Yamaha Motif 6 Manual

							Internal Structure (System Overview)
171Owner’s Manual
Basic Structure
■ Arpeggio related parameters
The Arpeggio related parameters can be set from the following displays, depending on the selected mode. 
● Voice mode
nMIDI output parameters for Arpeggio playback are set for each Voice in the Voice mode. In the other modes, however, they can be set for each 
Performance, Song, and Pattern. 
● Performance mode
● Song mode
nArpeggio related parameters in the Song mode belong to the Mixing. Therefore, if desired, store them to internal memory (DRAM) in the Song Mixing Store 
mode and save them to the SmartMedia/USB storage device as Song data in the File mode. 
● Pattern mode
nArpeggio related parameters in the Pattern mode belong to the Mixing. Therefore, if desired, store them to internal memory (DRAM) in the Pattern Mixing 
Store mode and save them to the SmartMedia/USB storage device as Pattern data in the File mode.  Arpeggio type parameters called up when selecting a Voice[VOICE] → Voice selection → [F6] ARP Page 189
[VOICE] → Voice selection → [EDIT] → [COMMON] → [F3] ARP Page 191
Assigning Arpeggio types to the [SF1] - [SF5] buttons for each Voice[VOICE] → Voice selection → [F1] PLAY Page 188
MIDI output parameters for Arpeggio playback for all the Voices[VOICE] → [UTILITY] → [F3] VOICE → [SF3] ARP CH Page 262
Arpeggio type parameters called up when selecting a Performance 
(including MIDI output parameters for Arpeggio playback)[PERFORM] → Performance selection → [F6] ARP Page 213
[PERFORM] → Performance selection → [EDIT] → [COMMON] → 
[F3] ARPPage 214
Assigning Arpeggio types to the [SF1] - [SF5] buttons for each 
Performance[PERFORM] → Performance selection → [F1] PLAY Page 212
Parameters about the Arpeggio type called up when selecting a Song 
(including MIDI output parameters for Arpeggio playback)[SONG] → Song selection → [MIXING] → [EDIT] → [COMMON] → 
[F3] ARPPage 234
Assigning Arpeggio types to the [SF1] - [SF5] buttons for each Song[SONG] → Song selection → [F1] PLAY Page 221
[SONG] → Song selection → [●] (Record) → [F3] ARP Page 223
Arpeggio type parameters in recording[SONG] → Song selection → [●] (Record) → [F4] REC ARP Page 223
Parameters about the Arpeggio type called up when selecting a Pattern 
(including MIDI output parameters for Arpeggio playback)[PATTERN] → Pattern selection → [MIXING] → [EDIT] → 
[COMMON] → [F3] ARPPage 248
Assigning Arpeggio types to the [SF1] - [SF5] buttons for each Pattern[PATTERN] → Pattern selection → [F1] Play Page 241
[PATTERN] → Pattern selection → [●] (Record) → [F3] ARP Page 243
Arpeggio type parameters in recording[PATTERN] → Pattern selection → [●] (Record) → [F4] REC ARP Page 243 
						

							Internal Structure (System Overview)
172Owner’s Manual
Basic Structure
Sampling Block
Sampling is a powerful function that lets you bring your own recorded sounds – voice, instrument, rhythm, special sound effects, 
etc. – into the system of this synthesizer, and play those sounds just as you would the Voices of the instrument.
In order to use the Sampling features of the instrument, you’ll need to install DIMM memory modules (sold separately) to the instrument.  
nIn addition to being able to record samples directly with the MOTIF ES, you can also import existing audio data (in WAV or AIFF file format) in the File mode.  
This lets you use audio you’ve recorded and edited on computer with the instrument.
40
127
D
2A
2G
2F4
A/D INPUT
L RGAINOPTICAL DIGITAL
OUT INOUT IN
DATCARD3.3V
Microphone, etc. CD, MD, etc.
USB connector mLAN device
(Data Rate S400)
A/D INPUT jacks
OPTICAL IN connector or 
DIGITAL IN connector
(when the optional AIEB2 
has been installed)mLAN connector 
(when the optional 
mLAN16E has been 
installed)
Optional DIMM (up to 512MB)
Velocity
Key number (Note number)
Wavefor mSample 1
(Key bank)Sample 2
(Key bank)Sample 4
(Key bank)
Sample 3
(Key bank)Sample 5
(Key bank)
USB
TO HOST TO DEVICE
Sampling Source
Loading the WAV file/AIFF file from 
the [FILE] → [F3] LOAD display, 
setting the file type to “Waveform.” Before sampling, connect the source to the 
appropriate connector.
SmartMedia/
USB storage device
Load
Sampling 
Executing from the [INTEGRATED SAMPLING] → 
[F6] REC display in the Sampling mode
Sample (Wave)
Sampling Destination
Before sampling, set the appropriate location for storing the sample (Waveform, User 
Voice) from the [INTEGRATED SAMPLING] → [F1] DEST display. 
Waveform
User Voice Sample Voice
(When executing the Sampling function 
in the Voice mode/Performance mode)(When executing the Sampling function 
in the Song mode/Pattern mode) 
						

