E 1
ii
Precautions Location Using the unit in the following locations can result in a malfunction. • In direct sunlight • Locations of extreme temperature or humidity • Excessively dusty or dirty locations • Locations of excessive vibration • Close to magnetic fields Power supply Please connect the designated AC adapter to an AC outlet of the correct voltage. Do not connect it to an AC outlet of voltage other than that for which your unit is intended.
Thank you for purchasing the Korg R3 synthesizer/vocoder. To ensure trouble-free enjoyment, please read this manual carefully and use the product correctly. Introduction.......................................................... 1 Main Features ..................................................................................... 1 The structure of a program .................................................................. 2 Synthesizer .......................................................................
Table of Contents Timbre Parameters ............................................. 23 Arpeggio parameters ......................................... 51 1. VOICE ........................................................................................... 23 Front Panel Arpeggio Parameters ...................................................... 51 2. UNISON ........................................................................................ 24 32. ARPEGGIATOR-A ..........................................
Table of Contents Pedal/Switch parameters.................................... 73 46. PEDAL/SW .................................................................................. 73 Saving Data ....................................................... 74 Saving your edited settings ................................................................ 74 Saving a program ........................................................................................ 74 Saving GLOBAL, MIDI settings .........................
Introduction Main Features 1. MMT (Multi Modeling Technology) synthesis engine 6. Modulation Sequencers In addition to traditional analog synthesizer waveforms, the R3 also provides a wide range of oscillator algorithms, including formant waves, noise, and 64 DWGS (Digital Waveform Generator System) waves. With this rich assortment of oscillator algorithms, your R3 can produce a vast array of sonic variations.
The structure of a program ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Synthesizer Each of the R3’s programs consists of two timbres, a master effect, and an arpeggiator (Figure 0-1).
The structure of a program Envelope generators (EG1/EG2/EG3) Envelope generators (EG) are used to apply time-varying change to the sound parameters. Each EG consists of four parameters: attack time (ATTACK), decay time (DECAY), sustain level (SUSTAIN), and release time (RELEASE). Each timbre contains three of these EGs. EG1 is assigned to control the filter cutoff frequency, and EG2 is assigned to control the volume of the amp.
The structure of a program ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Vocoder A vocoder is a device that analyzes the character (the frequency response of each band) of a “modulator” signal (typically a human voice from a mic), and applies a filter with the analyzed characteristics to the “carrier” signal (typically a waveform produced by an oscillator), imposing a vocal character on that waveform, and making it seem as though the instrument is talking.
Front and rear panel ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Front panel AUDIO INPUT1 [MIC] jack Connect a mic to this input. Vocoder-type programs use the audio signal from this mic as the modulator. The [MIC] switch specifies whether this jack or the rear panel [AUDIO INPUT 1] jack will be used. [MIC] switch Selects the audio input source for AUDIO INPUT 1. Select the XLR setting if you're using the front panel [MIC] jack.
Front and rear panel [WRITE] button Saves the program or global settings you’ve edited (☞p.74). [SHIFT] button You can execute SHIFT functions (various utilities) by holding down this button and pressing another button (☞p.75). [EXIT] button When you’re editing, this button finalizes the settings and returns you to Play mode. When you’re using a SHIFT function, this button cancels execution of the function and returns you to Play mode (☞p.75).
Front and rear panel ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Rear panel ASSIGNABLE You can connect a foot switch and foot pedal to these jacks. [SWITCH] jack Connect a foot switch or damper pedal to this jack. [PEDAL] jack Connect a foot pedal to this jack. [Contrast knob] Adjusts the contrast of the main display and the sub-displays. The readability of the displays will depend on your viewing angle, so you should adjust the contrast as needed for best visibility.
Connections Preparations The diagram below shows basic connections for the R3. Make substitutions as appropriate for your equipment. Included mic If you want to process the waveform of a synthesizer or sampler, connect a mic or the output jack of your external device to the AUDIO INPUT 1 and 2 jacks (☞p.29). ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Connections to MIDI equipment/computers The keyboard, and controllers etc.
Connections ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Connecting the pedal ASSIGNABLE PEDAL jack By connecting a pedal such as the Korg EXP-2 or XVP-10 to this jack. You can send control messages such as breath control, volume, pan, expression, etc. while keeping your hands free for performing. The function controlled by the pedal can be specified in the 46. Pedal/Sw page “A.Pedal.” The factory default setting for the assignable pedal is Expression (Exp Pedal). (☞p.
Turning the power on ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ 1. The power supply 3. Turning the power off Before you connect the power supply, make sure that the [POWER/ STANDBY] switch is turned off (i.e., in the outward position). After saving any necessary data (such as a program you have edited) turn the power off using the reverse order of the power-on procedure.
