Korg R3 инструкция обслуживания

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iii * Company names, product names, and names of formats etc. are the trademarks or registered trademarks of their respective owners. Precautions Location Using the unit in the following locations can result in a malfunction. • In direct sunlight • Locations of extreme temperature or humidity • Excessively dusty or dirty locations • Locatio[...]

iv Thank you for purchasing the Korg R3 synthesizer/vocoder. To ensure trouble-free enjoyment, please read this manual carefully and use the product correctly. T able of contents V ocoder programs ............................................................................. 14 1. Playing a vocoder program ...........................................[...]

v T able of Contents Timbre Parameters ............................................. 23 1. VOICE ........................................................................................... 23 2. UNISON ........................................................................................ 24 3. PITCH-A .............................................[...]

vi T able of Contents Pedal/Switch parameters .................................... 73 46. PEDAL/SW .................................................................................. 73 Saving Data ....................................................... 74 Saving your edited settings ................................................................ 7[...]

1 Introduction 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 discr eet value at each step, or to send out a continuous[...]

2 The str ucture of a program Synthesizer Each of the R3 ’s programs consists of two timbr es, a master effect, and an arpeggiator (Figur e 0-1). Figure 0-1 Timbre 1 Timbre 2 Synth Synth EQ EQ Insert FX 1/2 Insert FX 1/2 Arpeggiator Master FX Audio Input 2 Audio Input 1 OUTPUT (L/MONO, R) AUDIO INPUT 1, 2 OSC1 MIXER FILTER1 FILTER2 DRIVE/WS MOD S[...]

3 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 (A TT ACK), decay time (DECA Y), sustain level (SUST AIN), and release time (RELEASE). Each timbre contains three of these EGs. EG1 is assigned to control the filter cutof f fre[...]

4 V ocoder A vocoder is a device that analyzes the character (the frequency response of each band) of a “modulator” signal (typically a human voice fr om a mic), and applies a filter with the analyzed characteristics to the “carrier” signal (typically a waveform pr oduced by an oscillator), imposing a vocal character on that waveform, and m[...]

5 Front and rear panel [PITCH] wheel Controls the pitch. [MOD] wheel Controls the depth of modulation (cyclic change). OCT A VE [UP] [DOWN] b uttons Shift the pitch assigned to the ke yboard in one-octav e steps ov er a range of ± 3 octav es. [BANK SELECT] dial Selects the program bank (A–P). When the R3 is shipped from the factory , sounds are [...]

6 [SHIFT] button Y ou can ex ecute SHIFT functions (various utilities) by holding down this button and pressing another button ( ☞ p .75). [WRITE] button Sav es the program or global settings y ou’ve edit- ed ( ☞ p .74). [EXIT] button When you’ re editing, this button finalizes the set- tings and returns you to Play mode . When you’ re us[...]

7 Front and rear panel OUTPUT [L/MONO], [R] jacks Connect your po wered monitors, stereo amp , mixer , or multi-track recorder to these jacks . Use the L/MONO jack f or monaural connection. [PHONES] jack Connect your headphones (stereo 1/4" plug) to this jack. MIDI Use these connectors to connect external MIDI devices to the R3 so that MIDI da[...]

8 Preparations 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 contr ollers etc. of the R3 can be used to control an external MIDI tone generator . Conversely , another MI[...]

9 Connecting the pedal ASSIGNABLE PEDAL jack By connecting a pedal such as the Kor g EXP-2 or XVP-10 to this jack. Y ou can send control messages such as br eath control, volume, pan, expr es- sion, etc. while keeping your hands free for performing. The function controlled by the pedal can be specified in the 46. Pedal/Sw page “A.Pedal.” The fa[...]

10 Tu r ning the power on 1. The power supply Before you connect the power supply , make sure that the [POWER/ ST ANDBY] switch is turned of f (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 th[...]

11 Quick Star t Demo songs Listening to the demo songs The R3 contains several demo songs that take advantage of the rich sounds and expressive potential of the instrument. 1 To listen to the demo songs, hold down the [SHIFT] button and press the ARPEGGIA TOR [ON/OFF] button . The demo will begin playing. the PROGRAM NUMBER button will light and th[...]

12 Synth programs 2. Modifying the sound On the R3 , you can modify the sound to add expr ession 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. T ry out these various ways to modify the selected program. Using the Perfor mance Edit function In the R3’ s norma[...]

