DR 3_e Roland Corporation 3 Owner's Manual Om

Roland Corporation DR-3 Owner's Manual dr-3_om Roland Corporation - DR-3 - Owner's Manual

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User Manual: Roland Corporation DR-3 Owner's Manual Roland Corporation - DR-3 - Owner's Manual

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Owner’s Manual
Thank you, and congratulations on your choice of the BOSS DR-3 Dr. Rhythm.
Before using this unit, carefully read the sections entitled:
• USING THE UNIT SAFELY (page 2–4)
• IMPORTANT NOTES (page 5)
These sections provide important information concerning the proper operation of the unit.
Additionally, in order to feel assured that you have gained a good grasp of every feature provided by
your new unit, Owner's manual should be read in its entirety. The manual should be saved and kept
on hand as a convenient reference.

■ Printing Conventions in This Manual
• Text or numerals enclosed in square brackets [ ] indicate buttons.
[SONG]

SONG button

START [

] START button

• Reference such as (p. **) indicate pages in this manual to which you can refer.
Copyright © 2003 BOSS CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the written permission of BOSS
CORPORATION.

03236845

1*SX

USING THE UNIT SAFELY

The
symbol alerts the user to important instructions
or warnings.The specific meaning of the symbol is
determined by the design contained within the
triangle. In the case of the symbol at left, it is used for
general cautions, warnings, or alerts to danger.

Used for instructions intended to alert
the user to the risk of death or severe
injury should the unit be used
improperly.
Used for instructions intended to alert
the user to the risk of injury or material
damage should the unit be used
improperly.

The
symbol alerts the user to items that must never
be carried out (are forbidden). The specific thing that
must not be done is indicated by the design contained
within the circle. In the case of the symbol at left, it
means that the unit must never be disassembled.

* Material damage refers to damage or
other adverse effects caused with
respect to the home and all its
furnishings, as well to domestic
animals or pets.

The ● symbol alerts the user to things that must be
carried out. The specific thing that must be done is
indicated by the design contained within the circle. In
the case of the symbol at left, it means that the powercord plug must be unplugged from the outlet.

001

007

• Before using this unit, make sure to
read the instructions below, and the
Owner’s Manual.

• Make sure you always have the unit
placed so it is level and sure to remain
stable. Never place it on stands that
could wobble, or on inclined surfaces.

..................................................................................................
002c

• Do not open (or modify in any way)
the unit or its AC adaptor.
..................................................................................................
003

• Do not attempt to repair the unit, or
replace parts within it (except when
this manual provides specific instructions directing you to do so). Refer all
servicing to your retailer, the nearest
Roland Service Center, or an authorized Roland distributor, as listed on
the “Information” page.
..................................................................................................
004

• Never use or store the unit in places
that are:
• Subject to temperature extremes
(e.g., direct sunlight in an enclosed
vehicle, near a heating duct, on top
of heat-generating equipment); or
are
• Damp (e.g., baths, washrooms, on
wet floors); or are
• Humid; or are
• Exposed to rain; or are
• Dusty; or are
• Subject to high levels of vibration.
..................................................................................................

..................................................................................................
008b

• Use only the specified AC adaptor
(PSA-series), and make sure the line
voltage at the installation matches the
input voltage specified on the AC
adaptor’s body. Other AC adaptors
may use a different polarity, or be
designed for a different voltage, so
their use could result in damage,
malfunction, or electric shock.

..................................................................................................
009

• Do not excessively twist or bend the
power cord, nor place heavy objects
on it. Doing so can damage the cord,
producing severed elements and short
circuits. Damaged cords are fire and
shock hazards!
..................................................................................................

For EU Countries
This product complies with the requirements of European Directive 89/336/EEC.

For the USA

FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
– Reorient or relocate the receiving antenna.
– Increase the separation between the equipment and receiver.
– Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
– Consult the dealer or an experienced radio/TV technician for help.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:
(1) This device may not cause harmful interference, and
(2) This device must accept any interference received, including interference that may cause undesired operation.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
For Canada

NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.

AVIS
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.

010

015

• This unit, either alone or in combination with an amplifier and
headphones or speakers, may be
capable of producing sound levels that
could cause permanent hearing loss.
Do not operate for a long period of
time at a high volume level, or at a
level that is uncomfortable. If you
experience any hearing loss or ringing
in the ears, you should immediately
stop using the unit, and consult an
audiologist.

• Do not force the unit’s power-supply
cord to share an outlet with an unreasonable number of other devices. Be
especially careful when using
extension cords—the total power used
by all devices you have connected to
the extension cord’s outlet must never
exceed the power rating (watts/
amperes) for the extension cord.
Excessive loads can cause the
insulation on the cord to heat up and
eventually melt through.

..................................................................................................
011

..................................................................................................
016

• Do not allow any objects (e.g.,
flammable material, coins, pins); or
liquids of any kind (water, soft drinks,
etc.) to penetrate the unit.

• Before using the unit in a foreign
country, consult with your retailer, the
nearest Roland Service Center, or an
authorized Roland distributor, as
listed on the “Information” sheet.

..................................................................................................
012c

• Immediately turn the power off,
remove the AC adaptor from the
outlet, and request servicing by your
retailer, the nearest Roland Service
Center, or an authorized Roland
distributor, as listed on the “Information” page when:
• The AC adaptor or the powersupply cord has been damaged; or
• If smoke or unusual odor occurs
• Objects have fallen into, or liquid
has been spilled onto the unit; or
• The unit has been exposed to rain
(or otherwise has become wet); or
• The unit does not appear to operate
normally or exhibits a marked
change in performance.

..................................................................................................
019

• Batteries must never be recharged,
heated, taken apart, or thrown into fire
or water.
..................................................................................................

..................................................................................................
013

• In households with small children, an
adult should provide supervision until
the child is capable of following all the
rules essential for the safe operation of
the unit.
..................................................................................................
014

• Protect the unit from strong impact.
(Do not drop it!)
..................................................................................................

101b

110b

• The unit and the AC adaptor should
be located so their location or position
does not interfere with their proper
ventilation.

• Whenever you suspect the possibility
of lightning in your area, disconnect
the AC adaptor from the outlet.

..................................................................................................
102d

• If used improperly, batteries may
explode or leak and cause damage or
injury. In the interest of safety, please
read and observe the following
precautions (P. 15).

• Always grasp only the output plug or
the body of the AC adaptor when
plugging into, or unplugging from,
this unit or an outlet.
..................................................................................................
103b

• Any accumulation of dust between the
AC adaptor and the power outlet can
result in poor insulation and lead to
fire. Periodically wipe away such dust
with a dry cloth. Also, disconnect the
power plug from the power outlet
whenever the unit is to remain unused
for an extended period of time.

..................................................................................................
111: Selection

• Carefully follow the installation
instructions for batteries, and make
sure you observe the correct
polarity.
2

• Avoid using new batteries together
with used ones. In addition, avoid
mixing different types of batteries.
3

• Remove the batteries whenever the
unit is to remain unused for an
extended period of time.

..................................................................................................
104

• Try to prevent cords and cables from
becoming entangled. Also, all cords
and cables should be placed so they
are out of the reach of children.

• If a battery has leaked, use a soft
piece of cloth or paper towel to
wipe all remnants of the discharge
from the battery compartment.
Then install new batteries. To avoid
inflammation of the skin, make sure
that none of the battery discharge
gets onto your hands or skin.
Exercise the utmost caution so that
none of the discharge gets near
your eyes. Immediately rinse the
affected area with running water if
any of the discharge has entered the
eyes.

..................................................................................................
106

• Never climb on top of, nor place heavy
objects on the unit.
..................................................................................................
107d

• Never handle the AC adaptor body, or
its output plugs, with wet hands when
plugging into, or unplugging from, an
outlet or this unit.
..................................................................................................
108b

• Before moving the unit, disconnect the
AC adaptor and all cords coming from
external devices.
..................................................................................................
109b

• Before cleaning the unit, turn off the
power and unplug the AC adaptor
from the outlet (P. 16).
..................................................................................................

• Never keep batteries together with
metallic objects such as ballpoint
pens, necklaces, hairpins, etc.
..................................................................................................
112

• Used batteries must be disposed of in
compliance with whatever regulations for their safe disposal that may
be observed in the region in which you
live.
..................................................................................................

IMPORTANT NOTES
291a

In addition to the items listed under “USING THE UNIT SAFELY” on page 2–4, please read and
observe the following:

Power Supply: Use of Batteries

Maintenance

301

401a

• Do not use this unit on the same power circuit
with any device that will generate line noise (such
as an electric motor or variable lighting system).

• For everyday cleaning wipe the unit with a soft,
dry cloth or one that has been slightly dampened
with water. To remove stubborn dirt, use a cloth
impregnated with a mild, non-abrasive
detergent. Afterwards, be sure to wipe the unit
thoroughly with a soft, dry cloth.

302

• The AC adaptor will begin to generate heat after
long hours of consecutive use. This is normal,
and is not a cause for concern.
303a

• The use of an AC adaptor is recommended as the
unit’s power consumption is relatively high.
Should you prefer to use batteries, please use the
alkaline type.
304a

• When installing or replacing batteries, always
turn off the power on this unit and disconnect
any other devices you may have connected. This
way, you can prevent malfunction and/or
damage to speakers or other devices.
306b

• Batteries are supplied with the unit. The life of
these batteries may be limited, however, since
their primary purpose was to enable testing.
307

• Before connecting this unit to other devices, turn
off the power to all units. This will help prevent
malfunctions and/or damage to speakers or
other devices.

Placement
351

• Using the unit near power amplifiers (or other
equipment containing large power transformers)
may induce hum. To alleviate the problem,
change the orientation of this unit; or move it
farther away from the source of interference.
352a

• This device may interfere with radio and
television reception. Do not use this device in the
vicinity of such receivers.
352b

• Noise may be produced if wireless communications devices, such as cell phones, are operated
in the vicinity of this unit. Such noise could occur
when receiving or initiating a call, or while
conversing. Should you experience such
problems, you should relocate such wireless
devices so they are at a greater distance from this
unit, or switch them off.
354a

• Do not expose the unit to direct sunlight, place it
near devices that radiate heat, leave it inside an
enclosed vehicle, or otherwise subject it to
temperature extremes. Excessive heat can deform
or discolor the unit.

402

• Never use benzine, thinners, alcohol or solvents
of any kind, to avoid the possibility of discoloration and/or deformation.

Additional Precautions
551

• Please be aware that the contents of memory can
be irretrievably lost as a result of a malfunction,
or the improper operation of the unit. To protect
yourself against the risk of loosing important
data, we recommend that you periodically save a
backup copy of important data you have stored
in the unit’s memory on a paper.
552

• Unfortunately, it may be impossible to restore
the contents of data that was stored in another
MIDI device (e.g., a sequencer) once it has been
lost. Roland Corporation assumes no liability
concerning such loss of data.
553

• Use a reasonable amount of care when using the
unit’s buttons, sliders, or other controls; and
when using its jacks and connectors. Rough
handling can lead to malfunctions.
554

• Never strike or apply strong pressure to the
display.
556

• When connecting / disconnecting all cables,
grasp the connector itself—never pull on the
cable. This way you will avoid causing shorts, or
damage to the cable’s internal elements.
558a

• To avoid disturbing your neighbors, try to keep
the unit’s volume at reasonable levels. You may
prefer to use headphones, so you do not need to
be concerned about those around you (especially
when it is late at night).
559a

• When you need to transport the unit, package it
in the box (including padding) that it came in, if
possible. Otherwise, you will need to use equivalent packaging materials.