							Internal Structure (System Overview)
173Owner’s Manual
Basic Structure
Data created by Sampling
Regardless of the mode, the raw Sampled data is the same, 
of course. However, various parameters are different, 
depending on the particular mode or settings. Briefly, here is 
an explanation of what kinds of data are created in the 
Sampling function.
● Sampling data common to all modes
Wave (Sample data)
This is the raw audio data stored in this synthesizer’s internal 
memory when sampling. 
Key Bank
The note range and velocity range to which the Sample is 
assigned, is called the Key Bank.
Waveform
The group of Key Banks to which sample data is assigned is 
called the Waveform.
●Data created by sampling in the Voice/Performance 
mode
User Voice
Before you can play the recorded/imported sample data 
(Waves), you’ll need to save them as User Voices, after which 
they can be selected and played from the keyboard or 
sequencer — the same as other Voices. Also, these User 
Voices can be assigned as Performance parts – just as with 
the Preset Voices. 
● Data created by sampling in the Song/Pattern mode
Sample Voice
When sampling in the Song/Pattern mode, the recorded/
imported sample data is automatically stored as a Sample 
Voice.
Sample Voices can be assigned to the Mixing parts 
corresponding to the track which was assigned from the 
[INTEGRATED SAMPLING] → [F1] DEST display, and they 
can be sounded while Song/Pattern data is being played 
back. Sample Voices are original, dedicated Voices for the 
particular Song/Pattern that was selected when sampling. 
Because of this, you cannot take a Sample Voice belonging to 
one Song or Pattern and use it in another Song or Pattern. 
nYou cannot select Sample Voices in the Voice or Performance mode. 
(However, you CAN select the Wave of the Sample Voice in Voice Edit.)
Note Data
When you set the Type to “Sample + note” from the [SONG] or 
[PATTERN] → [INTEGRATED SAMPLING] → [F2] SOURCE 
display and execute Sampling, a Sample Voice is created 
and the sampled wave is assigned to a specified note and 
recorded as simple MIDI sequence data to a specified track 
(as shown below).
Key Bank and Sequence data
When you set the Type to “Sample + seq” from the [SONG] or 
[PATTERN] → [INTEGRATED SAMPLING] → [F2] SOURCE 
display and execute Sampling, a Sample Voice is created 
and the sampled wave is “sliced” or divided into several 
component samples — and each is assigned to specific 
notes, with sequence data for playing the notes to recreate 
the sample.  This is useful with rhythmic samples, giving you 
fine control over the playback, including tempo changes.
Song or Pattern
Sampling
Track 1
Track 2
Track 3
Track 16 Specify the track.Record to create a 
Sample Voice.
Sample
Assign the Sample to a 
specified key (note) to 
create a Sample Voice.
Sequence data
Sample
Slice the Sample and 
assign the sliced Sample
 to specified keys (notes) 
to create a Sample Voice.
Sequence data 
						

							Basic Structure
Internal Structure (System Overview)
174Owner’s Manual
Waveform and User Voices/Sample Voices
nWhen executing the Sampling in the Sampling mode entered from the 
Voice mode/Performance mode, you can specify the Waveform 
number and User Voice number as a Destination (location to which the 
sampled wave is stored) beforehand. Likewise, you can specify the 
same parameters also when loading the WAV file/AIFF file in the File 
mode entered from the Voice mode/Performance mode. 
nWhen executing the Sampling in the Sampling mode entered from the 
Song mode/Pattern mode, you can specify the track number as a 
Destination (location to which the sampled wave is stored) 
beforehand. Likewise, you can specify the same parameters also 
when loading the WAV file/AIFF file in the File mode entered from the 
Song mode/Pattern mode. When creating Waveforms, sampled audio 
waves are automatically stored starting from the lowest numbered 
available space.
nUp to 128 keybanks can be assigned to a single waveform. Up to a 
maximum of 4096 key banks can be created on the instrument.■ How to select and hear the Waveform
You can select and hear any of Waveforms from the following 
display in the Voice Edit mode. 
If you set the Bank parameter to “usr wave,” you can select 
and hear the Waveform obtained by using the Sampling 
function or loading the WAV file/AIFF file. 
You can also select and hear the User Waveform from the 
following display in the Sampling mode. 
ABCP
001
002
003
004
005
006
007
008
009
010
1023
1024
001
002
003
004
005
128
40
127
D