13 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 pr oduced. When released, the wheel will return to the center position.[...]

14 V ocoder programs 2. Modifying the sound Just as with synth programs, you can modify the sound of a vocoder program by turning the knobs [1]–[4] , by moving the [PITCH] and [MOD] wheels , by switching octaves, and by how you play the key- board. T ry using some of these methods to alter the selected program, as described on the pr eceding page[...]

15 Arpeggiator Using the arpeggiator The arpeggiator detects the notes being played on the keyboar d, 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 specif[...]

16 Modulation Sequence 1. Playing back a modulation sequence T imbre 1 and timbr e 2 provide a “modulation sequence” that can record movement of parameters over time. Let’s use a preset pr ogram to hear what a modulation sequence can sound like. 1 Select a synth program. Y ou can use the modulation sequence with a synth program, but let’s s[...]

17 Recording in Edit mode In Edit mode you can choose any single parameter that is available for assignment via Knob Assign (SHIFT function) and r ecord a movement for it. 1 Select a synth program. Choose a pr ogram that is not saved with a modulation sequence (MOD SEQ [ON/ OFF] button is dark). 2 Select a timbre by pr essing either the [TIMBRE1] o[...]

18 Formant Motion 8 Speak or sing into the mic. 9 Pr ess the FORMANT MOTION [REC] button to stop recor ding. Recording will stop automatically when the memory is full. 10 Pr ess the FORMANT MOTION [ON/OFF] button (the button will light). Now you can play the vocoder pr ogram using the formant motion data that you just recor ded. Saving Here’s how[...]

19 Editing Basic editing procedures On the R3 there ar e two basic ways for you to create your own sound(s). • Select a pr ogram 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 pr ogram (“blank slate”), and cr eate the sound fro[...]

20 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 V ALUE LED remains steadily lit. If you select another program or r e-select the same program while you are editing, all your edits will be lost, unles[...]

21 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. Y ou can edit these parameters in the 34. Carrier page. To input a sawtooth wave as[...]

22 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. A[...]

23 Knob [1] Mode [Single, Layer , Split, Multi] This parameter determines how many tim- bres a pr ogram 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: T wo timbres will be used. When you play the keyboard, both timbr es will s[...]

24 2. UNISON Here you can make settings for the Unison function which “stacks” voices at the same pitch to cr eate a richer sound. Knob [1] Sw (Unison Switch) [Off, 2 V oice, 3 V oice, 4 V oice] When the Unison Switch is turned on, you can specify the number of voices that will be stacked. Off: Unison is of f. 2 V oice: Unison is on; two voices[...]

25 3. PITCH-A These settings affect the pitch of the oscillators. These settings ar e shar ed by oscillators 1 and 2. Knob [1] T ranspos (T ranspose) [–48...+48] Adjusts the pitch of the oscillators in semitone (100 cent) steps. The range is four octaves upward or down- ward. This setting is related to the pitch of the oscillators themselves; thi[...]

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

27 Knob [1] WA VE (W aveform Select) [Saw , Pulse, T riangle, Sine, Formant, Noise, DWGS, Audio In] Selects the waveform for oscillator 1. The Saw , Pulse (square), T riangle and Sine are traditional waves associated with analog synthesizers. Saw: A sawtooth wave. Pulse: A pulse wave. T riangle: A triangle wave. Sine: A sine wave. Formant: A forman[...]

28 When Knob [1] W ave: Noise, and Knob [2] OSC1 Mod: W aveform Knob [3] Control1: Resonance [000…127] Adjusts the amount of resonance of the fil- ter provided within the noise oscillator . Higher values will emphasize the fre- quency points for the pitched component within the noise. Knob [4] Control2: LPF/HPF Mix [LPF63…CNT…HPF63] Adjusts t[...]

29 5. OSC1 (Oscillator 1) broaden the pitch dif ference between the oscillators, producing a richer sound. Knob [4] Control2: Phase [000…127] Specifies the phase of each oscillator at note-on. This will affect the tone of the at- tack. A setting of 127 will change the pitch and volume. 000 (0º) 063 (90º) 127 (180º) Saw Pulse Triangle Sine When[...]

