KONTAKT 2

Operation Manual

The information in this document is subject to change without notice and does not represent a commitment on the part of NATIVE INSTRUMENTS Software Synthesis GmbH. The software described by this document is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by NATIVE INSTRUMENTS Software Synthesis GmbH. All product and company names are trademarks of their respective owners. And also, if you’re reading this, it means you bought the software rather than stole it. It’s because of people like you that we can continue to create great tools and update them. So, thank you very much. Users Guide written by: Craig Anderton, Marius Wilhelmi, Wolfgang Schneider, Julian Ringel, Martin Jann, Garth Hjelte, and Markus Krieg. Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a better product. Drum Sequencer, Single Drum Sequencer, and Step Sequencer scripts were developed by Sven Seelenmeyer (roundseven@gmx.de). © NATIVE INSTRUMENTS Software Synthesis GmbH, 2005. All rights reserved. KONTAKT is a trademark of NATIVE INSTRUMENTS Software Synthesis GmbH.

Germany NATIVE INSTRUMENTS GmbH Schlesische Str. 29/30 D-10997 Berlin Germany info@native-instruments.de www.native-instruments.de

USA NATIVE INSTRUMENTS USA, Inc. 5631 A Hollywood Blvd. Los Angeles, CA 90028 USA info@native-instruments.com www.native-instruments.com

Table of Contents
Welcome to KONTAKT 2 ..................................................................... 9 How to Use This Manual ....................................................................10 Product Authorization ........................................................................11 What is the Product Authorization? ...................................................11 Conducting the Product Authorization ...............................................12 Method A: KONTAKT 2 computer has direct access to the internet ......12 Method B: Internet Connection on another computer ..........................15 Method C: No Internet Connection available ......................................17 Registration support .......................................................................19 Installation under Windows XP ........................................................... 20 System Requirements and Recommendations ................................... 20 Software Installation ...................................................................... 20 VST plug-in Installation .................................................................. 20 DXi 2 plug-in Setup ........................................................................21 RTAS plug-in installation .................................................................21 Installation under MacOS X ............................................................... 22 System Requirements and Recommendations ................................... 22 Installing KONTAKT 2 OS X ........................................................... 22 MacOS Audio Unit plug-in Installation ............................................. 22 RTAS plug-in installation ................................................................ 23 Audio Interfaces ...............................................................................24 Stand-alone Application ..................................................................24 Soundcard (Audio Interface) ........................................................... 28 MIDI ............................................................................................ 30 KONTAKT 2 as Plug-In ......................................................................31 VST 2.0 Plug-In .............................................................................31 Using the KONTAKT 2 plug-in in Nuendo 2.0 ................................... 32 Audio Units Plug-ins ...................................................................... 33 Use in Logic 7.x ........................................................................... 33 Use in Digital Performer 4.5 ........................................................... 34 Use in Garage Band ...................................................................... 36 DXi 2 plug-in ................................................................................37 Using KONTAKT RTAS with Pro Tools 6.x under Mac and Windows ..... 38 Basic User Interface Protocols ........................................................... 39 Knobs .......................................................................................... 39 Buttons ....................................................................................... 39 Drop-Down Menus ......................................................................... 39 Scroll Bars ................................................................................... 40 Numericals ................................................................................... 40 Kontakt 2 – III

MIDI Remote ................................................................................ 40 Saving and Loading Presets ............................................................ 40 KONTAKT 2: The Big Picture ............................................................ 42 Instruments and Multis .................................................................. 42 Database and Browser ................................................................... 42 Multiple Playback Engines .............................................................. 42 Editing Instruments ....................................................................... 43 Signal Processing .......................................................................... 43 The Output Section ....................................................................... 43 KONTAKT 2 Architecture: Sample, Zone, Group, Instrument, Instrument Bank, Multi-Instrument ... 44 KONTAKT 2’s Two Main Elements ...................................................... 45 The Multi-Instrument Header ............................................................ 45 About Multi Pages ......................................................................... 46 Creating an Instrument ......................................................................47 The Instrument Header ......................................................................47 Minimized Instrument Header View Parameters ................................... 48 Maximized Instrument Header View Parameters ....................................49 Sound Type Icon ............................................................................49 Output ..........................................................................................49 MIDI Port and Channel .................................................................. 50 Voices (Note Symbols) ................................................................... 50 Memory ....................................................................................... 50 Max ............................................................................................. 50 Purge ............................................................................................51 Tune .............................................................................................51 Aux Show/Hide Button ................................................................... 52 Edit Mode View ................................................................................ 52 Use of Color Within Edit Mode View ................................................ 56 Instrument Edit Mode Show/Hide Options ........................................ 56 Instrument Edit Mode Strip ............................................................ 57 The Instrument Bank ........................................................................ 58 The Main Control Panel .................................................................... 60 Browser Show/Hide ....................................................................... 60 Outputs Show/Hide ....................................................................... 60 Keyboard Show/Hide ..................................................................... 60 MasterKontrol Show/Hide ............................................................... 60 Load/Save Menu ........................................................................... 60 Options Menu ............................................................................... 62 Purge Menu .................................................................................. 65 View Menu ................................................................................... 66 IV – Kontakt 2

............................. 116 The Loop Editor ............................................................................................................................... 69 The Browser .126 Editing and Saving a Script (Geek Method) ............ 68 Master Tune ...............................................................................105 Editing Zone Velocity Response .............. 117 Loop Editor Header Controls . 88 Editing an Instrument: Overview ........................................................................................................................................................................................................................................................ 70 The Files Browser ............................................................. 85 Output Section ............... 94 Group Editor Header Controls .............System Performance Meters ............122 Loop Section ....................125 The Script Editor.................................................................................................................................................104 Editing the Zone Key Range ........................................................................ 117 About Waveform-Based Looping.....127 Locking a Script ......................................................................................................................................................... 68 Metronome .................................................................103 Selecting Zones ................................. 70 Importing Non-Native Files Into KONTAKT 2 ..............................................................................................................118 Loop Editor Information Strip...................................................126 Loading a Script .................................................................. 90 Instrument Options ................................................75 The Database: Fast Finding and Organization ............. 117 Invoking the Loop Editor .......................................................126 Editing and Saving a Script (Simple Method) ............................................................128 Saving Presets ........................................ 68 Master Tempo .......................................................................................................... 67 The MasterKontrol Section .............................................. 95 Voice Group Edits .................................123 Slice Section ................................................................................................................................................................................. 94 Group Editor Interface ......................................................................................................................................................................................................................................................................................91 The Group Editor ................................................................................................................76 Automation ..................129 Kontakt 2 – V .................................................................................................................103 Editing a Zone’s Root Key..............................................................102 Mapping Samples..................................... 97 Group Start Options.............................................................................. 66 The Keyboard ............108 Zone Info Strip ......................... 68 Reference Tone ................................................................................. 99 The Mapping Editor ..................................107 Mapping Editor Header Controls.....

Sampler ......................................................................................129 DFD............................................................................................131 Tone Machine ..............................................................................132 Time Machine ..............................................................................135 Time Machine II ...........................................................................136 Beat Machine ..............................................................................136 Slicing Files with the Beat Machine ................................................138 Map Slices to Groups (+ MIDI Export) ............................................140 Amplifier .....................................................................................142 KONTAKT 2 Effects Types ...............................................................144 Group Insert Effects (Green Panel) .................................................145 Instrument Insert Effects (Blue Panel) ............................................146 Send Effects................................................................................146 Output Channel Aux/Insert Effects .................................................147 Adding Effects .............................................................................148 Deleting Effects ...........................................................................149 Common Effects Parameters .........................................................149 Effects Modules Types .....................................................................150 Effects...........................................................................................151 Compressor .................................................................................151 Inverter .......................................................................................152 Surround Panner ..........................................................................153 Surround Panner Automation .........................................................159 Lo-Fi ..........................................................................................161 Stereo Modeller............................................................................161 Distortion ....................................................................................162 Phaser ........................................................................................163 Flanger .......................................................................................164 Chorus ........................................................................................165 Reverb ........................................................................................166 Convolution ................................................................................167 Delay ..........................................................................................169 Send Levels .................................................................................170 Sampler Filters ...............................................................................171 1 Pole Lowpass ............................................................................171 1 Pole Highpass ...........................................................................171 2 Pole Bandpass ..........................................................................172 2 Pole Lowpass ............................................................................172 2 Pole Highpass ...........................................................................172 4 Pole Lowpass ............................................................................172 4 Pole Highpass ...........................................................................173 VI – Kontakt 2

4 Pole Bandpass ..........................................................................173 4 Pole BR (Band Reject) ...............................................................173 6 Pole Lowpass ............................................................................ 174 Synth Filters ...................................................................................175 PRO-53 ......................................................................................175 4-Stage Ladder ............................................................................175 3x2 Multimode Filter ....................................................................176 Effect Filters ..................................................................................178 Phaser ........................................................................................178 Vowel A .......................................................................................179 Vowel B.......................................................................................179 EQs .............................................................................................. 180 1-Band EQ ................................................................................. 180 2-Band EQ ................................................................................. 180 3-Band EQ ..................................................................................181 Modulation Sources.........................................................................182 Adding Modulation via the Browser .................................................182 Adding Modulation via the Modulation Button ................................. 183 Show/Hide Modulation Routers and Sources................................... 184 Using Modulation Routers ............................................................ 184 Deleting Modulation Sources or Routers ..........................................185 Envelopes....................................................................................185 LFO Modulators ...........................................................................190 Others ........................................................................................191 External Sources ..........................................................................194 Appendix A: Optimizing System Response .........................................197 Use Low-Latency Drivers ...............................................................197 How Low Can You Go? ..................................................................198 Warning: Different Types Of ASIO ................................................. 200 Tips On Minimizing Latency ......................................................... 200 Appendix B: Keyboard Shortcuts .....................................................201 Getting Help – The About Screen ..................................................... 203 Knowledge Base / Readme / Online Support ................................... 203 Updates ..................................................................................... 203 Index ............................................................................................ 204

Kontakt 2 – VII

VIII – Kontakt 2

Welcome to KONTAKT 2
KONTAKT 2 continues the tradition of sampling excellence that began with KONTAKT 1.0. This latest version offers surround support with surround panning, more effects (and more places to put them in the signal path), a script processor that adds intelligent MIDI processing to increase an instrument’s power, support for up to 64 instruments, wide-ranging file compatibility, enhanced user interface, output section with insertable effects, a sophisticated database/browser combination that makes it easy to find the sounds and samples you need, and much more. Of course, KONTAKT 2 retains (and improves upon) popular features like DFD hard disk sample streaming, “flex” envelopes that improve significantly on fixed types, pristine quality audio engine with excellent stretching characteristics, Beat Machine for processing drum samples, and extensive use of drag-and-drop. But while the specs are impressive, there’s more to an instrument than just technology. KONTAKT 2 is flexible enough to take the place of a variety of other plug-ins, thus streamlining the music-making process. For many musicians, KONTAKT is the first instrument they load into a VST/DXi/AU-compatible host; and for some, it’s the only instrument they need to load. KONTAKT 2 takes this all-in-one concept even further. For creative sound design, KONTAKT 2 combines the best elements of synthesizers (filters, modulation, multiple envelope types, dynamics control, etc.) with unique sample processing tools like the innovative Tone Machine, Time Machine, and Beat Machine. Yet all of these are presented clearly, without hidden menus, using an aesthetically pleasing interface that doesn’t interfere with the music-making process. Finally, we would like to thank those of you who have purchased previous versions of KONTAKT, and given us the feedback needed to take it to the next level. It is your support that makes all this possible, but we never take it for granted - we strive constantly to improve your musical tools. We are extremely excited to offer you KONTAKT 2, and hope that it helps you realize your musical dreams in an efficient, fun, and inspirational way. Now go make some great music! – Your Native Instruments Team KONTAKT 2 – 9

If you’re familiar with these topics. creative sounds that can help take your music to the next level. synthesis. you can just load in presets. You can get through the entire manual. Finally. then the manual should make sense. Take the time to get to know it. read the manual! Besides. it took us a lot of time and effort to write it. remember that learning KONTAKT 2 is like learning any musical instrument: Practice makes perfect. not be a complete course on everything there is to know about electronic music. So if you want to get a creative edge on your fellow musicians. remember that the purpose of this manual is to teach you about KONTAKT 2. and we’d hate to think all that work was for nothing. hit the keys. If not. there are many books and magazine articles available to help you get up to speed. and sampling. and you will be rewarded with original. But for the adventurous. Of course. KONTAKT 2 is full of cool surprises and interesting options. This manual has been written so that you can pretty much sit down with KONTAKT 2 and try the various functions as they are described.which will be time well-spent if you want to get the most out of this wonderful sampler. and make some great sounds. 10 – KONTAKT 2 . It’s also been said that musicians don’t read manuals.How to Use This Manual It’s been said that the definition of “power user” is someone who reads the manual. in a few days . checking out sounds as you go. However.

Since the Product Authorization is part of the license agreement KONTAKT 2 will stop launching after 30 days if it was not authorized until then.Product Authorization Part of the KONTAKT 2 installation is a Product Authorization which has to be fullfilled in order to make permanent use of the software. Only exchanging a basic hardware component in your computer or installing a new operating system might produce a new Product Authorization request. KONTAKT 2 requires the Product Authorization in order to use the software permanently. then proceed with the software installation as described in the following chapters and finally return to this chapter. In this case the Registration Tool will reflect the change by displaying a new System ID and you have to repeat the Product Authorization. Note: Exchanging your audio card. it is also possible to complete the Product Authorization after 30 days. you can make use of all online services related to the registered product. The System ID is based on some hardware components of your computer system. The Registration Tool generates a so called System ID which serves as request code for receiving an Authorization Key. Of course. The Product Authorization is performed by a small application called Registration Tool. get technical support. KONTAKT 2 – 11 . the operating system version and the serial number you have entered at the KONTAKT 2 installation. After having completed the authorization. What is the Product Authorization? The Product Authorization includes a full registration. We recommend that you take notice of this chapter first. As long as the software runs unauthorized a message at every program start reminds you that the authorization has not been completed yet and indicates how many more days the software is running without an authorization. MIDI interface or external equipment will not start the request for a new Authorization Key. You can run KONTAKT 2 for 30 days without any limitations. In this case the software will launch again as soon as the Product Authorization has been completed. The System ID has to be sent to Native Instruments in order to receive the Authorization Key which allows the permanent use of KONTAKT 2. participate in the NI forums and download updates. On the Native Instruments website you can read online tutorials.

In the following sections we describe three methods of conducting the Product Authorization. Native Instruments keeps your personal data like email and postal address in confidence. Method A: KONTAKT 2 computer has direct access to the internet Important: This method requires a valid email address to complete the Product Authorization. 12 – KONTAKT 2 . No data will be passed to a third party.Note: The data transfer at the online Product Authorization is done via a secure connection using 128 bit encryption. since the registration code will be sent to you by email. We recommend Method A and Method B since these result in the easiest and fastest way of receiving the Authorization Key. Registration Tool Conducting the Product Authorization Native Instruments has set a high value on making the authorization procedure as easy and comfortable as possible.

• A click on the Register Now button opens the Native Instruments registration webpage. Please fill out all required fields and follow the instructions on the screen to complete the registration. Depending on the option you have chosen on the first online page you now get a login page asking for your username and password or a form where you can fill out your address data. • • On the first online page you are asked if it is your First Registration at Native Instruments or if you want to do an Additional Registration. Your System ID will be automatically transmitted to the registration form.• Windows: Start the Registration Tool from the start menu (Native Instruments KONTAKT 2  KONTAKT 2 Registration Tool) or from the KONTAKT 2 installation folder (default path: C:\Program Files\Native Instruments\KONTAKT 2\). KONTAKT 2 – 13 . • MacOS: Start the Registration Tool from the KONTAKT 2 installation folder (default path: Applications\KONTAKT 2\). Therefore your standard Internet Browser will be opened and an internet connection will be established according to your system settings.

This email also contains the password which is required for using the online services. • Start the Registration Tool again and either copy the Authorization Key from the email and press the Paste from Clipboard. button in the Registration Tool or use the Open File button in the Registration Tool to open the email attachment which you previously have saved to hard disk. The Authorization key is available in the email body and additionally as text attachment. Please copy the full number (12 x 5 digits) and paste it to the registration tool.• On the last online registration page your Authorization Key is directly shown in the browser. Click on the Complete button. Within a few minutes you will also receive an email from the Native Instruments registration system containing the Authorization key. 14 – KONTAKT 2 .

KONTAKT 2 – 15 . A click on the Save Registration File button opens a Save dialog for saving a HTML file. Save the HTML file to any storage medium. since the Authorization Key will be send to you by email. • Windows: Start the Registration Tool from the start menu (Native Instruments KONTAKT 2  KONTAKT 2 Registration Tool) or from the KONTAKT 2 installation folder (default path: C:\Program Files\Native Instruments\KONTAKT 2\).After completing the Product Authorization the Registration Tool looks like this Now the KONTAKT 2 Product Authorization has been completed. • • MacOS: Start the Registration Tool from the KONTAKT 2 installation folder (default path: Applications\KONTAKT 2\). The authorization message at every KONTAKT 2 start has disappeared and you can use the software permanently: Method B: Internet Connection on another computer Important: This method requires a valid email address to complete the Product Authorization.

). On the first online page you are asked if it is your First Registration at Native Instruments or if you want to do an Additional Registration. CDR etc. Start the Registration Tool again and use the Open File button in the Registration Tool to open the email attachment which you previously have saved to hard disk. Open the HTML file in your internet browser. This email also contains the password which is required for using the online services. The Authorization key is available in the email body and additionally as text attachment. 16 – KONTAKT 2 . When you click on this link an internet connection will be established according to your system settings. • • • • Depending on the option you have chosen on the first online page you now get a login page asking for your username and password or a form where you can fill out your address data. The HTML page contains a link for the registration page on the Native Instruments website. Please fill out all required fields and follow the instructions on the screen to complete the registration.• • • • Transfer the HTML file to another computer where you have internet access (via floppy disk. Within a few minutes you will receive an email from the Native Instruments registration system containing the Authorization key. Transfer the text attachment to the computer where you have installed KONTAKT 2.

If you do not provide Native Instruments with a valid email address in the form. If you do not have access to the internet or if you do not have a working email address. Please note the following instructions to fullfill the Product Authorization: KONTAKT 2 – 17 . The authorization message at every KONTAKT 2 start has disappeared and you can use the software permanently: Method C: No Internet Connection available Important: Following this method you will have to fill in a form which you send to Native Instruments. You will receive the Authorization Key either by email (recommended). by postal mail or by fax. be prepared to type in the Authorization Key manually (about 60 digits). After completing the Product Authorization the Registration Tool looks like this Now the KONTAKT 2 Product Authorization has been completed. the Product Authorization can also be done via postal mail or fax. it is generally recommended that you prefer Method A or Method B for shortest return times and most comfortable operation. Although Native Instruments goes after a fast handling of your authorization requests.• Click on the Complete button.

Illegible email or postal addresses can cause problems with the Authorization Key delivery. • MacOS: Start the Registration Tool from the KONTAKT 2 installation folder (default path: Applications\KONTAKT 2\) • A click on the Fill Out Form button opens a local HTML file in the operating system’s standard browser or another program which you have defined as standard application for opening HTML files.• Windows: Start the Registration Tool from the Windows start menu (Native Instruments KONTAKT 2  KONTAKT 2 Registration Tool) or from the KONTAKT 2 installation folder (default path: C:\Program Files\Native Instruments\KONTAKT 2\). 18 – KONTAKT 2 . • The HTML file contains all information Native Instruments requires for completing the Product Authorization and registration. If you write a letter please attend to a legible handwriting to avoid mistakes at the Native Instruments registration team. or write a letter containing the data. Please fill in the required data and print it out.

com/registersupport. KONTAKT 2 – 19 .native-instruments. Start the Registration Tool again and either copy the Authorization Key from the email and press the Paste from Clipboard button in the Registration Tool or use the Open File button in the Registration Tool to open the email attachment which you previously have saved to hard disk. Click on the Complete button. If you have received the Authorization Key by mail or fax. fax or mail.info Please describe the occurred problem as accurate as possible and provide the registration support team with the necessary details to solve the problem. Now the KONTAKT 2 Product Authorization has been completed. The authorization message at every KONTAKT 2 start has disappeared and you can use the software permanently: Registration support If you run into problems during the Product Authorization the Native Instruments registration support team will be happy to help you. type it in manually. In this case send a support request on the NI website using the following URL: http://www.Send the form to Native Instruments using one of the following contact addresses: Native Instruments GmbH Registration Schlesische Straße 28 10997 Berlin Germany Fax: +49 30 6110352400 • • Native Instruments USA 5631 A Hollywood Boulevard Los Angeles CA 90028 USA Fax: +1-323-372-3676 • • You will receive the Authorization Key via email (recommended).

Installed Folders. To start. and up to 15 GB for the library.Installation under Windows XP System Requirements and Recommendations To use the KONTAKT 2 software. 350 MB for the impulses. If you do not choose a different program group during the installation. you need a computer with the following minimum specifications: Hardware • Pentium III 1 GHz/ Athlon XP 1. links to KONTAKT 2 and a ReadMe file are added to the Start menu under Programs/Native Instruments. You may also choose another folder if you wish.4 GHz. 20 – KONTAKT 2 . Files. and Links The setup program creates a new folder called KONTAKT 2\ in the installation directory (Program Files\Native Instruments). The setup program will suggest C:\Program Files\Native Instruments\ KONTAKT 2\ as the path for the destination folder. double-click the KONTAKT 2 Setup.exe. Use the Windows Explorer to view the contents of the DVD. • 512 MB RAM • Up to 70 MB for the installation. VST plug-in Installation • • Insert the Installation DVD into the DVD drive. Start the installation by double-clicking KONTAKT 2 Setup. This folder contains the files required to operate the software. • A sound card compatible with Windows XP • DVD drive Software • Windows XP Software Installation • • • • Insert the KONTAKT 2 DVD into the DVD drive. Use the Windows Explorer to view the contents of the DVD.exe file.

Sonar from Cakewalk and Fruity Loops are the most well known host sequencers that support DXi.• • When the choice is given by the installer.exe file to start the installation. select VST plug-in from the list of components to install.dll” file into the VST plug-ins folders of these programs. simply copy the “KONTAKT 2 VST. Use the Windows Explorer to view the contents of the DVD and double-click the KONTAKT 2 Setup.. KONTAKT 2 – 21 . Select the Custom installation type. the installer lets you install to multiple VST-folders by shift-clicking them. Tick the checkbox DXi plug-in. RTAS plug-in installation • • • Launch the KONTAKT Installer from the DVD. After the installation. you can set up your programs so that they all use the same VST plug-ins folder. select the Show All Files option. Select only RTAS from the list of components to install. This option is located in the Explorer menu View  Folder Options.0 plug-ins is installed on your computer. Windows: If the VST plug-in files are not visible in the Windows Explorer. on the View tab below Hidden Files. KONTAKT 2 appears as a plug-in in the host program. Note: If more than one host program for VST 2. DXi 2 plug-in Setup DXi 2 is a plug-in interface for software synthesizers and instruments based on Microsoft DXi technology.. Optionally. You can now choose to automatically search for the VST plug-in folder or manually select the VST plug-in folder of your choice. Please select the option that best suits your installation requirements. The installation program copies the KONTAKT 2 plug-in to your hard disk and registers it as a DXi 2 plug-in for use in DXi 2-compatible host programs. Installation • • • Insert the Installation DVD into the DVD drive of your computer. Continue the KONTAKT 2 installation until you come to the Choose plug-ins page. If you decide to install them at a later date.

22 – KONTAKT 2 . or Custom Install.6 Installing KONTAKT 2 OS X • • • Insert the Installation DVD into the DVD drive of your computer. The start screen appears first. and up to 15 GB for the library. After clicking Continue and confirming the license agreement.2. You can choose between Easy Install. you need a computer with the following minimum specifications: Hardware • Apple PowerMac G4 800 MHz or faster • 512 MB RAM • Audio interface compatible with Core Audio • CoreMIDI compatible MIDI interface for connecting a MIDI keyboard or an external sequencer (only for the stand-alone version) • Up to 70 MB for the installation. The installation program suggests a path for the KONTAKT 2 folder. MacOS Audio Unit plug-in Installation • • • Launch the KONTAKT 2 Installer from the DVD Select the Custom installation type. where you can select which versions you want to install.Installation under MacOS X System Requirements and Recommendations To use the KONTAKT 2 software. 350 MB for the impulses. a dialog opens where you can select the installation location and the destination folder. if you do not select a different destination. Select only Audio Unit from the list of components to install. • DVD drive Software • MacOS 10. where both the stand-alone and plug-in versions are installed. the KONTAKT 2 folder is created on the first hard disk. Double-click the installation program Install KONTAKT 2 to start it.

KONTAKT 2 – 23 . Select only RTAS from the list of components to install.RTAS plug-in installation • • • Launch the KONTAKT Installer from the DVD Select the Custom installation type.

There are two main ways to implement KONTAKT 2: As a “stand-alone” device that requires no host software. As a plug-in that works in conjunction with a “host” program. We’ll describe each mode in detail. and the host passes MIDI data to KONTAKT 2. This section describes how to use various audio interfaces with KONTAKT 2.” KONTAKT 2’s audio outputs appear as signals in the host’s mixer. The KONTAKT 2/computer combination acts as an instrument. similar to a hardware digital synthesizer. In this case.0 DirectSound MME Core Audio Plug-In Used as a plug-in. which include software routines called drivers. allow KONTAKT 2 (and other programs you have installed. MME. plug-in mode allows you to integrate it seamlessly with the sequencer. KONTAKT 2 connects to the host program via “virtual patch cords. the host program interacts directly with the computer’s hardware interface. but first let’s look at the various interface drivers and plug-in formats used by different operating systems and programs. if present) to communicate with your computer’s audio hardware. The table shows you which drivers are available under which Operating System: Driver ASIO 2. DirectSound. KONTAKT 2 is not a stand-alone program but rather a program “module” that can be integrated into a “host” program such as a sequencer. and Core Audio. it has many other uses as a plug-in: • MIDI sequencing of KONTAKT 2 and audio mix-down of the MIDI tracks within a single program 24 – KONTAKT 2 Windows • • • MacOS X • • . Furthermore. such as sequencing or hard disk recording software. KONTAKT 2’s audio and MIDI connections interact directly with your computer’s audio/MIDI hardware interface.Audio Interfaces Audio interfaces. Stand-alone Application KONTAKT 2 works in stand-alone mode with ASIO.

while running it as a VST instrument provides more automation options Interface Details The interfaces described below represent different ways KONTAKT 2 can communicate with your sound card. you can also use DirectSound and Multimedia (also called MME). This is due to the fact that the host capture keys for themselves and do not pass them on to the plug-in.0 plug-in) • Restoring of all plug-in settings when the host document (such as a song file of the sequencer) is loaded • Integration with other instruments into a “virtual studio” The shortcuts / key commands do not work in all sequencers. or Core Audio for Mac. as one may offer better performance than another.Comfortable automation of KONTAKT 2 parameters in the sequencer Further processing of KONTAKT 2 signals using additional plug-ins Sample-accurate timing with MIDI controllers (when used as VST 2. KONTAKT 2 – 25 .0 Plug-in DXi Audio Units Host-Program Cubase. and your computer platform (KONTAKT 2 supports Windows XP or MacOS X). the audio interface (sound card) you’re using. Nuendo Sonar Logic Windows • • Mac • • • • • Note: Some hosts include “wrappers” that allow running KONTAKT 2 with a choice of plug-in protocols. Choose the fastest interface protocol supported by your interface. Available interfaces depend on your computer. Example: With Sonar. For Windows. running KONTAKT 2 as a DXi instrument allows using multiple outputs. This table provides you with an overview of which interfaces are supported by which host programs: Plug-in Interface VST 2. which will likely be ASIO with Windows. but expect a significant delay (called latency) between the time you play a note and the time you hear it. Try each one.

MME is even less suitable than DirectSound for real-time applications due to its comparatively high latency. RTAS plug-ins are “native. this is a is a component of DirectX 5. and works with external audio hardware as well as the Mac’s integrated audio output. RTAS (Real Time Audio Suite): This interface protocol from Digidesign allows using plug-ins with ProTools (or other Digidesign-compatible software). However. this plug-in interface for software synthesizers and instruments is designed for low latency and high performance on the Windows platform. you may hear glitches and clicks in the audio output that can only be fixed if you increase latency. this cross-platform plug-in technology was developed by Steinberg. It is highly recommended for its low latency. DirectSound: Developed by Microsoft. and high performance. How well DirectX works well depends on your sound card. 26 – KONTAKT 2 . and is tied in closely with the operating system. Plug-In Details VST (Virtual Studio Technology): Like ASIO. If you adjust the interface for an acceptable amount of latency. Unlike traditional TDM effects that depend on using Digidesign hardware.ASIO (Audio Streaming Input Output): This cross-platform plug-in protocol was developed by Steinberg. multi-channel audio card support.0 or higher for Windows. It is the most common plug-in format. Most sound cards support this interface and work with it quite well.” the host processor performs all computations needed for the plug-in. Cakewalk Sonar and Image Line FL Studio are the most well-known hosts that support DXi. MME (Multi Media Extension): This is the standard Windows audio driver. AU (Audio Units): This plug-in format is exclusively for the Macintosh OS X platform. and many programs are optimized to work with VST plug-ins. DXi2 (DirectX Instrument 2): Based on Microsoft DirectX technology. Core Audio: This audio interface for MacOS X is integrated tightly into the operating system.

