Korg R3 User Manual
E
1
ii
Precautions
Data handling
Location
Using the unit in the following locations can result in a
malfunction.
• In direct sunlight
• Locations of extreme temperature or humidity
• Excessively dusty or dirty locations
• Locations of excessive vibration
• Close to magnetic fields
Power supply
Please connect the designated AC adapter to an AC outlet of
the correct voltage. Do not connect it to an AC outlet of
voltage other than that for which your unit is intended.
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 equipment 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
conforms 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 , ,
These symbols respectively indicate cautions, advice, and MIDIrelated 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.
* Company names, product names, and names of formats etc.
are the trademarks or registered trademarks of their respective
owners.
iii
Thank you for purchasing the Korg R3 synthesizer/vocoder. To ensure
trouble-free enjoyment, please read this manual carefully and use the
product correctly.
Table of contents
Introduction.......................................................... 1
Main Features ..................................................................................... 1
The structure of a program .................................................................. 2
Synthesizer .....................................................................................................2
Vocoder ........................................................................................................... 4
Front and rear panel ........................................................................... 5
Front panel .....................................................................................................5
Rear panel ...................................................................................................... 7
Preparations ........................................................ 8
Connections......................................................................................... 8
Connections from the audio outputs......................................................... 8
Connections to the audio inputs ................................................................ 8
Connections to MIDI equipment/computers ..........................................8
Connecting the included mic ......................................................................8
Connecting the pedal ................................................................................... 9
Turning the power on ......................................................................... 10
1. The power supply ................................................................................... 10
2. Turning the power on ............................................................................ 10
3. Turning the power off ............................................................................ 10
Quick Start......................................................... 11
Demo songs ...................................................................................... 11
Listening to the demo songs ..................................................................... 11
Synth programs................................................................................. 12
1. Selecting and playing a program .........................................................12
2. Modifying the sound.............................................................................. 12
Vocoder programs ............................................................................. 14
1. Playing a vocoder program................................................................... 14
2. Modifying the sound.............................................................................. 14
Arpeggiator ...................................................................................... 15
Using the arpeggiator ................................................................................ 15
Modulation Sequence ........................................................................ 16
1. Playing back a modulation sequence ..................................................16
2. Recording a modulation sequence.......................................................16
Formant Motion ................................................................................. 18
1. What is a Formant Motion?................................................................... 18
2. Recording formant motion data ........................................................... 18
Editing ............................................................... 19
Basic editing...................................................................................... 19
Basic editing procedures............................................................................19
Editing each timbre .................................................................................... 20
Editing a vocoder program .......................................................................21
Editing the arpeggiator ..............................................................................22
How to read the pages for each section ..................................................22
iv
Table of Contents
Timbre Parameters ............................................. 23
1. VOICE ........................................................................................... 23
2. UNISON ........................................................................................ 24
3. PITCH-A ........................................................................................ 25
4. PITCH-B ......................................................................................... 26
5. OSC1 (Oscillator 1)........................................................................ 27
6. OSC2 (Oscillator 2)........................................................................ 30
7. MIXER ........................................................................................... 31
8. FILTER1-A ...................................................................................... 32
9. FILTER1-B....................................................................................... 34
10. FILTER2-A .................................................................................... 35
11. FILTER2-B .................................................................................... 36
12. AMP (Amplifier) ........................................................................... 37
13. DRIVE/WS (Drive/Wave Shape)................................................... 38
