E 1 ii Precautions Data handling Location THE FCC REGULATION WARNING (for U.S.A.) Unexpected malfunctions can result in the loss of memory Using the unit in the following locations can result in a This equipment has been tested and found to comply with the contents. Please be sure to save important data on an external malfunction. limits for a Class B digital device, pursuant to Part 15 of the data filer (storage device). Korg cannot accept any responsibility • In direct sunlight FCC Rules. These limits are designed to provide reasonable for any loss or damage which you may incur as a result of data • Locations of extreme temperature or humidity protection against harmful interference in a residential loss. • Excessively dusty or dirty locations installation. This equipment generates, uses, and can radiate • Locations of excessive vibration radio frequency energy and, if not installed and used in • Close to magnetic fields accordance with the instructions, may cause harmful interference to radio communications. However, there is no Printing conventions in this manual Power supply guarantee that interference will not occur in a particular Please connect the designated AC adapter to an AC outlet of installation. If this equipment does cause harmful interference the correct voltage. Do not connect it to an AC outlet of to radio or television reception, which can be determined by Parameters “ ” voltage other than that for which your unit is intended. turning the equipment off and on, the user is encouraged to Parameters are enclosed in “double quotation marks.” Interference with other electrical devices try to correct the interference by one or more of the following measures: Symbols , , Radios and televisions placed nearby may experience • Reorient or relocate the receiving antenna. These symbols respectively indicate cautions, advice, and MIDI- reception interference. Operate this unit at a suitable distance • Increase the separation between the equipment and receiver. related explanations. from radios and televisions. • Connect the equipment into an outlet on a circuit different MIDI-related explanations Handling from that to which the receiver is connected. CC# is used as an abbreviation for Control Change Number. To avoid breakage, do not apply excessive force to the • Consult the dealer or an experienced radio/TV technician In MIDI-related explanations, numbers enclosed in square switches or controls. for help. brackets [ ] are in hexadecimal notation. Unauthorized changes or modification to this system can void Care the user’s authority to operate this equipment. Display indications If the exterior becomes dirty, wipe it with a clean, dry cloth. The numerical values of various parameters appearing in this Do not use liquid cleaners such as benzene or thinner, or manual are only for explanatory purposes. They may not cleaning compounds or flammable polishes. CE mark for European Harmonized Standards necessary match what appears in the display of your R3. CE mark for European Harmonized Standards Keep this manual CE mark which is attached to our company’s products of AC Knob positions and parameters After reading this manual, please keep it for later reference. mains operated apparatus until December 31, 1996 means it Knob positions and parameter values appearing in this manual Keeping foreign matter out of your equipment conforms to EMC Directive (89/336/EEC) and CE mark are approximations. There may be slight discrepancies between Directive (93/68/EEC). And, CE mark which is attached after knob positions and parameter values. Never set any container with liquid in it near this equipment. If January 1, 1997 means it conforms to EMC Directive (89/336/ liquid gets into the equipment, it could cause a breakdown, EEC), CE mark Directive (93/68/EEC) and Low Voltage fire, or electrical shock. Directive (73/23/EEC). Be careful not to let metal objects get into the equipment. If Also, CE mark which is attached to our company’s products something does slip into the equipment, unplug the AC of Battery operated apparatus means it conforms to EMC adapter from the wall outlet. Then contact your nearest Korg Directive (89/336/EEC) and CE mark Directive (93/68/EEC). dealer or the store where the equipment was purchased. * Company names, product names, and names of formats etc. are the trademarks or registered trademarks of their respective owners. iii 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 Vocoder programs.............................................................................14 1. Playing a vocoder program...................................................................14 Main Features .....................................................................................1 2. Modifying the sound..............................................................................14 The structure of a program..................................................................2 Arpeggiator ......................................................................................15 Synthesizer.....................................................................................................2 Using the arpeggiator ................................................................................15 Vocoder...........................................................................................................4 Modulation Sequence........................................................................16 Front and rear panel ...........................................................................5 1. Playing back a modulation sequence..................................................16 Front panel.....................................................................................................5 2. Recording a modulation sequence.......................................................16 Rear panel ......................................................................................................7 Formant Motion.................................................................................18 1. What is a Formant Motion?...................................................................18 Preparations ........................................................ 