30 6. OSC2 (Oscillator 2) Here you can make settings for oscillator 2. Y ou can create a variety of sounds by using two oscillators together . For example you can adjust knob [3] (“OSC Semi”) and knob [4] (“OSC2T une”) so that one oscillator acts as though it were part of the overtone str ucture of the other oscillator , set the pitches of [...]

31 Knob [1] OSC1 Lvl (OSC1 Level) [000...127] Sets the output level of oscillator 1. Knob [2] OSC2 Lvl (OSC2 Level) [000...127] Sets the output level of oscillator 2. Knob [3] NoiseLvl (Noise Level) [000...127] Sets the output level of the noise genera- tor . This noise generator generates white noise. This is independent of the white noise that ca[...]

32 Knob [2] Reso1 (Filter1 Resonance) [000...127] Sets the resonance of the filter . This will emphasize the overtones near the cutoff frequency specified by “Cutof f1,” adding a distinctive character to the sound. In- creasing this value will incr ease the effect. Since movement of the “Cutoff1” knob will affect the overtones that are boos[...]

33 8. FIL TER1-A LPF: LPF (Low Pass Filter) is the most common type of filter; it passes the frequencies be- low the cutoff fr equency and cuts the re- gion above. Raising the cutoff fr equency (“Cutoff1” value) will pr oduce a brighter tone. LPF (Low Pass Filter) -12dB/oct -24dB/oct Cutoff Frequency HPF: HPF (High Pass Filter) passes the frequ[...]

34 9. FIL TER1-B Here you can set the values of the filter 1 parameters. Knob [1] EG1 Int1 (EG1 Intensity/Filter1) [–63...63] This specifies how time-variant modula- tion from the EG1 will be applied to the cutoff fr equency ( ☞ Figure 9-1). The cutoff frequency will change over time accor ding to the EG1 settings, modifying the tone. For examp[...]

35 10. FIL TER2-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. Y ou can edit the Filter 2 parameters in the 10. Filt2-A page and 1 1. Filt2-B page. The filter 2 parameters are not shown if “Routing1” is Single. Knob [1][...]

36 11. FIL TER2-B Here you can make settings for the filter 2 parameters. Knob [1] EG1 Int2 (EG1 Intensity/Filter2) [–63...63] This is the same as for FIL TER 1 ( ☞ p.34). Knob [2] Key T rk2 (Keyboard T racking/Filter2) [–2.00...+2.00] This is the same as for FIL TER 1 ( ☞ p.34). Knob [3] V elSens2 (V elocity Sensitivity/Filter2) [–63…+[...]

37 12. AMP (Amplifier) These parameters control the volume. The sound that is cr eated by passing through the oscillator and filter is amplified by the amp. Knob [1] Level [000...127] Adjusts the volume of the timbre. Knob [2] Panpot [L63...CNT ...R63] Adjusts the location of the sound in the ste- r eo field. L63 is far left, CNT is center , and R6[...]

38 13. DRIVE/WS (Drive/W ave Shape) In this page you can set the Drive or W ave Shape parameters. This lets you add distortion to the sound and give it a distinctive impact. Knob [1] WS T ype (W ave Shape T ype) [Off, Drive…Lvl Boost] This switches wave shaping on/off, and se- lects the type. W ave shaping modifies the input waveform by applying [...]

39 13. DRIVE/WS (Drive/W ave Shape) Figure 13-1: Drive Depth: 000 Depth: 064 Depth: 127 Figure 13-2: Decimatr Depth: 000 Depth: 064 Depth: 127 Figure 13-3: HardClip Depth: 000 Depth: 064 Depth: 127 Figure 13-4: OctSaw Depth: 000 Depth: 064 Depth: 127 Figure 13-5: MultiT ri Depth: 000 Depth: 064 Depth: 127 Figure 13-6: MultiSin Depth: 000 Depth: 064[...]

40 14. EG1 Here you can adjust the settings of the Filter EG, which applies time-variant change to the tone ( ☞ Figur e 14-1). Use these settings to specify the “shape” of the EG1, and use the FIL TER parameter “EG1 Int1” (9. Filt1-B page ☞ p.34) and “EG1 Int2” (1 1. Filt2-B page) to specify the amount of effect that the EG will hav[...]

41 15. EG2 Here you can adjust the settings for the AMP EG, which applies time-variant change to the volume ( ☞ Figure 15-1). Using the AMP EG settings, you can make the volume change as time passes. Create the desir ed volume curve by adjusting the ADSR parameters; A TT ACK (knob [1] ), DECA Y (knob [2] ), SUST AIN (knob [3] ), RELEASE (knob [4][...]

