Other smart things are the 128 onboard Programs organized by sound categories and each single R3 Program has two complete timbres with each synth sound able to use dual Insert effects from a list of 30 effect types. This is separate from the assignable EQ, program master effects and eight-step arpeggiator.

For infinite sound design programming, the two oscillators make analog-modeled waves, DWGS waves, noise, sync, ring mod and more. Then there is waveform modulation, variable phase modulation (VPM), unison voice thickening, PWM and cross-modulation. You also have two LFOs and three ADSR envelopes to shape and add cyclic motion to nearly any voice parameter. Various modulation sources and destinations can be connected together using the six virtual patches.

For filtering programming, the dual filters can run in series, parallel, or individual for each oscillator. The up to 24dB/octave Filter1 features a multi-mode filter with the ability to continuously "morph" between filter types. Filter2 offers 12 dB versions of the low, high and band pass modes, plus a unique comb filter.

More stuff: Modulation Sequencers change modulation parameters over time in stepped, smooth motion or looped; audio inputs allow external audio signals to be gated and processed using the internal synthesis and effects; Drive adds analog warmth, Punch brings increased definition to the attack of a sound, and 12-types of wave shaping provide dramatic timbral shaping. The 16-band vocoder has individual control over level and panning while Formant Motion records the formant of a sung or spoken phrase so it can be recreated anytime.