355b

• When moved from one location to another where
the temperature and/or humidity is very
different, water droplets (condensation) may
form inside the unit. Damage or malfunction
may result if you attempt to use the unit in this
condition. Therefore, before using the unit, you
must allow it to stand for several hours, until the
condensation has completely evaporated.

Main Features
■ Making Your Own Rhythm Pattern Arrangements with Style Play
With the DR-3, you can enjoy performing rhythm patterns made up of drum and bass sounds.
You can add fill-ins and switch patterns while you play, making it easy to develop choruses,
bridges, and solos for your songs.

■ 100 Different Preset Styles
The DR-3 comes with 100 different prepared Styles in a variety of genres, including Rock, Funk,
Hip Hop, Jazz, Latin, and more. You can also create up to 100 of your own original Styles.

■ TSC (Total Sound Control) Function
This includes two types of effects, “Sound Shape,” which adjusts the overall tone of the sound,
and “Ambience,” which alters the overall acoustic characteristics.
This feature makes it easy to attain the sound you want, whether it be a harder sound for Rock,
an acoustic sound for Jazz, or the sound you get when performing live on stage.
Sound Shape and Ambience each includes eight presets and eight memories you can use to store
your own favorite settings.

■ Control the DR-3 with a Foot Switch
The DR-3 allows you to connect up to two (optional) foot switches. You can use your foot to
control the DR-3 as you perform, making this perfect for jam sessions and live performances.
You can a variety of functions to the foot switches, including switching patterns and turning the
Variation function on and off.

■ Variation Function Lets You Enjoy a Wide Variety of Arrangements
The DR-3 includes a Variation function that lets you play different arrangements within songs,
for example arrangements to build up the excitement, quieter ones for vocal solos, along with a
wide variety of other arrangements.

■ Produce Rhythm Patterns Automatically in Auto Mode
In Auto mode, you can produce songs by having the rhythm patterns be changed automatically
every eight or sixteen measures, allowing you to enjoy jam sessions once you start a song,
without having to operate the DR-3.

■ High-Quality Instrument Sounds–Ghost Notes, Too
The DR-3 features special “soft shot,” “double shot,” and “buzz shot” sounds for use as snare
ghost notes. Using these makes it possible to get even more realistic rhythm patterns.

■ Dynamics-Capable Pad Keys
The pad keys on the DR-3 are capable of producing dynamics. The volume changes in response
to the force you use to play the pads.
This lets you alter the sound you play depending on how hard you hit the pads, such as for hard
shots and soft shots on the snare.

Main Features

■ Setting the Tempo with Tap Tempo Function
You can set tempos just by tapping the button at the desired timing.

■ Key Shift Function
You can easily change the key in which you are playing.
You can also easily get flat-tuning of a guitar, or match the key used by a different instrument,
such as a sax.

■ Convenient Song Composing and Performing Functions
While basically following procedures similar to those used in performing Styles, you can create
songs intuitively with the panel pads.
After you create a song, you can add cymbal crashes, change bass phrases, and edit specific
portions of songs.

■ Synchronize Performances with Digital Recorders and Sequencers
Using MIDI, you can synchronize performances with digital recorders (such as those in the BR
Series) and sequencers, or start and stop the DR-3 using a GT-6.

■ Equipped with Both Phono Jacks and Phone Jacks
In addition to 1/4” phone jacks, the DR-3 also features RCA phono jacks, which let you connect
a variety of other devices, such as mixers, amps, and audio systems.

■ Compact Body
The DR-3 is lightweight, compact, and very portable. And since the unit can be powered with
batteries, you can use it just about anywhere.

Contents
USING THE UNIT SAFELY ..................................................................... 2
IMPORTANT NOTES............................................................................... 5
Main Features ......................................................................................... 6
Panel Descriptions ............................................................................... 12
Before You Play .................................................................................... 15
Install Batteries .......................................................................................................... 15
Making Connections................................................................................................. 16
Turning On/Off the Power ..................................................................................... 17
Reset to Default Factory Settings (Factory Reset) ................................................ 18

Quick Start .......................................................20
Let’s Listen to the Demo...................................................................... 21
Let’s Play a Style .................................................................................. 22
Performing Styles with Selecting Patterns ([MANU]) ........................................ 22
Performing Variations on Styles (VARIATION).................................................. 24
Selecting Styles .......................................................................................................... 26
Changing the Tempo ([TEMPO]) ........................................................................... 27
Setting the Tempo by Tapping It Out (Tap Tempo) ..................................... 27
Changing the Key ([KEY SHIFT]) .......................................................................... 28

Let’s Use a Foot Switch ....................................................................... 29
Connecting the Foot Switch .................................................................................... 29
Using the Foot Switch .............................................................................................. 30

Let’s Perform with the Patterns Switched Automatically ([AUTO]) ....... 31
Let’s Change the Overall Tone of the Sound and Acoustics (TSC) ...... 32
Chapter 1 Overview of the DR-3.......................................................... 34
The DR-3’s Performance Modes ............................................................................. 34
Style Play Mode ........................................................................................................ 34
Makeup of a Style ..................................................................................................... 35
Song Mode ................................................................................................................. 37
Switching the Pad Functions................................................................................... 37
Main Screens and Functions.................................................................................... 38
Starting and Stopping Performances and Recording ................................... 40
Adjusting the Tempo ([TEMPO]) .................................................................... 41
Changing the Key of the Performance ([KEY SHIFT])................................. 42

Chapter 2 Playing Styles (Manual Mode [MANU]) ............................. 43
How the Pads Work When Performing Styles .............................................. 43
Selecting Styles .......................................................................................................... 43
Selecting the Patterns to be Played......................................................................... 44
Starting/Stopping.............................................................................................. 44
How to Change Patterns................................................................................... 44
Selecting Variations (VARIATION) ....................................................................... 45

Contents

Chapter 3 Playing Styles (Auto Mode [AUTO]) .................................. 46
Selecting a Style......................................................................................................... 46
Performing in Auto Mode ....................................................................................... 46
Changing the Pattern Progression in Auto Mode......................................... 47

Chapter 4 Controlling the Styles with a Foot Switch ........................ 48
Starting and Stopping Performances ..................................................................... 48
Switching Verses....................................................................................................... 48
Assigning Functions to the Foot Switch ................................................................ 49

Chapter 5 Changing the Overall Tone of the Sound and Acoustics (TSC).......... 51
Changing the Overall Tone of the Sound ([SOUND SHAPE]) .......................... 51
Altering the Acoustic Characteristics of the Overall Sound ([AMBIENCE])... 52
Changing the Sound Shape Parameters ................................................................ 53
How to Make the Settings ................................................................................ 53
Changing the Equalizer Parameters ............................................................... 53
Changing the Compressor Parameters........................................................... 54
Naming the Settings .......................................................................................... 55
Copying the Settings ......................................................................................... 55
Changing the Ambience Parameters ..................................................................... 56
How to Make the Settings ................................................................................ 56
Changing the Ambience Parameters .............................................................. 56
Naming the Settings .......................................................................................... 57
Copying the Settings ......................................................................................... 57

Chapter 6 Performing with the Pads................................................... 58
Playing Drum Sounds .............................................................................................. 59
Playing Percussion Sounds ..................................................................................... 59
Playing Bass Sounds................................................................................................. 59
Selecting a Different Sound (VARIATION [KIT])................................................ 60

Chapter 7 Creating Styles.................................................................... 61
Procedure for Creating Styles ................................................................................. 61
<1> Selecting a Number for the Style .................................................................... 62
<2> Making the Settings for the New Style .......................................................... 62
Setting the Tempo for the Style ....................................................................... 62
Setting the Beat................................................................................................... 62
Setting Up the Kit .............................................................................................. 63
Changing the Sound to Be Muted ................................................................... 63
Making the TSC Settings for the Style ............................................................ 64
Determining the Number of Measures for Each Pattern ............................. 64
<3> Recording the Patterns ..................................................................................... 65
Using Realtime Recording................................................................................ 65
• Recording the Drum Part .............................................................................. 65
• Recording the Bass Part................................................................................. 66
Using Step Recording........................................................................................ 67
• Recording the Drum Part .............................................................................. 67
• Recording the Bass Part................................................................................. 68
Adding Dynamics to the Sounds (Velocity Edit).......................................... 69
Transposing the Pattern’s Bass Part................................................................ 70
Playing Back Recorded Patterns...................................................................... 70

Contents
<4> Confirming the Created Style.......................................................................... 70
Performing the Created Style........................................................................... 70
Editing the Settings............................................................................................ 70
Naming, Copying, and Deleting Styles ................................................................. 71
Naming the Style ............................................................................................... 71
Copying the Style............................................................................................... 71
Clearing the Style............................................................................................... 72
Copying and Deleting Patterns .............................................................................. 72
Copying Patterns ............................................................................................... 72
Clearing Patterns ............................................................................................... 73

Chapter 8 Creating and Performing Songs ([SONG]) ....................... 74
What is a Song? .................................................................................................. 74
Procedure for Creating Songs ................................................................................. 74
<1> Selecting a Number for the Song .................................................................... 75
<2> Make the Settings for the New Song.............................................................. 75
Setting the Basic Tempo.................................................................................... 75
Making the TSC Settings for the Song ............................................................ 76
<3> Recording the Song........................................................................................... 76
When Using Step Recording ............................................................................ 76
When Using Realtime Recording .................................................................... 77
Editing Notes to Drum Parts and Bass Parts in the Song ............................ 78
<4> Editing Songs..................................................................................................... 80
Adding Patterns In the Song (INSERT).......................................................... 80
Deleting Specified Segments (DELETE)......................................................... 81
Copying Specified Segments (COPY)............................................................. 82
Changing the Tempo Part Way Through a Song (TEMPO) ........................ 83
<5> Checking the Created Song ............................................................................. 83
Performing the Created Song........................................................................... 83
Editing the Settings............................................................................................ 83
Naming, Copying, and Deleting Songs ................................................................. 84
Naming the Song ............................................................................................... 84
Copying the Song .............................................................................................. 84
Clearing the Song............................................................................................... 85
Performing Songs ..................................................................................................... 85
Performing Songs .............................................................................................. 85
Switching Patterns With a Foot Switch .......................................................... 86
Playing Multiple Songs Continuously (Song Chain) ................................... 87

Chapter 9 Changing the Operating Environment (System).............. 88
How to Make the Settings ................................................................................ 88
Setting the Parts To Be Output from the OUTPUT Jacks.................................... 89
Adjusting the Pad Sensitivity.................................................................................. 89
Setting the Reference Pitch for the Bass Part ........................................................ 89
Changing the Volume of the Metronome Sound ................................................. 89

Chapter 10 Creating Your Own Kits.................................................... 90
How to Make the Settings ................................................................................ 90
Selecting the Sounds Assigned to the Pads........................................................... 91
Setting the Volume ................................................................................................... 91
Setting the Position of the Sound ........................................................................... 91
Naming the Kit.......................................................................................................... 91
Copying the Kit ......................................................................................................... 92

Contents

Chapter 11 Connecting and Using External MIDI Devices ............... 93
What is MIDI? .................................................................................................... 93
Starting/Stopping and Synchronizing Performances on the DR-3
from an External MIDI Device................................................................................ 93
Setting the MIDI Channels ............................................................................... 94
Setting Sync Mode ............................................................................................. 95
Using An External MIDI Device to Play the DR-3............................................... 95
Using the DR-3 to Record Performances Played by External MIDI Devices ... 96

Appendices......................................................98
Troubleshooting ................................................................................... 99
Message List ....................................................................................... 100
Parameter List..................................................................................... 101
Instrument/Bass Tone List ................................................................ 104
Preset Kit List ..................................................................................... 106
Preset Style List.................................................................................. 116
MIDI Implementation .......................................................................... 117
MIDI Implementation Chart ................................................................ 120
Specifications ..................................................................................... 122
Index .................................................................................................... 123

Panel Descriptions
Front Panel
fig.Panel

2
1

4
5

Display
*

The explanations in this manual include
illustrations that depict what should
typically be shown by the display. Note,
however, that your unit may incorporate a
newer, enhanced version of the system (e.g.,
includes newer sounds), so what you actually
see in the display may not always match what
appears in the manual.