8 2. Recording formant motion data...........................................................18 Connections.........................................................................................8 Connections from the audio outputs.........................................................8 Editing ............................................................... 19 Connections to the audio inputs................................................................8 Basic editing......................................................................................19 Connections to MIDI equipment/computers..........................................8 Basic editing procedures............................................................................19 Connecting the included mic......................................................................8 Editing each timbre ....................................................................................20 Connecting the pedal...................................................................................9 Editing a vocoder program.......................................................................21 Turning the power on.........................................................................10 Editing the arpeggiator..............................................................................22 1. The power supply...................................................................................10 How to read the pages for each section..................................................22 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 iv Table of Contents Timbre Parameters ............................................. 23 Arpeggio parameters ......................................... 51 1. VOICE...........................................................................................23 Front Panel Arpeggio Parameters ......................................................51 2. UNISON........................................................................................24 32. ARPEGGIATOR-A.........................................................................52 3. PITCH-A ........................................................................................25 33. ARPEGGIATOR-B .........................................................................53 4. PITCH-B.........................................................................................26 Vocoder parameters ........................................... 54 5. OSC1 (Oscillator 1)........................................................................27 6. OSC2 (Oscillator 2)........................................................................30 Front panel vocoder parameters........................................................54 7. MIXER...........................................................................................31 34. CARRIER......................................................................................55 8. FILTER1-A......................................................................................32 35. MODULATOR-A...........................................................................56 9. FILTER1-B.......................................................................................34 36. MODULATOR-B............................................................................57 10. FILTER2-A....................................................................................35 37. FILTER..........................................................................................58 11. FILTER2-B ....................................................................................36 38. FILTER/AMP.................................................................................59 12. AMP (Amplifier)...........................................................................37 39. CH LEVEL /PAN (Channel Level/Channel Panpot) .........................60 13. DRIVE/WS (Drive/Wave Shape)...................................................38 Overall settings (GLOBAL) ................................... 61 14. EG1 ............................................................................................40 15. EG2 ............................................................................................41 GLOBAL structure ..............................................................................61 16. EG3 ............................................................................................42 Overview......................................................................................................61 17. EG VELO INT (EG Level Velocity Intensity).....................................43 40. GLOBAL-A...................................................................................62 18. LFO 1, 19. LFO 2.........................................................................44 41. GLOBAL-B...................................................................................63 20. PATCH 1, 21. PATCH 2, 22. PATCH 3, 23. PATCH 4, 24. PATCH 5, 25. PATCH 6.................................................................45 MIDI parameters ................................................ 