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So I've had my R3 for a while, and I love it. I just don't quite comprehend programming. I can mess with everything all I want, but I never really understand what I'm doing. I've gone through the manual, but I'm more of a visual/hands-on learner. Is there some kind of video tutorial to programming on it, or some sort of step-by-step walkthrough that I can follow to create some sort of basic sound? I'm even up for some simple tips. I just really need some kind of help getting started and I don't know where to go. Any help would be appreciated greatly.

Best thing would be to load up one of the initialised template patches (just a bog standard sawtooth) and then methodically go through the main features of the synthesiser (specifically the Oscillator, Pitch, Filter, and Amp features), and then later learn about modulating these parameters by incorporating the ADSR envelopes and LFOs.

A great place to learn the theory behind the main features of a synth is:

http://www.angelfire.com/in2/yala/2ansynth.htm

Once you've got the basics, you can use what you've learnt to adapt to all synthesisers, not just the R3.

I can run down the basic workflow to give you a foundational understanding of what to do. As Timo said, pick a sound you don't like and hold the SHIFT button + hit button 2 on the bottom row to INIT PROG...confirm it and this'll clear you a new patch.

Editing a patch is done almost entirely with the encoder knob and 4 pot knobs to the right (with the screens). The big knob picks the editing category and the smaller ones are for variables within it. You'll have access to all the "guts" of your patch with these knobs.

The default "InitProg" patch is a single timbre using a sawtooth waveform without much else going on. What's that mean? Well, see "T1" in the display? That means only 1 of the 2 available Timbres is being used...don't worry about this for now, just leave it 1 timbre so that you can learn what this consists of.

Now, this "timbre" is basically a whole patch itself. It contains the following:
-2 Oscillators (the "tone" or core sound). You can pick different "waveforms" here. Play with this first!
-2 Low Frequency Oscillators ("LFOs"). These make cycling changes to your sound over time. You can define what these cycles control, more on that later).
-3 Envelope Generators ("EGs"). These are sort of like the LFOs, but they're activated every time you hit a key...each of them lets you define...
A: how suddenly the sound ATTACKS
D: from that, how long it takes to DECAY...
S: ...to the SUSTAINed level while you continue to hold the key
R: then when you RELEASE the key, how long it takes the sound to fade out.
This is collectively known as an ASDR envelope, and it's essential to be familiar with it. EG1 is set to control the FILTER, EG2 controls volume, and EG3 is left free for you to assign to different things. By default these are all "flat" so the sound will be the same as long as you hold the key.
-up to 2 Filters. These cut out a portion of the sound. There's a few different ones, but basically if you want it muffled or only want to hear the high-pitched portions, this is what you want. The "Resonance" variable can be used to boost the frequency at the cutoff region, but watch out since doing this can make some deadly, crowd-destroying sound!
-a Waveshaping/Drive feature. This lets you add "snarl" or a bunch of other characteristics to the sound by morphing it.
-2 Insert Effects (+1 Master Effect) the 2 Insert Effects apply to a single timbre, the Master Effect covers both timbres and gives you some more flexibility than the insert effects. Your standard flangers, phasers, delays, reverbs, etc. with some other cool goodies!
-6 Virtual Patches. Remember I said EG3 was assignable? This patching system lets you assign a Modulation source (an EG or LFO, or even the pitch bender or mod wheel) to warp a given variable by a given amount. This is where things get a little wizard!

There's more to it...I haven't even gotten into the Vocoder or recording Modulation Sequences, but this info will get you far enough that you'll be able to tackle these advanced concepts. I recommend making your first patch like this:

