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Korg R3 Owner's Manual

Synthesizer / vocoder.
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  • Page 3: Printing Conventions In This Manual

    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.

  • Page 4: Table Of Contents

    Thank you for purchasing the Korg R3 synthesizer/vocoder. To ensure trouble-free enjoyment, please read this manual carefully and use the product correctly. Introduction... 1 Main Features ... 1 The structure of a program ... 2 Synthesizer ... 2 Vocoder ... 4 Front and rear panel ...

  • Page 5

    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.

  • Page 6

    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 ...

  • Page 7: Introduction

    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.

  • Page 8: The Structure Of A Program

    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 Synth Insert FX 1/2 Timbre 2 Synth...

  • Page 9

    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.

  • Page 10: Vocoder

    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).

  • Page 11: Front And Rear Panel

    [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.

  • Page 12

    Front and rear panel [WRITE] button Saves the program or global settings you’ve edit- ed (☞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...

  • Page 13: Rear Panel

    1 Use these connectors to connect external MIDI waveform. For vocoder programs, you can use this signal devices to the R3 so that MIDI data can be as the modulator. Use the front panel [AUDIO INPUT 1] transferred.

  • Page 14: Preparations

    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).

  • Page 15: Connecting The Pedal

    (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.

  • Page 16: Turning The Power On

    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. Turn the R3’s [MASTER VOLUME] knob all the way toward the left.

  • Page 17: Quick Start

    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 the ARPEGGIATOR [ON/OFF] button.

  • Page 18: Synth Programs

    (☞p.13) 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.

  • Page 19

    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. Middle C on a piano is C4 (MIDI...

  • Page 20: Vocoder Programs

    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.

  • Page 21: Arpeggiator

    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.

  • Page 22: Modulation Sequence

    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. You can use the modulation sequence with a synth program, but let’s select synth program “K–5 RezoBeat”...

  • Page 23

    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 Select a synth program. Choose a program that is not saved with a modulation sequence (MOD SEQ [ON/ OFF] button is dark).

  • Page 24: Formant Motion

    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.

  • Page 25: Editing

    Editing Basic editing procedures On the R3 there are two basic ways for you to create your own sound(s). • Select a program that is close to the sound you want to create, and tweak the parameters of that program until it sounds the way you would like it to.

  • Page 26: Editing Each Timbre

    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. 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.

  • Page 27: Editing A Vocoder Program

    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.

  • Page 28: Editing The Arpeggiator

    A summary of this section is given here. The R3 has two filters (filter 1 and filter 2), and you can change their frequency. Knob [3] Knob [4] [0...127]...

  • Page 29: Timbre Parameters

    Multi: Multi: Two timbres will be used. 42. MIDI page parameter “MIDI Ch.” 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).

  • Page 30: Unison

    2. UNISON Here you can make settings for the Unison function which “stacks” voices at the same pitch to create a richer sound. Knob [1] 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.

  • Page 31: Pitch-a

    3. PITCH-A These settings affect the pitch of the oscillators. These settings are shared by oscillators 1 and 2. Knob [1] Knob [2] Transpos (Transpose) [–48...+48] Tune Adjusts the pitch of the oscillators in Adjusts the pitch of the oscillator in one- semitone (100 cent) steps.

  • Page 32: Pitch-b

    4. PITCH-B In this section you can specify how the [PITCH] and [MOD] wheels will affect the pitch. Knob [1] Knob [2] BndRange (Bend Range) [–12...+12] Vib Int (Vibrato Intensity) Specifies the range of the [PITCH] wheel in semitones This value specifies the Specifies the depth of vibrato that will be amount of change that will occur when you applied when you move the [MOD] wheel...

  • Page 33: Osc1 (oscillator 1)

    5. OSC1 (Oscillator 1) The oscillator generates a waveform that is the basis of the sound. Each timbre has two oscillators. The parameters in this section apply to oscillator 1. Knob [1] is used to select the basic waveform, and knob [2] to select a type of oscillator modulation. The functions of knobs [3] and [4] will be determined by the settings of knob [1] and knob [2] (☞p.28 -29).

