The Korg R3 is powered by the MMT (Multiple Modeling Technology)
analog synthesis-modeling sound engine and delivers 2-timbre/8-voice
performance in an easy-to-use 37-key 'board. 128 programs deliver
crucial synth sounds from leads and pads to strings and percussion with
2 oscillators, 3 envelope generators, 2 filters, an amp section,
effects, and a noise generator available for each voice. In addition to
the vocoder which works with the onboard mic input, it has a modulation
sequencer for precision 16-step control of modulation movement.
MMT synthesis
The versatile range of built-in oscillator algorithms covers everything
from familiar analog synthesizer waveforms, to unique digital waveforms
and even live audio input. For each voice, the R3 provides two
oscillators. Oscillator 1 (OSC1) gives you a choice of seven waveforms
including sawtooth, pulse, formant, noise, and DWGS, as well as
allowing you to select an external audio source connected to the AUDIO
INPUT 1 and 2 jacks. To enhance the basic analog synthesizer waveforms
such as the sawtooth, pulse and triangle waves, you can apply cross
modulation, pulse-width modulation, unison voice-thickening, or even
VPM (Variable Phase Modulation).
Oscillator
2 (OSC2) gives you a choice of four waveforms such as sawtooth and
sine, and can also be used as a modulation oscillator to apply sync
modulation, ring modulation or a combination of the two for
distinctively analog synthesizer sounds. The noise generator (NOISE)
produces white noise, and provides a useful way to create breath noise
for wind instrument sounds, or to produce evocative sound effects. The
sawtooth wave and pulse wave use the same basic low-aliasing design as
the AL-1 Analog Synthesizer found in Korg's flagship OASYS synthesizer.
Two filters with selectable routing
The R3 features a dual filter structure that can be configured in
series, parallel or an individual structure allowing each oscillator to
have its own dedicated filter. Filter 1 is a multi-mode resonant design
that lets you continuously vary between various low-pass, high-pass and
band reject characteristics. Filter 2 has a switchable, multi-mode
resonant design that also includes comb filtering, which can be made to
feed back in order to boost multiple series of overtones, giving you
amazing potential for generating unique tonal changes.
Amp section with a Drive/Waveshaping circuit
The Drive circuit lets you create the subtle yet distinctive distortion
typical of an analog synthesizer, or generate new overtones by deeply
overdriving the sound. The Waveshaping circuit gives you twelve types
of transformation including hard clipping, and can be used as a
decimator to produce typically digital roughness by converting the
sampling frequency. It can even be used as a sub-oscillator, opening up
new sound-making possibilities. The Drive/Waveshaping circuit can be
placed either before the amp section or immediately before Filter 1 to
give you different nuances of sound. With additional parameters - such
as the Punch Level setting that emphasizes the attack, giving greater
impact to percussive sounds - you have the tools to enjoy radical
creativity that's not restricted by concepts of the past.
Multiple EGs and LFOs
Each voice provides three ADSR envelope generators (EG) for classic
analog synthesis control over pitch, filter and amp characteristics.
The classic and intuitive four-stage ADSR design has been enhanced with
five different attack and release curves, allowing the EG contours to
be crafted with new levels of precision and articulation.
Two
LFOs with six waveform choices can be used to apply cyclic modulation
to synth parameters. High-speed digital processing ensures that
vibrato, wah, and tremolo will produce extremely smooth tonal changes,
and each waveform can be extensively modified via the Shape control,
greatly expanding the versatility of the LFO section for creating
highly complex types of modulation.
Virtual Patches for sophisticated sound-creation
The R3 provides six Virtual Patches that simulate the patch cord
functions of the PS series and MS series - classic Korg synthesizers of
the past. There are twelve modulation source including EG, LFO,
velocity, and keyboard tracking (the position at which you play the
keyboard) that can be used to apply modulation to fifteen different
destination parameters such as pitch, oscillator 1 control, or filter 1
type.