2A

2G

2F4 Ve locity
Wavefor m
Sample 1
(Key bank)Sample 2
(Key bank)Sample 4
(Key bank)
Sample 3
(Key bank)Sample 5
(Key bank)
User VoicePattern 64
Pattern 02
Pattern 01
Pattern
Sample Voices (recorded to each track)
Sample Voices (recorded to each track)
16 sections
Track 2
Track 3 Track 1
Track 16
Track 2
Track 16 Track 1
Track 3 Sampling
When entering Sampling mode 
from Voice/Performance mode
Loading WAV/AIFF  files
Waveform
Waveform(User 001 - 1024)
When entering File mode from 
Voice/Performance mode
Sampling
When entering Sampling mode 
from Pattern mode
Loading WAV/AIFF  files
When entering File mode from 
Pattern mode
Sampling
When entering Sampling mode 
from Song mode
Loading WAV/AIFF  files
When entering File mode from 
Song mode
Song 64
Song 02
Song 01
[VOICE] → [EDIT] → Element selection → [F1] OSC → [SF1] 
WAV E
[INTEGRATED SAMPLING] → [EDIT] → [F1] KEY BANK 
						

							Internal Structure (System Overview)
175Owner’s Manual
Basic Structure
Trigger mode
The Trigger mode is a convenient feature in Sampling that lets 
you determine how sample recording is started — manually 
or automatically, based on the audio level.  
■ Start recording manually
Regardless of the audio input signal level or the Song/Pattern 
playback status, sampling starts soon after you press the [F6] 
REC button in the Sampling Setup display. Sampling also 
starts regardless of the playback/stop status of the Song/
Pattern.
■ Start recording when the input signal exceeds the 
Trigger Level
After pressing the [F6] REC button in the Sampling Setup 
display (in any mode), sampling starts as soon as a strong 
enough audio signal is received. The threshold for this audio-
triggered start is called the Trigger Level (explained in the 
illustration below).
As you can see, the higher the Trigger Level setting, the 
louder the input audio needs to be in order to start sampling. 
On the other hand, if the Trigger Level is set too low, a soft 
noise may be enough to inadvertently start sampling. 
■ Start recording when the Song/Pattern playback 
reaches a specified point
After pressing the [F6] REC button in the Sampling Setup 
display, start and stop of sampling is linked to playback of the 
Song/Pattern.
This setting is available only when the Song/Pattern mode 
and recording type (Rec Type) are set to “Slice + Seq” or 
“Sample + Note.”
[INTEGRATED SAMPLING] → [F6] REC → TriggerMode
[INTEGRATED SAMPLING] → [F6] REC → TriggerMode 
=manual
[INTEGRATED SAMPLING] → [F6] REC → TriggerMode 
=level
ABC D E
ABC D E
Level
LevelSample recording starts here.
Sample recording starts here.Recording 
trigger level.
Recording 
trigger level.
[INTEGRATED SAMPLING] → [F6] REC → TriggerMode = 
meas
1234 567 8
1234 5678
Song/
Pattern
startSampling startSampling stop
Punch In
Punch Out
Wave data 
						

