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Korg R3 User's Manual

1. Turning individual steps on and off to vary the arpeggio 6 7 With the PAGE dial set to the 32 Arpeggiator A or 33 Arpeggiator B page from the previous step the PROGRAM NUMBER 1 8 but tons will act as arpeggiator step on off buttons and will be lit the on state for the number of valid steps By turning a step off indicated by a blinking button the correspond ing step will change to a rest and the resulting arpeggio will change see the diagram below The on off status off each step can be set individually allowing even more rhythmic possibilities TYPE UP LAST STEP 8 559 559 589 689 89 859 89 89 k Sr e e eee Ge EG Sr hd Press the ARPEGGIATOR ON OFF button to turn the arpeggiator off the button will go dark ARPEGGIO NOCODR 15 Modulation Sequence 1 Playing back 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 1 Select a synth program You can use the modulation sequence with a s
2. PC USB MIDI Port n m MIDI OUT USB MIDI RX EXT gt RSKBDKNOB USBMIDITX N MIDI OUT PA MIDIIN USB MIDITX EXT i i RISOUND M USB MIDI RX NT gt gt MIDI IN MIDI THRU y KBDKNOBQUT TG OUTPUT DUMP OUT etc DUMP IN ete Figure 42 2 USB PC USB MIDI Port RS RI MIDI OUT USB MIDI RX EXT gt RSKBDKNOB USBMIDITX NT lt gt MIDI OUT Ra SOUND USB MIDI RX NT gt gt ah MIDI IN MIDI THRU Y KBDKNOBOUT TG OUTPUT DUMP OUT etc DUMP IN etc Figure 42 3 MIDI PC USB MIDI Port m RI MIDI OUT USB MIDI RX EXT R3KBDKNOB USBMIDITX NT MIDI OUT RAMON 4 USB MIDITX EXT e RI SOUND USB MID AX NT gt MIDIIN MIDI THRU e Y KBD KNOB OUT TG OUTPUT DUMP OUT etc DUMP IN etc 69 70 43 MIDI FILTER Here you can adjust the the R3 s MIDI Filter settings Knob 1 Prog Chg Program Change Disable Enable Selects whether program changes will be transmitted and received Disable Program changes will not be transmitted or received Enable Program changes will be transmit ted and received Ctrl Cha QE S 22 Disable IP Enable AS IR an LY KEX Knob 2 Ctrl Chg Control Change Disable Enable Selects whether MIDI control changes will be transmitted and received Disable MIDI control changes will not be transmitted or received Enable MIDI control changes will be transm
3. 86 Specifications and options 87 1 MMT Multi Modeling Technology synthesis engine 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 2 Advanced Formant Motion vocoding The R3 includes a sixteen band vocoder In addition to simulating the classic talking instrument vocoder sounds of yester year you can shift the filter frequencies and adjust the level and panning of each band to create highly original vocoder sounds There s also a Formant Motion feature that lets you capture the changing formants even words from your voice and reproduce them later as you play the keyboard without a microphone present 3 128 easily editable programs When shipped from the factory the R3 contains 128 preloaded programs Banks A N are loaded with 112 synth programs while banks O and P contain sixteen vocoder programs By selecting a page and turning any of the four knobs you can quickly and intuitively edit these sounds In addition to detailed editing these same knobs can be used as Perfor mance Edit controllers to modify the sound as you play 4 External sound processing Any external audio source can
4. mm A 30 i LI T 2 Modifying the sound On the R3 you can modify the sound to add expression to your perfor mance by turning the knobs 1 4 by moving the PITCH or MOD wheels or by the way that you play the keyboard Try out these various ways to modify the selected program Using the Performance Edit function In the R3 s normal state when the main display is showing the program name you can use knobs 1 4 to control specific parameters of the selected program in realtime This is referred to as Performance Editing The Performance Edit function of each knob can be set individually for each section Timbre 1 Timbre 2 and Vocoder See page 80 for more information With the factory preloaded data the Performance Edit functions for knobs 1 4 are generally set to the following parameters Timbre 1 Timbre 2 Knob 1 Filter Cutoff Frequency Cutoff1 Knob 2 Filter Resonance Amount Reso1 Knob 3 Filter Envelope EG1 Intensity EG1 Int1 Knob 4 Master Effect Dry Wet MFX D W Synth programs Using the PITCH and MOD wheels PITCH wheel Normally this wheel is used for bending the pitch Pushing the wheel up will bend the pitch up sharp l 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 rele
5. 11 Listening to the demo songs rrrsrrrvrrrrrevererrrsevererrereverrrsssevererssseverssssseseresnne 11 Synth programs cere ec iore erede a nto e epocha gen 12 1 Selecting and playing a program sess 12 2 Modifying the sound ceteri itio 12 Table of contents Vocoder programs srssenrenenrenenvenenrenenrenenseneneenenvenenssnensssenssnenssnenssnensen 14 1 Playing a vocoder program ssseeseeeeeee eene nene 14 2 Modifying the sound mmmsvererrrrererrrrrrsvererersevrerersrrerererersssavererssseverersssesene 14 Arpegglidlor 2 tette Iria ert edidere neat bn eee kir Keane ekon ans Using the arpeggiator eesieeeetm eret betreten eins Modulation Sequence 1 Playing back a modulation sequence 2 Recording a modulation sequence Formant Motion 5 5 eres oen eet se eerte eso eoo Pe oa Ne a sae esa se se sve ne E RUE 1 What is a Formant Motion cccccccccsscesscesscessceeceseceseecsecsseessecsaeessees 18 2 Recording formant motion data nesevrvrvrorrrervrrererererrsrererererserererssserene 18 Basic editing eter t cirerer esenea ernai add le eset vente et ud 19 Basic editing procedures sse ene ees 19 Editing Gach timbre te teneat dedii 20 Editing a vocoder program see eee 21 Editing the arpeggiator mevrvrsvsrrvrvrrrererererrererererreserererrsrevererssseverersssenene 22
6. eee 64 MIDTI related settings tee oett regina 65 42 MIDI esee eter eee eese oa cr MN NJ tse ree PE 68 43 MIDI FILTER S 70 44 MIDI CC MAP MIDI Control Change No Map 71 45 PATCH SOURCE crosiera arase a iaar aS Naan EEA 72 vi Table of Contents Pedal Switch parameters 73 HA PEDAL NN 73 Saving Data eerie tttate et etie oet teri asses tesesess 74 Saving your edited settings eee ee eene reete enne Saving a program ssssssseeeeeeee e Saving GLOBAL MIDI settings Saving Formant Motion data sssssssssseeeeee SHIFT functions eeeeeee eee eene eee eese sss Z5 Copying and exchanging timbres Initializing a program 75 Initializing Vocoder Parameters eese eene eterne eene tnnt 76 Copy Effeci sisi te ice b deae tak e Eb bee e T S piac 76 Doster duinp teet scenes iestecuedseusdecutstivacecstecssockesnancaastessnsotusnteves 77 Restoring the factory settings eese eene eene entente ene 78 Write protect setting eeeeeeeeeee eene eene eene ena one een isats esias 78 Other SHIFT key functions eere cere ree ee eterne tenente enne 79 Index oot E tti otc O1 Voice Name Lisl eere rores ae sere iio eerose via p eee OG Trouble shooting
7. Company names product names and names of formats etc are the trademarks or registered trademarks of their respective owners 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 cccccccsssssccccccsscssssccccccccscsscsccccceeee I Main Features The structure of a program Synthesizer eee Vocoder Front and rear panel sc ccsisecsssevsssccsdeceonaveosctasssesessiunssentececbonesosseaaseis Front panel 55 eet Sane 5 Rear panel eene eiaedeim eee eto rene rei 7 Preparations eo cceli ert vene sidera Yee uses Connections i i iis eet etre tek ee ar eren Exe FN Ern eee E SEEN PESE TEENS Ebro 8 Connections from the audio outputs 8 Connections to the audio inputs nmsvrvrrrvrererrrrererrrerrrrerererrrrereverssseversrssser 8 Connections to MIDI equipment computers see 8 Connecting the included mic sss 8 Corn cting the pedal eee tei Ee e E E 9 Turning the power on s esesresenrenenssvensenenvenensenennesennessenenssnensssenssnenssnenee 10 T The power supply eerte ette thee tn 10 2 Turning the power On saiisine nene nene nnns 10 3 Turning the power Off ctt tte enis 10 Quick Start eeeeeeeeeee eere eee eeeeeeeeeess T Demo songs R
8. Knob 3 HiEGFreq High EQ Frequency 1 00Hz 20 0kHz Specifies the cutoff frequency of the high equalizer shelving type 6 gE Knob 4 HiEQGain High EQ Gain 15 0dB 15 0dB Specifies the gain of the high equalizer Positive values boost the region above the cutoff frequency Negative values cut the region above the cutoff frequency 29 INSERT FX1 30 INSERT FX2 These are the settings for insert effect 1 and insert effect 2 pra Knob 1 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 CD ROM Drahlei Knob 2 Dry Wet Dry 99 1 1 99 Wet Sets the balance between the effect and dry sounds Knob 3 Effect parameter IFx1Knob This selects which parameter will be ed ited The sub display will show the name of the selected parameter e g Sens When you use Effect parameter knob 3 to select a parameter the display for knob 4 will switch to the value of that pa rameter The available parameters will de pend on the effect you choose for Type For details on the available effect types re fer to the Effect Guide in the included CD ROM IFx1Knob IFx2Knob Use knob 4 Value to select the effect parameter you ll control from knobs 1 4 in
9. FlyingLd SpinCode POLY SYNTH TubularB ModSweep BELL METAL MOTION UnisonHP POLY SYNTH ResoGate MOTION 5thSplit POLY SYNTH Tronika MOTION Trancer POLY SYNTH FleaComb MOTION AmbiDriv POLY SYNTH Arp Pad MOTION CmbChoir POLY SYNTH Wave Seg MOTION El Pizzo POLY SYNTH Glacial MOTION HPF Fall POLY SYNTH Octagon MOTION VNL 83 84 Program Name ChordHit Category PERC HIT Voice Mode Program Name Dukey Ld Category VINTAGE LEAD Voice Mode Arpeggio 5th Stut PERC HIT Pr5 Sync VINTAGE LEAD Seq Voice PERC HIT 700sLead VINTAGE LEAD Cyborg PERC HIT 30SCLead VINTAGE LEAD Nz Sweep PERC HIT MG SquLd VINTAGE LEAD P6 Chord PERC HIT A26 Lead VINTAGE LEAD Dust Vox PERC HIT GliderLd VINTAGE LEAD Syn Drum MovieSFX PERC HIT MG 5thLd OB Jumpr VINTAGE LEAD VINTAGE POLY NoiseSeq SolinStr VINTAGE POLY Windstrm OB Brass VINTAGE POLY FilterFX Jpt8 Dcy VINTAGE POLY Red Zone Pr5 Comp VINTAGE POLY Spectra Poly6Pad VINTAGE POLY HypDrive PMG Vibe VINTAGE POLY DSP Cryz Phospho ARP SEQ DW Brass Beat Vox VINTAGE POLY FORMANT MOTION ArpPu
10. i i Step Step Step Step 01 02 15 16 TN E Ees Tare ETS Alti Reverse Alte Forward One Shot Knob 2 SegType Sequence Type Forward One Shot Specifies the seguence type the direction in which the seguence will play Forward Play from the first step Step01 Figure 26 1 Reverse Play from the last step the step number specified by Last Step in reverse rs Figure 26 2 Alt1 Alternately play in Forward and Re verse directions Alt 1 immediately changes direction at the end points so the first step and last steps are played only once per loop rs Figure 26 3 Alt2 Alternately play in Forward and Re verse directions Alt 2 plays the first step and the last step on both the way up and on the way down so these steps will be played twice per loop ts Figure 26 3 One Shot The sequence will play for only one cycle and will maintain the value of the last step 7 N Knob 3 KeySync Off Timbre Voice Specifies how the sequence will be reset when note on occurs i e when a key is played Off The sequence will not be reset when note on occurs Timbre The sequence will be reset when the first note on occurs for a timbre from a condition of all keys being released In the case of a program for which different re gions of the keyboard play different tim bres i e a split program the reset will occur for the ti
11. Knob 1 Mode Single Layer Split Multi This parameter determines how many tim bres a program will use and how those timbres will be allocated This parameter cannot be selected for a vocoder program Single Only one timbre will be used rs Figure 1 1 Layer Two timbres will be used When you play the keyboard both timbres will sound simultaneously You can edit each timbre indi vidually rs Figure 1 2 Split Split Two timbres will be used You can specify a range of notes for each tim bre and play each timbre from a different area of the keyboard Each timbre can be edited separately Figure 1 3 Multi Multi Two timbres will be used This mode is mainly used when playing the R3 from an external MIDI device Each timbre can be edited separately 1 VOICE 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 mono phonically or polyphonically and how it will be retriggered note If you simultaneously press more keys than the specified number of voices the last pressed key will take priority Srlitkew framre SPlitkesiC 1 T2MIDIchiGlobal SrlitkegiG9 A T2MIDIchi 16 Knob 2 SplitKey Split Ke
12. 3 Select a vocoder program from bank P VOCODER The VOCODER button will light up 4 Sing or talk into the mic and turn the AUDIO INPUT 1 knob up to the right as far as you can without allowing the AUDIO INPUT 1 LED to light red Recording 5 Press the VOCODER button The button will blink 6 Press the FORMANT MOTION REC button The button will blink and you ll be in the record ready condition 7 Press the FORMANT MOTION REC button once again The moment you press the REC button recording will begin and the button will light 8 Speak or sing into the mic 9 Press the FORMANT MOTION REC button to stop recording noe Recording will stop automatically when the memory is full 10 Press the FORMANT MOTION ON OFF button the button will light Now you can play the vocoder program using the formant motion data that you just recorded Saving Here s how to save the formant motion data you just recorded 11 Press the WRITE button Make sure that the main display indicates Formant i e that formant motion data is the data that will be saved If the display indicates Program or Global use the PAGE dial to select Formant 12 Press the WRITE button once again The main display will indicate the save destination data number 13 Use the PAGE dial to specify the numbered location 1 16 where you want the formant motion data to be saved 14 Press the WRITE button The formant m
13. 4 Singor talk into the mic and turn the AUDIO INPUT 1 knob up to theright as far as you can without allowing the AUDIO INPUT 1 LED to light red SYNTHESIZER mm cnr E monow P mu Hm ut seri Eun o o s hm e O eoo O ista E O o stances O VINTAGE BASS ARPEGGIATOR 5 row sum O JJ O vmmnase sno 8 ON OFF LATCH mas ABO ADO o Ewo voume wan O meurz Bus MOD SEQUENCE FORMANT MOTION ON OH wc H voconer O vinrace roty N 1 4 5 While singing or talking into the mic play the keyboard Try speaking or singing different words and play various chords to hear the vocoder effect ES The Formant Motion programs Bank O can produce vocoder effect by simply by playing the keyboard no vocal input is required These programs use stored formant data to create the vocoder effect 2 Modifying the sound Just as with synth programs you can modify the sound of a vocoder program by turning the knobs 1 4 by moving the PITCH and MOD wheels by switching octaves and by how you play the key board Try using some of these methods to alter the selected program as described on the preceding pages With the factory preloaded data the Performance Edit functions for knobs 1 4 are generally set to the following par
14. MOD SEQUENCE TET FORMANT MOTION TIMBRE TMBRE2 VOCODER ON OFF REC OG en I0 O OW O 50 BANK PROGRAM SELECT PAGE MENU voc 2427 Nob sea n a BRE 1 2 BON AMP 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 MOD SEQUENCE FORMANT MOTION OFF button is dark ON OFF Select a timbre by pressing either the TIMBRE1 or Ch TIMBRE2 button The button for the selected tim bre will blink Turn the modulation sequencer on by pressing the MOD SEQ ON OFF button The button will light Turn the PAGE dial to enter Edit mode and select the page that con tains the parameter you want to record Press the MOD SEQ REC button to arm the modulation sequencer for recording While holding down notes on the keyboard turn one of the knobs 1 4 Recording will begin the moment you turn the knob When you ve reached the last step the REC button will go dark and recording will end Turning the knob of a parameter that can t be recorded will no
15. la lA Low resonance value A A m um m nmn i High resonance value A BPF 000 127 Resol Filter1 Resonance Sets the resonance of the filter This will emphasize the overtones near the cutoff frequency specified by Cutoff1 adding a distinctive character to the sound In creasing this value will increase the effect Since movement of the Cutoff1 knob will affect the overtones that are boosted by resonance it is best to adjust Cutoff1 and Reso1 in conjunction with each other rs Figure 8 1 A Depending on the cutoff frequency or the input audio increasing this value may cause distortion Figure 8 2 Serial FiltEall HPF LPF12 EFF LPF24 NThru Knob 3 FiltBall Filter Balance LPF24 LPF12 HPF BPF THRU Selects the filter type Intermediate settings will produce a response that is between the two filter types LPF12 12dB oct LPF24 24dB oct Low Pass Filter p 33 LFP HPF 12dB oct High Pass Filter r p 33 HEP BPF 12dB oct Band Pass Filter p 33 BFP THRU The sound will output directly without passing through the filter Figure 8 3 Parallel Rautinal Knob 4 Routing Single Serial Parallel Indiv Specifies the routing connection between filter 1 and filter 2 Single Only filter 1 is used Serial Filter 1 and fi
16. setting will be ignored note If you are holding down more notes than the maximum polyphony of the timbre the lowest pitches you are holding down will be played up to the maximum polyphony Knob 3 OctRange Octave Range 1 2 3 4 Specifies the range of octaves over which the arpeggio will be played Figure 32 1 Arpeggio type 0 U j 5 Q Q e e Om O f i mi 5 e gt w s mie ac m j e gt e Cm Knob 4 LastStep 1 8 Specifies the number of valid steps maxi mum number of steps for the arpeggia tor 33 ARPEGGIATOR B Here you can make additional arpeggio related settings nen 1885 Knob 1 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 Knob 2 ArpSwing Arpeggiator Swing 100 1 00 Specifies the percentage by which even numbered notes of the arpeggio will be shifted in timing relative to the first note Figure 33 1 Th
17. 3 button will blink The main dis play will ask you to confirm the opera tion 2 To initialize the vocoder settings press the 3 button The vocoder settings will be initialized and you ll return to Play mode If you decide not to execute the opera tion press the EXIT button The vocoder parameters will also be initialized if you initialize the pro gram Copy Effect 5 1 COPY EFFECT Copy effect setting Here s how to copy the effect settings from another program into a effect of the cur rently selected program Procedure 1 Hold down the SHIFT button and press the PROGRAM SELECT 5 but ton The 5 button will blink The main dis play will show the copy source program number and program name 2 Use the PAGE dial to select the copy source program 3 Press the 5 button The main display will show the copy source effect 4 Use the PAGE dial to select the copy source effect If the copy source effect is an insert ef fect Tmb1IFx1 Tmb1IFx2 Tmb2IFx1 Tmb2IFx2 select the combination of a timbre and insert effect If the copy source is a master effect MFx select a master effect If you se lect a master effect proceed to step 6 5 Press the 5 button Use the PAGE dial to select the copy destination insert effect and use the TIMBRE SELECT TIMBRE1 TIM BRE2 buttons to select the copy desti nation timbre 6 To execute the copy press the 5 but ton The settings wi
18. Data size Bytes Time required 1 Prog 452 Less than one second AllProg 57 856 approximately 3 minutes 15seconds Global 192 144 approximately 2 minutes 10 seconds AllData 250 000 approximately 5 minutes 30 seconds 77 78 Restoring the factory settings Write protect setting 7 1 PRELOAD 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 re ferred to as the preload data A When you restore the Preload settings the data within the R3 will be rewrit ten to the factory settings Be sure that you don t mind losing your current data before you restore the factory set tings A Do not touch the R3 s knobs or but tons while the Preload operation is being executed and never turn the power off during this operation The Preload data cannot be restored reloaded if the SHIFT function PRO TECT is on You must turn WRITE PROTECT off beforehand Procedure 1 Hold down the SHIFT button and press the 7 button The main display will show a screen where you can select the type of preloaded data that will be loaded 2 Turn the PAGE dial to select the data that will be restored to its factory set condition 1 Prog Load only data for one program 1 Voice 39 Lvl Pan page parameters front panel button and knob settings AllProg Load data for all 128 programs Global Load