42 16. EG3 Here you can adjust the settings of EG3. Cr eate the desired curve by adjusting the ADSR parameters; A TT ACK (knob [1]), DECA Y (knob [2]), SUST AIN (knob [3]), RELEASE (knob [4]). Y ou can use EG3 as a V irtual Patch source to modulate parameters other than filter cutof f (EG1) or volume (EG2). ( ☞ p.45) Knob [1] Attack3 (Attack EG3)[...]

43 17. EG VELO INT (EG Level V elocity Intensity) These settings allow the velocity (dynamics) of your keyboard playing to contr ol the EG amplitude. Higher settings allow variations in velocity to have more ef fect on the EG amplitude. Positive (+) values: The EG amplitude will be less when you play softly , and greater when you play strongly . Ne[...]

44 18. LFO 1, 19. LFO 2 Each timbre contains two LFOs. An LFO produces a cyclic change that can be used to modulate the pitch, tone, or volume of the sound. Use knob [1] to select the LFO waveform, and specify the method of key synchr onization (knob [2]) and tempo synchr onization (knobs [3] and [4]). LFO1 and LFO2 can be used as V irtual Patch so[...]

45 20. P A TCH 1, 21. P A TCH 2, 22. P A TCH 3, 23. P A TCH 4, 24. P A TCH 5, 25. P A TCH 6 The R3 provides six V irtual Patch routes that let you create mor e sophisticated sounds. Each patch lets you select a modulation (“Sou r ce”) and modulation destination (“Dest”), and specify the intensity of modulation (“P .Int1”-“P .Int6”).[...]

46 26. MOD SEQ-A (Modulation Sequencer) These are the parameters for the Modulation Sequencers. Modulation sequencers apply time-varying change to the sound parameters in a way similar to the analog sequencers of the past. One modulation sequencer is provided for each timbr e. Knob [1] LastStep [01…16] Specifies the length of the sequence in step[...]

47 27. MOD SEQ-B (Modulation Sequence) In this page you can edit the data recorded in each step of the modulation sequencer . Y ou can also use this page when you want to recor d data in Edit mode. Knob [1] Dest (Destination) [None, Pitch…P .Int6] Selects the parameter that will be recor ded in the modulation sequencer . None: The modulation sequ[...]

48 Knob [1] LoEQFreq (Low EQ Frequencey) [0020Hz…1000Hz] Specifies the frequency of the low equal- izer (shelving type). Knob [2] LoEQGain (Low EQ Gain) [–15.0dB…+15.0dB] Specifies the gain of the low equalizer . Positive (+) values boost the region below the cutoff fr equency . Negative (-) values cut the region below the cutoff fr equency .[...]

49 29. INSER T FX1, 30 INSER T FX2 These are the settings for insert ef fect 1 and insert effect 2. Knob [1] Effect T ype [NoEffect, S.Comp…W .T alkMd] Selects the effect type used by the insert effect. For details on the available types, r efer to Effect guide in the included CD- ROM. Knob [2] Dr y/W et [Dr y , 99:1…1:99, W et] Sets the balanc[...]

50 31. MASTER FX In this page you can adjust the master effect settings. There is one master ef fect. Y ou’ll see the same ef fect whether you’re editing it fr om timbre 1 or 2. In other words if you edit the master ef fect from timbr e 1, your changes will be reflected in the master ef fect settings you see from timbre 2. Knob [1] Effect T ype[...]

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

52 32. ARPEGGIA TOR-A Here you can make various arpeggio-r elated settings. Knob [1] Assign [Timbre1, Timbre2, Tmbr1+2] Selects the timbre(s) that will be sounded by the arpeggiator . Timbre1: Only timbre 1 will be sounded by the arpeggiator . Timbre2: Only timbre 2 will be sounded by the arpeggiator . Tmbr1+2: Both timbres will be sounded by the a[...]

53 Figure 33-1: Arpeggiator Swing 33. ARPEGGIA TOR-B Here you can make additional arpeggio-r elated settings. Knob [1] GateTime [000%...100%] Specifies the duration (gate time) of the arpeggiated notes, as a percentage (%). W ith a setting of 001%, each note will be extremely short. W ith set to 100%, each note will continue playing until the next [...]