Fortunately. a computer adds a certain amount of delay (“latency”) when processing audio signals. this delay can be so small that you can’t hear it (e. However.More About Latency As with any digital device (including hardware signal processors) that convert audio to data and back again. If your computer is already configured for low-latency operation. attempting to play in real time through KONTAKT will probably be unsatisfying because of the delay. under 3 milliseconds..g. which is about the same delay caused by moving your head one meter further away from a speaker). keep reading. Otherwise. KONTAKT 2 – 27 . with today’s computers and low-latency sound card drivers. please turn to Appendix A on “Optimizing System Response” for information about obtaining the lowest possible system latency. before installing KONTAKT 2. typical computers are generally not set up for low latency.

Routing (audio output patching). the host program has already set up its audio and MIDI connections. you can also use DirectSound and Multimedia (also called MME). 28 – KONTAKT 2 . and KONTAKT 2 simply “plugs in” to these. For Windows. It’s therefore necessary to specify audio and MIDI settings. as well as the preferred driver protocol (of course. except where indicated. However. with stand-alone operation KONTAKT 2 communicates directly with your audio interface. Call up the Audio + MIDI Settings setup dialog from the Setup menu. and MIDI. You’ll see three tabs for Soundcard. you will almost certainly need to re-adjust these settings.KONTAKT 2 as Standalone When used as a plug-in. but expect a significant delay between the time you play a note and the time you hear it. which will be ASIO or Core Audio. Note that if you change your audio interface. Soundcard (Audio Interface) Audio + MIDI Settings dialog Interface: Choose the fastest interface protocol supported by your interface. Setup for Mac and Windows machines is essentially identical. plug-in format is not an issue).

MME drivers will outperform emulated DirectSound drivers.. Slower settings will give more consistent audio performance. For some drivers you can adjust the latency individually using a fader. Adjust latency for the fastest possible setting that gives consistent audio performance.” as they provide poorer performance than other drivers.g. or for the Mac. A quick way to adjust latency is as follows: Select any instrument and play it while moving the Latency slider. choose whichever rate you prefer. Sample rate: The drop-down menu will display compatible sample rates for your audio interface. Output Latency: This field displays the output latency.Windows only: Avoid using any drivers listed as “emulated.1kHz is the same sample rate used for CDs. but the amount of delay may be musically unsatisfying. 44. Digital Performer. For example. Move the Latency slider to the left until you start to hear clicks in the audio output. Cubase. Output Device: Use ASIO written specifically for your audio interface (not “ASIO DirectX” or “ASIO Multimedia. and is the most “universal” choice. although DirectSound drivers generally outperform MME drivers. Sonar.” unless no other choices are available).). If you are using KONTAKT 2 standalone. However. Experiment with the latency setting until you find the best compromise between consistent audio performance and fast response. These higher rates stress your computer more. the host will determine the sample rate. some audio interfaces offer 48kHz and 96kHz (KONTAKT 2 accepts up to 96kHz sample rates). KONTAKT 2 – 29 . This is the optimum setting. resulting in possible crackles or pops in the audio. When used as a plug-in with a host program (e. Core Audio. Logic. Now move the slider to the right until the clicks disappear. but offer somewhat better high frequency response. The CPU may not be able to keep up with fast settings. etc.

MIDI If your MIDI interface offers multiple ins and outs. 30 – KONTAKT 2 . Initially. you can choose which one connects to KONTAKT 2. When you click on the MIDI tab you’ll see a list of MIDI I/O. they will be merged. If you enable more than one input. each one will be Off. This field is a toggle – click on Off to turn an input or output On. click on On to turn an input or output Off.

This will allow you to mix. • Go to the Output parameter section for this MIDI Track and click on the field. then it is not installed correctly. Here you can control and edit all the features and functions that KONTAKT 2 has to offer. This will create a list of available MIDI out ports to assign to this MIDI track. Note: If KONTAKT 2 does not appear in the list of available VST instruments inside your VST 2 host application. Now go to the "Project" page and add a MIDI track (if you do not have one already created). Choose KONTAKT 2 from the list. It will also create a set of audio channels in your VST mixer that will be used for mixdown within your project. • • • The plug-in will now appear in your list and automatically be turned on. Click on an empty slot and choose KONTAKT 2 from the available list of instrument plug-ins. and process KONTAKT 2's output just like any other existing audio track in your Cubase song. pan. go to the Devices menu option and select the VST Instruments menu option or press F11 on your keyboard.KONTAKT 2 as Plug-In VST 2. Please refer to the previous section on installing the plug-in for both Windows and Mac platforms for more assistance on setting this up. KONTAKT 2’s sound will generate KONTAKT 2 – 31 . Click on the Edit button to call up the KONTAKT 2 interface. After having loaded an Instrument from the library you should be able to trigger it via MIDI using a keyboard controller. A window showing the instrument rack appears.0 Plug-In Using the KONTAKT 2 plug-in in Cubase SX 3 • • Launch Cubase.

It will also create a set of audio channels in your VST mixer that will be used for mixdown within your project.0 • • • Launch an empty or current project in Nuendo. • Make sure that you have properly configured your sound card for use with Cubase. pan. A window showing the instrument rack appears. Here you can control and edit all the features and functions that KONTAKT 2 has to offer. This will create a list of available MIDI out ports to assign to this MIDI track. Now go to the "Project Editor" page and create a MIDI track (if you do not have one already created). Click on an empty slot and choose KONTAKT 2 VST from the available list of installed plug-ins. If the plug-in does not receive MIDI or generate audio. The MIDI channel of your MIDI track must correspond to the receive channel of the loaded instrument. • • • • The plug-in will now appear in your list and automatically be turned on. Click on the Edit button to call up the KONTAKT 2 interface. This will allow you to mix. then make sure to check the following areas: Make sure "MIDI thru" is enabled in Cubase. Choose KONTAKT 2 VST from the list.through the VST mixer and directly to your sound card. Also make sure you assign the MIDI input port to correspond to whatever MIDI controller your are using. Go to the Output parameter section for this MIDI Track and click on the field. Click on the Devices menu and choose VST instruments from the menu options (or press F11 on your keyboard). and process KONTAKT 2's output just like any other existing audio track in your Nuendo project. (please refer to your Cubase manual for more information) • • Using the KONTAKT 2 plug-in in Nuendo 2. 32 – KONTAKT 2 .

Note: If KONTAKT 2 does not appear in the list of available VST instruments inside your VST 2 host application. KONTAKT 2’s sound will generate through the VST mixer and directly to your sound card. After having loaded an Instrument from the library you should be able to trigger it via MIDI using a keyboard controller. hold down the mouse button and KONTAKT 2 – 33 • • . then it is not installed correctly.• Record enable the MIDI track. holding down the mouse button and choose Audio  Audio Instrument  Inst 1. Double click the audio instrument track to open the environment window. • • Audio Units Plug-ins Use in Logic 7. Then click onto the insert slot. either in the arrange or mixer window. then make sure to check the following two areas: Make sure "MIDI thru" is enabled in Nuendo. Logic scrolls automatically to the first instrument bus in the Logic mixer. Choose the KONTAKT 2 Audio Unit plug-in in the appropriate insert slot of the instrument mixer bus. If the plug-in does not receive MIDI or generate audio.x • Launch Logic and create an audio instrument track or set an existing audio or MIDI track to an audio instrument track by clicking on it. • Make sure that you have properly configured your sound card for use with Nuendo (please refer to your Nuendo manual for more information). Please refer to the previous section on installing the plug-in for both Windows and Mac platforms for more assistance on setting this up. The MIDI channel of your MIDI track must correspond to the receive channel of the loaded instrument.

KONTAKT 2’s sound will generate through the mixer and directly to your sound card. pan. • Make sure that you have properly configured your sound card for use with Logic. After having loaded an Instrument from the library you should be able to trigger it via MIDI using a keyboard controller. The MIDI channel of your MIDI track must correspond to the receive channel of the loaded instrument.choose Stereo  Audio Units  Native Instruments  KONTAKT 2. Please refer to the previous section on installing the plug-in for the Mac platform for more assistance on setting this up. The instrument mixer channel will allow you to mix.5 • Launch Digital Performer and create an instrument track by selecting Project  Add Track  Instrument Track  KONTAKT 2. If the plug-in does not receive MIDI or generate audio. • • Use in Digital Performer 4. and process KONTAKT 2’s output just like any other existing audio track in Logic. (please refer to your Logic manual for more information). 34 – KONTAKT 2 . then make sure to check the following two areas: Make sure the Inst track is selected in the Arrange window. If the KONTAKT 2 interface is not already open. then it is not installed correctly. (KONTAKT 2 is also available as a multi-channel insert) • • The plug-in now appears in the instrument slot and is ready to use. Note: If KONTAKT 2 does not appear in the list of available AUinstruments inside your AU host application. Here you can control and edit all the features and functions that KONTAKT 2 has to offer. double click on the mixer’s KONTAKT 2 slot to call up the KONTAKT 2 interface.

record enable the MIDI track which you have routed to KONTAKT 2 and make sure Midi Patch Through is enabled in the Studio menu of Digital Performer. and process KONTAKT 2's output just like any other existing audio track. In Digital Performer’s track overview window (or in the sequence editor window) assign the ouput of this MIDI track to “KONTAKT 2-1” and a MIDI channel. pan. Note: If KONTAKT 2 does not appear in the list of available Audio Unit plug-ins inside your Audio Units host application. • • • The plug-in is now ready to use. KONTAKT 2 – 35 . If you instantiate further KONTAKT 2 Plug-Ins they will be named “KONTAKT 2-2”. Double click on the KONTAKT 2 slot in Digital Performers mixing board to call up the KONTAKT 2 interface. Here you can control and edit all the features and functions that KONTAKT 2 has to offer. Please refer to the previous section on installing the plug-in for Mac platforms for more assistance on setting this up.• Create a MIDI track by selecting Project  Add Track  Midi Track. “KONTAKT 2-3” etc. To play KONTAKT 2 with your keyboard. The mixer of Digital Performer will allow you to mix. then it is not installed correctly.

(please refer to your Digital Performer manual for more information).After having loaded an Instrument from the library you should be able to trigger it via MIDI using a keyboard controller. From the Generator drop-down menu. Double-click the instrument track icon or press the “I” icon to get the Track Info. • The MIDI channel of your MIDI track must correspond to the receive channel of the loaded instrument. From the Info window expand the Details triangle underneath the Instrument icon to expose the track settings. choose KONTAKT 2 from among Audio Unit plug-ins. • Make sure that the instruments track output is correctly set. KONTAKT 2 can now be played using an external MIDI keyboard. • Make sure that you have properly configured your sound card for use with Digital Performer. Clicking on the pencil icon next to the “Manual” drop-down menu will open the KONTAKT 2 interface for editing. Use in Garage Band • • • • • • • Launch Garage Band Press the “+” button to create a new “Software Instrument” Track. From here you can choose the icon you wish to use. then make sure to check the following two areas: • Make sure Midi Patch Through is enabled in the Studio menu of Digital Performer. If the plug-in does not receive MIDI or generate audio. KONTAKT 2’s sound will generate through Digital Performers mixer and directly to your sound card. 36 – KONTAKT 2 .

(please refer to your Sonar manual for more information).DXi 2 plug-in DXi is a Microsoft DirectX technology based plug-in format Use in Sonar 4 • • Launch Sonar In the synth rack choose KONTAKT 2 DXi 2. • Make sure that the instruments track output is correctly set. • Make sure that you have properly configured your sound card for use with Sonar. • KONTAKT 2 – 37 . Loading the KONTAKT 2 DXi 2 plug-in in the synth rack • Route a MIDI track to the DXi 2-Plug-in by selecting KONTAKT 2 in the Out drop down list. Assign a MIDI track to the KONTAKT 2 -DXi-Plug-in After having loaded an Instrument from the library you should be able to trigger it via MIDI using a keyboard controller. If the plug-in does not receive MIDI or generate audio. KONTAKT 2’s sound will generate through Sonar’s mixer and directly to your sound card. • The MIDI channel of your MIDI track must correspond to the receive channel of the loaded instrument. then make sure to check the following two areas: Make sure Midi Patch Through is enabled in the Studio menu of Sonar.

In this case.x under Mac and Windows The RTAS format is an interface protocol for Mac OS and Windows that allows you to use plug-ins with ProTools independently from additional TDM hardware. Click on the first empty slot to show all available RTAS plug-ins. 38 – KONTAKT 2 .Using KONTAKT RTAS with Pro Tools 6. Choose KONTAKT 2 from the menu • • Now locate the MIDI channel you just created In the output slot. • • • • • • Launch Pro Tools Create a new AUX track File a New Track Create a new MIDI track the same way Locate the channel mixer Windows a Show mix The dark grey box at the topmost section of the AUX channel is the RTAS insert section. while nonetheless offering the widest range of features. (Please refer to your Pro Tools manual for more information on how to record KONTAKT’s output). choose KONTAKT and the appropriate channel After record enabling the midi track. the host processor alone performs all of the computations for the plug-in. you will be able to play KONTAKT with your midi keyboard.

The Solo button lights green when enabled. KONTAKT 2 – 39 . Some parameters allow changing the type of units displayed. the Edit All Groups button lights bright red when selected to make sure you realize that any edits will affect every single sample in an Instrument. and the Mute button lights red when enabled – again like the “stop” and “go” with a traffic light. and choose another type from the drop-down list that appears. then closes the menu. Click on this type of button. click on the parameter. In the Group Editor. Click outside the menu to close it. or down to move it counter-clockwise. Click on the desired option. Drop-Down Menus These look like buttons. but have small arrows that point down. Buttons These are all toggles . and green when active (like “stop” and “go” with a traffic light). Note: Some drop-down menus stay open after clicking on an entry to allow multiple selections. and a menu of options drops down. Some knobs can be fine-tuned if you hold down your computer keyboard’s Shift key as you move the knob. KONTAKT 2 takes whatever action you’ve requested. For example: • • • The Bypass (Byp. again to turn off. The background of most buttons will change color for the on and off states.Basic User Interface Protocols There are five main KONTAKT 2 elements that let you interact with this program.) button lights red when bypassed. click on it and drag up to move the knob clockwise. Knobs • • • • To change a knob value. Ctrl + Click (Mac: Cmd + Click) resets a knob to its default value.click once to turn on.

Scroll Bars These work like scroll bars in any computer program. Click on the number. once you create a really cool Instrument.. such as an effect preset. and drag down to decrease the value. time-saving point of departure. thus saving time. Saving and Loading Presets With KONTAKT 2. You can save this effects chain with a name like “RockDrumsFXChain. script. MIDI Remote Knobs can be remotely controlled by MIDI continuous controller messages. suppose you come up with a great effects chain for use with rock drums. But you can also save particular elements.” and the next time you load a different set of rock drums. etc. This is described in the section on Automation. etc. you can bring these elements into a new Instrument or KONTAKT 2 setup. table. and type in the desired value. up/down arrows appear. For example. you can load this effects chain as a convenient. and “-” to zoom out. Click on the up arrow to increment one value at a time. By doing so. chain of effects. This is the fastest way to change values. Usually there are three ways to change the parameter values. • • • Click on the numerical. Multi. and on the down arrow to decrement one value at a time. then drag the mouse up to increase the value. you can always get it back again – that’s the benefit of being able to save. click on “+” to zoom in. If a scroll bar has “+” and “-” symbols at one end. 40 – KONTAKT 2 . filter settings. Numericals These are fields that contain numbers. Double-click on the numerical.

nkm suffix. Click on this and select the desired Preset from the drop-down menu. Load a Preset If a KONTAKT 2 module can load and save presets.nki suffix and Multis have a . Note that when saving.nkp suffix. but go to the end of the list and select Save Preset. you also click on the Preset button. Caution: Do not change this path in the Save Preset dialog box unless you have a compelling reason to do so. there will be a Preset button with a downward arrow. Save a Preset To save a Preset. These are saved within folders inside a Presets folder located in the main KONTAKT 2 directory. KONTAKT 2 is smart enough to put it in the correct folder. A dialog box opens up that allows naming and saving the Preset. KONTAKT 2 – 41 .Just as Instrument files have a distinctive . Presets have a .

For example. guitar. Database and Browser It’s easy to find and load these various Instruments and Multis. ambitious. bass. Before getting into specifics. let’s “zoom out” and describe KONTAKT 2 in general terms. Multiple Instruments can be combined into a multi-timbral Multi. Multis also contain all settings for the output section. and capable instrument. and other alterations 42 – KONTAKT 2 .KONTAKT 2: The Big Picture KONTAKT 2 is an extremely powerful. which can do a variety of pitch. thus giving access to a whole world of sound libraries.” You can also import instruments in a variety of formats. aux channels and effects. and more) as a KONTAKT 2 Multi. which alters pitch like a standard sampler by “resampling” files to stretch samples across a keyboard Tone Machine. Multiple Playback Engines Files can play back using one of five audio playback engines: • • • Sampler. which alters pitch without altering duration Time Machine. Instruments and Multis KONTAKT 2 plays back samples that make up Instruments. if you’re connected to one). including the output master effects. KONTAKT 2 has a sophisticated database that logs all KONTAKT 2-compatible files in your computer system (or even a network. and aux sends from individual Instruments or Banks. duration. and trigger each sound from its own MIDI channel. you could load up an entire band (drum kit. This is paired with a Browser that supports drag-and-drop – you can simply drag the Instruments and Multis into KONTAKT 2’s “virtual rack. piano.

this is just an overview: There’s much. A Looping Editor works with individual samples. as send or aux effects. and adding “mastering”-type effects (not to master a song. But we’re not done yet. It’s like having a huge effects rack along with your sampler. but to “master” the instrument sounds). The Output Section Finally. and as master effects for outputs. playing back through various engines.• • Time Machine II. you might want to group all the tom samples together in a drum kit and process them as a group. These effects include filter. You drag effects as inserts for samples and groups. with individual samples tweaked and also combined into groups for processing. a method of “slicing” digital audio to allow for very high quality time-stretching Editing Instruments You can work on a much more detailed level than just Instruments. Okay. KONTAKT 2 – 43 . it allows repeating portions of the sample to create sustained and/or rhythmic effects. and grouped together for further editing. as master effects for instruments. there’s an output section for varying levels of KONTAKT’s various outputs.. Again. modulation. and a large roster of effects. The individual samples that make up an instrument can be mapped in different ways using the Mapping Editor to cover a keyboard. and time effects. much more to KONTAKT 2. For example. including a convolution reverb for ultra-realistic reverb sounds. a version of Time Machine optimized for quality pitch transposition and tempo stretching Beat Machine. Signal Processing KONTAKT 2 has extensive signal processing options.. so keep reading. we now have Instruments and Multis.

such as delay. as editing a Group will affect all Zones within that Group. and create a separate Group for the loud Zones. Example: A Multi-Instrument might place a bass sound in channel 1. and so on.KONTAKT 2 Architecture: Sample. Zones cover a particular key range. so that changes made to one Zone affect other Zones of that Group. Most sound processing and organization is done with Groups. they overlap). You can drag-and-drop samples into KONTAKT 2 from the browser or desktop. Instrument Bank. 44 – KONTAKT 2 . or transposed over a wider range One or more Zones can be associated as a Group. This is very convenient for editing. Instrument.one at soft volume. You would probably want to Group the soft volume Zones together. Group them. This is a piece of raw digital audio in WAV or AIFF format that KONTAKT 2 loads into RAM or streams from a hard drive. Zones. Up to 64 Instruments can be assigned to different MIDI channels (16 channels over 4 ports) to form a Multi-Instrument (or Multi for short). Finally. Multi-Instrument The most basic element in KONTAKT 2 is the Sample. and Groups form an Instrument. The combination of Samples. Or. and any stretching of the sample across the keyboard (key range) • Zone volume – the Zone’s level (louder or softer) • Zone pan – the Zone’s position in the stereo field • Zone tune – the Zone’s pitch. Zone. and one much louder. where each Instrument can be selected via MIDI program changes.. which can be fine-tuned to compensate for small tuning problems. an Instrument Bank is special type of Instrument that can be used with a Multi-Instrument. and may be layered with each other (i. Dropping a sample in the Mapping Editor creates a Zone.e. A single Zone cannot contain more than one sample. to them. It is essentially a “container” for multiple Instruments. perhaps you’ve sampled a bass with two samples per note . Group. A Zone consists of: • Keyboard mapping – the sample’s position on the keyboard. piano in channel 2. then apply delay to the Group. synth lead in channel 3. Examples: Suppose you have several Zones and want to apply the same type of processing. You drag Instruments into the Program Change slots from the browser or the rack.

select patches. and more. view one of the four Multi pages to see which Instruments are associated with it. drag across the section to be changed. Enter a name by double-clicking the name field and typing in a new name. To edit a name. you will still be able to access instruments in all the Multi pages. The Browser can be hidden (as described later) after you’ve created your rack. Multi Name. and type in any changes. Multi-Instruments. where you construct up to 64 sampling instruments (four Multi pages of 16 instruments). and show/hide the Aux Send strip for the various Instruments. check automation assignments. each Multi page corresponds to an available MIDI port. minimize/maximize all Instruments in the rack.” where you can add and delete a variety of editors and processing modules. The Multi-Instrument header (Multi header for short) is where you can name a Multi. Ideally. with four ports. and is also KONTAKT 2’s main editing area. you can access each of the 64 instruments individually. are available for each Instrument within a Multi. The Multi-Instrument Header KONTAKT 2 allows loading multiple Instruments into the “virtual rack. This may not be what you want. it also means you can use the additional Banks for layering Instruments. Instruments. but if any of them are set to the same channel.KONTAKT 2’s Two Main Elements The right side is like a “virtual rack. These assignments are saved with the Multi. (Aux send assignments. as well as locate Favorite patches. as described later.) 1. they will sound simultaneously. It contains a Main Control Panel. but on the other hand. not with the Instrument. KONTAKT 2 – 45 . If your interface has only one port.” which creates a Multi. and processing modules into KONTAKT 2’s rack. The left side is a browser where you can drag samples.

Maximize all Instrument Headers.. suppose you have loaded several percussion Instruments. Multis all stored in the same directory). Quickload Multi into the Same Slot. cello). as Instruments assigned to the same channel will be layered because they are being triggered by the same data. this is only one option. or software that supports four virtual MIDI ports. Show/Hide Aux Send strips. However. The drop-down menu to the left of the Name field allows selecting a new Multi from the Quickload list. Each page can hold 16 Instruments or Banks. Choose Multi Page. This is described in more detail shortly.g.g. solo/mute buttons. All Instrument headers show their most compact configuration (shows name. violin. 5. Shows or hides the Aux Send strips located below each Instrument in the rack. With a single-port MIDI interface. 3. two different guitar Instruments.. Pages can also be used for organization. MIDI in. Selecting this replaces the existing Multi. and three different string instruments (e. pan and level controls. 7. memory used by the Instrument. You can even take advantage of this to do layering. You can put each group on its own Multi page to simplify editing. and output meters). so that each Instrument responds to a unique MIDI channel. 6. All Instrument headers are maximized. maximum polyphony. number of voices being played. you can still access any Instrument on any channel in any Multi page.2. The left/right arrows to the right of the Name field select the previous or next Multi respectively in a list of Multis (e. as described in the section on Instrument headers. One sophisticated application is to access each Multi page via a four-port MIDI interface (one port per page).). Selecting this replaces the existing Multi. as described in the section on Instrument headers. Minimize all Instrument Headers. and each of these can have its own MIDI channel. Load Next/Previous Multi into the Same Slot. output. About Multi Pages KONTAKT 2 allows for four pages of Instruments within a Multi. 46 – KONTAKT 2 . For example. 4. etc. viola. This shows additional parameters compared to the minimized version (tune control.

Loading several Instruments into the rack creates a “Multi” setup (short for Multitimbral). the Sampler module will select Beat Machine. KONTAKT 2 is quite “intelligent” about this. like a conventional sampler.To view a particular Multi page. if you drag over an “acidized” WAV file or REX file (represented by a folder that contains the REX “slices”). You can also create an Instrument by double-clicking on a sample. it will simply be stretched across the entire keyboard range. We’ll describe each view and the editable parameters within that view. a minimized Instrument header appears in the rack. for example. The Instrument Header When you create a new Instrument. Creating an Instrument To create an Instrument. KONTAKT 2 – 47 . where data from different MIDI channels plays back through different Instruments. Each Instrument receives on an individual MIDI channel and port. or drag an Instrument into the back. if “DoubleClicking Sample Creates Instrument” is enabled in the Options menu. with a strip containing four Aux Sends below it. drag a Sample or Instrument from the Browser into a blank space on the rack. The Instrument Header can have three views. simply click on the appropriate button. If you drag over a file that doesn’t have this type of timing information.

Minimized. This shows Instrument basics. Maximized. This shows everything in the minimized view along with additional parameters. Instrument Edit Mode. This expands the Instrument out to show all the modules contained inside it.

Minimized Instrument Header View Parameters
The Minimized view appears when you first bring an Instrument into the rack, or create a new Instrument. You can do the following from the minimized view.

1. Instrument Name. Enter a name by double-clicking the name field and typing in a new name. To edit a name, drag across the section to be changed, and type in any changes. 2. Quickload Instrument into the Same Slot. The drop-down menu to the left of the Name field allows selecting a new Instrument from the Quickload list (as described in the Browser section). Selecting this replaces the existing Instrument. 3. Edit Instrument. Open the Instrument to reveal its various modules for detailed editing. 4. Load Next/Previous Instrument into the Same Slot. The left/right arrows to the right of the Name field select the previous or next Instrument respectively in a list of Multis (e.g., Multis all stored in the same directory). Selecting this replaces the existing Instrument. 5. Solo and Mute buttons. S is Solo, M is Mute. Note that Solo can be latching (you can solo multiple Instruments) or in-place (when you solo an Instrument, all others mute). Mute affects only the Instrument being muted. 6. Volume and Pan sliders. Volume is on top, Pan below. Remember that you can Ctrl-click on either one to return it to 0, and hold down the Shift key for finer adjustments when dragging the mouse. Volume is a master level control for the Instrument, while Pan determines the master stereo placement control for the Instrument. If a stereo output is selected, this control determines the Instrument’s location in the stereo field. Note: For surround panning, you will need to add a Surround Panner in an effects strip. 48 – KONTAKT 2

Output Meters. These show the Instrument’s signal level. If the red clipping indicators toward the right light up, reduce the overall level to prevent distortion. Note: As with any synthesizer or sampler, KONTAKT 2 adds together the voices at the output. The more voices you play, the more likely clipping will occur. When setting levels, play the maximum number of voices you expect to play, and adjust the level based on that. 8. Remove Instrument (X). Click on the X to remove the Instrument. You will be prompted for confirmation. You can also remove the Instrument by clicking on an empty space in the Instrument header (i.e., no buttons or displays). An orange line appears around the Instrument to show it’s selected. Hit your computer keyboard’s DEL key to delete the Instrument. 9. Minimize/Maximize Instrument Header (+). Click on the “+” button to select the Maximized View, as described next. 7.

Maximized Instrument Header View Parameters

All parameters in the Minimized View are also available in the Maximized view, as well as the following additional parameters.

Sound Type Icon
This sits just below the wrench and gives a picture of the sound type. It is for reference only.

Output
KONTAKT 2 offers multiple outs with flexible routing possibilities. The Output selector chooses an output for the Instrument. The number of outputs you can choose depends on the settings in the Outputs section.

KONTAKT 2 – 49

The option to route each Instrument to a different output is useful with a mixer (software or hardware), as the outputs can feed different mixer channels with different processing and levels.

MIDI Port and Channel
Choose one of the 64 MIDI port / channel entries, e.g. “Port A / 3”, on which the Instrument receives MIDI data. The default is Omni, where the Instrument responds to data coming in from any MIDI channel. To accept data from only one channel, click on this field and select a channel from the drop-down menu. Note: To layer Instruments, simply set the same MIDI channel for two or more Instruments. To hear a different sound on each MIDI channel (called Multitimbral operation), set different different Instruments to different MIDI channels

Voices (Note Symbols)
This shows how many voices are in use at any given moment, and is not an editable parameter.

Memory
This read-only indicator displays how much RAM the Instrument has reserved for itself.

Max
This sets the maximum number of voices that will be allocated to this Instrument. Click on this field and drag up or down to increase or decrease respectively the maximum number of notes the Instrument can play. For the most efficient operation, do not use more notes than is needed, as each note requires a certain amount of CPU power. For example, with bass, you seldom need to assign more than 2 or 3 notes. However, with an instrument like piano with a long release time, several notes may sound simultaneously 50 – KONTAKT 2

as they decay. For this, you would need to assign more notes to avoid “voice stealing” (i.e., newer notes have to steal a voice from notes still sounding in order not to exceed the maximum amount of polyphony).

Purge
Purge analyzes which samples were used in an arrangement, and removes from RAM any samples that weren’t used. Thus, KONTAKT 2 can handle huge amounts of samples while exhibiting very low RAM usage. Although the Purge function is available on a Global level, in this case it can also purge samples from individual instruments. The Instrument purge is handy if you’ve finished a part; you can purge samples for that Instrument alone, thus freeing up RAM for additional overdubs. Click on the downward arrow to access the following functions. Reset Markers: Deletes all “tags” that mark samples as used. Update Sample Pool: Unloads unused Samples from RAM, and loads newly marked Samples in RAM. Purge All Samples: Unloads all Samples from RAM. Reload All Samples: Reloads all Samples used in an Instrument. A display for the instrument shows Purge status. Green: All Samples are loaded. Orange: Samples have been purged to reduce RAM requirements. Red: Empty – all Samples are unloaded from RAM.