19. Effect parameter knob 3 to select a pa rameter the display for knob 4 will switch to the value of that parameter The avail able parameters will depend on the effect you choose for Type For details on the available effect types refer to the Effect Guide in the included CD ROM MFx Knob Use knob 4 Value to se lect the effect parameter you ll control from knobs 1 4 in Play mode p 80 SHIFT function Knob assignment Knob 4 Value This specifies the value of the parameter you selected with Effect parameter knob 3 The sub display will show the value directly e g 0 127 The available param eters will depend on the effect you choose for Type For details refer to the Effect Guide in the included CD ROM If Effect parameter knob 3 is set to MFx Knob you can select the effect param eters you ll control from knobs 1 4 in Play mode rsp 80 SHIFT function Knob assignment Arpeggio parameters ARPEGGIATOR TEMPO knob Specifies the playback tempo of the arpeg giator EE The speed of modulation sequences and LFOs for which BPM Sync is On will be synchronized to the tempo you specify here Front Panel Arpeggio Parameters These are the parameters that can be set from the front panel ARPEGGIATOR section TEMPO e O ARPEGGIATOR ON OFF LATCH OG DEMO CALIBRATION ARPEGGIATOR TEMPO LED ARPEGGIATOR ON OFF button
20. For example you can set OSC2Semi to 24 and adjust OSC2Tune to produce a clear bell like sound The effect will be easier to detect if you lower OSC 1 Lvl and raise OSC 2 Lvl You can also create in teresting effects by using Virtual Patch to modu late OSC2Tune from LFO or EG Syne This type of modulation forcibly synchro nizes the phase of oscillator 2 to the phase of oscillator 1 and is useful for creating lead synth type sounds Figure 6 2 7 247 24 Knob 3 OSC2Semi Oscillator 2 Semitone 24 24 Specifies the detuning pitch difference relative to oscillator 1 in semitone steps over a range of plus or minus two octaves m If you want to use the sound of oscillator 2 as a component in the oscillator 1 over tone structure try setting it one octave or a fifth higher than oscillator 1 If you want to use oscillator 2 in harmony you can try intervals such as a third fourth or fifth Knob 2 For example select sawtooth wave for oscilla tor 1 and raise the OSC 2 Lvl p 31 7 MIXER Then edit OSC Semi and OSC 2 Tune to change the pitch and notice the result The effect will be more noticeable if the oscilla tor 2 pitch is raised above the oscillator 1 pitch You can also produce interesting effects by us ing Virtual Patch to modulate OSC2Tune from LFO or EG Rng Sync This simultaneously applies both Ring and Sync modulation Figure 6 3
21. How to read the pages for each section sss 22 Table of Contents Timbre Parameters sssscsssesssscsssccccceceeees 23 1 VOICE S E 23 2 UNISON 24 3 PITCH A cC 25 4 PITCH B e ioirotssorestocosspecsstoreososeesutese idaossa eeen enaos 26 5 0SCT Oscillator 1 dauer ee 27 6s OSC2 Oscillator 2 cseic ccsoasaxedocGocssscuesvesedosssontescossecsesvssaescoseoasesoeds 30 Z MIXER ERR 31 8 FILTER T A e H 32 9 FILTER V Biseccsccccsseicssscntatocssdvoncdesdocvedtoctedvacsedssesvecestsedsteesdectevessiseases 34 10 FILTER 35 LT FILTER 2 B eee rasere non dk ea enu 36 12 AMP Amplifier rettet tote ote eren oe in ete tete twee orte 37 13 DRIVE WS Drive Wave Shape eerte 38 IW K O O M 40 15 EG2 etx ete ee een tne eer eto tecesadestecuuvtessboatucesstegeuusessesuudesccssseacse 41 T6EG3 42 17 EG VELO INT EG Level Velocity Intensity ee 43 18 LIFO 17 197 LEO 2 eere d n eet ruo aut oen po roa apu Tua eene n ore eere ua 44 20 PATCH 1 21 PATCH 2 22 PATCH 3 23 PATCH 4 24 PATCH 5 25 PATCH 6 errore erret eren eno roo ranura a o eere iaa 45 26 MOD SEQ A Modulation Sequencer eere 46 27 MOD SEQ B Modulation Sequence eere 47 28 EQ Equalizer eterne tine
22. VOCODER button The VOCODER button will blink and the vocoder function will be on The vocoder is also selected for editing 3 Use the PAGE dial to select the 34 Carrier 39 Lev Pan pages and use knobs 1 4 to edit the vocoder parameters If you ve selected the vocoder as the target of your editing the PAGE dial will select only the pages containing the vocoder parameters 4 Press the EXIT button when you re finished editing 21 22 Basic editing Editing the arpeggiator 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 arpeg giator settings are adjusted using the 32 Arpeggiator A page and 33 Arpeggiator B page parameters Arpeggiator patterns can be up to eight steps long and each step can be individually switched on or off play or mute providing more rhythmic versatility Refer to page 15 for more information about arpeggiator steps Selecting which timbre s will be played by the arpeggiator In a synth program that uses two timbres you can select which timbre s will be played by the arpeggiator This is specified by Arpeg A page Assign knob 1 You can arpeggiate both timbres only timbre 1 or only timbre 2 Sync ing the LFO rate and the delay time to the arpeggiator By synchronizing the LFO 1 2 rate to the tempo of the arpeg
23. audio signal Oscillator 2 OSC2 lets you choose from four different oscillator waves sine triangle square and sawtooth The noise genera tor NOISE produces white noise You can use this for a variety of sound shaping situations such as adding breath noise for a wind instrument sound or as part of a special effect sound Modulation such as cross modulation unison and VPM Variable Phase Modulation can be applied to the analog synthesizer waveforms of Oscillator 1 Oscillator 2 can be used as the modulating oscillator for the sync modulation SYNC or ring modulation RING that are such classic analog synthesizer techniques The best elements of SYNC and RING modulation can be combined using a third option RING SYNC Voice Unison Pitch These sections provides additional parameters relating to the oscillators such as trigger mode unison stacking transpose portamento bend range etc For die hard analog fans this is also where you can find the Analog Tune parameter used to introduce simulated oscillator drift Mixer MIXER The mixer adjusts the volume levels of oscillator 1 OSC1 oscillator 2 OSC2 and the noise generator NOISE and sends the combined signal to the filter FILTER Filter FILTER1 FILTER2 The filter section consists of two multi mode resonant filters The two filters can be routed in series or parallel or even side by side in a one oscillator per filter arrangement The filters adjust the
24. bi Vocoder Sw ON amp Modulator AudioSrc Timbre2 Timbre 2 INSERT FX1 2 OUTPUT MASTER FX L MONO R Vocoder Band 16 Direct Level 7 HPF Band1 E F Sens Level Audio Input 1 9 Timbre 2 o ANALYSIS ENVELOPE jedia FILTER FOLLOWER FORMANT LEVEL MOTION DATA Audio Input 2 H Resonance Formant Motion On Off Y TE timbre 1 Eo SYNTHESIS Carrier FILTER Levell 16 Panl 16 er HD LEVEL Fc Offset Formant shift Vocoder section VOCODER The vocoder divides the audio spectrum into bands In the R3 the vocoder uses 16 bands There are actually two sets of 16 bands the first is used to analyze the tonal characteristics of one sound the Modulator and the second set is used to apply the same characteristics to another sound the Carrier Each analysis band contains a bandpass filter and an envelope follower Each synthesis band contains a band pass filter whose output is controlled by the matching envelope follower in the analysis band The modulator s audio signal is sent through the sixteen bandpass filters the analysis filters and the envelope follower detects the volume envelope change over time for each of these frequency bands The carrier s audio signal is sent through the other set of sixteen bandpass filters the synthesis filters and the envelope detected from each analysis filter is applied to each synthesis filter to modulate the sound producing the impress
25. dBu AUDIO INPUT1 knob Max Outputs L MONO R jacks Connector 1 4 phone jack unbalanced Output impedance 1 1 k MONO 550 Maximum output level 7 5 dBu or more Load impedance 10 k or mor e PHONES jack Connector 1 4 phone stereo jack Output impedance 10 Maximum output level 35 mW Load impedance 33 Foot switch ASSIGNABLE SW jack ASSIGNABLE PEDAL jack MIDI IN OUT THRU connectors USB B connector Display Main display 8 charactors x 2 line LCD module Sub display x4 8 charactors x 1 line LCD module Power supply DC12V 6 5 W Dimensions 635 x 270 x 76 mm Inches 25 00 x 10 63 x 2 99 W x Dx H Weight 2 8kg 6 17 Ibs Included items Gooseneck microphone AC adaptor DC12V CD ROM Options EXP 2 foot controller XVP 10 EXP VOL pedal PS 1 pedal switch Appearance and specifications of this product are subject to change without notice 87 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 WARNING Use of this product in any country other than that for which it is intended could be dangerous and could invalidate
26. note to the next 25 26 4 PITCH B In this section you can specify how the PITCH and MOD wheels will affect the pitch Esas 66 Knob 1 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 a Uib Int TTT I 2400 2408 Knob 2 Vib Int Vibrato Intensity 2400 2400 Specifies the depth of vibrato that will be applied when you move the MOD wheel all the up m By default LFO2 is the vibrato source for the MOD wheel 5 OSC 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 r p 28 29 Maue Sine Formant Knob 1 WAVE Waveform Select Saw Pulse Triangle Sine Formant Noise DWGS Audio In Selects the waveform for oscillator 1 The Saw Pulse square Triangle and Sine are traditional waves associated with analog synthesizers Saw A sawtooth wave Pulse A pulse wave Triangle A triangle wave Sine A sine wave Formant A formant
27. of 0 keyboard tracking will not affect the cutoff frequency Keyboard Track operates according to the pitch that is controlled by pitch bend and transpose It is not affected by pitch changes produced by vibrato or Virtual Patch 63 Knob 3 VelSens1 Velocity Sensitivity Filter1 63 63 Specifies how velocity keyboard playing dynamics will affect the cutoff frequency Positive values will cause the cutoff fre quency to rise as you play more strongly Negative values will cause the cutoff frequency to fall as you play more strongly Knob 1 x Figure 9 1 EG Intensity Note on Note off Time Figure 9 2 EG Intensity positive settings Cutoff 4 Int 32 Int 63 Note on Note on Note off iu s Cutoff frequency specifiedby _ LV Int 0 Cutoff d Time Figure 9 3 EG Intensity negative settings Cutoff 4 cut ready Int 32 Int 63 T specified by PL Cutoff i Note off Note on Note on Note off Time 10 FILTER2 A Here you can adjust the settings of the filter 2 parameters The 8 Filtl 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 A The filter 2 parameters are not shown if Routing1 is Single Cutoffz Knob 1 Cutoff2 Filter2 Cutoff 000 127 This is the same as fo
28. the input signal from the mic will be output from the OUTPUT L MONO R jack and PHONES jack This is the AUDIO IN THRU function Hold down the SHIFT button and press the VOCODER button once again to return to the normal state amp Be careful of the input and output levels 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 expres sion 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 Expres sion Exp Pedal p 73 ASSIGNABLE SWITCH jack This jack is used for a switch type of pedal such as the Korg PS 1 pedal switch or Korg DS 1H damper pedal The foot switch can be used for various functions including switching programs changing octaves or turning portamento or the arpeggiator on off The pedal can be set to act as a momentary pedal or as a toggle type of switch pedal The function controlled by the switch can be specified in the 46 Pedal Sw page A SwFunc The factory default setting for the assignable switch is Damper p 73 Connections m 10 Turning the power on 1 The power supply Before you connect the power supply make sure that the POWER STANDBY switch is turned off i e in the outward position
29. Catch and Jump modes In some cases the parameter values won t seem to change when you are turning knobs 1 4 This can happen if the KnobMode 41 Global B page is set to Catch In the Catch mode the physical knob must be turned to the position matching the stored value shown by the LEDs around the perimeter of each knob before any further editing of that parameter can begin This allows you to make fine adjustments without any sudden or unnatural sounding jumps occurring in the sound For example suppose that before you begin editing the knob is in the position shown at left aar The actual value of this parameter is saved at the position shown by the triangle in the diagram at left In the Catch mode the parameter value will not change until you turn the EU knob all the way to that position Once the knob reaches the position of the actual saved value the knob and parameter value will begin changing in tandem and you can begin to edit the value On the other hand if the KnobMode is set to Jump turning the knob will cause the parameter s value to jump immediately to the actual position of the knob 19 20 Basic editing Returning a parameter to its original value When editing you can always return any edited parameter to its origi nal value Simply rotate the knob assigned to that parameter until the ORIGINAL VALUE LED remains steadily lit m If you select another program or re select
30. Normally when controlling an external MIDI tone generator from the R3 you will set Position to PostKBD The various settings listed above will affect the MIDI data that is transmitted The received data will be processed as Transpos 0 VelCurve 4 e Normally when controlling the R3 s tone generator from an external MIDI de vice you will set Position to PreTG The various settings listed above will affect the MIDI data that is received The transmitted data will be processed as Transpos 0 and VelCurve 4 MIDI FILTER settings The 43 MIDI Filt page setting specifies whether program change pitch bend con trol change and system exclusive messages will be transmitted or received 1 p 70 Virtual patch modulation source settings You can assign three different MIDI control messages MIDI 1 2 3 as virtual patch modulation sources Make the desired assignments in the 45 PatchSrc page p 72 and then select MIDI1 or MIDI2 etc as the virtual patch source knob 1 for the virtual patch settings 20 Patch1 25 Patch6 This lets you control modulation via MIDI The modulation source FcModSrc of the cutoff frequency of the vocoder s carrier band pass filters can also be controlled via MIDI simply select MIDI 1 2 or 3 as the virtual patch modulation source CONTROL CHANGE settings You can assign control change numbers to the major parameters that affect the sound and use an e
31. Play mode p 80 SHIFT function Knob as signment Knob 4 Value This specifies the value of the parameter you selected with Effect parameter knob 3 The sub display will show the value directly e g 0 127 The available param eters will depend on the effect you choose for Type For details refer to the Effect Guide in the included CD ROM If Effect parameter knob 3 is set to IFx1 Knob or IFx2 Knob you can select the effect parameters you ll control from knobs 1 4 in Play mode rp 80 SHIFT func tion Knob assignment 49 50 31 MASTER FX In this page you can adjust the master effect settings note 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 ae Knob 1 Effect Type NoEffect Comp Talk Mod Selects the effect type used by the master effect For details on the available types refer to Effect guide in the included CD ROM Druvllet Knob 2 Dry Wet Dry 99 1 1 99 Wet Sets the balance between the effect and dry sounds Knob 3 Effect parameter MFx Knob This selects the parameter to edit The sub display will show the name of the selected parameter e g Sens When you use
32. etc will operate at the tempo specified by the R3 s TEMPO knob 2 Using the external MIDI device as master and the R3 as slave Connect the R3 s MIDI IN connector to the external MIDI device s MIDI OUT con nector p 64 If you select the PAGE dial to the 42 MIDI page and set 42 MIDI page Clock knob 4 to Ext MIDI the R3 will be the slave The R3 s arpeggiator will operate at the tempo of the external MIDI device sequencer rhythm machine etc note If you set 42 MIDI page Clock knob 4 to Auto the R3 will automatically function using the Ext MIDI setting if MIDI clock is being received from an external MIDI device connected to the MIDI IN connector Otherwise the R3 will function using the Internal setting m If the R3 is synchronized to the MIDI clock of an external MIDI device its ar peggiator will reset when a MIDI Start message FA is received This will also cause LFOs and modulation sequences to be reset if Key Sync is Off 67 68 42 MIDI Here you can make MIDI related settings for the R3 re Bl N16 Knob 1 MIDI Ch MIDI Channel 01 16 Specifies the MIDI channel When you wish to transmit program changes or sys tem exclusive messages via MIDI set the global MIDI channel to match the MIDI channel of the connected MIDI device Local orf Or Knob 2 Local Off On Switches the local setting on and off Off With this setting contr
33. is adjusted by the output level of each oscillator in the 7 Mixer page p 39 Figure 13 1 ES Only the Drive setting differs from the wave shape effect Decimatr Lowers the sampling frequency p 39 Figure 13 2 HardClip Flattens any portion of the wave form above the limit p 39 Figure 13 3 7 Position FreFilt Knob 2 Position PreFilt1 Pre Amp Specifies the position at which the drive or wave shape functions will be applied PreFilt1 Drive or wave shape will be ap plied before filter 1 r p 39 Figure 13 9 Pre Amp Drive or wave shape will be ap plied after the filter and before the amp 5p 39 Figure 13 10 Me Derth Bad 127 Knob 3 WS Depth Wave Shape Depth 000 127 Specifies the depth at which the drive or wave shape functions will be applied OctSaw Cuts the portion of the waveform above the threshold level and inverts it to keep it within limits 5p 39 Figure 13 4 Knob 1 MultiTri Sending a sawtooth wave through this will produce a triangle wave s5p 39 Figure 13 5 MultiSin Sending a sawtooth wave through this will produce a sine wave 15p 39 Figure 13 6 SbOSCSaw SbOSCSqu SbOSCTri SbOSCSin The selected waveform will sound one octave below oscillator 1 Depth knob 3 adjusts the mix amount relative to oscillator 1 7 Knob 1 x Pickup This simulates an electromagnetic pickup
34. of the vocoder output FoOff set Knob 2 FcOffset Fc Offset 63 63 This continuously shifts the cutoff fre quency of each band pass filter Synthesis filter of the carrier FrmntSft and FcOffset lcd Reso aaa 127 Knob 3 Vcd Reso Vocoder Resonance 000 127 Specifies the amount of resonance for each band pass filter of the carrier Increasing this value will emphasize the regions near each cutoff frequency When FrmntSft 0 and FcOffset 0 the response of the carrier filters will match the cutoff frequency of the modulator filters The filter response is shifted upward or down ward in two discrete steps by the FrmntSft This can be adjusted upward or down ward a total of another two steps by using FcOffset giving you a total of four steps of adjustment upward or downward 63 4 0 463 Cutoff range in which BPF 8 will change Formant NN 63 lt gt 0 63 Cutoff range in which BPF 8 will change Frequency Frequency Knob 4 E F Sens 000 126 Hold Specifies the sensitivity of the modulator s Envelope Followers Lower settings of this value will allow the attacks of the input sig nal to be detected more rapidly If you set this to Hold the character of the signal that is being input at that moment will be held Formant Freeze Subse quently the s
35. that includes the parameter you want to edit Consider how the current program differs from the sound you have in mind and select the parameter that you want to edit 3 Edit the value of the parameters available in the selected page using knobs 1 2 3 and 4 The parameter controlled by each knob is shown in the sub display located above each knob For example if you re editing a synth program and you ve selected the 8 Filt A page in step 2 knob 1 will adjust the cutoff frequency knob 2 will adjust the resonance knob 3 will adjust the filter balance and knob 4 controls the filter routing MOD SEQUENCE nune setect FORMANT MOTION TIMBRE TIMBRE VOCODER ON OFF REC CCH HOOOC BANK PROGRAM SELECT Basic editing Go ahead and try editing the 15 EG2 page ozBameters Attack2 and Decay2 p 41 the 3 Pitch A page parameter Portamnt p 25 or the 29 Insert FX1 page parameter Type to hear the result rp 49 4 Repeat steps 2 3 as necessary to create the desired sound 5 Write the program into memory p 74 amp If you select another program or turn the power off before you write the program into memory your edits will be lost H The difference between
