have no idea...

[Anderton]

Before getting to the arpeggiator and how it works in the context of a performance, it's well worth mentioning that you can do a lot of editing on each individual Part.

As you might expect, there are Common Edit Parameters that affect all Parts in a Performance, as well as edit functions for individual Parts. For example, common functions are for naming and categorizing performances (they can be searched on as well), and also setting the Performance volume, pan, reverb send, chorus send, master effect, insert effects, effects routing, and master EQ.

Small aside: I am really happy to see more and more synths, both hardware and software, include EQ as part of a patch. It can help make synth patches sound much more realistic and/or interesting, without having to try and trick the synth's filters into acting like EQ.

For individual parts, you can do a lot of editing as well. My hands-down favorite feature, the humbly named "Parameter with Voice," merits that distinction because it's a "workflow enhancer." For example, suppose you choose a particular Voice for a part and do some tweaking of the filter, envelope generators, arpeggiator, etc., and then you decide that you really want to use a different Voice instead. With this function, you can decide which values from these various parameters will be "imported" from the new voice into the part...or maybe you want to keep the parameter settings you've already programmed. In either case, the choice is yours.

Other Part editing options include volume, pan, detuning, mono/poly playback, transposition, portamento time, velocity minimum/maximum values to which the Part responds, note minimum/maximum values to which a part responds, pitch bend (for example, with an Indian sitar/tamboura performance, you could bend just the sitar and not the background drone), velocity settings, amplitude and filter EG, EQ, arpeggiator, and frankly, quite a bit more.

One of the clever features here involves note max/min values: What if the lower limit note is higher than the upper note limit? Rather than giving you an error message, the XS6 plays all notes above the lower limit, and all notes below the upper limit, but not the notes between the two limits. For example, if you set the lower limit as G5 and the upper limit as G3, notes above and including G5 will play, as will notes below or including G3, but not notes between G3 and G5.

[Anderton]

Well yeah, it is. I don't know if anyone at Yamaha has counted up the number of adjustable parameters, but let's just say it's a lot. At first, all these options seem overwhelming, and they are - until you get a grip. As far as I'm concerned, what all this editability is about for the average user revolves around tweaking presets to your needs, rather than building up Performances from scratch and tweaking every single parameter you encounter.

Part of this is because most parameters are obvious: It's not like you have to learn radical new concepts, as things like filters, velocity, envelope generators, and such have been part of the synthesizer lexicon for decades. But what this does mean is suppose you call up a Performance and you like it, except...you wish you could bend one of the parts a little more, or tweak the EQ of a part, or whatever. By using the ever-helpful display to drill down to these parameters, you can tweak, evaluate, and save if you like it, all within a relatively short period of time.

I admit I'm the kind of guy who likes to program from scratch, and at first blush, seeing all these parameters made me think that programming with that level of detail would likely drive me insane. But then I thought, why fight it? Yamaha put a lot of effort into having people program the various Performances, and it's not hard to find one that's "in the ballpark" of what you want. Make a few tweaks, and you're done.

Much of the depth of the Motif XS comes from the sheer number of edits you can make. But just because you can doesn't mean you should. Bottom line is that yes, this can be a scary keyboard because of the seemingly limitless potential it presents. And it's all well and good you can tweak everything. But unless you're doing a Pro Review and need to learn every feature at once :), there's no law that says you have to become obsessed. You can even play the Motif XS6 as a preset-only keyboard and still do some cool stuff, then pick up new features when you're in the mood to exploit the keyboard a little bit more.

[mrcpro]

I just stumbled across this today, Craig. Great stuff! I haven't taken it all in yet, but already have a question. In voice mode, can you make a program change while holding down a chord with your fingers or hold pedal, and have it "hold" without any hiccups, thus being able to start the new sound smoothly? This is semi-important in my club work, but essential in my praise band during quiet moments of prayer (and why I'm still using a Roland XP-80 at church, which does this).

[Athan Billias]

Although many Yamaha products with less complex effects routing do this ( the CP Series products for example)., the XS does not allow for this instant switching in Voice mode. Mainly this is because of the time it takes to reset the Insert DSPs.

On the ES you could get around this issue by going to Pattern and Song Mix and there you could set up several sounds and switch from one Voice to the next with no cutoff adn even sustaining sound held down on the keyboard.

The XS is a completely new and different system than ES and currently in Mix Mode the sound does cutoff when switching between Parts, but we have put that on the list for some OS updates that are planned in the future.

[mrcpro]

Thank you for your honesty on this. I hope you guys get her up and running.

FWIW, Roland Fantoms can pull this trick off, but it's not as smooth as their older XPs, which lack the more recent (and more complex) COSM effects blocks. My Fantom S is acceptable for club work, but not for praise and worship.

[Anderton]

Wouldn't a workaround be to set up four Voices in a Performance? You can mute individual Parts to your heart's content without glitching or other issues, and as the Voice would already be pre-loaded, there wouldn't be any loading times. Downside is you'd be limited to four voices and you'd have to set up the Performance in advance, but I would think that for most musical applications this would not be a deal-breaker.

[mrcpro]

It's nice to have the freedom to go anywhere on your keyboard without restrictions like that. I'm sure you're right that it's not a deal-breaker for those who aren't gigging and used to this feature, but for some of us it's become a part of our playing style. It's very disruptive to our flow (as well as to the sound!) when we're on a keyboard without it.

But on an XS... couldn't you set up 8 and use the faders for program change by fading them in and out? That's what I was kind of thinking just by looking at it, without having actually seen one yet.

[Anderton]

But on an XS... couldn't you set up 8 and use the faders for program change by fading them in and out? That's what I was kind of thinking just by looking at it, without having actually seen one yet.

Well, you can at least set up four with the Performance and be able to fade them in and out easily with the faders, as well as do instant mutes.

[Anderton]

After a stressful week, I thought I'd treat myself to some more quality time with the XS6, and figured that the arpeggiator would be fun to check out. Well it is, but let me tell, you it required a little brainpower - the arpeggiation is as deep as everything else. Which means it's really deep.

For a given Voice, when you're in play mode, the Arpeggiation screen (see image) is all about enabling and controlling during performance - editing the patterns you're going to enable and control occurs elsewhere, which we'll also get to. Note the five ARP tabs along the bottom: You can switch freely among them while playing (with the option to have one play only after the previous one has finished - cool), which goes a long way to reducing the "fatigue factor" of straight arpeggiation. The same screen is visible for all tabs.

From top to bottom, Switch is just that: It turns arpeggiation on or off. Hold keeps the arpeggiator going even when you remove your fingers from the keys. So far, that's normal, but there's a third hold option called "Sync Off." If you release your fingers from the keys, the arpeggiator keeps running in the background (but without triggering any notes) so that once you play again, the notes pick up from whatever the arpeggiator is playing at that moment.

Tempo shows the selected tempo, but if you're synched to MIDI, it doesn't show the incoming tempo but just says "MIDI."

Velocity Limit sets the range of velocities that will trigger the arpeggiator. I gravitated toward having the arpeggiator happen at lower velocities, so it would arpeggiate the noise I was holding with my left hand, but I could pound out loud solo lines over it with my right hand. The limit also has the same kind of "hole" feature discussed earlier when programming ranges in that if you set the lower limit higher than the higher limit, then no arpeggiation occurs between those two points, but will happen from 1 to the lower limit and from the higher limit to 127.

The four lower rows of parameters choose the actual arpeggiation pattern. Hold on to your hats, because there are 6,633 patterns. And yes, I listened to every single one (just kidding!). In what is clearly a move to keep their customers from going insane, Yahama has categoried the various arpeggiations into two banks (preset and user), 17 categories (including control, so you can arpeggiate things like pan, not just notes), and five sub-categories (rock, R&B, electronic, world, and general). So for example, if you want a salsa-type arpeggiation pattern that goes well with piano, choose Keyboard as a category, World as a sub-category, and start exploring. And yeah, there's a lot of exploring to do...

[Anderton]

And if you want to get down and dirty with programming the arpeggiator, here's your screen of choice (refer to the image). This is being used in Edit-Common mode so it affects all elements within a voice; you can't apply arpeggiation to a lesser number of elements in a voice.

Some of these parameters are the same as for the previous screen, so let's deal with the ones that are different. Changing Timing (or what I affectionately call the "Ableton Live Session View switch") determines whether selecting a new Arp tab changes to the new arpeggiation immediately, or waits until the beginning of the next measure.

Note Limit works similarly to velocity limit; one application that I immediately found useful was to have arpeggiation in the bass range while leaving the higher ranges free to play melodies.

Key Mode is pretty cool. When set to Sort, it plays notes in the same order whenever you play those notes. In Thru mode, the sequence changes depending on the order in which you played the notes. Direct plays just the notes, which might seem like a useless function with an arpeggiator - why not just turn it off? Ah, because remember, you can also use the arpeggiator to change pan, tone, etc. In that case, you might want the note attributes to arpeggiate, but not the notes themselves. There are also settings for sort+direct and thru+direct, which is useful when you want to emphasize your playing, but have arpeggiations occurring in the background.

Velocity mode chooses whether the arpeggio plays back with velocities preset in the arpeggiation pattern (original), or with the dynamics of your playing (thru). Output Octave Shift specifies the maximum range; use this when you want the arpeggio to "ripple" over multiple octaves.

We already met the Bank, Category, etc. parameters so let's move to the invaluable Velocity Rate parameter. This offsets the velocity of the arpeggiated notes compared to what you played, which I found very useful in sort+direct and thru+direct for putting the arpeggio more in the background. Gate Time Rate basically determines the default length for the arpeggiated note; turn it to -100, and the net effect is highly percussive, whereas +100 gives the longest length.

[Anderton]

So just as I was thinking "I sure wish they'd made Velocity Rate and Gate Time Rate something you could access from the Play screen," I realized that yup, one of the banks for the rotary controls on the control surface tie in to arpeggiator parameters: Gate Time, Velocity, Octave Range, Tempo, and four other parameters we'll meet in the next post (Swing, Unit Multiply, Quantize Value, and Quantize Strength).

Think about it...you can call up five different arpeggiation patterns per voice at any time, from literally thousands of presets as well as your own presets; then once it's up and running, you can tweak aspects of the sound in real time with the knobs. If you've thought of arpeggiators as "corny effects that were fine for Tangerine Dream but let's leave it at that," the way the Motif XS handles arpeggiation just might change your mind.

It's not just that it arpeggiates, but some of the patterns will likely inspire you, the same way having a good drum beat in the background can inspire you. When I record some of the audio examples tomorrow, you'll hear what I mean. Many of the arpeggiations are more like lyrical phrases than your usual "mating dance of the robots"-type effect.

So you think we're done? Not quite...

[Anderton]

Check out the last of our arpeggiation screens, which Yamaha calls the "Arpeggiator Other" screen (I guess they used up their creativity on the arpeggiator itself).

Unit Multiply goes from half-time to double-time, with several stops inbetween for syncopated effect (e,g,, having it churn along at 66% of the stated tempo). Quantize value, strength, and swing will be familiar to anyone who's used a MIDI sequencer, and we've already met the remaining parameters in the left column.

In the right column, Loop determines if the arpeggio plays through once, or keeps playing as long as the keys are held down. Trigger mode is a bit esoteric - in addition to the usual "hold down keys it plays, release keys it stops," there's a toggle mode where you start by hitting a key and stop by hitting a key (release has no effect).