Tune
This changes the Instrument’s master tuning in semitones, up to ±12 semitones (one octave). To fine tune the control, hold down the Shift key while dragging the mouse.

KONTAKT 2 – 51

Edit Mode View The Instrument Header strip is also your gateway to intensive Instrumentrelated editing operations. which appear in the following order from top to bottom. We won’t attempt to describe all possible parameters. A fully-loaded Instrument can contain the following modules. But don’t worry. just like you don’t always have to drive a car at top speed. Click on the Edit (“wrench”) button to open up the Instrument and reveal what’s in it. so don’t expect to master it in a day or even a week. Learn KONTAKT 2 a piece at a time. Besides. Some will find the following impressive. When you click on the Edit button a second time to leave edit mode. and eventually all the pieces will fall into place. which can be accessed in Edit Mode view. 52 – KONTAKT 2 . you don’t have to use all its power all the time.Aux Show/Hide Button This is just below the Minimize/Maximize button. Click to show or hide the Aux Sends strip below the Instrument maximized view (this button is not visible in the minimized view). KONTAKT 2 is a very sophisticated sampler. while others might find it intimidating. the Instrument “folds in” to take up less screen space. but instead give an overview of all the modules available in an Instrument.

KONTAKT 2 – 53 .

54 – KONTAKT 2 .

This is a powerful MIDI data processing module – so powerful. This is where you select and edit Groups. Source (Sampler) module 7. when opened. 10. KONTAKT 2 – 55 .1. 2. one or more strips. Send Effects strip that holds up to eight send effects 16.e. Effect parameters for a selected Group Insert effect (if the Group Insert FX strip Edit button is enabled). Here is where you map samples to the keyboard.). Modulation Routers for the Amplifier module (i. the Instrument Options button does not open up a window or create a space in the rack. Script Editor (if the Script Editor button is enabled). and the like for individual samples. Insert Effects strip that holds up to eight insert effects 14. set loops. This can have Modulation Router(s) below it as well. etc. Modulation strip which. Group Insert FX strip that can be populated with up to eight effects 9. 3.. 6. but determines several Instrument characteristics (key and velocity range. transposition. in fact. Modulation Router(s) for the Source module (i. one or more strips.. each of which can assign a modulator and modulation amount to a Source module parameter) 8. Edit loop points. assign samples recorded at different velocities. Effect parameters for a selected Send effect (if the Send Effects strip Edit button is enabled) 17. Instrument Header. 4. Effect parameters for a selected insert effect (if the Insert Effects strip Edit button is enabled) 15. each of which assigns a modulator and modulation amount to an Amplifier module parameter) 12. This is where you enter Edit mode – by clicking on the “Wrench” button. create Zones.e. there’s a separate tutorial on how to create scripts. 5. Amplifier module 11. shows all modulators in use stacked one above another Additionally. etc. set start times. Channel routing matrix (shown if the Amplifier’s Channel Routing button is selected) 13. Group Editor (if the Group Editor button is enabled). voice-stealing options. Loop Editor (if the Loop Editor button is enabled). Mapping Editor (if the Mapping Editor button is enabled). as well as perform other Group operations.

Their parameters can generally be modulated. Green modules work on a Group level. which drains much more CPU power. Fortunately. The CPU then only has to calculate filter settings once. for the overall Instrument output signal. Instrument Edit Mode Show/Hide Options That’s a lot of flexibility – but also a lot of stuff to deal with. Blue modules work on an Instrument level. the parameters are not modulatable. Example: If you want to use a filter on an Instrument but don´t need to modulate it. and therefore affect an entire Instrument (and all Voices and Groups within it) as a single entity. the CPU has to calculate a separate filter setting for voice currently playing.Use of Color Within Edit Mode View Colors are used in the Edit Mode View to indicate the various modulation capabilities. It takes much more CPU power to process multiple Voices individually than a single Instrument as a whole. These options are: 56 – KONTAKT 2 . KONTAKT 2 has numerous show/hide options so you can focus in on seeing only the modules you need to see. meaning that all processes or effects are calculated for each individual voice. then insert the filter on the Instrument level (the blue Instrument Insert FX chain). Therefore. You can see if a parameter is modulatable by looking at the color that “rings” the knob to show its value: • • Orange ring – parameter can be modulated Blue ring – parameter cannot be modulated Understanding this distinction allows you to make most efficient use of the available CPU power. If you insert the filter on the Group level (green Group Insert FX chain).

Send Effects. and Modulation Sources by clicking on the downward arrow to the left of each strips’ name. where it can be dragged elsewhere (even to a second monitor). Instrument Edit Mode Strip Entering Instrument Edit Mode view creates a strip above the Instrument being edited with seven buttons. Going from left to right. Show/hide the parameters for effects by clicking on the effect strip’s Edit button. these are: KONTAKT 2 – 57 . The Mapping Editor and Loop Editor have small arrows toward the right of the name. Show/hide all Modulation Routers for a particular module by clicking on the parent module’s Mod button. • Show/hide the Insert Effects. Mapping Editor. and Loop Editor buttons to show or hide these editing views. Clicking on an arrow detaches the Editor window from the rack.• • • Use the Group Editor.

The Instrument Bank The KONTAKT 2 rack is designed so that Instruments respond to MIDI data coming in over different MIDI channels. You load an instrument into a slot by: • Dragging into an Instrument Bank slot from the Browser 58 – KONTAKT 2 . 2. Select next (lower) Instrument in the rack for editing. Click on the wrench (edit) button to open up the Instrument Bank. Guitar. The Instrument Bank is a special “container” for Instruments that allows selecting them via MIDI Program Changes. Shows a list of editing operations. Redo List. Shows a list of Instrument editing operations. Click on an item to redo until that particular action. 7. This is equivalent to clicking on the Edit (wrench) button. If you change your mind. or making a change in the database. Clicking on Select Previous calls up the Guitar Instrument for editing. Click to open a dialog box for saving the selected Instrument. You’ll see 128 slots. Clicking on Select Next calls up the Weird Sci-Fi FX Instrument for editing. each of which represents a Program Change number. 5. from top to bottom – Drums. Bass. you can’t undo deleting an Instrument. Click to undo the results of an undo. 8. and Weird Sci-Fi FX. labeled 001-128. Example of the Select Previous and Select Next buttons: Suppose a rack has the following Instruments. you can click on Cancel or close the window. 6. If you change your mind. but they do not respond to Program Change commands. For example. this works only with Instrument editing operations. Undo List. Bass is currently being edited. Redo edit operation. 3. Again. Undo edit operation. 4. you can click on Cancel or close the window. Select previous (higher) Instrument in the rack for editing. Click to undo the most recent Instrument editing operation. Save. Return to Maximized Instrument Header view.1. Click on an item to undo until that particular action. Please note: This works only on edits within an Instrument.

Library Fast Find drop-down menu (left of the name). with drop-down menu for channel selection The output to which the Instrument Bank is assigned Number of notes being played Maximum number of notes Sample Purge/Load status indicators (green = fully loaded. “<” / “>” buttons (right of the name). The name strip includes the following controls: • • • Edit button. which you can select for loading into KONTAKT 2. red = no samples loaded) Sample Purge drop-down menu Solo and Mute buttons Pan and Level sliders Level Meter Delete/Minimize buttons KONTAKT 2 – 59 . it may be dragged to other slots to edit the Program Change assignment. These step through successive Instrument Banks in the Library folder.Once an Instrument is in a slot. orange = partly loaded. This displays files in the KONTAKT 2 Library folder (located within the KONTAKT 2 program folder). The lower part of the Instrument Bank header also includes (from left to right): • • • • • • • • • • The MIDI channel over which Program Changes will be received. Click to show the Program Change map.

loading. New Instrument Creates a new.nkm file extension. Multi files have a .The Main Control Panel This is the panel at the very top of KONTAKT 2 and includes functions that relate to viewing various elements. Outputs Show/Hide Click to show/hide the Output channels. etc. Keyboard Show/Hide Click to show/hide the virtual keyboard at the bottom of the KONTAKT 2 panel. Browser Show/Hide Click to show/hide the Browser. 60 – KONTAKT 2 . as well as create new Instruments and Instrument Banks. empty Instrument in the rack. metronome. where you can adjust master tempo. saving. master tuning. etc.nki file extension. Load/Save Menu Here’s where you store and recall individual Instruments and Multis. which can be used to trigger notes. MasterKontrol Show/Hide Click to show/hide the MasterKontrol. Note: Instrument files have a .

This same list is displayed in the dropdown list for each instrument. and you will have to specify the new locations before the patch will load. Instead. Monolith: Saves all patches and samples in a single.. but instruments like KOMPAKT. This same list is displayed in the dropdown list for each instrument. Save Choose one of the Instruments in the rack. a particular project or song). New Instrument from List This opens an Instrument from the list that you define in the browser Database tab under View: Instruments Quickload. but not the actual samples (and therefore creates a very small file). but you can also specify a particular directory (e. KONTAKT 2 will not know where to find them.New Instrument Bank Creates a new. Absolute Paths allow you to move the KONTAKT 2 file anywhere. where you can choose several modes. instead of the default Relative Paths. “pointers” are saved to where the samples reside on disk. and also saves all Samples in a sample sub-directory.g. Usually you will save to the default directory. Caution: If these samples are moved. (This applies only when converting via the Import button. See the section on the Instrument Bank for more details. KONTAKT 2 – 61 .) Patch + Samples: Saves all Instrument parameters. New Instrument Bank from List This opens a Bank from the list that you define in the browser Database tab under View: Bank Quickload. and it will still find the samples. The Save Instrument dialog box appears. Patch Only: Saves all Instrument parameters. and save it to disk. This is ideal for distributing a set of Instruments that are meant to be loaded into not only KONTAKT 2. large file. blank Instrument Bank. Note: Checking the Absolute Sample Paths box writes Absolute Path references into the KONTAKT 2 file.

nkm. which has five subcategories. Clicking on this button to open the Options window.g. Mid. This file defines the settings of a new Multi. The edit boxes let you specify the size. Enabling this ensures the keystroke is interpreted by KONTAKT but not the host. but adjusts the Mid size. Small Size: The View menu lets you choose one of three sizes for KONTAKT: Small. you may want to type certain things on the keyboard and have them affect KONTAKT 2 but have no effect on the host (e. and Big. Tab 1: Interface Here you make basic adjustments to KONTAKT 2’s layout of KONTAKT and functionality. in pixels. you want to name something in KONTAKT 2 using a letter that happens to be a keyboard shortcut for the host). Mid size: Similar to Small Size. double-click on it and enter the new value. kontakt_def. 62 – KONTAKT 2 . Note: The new value will become effective the next time you open KONTAKT 2. For example. you can overwrite this file to create a Multi with your own custom settings. for the small size. in the Default folder in your KONTAKT 2 installation folder. to change a field. The width and height have separate fields.. Options Menu The Options menu is where you determine overall KONTAKT 2 preferences. Plugin Capture Keyboard from Host: Enabling this button catches certain keyboard keys and routes them to KONTAKT 2 rather than to the host program.Modifying the Default Loaded Patches There is a default Multi patch. but adjusts the Big size. Big Size: Similar to Small Size.

CPU Throttle (Kill Voices if CPU Load is Above: This function will kill voices if the CPU load is above the chosen percentage. Menu Font Size: This drop-down list allows setting the font size bigger for increased legibility. or smaller to fit more items on screen. Tab 3: Handling Use Computer Keyboard for MIDI Playback: This lets you use your computer keyboard to trigger KONTAKT 2 (handy for laptop jockeys on airplanes!). You can also edit the Velocity value that a key will trigger. a pop-up dialog box asks for confirmation when an Instrument/Zone is deleted. double-clicking on a KONTAKT 2 – 63 . others will be muted) and Solo Latch (you can switch several instruments into solo mode). but directs Mouse Wheel movements to KONTAKT 2 instead of the host. Ask Before Removing Instruments/Zones: When selected. Open Audio and MIDI Settings: Click on this button to view audio and MIDI settings that relate to your audio interface. Double-Click Sample Creates Instrument: If enabled. Tab 2: Audio Engine These settings affect KONTAKT’s audio engine. Default Volume for New Instruments and Volume Reset: Choose between –6dB and 0dB. Solo Mode: Choose between Solo In-Place (only one instrument can be soloed.Plugin Capture Mouse Wheel from Host: This is similar to Capture Keyboard from Host. Show Mapping and Keyswitches on Keyboard: This button shades keys on the “virtual master keyboard” (along the lower part of the window) to indicate mapping and keyswitching.

Installation Base Path: If you change the name of the KONTAKT 2 folder. Import Keyswitched Sources into Separate Instruments: Separates keyswitched elements of a source Instrument. navigate to the editing program’s executable file (i. it makes eight . Keyswitchcapable sources include Giga. instead of the default Relative Paths. To choose the editor. Absolute Paths allow you to move the KONTAKT 2 file anywhere. but also auto-maps the Samples equally across the keyboard. but without the Sample data itself. the file on which you double-click to open the program). See Purge Menu below. This is important for certain crossplatform applications. MachFive. click on Choose.nkm if “Write Multis” is checked) for every keyswitch. HALion.Sample in the Browser creates a new Instrument. module presets might not be available anymore. this not only creates a new Instrument. and it will still find the samples.nki for it. and Ensoniq.e. with the sample spanning the entire keyboard range. Default Root Key for New Zones: Samples without root key information will default to this as their root key. Limit File Names to 31 characters: Enable to make sure that newly-created file names are not over 31 characters. Write Absolute Paths instead of Relative Paths: Writes Absolute Path references into the KONTAKT 2 file.) 64 – KONTAKT 2 .. Tab 4: Load/Import Load Instruments/Banks/Multis in “Purged Mode” (Without Loading Samples into RAM): Reloads the parameters of Samples that were purged. then click on Open. For example. Set the installation path here to the desired folder. instead of creating one . when a Giga Instrument has 8 keyswitches. External Wave Editor: This specifies the waveform editor that will edit samples used in KONTAKT 2 (invoke the editor with the command Open Sample in External Editor in the Loop Editor). EXS-24. (This applies only when converting via the Import button. If you Shift-Click multiple samples and doubleclick on the group of Samples.nki Instruments (or one .

they eventually create one . The Instrument purge is handy if you’ve finished a part. but is also available on the Instrument level. while converting a folder of single samples. Map Bulk-Converted Single Samples: When checked.Direct from Disk Amount of Memory for DFD: Adjusts the amount of RAM to dedicate to the DFD process. Thus. Tab 5: DFD . each sample gets one . No new samples are created. Although samples stream from disk. Reset Markers: Deletes all “tags” that mark samples as used. Purge Menu Purge analyzes which samples were used in an arrangement. Choose WAV (Windows default) or AIFF (Mac default). Click on the downward arrow to access the following functions.Destination Sample Type: Determines the format of destination sample types.sf2 file. Reference Internal Giga or SoundFont Samples (Do Not Write New Samples): If checked. thus freeing up RAM for additional overdubs. it is necessary to store attacks in RAM so they are available instantly upon playback. and you wanted to remove all unneeded samples. try allocating more RAM to this function. KONTAKT 2 can handle huge amounts of samples while exhibiting very low RAM usage. and loads newly KONTAKT 2 – 65 . If DFD isn’t working properly. Scoring of large ensembles with many instruments and samples now becomes manageable. the newly-created KONTAKT 2 Instrument references the samples inside the . when converting Giga or SoundFont Instruments. and removes from RAM any samples that weren’t used. When unchecked. Update Sample Pool: Unloads unused Samples from RAM. You would use Global purge after a song was done. Purge is available here on a Global level.gig or .nki file with the samples referenced according to the below Map Type. you can purge samples for that Instrument alone.nki file.

and you’re using KONTAKT 2 as a plug-in or stand-alone device.marked Samples in RAM. You can set the window size under Options > User Interface. A display for the instrument shows Purge status. View Menu The entire instrument can be re-sized from the View menu. and Large. Red: Empty – all Samples are unloaded from RAM. and Normal when everything has been programmed. Bigger. Green: All Samples are loaded. Orange: Samples have been purged to reduce RAM requirements. Typically you will use Large when creating Instruments. 66 – KONTAKT 2 . Reload All Samples: Reloads all Samples used in an Instrument. Load Everything Purged (Without Samples): Reloads the parameters of Samples that were purged. Purge All Samples: Unloads all Samples from RAM. System Performance Meters These are located in the upper right section of the Main Control Panel. but without the Sample data itself. Choices are Normal.

KONTAKT 2 – 67 . The keyboard can be used to trigger notes of the current instrument. Pulling more data from disk illuminates more bars. RAM: Indicates how much memory is being taken up by the samples used by KONTAKT 2. you can transpose its range within three octaves as well as create pitch bend and Modulation events (MIDI CC 1). it shows keys with existing zones in blue. The first digit shows the current number of notes being played. Notes: The amount of polyphony being used. In addition. This figure will be much higher if DFD is not being used. More bars indicate more CPU use.Clockwise from upper left. the second digit shows the maximum amount of polyphony. The Keyboard When enabled the virtual keyboard is shown at the bottom of the KONTAKT 2 panel. Finally. Disk: Shows the amount of KONTAKT 2’s hard disk access. and all incoming MIDI note events as key presses. these show the following. keys with keyswitches in orange. CPU: Shows how much CPU power is being used by KONTAKT 2.

and the control varies the metronome volume. but can be adjusted with the knob from A=392. There are three ways to set tempo manually: • Adjust the tempo knob. There is also a sync button to sync to incoming tempo information (not visible in the standalone version). The default is 120. • Tap a rhythm on the Tap button. If KONTAKT 2 is used within a host program. Master Tune This defaults to A=440. Metronome Click the On button to enable. • Double-click on the tempo field and type in a new number.88. The light below the on button flashes with the tempo. this sits right under that panel and provides a lot of useful functions. 68 – KONTAKT 2 .00 BPM.00 to A=493.The MasterKontrol Section When enabled in the Main Control Panel. this displays the host’s tempo. Hint: This is also useful for finding out the tempo of a song if you don’t already know it. Master Tempo This sets the tempo for tempo-synched effects.

Reference Tone If you’ve used use a sample library where some of the notes are out of tune. Turn it on with the On button. KONTAKT 2 – 69 . and tune the sample against it. bass. The reference tone can also be used for level setting within systems. and use the knob to set the reference tone level. or provide a reference tone for tuning guitar. Click on the Note Name field and drag up and down to select the reference pitch. you’re going to love this feature – you can set a reference pitch. etc.

you can simply drag from the Browser into KONTAKT 2. including: • • • • • Files anywhere on your computer A database of favorite samples and instruments Effects modules to drag into the effects strips Modulation sources you can apply to various parameters Automation assignments for various parameters The Browser provides a handy source for drag-and-drop operations. 70 – KONTAKT 2 . Rather than having to drag from the desktop. It consists of two main panes. The Files Browser This part of the Browser displays your computer’s drives and files in a familiar Windows Explorer-type “tree” structure.The Browser The Browser is where you can browse several things. or folders nested within folders. and an Audition Strip along the bottom. an optional Info pane (depending on whether the Info tab is selected).

A (+) sign next to a listed object indicates that it can be opened to reveal additional objects. Both Folders and Files serve as containers. To do this. click on the Splitter Bar and drag up or down. CD-ROM drives. Click on the (-) to close the folder/container.The Splitter Bar between each pane can be moved up and down to change the proportion each pane takes up within the Browser. etc. any child objects will no longer be shown. Upper (Container) Pane This shows a directory of your computer. A (-) sign next to an object indicates that it is already showing its “child” objects. – any objects that can “contain” other objects. KONTAKT 2 – 71 . including all hard drives.

Ctrl-click to select discontiguous objects. There are vertical splitter bars between these categories. To load multiple objects from the lower pane into KONTAKT 2. but also objects within files) that are within a folder/container. You can move these splitter bars to the right or left to change the amount of information being displayed (e. any containers or objects within the container that KONTAKT 2 recognizes will show up in the lower pane. drag them into an empty part of the Rack or (in the case of samples). you might want a wider Name field if the files have long names). Note that there are three categories for the middle pane: File name. click on the Splitter Bar and drag left or right.g. When you click on a container itself in the upper pane (rather than a “+” or “-” sign). Double-clicking on the small arrow located between the Name field and the first item in the pane moves up through the directory tree. Note that you can specify which drives and what file types you want to see with the Tools menu. click to the immediate right of a line containing information about an object. while holding Shift. into the Mapping Editor of a new or existing instrument. size. To move them.Middle (Objects) Pane This shows objects (usually files.. Lower (Instrument Info) Pane 72 – KONTAKT 2 . and draw a rectangle around the contiguous objects you want to select. To select multiple objects: • • • Shift-click to select all objects between the first and second click. and date. If nothing is selected.

Click on this to replay a Sample in Auto mode. Volume slider.This pane is the only optional Browser pane. KONTAKT 2 – 73 . Typical file info for Samples includes: • • • • • • File name Number of channels Sample rate Bit resolution Length File size Typical info for Instruments/Multis includes: • • • • • • Format Creator Total sample size Number of Instruments Number of Groups Number of Zones Audition Strip The Audition Strip allows you to hear files prior to loading them. a sample plays automatically as soon as you click on it. It shows information about individual files (not folders). When enabled. Auto button. It has three elements. This controls the sample playback level. Show/hide it by clicking on the Info button on the Files toolbar. Speaker button. or play a selected Sample when not in Auto mode.

g. CD/DVD-ROM Eject button: Click on this open your computer’s CD/DVD-ROM drawer and eject the CD/DVD-ROM. inserting a sample CD. and select which file formats should be shown.The Tools Menu The Tools menu allows you to include network drives and removable drives in the browser. or renaming files).. 74 – KONTAKT 2 . set the browser font size. click on this button to update the directory listing. Other File Browser Options Refresh button: If you’ve made any changes that could alter the files being shown in the directory tree (e.

And as KONTAKT 2 contains almost every feature from every sampler ever designed (hardware or software). . This converts the selected object(s) in the Objects pane. You can drag the non-native object from the browser into an empty part of the rack to work with it right away (and save it for later use if desired). and therefore must be saved before the Instrument is deleted or you exit KONTAKT 2 (you’ll be warned if a particular Instrument has not been saved)..nkm extensions) take longer to load. disks. those that don’t have . Non-native sounds loaded this way are stored temporarily. Non-native files (i.Importing Non-Native Files Into KONTAKT 2 KONTAKT 2 can transparently load practically any Sample or Instrument file.nkp. load. KONTAKT 2 – 75 . without elaborate import functions or external utilities. It’s recommended that you save the files you want work with frequently into native KONTAKT 2 format. Import Via Bulk Process To import non-native files into native KONTAKT 2 format automatically and without having to load them first. Import Via Dragging Into the Rack Dragging into the rack is a quick way to convert. or . the resulting conversions are accurate and contain as many parameters and articulations as the source file requires. because a conversion process must take place. or import entire libraries. use the Import button at the top of the Browser.nki. or large amounts of files into native KONTAKT 2 format for later use. and play any type of file.e.

this may take some time. Banks. or . . and within those are the Programs that are converted. nor be distracted by irrelevant files. follow some type of hierarchy for various reasons. Samples are not written more than once. Most non-native files. a progress indicator will show the different levels of progress and how much of the process remains.. the hierarchy is replicated in both areas. The database stores information about all your Instruments. which means you don’t have to search through folders looking for files. whether stored on a regular computer drive/CD or proprietary non-computer format. Instruments. 76 – KONTAKT 2 .nki. and find them quickly? That’s what KONTAKT 2’s database function is all about. Samples and other files of interest to KONTAKT 2 that are located on your hard disk(s). An Akai CD file system is hierarchical: the first level is called a Partition. Multis. or even a network connected to your computer. Then conversion and creation of the files will start.nkb files). If the samples are written to a different location.nkm. This hierarchy is replicated as the KONTAKT 2 files are written. The Database: Fast Finding and Organization What good is a sampler if you can’t find the files you want. Depending on the number of files to convert. Some examples: • • An EXS-24 library may have 3-4 folder levels of sorted instrument types (e. and where to store the newly created samples.You will be asked where to store the control files (. Trombone. Trumpet. Using a database offers several benefits: • Restrict the browser so that it shows only those folders and files that contain KONTAKT 2-compatible material (Multis. Within the Partition are folder-type entities called Volumes. Kazoo).g. Files are automatically added to the Database as they are imported. and Samples). Other documents are hidden. which makes for easy finding after the process is complete.

these searches are almost instantaneous. This can be done in two ways: • Rebuilding the database involves looking at every file on the hard disk(s) and gathering information about it. So. and Banks. Instruments. and add them to the database without the need to re-scan everything. If you have lots of files or are connected to a network. the first time you build the database might be a good time to go out for lunch. as KONTAKT 2 only needs to look at what has changed since the last rebuild. etc. • • Database Basics To take advantage of these features. based on sophisticated search criteria like sample properties. depending on how many files of interest you have on your disk(s). for example. instrument author. the process can take quite a while. Therefore. a database update will not be able to detect the change. Instruments. added a new library to your collection since the last scan. The same caution applies if you rename a Sample or Instrument. KONTAKT 2 will be able to detect the new files. • Caution: A database update will not be able to recognize files that were renamed or otherwise changed. Updating is designed solely to add new files to the database. KONTAKT 2 – 77 . if you edit a sample and change (for example) its sample rate. file name. In these cases. Once the database is built. Search your hard disk for Samples. only a full rebuild will reflect the changes. without having to go through the Browser. So if you. Updating the database usually goes much faster. Auto-finding samples very quickly if a needed sample is listed in the database.• Pick files from the database to populate the Quickload lists for Multis. or Banks you’ve chosen. KONTAKT 2 must scan your hard disks in order to build the database. Multis. it’s sufficient to do a database update. Quickload lists let you “jump to” and load specific Instruments. and so on.

The Database View A “view” is a subset of the whole file system that shows a particular set of files. Formats: Chooses the file types that the database will analyze. Ctrlclick to select non-contiguous disks. there’s no need to scan a system disk that contains no samples).Building or Rebuilding the Database To build/rebuild the database. Disk windows: Click on the hard disk and network disks you want to scan (for example. 78 – KONTAKT 2 . you may want to ignore certain file types. A dialog box appears with several options. Update. and Rebuild buttons: After setting your criteria. click on one of these to initiate the desired action. While updating. Generally. and shift-click for contiguous disks. click on the Rebuild DB tab in the Browser’s Database section. Cancel. you’d want all of these checked when rebuilding. Imagine a 300GB hard disk stuffed with hundreds of thousands of samples.

KONTAKT 2 – 79 . These are custom views that show only selected files from the pool of file types (as opposed to the “All” view. Navigating this content using an explorer/finder paradigm can be frustrating and time-consuming. Therefore. Enabling a particular category shows (in the Container pane) only those directories that contain the specified file type. the KONTAKT 2 database provides for views on the file system. The View menu has multiple options. and Samples. View All: There are four buttons for Multis. Instruments. which contain only the information you need and hide everything else. and Multis Quickload. Bands.dozens of libraries. Creating Quickload Menus The View menu contains entries for Instruments Quickload. and lots of folders and subfolders that contain different items of interest. which shows everything). Banks Quickload. as accessed from the drop-down menu on the View tab.

When you choose a Quickload option. click on Load/Save. and choose Select New Instrument from List. small squares appear toward the left side of the Browser. Clicking a square to the left of a folder containing. There are two ways to access the Quickload menus: • • From the Main Control Panel. 80 – KONTAKT 2 . From the Instrument or Multi rack headers. via the drop-down menu to the left of the name. Instruments adds that folder to the Instruments Quickload menu. for example.

.In the screen shot above. all your favorite synth pads and all electric basses). You’ll probably want to start this process in the All view. Note that if you don’t want to see all the items within a selected directory. then choose Copy Selection to > from the View menu. KONTAKT 2 – 81 . Check those folders you want to include in a favorite view (e. which are also selected. Creating a Favorite View The purpose of a Favorite View is to show only a specific set of folders/files.” Choose one of them. You’ll see a list of 24 “favorite views. It contains four folders. the Guitars folder has been selected for the Instruments Quickload menu. available instantly.g. all files used on a particular session. and their contents. such as all of one Instrument type. with all boxes unchecked. A click on the drop-down menu in an Instrument Header makes all of these folders. you can tailor a custom Quickload menu that lets you access instruments very intuitively and quickly. you can see the directory’s contents in the Objects pane. By selecting the desired folders and files. etc. and check or uncheck individual elements within the folder.

one of them being a drum & bass song and one an orchestral score. as it lets you define subsets of the file system. You could easily define all the samples you need for d&b in one view and all 82 – KONTAKT 2 . For example. A Practical Example Creating favorites is a very powerful feature. you will see only items that you just check-marked. assume you have tons of samples and are working on two projects. As with the Quickload example. you’ll see your favorite view as one of the listed options. these appear in the Browser – and nothing else – as you select the corresponding favorite view.Now when you go to the View menu. You can rename favorite views by selecting them and then editing their name in the field at the bottom of the top section.

select the Sample button and type a keyword in the File Name field.instruments required by the orchestral score in another view. Assuming you actually have Samples that contain the word “bass” in their name. The Search Feature Click on the Search button in the Database tab. As an example of how to use this. Banks and Multis.” Then click on Search.” In that case. you’ll see a message that says “Too Many Objects for Flat View. Instruments. You’ll see a dialog box that lets you search for Samples. such as “bass. Just select the appropriate view for your current work and you’ll never be distracted again from elements you don’t need. the result list displays looks just like the favorite view we defined before: It will contain only the folders with Samples meeting your search criteria. you’ll see a list with all Samples that meet the criteria you specified. KONTAKT 2 – 83 . If you have so many they won’t fit into the list.