36. the manufacturer s or distributor s warranty Please also retain your receipt as proof of purchase otherwise your product may be disqualified from the manufacturer s or distributor s warranty KO R KORG INC 4015 2 Yanokuchi Inagi city Tokyo 206 0812 Japan 2006 KORG INC
37. this is set to ExpPedal Volume The pedal will control the volume of the timbres used in the program CC 07 ExpPedal The pedal will control the volume ofthe timbres used in the program The expres sion value is multiplied by the volume value to specify the actual loudness CC 11 Pan The pedal will control the panning of the timbres used in the program CC 10 If the 44 MIDI CC page Panpot is as signed to CC 10 you can control the ste reo panning of the output AftTouch The pedal will control the aftertouch for timbres used in the program ModWheel The pedal will control the ef fect of the modulation depth CC 01 BrthCtrl The pedal will control the MIDI control change Breath Control CC 02 FootPdl The pedal will control the MIDI control change Foot Control CC 04 Damrer NFootSu Knob 2 A SwFunc Assignable Switch Function Damper Foot Sw Selects the function of the pedal switch connected to the ASSIGNABLE SWITCH jack With the factory settings this is set to Damper Damper The pedal switch will function as a damper pedal CC 66 ProgUp ProgDown Thepedalswitchwill advance to the program with the next high est increment or next lowest decrement number OctUp OctDown The pedal switch will change the octave Turning the switch on will shift the pitch by 1 1 octave PrtmnSw The pedal switch will function as a portamento on off switch CC 65 ArpSw The p
38. tim bre that you were soloing The solo setting will be defeated If you execute this while editing the timbre being edited will change AUDIO IN THRU 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 Hold down the SHIFT button and press the VOCODER button When this function is on the audio sig nal from the AUDIO INPUT 1 or MIC and AUDIO INPUT 2 jacks will be passed through and sent from the OUTPUT L MONO and R jacks This will turn on off each time you press the button ES The 41 Global B page Thru Src pa rameter specifies the input jack s to which the Thru function will apply 79 80 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 VO CODER buttons to select the section you want to control from the knobs ES When the R3 is shipped from the fac tory typically useful parameters are al ready assigned to the knobs As an example here s how to make knob assignments for timbre 1 1 Hold down the SHIFT button and press the MOD SEOUENCE FORMANT MO TION O
39. to save the global data p 74 Arpeggiator will not start A Is the arpeggiator turned on ON OFF button lit v p 15 A Is the 42 MIDI page Clock knob 4 setting correct vs p 68 No response to MIDI messages sent from an external device 4 Is the MIDI cable or USB cable connected correctly r p 65 A Does the MIDI channel of the data transmitted from the external MIDI device match the MIDI channel of the R3 r p 65 Does not respond correctly to MIDI messages sent from an external device I Is the 43 MIDIFilt page parameters for that type of MIDI message set to Enable p 70 Transpose velocity curve and arpeggiator data is not recognized correctly I Is 40 Global A page Position knob 4 set appropriately vsp 62 Can t control two timbres on separate MIDI channels T The R3 uses only one MIDI channel to transmit and receive when 1 Voice page Mode knob 1 is set to Single Layer or Split You can use two MIDI channels to play the two timbres independently only when 1 Voice page Mode knob 1 is set to Multi Specifications and options Tone generator system MMT Multiple Modeling Technology Programs Number of timbres maximum 2 when using Layer Split or Multi Maximum polyphony 8 voices Structure Synth 2 oscillators noise generator Oscillator1 Wave 8 Types Sawtooth Pulse Triangle Sine Formant Noise DWGS Audio In Modulation Waveform Cross Unison VPM Oscillato
40. youtailor the re sponse of the keyboard to your own playing style Lighter curves are best for heavy handed players higher curves may work better for players with a light touch rs Figure 40 1 1 This curve requires you to play strongly in order to produce an effect 3 4 Thisisthetypical curve 5 6 This curve produces an effect without requiring you to play very strongly 7 This curve produces a fairly steady ef fect with little change for medium strength playing 8 This curve produces a fairly steady ef fect with little change for medium strength playing a flatter curve than 7 Const127 Allnotes will sound maximum velocity 127 This setting mimics the be havior of early analog synths m Curves 7 and 8 produce little change for medium strength playing How ever these curves will also produce a V Knob 4 Position Post KBD Pre TG Specifies the internal MIDI IN OUT rout ing within the R3 This setting will affect the way in which MIDI data is transmitted and received and how the arpeggiator data is handled Post KBD Inthis position incoming MIDI data will be sent to the timbres without being affected by the global or front paneltranspose controls and will not trig ger the arpeggiator Data produced by the keyboard will be converted according to the internal settings routed through the ar peggiator arpeggiator notes are sent as MIDI data and then sent t
41. 1 EG2 EG3 EG1 EG2 or EG3 LFO1 LFO2 LFO1 or LFO2 Velocity Keyboard velocity playing dy namics PitchBnd Pitch bend ModWheel Modulation wheel KeyTrack Keyboard tracking position EG1 MIDI3 note Keyboard tracking works according to the pitch as controlled by pitch bend transpose and modulation sequencer It does not reflect pitch changes pro duced by vibrato or virtual patching MIDI1 MIDI2 MIDI3 The function specified for the Global mode 45 PatchSrc page parameters MIDI1 MIDI2 or MIDI3 m Fitch LFO2F res Knob 2 Dest1 6 Destination Pitch LFO2Freq Selects the parameter destination that will be controlled by the modulation For ex ample if you select Tune modulation will be applied to the overall pitch of the timbre Pitch The pitch of the entire timbre OSC2Tune The 6 OSC2 page OSC2Tune OSC1Ctrl The 5 OSCI page knob 3 pa rameter OSC1Lvi The 7 Mixer page OSC1 Lvl OSC2Level The 7 Mixer page OSC2 Lvl NoiseLvl The 7 Mixer page NoiseLvl FiltBal1 The 8 Filt1 A page FiltBall Cutoff1 The 8 Filt1 A page Cutoff1 Reso1 The 8 Filt1 A page Resol Cutoff2 The 10 Filt2 A page Cutoff2 WS Depth The 13 Drive WS page WS Depth Level The 12 Amp page Level Panpot The 12 Amp page Panpot LFO1Freq The P18 LFO1 page Freq LFO2Freq The P19 LFO2 page Freq Se
42. 3 26 Modulation Cross 27 Oscillator 30 Ring 30 Ring and Sync 30 Sync 30 Unison 27 Variable Phase 27 Waveform 27 Modulation Sequence Playback 16 Recording 16 Modulation Sequencer 3 Modulation source 45 Modulator 4 56 Monophonic 23 Multi timbral 65 N Noise Generator 31 O OCTAVE UP and DOWN buttons 13 Oscillator 2 27 30 Oscillator modulation 27 30 P Panpot 37 60 Pedal switch 73 Performance Edit function 12 Pitch 25 62 Pitch bend message 70 PITCH wheel 13 Playback speed of the sequence 46 Playback tempo of the arpeggia tor 51 Polyphonic 23 Portamento 25 Power on 10 Preload data 78 Processing an external audio signal 29 Program Initialize 75 Rename 75 Select 12 14 Pulse wave 27 Pulse width modulation 28 81 82 Index R 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 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 12 Synthesis filter 4 59 T Timbre 2 23 Transpose 25 62 Tremolo 44 Triangle wave 30 U Unison OSC1 Mod 27 V Variable Phase Modulation 2 27 Velocity 13 3
43. 4 36 43 62 Vibrato 44 Virtual Patch 1 3 45 66 Vocoder 4 14 54 Vocoder parameters 54 Vocoder program 14 Volume 37 Volume balance of oscillator 31 VPM Variable Phase Modula tion 27 W Wah 44 Wave Shape 2 38 Waveform 27 30 44 Waveform Modulation 27 Write protect setting 78 Program Program Name Hypnotic Category FAVORITE Voice Mode Arpeggio Program Name Strings Category PAD STRINGS Voice Mode Arpeggio SweepPad FAVORITE Warm Pad PAD STRINGS Talk Seq FAVORITE AirGlass PAD STRINGS Komputer FAVORITE 5thGlide PAD STRINGS SyncCity FAVORITE PhaseStr PAD STRINGS VelSquBs FAVORITE StrngPad PAD STRINGS AlphaMod FAVORITE Xtal Pad PAD STRINGS Wide Saw LinerzBs FAVORITE BPFSweep P5 Clav PAD STRINGS KEYBOARD RingBass Wurly EP KEYBOARD Urban Bs VPM EP KEYBOARD DigiBass ArpOrgan KEYBOARD Smack Bs DirectEP KEYBOARD BiteBass Jazz Gtr KEYBOARD HooverBs Wah Clav KEYBOARD Juicy Bs HardTune NuResoEP XtalBell KEYBOARD BELL METAL DeepHsLd MotionBl BELL METAL Wired Ld DeciBell BELL METAL ScreamLd DigiHarp BELL METAL PhunkyLd CrossMod BELL METAL Speakin NoizBell BELL METAL FusionLd PolyShot BELL METAL
44. 66 Arpeggio parameters 51 Arpeggio type 52 Assignments 80 Attack level 40 Attack time 40 Audio in 27 Audio In Thru 79 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 eguipment 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 dump 77 Decay time 40 Demo song 11 79 Destination 45 Detuning 30 Drive 2 38 Drive Wave Shape 2 38 DWGS 27 28 E Editing 19 Arpeggiator 22 52 Timbre 20 23 Vocoder 21 54 EG Envelope Generator 3 40 41 EG Level Velocity Intensity 43 Envelope filter 58 Envelope follower 4 58 EQ Equalizer 3 48 F Filter 2 32 35 58 BPF 33 HPF 33 LPF 33 Routing 32 Filter EG 40 Foot pedal 73 Formant Motion 4 18 74 Recording 18 54 Formant shift 4 58 Frequency 44 48 G Gain 48 Gate time 53 Global data 74 Global MIDI channel 23 Global parameters 61 H HPF High pass filter 33 l Initializing Program 75 Vocoder 76 Insert effects 3 49 K Keyboard tracking 13 34 36 37 L Level 60 LFO 3 28 44 Local Control 66 LPF Low pass filter 33 M Master effect 3 50 Mic 8 MIDI 64 MIDI channel 65 68 MIDI control change messages 71 MIDI Filter 70 MIDI parameters 68 MIDI sequencer 66 MIDI system exclusive messages 70 Mixer 2 31 MOD wheel 1
45. 7 Knob 4 OSC2Tune Oscillator 2 Tuning 63 63 Specifies the amount of detune for OSC2 rela tive to OSC1 A setting of 63 produces a pitch difference of 2 octaves and 48 produces a pitch difference of 1 octave Values near 0 will make fine adjustments in the pitch note If OSC2 Mod is set to Sync adjustments in OSC Semi or OSC2Tune will change the pitch of the overtones The pitch of the fundamental will not change K nob 2 IN Figure 6 1 Ring OSC2 Wave MW OSC2 Output OSC1 Wave NA d OSC1 Output Figure 6 2 Sync OSC2 Wave gt gt OSC2 Output Sync OSC1 Wave L DSV OSC1 Output Figure 6 3 Ring Sync OSC2 Wave In 8 nyh OSC2 Output syne E NE OSC1 Wave NA OSC1 Output 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 rn Knob 1 OSCI Lvl OSC1 Level 000 127 Sets the output level of oscillator 1 12 Knob 2 OSC2 Lvl OSC2 Level 000 127 Sets the output level of oscillator 2 BAG 127 Knob 3 NoiseLvl Noise Level 000 127 Sets the output level of the noise genera tor This noise generator generates white noise This is independent of the white noise that can be selected as a waveform for oscillator 1 Wave Noise This does not have filter or resonance as th
46. 7 63 63 The function controlled by this knob is de termined by the Wave and OSC Mod settings r amp p 28 With some settings this will produce noise Knob 2 Unison Unison simulates skewing the pitch of five stacked oscillators from within a single oscillator to create a richer sound Unlike the unison SW parameter from the 2 Unison page this function does not require additional po lyphony VPM Variable Phase Modulation VPM produces metallic sounding overtones using a sine wave at a harmonic integer mul tiple of oscillator 1 s fundamental to modulate the phase of oscillator 1 In contrast to Cross Modulation which produces sounds that have a modulating character VPM waveforms re main static as the new overtones are added Oscillator 1 relies on its own sine wave gen erator so unlike Cross Modulation oscil lator 2 has no effect on VPM LFOL Mod Knob 4 OSC1Ctr2 Control2 000 127 63 63 001 064 001 032 The function controlled by this knob is de termined by the Wave and OSC Mod settings rs p 28 Figure 5 1 Cross Mod Cross Mod Depth osct output osct Freq Mod output Figure 5 2 Unison Mod Unison Detune 4 Y ER OSC1 Output 27 28 5 OSCI Oscillator 1 When Knob 1 Wave Saw Pulse Triangle Sine and Knob 2 OSC1 Mod Waveform Knob 3 Control1 Wavefo
47. AL structure GLOBAL 61 62 40 GLOBAL A The settings you make here will apply to the entire R3 such as the overall tuning and the velocity curve ene ker BHz 438 GHz 458 OHZ Knob 1 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 Knob 3 great deal of change with softly played notes so they may be more difficult to control Choose the curve that is most appropriate for your playing dy namics or the effect you want to ob tain Figure 40 1 Velocity curve MAX 127 Velocity MIN 1 ppp Strength fff 1 MIDI Velocity 127 Transros ae 127 12 Knob 2 Transpos Transpose 12 12 Adjusts the overall pitch in steps of a semitone 100 cents over a range of one octave up or down Use this when you want to transpose to suit the song you are playing Knob 4 MIDIIN Figure 40 2 Post KBD wom AM Figure 40 3 Pre TG MIDI IN O q GLOBAL Master Transpose iml FRONT PANEL Octave i era a Timbre 2 lator Timbre 2 Timbre 1 MIDI OUT MIDI OUT Timbrei lt Arpeggi We Cure Knob 3 VelCurve Velocity Curve 1 8 Const127 Different velocity curve let
48. ARPEGGIATOR LATCH button This will blink at quarter note intervals of Switches the arpeggiator on off The but Specifies latch operation for the arpeggia the tempo specified by the TEMPO knob ton will light if this is on tor E tinue playing after you take your hand off the keyboard Off button dark Thearpeggiator will stop playing when you take your hand off the keyboard 51 52 32 ARPEGGIATOR A Here you can make various arpeggio related settings Timbrei Knob 1 Assign Timbre1 Timbre2 Tmbr1 2 Selects the timbre s that will be sounded by the arpeggiator Timbre Only timbre 1 will be sounded by the arpeggiator Timbre2 Only timbre 2 will be sounded by the arpeggiator Tmbr1 2 Both timbres will be sounded by the arpeggiator Knob 2 Type Arpeggio type Up Down Alt1 Alt2 Random Trigger Selects the arpeggio type Figure 32 1 Up Notes will be played consecutively from low pitches to high Down Notes will be played consecutively from high pitches to low Alti Up and Down will be alternated The highest and lowest notes will be played once Alt2 Up and Down willbe alternated The highest and lowest notes will be played twice once on the way up and once on the way down Random Notes will be played randomly Trigger The notes you are holding down will be played simultaneously at the tempo and Resolutn timing The OctRange
49. AUDIO INPUT 1 and AUDIO INPUT2 knob to the MIN position and set the MIC switch to REAR 2 Connect the output jacks of your ex ternal device to the AUDIO INPUT 1 jack and AUDIO INPUT 2 jack and set the AUDIO INPUT 1 MIC LINE switch to LINE 3 After making connections turn the power on to your external device the R3 and your powered monitor speaker system in that order 4 Select a synth program and initial ize it hold the SHIFT button and press the PROGRAM SELECT 2 button Press the blinking 2 but ton to initialize EXIT to cancel 1 p 75 5 Turn the PAGE dial to the 5 OSC 1 page and set WAVE knob 1 to Audioln 6 Send an audio signal from the exter nal device and turn the AUDIO IN PUT 1 and AUDIO INPUT2 knob toward MAX as far as possible with out allowing the AUDIO INPUT 1 and AUDIO IN 2 LED to light red 7 While inputting an audio signal play the keyboard 8 Edit the FILTER AMP EG LFO and effects as described in Basic edit ing procedure p 19 to modify the sound The PITCH related parameters have no effect on the sound from the AU DIO INPUT 1 and AUDIO INPUT 2 jacks M In this example you could connect the R3 s MIDI OUT to the MIDI IN of your external MIDI device and set the MIDI channels to match so that your sound module or other external MIDI device will produce sound when you play the keyboard of the R3 p 64 You can use the R3
50. Connecting the AC adaptor Firmly insert the plug of the included AC adaptor into the jack Then connect the AC adaptor to an AC outlet A Never use any AC adaptor other than the included one 0 0 0 0 0 0 2 Turning the power on A Before you turn on the R3 s power you should lower the level of your monitor system or other connected output device Turn the R3 s MASTER VOLUME knob all the way toward the left 2 Press the POWER STANDBY switch to turn on the power The display will indicate the program number and name 3 Turn the R3 s MASTER VOLUME knob toward the right to an ap propriate position 4 Adjust the volume of your external output device H Cd IN EET T LLM 3 Turning the power off 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 amp Never turn the power off while data is being saved i e while Write is executing Doing so may damage the internal data 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 ARPEGGIA
51. Depth knob 3 adjusts the depth rsp 39 Figure 13 7 The above illustration for Pickup shows differences in the output wave form when a sine wave at C4 is input The transformation will vary depend ing on the input pitch Lv1Boost Boosts the output level Depth knob 3 adjusts the amount of boost r p 39 Figure 13 8 This may produce high output vol umes than other wave shape types 13 DRIVE WS Drive Wave Shape Figure 13 1 Drive Figure 13 8 LvlBoost Depth 000 Depth 064 Depth 127 Depth 000 Depth 064 Depth 127 Figure 13 2 Decimatr Figure 13 9 Position PreFilt Depth 000 Depth 064 Depth 127 Osc DRIVE WS s FILTER 1 gt AMP gt Figure 13 10 Positon Pre Amp Figure 13 3 HardClip l l L Depth 000 Depth 064 Depth 127 os FILTERI DRIVE WS gt _amp_ gt TSN Figure 13 4 OctSaw Depth 000 Depth 064 Depth 127 NPA Figure 13 5 MultiTri Depth 000 Depth 064 Depth 127 NN Figure 13 6 MultiSin Depth 000 Depth 064 Depth 127 Ra Figure 13 7 Pickup Depth 000 Depth 064 Depth 127 fV MAA 39 14 EG I Here you can adjust the settings of the Filter EG which applies time variant change to the tone 1Figure 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 effec
52. F Inti wmm Be toa m 83 NES Knob 3 P Int1 6 Patch Intensity 63 63 Specifies the depth of the effect produced by the modulation source With a setting of 0 there will be no modu lation Setting example for Source and Dest SOURCE 1 DEST 2 Virtual Patch On modular analog synthesizers the input or output of each module oscillator filter amp EG LFO and other controllers could be connected patched by a patch cord to any other module as desired allowing you a great deal of freedom in creating the sound The Korg MS Series MS 20 MS 50 MS 10 etc went on sale in 1978 and fea tured this type of patching The R3 lets you perform this patching virtually i e without using physical patch cords so you can assign sources such as EG or LFO to the most important parameters destina tions EG1 EG2 Tune The EG1 or EG2 will vary the pitch of the entire timbre over time EG1 EG2 P Panpot The EG1 or EG2 will vary the pan over time By setting two patches to MOD INT settings with the opposite value you can create more complex panning LFO 1 LFO2 Tune Vibrato will be applied at the LFO1 or LFO2 frequency LFO 1 LFO2 p CutOffl CutOff2 Wah will be applied at the LFO1 or LFO2 frequency LFO 1 LFO2 Level Tremolo will be applied at the LFO1 or LFO2 frequency LFO 1 LFO2 Panpot Auto pan will be appli
53. MIDI page Local Off and turn on the echo back setting of your external MIDI sequencer computer 2 Recording the note data from the arpeggiator onto an external MIDI sequencer computer Set the R3 s 40 Global A page Position to PostKBD Turn on the R3 s arpeggiator ARPEGGIATOR ON OFF button lit play the key board and record the note data on your external MIDI sequencer computer If the 40 Global A page Position is set to PostKBD the MIDI note data produced by the arpeggiator will be output from the R3 and recorded p 62 Turn the R3 s arpeg giator off during playback 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 note For information on synchronization related settings of your external MIDI de vice refer to the manual of your device 1 Using the R3 as master and the external MIDI device as slave Connect the R3 s MIDI OUT connector to the MIDI IN connector of your external MIDI device 1 p 64 Use the PAGE dial to select the 42 MIDI page and set Clock knob 4 to Inter nal the R3 will be the master device and will transmit MIDI timing clock messages Set your external MIDI device so that it will receive incoming MIDI clock messages Now your external MIDI device sequencer rhythm machine