Demo songs Quick Start ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Listening to the demo songs The R3 contains several demo songs that take advantage of the rich sounds and expressive potential of the instrument. 1 To listen to the demo songs, hold down the [SHIFT] button and press the ARPEGGIATOR [ON/OFF] button. The demo will begin playing. the PROGRAM NUMBER button will light and the ARPEGGIATOR [ON/OFF] button will blink.
Synth programs ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ 1. Selecting and playing a program 2. Modifying the sound The R3 contains 128 programs. For easy selection, the programs are arranged into 16 banks (A-P). Each bank contains eight programs. To select different programs, use the PROGRAM SELECT knob and the PROGRAM NUMBER buttons. As an example, here’s how to select program “D–4 Trancer”.
Synth programs Using the [PITCH] and [MOD] wheels Using the OCTAVE SHIFT UP and DOWN buttons [PITCH] wheel: Normally this wheel is used for bending the pitch. Pushing the wheel up will bend the pitch up (sharp); pulling the wheel down will bend the pitch down (flat). When the wheel is in the center position, no pitch bend effect is produced. When released, the wheel will return to the center position.
Vocoder programs ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ 1. Playing a vocoder program 2. Modifying the sound A vocoder applies the spectral character of an externally-input voice (the “modulator”) to an oscillator or other sound (the “carrier”), and outputs the result.
Arpeggiator ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Using the arpeggiator The arpeggiator detects the notes being played on the keyboard, and automatically plays these notes one at a time in a variety of arpeggiated styles. The R3’s arpeggiator provides six arpeggiator patterns, and lets you adjust the duration (gate time) of the arpeggiated notes.
Modulation Sequence ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ 1. Playing back a modulation sequence 2. Recording a modulation sequence Timbre 1 and timbre 2 provide a “modulation sequence” that can record movement of parameters over time. Let’s use a preset program to hear what a modulation sequence can sound like. Let’s try recording a modulation sequence. 1 Select a synth program.
Modulation Sequence Recording in Edit mode In Edit mode you can choose any single parameter that is available for assignment via Knob Assign (SHIFT function) and record a movement for it. 1 Select a synth program. Choose a program that is not saved with a modulation sequence (MOD SEQ [ON/ OFF] button is dark). 2 Select a timbre by pressing either the [TIMBRE1] or [TIMBRE2] button. The button for the selected timbre will blink. 3 Turn the modulation sequencer on by pressing the MOD SEQ [ON/ OFF] button.
Formant Motion ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ 1. What is a Formant Motion? Basically, the Formant Motion function records and saves the vocoder’s “analysis” of a changing modulator signal. This saved formant motion data can be used to produce vocoder effects without having to vocalize into a mic each time you perform. In its internal memory, the R3 can store sixteen sets of formant motion data, each up to 7.5 seconds long.
Basic editing Editing ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Basic editing procedures On the R3 there are two basic ways for you to create your own sound(s). • Select a program that is close to the sound you want to create, and tweak the parameters of that program until it sounds the way you would like it to.
Basic editing Returning a parameter to its original value. When editing, you can always return any edited parameter to its original value. Simply rotate the knob assigned to that parameter until the ORIGINAL VALUE LED remains steadily lit. If you select another program or re-select the same program while you are editing, all your edits will be lost, unless you first save any changes you have made.
Basic editing ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Editing a vocoder program Vocoder section The parameters for the sixteen band-pass filters (analysis filters and synthesis filters) and the envelope followers are edited in the 37. Filter– 39. Lvl/Pan pages.
Basic editing ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Editing the arpeggiator How to read the pages for each section The R3’s arpeggiator provides six arpeggio types. In addition to selecting an arpeggiator type, you can adjust the duration (gate time) , note value, swing amount, tempo, and other arpeggiator parameters. These arpeggiator settings are adjusted using the 32.
1. VOICE Timbre Parameters Here you can make settings that apply to the entire program, and settings that specify how each timbre will sound. Knob [1] specifies whether you'll be using only one timbre (Single) or two timbres and how they will be used (Layer, Split, or Multi). Here you can also specify whether the timbre currently selected by the TIMBRE SELECT keys will play monophonically or polyphonically, and how it will be retriggered.
2. UNISON Here you can make settings for the Unison function which “stacks” voices at the same pitch to create a richer sound. Knob [1] Knob [2] Knob [3] Sw (Unison Switch) [Off, 2 Voice, 3 Voice, 4 Voice] When the Unison Switch is turned on, you can specify the number of voices that will be stacked. Detune (Unison Detune) [0...99] This parameter is available when Unison is on (i.e., if “Sw” is 2–4 Voice).
3. PITCH-A These settings affect the pitch of the oscillators. These settings are shared by oscillators 1 and 2. Knob [1] Knob [2] Knob [3] Knob [4] Transpos (Transpose) [–48...+48] Adjusts the pitch of the oscillators in semitone (100 cent) steps. The range is four octaves upward or downward. Tune [–50...50] Adjusts the pitch of the oscillator in onecent steps.
