Korg R-3 37-Key Mmt Analog Modeling Synth/Vocoder Alternatives

Korg R-3 37-Key Mmt Analog Modeling Synth/Vocoder

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Write a review Q&A SKU: R3 Solotech ID#: 64106
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Unfortunately the Korg R-3 37-Key Mmt Analog Modeling Synth/Vocoder is no longer available. This page is here for reference. Check out the great alternatives on this page, or contact us to speak with one of our sales advisors about similar products.

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Unfortunately the Korg R-3 37-Key Mmt Analog Modeling Synth/Vocoder is no longer available. This page is here for reference. Check out the great alternatives on this page, or contact us to speak with one of our sales advisors about similar products.

Need help? Contact our product specialists.

Description

Korg R-3 37-Key Mmt Analog Modeling Synth/Vocoder

Features:

  • MMT synthesis
  • Two filters with selectable routing
  • Amp section with a Drive/Waveshaping circuit
  • Multiple EGs and LFOs Virtual Patches for sophisticated sound-creation
  • Dramatic tonal changes from the Modulation Sequencer
  • Formant Motion produces personalized Vocoder sounds
  • Effects to enhance the sound
  • Flexible arpeggiator
  • 128 powerful programs
  • Process and transform external audio sources
  • A full complement of displays and indicators
  • Editor/librarian software included

Introduction

A powerful yet compact synthesizer with sounds, form, and features that will attract all manner of musicians and producers. Introducing the new R3. The R3 is a full-fledged synthesizer that provides an easy and affordable way to enjoy sophisticated synthesis and advanced sound creation. In a compact and light-weight body, it packs 37 full-size, 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.

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 atta

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