							Basic Structure
Internal Structure (System Overview)
176Owner’s Manual
Sample playback types
Samples can be set to play back in the following three 
different ways.
■ One Shot
When you press a note on the keyboard, the Sample plays 
from beginning to end just once. This type of playback is 
commonly used for drum and percussion sounds.  
■ Loop
This is used primarily to create long continuous sounds, such 
as brass and strings, or instruments with naturally long decay, 
such as piano. An appropriate part of the sample near the 
end is looped to reproduce a long sustain or decay.
When you play a note on the keyboard, the Sample plays from 
the start point to the end point. It then returns to the loop start 
point and plays to the end point again, and keeps doing this 
until you release the note. With musical instruments in 
general, the characteristic part of the sound (the “attack” 
section) is usually at the beginning, just after the start point. 
After this, the sound does not vary a great deal while the note 
is being held, and you can set the loop and end points at 
either end of this section. When playing back a Sample of an 
instrument that has been looped like this, the attack section of 
the sound is played back once and then the looped section is 
played back continuously until you release the note. Looping 
is also way of creating usable instrument sounds without 
using up too much memory.
You can set each point in the Sampling mode. Since this 
synthesizer is capable of displaying the entire image of the 
sampled audio data in the LCD (zoom in and zoom out are 
available), you can edit the loop points visually – making 
sample editing accurate and easy.
■ Reverse
When you press a note on the keyboard, the Sample plays 
from end to beginning just once. This is useful for creating 
reversed cymbal sounds and other special effects.
[INTEGRATED SAMPLING] → [EDIT] → [F3] PARAM → 
PlayMode
[INTEGRATED SAMPLING] → [EDIT] → [F3] PARAM → 
PlayMode = oneshot
[INTEGRATED SAMPLING] → [EDIT] → [F3] PARAM → 
PlayMode = loop
Start Point
Key onEnd Point
[INTEGRATED SAMPLING] → [EDIT] → [F3] PARAM → 
PlayMode = reverse
Start Point End Point Sample Wave Loop Playback
Top Point
Start Point End Point 
						

							Internal Structure (System Overview)
177Owner’s Manual
Basic Structure
Effect Block
This block applies effects to the output of the tone generator 
block, processing and enhancing the sound using 
sophisticated DSP (digital signal processing) technology. 
Effect structure
The effect processing of this synthesizer features the System 
Effects, Insertion Effects, Master Effect, Part EQ (Equalizer), 
and Master EQ (Equalizer). 
■ System Effects (Reverb, Chorus)
System Effects are applied to the overall sound, whether it be 
a Voice, an entire Performance, a Song, etc.
With System effects, the sound of each Part is sent to the 
effect according to the effect Send Level for each Part. The 
processed sound (referred to as “wet”) is sent back to the 
mixer, according to the Return Level, and output – after being 
mixed with the unprocessed “dry” sound. This arrangement 
lets you prepare an optimum balance of the effect sound and 
the original sound of the Parts.
Reverb
The Reverb effects add a warm ambience to the sound, 
simulating the complex reflections of actual performance 
spaces, such as a concert hall or a small club. A total of 20 
different Reverb types are available.
Chorus
The Chorus effects use various types of modulation 
processing, including flanger and phaser, to enhance the 
sound in a variety of ways.  A total of 49 types are available, 
including reverb and delay effects.
nAbout the System Effect related display in each mode, see pages 179 
and 180. 
■ Insertion Effects A, B
Insertion effects can be applied individually to each part. 
Insertion effects are mainly used to directly process a single 
part. The depth of the effect is adjusted by setting the dry/wet 
balance. Since an Insertion effect can only be applied to one 
particular part, it should be used for sounds you want to 
drastically change or for sounds that use an effect unintended 
for other sounds. You can also set the balance so that only the 
effect sound is heard, by setting Wet to 100%. 
This synthesizer features eight sets of Insertion effects (one 
set has A and B units). They can be applied to all parts of the 
Performance, and applied to eight parts (maximum) of the 
Song/Pattern. 
A total of 116 different Chorus types are available. 
nIn the Voice mode, only one set of the Insertion effects is available. 
nFor details on the displays related to the Insertion effects in each 
mode, see pages 179 and 180. 
nAmong the AUDIO IN parts, Insertion effects cannot be applied to the 
mLAN parts and AIEB2 parts. 
■ Plug-in Insertion Effects
This is a special effect system, only available when an effect-
type Plug-in Board is installed. Plug-in Board effects are not 
available in the Voice mode.
nFor details on the displays related to the Plug-in Insertion effects in 
each mode, see pages 179 and 180. 
■ Master Effect
This block applies effects to the final stereo output signal of 
the entire sound. A total of 8 different Master Effect types are 
available. 
nFor details on the displays related to the Master effects in each mode, 
see pages 179 and 180. 
EFFECT Buttons
Three EFFECT buttons on the panel let you switch each 
effect block on and off. 
Press the [INSERTION] button below “BYPASS” so that 
the lamp lights to turn the Insertion effects off. You can 
specify which Insertion effects (only the internal 
Insertion effect, only the Plug-in Insertion effect, or both 
of them) are bypassed from the [UTILITY] → [F1] 
GENERAL → [SF3] EF BYPS display in the Utility mode. 
Press the [SYSTEM] button below “BYPASS” so that the 
lamp lights to turn the System effects off. You can 
specify which System effects (only the Reverb effect, 
only the Chorus effect, or both of them) are bypassed 
from the [UTILITY] → [F1] GENERAL → [SF3] EF BYPS 
display in the Utility mode. 
Press the [MASTER EFFECT] button so that the lamp 
lights to turn the Master effect on. Keep in mind that 
pressing and holding this button calls up the Master 
effect setup display in the current mode. 
Controlling the Master effect by using the Knobs
When pressing the [ARP FX] button and the [EQ] button 
simultaneously (both lamps light), you can control the 
Knobs to adjust the Master effect related parameters 
specified in the [UTILITY] → [F4] CTL ASN → [SF5] 
MEF display of the Utility mode. 
BYPASS
INSERTION SYSTEMMASTER
EFFECTEFFECT 
						

