Ahead of the curve
The advent of an amazing synthesizer whose sound, form, and features will attract all manner of musicians and producers, whether beginner or professional --- the new R3.
- Full-fledged analog synth sound in a compact body weighing less than 3 kg.
- RADIAS-based MMT (Multi Modeling Technology) delivers stunning sounds.
- 37 full-size, velocity sensing keys.
- Maximum 8-voice polyphony.
- Split, layer or play two timbres at once.
- 128 programs grouped by category for immediate use.
- Bank Select dial lets you quickly find the sounds you want.
- Individual displays and knobs surrounded by LED halo indicators guarantee excellent visibility.
- Two-band equalizer and two Insert effects provided for each timbre.
- Modulation sequencer lets you apply time-varying change to the sound parameters.
- Six virtual patches for even greater sound-creating freedom.
- Step Arpeggiator allows each step to be toggled on or off for more rhythmic variation.
- Process any external signal through the filters, effects, and more.
- Sixteen-channel vocoder with Formant Motion function.
- USB port provides convenient single cable connection to your computer.
- Editor/librarian software for graphic editing of all of the R3's parameters on your computer.
- Dedicated gooseneck microphone (XLR) is included.
Compact synthesizer with full-size keys, ideal for enjoying sound creation or performance
The R3 is a full-fledged synthesizer that provides an easy way to enjoy the delights of sophisticated synthesis and advanced sound creation. In a compact and light-weight body, it packs 37 fullsize, velocity sensing keys, along with two-timbre/eight-voice performance power.
The sound generator section uses the same acclaimed MMT (Multiple Modeling Technology) used by the KORG RADIAS, delivering thick, gutsy, and crisp analog sounds. With quality that will satisfy both professionals and beginners, the R3 is a great choice for adding synth sounds on stage or in music production.
Amazing sonic power from Korg's MMT analog modeling sound generator
The versatile range of built-in oscillator algorithms covers everything from familiar analog synthesizer waveforms, to the unique formant waveform, noise, DWGS PCM waveforms and even live audio input. Starting with these oscillator algorithms, you can use a powerful synth engine coupled with simple operations to produce an enormous range of tonal variation. Each timbre can use up to two Insert effects plus EQ, and a global Master effect can be used to process the sound of the entire R3. Add an ultra-powerful formant-recording vocoder, and the R3 gives you plenty of possibilities to enjoy creating synthesizer sounds.
Editing sounds is quick and intuitive; simply select a page and turn the four knobs. You can also use these knobs to modify the sound while you perform.
A versatile oscillator section
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 sawtooth wave and triangle wave, you can apply cross modulation, unison, or 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-type oscillator to apply sync modulation or ring modulation 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 design as the AL-1 Analog Synthesizer found in Korg's flagship OASYS synthesizer. These clean and pure waveforms are free of aliasing noise, even in the high-frequency range.*
*Oscillator 1's sawtooth wave and pulse wave (used in Unison MOD) and Oscillator 2's square wave are excepted.
Waveforms: Saw, Pulse, Triangle, Sine, Formant, Noise, DWGS, Audio In
Modulation: Waveform, Cross, Unison, VPM
Waveforms: Saw, Square, Triangle, Sine
Modulation: Ring, Sync, Ring+Sync
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. You can also adjust the resonance to boost the overtone structure, allowing you to create everything from traditional fat sounds to sharp dance-type sounds.
Amp section with a Drive/Waveshaping circuit
The Drive circuit lets you create the 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, or even as a sub-oscillator, opening up new sound-making possibilities not available on previous synthesizers. 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.
EG and LFO that produce amazing tonal changes
Each voice provides three ADSR envelope generators for classic analog synthesis control. There are also two LFOs that you can use to apply cyclic modulation to synth parameters. High-speed digital processing ensures that vibrato, wah, and tremolo will produce extremely smooth tonal changes.
Virtual Patches allow even more 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.
Enjoy dramatic tonal changes with 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 to vary the sound in unique ways. There's also a Motion Rec function that lets you capture and replay real-time knob movements.
Formant Motion function for producing completely 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 not only replicate the classic vocoder sounds of the past, but also lets you dramatically transform the timbral character by adjusting the level and pan of each frequency band to create absolutely original vocoder sounds.