Multis. can be displayed either in a structured way (showing only the folders containing something). Since the list cannot hold too many items (up to 1000 for now). This restores the structured mode automatically. you’ll get the aforementioned message when there are too many. database items (Samples. 84 – KONTAKT 2 .Flat View As you’ve seen with the search result. Instruments. Banks). the folders will vanish and only the sum of all relevant files will appear. if you set a bullet next to the flat view entry. You can switch between these two modes in the View menu. or in a flat way (showing no folders at all but all result objects in a single list).

A “lightning bolt” will light in red to the left KONTAKT 2 – 85 . With MIDI CC mode. select Host Automation. and choosing the desired automation Mode. move the MIDI device’s control that you want to use for parameter control in KONTAKT 2. choose MIDI Controller. When using KONTAKT 2 as a plug-in. • • In stand-alone mode.Automation Automation Mode Begin by selecting the Auto tab in the Browser.

nothing will happen as you turn up the hardware control until the control is up halfway. note that higher smoothing values also make the control less responsive when controlled over MIDI. Click on the CC number and drag it on top of the parameter you want to control. This is great if you want a single control to do many things. Example: Suppose a level parameter is set to halfway. something close to full off.of the corresponding CC number in the browser. as soon as move the hardware control the parameter will jump to the new value – in this case.” Release the mouse. just in case you wondered) by creating a ramp between values rather than a sudden jump. and a hardware control assigned to level is turned all the way down. Sweeping some parameters with this quantized signal produces a “stair-step” or “zipper” effect. select an unused ID and either double-click or click on Set to perform the assignment. The automation always applies to an entire group. Note: Several parameters can be assigned to the same controller. Smoothing Incoming MIDI data is “quantized” to 128 divisions. Without Soft Takeover. Also note that the Mod wheel is usually fixed at Controller 1. such as increase brightness while increasing level. The Smoothing parameter smoothes the incoming MIDI data (through a process of mathematical integration. However. A hand will appear if the assignment is “legal. and the assignment is made. and Volume at Controller 7. which allows it to take over parameter control. Soft Takeover Enabling Soft Takeover causes a parameter not to change until an external controller matches its existing value. With Host Automation mode. It now matches the existing parameter value. With Soft Takeover. select it then click on Remove. Remove To remove an automation assignment. 86 – KONTAKT 2 .

KONTAKT 2 – 87 .Cancel So you didn’t really mean to assign that controller after all? Click on Cancel.

as used in Multi setups. the 88 – KONTAKT 2 . Each fader. There are two types of faders: “Blue” faders that relate to channel outputs (the number of faders depends on the number of available outputs). Delete Channel: To delete a channel. Let’s cover output channel features. click on it. This is described later. The Outputs window appears at the bottom of the rack. Add Channel: Adds another output channel to the Outputs section. and four “orange” faders that control return from the four send effects. the channel becomes outlined in yellow. Hide Inserts: Hides all inserts to conserve space. output or aux return.Output Section Activate the Output section using the Outputs button in the Main Control Panel. going from top to bottom. has four effect insert points. To delete an effect. in the section on KONTAKT 2’s effects. Click on Delete Channel to delete. click on the effect strip that includes the parameters (not the module in the slot). Then click on this button to open and close the edit section for that effect. Edit Effect: To edit an insert effect. Note: You cannot delete the Aux return channels. click on any section of the channel that doesn’t contain an editable parameter.

and select the desired effect from the drop-down list. Click on the channel’s Physical Out field. a dialog box appears with several fields. Click on a physical output to assign it to a KONTAKT 2 virtual output. but also. KONTAKT 2 – 89 . Then. Note that you can’t specify more audio channels than actually exist. and a pop-up menu appears with all available output.effect strip becomes outlined in orange. Config: This is where you configure the output for number of channels and channel assignments. press the computer keyboard’s Delete key. When you click on a channel’s Config button. You can edit the Channel Name. then drag up or down). Name Fields: Each channel has a name field at the top. Each channel shows up in a list. click on the downward arrow toward the right of the slot. the number of audio channels (click on the Audio Channels parameter. and type in the desired name. Insert Effect Slots: To insert an effect. Double-click in the field. Adjust Output or Aux Return Level: Move the appropriate fader.

as well as defining conditions under which a particular group is to be played. and add various processors and effects.Editing an Instrument: Overview Clicking on the Instrument’s Edit (wrench symbol) button opens up the Instrument. the editor stays empty. If the Instrument contains any Samples. sample end. you will see one or more Zones that represent the layering of the samples in the Mapping Editor.). sample start. the MIDI pitch and velocity ranges over which the Instrument will play. It’s really cool – so cool that it has its own tutorial to get you started. Group Editor: For managing groups of samples. edit samples. you might want to bring in a “feedback” sample layer for electric guitar only if the mod wheel is turned up past a certain point. the corresponding sample will appear in the editor. From here. amount of transposition. For example. you can simply load scripts written by others. If a Zone is selected in the Mapping editor. Script Editor: This extremely powerful feature lets you create customized. etc. If no Zone is selected. Loop Editor: This button opens and closes the Loop Editor. end time. This editor is where you assign (“map”) Samples to keyboard keys. you can choose Instrument options. Instrument Options: This sets up various “rules” for the Instrument – how it reacts when it’s asked to play more voices than are available. like the example scripts provided with KONTAKT 2. highly evolved ways to process incoming MIDI data. Or. where you can manipulate the sample’s loops (start time. 90 – KONTAKT 2 . map samples to keys. Mapping Editor: This button opens and closes the Instrument’s Mapping Editor. etc.

from 0 to 1000ms. This may cause the number of voices to temporarily exceed what’s specified as the maximum amount of polyphony. the Instrument being triggered will play a D#.Instrument Options Instrument Tab Voice Stealing Mode: Choose from the following. Example: If this is set to 2 and you play a C# on your keyboard. • • • • • Kill Kill Kill Kill Kill Any (the algorithm decides which is the best one to steal) Oldest (oldest note still sounding) Newest (most recently played note) Highest (highest-pitched note) Lowest (lowest-pitched note) Voice Stealing Fadeout Time: Sets how long a stolen voice will fade out before it disappears. Key Switch Default Key: This is the first key that is activated when you load this instrument with “Start on key” group start options. KONTAKT 2 – 91 . MIDI Transpose: Transposes incoming MIDI data in semitones.

The range cannot go below C-2. values 64 or under = sustain off). or drag down to lower. 92 – KONTAKT 2 . Drag up to raise the velocity limit. This is an expert setting and should not be adjusted unless you are instructed to do so from tech support. or above G8. Controller Only: KONTAKT 2 will recognize only a continuous controller. Placing your mouse over the lower or upper limit causes a double arrow to appear. and piano the rest. DFD & Load Tab DFD Preload Buffer Size: Sets the amount of RAM dedicated to each preload buffer when using DFD. Sustain Pedal and Controller: KONTAKT 2 will respond to a switched (on-off) or continuous controller (values above 64 = sustain on. which defaults to controlling the sustain pedal. Drag up to raise the limit’s note pitch. The range cannot go below 1. Placing your mouse over the lower or upper limit causes a double arrow to appear. Sustain Pedal without Controller: KONTAKT 2 will recognize only a switched controller. Double-click a value field to enter a value from your computer keyboard. Velocities of 111 or above will layer the two organ sounds for a more powerful effect. You have been warned! Controller Tab MIDI Controller #64: This drop-down menu determines how KONTAKT 2 responds to MIDI Controller #64. Example: You could set a B3-type organ Instrument to respond to velocities 1-127.Key Range: This sets the Instrument’s keyboard range. while a pipe organ Instrument responds to velocities 111-127. or above 127. Here are your options. or drag down to lower. bass could cover the lower two octaves of your keyboard. Double-click the a value field to enter a note from your computer keyboard. Velocity Range: This restricts the velocity range to which an Instrument will respond.for example. Use this with multiple Instruments to create keyboard splits .

Weblink: Provides a web link to the author’s web site. Instrument Categories: Choose an Instrument category. so longer descriptions can go in the Info box. etc. Author: Information on the sample’s creator. helpful tips.Info Tab Instrument Icon: Choose an Instrument’s identifying icon. Instrument Credits: A notepad for the Instrument. possibly including copyright information. This is limited to 8 characters. KONTAKT 2 – 93 . Being able to search on this can help considerably with database searches.

If more Groups exist than can fit in the Group Editor window. A Group can contain anywhere from one Zone to all Zones in an instrument. Assign all the highest velocity notes to a group. it’s possible to organize Zones into Groups to edit multiple Zones at the same time. Group Editor Interface The Group Editor has four sections: • • • • The Control Strip along the top with six buttons The Group Field space that displays an Instrument’s Groups The Voice Group control strip The Group Starts section (defaults to hidden. click on Group Start Options button to show) 94 – KONTAKT 2 .The Group Editor Although each Zone can be processed individually. that can get very tedious if you want to edit a lot of Zones. each sample could even be its own Group and have its own processing. and apply EQ to that one Group. Different Groups can have different processing. a vertical scroll bar appears along the right-hand side to allow scrolling. So. and you want the highest velocity notes to be slightly brighter so they cut through a track better. Example: Suppose a multisampled acoustic guitar has each note sampled at three different velocities.

this can be a real time-saving feature if you need to change a parameter for all Groups to the same value. the control’s value will change for both checked Groups. When checked. the Group name will turn orange if it doesn’t have the focus. Group Editor Header Controls Following are descriptions of the six Control Strip buttons.. it’s background strip (normally blue) turns orange. Example: If two Groups are checked and you add a Saturation effect. the Group is selected for editing. as any edits will overwrite the parameter value being edited for all individual Groups. • Click on the Group’s name to give that Group the focus (e. With a Group that has the focus. This automatically checks its box if it is not already checked. Edit All Groups Click to check all Group check boxes. If they remain checked and you vary one of the Saturation controls.) Double-click on a Group name to rename it. the button glows bright red. Edits affect all Groups. all rack devices will show the settings for that Group). discussed below. Important: Be very careful with the Edit All Groups button. (You can also do this with the Group X/Y button. • A cool Group Field feature is that when a note arrives that corresponds to a specific Group. edit operations do not affect that Group. it will be added to both Groups. When unchecked.g. affect every Instrument Zone and Sample.Each Group shown in the Group Field has an associated check box. However. and therefore. KONTAKT 2 – 95 .

as the Zones will be deleted as well. Example: If X = 1. and these Zones are not referenced by other Groups. while “X” indicates which Group has the focus. and places the data on the clipboard. but not select it for editing. Note: Selecting a Group with this button and menu does not check its box if unchecked. “Y” indicates the total number of Groups. if X= 4. If the Group contains Zones. Cut Selected Groups(s): Removes the selected Group and any Zones in the Group. you will be asked first if you really want to delete the Groups. This is convenient if you want to see what’s happening with a Group. the first Group in the drop-down menu is selected and has the focus. Purge Empty Groups: Erases all Groups containing no Zones. Delete Selected Groups: Deletes any selected Groups. 96 – KONTAKT 2 . Edit Click on this to show a drop-down menu with the following options. this copies the selected Groups and places them in the clipboard.Group X/Y Click on this button to show a drop-down menu that lists all Instrument Groups. the fourth Group in the drop-down menu is selected and has the focus. Copy Selected Group(s): Not surprisingly.

tuning. it will already be checked. Create Empty Group This creates an empty group into which you can move and map Samples. selection will check it. more notes “steal” notes that are playing. Furthermore. Pasting can occur to other Instruments within KONTAKT 2 or to other instances of KONTAKT 2. All other Groups will not respond to incoming notes. If the Group check box is unchecked. Example: This is helpful when applying the same processing to two drum kits that use different Samples. etc. such as for effects. This can not only be copied to other Instruments. Group Solo Only the Group with the focus will play. according to one of several user-defined algorithms. KONTAKT 2 – 97 .Paste Group(s) With Samples: This pastes Groups including any Samples that are part of the Group. but not the Samples themselves. a Voice Group can play a defined number of notes. Voice Group Edits The Voice Group function allows linking the response of particular Groups to note on-off commands so that the most recently-played Group has priority over other Groups in the Voice Group. but even to other instances of KONTAKT 2 Paste Group(s) W/O Samples: This pastes Group parameters. Select by MIDI Incoming MIDI notes select which Group has the focus. When created..

The strip to the right of the drop-down menu chooses Voice Group characteristics. Probably the easiest way to explain this is with some typical applications. If you have several tom sounds with long. which is often desirable. Thus. and the tom triggered just prior to it. and vice-versa. Assign the toms to a Voice Group. Some musicians use KONTAKT 2 to play back rhythmic loops or phrases. only two tails can ring at the same time – the most recently-triggered tom. 98 – KONTAKT 2 . triggering the closed hi-hat will turn off the open hi-hat. an open and closed hi-hat cannot sound at the same time. “ringing” tails. select the Group in the Group Field. • • Voice Edit Group Parameters To assign a Group to a Voice Edit Group. • With “real” drums. Set the Voice Group polyphony to 1. A Group consists of a number of Zones. the sound may get muddy if several tom tails sustain at the same time. Therefore. To create this effect with KONTAKT 2. Assigning these to a Voice Group means that triggering a new loop will turn off any previously playing loop. then use the Voice Grp. A Voice Group consists of a number of Voices. drop-down menu to select an associated Voice Group. then assign these two Groups to a Voice Group. assign each of these sounds to a Group. only one of these Groups can play at a time (the most recently-played note).Please do not confuse Voice Group and Group. and set polyphony to 2. which are conceptually different.

such as MIDI lighting. Normally. you’ll select Always. Otherwise. You have a sampled guitar. • KONTAKT 2 – 99 . • • • • • Kill Kill Kill Kill Kill Any (the algorithm decides which is the best one to steal) Oldest (oldest note still sounding) Newest (most recently played note) Highest (highest-pitched note) Lowest (lowest-pitched note) Pref Rel: If you want released notes to play as long as possible. select No. Exclusive Group: Assigning two (or more) Voice Groups to the same Exclusive Group means that playing a note from one of the assigned Voice Groups will mute a note played by the other Voice Group assigned to the Exclusive Group. This may cause the number of voices to temporarily exceed what’s specified as the maximum amount of polyphony. select Yes. consider the following: • In one song. There can be up to 16 Exclusive Groups. You can set Groups to play only if the incoming notes are not in the range of those bottom three keys. for example. Fade Time: Sets how long a stolen voice will fade out before it disappears. Group Start Options This exceptionally powerful feature determines the condition under which a Group will play. Mode: Choose from the following voice-stealing modes if the number of voices is exceeded. you use the bottom three keys of your keyboard to trigger some other device.Voices: Determines the number of voices in the Group. values 80 and 127. from 0 to 1000ms. However. and like to bring in feedback occasionally. You can assign the feedback samples to a separate group that is triggered by a key only if the mod wheel is between.

Cycle Round Robin: Groups sound sequentially. layer them on one key. C. B. except that the Groups don’t play in any specified order. Specify the controller number and the low/high values for the range. C. A. If B and D are both assigned to 2. Example 3: Sample each note of an arpeggio. D. the other with a sample for a right hand hit. A. each successive key hit will play the Groups in this order: A. C. 100 – KONTAKT 2 . B+D C. B. Slice Trigger: This is used in conjunction with the Beat Machine function. If you assign Sample A to the first position. Choose a parameter value between 0 and 127. and the other to round robin chain position #2. one with a sample for a left hand hit. are layered on the same key. you can set up multiple options. based on their position in the “round robin chain. Example 2: Suppose you’ve layered two snare sound Zones on a key. Start on Controller: The Group will not sound unless a controller is within a specific range. C. B+D. and will cause all Groups derived from the original loop to have their start criteria set to “Slice Trigger. Now you can control the arpeggiation rhythm by striking just one key to initiate the different notes. each successive key hit will play the Groups in this order: A.” Example 1: Four Samples. B to the 2nd. B. and assign each one to a round robin chain position. A. Cycle Random: This is like Cycle Round Robin.. and each Group Start is set to Round Robin.. Successive strikes on the key will alternate between the right and left hand samples..” Please see the Beat Machine Section for more details.. C to the 3rd. such as a Group sounding only with certain keyboard notes when with a foot controller in a certain position. A. Each Sample is its own Group. A.Furthermore. D. The Group(s) can sound on any of the following: Start on Key: The incoming note must be within a particular key range. and D to the 4th. Assign one Zone to round robin chain position #1. and D.

Selecting any of these options calls up a panel of appropriate parameters, as mentioned above.

The screen shot above illustrates a typical use of Group Start options. The first panel specifies that the Group will sound if the sustain pedal (controller 64) is on. (Note: This assumes that Controller #64 has been set to act like a standard sustain pedal by selecting either Pedal+CC or Pedal w/o CC in the Instrument Options menu.) However, that can be further modified by additional panels. Note the drop-down menu toward the right; this specifies whether the Group will sound if the conditions set by the first and next panel are met, the conditions set by the first or second panel are met, or if the conditions met by the first and not the second panel are met. In this screen shot, the Group affected by these three panels of Group Start parameters will sound only if the sustain pedal is down, AND Controller 7 is between 110 and 127 OR Controller 1 is between 96 and 127.

KONTAKT 2 – 101

The Mapping Editor
The Mapping Editor is where you place samples on the keyboard, layer them in Zones, assign them to specific velocity ranges, do velocity- or pitch-based crossfading among overlapping samples, and more. There are two ways to access the Mapping Editor. • Click on the Mapping Editor button. It opens within the KONTAKT rack.

Click on the arrow toward the right side of the Mapping Editor button. It detaches from the rack, and floats freely.

Once the Mapping Editor is open, you’ll see three main features, as numbered in the diagram above. From top to bottom, these are: 1. An Upper Edit strip with various buttons, and a sample selection field toward the lower right. 2. A Zone Info strip that displays several Zone-related parameters 3. A keyboard along the bottom and a blank space above it, called the Zone Field. Assuming your MIDI keyboard is hooked up properly, playing notes

102 – KONTAKT 2

should place little red dots in the field. The height of the dot corresponds to velocity. You may also trigger notes by playing on the “virtual keyboard” below the Instruments. Clicking closer to the bottom of the key produces higher velocities. Clicking closer to the Zone Field lowers the velocity. Note that there are horizontal and vertical scroll bars with + and – zoom buttons, allowing you to zoom in and out on the Zone map.

Mapping Samples
Dragging a sample from the browser or desktop into the Mapping Editor creates a Zone. You can also shift-click on multiple samples, or click-drag a rectangle around contiguous samples, and drag them all into the editor. Dragging the sample toward the top of the Zone Field widens its keyrange, while dragging toward the bottom of the Zone field narrows it. If you drag over multiple samples, they will occupy consecutive keyranges, whose width also depends on whether they are dragged toward the editor’s top or bottom. Dragging multiple samples on the key itself places them one on top of each other, with the first sample in the list appearing at the bottom – very handy when building velocity-switched or velocity-crossfaded presets.

Selecting Zones
There are three ways to select Zones. • • • Click on the Zone. Shift-click to select multiple Zones. Click in a blank spot in the Zone Field, outside of the Zones you want to select, then draw a rectangle around the Zones to be selected. Even if a Zone hides another Zone by being overlaid on it, both will be selected if you drag over them.

When you select multiple Zones, the one with the thickest outline is the Zone with the current focus.

KONTAKT 2 – 103

Editing a Zone’s Root Key
When you select a Zone by clicking on it, one of the keyboard keys will turn orange. This indicates the sample’s root key, which determines the sample’s playback pitch. Example: If the sample plays note G#2, then the root key should be set to G#2 to play back at that pitch. However, you can also set this value to other keys for special effects. Example: Setting the root key to G#3 will cause the sample to play an octave lower, while setting it to G#1 will cause it to play an octave higher. There are two ways to change the root key. • Click on the existing root key in the virtual keyboard, and drag it to the new root key.

Click on the Root numerical and enter a value using the standard editing options (click on arrows, drag mouse, or type in value).

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Simply stretch the sample downward to cover the extra four notes. Method #1: To stretch a note downward. Click. Note that the Zone info strip will update the sample’s high and low notes as you make these edits. Example: Suppose you’re mapping a guitar’s low E note to a keyboard. Click on the MIDI <-> button in the Mapping Editor’s Upper Edit strip. then drag to the right. Play a key to set the Zone’s lower pitch limit. Important: Tracking must be enabled in the Source module to allow stretching. but want it to extend down to C. then drag to the left. Method #2: You can also set Zone key range via your MIDI keyboard or the KONTAKT 2 virtual keyboard. There are four methods for editing the key range. Play a second key to set the Zone’s upper pitch limit. place the cursor over the Zone’s left edge.Editing the Zone Key Range Samples can be stretched (pitch-shifted) to cover a wider key range. the cursor turns into a double arrow. click. Stretching a note up in pitch works similarly: Place the cursor over the Zone’s right edge. KONTAKT 2 – 105 .

or type in value). Method #4: Use keyboard shortcuts (see Appendix B). drag mouse. 106 – KONTAKT 2 .Method #3: Click on a pitch field (upper or lower) in the key range section and enter a value using the standard editing options (click on arrows.

and high-velocity ranges respectively gives a more realistic sound. Hit a second key harder. and loud volumes (or sometimes more). Similarly. KONTAKT 2 will always assign the lower velocity note as the lower limit. to set the Zone’s upper velocity response limit. mapping them to low. to restrict the lower velocity range. click on the lower edge and drag up. Click on the MIDI up/down arrow button in the Mapping Editor’s Upper Edit strip. KONTAKT 2 provides three methods to restrict a sample’s response to a specific velocity range. mid. medium. or click closer to the bottom of the virtual keyboard. Method #2: You can also set Zone’s velocity response via your MIDI keyboard or the KONTAKT 2 virtual keyboard. Play a key softly (or click closer to the Zone field on the virtual keyboard) to set the Zone’s lower velocity response limit. KONTAKT 2 – 107 . and the higher velocity note as the higher limit. place the cursor on the Zone’s top border so that the cursor becomes a double arrow. Method #1: To restrict a Zone’s upper range so that it is triggered only by velocities below a certain value. Drag down to the desired upper limit.Editing Zone Velocity Response As many instruments are sampled at soft. Note: The actual order in which you play the keys doesn’t really matter.

Method #3: Click on a velocity field (higher or lower) in the velocity section and enter a value using the standard editing options (click on arrows. and key range by width. default view. some samples may be hidden by other samples. or type in value). List View There are two Mapping Editor views. In the standard. Mapping Editor Header Controls Here’s what the various buttons in the Edit Strip do. a sample’s velocity is indicated by height. Note that if samples overlap or layer each other. 108 – KONTAKT 2 . drag mouse.

KONTAKT 2 – 109 . and the ranges they cover. Samples that cover the same key range are placed vertically in a stack. However. This makes it easy to see any samples that overlap.Selecting List View calls up a different view that does not indicate sample velocity. it shows all samples and the key ranges they cover.

Here are the editing options. the “+” and “-” buttons zoom in and out. Deselect All Zones: Any selected Zones are de-selected.Both views provide for zoom in and out. Zones are pasted in the same place they came from . Edit Menu The Edit button presents a drop-down menu with ways to edit individual Zones and Zones included in Groups. Paste Zone(s): Takes the clipboard data and adds the Zone(s) to the Mapping Editor. Select a Zone to edit by clicking on it. Use this when you want to remove a Zone. You can also call up the same menu by right-clicking anywhere in the Zone field. not just within Instruments in a single instance. The right scroll bar includes “+” and “-” buttons toward the bottom that change the vertical magnification. The bottom scroll bar scrolls across different ranges of the Mapping Editor. Cut Zone(s): Removes the selected Zone(s) and places the Zone data on the clipboard. respectively. Copy Zone(s): Copies the Zone and places this data on the clipboard.in other words. the pasted version will cover the same range. 110 – KONTAKT 2 . The computer keyboard’s Del key performs the same function. It’s even possible to copy and paste Zones from one instance of KONTAKT 2 to another. or Shift-click on several Zones to edit all of them simultaneously. Delete Zone(s): Removes the selected Zone(s). However. but does not place data in the clipboard. but not replace the existing clipboard contents. as well as scrolling if needed. The Mapping Editor is also where you associate Zones with Groups for group processing and playback options. Select All Zones: Selects all Zones in the Instruments. first you need to select the Zones that will be part of a Group. if a cut Zone covered a particular range.

Move Zone(s) to New Empty Group: This creates a new Group. This option makes it possible to derive a Group from an instrument. Samples will be dragged wherever you place them. which includes the default Sampler and Amplifier modules. To move the selected Zones to a particular Group. You can also see the sample name in the Name field (in the lower right of the Upper Edit Strip). Note: You cannot edit the displayed sample name. KONTAKT 2 – 111 . Batch Tools: These are like a “menu within a menu. Black Keys Only: Samples will be one key wide and snap to black keys only. Map Mode: There are five different Map modes that affect where a sample will “land” when you drag it over into the Mapping Editor. White Keys Only: Samples will be one key wide and snap to white keys only. Show Sample Names: Shows the sample’s name on the sample itself. As you drag higher or lower. without losing all the added modules and modulations. the sample keyrange can land on a black or white key. Move Zone(s) to New Clone Group: This function creates a new Group with modules based on the Zone first selected.” and described in detail after this section on Edit button options. and moves the Zones to that Group. Move Each Zone to Its Own Group (Empty): Each Zone becomes an empty Group. Auto-Move Root Key: When enabled (as indicated by a diamond to the left of the menu option). The Group will include the default Sampler and Amplifier modules. These options are: • • • Chromatic: This is the standard mode. Move Each Zone to Its Own Group (Clone): This creates a Group with any existing modulation or processing settings retained from the Zone(s) being moved. Move to Existing Group: Clicking on this produces a menu that shows all existing Groups. moving a Zone moves the Root Key along with it so that the Zone pitch remains the same. and transfers the selected Zones into the Group. select it from the menu.

If you fade out Sample A starting at a velocity of 70 so that it’s fully faded out at a velocity of 80.and Sample “B” from F2 to C3.• • Snap to White Keys: Samples will snap to white keys when you drag them into the Mapping Editor. the high and low limits of the sample keyrange will snap to white keys. The display shows shading over the crossfaded area. This is because stretching can alter a sample’s timbre. and fade in Sample B starting at F2 and ending at G#2. the high and low limits of the sample keyrange will snap to black keys. In other words. Auto-Apply X-Fades (Velocity): Automatically applies a crossfade for all selected Zones with overlapping velocity ranges. Snap to Black Keys: Samples will snap to black keys when you drag them into the Mapping Editor. Batch Tools Several of the Batch Tools relate to crossfades (called X-Fades for short). Example: Sample “A” might extend from C2 to G#2. A Velocity X-Fade works similarly to smooth over the transition between samples designed to be triggered at different velocities. If you drag higher or lower to set a keyrange. Example: Sample “A” might play over a velocity range of 1 to 80. while Sample “B” plays over a velocity range from 70 to 127. or some other interval. 112 – KONTAKT 2 . A Key Crossfade is generally used with instruments that don’t have a sample recorded for every note. and fade in Sample B starting at a velocity of 71 so that it’s fully faded in at a velocity of 80. and stretched to cover the appropriate keyrange. samples are taken every fifth. If you drag higher or lower to set a keyrange. samples are overlapped and crossfaded. octave. To make this change less obvious. the transition between samples during the overlap area will be much smoother as the two samples “morph” into each other. so they overlap in the range of F2 to G#2. the two samples will crossfade and create a more seamless transition in the velocity overlap range between 70 and 80. Auto-Apply X-Fades (Key): Automatically applies a crossfade for all selected Zones with overlapping pitch ranges. The display shows shading over the crossfaded area. If you fade out Sample A starting at F2 and ending at G#2.

KONTAKT 2 – 113 . the Group editor reflects that selection. key crossfade curves will be removed from all of them. velocity crossfade curves will be removed from all of them. If multiple Zones are selected. and have the whole sound environment change into what belongs to that Zone. Auto-Select Group When selected. Move Root Key(s) to Center: Moves the Root Key for all selected Zones to the Zone’s center note. changing the Group within the Group editor automatically selects the Zones belonging to that Group. if you select a Zone. Move Root Key(s) to Upper Border: Moves the Root Key for all selected Zones to the Zone’s highest note. Remove X-Fades (Key): Removes the key crossfade curve from all selected Zones. It can be very convenient to select a certain Zone. Move Root Key(s) to Lower Border: Moves the Root Key for all selected Zones to the Zone’s lowest note. Also.Remove Crossfade (Velocity): Removes the velocity crossfade curve from all selected Zones. If multiple Zones are selected. This is useful if you’re editing an Instrument like a drum kit that has lots of different Groups for different sounds.

Play a second key to set the Zone’s upper pitch limit. Set Key Range by MIDI Click on the MIDI <-> button. Play a key to set the Zone’s lower pitch limit. Set Velocity Range by MIDI Click on the MIDI up/down arrow button. when you want to make sure you don’t move a Zone accidentally.Lock Zones The Lock Zones button in the Mapping Editor prevents any Zones (selected or not) from being moved. Play a key softly (or click closer to the Zone field on the virtual keyboard) to set the Zone’s lower velocity response 114 – KONTAKT 2 . This button can be handy for extensive edits.