4. PITCH-B In this section you can specify how the [PITCH] and [MOD] wheels will affect the pitch. 26 Knob [1] Knob [2] BndRange (Bend Range) [–12...+12] Specifies the range of the [PITCH] wheel in semitones This value specifies the amount of change that will occur when you move the pitch wheel all the way up or all the way down. Vib Int (Vibrato Intensity) [–2400...+2400] Specifies the depth of vibrato that will be applied when you move the [MOD] wheel all the up.
5. OSC1 (Oscillator 1) The oscillator generates a waveform that is the basis of the sound. Each timbre has two oscillators. The parameters in this section apply to oscillator 1. Knob [1] is used to select the basic waveform, and knob [2] to select a type of oscillator modulation. The functions of knobs [3] and [4] will be determined by the settings of knob [1] and knob [2] (☞p.28 -29).
5. OSC1 (Oscillator 1) When Knob [1] Wave: Noise, and Knob [2] OSC1 Mod: Waveform When Knob [1] Wave: Saw, Pulse, (i.e., the third harmonic). Triangle, Sine and Knob [2] OSC1 Mod: Waveform Knob [3] Control1: Waveform [000…127] Knob [1] Wave: Saw The sawtooth wave is appropriate for creating a wide range of sounds typical of analog synthesizers, including basses and pads. Adjusting the value will modify the shape of the waveform, changing the harmonic content.
5. OSC1 (Oscillator 1) broaden the pitch difference between the oscillators, producing a richer sound. Knob [4] Control2: Phase [000…127] Specifies the phase of each oscillator at note-on. This will affect the tone of the attack. A setting of 127 will change the pitch and volume. 000 (0º) 063 (90º) Processing an external audio signal You can use the filter, amp, EG, and LFO etc. to process the signal from a external synthesizer, rhythm machine, or audio device in the same way as an oscillator waveform.
6. OSC2 (Oscillator 2) Here you can make settings for oscillator 2. You can create a variety of sounds by using two oscillators together. For example you can adjust knob [3] (“OSC Semi”) and knob [4] (“OSC2Tune”) so that one oscillator acts as though it were part of the overtone structure of the other oscillator, set the pitches of the two oscillators to an interval of harmony, or set both oscillators to the same pitch but slightly detune one of them to create a detuning effect.
7. MIXER These parameters adjust the volume balance of the oscillator 1 and 2, and the noise generator. These settings will be the input level to the filter section. Knob [1] Knob [2] Knob [3] Knob [4] OSC1 Lvl (OSC1 Level) [000...127] Sets the output level of oscillator 1. OSC2 Lvl (OSC2 Level) [000...127] Sets the output level of oscillator 2. NoiseLvl (Noise Level) [000...127] Sets the output level of the noise generator. This noise generator generates white noise.
8. FILTER1-A The filter section changes the tonal character of the oscillators by passing only the desired portion of the sound - either above (Low Pass), below (High-Pass), or centered on (Band Pass) the cutoff frequency. The R3 has two filters (filter 1 and filter 2), and you can change their routing to create more complex filter sounds. The filter 1 parameters are set in the 8. Filt1-A page and 9. Filt1-B page. Knob [1] Knob [2] Knob [3] Knob [4] Cutoff1 (Filter1 Cutoff) [000...
8. FILTER1-A LPF: LPF (Low Pass Filter) is the most common type of filter; it passes the frequencies below the cutoff frequency and cuts the region above. Raising the cutoff frequency (“Cutoff1” value) will produce a brighter tone. LPF (Low Pass Filter) -12dB/oct -24dB/oct Frequency Cutoff HPF: HPF (High Pass Filter) passes the frequencies above the cutoff frequency and cuts the region below. Use this when you want to make the tone thinner.
9. FILTER1-B Here you can set the values of the filter 1 parameters. Knob [1] Knob [2] Knob [3] Knob [1] (➘) EG1 Int1 (EG1 Intensity/Filter1) [–63...63] This specifies how time-variant modulation from the EG1 will be applied to the cutoff frequency (☞Figure 9-1). The cutoff frequency will change over time according to the EG1 settings, modifying the tone. For example, you can use this to create a sound that gradually begins to brighten when you press the key, and then gradually becomes darker.
10. FILTER2-A Here you can adjust the settings of the filter 2 parameters. The 8. Filt1-A page “Routing1” parameter (knob [4]) specifies how filter 2 and filter 1 will be connected. You can edit the Filter 2 parameters in the 10. Filt2-A page and 11. Filt2-B page. The filter 2 parameters are not shown if “Routing1” is Single. Knob [1] Knob [2] Knob [3] Cutoff2 (Filter2 Cutoff) [000...127] This is the same as for FILTER 1 (☞p.32). Reso2 (Filter2 Resonance) [000...