  • Page 34

    5. OSC1 (Oscillator 1 When Knob [1] Wave: Saw, Pulse, (i.e., the third harmonic). Triangle, Sine and Knob [2] OSC1 Mod: Waveform Knob [3] Control1: Waveform [000…127] Knob [1] Wave: Sine Knob [1] Wave: Saw Sine wave is a mild tone that contains only The sawtooth wave is appropriate for cre- the fundamental frequency with no over- ating a wide range of sounds typical of ana-...

  • Page 35

    This will affect the tone of the at- form. tack. A setting of 127 will change the pitch and volume. Before you connect an external device, turn off the power of the R3 and of any 000 (0º) 063 (90º) 127 (180º) external output devices and power amps.

  • Page 36: Osc2 (oscillator 2)

    6. OSC2 Here you can make settings for oscillator 2. You can create a variety of sounds by using two oscillators together. For example you can adjust knob [3] (“OSC Semi”) and knob [4] (“OSC2Tune”) so that one oscillator acts as though it were part of the overtone structure of the other oscillator, set the pitches of the two oscillators to an interval of harmony, or set both oscillators to the same pitch but slightly detune one of them to create a detuning effect.

  • Page 37: Mixer

    7. MIXER These parameters adjust the volume balance of the oscillator 1 and 2, and the noise generator. These settings will be the input level to the filter section. Knob [1] Knob [2] OSC1 Lvl (OSC1 Level) [000...127] OSC2 Lvl (OSC2 Level) Sets the output level of oscillator 1.

  • Page 38: 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.

  • Page 39

    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) -12dB/oct -24dB/oct Frequency...

  • Page 40: Filter1-b

    9. FILTER1-B Here you can set the values of the filter 1 parameters. Knob [1] Knob [2] EG1 Int1 (EG1 Intensity/Filter1) [–63...63] Key Trk1 (Keyboard Tracking/Filter1) This specifies how time-variant modula- tion from the EG1 will be applied to the This specifies how keyboard tracking (the cutoff frequency (☞Figure 9-1).

  • Page 41: Filter2-a

    10. FILTER2-A Here you can adjust the settings of the filter 2 parameters. The 8. Filt1-A page “Routing1” parameter (knob [4]) specifies how filter 2 and filter 1 will be connected. You can edit the Filter 2 parameters in the 10. Filt2-A page and 11. Filt2-B page. The filter 2 parameters are not shown if “Routing1”...

  • Page 42: Filter2-b

    11. FILTER2-B Here you can make settings for the filter 2 parameters. Knob [1] Knob [2] EG1 Int2 (EG1 Intensity/Filter2) [–63...63] Key Trk2 (Keyboard Tracking/Filter2) This is the same as for FILTER 1 (☞p.34). This is the same as for FILTER 1 (☞p.34). Knob [3] VelSens2 (Velocity Sensitivity/Filter2) [–2.00...+2.00]...

  • Page 43: Amp (amplifier)

    12. AMP (Amplifier) These parameters control the volume. The sound that is created by passing through the oscillator and filter is amplified by the amp. Knob [1] Knob [2] Level [000...127] Panpot Adjusts the volume of the timbre. Adjusts the location of the sound in the ste- reo field.

  • Page 44: Drive/ws (drive/wave Shape)

    13. DRIVE/WS (Drive/Wave Shape) In this page you can set the Drive or Wave Shape parameters. This lets you add distortion to the sound and give it a distinctive impact. Knob [1] Knob [2] WS Type (Wave Shape Type) Position [Off, Drive…Lvl Boost] Specifies the position at which the drive This switches wave shaping on/off, and se-...

  • Page 45

    Figure 13-1: Drive Figure 13-8: LvlBoost Depth: 000 Depth: 000 Depth: 064 Depth: 127 Figure 13-9: Position=PreFilt Figure 13-2: Decimatr Depth: 000 Depth: 064 Depth: 127 Figure 13-10: Positon=Pre Amp Figure 13-3: HardClip Depth: 000 Depth: 064 Depth: 127 Figure 13-4: OctSaw Depth: 000 Depth: 064 Depth: 127...