VALUE dial
Selects Styles and songs.
You can set tempos by rotating the dial
after pressing the TEMPO button (11).
This is also used during editing to input
settings values.

MODE button

MANU (Manual) button
Press this button to switch to Manual
mode, in which you perform by switching
the patterns yourself.
AUTO button
Press this button to switch to Auto mode,
in which the patterns are switched
automatically during play of Styles.
SONG button
Press this button to switch to Song mode,
in which you play songs.

Panel Descriptions

START

button

* These are indicated in this manual as [

Starts and pauses Styles/songs playback
or recording.
STOP

STEP REC

button

VARIATION buttons

PTN button

KIT button

EDIT button

MUTE button

/ /
/EXIT /
/ENTER buttons
The four buttons,
,
,
and
are called the cursor buttons.
Cursor buttons are used to select
parameters and changes screens (pages).
EXIT button is pressed to stop an operation.
ENTER button is used to “lock in” a value
you’ve set or to execute an operation.

This starts Step Recording of Styles and
songs.
Pressing START button during Step
Recording then starts Realtime Recording.

Uses this when making settings related to
the performance and the usage
environment for the DR-3.

TSC (Total Sound Control)
buttons

SOUND SHAPE button
Adjusts the overall tone of the sound.
AMBIENCE button
Alters the acoustic characteristics of the
overall sound.

Press this button to switch patterns with
the pads (12).
When this button is ON (lit), the 9–12
buttons switch to the following functions.

button
This stops the performance of the Styles or
songs.

PTN button

The Pattern’s variation is played.

Plays with the Kit’s variation sound.

Some instrument sounds of the pattern are
muted.

10. KEY SHIFT button
Changes the key of the Patterns and songs
(transposing).

11. TEMPO (TAP) button
Adjusts the tempo.
You can tap this button at least four times
to set the tempo to the interval between the
taps.

12. Pattern Pads
When the PTN button (8) is on, you can
switch the patterns with these eight pads.

13. INST (Instrument) button
Press this button to use the pads to play
drum and bass sounds.
When this button is on (lit), the 9–12
buttons play the drum and bass sounds.
Also, you can press this button to switch
the sound groups for the pads (14).

14. Pads
When INST button (13) is ON (lit), drum
and bass sounds are played with these
pads.

Panel Descriptions

Rear Panel
fig.jack

MIDI IN connector
External MIDI device can be connected to this connector.

FOOT SW (Switch) jack
By connecting a foot switch, you can obtain pedal control over the start and stop of performances,
switching the patterns, or other actions.

OUTPUT jack R (MONO) / L (PHONES)
Provides output of the audio signals. Connect to your amp, stereo system, or similar equipment.
For monaural output use the R (MONO) jack.
For a set of headphones use the L (PHONES) jack.
*

You cannot get monaural output while simultaneously using the headphones.

OUTPUT jack R / L
Provides output of the audio signals. Connect to your amp, stereo system, or similar equipment.
Connect cables having RCA phono plugs here.

VOLUME knob
Adjusts the volume from the OUTPUT jacks.

POWER switch
Switches the power on and off.

AC Adaptor jack
You can use a separately sold AC adapter (BOSS PSA series).

Security Slot (

)

http://www.kensington.com/

Before You Play
Install Batteries

NOTE

fig.00-01

When turning the unit upsidedown, get a bunch of
newspapers or magazines, and
place them under the four
corners or at both ends to
prevent damage to the buttons
and controls. Also, you should
try to orient the unit so no
buttons or controls get
damaged.

Remove the battery cover on the unit’s underside.
NOTE

Insert six AA batteries in the battery case, taking care
to ensure that the positive (+) and negative (-)
terminals are not reversed.

When turning the unit upsidedown, handle with care to
avoid dropping it, or allowing
it to fall or tip over.

fig.00-02

We recommend the use of
alkaline batteries for extended
battery life.

NOTE

Do not mix new batteries with
partially used batteries, and do
not mix batteries of differing
types.

Close the battery cover.

When the battery power
begins to run low, “Battery
Low!” appears in the display
when the power is turned on.
When this occurs, replace with
new (six AA) batteries.

Before You Play

Make sure that the power is turned off.

Before You Play

Making Connections
The DR-3 is not equipped with an internal amp or speakers. To
hear sound, either connect an amplifier and speakers or use stereo
headphones.
Audio cables, MIDI cables, Stereo headphones, and foot switches
are not included. Please purchase these items from your dealer.

Before you begin making connections, confirm the
following.

NOTE

To prevent malfunction and/
or damage to speakers or other
devices, always turn down the
volume, and turn off the
power on all devices before
making any connections with
the DR-3.

• Is the volume level of the DR-3 or connected amp turned all the
way down?
• Is the power to the DR-3 or connected amp turned off?
fig.00-03

Stereo Headphones
Foot Switch

AC Adoptor
(PSA-series: option)

For instructions on connecting
to the MIDI connectors, refer
to p. 93.

For instructions on
connecting to the FOOT
SW jack, refer to p. 29.
Monitor Speaker

Audio Set

Connect the amp and audio gear, or the headphones
as shown in the diagram.
In order to take full advantage of the DR-3’s sound we
recommend that you play it in stereo.
When using the system in mono, connect to the OUTPUT R
(MONO) jack.

NOTE

You cannot get monaural
output while simultaneously
using the headphones.

Before You Play

Turning On/Off the Power
■ Turning on the power

Before You Play

Once the connections have been completed (p. 16), turn on power
to your various devices in the order specified. By turning on
devices in the wrong order, you risk causing malfunction and/or
damage to speakers and other devices.

Before you turn the power on, make sure of the
following points.
• Are external devices connected correctly?
• Is the volume level of the DR-3 or connected amp turned all the
way down?

Turn on the POWER switch located on the rear panel
of the DR-3.
fig.00-04

NOTE

Turn on the power of the amp.
Press the flashing [INTRO/START] button to start the performance.
Rotate the VOLUME knob on the rear panel to adjust the DR-3’s
volume level.
fig.00-05

This unit is equipped with a
protection circuit. A brief
interval (a few seconds) after
power up is required before
the unit will operate normally.

Press STOP [
performance.

] to stop the

Also adjust the volume levels for amps and other connected gear.

■ Turning Off the Power

Before turning off the DR-3’s power, make sure that:
• Is the volume level of the DR-3 or connected amp turned all the
way down?

2
3

Switch off any amps and other external equipment.
Turn off the power of the DR-3.
17

Before You Play

Reset to Default Factory Settings (Factory Reset)
This returns all settings on the DR-3 to the values they had when
the unit shipped from the factory. This is called Factory Reset.
fig.00-06p

1
2, 4
3, 5, 6

With the performance stopped, press [EDIT].
fig.00-07d

Press [

] to select a .

fig.00-08d

Press [ENTER].
fig.00-09d

Before You Play

Press [

] to select a .

fig.00-10d

Before You Play

Press [ENTER].
A message confirming that you want to proceed with Factory
Reset is displayed.
fig.00-11d

To cancel, press [EXIT].

To execute Factory Reset, press [ENTER].
Factory Reset is executed.
When Factory Reset is done, the previous screen is displayed.
All of the settings are restored to their original factory status.

Quick Start
This Quick Start manual describes how to enjoy performing the
rhythm used in the DR-3’s Styles.
Pre-programmed Styles are provided in Rock, Jazz, and a variety of
other musical genres.
Once you select a Style in the desired genre, you can put together
backing that matches your own performances by switching Patterns.
The Patterns prepared for each Style include not only an “intro” and
“ending,” but up to three types of “fill-ins” and “verses” (main rhythm
patterns). You can perform the rhythm in a variety of ways.

Let’s Listen to the Demo
Now listen to the demo performance, which brings the DR-3’s
“Styles” to life.

fig.QS-01p

NOTE

Hold down [MANU] and press [AUTO].
The DR-3 switches to Demo mode, and the performance begins.
If a Pattern or song is playing, press STOP [
performance, then perform Step 1.

] to stop the

fig.QS-02d

The Style name which is playing, is displayed.

Press STOP [

All rights reserved.
Unauthorized use of this
material for purposes other
than private, personal
enjoyment is a violation of
applicable laws.
NOTE

You cannot switch Patterns by
pressing the pattern pads
while the demo performance is
playing. For information about
performances which do allow
you to switch the Patterns,
refer to “Let’s Play a Style” (p.
22).

] to stop the demo performance.

If you want to listen to the demo performance again, press START
[
].

When using [MANU],
[AUTO], or [SONG] to switch
modes, stop the performance
first before you press the
button.

Quick Start

The “Patterns” in the demo performance are switched
automatically. The pattern pads light when the corresponding
Patterns are playing.

Styles and Patterns —
Song performances require
rhythm patterns that vary a
little for each section of the
performance (intro, fill-ins,
ending, and so on). The DR-3
features eight prepared
rhythm patterns expressing
these variations within the
songs. Eight patterns are
grouped together in what is
called a “Style.” The DR-3
features 100 pre-programmed
internal Styles (Preset Styles)
to suit a variety of musical
genres. You can also put
together your own
combinations of Patterns to
create whole new Styles (User
Styles).

Let’s Play a Style
There are two ways to perform Styles, using “Manual mode,” in
which you switch the Pattern yourself, or “Auto mode,” where
the DR-3 switches Patterns automatically.
Now, try performing in Manual mode.

For more information on
“Auto mode,” please refer to
p. 31.

Performing Styles with Selecting Patterns ([MANU])
Each Style includes eight prepared rhythm patterns; intro, fill-in
A, verse A, fill-in B, verse B, fill-in C, verse C and ending.
In Manual mode, you play switching Patterns yourself.
fig.QS-03p

1
2
3

4
Pattern Pad

With the performance stopped, press [MANU] so the
button lights up.
This puts the DR-3 in Manual mode.
The Style screen appears in the display.

pads, press [

fig.QS-04d

button lights up.
Style No.