To understand that next two parameters, we need to understand the concept of an Accent Phrase. This is a variation built into the arpeggio that plays back at velocities higher than that specified under Accent Vel Threshold. Accent Start Quantize causes this phrase to be triggered either as soon as it receives a note that exceeds the Accent Vel Threshold, or at a specific place specified within the arpeggio (assuming it has first received a note that exceeds the Accent Vel Threshold).

Random SFX is another one of those "We have an unlimited R&D budget! Cool!! Let's see what else we can throw in!" kind of features. Some arpeggios trigger particular effects, the classic example being fret squeak noise when a note's released. You can turn this feature on or off, and if on, you can further specify its velocity offset compared to the note you played (after all, you'll probably not want the effect to drown out your playing) and whether it plays with its pre-programmed velocity, or the velocity associated with what you played.

So really, when you get right down it, this is less an arpeggiator than a mini-sequence/phrase/arpeggio generator. And it's in keeping with everything else I've found so far on the Motif XS6: very deep. Again, let me emphasize, it's easy to get overwhelmed with all these options (you don't even want to know how long it took me to write these four posts). But you'll probably gravitate to certain favorites and just take comfort knowing the other ones are there if you need them.

Oh, one other interesting thing: I think Yamaha must recognize how daunting all these features can seem, as they've marked the most crucial parameters with asterisks. This is actually a very cool concept when you think about it; they're saying "Here's the most useful stuff, learn the rest when you have a chance."

[saturnalley]

I was tempted by the M3 yesterday but the layout seemed insane, compared to the XS. It would've taken me months to even find out if I could successfully arrange on the M3, using Karma. I could tell the XS was masterable and as you say

DEEP


--I think it's the evidence of good taste in patterns and sounds that gave me confidence to buy XS.Still, I'm wondering why these relatively expensive, beautifully built, innovative workstations, don't utilize markers or easy-access locate points. Even my VS 1680 has BANKS of markers.

[saturnalley]

by the way Craig, I meant to say "well articulated" --to us, the time you take to lay it all out, is very beneficial. You may be experiencing Diminishing Returns from your efforts, but all I can say is--you've created quite a Resource for XS users.

[Anderton]

by the way Craig, I meant to say "well articulated" --to us, the time you take to lay it all out, is very beneficial. You may be experiencing Diminishing Returns from your efforts, but all I can say is--you've created quite a Resource for XS users.

Glad you're enjoying it! I'm not quite sure what you mean by "diminishing returns" -- it's true that with a lot of Pro Reviews, at some point people have already made up their minds and what follows doesn't really matter. I get that sense from the VL2 Pro Review; I think it's a great unit, everyone who's bought one has chimed in and said it's great, so even though I still want to post some examples of harmonies, they may not even be relevant at this point because people almost universally agree it's a wonderful little box.

But the other thing to remember is that Pro Reviews stay up for a long time. Months from now, people will discover this for the first time, and get a really comprehensive overview of what the keyboard is about. So while some people may have already said "That performance thing is really cool, that settles it, I'm going to GC tomorrow," there are plenty others just picking up on what's happening here and waiting to find out, for example, about how well it does or doesn't do sampling (which is something I want to find out for myself).

After putting this much time into the keyboard, I'm almost feeling obligated to buy it just so I can take advantage of all the stuff I've learned :)

[Anderton]

Well you gotta hear some examples, right?

We'll start off with a new agey-piano sort of deal, because what you'll hear is what you'd sort of expect to hear from an arpeggiator...it gives us a good starting point of reference.

Next up, a trip to the world section of arpeggation with a little Salsa piano.

Now it gets interesting: Synth bass arpeggation, but I'm tweaking the Gate Time and Velocity parameters in real time.

And now for some reggae type guitar. Again, I'm tweaking the Gate Time and Velocity parameters as it plays, which is what brings in the harmonics and slides.

Finally, there's some strummed guitar, again with real-time tweaking.

FWIW, I didn't put a lot of time into these, so don't think I slaved over them...from turning on the XS6 and computer, to recording the examples, cutting them to size, and rendering them to MP3 in Wavelab, took about 35 minutes. Imagine what these would sound like if I'd actually PRACTICED them to make them more expressive!

We could go on...maybe I'll do five more arpeggiation examples tomorrow, then move on to the next feature. I guarantee you I'm NOT going to do examples of all 6633 patterns!

[RaGe]

Craig,
I am interested in the Motif as keyboard for live performance but also as a"scratchpad" if you like for songwriting purposes. I can never seem to find the muse in front of a computer screen.
Would you be able to touch on how well is Cubase AI implemented and how easy or not it is to start a project on the Motif and tranfer it on a DAW running a full version of Cubase? Are the arpeggios transfered as audio or MIDI? Any complementary info will be much appreciated. Thanks for a great review so far.

Regis

[RaGe]

Oh wait, I think I got things mixed up. I thought Cubase AI was the sequence software that is inside the XS, it looks like it's rather a version of Cubase that can be integrated in Cubase 4.
Would Athan or Craig shed some light on this?
Thanks.

[Anderton]

The Motif XS has an onboard sequencer, and we're working our way toward covering that very soon...Cubase 4 AI is a custom version of Cubase 4 that has all sorts of integration features with the Motif XS, including things like transport control, control surface support, and song interchanges. This actually sounds very promising for what you want: You can create the core of the song while sitting at the Motif XS, then tweak/edit/augment in Cubase AI 4 when the time is right.

[Athan Billias]

Cubase AI is the version of Cubase software that comes bundled with Yamaha products. It has more features than LE ( for example it has the HALion One softsynth with waveforms from the Motif series included in it). It also supports Studio Connections so you can open the Motif XS Mix/Voice editor directly inside Cubase AI and save your XS settings with DAW project.

AI functions are Advanced Integration functions that bringing added functionality and ease of use between Yamaha hardware and Steinberg software. The AI extensions are downloadable from www.yamahasynth.com Yamaha and Steinberg are working closely together to add these special integration functions for many products. You can install these AI functions into Cubase AI, Cubase Studio or Cubase 4. In fact if you have two versions of Cubase installed, the AI extensions will appear in both.

Some of the functions that AI adds for the Motif XS are :

Auto connection and naming of of all Audio and MIDI ports when using the AI firewire driver

Cubase Project Templates for using the XS with Cubase

but our favorite is the Song Import function.

This lets you save a Motif XS song in XS format and then import it directly into Cubase including MIDI and Audio.

The Motif XS also works as a Remote Control to allow you hnads on control of Cubase (or other DAWs) using the buttons, knobs and faders on the XS.

As Craig suggested , it's pretty cool to get started using the direct Perfromance recording in the XS and then import directly in to Cubase to add VSTs and other things to your final production.

The Song Import function makes the old way ( syncing MIDI clock and re-recording the data) seem pretty archaic.

[saturnalley]

Craig: I meant only to hypothesize that the time it took you to explain the ARPS to us might have diminishing returns when it comes to your own personal knowledge or sense of gain--I'm sure that anyone interested in the XS benefited and as you say, can go back to your notes for a refresher course at the right time in their own studies. Looking forward to Page Eight, David

[Athan Billias]

BTW, the Motif XS has a very complete on board sequencer. In fact, there are two.

A Pattern sequencer allows you to create 16 sections of music (each up to 256 measures long) that loop and repeat. It's great for many styles of music that are loop based and also good for being able to create sections of a song and then try out different arrangements with the pattern chain feature. Each pattern section has a full 16 Parts to it. Pattern Chains can be converted into Songs.

A Song sequencer is more like the traditional linear, tape recording-style of sequencer.

You can record either MIDI or Audio (controlled by MIDI in the Integrated Sampling Sequencer). To record audio , you have to have RAM installed in the Motif XS.

There is both real time input quantizing, after the fact quantizing and even per track non-destructive play effect quantizing. In fact , there are all the types of editing functions you typically find in software sequencers.

So it's more than possible to complete productions completely inside the Motif XS, re-sample them as a stereo .WAV file and then burn that .wav file to a CD. The burning of the CD is the only thing you would need a computer for.

But the power of the XS is that you can work any way you want - completely on board the keyboard, entirely on DAW software like Cubase or any combination of the two methods.

[shooi]

Got my XS7 about 2 weeks ago (decision made partly due to the excellent review going on here - thanks Craig!!) and have been working my way gradually around the sounds and the Cubase AI4 integration.

Just a quick question - Craig I know you're going to come on to AI later, but maybe Athan could answer this one - it's probably a quicky.

The arpeggiators on the 'board are fantastic, I'm particularly taken by the guitar ones. So I wanted to record a guitar backing into Cubase, using the arpeggiator that's programmed into the XS voice.

The only way I managed to do it was like this (having looked through some Motifator forum posts) - there has to be an easier way!

1. Select the voice
2. Write down the number of the arpeggiator you wanted to use
3. Go to Song mode
4. Hit record
5. Turn on arpeggiator and enter arpeggiator number written down in 2.
6. Record section
7. Insert memory stick (or, I guess, hook the XS up to the network)
8. Save 'All' file to memory stick (or network drive)
9. Import track from Song in 'All' file from memory stick or network drive into Cubase
10. (optional) Realise you've got the chord progression wrong and either fire up one of the editors in Cubase or start all over again.

I really hope I'm missing something simple here! The XS Editor in Cubase seems to have a 'Arp to PC' button, but the manual very helpfully describes it as something like 'useful if you want to record Arps to a PC' - I clicked it, but it didn't seem to do much. (XS Editor is great by the way - Cubase integration is fantastic!). Is there just a 'turn on Arp and send to MIDI Out' setting in Song mode that I haven't found yet?

Thanks!

[RaGe]

Thank you Athan and Craig for your replies. I am looking fwd to getting my Motif next week. I'd hope for an easier way to incorporate Motif arps into a Cubase project because the process shooi describes will be a workflow killer for me.

Regis

[Phil Clendeninn]

When you wish to bring a Voice into the Sequencer with its arpeggio patterns already applied you can set the "Parameter with Voice" function to ON. When this parameter is ON, a Voice you select will come into the sequencer MIXING setup with all of its VOICE mode arpeggios, etc. already applied.

Press [MIXING]
Press [EDIT]
Press the PART [1]-[16] containing your Voice
Press [F1] VOICE
Press [SF1] VOICE
Set "Param with Voice" = ON

Now when you select your VOICE (on this same page), it will come into your MIX with all the attributes from Voice mode (Arps, Portamento, Cutoff/Resonance Filter settings, AEG, FEG, PB Range etc.).

http://files.keyfax.com/forums/user-files/330183-chillnKeyPattPart1.JPG

When recording the arpeggio to an external sequencer, like Cubase AI4, for example, you will want to use the [SEQ SETUP] Quick Setup #4: RECORDING ARPEGGIO TO COMPUTER.

Press [SEQ SETUP]
Press [F3] QUICK
Select Setup #4
Press [ENTER]

This makes all the necessary setting for you... (Local Control, sync, Internal/External switches, etc.)... except one. If you notice it says "*Turn DAW echo off". This you must do yourself.

In Cubase AI4 here's how:
Go to FILE
Select "Preferences..."
Select MIDI
Uncheck the box that says "MIDI THRU ACTIVE"

http://files.keyfax.com/forums/user-files/344329-MIDIthruActive.JPG

Now you will be able to record your arp to Cubase AI4
Please remember to reactivate "MIDI THRU ACTIVE" when you have completed your transfer of data. And return to using QUICK SETUP #3: RECORD TO COMPUTER.