54 V ocoder parameters [VOCODER] button This switches the V ocoder function on/of f. Off (key unlit): V ocoder is off. The pr o- gram will not use the vocoder . On (key lit): V ocoder on. The program will use the vocoder . EDIT (key blinking): The vocoder param- eters can now be edited. When the vocoder is on or off, press the key once again to mak[...]

55 34. CARRIER In this page you can set the input level of the audio signal being used as the carrier Knob [1] Tmbr1Lvl (Timbre1 Level) [000...127] Specifies the output level of T imbre1 (car- rier). If you are unable to hear the vocoder effect, try adjusting the “Tmbr1Lvl” parameter or the 38. Filt/Amp page “Vcd Lvl” parameter ( ☞ p.59).[...]

56 35. MODULA TOR-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), timbr e 2, or formant motion data. Knob [1] Frmt No (Form[...]

57 36. MODULA TOR-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] GateSens (Gate Sensitivity) [000...127] Specifies the speed at which the gate will operate according to the “Thr eshld” set- [...]

58 Knob [1] FrmntSft (Formant Shift) [–2…+2] Shifts the cutoff fr equencies of each of the carrier ’s band pass filters. This will signifi- cantly change the character of the vocoder output. Knob [2] FcOffset (Fc Of fset) [–63...+63] This continuously shifts the cutoff fr e- quency of each band-pass filter (Synthesis filter) of the carrier [...]

59 38. FIL TER/AMP Here you can set the parameters that modulate the cutof f frequency of the carrier ’s band-pass filters (synthesis filter), and a djust the output of the vocoder . Knob [1] FcModeSrc (Fc Mode Source) [EG1…MIDI3] Selects the modulation source that will be applied to the carrier band-pass filter “FcOffset.” The available mo[...]

60 Knob [2] Level1…Level16 [000...127] Specifies the output level of the selected channel. Knob [1] Channel Select [Ch1…Ch16] Selects one of the sixteen filter channels for editing. 39. CH LEVEL /P AN (Channel Level/Channel Panpot) These parameters set the level and pan for each of the sixteen band-pass filter channels (Synthesis Filter) of the[...]

61 Overall settings (GLOBAL) Over view The GLOBAL section lets you can make overall settings for the R3 . For example, although it is possible to individually adjust the pitch of each synth or vocoder program, you can use the 40. Global-A page pitch settings (“MstT une” and “T ranspos”) to adjust the pitch of all programs. When you ar e pla[...]

62 40. GLOBAL-A The settings you make here will apply to the entir e R3 , such as the overall tuning and the velocity curve. Knob [1] Mst T une (Master T une) [430.0Hz...450.0Hz] Adjusts the overall pitch in 0.1 Hz steps, in terms of A4 as the r eference pitch. Use this when you need to tune the pitch of the R3 to other instruments. Knob [2] T rans[...]

63 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] Thru Src (Thr u Source) [Input1, Input2, Input1+2] The input signal(s) selected here will be sent to the OUTPUT [L/MONO] and [R] jacks without change when using the Shift function “AUDIO IN THRU.” Input[...]

64 MIDI parameters Over view Here you can make MIDI-r elated settings for the R3 . MIDI stands for Musical Instrument Digital Interface, and is a world-wide standard for exchanging various types of musical data between electronic musical instru- ments and computers. When MIDI cables are used to connect two or mor e MIDI devices, performance data ca[...]

65 Connecting an external MIDI sequencer or computer etc. If you want to recor d your performance on the R3 ’s keyboard into your external MIDI sequencer/computer (via a MIDI interface), or use the R3 as a combination of controller keyboar d and MIDI sound module, or use the Editor/Librarian software included with the R3 , then you’ll need to c[...]

66 GLOBAL “POSITION” setting The R3 ’s GLOBAL “Position” lets you specify how MIDI IN/OUT will be internally r outed. This will affect how the MIDI data will be af fected by the “T ranspos,” “V elCurve,” and arpeggiator settings. • Normally when controlling an external MIDI tone generator fr om the R3 , you will set “Position?[...]

67 Synchronizing the arpeggiator The 42. MIDI page “Clock” (knob [4]) setting specifies whether the R3 ’s arpeggiator will be the master (the controlling device) or slave (the contr olled device). For information on synchronization-r elated settings of your external MIDI de- vice, refer to the manual of your device. 1. Using the R3 as master [...]