LESSON #1

1) Ignore the top menus and scroll till you get to OSC1. Set your Oscillator to the tone you want. If you'd like to use the 2nd oscillator, scroll to MIXER and turn the OSC2 variable up.
2a) Let's use an Envelope Generator. As an exercise, you can try making a sound that fades in slowly and fades out when you release the key. Do this in EG2 (the one that controls volume) by setting the ATTACK and RELEASE to big numbers.
2b) It's not doing anything? Scroll to a menu called EG VELO INT that shows "EG LVL" for each envelope. Jack up the one for EG2. This will give the Envelope you made an actual value. Now your sound will fade with the envelope!
3) Now it's LFO time. By default, one of them goes fast (for the mod wheel mostly) and the other one is more gradual...I can't remember which is which though. You'll actually need to use the scary Virtual Patch system for this, so listen close: Keep scrolling down till you get to "Patch1" in the menu and it'll have 3 values (Source, Destination, P.Int). Okay, this isn't actually that complex: pick LFO 1 or 2 as your source, then assign it to...I dunno...let's do pitch, because it's easy to tell when you've got it working. Like the EG, set the INT till you can hear it. Hear it phasing or vibrating? Good!
4) Hit WRITE twice, but only if you wanna overwrite the patch you cleared.
~~


That's the basics. You might wanna try assigning another patch to control the Filter for some neat phasing. Refer to the manual for more specifics. If this instruction isn't enough, well...God help you, or maybe we will if you've checked the manual and you're still stumped. Good luck!

Thanks a lot Timo. I feel like a lot of it suddenly makes more sense. Also, the highesttree, thank you for giving me some hands-on help. My main trouble is with the filters now. I just can't really get them to do what I want. Alsoo, in case it makes it a little easier, I'm using the Editor software. It makes it easier to see it all. I guess from here I just need practice. I'd also like to try recreating some synth sounds, such as the one in Kids by MGMT, so some tips there would be pretty nice.

muffin_man97 wrote:My main trouble is with the filters now. I just can't really get them to do what I want.

I have a Radias as opposed to an R3, but I know that it may be confusing to see what your filter is doing at any one time - it's one of the most intertwined, maze-like parts of a patch as there can be lots of 'hidden' parameters elsewhere that can be unbeknowingly pulling it around from every angle.

Go back to basics. Initialise a patch, and set up a sawtooth as the oscillator waveform (if not already). Without doing anything else, turn the knob for the frequency cutoff of the filter - you should hear it sound duller/muffled when you turn it anti-clockwise, and brighter again as you go clockwise. This is the low-pass filter (LPF) - it allows (passes) low frequencies through the filter and then attenuates the higher frequencies depending on the cutoff. Increase the resonance parameter a bit, and then play with the frequency cutoff value again - you'll start to get a little 'bite' as you turn the knob. Increase the resonance more and more and this should become more obvious, eventually turning into a pitch-able whistle.

Other filter types include High-Pass (allows high frequencies to pass through and then attenuates low frequencies), and Band-Pass (this is a mixture of a low-pass and a high-pass which attenuates both high and low frequencies, allowing only a 'band' of middle frequencies to come through).

Play with the cutoff frequency and resonance for each filter type to get a feel for what they sound like and the way they act.

Once you've got the basics, trying using an LFO to 'modulate' (a fancy word for 'controlling' or 'animating') one of the filter's parameters, such as the cutoff frequency. LFOs apply ever-repeating cyclic changes to a parameter depending on the LFO's own waveform and modulation intensity.

Possibly the most confusing part of the filters could be the EG. An EG applies changes to a parameter in a 'one-shot' type manner for the duration that you hold down a note, as opposed to a repeated cyclic manner like the LFOs.

If you find your frequency cutoff knob is not doing what you want it to, it's most likely that the filter EG and/or the LFO are controlling the filter to a degree. You can decrease the intensity of the filter EG's action by turning down the filter EG Intensity knob to zero. If an LFO is also controlling the filter you will be able to turn down the modulation intensity in one of the menus.

This should give you manual control over the frequency cutoff again. Once you get a gist for LFOs and EGs and how they can animate (modulate) various parameters it'll be a breeze.

TheHighestTree, above, has done a quick 101 on EGs and their respective ADSR parameters, but the manual should have illustrations and descriptions on how they are controlled by you when you hit a note. The link I gave should also tell you more.

I know it's difficult to get your head around the new terminology and features when you're just learning. I remember when I got my first real synth (as opposed to a former Yamaha home keyboard!), it seemed a rat's maze, but keep persevering and give a little time to let each bit sink in.