The QUICK SETUPS greatly ease the task - because they make the appropriate settings for you. And when they do not they prompt you (as in the case with Quick Setup #4). Hope that helps.

[shooi]

Phil,

That's fantastic! Thanks for such a thorough response. Really appreciated. See, I knew there was an easier way! RaGe, you can relax now!

Phil

[RaGe]

Fantastic!
I am so getting the XS6 this week :D

One more question if I may (and please bare with me as I don't have the Motif yet): are the arps transferred as MIDI, or is actual audio recorded?

RaGe

[Phil Clendeninn]

The arps are transferred as MIDI, but of course, you can also record them as audio. It is really up to you. Both MIDI and audio are available.

[saturnalley]

Hi Ye Experts

After an hour at the Motifator Site, trying to find out how to simply save to USB and load from, a single sequence, I turn to you for help. I spoke to a nice fellow at Yamaha, who did tell me to use the Mackie control surface option for Cubase to get it to see my XS, but who had to tell me another expert would have to call me regarding the USB thing. He said try saving the pattern in SMF format--no, that's not what I wanted to do.

At Motifator, they say you're supposed to first save the sequence to the XS's internal memory, then to the USB drive in "all" sequenced form. This I did, and reloaded as "allsequences" so I thought. My sequence #4 was not reloaded.

If I'm going to use the in-track sampling (I bought my RAM) I'm going to want to place all data for a song, samples included, in one place--be it external hard drive or thumbdrive. I can't believe it's made so hard (in fact not possible so far) to back up one little sequence one composes on the XS.

I'm glad Sam Ash has 45 day return policy--this little USB debacle is pushing me to the edge --hoping there is a rational procedure for saving and reloading, and thanks for any help,
DD

[saturnalley]

Ok, it's possible, though not by following written directions. Maybe everyone already knows how, but just in case:

1. compose a sequence
2. store it to the XS's internal memory.
3. push the XS's file button, in the lower field select "all pattern", the save button will appear, assuming you have a viable USB drive connected.
4. push Save, input a name, push enter then Yes. In the upper field, your name with the extension .XOP appears.


To confirm that you saved your pattern,
1.select pattern in the lower field
2.To get to the upper field use the arrow up then select, with the data wheel, your new allpattern file, and push enter.
3. using the datawheel again select the pattern number you were working on, the load button will appear
4. using the down arrow, go to the bottom of the page and select the pattern number where you want to load the sequence then push load, and yes.

5. One subtlety: if you load from USB to the pattern currently selected in sequence mode, it loads it in the corresponding flash area underneath the sequence in the works, so that when you go back to sequence mode it'll appear to have NOT loaded it. This is what made me think SAVE was not working, originally. You have to select another sequence then return to the spot you loaded to from USB, then it'll rise up from below to occupy that spot. Seems crazy, but guess it thinks it's being helpful, letting you save your work to another sequence number before it lets the USB data take over the spot. OK NOW maybe I can get something done, or, go swimming.

[Anderton]

Phil, thank you for your comments, and welcome to the thread! For those who don't know Phil, he's been representing Yamaha for a long time and is both a really good player and extremely knowledgeable. Your presence here is appreciated!

I apologize for the dearth of posts this past week, long story but I had to break down the XS6 temporarily because there's construction going on at my house, and I didn't want to be responsible for any damage that might occur to the keyboard. I get to set it back up again this weekend :)

[U&I]

Why of Why Yamaha ????????????????????????????????/

Slight Product Rant Here -


Firstly this is a superb review and then some.
Now for a slight rant here.
Us RM1X users who upgraded to the RS7000 really got jipped to some extent by Yamaha I feel (especially at the price my RS7K cost brand new fully optioned on release in Australia ie:$3800 AUD at the time).
Has Yamaha actually bothered to think of releasing the Newest Motif Technology into an RS9000 with a Proper bloody Synth engine and Multisampling Facilities and most of the Features mentioned here.
I am Imagining a unit much like the RS7K with the New Sreen and Full synth Editing and effects engine etc with Pitch Bend/Mod Wheel/Expression Ribbon.
Add good Foot controller input, multi-output support, all the usb / fire wire features and a kick ass 30 or so knobbed interface that doubled as a host software controller and I'd buy one in a flash.
The RS7000 is still hands down the BEST sequencing unit I have ever used in my humble opinion (prefer it too the QY700 and that's saying something).
Give me lots of Ram, all the editing Goodness of the new Motif all the insert, master and standard FX busses etc in an RS7000 style case with PROPER Synthesis Programming and you'd be on a winner.
The RS7K has garnered something of a cult status in certain circles for good reason and many of us feel we where dumped like a sack of shit and left in the dark after the OS upgrade by Yamaha.
This synth sounds great and sadly my experiences with Yamaha (particularly Yamaha Australia) after the RS7K fiasco have really put me off buying their products again no matter how good they are.
And I've bought a lot of them in the past ie: A3000, RM1X, RS7000, AW16G, DX7IIFDe, SY85, TG77, QY700 etc over the years.

[Anderton]

Well...I'm back. Finally, the dust has settled enough around the construction zone called "my house" (actually I'm still not able to sleep here yet!) that I can set up the XS6 again. So in honor of being able to get back to the Pro Review world, let's look at the sequencer, starting with playback.

The Sequencer is part of what Yamaha calls Song Mode - logical enough, as we're dealing with songs as opposed to Patterns, which is another possible. The attached image shows the basic Song screen. The Motif XS comes with three demo sequences (one rock, one cinematic, one funk), so we can use those for playback without having to create a sequence - although of course, we'll get to recording as well.

Now let's look at what the screen offers. This is a 16-track sequencer, and you can store up to 64 songs. Toward the top, you see the sequence title and a measure counter. This is not for display purposes only; for example, if you cursor over to the measure number, you can scroll to a particular measure and press the play button to start from there. This is in addition to using the various transport buttons (e.g., fast forward, rewind) and one of the two location points to jump around to specific places within a song. Note that there is a "chase" function you can enable in the Seq Setup screen (under the "Other" tab) so that the sequencer "grabs" previous controller changes and applies them starting at the point of playback. (This defaults to off; personally, I think it should default to on.) You can also use the SF and F buttons in a numeric mode so you can enter the number of a particular measure and go to there.

Next line down, you can transpose the sequence, set time signature, and tempo. Interestingly, you can tie time signature to individual measures, allowing you to change time signatures within a song. I haven't found a way to change tempo continuously over the course of a sequence, but you can sync the tempo to an external source that does include tempo changes. Furthermore, the Song Scene function (see later) lets you set five different discrete tempo changes if that's all you need.

Below is the main track view. Although this shows all MIDI tracks, you can sequence audio tracks as well (you get these via the sampling function and creating a Sample Voice, which I guess we'll cover after the sequencer...this keyboard never ends, y'know?!?). Note that black lines within tracks that indicate where MIDI data resides; you can zoom in or zoom out horizontally to see more or fewer measures. However, you cannot zoom vertically, so don't expect "piano roll editing" on this screen.

The Scene buttons call up different "scenes," which you can think of a type of snapshot automation for level, pan, effects, and some other settings. You can call these up during playback, but I'm pretty sure you can embed scenes into recordings...we'll find out soon enough.

The Play FX, Track, and Chain tabs are sufficiently complex that each deserves its own post.

[Anderton]

Now this is something really novel. If your a software jockey, you can think of this as basically a whole bunch of MIDI Plug-Ins (hmmm...Cubase is really strong on MIDI FX, I wonder if there was some kind of cross-fertilization going on here?).

Referring to the screen, you'll see the 16 tracks, as expected; the interesting part is that you can apply various processes to each track on playback, individually and non-destructively. However, if you do like what the play effects do to a song, you can apply them permanently using the oddly-named "Normalize Play Affect" function, which has nothing to do with normalizing the audio.

Anyway, here's what you can vary for each track:

* Quantize value and strength
* Swing ("swings" the velocity and gate as well as timing)
* Transpose all notes in a selected track, plus or minus 99 semitones
* Clock Shift - this lets you "lead" or "lag" the track for different feels
* Gate Time - raises or lowers the gate times of all notes in the selected track
* Velocity Rate is like a compressor/expander in that you can change the velocity values by a percentage. So for example, to compress, you could cut all notes by 50% then add velocity (using the Veloctiy Offset function, which adds or subtracts a constant value). By multiplying (you can go up to 200%), it "expands" notes. As values can't go over 127 or under 1, you can also use this function as a limiter. For example, add 60 to all values, and anything over 66 hits maximum velocity, and values below that are bought closer to the maximum velocity.

So...is this cool? You bet it is, and all the cooler because it's built in to a keyboard. It also has another characteristic I appreciate with advanced functions: You can ignore it if you want, or just duck into the screen as needed. In a lot of ways, what Yamaha has created here is a "channel strip" for MIDI data. I would love to see something like this incorporated into MIDI sequencers, perhaps as a "MIDI data channel strip" MIDI plug-in.

The other thing I really like about this is that it encourages you to just lay down tracks, knowing you can fix them later. Maybe you don't really need to quantize parts after all; but you won't know if you're forced to quantize as you record. With this "MIDI Plug-In" approach, you can deal with these various quantization, swing, and velocity issues after you've had your creative moment and recorded a bunch of tracks. Very, very cool, and an idea well worth stealing for sequencers in general...uh, I mean, an idea worth "being inspired by," of course!

[Anderton]

The Track Out screen (first image) is pretty obvious: You can set each track to a particular MIDI channel, and determine whether it goes to the internal tone generators, the external MIDI output port, both, or neither.

The Track Loop screen (second image) lets you enable looping for each track independently, as well as set the loop start and loop end points. In this image, track 12 is set to loop (you can tell by the little loop symbol) from measure 1, beat 1 to measure 5, beat 1.

If you enable a track for looping, a loop symbol also appears next to the track name in the main Track View screen. Which brings up an item for my wish list: It would be helpful to see in the Track View screen the area that was being looped, perhaps by changing the looped portion of the track to a different color, drawing brackets, or whatever.

[Anderton]

I just got the August issue of Keyboard magazine (www.keyboardmag.com), and there's a review by Stephen Fortner of the XS6. We're pretty much on the same page about it, but it's interesting to see what he picked up on as being significant...check it out.

[U&I]

Anyway, here's what you can vary for each track:

* Quantize value and strength
* Swing ("swings" the velocity and gate as well as timing)
* Transpose all notes in a selected track, plus or minus 99 semitones
* Clock Shift - this lets you "lead" or "lag" the track for different feels
* Gate Time - raises or lowers the gate times of all notes in the selected track
* Velocity Rate is like a compressor/expander in that you can change the velocity values by a percentage. So for example, to compress, you could cut all notes by 50% then add velocity (using the Veloctiy Offset function, which adds or subtracts a constant value). By multiplying (you can go up to 200%), it "expands" notes. As values can't go over 127 or under 1, you can also use this function as a limiter. For example, add 60 to all values, and anything over 66 hits maximum velocity, and values below that are bought closer to the maximum velocity.






Do you also get the midi harmonize and midi delay with +/- feedback note (in semitones) number of repeats + gate (ppqn clock divisor) or repeats also on top of those other midi FX ?
Also is realtime Loop Remix Implemented Also.
If Not I am more tempted to score a second hand RS7000 + MotifES Rack I think than something like this.