If two Zones overlap. Select Zone Via MIDI When enabled. Selected Groups Only When enabled. and the higher velocity note to the higher limit. KONTAKT 2 – 115 . Note: The order in which you play the keys doesn’t really matter. the lower velocity note will be assigned to the lower limit. playing a MIDI note selects the Zone triggered by that note. the Mapping Editor shows only those samples in Groups that are selected in the Group Editor. the top Zone is selected.limit. Hit a second key harder (or click closer to the bottom of the virtual keyboard) to set the Zone’s upper velocity response limit.

or the one with the focus if multiple Zones are selected. The <> arrows to the right choose the previous or next Zone (based on alphabetical order) used in the Instrument. Root: The Zone’s root note. K. Tune: Pitch offset compared to the Zone’s original pitch. Pan: The Zone’s placement in the stereo field. Velocity: Shows the Zone’s lower and upper velocity boundaries. Range: Shows the Zone’s lower and upper pitch boundaries. in semitones.Sample Name Field Shows the name of the selected Zone. Volume: Adjusts the Zone’s level – ideal for trimming out volume differences between Zones. 116 – KONTAKT 2 . from –100 (full left) to 100 (full right). Zone Info Strip Information concerning the selected Zone is shown here.

KONTAKT 2 – 117 . particularly dance music. and have a sound that repeats rhythmically. This repeats a section of a file continuously. Waveform-based. KONTAKT can play back and process these types of loops. etc. There are two main types of looping: • Phrase-based. to save space you could loop the sustained section so it would play as long as the key was held down. KONTAKT’s Loop Editor is optimized for this type of loop.The Loop Editor Looping has multiple meanings. etc. bass line. which are generated with programs like Sony Acid. Consider a sound like a woodwind. so samplers had limited memory capacities. ReCycle (for REX format loops). As applied to samples. Phrase-based loops form the foundation of many types of music. Looping is still used to conserve memory. you could loop the portion of a sample that corresponds to a quarter note at a song’s tempo. For example. Invoking the Loop Editor The Loop Editor allows for setting sample start and end points. so it’s not surprising that sometimes the terminology is confusing. This repeats an entire phrase. This section can be as small as a single cycle to as long as a significant portion of the file. After an initial attack. looping repeats a portion of the sample. Cakewalk Sonar. • About Waveform-Based Looping This type of looping originated when computer memory was very expensive. it settles into a sustained section. Extremely short loops can also create unusual waveforms. but has creative applications as well. Rather than sample the entire sustained section. as well as defining up to 8 loops within the sample. like a drum beat.

or C (1024 x 768). The large size is excellent for detailed editing. The “+” and “-” buttons toward the lower section of the right scroll bar changes the magnification of the waveform amplitude. Loop Editor Header Controls Size Button This is visible only if the Loop Editor window is detached. respectively. allowing you to zoom in and out on the loop. there are horizontal and vertical scroll bars with “+” and “–” zoom buttons. The calibrations along the top vary to accommodate changes caused by horizontal zooming. 118 – KONTAKT 2 . floating the large window in the second monitor makes for very comfortable editing. then click on the Loop Editor button. These features allow for very detailed. If the Loop Editor isn’t open. B (600 x 600). then click on a Zone. Furthermore. precise loop editing. If multiple Zones are selected. The window can be one of three sizes: A (619 x 364). the one with the focus (thicker yellow outline) will appear in the Loop Editor when invoked. by zooming in and zooming out. Note that you can also open the Loop Editor by clicking on the small arrow to the right. the “+” and “-”buttons zoom in and out. The bottom scroll bar views different portions of the Sample. click on the Zone you want to edit in the Mapping Editor. if you have a dual-monitor display. double-click on a Zone to open the Loop Editor and load the Zone’s sample.There are three main ways to call up the Loop Editor: • • • With the Instrument editor open. Open the Loop Editor. The Loop Editor is calibrated along the top in seconds. respectively. which allows detaching the Loop Editor window and floating it outside of the rack.

the crucial aspect is not necessarily that the points be at zero amplitude. the view can also jump directly to the selected Loop Start or Loop End. • Snap Menu The Snap menu chooses whether Loop Start and End points will “snap” to places where the signal amplitude is equal. it’s convenient to be able to jump to different portions of the waveform. as well as enable the Loop Editor (described later). you can change the loop start and end parameters to adjust the loop. If there are loops. Loop Edit Mode: This splits the screen in two parts. as the transition should be as seamless as possible. both channels are summed together in mono. while seeing the results in real time. The right shows the start of the selected loop. However. This allows judging how well the two match up. but that they have equal amplitude. Go to Loop Start: Centers the selected loop start point in the center of the viewing area. the choices are Sample Start and Sample End. If there are no loops. The left part shows the end of the selected loop. For example. Show Both Channels: When enabled (as indicated by a diamond to the left of the menu option). Here are details on each option.View Menu When editing a sample. KONTAKT 2 – 119 . both channels of a stereo file are displayed. Go to Sample End: The sample end point appears at the right-most side of the viewing area. • • • • • Go to Sample Start: The sample start point appears at the left-most side of the viewing area. KONTAKT 2 offers two different ways to optimize loop points. Go to Loop End: Centers the loop end point in the center of the viewing area. When disabled (as indicated by a blank space to the left of the menu option). It’s generally thought that any Loop Start and End points should be at zero amplitude for optimum looping. The location you select will be centered in the viewing area. So. thus minimizing clicks or pops caused by an abrupt level change when the loop jumps back to the beginning.

The Command menu also provides other functions.. you’ll obtain a better loop by setting loop points at zero crossings where the signal transitions from positive to negative. Note: In some cases. goes more positive or more negative through the value crossing). seeks out a possible candidate for a good Loop End point that’s close to the existing End point.some loops sound more seamless when the Loop Start and End points are on peaks of the signal. You can continue trying this if the new suggested End point isn’t satisfactory. Find Loop End (Long): This is a similar automated loop finding function. but can lengthen the loop considerable if KONTAKT 2 thinks the end result will be a good Loop End point. then turn on Snap to Value Crossing. As with finding short loops. 120 – KONTAKT 2 . Find Loop End (Short): If you’re not happy with a file’s loop points. this function searches through the waveform. Restore Loops From Sample: Reverts to the original loop settings when you opened the sample. • Snap to Zero Crossing: Snaps the Loop Start or Loop End point (whichever is being adjusted) to the nearest zero crossing that sits in a transition from negative to positive. you can apply this repeatedly if desired. thus undoing the effect of any loop editing you’ve done. For this. and with a transition in the same direction (e. Snap to Value Crossing: If you set one of the Loop points to a particular value with Snap off.g. • Command Menu KONTAKT 2 includes some basic artificial intelligence to help find good loop points. use “Snap to Value Crossing” (described next) instead. While not infallible. and changes the loop end accordingly. this can speed up the process of finding good loops. adjusting the other loop point will snap it to a part of the waveform with the same level. it can analyze a waveform and decide where good loop point candidates would be.

these take up bandwidth and therefore limit headroom during the mixing process. Adjust Loop Ends +1: Moves all loop ends one sample to the right. These are: • • • • • Copy Current Zone’s Loop Settings: The current Zone’s loop settings are applied to all selected Zones. you invoke DC Removal to have the “purest” sample possible. If you bring a looped sample from a digital audio editing program into KONTAKT 2 and the loop is not correct. Restore Loops from Samples: The same as for a single Zone. clicking on Play plays back the looped portion only. Auditioning the Sample or Loop Stop button: Click to stop sample playback. The ability to adjust loop ends by one sample is important because some audio editors handle loop points differently. Play button: Click to play either the entire sample or if the Loop button is on. try using these options to compensate. While inaudible. the looped portion only. you can also choose several options for all selected zones.Remove DC Offset: Removes sub-sonic artifacts. Loop button: When enabled. Adjust Loop Ends –1: Moves all loop ends one sample to the left. but affects all selected Zones. DC Removal: Removes DC offset for all selected Zones. To All Selected Zones: The above commands apply to individual samples. However. Note that this is a destructive operation that overwrites the sample data on disk. The process of transposing and processing samples can create these artifacts. thus making the loop one sample shorter. thus making the loop one sample longer. so it’s recommended that before looping. KONTAKT 2 – 121 .

Edit this parameter by clicking and dragging the red “E” (Sample End) marker. End: Sets where sample playback ends. the samples in a directory).Open Sample in External Editor Under Options. Loop Editor Information Strip These parameters show various loop characteristics. and automatically load the sample currently in the Loop Editor. 122 – KONTAKT 2 . Start: Sets how far into the sample that playback begins. Click on this button to launch the editing program. Sample: Shows the name of the sample loaded into the Loop Editor. and loads the selected sample into the Loop Editor. you can specify an external audio editing program for doing detailed editing of KONTAKT 2 samples. Saving the file in the waveform editor will update the file within KONTAKT 2. starting later can bypass a sound’s attack. The two arrows choose the next and previous sample in a list of samples (e.. S. Edit this parameter by clicking and dragging the green “S” (Sample Start) marker.g. The value shown is in samples. S. For example.

This cannot be edited. and loop specific parts for a certain number of times to create a “stuttering” effect. KONTAKT 2 – 123 . in seconds. As just one example. This cannot be edited. Loop Section The loop section below the waveform determines the number of loops (up to 8) and whether they are enabled or not. you could load a 16-bar sample of. The reason for having multiple loops is that you can repeat a loop for a specific number of times. This cannot be edited. say.Bits: Displays the Sample’s bit resolution. a vocal. S. Rate: Shows the Sample’s sample rate. Len: Shows the Sample’s total length.

from sample start to sample end. You can also select a loop for editing by clicking on it in the waveform view. The behavior of prior loops depends on the Count control. Loop Mode There are six looping modes. then backward. then forward. then forward. while loops that are turned off (and therefore have no effect on the sound) are gray. which when triggered. The waveform view will no longer show the loop. Click on one of the 8 loops for editing. you first need to select the one you want to edit. Until End <->: This is similar to Until End. 124 – KONTAKT 2 . and ignores note off events. Note that these buttons themselves do not turn loops on and off. etc. but the loop plays forward. Buttons for any other loops that are turned on are blue. but the loop plays forward. This is typically used for triggering drum sounds. Note that if there are several loops in a sample. which determines how many times a loop repeats before moving on to the next loop. the loop stops and the rest of the sample after the loop plays through. and the loop start and end points will be reset to the beginning and end of the sample. etc. but instead select them for editing. the loop will continue during the release phase. Until End: Plays the loop until the note ends. continue until they end. Off: Turns off the loop. then backward. Until Release: Plays the loop as long as the note is held down. One Shot: Plays the sample one time. Until End and Until Release affect only the last in the series of loops.Loop Selection and Editing Loop Selection buttons: Before editing a loop. Its corresponding button will glow orange. If the loop extends to the end and there is a release time on the amplitude envelope. The button for a loop being edited glows orange. Upon releasing the note. Until Release <->: Resembles Until Release.

For fine tuning. This is useful for when you’ve found what seems to be a good loop point. proceed to the next loop. It is also possible to move the entire loop by clicking in the middle of the view and dragging left or right. you can also set the start point by holding your mouse over the left edge (the cursor turns into a double arrow) and dragging to the desired start point. End: Adjusts the end point (in samples) for the selected loop. but perhaps could be improved by shifting its position within the sample. as sometimes there will be a slight pitch shift in the process of creating a seamless loop. Count: If there are several loops in a sample and one loop has a Count parameter of 0. Once a loop is turned on and defined. If the loop is turned on and selected. and so on for up to a maximum of eight loops. KONTAKT 2 – 125 . hold Shift while moving this knob. Loop Tune: Each loop can be tuned independently. Xfade: Sets how much of the loop end will be crossfaded with the loop beginning. and set the end by holding your mouse over the right edge (the cursor turns into a double arrow) and dragging to the desired end point. then a loop will play the specified number of counts before continuing to play the sample and if applicable. If the loop is turned on and selected.Loop Section Numerical Fields Start: Sets the start point (in samples) for the selected loop. that loop will continue playing and no loops after it will play. which will then play the amount of times specified by the Count parameter. the waveform view will reflect these changes. these changes will be reflected in the waveform view. Slice Section The slice section works in conjunction with the Beat Machine. Please see the Beat Machine section for details on how to use the Loop Editor’s Slice Section. If a Count value is greater than 0. This can be useful with very short loops. Use the Tune control to offset the shift to retain proper pitch. Crossfading can produce more seamless loops than simply jumping back from the loop end to the beginning.

Editing and Saving a Script (Simple Method) You can make changes to script parameters. which defaults to constraining 126 – KONTAKT 2 . then save the result by clicking on the Script button and selecting Save Preset. click on the Script button and choose the desired script. Loading a Script To load a Script. In fact. the Script module appears in its default state. as KONTAKT 2 gets into the hands of more and more creative people. you don’t need to be able to write scripts to use them. events that are filtered out in a script to the left are not present in a script to the right. For example. from the simple to the sophisticated. Please check the Native Instruments web site for information finding and sharing scripts. for example.The Script Editor Although there is a separate tutorial for those who want to learn how to create scripts for the Script Editor (essentially. Scripts flow from left to right. suppose you have selected the Constrain to Scale script. You can load a total of five Scripts into this module. it involves learning a computer programming language). more scripts will become available. Each Script provides MIDI data processing functions. When you click on the Script Editor button.

The field that shows the code allows for text editing so you can make your own changes. in all their geek glory. you’ll see the new defaults. click on the Edit button. you can also just save the changes along with the current instrument or multi if you only need them in the current session. Change the Key and Mode parameters to D and Minor respectively. Please see the script library documentation for a detailed explanation of the features of each script. Note that some scripts also provide a form of built-in preset management. then save the edited version using the same method described above. This reveals the lines of code that make up the script. you can also edit the script itself. Of course. To edit a script. Editing and Saving a Script (Geek Method) If you’re into programming. But you’d rather have the notes constrained to D Minor. KONTAKT 2 – 127 . then save the script. Next time you load it.all incoming notes to C Major.

Please refer to the tutorial on writing scripts for more information about how the programming process works. Locking a Script If you do not want a script to be editable.When you make any changes. A dialog box appears where you can enter a password. click on Lock with Password. if someone attempts to make a change and clicks on Apply. KONTAKT 2’s scripting language can serve as an excellent introduction to the basics of computer programming. although the idea of programming scripts may seem intimidating. the Script Editor closes automatically. 128 – KONTAKT 2 . while in edit mode. By the way. However. Click on OK when you’re done. With a locked script. any changes are not permanent until you save the edited script. then retype for verification. the Apply button lights up to remind you that you need to click on Apply if you want these changes to be applied to the script.

3. The Sampler module is very efficient and draws little power from the host CPU. located in the Presets directory within the KONTAKT 2 folder. selectable from the drop-down menu left of the Tune knob. Name the Preset. KONTAKT 2 – 129 . reads it out from memory. To do this: 1. Click on Save Preset. The Source module offers six kinds of sample synthesis algorithms. and applies any needed pitch-shifting by resampling the audio data. Sampler This is a “standard” digital sampler that stores sample data in system memory. so you might want to save these as Presets. 4. You can neither delete it nor have more than one Source module. Click on the Preset button. The Preset defaults to being saved in the Source directory. Click on Save. 2. and described later: • • • • • • Sampler DFD (Direct From Disk streaming) Tone Machine Time Machine Time Machine II Beat Machine Saving Presets Some settings for the Tone and Time Machine are particularly useful for a variety of sounds.Source Module The Source module is always present in an Instrument.

Tracking: When enabled. How these parameters behave depends on the parameter being modulated. up to plus or minus one octave. If you have an explosion sample and want several explosions to “go off. Otherwise. hold the Shift key while dragging the knob. without transposition. Leave this set to “Default (Instrument)” unless you want to specify a different MIDI port / channel for the current group. when a note/key is released).. and each key you hit triggers an “explosion. adjustments affect only the selected Group.e.Most of the module’s parameters can be modulated. Release trigger works on a group level. Reverse: Reverses playback for all Samples contained in the selected Group. to play rolls or to play it polyphonically) without affecting the pitch. For example.” MIDI Channel: This allows selecting a MIDI channel for the currently selected Group. This is important for pitched sounds. Release Trigger: Allows triggering samples/zones via note-off commands (i. In other words. When disabled. the Zone always plays at its original pitch. Sampler Module Controls Tune: Changes the pitch for the selected Group in semitone steps. a Zone’s pitch changes as you play different keys on the keyboard. you might want to trigger a sample of a string “squeak” when you release a note.g. with guitar.. Remember when editing that you can choose whether to edit all Groups simultaneously by selecting Edit All Groups in the Group Editor. For finer adjustments. When you enable Release Trigger. Another use is with sound effects. a time field appears (to the right of the button) that displays a time in milliseconds. whereas Pitch or Loop Start are continuously variable. This represents the amount of time it takes for the note-on-counter to count backward to 0. if you press a key on the MIDI keyboard and 130 – KONTAKT 2 .” you can map the sound to several keys. such as instruments. This is useful for layering a drum sound across several keys so you can trigger it with several fingers (e. the Sample Start changes to a new value only when a note-on occurs. For example.

DFD The controls for DFD are identical to that of the standard Sampler except that Reverse is not possible. Therefore. You can use this value as a modulation controller source.g.” because samples are streamed from hard disk rather than streamed from RAM. Therefore. KONTAKT 2 lets you specify DFD for an individual instrument or for specific groups. if you have a 30 GB piano sample CD. repeating the same note/key will retrigger the release sound and cut off the previously-sounding voice.the note-on-counter is set to 5000. as they will not receive another note-off. Please note a few important points about DFD. to play back release samples with a lower volume depending on how long the key was held). All the differences occur “under the hood. • KONTAKT 2 – 131 . and store the rest in RAM. For example. you can set only the really long samples to DFD mode. Note: Looped samples that have been triggered by a note-off play indefinitely. which appears in the Modulation router (e. Note that this applies only to when you’re playing on a single key. When disabled. This is important if you have limited RAM but very long samples. Copy them to hard disk first. it will count backwards from 5000 ms to 0 ms as long as you hold the key.. just as there are limits as to how many hard disk tracks you can play back at once. Streaming the 30 GB piano from disk solves that problem. and each sound will play through to the end. it’s unlikely you’ll have 30 GB of RAM in your machine. Do not try to use DFD mode with samples on CD-ROM. Note Mono: When enabled. • There is a limit as to how many simultaneous voices you can pull off a hard drive. playing the same note repeatedly will trigger a new sound with each keypress. you’ll probably want to add an envelope in the release trigger group so that the sound will eventually stop playing.

particularly with percussive and non-tonal material. depending on the size of the samples and the CPU power. A progress bar shows the processing status.• • Although using DFD minimizes RAM. However. Thus. pitch and playback speed can be set independently without affecting each other. you still need a certain amount of RAM to store the initial transient attacks for instant playback. This process may take a long time. You can switch from DFD to Sampler mode at any time. which can give a sense of pitch to any sample material. it uses “grains” (not individual samples) as its smallest playback unit. Note: Switching a Sampler module to the Tone or Time Machine causes a re-analysis of all samples contained in the Instrument. even when using DFD. the formant characteristics can be changed independently from the tone. when switching from DFD to Sampler. although it does not do this as precisely as the sampler module. Otherwise. adjustments affect only the selected Group. 132 – KONTAKT 2 . Although more processing-intensive than the sampler module. it has tremendous potential for creative sound design. It’s always good to have as much RAM in your computer as possible. Because the Tone Machine is a granular synthesizer. Remember when editing that you can choose whether to edit all Groups simultaneously by selecting Edit All Groups in the Group Editor. Furthermore. The Tone Machine does recognize sample loops and sample start parameters. it does not depend on the playback speed of the sample itself. there may be a slight pause as data is transferred from your hard drive to RAM. Because the tone information is synthesized. Tone Machine Tone Machine is a granular synthesizer.

16th notes). A value of 0 stops playback entirely. KONTAKT 2 – 133 . the length of the sample will be time stretched to fit exactly into one bar of your song.Also remember that as with other KONTAKT 2 parameters. . 3. Smooth: Adjusts the amount of granular micro-envelopes to reduce unwanted artifacts. independently of pitch. use Speed to select a duration of 2. Once the rhythmic value is selected. etc. the Speed control can select a multiple of the chosen note value (e. 100% plays back the sound at the original speed. up to plus or minus one octave. It can also sync to the MasterKontrol clock in stand-alone mode. if 16th note is selected. This parameter can sync to an external MIDI clock or your host software’s internal clock. 200% doubles the speed. you can fine-tune any of the knobs by holding the Shift key while dragging the knob.g. click on the percentage symbol and choose a note length value from the drop-down list. 5. if you choose Whole from the list. Speed: Changes the playback rate. 4. Tone Machine Module Controls Tune: Changes the selected Group’s pitch in semitone steps. The Speed values are expressed as percentage: for example. Note that small values generally cause a buzzier sound. etc. assuming the host can send song tempo information to the plug-in.. For example. 50% halves the speed. Translation: Turn the knob until it sounds the way you want. To choose the rhythmic value. thus altering the sonic character of the resynthesis process.

but will proceed from the current sample position associated with the first key. For example. Release Trigger: Allows triggering samples/zones via note-off commands (i. you might want 134 – KONTAKT 2 . Tracking: When enabled. without transposition. Leave this set to “Default (Instrument)” unless you want to specify a different MIDI port / channel for the current group. MIDI Channel: This allows selecting a MIDI channel for the currently selected Group.Formant: Transposes the formant (timbral characteristics) in fractions of a semitone. When disabled. the sample will always play at its original pitch. DC Filter: Corrects waveform asymmetries that can be produced by the Tone Machine algorithm. independently of pitch. when a note/key is released). the new sample will not be triggered from the beginning. If you hold a key while pressing another key with the Legato option enabled. Legato: This feature preserves the sample playback position when switching between samples. with guitar.e.. a sound’s pitch tracks keyboard notes – play an octave higher. It’s recommended that you leave this enabled. and the pitch is an octave higher.

It’s designed to alter sample speed while preserving the original pitch information. the Time Machine operates on pre-analyzed sample data. Time Machine Like Tone Machine. including Speed synchronization. Changing the grain size has little effect in high-quality mode. For more information. When enabled. repeating the same note/key will retrigger the release sound and cut off the previously-sounding voice.to trigger a sample of a string “squeak” when you release a note. but with the following exceptions: Hi Quality: This button replaces the DC Filter button. Time Machine is a granular synthesizer. it works without knowing the sample data’s characteristics.quality mode is disabled. KONTAKT 2 – 135 . playing the same note repeatedly will trigger a new sound with each keypress. The controls and general comments are the same as the Tone Machine. when disabled. and each sound will play through to the end. but can make dramatic changes when high. whereas low-quality does not (although the artifacts it produces at low speeds can serve as a creative sound-shaping tool). Note that this applies only to when you’re playing on a single key. High-quality preserves the sample’s signal properties at very slow playback speeds. Monophonic: When enabled. Grain: This control replaces the Tone Machine’s Formant control. When disabled. refer to the section on Release Trigger in the Sampler module description. and determines the size of the sound particles used for resynthesis.

respectively. transients are preserved as accurately as possible. Speed. Grain Size: This is a drop-down menu (it normally says “Default”) that adjusts the grain size. The Tune. If you slice this file on each beat. There is no Smooth control. and Release Trigger parameters work the same way as with Time Machine.” Playing these back at a slower or faster rate slows down or speeds up the tempo. Time Machine II is optimized specifically for the highest possible quality of time stretching and pitch shifting. so try the various options to determine what sounds best. Because the audio isn’t processed – just cut into slices – the audio waveform itself remains unaltered.Time Machine II While the original Time Machine is designed to offer as wide a range of effects as possible. the Transient Size knob adjusts the size of those transients that remain untouched. Transient Size: When the Transient Copy function is enabled. Transient Copy: When on. Beat Machine The Beat Machine divides an audio file into “slices. each with a kick drum 136 – KONTAKT 2 . Suppose you have a 1 measure kick drum file with a hit on each beat. then you’ll have four slices. It isn’t always easy to predict the effect this will have on the sound. This is recommended when working with material that contains a lot of transients. Tracking. such as drum loops. Following is a description of controls unique to Time Machine II. Here’s a quick example.

without changing tempo. Similarly. the more accurately the Beat Machine will slice up the material.hit. and Beat Machine can work with them directly. If a file isn’t suitable for slicing. Thus. Now assume that each slice is “pinned” to the beat. you can vary the MIDI sequence tempo and the MIDI notes will still be on the beat. the Speed control chooses a division of the chosen note. the kick follows along with the tempo. and therefore still trigger the kick drum on the beat. melodic percussion instruments like marimba. Editing Beat Machine files is covered later in this section. Clicking on the % symbol right next to the value opens a pop-up menu where you can select an appropriate rhythmic value. Once the rhythmic value is selected. The value is displayed in semitones. but the kick drum slice still gets triggered on the beat. such as drum loops. so that you can speed up or slow down the tempo and still trigger the slices at rhythmically correct times. It’s just like what happens with MIDI data: If you put a MIDI note on each beat and use that to trigger a kick drum sound. funky rhythm guitar. The Beat Machine technology works best with percussive material. in semitones. The clearer the attacks (also called transients) in the sample. but they must be sliced first. Waveforms that aren’t sliced can still be used with the Beat Machine. etc. without altering the pitch. If you have worked with programs like Propellerhead’s ReCycle or the Hit Points feature in Steinberg’s Cubase SX. REX and “acidized” files are already sliced (although they use different methods). the beats occur further apart. KONTAKT 2 – 137 . which can be done in the Loop Editor by using the Slice Section controls. if you speed up the tempo. you’re already familiar with the principle of operation.” Beat Machine Controls Tune: Alters the loop pitch. If you slow down the tempo. the kicks occur closer together but still track the tempo. Speed: The speed knob alters the sample’s playback speed. under “Slicing Files with the Beat Machine. use one of the Time Machine engines instead for time-stretching. Beat Machine works by “pinning” slices to the correct timing.

Go to the Mapping Editor and select the Zone for the file you just loaded. then some parts of the signal will be considered transients even if they’re not. leading to too many markers. Rls: The Slice Release control adds an adjustable release time to each slice. Blue markers will be placed wherever the Loop Editor senses a transient. Atk: Slicing a file can produce clicks at the slice point. When enabled. If the sensitivity is too high. Experiment until you find what appears to be the best sensitivity setting. 5. Slicing Files with the Beat Machine The Beat Machine works synergistically with the Loop Editor. Load a sample (preferably percussive) into an empty instrument and open it for editing. however. KONTAKT 2 will ask if you want to convert to Beat Machine. Generally. some lower-level transients might be missed. Adjust by ear for the best sounding results. Turn on the Active button.Sl. Even though this is not the Loop Editor section. Click on Yes. Release Trigger: This works as described previously for the other Source modules with this feature. 138 – KONTAKT 2 . Switch to Beat Machine. To use the Beat Machine: 1. If the sensitivity is too low. All edits applied to this group affect the entire sample. Click on OK. 4. This Slice Attack control adds an adjustable fade-in time for the slices that can minimize any clicks. the source sample contained in the Beat Machine group plays back. Open the Loop Editor. the individual slices are played back in order. You will be told you need to slice the file in the Loop Editor. 3. Move the Sensitivity slider to the right. you want to use the lowest value consistent with minimal clicking. 6. and each slice can be affected individually. we need to treat it as an extension of the Beat Machine if we’re going to slice files. Sl. 2. Internal Trigger: When disabled.

You’ll be presented with a dialog confirming that you want to remove all the slice markers. Move the cursor over the waveform display. then more markers need to be inserted in that section to create more slices. Once the slices are placed properly. Remove button (to the right of the + button): To remove slices. click. and a yellow slice marker appears. If you slow down the file and one section plays back too fast. However. click on the + button. except with very simple. close the Loop Editor. Try using one of the Time Machine engines instead for time-stretching. To do this. If you play back the file and there is a roughness or graininess. then move to the next place you want to add a slice. you’re done. Click to place it. you can discard all slice markers. Move the cursor over the “head” (the triangle at the marker top) of a slice marker you want to remove. turn off the + button. as verified by speeding up or slowing down the tempo and obtaining satisfactory results. you will need to remove redundant markers that are creating too many slices. When the slice turns yellow. Lock button (padlock icon): You can also lock slice markers that are known to be in the right place. and advising you that the Source will change to Sampler. Thus. The same thing is true if you speed up the file and one section plays back too slowly. click on the Remove button. + button: To add slices. and it will be removed. KONTAKT 2 – 139 . If the file does not lend itself to slicing. There are three ways to modify slice placement.Play back the file and vary the MasterKontrol tempo control (or the tempo of your host sequencer). it’s doubtful that adjusting the Sensitivity slider will be sufficient to put markers at all the correct transients. If the file plays back correctly within a reasonable tempo range. click on the Active button a second time to deactivate. When you’re done. you can experiment with the Sensitivity slider and not be concerned with disturbing markers that are already correctly set. easy-to-slice files.

Slice Expand Mapping Base Key: This determines where on the keyboard the slices will start. Release Time. Specifies the slice decay time (how long it takes to go from full on to silence) in milliseconds. They start on the base key and move towards the higher notes. Note that this command is available only after the sample has been sliced. Envelope Create Volume Envelopes.Map Slices to Groups (+ MIDI Export) This button opens the Slice Expand dialog box. Enable this to place volume envelopes into all the created Groups. 140 – KONTAKT 2 . Specifies the slice attack time (how long it takes to go from silence to full on) in milliseconds. These volume envelopes are analogous to the Attack/fade-in and Release/fade-out time for the slices found in the Beat Machine mode. which offers the following options. Attack Time.