Measure Beat

If [INST] is lit, then drum or
bass sounds are played when
you press the pads (p. 58).
To switch Patterns with the

Style Name

Tempo

] so that this

Let’s Play a Style

2
3

Press [INTRO/START] to start the performance from
the intro.
Press one of the pattern pads to switch Patterns.

When you press a pattern pad
other than [INTRO/START],
the performance begins from
that pattern.

Pad
Name

INTRO/
START

After the
intro is
Descrip- played, the
tion
Style proceeds to
Verse A.

FILL A

VERSE A

FILL B

VERSE B

FILL C

VERSE C

ENDING/
STOP

After Fill-In
A is played,
the Style
proceeds to
Verse A.

This is the
main performance
Pattern.

After Fill-In
B is played,
the Style
proceeds to
Verse B.

This is a
complementary
Pattern to
Verse A.

After Fill-In
C is played,
the Style
proceeds to
Verse C.

This is the
most elaborate of
the Patterns A–C.

The ending
is played,
and then
the performance
stops.

When you press a pattern pad, the pattern for the pad you've
pressed will start playing as soon as the one that's currently
playing has finished.
When you press [FILL], the fill-in is played, and then the verse
corresponding to that fill-in is automatically played. For example,
if you press [FILL A], the DR-3 automatically switches to [VERSE
A] after the fill-in.

When you press [ENDING/STOP], the ending is
played and then the performance stops.

What is a Fill-In? —These are
lively performance Patterns
inserted in spaces between
phrases and other points in
songs and Styles. Fill-ins of up
to one whole measure in
length are played according to
when you press the [FILL].

To stop the Style without
having the ending played,
press STOP [

Quick Start

The Patterns assigned to the pattern pads are shown below.

Let’s Play a Style

Performing Variations on Styles (VARIATION)
You can use the three VARIATION buttons to add variety to the
performance, even with the same Style.
Button
Name

PTN

KIT

Description

The Pattern’s variation is played.

This substitutes
the kits, thereby
changing the tone.

MUTE
This mutes a part
of the drum set.

What is a Kit? — These are
sounds, selected from those
built into the DR-3, consisting
of 26 drum sounds and one
bass sound that are grouped
together as a single set.

fig.QS-05p

The settings used when you
press a VARIATION button
differ according to the Style.

3, 4, 5

You can use the VARIATION
buttons not only in Manual
mode, but in Auto mode and
Song mode (p. 37) as well.

VARIATION Button

With the performance stopped, press [MANU] so the
button lights up.
This puts the DR-3 in Manual mode.

2
3

When you press [INTRO/START], the performance
starts from the intro.
Press VARIATION [PTN].
VARIATION [PTN] lights up, and the variation for the Pattern
currently being performed is played.
When you press VARIATION [PTN] once again, the button’s
light goes out, and the original Pattern is played.

NOTE

The VARIATION [PTN]
button does not have any
effect on patterns other than
verses.

Let’s Play a Style

Press VARIATION [KIT].
VARIATION [KIT] lights up, and the drum set and bass sounds
changes.
When you press VARIATION [KIT] once again, the button’s light
goes out, and the original Pattern is played.

Quick Start

With some Styles, the sound
may not change.

Press VARIATION [MUTE].
VARIATION [MUTE] lights up, and a part of sounds are muted.
When you press VARIATION [MUTE] once again, the button’s
light goes out, and the muted sounds play again.

When you press [ENDING/STOP], the ending is
played and then the performance stops.

Let’s Play a Style

Selecting Styles
The DR-3 comes with 100 pre-programmed Styles already built
in.
Now try listening to some of the different Styles.
fig.QS-06p

You can also create your own
Styles. For more information,
refer to “Chapter 7 Creating
Styles” (p. 61).

2
1
3

With the performance stopped, press [MANU] so the
button lights up.
If you switch the style during

The Style screen appears in the display.

its performance, a “

fig.QS-04d

Style No.

Measure Beat

2
3

Style Name

Tempo

” mark

appears in front of the style
name which will be played
next.
The style switches after the
currently playing pattern ends,
and the “

” mark disappears.

Turn the VALUE dial to select a Style.
Press [INTRO/START] to start the performance from
the intro.

When you press a pattern pad
other than [INTRO/START],
the performance begins from
that pattern.

You can change Styles by turning the VALUE dial, even during
the performance.

When you press [ENDING/STOP], the ending is
played and then the performance stops.

“Preset Style List” (p. 116)

Let’s Play a Style

Changing the Tempo ([TEMPO])
Now let’s try changing the performance tempo.
fig.QS-08p

Quick Start

2
3
1

Press [TEMPO (TAP)].
The Tempo screen appears.
fig.QS-09d

Adjust the tempo with the VALUE dial.
The tempo can be set to any value from 20 to 260.

Press [EXIT] to return you to the previous screen.

■ Setting the Tempo by Tapping It Out (Tap Tempo)
You can have the tempo be set to match an interval that you’ve
demonstrated by tapping the button. This function is called “Tap
Tempo.”

Press [TEMPO (TAP)] at least four times.
The interval between presses of the button is set as the tempo.

Let’s Play a Style

Changing the Key ([KEY SHIFT])
You can perform Styles in different keys (transposed).
This function is called “Key Shift.”
fig.QS-10p

2
3
1

Press [KEY SHIFT].
The Key Shift screen appears.
fig.QS-11d

Set the key with the VALUE dial.
You can set the value in semitone units within the range from -12
to +12, or one octave lower to one octave higher.
This changes the key of the performance.

Press [EXIT] to return you to the previous screen.
To return to the original key, press [KEY SHIFT], then set the key
to “0” using the VALUE dial.

Let’s Use a Foot Switch
You can use a foot switch (such as the optional FS-5U) to start and
stop performances and switch verses (p. 23). This is convenient, as
it allows you to switch the Patterns with your foot.
You can connect up to two foot switches.

NOTE

Connect the foot switch to the FOOT SW jack on the
rear panel.
fig.QS-14

To prevent malfunction and/
or damage to speakers or other
devices, always turn down the
volume, and turn off the
power on all devices before
connecting a foot switch.
NOTE

PCS-31: Option

Red

White

(

A special PCS-31 cable
(optional) is required when
connecting two foot switches.

Start/Stop
Performance

)

(Switching Verses)

When connecting the foot
switch (the optional FS-5U) to
the FOOT SW jack, set the
polarity switch as shown in the
following figure.

When Connecting Two Foot Switches
With the factory settings, foot switches connected using the plug
with a white ring are used for starting and stopping
performances, and foot switches connected using the plug with a
red ring are used for switching verses.

Polarity Switch

You can change the foot switch
functions. For more details,
refer to “Assigning Functions
to the Foot Switch” (p. 49).

Quick Start

Connecting the Foot Switch

Let’s Use a Foot Switch

Using the Foot Switch
The example here describes use of the DR-3 with two foot
switches connected.
When you have only one foot switch connected, you can only use
it to start and stop the performance.

You can change the foot switch
functions. For more details,
refer to “Assigning Functions
to the Foot Switch” (p. 49).

With the performance stopped, press [MANU] so the
button lights up.
This puts the DR-3 in Manual mode.

When you press the foot switch connected with the
plug with a white ring, the performance begins.
The performance starts from the intro.

Pressing the foot switch connected with the plug that
has a red ring switches to the next verse after the
verse currently being played.
When you press the foot switch connected with the
plug with the white ring, the ending is played, and
then the performance stops.

When you press the foot
switch with the red ring, a fillin is played after the verse
currently being played, and
the performance switches to
the next verse. Pressing the
foot switch while Verse A is
playing switches the
performance to Verse B,
pressing the foot switch
during Verse B switches the
performance to Verse C, and
pressing the foot switch
during Verse C switches the
performance to Verse A.
By continuing to press the foot
switch, you can select
subsequent verses according to
the number of times you press
the foot switch.

Let’s Perform with the Patterns Switched
Automatically ([AUTO])
When you perform Styles in Auto mode, the DR-3 switches the
Patterns automatically, even without the pattern pads being
pressed.
This lets you enjoy session-like performances without having to
take your hands off the guitar or other instrument you are playing.

Quick Start

fig.QS-12p

With the performance stopped, press [AUTO] so the
button lights up.
This puts the DR-3 in Auto mode.
fig.QS-13d

Press [INTRO/START] to start the performance from
the intro.
In Auto mode, the Patterns are played automatically, repeating the
sequence of INTRO → VERSE A → FILL B → VERSE B → FILL C →
VERSE C → FILL A → VERSE A... and so on (according to the factory
settings).

When you press [ENDING/STOP], the ending is
played and then the performance stops.

You can change the Pattern
progression in Auto mode. For
more details, refer to
“Changing the Pattern
Progression in Auto Mode” (p.
47).

To stop the Style without
having the ending played,
press STOP [

Let’s Change the Overall Tone of the
Sound and Acoustics (TSC)
“TSC,” short for “Total Sound Control,” is a function that lets you
change the acoustic effects for the overall performance just by
pressing a few buttons.
TSC includes two types of effect, “Sound Shape,” which changes
the overall tone of the sound, and “Ambience,” which alters the
overall acoustic characteristics.
fig.QS-16p

4, 8
1

3, 5
7, 9
6, 10

1
2
3

With the performance stopped, press [MANU] or
[AUTO] so the button lights up.
Press [INTRO/START] to start the performance.
Press TSC [SOUND SHAPE].
The TSC screen is displayed.
fig.QS-17d

Turn the VALUE dial to select a Sound Shape effect.

You can save your preferred
“Sound Shape” and
“Ambience” settings.
For more details, refer to
“Changing the Sound Shape
Parameters” (p. 53) and
“Changing the Ambience
Parameters” (p. 56).

Let’s Change the Overall Tone of the Sound and Acoustics (TSC)

Press [SOUND SHAPE] so the button lights up.
Sound Shape is applied to the performance.
Each time you press [SOUND SHAPE], it alternately turns the
button on (lit) and off (unlit).

6
7

Quick Start

Press [EXIT] to return you to the previous screen.
Press TSC [AMBIENCE].
The TSC screen is displayed.
fig.QS-18d

8
9

Turn the VALUE dial to select a Ambience effect.
Press [AMBIENCE] so the button light up.
Ambience is applied to the performance.
Each time you press [AMBIENCE], it alternately turns the button
on (lit) and off (unlit).

Press [EXIT] to return you to the previous screen.
When you press [ENDING/STOP], the ending is played and then
the performance stops.

For more details about Sound
Shape and Ambience, refer to
“Chapter 5 Changing the
Overall Tone of the Sound and
Acoustics (TSC)” (p. 51).