  • Page 46: Eg1

    14. EG1 Here you can adjust the settings of the Filter EG, which applies time-variant change to the tone (☞Figure 14-1). Use these settings to specify the “shape” of the EG1, and use the FILTER parameter “EG1 Int1” (9. Filt1-B page ☞p.34) and “EG1 Int2” (11. Filt2-B page) to specify the amount of effect that the EG will have.

  • Page 47: Eg2

    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.

  • Page 48: Eg3

    16. EG3 Here you can adjust the settings of EG3. Create the desired curve by adjusting the ADSR parameters; ATTACK (knob [1]), DECAY (knob [2]), SUSTAIN (knob [3]), RELEASE (knob [4]). You can use EG3 as a Virtual Patch source to modulate parameters other than filter cutoff (EG1) or volume (EG2). (☞p.45) Knob [1] Attack3 (Attack EG3) [000...127]...

  • Page 49: Eg Velo Int (eg Level Velocity Intensity)

    17. EG VELO INT 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.

  • Page 50: Lfo 1, 19. Lfo 2

    (use LFO to raise and lower the cutoff frequency), and tremolo (use LFO to raise and Note on 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 1VOICE Note on special parameters that let you use the LFO to apply modulation.

  • Page 51: Patch 1, 21. Patch 2, 22. Patch 3, 23. Patch 4, 24. Patch 5, 25. Patch 6

    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.

  • Page 52: Mod Seq-a (modulation Sequencer)

    26. MOD SEQ-A These are the parameters for the Modulation Sequencers. Modulation sequencers apply time-varying change to the sound parameters in a way similar to the analog sequencers of the past. One modulation sequencer is provided for each timbre. Knob [1] Knob [2] LastStep [01…16]...

  • Page 53: Mod Seq-b (modulation Sequence)

    27. MOD SEQ-B In this page you can edit the data recorded in each step of the modulation sequencer. You can also use this page when you want to record data in Edit mode. Knob [1] Knob [2] Dest (Destination) [None, Pitch…P.Int6] Motion Selects the parameter that will be recorded...

  • Page 54: Eq (equalizer)

    28. EQ Here you can adjust the equalizer settings. The equalizer is a shelving type (☞ Figure 28-1). Knob [1] Knob [2] LoEQFreq (Low EQ Frequencey) LoEQGain (Low EQ Gain) [0020Hz…1000Hz] Specifies the frequency of the low equal- Specifies the gain of the low equalizer. izer (shelving type).

  • Page 55: Insert Fx1, 30 Insert Fx2

    29. INSERT FX1, 30 INSERT FX2 These are the settings for insert effect 1 and insert effect 2. Knob [1] Knob [2] Effect Type [NoEffect, S.Comp…W.TalkMd] Dry/Wet Selects the effect type used by the insert Sets the balance between the effect and dry effect.

  • Page 56: Master Fx

    31. MASTER FX In this page you can adjust the master effect settings. There is one master effect. You’ll see the same effect whether you’re editing it from timbre 1 or 2. In other words if you edit the master effect from timbre 1, your changes will be reflected in the master effect settings you see from timbre 2.

  • Page 57: Arpeggio Parameters

    Arpeggio parameters ARPEGGIATOR [TEMPO] knob ARPEGGIATOR TEMPO LED Specifies the playback tempo of the arpeg- This will blink at quarter-note intervals of giator. the tempo specified by the [TEMPO] knob. The speed of modulation sequences and LFOs for which “BPM Sync” is On will be synchronized to the tempo you specify here.

  • Page 58: Arpeggiator-a

    32. ARPEGGIATOR-A Here you can make various arpeggio-related settings. Knob [1] Knob [2] Assign [Timbre1, Timbre2, Tmbr1+2] Type (Arpeggio type) Selects the timbre(s) that will be sounded by the arpeggiator. Selects the arpeggio type. (☞ Figure 32-1) Timbre1: Only timbre 1 will be sounded by the arpeggiator.

  • Page 59: Arpeggiator-b

    33. ARPEGGIATOR-B Here you can make additional arpeggio-related settings. Knob [1] Knob [2] GateTime [000%...100%] ArpSwing (Arpeggiator Swing) Specifies the duration (gate time) of the arpeggiated notes, as a percentage (%). Specifies the percentage (%) by which With a setting of 001%, each note will be even-numbered notes of the arpeggio will extremely short.