68 42. MIDI Here you can make MIDI-r elated settings for the R3 . Knob [1] MIDI Ch (MIDI Channel) [01...16] Specifies the MIDI channel. When you wish to transmit program changes or sys- tem exclusive messages via MIDI, set the global MIDI channel to match the MIDI channel of the connected MIDI device. Knob [2] Local [Off, On] Switches the local set[...]

69 Knob [3] 42. MIDI Figure 42-1: USB+MIDI MIDI OUT MIDI IN MIDI THRU TG OUTPUT DUMP IN etc... KBD/KNOB OUT DUMP OUT etc... USB MIDI RX (EXT) USB MIDI TX (INT) USB MIDI TX (EXT) USB MIDI RX (INT) R3 MIDI OUT R3 KBD/KNOB R3 MIDI IN R3 SOUND R3 PC USB-MIDI Port Figure 42-2: USB MIDI OUT MIDI IN MIDI THRU TG OUTPUT DUMP IN etc... KBD/KNOB OUT DUMP OUT[...]

70 43. MIDI FIL TER Here you can adjust the the R3 ’s MIDI Filter settings. Knob [1] Prog Chg (Program Change) [Disable, Enable] Selects whether program changes will be transmitted and received. Disable: Program changes will not be transmitted or received. Enable: Pr ogram changes will be transmit- ted and received. Knob [2] Ctrl Chg (Control Cha[...]

71 44. MIDI CC# MAP (MIDI Control Change No. Map) Here you can assign contr ol change numbers to the most important parameters corr esponding to the front panel buttons and knobs [1]–[4]. When you use the Performance Edit function or edit a program, the contr ol change you assign here will be transmitted when you operate the corresponding knob fo[...]

72 45. P A TCH SOURCE Here you can select the functions that are assigned to modulation sour ces MIDI 1, 2, and 3 of the Virtual Patch function. If the selected function is assigned to a differ ent parameter , an "*" is shown at the right of the value. Knob [1] MIDI1 [P .Bend…#119] These select the functions that are assigned to modulat[...]

73 46. PEDAL/SW Here you can specify the function of the foot pedal and foot switch connected to the r ear panel. Y ou can use a Shift function to adjust the calibration of the foot pedal ( ☞ p.79). Knob [1] A.Pedal (Assignable Pedal) [V olume…Foot Pdl] Selects the function of the pedal connected to the ASSIGNABLE [PEDAL] jack. W ith the factor[...]

74 Saving Data Saving a program Settings that will be saved • 01. V oice – 33. Arpeggiator-B page pa- rameters, 34. Carrier – 39. Lvl/Pan page parameters • [TEMPO] knob setting • ARPEGGIA TOR [ON/OFF] switch set- ting • OCT A VE [UP] [DOWN] button setting • Shift function “Program name”setting • Shift function “Knob assign” [...]

75 SHIFT functions 1-1. NAME PROGRAM Renaming a program The R3 lets you assign a name of up to eight characters to each program. In Play mode, the main display will show the program number and the program name. Procedure 1 Hold down the [SHIFT] button and press the PROGRAM SELECT [1] button . The [1] button will blink. The main dis- play will show [...]

76 4-1. SW AP TIMBRE Swapping the timbres Here’s how to swap (exchange) the settings of timbre 1 and timbr e 2 in the currently selected program. This operation is avail- able if TIMBRE SELECT [TIMBRE 1] or [TIMBRE 2] is selected. Y ou can execute this only if the program uses two timbres; i.e., you can’t execute it for a program whose 1. V oic[...]

77 6-1. MIDI DA T A DUMP Data dump 1 Prog: Data for the currently selected pr ogram will be transmitted (1. V oice – 39. Lvl/ Pan page parameters, front panel but- ton and knob settings.) AllProg: Data for all programs will be transmitted. Global: Global data will be transmitted (40. Glo- bal-A – 46. Pedal/Sw page parameters, foot pedal calibra[...]

78 7-1. PRELOAD 1 Prog: Load only data for one program (1. V oice – 39. Lvl/Pan page parameters, front panel button and knob settings.) AllProg: Load data for all 128 programs. Global: Load global data (40. Global -A – 46. Pedal/Sw page parameters, foot pedal calibration setting.) AllData: Load data for all programs, global data, and formant mo[...]