Chapter 1 Overview of the DR-3
The DR-3’s Performance Modes
The DR-3 features two performance modes, Style Play mode, in which the rhythm patterns are
switched as you play, and Song mode, in which you create data by arranging the patterns
beforehand, and then perform.
Furthermore, “Style Play mode” features a Manual mode, in which you switch the rhythm
patterns yourself, and an Auto mode, where the rhythm patterns are switched automatically.
A Style contains a set of rhythm patterns that are needed for performance of a song.
In order to perform a song, you need to have different rhythm patterns set in different parts of
the song. For example, a rhythm pattern may change like this: Intro/melody A/melody B/
chorus/ending. To express the variation in such a song, each Style includes eight prepared
rhythm patterns.
The DR-3 includes 100 different Preset Styles (internal Styles) in rock, jazz, and various other
genres, so you can play all the rhythm patterns for a single song by selecting the genre you want
to play in and then switching the patterns.
A Song is created by arranging the sequence of rhythm patterns that make up the song.
You can also create a song by setting up a sequence of patterns from different Styles. What's
more, you can prepare further song data after you have created a song by editing parts of a song,
for example by changing bass phrases.
Switch between these three modes with the MODE button shown below.
fig.01-mode

Manual
Mode

Auto
Mode

Song
Mode

Style Play Mode

Style Play Mode
Manual Mode
Switch to Manual mode by pressing the MODE [MANU] button.
In Manual mode, you can switch patterns by pressing the pattern pads. You can perform freely
as you switch the patterns.

Auto Mode
Switch to Auto mode by pressing the MODE [AUTO] button.
In AUTO mode, you can have patterns switch automatically after the performance starts, which
then lets you enjoy jamming.
* When using a MODE button to switch modes, stop the performance first before you press the button.

Chapter 1 Overview of the DR-3

Makeup of a Style
Patterns

Variation
Verse A

Intro

Chapter 1

fig.01-01

Verse B

Verse C

Fill A Verse A Fill B Verse B Fill C Verse C Ending

Style
Variation

Patterns

Kit

Kit
Mute

Kit

Instrument

Variation
KICK
Kit
SNR1
TOM3
KICK
SNR2
SNR1 TOM3
BASS
SNR2
TOM3
BASS
TOM3
BASS

1
2
3
4

Kit
No.128
KICK
SNR1 TOM3
SNR2
No.1
BASS
KICK
TOM3
SNR1 TOM3
SNR2
BASS
BASS
TOM3

254
255
256

Bass Tone

BASS

1
2

TSC
Tempo

Sound Shape

TSC

Preset
1
2
8

User
1
2

Sound
Shape

Ambience

Ambience
Preset
1
2
8

User
1
2
8

Patterns
The following eight patterns are set up for the different parts of the song.
Pattern Name
INTRO

Description
This is played at the beginning of the song.

VERSE A, B, C

These are the main performance Patterns.
A is the basic performance Pattern, and B and C are Patterns complementary to Verse A.

FILL A, B, C

These are lively performance Patterns inserted in spaces between phrases
and other points in songs. Select Fill-In A, B, or C according to the verse you
want to have played after the fill-in.

ENDING

This is the performance Pattern used to finish the song.

Each of the eight patterns is assigned to a pattern pad. Press the pattern pads as the Style is
played to switch the patterns.
fig.01-03p

Pattern Pad

Chapter 1 Overview of the DR-3

Kits
The drum, percussion, and bass sounds used in performing patterns are referred to as “kits.”
The Styles have predetermined kits assigned to them, so you can change kits by changing Styles,
and thus change the sounds played with the pads.

Variation
Variation is a function that alters performances, for example building up the performance or
toning it down.
There are three kinds of variations, [PTN] (Pattern), [KIT], and [MUTE].
[PTN]

This alternates the Pattern.

[KIT]

[MUTE]

This substitutes the kits,
thereby changing the sound.

This mutes a part of the drum
set. This is used to tone down the
performance and bring solos out
to the forefront.

The three kinds of variations are switched on and off with the VARIATION [PTN], [KIT] and
[MUTE].
fig.01-vari

Pattern

Kit

Mute

TSC
“TSC,” short for “Total Sound Control,” is a function that lets you change the overall tone of the
sound and acoustics.
TSC includes two kinds of effects, “SOUND SHAPE” and “AMBIENCE.”
“SOUND SHAPE” adjusts the overall tone of the sound with a three-band equalizer and threeband compressor that are used to boost or cut specific pitches (frequency bands).
“AMBIENCE” adjusts the breadth of the sound by altering the acoustic characteristics of the
sound.
You can select the TSC settings that sound best with each Style, and you can switch [SOUND
SHAPE] and [AMBIENCE] on and off independently.
fig.01-tsc

Tempo
Each Style includes a tempo setting suited to that Style.
After you select a Style, you can perform with a different tempo, and even change the tempo
while the performance is in progress.

Chapter 1 Overview of the DR-3

Song Mode
Chapter 1

Switch to Song mode by pressing the MODE [SONG] button.
In Song mode, you create songs by recording the sequence in which the patterns are to be
played, or play the song that you have created.
* When using a MODE button to switch modes, stop the performance first before you press the button.

Switching the Pad Functions
The DR-3’s [

] and [INST] are used to switch between two different functions.

Specifying Patterns with the Pads ([

] is Lit)

fig.01-padptn

Lit

Pattern Pads
When you press [
], you can then switch the patterns with the pattern pads.
Furthermore, you can press the VARIATION [PTN], [KIT], [MUTE], [KEY SHIFT], and [TEMPO
(TAP)] to use the functions marked for each of these buttons.

Playing Instruments (Instrument Sounds) with the Pads ([INST] is Lit)
fig.01-padinst

Lit
Pad No.
Bass Pitch
Instrument Name

Pads
When you press [INST], different sounds are assigned to the pads, and you can then press the
pads to play these drum and bass sounds. The instrument names and the bass pitch names
assigned to the pads are printed under each pads.
You cannot use the VARIATION [PTN], [KIT], [MUTE], [KEY SHIFT], and [TEMPO (TAP)]
functions when [INST] is lit.
Also, when [INST] is lit, you can use the VALUE dial or [INST] to switch the sound groups
(drums, percussion, bass) for the pads.

Chapter 1 Overview of the DR-3

Main Screens and Functions
Style screen
fig.01-d1

Style No.

Style Name

Measure Beat

Tempo

With the performance stopped, pressing [MANU] or [AUTO] causes the button to light up,
switches the DR-3 to Style Play mode, and calls up the Style screen.
When the DR-3 is in Style Play mode, pressing the [EXIT] button returns the Style screen to the
display.

Song screen
fig.01-d2

Song No.

Measure

Song Name

Style No.

Loop Play Mode

With the performance stopped, pressing [SONG] causes the button to light up, switches the DR3 to Song mode, and calls up the Song screen.
When the DR-3 is in Song mode, pressing the [EXIT] button returns the Song screen to the display.

Edit screen
fig.01-d3

Item

Value

With the performance stopped, pressing [EDIT], switches the DR-3 to Edit mode, and calls up
the Edit screen.
In Edit mode, you can press [
][
] to switch “pages,” turn the VALUE dial to change the
values, press [ENTER] to set the values, and press [EXIT] to cancel operations.

Step Recording screen
fig.01-d4

Step Display

Measure Beat

Pad Name

Quantize

In Style Play mode ([MANU] or [AUTO] lit), you can press STEP REC [
Recording and call up the Step Recording screen.
When you press STOP [

] to start Step

], recording stops and you're returned to the Style screen.

Chapter 1 Overview of the DR-3

Realtime Recording screen
fig.01-d5

Measure Beat

Chapter 1

Style No.

Pattern Name

Sound Group

Quantize

When you press START [
] after pressing STEP REC [
] in Style Play mode ([MANU] or
[AUTO] lit), Realtime Recording starts and the Realtime Recording screen is displayed.
When you press STOP [

], recording stops and you're returned to the Style screen.

Velocity Edit screen
fig.01-d6

Measure Beat Tick

Pad Name

Velocity

When you press [EDIT] during Style Step Recording (STEP REC [
screen is displayed.
Pressing [EXIT] returns you to the Step Recording screen.

] lit), the Velocity Edit

Song Recording screen
fig.01-d7

Song No.

Measure

Style No.

Pattern Name

In Song mode ([SONG] lit), you can press STEP REC [
] to start Step Recording and call up
the Song Recording screen.
In Song mode, the Song Recording screen is also displayed during Realtime Recording.
When you press STOP [

], recording stops and you're returned to the Song screen.

Song Edit screen
fig.01-d8

Item

Value

When you press [EDIT] during Step Recording (STEP REC [
the Song Edit screen is displayed.
Pressing [EXIT] returns you to the Song Recording screen.

] lit) in Song mode ([SONG] lit),

Chapter 1 Overview of the DR-3

■ Starting and Stopping Performances and Recording
Use these buttons to start, pause, stop, and record performances of Styles and songs.
fig.01-plystp

START [

]

Press START [
] when the performance is stopped to start the performance of the Style or
song.
When you press START [
] while the performance is playing, the performance of the Style
or song is paused. Press the button once again to resume the performance from the point where
it was paused.
If you press START [
] while Step Recording (STEP REC [
] lit) is in progress,
Realtime Recording will start.

STOP [

]

This stops the performance and recording of the Style or song.

STEP REC [

]

This starts Step Recording of Styles and songs.
If you press START [
] while Step Recording (STEP REC [
Realtime Recording will start.

] lit) is in progress,

Realtime recording...p. 65, p. 77
Step recording...p. 67, p. 76

Notes Concerning Editing and Recording
Edited or recorded data is not saved if the power is turned off while editing or
recording is still in progress. Be sure to carry out the following.
- To quit editing, press [EXIT].
- To finish recording press STOP [

The message “Keep Power ON! Now Working...” appears when these operations are
in progress.
Never turn off the power while this message is displayed.

Chapter 1 Overview of the DR-3

■ Adjusting the Tempo ([TEMPO])
Chapter 1

Use the following procedure to adjust Style and song tempos.
fig.01-03p

2
3
1

Press [TEMPO (TAP)].
The Tempo screen appears in the display.

fig.01-04d

Adjust the tempo with the VALUE dial.

You can tap [TEMPO (TAP)] at
least four times to set the
tempo to the interval between
the taps. For more details, refer
to “Setting the Tempo by
Tapping It Out (Tap Tempo)”
(p. 27).

The tempo can be set to any value from 20 to 260.

Press [EXIT] to return to the previous screen.

Chapter 1 Overview of the DR-3

■ Changing the Key of the Performance ([KEY SHIFT])
Use the following procedure to change the key of the Styles and songs (transposing).
fig.01-04p

2
3
1

Press [KEY SHIFT].
The Key Shift screen appears in the display.

fig.01-05d

Set the key with the VALUE dial.
You can set the value in semitone units within the range from -12
to +12, or one octave lower to one octave higher.
This changes the key of the performance.

Press [EXIT] to return to the previous screen.
To return to the original key, press [KEY SHIFT], then set the key
to “0” using the VALUE dial.

If notes whose pitches are
changed using the Key Shift
function are in registers that
are unplayable for the DR-3,
the notes in the expressible
range above or below that
octave are sounded.

Chapter 2 Playing Styles (Manual Mode [MANU])
The DR-3 features 100 pre-programmed internal Styles in a
variety of musical genres. You can perform by selecting the Styles
and switching the Patterns in “Manual mode.”

fig.02-01p

For more on creating Styles,
refer to “Chapter 7 Creating
Styles” (p. 61).

Lit

Pattern Pad

The DR-3’s pads can be switched between two modes of
operation, [

] and [INST] (p. 37).