14. EG1 ............................................................................................ 40
15. EG2 ............................................................................................ 41
16. EG3 ............................................................................................ 42
17. EG VELO INT (EG Level Velocity Intensity) ..................................... 43
18. LFO 1, 19. LFO 2 ......................................................................... 44
20. PATCH 1, 21. PATCH 2, 22. PATCH 3, 23. PATCH 4,
24. PATCH 5, 25. PATCH 6 ................................................................. 45
26. MOD SEQ-A (Modulation Sequencer) ........................................... 46
27. MOD SEQ-B (Modulation Sequence) ............................................. 47
28. EQ (Equalizer) ............................................................................. 48
29. INSERT FX1, 30 INSERT FX2......................................................... 49
31. MASTER FX.................................................................................. 50
Arpeggio parameters ......................................... 51
Front Panel Arpeggio Parameters ...................................................... 51
32. ARPEGGIATOR-A ......................................................................... 52
33. ARPEGGIATOR-B ......................................................................... 53
Vocoder parameters ........................................... 54
Front panel vocoder parameters ........................................................ 54
34. CARRIER ...................................................................................... 55
35. MODULATOR-A ........................................................................... 56
36. MODULATOR-B ............................................................................ 57
37. FILTER.......................................................................................... 58
38. FILTER/AMP................................................................................. 59
39. CH LEVEL /PAN (Channel Level/Channel Panpot) ......................... 60
Overall settings (GLOBAL) ................................... 61
GLOBAL structure .............................................................................. 61
Overview ......................................................................................................61
40. GLOBAL-A ................................................................................... 62
41. GLOBAL-B ................................................................................... 63
MIDI parameters ................................................ 64
Using the R3 with other MIDI devices (MIDI) ....................................... 64
Overview ......................................................................................................64
Connecting MIDI devices/computers .................................................... 64
MIDI-related settings ................................................................................. 65
42. MIDI ............................................................................................ 68
43. MIDI FILTER.................................................................................. 70
44. MIDI CC# MAP (MIDI Control Change No. Map) ........................... 71
45. PATCH SOURCE ........................................................................... 72
v
Table of Contents
Pedal/Switch parameters.................................... 73
46. PEDAL/SW .................................................................................. 73
Saving Data ....................................................... 74
Saving your edited settings ................................................................ 74
Saving a program ........................................................................................ 74
Saving GLOBAL, MIDI settings ...............................................................74
Saving Formant Motion data ....................................................................74
SHIFT functions ................................................... 75
Copying and exchanging timbres/ Initializing a program .................. 75
Initializing Vocoder Parameters.......................................................... 76
Copy Effect ........................................................................................ 76
Data dump ........................................................................................ 77
Restoring the factory settings ............................................................. 78
Write protect setting .......................................................................... 78
Other SHIFT key functions .................................................................. 79
Index ................................................................. 81
Voice Name List.................................................. 83
Trouble shooting ................................................. 86
Specifications and options................................... 87
vi
Introduction
Main Features
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 Performance Edit controllers to modify the sound as you play.
4. External sound processing
Any external audio source can be connected to the R3 via the AUDIO
INPUT 1 and 2 jacks, and processed in the same way as the internal
waveforms.
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 equalizer. 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 value 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.
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.
1
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
Audio Input 1
Audio Input 2
Timbre 1
Timbre 2
Arpeggiator
Synth
AUDIO INPUT 1, 2
OSC1
OSC MOD
OSC2
NOISE
Free Assign
MOD SEQUENCER
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
Synth
EQ Insert FX 1/2
Synth
Filter Routing= Individual
MIXER
LFO1 LFO2 MIDI 1–3
EQ
KBD TRACK
EG1
Insert FX 1/2
FILTER1
FILTER2
EG1
EG2 EG3
VIRTUAL PATCH
Drive/WS Position
= PreAmp
Free Assign
Master FX
DRIVE/WS
OUTPUT
(L/MONO, R)
AMP
KBD Track
Velocity
Pitch Bend
Mod Wheel
PAN
To EQ
audio signal. Oscillator 2 (OSC2) lets you choose from four different
oscillator waves - sine, triangle, square, and sawtooth. The noise generator (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 crossmodulation, 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 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).
2
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 labelled “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 Sync 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.