” Thus. KONTAKT 2 stretches the release by a certain percentage to extend the slice’s ending. 0 gives no stretching. Set Group Start Options to Slice Trigger This switch causes all the Groups derived from the original loop to have their start criteria set to “Slice Trigger. check whether Internal Only Triggering is activated. The upper parameter (numerator) shows the number of beats. 16. 2. This control affects what happens when a slice file is slowed down. 4. these groups can be triggered by the slice markers of the “mother” zone (the zone from which all the single slices originate). but rather the single slices generated from this group. Measure: This sets the target MIDI file’s time signature. while the lower parameter (denominator) specifies the rhythmic value of each beat (1. Note: Activating internal trigger (INT.% Artificial Release Stretch. thus allowing for fast reconstruction (or alterations) of the original loop. This creates a separate MIDI file. thus creating a gap between the end of one slice and the beginning of the next. you want to use the minimum amount of stretching that gives satisfactory results. KONTAKT 2 – 141 . 8. Resulting Tempo (BPM): This read-only display indicates what the resulting tempo will be as a result of choosing the measure/time signature shown above. higher values increase the amount of stretch. 32). This helps verify that you’ve created a file of the desired length and tempo. In general. TRIGGER) in the Beat Machine source module will not play back the sliced sample contained in this group. With “Internal Only” Triggering This means that the groups can only be triggered by the internal Beat machine and not via MIDI any more. Now you can select and edit the groups containing the single slices. MIDI Save MIDI Timing Template. which can then be imported into a sequencer to trigger the single slice groups just as the Beat Machine does. If the keyboard in the mapping editor does not trigger any sound output. These MIDI files can be manipulated in the sequencer.

nor have more than one Amplifier module per Instrument. Amplifier This standard module is always present in an Instrument. suppose you have a surround instrument where the outputs are assigned as follows: 1 2 3 4 5 6 – – – – – – Left Right Left rear Right rear Center Subwoofer In the router.Expand! Click on this button to expand the file as specified. For example. this control determines the selected Group’s location in the stereo field. you could mix down the surround channels to stereo. The following diagram shows this example. Pan: If a stereo output is selected. You can neither delete the module. there are many other possible routing connections. Note that the Volume and Pan controls in the Instrument Header are master controls that trim all individual Group settings. Here are the available controls. 142 – KONTAKT 2 . or some other format. of course. Volume: Sets the selected Group’s overall level. Channel Routing This provides up/down mixing/routing capabilities.

The number of available input channels varies depending on how many channels are in the selected Group. The number of available output channels varies depending on which output is selected in the Instrument. KONTAKT 2 – 143 . In the example above.. Similarly. left-click in the rectangle where you want to make the connection. Leave this set to “Default (Instrument)” unless you want to specify a different output for the current group.e. Output Click on this button. You can also right-click on a connection to change its gain. Left-click on a connection to delete it. and a drop-down menu appears of all available outputs.To create a connection. from the Group) can be sent to a larger number of output channels by assigning the same input channels to multiple outputs. a smaller number of input channels (i. the level of the two center connections have been dropped by –12dB so that the center channel doesn’t overpower the left and right channels.

MULTI INSTRUMENT (1 to 64) GROUP (1 to 4096) Sample Player / Tone Machine / Time Machine / Time Machine 2 / Beat Machine SOURCE GROUP INSERT EFFECTS A 1 A 2 A 3 A 4 A 5 A 6 A 7 A 8 Send Levels B A Filter / EQ Distortion Saturation Lo-Fi Compressor Stereo Modeller Inverter Surround Panner Send Levels AMPLIFIER GROUP INSERT EFFECTS (If slots 7 and 8 are set to post amp. The following diagram shows how effects patch into a KONTAKT 2 instrument.KONTAKT 2 Effects Types KONTAKT 2 has a sophisticated and flexible effects structure. otherwise they are linked as shown above) A 7 A 8 Send Levels INSTRUMENT B INSERT 1 EFFECTS B 2 B 3 B 4 B 5 B 6 B 7 B 8 Send Levels C Convolution Delay Flanger Reverb Chorus Phaser INSTRUMENT SEND EFFECTS C 1 C 2 C 3 C 4 C 5 C 6 C 7 C 8 INSTRUMENT OUTPUT AUX SENDS 1-4 D D1 D1 D1 D1 D1 D1 D2 D2 D2 D2 D2 D2 D3 D3 D3 D3 D3 D3 D4 D4 D4 D4 D4 D4 1 … N AUX1 AUX2 AUX3 AUX4 MULTI OUTPUT Filter / EQ Distortion Saturation Lo-Fi Compressor Stereo Modeller Inverter Convolution Delay Flanger Reverb Chorus Phaser Audio Signal Path (1 – 16 Channels) 144 – KONTAKT 2 .

and thus before its associated modulation settings (LFOs.Group Insert Effects (Green Panel) These effects insert at the output of particular groups within an Instrument. Example: Suppose you group all the harmonics samples of a guitar together. use an Instrument Insert effect (described next) or a Send effect. Different Groups can have different effects. These effects modify the entire KONTAKT 2 – 145 • • • . When different Groups have different effects. etc. while the slots seven and eight can be switched to either pre Amplifier or post Amplifier. Note that many of KONTAKT 2’s effects are surround-compatible. the Send Level module should be placed AFTER the Amplifier and its associated modulation settings. This allows applying voice-dependent modulations to an effect parameter. Here are other characteristics of Group Insert effects. Note that the six slots to the left are all before the Amplifier module. If a monophonic effect suffices.e. it will process all surround channels. If a compatible effect follows a multichannel zone or a surround panner. clicking on the Group shows only those effects used by that Group. Most Insert effect parameters can be modulated by a modulation source. suppose you want an echo to decay even after a note is released. In such a situation. As an example of how to use this.) If you wanted the echo decay to track the note dynamics. Examples: Velocity could control the Distortion effect’s Drive parameter. the effect is computed separately for each voice you play). as described later in the section on adding modulation. You might want to compress just this group so that the harmonics stand out a bit more. or you can use the Group Editor’s Edit All command to process all Groups as you add effects. • Group Insert effects are polyphonic (i. a Send Level module should be placed before the Amplifier. There are eight Group Insert effect slots that connect in series. Use Group Insert effects only if you really need polyphonic processing. envelopes. or Key Position could determine the filter cutoff.

after the amplifier. thus giving a more processed sound. There are eight Instrument Insert effects slots that connect in series. as you determine the amount of reverb applied to a sound by how much signal you send to the reverb effect. One of the “effects” possibilities for the Group Insert and Instrument Insert is a Send Level control. 146 – KONTAKT 2 . One of the “effects” possibilities for the Group Insert Effects section is a Send Level control. each has its own Return control for mixing the desired amount of send effect into the master output. you would add EQ as an Instrument Insert effect. Instrument Insert Effects (Blue Panel) These insert at the Instrument output. Send Effects Send effects process different signal sources through a single effect module (see the diagram in the beginning of this section). Higher settings send more signal through the effect. There are eight Send Effects slots that connect in parallel. Note that many of KONTAKT 2’s effects are surround-compatible. This taps off a signal from the Instrument output and applies it to one of the Send Effects. Example: If you want to make the sound of an entire instrument more bright. This taps off a signal from the Group and applies it to one of the Send Effects (described below). described next. as set by a Send Level control.signal as a single entity rather than a number of notes. Reverb is the “classic” send effect. They ”pick off” a portion of the signal to be processed. and therefore affect all Groups. it will process all surround channels. which is much more CPU efficient. If a compatible effect follows a multichannel group or a surround panner.

This is described later.15 dB to add just a little reverb. 1. to avoid feedback. The Bass Aux Send 1 control would be at minimum. but process whatever is feeding the Output channel. You can now use the Aux 1 level control in the Outputs section to vary the overall amount of reverb. . 2. You’d like to have no reverb on the bass. to the four Aux Return channels in the Outputs section. In other words. Here’s how you would do this. Output Channel Aux/Insert Effects In a Multi. in the section on the various effects modules. no signal is going from the bass to the Outputs section reverb. 4. for example. and therefore require comparatively little processor power. just like a regular effect. a little reverb on the guitar and piano. but affect entire Groups or Instruments.Note that unlike Group Insert effects. For example. Thus. and strings. suppose you have four instruments in your multi: Bass. In an Outputs section Aux Return channel. which is added to a Group Insert Effects or Instrument Insert Effects slot. 5. rhythm guitar. Each sends a signal from the entire Instrument. KONTAKT 2 – 147 . Like Send effects within an Instrument. The Guitar and Piano Aux Send 1 controls would be set to something like . Let’s say it’s inserted in Aux Return channel 1. you cannot insert a Send Level control into a Send Effects slot. Send effects do not process every single Voice. you could bring down the level to decrease the overall amount of reverb. Or.6 dB. and lots of reverb on the strings. The Strings Aux Send 1 control would be set the highest. which can be several instruments. piano. Output Channel Aux Return effects do not process each voice individually. Output Channel Insert Effects place little load on the CPU. insert the Reverb effect. each Instrument has a strip below it with four aux send faders. you would increase the level fader. including all inter-instrument processing. Each Aux Return channel can hold up to four insertable effects. Note: Of course. The Send Effects receive signal as determined by a Send Levels module. 3. if you wanted to increase the amount of reverb on all instruments slightly.

after a chain. the sent signal will include any processing from slots to the left of the Send Level module. 148 – KONTAKT 2 . see the section of the manual that covers the Outputs section. Effects). EQs. then proceeds to the right. or in between effects. Adding Effects There are two ways to add an effect to the rack: • • Drag it from the Browser (Modules tab) into one of the slots. To change an effect’s placement.For more information on using Aux effects. you can drag it before a chain. and choose from three lists (Filters. A vertical line appears at any valid location where you can drag the effect. Click on the Down arrow in the lower right corner of an empty effects slot. The slot position determines the order of effects: The signal passes through the left-most effect first. You can add any number of send modules. Note: When adding Send Level modules.

click on the effect strip that includes the parameters (not the module in the slot). and Send Effects can also be saved and loaded as a Preset. where you can save and load presets of effects collections. Click on this to bypass the effect (the button glows red. press the computer keyboard’s Delete key. (bypass) button. KONTAKT 2 – 149 . the effect strip becomes outlined in orange.Deleting Effects To delete an effect. as in “stop”). Insert Effects. The configuration of the Effects strip in the Group Insert Effects. Common Effects Parameters All Effects include a Byp. All Effects also include a Preset drop-down menu. Then.

150 – KONTAKT 2 . while the Info Tab shows/hides info about a selected effect.”Effect” Filters (add special effects). there are four different tabs for filter types: Sampler Filters (designed for basic tone shaping). and EQs (like the kind of filters you find in mixing consoles). Furthermore. Note that each filter panel includes a graphic that shows the filter’s response. This changes as you change parameter values. The Modulators tab shows modulation sources for modulating various KONTAKT 2 parameters (as described later). as listed in tabs in the Browser.Effects Modules Types There are two main “families” of effects: Effects and Filters. Synth Filters (emulate the characteristics of classic synth filters).

which also brings up lower-level signals more. Controls Mode (drop-down menu): Choose between Classic compression. which retains the apparent amount of treble with high compression ratios. and both channels will be processed independently. or time (as differentiated from Filter Effects that modify frequency response). However. Ratio: Determines the amount of compression. a 4 dB input level increase KONTAKT 2 – 151 . signals below the Threshold are unaffected. Because peaks are lower. Thresh: Sets a level above which the compressor starts reducing peaks. A ratio of 1:1 means no compression at all.” and modify dynamics. Compressor Compression processes dynamics by reducing the difference in amplitude between soft and loud signals. St. With a 4:1 ratio. too much compression can give a squeezed.Link (Stereo link): When enabled. this causes the left and right channels to be analyzed as one signal to preserve stereo imaging. smaller sound. Only signals above the Threshold are affected by the compression ratio. Compression can give sounds more presence and punch. harmonics. while a ratio of 2:1 means that a 2 dB increase at the input will raise the output by only 1 dB. the compressor becomes a dual mono device. and Enhanced compression.Effects These are generally thought of as “special effects. When disabled. the overall signal can be turned up higher without exceeding the available headroom. there is a point of diminishing returns.

This is necessary because reducing the peaks gives up several dB of headroom. Release: Determines how long it takes for the compression action to stop after the input signal falls below the threshold level. Typical values range from 50 to 250 ms. Output is normally set so that signal peaks are the same.. Pan: Enable to switch channels. disable to retain existing stereo pan. 5ms is a good starting point. This is how waveform levels are reduced. whether the signal is compressed or bypassed. Ranges of 2:1 to 4:1 are common for most instruments. Inverter This module allows inverting the phase and/or the pan position (i. reverse the left and right channels).e.raises the output by 1 dB. Controls Phase: Enabled to reverse phase. Increasing the signal level brings up the quieter portions to make use of the full available headroom. Output: Edits the compressed audio signal level. The Inverter module can be used as a Group Insert effect or an Instrument Insert effect. Too short an attack can kill all sense of dynamics. Attack: Sets how long it takes for compression to kick in after an input signal exceeds the threshold level. disable to retain the original phase. 152 – KONTAKT 2 .

while maintaining the original sound source positions. 16.1 Surround. These show how loudspeakers are assigned to audio channels.1 Music. 10.1 Octaphonic. 5.1 Mono. The input can vary from mono to 16 channels. and their channel assignments. Menus and Buttons Surround Format: This drop-down menu chooses the panner output surround format.Surround Panner This module adds surround panning capabilities to Group Insert and Instrument Insert Effects (not Send Effects).0 Surround and more.1 Cinema. Options includes 1. 7.1 Front.1 Pentaphonic.1 Cinema. 3.1 Quad. Special effects (delays on each loudspeaker. air absorption.1 Surround. The following table shows the list of available surround formats. 3. 7.2 Surround. 2. 8. and Doppler effect) can add a realistic. natural touch and enhance the spatial impression.1 Heptaphonic.1 Stereo. 7. 5. This provides the opportunity to change the surround format depending on your host environment or loudspeaker system. and the output Format similarly ranges from Mono up to 16-channel surround. 4. KONTAKT 2 – 153 . 4. 5.1 Music.

Table of available surround formats including their channel assignments. 154 – KONTAKT 2 .

Mouse Mode: This drop-down menu provides various modes for moving the sound source(s) with the mouse. 1.Explanation of channel abbreviations: Left Right Left 2 Right 2 Left 3 Right 3 Center Left Center Right Center Center Surround Center Center Center 2 Center 3 Surround Left Surround Right Surround Low Frequency Effects Left High Right High L R L2 R2 L3 R3 C Lc Rc Cs CC C2 C3 S Ls Rs Lf Lh Rh If you need to re-assign channels to different outputs. Sync – Sound sources move in sync while maintaining their relative positions 4. you can use the Channel Routing module within the amplifier (see Channel Routing under the Amplifier section for more information). Y: Mirror – Each sound source will be mirrored on the Y-Axis only KONTAKT 2 – 155 . X/Y – Each sound source is mirrored on the X-Axis and Y-Axis 6. Mono Mix – All sound source(s) will be panned together at the same location 2. Individual – Each source can be panned individually with the mouse 3. Center – Sound sources are mirrored in the system center 5. X: Mirror – Each sound source will be mirrored on the X-Axis only 7.

Moving the source(s) far away from speakers with a high divergence can drop the level to 0. If you move the source above one loudspeaker. Changing the divergence to lower values will result in a more directional image and a better directional impression. Of course this behavior will change depending on the setting of divergence. If you move the source between two loudspeakers. all speakers will sound and the sum of all speakers will give the impression of the same volume. only this loudspeaker will sound. 156 – KONTAKT 2 .Algorithm: The surround panner offers three different algorithms: 1. Sinusoid – This algorithm uses a simple sinus-function to change the volume depending on the distance of the source to the loudspeaker(s). 2. Constant Power – Constant power panning will result in constant volume independent of the source-position. If you move the source in the center. the overall volume of those two speakers will be the same.

set the Divergence knob to 0%. and move the source far away from the center point.3. depending on distance. To hear delay-based panning only. Delay (on/off): This button enables a delay-based panning effect. the high frequencies are damped depending on the listener’s distance (center point). Enabling this function gives better results in recognizing the sound source position(s). In order to give a strong distance impression. Air Absorption (on/off): When a sound moves away from a listener. This effect simulates absorption. but uses a lot of CPU power. KONTAKT 2 – 157 . None of the above algorithms or modes only need to be used with a certain format or system and its recommended to experiment with the algorithms and parameters in order to find the most suitable setting for your surround production. increase the panning field’s size with the “size” knob. Logarithmic . which will bypass with amplitude-based panning effect. and will be more noticeable if the sound source is far away from the center of the surround system.Logarithmic panning uses a logarithmic function for the volume. It calculates the distance of each sound source for each loudspeaker in real time.

move the sound source rapidly from the left upper corner to the right lower corner (set the size of the surround system to very small to increase the Doppler effect). Setting the divergence to 100% will enhance each sound source’s directional focus. airabsorption. Divergence (0%-100%): Alters the focus of a sound source in the surround system. the amounts for doppler. The button “Out Routing…” will take you directly the Channel Routing module in the amplifier where you can re-assign or re-route channels or mix up or down to different formats.Doppler Effect (on/off): This effect (associated with ambulance car sirens or racing cars going past) simulates the pitch change when a sound source moves quickly toward or away from a listener. Setting the knob to 0% will cause no volume changes on any of the loudspeakers. and the LFE-channels cutoff frequency are editable. The fields Input channels and output channels show the number of in and out channels. Options: In the options for the surround panner. air absorption. Size (10%-100%): Varies the size of the surround field in which the sound source(s) move. delay. Controls Output (-� to + 12 db): Changes this module’s overall level. Changing the size to very small results in stronger doppler. 158 – KONTAKT 2 . depending on the chosen surround format and number of audio channels in the group´s sample. To hear this in action. and delay effects..

X-Shift (-100 to + 100): Shifts the sound source(s) position from left to right on the x-axis. Distance (0%-100%): Alters the sound source(s) distance to the surround system center from 0 to 100%. Angle. Angle (0º . Y-Shift. Meter: The meter displays each channel’s output level according to the selected surround format. and Distance. Surround Panner Automation There are several ways to automate the surround panner: • • • Host automation to automate the position of the source(s) External MIDI controllers Internal modulators to create simple or complex movements Host/MIDI Automation If you want to use external MIDI equipment or automation parameters from within your host. To create a circular movement of your source(s). please see the section Automation. To KONTAKT 2 – 159 . Y-Shift (-100 to + 100): Shifts the sound source(s) position from up to down on the y-axis.LFE (-� to + 24 db): Changes the Low Frequency Effects channel level. you can assign these to the four knobs X-Shift. simply assign an LFO with a Sawtooth waveform to the Angle parameter. Example 1: Circular panning. For more on assigning MIDI or host automation.360º): Changes the sound source(s) angle from 0º to 360º degrees. Internal Modulation Internal modulation allows for extremely interesting and creative effects.

change the distance of the source to the center. To have your sound fly by from. loud sounds become louder.quiet sounds are quieter. Controls Saturation: A negative setting expands the sound . the source will circle in the opposite direction. and quiet sounds become louder. Example 3: Flyby.not the overall sound. Example 2: Random positioning. change the surround panner’s Distance parameter. 160 – KONTAKT 2 . just set the modulator’s Frequency to sync. If you want to create random positioning of your source(s). Distortion increases as values become more positive or negative compared to 0. Saturation This module provides expansion/compression/distortion effects for the selected Group or Instrument. where loud sounds become quieter. The modulation router right below the surround panner can change the direction of the circular panning. use a simple envelope modulator assigned to X-Shift and YShift. front left to surround right. it can greatly alter the sound of even the shortest samples. Changing the envelope results in different speeds and distances on the line between front left and surround right. Positive settings provide a compression-like effect. Saturation works on individual sample bits . Changing the amount of these two modulators in the modulation router will result in stronger or less distant positioning of the sources around the center. To sync this circling to the host or MasterKontrol tempo. assign two random modulators to X-Shift and Y-Shift. Therefore. for example. If you change the amount of LFO modulation to the Angle parameter from +!00 to – 100%. This provides your source(s) with tempo-synchronized circling. Unlike a standard audio compressor/expander. Output: Sets the module’s level.

playing too many sounds at that sample rate may not leave you with much of an audience… Noise: Adds hiss to the audio signal.” Controls Bits: Chooses the sound’s resolution. It’s ideal for getting in touch with your inner “hardcore technopunk. 8-bit is the resolution used by old samplers and drum machines. S. Lower bit resolutions screw up the sound even more. The sample rate goes all the way down to 50 Hz.Lo-Fi This module messes up your pristine digital audio in a variety of rude ways. and 4-bit is the audio quality in many kid’s toys and games. KONTAKT 2 – 161 .4 bits) are possible. Stereo Modeller This effect works only with stereo input signals. Come to think of it.Color: This control determines the noise’s tonality. N. Setting this control to anything other than Off reduces high frequency response and overall signal quality.” 16-bit is CD quality. and works like a Lowpass filter. which adds considerable “grit. It can “expand” or “collapse” the stereo field to change its spatial characteristics. in bits.Rate (Sample Rate): This parameter reduces the sample rate. Fractional bit levels (such as 12. Output: Adjusts the module’s overall level. Higher values reduce the high frequency noise. which will not leave much of the original signal.

while Transistor generates odd harmonics that create a harsher-sounding clipping effect. Negative values close it in until at full counterclockwise. which is essentially a lowpass filter.” The sound is similar to what you would obtain by overloading an amplifier. Distortion Distortion forces a signal to exceed the available headroom. Controls Mode Button (Tube/Transistor): Toggles between two distortion algorithms. alters the sound of a distorted guitar. it’s often necessary to attenuate the signal somewhat. Output: Sets the module’s overall level.Controls Spread: Sets the width of the stereo field. As distortion boosts the gain considerably. increasing both brightness and “grit. the signal becomes mono. which cuts off the tops of peaks once the headroom is exceeded. Note that this effect is similar to how a speaker cabinet. This adds harmonics to a signal. Damping: Increasing the amount of damping reduces high frequencies. Tube creates a smoother saturation that emphasizes even harmonics. Positive values push the stereo spread outward. Output: Sets the effect’s overall level. thus attenuating some of the high frequency content caused by distortion. Drive: Higher drive values increase the amount of distortion. 162 – KONTAKT 2 .

If you choose Sixteenth. To synchronize the speed to an external MIDI clock. Speed (0. For example. Higher values cause the phaser effect to sweep over a wider range. This introduces frequency response notches and peaks. Higher values mix in more processed sound. Dry and Wet sliders (when used as an Instrument Insert Effect): Varies the amount of processed and straight signal. Reso: Determines the depth and narrowness of the notches added to the signal via the phasing effect. Phase (0 to 90 degrees): Adjusts the phase difference between the two LFOs that drive the left and right stereo channels. KONTAKT 2 – 163 . but has a subtler. dreamier effect. applies an Allpass filter to one split. if you choose Whole from the list. or your host software’s internal clock. the MasterKontrol tempo. you can define the number of 16th notes by moving the Time knob. The resulting sound is similar to a flanger. Increased resonance gives a more pronounced effect. click on the Speed parameter’s unit display and choose a note length value from the drop-down list.Phaser This effect splits the audio input. Return (when used as Send Effect): Mixes the effect signal in with the Instrument output.05 to 8Hz): Sets the LFO speed. Controls Depth: The amount of LFO modulation. Set these to the same level for the most intense phasing effect. then sums the two splits back together. the speed of the internal LFO will be set to the length of one bar of the song.

flanging uses shorter delays to produce a “whooshing. Controls Depth: The amount of LFO modulation. Return (when used as Send Effect): Mixes the effect signal into the main output. Unlike chorusing. Phase (0 to 90 degrees): Adjusts the phase difference between the two LFOs that drive the left and right stereo channels. The delay time is modulated (detuned) separately per stereo channel by two internal. Higher values mix in more processed sound. To synchronize the speed to an external MIDI clock. Feedback: Routes the delayed signal back to the module’s input. Higher values cause the flanging effect to sweep over a wider range. although they each run at the same speed. you can define the number of 16th notes by moving the Speed knob.Flanger The flanging effect doubles the audio signal and delays the copy compared to the original signal. or your host software’s internal clock. 164 – KONTAKT 2 . independent LFOs. Higher values create a sharper. more intense effect. If you choose Sixteenth.” jet airplane-type sound. Speed (0.05 to 8Hz): Sets the LFO speed. For example. while larger values sweep the flanging effect toward the lower end of the flanging range. click on the Speed parameter’s unit display and choose a note length value from the drop-down list. the MasterKontrol tempo. Colour: Adjusts the range of the flanging effect. the speed of the internal LFO will be set to the length of one bar of the song. the phase difference between them is adjustable. Lesser values sweep the flanging effect toward the higher end of the flanging range. if you choose Whole from the list.

Dry and Wet sliders (when used as an Instrument Insert effect): Varies the amount of processed and straight signal. Return (when used as Send Effect): Mixes the effect signal into the main output. Separate LFOs detune each channel of a stereo pair independently. if you choose Whole from the list. you can define the number of 16th notes by moving the Time knob. If you choose Sixteenth. To synchronize the speed to an external MIDI clock. Although they each run at the same speed. Phase (0 to 90 degrees): Adjusts the phase difference between the two LFOs used for the left and right stereo channels. Higher values give a more pronounced chorusing effect. For example. click on the Speed parameter’s unit display and choose a note length value from the drop-down list. the phase difference between them is adjustable. the speed of the internal LFO will be set to the length of one bar of the song. Chorus This effect “thickens” the audio signal by doubling the signal and detuning the copy compared to the original signal. Set these to the same level for the most intense flanging effect. or your host software’s internal clock. Set these to the same level for the most intense chorusing effect. the MasterKontrol tempol.05 to 8Hz): Sets the LFO speed. KONTAKT 2 – 165 . Speed (0. Higher values mix in more processed sound. Controls Depth: Edits the amount of LFO modulation.Dry and Wet sliders (when used as an Instrument Insert effect): Varies the amount of the processed and straight signals.

166 – KONTAKT 2 . etc. Stereo: Higher values increase the stereo effect. higher values are harder surfaces (e. Dry and Wet sliders (when used as an Instrument Insert effect): Varies the amount of the processed and straight signals. Controls Pre-Dly. Return (when used as Send Effect): Mixes the effect signal into the main output.g. This simulates the reverb response in large rooms. and higher values for sitting further back in the hall. Use lower values to simulate sitting closer to the stage.. Size: Sets the room size. acoustic treatment. Colour: Determines the type of material used to construct the room. which affects how long the reverberation lasts. Higher values are equivalent to larger rooms. (0 . thus adding spaciousness to the sound. concrete).. wood). Lower values are softer surfaces (e.Reverb Reverb synthesizes the myriad reflections that occur when sounds play in an acoustic space. Higher values mix in more processed sound.180 ms): Introduces a short amount of delay before the reverb takes effect. Damping: Sets the amount of absorption in the room from drapes. Higher values simulate more absorption.g. The reverberated signal is usually set to a lower level than the straight signal. people. where a short time elapses between the time a signal occurs and when it first bounces off of a room surface.

resolution in bits. Additionally. Send Effect. (0 . Pre-Dly.300 ms): Introduces a short amount of delay before the effect is heard. and load parameters without changing the current impulse. Convolution works by essentially taking a “sample” of an acoustic space. sample rate. Note: Convolution can be used only as an Instrument Insert. as the pre-delay simulates the KONTAKT 2 – 167 . This is common with reverb effects. its path. This window also has a display that shows the Impulse Sample name. it’s possible to edit an 8-stage envelope in this window. this opens the list of available Presets stored in KONTAKT 2’s IR presets folder. and apply the convolution to the replaced dialog. and using that as the basis to model the space. Example: For dialog replacement in movies.Convolution KONTAKT 2’s impulse response-based effect combines the high quality and realism of acoustic impulse responses with the flexibility and control possibilities of DSP. Create an impulse for the room in which the dialog occurred. Controls Impulse Window: Drag an impulse into this window from the Library of included impulses. and number of channels. or Output effect. as described later. but also gives the option (Open IR-File) to load a sample (WAV/AIFF) from any location. allowing for use of multi-channel impulses. Preset Menu: Like other modules. convolution is very useful. this effect complies fully with KONTAKT 2’s multi-channel capabilities. Furthermore. It is possible to load impulses without changing the current parameters.

Early Reflection: Sets the next three parameters for the early reflection part of the impulse.5.8.reverb response in large rooms. 11.5ms. If you turn this off. Note that you need to remove. the effect in order to sync to the new sound card latency. Use this envelope to further tailor the impulse’s decay characteristics. 1/6. Lowering the sample rate multiplies the length of the impulse. If you hear crackles or other problems with the audio. Auto is the default and usually the best choice. and Auto). graphically editable envelope on top of the impulse display. 1/2. as volume changes can be drastic – take care of your ears! Volume Envelope: Turn this on to superimpose an 8-segment.5. 168 – KONTAKT 2 . 23. 1/4. where a short time elapses between the time a signal occurs and when it first bounces off of a room surface. Return (when used as Send Effect): Mixes the effect signal into the main output. but retains the same reverb tail length.” CPU usage is the same regardless of which option you choose.” which allows using a lower sample rate to save CPU power. Reverse Button: Reverses the impulse for special effects. monitor at low levels. Auto Gain: Turn this on to maintain consistent levels as you change various impulse parameters. 1/3. it is recommended that you increase your sound card latency rather than adjust this latency setting.6. Latency: Adjusts Impulse Response latency in five steps (2. Note: You can also choose “Preserve Length.8. Dry and Wet sliders (when used as an Instrument Insert effect): Varies the amount of the processed and straight signals. 1/2. Higher values mix in more processed sound. 46. 92. 185. 1/8. 1/1.150%): Changes the length of the impulse sample. then re-insert.2. as well as Auto). thus giving longer reverb “tails. Sample Rate: Allows dividing the sample rate in nine steps (1/1.9 5. and 371. IR Size (50% .9.4. Late Reverb: Sets the next three parameters for the tail part of the impulse.