54. N OFF switch The ON OFF switch will blink The main display will show the assignment setting screen 2 Press the TIMBRE SELECT TIMBRE 1 button The sub displays above knobs 1 4 will show the parameters that are as signed to each knob 3 Use knobs 1 4 to select the param eters you want to assign If you select for a knob that knob won t do anything in Play mode 4 To apply your settings press the ON OFF switch The new settings will be applied If you decide to cancel the changes you made press the EXIT button m If you want to make assignments for Timbre 2 or Vocoder press the TIM BRE SELECT TIMBRE 2 or VO CODER button when you re finished with step 3 and then make the desired assignments for each knob m If you assign effect parameters IFx1Knob IFx2Knob MFx Knob to the knobs you ll be able to control the effect parameters specified in each ef fect page 29 Ins FX1 30 Ins FX2 31 MasterFX vs p 49 50 from Play mode For example suppose that you select 7 Distortion for insert effect 1 and then in the 29 Ins FX1 page you set Param knob 3 to FxKnob and set Value knob 4 to Gain Now use the SHIFT function to select IFx1 Knob for knob 1 and you ll be able to use knob 1 to control the Gain of in sert effect 1 while you re in Play mode A AC adaptor 10 ADSR 41 AMP Amplifier 2 37 AMP EG 41 Analysis filter 4 Arpeggiator 3 15 22 51
55. NABLE MOD SEQUENCE FORMANT MOTION ON OFF REC and press this button the signal from the AUDIO INPUT 1 or MIC TIMBRET TIMBRE2 vc J DER EXIT ARPEGGIATOR ON OFF LATCH AUDIO AUDIO wu O weur2 gt E e aAA e e o ck non KEYBOARD O O arr SEQ PAD STRINGS JO Oc vict BASS POLY SYNTH O O VINTAGE LEAD LEAD O O vintAGE POLY 0 5 Q BASS fa FORMANT MOTION FAVORITE VOCODER JEBEBRAREEF TIMBRE TMBRE2 AUDIO m S010 5010 INTHRU ASSIGN PROG PROG TIMBRE TIMBRE OOOOOC bine OAO PROTECT 7 8 OCTAVE a ARPEGGIATOR ON OFF DEMO button Switches the arpeggiator on off the button is lit when on You can initiate demo playback by holding down the SHIFT button and pressing this button LIIL U U Hill ARPEGGIATOR LATCH CALIBRATION button Specifies how the arpeggiator behaves when you release the keyboard You can execute the foot pedal calibration function by hold ing down the SHIFT button and pressing this button jack and the AUDIO INPUT 2 jack will be passed through to the OUT PUT L MONO and R jacks p 79 PROGRAM SELECT 1 2 3 4 5 6 7 8 buttons Select a program number within the bank selected by the BANK SELEC
56. SYNTHESIZER VOCODER Owner s Manual KORG eG Precautions Location Using the unit in the following locations can result ina malfunction Indirect 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 Interference with other electrical devices Radios and televisions placed nearby may experience reception interference Operate this unit at a suitable distance from radios and televisions Handling To avoid breakage do not apply excessive force to the Switches or controls Care If the exterior becomes dirty wipe it with a clean dry cloth Do not use liquid cleaners such as benzene or thinner or cleaning compounds or flammable polishes Keep this manual After reading this manual please keep it for later reference Keeping foreign matter out of your equipment Never set any container with liquid in it near this equipment If liquid gets into the equipment it could cause a breakdown fire or electrical shock Be careful not to let metal objects get into the equipment If something does slip into the equipment unplug the AC adapter from the wall outlet Then contact your nearest Korg dealer or the store where the equi
57. T dial The selected but ton will light You can also use these buttons to turn the eight steps of an arpeggio on off to vary the arpeggio performance p 15 In addition you can hold down the SHIFT button and press one of these buttons to access the corre sponding utility function p 75 SHIFT function BANK SELECT dial Selects the program bank A P When the R3 is shipped from the factory sounds are organized in these banks by category Front and rear panel WRITE button EXIT button Saves the program or global settings you ve edit When you re editing this button finalizes the set ed r p 74 tings and returns you to Play mode When you re using a SHIFT function this button cancels exe cution of the function and returns you to Play mode p 75 Main display In Play mode this shows information about the currently selected program In Edit mode this shows the page name you re editing In other cases this display shows the current setting or various messages SHIFT button You can execute SHIFT functions various utilities by holding down this button and pressing another button r p 75 om a Sub displays These show parameter names or values for the selected program Play mode or edit page Edit mode MOD SEQ FORMANT MOTION ON OFF button TIMBRE SELECT D SEQUENCE If you ve selected timbre 1 or 2 TIMBRET TIMBRE2 VOCODER a Fr fi EI r i
58. TOR ON OFF button The demo will begin playing the PROGRAM NUMBER button will light and the ARPEGGIATOR ON OFF button will blink 2 To switch demo songs during playback press the PROGRAM NUM BER 1 8 buttons 3 When you press the SHIFT button demo playback will stop The R3 will return to normal playing mode Demo songs Demo 11 12 Synth programs o o o o 0 00 0 0 0 0 0 0 00 00000000 1 Selecting and playing a program 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 1 Turn the PROGRAM SELECT knob to the D POLY SYNTH posi tion 2 Press the PROGRAM NUMBER 4 button to select the program num ber The display will show the name and number of the selected program H The program will change the moment you switch Banks or select a different Number 3 Play the keyboard to listen to the sound 4 You can use the OCTAVE UP or DOWN buttons to shift the pitch range of the keyboard r p 13 Program Bank Program Number
59. alue of the arpeggiated notes You can also create rhythmic variations by turning off specific steps of the arpeggio pattern 9 Editor Librarian software By connecting the R3 to your computer you can use the Editor Librarian software included free to edit all of the R3 s parameters from your computer The R3 is also equipped with USB MIDI eliminating the need for a MIDI interface 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 Figure 0 1 gt Timbre 1 EQ H Insert FX 1 2 i 1 Master FX mono A gt Timbre 2 EQ H Insert FX 1 2 Kand Arpeggiator Synth Drive WS Position AUDIOINPUT 1 2 osx iPre mp ES med EGI KBD TRACK KBD Track 62 r6 mors Liti Velocity Free Assign VIRTUAL PATCH Pich Bind 4 GN mu i T po vo MOD SEQUENCER Free Assign Timbre 1 2 In the top diagram you can see that each timbre consists of a Synth an EQ and two Insert Effects IFX The lower diagram shows the structure of each timbre s synth section Oscillator OSC1 OSC2 NOISE There are three Oscillator sources Oscillator 1 Oscillator 2 and the noise generator Oscillator 1 OSC1 lets you choose from seven different oscillator algorithms These include conventional analog synthesizer waveforms DWGS waveforms formant waves noise plus an external
60. ameters Vocoder Knob 1 Formant Offset FcOffset Knob 2 Vocoder Resonance Vcd Reso Knob 3 Envelope Follower Sensitivity E F Sens Knob 4 Formant Motion Data Set Number Frmnt No 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 The R3 also allows you to specify the on off status of each note in the chord for as many as eight steps letting you create an even wider range of arpeggio patterns When you play the chord shown above on the keyboard the notes will be sounded as shown at the right TYPE UP 1 Select a program rep 12 You can use the arpeggiator with either a synth program or a vocoder program but let s select synth program K 2 ArpPulse for this example 2 Press the ARPEGGIATOR ON OFF button to turn the arpeggiator on the button will light 3 Hold down a chord on the keyboard and the arpeggiator will run Modifying the arpeggio 4 Turn the PAGE dial and select either the 32 Arpeggiator A or the 33 Arpeggiator B page 5 Turn the knobs 1 4 to adjust the arpeggiator parameters changing the way that the arpeggiator is sounded Adjust the tempo by TEMPO knob
61. ameters These are the parameters that can be set from the front panel Vocoder section FORMANT MOTION REC button 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 Off key unlit Recording off Record Ready key blinking Ready to record formant motion data Recording key lit Recording formant motion data The data is not saved in internal memory unless you write the data when you are done recording 34 CARRIER In this page you can set the input level of the audio signal being used as the carrier TmbriLel BAG 127 Knob 1 Tmbr1Lvl Timbre1 Level 000 127 Specifies the output level of Timbrel car rier If you are unable to hear the vocoder effect try adjusting the Tmbr1Lvl parameter or the 38 Filt Amp page Vcd Lvl parameter r5p 59 en Knob 2 Input2Lv Input2 Level 000 127 Specifies the output level of the signal cannected to the AUDIO INPUT2 jack 55 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 56 K
62. an external MIDI sequencer or computer etc If you want to record your performance on the R3 s keyboard into your external MIDI sequencer computer via a MIDI interface or use the R3 as a combination of controller keyboard and MIDI sound module or use the Editor Librarian software included with the R3 then you ll need to connect the R3 s MIDI OUT and MIDI IN connectors to the MIDI IN and MIDI OUT connectors respectively of your external MIDI sequencer or computer Some USB MIDI interface devices may not be able to transmit receive the R3 s MIDI exclusive messages computer MIDI interface MIDI OUT 0000 0000 J MIDI IN MIDI OUT a MIDI IN s mmi Connecting the R3 to your computer via USB As an alternate way of connecting the R3 to your computer in the situations de scribed above you can use a USB cable if your computer has a USB connector Since a USB connection sends the data faster than when using MIDI cables and a MIDI interface we recommend a USB connection if you re going to be using the PC editor software R3 note For details on the included software refer to the owner s manual for the soft ware provided on the CD ROM If either the MIDI connection or the USB connection does not work you should also check the Routing setting p 68 in the 42 MIDI page MIDI related settings MIDI channel setting In order to exchange data with a connected ext
63. ange that the ve locity keyboard dynamics will have on EG3 s amplitude level 43 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 m LFO1 and LFO2 can be used as Virtual Patch sources to apply modulation to a variety of parameters 1 p 45 llave Knob 1 WAVE LFO1 Saw Square Triangle S amp H Random WAVE LFO2 Saw Square Sine S amp H Random Selects the LFO waveform Saw P Square 4 Square Em Triangle VON Amplitude changes irregularly Sample amp Hold Figure 18 1 Key Sync off Note on 44 Eeg tunc Timbre ort Usice Z x Knob 2 Key Sync Off Timbre Voice Specifies how the LFO will be applied toa voice when note on occurs Off The LFO phase will not be reset when note on occurs Figure 18 1 Timbre The phase of the LFO will be re set by the first note on that occurs from a condition of no keys being held it will not be reset for subsequently played voices rs Figure 18 2 Voice The LFO phase will be reset at each note on and modulation of differing phases will apply to each voice rs Figure 18 3 Figure 18 2 Key Sync Timbre Note on Note on No
64. ased the wheel will return to the center position 0 MOD wheel This wheel allows you to manually control the modulation depth As you push the wheel up the modulation depth will increase As you pull the wheel down the modulation depth will decrease At the lowest setting no modulation is applied from this wheel note The PITCH and MOD wheels can be used as virtual patch sources they can produce a variety of effects other than described above 15p 45 PITCH Using the OCTAVE SHIFT UP and DOWN buttons You can use these buttons to shift the range of the keyboard in one octave units over a range of 3 octaves Key operation Key LED Key operation B i 06 09 UP lit red 4 s Press 05 08 UP lit orange 4 3 DOWN key C4 07 UP lit green 4 Press UP key DOWN M C3 C6 dark 4 uP CJ C2 05 DOWN lit green C Y 1 04 DOWN lit orange f Y C0 C3 DOWN lit red 1 s Using the keyboard Keyboard Tracking Keyboard tracking uses the position of the note on the keyboard to affect the sound Normally this is used to brighten the sound as you play upward or to create differences in volume between high and low notes Velocity The dynamic strength with which you play the keyboard can affect the sound Normally your dynamics will affect the tone and volume ES Since velocity and keyboard tracking can be used as a virtual patch source you can use them to produce a variety of effects other
65. b and MIC switch to control the input level If you want to use this jack you must set the front panel MIC switch to the REAR position If the MIC switch is set to XLR the front panel MIC jack will be used rather than this jack MIC LINE switch Set this to the MIC position if you ve connected a mic to the AUDIO INPUT 1 or to the LINE position if you ve connected an external synthesizer or audio device In some cases noise may occur when you operate this switch Turn the MASTER VOLUME knob all the way toward the left before you operate the switch The diagram below shows basic connections for the R3 Make substitu tions as appropriate for your equipment Como oe P OQO oo KORG 5 95 i AC MIDI IN Bi MIDI OUT included M a Connect to PZ an AC outlet MIDI keyboard tone generator module rhythm machine etc Powered monitors etc amp Be sure to turn off the power of all devices before making connec tions Failing to take this precaution may cause your speaker system to be damaged or may cause malfunctions Connections from the audio outputs Connect the R3 s OUTPUT L MONO and R jacks to the input jacks of your mixer or powered monitor system In order to take full advantage of the potential of the R3 we recommend that you use stereo outpu
66. be connected to the R3 via the AUDIO INPUT 1 and 2 jacks and processed in the same way as the internal waveforms 5 Virtual Patches Modulators and controllers such as the filter EG amp EG LFO 1 2 keyboard tracking and the modulation wheel can be routed to control parameters such as pitch cutoff and amp This virtual patching mimics the patching versatility of modular analog synthesizers without using actual patch cables to provide more creative flexibility Main Features 6 Modulation Sequencers Just as step sequencers provide new pitch data to an oscillator over time the Modulation Sequencers can provide changes in modulation data over time in a way similar to a classic analog sequencer Each modulation sequence can be set to provide a new discreet value at each step or to send out a continuously changing value using the values assigned to each step as a map Modulation Sequences can be recorded in step time or in real time 7 Built in EQ and effects to add polish to your sound Each timbre is equipped with two insert effects and a two band equal izer Each two timbre program provides a master effect that lets you add a final touch to your overall sound Thirty different effect algorithms are available 8 Arpeggiator You can set the R3 s arpeggiator to produce an arpeggiated pattern of notes by simply holding down a chord There are six arpeggio types and you can adjust the gate time swing amount and note v
67. both the EG 1 tone settings and the EG2 volume settings as you re editing 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 note You can use EG2 as a Virtual Patch source to modulate parameters other than volume p 45 Knob 1 Attack2 Attack EG2 000 127 Specifies the time from note on when the key is pressed until the attack level maxi mum value of the envelope is reached Figure 15 1 EG2 envelope Time fa m pr 4 1 Attack Time 2 Decay Time 3 Sustain Level 4 Release Time Knob 2 Decay2 Decay EG2 000 127 Specifies the time from when the attack level is reached until the sustain level SUS TAIN is reached EG Envelope Generator Suztainz BAG 127 Knob 3 Sustain2 Sustain EG2 000 127 Specifies the volume that will be main tained after the decay time has elapsed as long as you continue holding the key Knob 4 Release2 Release EG2 000 127 Specifies the time from note off when the key is released until the level reaches 0 To a significant extent each sound has its own distinctive volume cur
68. computers Controlling an external MIDI tone generator from the R3 When you wish to use the R3 s keyboard controllers and arpeggiator etc to play an external MIDI tone generator use a MIDI cable to connect the R3 s MIDI OUT con nector to the MIDI IN connector of the external MIDI tone generator U MIDI IN R3 I MIDI OUT vs EN MIDI tone generator Using the R3 with other MIDI devices MIDI Controlling the R3 s tone generator from an external MIDI device When you wish to play or control the R3 s tone generator from an external MIDI keyboard or seguencer etc use a MIDI cable to connect the MIDI OUT connector of the external MIDI device to the MIDI IN connector of the R3 gt R3 U MIDI IN MIDI ovr _ NT Controlling two or more external MIDI tone generators from the R3 You can use the MIDI THRU connector to simultaneously control multiple MIDI devices This type of connection should be used to connect no more than three devices If you wish to connect a larger number of MIDI devices we recommend that you use a MIDI patch bay or MIDI thru box as shown in the second diagram below MIDI keyboard MIDI OUT gt Emi tinis Me amp MIDI patch bay MIDI OUT MIDI keyboard Using the R3 with other MIDI devices MIDI Connecting
69. d TEMPO knob when editing Jump Whenyou turn the knob the param eter value will jump to the value indicated by the knob regardless of the stored value Since this makes it easy to hear the results while editing we recommend that you use this setting when editing Catch When you turn the knob the pa rameter value will not change until the knob position matches the stored value We recommend that you use this setting when you don t want the sound to change abruptly such as during a live perfor mance GLOBAL 63 64 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 instru ments and computers When MIDI cables are used to connect two or more MIDI devices performance data can be exchanged between the devices even if they were made by different manufacturers The R3 lets you assign control change numbers to the major parameters that affect the sound and control these parameters from an external MIDI sequencer while you play the tone generator You can also operate the assigned knobs 1 4 or keys to transmit these control changes to control an external MIDI device You can synchronize the R3 s arpeggiator LFO rate or the delay time of the delay effect to the MIDI Clock of an external MIDI sequencer Connecting MIDI devices
70. d only Timbre 1 will sound 2 If you want only Timbre 2 to sound hold down the SHIFT button once again and press the TIMBRE SELECT TIMBRE 2 button Your editing will apply to Timbre 2 and only Timbre 2 will sound 3 If you want to cancel the Solo function hold down the SHIFT button and press the blinking TIMBRE 1 or TIMBRE 2 button amp The Solo state cannot be saved TIMBRE SELECT f wonon ven I Nge secr FOUANT HOTON Tela jac o dy sr MEN maez vocone owo mc snf IE om gt ron SGO rao stinss O Oc vintace sass 1 en M swo Bros O vr LATCH Eli O O vivace rot N INS Hass 9 A romanrnonon A H X vois we 2 3a 4 5 6 7 8 BANK PROGRAM SELECT O vinrace tean E H H H ORIGINAL VALUE o PAGE PAGE MENU t M Exchanging and copying the settings of the timbres SHIFT function You can exchange the settings of the two timbres or copy the timbre settings from another program p 75 Basic editing Editing a vocoder program Carrier The carrier signal will be processed based on the modulator s harmonic content so a good choice for the carrier would be a waveform that is rich in overtones such as a sawtooth wave or a square wave with a fixed pulse width You can edit these parameters in the 34 Carri
71. e t SplitKey Figure 1 4 Assgin Mono1 Mono2 Note on Note on EG f Mono 1 I I Trigger i l Trigger Mono 2 23 24 2 UNISON Here you can make settings for the Unison function which stacks voices at the same pitch to create a richer sound Eu 2 Voice 1 3 Voice ort 4 loice Knob 1 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 Off Unison is off 2 Voice Unison is on two voices are stacked 3 Voice Unison is on three voices are stacked 4 Voice Unison is on four voices are stacked A Depending on other voice related set tings the number of voices you specify here may not actually be sounded Turning on the Unison function will limit the available polyphony Knob 2 Detune Unison Detune 0 99 This parameter is available when Unison is on i e if Sw is 2 4 Voice It specifies in units of cents the amount of detuning that will occur between the stacked voices Regardless of how many voices are stacked this parameter will always specify the total range of detuning 2voice T 99 m Unison Detune sa 4voice a erm 99 M Unison e Detune 5 Knob 3 Spread Unison Spread 000 127 This parameter is available when Unison is on i e if Sw is 2 4 Voice It controls t