3
The structure of a program
○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○
Vocoder
A vocoder is a device that analyzes the character (the frequency response
of each band) of a “modulator” signal (typically a human voice from a
mic), and applies a filter with the analyzed characteristics to the “carrier”
signal (typically a waveform produced by an oscillator), imposing a vocal
character on that waveform, and making it seem as though the instrument is talking.
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 1
Audio In 2
Vocoder
Audio Input 1
Timbre 2
Audio Input 2
Timbre 1
Timbre 1
Timbre 2
LEVEL
LEVEL
Synth
Synth
Modulator
Carrier
Vocoder Sw= ON
Carrier
Vocoder
Modulator
Vocoder Sw= ON & Modulator AudioSrc = Timbre2
Band16
Band1
ANALYSIS
FILTER
Resonance
SYNTHESIS
FILTER
Fc Offset
Formant shift
EQ
E.F. Sens
ENVELOPE
FOLLOWER
Level1…16
EQ INSERT FX1/2
INSERT FX1/2
Formant Motion
On/Off
Pan1…16
Direct
Level
HPF
Level
FORMANT
MOTION DATA
MASTER FX
HPF
OUTPUT
(L/MONO, R)
To Timbre 1 EQ
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 impression 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 interesting 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).
4
Front and rear panel
○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○
Front panel
AUDIO INPUT1 [MIC] jack
Connect a mic to this input. Vocoder-type
programs use the audio signal from this mic
as the modulator.
The [MIC] switch specifies whether this jack
or the rear panel [AUDIO INPUT 1] jack will
be used.
[MIC] switch
Selects the audio input source for
AUDIO INPUT 1. Select the XLR setting if you're using the front panel
[MIC] jack.
Select the REAR setting if you're using 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
when there is an input signal, and will
light 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
Controls the pitch.
[MOD] wheel
Controls the depth of modulation
(cyclic change).
[AUDIO INPUT 2] knob
Adjusts the input level from the rear panel [AUDIO 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,
LFO, or effect delay. The LED at the right will
blink in synchronization with the tempo.
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.
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 (☞p.55).
OFF (dark): Vocoder is off.
ON (lit): Vocoder is on.
EDIT (blinking): Vocoder parameters can be edited.
ARPEGGIATOR [LATCH] (CALIBRATION) button
Specifies how the arpeggiator behaves when you release
the keyboard.
You can execute the foot pedal calibration function by holding down the [SHIFT] button and pressing this button.
AUDIO IN THRU function
If you hold down the [SHIFT] button
and press this button, the signal
from the [AUDIO INPUT 1] (or MIC)
jack and the [AUDIO INPUT 2] jack
will be passed through to the OUTPUT [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
SELECT] dial. (The selected button 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 corresponding 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.
5
Front and rear panel
[WRITE] button
Saves the program or global settings you’ve edited (☞p.74).
[SHIFT] button
You can execute SHIFT functions (various utilities)
by holding down this button and pressing another
button (☞p.75).
MOD SEQ/FORMANT MOTION
[ON/OFF] button
If you’ve selected timbre 1 or 2
in the TIMBRE SELECT section,
pressing this button to make it
light (on) will play back the recorded modulation sequence
data (☞p.16).
When you’re editing the vocoder, pressing this button to make
it light (on) will play back the formant motion data. This lets you
produce a vocoder effect without
inputting an audio signal from
an external source (☞p.18). If
this button is dark (off), a vocoder 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 (☞p.75 “SHIFT
functions”).
[EXIT] button
When you’re editing, this button finalizes the settings and returns you to Play mode. When you’re
using a SHIFT function, this button cancels execution of the function and returns you to Play
mode (☞p.75).
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.
Sub-displays
These show parameter
names or values for the
selected program (Play
mode) or edit page (Edit
mode).
[1] [2] [3] [4] knobs
Use these knobs for performance editing in Play
mode, or to edit the parameters in the various
pages of Edit mode
(☞p.19).
[PAGE] dial
By turning this dial while
in Play mode, you can
enter Edit mode and select a page to edit
(☞p.19).