In addition, there's a Formant Motion function that lets you capture the movements that occur in the vocoder's filter bank when you route your vocal input through it. Then by playing back these movements, you can produce vocoder sounds even without inputting your voice. The R3 lets you record a maximum of 7.5 seconds of Formant Motion data in sixteen internal memories, and use this data in multiple vocoder programs. With the factory settings, the bank marked FORMANT MOTION on the dial contains preloaded programs that use formant motion data.
Since the R3 comes with an XLR-connector gooseneck microphone, you can start enjoying this superb vocoder functionality right away.
128 programs for immediate use
The R3 contains 128 choice programs neatly organized into 16 banks, each containing 8 programs. These banks are organized by sound category, and can be quickly accessed using just two actions; the bank select dial and the program selector buttons. From rich sounds that are nearly unimaginable to be coming from such a compact instrument; highly complex sounds using cross modulation, formant motion, and the arpeggiator; thick and warm sounds you expect from analog modeling; to sharply aggressive sounds, there's an amazing spectrum of sounds instantly available to enliven your music.
Effects to enhance the sound
For each timbre you can apply a two-band EQ and two Insert effects. There's also a Master effect that lets you apply reverb or delay etc. to unify the entire program. For each effect, you can choose one of thirty different effect algorithms.
The delay time and other parameters that use an LFO can be synchronized with the arpeggiator or to an external MIDI clock. You can take advantage of this in a variety of situations - including live performances.
Six different arpeggio patterns are built-in (UP, DOWN, ALT1/2, Random, and Trigger). For each of the eight steps (maximum), you can specify whether a note will sound and the duration of that note, letting you produce unique phrases with rhythm variety.
Process and transform external audio sources
The R3 has two external audio input jacks. By selecting an external audio source as an oscillator, you can filter the external audio source, or apply effects to it using the full range of processing potential available for the internal waveforms. This is a great way to create unique and original sounds, for processing audio loops from a computer and even playing another instrument through the R3.
A full complement of displays and indicators for speedy access and editing
Filter cutoff, resonance, attack, and decay are assigned to the four edit knobs by default, so you can vary the sound to your taste simply by turning the knobs. LED indicators are located around the bank select dial, so it's easy to see the selected category even if you're performing live on a dimly lit stage. In addition to the main display that shows the program name and the name of the parameter page you're editing, a sub-display above each edit knob indicates the specific parameter and itsvalue, ensuring that your editing will be smooth and easy.
A “halo” or ring of LEDs surround each edit knob, clearly indicating the current parameter value. Switches that are frequently used in live performance, such as the octave shift switch and the arpeggiator on/off switch, are located for easy access.
“R3 Sound Editor” editor/librarian software is included
You can connect the R3 to your computer via its USB connector, and use the included editor/librarian software to conveniently edit the sounds, using the enhanced graphics that the computer provides. You can edit create save and store programs to the R3 or to your computer. Sounds you edit or create using the editor/librarian software can be used in realtime on the R3 itself.
Keyboard : 37 notes (full size keys, velocity sensitive
Sound Structure :
2 oscillators + noise generator
Wave: 8 types (Sawtooth, Pulse, Triangle, Sine, Formant, Noise, DWGS, Audio In), Modulation: Waveform, Cross, Unison, VPM
4 types (Sawtooth, Square, Triangle, Sine), Modulation: Ring, Sync, Ring+Sync
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
16 channel vocoder, adjustable level and pan for each channel, Formant Shift function, Formant Motion function, Formant Hold function
Timbre: 2 band EQ, Insert effect (per timbre), Program: Master effect
Six types: UP, DOWN, ALT1/2, Random, Trigger, Individual step on/off function
128 programs (16 banks x 8 programs), 16 formant motion data sets (7.5 second x 16) - 2 Timbres maximum (when using Layer, Split, or Multi) - 16 formant motion data sets (7.5 second x 16)
Polyphony: 8 voice polyphony (maximum)
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
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
8-character x 2 line LCD
Four Sub Displays
8-character x 1 line LCD
Power Supply : DC 12 V, 6.5 W
635 (W) x 270 (D) x 76 (H) mm
25.00" (W) x 10.63" (D) x 2.99" (H)
Weight : 2.8 kg / 6.17 lbs.
• gooseneck microphone
• AC adapter (DC 12 V)
• EXP-2 Foot Controller
• XVP-10 EXP/VOL Pedal
• PS-1 Pedal Switch
• DS-1H Damper Pedal