72. e 2 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 Baa 12F Knob 1 GateSens Gate Sensitivity 000 127 Specifies the speed at which the gate will operate according to the Threshld set ting Lower values for this setting will make the gate close more quickly causing the vo coder sound to decay more quickly Higher values for this setting will make the gate close more gradually causing the vo coder sound to have a longer decay If the Threshld value is high this effect will apply more readily If the threshold value is 0 there will be no effect Threshld Knob 2 Threshld Threshold 000 127 Sets the level at which the input source will be cut By setting this to an appropriate level you can cut the noise that might be present during times of no input Higher settings will make it more likely that the input source will be cut With excessively high settings there will be more chance that the audio in put signal itself will be cut making it difficult for you to apply the vocoder effect as intended ad Disable Enable Knob 3 HPF Gate Disable Enable Specifies whether the high frequency por tion of the signal from AUDIO IN 1 that is mixed into the vocoder outpu
73. e operation is com pleted and you ll return to Play mode ES Ifyoupress the WRITE button im mediately after recording a formant motion the main display will show formant motion data as the object to be saved SHIFT functions 1 1 NAME PROGRAM 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 Procedure 1 Hold down the SHIFT button and press the PROGRAM SELECT 1 button The 1 button will blink The main dis play will show the current program name 2 Use the OCTAVE UP DOWN but tons to select a character and use the PAGE dial to change the character You can also use the 1 knob to enter uppercase characters the 2 knob to enter lowercase characters the 3 knob to enter numerals and the 4 knob to enter symbols 3 When you ve finished editing the pro gram name press the 1 button The program name will be changed and you ll return to Play mode If you decide to discard your changes press the EXIT button If you ve edited the program name your changes will be lost if you turn off the power or switch to a different program without writing the program Be sure to write the program if you want to keep the edited program name Copying and exchanging timbres Initializing a program eis Lbs passi pt SALUS LZ ALLG DH bt B st LL 2 1 INIT PROGRAM Initializi
74. e oscilla tor 1 noise generator does but you can use the FILTER section to create the same re sults as the noise waveform of oscillator 1 Noise is used to create percussion instru ment sounds or sound effects such as surf Fri BER siar Knob 4 PunchLvl Punch Level 000 127 Creates a more snappy attack by adjust ing the amount of pulse waveform that is added to the oscillator output only during the attack Increasing this value will em phasize the attack 31 32 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 Ea Nie Knob 1 Cutoff1 Filter1 Cutoff Sets the cutoff frequency Increasing this value will raise the cutoff frequency note Cutoff1 can be varied by time vari ant change produced by EG1 by key board playing dynamics velocity and by note location keyboard track ing 000 127 If the Cutoff1 value is set too low the volume may be extremely low or you may hear no sound at all Figure 8 1 Filterl Resonance The effect of resonance A A LPF i lem am
75. ed at the LFO1 or LFO2 frequency Velocity gt Level Velocity keyboard playing strength will affect the volume KeyTrack gt Panpot Keyboard position will gradually change the pan lower notes at the left and higher notes at the right MIDI P Bend Panpot tween left and right PITCH wheel operations or pitch bend change will move the sound be Tinbre Parameters 45 46 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 LastStep 01 16 Specifies the length of the sequence in steps i e the maximum number of steps Figure 26 1 SeqType Forward Forward Last Step 16 Step Step Step 01 02 03 pe 15 16 T i M gt r i i i Figure 26 2 SeqType Reverse Reverse Last Step 16 Step Step Step Step Step Step gt 16 15 14 03 02 01 i es gt i i i Figure 26 3 SeqType Alt1 Alt2 Alti Last Step 16 Step Step Step Step 01 02 15 16 Ene t i Step Step Step 04 02 15 L AIt2 Last Step 16 Step Step Step Step p 01 02 15 16 i bll
76. edal switch will function as a arpeggiator on off switch ArpStop The pedal switch will start and reset the arpeggiator FootSw The pedal switch will control the parameter assigned to FootSw CC 65 46 PEDAL SW Here you can specify the function of the foot pedal and foot switch connected to the rear panel ES You can use a Shift function to adjust the calibration of the foot pedal rsp 79 Knob 3 A Sw Pol Assignable Switch Polarity KORG Specifies the polarity of the pedal switch connected to the ASSIGNABLE SWITCH jack With the factory settings this is set to KORG ES Choose the KORG setting if you re using a Korg PS 1 pedal switch or if you re not using any pedal switch B SuMode UnLatch Knob 4 A SwMode Assignable Switch Mode UnLatch Latch Specifies the mode of on off operation for the pedal switch connected to the ASSIGN ABLE SWITCH jack With the factory set tings this is set to UnLatch UnLatch Momentary Theassigned func tion will be on only while the pedal switch is held down Latch Toggle Theassigned functionwill alternate between on and off each time the switch is pressed 73 74 Saving a program Settings that will be saved 01 Voice 33 Arpeggiator B page pa rameters 34 Carrier 39 Lvl Pan page parameters TEMPO knob setting ARPEGGIATOR ON OFF switch set ting OCTAVE UP DOWN but
77. elope is reached Deas Knob 3 Sustain3 Sustain EG3 000 127 Specifies the volume that will be main tained after the decay time has elapsed as long as you continue holding the key Knob 2 Decay3 Decay EG3 000 127 Specifies the time from when the attack level is reached until the sustain level SUS TAIN is reached Knob 4 Release3 Release EG3 000 127 Specifies the time from note off when the key is released until the level reaches 0 17 EG VELO INT tc 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 Es Lul Knob 1 EG1 Lvl EG1 Level 63 63 Specifies the amout of change that the ve locity keyboard dynamics will have on EG1 s amplitude level P Esz Lel VE 66 83 N S Knob 2 EG2 Lvl EG2 Level 63 63 Specifies the amout of change that the ve locity keyboard dynamics will have on EG2 s amplitude level es ESS Lul e 66 l 63 NOS Knob 3 EG3 Lvl EG3 Level 63 63 Specifies the amout of ch
78. ep will be held until the next step plays noke If you set Dest to OSC1Ctr2 OSC1 Control 2 when OSC1 Wave is set to DWGS the operation will be the same as Step even if this parameter is set to Smooth Knob 3 Step Select Selects the step to edit Step O1 Step 16 Knob 4 Value Step Value 24 24 63 63 Edits the value recorded in the step speci fied by StepSel of the modulation se quence The value specified here will be an offset applied to the current value of the param eter that is assigned to the modulation se quence For example if the current value is 10 and the sequence data contains 10 20 0 starting at step 1 the resulting value of the parameter will change as 20 30 10 when playback begins 47 48 28 EQ Equalizer Here you can adjust the equalizer settings The equalizer is a shelving type Figure 28 1 LoEGFrea Knob 1 LoEQFreq Low EQ Frequencey 0020Hz 1000Hz Specifies the frequency of the low equal izer shelving type Figure 28 1 EQ EQ Low EQ Frequency High EQ Frequency LoEGGain 00 BoB Knob 2 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
79. er page note To input a sawtooth wave as the carrier edit Timbre 1 to set the 5 OSC1 page Wave parameter to Saw then use the Vocoder editing 34 Carrier page Tmbr1Lvl parameter to set the output level of Timbre 1 Modulator You will typically use your voice as the modulator input However interesting effects can also be obtained by inputting a rhythm sound On the R3 you can choose whether the modulator will be an external input such as a mic or rhythm sound AUDIO INPUT 1 Timbre 2 or formant motion data If you choose Timbre 2 the Timbre 2 insert effect output will be input to the modulator of the vocoder Figure v 1 You can edit these parameters in the 35 Modulator A 36 Modulator B pages Figure v 1 EL um Timbre 1 ED INSERT FX1 2 OUTPUT MASTER FX MONO R To input your voice as the modulator turn the front panel FORMANT MOTION ON OFF button off and set the 35 Modula tor A page AudioSrc parameter to Input1 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 Selecting the vocoder for editing The procedure for editing the vocoder is essentially the same as when editing a timbre However you ll first need to turn the vocoder function on and then select the vocoder for editing Dr 1 Select a vocoder program 2 Press the
80. ernal MIDI device you must set the R3 s MIDI channel to match the MIDI channel of the external MIDI device 1 Set the MIDI channel of the R3 Select the PAGE dial to the 42 MIDI page and use knob 1 MIDI CH to set the MIDI channel r2 p 68 2 Set the MIDI channel of the connected external MIDI device For information on setting the MIDI channel of the external MIDI device refer to the owner s manual of that device MIDI channel setting use the R3 as a multi timbral sound module You can specify separate MIDI channels for each of the two timbres and use the R3 as a multi timbral sound module that can be driven from your external MIDI se quencer or controller 1 Set the R3 to multi timbral Operation Use the PAGE dial to select the 1 Voice page and use knob 1 Mode to select Multi 2 Set the MIDI channel for timbre 2 When you use knob 1 to select Multi knob 2 will change to T2MIDIch Use knob 2 to set the MIDI channel of timbre 2 3 Goto the 42 MIDI page and use knob 1 MIDI Ch to set the MIDI channel of timbre 1 4 Set the appropriate MIDI channels on the external MIDI device Parameters MIDI 65 66 Using the R3 with other MIDI devices MIDI GLOBAL POSITION setting 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 e
81. gether with other instru ments you can use this function to ensure that the arpeggio pattern is aligned with the beginning of the measure Off Sync off The arpeggio pattern will not be reset when you play the keyboard On Sync on The arpeggio pattern will be reset the moment you play the keyboard 53 54 Vocoder parameters VOCODER button This switches the Vocoder function on off Off key unlit Vocoder is off The pro gram will not use the vocoder On key lit Vocoder on The program will use the vocoder EDIT key blinking The vocoder param eters can now be edited When the vocoder is on or off press the key once again to make it blink vocoder parameters will be assigned to knobs 1 4 and you can con trol the vocoder parameters by operating these knobs while you play Turn the PAGE dial to select the group of vocoder parameters you want to edit p 55 60 34 Carrier 39 Lvl Pan pages FORMANT MOTION VOCODER ON OFF REC FORMANT MOTION ON OFF button This key lets you use formant motion data as the vocoder s modulator Off key unlit Formant Motion off The audio source selected by AudioSrc is used as the modulator On key lit Formant Motion on Formant motion data is used as the modulator Use the 35 Mod A page to specify how the data is played ES If this is on the audio source AudioSrc input will automatically be turned off Front panel vocoder par
82. gio you can apply modulation that follows the arpeggiator tempo You can also set the time parameter of the delay effect to be a ratio of the tempo so that the delay time will remain appropriate even if you change the tempo of the arpeggio This is particularly convenient for live performances Because the R3 s arpeggiator can be synchronized to an external MIDI sequencer then in turn you can control the LFO 1 2 rate or the delay time from an external MIDI sequencer p 67 These are the edit control knobs 1 4 The markings printed around each knob are the values that will be selected when you turn that knob These positions are approximate This area lists the parameters that are edited by edit control N knobs 1 4 when the above section is selected The range of values for each parameter is given in square brackets Explanations of each parameter and its values are given below How to read the pages for each section This is the name of the section When you have set the PAGE dial to the 8 Filter1 A page and would like to see an explanation of the parameters refer to this page 8 FILTER1 A ELIT by paming oniy et Pig Pa sore nda he mot rs ter and ter 2 and you Complex Fler sounda ett FILTER A page and 9 PLTERYB page Asummary of this section is d given here E EI a Timbre Parameters oe Laser SPlit lt p M Sinale Multi
83. global data 40 Global A 46 Pedal Sw page parameters foot pedal calibration setting AllData Load data for all programs global data and formant motion data 3 If youselected AllProg or Global in step 2 proceed to step 4 If you selected 1 Prog press the 7 button The main dis play will show a screen where you can select the program that you want to load Use the PAGE dial to select a pro gram EE When you load 1 Prog the data will be loaded into the currently selected program 4 Press the blinking 7 button The Preload operation will be executed and the R3 will return to the Play mode If you decide not to execute the opera tion press the EXIT button 8 1 PROTECT Write protect setting The R3 provides a write protect setting that disables writing to memory letting you prevent data from being rewritten acciden tally If you want to save data that you have edited you must first turn write protect off Procedure 1 Hold down the SHIFT button and press the 8 button The main display will show a screen where you can select protect on off 2 Turn the PAGE dial to switch write protect on off 3 When you have made the desired set ting press the lit 8 button or SHIFT button The R3 will return to the Play mode If you decide not to execute the operation press the EXIT button Other SHIFT key functions DEMO Listening to the demo performance Hold down the SHIFT but
84. gnal will be output directly Raise this value if you want to hear the audio input while you re adjusting it 59 60 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 Knob 1 Channel Select Ch1 Ch16 Selects one of the sixteen filter channels for editing Knob 2 Level1 Level16 000 127 Specifies the output level of the selected channel Knob 3 Pan1 Pan16 L63 CNT R63 Specifies the panning of the selected chan nel Overall settings GLOBAL 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 to gether with other instruments use MstTune to match the pitch If you want to transpose the pitch of the song you are playing you can adjust Transpos In cases such as when you use multiple programs in a single song it is convenient to simply adjust the GLOBAL setting instead of adjusting the pitch of each individual pro gram If you want to keep the changes you make to these settings you must execute the Write operation p 74 GLOB
85. he width of stereo spread panning of the stacked voices The number of voices speci fied by Sw will be panned apart at equal spacing according to this setting 3 PITCH A These settings affect the pitch of the oscillators These settings are shared by oscillators 1 and 2 43 48 Knob 1 Transpos Transpose 48 48 Adjusts the pitch of the oscillators in semitone 100 cent steps The range is four octaves upward or down ward E This setting is related to the pitch of the oscillators themselves this is not the same as the OCTAVE UP DOWN buttons on the front panel that change the range of notes avail able on the keyboard Knob 2 Tune 50 50 Adjusts the pitch of the oscillator in one cent steps rata Knob 3 AnlgTune Analog Tune 000 127 By adding a slight randomness to the pitch of each note as it is played this parameter can simulate the pitch instability and os cillator drift that was characteristic of analog synthesizers Higher settings will produce greater variations in pitch en Knob 4 Portamnt Portamento 000 127 Portamento is a smooth change in pitch from one note to another This parameter specifies the speed of the portamento ef fect With a setting of 000 there will be no portamento effect Increasing the value will lengthen the amount of time it takes for the portamento effect to transition from one
86. hen there is an input signal and will ight red if the input is overloaded MASTER VOLUME knob Adjusts the output volume from the OUTPUT jacks L MONO R and headphone jack OCTAVE UP DOWN buttons Shift the pitch assigned to the keyboard in one octave steps over a range of 3 octaves PITCH wheel lt Controls the pitch MOD wheel Controls the depth of modulation cyclic change AUDIO INPUT 2 knob Adjusts the input level from the rear panel AU DIO INPUT 2 jack The LED will light when there is an input signal and will light red if the input is overloaded TEMPO knob Adjusts the tempo speed of the arpeggio blink in synchronization with the tempo LFO or effect delay The LED at the right will TIMBRE SELECT TIMBRE1 TIMBRE1 SOLO TIMBRE2 TIMBRE 2 SOLO buttons Select the timbre s that you want to play or edit You can solo each timbre by holding down the SHIFT button and pressing one of these buttons VOCODER AUDIO IN THRU button Switches the vocoder on off r p 55 OFF dark Vocoder is off ON lit Vocoder is on EDIT blinking Vocoder parameters can be edited AUDIO IN THRU function If you hold down the SHIFT button THONE UNGNO 7 T Wc 7 ourrut AUDIO INPUT MOTION NS B PERC HIT BELL META 9 GT 6 TIMBRE SELECT PEDAL SICH W ASSIG
87. ion data AllData All programs and global data will be transmitted 4 Press the blinking 6 button The data dump will be executed and then the R3 will return to the Play mode note For more about the contents of pro gram data and global data refer to the explanations of what is saved in the sections Saving a program and Saving Global and MIDI settings in Saving Writing p 74 For the size of the dumped data and the time required for each refer to the table Reception procedure Use the following procedure when you want to load previously saved data from a connected MIDI data filer or computer back into the R3 or to receive data from another R3 unit 1 Connect the R3 s MIDI IN connector to the MIDI OUT connector of the device that will transmit the MIDI dump data 2 Set the MIDI channel of the transmitting device to match the R3 s MIDI channel If you previously transmitted data to an external MIDI device and want to re ceive it into the R3 be sure to set the R3 s MIDI channel to the same channel setting as when the data was originally transmitted 3 Set the 43 MIDIFilt page SystemEx to Enable turn the Shift function PROTECT to off 4 Transmit the data from the MIDI data filer or other device For the transmis sion procedure refer to the manual of the device you are using The size of the dumped data and the time required for each Data to dump
88. ion that the carrier sound is talking the typical vocoder effect You can use the FrmntSft formant shift and FcOffset Cutoff parameters to shift the frequencies of the carrier bandpass filters This will raise or lower the frequency response while preserving the character of the modulator creating major changes in the sound Modulator MODULATOR Most commonly you will input your voice as the modulator but interest ing results can also be obtained by inputting a rhythm sound as the modulator waveform You can use an Audio Input1 Timbre2 or a Formant motion data as the modulator Carrier CARRIER A sawtooth wave SAW or other waveform rich in overtones is the best choice for the carrier As the carrier you can use a combination of two sources Timbre1 and Audio Input2 Front and rear panel Front panel Introduction Structure 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 set ting if you re using the front panel MIC jack Select the REAR setting if you re us ing the rear panel AUDIO INPUT 1 jack AUDIO INPUT 1 knob Adjusts the input level from the front panel MIC jack and the rear panel AUDIO INPUT 1 The LED will light w