When using a SHIFT
function, use this dial to
specify a parameter or
value (☞p.75).
MOD SEQ/FORMANT MOTION [REC] button
When you’re editing a timbre, this button takes you to Modulation Sequence recording mode (
When you’re editing the vocoder, this button takes you to Formant Motion Data recording mode (
☞
p.16).
☞
p.18).
ORIGINAL VALUE LED
In Edit mode, this will light if the value of the parameter you’re
editing matches the value stored in the program (☞p.20).
6
○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○
Rear panel
Front and 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.
[POWER/STANDBY] switch
Tu r ns the power on or off. (☞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.
[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
INPUT 2] knob to control the input
level.
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.
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.
[PHONES] jack
Connect your headphones
(stereo 1/4" plug) to this jack.
[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]
knob 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.
7
Preparations
1
2
Connections
The diagram below shows basic connections for the R3. Make substitutions as appropriate for your equipment.
Included mic
AC adapter
(included)
Connect to
an AC outlet
MIDI IN
MIDI keyboard, tone generator module,
rhythm machine etc.
MIDI OUT
Powered monitors, etc.
Be sure to turn off the power of all devices before making connections. 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 outputs.
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 (☞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
8
Phones
.
If you want to process the waveform of a synthesizer or sampler, connect
a mic or the output jack of your external device to the AUDIO INPUT 1
and 2 jacks (☞p.29).
○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○
Connections to MIDI equipment/computers
The keyboard, and controllers etc. of the R3 can be used to control an
external MIDI tone generator. Conversely, another MIDI keyboard or
sequencer 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.
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.
Grasp the connector of the mic and con-
1
nect it to the front panel [MIC] jack. Don’t
use excessive force when plugging it in.
To disconnect the included mic, grasp
the connector and pull it out.
Set the [MIC] switch to XLR.
2
Hold down the [SHIFT] button and press
3
the [VOCODER] button; 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.
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, expression, etc. while keeping your hands free for performing. The function
controlled by the pedal can be specified in the 46. Pedal/Sw page
“A.Pedal.” The factory default setting for the assignable pedal is Expression (Exp Pedal). (☞ p.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
9
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).
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.
Never use any AC adaptor other than the included one.
○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○
2. Turning the power on
Before you turn on the R3’s power, you should lower the level of
your monitor system or other connected output device.
1 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.
2
○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○
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.
Never turn the power off while data is being saved (i.e., while Write
is executing). Doing so may damage the internal data.
10
Quick Start
○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○
Listening to the demo songs
The R3 contains several demo songs that take advantage of the rich
sounds and expressive potential of the instrument.
To listen to the demo songs, hold down the [SHIFT] button and press
1
the ARPEGGIATOR [ON/OFF] button.
The demo will begin playing. the PROGRAM NUMBER button will
light and the ARPEGGIATOR [ON/OFF] button will blink.
To switch demo songs during playback, press the PROGRAM NUM-
2
BER [1]–[8] buttons.
When you press the [SHIFT] button, demo playback will stop.
3
The R3 will return to normal playing mode.
1
3
Demo songs
1
2
11
Synth programs
○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○
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”.
Turn the PROGRAM SELECT knob to the “D–POLY SYNTH” posi-
1
tion.
Press the PROGRAM NUMBER [4] button to select the program num-
2
ber.
The display will show the name and number of the selected program.
The program will change the moment you switch Banks or select a
different Number.
Play the keyboard to listen to the sound.