11. FILTER2-B Here you can make settings for the filter 2 parameters. 36 Knob [1] Knob [2] Knob [3] EG1 Int2 (EG1 Intensity/Filter2) [–63...63] This is the same as for FILTER 1 (☞p.34). Key Trk2 (Keyboard Tracking/Filter2) [–2.00...+2.00] This is the same as for FILTER 1 (☞p.34). VelSens2 (Velocity Sensitivity/Filter2) [–63…+63] This is the same as for FILTER 1 (☞p.34).
12. AMP (Amplifier) These parameters control the volume. The sound that is created by passing through the oscillator and filter is amplified by the amp. Knob [1] Knob [2] Knob [3] Level [000...127] Adjusts the volume of the timbre. Panpot [L63...CNT...R63] Adjusts the location of the sound in the stereo field. L63 is far left, CNT is center, and R63 is far right. Key Trk (Keyboard Tracking) [–63...63] Specifies how keyboard tracking will affect the volume.
13. DRIVE/WS (Drive/Wave Shape) In this page you can set the Drive or Wave Shape parameters. This lets you add distortion to the sound and give it a distinctive impact. Knob [1] Knob [2] Knob [3] WS Type (Wave Shape Type) [Off, Drive…Lvl Boost] This switches wave shaping on/off, and selects the type.
13.
14. EG1 Here you can adjust the settings of the Filter EG, which applies time-variant change to the tone (☞Figure 14-1). Use these settings to specify the “shape” of the EG1, and use the FILTER parameter “EG1 Int1” (9. Filt1-B page ☞p.34) and “EG1 Int2” (11. Filt2-B page) to specify the amount of effect that the EG will have. For details on how an EG (Envelope Generator) works, refer to EG2 (☞p.41). You can use the EG1 as a Virtual Patch source modulate a parameter other than the filter cutoff frequency.
15. EG2 Here you can adjust the settings for the AMP EG, which applies time-variant change to the volume (☞Figure 15-1). Using the AMP EG settings, you can make the volume change as time passes. Create the desired volume curve by adjusting the ADSR parameters; ATTACK (knob [1]), DECAY (knob [2]), SUSTAIN (knob [3]), RELEASE (knob [4]). You can use EG2 as a Virtual Patch source to modulate parameters other than volume. (☞p.45) Knob [1] Knob [2] Knob [3] Knob [4] Attack2 (Attack EG2) [000...
16. EG3 Here you can adjust the settings of EG3. Create the desired curve by adjusting the ADSR parameters; ATTACK (knob [1]), DECAY (knob [2]), SUSTAIN (knob [3]), RELEASE (knob [4]). You can use EG3 as a Virtual Patch source to modulate parameters other than filter cutoff (EG1) or volume (EG2). (☞p.45) 42 Knob [1] Knob [2] Knob [3] Knob [4] Attack3 (Attack EG3) [000...127] Specifies the time from note-on (when the key is pressed) until the attack level (maximum value of the envelope) is reached.
17. EG VELO INT (EG Level Velocity Intensity) These settings allow the velocity (dynamics) of your keyboard playing to control the EG amplitude. Higher settings allow variations in velocity to have more effect on the EG amplitude. Positive (+) values: The EG amplitude will be less when you play softly, and greater when you play strongly. Negative (–) values: The EG amplitude will be less when you play strongly, and greater when you play softly.
18. LFO 1, 19. LFO 2 Each timbre contains two LFOs. An LFO produces a cyclic change that can be used to modulate the pitch, tone, or volume of the sound. Use knob [1] to select the LFO waveform, and specify the method of key synchronization (knob [2]) and tempo synchronization (knobs [3] and [4]). LFO1 and LFO2 can be used as Virtual Patch sources to apply modulation to a variety of parameters. (☞p.
20. PATCH 1, 21. PATCH 2, 22. PATCH 3, 23. PATCH 4, 24. PATCH 5, 25. PATCH 6 The R3 provides six Virtual Patch routes that let you create more sophisticated sounds. Each patch lets you select a modulation (“Source”) and modulation destination (“Dest”), and specify the intensity of modulation (“P.Int1”-“P.Int6”). By using various patchings you can create a wide variety of changes in the sound.
26. MOD SEQ-A (Modulation Sequencer) These are the parameters for the Modulation Sequencers. Modulation sequencers apply time-varying change to the sound parameters in a way similar to the analog sequencers of the past. One modulation sequencer is provided for each timbre. Knob [1] Knob [2] Knob [3] Knob [4] LastStep [01…16] Specifies the length of the sequence in steps (i.e., the maximum number of steps).
27. MOD SEQ-B (Modulation Sequence) In this page you can edit the data recorded in each step of the modulation sequencer. You can also use this page when you want to record data in Edit mode. Knob [1] Knob [2] Knob [3] Knob [4] Dest (Destination) [None, Pitch…P.Int6] Selects the parameter that will be recorded in the modulation sequencer. Motion [Smooth, Step] Specifies how the recorded values will change when the sequence is played. Step Select [Step 01…Step16] Selects the step to edit.