89. is can add a swing feel and make the arpeggiator sound a bit less mechanical Figure 33 1 Arpeggiator Swing When Resolution 1 8 1 2 3 4 5 6 T 8 9 p gt dp db db db Hb db DS 4 LA oT T Nod 1 1 1 ev 1 1 bd 1 Swing 50 25 1425 1450 ner Knob 3 Resolutn Resolution 1 32 1 1 Specifies the resolution spacing of the notes relative to the tempo specified by TEMPO knob 1 32 The arpeggio will be played as 32nd notes at the specified tempo 1 24 The arpeggio will be played as 16th note triplets at the specified tempo 1 16 The arpeggio will be played as 16th notes at the specified tempo 1 12 The arpeggio will be played as 8th note triplets at the specified tempo 1 8 The arpeggio will be played as 8th notes at the specified tempo 1 6 The arpeggio will be played as quar ter note triplets at the specified tempo 1 4 The arpeggio will be played as quar ter notes at the specified tempo 1 3 The arpeggio will be played as half note triplets at the specified tempo 1 2 The arpeggio will be played as half notes at the specified tempo 1 1 Thearpeggio will be played as whole notes at the specified tempo Knob 4 Key Sync Off Onl Specifies whether the arpeggiator will be synchronized to the keyboard If this is On the arpeggiator will always start from the beginning of the arpeggio pattern when you play the keyboard If you are performing to
90. itted and received Fi tchEndl Disable Knob 3 PitchBnd Pitch Bend Disable Enable Selects whether pitch bend messages will be transmitted and received Disable Pitch bend messages will not be transmitted or received Enable Pitch bend messages will be trans mitted and received K LIX QOQA Disable IA AS J AY AJ Knob 4 SystemEx System Exclusive Disable Enable Selects whether MIDI system exclusive messages will be transmitted and received Disable MIDI system exclusive messages will not be transmitted or received Enable MIDI system exclusive messages will be transmitted and received 44 MIDI CC MAP mii 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 Supplementary material on the CD ROM Control change assignments for the R3 s knobs buttons UD DD EL Hofssian OC 119 Knob 1 Knob 2 Parameter Portamnt VcdFmtNo Value NoAssign CC 000 CC 095 Select the knob or button CC 102 CC 119 Assign a MIDI cont
91. ively slow low frequency oscillation and is used to apply cyclic modulation to various aspects of the sound Some typical ways to use LFO are vibrato use LFO to raise and lower the pitch wah use LFO to raise and lower the cutoff frequency and tremolo use LFO to raise and lower the volume You can select LFO as a Virtual Patch source select the desired param eter as the destination and apply modulation to produce various effects The R3 provides special parameters that let you use the LFO to apply modulation For LFO1 this parameter is LFO1Int knob 4 when the 5 OSC1 page OSC Mod knob 2 is set to Waveform For LFO2 this is the 4 Pitch B page VibrtInt parameter knob 2 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 For example if you set the modulation source Source to LFO2 and set the modulation destination Dest knob 2 to Cutoff1 and use P Int knob 3 to adjust the depth of the effect LFO2 will create a cyclic change in tone a wah effect Egil MIDIS Knob 1 Source 1 Source Selects a modulation source EG
92. l KORG Inc Maschine KORG Inc SkyHigh Oliver Munyak Struggle Numb All Demo Songs 2006 KORG Inc All rights reserved VNL 85 86 Trouble shooting Before you suspect a malfunction please check the following points Power does not turn on Q1 Is the AC adaptor connected to an AC outlet 7p 8 Q Is the POWER STANDBY switch turned on pressed inward ve p 10 No sound Q1 If your powered monitor system or headphones connected to the correct jack s v 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 MIDI page Local knob 2 setting turned ON p 68 Were any volume related parameters set to a value of 0 v p 31 37 55 59 Was the 8 Filt1 A page Cutoff1 knob 1 set to 0 v p 32 Was the 37 Filter page E ESens set to Hold FORMANT HOLD while there was no input to the AUDIO INPUT 1 or MIC jack v p 58 LL O O Can t input sound Q Is the input source connected to the AUDIO INPUT 1 jack the MIC jack or the AUDIO INPUT 2 jack p 10 21 34 If you are inputting to MIC jack is the MIC switch set XLR p 10 21 34 If you are inputting to AUDIO INPUT 1 is the MIC switch set REAR sp Is the AUDIO INPUT 1 or AUDIO INPUT2 knob turned up p 10 21 34 If using a vocoder program have you connected the modu
93. lator audio source to the AUDIO INPUT 1 jack or to the MIC jack p 10 O O O Can t edit Q If you are unable to use the knobs 1 4 to edit the parameter value in the performance edit Edit mode may be active 4 If you are unable to use the knobs 1 4 to edit the parameter value Perfor mance Edit may be active s5p 8 12 I If you are unable to edit timbre 2 of a synth program has 1 Voice page Mode been set to Layer Split or Multi p 23 4 If you are unable to use the knobs 1 4 to edit timbre 1 or 2 of a synth program is the TIMBRE SELECT TIMBRE 1 or TIMBRE 2 button blink for the timbre you want to edit v p 21 Q If you are unable to use the knobs 1 4 to edit vocoder parameters is the VOCODER button blink for the vocoder you want to edit v p 21 I Ifthe changes you made to a program or to the global settings have not been remembered did you turn the power off before executing the Write operation In the case of a program your edits will also be lost if you select a different program Execute the Write operation to save your edits before you switch programs or turn off the power v p 74 Can t write programs or global settings I Is Shift function PROTECT turned Off v p 78 A If an edited program or edited GLOBAL MIDI settings you thought you had saved have not actually been saved did you select Global when you attempted to save the program or Program when you attempted
94. led OSCCtr2 and LFO2 is assigned to the modulation wheel You can also make virtual patch settings VIRTUAL PATCH to assign the LFOs as modulation sources for other parameters Virtual Patch VIRTUAL PATCH The virtual patch section lets you freely assign modulation sources to modulate able parameters giving you even more flexibility for creating sounds You can make six virtual patch assignments in each timbre Modulation Sequencer MOD SEQUENCER Using a modulation sequencer you can apply up to sixteen discrete values steps to a modulate able parameter over time in a manner similar to vintage analog synthesizers The modulation sequence can play once repeat loop front to back etc providing movement and complexity to the sound The value can change abruptly at each step or it can smoothly transition from value to value The value of each step can be set using the front panel knobs or by using the Motion Rec function to record knob movements changes in parameter values in realtime Equalizer EQ and Insert Effects INSERT FX1 FX2 Each timbre is equipped with a two band Equalizer to further control the overall tone In addition each timbre also possesses two insert effects Thirty different effect types are available and their 128 editable effect program locations to save your favorites Certain effects can by synced to the tempo of the internal clock that is running the arpeggiator or to an external MIDI clock BPM Sy
95. ll be copied and you ll return to Play mode If you decide to cancel the copy opera tion press the EXIT button 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 ona connected MIDI data filer or computer This can also be used to transmit data to another R3 unit Do not touch the knobs or buttons of the R3 while data is being transmitted or received Also never turn the power off during this operation Some USB MIDI interface devices may not be able to transmit receive the R3 s MIDI exclusive messages Transmission procedure 1 Connect the R3 s MIDI OUT connector to the MIDIIN connector of a device that is able to receive a MIDI data dump and set both devices to the same MIDI chan nel 2 Hold down the SHIFT button and press the PROGRAM SELECT 6 but ton The 6 button will blink The main dis play will show the type of data dump that will be transmitted 3 Use the PAGE dial to select the type of data dump that will be transmitted 1 Prog Data for the currently selected program will be transmitted 1 Voice 39 Lv1 Pan page parameters front panel but ton and knob settings AllProg Data for all programs will be transmitted Global Global data will be transmitted 40 Glo bal A 46 Pedal Sw page parameters foot pedal calibration setting and formant mot
96. lse ARP SEQ Aliens FORMAN MOTION KaossArp ARP SEQ Futurist FORMAN MOTION UTurnSeq ARP SEQ SpecialA FORMAN MOTION RezoBeat ARP SEQ VoicPerc MOTION TechSync ARP SEQ FormantM FORMAN MOTION BPF Plus ARP SEQ Arigato FORMAN MOTION Psy Zoop Krash Bs ARP SEQ VINTAGE BASS MyNameR3 EnsVocod T T T FORMANT T T T FORMAN VOCODER MOTION MG Bass VINTAGE BASS PulseVoc VOCODER Morph 33 VINTAGE BASS Airy Voc VOCODER Pulse Bs VINTAGE BASS CombCode VOCODER UnisonBs VINTAGE BASS 5thVocod VOCODER MS20Bass VINTAGE BASS SpectMod VOCODER Oddsy Bs VINTAGE BASS Grain FX VOCODER VPM Bass VINTAGE BASS Audio In VOCODER 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 e 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 R3Medley Author KORG Inc KaossMe KORG Inc Crevice Numb RazorBld Oliver Munyak DeciBel
97. lter 2 are connected in series r Figure 8 2 Parallel Filter 1 and filter 2 are connected in parallel vs Figure 8 3 Indiv Filter 1 is applied to oscillator 1 and filter 2 is applied to oscillator 2 and noise rs Figure 8 4 Figure 8 4 Indiv 8 FILTER1 A LPF LPF Low Pass Filter is the most common type of filter it passes the frequencies be low the cutoff frequency and cuts the re gion above Raising the cutoff frequency Cutoff1 value will produce a brighter tone LPF Low Pass Filter I 12dB oct 24dB oct Frequency Cutoff HPF HPF High Pass Filter passes the frequen cies above the cutoff frequency and cuts the region below Use this when you want to make the tone thinner However raising the cutoff frequency too far will drastically reduce the volume HPF High Pass Filter I Frequency Cutoff BPF BPF Band Pass Filter passes the frequen cies in the region of the cutoff frequency and cuts all other frequency regions Use this when you want to emphasize just a specific portion of the sound BPF Band Pass Filter I Frequency Cutoff 33 34 9 FILTER1 B Here you can set the values of the filter 1 parameters Er 66 83 Knob 1 EG1 Intl EG1 Intensity Filter1 63 63 This specifies how time variant modula tion from the EG1 will be applied to the cutoff frequency Figure 9 1 The cutoff frequency will change ove
98. m Name E Bass2 E Bass3 Bell1 Bell2 Bell3 Endless SynVox1 SynVox2 VoxPad1 VoxPad2 VoxPad3 FlutePad EP Pad1 EP Pad2 Noisel Noise2 Noise3 Noise4 Noise5 Noise6 Noise7 Noise8 Name Digi2 Digi3 Digi4 Digi5 Digi6 Digi7 Digi8 Digi9 E Piano1 E Piano2 E Piano3 Organi Organ2 Organ3 Organ4 Organ5 Clav1 Clav2 Guitarl Guitar2 E Bass1 No Name SynSinel SynSine2 SynSine3 SynSine4 SynSine5 SynSine6 SynSine7 SynWavel SynWave2 SynWave3 SynWave4 SynWave5 SynWave6 SynWave7 SynWirel SynWire2 SynWire3 SynWire4 5thSaw 5thSqu Digil w NI IN OT HY G2 N The 48 Endless waveform simulates the in finite staircase sound which produces the same perceived pitch in each different octave The infinite staircase produces the sensa tion that you never get any higher no matter how long you continue playing the notes C D E F G A B C D E upward When Knob 1 Wave Audioln and Knob 2 OSC1 Mod Waveform Knob 3 Control1 Gain 63 63 Adjusts the volume of the audio input Knob 4 Control2 Balance L63 CNT R63 Sets the balance between the L channel AUDIO INPUT 1 and R channel AU DIO INPUT 2 jacks For details on how to processing an exter nal audio signal refer to Processing an ex ternal audio signal 5p 29 When Knob 1 Wave Saw Pulse Triangle Sine and Kn
99. mbre that was played by the note on Voice The sequence will be individually reset by each new note on that occurs Knob 4 Resolutn Resolution 1 48 1 1 Specifies the playback speed of the se quence relative to the tempo MIDI clock specified by the TEMPO knob The se quence will advance by one step for each note value you specify here relative to the tempo For example if you set this to 1 4 the sequence will advance one step for each quarter note 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 Dest Destination None Pitch P Int6 Selects the parameter that will be recorded in the modulation sequencer None The modulation sequence will do nothing Pitch The modulation sequence will modify the overall pitch of the sounding oscillators over a range of 24 semitones Other The modulation sequence will modify the parameter assigned to a spe cific panel knob over a range of 63 24 for Pitch and OSC2Semi fot ior LC Knob 2 Motion Smooth Step Specifies how the recorded values will change when the sequence is played Smooth The change will be continuous with the values recorded at each step con nected by straight lines Step The value recorded at each st
100. n the TIMBRE SELECT section C J GJ pressing this button to make it et ser c IO light on will play back the re s M corded modulation sequence data r p 16 When you re editing the vocod PEDAL ck IN ASSIGN N AUDIO KNOB IN THRU ASSIGN NAME INIT copy SWAP MIDI PROG PROG TIMBRE TIMBRE DUMP TH PRELOAD PROTECT 1 2 3 4 knobs Use these knobs for per formance editing in Play ORIGINAL VALUE i n 6 7 8 PROGRAM TIMBRE 1 2 VOCODER GLOBAL x er pressing this button to make pom aua Voldsom ia AME 2a bo sta cnm Mm mode or to edit the pa it light on will play back the for Ga elo deua ma dria ORM uo Huet rameters in the various mani motion sen Thi leis you l CLONE C ONE MN NE em pages of Edit mode produce a vocoder effect without fl GM s p 19 inputting an audio signal from an external source p 18 If PAGE dial this button is dark off a vocod er effect will be produced using an external audio signal By holding down the SHIFT button and pressing this button you can specify the functions that the 1 4 knobs will have in Play mode rs p 75 SHIFT functions By turning this dial while in Play mode you can enter Edit mode and se lect a page to edit rs p 19 When using a SHIFT function use this dial to specify a parameter
101. nc effects can be conveniently set as note values Half note quarter note etc Master effect MFX Each program contains one master effect You can use this to apply a reverb or delay effect to the overall combined sound of the program including the processing applied by the insert effects of each timbre adding the final touch to the complete program You can choose from thirty different effect types and 128 editable effect programs Arpeggiator You can apply the arpeggiator to a timbre If the program uses two timbres you can apply the arpeggiator to either or both timbres This is a step arpeggiator with six types of arpeggios Feotves Infroduchon 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 instru ment is talking As shown in figure 0 2 a vocoder program consists of two signals a carrier the signal that is modified and a modulator the signal that modulates the carrier These signals are routed to the vocoder section Figure 0 2 Audio In I D Audio in 75 4 T1 TN ey I Synth S o ee INSERT FX1 2 Timbre 1 pum FT Modulator
102. nes stereo 1 4 plug to this jack m mimm ASANDY DCUV ZON eso THRU MD our ASSIGNABLE SWITCH PEDAL Ano war MC UNE 1 Fn 1 L MONO PHONES Ca POWER STANDBY switch Turns the power on or off r p 10 DC12V IN connector Connect the included AC adaptor to this connector Connect the AC adaptor to the R3 before you plug the adaptor into an AC outlet USB connector Connect this to your computer so that MIDI data can be transferred between the computer and the R3 This also lets you use the included Editor Librarian software to edit the R3 s parameters 52000 oo KORG MIDI Use these connectors to connect external MIDI devices to the R3 so that MIDI data can be transferred MIDI IN connector This connector receives MIDI data MIDI OUT connector This connector transmits MIDI data MIDI THRU connector Incoming MIDI data is retransmitted without change from this connector Use this when you want to pass the same stream of MIDI data to multiple MIDI devices 0 0 AUDIO INPUT 1 jack For synthesizer programs you can connect an external sequencer audio device or 1 4 plug microphone to this jack and use the input signal as the oscillator 1 waveform For vocoder programs you can use this signal as the modulator Use the front panel AUDIO INPUT 1 kno
103. ng a program Here s how to initialize the settings of the currently selected program Procedure 1 Hold down the SHIFT button and press the PROGRAM SELECT 2 button The 2 button will blink The main dis play will show the name of the currently selected program 2 To initialize the program press the 2 button The program will be initialized and you ll return to Play mode If you decide not to initialize the pro gram press the EXIT button 3 1 COPY TIMBRE Copying a timbre Here s how to copy the timbre settings from another program into a timbre of the currently selected program This operation is available if TIMBRE SE LECT TIMBRE 1 or TIMBRE 2 is se lected Procedure 1 Hold down the SHIFT button and press the PROGRAM SELECT 3 but ton The 3 button will blink The main dis play will show the copy source program number and program name 2 Use the PAGE dial to select the copy source program 3 Press the 3 button The upper line of the main display will show the copy source timbre SrcTmb gt t and the lower line will show the copy destination timbre selected by TIMBRE SELECT 4 Use the PAGE dial to select the copy source timbre and use the TIMBRE SE LECT TIMBRE1 TIMBRE2 buttons to select the copy destination timbre 5 Press the 3 button The main display will ask you to con firm the operation The upper line will ask Copy OK and the lower line will show
104. nob 1 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 If formant motion is off FORMANT MOTION ON OFF key unlit this has no effect FreeRun Trakeset Knob 2 PlayMode FreeRun TrgReset If formant motion is on this specifies the playback method for the formant motion data selected by Frmnt No FreeRun The formant motion data will play as a loop TrgReset Each time you play the key board the formant motion data will play back from the beginning mn The formant motion data will be trig gered on the global MIDI channel This has no effect if formant motion is off FORMANT MOTION ON OFF key unlit Hudiosrc Timbrez Inruti Knob 3 AudioSrc Audio Source Input Timbre2 This selects the audio source that will be input as the modulator When recording formant motion data the audio source you select here will be recorded as formant motion data Input1 The audio source from AUDIO IN PUT 1 will be used as the modulator If the MIC switch is set to REAR the source from the rear panel AUDIO INPUT 1 jack will be input as the modulator If the MIC switch is set to XLR the audio from the mic connected to the front panel MIC jack will be input as the modulator This will be the typical vocoder effect using a mic Timbre2 The output of timbr
105. o the MIDI OUT connector Figure 40 2 PreTG Incoming MIDI data will be af fected by by the global settings and will act as trigger notes for the arpeggiator Data produced by the keyboard will be sent to the MIDI OUT connector without being affected by any setting other than OCTAVE UP DOWN button Figure 40 3 41 GLOBAL B These parameters select the input when using the AUDIO IN THRU function and specify how knobs 1 4 will operate mes InFutl z Inruti Knob 1 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 Input1 The signal connected to the AU DIO INPUT 1 jack will be sent to the OUT PUT L MONO and R jacks without change Input2 The signal connected to the AU DIO INPUT 2 jack will be sent to the OUT PUT L MONO and R jacks without change Input1 2 Thesignals received from both the AUDIO INPUT 1 jack and the AU DIO INPUT 2 jackwill be sent to the OUT PUT L MONO and R jacks without change You can use the AUDIO IN THRU function to check whether the signal from each jack is being input correctly This also lets you use the mic to speak to the audience between songs Enobhlade l Knob 2 KnobMode Jump Catch Specifies the behavior of the front panel knobs 1 4 an
106. ob 2 OSC1 Mod Cross Knob 3 Control1 Modulation Depth 000 127 Adjusts the cross modulation depth Knob 4 Control2 LFO 1 Intensity 000 127 Adjusts the depth of the additional modu lation applied by LFO1 to the cross modu lation effect When Knob 1 Wave Saw Pulse Triangle Sine and Knob 2 OSC1 Mod Unison Knob 3 Control1 Detune 000 127 Adjusts the difference in pitch between the five unison oscillators Higher values will 5 OSCI 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 at tack A setting of 127 will change the pitch and volume 000 0 063 90 127 180 Sine When Knob 1 Wave Saw Pulse Triangle Sine and Knob 2 OSC1 Mod VPM Knob 3 Control1 Modulation Depth 000 127 Adjusts the depth of VPM Knob 4 Control2 Modulation Harmonics 001 32 Specifies the frequency of the VPM modu lator as a harmonic multiple of oscillator 1 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 de vice in the same way as an oscillator wave form Before you connect an external device turn off the power of the R3 and of any external output devices and power amps 1 Turn the