[Anderton]

Do you also get the midi harmonize and midi delay with +/- feedback note (in semitones) number of repeats + gate (ppqn clock divisor) or repeats also on top of those other midi FX ?

Not that I've found.

Also is realtime Loop Remix Implemented Also.

What exactly is your definition of "real time loop remix?" By my definition (i.e.,I can create loops and remix them in real time, like the way I use Ableton Live), the answer would be yes for eight channels at a time. But I need to know if that's what you mean...

[U&I]

Not that I've found.



What exactly is your definition of "real time loop remix?" By my definition (i.e.,I can create loops and remix them in real time, like the way I use Ableton Live), the answer would be yes for eight channels at a time. But I need to know if that's what you mean...



The RS7000 had a Slice & Seq Function (Like Recycle).
It also offered what was known as realtime loop remixing.
In essence these where a bunch of (some 256 I think) templates for recycling midi data for variations on sliced loops, drills, breaks, melodic parts etc etc.
The data would never quite work in an identical manner on any given piece of midi data (so for example two loop remixes of the same template on diiferent slice and seq parts or midi data would yield different results).
The loop remixing templates worked on types ie: breaks/fills/beats/melody/lead/bass etc.
It was always fun to abuse the results none the less on parts they weren't intended for then go into either XOX or STEP Modes and customise the midi data to taste.
You basically hit the loop remix button on a designated sequencer track in the RS7000 and picked a template then auditioned the results.
If you liked it it wouldn't instantly assign a phrase number to that midi pattern generated and it could be called up in any section in any style as a specific phrase in the RS7000.
Because it worked intelligently on the midi data it always remixed in the key of anything you where working on at that moment in time also.
Combined with step/grid and list editing modes of midi data it was an incredibly powerful feature I haven't found anywhere else.
Also the RS7K when in pattern mode allowed you too burn a Timesignature Header too the TG/Phrase of that Style.
Let me explain.
Essential on the RS7000 you Had.
A STYLE
A STYLE comprised of 16 sections A-P
Sections A-P Had sixteen tracks each
Each track contained a Phrase (using Yamaha Speak)
So you had 16 Tracks with 16 Section with 16 Phrases per Section Allowing for 256 independent phrases from 1 measure too 256 measures long in any section in any track in a Given STYLE.
This of course is before we use Pattern Mode and Convert to a Linear Song.
The kicker was that with the TG Phrase header I could have any phrase be any time signature in any section in any track in any style.
So you could have a 4 bar 4/4 kick against 32 bar 15/16 lead line with a 27 bar 7/4 percussion section al over X number of tracks in a single section in that Style ....add infinitum.
Never found a single thing Software wise that competes and if The XS doesn't have these sorts of features I think I'm better off with the RS7000 + MotifES Rack for a better Tonegen System.
I can use Live for audio recording / daw work (in arranger mode) and Reaktor and Reason 3 for pretty much everything else.
Hope that clarifies some.

[Anderton]

I'll be getting to the remixing options when we enter "sampling world," but here's what Stephen Fortner says in his Keyboard review (August issue):

"The Job button brings up typical audio processing functions, including great-sounding time stretching and pitch shifting. The two real stars are the Loop Remix and Slice jobs. Loop Remix turns one drum loop into many by re-arranging or even reversing various hits. Slicing chops up any sample, and maps slices to a series of keys so you can trigger them while recording a sequence. It won't make you throw away your copy of ReCycle, but it's as good as anything I've heard a keyboard do, and perfect for laying one-shot sounds and vocal hits ("Uh-huh...yeah.") on top of a groove. Don't like what you hear? Both processes are undo-able."

[mikesr1963]

:thu:

[Sirgin]

Hi Anderton,

Thanks again for all the great info on the Motif XS.

I just have one question though:

At the moment, I have money for a XS7, but not for the €500 KRK studiomonitors that I'm thinking of buying...(I'll have that money in 2 months though)

I'm about to order the XS, but I just wanted to know if I can (temporarily) hook up my Spider III (it's a combo, the 75Watt) guitar amp to the Motif.

Because it seems a bit of a waste to me to buy cheap, €100 speakers for only 2 months of use, until I have the money for the studiomonitors...

Hopefully you know this, because I'm not gonna hook it up until I'm sure it's OK to do so.;)

Thanks in advance!

[Athan Billias]

To U &I -

The architecture of the Motif XS pattern mode is very much the same as the RS7000 with patterns, sections and phrases. You can patch in phrases to sections, the same way as you could on the RS7000.

Real Time Loop Remix is included and has been improved so you can now select if you want the Remix applied every measure, every other measure , only the 4the measure, only the 8th measure , etc.

Also there are now 6000 arpeggios many of which include chord recognition and you can run 4 arps at a time. Great for many kinds of dance music and you have real time control over the arps similar to the play FX on the RS.

There are differences, no grid editing or MIDI delays for example. It's still the XS is worth you checking it out.

Sirgin,

It won't cause any harm to hook your XS up to guitar amp, but it may not sound that great. You can also use headphones sometimes until you can afford decent studio monitors.

Getting the XS first makes sense in our mind because there is a lot to learn about it and the studio monitors you can just plug in and go.

[Anderton]

Not to get picky with Athan, but...there are some sounds where the Motif XS sounds great through an amp. Although I wouldn't put the strings and orchestral patches through a guitar amp, the guitar, electric piano, organ, and (if you have a bass cab) synth bass sounds get some real "character" going through an amp. In fact, if you overdrive things a little...heh heh...bottom line is no matter how good a studio setup you have, using a guitar amp with the Motif XS can give some truly cool sounds. Try it!

[Athan Billias]

Yeah, Craig , you're right. In fact , it's a nice usage of the Assignable outputs. You can assign any Part in a Performance or Mix to go out the assignable outputs.

For example, in a live setup, you could create a mix where the backing tracks were going to the PA or your keyboard amp, but some lead guitar sounds went out the assignable outputs to a guitar amp. We 've seen people use these assignable outs to route Motif organ sounds to an external Leslie or rotary speaker, etc.

So you're right in many situations an amp can be an integral part of the sound and even in the studio miking an amp from a workstation can put "life" back into a track.

We get so used to "direct injection" recording and going "all digital", that it's easy to forget how cool using acoustical tricks can sound.

[Sirgin]

Alright, thanks a lot!

My XS7 is already ordered!!!! So excited!!! I'm waiting for it to arrive (I'll have it by the end of august...)

I'll just use my amp the first month or so, and then buy the KRK's.
I would've hated it if I had to invest in a budget monitor solution...which would never be used again after buying decent monitors anyway.

Oh, maybe just one more question, if I may...

Are KRK RP6 (or maybe RP8) a good choice for studio monitors? Or is there something else out there that's better value for the money?

My monitor budget will be €500-600 (I'm from Belgium, which is about the same amount in $ for you guys in the US), no subwoofer yet included. (so just for the left & right speaker)


Again, thanks a lot for answering my guitar amp question!

[Tuba Four]

Craig,

Just a couple of thoughts. First: Great review. I've read and listened to just about everything that's been posted on this board so far about this workstation. I currently have a loaded ES, and am thinking about making the jump to the XS not because I don't love my plugin boards, but because they're difficult to access and tweak even with a computer. Frankly, for a long time, I barely used any ROM voices on my ES because comparable PLG voices were so much more expressive, alive and pristine. FWIW, i get the most use from the AN board, followed by the VL and the DX being a distant third. I play mostly instrumental fusion/rock and use the ES for leads (AN and VL) and pads and the occasional arp. One thing I want to do is expand my live sound so as to include other sounds as well (not the acoustic emulations though). Live, organs, pianos, EP's and clavs come from the Nord Stage.

My thought process is this: I want to consolidate my meager "programming skills" so that I am learning and perfecting one synthesis type, sample playback as opposed to four. I may still keep the plg's and the ES or just the plgs' and put them in a rack. My main concern is that the AN board is just not well represented in the sample forms. I understand I can start with any existing sample and do some amazing stuff with subtractive synthesis, but, I guess since I am not much of a tweaker, it is that much easier to start with a sample that approximates my end result and tweak from there which I have done with some success. But, as you can tell I also have the An1x, but have always felt the AN board in the ES sounds better.

Does this make sense? Am I being irrational? Is GAS blinding me?

Also, the form factor and having the eight sliders and knobs is tempting especially live and maybe in the studio for a control surface if I ever can let go of my mouse.

Anyway, this review has been a great education.

Thanks again, and for all those who have contributed to this thread.

aL

[workstation M.I]

BTW, the Motif XS has a very complete on board sequencer. In fact, there are two.

A Pattern sequencer allows you to create 16 sections of music (each up to 256 measures long) that loop and repeat. It's great for many styles of music that are loop based and also good for being able to create sections of a song and then try out different arrangements with the pattern chain feature. Each pattern section has a full 16 Parts to it. Pattern Chains can be converted into Songs.

A Song sequencer is more like the traditional linear, tape recording-style of sequencer.

You can record either MIDI or Audio (controlled by MIDI in the Integrated Sampling Sequencer). To record audio , you have to have RAM installed in the Motif XS.

There is both real time input quantizing, after the fact quantizing and even per track non-destructive play effect quantizing. In fact , there are all the types of editing functions you typically find in software sequencers.

So it's more than possible to complete productions completely inside the Motif XS, re-sample them as a stereo .WAV file and then burn that .wav file to a CD. The burning of the CD is the only thing you would need a computer for.

But the power of the XS is that you can work any way you want - completely on board the keyboard, entirely on DAW software like Cubase or any combination of the two methods.

Athan,

What about us "orchestral soundtrack" people?
Back in the day,I used to sequence on the Alesis MMT-8 and the big thing for me was the the pattern sequencing,being able to work on 4 measures at a time and then being able to string all the patterns together in a song.Does the XS support this type of workflow or is there something even faster or easier in this day and age?

I was all set to get a MO until I stumbled across this thread and now I am willing to go the extra $$ distance to get an XS- I mean,acoustic sounds WOW!! I can hardly wait!

[Athan Billias]

"The big thing for me was the the pattern sequencing,being able to work on 4 measures at a time and then being able to string all the patterns together in a song.Does the XS support this type of workflow or is there something even faster or easier in this day and age?"

Yes, the XS does support this workflow very well.

In Pattern mode you can create 16 sections. Each Section can be up to 256 measure long. Then you can record a Pattern Chain. You simple go to Pattern Chain, press record and then use the buttons on the front panel to record section changes. You can also record mutes into this Pattern chain.

New on the XS is that you can change the sections in a Pattern Chain not just on measure boundaries , but in up to 16th note resolution for hip hop/dance stutter step effects.

This Pattern Chain can be easily converted in to a Song after you decide on the arrangement you'd like and add other tracks in llinear song mode

You can also go the other way. You can take a Song and chop it up into Sections to try different arrangements of Section using the Pattern Chain features.

There are even advanced song looping functions so when you are song mode you can select a loop start and end point for each track to for example work on a particular section of a song.

So the beauty of the XS is that you can work anyway you want - linear song or pattern and go back and forth between the two ways of working freely.

[Sirgin]

Hey Athan, got my XS7 :D It sounds awesome on my KRK RP8's :)

So far I've explored the voices & performances and I'm really impressed. Some of those performances (when played good) could go straight into an album.

At the moment I'm exploring the Pattern stuff...but I'm finding some things hard to find (even with the manual, haha:confused:)

I'm mainly producing hiphop/R&B type of stuff, so you know that that type of music basically repeats the same 4 (or 8) measures over and over with an additional drumpattern here and there and a lead sound for the chorus part.