							Basic Structure
Internal Structure (System Overview)
178Owner’s Manual
■ Equalizer (EQ)
Usually an equalizer is used to correct the sound output from 
amps or speakers to match the special character of the room, 
or to change the tonal character of the sound. The sound is 
divided into several frequency bands, and adjustments are 
made to the sound by raising or lowering the level of each 
band.
By adjusting the sound according to the genre – classical 
music being more refined, pop music more crisp, and rock 
music more dynamic – you can draw out the special 
characteristics of the music and make your performance 
more enjoyable. 
Three separate EQ sections are available on the instrument: 
Element EQ, Part EQ, and Master EQ.
● Element EQ
The Element EQ is applied to each element of the Normal 
Voice and each key of the Drum Voice. You can specify which 
shape is used among the two shapes described below and 
set the related parameters. 
Peaking type
This type of EQ shape lets you attenuate/boost the signal at 
the specified Frequency setting.
Shelving type
This type of EQ shape lets you attenuate/boost the signal at 
frequencies above or below the specified Frequency setting. 
nIn addition to the individual gain controls, there is also an overall level 
parameter that attenuates/boosts the entire frequency range.
● Part EQ
This 3-band EQ is applied to each part of the Performance/
Song/Pattern, The high band and low band are the shelving 
type. The middle band is the peaking type. 
nThe part EQ is not available in the Voice mode. 
● Master EQ
Master EQ is applied to the final (post-effect), overall sound of 
the instrument.  In this EQ, all bands can be set to peaking, or 
the lowest and highest bands can be set to shelving (as 
shown below).
EQ for which all bands are set to peaking type
EQ for which LOW and HIGH are set to shelving type
[VOICE] → Voice selection → [EDIT] → Element selection/
Key selection → [F6] EQ
– +
0 Gain
Frequency
– +
0
Gain
Low Gain High Gain
Low Freq High FreqFrequency
– +
0
LOW HIGHMID
Gain
3 bandsQ (frequency bandwidth)
Frequency
LOW HIGHHIGHMID MID LOWMID
– +
0 Gain
3 bands
Q (frequency bandwidth)
Frequency
LOW HIGHHIGHMID MID LOWMID
– +
0 Gain
5 bands
Q (frequency bandwidth)
Frequency 
						