28. EQ (Equalizer) Here you can adjust the equalizer settings. The equalizer is a shelving type (☞Figure 28-1). Knob [1] Knob [2] Knob [3] Knob [4] LoEQFreq (Low EQ Frequencey) [0020Hz…1000Hz] Specifies the frequency of the low equalizer (shelving type). LoEQGain (Low EQ Gain) [–15.0dB…+15.0dB] Specifies the gain of the low equalizer. Positive (+) values boost the region below the cutoff frequency. Negative (-) values cut the region below the cutoff frequency. HiEGFreq (High EQ Frequency) [1.00Hz…20.
29. INSERT FX1, 30 INSERT FX2 These are the settings for insert effect 1 and insert effect 2. Knob [1] Knob [2] Knob [3] Knob [4] Effect Type [NoEffect, S.Comp…W.TalkMd] Selects the effect type used by the insert effect. For details on the available types, refer to Effect guide in the included CDROM. Dry/Wet [Dry, 99:1…1:99, Wet] Sets the balance between the effect and dry sounds. Effect parameter [IFx1Knob…] This selects which parameter will be edited.
31. MASTER FX In this page you can adjust the master effect settings. There is one master effect. You’ll see the same effect whether you’re editing it from timbre 1 or 2. In other words if you edit the master effect from timbre 1, your changes will be reflected in the master effect settings you see from timbre 2. Knob [1] Knob [2] Knob [3] Knob [4] [NoEffect, S.Comp…Talk Mod] Effect Type Selects the effect type used by the master effect.
Arpeggio parameters Front Panel Arpeggio Parameters These are the parameters that can be set from the front panel ARPEGGIATOR section. ARPEGGIATOR [TEMPO] knob ARPEGGIATOR TEMPO LED ARPEGGIATOR [ON/OFF] button ARPEGGIATOR [LATCH] button Specifies the playback tempo of the arpeggiator. This will blink at quarter-note intervals of the tempo specified by the [TEMPO] knob. Switches the arpeggiator on/off. The button will light if this is on. Specifies latch operation for the arpeggiator.
32. ARPEGGIATOR-A Here you can make various arpeggio-related settings. Knob [1] Knob [2] Knob [3] Knob [4] Assign [Timbre1, Timbre2, Tmbr1+2] Selects the timbre(s) that will be sounded by the arpeggiator. Type (Arpeggio type) OctRange (Octave Range) [1, 2, 3, 4] Specifies the range of octaves over which the arpeggio will be played. LastStep [1...8] Specifies the number of valid steps (maximum number of steps) for the arpeggiator. Timbre1: Only timbre 1 will be sounded by the arpeggiator.
33. ARPEGGIATOR-B Here you can make additional arpeggio-related settings. Knob [1] Knob [2] Knob [3] Knob [4] GateTime [000%...100%] Specifies the duration (gate time) of the arpeggiated notes, as a percentage (%). With a setting of 001%, each note will be extremely short. With set to 100%, each note will continue playing until the next step. ArpSwing (Arpeggiator Swing) [–100%...
Vocoder parameters These are the parameters that can be set from the front panel Vocoder section. [VOCODER] button FORMANT MOTION [ON/OFF] button FORMANT MOTION [REC] button This switches the Vocoder function on/off. This key lets you use formant motion data as the vocoder’s modulator. This key lets you record formant motion data for use as the vocoder’s modulator. For the procedure of recording formant motion data, refer to “Recording formant motion data” on page 18.
34. CARRIER In this page you can set the input level of the audio signal being used as the carrier Knob [1] Knob [2] Tmbr1Lvl (Timbre1 Level) [000...127] Specifies the output level of Timbre1 (carrier). Input2Lv (Input2 Level) [000...127] Specifies the output level of the signal cannected to the [AUDIO INPUT2] jack. If you are unable to hear the vocoder effect, try adjusting the “Tmbr1Lvl” parameter or the 38. Filt/Amp page “Vcd Lvl” parameter (☞p.59).
35. MODULATOR-A In this page you can adjust the settings that relate to the modulator; the signal that applies its own tonal character to the carrier audio signal. As the modulator, you can use one of the following; an external input such as a mic or rhythm audio source (AUDIO INPUT 1), timbre 2, or formant motion data. Knob [1] Knob [2] Knob [3] Frmt No (Formant Data Set Number) [01…16] If formant motion is on, this selects the formant motion data set that will be used as the modulator.