  • Page 60: Vocoder Parameters

    Vocoder parameters [VOCODER] button FORMANT MOTION [ON/OFF] button This switches the Vocoder function on/off. This key lets you use formant motion data as the vocoder’s modulator. Off (key unlit): Vocoder is off. The pro- gram will not use the vocoder. Off (key unlit): Formant Motion off.

  • Page 61: Carrier

    34. CARRIER In this page you can set the input level of the audio signal being used as the carrier Knob [1] Knob [2] Tmbr1Lvl (Timbre1 Level) [000...127] Input2Lv (Input2 Level) Specifies the output level of Timbre1 (car- Specifies the output level of the signal rier).

  • Page 62: Modulator-a

    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.

  • Page 63: Modulator-b

    36. MODULATOR-B As in the 35. Mod-A page, this page lets you make additional settings for the modulator. The parameters in this page have no effect if formant motion is on (FORMANT MOTION [ON/OFF] key lit). Knob [1] Knob [2] GateSens (Gate Sensitivity) [000...127] Threshld (Threshold)

  • Page 64: Filter

    37. FILTER Here you can adjust the settings for the carrier’s sixteen band-pass filters and modulator’s envelope filter. You’ll be using these parameters frequently, since they play an important role in determining the character of the vocoder. Knob [1] Knob [2] FrmntSft (Formant Shift) [–2…+2] FcOffset (Fc Offset)

  • Page 65: Filter/amp

    38. FILTER/AMP Here you can set the parameters that modulate the cutoff frequency of the carrier’s band-pass filters (synthesis filter), and adjust the output of the vocoder. Knob [1] Knob [2] FcModeSrc (Fc Mode Source) [EG1…MIDI3] FcModInt (Fc Modulation Intensity) Selects the modulation source that will be applied to the carrier band-pass filter Specifies the depth of the modulation that...

  • Page 66: Ch Level /pan (channel Level/channel Panpot)

    39. CH LEVEL /PAN 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] Knob [2] Channel Select [Ch1…Ch16] Level1…Level16 Selects one of the sixteen filter channels for Specifies the output level of the selected editing.

  • Page 67: Overall Settings (global)

    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.”...

  • Page 68: Global-a

    40. GLOBAL-A The settings you make here will apply to the entire R3, such as the overall tuning and the velocity curve. Knob [1] Knob [2] Mst Tune (Master Tune) Transpos (Transpose) [430.0Hz...450.0Hz] Adjusts the overall pitch in steps of a Adjusts the overall pitch in 0.1 Hz steps,...

  • Page 69: Global-b

    41. GLOBAL-B These parameters select the input when using the AUDIO IN THRU function, and specify how knobs [1]–[4] will operate. Knob [1] Knob [2] Thru Src (Thru Source) KnobMode [Input1, Input2, Input1+2] Specifies the behavior of the front panel The input signal(s) selected here will be knobs [1] - [4] and [TEMPO] knob when sent to the OUTPUT [L/MONO] and [R]...

  • Page 70: Midi Parameters

    You can also operate the assigned knobs [1] 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.

  • Page 71: Midi-related Settings

    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.

  • Page 72

    Local setting off (42. MIDI page “Local” Off). (☞p.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-...

  • Page 73

    MIDI device connected to the MIDI IN connector. Otherwise, the R3 will function using the Internal setting. 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“...

  • Page 74: Midi

    The arpeggiator will sync to 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.

  • Page 75


  • Page 76: Midi Filter

    43. MIDI FILTER Here you can adjust the the R3’s MIDI Filter settings. Knob [1] Knob [2] Prog Chg (Program Change) Ctrl Chg (Control Change) [Disable, Enable] [Disable, Enable] Selects whether MIDI control changes will Selects whether program changes will be be transmitted and received.

  • Page 77: Midi Cc# Map (midi Control Change No. Map)

    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.