3
4 You can use the OCTAVE [UP] or [DOWN] buttons to shift the pitch
range of the keyboard. (☞p.13)
Program Bank
Program Number
○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○
2. Modifying the sound
On the R3, you can modify the sound to add expression to your performance 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]: Filter1 Cutoff Frequency (Cutoff1)
Knob [2]: Filter1 Resonance Amount (Reso1)
Knob [3]: Filter Envelope (EG1) Intensity (EG1 Int1)
Knob [4]: Master Effect Dry/Wet (MFX D/W)
12
1
2
4
C6–C9 UP lit red
C5–C8 UP lit orange
C4–C7 UP lit green
Key operation
Press UP key
Key operation
Press
DOWN key
C3–C6 dark
C2–C5 DOWN lit green
C1–C4 DOWN lit orange
C0–C3 DOWN lit red
Keyboard range Key LED
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);
pulling the wheel down will bend the pitch down
(flat). When the wheel is in the center position, no
pitch bend effect is produced. When released, the
wheel will return to the center position.
[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.
The [PITCH] and [MOD] wheels can be used as virtual patch
sources, they can produce a variety of effects other than described
above. (☞p.45)
0
0
Using the OCTAVE SHIFT UP and DOWN buttons
You can use these buttons to shift the range of the keyboard, in oneoctave units over a range of +/-3 octaves.
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.
Since velocity and keyboard tracking can be used as a virtual patch
source, you can use them to produce a variety of effects other than
those described above. (☞p.45)
The R3’s keyboard does not generate aftertouch data.
Octave Shift settings and note numbers
C-1
(0)
(12)
C0
(24)
C1
-3 octaves
(36)
Middle C on a
piano is C4 (MIDI
note number 60)
+2 octaves
(96)
C7
C5
(72)
-2 octaves
(48)
C3
C2
-1 octave
C4
(60)
Octave Shift not used
+1 octave
(84)
C6
+3 octaves
C8
(108)
C9
(120)G9(127)
C#8
(116)C9(120)
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.
Connect the included mic to the [MIC] connector (☞p.8).
2
Select a vocoder program from bank P (VOCODER).
3
The [VOCODER] button will light.
With the factory settings, bank P (VOCODER) contains vocoder
programs.
Sing or talk into the mic, and turn the [AUDIO INPUT 1] knob up (to
4
the right) as far as you can, without allowing the AUDIO INPUT 1 LED
to light red.
○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○
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 keyboard. 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 parameters.
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)
14
1
3
3
1, 4
While singing or talking into the mic, play the keyboard.
5
Try speaking or singing different words, and play various chords to
hear the vocoder effect.
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.
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)
Select a program. (☞p.12)
1
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.
Press the ARPEGGIATOR [ON/OFF] button to turn the arpeggiator
2
on (the button will light).
Hold down a chord on the keyboard, and the arpeggiator will run.
3
Modifying the arpeggio
Turn the [PAGE] dial and select either the 32. Arpeggiator-A or the 33.
4
Arpeggiator-B page.
Turn the knobs [1]–[4] to adjust the arpeggiator parameters, changing
5
the way that the arpeggiator is sounded.
Adjust the tempo by [TEMPO] knob.
Turning individual steps on and off to vary the arpeggio
With the [PAGE] dial set to the 32. Arpeggiator-A or 33. Arpeggiator-B
6
page from the previous step, the PROGRAM NUMBER [1]–[8] buttons 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 corresponding 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
Press the ARPEGGIATOR [ON/OFF] button to turn the arpeggiator
7
off (the button will go dark).
2
4, 6
5
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.
Select a synth program.
1
You can use the modulation sequence with a synth program, but let’s
select synth program “K–5 RezoBeat” for this example.
The modulation sequence will begin playing when you play the key-
2
board; listen to the result.
Turn the modulation sequencer off by pressing the MOD SEQ [ON/
3
OFF] button (the button will go dark).
○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○
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 Performance Edit knobs.
Select a synth program.
1
Select a timbre by pressing either the [TIMBRE1] or [TIMBRE2] but-
2
ton. The button for the selected timbre will blink.
Turn the modulation sequencer on by pressing the MOD SEQ [ON/
3
OFF] button. The button will light.
Press the MOD SEQ [REC] button to arm the modulation sequencer
4
for recording.
While holding down notes on the keyboard, turn the knob that con-
5
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.