Now, what if I make my loop for a verse (with for example: drums, bass, piano & strings) in section A. (on the screen this translates to 4 yellow blocks under each other)

Let's say I want to make my chorus loop in section B of the same pattern and I basically just want to add a voice (to the verse part).

How do I copy the entire content of "section A" over to "section B"? (without the Motif putting it all in the same voice, lol)
So that all I have left to do is go to the 5th track, select the lead sound I want & record it.
Because I'm only able to copy each yellow block at a time.


And the pattern chain function you talk about. Is it something like:
1x section C (for intro)
10x section A (first verse)
4x section B (chorus)
10x section A (second verse)
...and so on...


Because if I have to copy those blocks over and over again to make a whole song in pattern mode, that would be crazy...


Anyway, I'm in love with the machine:love:, I only need to sort these couple things out so I can really get started making songs.

[Sirgin]

Alright, I figured out the pattern --> pattern chain --> song structure out.

Now I have 2 songs inside my Motif XS.

I want them on my PC as WAV files with which I can then do basically whatever I want....make MP3s out of them, put those on my iPod, whatever.

What procedure am I supposed to follow to save these on USB.

Btw, I understand how the save system on the XS works, I just have no clue what to do with the ".X0S"-file (or whatever it was) of a mere 165kB i ended up with when putting the USB-stick in my PC. (I did the "all songs" save function)

Do I need like some sort of magical program to transform them to .WAV-files or can the Motif save my songs as .WAV's???:confused:

[Athan Billias]

"How do I copy the entire content of "section A" over to "section B"? "

In Pattern Mode, there Jobs which are macro functions. One of these is Pattern copy and you can copy Sections. To get there just press Job and F6 Pattern.

"Do I need like some sort of magical program to transform them to .WAV-files or can the Motif save my songs as .WAV's??? "

No, but you do need sample RAM. Then you can resample the entire Pattern Chain to RAM as a .wav file and save it a USB stick, transfer it to your computer and use i tunes to turn it into an MP3.

Another cool thing about the Motif XS is the ability to resample ( sample itself). This means you can have a 16 track sequencer including audio sample tracks and MIDI and resample it to a stereo .wav file. It's the equivalent of audio mixdown on a computer DAW like Cubase.

[Anderton]

Hey everyone - I'm back in action for Pro Reviews after having been out of town almost all of August, and then catching up once I got home. In the process, I've learned the Achilles Heel of the pro review concept: If it doesn't fit on a laptop, I can't do much when I'm not at home base! Anyway, I'm planning on continuing with the sequencer, then getting into Cubase AI4. I'll be posting on this over the weekend. Thanks for your patience - but it's all Yamaha's fault for making something so deep :)

[Anderton]

We've already covered the "standard" 16-track sequencer, so let's look at the "other" sequencer: Pattern-based sequencing. Athan already explained the basics, but let's dig into the gestalt of it and see how easy or difficult it is to use. You'll find out soon enough why I call this the "Ableton Live" mode.

You start off by hitting the pattern button, and end up with a screen that looks like the attached image. There are up to 16 tracks of phrases (the horizontal part of the matrix, which in this case are named MiniSoft, R&B Kit 2, etc.) and 16 "sections" (lettered A-P). Each of the yellow blocks represents a loop. This is very much like Ableton Live's "session" view, in that calling up a section (A, B, C, etc.) is like calling up a scene in Live: This triggers the loops associated with each section, and the start is quantized to the next measure.

I called up the Pattern called "Fractal Tripper" and basically, got lost in it for a while :). There are three crucial real-time control mechanisms (actually there are others, but these are "biggies" for me):

1. Buttons for muting individual tracks of each section.
2. Buttons for calling up the individual sections.
3. Scenes that create a particular set of mix, mute, etc. parameters.

The simplest performance option is just to call up difference scenes-uh, I mean "sections"-to create a particular sequence of patterns (you can also chain patterns together, which we'll get to in due time; right now we're concentrating on the performance aspects). If you want to take it one step further, you can stay on a section for a while and play with the mute buttons, to strip the pattern down then build it back up again.

However, I also wanted to have the ability to isolate just the drum track to provide a "breakbeat" type of effect. I first thought about creating a custom section that I could load into one of the section slots, and call that up as needed. But then I thought of a much simpler way: Just create a scene that mutes everything except for the drum tracks, and another scene to restore all mutes off. You can create five scenes (just like with the standard Song mode sequencer), so I made SF5 the "Breakbeat" scene and SF1 the "Standard" scene.

Now, the other cool thing is that you have control over track levels and pans with the faders and knobs. The only bummer is that you can control only 1-8 or 9-16 at one time--I'd love to see 16 faders on there, as I have with my good ol' (and sadly, discontinued) Peavey PC-1600x. Still, with a little bit of strategic planning, you can make sure that the tracks for which you'd want to control level the most fall in the first eight, so you don't have to switch back and forth too much.

Anyone who's seen my solo act knows how much I like to mess around with loops, bringing them in and out, changing levels, etc. The Pattern Playback mode is great for this--check out the audio excerpt. It was all done in real time.

[workstation M.I]

Mr. Billias,
I've tried starting a new thread here in "Pro Reviews" but for some mysterious reason I am "forbidden" from doing so.Could I re-direct your attention to this thread in "Keys,Synths and Samplers"?

http://acapella.harmony-central.com/forums/showthread.php?p=24226093#post24226093

Thanks a lot!

[rck]

Great review! I just purchased a Motif XS6 Sunday, aint it cool!

http://www.treasuregizmo.com/pics/motifxs6.jpg

[Gribs]

Hi Craig, Athan, and others.

I would like to thank you for this very informative professional review and discussion. After much research on other workstations and controllers, I decided to purchase an XS6 for my small hobby studio. This review plus the connectivity with Cubase were instrumental (no pun intended) in swaying my decision towards the Yamaha XS series. I am ordering the LAN card and some sample RAM today.

My new XS6 and I spent a good deal of time getting to know each other the last couple of days and I must say that I am at this point very pleased with my decision. I did not make it very far through the tutorial and manual, though, because, well, I just found myself playing music on it so very quickly. I started going through the performances to see what is there and experiment with the sliders and knobs. I just found myself playing bass notes and chord progressions and making up little songs, which I suppose is the whole point, right :) My two-year old came in several times and started dancing :D

My goal right now is to get the XS6 going with Cubase and sequence my analog synth along with it.

[pbognar]

A couple of things surprised be a bit with the XS6 -

The lack of PLG boards - I've got an An1X, and if I were going to get a work station, I'd want to consolidate things and have some virtual analog going on.

The other think is that, as far as I can tell, there still isn't a built in tap-tempo function built in, which was missing in the ES as well. There is a MIDI pedal called something like two-three-four, but I think the Korg workstations have had it for some time.

I'm looking for a workstation keyboard to play out with, which could augment a band without a keyboard player - not for integral complex keyboard parts, but rather for organ / string pads and the occasional sprinkling of keyboard parts which people would miss if they weren't there.

I'd still need a click, but it would be nice to adjust the tempo if the band started to drift out of sync with the sequence.

Also, is it possible to kick-in different sections of a song via MIDI note commands?

[egelmett]

The lack of PLG boards - I've got an An1X, and if I were going to get a work station, I'd want to consolidate things and have some virtual analog going on.

No, you really don't want the PLG150-ANs. Don't get me wrong, they sound great, in fact they sound better than the AN1X (cross-modulation on the PLG), but they are a PITA to work with. Most notably, storing patch files of the 150-AN on the ES/XS media is mandatory - i.e. you can't store patches on the cards themselves, and more aggravating is that you can't fully edit the cards from the host ES/XS itself. You must use a PC to access many of the features.

Sure, you can apply offsets to the cutoff and resonance, but stuff like switching waveforms and changing the FreeEG is impossible from the host ES/XS.

I had two PLG150-AN when I first got my ES, and while it's convenient to have the audio and midi routed from the host, file management and editing was so difficult I ended up trading both for an AN1X.

Couldn't be happier with the AN1X.

The integration sounds good on paper, and the PLG150-AN is the better sounding, but in practice the use of the plugin card is severly limited IMHO.

[pbognar]

No, you really don't want the PLG150-ANs. Don't get me wrong, they sound great, in fact they sound better than the AN1X (cross-modulation on the PLG), but they are a PITA to work with. Most notably, storing patch files of the 150-AN on the ES/XS media is mandatory - i.e. you can't store patches on the cards themselves, and more aggravating is that you can't fully edit the cards from the host ES/XS itself. You must use a PC to access many of the features.

Sure, you can apply offsets to the cutoff and resonance, but stuff like switching waveforms and changing the FreeEG is impossible from the host ES/XS.

I had two PLG150-AN when I first got my ES, and while it's convenient to have the audio and midi routed from the host, file management and editing was so difficult I ended up trading both for an AN1X.

Couldn't be happier with the AN1X.

The integration sounds good on paper, and the PLG150-AN is the better sounding, but in practice the use of the plugin card is severly limited IMHO.

Well, there is nothing like real world experience - thanks for the update.

I was just looking at a Yamaha DVD which explained the use of the Motif ES - holy smoke - seems pretty complicated even without adding a PLG board! The user interface is hardly intuitive. But then again, if one has the time, you can learn almost anything.

Regarding the AN1X - too bad it doesn't have knobs for each function - but then it's price would be a lot higher...

IMHO - workstation keyboards should have auxiliary inputs for at least an additional external synth, so that at the very least, their outputs could be summed at the output of the workstation. Even nicer would be access to the effects of workstation. I suspect you could accomplish this with the sampler input on the XS.

[Athan Billias]

Yes, as you mentioned you can connect an external synth to the A/D inpust on any Motif ( ES or XS) and integrate it into your Motif system. You can add the Motif's effects and in Performances and Songs and Patterns you can store the volume , pan and effects settings for the A?D input with each Performance and Song /Pattern mix.

"I'd still need a click, but it would be nice to adjust the tempo if the band started to drift out of sync with the sequence."

If you go to www.motifator.com there is a neat device that connects to the MIDI input on the back of Motif and give you a pedal tap tempo.

Here is a link to the video.

http://http://files.keyfax.com/motifator_vids/34one2/34one2.html

[accoona]

hi,
I'm considering motif very seriously, but that sequencer and audio recording limitation I've read about pulling me off a little.

e.g. Why there is no click when recording audio? why just 6 minutes or so for audio recording, why audio is not synchronized with midi tracks so you can't start from the e.g. middle of the song (audio won't be triggered in such case)
What about eating first note when using "note on" sequencing?
Is these problems something that can be fix in the future or they are by design?
thanks

[Niteswim]

[QUOTE=Athan Billias;22349679]

"Then you can open Cubase AI , select import and Motif XS Song is a choice. You can then open that Motif XS file...."


– well, I have searched for that option (in File>Import, right?), but couldn’t find it. I saved my songs from the XS into the XOA format and would like to know what can be done to restore these songs in case they should be lost on the XS (which might of course happen anytime in a situation that forces me to reset to factory settings, for whatever reason). :confused:
Any advice would be greatly appreciated :wave:

[Niteswim]

[QUOTE=Athan Billias;22349679]

"Then you can open Cubase AI , select import and Motif XS Song is a choice. You can then open that Motif XS file...."