64 26. MOD SEQ-A (Modulation Sequencer)...........................................46 Using the R3 with other MIDI devices (MIDI).......................................64 27. MOD SEQ-B (Modulation Sequence).............................................47 Overview......................................................................................................64 Connecting MIDI devices/computers....................................................64 28. EQ (Equalizer).............................................................................48 MIDI-related settings.................................................................................65 29. INSERT FX1, 30 INSERT FX2.........................................................49 42. MIDI............................................................................................68 31. MASTER FX..................................................................................50 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 Main Features Introduction 1. MMT (Multi Modeling Technology) synthesis engine 6. Modulation Sequencers In addition to traditional analog synthesizer waveforms, the R3 also Just as step sequencers provide new pitch data to an oscillator over time, provides a wide range of oscillator algorithms, including formant waves, the Modulation Sequencers can provide changes in modulation data over noise, and 64 DWGS (Digital Waveform Generator System) waves. With time, in a way similar to a classic analog sequencer. Each modulation this rich assortment of oscillator algorithms, your R3 can produce a vast sequence can be set to provide a new discreet value at each step, or to array of sonic variations. send out a continuously changing value using the values assigned to each step as a “map”. Modulation Sequences can be recorded in step time 2. Advanced Formant Motion vocoding or in real time. The R3 includes a sixteen band vocoder. In addition to simulating the classic “talking instrument” vocoder sounds of yester-year, you can shift 7. Built-in EQ and effects to add polish to your sound the filter frequencies and adjust the level and panning of each band to Each timbre is equipped with two insert effects and a two-band equal- create highly original vocoder sounds. There’s also a Formant Motion izer. Each two-timbre program provides a master effect that lets you add feature that lets you capture the changing formants - even words -from a final touch to your overall sound. Thirty different effect algorithms are your voice and reproduce them later as you play the keyboard, without a available. microphone present! 8. Arpeggiator 3. 128 easily editable programs You can set the R3’s arpeggiator to produce an arpeggiated pattern of When shipped from the factory, the R3 contains 128 preloaded programs. notes by simply holding down a chord. There are six arpeggio types, and Banks A–N are loaded with 112 synth programs, while banks O and P you can adjust the gate time, swing amount, and note value of the contain sixteen vocoder programs. By selecting a page and turning any of arpeggiated notes. You can also create rhythmic variations by turning off the four knobs, you can quickly and intuitively edit these sounds. In specific steps of the arpeggio pattern. addition to detailed editing, these same knobs can be used as Perfor- mance Edit controllers to modify the sound as you play. 9. Editor/Librarian software By connecting the R3 to your computer, you can use the Editor/Librarian 4. External sound processing software (included free) to edit all of the R3’s parameters from your Any external audio source can be connected to the R3 via the AUDIO computer. The R3 is also equipped with USB/MIDI, eliminating the need INPUT 1 and 2 jacks, and processed in the same way as the internal for a MIDI interface. waveforms. 5. Virtual Patches Modulators and controllers such as the filter EG, amp EG, LFO 1/2, keyboard tracking, and the modulation wheel can be routed to control parameters such as pitch, cutoff, and amp. This virtual patching mimics the patching versatility of modular analog synthesizers (without using actual patch cables) to provide more creative flexibility. 1 The structure of a program ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ audio signal. Oscillator 2 (OSC2) lets you choose from four different Synthesizer oscillator waves - sine, triangle, square, and sawtooth. The noise genera- tor (NOISE) produces white noise. You can use this for a variety of sound Each of the R3’s programs consists of two timbres, a master effect, and an shaping situations, such as adding breath noise for a wind instrument arpeggiator (Figure 0-1). sound, or as part of a special effect sound. Modulation such as cross- Figure 0-1 modulation, unison, and VPM (Variable Phase Modulation) can be Audio Input 1 applied to the analog synthesizer waveforms of Oscillator 1. Oscillator 2 Audio Input 2 can be used as the modulating oscillator for the sync modulation (SYNC) Timbre 1 Synth EQ Insert FX 1/2 or ring modulation (RING) that are such classic analog synthesizer Master FX O(LU/MTOPNUOT, R) techniques. The best elements of SYNC and RING modulation can be Timbre 2 Synth EQ Insert FX 1/2 combined using a third option: RING SYNC. Arpeggiator Voice / Unison / Pitch These sections provides additional parameters relating to the oscillators, Synth such as trigger mode, unison stacking, transpose, portamento, bend range, etc. For die-hard analog fans, this is also where you can find the Filter Routing= Individual Drive/WS Position AUDIO INPUT 1, 2 OSC1 FILTER1 = PreAmp Analog Tune parameter, used to introduce simulated oscillator drift. OSC MOD MIXER FILTER2 DRIVE/WS AMP To EQ OSC2 PAN Mixer (MIXER) EG1 The mixer adjusts the volume levels of oscillator 1 (OSC1), oscillator 2 KBD TRACK NOISE (OSC2), and the noise generator (NOISE), and sends the combined signal to the filter (FILTER). LFO1 LFO2 EG1 EG2 EG3 MIDI 1–3 Filter (FILTER1/FILTER2) KBD Track Velocity The filter section consists of two multi-mode, resonant filters. The two Free Assign VIRTUAL PATCH Pitch Bend Mod Wheel filters can be routed in series or parallel, or even side by side in a "one MOD SEQUENCER Free Assign 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 Timbre 1/2 filters over time. 