When you play the keyboard, the modulation sequence will begin play-
6
ing back and will then continue to loop. Listen to the result.
The modulation sequencer will record onkè the movement of the
knob that initiated recording. Even if you move other knobs after
recording has begun, their movements will not be recorded.
16
2
3
4
5
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.
Select a synth program. Choose a program that is not
1
saved with a modulation sequence (MOD SEQ [ON/
OFF] button is dark).
Select a timbre by pressing either the [TIMBRE1] or
2
[TIMBRE2] button. The button for the selected timbre will blink.
Turn the modulation sequencer on by pressing the MOD SEQ [ON/
3
OFF] button. The button will light.
Turn the [PAGE] dial to enter Edit mode and select the page that con-
4
tains the parameter you want to record.
Press the MOD SEQ [REC] button to arm the modulation sequencer
5
for recording.
While holding down notes on the keyboard, turn one of the knobs [1]–
6
[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 not
initiate recording.
When you play the keyboard, the modulation sequence will begin play-
7
ing back and will then continue to loop. Listen to the result.
Modulation Sequence
2 3
5
4
6
17
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
Turn the [AUDIO INPUT 1] knob all the way to the left, and set the
1
[MIC] switch to XLR.
Connect the included mic to the [MIC] connector (☞p.8).
2
Select a vocoder program from bank P (VOCODER). The [VOCODER]
3
button will light up.
Sing or talk into the mic, and turn the [AUDIO INPUT 1] knob up (to
4
the right) as far as you can, without allowing the AUDIO INPUT 1 LED
to light red.
Speak or sing into the mic.
8
Press the FORMANT MOTION [REC] button to stop recording.
9
Recording will stop automatically when the memory is full.
Press the FORMANT MOTION [ON/OFF] button (the button will
10
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.
Press the [WRITE] button.
11
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.
Press the [WRITE] button once again.
12
The main display will indicate the save-destination data number.
Use the [PAGE] dial to specify the numbered location (1-16) where you
13
want the formant motion data to be saved.
Press the [WRITE] button.
14
The formant motion data will be saved into the numbered location
that you specified.
18
Recording
Press the [VOCODER] button.
5
The button will blink.
Press the FORMANT MOTION [REC] button.
6
The button will blink, and you’ll be in the record-ready condition.
Press the FORMANT MOTION [REC] button once again.
7
The moment you press the [REC] button, recording will begin and the
button will light.
5
10
6, 7, 9
11, 12, 14
13
Editing
Basic editing
○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○
Basic editing procedures
On the R3 there are two basic ways for you to create your own sound(s).
• Select a program that is close to the sound you want to create, and tweak
the parameters of that program until it sounds the way you would like
it to.
• Start from an initialized program (“blank slate”), and create the sound
from scratch
All of editable parameters are organized into sections, and the parameters 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.
Select the program that you want to start from. (☞p.12)
1
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.
Turn the [PAGE] dial to select the edit page that includes the parameter
2
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.
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 (☞p.49).
Repeat steps 2–3 as necessary to create the desired sound.
4
Write the program into memory. (☞p.74)
5
If you select another program or turn the power off before you write
the program into memory, your edits will be lost.
The difference between 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.
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
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.
2
3
19
Basic editing
Returning a parameter to its original value.
When editing, you can always return any edited parameter to its original value. Simply rotate the knob assigned to that parameter until the
ORIGINAL VALUE LED remains steadily lit.
If you select another program or re-select the same program while
you are editing, all your edits will be lost, unless you first save any
changes you have made. 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 parameters 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).
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.
❍
Turn the [PAGE] dial to select the 1. Voice page, and turn
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.
❍ Press the TIMBRE SELECT [TIMBRE1] button to select timbre 1 as the
timbre that you want to edit.
TIMBRE SELECT [TIMBRE1] button will light. Your editing will affect
the selected timbre.
knob
[1] knob to
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, and only Timbre 1 will sound.
If you want only Timbre 2 to sound, hold down the [SHIFT] button
2
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.