Patterns are switched with the pads when [
] is lit.
When switching Patterns and performing Styles in Manual mode,
be sure to confirm that [

] is lit.

When [INST] is lit, drum and
bass sounds are played with
the pads while the patterns are
in progress.
For more information on
[INST], refer to “Chapter 6
Performing with the Pads” (p.
58).

Selecting Styles
Use this procedure to select the Styles to be performed.

If you switch the style during

With the performance stopped, press [MANU] so the button
lights up.

fig.02-02d

its performance, a “

and the “

” mark

appears in front of the style
name which will be played
next.
The style switches after the
currently playing pattern ends,
” mark disappears.

Turn the VALUE dial to select a Style.
Style numbers for the Preset Styles (internal Styles) are preceded
by a “P”; Style numbers for the User Styles (p. 61) are preceded by
a “U.”

Depending on its settings,
there may be some delay for
the TSC (p. 51) to change, if the
style is switched while it is
being performed.

“Preset Style List” (p. 116)

Chapter 2

■ How the Pads Work When Performing Styles

For more on “Auto mode,” in
which the Patterns are selected
automatically, refer to
“Chapter 3 Playing Styles
(Auto Mode [AUTO])” (p. 46).

Chapter 2 Playing Styles (Manual Mode [MANU])

Selecting the Patterns to be Played
fig.02-03p

Pattern Pads

A single Style is divided into eight performance units called
“Patterns,” which are assigned to the pattern pads.
Pattern
Pad

INTRO/
START

After the
intro is
Descrip- played, the
tion
Style proceeds to
Verse A.

FILL A
After Fill-In
A is played,
the Style
proceeds to
Verse A.

VERSE A

This is the
main performance
Pattern.

FILL B
After Fill-In
B is played,
the Style
proceeds to
Verse B.

FILL C

VERSE C

ENDING/
STOP

After Fill-In
C is played,
the Style
proceeds to
Verse C.

This is the
most elaborate of the
Patterns A–
C.

The ending
is played,
and then
the performance
stops.

VERSE B
This is a
complementary
Pattern to
Verse A.

■ Starting/Stopping
1.

Press any pattern pad.
With the performance stopped, press any of the pattern pads to
start the performance.
When you press [INTRO/START], the performance starts from
the intro. After the intro is played, the Style proceeds to Verse A.

Press [ENDING/STOP].
The ending is played, and then the performance stops.
If you press STOP [
], the performance stops without the
ending being played.

■ How to Change Patterns
1.

Press any of the pattern pads while the performance is in
progress.
If while a Pattern is being played you press a pad for a different
Pattern, the pad you have pressed begins to flash, indicating that
this is to be the next Pattern played. When the currently playing
pattern ends, the pattern is switched, and the pad that was
flashing will instead light steadily.
When you press any of the [FILL A–C] buttons, a fill-in of up to
one measure in length is played, and that is followed by the
corresponding [VERSE A–C].
When you press [ENDING/STOP], the ending is played, and
then the performance stops.

Chapter 2 Playing Styles (Manual Mode [MANU])

Selecting Variations (VARIATION)
fig.02-04p

VARIATION Buttons
Lit

Each Style includes three different variations, which you can use
to add variety to the performance, even with the same Style.
The functions of the three VARIATION buttons are described
below.
Button
Name
Description

PTN

This alternates the
Patterns.

KIT
This substitutes
the kits, thereby
changing the
sound.

MUTE

This mutes a part
of the drum set.

While the performance is in progress, press VARIATION
[PTN], [KIT], or [MUTE] so the button lights up.
The pressed button lights up (indicating it is on).
When you press the button once more, the button’s light goes out
(indicating it is off), and the original Pattern is played.
You can also perform with more than one of these buttons on.

The settings used when you
press a VARIATION button
differ according to the Style.

Chapter 2

You can use the VARIATION
buttons not only in Manual
mode, but in Auto mode (p.
46) and Song mode (p. 85) as
well.

Chapter 3 Playing Styles (Auto Mode [AUTO])
When you perform Styles in Auto mode, the DR-3 switches the
Patterns automatically, even without the pattern pads being
pressed.
This lets you enjoy session-like performances without having to
take your hands off the guitar or other instrument you are playing.
When performing in Auto mode, the Patterns are basically played
in the following sequence. You can also press a button other than
[INTRO/START] to begin the performance from that Pattern.

“Patterns” (p. 35)

fig.03-01

● Pattern Progression in Auto Mode
Intro

Verse A

Fill-in B

Verse B

Fill-in C

Verse C

Fill-in A

Ending

Play Repeat Automatically

Selecting a Style
fig.03-01

You can change the Pattern
progressions and the number
of measures repeated.
Refer to “Changing the Pattern
Progression in Auto Mode” (p.
47).

With the performance stopped, press [AUTO] so the button
lights up.

When [INST] is lit, drum and
bass sounds are played with
the pads while the patterns are
in progress.
For more information on
[INST], refer to “Chapter 6
Performing with the Pads” (p.
58).

Turn the VALUE dial to select a Style.
Style numbers for the Preset Styles (internal Styles) are preceded by a
“P”; Style numbers for the User Styles (p. 61) are preceded by a “U.”

Performing in Auto Mode
1.

Press any of the pattern pads.
When the performance of the Pattern initially specified is
finished, the next Pattern is played automatically.
To see the sequence in which the Patterns are played, please refer
to the figure “Pattern Progression in Auto Mode.”
If you press a pattern pad while the performance is in progress,
the Style switches to the Pattern corresponding to the pressed
pad, and the performance then continues by repeating the Pattern
progression sequence.

When the performance is
stopped, pressing any pattern
pad will start the performance.

When you press [ENDING/STOP], the ending is played and
then the performance stops.
To stop the Style without having the ending played, press STOP [

Chapter 3 Playing Styles (Auto Mode [AUTO])

■ Changing the Pattern Progression in Auto Mode
You can change the pattern progression
when performing in Auto mode.
1. With the performance stopped, press
[EDIT].
The Edit Menu screen appears.
fig.09-01d

fig.09-02d

Parameter

Value

ABC, ABC 4, ABC 8, ABC 16,
AB, AB 4, AB 8, AB 16

AutoType

The letters indicates the sequence of the
verses.
The numeral represents the number of
measures performed in each verse.
When the number of measures has been
specified by means of a value that has been
set, then regardless of the original number of
measures in each verse, the verse is repeated
only for the number of measures specified.
Example: When performing a Style with a
Verse A of four measures, a Verse B of two
measures, and Verse C of two measures.

3. Press [
set.
fig.09-04d

], select a to be

- With “ABC” for “AutoType”
The sequence with Verses A, B, and C played
once each is repeated.
fig.09-ABC4

Fill-in B Fill-in C Fill-in A
Intro

Verse A
(4 meas.)

Ending

Verse B Verse C
(2 meas.) (2 meas.)

Performance repeats automatically

- With “ABC4” for “AutoType”
The sequence in which four measures of
Verses A, B, and C are played is repeated.
fig.09-ABC4

Fill-in B
Intro

Verse A
(4 meas.)

Fill-in C

Verse Bx2
(4 meas.)

Fill-in A

Verse Cx2
(4 meas.)

Performance repeats automatically

5. Press [EXIT] a number of times until you
exit Edit mode.

Chapter 3

2. Press [
], select a , then
press [ENTER].

4. Turn the VALUE dial to set the value.

Chapter 4 Controlling the Styles with a Foot Switch
You can use a foot switch (such as the optional FS-5U) to start and
stop performances and switch verses (p. 44). This is convenient, as
it allows you to switch the Patterns with your foot.
You can connect up to two foot switches.
When using the special cable (PCS-31), the foot switch connected
with the white-striped plug is used to start and stop
performances, and the foot switch connected with the red-striped
plug is used to switch verses (as set at the factory).

Starting and Stopping Performances
You can use a foot switch to start and stop the performance of
Styles and songs (p. 85).

NOTE

During recording or editing in
Edit mode (p. 38), depressing
the foot switch will have no
effect.

Wiring diagrams for the foot
switch jack is shown at below.

With the performance stopped, press the foot switch.
When [MANU] or [AUTO] is lit: performance of the Style begins
from the intro.
When [SONG] is lit: performance of the song begins.

For instructions on connecting
the foot switch, refer to
“Connecting the Foot Switch”
(p. 29).

FS1
FS2

Press the foot switch while the performance is in progress.
When [MANU] or [AUTO] is lit: the ending is played, and then
the performance stops.
When [SONG] is lit: the song stops.

Switching Verses

If two foot switches are
connected, press the foot
switch connected using the
plug with the white ring.

You can press the foot switch during performance of the Style to
have a fill-in inserted in the current verse and then switch to the
next verse. For example, if you press the foot switch while Verse
A is playing, the DR-3 inserts a fill-in B and switches to Verse B.

Press the foot switch while the performance is in progress.
A fill-in is inserted, and the DR-3 switches to the verse following
the verse currently being played.
Pressing the foot switch while Verse A is playing switches the
performance to Verse B, pressing the foot switch during Verse B
switches the performance to Verse C, and pressing the foot switch
during Verse C switches the performance to Verse A.
By continuing to press the foot switch, you can select subsequent
verses according to the number of times you press the foot switch.
Pressing the switch while the performance is in progress switches
the DR-3 to the next verse specified for the song.

When connecting two foot
switches, press the foot switch
connected using the plug with
the red ring. If you have only
one foot switch connected, use
the procedure described in the
following section “Assigning
Functions to the Foot Switch”
to assign “VERSE, LOOP” to
the foot switch.

Chapter 4 Controlling the Styles with a Foot Switch

Assigning Functions to the Foot Switch
You can assign functions other than starting and stopping
performances and switching verses to the foot switch.
fig.04-01p

Press the [EDIT] button.

Press [

Chapter 4

] to select a .

fig.04-02d

Press [ENTER].

Press [

][

] to select a or a .

If you have two foot switches connected using the special cable
(PCS-31), select when making settings for the foot switch
with the white ring, and when making settings for the foot
switch connected using the plug with the red ring.
fig.04-03d

With the factory settings,
is set to “INTRO/END”
and is set to “VERSE,
LOOP.”

Turn the VALUE dial to select the function to be assigned.
Refer to the following chart to see which functions can be
assigned.
Press [EXIT] a number of times to return to the previous screen.

Chapter 4 Controlling the Styles with a Foot Switch

Functions That Can Be Assigned to Foot Switches
Settings

Function

INTRO/
END

When [MANU] or [AUTO] is lit:
When the foot switch is pressed while
the performance is stopped, the performance starts from the intro. If the
foot switch is pressed while the performance is in progress, the ending is
played, and then the performance
stops.
When [SONG] is lit:
When the foot switch is pressed while
the performance is stopped, the performance of the song begins, and if
pressed while the performance is in
progress, the performance stops.