3. A Pan control places consecutive echoes alternately in the stereo field’s left and right channels. if you choose Whole from the list. For example. Controls Time: The interval in milliseconds between hearing the straight signal and the first delay of the delayed signal. use Time to select a duration of 2.2900 ms. etc. or your host software’s internal clock. each successive echo has progressively lower high-frequency response. Delay The available delay range is 5 . signals alternate between the far left and far right channels. click on the Time parameter’s unit display and choose a note length value from the drop-down list. Damping: Reduces (damps) high frequencies in the delayed signal.0 kHz): Attenuates frequencies below the chosen cutoff frequency. 16th notes). To synchronize the speed to an external MIDI clock. if 16th note is selected. Once the rhythmic value is selected. the MasterKontrol tempo. 4. The higher the value. KONTAKT 2 – 169 . Pan: Setting a value higher than 0 results in a panning effect where each consecutive echo alternates between the left and right channel. the Time control can select a multiple of the chosen note value (e. at 100. With feedback applied (described below).Highpass Filter (20 Hz – 20. Higher settings create a noticeable echo compared to the dry signal. Lowpass Filter knob (20 Hz – 20. Delay times lower than 20 ms produce comb filter and resonator-like effects. echoes will occur one bar apart. Higher values reduce the highs further.g. the greater the stereo spread.. 5.0 kHz): Attenuates frequencies above the chosen cutoff frequency.

Higher values mix in more processed sound. Send Levels Note that this “effect” is pertinent only if there is at least one effect loaded in the Send Effects panel. then level controls will appear for feeding signal to the Chorus and Flanger. Return: Mixes the effect signal in with the Group(s) output. If so.Feedback: This sends a portion of the output back into the input of the delay line. Higher values mix in more processed sound. as described in the section on Modulation Options. Example: If you have Chorus and Flanger inserted as Send Effects. Controls Levels: When you insert a Send Levels. There is also a corresponding level meter for each send control. Modulation tab: Click on this to modulate the selected Send control. A value of 0 produces only one echo. Dry and Wet sliders (when used as an Instrument Insert effect): Varies the amount of the processed and straight signals. Return (when used as Send Effect): Mixes the effect signal into the main output. 170 – KONTAKT 2 . a panel appears with a send control for each Send Effect. then inserting this into a Group Insert FX or Instrument Insert Effects slot “picks off” some of the signal from a Group or Instrument and sends it to any Send Effect(s). which creates repeating echoes. higher values give multiple echoes.

1 Pole Lowpass Cutoff: Sets the frequency above which signals are attenuated. KONTAKT 2 – 171 . Band Reject (BR) filters attenuate a narrow range of the frequency spectrum without affecting frequencies above or below the notch. Highpass filters leave the selected high frequency range intact. at a rate of 6 dB/octave. and attenuate frequencies above and below the bandpass range. at a rate of 6 dB/octave.Sampler Filters A filter changes the frequency response of signals that pass through it. Highpass. and Band Reject (Notch). 1 Pole Highpass Cutoff: Sets the frequency below which signals are attenuated. This fairly gentle rolloff is typical of guitar tone controls. • • • • Lowpass filters reduce high-frequency harmonics (while letting low frequency signals pass through). KONTAKT 2 has four basic filter types used for general tone-shaping: Lowpass. Bandpass filters amplify a specific range of frequencies. but attenuate the lower frequencies. Bandpass.

at a rate of 12 dB/octave. 4 Pole Lowpass 172 – KONTAKT 2 . Values range from 0% (no emphasis) to 100% (maximum emphasis). This somewhat steep rolloff is associated with the sound of older Oberheim synthesizers. Reso: Emphasizes the frequencies just above the cutoff. Reso: Emphasizes the frequencies just below the cutoff. Values range rom 0% (no emphasis) to 100% (maximum emphasis).2 Pole Bandpass Cutoff: Sets the bandpass range’s center frequency. 2 Pole Highpass Cutoff: Sets the frequency below which signals are attenuated. at a rate of 12 dB/octave. 2 Pole Lowpass Cutoff: Sets the frequency above which signals are attenuated. Response rolls off on either side of the cutoff frequency at a rate of 12 dB/octave.

This changes the steepness of the bandpass “skirt. high peak. The steep cutoff produces filter sounds typical of the classic Minimoog synthesizer. KONTAKT 2 – 173 . Values range from 0% (no emphasis) to 100% (maximum emphasis). Reso: Stands for Resonance. while lower values yield a broader. 4 Pole BR (Band Reject) Cutoff: Controls the frequency of the filter band to be attenuated.Cutoff: Controls the frequency above which signals will be attenuated. 4 Pole Bandpass Cutoff: Sets the bandpass range’s center frequency. gentler peak. at a rate of 24 dB/octave. Resonance: Emphasizes the frequencies just below the cutoff frequency. 4 Pole Highpass Cutoff: Controls the frequency above which signals will be attenuated. Response rolls off on either side of the cutoff frequency at a rate of 24 dB/octave. at a rate of 24 dB/octave.” higher values produce a narrower. Resonance: Emphasizes the frequencies just above the Cutoff frequency. Values range from 0% (no emphasis) to 100% (maximum emphasis).

Resonance: Emphasizes the frequencies just below the cutoff frequency.Resonance: Emphasizes the frequencies around the rejected filter band. Values range from 0% (no emphasis) to 100% (maximum emphasis). 174 – KONTAKT 2 . A cutoff this steep is not common. 6 Pole Lowpass Cutoff: Controls the frequency above which signals will be attenuated. at a rate of 36 dB/octave. and is one of KONTAKT 2’s many special features. Values range from 0% (no emphasis) to 100% (maximum emphasis).

Increasing resonance adds a very pronounced peak. Cutoff: Controls the frequency above which signals will be attenuated. Resonance: Emphasizes the frequencies just below the cutoff frequency. 4-Stage Ladder This is another 4-Pole filter type. which is an emulation of the classic Prophet 5 synthesizer. but has a different timbre.Synth Filters PRO-53 This is the filter section from Native Instruments’ PRO-53 software synthesizer. at a rate of 24 dB/octave. Resonance: Emphasizes the frequencies just below the cutoff frequency. but based on a filter structure with different resonance characteristics. KONTAKT 2 – 175 . at a rate of 24 dB/octave. It is similar conceptually to the 4 Pole Lowpass filter. and tends to attenuate frequencies below the cutoff frequency more. Values range from 0% (no emphasis) to 100% (maximum emphasis). Cutoff: Controls the frequency above which signals will be attenuated. Values range from 0% (no emphasis) to 100% (maximum emphasis).

The 3x2 Multimode filter requires more CPU power than other KONTAKT 2 filters. Due to the complex blending options.e.3x2 Multimode Filter The 3x2 Multimode filter contains three separate filters (each a 2-pole 12 dB/oct multimode filter). High Resonance settings cause filter self-oscillation (i. The following diagram shows the sub-modules that make up the filter. you can use the filters either in series or parallel. or if you need self-oscillating filters. Cutoff: controls the initial cutoff frequency of all filters. 176 – KONTAKT 2 . which can be combined in almost any imaginable configuration (and we know you have a pretty good imagination). filters so resonant that they oscillate). so use it only when its level of sophistication is required..

1=Highpass. Type (1-3): “Morphs” between three filter types: 0=Lowpass. Gain: With higher resonance settings. the overall volume will be decreased automatically to avoid overly loud signals. A value of 100 adds a filter’s full output to the mix. Increasing the value increases Filter 3’s cutoff compared to Filter 2. Shift 3: Offsets Filter 3’s cutoff frequency compared to Filter 2. KONTAKT 2 – 177 . while a value of 0 bypasses the filter completely with the unprocessed signal. You can increase the filter’s output level by increasing the Gain. The maximum cutoff shift is 80 semitones (160 semitones compared to Filter 1).Shift 2: Offsets Filter 2’s cutoff frequency compared to Filter 1 (the lowest filter). The maximum cutoff shift is 80 semitones.5=Bandpass. A value of 0 sets identical cutoffs for both filters. (1-3): The Amount knobs control the mix of the three filters. 0. (1-3): Sets the resonance (boost at the cutoff frequency) for each filter. Amt. Reso. Increasing the value increases Filter 2’s cutoff compared to Filter 1. but careful – the filter can produce very high levels. A value of 0 sets identical cutoffs for both filters. A setting of 98% or higher will cause a filter to oscillate.

then sums the two splits back together. Reso: Determines the depth and narrowness of the notches added to the signal via the phasing effect. this Phaser is intended to be used more for tonal control. Modulation may be added to the Allpass filter to alter how it sweeps. the resulting sound is similar to a flanger. When modulation is applied. Controls Cutoff: This sets the initial phaser frequency. Increased resonance gives a more pronounced effect. but has a subtler. This introduces frequency response notches and peaks. This version cannot be used a Send Effect. Note that there is also a Phaser in the standard Effects section.Effect Filters Phaser This effect splits the audio input. Modulation tab: Click on this to modulate the filter frequency and resonance. as described in the section on Modulation Options. varying it changes the overall tone. When swept. this also sets the frequency around which modulation occurs. 178 – KONTAKT 2 . applies an Allpass filter to one split. This includes modulation and emulates standard Phaser effects. while the other Phaser cannot be used as a Group Insert FX. dreamier effect.

Values range from 0% (no emphasis) to 100% (maximum emphasis). that morphs between the resonant vowel frequencies of the human voice. Cutoff: This frequency determines the kind of vowel. Reso: Emphasizes the frequencies around the Cutoff to create a sharper sound. KONTAKT 2 – 179 . called a Formant filter. Vowel B Same as Vowel A. with a slightly different filter character.Vowel A This is a special type of filter.

Gain 1: Controls the amount of boost (positive values) or cut (negative values). two or three frequency bands. the amount of boost or cut. The more bands. Narrow bandwidths give a sharper filtering effect. the greater the amount of CPU power required. but with an additional. 1: Sets the width (bandwidth) of the frequency band (in octaves) to be boosted or cut. identical filter stage.EQs KONTAKT 2’s parametric equalizers use very versatile filters that provide controls for frequency (where any boosting or cutting will occur). from narrow to wide. 1: Chooses the frequency at which boosting or cutting will occur. KONTAKT offers parametric EQs with one. 2-Band EQ Same as the 1-Band EQ. 180 – KONTAKT 2 . whereas wide bandwidths are more subtle and gentler. 1-Band EQ Freq. Bandw. and the bandwidth over which the boost or cut occurs.

KONTAKT 2 – 181 . identical filter stage.3-Band EQ Same as the 2-Band EQ. but with an additional.

Most of the parameters in the green rack modules can be modulated. and via the Modulation button. A hand symbol means the parameter can be modulated. etc.) While MIDI controllers (External Sources) are limited to MIDI’s 128 steps of resolution. Send Effects. and how much modulation is to be applied. There is another element necessary for modulation: The Modulation Router. and glide) External Sources (velocity. then click on Modulators. Adding Modulation via the Browser Click on the Modules tab. otherwise it can’t be. Other. 182 – KONTAKT 2 . aftertouch. Aux Effects. LFOs. Choosing pitch as a modulation destination produces vibrato. Modules that are blue (Insert Effects. the destination. If it modulates level.Modulation Sources Modulation sources provide control signals that vary parameters in a predictable way over time. allowing for very smooth modulation effects. An LFO that provides tremolo or vibrato is one example of a modulation source. There are four sub-tabs of modulation source types: Envelopes. and External. pitch bend. envelope follower. the internal modulators like LFOs and Envelopes have much higher resolution. and Output Effects) do not have modulatable parameters. then level is the modulation destination (also called modulation target) and tremolo is produced. Select the desired modulation source. There are two ways to add a Modulation source: via the Browser. This determines the modulation source. Available modulation sources are: • • • • Envelopes (three different types) LFOs (with six waveforms) Others (step modulator. and drag it on to the knob of the parameter you want to modulate.

Places the interface for the chosen Modulation source (except for External sources. the Step Modulator was dragged over to the Saturation control. Adding Modulation via the Modulation Button This is a little more time-consuming than drop-and-drag. as the only variable parameters they have are part of the Modulation Router) at the bottom of the rack.KONTAKT 2 immediately does two things: • • Opens up a Modulation Router below the module. The Modulation Router shows that the Step Modulator is assigned to Saturation. but avoids using the Browser if. it’s hidden and you don’t want to show it again. the Step Modulator interface is at the bottom of the rack. KONTAKT 2 – 183 . Example: In the above diagram. for example.

All existing Modulation Sources are available as sources. As when dragging over from the Browser. Select the Modulation Target (destination) from the right drop-down menu. Show/Hide Modulation Routers and Sources • • A module’s Modulation button shows/hides the Modulation Routers that control the module’s parameters. The fader in the middle sets the degree and polarity of modulation. Moving the slider to the right 184 – KONTAKT 2 . When centered. Using Modulation Routers Most Modulation Routers have three parameters. KONTAKT 2 opens up a Modulation Router below the module and place the interface for the chosen Modulation Source (except for External sources) at the bottom of the rack. no modulation is applied. A strip above the Modulation Sources at the bottom of the rack has a Modulation button that shows/hides the Modulation Sources. A strip appears under the button with an Add Modulator button. • • • Select the Modulation Source from the left drop-down menu. Click on this to reveal a drop-down menu where you can select the desired modulation source.Click on a module’s Modulation button. All modulatable controls of the parent module will be listed.

This function smoothes incoming MIDI data. Higher Smoothing values (in milliseconds) trade off lower zipper noise for less responsive (less “tight”) control over MIDI. In addition. You can use the same Modulation Source for several targets . the External modulator sources add another parameter: Smoothing.just select the same Source in two or more modulation modules. AHDSR: The most common envelope type is the ADSR (attack. Moving the slider to the left creates negative modulation. Envelopes Envelopes create a repeatable modulation curve for parameter control. an increasing modulation signal increases the modulation target’s value. KONTAKT 2’s enhanced ADSR envelope has an additional Hold phase. sustain. release envelope). KONTAKT 2 – 185 . which is variable from 0-5000. Deleting Modulation Sources or Routers Click on the Modulation Source or Router (it becomes outlined in orange). decay. then press the computer keyboard’s Delete key. KONTAKT 2 offers three envelope types. A slight amount of hold time (20-30 ms) coupled with a fast attack is the secret of “punchy” synthesizer sounds. which creates an AHDSR envelope.for example.creates positive modulation . where an increasing modulation signal decreases the modulation target’s value. to avoid zipper noise.

. 186 – KONTAKT 2 . Attack: The time required for the envelope to go from 0 to its maximum level. AHDSR Parameters Retrigger: Enable to re-trigger the envelope every time it receives a note (i. any key you hit while another key is down will not retrigger the envelope. Flexible Envelope: This unique envelope is a very advanced envelope model that can create extremely complex controller curves – even over several minutes if necessary. and fully clockwise is a convexshaped attack. Fully counterclockwise produces a concave-shaped attack.e.DBD: This is a simple. the envelope starts from the same point each time it’s triggered). It’s well-suited to pitch manipulation. this parameter determines the time for the envelope to decay down to 0 from the sustain level. If disabled. center is linear. Sustain: The level that will be maintained as long as the MIDI note triggering the envelope is held. Curve: Controls the curve of the attack phase. Hold: The amount of time that the envelope stays at its maximum level. Decay: The time required for the envelope to descend from the maximum level (after any Hold time is completed) to the Sustain level (described next). and is the basis for many classic electronic drum sounds. Release: Upon releasing the MIDI note. dual-section envelope with a center breakpoint.

the pitch will rise to the breakpoint. pitch bend.. Retrigger: Enable to re-trigger the envelope every time it receives a note (i. the envelope starts from the same point each time it’s triggered). poly aftertouch. key position. The Flex Envelope’s first 8 times and levels can be modulated by the following external controllers: Velocity. Levels are specified by inserting breakpoints along a line. so called because you specify levels and the times that it takes to get from one level to the next. Decay 1 (D1): Sets the amount of time for the pitch to bend from 0 to the Breakpoint.DBD Parameters The DBD envelope is available only for controlling the Sampler module’s pitch parameter. any key you hit while another key is down will not retrigger the envelope. If the Breakpoint is negative.e. the envelope level is modulatable. Decay 2 (D2): Sets the amount of time required to bend from the breakpoint back to the original 0 pitch change setting. release velocity. and left or right to change times. Furthermore. mono aftertouch. If the Breakpoint is positive. MIDI controller. Break (B): determines the level of the mid-point break between the two decay settings. the pitch will fall to the breakpoint. If disabled. KONTAKT 2 – 187 . About Flexible Envelopes This is a 32-stage “time/level” envelope. then moving the breakpoints up or down to change levels. and release trigger counter.

to straight.” and will repeat as long as the note sustains. You can also save a curve by clicking on the Preset button. the ”sustain” segment becomes a “loop.” Modulation destinations are the first eight en- 188 – KONTAKT 2 . The modulation sources are listed above. and then the final end point. You can create novel vibrato effects by changing the positions of these breakpoints. Preset: Calls up various envelope curves. the sustain or loop segment can be shifted by moving the vertical orange lines with the mouse. The envelope remains at this level as long as the key is held down. If there are more than 3 breakpoints. under “About Flexible Envelopes. In our example there are two more breakpoints after the sustain. The next two breakpoints fall on two vertical orange lines.Right-click (Mac: ctrl-click) wherever you want a breakpoint. If you insert one or more breakpoints between the orange markers. Upon releasing the key. so do not navigate to a different folder unless you have a very good reason to do so). They snap to the next breakpoint (except the start and the end points). marked by the horizontal orange line. The first and last breakpoints move up and down together. the envelope continues with the segment after the second orange marker. entering a name. and clicking Save (KONTAKT 2 defaults to the correct folder for saving Presets. choosing Save Preset. The left-most breakpoint is where the envelope starts. Dragging the small circle between breakpoints can change the line’s shape between the breakpoints from concave. Flexible Envelope Parameters Bypass: Bypasses the envelope so that it has no effect on the modulation destination. These indicate the segment where the envelope reaches the “sustain” level. Modulation: This works the same way as other modulation buttons. to convex. one below and one above the center line. click to add a Modulation Router. because the envelope always starts from where it ended.

Intensity (Add) adds the modulation source to the existing envelope curve. The second digit shows the total number of breakpoints in the envelope. These parameters are: • Mode. third. With Tempo Sync enabled. any key you hit while another key is down will not retrigger the envelope.e. this shows the amount of elapsed time in milliseconds since the envelope start.g. all other breakpoints retain their locations.g. this shows the amount of elapsed time in milliseconds since the previous (closer to the envelope start) breakpoint. Level: Shows the level of the selected breakpoint.05 (most concave) to 1... while the first digit shows which of the breakpoints is selected (first. With SLD. With FIX. only the breakpoint being moved is affected. With Tempo Sync disabled. #. 1/16th note). this value is shown as a rhythmic value (e. this value is shown as a rhythmic value (e. Slope: When you click on one of the round dots to alter a line’s slope. • • • • • KONTAKT 2 – 189 . and two intensity options.00 (most convex). The Breakpoint Info Strip to the right of this button shows some different parameter values depending on whether Tempo Sync is selected or not. Time. Tempo Sync: Enable to show a 1/32nd note grid in the envelope graphic. 1/8th note). Retrigger: Enable to re-trigger the envelope every time it receives a note (i. Breakpoint Info Strip: Aside from the Mode parameter. this indicates the precise amount of slope from 0.. etc. Delta Time. Intensity modulates the overall envelope up or down. breakpoints to the right of it move as well to maintain the same time between breakpoints. if you move a breakpoint.velope levels. the envelope starts from the same point each time it’s triggered). With Tempo Sync enabled. first eight envelope times. with 0 indicating minimum level. and 1 indicating maximum level. If disabled. second.) Abs. this is a read-only display that furnishes information about any selected breakpoint. With Tempo Sync disabled. breakpoints can snap to these grid lines.

190 – KONTAKT 2 .e. If disabled. any key you hit while another key is down will not retrigger the LFO. but selects one of the following waveforms: • • • • • • Sine Triangle Rectangle Sawtooth (negative slope) Random Multi (mixture of all other waveforms) Retrigger: Enable to re-trigger the LFO every time it receives a note (i.LFO Modulators An LFO (Low Frequency Oscillator) creates sub-audio signals that control a parameter’s value in a periodic (or random) way. Values range from 0. Vibrato is an example of a sub-audio control signal that adds a periodic pitch change. Waveform button: This defaults to sine. the LFO starts from the same point each time it’s triggered). Freq: Determines the LFO frequency (number of waveform cycles per second) in Hz.02 Hz (50 seconds are needed to finish a full cycle) to 210 Hz (210 cycles per second)..

5. Pulsew.This parameter can sync to an external MIDI clock or your host software’s internal clock. Fade in: Adds a fade in before the LFO takes effect. only modify held ones. It works very similarly to a standard step sequencer. (Rectangle waveform only): The pulse width determines the ratio of time spent at the rectangle waveform’s high point versus the amount of time spent at the waveform’s low point.g. It can also sync to the MasterKontrol clock in stand-alone mode. the Freq control can select a multiple of the chosen note value (e. 4. This can be synched just like the Freq control mentioned above if you click on the ms parameter to the right of the Fade In field. if you choose Whole from the list. if 16th note is selected. the length of the LFO period will fit exactly into one bar of your song. a level control appears so you can mix each of the waveforms mentioned above. 3. Others 32-Step Modulator The Step Modulator allows “painting” complex controller curves. Once the rhythmic value is selected. The graphic display shows the resulting waveform. field) and choose a note length value from the drop-down list. For example. KONTAKT 2 – 191 . Bypass: Bypasses the envelope so that it has no effect on the modulation destination. use Freq to select a duration of 2. assuming the host can send song tempo information to the plug-in. but cannot trigger new notes. click on Hz (at the right of the Freq. from 0 to 5 seconds. 16th notes). Waveform Mixer (Multi waveform only): With Multi selected. To choose the rhythmic value.. etc.

This parameter can sync to an external MIDI clock. choosing Save Preset. Tools: There are two choices in this drop-down menu. You can also save a curve by clicking on the Preset button. click on the right side of the Freq parameter and choose a note length value from the drop-down list. Example: If you choose Whole from the list. entering a name. Set Step Amplitudes: Click in the graphic field. # Steps: Click on this field. One shot: Plays once through then stops. the control pattern loops. To draw a line. To select the sync rhythm. right-click and drag. If disabled. Reset sets all step amplitudes to 0. Envelope Follower 192 – KONTAKT 2 . so do not navigate to a different folder unless you have a very good reason to do so). Maximum number of steps is 32. When choosing a particular note value. any key you hit while another key is down will not retrigger the Step Controller. the MasterKontrol tempo. you can also define the number of these notes notes by moving the Speed knob.Preset: Calls up various envelope curves. Otherwise. and clicking Save (KONTAKT 2 defaults to the correct folder for saving Presets. the Glide time will equal the length of one bar of your song. Values range from 0. you can change the number to three 16th notes by moving the Speed control. The amplitudes will change to fit underneath the curve you draw. then drag and draw the desired curve. Retrigger: Enable this option if you want the Step Controller to start at the first step every time it receives a note. Snap 1/12 snaps pitch modulation to semitones. Example: If you choose 16th notes. Freq: Sets the Step Controller rate. then drag up or down while holding the mouse button to change the number of steps produced by the Step Controller. or your host software’s clock if it can send song tempo information to the plug-in.02 Hz (50 seconds are needed to finish a full cycle) to 210 Hz (210 cycles per second).

Decay: Makes negative-going envelope curves smoother. followed by a decay that tracks the string’s decay. providing a more even decay characteristic. Time/Speed: This drop-down list chooses between two different glide modes. Gain: Determines the Envelope Follower’s sensitivity to the input signal. This parameter can sync to an external MIDI clock. Attack: Makes positive-going envelope curves smoother. down to individual cycles. or your host software’s clock if it can send song tempo information to the plug-in. click on the KONTAKT 2 – 193 . Adjust for the best envelope tracking characteristics. To select the sync rhythm. Adapt: Sets a baseline transient response time for the Envelope Follower. Glide Glide (also called “portamento”) adds a sliding pitch transition between notes that are played consecutively. Longer attack times create the same effect as if you were using an envelope with an attack time. a plucked guitar string would generate an envelope with an instantaneous attack.The Envelope Follower translates the currently played sample’s amplitude into a control signal. Glide: Sets the glide time. the MasterKontrol tempo. More gain increases the envelope amplitude. For example. The Envelope Follower will attempt to track any change in amplitude. Speed lengthens the glide time as the pitch interval between the keys increases. but can be tamed using the Attack and Decay controls. Rapid fluctuations like this sometimes show up as distortion. Time sets a constant glide time regardless of the interval between two keys.

right side of the Speed parameter and choose a note length value from the drop-down list.384 steps). pitch bend can use 14 bit resolution (16. you can also define the number of these notes notes by moving the Speed knob. External Sources KONTAKT 2 recognizes the following MIDI controllers: • Pitch Bend: This modulation source typically comes from a pitch bend device (typically wheel or lever). When choosing a particular note value. KONTAKT 2 194 – KONTAKT 2 . Unlike all other MIDI controllers. you can change the number to three 16th notes by moving the Speed control. Example: If you choose 16th notes.

It represents a single average pressure value for all keys that are held down and being pressed into the keyboard bed. but for KONTAKT 2 only the CC number matters. It generates individual pressure data for every key that’s held down.) can send MIDI CCs. Nearly all MIDI controller devices (mod wheel. etc. foot pedal. RLS Trig. • Poly Aftertouch: This controller.). Release Velocity: Release Velocity is available in very few MIDI keyboards. Mono Aftertouch: Also called Channel Pressure. MIDI CC: The MIDI specification provides 128 Continuous Controllers (0-127) for general use. Velocity: This represents the dynamics of your playing. sustain switch. etc. Controller 1 = Modulation. Count: This is the control signal generated by the Release Trigger parameter. Key Position: A key’s note number serves as a controller value (this is also called “keyboard tracking”). as you can assign CCs freely to any parameter. and drag up or down while holding down the mouse button. and the controller generates all 14 bits of resolution. click on the digit next to the Modulation Source drop-down menu.can use the full resolution for parameter control. as set in the Sampler module. is available in very few MIDI keyboards. provided that the parameter can accept this degree of resolution. The MIDI specification defines some standard assignments (Controller 0 = Bank Select. To select the desired CC number (0-121). also called Key Pressure. as expressed by how fast a key goes from full up to all the way down. this controller is generated by many MIDI keyboards. It represents how fast a key goes from all the way down to being completely released. • • • • • • KONTAKT 2 – 195 .

Preset button: This can call up several examples of Rescaler scales. Drawing a Rescaler curve: Click in the black window and draw the desired curve with your mouse. entering a name. 196 – KONTAKT 2 . Concave. you can invert the values of a controller (e. so do not navigate to a different folder unless you have a compelling reason to do so). allow experimenting with alternate tunings. and clicking Save (KONTAKT 2 defaults to the correct folder for saving Presets. The Microtuning curves. when applied to pitch. Use the right mouse button (Mac: Ctrl + Mouse button) to draw a straight line. playing harder makes a sound softer) or change a linear curve into an exponential one (as shown in the screen shot). Click on it to open the Rescaler.. Rescale button: This is located to the immediate right of the Modulation Router fader. Velocity curves includes an example. which allows re-defining your controller’s curve by re-mapping incoming controller values to new values. choosing Save Preset. You can also save a curve by clicking on the Preset button.g. which converts a linear input to a logarithmic output.Rescaling Controllers The External Source routers have a Rescaling feature that’s not found in the internal Modulation Sources. Active button: Click on this to enable the Rescaler. For example.

KONTAKT 2 – 197 . If your audio interface does not support one of these protocols. Core Audio (Mac only). Fortunately.Appendix A: Optimizing System Response Any computer-based audio system has some delay between the audio input and output. starting with OS X. you will likely hear an audible delay if you play through KONTAKT 2 in real time. Although KONTAKT 2 can work with the DirectSound and MME drivers common in Windows machines. three main factors make delays virtually insignificant. so it’s important to minimize any computer-based delays. if you’re playing a MIDI keyboard through KONTAKT 2. This low-latency protocol was created by Apple for the Macintosh. whether built into a computer or attached via USB or FireWire. As a result. you may hear an annoying delay between the time you hit a key and hear a sound. you will probably not have a satisfying playing experience. KONTAKT 2’s software has been optimized to function as efficiently as possible. This cross-platform protocol was originally developed by Steinberg. assuming you have a suitable computer setup (see System Requirements). Even the most powerful computer can only do a certain number of calculations per second. KONTAKT 2 works with two low-latency driver types: • • ASIO (Advanced Streaming Input Output). the lower the latency. generating and processing sounds demands a lot from a computer. The more efficiently they transfer data between audio interface and computer. Use Low-Latency Drivers Drivers are pieces of code that handle communications between your computer and audio interface. • • • Today’s multi-GigaHertz computers are so fast they dramatically reduce latency. Many sound cards and audio interfaces include drivers optimized for low latency.