36. MODULATOR-B As in the 35. Mod-A page, this page lets you make additional settings for the modulator. The parameters in this page have no effect if formant motion is on (FORMANT MOTION [ON/OFF] key lit). Knob [1] Knob [2] Knob [3] Knob [4] GateSens (Gate Sensitivity) [000...127] Specifies the speed at which the gate will operate according to the “Threshld” setting. Lower values for this setting will make the gate close more quickly, causing the vocoder sound to decay more quickly.
37. FILTER Here you can adjust the settings for the carrier’s sixteen band-pass filters and modulator’s envelope filter. You’ll be using these parameters frequently, since they play an important role in determining the character of the vocoder. Knob [1] Knob [2] Knob [3] Knob [4] FrmntSft (Formant Shift) [–2…+2] Shifts the cutoff frequencies of each of the carrier’s band pass filters. This will significantly change the character of the vocoder output. FcOffset (Fc Offset) [–63...
38. FILTER/AMP Here you can set the parameters that modulate the cutoff frequency of the carrier’s band-pass filters (synthesis filter), and adjust the output of the vocoder. Knob [1] Knob [2] Knob [3] Knob [4] FcModeSrc (Fc Mode Source) [EG1…MIDI3] Selects the modulation source that will be applied to the carrier band-pass filter “FcOffset.” The available modulation sources are the same as the modulation sources for program parameter virtual patches (☞p.45 “Source1…Source6”).
39. CH LEVEL /PAN (Channel Level/Channel Panpot) These parameters set the level and pan for each of the sixteen band-pass filter channels (Synthesis Filter) of the carrier (☞p.55). 60 Knob [1] Knob [2] Knob [3] Channel Select [Ch1…Ch16] Selects one of the sixteen filter channels for editing. Level1…Level16 [000...127] Specifies the output level of the selected channel. Pan1…Pan16 [L63…CNT…R63] Specifies the panning of the selected channel.
Overall settings (GLOBAL) GLOBAL structure ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Overview The GLOBAL section lets you can make overall settings for the R3. For example, although it is possible to individually adjust the pitch of each synth or vocoder program, you can use the 40. Global-A page pitch settings (“MstTune” and “Transpos”) to adjust the pitch of all programs. When you are playing the R3 together with other instruments, use “MstTune” to match the pitch.
40. GLOBAL-A The settings you make here will apply to the entire R3, such as the overall tuning and the velocity curve. Knob [1] Knob [2] Knob [3] Mst Tune (Master Tune) [430.0Hz...450.0Hz] Adjusts the overall pitch in 0.1 Hz steps, in terms of A4 as the reference pitch. Use this when you need to tune the pitch of the R3 to other instruments. Transpos (Transpose) [–12...12] Adjusts the overall pitch in steps of a semitone (100 cents) over a range of one octave up or down.
41. GLOBAL-B These parameters select the input when using the AUDIO IN THRU function, and specify how knobs [1]–[4] will operate. Knob [1] Knob [2] Thru Src (Thru Source) [Input1, Input2, Input1+2] The input signal(s) selected here will be sent to the OUTPUT [L/MONO] and [R] jacks without change when using the Shift function “AUDIO IN THRU.” KnobMode [Jump, Catch] Specifies the behavior of the front panel knobs [1] - [4] and [TEMPO] knob when editing.
Using the R3 with other MIDI devices (MIDI) MIDI parameters ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Overview Here you can make MIDI-related settings for the R3. MIDI stands for Musical Instrument Digital Interface, and is a world-wide standard for exchanging various types of musical data between electronic musical instruments and computers.
Using the R3 with other MIDI devices (MIDI) Connecting an external MIDI sequencer or computer etc.
Using the R3 with other MIDI devices (MIDI) GLOBAL “POSITION” setting “CONTROL CHANGE” settings The R3’s GLOBAL “Position” lets you specify how MIDI IN/OUT will be internally routed. This will affect how the MIDI data will be affected by the “Transpos,” “VelCurve,” and arpeggiator settings. You can assign control change numbers to the major parameters that affect the sound, and use an external MIDI device to perform the same operations as when the knobs and keys of the R3 are operated.
Using the R3 with other MIDI devices (MIDI) Synchronizing the arpeggiator The 42. MIDI page “Clock” (knob [4]) setting specifies whether the R3’s arpeggiator will be the master (the controlling device) or slave (the controlled device). For information on synchronization-related settings of your external MIDI device, refer to the manual of your device. 1.
42. MIDI Here you can make MIDI-related settings for the R3. Knob [1] Knob [2] Knob [3] Knob [4] MIDI Ch (MIDI Channel) [01...16] Specifies the MIDI channel. When you wish to transmit program changes or system exclusive messages via MIDI, set the global MIDI channel to match the MIDI channel of the connected MIDI device. Local [Off, On] Switches the local setting on and off Routing [USB+MIDI, USB, MIDI] Selects the connector(s) that will be used to transmit and receive MIDI messages.
