Ok I know this question will come off stupid because I have already searched the forum and google, but I still need help! I have the Korg R3 and I need some piano sounds badly. I know there isn't much to offer for piano sounds on the Korg but i have read different articles and a few have sent me to download links that DON'T work. So if anyone could point me in the direction where I can get some or A piano sound on my r3, you would be the best person ever.
( I understand the r3 isn't mean for piano sounds and is meant for old school synths but I am sure there is something out there. I am trying to get something sounding like a rhodes piano, but I will take anything.)
Korg r3 help!
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thehighesttree
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Might have to crack the synth engine for this. It'll be important to make sure your filter envelope (EG1, plus its multiplier "EG1 Int") is set up to simulate the hard-then-soft tone of the hammer striking the string and then mellowing out. I'd say your ADSR should be something like* 30/70/50/30 (*values pulled from ass) with a similar volume envlope (EG2): your goal should be a quick and strong but slightly muffled attack, moderate decay into a more subdued tone as you hold the key, with slight hold on the release. Your OSC should be something kind of subdued like a triangle. Leave any questions and I might actually make a point of trying to craft one myself when I get home. Good luck!
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gregbankley47
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thehighesttree
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- Joined: Fri Nov 18, 2011 12:02 am
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Correct: your synth isn't a sampler, therefore you can't just sample a piano sound you like from Garageband, though you can use your synth as a sort of FX unit to run sounds through. You might look for R3 patches online to see if there are any piano patches specifically made for the R3, but you always need to use the structure of the synthesis engine to design the sound. I suggest keeping the manual with you and playing with settings.
This type of synthesis known as "virtual analog" or "subtractive", which basically means you start with a tone, "carve" out the sound you want then apply FX and filtering and other tweaks. This is what synthesis is. It's essential to familiarize yourself with the following basic concepts if you're serious about crafting sounds on your R3:
-OSC (Oscillator): this is your basic tone: it comes in Saw (strong buzz), Square/Pulse (hollow computery sound), Triangle (subdued mellow hum), Sine (opposite of Saw, good for sub-bass) and some special ones. Get to know them and what they're each good for.
-Filter (LPF/HPF/BPF): this cuts off a portion of your sound to only let some of it pass through. The most common is a Low-pass Filter (LPF) that only lets bass-heavy sounds through. Since this is a resonent filter, you can tweak the "resonence" to emphasize the cutoff point, this makes your sound more "wet".
-LFO (low-frequency oscillator): This is what causes cyclical changes to your sound and can be applied to a number of different parameters like pitch and filter.
These are the bare-bones, fundemental essentials you'll need to get off the ground with synthesis; there are lots of additional features on the R3, but these basics are the most important to learn first, so study them and experiment with the patches on your synth until you're comfortable with them. This forum is a great resource but only if you're stuck after reading your manual and experimenting.
It's more fun than I make it sound, and you'll be really proud when you come up with something unique.
This type of synthesis known as "virtual analog" or "subtractive", which basically means you start with a tone, "carve" out the sound you want then apply FX and filtering and other tweaks. This is what synthesis is. It's essential to familiarize yourself with the following basic concepts if you're serious about crafting sounds on your R3:
-OSC (Oscillator): this is your basic tone: it comes in Saw (strong buzz), Square/Pulse (hollow computery sound), Triangle (subdued mellow hum), Sine (opposite of Saw, good for sub-bass) and some special ones. Get to know them and what they're each good for.
-Filter (LPF/HPF/BPF): this cuts off a portion of your sound to only let some of it pass through. The most common is a Low-pass Filter (LPF) that only lets bass-heavy sounds through. Since this is a resonent filter, you can tweak the "resonence" to emphasize the cutoff point, this makes your sound more "wet".
-LFO (low-frequency oscillator): This is what causes cyclical changes to your sound and can be applied to a number of different parameters like pitch and filter.
These are the bare-bones, fundemental essentials you'll need to get off the ground with synthesis; there are lots of additional features on the R3, but these basics are the most important to learn first, so study them and experiment with the patches on your synth until you're comfortable with them. This forum is a great resource but only if you're stuck after reading your manual and experimenting.
It's more fun than I make it sound, and you'll be really proud when you come up with something unique.
I have some good Radias Electric Piano sound that could be mimiced on the R3.
There are two types of tricks to use (either-or) here:
1. Use bandpass filter with high resonance (120-126 ish) and turn the 'punch' parameter up to simulate the strike. This is a bit like a physical modelling approach
2. use sine or triangle waves slowly detuning on the Osc1 'detune' mod type. This the result is a bit like the wave cancellation that occurs in struck metal or a string if you tune the detune rate and initphase properly.
Either of the above is best fed into 'Pickup' waveshaper type and then use compressor and tube drive or amp sim for the IFX.
There are two types of tricks to use (either-or) here:
1. Use bandpass filter with high resonance (120-126 ish) and turn the 'punch' parameter up to simulate the strike. This is a bit like a physical modelling approach
2. use sine or triangle waves slowly detuning on the Osc1 'detune' mod type. This the result is a bit like the wave cancellation that occurs in struck metal or a string if you tune the detune rate and initphase properly.
Either of the above is best fed into 'Pickup' waveshaper type and then use compressor and tube drive or amp sim for the IFX.
Current Gear: Kronos 61, RADIAS-R, Volca Bass, ESX-1, microKorg, MS2000B, R3, Kaossilator Pro +, MiniKP, AX3000B, nanoKontrol, nanoPad MK II,
Other Mfgrs: Moog Sub37, Roland Boutique JX03, Novation MiniNova, Akai APC40, MOTU MIDI TimePiece 2, ART Pro VLA, Focusrite Saffire Pro 40.
Past Gear: Korg Karma, TR61, Poly800, EA-1, ER-1, ES-1, Kawai K1, Novation ReMote37SL, Boss GT-6B
Software: NI Komplete 10 Ultimate, Arturia V Collection, Ableton Live 9. Apple OSX El Capitan on 15" MacBook Pro
Other Mfgrs: Moog Sub37, Roland Boutique JX03, Novation MiniNova, Akai APC40, MOTU MIDI TimePiece 2, ART Pro VLA, Focusrite Saffire Pro 40.
Past Gear: Korg Karma, TR61, Poly800, EA-1, ER-1, ES-1, Kawai K1, Novation ReMote37SL, Boss GT-6B
Software: NI Komplete 10 Ultimate, Arturia V Collection, Ableton Live 9. Apple OSX El Capitan on 15" MacBook Pro