The Solo state cannot be saved.
TIMBRE SELECT
SHIFT
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)
20
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. Carrier page.
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
Audio In 1
Audio In 2
Timbre 1
Timbre 2
Synth
Synth
Vocoder Sw= ON
Carrier
Vocoder
Modulator
Vocoder Sw= ON & Modulator AudioSrc = Timbre2
EQ INSERT FX1/2
INSERT FX1/2
EQ
MASTER FX
OUTPUT
(L/MONO, R)
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.
1 Select a vocoder program.
2 Press the [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.
To input your voice as the modulator, turn the front panel
FORMANT MOTION [ON/OFF] button off, and set the 35. Modulator-A page “AudioSrc“ parameter to Input1.
21
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 arpeggiator 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 arpeggio, 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)
○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○
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.
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
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.
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. FILTER1-A page and 9. FILTER1-B page.
Knob [1]
Cutoff1 (Filter1 Cutoff) [0...127]
Sets the cutoff frequency.
Increasing this value will raise the cutoff
frequency.
“Cutoff1” can be varied by time-variant change produced by EG1, by keyboard playing dynamics (velocity),
and by note location (keyboard tracking).
If the “Cutoff1” value is set too low,
the volume may be extremely low, or
you may hear no sound at all.
Knob [2]
Reso1 (Filter1 Resonance) [0...127]
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. Increasing 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
(☞Figure 8-1).
Depending on the cutoff frequency or
the input audio, increasing this value
may cause distortion.
A summary of this section is
given here.
Knob [3]
Filt1Bal (Filter1 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 (☞p35 “LFP:”).
HPF (-12dB/oct): High Pass Filter (☞p35
“HFP:”).
BPF (-12dB/oct): Band Pass Filter (☞p35
“BFP:”).
THRU: The sound will output directly,
without passing through the filter.
Knob [4]
Routing1 [Single, Serial, Para, Indiv]
Specifies the routing (connection) between
filter 1 and filter 2.
Single: Only filter 1 is used.
Serial: Filter 1 and filter 2 are connected in
series (☞Figure 8-2).
Parallel: Filter 1 and filter 2 are connected
in parallel (☞Figure 8-3).
Indiv: Filter 1 is applied to oscillator 1, and
filter 2 is applied to oscillator 2 and noise
(☞Figure 8-4).
22
Timbre Parameters
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 monophonically or polyphonically, and how it will be retriggered.
If you simultaneously press more keys than the specified number of voices, the last-pressed key will take priority.
Knob [1]
Mode [Single, Layer, Split, Multi]
This parameter determines how many timbres 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
(☞Figure 1-1).
Layer: Two timbres will be used. When you
play the keyboard, both timbres will sound
simultaneously.
vidually
(☞Figure 1-2)
Split: Split: Two timbres will be used. You
can specify a range of notes for each timbre, 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.
You can edit each timbre indi-
.
Knob [2]
SplitKey (Split Key) [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 specified 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 channel of timbre 2 will match the global MIDI
channel.
Timbre1 will always be set to the Global MIDI channel. You can specify the
timbre1 MIDI channel by setting the
42. MIDI page parameter “MIDI Ch.”
Knob [3]
Assign [Mono1, Mono2, Poly]
This parameter specifies how notes will be
articulated from the keyboard (or MIDI
source).
Mono1: The timbre will play monophonically. 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 monophonically. The EG will be retriggered each time
you press a key (☞Figure 1-4).
Poly: The program will play polyphonically, allowing you to play chords. The
maximum polyphony is eight voices.
Figure 1-1: Single
Timbre1
Figure 1-2: Layer
Timbre2
Timbre1
Figure 1-3: Split
Timbre1
Figure 1-4: “Assgin” Mono1, Mono2
Note on
EG
Mono 1
Trigger
EG
Mono 2
Trigger
Timbre2
“SplitKey”
Note on
23
Loading...