							Basic Structure
Internal Structure (System Overview)
179Owner’s Manual
Effect connection in each mode
● In the Voice mode
The Effect parameters in the Voice mode are set for each Voice and the settings are stored to internal flash ROM as a User Voice. 
Please note that the Master Effect and Master EQ parameters are set for all the Voices in the Utility mode and stored to internal 
flash ROM as System settings by pressing the [STORE] button also in the Utility mode. 
nThe parallel connection is not available for Plug-in voices.
nThe Plug-in Insertion effect (when the Effect Plug-in board has been installed) is not available in the Voice mode. 
● In the Performance mode
The Effect parameters in the Performance mode are set for each Performance and the settings are stored to internal flash ROM 
as User data.
[VOICE] → Voice selection → [EDIT] → [COMMON] 
→ [F6] EFFECT → [SF1] CONNECT
[VOICE] → [UTILITY] → [F3] VOICE → [SF2] MEF 
(for all Voices)
[VOICE] → [UTILITY] → [F3] VOICE → 
[SF1] MEQ (for all Voices)
[VOICE] → Voice selection → [EDIT] → 
[COMMON] → [F1] GENERAL → [SF3] 
MEQ OFS
You can set which Insertion system, A or B, 
is applied to each Element (or to each key 
when the Drum voice is selected). The 
Insertion effect can also be bypassed.Tone Generator block
Element or Key
Element EQReverb (REV), Chorus (CHO)
Send Level Return Level
You can select the Insertion connection 
from the three types shown below. Insertion EffectSystem Effect
Master Effect Master EQ
Output
A
B A to BA
B B to AA
B parallel
[PERFORM] → Performance selection → [EDIT] → 
[COMMON] → [F6] EFFECT → [SF1] CONNECT
The Insertion connection type 
depends on the setting of the Voice 
assigned to the selected part.
[PERFORM] → Performance selection → [EDIT] → Part selection → [F3] EQ
[PERFORM] → Performance selection → [EDIT] → 
[COMMON] → [F2] OUT/MEF → [SF1] OUT Select the part to which the Plug-in Insertion effect is applied from Parts 1-4, 
Plug-in Parts 1-3, and the audio input Part in the following display. 
[PERFORM] → Performance selection → [EDIT] → [COMMON] → [F6] 
EFFECT → [SF1] INS SW   Among all of the audio input Parts, the Insertion effect can be applied 
only to the A/D Input Part.
[PERFORM] → Performance selection → [EDIT] → 
[COMMON] → [F2] OUT/MEF → [SF2] MEQ
[PERFORM] → Performance selection → [EDIT] → 
[COMMON] → [F1] GENERAL → [SF3] MEQ OFS Part 1
Part EQInsertion Effect
(VCE INS)
Audio Input partPlug-in Insertion Effect 
(PLG-EF)
When the PLG100-VH
has been installed
Tone Generator
blockPart 1[PERFORM] → Performance selection → [EDIT] → 
[COMMON] → [F2] OUT/MEF → [SF3] MEF
Master Effect Master EQ Output
*1
*2
*3
*4
*5
A
B
*2 *3*4
*5
*2
*1
Send Level Return Level
Reverb (REV), Chorus (CHO)System Effect 
						

							Internal Structure (System Overview)
180Owner’s Manual
Basic Structure
● In the Song mode/Pattern mode
The Effect parameters in the Song mode/Pattern mode are set for each Song/Pattern. The Effect settings are stored to internal 
DRAM in the Song Mixing mode/Pattern Mixing mode and saved to the SmartMedia/USB storage device in the File mode. 
nThe Insertion Effect, Plug-in Insertion Effect, and the System Effect cannot be applied to Parts 17-32 (using the Multi-part Plug-in board PLG100-XG). 
nThe Part EQ cannot be applied to parts of the Plug-in Board. 
nThe System Effects (Reverb, Chorus), the Master EQ, and the Master Effect are not applied to the sound output through the ASSIGNABLE OUTPUT jacks 
(including those of the AIEB2) or the mLAN connector of the mLAN16E board. (Only the Part EQ and the Insertion Effect are applied.)
Tone Generator block
[SONG] or [PATTERN] → Song/Pattern 
selection → [MIXING] → [EDIT] → [COMMON] 
→ [F2] MEQ/MEF → [SF2] MEF
The Insertion effects can be applied to up to eight Parts, selectable from Parts 1-4, Plug-in 
Parts 1-3, and the A/D input Part in the following display. 
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → [COMMON] → 
[F6] EFFECT → [SF2] INS SW
The connection type depends on the setting of the Voice assigned to the selected part.
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → 
Part selection → [F3] EQ Select the part to which the Plug-in Insertion effect is applied from Parts 1-4, Plug-in Parts 1-
3, and the audio input Part.
Among all of the audio input Parts, the Insertion effect can be applied only 
to the A/D Input Part.
[SONG] or [PATTERN] → Song/Pattern selection → [F4] EF SEND
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → [COMMON] → 
[F2] MEQ/MEF → [SF1] MEQ
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → [COMMON] → 
[F1] GENERAL → [SF1] MEQ OFS
Part 17-32
(When the Multi-part Plug-in Board 
PLG100-XG has been installed)
*1
*2
*3
*4
*5
*6
A
B
*1 *2*3*5
*4*6
*1
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] 
→ [EDIT] → [COMMON] → [F6] EFFECT → [SF1] CONNECT
Part 1-16Insertion Effects
(VCE INS)
Tone Generator blockPart 1
Reverb (REV), Chorus (CHO)System Effects
Part 1
Part EQ
Plug-in Part 1-3
(When the Single part 
Plug-in board has 
been installed)
Audio Input partPlug-in Insertion Effect 
(PLG-EF)
When the PLG100-VH 
has been installedSend Level Return Level
Master Effect Master EQ Output