42. MIDI Knob [3] Figure 42-1: USB+MIDI PC USB-MIDI Port R3 R3 MIDI OUT USB MIDI RX (EXT) R3 KBD/KNOB USB MIDI TX (INT) R3 MIDI IN USB MIDI TX (EXT) R3 SOUND USB MIDI RX (INT) MIDI OUT MIDI IN MIDI THRU KBD/KNOB OUT DUMP OUT etc... TG OUTPUT DUMP IN etc... Figure 42-2: USB PC USB-MIDI Port R3 R3 MIDI OUT USB MIDI RX (EXT) R3 KBD/KNOB USB MIDI TX (INT) R3 MIDI IN USB MIDI TX (EXT) R3 SOUND USB MIDI RX (INT) MIDI OUT MIDI IN MIDI THRU KBD/KNOB OUT DUMP OUT etc...
43. MIDI FILTER Here you can adjust the the R3’s MIDI Filter settings. Knob [1] Knob [2] Knob [3] Knob [4] Prog Chg (Program Change) [Disable, Enable] Selects whether program changes will be transmitted and received. Ctrl Chg (Control Change) [Disable, Enable] Selects whether MIDI control changes will be transmitted and received. PitchBnd (Pitch Bend) [Disable, Enable] Selects whether pitch bend messages will be transmitted and received.
44. MIDI CC# MAP (MIDI Control Change No. Map) Here you can assign control change numbers to the most important parameters corresponding to the front panel buttons and knobs [1]–[4]. When you use the Performance Edit function or edit a program, the control change you assign here will be transmitted when you operate the corresponding knob for each parameter. When the R3 receives one of these control change messages, the value of the corresponding parameter will change.
45. PATCH SOURCE Here you can select the functions that are assigned to modulation sources MIDI 1, 2, and 3 of the Virtual Patch function. If the selected function is assigned to a different parameter, an "*" is shown at the right of the value. 72 Knob [1] Knob [2] Knob [3] MIDI1 [P.Bend…#119] These select the functions that are assigned to modulation sources MIDI 1 of the Virtual Patch function. With the factory settings, “MIDI1” is assigned to #016 (CC#16). MIDI2 [P.
46. PEDAL/SW Pedal/Switch parameters Here you can specify the function of the foot pedal and foot switch connected to the rear panel. You can use a Shift function to adjust the calibration of the foot pedal (☞p.79). Knob [1] Knob [2] Knob [3] Knob [4] A.Pedal (Assignable Pedal) [Volume…Foot Pdl] Selects the function of the pedal connected to the ASSIGNABLE [PEDAL] jack. With the factory settings this is set to ExpPedal. A.
Saving Data Saving your edited settings If you have edited a program, your edited settings will be lost if you turn the power off or select another program before saving (writing). In order to preserve your edits, you must save (write) the edited program. Changes you make to the 40. Global-A – 46. Pedal/Sw page, or SHIFT functions (described later in this manual) will also be lost if you turn off the power before saving (writing). In order to retain the modified settings, you must save (write) them.
Copying and exchanging timbres/ Initializing a program SHIFT functions 1-1. NAME PROGRAM 2-1. INIT PROGRAM 3-1. COPY TIMBRE Renaming a program The R3 lets you assign a name of up to eight characters to each program. In Play mode, the main display will show the program number and the program name. Initializing a program Here’s how to initialize the settings of the currently selected program.
Initializing Vocoder Copy Effect Parameters 4-1. SWAP TIMBRE 3-2. INIT VOCODER 5-1. COPY EFFECT Swapping the timbres Here’s how to swap (exchange) the settings of timbre 1 and timbre 2 in the currently selected program. This operation is available if TIMBRE SELECT [TIMBRE 1] or [TIMBRE 2] is selected. You can execute this only if the program uses two timbres; i.e., you can’t execute it for a program whose 1. Voice page “Mode” parameter is Single.
Data dump 6-1. MIDI DATA DUMP Data dump “Data dump” is a function that transmits program or global data in the form of MIDI exclusive data, so that it can be saved on a connected MIDI data filer or computer. This can also be used to transmit data to another R3 unit. 1 Prog: Data for the currently selected program will be transmitted (1. Voice – 39. Lvl/ Pan page parameters, front panel button and knob settings.) Do not touch the knobs or buttons of the R3 while data is being transmitted or received.
Restoring the factory settings Write protect setting 7-1. PRELOAD 8-1.PROTECT 1 Prog: Load only data for one program (1. Voice – 39. Lvl/Pan page parameters, front panel button and knob settings.) Restoring the factory settings This operation restores the R3’s programs and global data settings to the factory-set condition. The factory-set settings are referred to as the “preload data.” AllProg: Load data for all 128 programs.