” which can hold a certain number of samples.native-instruments. where data can be stored and released as needed to create a smooth flow of data. A smaller tank takes less time to fill.Following are a few of the sound cards that NATIVE INSTRUMENTS recommends for use with KONTAKT. All ASIO audio interfaces and sound cards include a control panel where you can adjust latency. So. but in bursts. which may limit the polyphony or number of effects you can add while still retaining glitch-free audio. you use a holding tank to store the water coming in from the hose. but has to wait its turn while other operations are being carried out. and have a valve in the tank that releases a steady amount of water in a smooth. However. As a result. sound cards create a “buffer. An analogy would be if you had a hose that didn’t deliver water continuously. which is equivalent to latency. note that ultra-low latency settings (or higher sampling rates) make your computer work harder. here are some tips on living with latency. If the tank (buffer) is large. as shown in the Terratec EWX control panel: 198 – KONTAKT 2 . because it will always take some time to convert a keyboard press into MIDI data. For more recommendations. but the hose had better deliver water on a pretty continuous basis. But it will take longer to fill the bucket.5 ms of latency approaches the theoretical minimum. This may be given as the number of samples per buffer. than convert KONTAKT 2’s digital audio out to analog. So. see www. then you can store more water in case the hose goes dry for a bit. continuous flow.com • • • • • • Terratec EWS/EWX Series Echo Indigo I/O RME Hammerfall series MOTU 828 Frontier Design Dakota Creamware PowerPulsar How Low Can You Go? 1. About Samples and Buffers Audio cannot be handled continuously by a computer.

buffers are adjusted “behind the scenes” within the Creamware Scope application (in this case.1 kHz. In this case. giving latency of just under 6 ms at 44. KONTAKT 2 – 199 . to 128 samples). the Terratec EWX ASIO control panel lets you choose a particular number of samples/buffer. which is about 4 ms. 256 samples/buffer has been selected.For example. In this screen shot. The display then shows the resulting latency. note that Creamware’s ASIO control panel simply lets you choose the desired latency. but doesn’t indicate the buffer size. The Device Setup panel in Cubase confirms the latency. Setting this to 128 samples/buffer will reduce the latency. but may stress out your computer more. Some control panels simply show the latency that results from choosing a particular setting in milliseconds rather than showing samples/buffer.

If you can’t get reliable audio with 512 samples.” 512 samples may also be acceptable. 5 ms is a good compromise between speed and minimum stress to your computer. If you’re not sure which one to use. 256 samples/buffer is very responsive yet gives your computer some “breathing room. it’s time for a better computer! If your ASIO Control Panel shows latency in milliseconds. • • • • 200 – KONTAKT 2 . render a soft synth’s output as a hard disk audio track (then remove the soft synth). Hint: If you retain the MIDI track driving the soft synth. as audio tracks are less taxing on the computer. dramatic difference when you use the correct ASIO driver. the host may “lock” to the control panel setting. If you are recording in a host application and using software synthesizers. Download your sound card’s latest drivers from the manufacturer’s web site. you’ll find that anything over 10 ms or so gives an audible delay. which places virtually no stress on your CPU.Warning: Different Types Of ASIO It’s extremely important to use the ASIO driver written for the card you’re using. you can always edit the part later by re-inserting the soft synth.” They will usually be found in a drop-down menu in the host program where you choose the desired ASIO driver. There should be an obvious. Sometimes there are two latency adjustments: A Control Panel for the sound card sets a minimum amount of latency. Tips On Minimizing Latency • Set latency to the highest comfortable value. try them all. and the host can increase from this value if needed. use your program’s “freeze” function (if available) to disconnect some synths from the CPU. anything more will create too much delay. and choose the one with the lowest latency. typically called (for Windows) “ASIO DirectX Full Duplex Driver” or “ASIO Multimedia Driver. There are also “generic” ASIO drivers. Or. Or. This can make a huge difference in performance.

Appendix B: Keyboard Shortcuts Note: Use the Command key instead of the Ctrl key on OSX. STANDARD • Ctrl+N New Instrument • Ctrl+O Open Instrument • Ctrl+S Save • Shift+Ctrl+S Save As • Ctrl+C Copy • Ctrl+V Paste • Ctrl+X Cut • Ctrl+A Select All • Ctrl+Z Undo (in instrument edit mode) • Ctrl+Y Redo (in instrument edit mode) • Ctrl+Q Quit KONTAKT • Del / Backspace Delete • ESC Exits the instrument edit mode CURSOR KEYS (in browser and mapping editor) • • • • Cursor Cursor Cursor Cursor up down left right Select Select Select Select upper file/zone lower file/zone left zone right zone FUNCTION KEYS • • • • • • • • F1 F2 F3 F4 F5 F6 F7 F8 Browser Outputs Keyboard Master Control Group Editor Mapping Editor Loop Editor Script Editor KONTAKT 2 – 201 .

ALPHANUMERIC KEYS (in instrument and browser) • Play current instrument (instrument) • Jump to file by name (in browser) MAPPING EDITOR • Ctrl+Left Mouse • • • • • • • Set zone crossfades (on the zone edges). Expand / collapse all groups in list view Shift+Cursor keys Add adjacent zones Ctrl+Cursor keys Move selected zones by 1 note left-right / 2 velocities up-down Shift+Ctrl+Cursor keys Stretch zone’s mapping by 1 note left-right / 2 velocities up-down Shift+Rubberband Select multiple zones (without moving them!) Numpad + Zoom in Numpad Zoom out 202 – KONTAKT 2 . Step through overlaying zones (in the center of zones) Shift+Left Mouse Multiple selection.

keep in mind that you should offer as much information as possible about your hardware. to give the possibility to help you. In your description. your operating system and the version of the software you are running. Updates Whenever you encounter problems. The entries you make are cookied. in the Readme file. you should also check if you have installed the latest update.com. The version number of your software is displayed on the first page of the About dialog.Getting Help – The About Screen If you can’t find out the reason for a problem. The relevant links are gathered by clicking on the product logo in the upper left-hand corner of any NI Software. Updates are released regularly to fix known problems and to constantly improve the software. You can find a link to check for the latest update in the About dialog/ Support tab. The frontend will ask you for all information about your hardware and software environment. This opens the About screen. including all hardware The brand and specs of your computer Important: Always consult the Readme file of a new software version. or by checking on www. In your communication with the support team. so they should be automatically be reproduced when you enter a second support request. to better facilitate the information to our support team. It contains important information and all last minute changes. Knowledge Base / Readme / Online Support Choose the support tab of the About Screen to find a series of buttons directly leading you to the Native Instruments Online Knowledge Base and to the Online Support frontend. KONTAKT 2 – 203 .native-instruments. that weren’t available when printing this manual. Native Instruments provides extensive help to registered users. you should mention: • • • • How to reproduce the problem What have you already done to try to fix the problem A description of your setup.

........................................1 Music ... 148 Add Channel................................................................Index Symbole # .............................. 24 Audio Units ........................ 173 4 Pole Highpass ........................... 88 Adjust Loop Ends +1 .......... 153 5...................... 189 Active button ..................... 180 1............. 22 Auditioning the Sample or Loop 121 Audition Strip .......................................... 101 Angle ........ 203 Abs..................................................1 Quad ..................... 186.....................1 Cinema ....1 Stereo .............. 121 Adjust Loop Ends –1 ......1 Surround ....... 153 5.. 153 10.......................................................... 33 Audio Unit plug-in Installation .............................. 189 # Steps ........... 153 2 Pole Bandpass ........152.. 65 Amplifier ........................ 28 Audio Engine .....1 Music ................................................................................................... 153 16................ 63 Audio Interface ........................ (1-3) ... 171 2-Band EQ ................................. 60 1-Band EQ ........................ 153 32-Step Modulator ... 180 2. 181 3.1 Front.............................. 26 Audio + MIDI Settings ......................nkm .... 172 2 Pole Lowpass .................... 191 3x2 Multimode Filter ....... 26........... 60 ....... 153 3............................. 185 AHDSR Parameters .......................................... 153 6 Pole Lowpass ................................................2 Surround .. 175 4. 173 4 Pole Lowpass ......... 63 Attack ....... 153 A About Screen .................1 Cinema ......................... 193 Adding Effects ... 153 4 Pole Bandpass ........ 153 4. 198 Ask Before Removing Instruments/ Zones ....... 55 Amt...........1 Surround ............... 172 3-Band EQ ......... 171 1 Pole Lowpass .... 28 Audio Interfaces ................................................................ 153 8...... 159 ASIO ......................1 Octaphonic ... 157 Akai CD ............................... 192 % Artificial Release Stretch ........................................................................................................ 140 AU ........ 153 1 Pole Highpass ........1 Mono .................................. 142 Amplifier module . 176 4-Stage Ladder...................... Time ................ 172 2 Pole Highpass ........ 153 7............................... 121 Adjust Output or Aux Return Level ................. 76 Algorithm .... 26..................1 Pentaphonic ...............0 Surround ........................ 141 + button .................. 186 Air Absorption ............................................................... 156 Amount of Memory for DFD.........174 7............................. 173 4 Pole BR (Band Reject) ....... 172 5....nki ...... 193 Attack Time ........................1 Heptaphonic ........ 139 .. 177 AND ... 153 7.......... 73 204 – Kontakt 2 ................ 89 aftertouch ........................................... 182 AHDSR .................... 196 Adapt ........

........ 167 Copy Current Zone’s Loop Settings .....123............................ 129............ 85 Automation Mode .... 149 Complete button ... 188 C CD/DVD-ROM Eject button ............. 14 Compressor .......111 Auto-Select Group. 113 Automation .. 189 Browser .............................................. 169 Kontakt 2 – 205 ..................................... 11 Authorization Key ...... 110 Core Audio .. 168 Aux Return ............... 47 Creating a Favorite View ........................................ 42............ 162....Author ....................................................... 96 Cut Zone(s) ... 171 Batch Tools ..................... 156 Controller Only .... 155 Channel Routing ............... 112 Auto-Apply X-Fades (Velocity) ...................... 60 buffer ......................... 111. 171......... 63 Create Empty Group .......................... 31 Curve.................... 81 Creating Quickload Menus ....................... 92 Control Strip ................... 161 Bit resolution ..................................... 11 Auto-Apply X-Fades (Key) ...... 178 Cut Selected Groups(s) ........................... 96 Copy Zone(s) ................. 100 D Damping . 97 Create Volume Envelopes ............. 136 Beat Machine Controls.............. 67 CPU Throttle ................... 100 Cycle Round Robin ............ 85 Auto Gain ...... 125 CPU ...................................... 180 bandwidth .... 79 Creator ...... 55 Chorus ........................ 151 Colour .. 140 Creating an Instrument ............... 1 ................... 137 Big Size ........................................................... 92 Controller Tab .............. 159 Classic compression .......... 166 Command Menu . 73 Black Keys Only ........ 173 Band Reject (BR) filters . 70 Browser Show/Hide ......... 172........................ 89 Constant Power .............................................................. 94 Convolution .. 74 Center ..111 Circular panning ...... 142 Channel routing matrix.................................................................. 151 Config..111 Break .............................. 93 Authorization ............................................................................................................. 112 Auto-Move Root Key ....................... 198 Building or Rebuilding the Database 78 Bypass ................................. 165 Chromatic ................................. 112 Beat Machine ................... 120 Common Effects Parameters ................. 171 Bandw................................................... 147 Aux Show/Hide Button ............................................................. 186 Cutoff ...................... 166....................... 73 Cubase . 175.................. 26 Count ................................ 180 Band Reject ......... 52 B Bandpass filters ... 176............ 110 Cycle Random ....... 164.......................... 121 Copy Selected Group(s) ............................... 187 Breakpoint Info Strip ........... 62 Bits ...........................................................

..... 163 DXi2 .............. 186........ 78 Distance ................. 37 DXi 2 plug-in Setup ............ 182 EQs ... 76 Database Basics ................ 96 Delete Zone(s) .............. 67 Disk windows...... 151 Envelopes .... 62 Default Root Key for New Zones ....... 88 Delete Selected Groups ... 63 Delay ........................ 159 Distortion ...................................................................... 43 Editing the Zone Key Range ............................... 129 DFD ............................................ 125 Enhanced compression .......................................................... 168 Editing and Saving a Script ....... 180 Exclusive Group ............. 48 Edit Menu ............... 151 Effects Modules Types .. 26 DXi 2 .................. 189 Depth .................. 187 Decay 2 ....... 105 Editing Zone Velocity Response 107 Edit All Groups .. 95 Edit button ......................................... 178 Effect parameters ........... 150 Effects Types.163.............................................. 88 Edit Instrument........................................... 90 Editing a Zone’s Root Key .. 110 Deleting Effects . 65 DFD ...................... 26 Disk ...................................................................................................................................... 196 Drive ..... 182................................................... 185 Envelope Follower ....................... 78 DBD .............................. 64 Default Volume for New Instruments and Volume Reset ..... 186 DBD Parameters ............... 172 End ........ 187 DC Filter ........... 65 DFD Preload Buffer Size .................................. 157..... 194 External Wave Editor ............................................................................ 162 Divergence ............................ 52 Effects............... 110 Edit Mode View .............................................................. 165 Deselect All Zones .......... 104 Editing Instruments ............................ 126 Editing an Instrument: Overview ......... 192 envelope follower ......Database ........................................................Click Sample Cre ate s Instrument ................ 121 DC Removal ... 64 206 – Kontakt 2 . 193 Decay 1 .............. 59 Edit Effect ............... 158 D ouble .Direct from Disk .................................. 169 Delete Channel ............. 164............. 131 DFD & Load Tab . 55 emphasis ...................................... 158 Doppler Effect .......... 21 E Early Reflection ...... 99 EXS-24 .... 162 Dry and Wet sliders .................................................. 149 Deleting Modulation Sources ................. 63 Drawing a Rescaler curve ............... 187 Default Loaded Patches .................... 144 Effect Filters .......................... 42.... 200 Digital Performer .............. 182............ 76 External Editor....... 92 DFD (Direct From Disk streaming)................................. 122 External Sources ........ 110 Destination Sample Type .............................. 134 DC Offset ................. 121 Decay ..................... 34 DirectSound ........... 185 Delta Time ....... 92 Different Types Of ASIO ........................................................... 77 Database View ..................

......................... 120 Flanger ............................ 99 X/Y ................... 63 Hide Inserts ..... 145 Insert FX ....................................................F Fade in ....... 186 Host Automation ..... 160 Formant ... 99 Feedback .................. 136 Group .................................................. 42 Instrument Bank ......... 135 Hold ................................................................................... 180 frequency .............. 119 Go to Loop Start ... 64 Installation under MacOS X .. 93 Insert Effects .... 36 Getting Help ....... 73 Fill Out Form button ........ 169 Highpass filters ...................... 203 Glide ............ 119 Grain ................................. 95 Editor Interface ............................................ 186 Flexible Envelopes........................ 75 Import Keyswitched Sources into Separate Instruments ....................................................... 94 Group Group Group Group Group Group Group Group Group H Editor Header Controls .............. 84 Flexible Envelope .......... 75 Import Via Dragging Into the Rack ........ 58 Instrument Categories .............................. 119 Go to Sample End ................................... 1 .................... 78 Freq ........ 167 Individual .......................................... 85 I Import .......................................... 73 Formats ................ 134 Format ............................................ 119 Go to Sample Start ................................................164............................................ 147 Insert Effects strip ..................................... 94 Insert Effects .......... 55 Insert Effect Slots ............. 155 Info Tab .. 64 Import Via Bulk Process ................................................................................. 44 Group Editor ... 96 Handling ........................................................................... 182 Go to Loop End ............................................ 135 Grain Size . 187 Flyby ......................................... 170 Files Browser ............. 55..................... 73 File size .. 191 Fade Time .. 18 Find Loop End (Long) ......... 90........ 193 glide .............. 74 File name .................. 55 Solo ..................... 180 Garage Band ..... 192 Freq...... 94 Field ........................................................................ 20 Instruments ............... 93 Kontakt 2 – 207 ........................... 75 Impulse Window .............................. 187 Flex Envelope .. 193 Gain 1 ............ 44.............................................. 97 Starts ... 89 Installation Base Path.......................................................... 171 Hi Quality ................................... 180 G Gain . 93 Instrument Credits ............. 190....... 177. 120 Find Loop End (Short) .......... 22 Installation under Windows XP ...................... 94 Start Options ...... 70 File Browser Options ........................ 164 Flat View ................................................ 88 Highpass Filter .

................ 59 Limit File Names to 31 characters .............. 157 Logic .................. 103 Map Bulk-Converted Single Samples 65 Map Mode..................... 121 Loop Editor ..............55...................................................... 91 Kill Highest ......... 60 Key Position . 140 Mapping Editor ....................................... 60 Load a Preset ............ 67 Keyboard Shortcuts .47................................................ 90.................................... 168 K K.................................................................................... 125 Loop Selection and Editing ........ 48 Instrument Options ....... 60 Mapping Base Key ...... 64 Load/Save Menu .... 170 LFE ............. Range.. 197 Lower (Instrument Info) Pane ............... 123 Loop Section Numerical Fields ............................................ 114 Logarithmic .... 182 LFO Modulators ................................................................ 139 Lock Zones ... 203 L Latency ...Instrument Header ..... 41 Load Everything Purged ............... 55. 123 Length ............... 105 Key Switch Default Key ............ 72 Lowpass Filter ............................. 124 Loop Tune ................................................... 93 Instrument Insert Effects ................... 91 Kill Lowest ..................................... 164 LFOs ....... 142 Legato .......... 92...... 117 Loop Editor Header Controls.................................. 161 Load/Import ... 169 Lowpass filters................................... 91 Interface ................ 66 Load Instruments/Banks/Multis in “Purged Mode” .......... 62 Internal Trigger ................. 116 Keyboard .............. 119 Loop Mode .............................. 171 M Main Control Panel........ 146 Instrument Name ... 118 Loop Edit Mode .........27.......................................................................... 159 LFO ... 195 Key Range.................... 152 IR Size ............................................................................................................ 90.............. 124 Loop Section .. 134 Len ...................... 91 Kill Any ............................. 168 latency..................... 190 Library Fast Find............................................................. 163........ 91 Knowledge Base ......... 102 Mapping Editor Header Controls 108 Mapping Samples ................. 28............................................. 108 Lo-Fi ... 198 Late Reverb ............ 33 Loop button ...................... 168 Left rear ......... 64 Locking a Script . 91 Kill Newest .................................................................................................. 201 Keyboard Show/Hide ................... 128 Lock button..... 124 Loop Selection buttons ....... 73 Levels ............... 91 Kill Oldest ........ 91 Instrument Tab ......................... 125 Low-Latency Drivers .................................................... 90...... 64 List View ........... 55 Instrument Icon .........111 208 – Kontakt 2 ................. 138 Inverter ...

......... 48 N N........ 44 Multi-Instrument Header .. 113 Move Root Key(s) to Upper Border ...................................................................................................................... 111 Move Zone(s) to New Empty Group .................... 30 MIDI CC.......................... 192 Online Support .............. 155 Move Each Zone to Its Own Group (Clone) ................ 182 Modulation strip ........... 30 MIDI Port ................. 61 New Instrument from List ....... 40 MIDI Transpose.....................................111 Move Zone(s) to New Clone Group ........... 183 Modulation Router............. 85 MIDI Controller #64 ................... 131 Nuendo......................................................... 72 MIDI ........... 50 Measure.170......Map Slices to Groups ................................. 73 Number of Zones . 68 Middle (Objects) Pane ......... 140 MasterKontrol Section ................. 113 Move Root Key(s) to Lower Border ......................... 92 MIDI Export ........................................ 135 Mono Aftertouch .............................. 89 New Instrument .............. 67 Note Mono ... 68 MasterKontrol Show/Hide .. 130.......................................... 32 Number of channels ............ 113 Move to Existing Group ..................................................... 42 Multi Name ........................................ 73 Number of Groups ....... 50 MIDI Remote .......... 155 Mouse Mode ................ 195 MIDI Channel ........................................ 91 Mid size ............ 195 Mono Mix ...................... 68 Max ........ 188 Modulation Button ......... 61 New Instrument Bank from List ............... 26 Modulation ............................................................. 61 Noise.......................................... 68 Master Tune ................. 124 One shot ................................. 178 Modulation Target ................................................... 55 Modulation tab ............................... 161 Name Fields ................ 134 MIDI channel ............................. 184 Monolith .............................. 111 Multi-Instrument ................ 141 Memory ..... 55 Modulation Sources...........111 Move Each Zone to Its Own Group (Empty) .......... 49 Minimizing Latency ............................................... 161 Notes ...... 50 Menu Font Size...................................... 61 Monophonic ... 46 Mute ........ 203 Kontakt 2 – 209 .....111 Move Root Key(s) to Center ...................... 73 O One Shot ........................... 50 MIDI Controller ............. 63 Metronome ..........................................................Color ....... 62 Minimize/Maximize..... 140 MIDI interface ............................. 200 MME ............ 45 Multis .............. 60 New Instrument Bank .................................................. 60 Master Tempo....................... 45 Multi Pages ................ 73 Number of Instruments ..........................................................

............................................. 110 Patch + Samples .. 69 Refresh button ................................... 142................... 43..... 117 Pitch Bend ........................................... 58 Reference Internal Giga or SoundFont Samples .... 152................................... 130... 74 Register Now ............. 88 P Pan .........163................................... 19 Registration Tool ...... 63 Poly Aftertouch ........... 169 parametric equalizers .......... 61 Patch Only ................. 196 Rescale button ....................... 180 Paste Group(s) W/O Samples ............................ 186 Release Time................ 66 Purge Empty Groups .................... 51........................ 51....................................... 121 Remove Instrument ............. 134............... 138 Release Velocity .............. 152................................. 197 Options Menu ..... 160 Ratio .... 113 Rescaler curve ..... 191 Purge ...................................................... 67 Random ... 11 Release.......................................................... 97 Paste Group(s) With Samples . 48 R RAM............................ 113 Remove DC Offset ....... 62 OR ........................... 51 Purge All Samples ...................................................... 65 Reference Tone .. 99 Preset................ 29 Output Meters .............................. 38 Pulsew. 188 PRO-53 ... 163...... 13 Registration support ....... 140 Release Trigger .. 193 Pre-Dly............... 165 Phaser ................................ 194 pitch bend .............................. 31 Plugin Capture Keyboard from Host. 16 Open Sample in External Editor 122 Optimizing System Response . 175 Product Authorization ....................................... 62 Plugin Capture Mouse Wheel from Host ......... 164...................................... 96 Purge Menu.... 152.......................... 178 Phrase-based ............................ 29 Output Latency ...... ....... 49 Outputs Show/Hide . 77 Rectangle..................................................... 11 Pro Tools ... 116............................................... 190 Redo ..... 190 Random positioning . 147 Output Device ............ 97 Paste Zone(s) ................................................................................ 61 Phase ........................................................................ 182 Play button ...... 121 Plug-In .. 139 Remove Crossfade (Velocity) ... 167 Pref Rel ........... 196 210 – Kontakt 2 . 60 Output Channel Aux ......... 49 Remove X-Fades (Key) ......................Open Audio and MIDI Settings ....... 24.................................................................. 203 Rebuilding ... 151 Readme . 49 Output Section ............. 63 Open File button ............ 65 Q Quickload Instrument ................................ .....................166............ 195 Reload All Samples ..................... 48....................... 101 Output . 58 Redo List ............ 66 Remove button ........................................ 195 portamento ........

....................................... 168 Sample rate.......... Rate .......... 130 Samples and Buffers .........161......... 163 Reverb .............. 126 Search .................... 55 Send Levels................ 177 Resonance .............................................. 100 Slicing Files with the Beat Machine ............................... 110 Select by MIDI...... 138 Slope ................ 28 RTAS plug-in installation........... 120 Restore Loops from Samples .............................................................. 141 Retrigger ................................................................173....................... 184 Show Both Channels ........................................... 189............... 86 Kontakt 2 – 211 ............... 195 Root ........................................ 61 Save a Preset ...................... 146 Send Effects strip .............. 103 Select All Zones ........................ 198 Sample Name Field .. 186............ 41 Save MIDI Timing Template ......................... 138 Sl. 122 Sample ...................... 192 Return .................. 119 Show Mapping and Keyswitches on Keyboard ............................... 178 Reso.......................... 115 Send Effects ................................. 141 Set Key Range by MIDI .................. 118 Sl....Rate ...... 130 Reverse Button ............... 15 Saving Presets .............................................. 21............. 190 Sinusoid ..... 83 Selected Groups Only ....................................... 73 Saturation ........... 114 Set Step Amplitudes .......... 65 Reso. 196 Reset Markers ............. 177 Show/Hide Modulation Routers ..................... Start.... 116 Root Key ........................ 190 Script Editor ..... 156 Size ................................ 140 Slice Section .................. (1-3) ................... 44 Sampler .................. 62 Smooth .. 26.... 114 Shift 2 ............. 166 Reverse ............ 129 Sampler Filters ......................................................... 175 Restore Loops From Sample .... 115 Selecting Zones ........... 160 Save ........ 51....................... 192 Set Velocity Range by MIDI ....... Atk ...... 121 Resulting Tempo (BPM) ..................................... 187...... 122 S.............................................................................. 29....... Rls ................... 30 RTAS .............. 170 Set Group Start Options to Slice Trigger .... 166 Size Button . 55.................. 125 Slice Trigger ... 163...... 177 Shift 3 .................. 161 S.................... 90................. 116 Sample Rate............. 97 Select Zone Via MIDI ........................ 43 Sine ... 104 Routing ........................................................... 189 Slice Expand .. 123 S..... 138 SLD...................... 141 Save Registration File ........ 63 Show Sample Names..... 129 Sawtooth . Count .................................................................. 142 RLS Trig.......... 189 Small Size .................................... 172................ 23 S S....................................Rescaling Controllers ...................... 168 Right rear ................. End ....... 133 Smoothing ...................................111 Signal Processing ................ 190............. 171 Sampler Module Controls ...............

................................................................. 51. 63 Sonar .. 66 System Requirements ................. 129.................. 86 Solo ............ 151 Time..... 192 Tools Menu ......... 73 To All Selected Zones . 135 Time Machine II......................................... 48 Solo Mode.... 49 Source (Sampler) module ....................... 159 Sustain ........................ 116...... 133..... 163........... 136 Transient Size .............51.......... 121 Subwoofer ............. 136 Transistor .......... 125 Start on Controller .................. 132 Tone Machine Module Controls ........... 92 Sustain Pedal without Controller ..... 129........... 137 Type (1-3) .......... 28 Start....... 71 Use Computer Keyboard for MIDI Playback . 58 Until End ......... 165 Spread....................................................................................................................................... 74 Too Many Objects for Flat View .................................................. 22 T Tempo Sync ........... 112 Snap to Zero Crossing ......................... 142 Surround Format ....... 124 Until End <-> .............. 151 Stand-alone Application ........................................................................ 20........................... 162 Triangle........................ 112 Snap to Value Crossing ......... 161 Stop button ........... 162 Tune .... 195 212 – Kontakt 2 ................... 58 Undo List ................................................ 153 Surround Panner .............. 193 Time Machine . 77 Upper (Container) Pane .................................... 175 System ID ............................ 153 Surround Panner Automation ..... 121 Tracking ...133......................... 164..................................116...... 137...................................................................................................................................... 203 Update Sample Pool........ 55 Source Module ................... 155 Synth Filters ......... 124 Updates . 129 Speaker button ............. 120 Snap to White Keys .................... 151 Stereo Modeller ............... 100 Start on Key ............................. 162 St........ 92 Sync ........................ 73 Speed .. 182 Stereo ....... 190 Tube .......... 177 U Undo edit operation................................ 124 Until Release ..................................... 133 Tools ............ 119 Snap to Black Keys .....Snap Menu ....... 83 Total sample size ........... 130.............................. 100 step modulator ................................................................ 136 Tone Machine ........... 63 V Velocity ........... 11 System Performance Meters ..................................Link.... 186 Sustain Pedal and Controller ... 37 Soundcard . 166 Stereo link .. 130............................. 120 Soft Takeover ...................... 65 Updating the database...... 129... 124 Until Release <-> ..................................... 189 Thresh ........................................................... 169 Time/Speed .... 24 Standalone . 28 Sound Type Icon . 134 Transient Copy ..................

............................... 93 What is the Product Authorization?................................................................. 92 Velocity Response ..................111 Write Absolute Paths instead of Relative Paths ........................................ 64 X X-Shift ... 97 Voice Stealing Fadeout Time ............................ 31 VST plug-in Installation ................................................................................. 102 Kontakt 2 – 213 ............................ 79 View Menu ........................................ 191 Weblink ............ 20 W Waveform-based ....... 155 X: Mirror ........ 182 Velocity Range ......................0 Plug-In .............................. 159 X/Y... 155 Z Zone ..... 99 Voice Edit Group Parameters ......................... 107 View All .. 168 Volume slider ...... 50......................................................... 73 Vowel A ....velocity ....... 159 Y: Mirror ...................... 119 Voices..... 117 Waveform-Based Looping .................................................................. 102 Zone Info strip ..............48.......... 142 Volume Envelope....................................... 11 White Keys Only .................................................. 179 Vowel B .......... 66................ 94 Voice Group Edits ....................... 117 Waveform button ................ 98 Voice Group . 190 Waveform Mixer ....... 155 Xfade...................................... 91 Voice Stealing Mode ........ 26 VST 2........... 179 VST ... 116........ 125 Y Y-Shift ......................... 91 Volume ....................... 44 Zone Field .................

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