79 Other SHIFT key functions DEMO Listening to the demo performance •H old down the [SHIFT] button and press the ARPEGGIA TOR [ON/OFF] switch . The demo will begin playing. While the demo is playing, you can stop it by pressing the [EXIT] switch . Refer to p.1 1 for details on how to se- lect songs. CALIBRA TION Calibrating the foot pedal 1 Conne[...]

80 KNOB ASSIGN 4 To apply your settings, press the [ON/ OFF] switch . The new settings will be applied. If you decide to cancel the changes you made, press the [EXIT] button . If you want to make assignments for T imbre 2 or V ocoder , press the TIM- BRE SELECT [TIMBRE 2] or [VO- CODER] button when you’re finished with step 3, and then make the d[...]

81 Index Create a sound 19 Cross Modulation 2, 27 Cutoff 32 D Data dump 77 Decay time 40 Demo song 1 1, 79 Destination 45 Detuning 30 Drive 2, 38 Drive/W ave Shape 2, 38 DWGS 27, 28 E Editing 19 Arpeggiator 22, 52 T imbre 20, 23 V ocoder 21, 54 EG (Envelope Generator) 3, 40, 41 EG Level V elocity Intensity 43 Envelope filter 58 Envelope follower 4,[...]

82 Index R Release time 40 Renaming a program 75 Resolution 53 Resonance 32, 58 Restoring the factory settings 78 Ring and Sync modulation 30 Ring modulation 30 S Saving 74 Formant Motion Data 74 Global data and MIDI settings 74 Program 74 Sawtooth wave 30 SHIFT functions 75 Sine wave 28 Solo 20, 79 Soloing a timbr e 79 Source 59 Squar e wave 30 St[...]

83 SPEC VNL V oice Name List No. Program Name Category V oice Mode Arpeggio E-1 Strings P AD/STRINGS Multi Off E-2 W arm Pad P AD/STRINGS Multi Off E-3 AirGlass P AD/STRINGS Multi Off E-4 5thGlide P AD/STRINGS Layer Off E-5 PhaseStr P AD/STRINGS Multi Off E-6 StrngPad P AD/STRINGS Single Off E-7 Xtal Pad P AD/STRINGS Multi Off E-8 BPFSweep P AD/STR[...]

84 No. Program Name Category V oice Mode Arpeggio I-1 ChordHit PERC/HIT Layer Off I-2 5th Stut PERC/HIT Layer Of f I-3 SeqV oice PERC/HIT Single On I-4 Cyborg PERC/HIT Layer On I-5 Nz Sweep PERC/HIT Single Off I-6 P6 Chord PERC/HIT Layer Off I-7 Dust V ox PERC/HIT Split Of f I-8 Syn Drum PERC/HIT Split Off J-1 MovieSFX SE Layer Off J-2 NoiseSeq SE [...]

85 SPEC VNL • In programs for which “V oice Mode” is set to Multi, the timbre 2 MIDI channel (“T2MIDIch”) is set to 9 as the factory default setting. • O-1–O-8 are programs that use the Formant Motion function ( ☞ p.19) • P-1–P-8 are pr ograms that use the mic input (audio input). In order to play these programs, you’ll need t[...]

86 Tr ouble shooting Before you suspect a malfunction, please check the following points. Power does not turn on ❏ Is the AC adaptor connected to an AC outlet? ☞ p.8 ❏ Is the [POWER/ST ANDBY] switch turned on (pressed inwar d)? ☞ p.10 No sound ❏ If your powered monitor system or headphones connected to the corr ect jack(s)? ☞ p.8 ❏ Is[...]

87 SPEC VNL Specifications and options T one generator system: MMT (Multiple Modeling T echnology) • Programs: Number of timbres: maximum 2 (when using Layer , Split, or Multi) Maximum polyphony: 8 voices Structure: Synth: 2 oscillators + noise generator Oscillator1: W ave: 8 T ypes: Sawtooth, Pulse, T riangle, Sine, Formant, Noise, DWGS, Audio I[...]

 200 6 KORG INC. 4015-2 Yanokuchi, Inagi-city, Tokyo 206-0812 Japan IMPORT ANT NO TICE TO CONSUMERS This product has been manuf actured according to strict specifications and voltage requirements that are applicable in the country in which it is intended that this product should be used. If y ou hav e purchased this product via the internet, thr[...]