– well, I have searched for that option (in File>Import, right?), but couldn’t find it. I saved my songs from the XS into the XOA format and would like to know what can be done to restore these songs in case they should be lost on the XS (which might of course happen anytime in a situation that forces me to reset to factory settings, for whatever reason). Or, very simply: What can I do with a XOA file anyway? :confused:
Any advice would be greatly appreciated :wave:

[Support Guy]

Go here:
http://www.yamahasynth.com/download/motif_xs.html#extensions

Download and install the extensions and you will find the Motif song import function in the file menu of Cubase.

There is more info here:
http://www.motifator.com/forums/showflat.php?Cat=&Board=MotifXS&Number=339301&Forum=All_Forums&Words=song%20import&Match=OR&Searchpage=0&Limit=25&Old=allposts&Main=339109&Search=true#Post339301

[Athan Billias]

"Why there is no click when recording audio? "

You can have a click when sampling and also just a count in before sampling, these settings are found the in Seq Setup or the Utility area.



"why just 6 minutes or so for audio recording - "
why audio is not synchronized with midi tracks so you can't start from the e.g. middle of the song (audio won't be triggered in such case)"

It is six minutes of contigious sampling or per one sample. That doesn't mean you can't have songs that are longer than six minutes.

Recording on the Motif series has always done by the integrated sampling sequencer. This means that each sampled track has a MIDI note to drive it.

This Integrated Sampling Sequencer has a lot of advantages. You can slice tracks so that you can change the tempo and the ISS audio track will follow the MIDI clock. You can have up to 128 samples on a track. So for example on one track in the sequencer you could have a number of six minutes samples that were triggered by MIDI notes at different times in the song.


"What about eating first note when using "note on" sequencing?
Is these problems something that can be fix in the future or they are by design?"

The newest OS for the Motif XS available at www.yamahasynth.com fixed any issues with recording the first note when using the Key Start feature.

[Shredded H Bark]

I am new to posting on this forum, but I have been following it for awhile. I am considering buying an XS7 but I have a few basic (I think they are, anyway) questions that puzzle me based on things I have read here and/or on the motifator site. Maybe someone can help?

1. Does the firewire on the XS7 work, how much does the firewire board plug in cost, and what is the advantage of that over USB and/or ethernet cable?

2. Under what circumstances do you need a USB memory stick vs. one of the hook-ups above? What's the different uses for these various hook-ups?

2. What is the status of the integration of this unit with Logic Studio Pro software?

3. Anderton, I enjoyed this review. It has been very effective. Is it over? If not, when are you going to give us the conclusion that you promised way back when?

Thanks.

SHB

[Gribs]

1. Does the firewire on the XS7 work, how much does the firewire board plug in cost, and what is the advantage of that over USB and/or ethernet cable?



I can help a bit with this question, I think, except I have the XS6 and not the XS7. I got the mLAN16e2 from Sweetwater for 259.99 USD. The network card works just fine with my VAIO laptop. I have not tried USB or ethernet, because I can integrate just fine with Cubase using the mLAN card. I bought the card so that I can use my XS6 as an audio interface and controller. MIDI signals and audio go both ways on the Firewire bus. I really enjoy being able to play my various software instruments on the XS6. It is very convenient and clean to have one cable between the XS6 and the laptop and two cables out of the XS6 to my monitoring system (though you can have more if you want).

[kidroc]

Hello everyone, I just purchase the motif xs6 2 weeks ago. loving it, the best sounds I ever heard on a keyboard!!!!

[bgi]

"Body Pumping" is more of a fusion-oriented piece. It also has a really cool guitar sound. Incidentally, those harmonic effects are not something I had to add; they're built in to the patch.


Cool sounds. Reminds me of some of the guitar patches on the MO8 that I love so much. I'm stressing whether I want to upgrade the MO to the XS. I find working with Cubase SE painful.

[Anderton]

Yes, this thread is coming back to life, courtesy of an update to the Motif operating system, some sample memory, and an mLAN interface. This gives us a reason to not only check out what's new, but re-visit some features we haven't covered yet.

To update the machine, you go to http://www.yamahasynth.com./download/motif_xs.html, which has updaters for Windows and Mac installation as well as all the specs on what the update does. After decompressing the files, you'll find the instructions along with the update file.

The next step is formatting a 128MB USB memory stick in the Motif, then transferring the update file over to it from where you downloaded the file on your computer.

Okay, the file's copied over, let's see if it works...the idea is to stick the stick in the Motif, power-up with it while holding a couple keys, and sit back while it does its thing. I'll report back when it's done...

[Anderton]

...it's still doing it's thing...

[Anderton]

...I hope we don't get a lightning storm...if you have a Motif and an uninterruptible power supply, they would be a good combination during the updating process.

Now up to 90% writing in the second block...

[Anderton]

...success! It's updated. Reset factory settings, check firmware number...yup, all is well.

Okay! Tomorrow, let's see what installing the sample RAM is like.

[Anderton]

Well you can't do much sampling without RAM, so Yamaha sent along 512MB of RAM, as two 256MB DIMMS, for this pro review. In the manual there's very clear instructions for installing the RAM; they actually show some respect for their users as being able to do it :)

However, the manual does caution checking the Yamaha web site for recommended RAM. You must install a pair of DIMM RAMs, from 64MB to 512MB (yielding a total of 128MB to 1GB).

The first image shows the "trap door" in the bottom of the Motif where the RAM gets installed. The first thing you need to do is remove this plate. When you do, you'll see two DIMM slots, as shown in the second image.

If you've ever upgraded/replaced/removed computer RAM, you know the story: Open up the little flanges at the ends of the DIMM sockets, push the RAM chips in one at a time until they lock into place, and you're done. The third image shows the RAM, comfortably ensconced in its new digs. Total time to upgrade RAM, from taking off the metal plate to putting it back on again and testing the RAM: 6 minutes, 20 seconds.

After turning on the Motif XS to see if the RAM showed up, there it was: 512MB. However, the display also shows the recordable size as 32MB, or 380 seconds worth of sampling. Hmmm...does this mean the memory is partitioned into blocks, and you can record only 32MB at a time? We'll find out soon enough. Meanwhile, Yamaha gets high marks for making the upgrade process simple.

[Anderton]

...and Yamaha also figured I should check out what the mLAN board does, so they sent me an mLAN16E2 expansion board. What does it do? I have no clue. But we'll find out :)

As with the RAM, the manual presents very clear installation instructions. They're definitely not of the "take this back to your nearest Yamaha service center, or you will die" mentality.

The first image shows the plate on the back panel that you remove to expose a space for the board to slide in. The second image shows the board, just after packing and prior to installation. As you can see, it's not exactly just a couple of chips...I didn't realize an mLAN interface had so much "glue" holding it together ("glue" is slang for all the support chips needed to make an electronic circuit work).

The board slides in easily via a couple guides, and once it's firmly in place, you screw back in the screws that originally held the metal plate. The third image shows the mLAN board in place on the back of the Motif XS; note the two FireWire (IEEE1394) ports, which apparently are FireWire 400 types.

Well I must say that was pretty painless; it took far more time to take the photos and write this up than it took to do the upgrade. So, I think we're in good shape to investigate the sampling aspect of things.

[Anderton]

If you want to upgrade a Motif XS, you go to www.motifator.com and cruise over to the Motifmart at http://www.motifator.com/mart/mainframe.htm. The 512MB expansion kit is $129, the 1GB one $179. That's more than the garden variety RAM you'd get from a store like NewEgg, but on the other hand, it's tested and guaranteed to work with the Motif series.

The mLAN16E2 is $249, and while rummaging around on the Motifator site (which also has interfaces, some very cool looking cases, sounds, loops, video tutorials, and a whole lot more - it's well worth checking out), I found this description of what the mLAN16E2 does:

The mLAN16E2 lets you connect your Motif XS to your computer via mLAN (Firewire Music Networking) and communicate all of your MIDI and audio data via a single Firewire cable.

The mLAN16E2 transforms the Motif ES into a 16 channel output, 8 channel input computer audio interface. This allows you, simultaneously to record14 individual output channels plus the stereo mix to your computer. In addition, the Motif XS's 2 A/D inputs can be used to record other instruments into your computer. Connect a Mic or Guitar to the Motif XS's A/D inputs and even use insert effects as you record.

During playback you can bring 4 stereo busses from yourDAW backinto theES to be monitored at the Motif XS's stereo analog output. At this time you can apply additiona lMotif XS system and master effects to these busses. The incredible effects contained in the Motif ES can be utilized without putting any load on your computer's CPU.

The Motif XS with mLAN16E2 can also be used in combination with other mLAN products such as the 01X and i88X to further expand your system. If Motif XS forms part of your rig the mLAN16E2 is, simply, a must.

The mLAN16E2 card transforms the Motif XS into:

* An Audio interface
* A MIDI interface
* A Hardware accelerated DSP effects processor for your computer DAW

Yamaha mLAN16E2 Features:

24-bit/96kHz 16 channel expansion I/O for MOTIF XS
Multi Port MIDI Interface
24bit/96kHz Audio Interface
Expandable via mLAN
Windows XP & Mac OS 9 Driver support

Okay, I get what it's supposed to do. But...Mac OS 9 driver support and not OS X?!? Well, I checked the www.yamahasynth.com site, and it says there's support for Vista and OS X as well. As I'm running this system with XP, I won't be testing it under OS X...maybe someone from Yamaha can weigh in with a definitive answer about which operating systems the mLAN16E2 supports.

Well that's enough for today...

[Anderton]

Hey, this is really cool: The update lets you plug a USB keyboard into the USB port, and navigate with the keys. It isn't just a situation where you can name presets, although of course you can do that, but you can use the cursor controls or Tab key to select editable fields. From there if you hit Enter, the + and - keys let you make selections within that field.

Furthermore, the function keys let you select the tabs along the bottom of the screen, with the left function keys selecting the lower row of tabs, and the right function keys selecting the upper row.

So what does this mean? Well, in practice, it's much cooler than simply describing it in print would lead you to believe. Of course, the QWERTY keys simply parallel what's already on the Motif XS control surface; in fact, the QWERTY F1-F6 function keys duplicate the XS F1-F6 function keys. However, there's something very ergonomic about having a separate "navigation device" separate from the Motif. I keep my right hand on the QWERTY keyboard, and use my left hand for tweaking. For some reason, "compartmentalizing" the navigation into a separate controller really works for me.

If you have a Motif XS with the update, plug in a QWERTY keyboard (do it after the unit is powered-on, or it won't be recognized) and give it a shot - I'd be interested in your comments.

[Anderton]

Oh, and if anyone from Yamaha is watching...if I'm missing any other keyboard capabilities, let me know. One other thing: I also plugged a mouse in there to see if anything would happen; it didn't. This is apparently a keyboard only deal, but I did try Apple and PC keyboards, and they both worked just fine.

[Support Guy]

http://acapella.harmony-central.com/forums/attachment.php?attachmentid=272131&stc=1&d=1219184907

[Anderton]

Thanks! So it has transport control too...cool....

[Anderton]

Well, now that there's memory installed, we might as well exercise it by doing some sampling.

Actually there are several ways to get samples into the Motif XS; it's not just about recording into the unit. You can load an AIF or WAV file from a USB storage device, via resampling, via mLAN, or if the XS is part of a network, from a hard drive connected to the network. For now, we'll do the recording thing as the other methods are pretty much just file transfers.

