28
When Knob [1] Wave: Noise,
and Knob [2] OSC1 Mod: Waveform
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 the mix balance between the low-
pass and high-pass filters; this will vary the
brightness of the sound.
When Knob [1] Wave: DWGS
and Knob [2] OSC1 Mod: Waveform
Knob [3] Control1: ---
has no effect
Knob [4] Control2: Wave Select [001…64]
Selects the DWGS waveform.
No. Name
No. Name
No. Name
1
SynSine1
22 Digi2
43 E.Bass2
2
SynSine2
23 Digi3
44 E.Bass3
3
SynSine3
24 Digi4
45 Bell1
4
SynSine4
25 Digi5
46 Bell2
5
SynSine5
26 Digi6
47 Bell3
6
SynSine6
27 Digi7
48 Endless*
7
SynSine7
28 Digi8
49 SynVox1
8
SynWave1
29 Digi9
50 SynVox2
9
SynWave2
30 E.Piano1
51 VoxPad1
10 SynWave3
31 E.Piano2
52 VoxPad2
11 SynWave4
32 E.Piano3
53 VoxPad3
12 SynWave5
33 Organ1
54 FlutePad
13 SynWave6
34 Organ2
55 EP Pad1
14 SynWave7
35 Organ3
56 EP Pad2
15 SynWire1
36 Organ4
57 Noise1
16 SynWire2
37 Organ5
58 Noise2
17 SynWire3
38 Clav1
59 Noise3
18 SynWire4
39 Clav2
60 Noise4
19 5thSaw
40 Guitar1
61 Noise5
20 5thSqu
41 Guitar2
62 Noise6
21 Digi1
42 E.Bass1
63 Noise7
64 Noise8
5. OSC1
(Oscillator 1
)
When Knob [1] Wave:
Saw, Pulse,
Triangle, Sine
and Knob [2] OSC1 Mod: Waveform
Knob [3] Control1: Waveform [000…127]
Knob [1] Wave: Saw
The sawtooth wave is appropriate for cre-
ating a wide range of sounds typical of ana-
log synthesizers, including basses and pads.
Adjusting the value will modify the shape
of the waveform, changing the harmonic
content. A setting of 000 produces the origi-
nal sawtooth wave. Higher setting stress
different harmonics; a setting of 127 pro-
duces a sawtooth wave one octave higher.
000
063
127
Knob [1] Wave: Pulse
This is a pulse wave suitable for electronic
sounds and wind instruments. By adjust-
ing the pulse width you can produce
sounds reminiscent of clavi or sax. A set-
ting of 000 produces a simple square wave.
Higher settings narrow the pulse width,
and at a setting of 127, the pulse width will
disappear completely (no sound).
000
063
127
Knob [1] Wave: Triangle
Triangle waves have fewer overtones than
sawtooth or square waves, and are suitable
for mild tone such as bass or pads. Adjust-
ing the value will modify the shape of the
waveform, changing the harmonic content.
A setting of 000 produces a simple triangle
wave. Higher setting stress different har-
monics; a setting of 127 produces a triangle
wave that is one octave and a fifth higher
(i.e., the third harmonic).
000
063
127
Knob [1] Wave: Sine
Sine wave is a mild tone that contains only
the fundamental frequency with no over-
tones. A setting of 000 produces a simple
sine wave. Increasing this value will
modify the waveform, changing the over-
tone structure as shown below.
000
063
127
Knob [4] Control2: LFO1 Intensity [000…127]
LFO1 will vary the “OSC1Ctr1” effect
(Waveform Modulation.) “OSC1Ctr2” ad-
justs the depth of this change.
When Knob [1] Wave: Formant
and Knob [2] OSC1 Mod: Waveform
Knob [3] Control1: Formant Width
[000…127]
The formant waveform has a tonal charac-
ter reminiscent of a human voice. This
knob will adjust the frequency components
that are characteristic of vocal formants.
This is equivalent to changing the shape
of your mouth (i.e., changing the vowel
sound).
Knob [4] Control2: Formant Shift [–63…+63]
Moves the entire formant frequency spec-
trum upward or downward. This is equiva-
lent to changing the size of your mouth.
With a setting of 0, the formant locations
are unchanged.
*: The 48: Endless waveform simulates the “in-
finite staircase” sound which produces the
same perceived pitch in each different octave.
The “infinite staircase” produces the sensa-
tion that you never get any higher, no matter
how long you continue playing the notes C,
D, E, F, G, A, B, C, D, E, ? upward.
When Knob [1] Wave: AudioIn
and Knob [2] OSC1 Mod” Waveform
Knob [3] Control1: Gain
[–63…+63]
Adjusts the volume of the audio input.
Knob [4] Control2: Balance
[L63…CNT…R63]
Sets the balance between the L channel
([AUDIO INPUT 1]) and R channel ([AU-
DIO INPUT 2]) jacks.
For details on how to processing an exter-
nal audio signal, refer to “Processing an ex-
ternal audio signal”(
☞
p.29).
When Knob [1] Wave:
Saw, Pulse,
Triangle, Sine
and Knob [2] OSC1 Mod: Cross
Knob [3] Control1: Modulation Depth
[000…127]
Adjusts the cross modulation depth.
Knob [4] Control2: LFO 1 Intensity
[000…127]
Adjusts the depth of the additional modu-
lation applied by LFO1 to the cross modu-
lation effect.
When Knob [1] Wave:
Saw, Pulse,
Triangle, Sine
and Knob [2] OSC1 Mod: Unison
Knob [3] Control1: Detune
[000…127]
Adjusts the difference in pitch between the
five unison oscillators. Higher values will
Summary of Contents for R3
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