107. ollers such as the keyboard and modulation wheel will be internally disconnected from the tone generator section This setting prevents notes from being sounded in duplicate when the R3 is connected to a sequencer and the performance data is echoed back from the sequencer Echo back is when the performance data transmitted by playing the R3 is re transmitted back to the R3 from the sequencer On Select this setting when you are using the R3 by itself Knob 4 ExtMIDI TheR3 sarpeggiator will syn chronize to the MIDI clock messages re ceived from an external MIDI device con nected to the MIDI IN connector ES When sync ing to an external MIDI de vice refer to that device s owner s manual Foutirv3 MIDI USE Knob 3 Routing USB MIDI USB MIDI Selects the connector s that will be used to transmit and receive MIDI messages USB MIDI The MIDI connectors and USB connector will be used to transmit and receive MIDI messages When receiving MIDI messages the messages from both types of connector will be mixed and MIDI messages received later will be given pri ority For transmission the same MIDI messages will be transmitted from both connectors p 69 Figure 42 1 USB Only the USB connector will be used to transmit and receive MIDI messages Thru operation via the MIDI IN and MIDI THRU connectors is enabled p 69 Figure 42 2 MIDI Only the MIDI connectors will be used to tran
108. or NY NY EA value p 75 MOD SEQ FORMANT MOTION REC button When youre editing a timbre this button takes you to Modulation Se quence recording mode r p 16 ORIGINAL VALUE LED When you re editing the vocoder this button takes you to Formant Mo In Edit mode this will light if the value of the parameter you re tion Data recording mode r p 18 editing matches the value stored in the program p 20 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 M M m m AUDIO INPUT 2 jack For synthesizer programs you can connect an external synthesizer or audio device to this jack and use its audio signal as the oscillator 1 waveform For vocoder programs you can use this signal as the external carrier of the vocoder Use the front panel AUDIO Front and rear panel OUTPUT L MONO R jacks Connect your powered monitors stereo amp mixer or multi track recorder to these jacks Use the L MONO jack for monaural connection level Jm INPUT 2 knob to control the input PHONES jack Connect your headpho
109. otion data will be saved into the numbered location that you specified MOD SEQUENCE ME FORMANT MOTION TIMBRE1 MBRE2 VOCODER ON OFF REC PAGE MENU D 7 9 11 12 H m CE v C vawe m 1 2 3 4 5 6 7 8 sa JANE PROGRAM SELECT 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 e Start from an initialized program blank slate and create the sound from scratch All of editable parameters are organized into sections and the param eters in each section are accessed by selecting different edit pages When creating a sound from scratch notice that the edit pages are organized in a way that follow the logical order of editing You can turn the dial to step through these sections in the appropriate order Broadly speaking the procedure is as follows 1 Select the program that you want to start from p 12 If you want to start from scratch execute the Initialize operation p 75 Use the TIMBRE SELECT TIMBRE1 TIMBRE2 or VOCODER buttons to select the part that you want to edit 2 Turn the PAGE dial to select the edit page
110. ound will retain that charac ter regardless of whether there is any in put A If you set this to Hold when there is no input signal present there will be no output even if an audio signal is subseguently input note If you write the program with this value set to Hold the program will memorize the response of the signal that was being held 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 EGI MIBIS Knob 1 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 Sourcel Source6 Fan Knob 2 FeModlnt Fc Modulation Intensity 63 63 Specifies the depth of the modulation that is applied to the carrier band pass filter Synthesis filter FcOffset jezem Knob 3 DirectLv Direct Level 000 127 Vcd Lvl Vocoder Level fr 000 127 Sets the volume level at which the Sets the output level of the vocoder modulatior input source will be output directly unaffected ES If you press the VOCODER button to make it blink and raise the Edit mode 38 Filt Amp page DirectLv value the incoming audio si
111. pment was purchased THE FCC REGULATION WARNING for U S A This equipment has been tested and found to comply with the limits for a Class B digital device pursuant to Part 15 of the FCC Rules These limits are designed to provide reasonable protection against harmful interference in a residential installation This equipment generates uses and can radiate radio frequency energy and if not installed and used in accordance with the instructions may cause harmful interference to radio communications However there is no guarantee that interference will not occur in a particular installation If this equipment does cause harmful interference to radio or television reception which can be determined by turning the equipment off and on the user is encouraged to try to correct the interference by one or more of the following measures Reorient or relocate the receiving antenna Increase the separation between the equipment and receiver Connect the equipment into an outlet on a circuit different from that to which the receiver is connected Consult the dealer or an experienced radio TV technician for help Unauthorized changes or modification to this system can void the user s authority to operate this equipment CE mark for European Harmonized Standards CE mark for European Harmonized Standards CE mark which is attached to our company s products of AC mains operated apparatus until December 31 1996 means it conform
112. r FILTER 1 p 32 BAG ler Knob 2 Reso2 Filter2 Resonance 000 127 This is the same as for FILTER 1 p 32 Tere l HFF EFF LFF COME Knob 3 Type2 Filter2 Type LPF HPF BPF COMB Selects the filter type LPE HPF BPF These are the same filter type as for filter 1 5p 32 COMB In a comb filter so named for its resemblance to the teeth of a comb alter nating bands pass and cut the signal giv ing a unique character to the sound In creasing the cutoff frequency Cutoff2 value will space the teeth of the comb far ther apart so that more regions are cut COMB Comb Filter I l 1 Cutoff Frequency 35 36 11 FILTER2 B Here you can make settings for the filter 2 parameters ene Knob 1 EG1 Int2 EG1 Intensity Filter2 63 63 This is the same as for FILTER 1 rs p 34 Knob 2 Key Trk2 Keyboard Tracking Filter2 2 00 2 00 This is the same as for FILTER 1 p 34 E Veisensal S E ATR 08 63 65 Knob 3 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 Level 000 127 Adjusts the volume of the timbre SSS Fanect CNT Knob 2 Panpo
113. r 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 EG1 Int1 parameter specifies the depth sensitivity to which the EG1 will affect the cutoff frequency With a setting of 0 the EG1 will not affect the cutoff frequency Increasingly positive settings will allow the EG1 to have a correspondingly greater effect on the cutoff frequency 1 Figure 9 2 Increasingly negative settings will allow a correspondingly greater effect in the op posite direction Figure 9 3 7 Knob 2 Key Trk1 Keyboard Tracking Filter 1 2 00 2 00 This specifies how keyboard tracking the keyboard location that you play will affect the cutoff frequency For example if the sound played by the C4 key has the desired tone but higher notes no longer have reso nance or are too mellow sounding you can adjust keyboard tracking to make compen sations so that the cutoff frequency will rise for higher notes With positive settings the cutoff frequency will rise as you play upward from the C4 note and fall as you play downward With negative settings the cutoff frequency will fall as you play upward from the C4 note and rise as you play downward m With a setting of 48 the change in cutoff frequency will be proportionate to the change in pitch With a setting
114. r2 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 chan nel Formant Shift function Formant motion function Formant hold function Keyboard 37 notes full size keys velocity sensitive no aftertouch Effects Timbre 2 band EQ Insert effect per timbre Program Master effect Arpeggiator Six Types UP DOWN ALT1 2 Random Trigger Individual step on off function Programs 128 programs 16 banks x 8 programs 16 formant motion data sets 7 5 second x 16 Inputs AUDIO INPUT 1 jack with MIC LINE switch Rear panel Connector 1 4 phone jack unbalanced MIC LINE switch LINE Input impedance 600 Maximum input level 10 dBu AUDIO INPUT1 knob Max MIC LINE switch MIC Input impedance 600 Maximum input level 33 dBu AUDIO INPUT1 knob Max AUDIO INPUT 1 MIC jack Front panel Connector XLR jack balanced Input impedance 600 Maximum input level 33 dBu AUDIO INPUT1 knob Max AUDIO INPUT 2 jack Connector 1 4 phone jack unbalanced Input impedance 600 Maximum input level 10
115. rite the program The main display will indicate Com plete The Write operation is com pleted and you ll return to Play mode Saving GLOBAL MIDI settings Settings that will be saved 40 Global A 46 Pedal Sw page pa rameters e Shift function PROTECT setting Shift function CALIBRATION setting Formant motion data Procedure 1 Press the WRITE button The main display will indicate Pro gram the type of data to be saved so use the PAGE dial to select Glo bal and then press the WRITE but ton once again 2 Press the WRITE button once again to save write the global data and MIDI settings The main display will indicate Com plete The Write operation is com pleted and you ll return to the Play mode note If you press the WRITE button when one of the Edit mode 40 MIDI 46 Pedal Sw pages are selected it will be the global data that is saved Saving Formant Motion data Settings that will be saved Formant motion data Procedure 1 Press the WRITE button The main display will indicate Pro gram the type of data to be saved so use the PAGE dial to select Formant and then press the WRITE button once again 2 Usethe PAGE dial to select the des tination formant motion data num ber into which you want to save the formant motion data 3 Press the WRITE button once again to save write the program The main display will indicate Com plete The Writ
116. rm 000 127 Knob 1 Wave Saw The sawtooth wave is appropriate for cre ating a wide range of sounds typical of ana log synthesizers including basses and pads Adjusting the value will modify the shape of the waveform changing the harmonic content A setting of 000 produces the origi nal sawtooth wave Higher setting stress different harmonics a setting of 127 pro duces a sawtooth wave one octave higher 063 127 Knob 1 Wave Pulse This is a pulse wave suitable for electronic sounds and wind instruments By adjust ing the pulse width you can produce sounds reminiscent of clavi or sax A set ting of 000 produces a simple square wave Higher settings narrow the pulse width and at a setting of 127 the pulse width will disappear completely no sound 000 063 127 Knob 1 Wave Triangle Triangle waves have fewer overtones than sawtooth or square waves and are suitable for mild tone such as bass or pads Adjust ing the value will modify the shape of the waveform changing the harmonic content Asetting of 000 produces a simple triangle wave Higher setting stress different har monics a setting of 127 produces a triangle wave that is one octave and a fifth higher i e the third harmonic AoA 000 063 127 Knob 1 Wave Sine Sine wave is a mild tone that contains only the fundamental frequency with no over tones A setting of 000 produces a simple sine wave Increasing this value will modify the
117. rol change number CC for the knob or button selected in Parameter knob 1 If the selected value is already as signed to another parameter an is shown at the right of the value note The MIDI channel for vocoder param eters will be the same MIDI channel as timbrel 71 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 Eq If the selected function is assigned to a different parameter an is shown at the right of the value 72 on Knob 1 MIDIT P Bend 119 These select the functions that are assigned to modulation sources MIDI 1 of the Vir tual Patch function With the factory set tings MIDIT is assigned to 016 CC 16 MIDT Knob 2 MIDI2 P Bend 119 These select the functions that are assigned to modulation sources MIDI 2 of the Vir tual Patch function With the factory set tings MIDI is assigned to 002 CC 02 Knob 3 MIDI3 P Bend 119 These select the functions that are assigned to modulation sources MIDI 3 of the Vir tual Patch function With the factory set tings MIDI3 is assigned to A Touch Af ter Touch Pedal Switch parameters Knob 1 A Pedal Assignable Pedal Volume Foot Pdl Selects the function of the pedal connected to the ASSIGNABLE PEDAL jack With the factory settings
118. s keyboard to play the sounds of your external device and use the PAGE dial and the CONTROLS 1 4 knobs to modify the sound ANDE oci D Use ibi VO oes our BHO 9 SMICH ASSIGNABLE PEDAL 3000s 99 M You can use an external input as the carrier of the vocoder nok If the 2 Unison page Sw knob 1 is On 2 4 Voice certain parameters are automatically set to allow the au dio input to be handled in stereo In this case please note the following points Regardless of the OSC1Ctr2 Balance setting the L channel signal will be fixed at L63 and the R channel sig nal at R63 Regardless of the 2 Unison page Sw setting this parameter will be fixed at 2 Voice elf the 2 Unison page Spread pa rameter knob 3 is set to 0 both the L channel and R channel of the tim bre output will be panned p 37 12 Amp page Panpot parameter to CNT If the Spread parameter is set to 127 they will be set to L63 and R63 HIT M ET TE KO RG 001 a we C K or audio device OC tone generator module rhythm machine Tine Parameters 29 30 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
119. s to EMC Directive 89 336 EEC and CE mark Directive 93 68 EEC And CE mark which is attached after January 1 1997 means it conforms to EMC Directive 89 336 EEC CE mark Directive 93 68 EEC and Low Voltage Directive 73 23 EEC Also CE mark which is attached to our company s products of Battery operated apparatus means it conforms to EMC Directive 89 336 EEC and CE mark Directive 93 68 EEC Unexpected malfunctions can result in the loss of memory contents Please be sure to save important data on an external data filer storage device Korg cannot accept any responsibility for any loss or damage which you may incur as a result of data loss Printing conventions in this manual Parameters Parameters are enclosed in double quotation marks Symbols amp 3 note M These symbols respectively indicate cautions advice and MIDI related explanations MIDI related explanations CC is used as an abbreviation for Control Change Number In MIDI related explanations numbers enclosed in square brackets are in hexadecimal notation Display indications The numerical values of various parameters appearing in this manual are only for explanatory purposes They may not necessary match what appears in the display of your R3 Knob positions and parameters Knob positions and parameter values appearing in this manual are approximations There may be slight discrepancies between knob positions and parameter values
120. smit and receive MIDI messages 1 p 69 Figure 42 3 The Thru function from the MIDI IN to the MIDI THRU connectors is active even if this parameter is set to USB GUL RP ABA 7 o AG Ext MIDI KA N Knob 4 Clock Auto Internal Ext USB Ext MIDI Specifies how the R3 will synchronize with an external MIDI device seguencer rhythm machine etc If the LFO 1 2 or delay effect BPM Sync is On the LFO rate and delay time will also synchronize in the same way as the arpeggiator Auto The R3 will automatically function using the External or USB setting if MIDI clock messages are being received from an external MIDI device connected to the MIDIIN connector If no MIDI clock mes sages are being received the internal set ting will be used Internal The arpeggiator will syncto the internal clock specified by knob TEMPO Select this setting if you are using the R3 by itself or if you are using the R3 as the master controlling device so that an external MIDI device will syn chronize to the MIDI clock messages from the R3 Ext USB The R3 s arpeggiator will syn chronize to the MIDI clock messages re ceived from an external USB MIDI device connected to the USB connector 42 MIDI Knob 3 Figure 42 1 USB MIDI
121. t 7 initiate recording When you play the keyboard the modulation sequence will begin play ing back and will then continue to loop Listen to the result MOD sequence mone seuect MOD SERRE KORG MAREI TIMBRE VOCODER ON OFF REC sm pu con m n E BANK PROGRAM SELECT ECT ar m K E PAGE MENU BR ost 17 18 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 Vocoder programs programs for which the VOCODER button is lit can use this data When the R3 is shipped from the factory bank O FORMANT MOTION contains preloaded programs that use formant motion data You can select and play programs from this bank to hear the formant motion effect 2 Recording formant motion data Preparing to record 1 Turn the AUDIO INPUT 1 knob all the way to the left and set the MIC switch to XLR Connect the included mic to the MIC connector p 8
122. t L63 CNT R63 Adjusts the location of the sound in the ste reo field L63 is far left CNT is center and R63 is far right Knob 3 Key Trk Keyboard Tracking 63 63 Specifies how keyboard tracking will af fect the volume With positive settings the volume will increase as you play above the C4 note on the keyboard and will decrease as you play below C4 With negative settings the volume will decrease as you play above the C4 note on the keyboard and will increase as you play below C4 hotel Keyboard Track operates according to the pitch that is controlled by pitch bend and transpose It is not affected by pitch changes produced by vibrato or Virtual Patch 37 38 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 en OFF 7 Ly 1 Boost Knob 1 WS Type Wave Shape Type Off Drive Lvl Boost This switches wave shaping on off and se lects the type Wave shaping modifies the input waveform by applying a transforma tion of the type you specify here and pro duces an output waveform that includes the components of both the input wave form and the transformation shape WS Depth specifies the depth of this effect A Some settings may produce noise Off Wave Shape Drive is off Drive Drive will be applied The amount of distortion
123. t ette tete ice esas soe tann 48 29 INSERT FX1 30 INSERT FX cesses eere eene e eene enne eee etne eee 49 31 MASTER FX A 50 Arpeggio parameters ccccssssssscscceccsssssseees D Front Panel Arpeggio Parameters scsssssssssssesessesssseceeseseesecerees 51 32 ARPEGGIATOR A sessecssesssvseocsseadssncessesionsoesteassensoceosassonsersocnonsossneas 52 33 ARPEGGIATOR B eeoserersaovenssrernvenevssnssnvenensennsenensenssnsenensenssnnensese 53 Vocoder parameters eeeeeeeeeeeeee OF Front panel vocoder parameters eere reete entente 54 K NO jl 55 35 MODULATOR A n rion eene reco rese e eae neon E oor eL ge deese ava a e Nen eeu areae 56 36 MODULATOR B eee cones ete rentrer eee earn Have a s ra een s res ean 57 Kyle 58 38 FILTER AMD ins asked 59 39 CH LEVEL PAN Channel Level Channel Panpot 60 Overall settings GLOBAL 61 GLOBAL structure scc ccsccessdsicsvensesscncctvssssenncetsounceesceecdedscestateosscdedesdedons 61 Overview Lese 61 40 GLOBAL ET 62 41 GLOBAL B 7 eere re Cerere nnne ao eos eee enero one ke Pao cae Ioann 63 MIDI parameters eeeeeeeeeeeeeeeeeee eee OF Using the R3 with other MIDI devices MIDI 64 Overview au G rdene aat ue anes ee ec eot 64 Connecting MIDI devices computers