There's also a second sampling mode that allows recording audio "in parallel" with a sequence - you record the sample as a voice, then trigger it via MIDI to have it play within a sequence. This is the same way the Korg M3 gets digital audio into a sequence.

One aspect of Motif sampling is you don't just hit record then figure out what to do with the sample; you need to specify a destination waveform number to hold the sample. On one hand I'd prefer to just be able to let 'er rip, then figure out what to do with the sample later...but on the other hand, this approach encourages you to organize your sampling session in some kind of rational way, which is not a bad thing.

Input-wise, the XS is basic: Left and right 1/4" phone jacks and a gain control. In terms of specs, sampling is 16-bit, stereo or mono, with sampling rates of 44.1, 22.05, 11.025, and 5.0125kHz (44.1kHz only when using mLAN). However, you're limited to 64MB stereo samples and 32MB for mono. That should be plenty for any kind of instrument or phrase sampling - over six minutes at 44.1kHz - just don't expect to use the XS as a substitute for a hard disk recorder.

Okay, let's start sampling...

[Anderton]

Sampling is pretty straightforward. You basically choose a waveform number, then go into a Record screen. This is where you specify the input source, mono/stereo, sampling rate, voice, etc.

After getting everything set up, you go into Record Standby mode. You can initiate sampling manually, or by having it exceed a certain level. There's a confirm mode where you can audition what you just heard, in which case you hit enter when you're happy with the sound and waveform becames available for use in a program as an element. What you sample shows up in glorious color on the display :)

I sampled several open guitar strings for grins, but didn't get into sample editing per se other than just setting the transpose range - we'll get into the DSP features later. For now, I just wanted to see if I could stuff the waveforms into a preset, and lo and behold...I could, ending up with a pretty standard "play guitar from the keyboard" preset.

There are actually quite a few DSP options (accessed via the sampling's Sampling Job function), including time stretch, convert pitch, fade, and (this should be fun!) sample slicing...these are in addition to more "standard" options like trim, loop, etc. So, we'll cover sample edit options next.

However, because the display is pretty informative I'm going to see about some way of pulling out screen shots that looks better than just using my camera. I'll give it a day or two to see if I can make this happen, otherwise, we'll proceed and I'll take some (hopefully) good pictures of the display.

[Anderton]

After sampling guitar notes, I figured it was time to sample something that could be looped and sliced...so I dug out an old SR-16 drum machine (the boot-up screen shows 1990!), and pumped a drum loop into the XS.

In terms of setting loop points, I must say it's easy. The display is what we've come to expect if you've used something like an MPC to edit waveforms; you can zoom waaaaaay in horizontally, which simplifies the process of finding transients and such. However, you can't do vertical zooming, which can be an issue if you're trying to add a loop to a section with a really low level.

Editing options are standard (we'll get into the DSP editing options next): Sample start, loop start, and end point; key range and velocity; and the ability to determine tempo, whether it's known or not (if not, just set the loop points, and adjust tempo until the length matches the loop).

There's an interesting option to turn the function buttons into a numeric keypad, which is handy for entering parameter and sample values if you're not taking advantage of the 1.1 update's ability to use a USB keyboard.

But all in all, there's not much to describe here as everything is pretty straightforward.

[Anderton]

Let's look at the Keybank DSP options, along with audio examples so you can hear some of these options in action.

Copy, Delete, and Move work as expected - copy a waveform elsewhere, move it instead of copy, or delete. Normalize is also self-explanatory, but note you don't have to normalize to full scale; you can set a percentage from 1% to 800%. Say what?!? Shouldn't 100% be the maximum? Well you certainly can set that as the maximum, but you can "overnormalize" to create deliberate distortion, or to add hard clipping - a simple, effective way to get a "louder" sound if a few transients are taking up lots of headroom.

The first audio example plays the original loop for comparison. Time Stretch changes tempo/duration without changing pitch, from 25% to 400%, and there are 9 algorithms (four that optimize sound quality, four that optimize rhythmic feel, and one that provides a compromise between the two). Don't expect miracles: When slowing down a drum beat as in the second audio example (which is extended to 120% of its original duration), you'll hear flamming although when speeding up, you can get better results, as you'll hear in the third audio example (this uses time-stretching to shorten the length to 90% of the original tempo). FYI, it's a common phenomenon that stretching works better when speeding up compared to slowing down.

Basically, if you've ever loaded a sample into Acid or Sonar and told it to become "acidized," you'll get the same kind of results here - without the ability to edit "acidization markers" to tweak sound quality.

I was put off at first that there didn't seem to be an undo function. Pilot error; there's an Apply button that lets you apply the effect to the waveform, but it's not permanent until you want it to be. Hitting Apply again serves the same function as undo.

Convert pitch changes pitch without changing tempo. The fourth audio example plays back the original file at -12 semitones, then +12 semitones, then +4 semitones. Flamming is at a minimum, and the effect is really pretty cool for many types of sounds.

The Fadein/Fadeout option is not only good for fades, but with very short values, for getting rid of clicks at the beginning or end of truncated waveforms.

Another option, Half Sampling Frequency, does just that - good for lo-fi sounds. However, you may have to apply it multiple times with 44.1kHz waveforms to really get a suitably grungy sound.

Stereo-to-Mono converts stereo files to mono ones.

Loop Remix is really interesting - it slices and randomizes loops, with your choice of several algorithms and even some reverse functions. Note that if you undo it and try again, you'll get different results. The fifth audio example strings together several variations.

[Anderton]

The final KeyBank option, Slice, brings REX file-type thinking into the XS. It's applicable to rhythmic loops with defined transients, such as a drum loop but can also work with rhythm guitar stabs, bass, etc. Basically, you set up particular criteria of how you want the sample sliced (e.g., note length with subdivisions) and the XS maps the notes across the keyboard, starting at a specified key. As a result, you can play each slice in whatever way you want by hitting various keys.

Interestingly, if you call up the Slice job from the Song/Pattern mode, then the XS creates a corresponding sequence that triggers the slices so they play back in order, thus reproducing the original sound. However, you can of course also modify this sequence to produce more unusual results. (Note that there's also a sample record mode that allows creating a sliced file with a sequence.)

My one gripe is that I wish you could move the slice markers around, the same way you can move loop start, loop end, and sample start points. With files where notes fall right on the beat (or a subdivision thereof), everything works as expected. However, if a note hits a bit early, the slice doesn't seem to "know" this, and might start in the middle of a transient.

[asynchro_nous]

Still waiting for a Yamaha rep to clarify whether someone with an Intel Mac would benefit much from an XS with the mLAN expansion.....

Thank you!

[asynchro_nous]

To clarify: are all of the kinks worked out regarding UB compatibility for new Macs?

[Support Guy]

As of 02/09/08 the mLAN tools for MAC OSX version 1.1.4 brings complete mLAN functionality to the MAC with graphic patchbay and significantly reduced CPU load (spiking eliminated), full 8 core compatibility and legacy
(S400) product support.
Early reports indicate that the driver is very stable and very robust and now on par with the WinXP driver with the exception of external wordclock support, which is expected in the next update by the end of the year.

For more information go
here: (http://www.motifator.com/forums/showflat.php?Cat=&Board=01X_Macintosh&Number=417997&page=0&view=collapsed&sb=5&o=&fpart=1&vc=1)

[Anderton]

That's great news, thanks for the update!

[mocity]

What are your thoughts about adding mLan firewire to a Vista system already connected to a firewire audio interface (RME Fireface 800 in my case)?

Granted I am not an engineer, but my experience in the past ohhh 8 years is this:

Firewire/USB Audio interface + Windows + Cubase = Headache

Let's agree not every Windows system can handle Firewire/USB audio interfaces uneventfully without tweaks. We all have seen countless posts by users who either get fed up and choose a PCI internal solution, OR spend forever tweaking Windows to get the driver to play nice with Cubase without clicks and pops and other hair-pulling stress--that frankly, a musician should NOT have to deal with imho.

Personally, it took me quite a while to get my current Vista system to play nice with my RME Fireface 800 firewire audio interface (and it still hiccups now and then, like every Windows-based system in the known world). Granted mileage varies and I'm sure there are people out there, maybe even Yamaha itself, that has enjoyed technical bliss with their firewire/usb interfaces since the day they plugged them in, but realistically that does not happen to everyone.. right? We know that.

This is going somewhere I promise.. ;)

So now that my Vista system is stable, I am considering adding mLan so I can fast track Motif pattern tracks directly into Cubase on discrete tracks 1:1 (since you are no longer making an output expander :(

Last time I used mLan with my ES8 and XP, it was a disaster. I am now skeptical about investing in mLan again because:

A) My Vista system is stable and I hate to disrupt it
B) I have never seen a stable Windows system with TWO separate firewire interfaces

What do you say to a person in my position who loves his RME Fireface and will not part with it, but also wants to try mLan? Have you personally tested Windows Vista systems using both mLan and a firewire audio interface in Cubase 4? My machine is plenty powerful so CPU and RAM, etc are not issues.

I am very curious to know what you think about mLan living happily with an firewire audio interface within Cubase. To me, it sounds like a recipe for disaster.:confused:

[Anderton]

Well I'm not a Yamaha guy, but I can speak to my experiences with FireWire in general:

1. Go to the web site of the manufacturer who makes the FireWire peripheral you want to use, and find out what chip set they recommend.
2. Get a FireWire card (e.g., PCI) with that chip set and install it. Don't use the motherboard's FireWire.
3. Don't get a combo USB/FireWire card. Don't daisy-chain anything on the FireWire bus.
4. Use an AC adapter with FireWire devices, even if they seem to work just fine with bus power.

The same general principles also apply to USB 2.0. If you DO use the motherboard's FireWire port, make sure your motherboard has the latest BIOS.

I generally find FireWire to be a PITA until you get the right card with the right chip set, and then everything falls into place.

[mocity]

1. Go to the web site of the manufacturer who makes the FireWire peripheral you want to use, and find out what chip set they recommend.
2. Get a FireWire card (e.g., PCI) with that chip set and install it. Don't use the motherboard's FireWire.
3. Don't get a combo USB/FireWire card. Don't daisy-chain anything on the FireWire bus.
4. Use an AC adapter with FireWire devices, even if they seem to work just fine with bus power.

Agreed. Of course having stabilized my system, rest assured I have done all these things and--unfortunately--have intimate knowledge of each.

I generally find FireWire to be a PITA until you get the right card with the right chip set, and then everything falls into place.

Agree 100% in principle with respect to ONE firewire interface... but not TWO.. and that's what my post is about. :)

Many thanks,

mj

[Anderton]

Okay...got it. I just checked the CEntrance web site because they make an aggregating driver for Windows, and I remembered something about a Vista-compatible version coming out in September. Unfortunately, it's only for CEntrance interfaces, so I guess you're out of luck with the RME.

For the record, as to two FireWire interfaces, I have used two interfaces successfully with Sonar, but only using WDM drivers - not ASIO.

[mocity]

Thanks, Craig, Good info. I may take the plunge and see what happens. It's hard to fathom Cubase and Windows liking this pairing, but.. stranger things have happened.

[Anderton]

Just make sure you create a system restore point before installing any more drivers! :) That accessory has saved my butt many times.

[mocity]

No doubt! I confess to being guilty of not turning it back on before doing experiments such as these, so thanks for the reminder :)

[PhilMuller]

I don't know is this was covered but how do you send a Multi-Program change while in Multi Mode? I don't want to send program changes to voices on each of the MIDI channels in the Multi, I want to send a program change to select a different performacne or Multi.

