Instruction/ maintenance manual of the product R3 Korg
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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.
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 ......................................................
v T able of Contents Timbre Parameters ............................................. 23 1. VOICE ........................................................................................... 23 2. UNISON .................................................
vi T able of Contents Pedal/Switch parameters .................................... 73 46. PEDAL/SW .................................................................................. 73 Saving Data ......................................................
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 .
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 Inser.
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).
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 anal.
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).
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 .
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.
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.
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.
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.
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 .
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.
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.
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.
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.
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.
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).
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.
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.
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.
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.
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.
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).
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.
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.
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.
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.
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.
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.
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 .
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 .
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.
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.
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.
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.
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.
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.
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.
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 Fi.
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.
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.
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).
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 .
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]).
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 .
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.
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 .
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 .
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.
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.
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.
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 .
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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 .
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.
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.
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.
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.
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.
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].
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.
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.
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 TO.
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 .
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.
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.
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.
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.
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 .
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 Arpeg.
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 Glob.
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 A.
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 S.
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).
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.
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 .
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.
An important point after buying a device Korg R3 (or even before the purchase) is to read its user manual. We should do this for several simple reasons:
If you have not bought Korg R3 yet, this is a good time to familiarize yourself with the basic data on the product. First of all view first pages of the manual, you can find above. You should find there the most important technical data Korg R3 - thus you can check whether the hardware meets your expectations. When delving into next pages of the user manual, Korg R3 you will learn all the available features of the product, as well as information on its operation. The information that you get Korg R3 will certainly help you make a decision on the purchase.
If you already are a holder of Korg R3, but have not read the manual yet, you should do it for the reasons described above. You will learn then if you properly used the available features, and whether you have not made any mistakes, which can shorten the lifetime Korg R3.
However, one of the most important roles played by the user manual is to help in solving problems with Korg R3. Almost always you will find there Troubleshooting, which are the most frequently occurring failures and malfunctions of the device Korg R3 along with tips on how to solve them. Even if you fail to solve the problem, the manual will show you a further procedure – contact to the customer service center or the nearest service center