  • Page 78: Patch Source

    45. PATCH SOURCE Here you can select the functions that are assigned to modulation sources MIDI 1, 2, and 3 of the Virtual Patch function. If the selected function is assigned to a different parameter, an "*" is shown at the right of the value. Knob [1] Knob [2] MIDI1...

  • Page 79: Pedal/switch Parameters

    With the factory settings this is set to – (KORG). The pedal switch will function as Choose the – (KORG) setting if you're using a Korg PS-1 pedal switch, or if you’re not using any pedal switch. The pedal switch will The pedal switch will...

  • Page 80: Saving Data

    Saving Data 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] button setting •...

  • Page 81: Shift Functions

    1-1. NAME PROGRAM 2-1. INIT PROGRAM Renaming a program Initializing a program The R3 lets you assign a name of up to eight Here’s how to initialize the settings of the characters to each program. In Play mode, currently selected program.

  • Page 82: Initializing Vocoder Parameters

    Initializing Vocoder Parameters 4-1. SWAP TIMBRE 3-2. INIT VOCODER Swapping the timbres Initializing vocoder parameters Here’s how to swap (exchange) the settings This initializes the vocoder parameters of of timbre 1 and timbre 2 in the currently the currently selected program. This opera- selected program.

  • Page 83: Data Dump

    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.

  • Page 84: Restoring The Factory Settings

    The factory-set settings are re- ferred to as the “preload data.” 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.

  • Page 85: Other Shift Key Functions

    Other SHIFT key functions DEMO CALIBRATION Listening to the demo performance Calibrating the foot pedal • Hold down the [SHIFT] button and Connect a foot pedal (☞p.8). Begin this press the ARPEGGIATOR [ON/OFF] operation with the pedal set all the way switch.

  • Page 86

    SELECT [TIMBRE 1], [TIMBRE 2] or [VO- CODER] buttons to select the section you want to control from the knobs. 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.

  • Page 87: Index

    Index Create a sound 19 Cross Modulation 2, 27 AC adaptor 10 Cutoff 32 ADSR 41 AMP (Amplifier) 2, 37 AMP EG 41 Analysis filter 4 Data dump 77 Arpeggiator 3, 15, 22, 51, 66 Decay time 40 Arpeggio parameters 51 Demo song 11, 79 Arpeggio type 52 Destination 45...

  • Page 88

    Index Release time 40 Timbre 2, 23 Renaming a program 75 Transpose 25, 62 Resolution 53 Tremolo 44 Resonance 32, 58 Triangle wave 30 Restoring the factory settings 78 Ring and Sync modulation 30 Ring modulation 30 Unison (OSC1 Mod) 27 Saving 74 Variable Phase Modulation 2, 27 Formant Motion Data 74...

  • Page 89: Voice Name List

    Voice Name List Program Program Name Category Hypnotic FAVORITE SweepPad FAVORITE Talk Seq FAVORITE Komputer FAVORITE SyncCity FAVORITE VelSquBs FAVORITE AlphaMod FAVORITE Wide Saw FAVORITE LinerzBs BASS RingBass BASS Urban Bs BASS DigiBass BASS Smack Bs BASS BiteBass BASS HooverBs BASS Juicy Bs BASS...

  • Page 90

    Program Name Category ChordHit PERC/HIT 5th Stut PERC/HIT SeqVoice PERC/HIT Cyborg PERC/HIT Nz Sweep PERC/HIT P6 Chord PERC/HIT Dust Vox PERC/HIT Syn Drum PERC/HIT MovieSFX NoiseSeq Windstrm FilterFX Red Zone Spectra HypDrive DSP Cryz Phospho ARP/SEQ ArpPulse ARP/SEQ KaossArp ARP/SEQ UTurnSeq ARP/SEQ RezoBeat...

  • Page 91

    • 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).

  • Page 92: Trouble Shooting

    Can't control two timbres on separate MIDI channels ❏ 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.

  • Page 93: Specifications And Options

    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 Oscillator2:...

  • Page 94

    WARNING: Use of this product in any country other than that for which it is intended could be dangerous and could invalidate 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. 4015-2 Yanokuchi, Inagi-city, Tokyo 206-0812 Japan  2006 KORG INC.

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