Other SHIFT key functions DEMO CALIBRATION TIMBRE1 SOLO, TIMBRE2 SOLO AUDIO IN THRU Listening to the demo performance Calibrating the foot pedal Soloing a timbre For a program that uses two timbres, this operation lets you listen to just one of the timbres. While editing, you can use this when you want to hear a single timbre by itself. Audio In Thru This operation causes the audio signal from the input jacks to be sent directly to the OUTPUT [L/MONO] and [R] jacks.
Other SHIFT key functions KNOB ASSIGN Knob assignments You can assign parameters to knobs [1]– [4]. This lets you control the sound and settings in Play mode while you perform. (This is referred to as Performance Editing.) You can make a separate set of knob [1]– [4] assignments for the Timbre 1, Timbre 2, and Vocoder sections; use the TIMBRE SELECT [TIMBRE 1], [TIMBRE 2] or [VOCODER] buttons to select the section you want to control from the knobs.
Index A AC adaptor 10 ADSR 41 AMP (Amplifier) 2, 37 AMP EG 41 Analysis filter 4 Arpeggiator 3, 15, 22, 51, 66 Arpeggio parameters 51 Arpeggio type 52 Assignments 80 Attack level 40 Attack time 40 Audio in 27 Audio In Thru 79 B Band-pass filter (BPF) 33, 58, 59, 60 C Calibration 79 Carrier 4, 27 Comb filter 35 Computer 65 Connections 8, 64 Computer 65 Mic 8 MIDI equipment 8, 64 pedal, switch 9 Control change messages 71 Copying Effect 76 Timbre 75 Create a sound 19 Cross Modulation 2, 27 Cutoff 32 D Data
Index R T Release time 40 Renaming a program 75 Resolution 53 Resonance 32, 58 Restoring the factory settings 78 Ring and Sync modulation 30 Ring modulation 30 Timbre 2, 23 Transpose 25, 62 Tremolo 44 Triangle wave 30 S Saving 74 Formant Motion Data 74 Global data and MIDI settings 74 Program 74 Sawtooth wave 30 SHIFT functions 75 Sine wave 28 Solo 20, 79 Soloing a timbre 79 Source 59 Square wave 30 Step 52 Sustain Level 40 Swapping the timbres 76 Sync modulation 30 Synchronize 44, 53, 68 Synth program
Voice Name List Program Name Hypnotic SweepPad Talk Seq Komputer SyncCity VelSquBs AlphaMod Wide Saw LinerzBs RingBass Urban Bs DigiBass Smack Bs BiteBass HooverBs Juicy Bs HardTune DeepHsLd Wired Ld ScreamLd PhunkyLd Speakin' FusionLd FlyingLd SpinCode UnisonHP 5thSplit Trancer AmbiDriv CmbChoir El Pizzo HPF Fall Category FAVORITE FAVORITE FAVORITE FAVORITE FAVORITE FAVORITE FAVORITE FAVORITE BASS BASS BASS BASS BASS BASS BASS BASS LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD POLY SYNTH POLY SYNTH POLY SYNTH P
No.
• In programs for which “Voice Mode” is set to Multi, the timbre 2 MIDI channel (“T2MIDIch”) is set to 9 as the factory default setting. • O-1–O-8 are programs that use the Formant Motion function (☞p.19) • P-1–P-8 are programs that use the mic input (audio input). In order to play these programs, you’ll need to connect a mic or external audio device to the R3, and play the keyboard while you input sound (☞p.15). Demo Songs No.
Trouble shooting Before you suspect a malfunction, please check the following points. Power does not turn on ❏ Is the AC adaptor connected to an AC outlet? ☞p.8 ❏ Is the [POWER/STANDBY] switch turned on (pressed inward)? ☞p.10 No sound ❏ If your powered monitor system or headphones connected to the correct jack(s)? ☞p.8 ❏ Is the connected monitor system powered-on, and is the volume raised? ❏ Is the MASTER VOLUME knob set to a position where sound will be output? ☞p.10 ❏ Is the 42.
Specifications and options Oscillator2: Wave: 4 Types: Sawtooth, Square, Triangle, Sine Modulation: Ring, Sync, Rng+Sync Wave Shape: Type: Drive, Decimator, HardClip, OctSaw, MultiTri, MultiSin, SubOSCSaw, SubOSCSqu, SubOSCTri, SubOSCSin, Pickup, LevelBoost Multimode filters: Filter1: -24 dB/oct LPF – -12 dB/oct LPF – -12 dB/oct BPF – -12 dB/oct HPF – Thru Filter2: LPF, HPF, BPF, COMB EG1, EG2, EG3, LFO1, LFO2 Vocoder: 16 channel vocoder, adjustable level and pan for each channel, Formant Shift function, F
IMPORTANT NOTICE TO CONSUMERS This product has been manufactured according to strict specifications and voltage requirements that are applicable in the country in which it is intended that this product should be used. If you have purchased this product via the internet, through mail order, and/or via a telephone sale, you must verify that this product is intended to be used in the country in which you reside.