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 Amp (AMP) of each timbre’s synth section. Traditionally, the amp section controls the output volume (AMP) and the panning (PAN), or the position in the stereo field. By default, envelope Oscillator (OSC1/OSC2/NOISE) generator 2 (EG2) is set to vary the volume level over time. There are three Oscillator sources; Oscillator 1, Oscillator 2, and the noise generator. Oscillator 1 (OSC1) lets you choose from seven different Drive/Wave Shape (DRIVE/WS) oscillator algorithms. These include conventional analog synthesizer The R3 provides additional features to add more tonal complexity and waveforms, DWGS waveforms, formant waves, noise, plus an external “edge” to the sound - including Drive, Wave Shape control (DRIVE/WS). 2 The structure of a program Envelope generators (EG1/EG2/EG3) Master effect (MFX) Envelope generators (EG) are used to apply time-varying change to the Each program contains one master effect. You can use this to apply a sound parameters. Each EG consists of four parameters: attack time reverb or delay effect to the overall combined sound of the program (ATTACK), decay time (DECAY), sustain level (SUSTAIN), and release including the processing applied by the insert effects of each timbre, time (RELEASE). Each timbre contains three of these EGs. EG1 is assigned adding the final touch to the complete program. You can choose from to control the filter cutoff frequency, and EG2 is assigned to control the thirty different effect types, and 128 editable effect programs. volume of the amp. You can also use virtual patching (VIRTUAL PATCH) to assign these EGs as envelope sources for other parameters. Arpeggiator You can apply the arpeggiator to a timbre. If the program uses two LFO section (LFO1/LFO2) timbres, you can apply the arpeggiator to either or both timbres. This is a LFO (Low Frequency Oscillator) is used to apply cyclic change to the sound step arpeggiator with six types of arpeggios. 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.). 3 The structure of a program ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Vocoder section (VOCODER) 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 A vocoder is a device that analyzes the character (the frequency response used to analyze the tonal characteristics of one sound (the Modulator), of each band) of a “modulator” signal (typically a human voice from a and the second set is used to apply the same characteristics to another mic), and applies a filter with the analyzed characteristics to the “carrier” sound (the Carrier). Each analysis band contains a bandpass filter and an signal (typically a waveform produced by an oscillator), imposing a vocal envelope follower. Each synthesis band contains a band pass filter whose character on that waveform, and making it seem as though the instru- output is controlled by the matching envelope follower in the analysis ment is talking. band. The modulator’s audio signal is sent through the sixteen bandpass As shown in figure 0-2, a vocoder program consists of two signals; a filters (the analysis filters), and the envelope follower detects the volume carrier (the signal that is modified) and a modulator (the signal that envelope (change over time) for each of these frequency bands. modulates the carrier). These signals are routed to the vocoder section. The carrier’s audio signal is sent through the other set of sixteen Figure 0-2 bandpass filters (the synthesis filters), and the envelope detected from each analysis filter is applied to each synthesis filter to modulate the Audio In 1 Audio In 2 sound, producing the impression that the carrier sound is “talking” (the typical vocoder effect). You can use the “FrmntSft (formant shift)” and Synth Vocoder Sw= ON EQ INSERT FX1/2 Timbre 1 Carrier “FcOffset (Cutoff)” parameters to shift the frequencies of the carrier Vocoder Modulator bandpass filters. This will raise or lower the frequency response while preserving the character of the modulator, creating major changes in the Vocoder Sw= ON & Modulator AudioSrc = Timbre2 sound. Timbre 2 Synth EQ INSERT FX1/2 MASTER FX O(LU/MTOPNUOT, R) Modulator (MODULATOR) Most commonly, you will input your voice as the modulator, but interest- ing results can also be obtained by inputting a rhythm sound as the Vocoder modulator waveform. You can use an Audio Input1, Timbre2 or a Formant motion data as the modulator. HPF Carrier (CARRIER) Band16 Direct A sawtooth wave (SAW) or other waveform rich in overtones is the best Level Band1 E.F. Sens HPF choice for the carrier. As the carrier, you can use a combination of two Audio Input 1 Level sources (Timbre1 and Audio Input2). Timbre 2 ANALYSIS ENVELOPE Modulator FILTER FOLLOWER LEVEL MFOOTRIOMNA NDAT TA Audio Input 2 Resonance Formant Motion On/Off To Timbre 1 EQ SYNTHESIS Carrier FILTER Timbre 1 Level1…16 Pan1…16 LEVEL Fc Offset Formant shift 4