VERSE,
LOOP

When [MANU] or [AUTO] is lit:
A fill-in is played after the verse currently being played, and the performance switches to the next verse in
the Pattern. Pressing the foot switch
while Verse A is playing switches the
performance to Verse B, pressing it
during Verse B switches the performance to Verse C, and pressing it
during Verse C switches the performance to Verse A. No action results
when the foot switch is pressed during the intro or ending.
By continuing to press the foot
switch, you can select subsequent
verses according to the number of
times you press the foot switch.
When [SONG] is lit:
The function that is used when you
press the pedal varies according to
the [EDIT] “LoopType” setting.
* Refer to “Switching Patterns With a
Foot Switch” (p. 86)

Settings

Function

TAP
TEMPO

When the foot switch is pressed four
or more times, the tempo is specified
according to the interval between
each press (Tap Tempo, p. 27).

STRT/
PAUSE

This has the same function as START
[

START/
STOP

When the foot switch is pressed while
the performance is stopped, the performance begins, and if pressed while
the performance is in progress, the
performance stops.

STYLE
FWD

This switches from the Style currently
being played to the next higher-numbered Style.
* If the current Style number is
“P100,” the DR-3 switches to “U001”;
if the current Style number is “U100,”
the DR-3 switches to “P001.”

STYLE
BWD

This switches from the Style currently
being played to the Style one number
lower.
* If the current Style number is
“P001,” the DR-3 switches to “U100”;
if the current Style number is “U001,”
the DR-3 switches to “P100.”

INTRO

This has the same function as [INTRO/START].

FILL A

This has the same function as [FILL A].

VERSE A

This has the same function as [VERSE A].

FILL B

This has the same function as [FILL B].

VERSE B

This has the same function as [VERSE B].

FILL C

This has the same function as [FILL C].

VERSE C

This has the same function as [VERSE C].

ENDING

This has the same function as [ENDING/STOP].

VAR PTN

This has the same function as VARIATION [PTN] (p. 45).

DRUM
KICK–
DRUM
CYM5

This plays the sounds assigned to
DRUM KICK – DRUM CYM5 in the
kit (p. 58) currently being played.

VAR KIT

This has the same function as VARIATION [KIT] (p. 45).

PERC 1–
PERC 13

VAR
MUTE

This has the same function as VARIATION [MUTE] (p. 45).

This plays the sounds assigned to
PERC 1 – PERC 13 in the kit (p. 58)
currently being played.

Chapter 5 Changing the Overall Tone of the
Sound and Acoustics (TSC)
“TSC,” short for “Total Sound Control,” is a function that lets you
change the overall tone of the sound and acoustics.
TSC includes two types of effect, “Sound Shape,” which changes
the overall tone of the sound, and “Ambience,” which alters the
acoustic characteristics of the overall sound.
“Sound Shape” and “Ambience” each feature eight preprogrammed groups of settings (Preset), but you can also add up
to eight more of your own settings (User settings) to these.

With the Preset Styles, settings
for the two types of TSC effects
are predetermined for each
Style individually, allowing
you to attain the acoustic effect
most suitable for each Style.

fig.05-01p

Chapter 5

Changing the Overall Tone of the Sound
([SOUND SHAPE])
“Sound Shape” allows you to adjust the overall tone of the sound
with a three-band equalizer and three-band compressor that are
used to boost or cut specific pitches (frequency bands).

Press [SOUND SHAPE].
The TSC screen appears.

fig.05-02d

Each time you press [SOUND SHAPE], it alternately turns the
button on (lit) and off (unlit).

Turn the VALUE dial to select the effect.

Value

Name

Value

Name

ROCK

LOUD

TIGHT

ENHANC

ACSTIC

LIVE

LO-FI

HRDCMP

U1–8

When the unit left the factory, the User settings (U1–U8) contained the same settings as the Preset (P1–P8).

You can change the
parameters of the Sound Shape
settings and name the settings.
You can store up to eight
settings. For more details, refer
to “Changing the Sound Shape
Parameters” (p. 53).

Press [EXIT] to return you to the previous screen.

Chapter 5 Changing the Overall Tone of the Sound and Acoustics (TSC)

Altering the Acoustic Characteristics of
the Overall Sound ([AMBIENCE])
“Ambience” adjusts the breadth of the sound by altering the
acoustic characteristics of the sound.

Press [AMBIENCE].
The TSC screen appears.

fig.05-03d

Each time you press [AMBIENCE], it alternately turns the button
on (lit) and off (unlit).

Turn the VALUE dial to select the effect.

Value

Name

NATURL

LARGE

BRIGHT

POWER

ROOM 1

ROOM 2

ROOM 3

HALL

U1–8

Name

When the unit left the factory, the User settings (U1–U8) contained the same settings as the Preset (P1–P8).

Press [EXIT] to return you to the previous screen.

You can change the
parameters of the Ambience
settings and name the settings.
You can store up to eight
settings. For more details, refer
to “Changing the Ambience
Parameters” (p. 56).

Chapter 5 Changing the Overall Tone of the Sound and Acoustics (TSC)

Changing the Sound Shape
Parameters

■ Changing the Equalizer Parameters

You can store up to eight edited Sound Shape
parameters.

The values that can be set for each of the
parameters are shown below.

Unable to change the settings for the Preset Sound Shape,
with a “P” appended to their number.

This changes the parameters of the Sound Shape
3-Band equalizer.

Parameter

Value

Description

When the unit left the factory, the User settings (U1–U8)
contained the same settings as the Preset (P1–P8).

EQ / Switch OFF, ON

If the parameters below are changed during the
performance of a style or song, the changes are nullified
when you press [EDIT], restoring the settings for the
currently selected style or song.
- Key Shift value (p. 42)
- Tempo value (p. 41)
- Sound Shape and Ambience values (p. 51, p. 52)

EQ /
Input

-24 dB–
+12 dB

Sets the overall volume before passing through the
equalizer.

EQ (Low) /
Type

Shelving,
Peaking

Sets the equalizer type
(shelving, peaking) for the
lower range.

EQ (Low) /
Gain

-12 dB–
+12 dB

Sets the amount of boost or
cut in the lower range.

Certain data cannot be changed while it is being performed.
First stop the performance, then make the changes.

EQ (Low) /
Freq

20 Hz–
2.0 kHz

Sets the center frequency
for the lower range.

EQ (Low) /
Q (*1)

0.3–16.0

Sets the steepness of the frequency response curve for
the lower range’s center
frequency.

EQ (Mid) /
Gain

-12 dB–
+12 dB

Sets the amount of boost or
cut in the middle range.

EQ (Mid) /
Freq

20 Hz–
8.0 kHz

Sets the center frequency
for the middle range.

EQ (Mid) /
Q

0.3–16.0

Sets the steepness of the frequency response curve for
the middle range’s center
frequency.

EQ (High) /
Type

Shelving,
Peaking

Sets the equalizer type
(shelving, peaking) for the
upper range.

EQ (High) /
Gain

-12 dB–
+12 dB

Sets the amount of boost or
cut in the upper range.

EQ (High) /
Freq

500 Hz–
14.0 kHz

Sets the center frequency
for the upper range.

EQ (High) /
Q (*1)

0.3–16.0

Sets the steepness of the frequency response curve for
the upper range’s center
frequency.

EQ / Out
Level

-24 dB–
+12 dB

Sets the overall volume level after equalization.

■ How to Make the Settings
1. With the performance stopped, press [EDIT].
The Edit Menu screen appears.
fig.09-23d

2. Press [
], select a ,
then press [ENTER].
fig.09-24d

3. Turn the VALUE dial to select the Sound
Shape number to be set.
4. Press [
be set.

][

], select the parameter to

5. Turn the VALUE dial to set the value.
6. When you have finished making the
setting, press [EXIT] a number of times
until you exit Edit mode.

(*1) The “EQ (Low) / Q” and “EQ (High) / Q” is disabled
when “Shelving” (shelving type equalization) is selected
for the “EQ (Low) /Type” or “EQ (High) / Type.”

Chapter 5

This parameter turns the
equalizer effect on/off.

Chapter 5 Changing the Overall Tone of the Sound and Acoustics (TSC)

■ Changing the Compressor
Parameters
This changes the parameters of the Sound Shape
compressor.
The Compressor compresses the overall output
signal when the input volume level exceeds a set
value.
The values that can be set for each of the
parameters are shown below.
Parameter
COMP /
Switch

Value

Description

OFF, ON

This parameter turns the
compressor effect on/off.

COMP /
SplitL

20 Hz–
800 Hz

This sets the frequency (in the
lower range) at which the
source sound is split into
three separate ranges.

COMP /
SplitH

This sets the frequency (in the
1.6 kHz– upper range) at which the
14.0 kHz source sound is split into
three separate ranges.

COMP
(Low) /
Thres

-30 dB–
+6 dB

This sets the volume level at
which the lower-range compressor goes into effect.

COMP
(Low) /
Ratio

1:1.00–
1:16.0,
1:INF

This sets the ratio of suppression of the lower-range output when the input level
exceeds the Lo threshold level (COMP (Low) / Thres).

COMP
(Low) /
Attack

0 ms–
100 ms

This sets the time it takes for
the lower-range compressor
to go into effect once the input level exceeds the Lo
threshold level.

50 ms–
5000 ms

This sets the time it takes for
the lower-range compressor
effect to stop once the input
level falls below the Lo
threshold level.

COMP
(Low) /
Release

COMP(Mid) -30 dB–
/ Thres
+6 dB

This sets the volume level at
which the midrange compressor goes into effect.

1:1.00–
COMP(Mid)
1:16.0,
/ Ratio
1:INF

This sets the ratio of suppression of the midrange output
when the input level exceeds
the Middle threshold level
(COMP(Mid) / Thres).

Parameter

Value

Description

COMP(Mid) 0 ms–
/ Attack
100 ms

This sets the time it takes for
the midrange compressor to
go into effect once the input
level exceeds the Middle
threshold level.

COMP(Mid) 50 ms–
/ Release
5000 ms

This sets the time it takes for
the lower-range compressor
effect to stop once the input
level falls below the Middle
threshold level.

COMP(Hi)
/ Thres

-30 dB–
+6 dB

This sets the volume level at
which the upper-range compressor goes into effect.

COMP(Hi)
/ Ratio

1:1.00–
1:16.0,
1:INF

This sets the ratio of suppression of the upper-range output when the input level
exceeds the Hi threshold level (COMP(Hi) / Thres).

0 ms–
100 ms

This sets the time it takes for
the upper-range compressor
to go into effect once the input level exceeds the Hi
threshold level.

50 ms–
5000 ms

This sets the time it takes for
the upper-range compressor
effect to stop once the input
level falls below the Hi
threshold level.

COMP(Hi)
/ Attack

COMP(Hi)
/ Release

With the compressor, the level is automatically adjusted
to the optimum setting according to the threshold
(Thres) and ratio (Ratio) settings. In addition, since
lengthening the attack (Attack) setting may result in
distortion, a buffer (margin) of -6 dB is provided. Adjust
the following parameter levels as needed.

COMP /
Low Lev

-60 dB–
+6 dB

Sets the volume level of the
lower range after the signal
passes through the expander
and compressor.

COMP /
Mid Lev

-60 dB–
+6 dB

Sets the volume level of the
midrange after the signal
passes through the expander
and compressor.

COMP /
High Lev

-60 dB–
+6 dB

Sets the volume level of the
upper range after the signal
passes through the expander
and compressor.

COMP /
OutLevel

-60 dB–
+6 dB

Sets the overall volume level
after compressor.

