Manual Korg R3 (page 36 of 94) (English)

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6. OSC2 (Oscillator 2)

Here you can make settings for oscillator 2. You can create a variety of sounds by using two oscillators together. For example you can adjust knob

[3] (“OSC Semi”) and knob [4] (“OSC2Tune”) so that one oscillator acts as though it were part of the overtone structure of the other oscillator, set

the pitches of the two oscillators to an interval of harmony, or set both oscillators to the same pitch but slightly detune one of them to create a

detuning effect. You can also use Ring Modulation and Oscillator Sync to create very complex overtone structures. (This is set by “OSC Mod”

(knob [2]).)

Knob [1]

Wave (Waveform Select)

[Saw, Square, Triangle, Sine]

Selects a waveform for oscillator 2.

Saw: A sawtooth wave.

Square: A square wave.

Triangle: A triangle wave.

Sine: A sine wave.

If you do not hear the sound of oscil-

lator 2, raise the 7. Mixer page “OSC2

LEVEL” (knob [2]). If you want to hear

only the sound of oscillator 2, lower

the 7. Mixer page “OSC 1 Lvl” (knob

[1]).

Knob [2]

OSC2 Mod (Oscillator 2 Modulation Type)

[Off Ring, Sync, Rng+Sync]

Selects the type of oscillator modulation that will

be produced in conjunction with oscillator 1.

Off: No oscillator modulation effect is pro-

duced. However, you can detune oscillator 2

from oscillator 1 using the “OSC Semi” and

“OSC2Tune” parameters to create harmony

and detune effects.

Ring: Ring modulation generates the sum and

difference of the oscillator 1 and 2 waveforms.

By adjusting “OSC Semi” and “OSC2Tune” you

can create metallic sounds that contain little

sense of pitch. This can be effective for sound

effects (☞Figure 6-1). For example you can set

“OSC2Semi” to 24, and adjust “OSC2Tune” to

produce a clear bell-like sound. The effect will

be easier to detect if you lower “OSC 1 Lvl”

and raise “OSC 2 Lvl.” You can also create in-

teresting effects by using Virtual Patch to modu-

late “OSC2Tune” from LFO or EG.

Sync:

This type of modulation forcibly synchro-

nizes the phase of oscillator 2 to the phase of

oscillator 1, and

is useful for creating lead-synth

type sounds (☞Figure 6-2).

(➚)

Knob [3]

OSC2Semi (Oscillator 2 Semitone)

[–24...24]

Specifies the detuning (pitch difference)

relative to oscillator 1, in semitone steps over

a range of plus or minus two octaves.

If you want to use the sound of oscillator

2 as a component in the oscillator 1 over-

tone structure, try setting it one octave or

a fifth higher than oscillator 1. If you want

to use oscillator 2 in harmony, you can try

intervals such as a third, fourth, or fifth.

Knob [4]

OSC2Tune (Oscillator 2 Tuning) [–63...63]

Specifies the amount of detune for OSC2 rela-

tive to OSC1. A setting of ±63 produces a pitch

difference of ±2 octaves, and ±48 produces a

pitch difference of ±1 octave. Values near 0 will

make fine adjustments in the pitch

If “OSC2 Mod” is set to Sync, adjustments

in “OSC Semi” or “OSC2Tune” will change

the pitch of the overtones. The pitch of the

fundamental will not change.

Knob [2] (➘)

Figure 6-1: Ring

OSC1 Wave

OSC2 Wave

OSC1 Output

OSC2 Output

Figure 6-2: Sync

OSC1 Wave

OSC2 Wave

OSC1 Output

OSC2 Output

Sync

Figure 6-3: Ring+Sync

OSC1 Wave

OSC2 Wave

Sync

OSC1 Output

OSC2 Output

Knob [2] (➘)

For example, select sawtooth wave for oscilla-

tor 1 and raise the “OSC 2 Lvl” (☞p.31 “7.

MIXER”). Then, edit “OSC Semi” and “OSC 2

Tune” to change the pitch, and notice the result.

The effect will be more noticeable if the oscilla-

tor 2 pitch is raised above the oscillator 1 pitch.

You can also produce interesting effects by us-

ing Virtual Patch to modulate “OSC2Tune” from

LFO or EG.

Rng+Sync: This simultaneously applies both

Ring and Sync modulation (☞Figure 6-3).

(➚)

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