Korg R3 Owner's Manual: Editing The Arpeggiator; How To Read The Pages For Each Section

Synthesizer / vocoder.
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Basic editing

Editing the arpeggiator

The R3's arpeggiator provides six arpeggio types. In addition to selecting
an arpeggiator type, you can adjust the duration (gate time) , note value,
swing amount, tempo, and other arpeggiator parameters. These arpeg-
giator settings are adjusted using the 32. Arpeggiator-A page and 33.
Arpeggiator-B page parameters. Arpeggiator patterns can be up to eight
steps long, and each step can be individually switched on or off (play or
mute), providing more rhythmic versatility. (☞ Refer to page 15 for more
information about arpeggiator steps.)
Selecting which timbre(s) will be played by the arpeggiator
In a synth program that uses two timbres, you can select which timbre(s)
will be played by the arpeggiator. This is specified by Arpeg-A page
"Assign" (knob [1]). You can arpeggiate both timbres, only timbre 1 or
only timbre 2.
Sync'ing the LFO rate and the delay time to the arpeggiator
By synchronizing the LFO 1/2 rate to the tempo of the 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
This area lists the parameters
that are edited by edit control
knobs [1]–[4] when the above
Knob [1]
Cutoff1 (Filter1 Cutoff)
section is selected. The range of
Sets the cutoff frequency.
Increasing this value will raise the cutoff
values for each parameter is
"Cutoff1" can be varied by time-vari-
ant change produced by EG1, by key-
board playing dynamics (velocity),
given in square brackets [ ].
and by note location (keyboard track-
Explanations of each parameter
If the "Cutoff1" value is set too low,
the volume may be extremely low, or
you may hear no sound at all.
and its values are given below.
A summary of this section is
given here.
The filter section changes the tonal character of the oscillators by passing only the desired portion of the sound - either above (Low Pass),
The R3 has two filters (filter 1 and filter 2), and you can change their
below (High-Pass), or centered on (Band Pass) the cutoff
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 [2]
Knob [3]
Knob [4]
Reso1 (Filter1 Resonance)
Filt1Bal (Filter1 Balance)
[Single, Serial, Para, Indiv]
Sets the resonance of the filter. This will
Specifies the routing (connection) between
emphasize the overtones near the cutoff
Selects the filter type. Intermediate settings
filter 1 and filter 2.
frequency specified by "Cutoff1," adding
will produce a response that is between the
Single: Only filter 1 is used.
a distinctive character to the sound. In-
two filter types.
Serial: Filter 1 and filter 2 are connected in
creasing this value will increase the effect.
LPF12 (–12dB/oct), LPF24 (–24dB/oct):
series (☞Figure 8-2).
Since movement of the "Cutoff1" knob will
Low Pass Filter (☞p35 "LFP:").
affect the overtones that are boosted by
Parallel: Filter 1 and filter 2 are connected
resonance, it is best to adjust "Cutoff1" and
HPF (-12dB/oct): High Pass Filter (☞p35
in parallel (☞Figure 8-3).
"Reso1" in conjunction with each other
Indiv: Filter 1 is applied to oscillator 1, and
(☞Figure 8-1).
filter 2 is applied to oscillator 2 and noise
BPF (-12dB/oct): Band Pass Filter (☞p35
Depending on the cutoff frequency or
(☞Figure 8-4).
the input audio, increasing this value
may cause distortion.
THRU: The sound will output directly,
without passing through the filter.


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