Chapter 5 Changing the Overall Tone of the Sound and Acoustics (TSC)

■ Naming the Settings

■ Copying the Settings

Select a on step 4 in p. 53, then press
[ENTER].

You can edit the name of the currently selected
Sound Shape setting, using up to six characters
for the name.

Copy the currently selected Sound Shape setting
to the User settings (U1–U8).
fig.09-28d

fig.09-27d

Press [
][
] to move to the point where you
want to enter the character(s).

Turn the VALUE dial to select the number for the
Sound Shape to be copied, then press [
].
fig.09-29d

Each time you press [ENTER], it switches
between upper and lower case for the text being
input.

Chapter 5

Turn the VALUE dial to select the character.
When you have finished making the setting,
press [EXIT] a number of times until you exit Edit
mode.

Turn the VALUE dial to select the copydestination Sound Shape number, then press
[
].
fig.09-30d

Press [ENTER] to execute the copy.
If you press [
], the copy is cancelled, and
you’re taken back to the screen you were in
immediately before that.
When you have finished making the setting,
press [EXIT] a number of times until you exit Edit
mode.

Chapter 5 Changing the Overall Tone of the Sound and Acoustics (TSC)

Changing the Ambience
Parameters
You can store up to eight edited Ambience
parameters.
*

■ Changing the Ambience
Parameters
The values that can be set for each of the
parameters are shown below.

Unable to change the settings for the Preset Ambience,
with a “P” appended to their number.

Parameter

When the unit left the factory, the User settings (U1–U8)
contained the same settings as the Preset (P1–P8).

Size

5.6 m–
20.5 m

This parameter adjusts the
size of the room which is simulated.

Time

0.1–32.0

This parameter adjusts the
duration (time) of the reverb.

Level

0–100

This parameter adjusts the effect level.

PreDelay

0 ms–
20 ms

This parameter adjusts the
time interval between the direct sound and the beginning
of the reverb sound.

Density

0–100

Adjust the density of the
whole reverb sound.

0–100

This parameter adjusts the
volume level of the sound
(Early Reflections) that arrives at the listener after
bouncing off the walls once
or a few times.

RelDensity

0–100

This parameter adjusts the
density of the sound that
reaches the listener after
many repeated reflections.

Low Damp
/ Gain

This parameter adjusts the
amount of damping for Low
-36.0 dB–
Damp. No low-frequency
0.0 dB
damping occurs when set to
“0.”

Low Damp
/ Freq

This parameter adjusts the
standard frequency at which
55 Hz–
the low-frequencies are
4.00 kHz damped. The reverb sound in
the band below this frequency is damped.

Hi Damp /
Gain

This parameter adjusts the
amount of damping for High
-36.0 dB–
Damp. No high-frequency
0.0 dB
damping occurs when set to
“0.”

Certain data cannot be changed while it is being performed.
First stop the performance, then make the changes.

Value

■ How to Make the Settings
1. With the performance stopped, press [EDIT].
The Edit Menu screen appears.

ErLevel

fig.09-23d

2. Press [
], select a , then
press [ENTER].
fig.09-24d

3. Turn the VALUE dial to select the
Ambience number to be set.
4. Press [
be set.

][

], select the parameter to

5. Turn the VALUE dial to set the value.
6. When you have finished making the
setting, press [EXIT] a number of times
until you exit Edit mode.

Description

Chapter 5 Changing the Overall Tone of the Sound and Acoustics (TSC)
Parameter

Hi Damp /
Freq

Value

Description

400 Hz–
16 kHz

This parameter adjusts the
standard frequency at which
the high-frequencies are
damped. The reverb sound in
the band above the standard
frequency is damped.
This parameter adjusts the
frequency at which the lowfrequencies are cut.

Low Cut /
Freq

20 Hz–
2.0 kHz

High Cut /
Freq

This parameter adjusts the
250 Hz–
frequency at which the low14.0 kHz,
frequencies are cut. No effect
FLAT
occurs when set to “FLAT.”

■ Copying the Settings
Select a on step 4 in p. 56, then press
[ENTER].
Copy the currently selected Ambience setting to
the User settings (U1–U8).
fig.09-28d

Turn the VALUE dial to select the number for the
Ambience to be copied, then press [
].
fig.09-29d

■ Naming the Settings

You can edit the name of the currently selected
Ambience setting, using up to six characters for
the name.

Turn the VALUE dial to select the copydestination Ambience number, then press [

fig.09-30d

fig.09-27d

Press [ENTER] to execute the copy.
Press [
][
] to move to the point where you
want to enter the character(s).
Each time you press [ENTER], it switches
between upper and lower case for the text being
input.
Turn the VALUE dial to select the character.

If you press [
], the copy is cancelled, and
you’re taken back to the screen you were in
immediately before that.
When you have finished making the setting,
press [EXIT] a number of times until you exit Edit
mode.

When you have finished making the setting,
press [EXIT] a number of times until you exit Edit
mode.

Chapter 5

Select a on step 4 in p. 56, then press
[ENTER].

Chapter 6 Performing with the Pads
When you press [INST], the button lights up, and you can then
play drum set and bass sounds by pressing the pads. You can also
turn [INST] on while Styles and songs are in progress to play
sounds with the pads.
You can perform using the following pads when [INST] is lit.

The tones that are assigned to
the pads in the Preset Styles
are predetermined for each
Style.

fig.06-01p

Lit

Pad No.
Bass Note
Instrument Name

Pads

You can perform with the pads using three groups of sounds
(DRUM, PERC, BASS).
Select the desired group by pressing [INST], and cycling through
the available choices:
“DRUM” → “PERC” → “BASS” → “oct
BASS” → “oct
BASS” → “DRUM” and so on.
The name of the sound group appears in the display.
Displayed

Group
Name

DRUM

Drum Set

The sounds in the drum set are assigned to the
pads. The sound names are printed under the
pads.

PERC

Percussion

Various percussion instrument sounds are assigned to the pads.

BASS

Bass

The various pitches of the scale for the specified bass sound are assigned to the pads. The
note names are printed under the pads.

Sound

oct

BASS

The bass sound one octave lower is assigned to
the pads.

oct

BASS

The bass sound one octave higher is assigned
to the pads.

When you tap a pad, the sound of the instrument assigned to that
pad or the specified pitch is played.
The volume and tone change according to how hard you tap the
pads.

Press [

] when using the

pads to switch Patterns. For
more details, refer to
“Switching the Pad Functions”
(p. 37).

You can adjust the pad
sensitivity. For more details,
refer to “Adjusting the Pad
Sensitivity” (p. 89).

Chapter 6 Performing with the Pads

Playing Drum Sounds
1.

Press [INST] a number of times until “DRUM” appears in the
display.

fig.06-02d

For details on the sounds
assigned to the pads, refer to
the “Preset Kit List” (p. 106).

Tap the pads to perform.
The instrument sounds assigned to the pads are played.
The names of the assigned instruments are printed under the pads.

Playing Percussion Sounds
1.

Press [INST] a number of times until “PERC” appears in the
display.

fig.06-03d

Chapter 6

Tap the pads to perform.
The instrument sounds assigned to the pads are played.

Playing Bass Sounds
1.

Press [INST] a number of times until “BASS,” “oct

BASS”
NOTE

or “oct

BASS” appears in the display.

fig.06-04d

You cannot play more than
one bass sound at the same
time.

Tap the pads to perform.
The bass sound is played at the pitch assigned to a particular pad.
The bass sound stops playing when you release the pad.
The names of the notes assigned to the pads are printed under the pads.

Chapter 6 Performing with the Pads

Selecting a Different Sound
(VARIATION [KIT])
When [INST] is on, the set of three groups of sounds played with
the pads (DRUM, PERC, BASS) is called the “drum kit.”
A single Style has two drum kits included with it, and you can
switch between these two drum kits by turning VARIATION
[KIT] on and off.
fig.06-06p

Press [

Press VARIATION [KIT] so the button lights up.

Press [INST] so the button lights up.

] so the button lights up.

When you press the pads, the variation drum kit plays.
To return to the original drum kit, press [
] and then
VARIATION [KIT], causing the button lights to go out.

You can change the instrument
sounds contained in a drum
kit, and create original drum
kits. You can also change the
volume and pan (sound
localization) settings.
For further details, refer to
“Chapter 10 Creating Your
Own Kits” (p. 90).

Turning VARIATION [KIT] on
switches not only the pad
drum kit, but also the drum kit
for the Style or song currently
being played.

Chapter 7 Creating Styles
Even though the DR-3 comes with a great variety
of styles, representing many genres, you can also
create your own original styles. Such original
styles are called “User styles.”
User styles have a “U” at the beginning of the
style number, for example “U001.” You can
create and store up to 100 User styles in the DR-3.

Procedure for Creating
Styles
Here are the steps you need to take to create a
new style:
fig.07-01

<1> Select a Number for the Style
You Are Creating
<2> Make the Settings for the New Style
- Set the Tempo
- Set the Beat
- Set Up the Drum Kit
- Set VARIATION [MUTE]
- Make the TSC Settings
- Determine the Number of Measures for Each Pattern
recorded.)

<3> Record the Patterns
(Realtime Recording/Step Recording)

Realtime Recording
With this method, the key pads are played in time
with a metronome count, with the pattern being
recorded just as it is performed. Even if there is a little
unevenness in the timing used in tapping the key
pads, the Quantize function allows you to record
with the timing corrected. (Refer to step 3 on p. 65)
Step Recording
With this method, you “record” by specifying the
timing (step), volume, etc., of each instrument
sound, one at a time. This allows patterns to be
recorded accurately, even those that are hard to
record using Realtime Recording.
You can also record patterns using both Realtime
and Step Recording.
After recording the basic pattern using Step
Recording, finish creating the Pattern by using
Realtime Recording to add sounds in a freer adlib style.
Convenient Functions for Creating Styles
You can speed up the process of creating a new
style by first copying a Preset style, or the
patterns in a Preset style to a User style, and then
modifying that to create the new style.
•
•

Copying and Deleting Styles (p. 71)
Copying and Deleting Patterns (p. 72)

- Record the Drum Part
- Record the Bass Part
- Change Dynamics to the Sounds (Velocity Edit)
- Transpose the Bass Part

<4> Check the Created Style
- Edit the Settings

- Name the Style

Creating Two-Measure Patterns from Four-Measure
Patterns
When you copy a four-measure pattern, and then, using
the procedure described in “Determining the Number
of Measures for Each Pattern” (p. 64), set the number of
measures to “2,” it results in a pattern in which only the
first two measures of the original pattern are played.
In this manner, you can use the setting described on p.
64 to create a pattern after copying a pattern that is
shorter than the one you start with.

Changing the Key of the Bass Part (Key Transpose)
After copying or recording a pattern, you can change
the key of its bass part.

Chapter 7

(These settings can be changed after the patterns are

There are two ways to record the patterns in Step <3>.

Chapter 7 Creating Styles

<1> Selecting a Number
for the Style
1. With the performance stopped, press
[MANU].
The Style screen appears.

■ Setting the Tempo for the Style
1. Select the style to be set, then press
[EDIT].
The Edit Menu screen appears.
2. Select a