Dramatic tonal changes from the Modulation Sequencer
The Modulation Sequencer can apply a time-varying change to a specific
parameter, similar to CV control on an analog synthesizer. You specify
the value of each of sixteen steps, and then choose how to play back
these steps (forward, backward, looping etc.) to vary the sound in
unique ways. There's also a Motion Rec function that lets you capture
and replay realtime knob movements.
Formant Motion produces personalized Vocoder sounds
The R3's powerful vocoder function lets you use your voice to add a
distinctive tonal character to the sound of the oscillator, creating
"speaking" tones. The vocoder consists of sixteen filter bands, and can
replicate the classic vocoder sounds of the past, as well as letting
you dramatically transform the timbral character by adjusting the level
and pan of each frequency band to create absolutely original vocoder
sounds. The R3 comes with an XLR-connector gooseneck microphone, so you
can start enjoying this superb vocoder functionality right away.
Korg R3 Synthesizer/Vocoder Keyboard Features:
-
Keyboard
- 37 notes (full size keys, velocity sensitive):
- Programs: 2 Timbres maximum (when using Layer, Split, or Multi)
- 8 voice polyphony (maximum)
- 128 programs (16 banks x 8 programs)
- 16 formant motion data sets (7.5 second x 16): *Specifications and features are subject to change without notice.
Inputs
- AUDIO INPUT 1 (with MIC/LINE switch): Rear Panel 1/4" phone jack (unbalanced)
- Input Impedance: 600 Ohm
- Maximum Input Level: -10 dBu (LINE), -33 dBu (MIC)
- AUDIO INPUT 1 (MIC): Front Panel XLR jack (balanced)
- Input Impedance: 600 Ohm
- Maximum Input Level: -33 dBu
- AUDIO INPUT 2: 1/4" phone jack (unbalanced)
- Input Impedance: 600 Ohm
- Maximum Input Level: -10 dBu
Outputs
- L/MONO, R 1/4" phone jacks (unbalanced): Output Impedance: 1.1 k Ohm (MONO: 550 Ohm)
- Maximum Output Level: +7.5 dBu or more
- Load Impedance: 10 k Ohm or more
- PHONES 1/4" phone stereo jack: Output Impedance: 10 Ohm
- Maximum Output Level: 35 mW
- Load Impedance: 33 Ohm
- Foot Switch: ASSIGNABLE [SW], ASSIGNABLE [PEDAL]
- MIDI: IN, OUT, THRU
- USB: Type B
Display
- Main Display: 8-character x 2 line LCD
- Four Sub Displays: 8-character x 1 line LCD
Power Supply: DC 12 V, 6.5 W
Dimensions: 25.00" (W) x 10.63" (D) x 2.99" (H)
- Weight: 6.17 lbs.
- Included Items:
- Gooseneck microphone
- AC adapter (DC 12 V)
- CD-ROM
Structure
- Synth: 2 oscillators + noise generator
- Oscillator
1: Wave: 8 types (Sawtooth, Pulse, Triangle, Sine, Formant, Noise,
DWGS, Audio In), Modulation: Waveform, Cross, Unison, VPM
- Oscillator 2: 4 types (Sawtooth, Square, Triangle, Sine), Modulation: Ring, Sync, Ring+Sync
- Waveshape:
12 types: Drive, Decimator, HardClip, OctSaw, MultiTri, MultiSin,
SubOSCSaw, SubOSCSqu, SubOSCTri, SubOSCSin, Pickup, LevelBoost
- Multimode
Resonant Filters: Filter 1: -24 dB/oct LPF ~ -12 dB/oct LPF ~ -12
dB/oct BPF ~ -12 dB/oct HPF ~ Thru, Filter 2: LPF, HPF, BPF, COMB
- EG x 3, LFO x 2
- Vocoder:
16 channel vocoder, adjustable level and pan for each channel, Formant
Shift function, Formant Motion function, Formant Hold function
- Effects: Timbre: 2 band EQ, Insert effect (per timbre), Program: Master effect
- Arpeggiator: Six types: UP, DOWN, ALT1/2, Random, Trigger, Individual step on/off function
- Programs: 128 programs (16 banks x 8 programs), 16 formant motion data sets (7.5 second x 16)