[Anderton]

I'm pretty sure program change commands affect only voice selection. However, given the huge number of voices, the Motif also responds to Bank Select commands.

[Anderton]

We mentioned resampling briefly, but let's give it a little more detail.

Resampling is an option on the Sampling Setup page: Instead of sampling from the audio input or a signal arriving via mLAN from a computer, resampling listens to the output of the XS6. Other options are the same as for sampling: You can sample in stereo mono, choose the sampling rate, etc.

Resampling has a number of uses, but my favorite is to make permanent changes to an existing sample, such as building processing into a sample rather than having it applied to the sample. Then whenever you call up that sample, all processing will already be in place, as part of the sample.

Resampling is also really useful with the onboard vocoder, because you don't HAVE to use an exernal mic as the modulator - you can modulate an onboard sound with, say, a drum pattern and create some very cool rhythmic effects that way.

[Anderton]

An important element of the XS6 is the Phrase, which is a short MIDI sequence containing something like a bass line, hi-hat pattern, and the like. Think of them as "subsets" of a Pattern, as you can string different phrases together to create fuller patterns.

Although the XS6 doesn't come with preset phrases, you can create a user library of 256 phrases. However, what makes phrases of more than passing interest is that there are a lot of phrase-related "jobs." For example, you can copy a phrase from one pattern to another - useful if you come up with, say, a kick and snare phrase that you want to use in several patterns that have different hi-hat parts. Other functions include the ability to mix phrases and append one phrase to another, as well as split a phrase into two separate phrases. You can also "swap" phrases between different presets.

Phrases also have a relationship with Songs. For example, suppose you create a song and really like a particular bass line, and you want to use that bass line in other sections of the song. You can take just that specific part of the song and put it into a phrase, and conversely, take a phrase and insert it directly into a song without having to use it in a pattern first.

Of course, you can edit phrase data, as well as replace it by recording over existing phrase data.

[Anderton]

Time for a quick re-cap…

So far we’ve covered the control surface and real-time control, the display and interface, connections and I/O, setting the XS6 up as part of a network, remote control, lots of audio examples, performances, sounds of solo instruments and complete patterns, category searching, arpeggiation, direct performance recording, overview of the architecture, editing procedures with screens, the editor software, assignable function buttons and knobs, articulations, performance and song modes, sampling, resampling, sequencing, looping, and effects. We’ve updated the OS, installed RAM and mLAN, and been fortunate enough to have some extremely helpful comments from Athan Billias, Phil Clendeninn, and Avery Burdette, all A-level (and very dedicated) Yamaha people.

In the process, we’ve accumulated almost 37,000 page views – phenomenal for a synth review – a lot of kudos, and some great insights from users. So at this point, I want to move on to the final piece of the puzzle: Integration with Cubase AI. This isn’t to say that we won’t cover more on the synth itself, but this is a pro review, not a rewrite of the manual, and we’ve pretty much covered the highlights of the box itself (including those gorgeous instrument sounds). But let me emphasize that when I say highlights, I mean highlights – as I said at the outset, this is a very, very deep instrument!

Onward to Cubase...

[Anderton]

The last remaining piece of the puzzle is the Cubase AI integration with the Motif. The official Steinberg story on Cubase AI 4 is here (http://www.steinberg.net/en/products/steinberg_yamaha.html), but I can give some initial reactions.

First of all, it's a subset of Cubase 4.5, so you don't need the AI version if you already have Cubase 4.5. Although I use Cubase 4.5, I'll be testing the Motif SX with the AI version as that's what comes with the keyboard. However, there's another angle here: The Steinberg hardware controllers are also compatible with Cubase AI 4, and they're up next for a Pro Review. So, as we wind down here by getting into the integration, we'll be crossfading on the integration front with another part of the same system. This should be interesting, as the most appealing part of hardware/software integration happens when there are multiple things to integrate.

Overall, most Cubase 4 users wouldn't miss too much with AI. What I miss the most is the Play Order track and the ability to use hitpoints and slices (although AI still does audio warp real time processing). The only instrument is the HALion One, but you do get a decent collection of effects. As expected, you don't get surround but I doubt that if that's a huge deal for most of you.

Since there's been a computer change around here, I need to re-install the MIDI drivers...probably a good thing anyway, as they've probably been updated!

[jaqes]

Awesome......Nice picture, I love guitar :)

[Bensbeenjamin]

That thing looks sick, with all the buttons on there you could probably write a whole album, including guitar's, bass, drums, keys, and whatever other effects you'd want to add. Not to mention just creating different stuff every single day, depending on what mood your in.

[jpondhawk]

I am new to this forum and to using the Motif XS. I am clueless as to how to sequence. What I need to do is to somehow transfer some midi files from an old computer to the Motif sequencer so it will play the midi track in one of 16 tracks. The computer has a sound card with midi out and in. I could isolate the track I want to use but how do I record that midi track from the computer to the sequencer of the Motif? Is it possible?

I need to use audio samples in the sequence. Example, a backwards audio track that has to come in towards the end of the song. I'm clueless how to work that into the sequence. Would it require a separate track or can it be edited into a track that has an assigned voice?

Is there a site that can give me a step by step instruction of how to sequence on the XS?

I was also wondering if there was a way to play a sampled sound (live) that lasts a minute and a half (or a looped sample) assigned to one key on the keyboard without having to keep the sustain pedal down to keep it playing after I hit the key? I have isolated a key on a voice (flute) for the sample to play. If I keep the sustain pedal down to allow the sample to play it affects the flute melody I am playing live at the same time.

Any help is appreciated. Anyone know a Motif guru in the Chicago area or a Yamaha Motif rep I can contact?

[Support Guy]

The answers to all your questions can be found in the "Behind the manual" section on this website:
http://motifator.com/

[jpondhawk]

The answers to all your questions can be found in the "Behind the manual" section on this website:
http://motifator.com/

Thanks! I'll check it out.

[IkeTurner]

Man let me tell you something. I had to get rid of my Motif XS6 man. I'll tell you why. I like sequencing on hardware. That is why I bought the thing.. because it's a workstation, right? I was planning on using the heck out of the onboard sequencer because man I had an ES7 and I could write music so fast on that thing it was crazy!!! I thought the XS6 would even be better. Man was I wrong. That thing grinded my work flow to a halt Jack. You know why? Because the screen lags. The screens do not change rapidly like the ES. They have a delay in redrawing. Same with button presses like if you press job, f1 undo, then enter buttons real fast. The board can't keep up with me. Too slow. So I had to sell it last year and then had to wait five months to buy a dang ES again. So now I got my ES and life is good again. Maybe I will get a XS rack cus I did like the sounds

proper

[zzzxtreme]

IkeTurner, i want a hardware sequencer too. Is the screen lag that bad? How many seconds?

[Support Guy]

Mr. Anderton's post #38 has videos of the screen redraw speed. Mr. Turner is in a small group that do not represent the majority of Motif XS owners. He is welcome and entitled to his opinion...
By the way, the VST editor was uploaded and made available yesterday and the new Motifator 3.0 site launched...its exciting stuff!!!
Check it out:
www.motifator.com

[Anderton]

That's great news. I've been looking forward to testing out the XS6 with Cubaes 5...I'll going away for a week, but when I come back, that's very high on the to do list.

BTW went to Motifator.com to get some more info about using the Motif XS as a plug-in with non-VST3 compatible hosts (seems you can't, right?). Anyway, I like the redesign a lot - very clean and easy to navigate.

As to screen redraws...I think the video pretty much shows what's happening. I don't find the redraw problematic but as the cliche goes YMMV.

[mrdelurk]

I was going to buy a XS Rack, so I went to the store to check it out. The sounds are there all right, but accessing all the deep features can get really tedious with its only 6 knobs, compared to the ample hands-on knob, slider & button acreage of the XS-8 keyboard.

Ah but I don't want *yet* another 88-key workstation keyboard, I have three already... how about a tabletop XS version, an XS box with all the knobs and sliders, etc.? (Wedge shaped like the M3-M so both could be used side by side... :-)

Ah well, one can always dream

[mrdelurk]

Well, I just managed to save the entire synth contents (file with a .XOA file extension) to my computer.

Craig, I heard that the onboard Yamaha XS arpeggios are MIDI sequence files, essentially. Is it possible to transfer them to the computer and back, then? (For editing, & library management.)

:idea:This is potentially huge. The first synth where arpeggio management is easy and not locked down will see the arpeggios (patterns, styles, etc.) from all the other synths and programs in the world brought to it.

[TomBo777]

Ok so here is the question and or questions I have regarding the Motif if anyone has one.

I bought a Tyros 3 and realized its a great Style generator but poor WorkStation. But I still have a need for it's great features.

So I recently picked up the Motif xs8 and set up Sonar 8 to receive independent Midi Channel input. I want to send songs to Sonar.
I have set up man and the USB MIDI port. (I have plenty of MIDI ports LOL) All is working as intended. My issues are work flow.

I want to create a Sequence on the Motif using the Arps then send them to Cakewalk on Separate MIDI channels I have tried to send a song from song mode to cake walk using the "Quick set" "recording to performance to computer...but the Motif will not send and regardless of what MTC is set up. WHn I do transmit using the internal sequencer the MID inform action become over loaded ( I suspect a feedback issue) The manual is helpful but not particularly suited to Sonar use. I tried Cubase but the copy protection process completely turned my off and an hour later after I got it set up I decided with all the issues I am having I don;t want to learn a new Software program especially (after jumping through an hors worth of activation hoops)

I realize I have to dig deeper in to the manual but the Motif is designed more for internal working which is fine until I want to get the MIDI to the PC.


The Mackie Control, works great using it on USB MIDI 2.

I am also having issues with suing the XS8 as a n interface with the Tyros. Seems the audio from the Tyros is again looping back. I am sending the audio using LR (all other setups cause feedback) through a Sub Buss on a mixer and sending it out the MOtif LR, Even using asLR it sends it out Sub 1 and 2 out puts and feed back occurs...

Solving these tow issues would go a long way to enjoying the board and ensuring I made the right choice.

[carloslogg]

hi ANDERTON.. i need some help here.. i need to be able to switch my sounds in master mode with a pedal (any sustain pedal) ON MY MOTIF XS8..

while ago i had the motif es8 and the pedal switching was easy to program, you choose and increase value in utility mode ad is ready.. but now on my new motif i don't know how to do that

[Support Guy]

In the Motif XS the program change inc/dec parameter is now programmable for each performance. while remaining global for voices.
In voice mode, go to [Utility] [F3] Voice [SF3] control and set "Foot switch cc# to 98.
Then in each performance that you program into a master memory, go to [Edit] [Common] [F3] CTRL ASGN and set "Foot switch cc# to 98.

Now a foot switch will increment through each master memory that has a voice or performance associated with it.

All this and much more can be found here:
www.motifator.com

Enjoy!

[Mountie]

"80s Young Gun" should probably be called "Hair Band Meets Van Halen." This has arpeggiated drums, bass, and rhythm guitar; I played the OB8-ish keyboard part over it.[/QUOTE]

How do you record the vocoder part(s) in real time over a pattern? It's driving me crazy!:mad:

[Phil Clendeninn]

You will find a step-by-step on how to record the Vocoder to the Motif XS sequencer at this link:

http://www.motifator.com/index.php/support/view/recording_the_vocoder_to_the_sequencer

If you get stuck let me know.