124. t that the EG will have For details on how an EG Envelope Generator works refer to EG2 r p 41 note You can use the EG1 as a Virtual Patch source modulate a parameter other than the filter cutoff frequency p 45 Knob 1 Attack1 Attack EG1 Figure 14 1 EG1 envelope 000 127 Specifies the time from note on when the key is pressed until the attack level maxi mum value of the envelope is reached Cutoff Note on Note off Attack Level 1 0 Tar MESE B 1 2 4 1 Attack Time 2 Decay Time 3 Sustain Level 4 Release Time 40 Knob 2 Decay Decay EG1 000 127 Specifies the time from when the attack level is reached until the sustain level SUS TAIN is reached Time Knob 3 Sustain1 Sustain EG1 000 127 Specifies the cutoff frequency that will be maintained after the decay time has elapsed until you release the key EG1 and EG2 Knob 4 Releasel Release EG 1 000 127 Specifies the time from note off when the key is released until the level reaches 0 As the EG1 Filter EG changes the cutoff frequency the tone will change However the overall character of the sound will also depend on the volume changes produced by the EG2 Amplifier EG For example setting a long decay for the Filter EG EG1 will produce a different sound depending on how the decay is set in the Amp EG EG2 It s a good idea to be aware of
125. t will be passed only during the key on note on duration or will always be allowed to pass Disable The high frequency portion of the signal will always be passed This is effec tive when you are playing a guitar etc that is connected via an effect unit to AUDIO INPUT 2 jack Enable The high frequency portion of the signal will be passed only during the key on note on duration Use this setting if you are applying the vocoder effect only to an internal sound source or if you have connected a synthesizer etc to AUDIO INPUT 2 jack The signal will be passed when a MIDI note on is received Knob 4 HPF Lvl HPF Level 000 127 This adjusts the output level from the HPF High Pass Filter that extracts the high fre quency components from the modulator input source these high frequency compo nents are then mixed into the output of the vocoder Increase this value if you want to emphasize the consonants of the vocal in put source 8 8 8 57 58 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 FrmntS Knob 1 FrmntSft Formant Shift 2 2 Shifts the cutoff frequencies of each of the carrier s band pass filters This will signifi cantly change the character
126. te all off Figure 18 3 Key Sync Voice Note on Note on Ern Sunc Off n Knob 3 BPM Sync Off On Specifies whether the LFO cycle will be synchronized to the internal tempo or to an external MIDI Clock Off The LFO will not be synchronized It will operate at the frequency specified by the Freq knob 4 parameter On The LFO will be synchronized to the TEMPO knob or to MIDI Clock messages from an external device The 42 MIDI page Clock parameter determines the sync source If BPM Sync is On selecting LFO1Freq or LFO2Freq as Dest in PATCH 1 6 will have no effect LFO Low Frequency Oscillator SancHote Frey Knob 4 Freq Frequency 0 01Hz 100 0Hz Specifies the frequency of the LFO Increas ing this value will result in a faster fre quency This parameter will be displayed and can be set only if BPM Sync is Off SYNC NOTE 8 1 1 64 Specifies the LFO frequency as a note value derived from the tempo specified by the TEMPO knob This parameter is only avail able when BPM Sync is On 8 1 One LFO cycle 32 beats in length 4 1 One LFO cycle 16 beats in length 1 1 One LFO cycle 4 beats in length 1 2 One LFO cycle 2 beats in length 1 4 One LFO cycle 1 beat 1 8 Two LFO cycles 1 beat 1 64 Sixteen LFO cycles 1 beat The LFO Low Frequency Oscillator is an oscillator that produces a relat
127. than those described above 5p 45 ES The R3 s keyboard does not generate aftertouch data Octave Shift settings and note numbers Middle Cona piano is C4 MIDI note number 60 E v TET TT TT TT TT itl ll t t t C 1 CO C1 C2 c3 C4 C5 C6 C7 C8 C9 G9 0 12 24 36 48 60 72 84 96 108 120 127 1 octave gt e 3 octaves j lt 1 20ctaves 1 At 2octaves 4 gt gt 3 octaves 1 octave CH8 Co 116 120 Octave Shift not used 13 Vocoder programs 1 Playing a vocoder program 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 In the most popular use of a vocoder you can speak or sing into a mic and play chords on the keyboard to create the impression that an instrument is speaking or singing You can also create a variety of interesting effects by using audio signals other than a human voice such as rhythm sounds 1 Turn the AUDIO INPUT 1 knob all the way to the left and set the MIC switch to XLR 2 Connect the included mic to the MIC connector p 8 3 Select a vocoder program from bank P VOCODER The VOCODER button will light ES With the factory settings bank P VOCODER contains vocoder programs
128. the copy source program number and timbre and the copy destination timbre To execute the copy press the 3 but ton The settings will be copied and you ll return to Play mode If you decide to cancel the copy opera tion press the EXIT button 75 76 4 1 SWAP TIMBRE 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 avail able 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 Procedure 1 Hold down the SHIFT button and press the PROGRAM SELECT 4 button The 4 button will blink The main dis play will ask you to confirm the opera tion 2 To swap the timbres press the 4 but ton Timbres 1 and 2 will be swapped and you ll return to Play mode If you decide not to execute the opera tion press the EXIT button Initializing Vocoder Parameters 3 2 INIT VOCODER Initializing vocoder parameters This initializes the vocoder parameters of the currently selected program This opera tion is available if VOCODER is selected for editing i e when the VOCODER button is blinking EE This operation does not erase the formant motion data Procedure 1 Hold down the SHIFT button and press the PROGRAM SELECT 3 but ton The
129. the same program while you are editing all your edits will be lost unless you first save any changes you have made Changes you make to these settings will also be lost if you turn the power off so you must Write them if you want to keep your changes Editing each timbre A program can use up to two timbres A timbre consists of the param eters in pages 1 Voice 30 Ins FX2 In order to edit a parameter you must first select the timbre that you want to edit the TIMBRE 1 or TIMBRE 2 button will blink m The 1 Voice page parameters Mode apply to the entire program Using both timbres Layer When using two timbres you can select one of three modes according to your needs but here we ll set Mode to Layer O Turn the PAGE dial to select the 1 Voice page and turn knob 1 knob to select Layer Selecting the timbre to edit If you are editing a program that uses both timbres here s how to select the timbre to edit O Press the TIMBRE SELECT TIMBRE1 button to select timbre 1 as the timbre that you want to edit TIMBRE SELECT TIMBRE button will light Your editing will affect the selected timbre Listening to only one timbre Solo For a program that uses both timbres you can use the Solo function to hear just one timbre This is convenient when you want to hear just one timbre while you edit 1 Hold down the SHIFT button and press the TIMBRE SELECT TIM BRE 1 button Your editing will apply to Timbre 1 an
130. ton and press the ARPEGGIATOR ON OFF switch The demo will begin playing While the demo is playing you can stop it by pressing the EXIT switch ES Refer to p 11 for details on how to se lect songs CALIBRATION Calibrating the foot pedal 1 Connect a foot pedal p 8 Begin this operation with the pedal set all the way down 2 Hold down the SHIFT button and press the ARPEGGIATOR LATCH switch The LATCH switch will blink The main display will show the calibra tion setting screen 3 Advance the foot pedal all the way up and then return it to the fully down position 4 Make sure that the lower line of the main display shows 5 To execute the calibration press the LATCH switch The calibration settings will be loaded and you ll return to Play mode To save the settings write the Global data p 74 Saving GLOBAL and MIDI set tings If you decide to cancel the calibration operation press the EXIT button TIMBRE1 SOLO TIMBRE2 SOLO 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 1 Hold down the SHIFT button and press the TIMBRE SELECT TIMBRE 1 or TIMBRE 2 button Only the tim bre whose button you press will be heard 2 Hold down the SHIFT button and press the TIMBRE SELECT button TIMBRE 1 or TIMBRE 2 of the
131. ton setting Shift function Program name setting e Shift function Knob assign setting Procedure 1 Press the WRITE button Make sure that the main display in dicates Program the type of data to be saved and press the WRITE button once again note If the main display indicates Global when you press the WRITE button the global parameters are what will be saved Use the PAGE dial to select Program and press the WRITE button 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 A Never turn off the power while data is being written Doing so may destroy the data If the main display indicates WrtPrtct when you press the WRITE button again write protect is turned on i e you can t write programs Press the EXIT button twice to cancel the Write operation and turn off Write Protect v p 78 Use the PAGE dial to select the des tination program number into which you want to save the program Press the WRITE button once again to save w
132. tone of the sound coming from the oscillators by boosting or cutting specific frequency regions Filter settings will have a major impact on the sound By default envelope generator 1 EG1 is set to vary the cutoff frequency of the filters over time Amp AMP Traditionally the amp section controls the output volume AMP and the panning PAN or the position in the stereo field By default envelope generator 2 EG2 is set to vary the volume level over time Drive Wave Shape DRIVE WS The R3 provides additional features to add more tonal complexity and edge to the sound including Drive Wave Shape control DRIVE WS 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 You can also use virtual patching VIRTUAL PATCH to assign these EGs as envelope sources for other parameters LFO section LFO1 LFO2 LFO Low Frequency Oscillator is used to apply cyclic change to the sound parameters Each timbre contains two LFOs and for each LFO you can choose one of five waveforms By default LFO1 is assigned to oscillator 1 s analog algorithms as the knob label
133. ts If you are making monaural connections use the L MONO jack Connections to the audio inputs If you want to use the R3 as a vocoder connect a mic or other audio source to AUDIO INPUT 1 and use that audio source as the modulator v p 14 If you want to use an external sequencer rhythm machine or audio source as the carrier of the vocoder connect that device to AUDIO INPUT 2 Connections 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 eguipment computers The keyboard and controllers etc of the R3 can be used to control an external MIDI tone generator Conversely another MIDI keyboard or seguencer can control the tone generator of the R3 to produce sound p 64 Connecting the included mic A mic for use with the vocoder is included with the R3 Here s how to attach the included mic to the R3 amp Do not apply excessive force to the neck of the mic or repeatedly bend it back and forth any more than necessary Doing so may cause malfunctions such as breakage of the internal wiring 1 Grasp the connector of the mic and con nect it to the front panel MIC jack Don t use excessive force when plugging it in amp To disconnect the included mic grasp the connector and pull it out 2 Set the MIC switch to XLR 3 Hold down the SHIFT button and press the VOCODER button
134. ve For example when you play a note on a piano the note begins at the maximum volume and gradually diminishes When you release your finger from the key the sound will disappear quickly with a brief decay Volume curves such as this are an important aspect of how we identify the sound of a specific instrument This type of change also occurs in the tone and pitch as well as in the volume On a synthesizer this type of change is produced by an EG The R3 has dedicated EGs for the filter and for the amp However since these EGs can be used as Virtual Patch sources you are also free to use them to vary the pitch or numerous other aspects of the sound Some example amp EG settings are shown below Piano Organ Strings Level Level Level Note on Note off Note on Note off Note on Note off 0 3 Time 0 Time 0 x Time Attack 0 Sustain 0 Attack 0 Sustain 127 Attack 40 Sustain 75 Decay 100 127 Release 5 25 Decay Release 0 Decay 50 Release 50 4 42 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 m You can use EG3 as a Virtual Patch source to modulate parameters other than filter cutoff EG1 or volume EG2 re p 45 es Knob 1 Attack3 Attack EG3 000 127 Specifies the time from note on when the key is pressed until the attack level maxi mum value of the env
135. wave with tonal character istics similar to that of a human voice Noise Generates noise DWGS DWGS Digital Waveform Genera tion System waveforms These digital waves are created using harmonic additive synthesis Sixty four DWGS waves are available Audio In An external audio source will be used in place of the oscillator The parameters of the PITCH section will have no effect on the external au dio source connected to the AUDIO INPUT 1 or AUDIO INPUT 2 jacks OSCI Fed Waveform Knob 2 OSC1 Mod Oscillator 1 Modulation Type Waveform Cross Unison VPM Selects the type of modulation being applied to oscillator 1 A The maximum number of playable voices may change depending on the combination of Wave and OSC1 Mod settings Waveform Waveform Modulation Use Controll to modify the shape of the waveform A The following parameters Cross Uni son VPM are only available when the Wave parameter is set to is Saw Pulse Tri or Sin and are not available if the WAVE parameter is set to Formant Noise DWGS or Audioln Cross Cross Modulation Cross Modula tion uses the output waveform of oscillator 2 the modulator to modulate the frequency of oscillator 1 the carrier at high speed to produce a modulated sound The waveform selected by Wave will be the carrier Figure 5 1 4 es Bas N12 Knob 3 OSC1Ctr1 Control1 000 12
136. waveform changing the over tone structure as shown below AA 000 063 127 Knob 4 Control2 LFO1 Intensity 000 127 LFO1 will vary the OSC1Ctr1 effect Waveform Modulation OSC1Ctr2 ad justs the depth of this change When Knob 1 Wave Formant and Knob 2 OSC1 Mod Waveform Knob 3 Control1 Formant Width 000 127 The formant waveform has a tonal charac ter reminiscent of a human voice This knob will adjust the frequency components that are characteristic of vocal formants This is equivalent to changing the shape of your mouth i e changing the vowel sound Knob 4 Control2 Formant Shift 63 63 Moves the entire formant frequency spec trum upward or downward This is equiva lent to changing the size of your mouth With a setting of 0 the formant locations are unchanged When Knob 1 Wave Noise and Knob 2 OSC1 Mod Waveform Knob 3 Control1 Resonance 000 127 Adjusts the amount of resonance of the fil ter provided within the noise oscillator Higher values will emphasize the fre quency points for the pitched component within the noise Knob 4 Control2 LPF HPF Mix LPF63 CNT HPF63 Adjusts the mix balance between the low pass and high pass filters this will vary the brightness of the sound When Knob 1 Wave DWGS and Knob 2 OSC1 Mod Waveform Knob 3 Control1 has no effect Knob 4 Control2 Wave Select 001 64 Selects the DWGS wavefor
137. 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 You can also use Ring Modulation and Oscillator Sync to create very complex overtone structures This is set by OSC Mod knob 2 Knob 1 Wave Waveform Select Saw Square Triangle Sine Selects a waveform for oscillator 2 Saw A sawtooth wave Square A square wave Triangle A triangle wave Sine A sine wave ES If you do not hear the sound of oscil lator 2 raise the 7 Mixer page OSC2 LEVEL knob 2 If you want to hear only the sound of oscillator 2 lower the 7 Mixer page OSC 1 Lvl knob 1 Rina Sunc orf Ena 59nc Knob 2 OSC2 Mod Oscillator 2 Modulation Type Off Ring Sync Rng Sync Selects the type of oscillator modulation that will be produced in conjunction with oscillator 1 Off No oscillator modulation effect is pro duced However you can detune oscillator 2 from oscillator 1 using the OSC Semi and OSC2Tune parameters to create harmony and detune effects Ring Ring modulation generates the sum and difference of the oscillator 1 and 2 waveforms By adjusting OSC Semi and OSC2Tune you can create metallic sounds that contain little sense of pitch This can be effective for sound effects Figure 6 1
138. xternal MIDI device to perform the same operations as when the knobs and keys of the R3 are operated Conversely you can operate the R3 s knobs and keys to control an external MIDI device Use the 44 MIDI CC page to assign con trol change messages to parameters p 71 MIDI LOCAL setting when connecting an external MIDI sequencer or computer If notes are sounding doubled when the R3 is connected to an external MIDI sequencer or computer turn the Local setting off 42 MIDI page Local Off rsp 68 If the R3 is connected to an external MIDI sequencer or computer and the Echo Back setting of the external MIDI sequencer or computer is turned on while the R3 s Lo cal Control setting is also on the performance data generated when you play the R3 s keyboard will be sent to the external MIDI sequencer and will also be echoed back to sound the R3 s tone generator a second time To prevent each note from being sounded twice once directly from the keyboard and once from the echoed back note you must turn the R3 s Local Control setting off Recording the MIDI output from the R3 s arpeggiator onto an external MIDI sequencer or computer 1 Connect and setting Connect the R3 s MIDI OUT connector to the MIDI IN connector of your external MIDI sequencer computer and connect the R3 s MIDI IN connector to the MIDI OUT connector of your external MIDI sequencer computer p 64 Then turn the R3 s Local Control off 42
139. y C 1 G9 This parameter is available only when the Mode parameter is set to Split Timbre 1 will play the notes that are below the speci fied note number and timbre 2 will play the notes that are above it T2MIDIch Timbre 2 MIDI channel Global 01 16 When the Mode is set to either Layer or Multi this parameter can be used to set the MIDI channel for timbre 2 If you choose the Global the MIDI chan nel of timbre 2 will match the global MIDI channel Timbre1 will always be set to the Glo bal MIDI channel You can specify the timbre1 MIDI channel by setting the 42 MIDI page parameter MIDI Ch Hanoi Knob 3 Assign Mono1 Mono2 Poly This parameter specifies how notes will be articulated from the keyboard or MIDI source Monot The timbre will play monophoni cally If you continue holding down the key you first pressed the EG will not retrigger when you play the second and subsequent keys Use this setting when you want to play legato Figure 1 4 Mono2 The timbre will play monophoni cally The EG will be retriggered each time you press a key Figure 1 4 Poly The program will play polyphoni cally allowing you to play chords The maximum polyphony is eight voices Figure 1 1 Single Figure 1 2 Layer l Figure 1 3 Split Timbre1 LL Timbre2 Timbre1 Timbre1 Timbre2 LILL d
140. ynth program but let s select synth program K 5 RezoBeat for this example 2 The modulation sequence will begin playing when you play the key board listen to the result 3 Turn the modulation sequencer off by pressing the MOD SEQ ON OFF button the button will go dark 16 2 Recording a modulation sequence Let s try recording a modulation sequence Recording in Play mode In Play mode you can record the movement of one of the four Perfor mance Edit knobs 1 Select a synth program 2 Select a timbre by pressing either the TIMBRET or TIMBRE2 but ton The button for the selected timbre will blink 3 Turn the modulation sequencer on by pressing the MOD SEQ ON OFF button The button will light 4 Press the MOD SEQ REC button to arm the modulation sequencer for recording 5 While holding down notes on the keyboard turn the knob that con trols the parameter you want to change one knob 1 2 3 or 4 Recording will begin the moment you turn the knob When you ve reached the last step the REC button will go dark and recording will end 6 When you play the keyboard the modulation sequence will begin play ing back and will then continue to loop Listen to the result The modulation sequencer will record onk the movement of the knob that initiated recording Even if you move other knobs after recording has begun their movements will not be recorded

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