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

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

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

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

Only exchanging a basic hardware component in your computer or installing a new operating system might produce a new Product Authorization request. Of course. We recommend that you take notice of this chapter first. 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. 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. it is also possible to complete the Product Authorization after 30 days. The System ID is based on some hardware components of your computer system. you can make use of all online services related to the registered product. get technical support. In this case the software will launch again as soon as the Product Authorization has been completed. KONTAKT 2 – 11 . 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. Note: Exchanging your audio card.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. 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. In this case the Registration Tool will reflect the change by displaying a new System ID and you have to repeat the Product Authorization. On the Native Instruments website you can read online tutorials. What is the Product Authorization? The Product Authorization includes a full registration. the operating system version and the serial number you have entered at the KONTAKT 2 installation. participate in the NI forums and download updates. KONTAKT 2 requires the Product Authorization in order to use the software permanently. The Registration Tool generates a so called System ID which serves as request code for receiving an Authorization Key. After having completed the authorization. then proceed with the software installation as described in the following chapters and finally return to this chapter. The Product Authorization is performed by a small application called Registration Tool.

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

Your System ID will be automatically transmitted to the registration form. KONTAKT 2 – 13 . • • 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. Therefore your standard Internet Browser will be opened and an internet connection will be established according to your system settings. • MacOS: Start the Registration Tool from the KONTAKT 2 installation folder (default path: Applications\KONTAKT 2\). • A click on the Register Now button opens the Native Instruments registration webpage. 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.• 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\). Please fill out all required fields and follow the instructions on the screen to complete the registration.

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

KONTAKT 2 – 15 . 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. since the Authorization Key will be send to you by email. A click on the Save Registration File button opens a Save dialog for saving a HTML file.After completing the Product Authorization the Registration Tool looks like this Now the KONTAKT 2 Product Authorization has been completed. • 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\). Save the HTML file to any storage medium. • • MacOS: Start the Registration Tool from the KONTAKT 2 installation folder (default path: Applications\KONTAKT 2\).

16 – KONTAKT 2 . • • • • 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. Please fill out all required fields and follow the instructions on the screen to complete the registration. The HTML page contains a link for the registration page on the Native Instruments website.• • • • Transfer the HTML file to another computer where you have internet access (via floppy disk. The Authorization key is available in the email body and additionally as text attachment. 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.). Transfer the text attachment to the computer where you have installed KONTAKT 2. CDR etc. This email also contains the password which is required for using the online services. 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. When you click on this link an internet connection will be established according to your system settings. Within a few minutes you will receive an email from the Native Instruments registration system containing the Authorization key.

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 . After completing the Product Authorization the Registration Tool looks like this Now the KONTAKT 2 Product Authorization has been completed. be prepared to type in the Authorization Key manually (about 60 digits). the Product Authorization can also be done via postal mail or fax. 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. Although Native Instruments goes after a fast handling of your authorization requests. by postal mail or by fax. If you do not provide Native Instruments with a valid email address in the form. it is generally recommended that you prefer Method A or Method B for shortest return times and most comfortable operation. You will receive the Authorization Key either by email (recommended).• Click on the Complete button.

• 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\). Please fill in the required data and print it out. Illegible email or postal addresses can cause problems with the Authorization Key delivery. • The HTML file contains all information Native Instruments requires for completing the Product Authorization and registration. 18 – KONTAKT 2 . If you write a letter please attend to a legible handwriting to avoid mistakes at the Native Instruments registration team. • 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. or write a letter containing the data.

Click on the Complete button.com/registersupport.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). 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. 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. KONTAKT 2 – 19 . In this case send a support request on the NI website using the following URL: http://www.info Please describe the occurred problem as accurate as possible and provide the registration support team with the necessary details to solve the problem. fax or mail. Now the KONTAKT 2 Product Authorization has been completed. type it in manually. If you have received the Authorization Key by mail or fax.native-instruments.

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

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

where you can select which versions you want to install. where both the stand-alone and plug-in versions are installed. 22 – KONTAKT 2 . or Custom Install. Select only Audio Unit from the list of components to 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. and up to 15 GB for the library.2.6 Installing KONTAKT 2 OS X • • • Insert the Installation DVD into the DVD drive of your computer. The installation program suggests a path for the KONTAKT 2 folder. • DVD drive Software • MacOS 10. the KONTAKT 2 folder is created on the first hard disk. 350 MB for the impulses. You can choose between Easy Install. a dialog opens where you can select the installation location and the destination folder. The start screen appears first. After clicking Continue and confirming the license agreement. if you do not select a different destination. Double-click the installation program Install KONTAKT 2 to start it. MacOS Audio Unit plug-in Installation • • • Launch the KONTAKT 2 Installer from the DVD Select the Custom installation type.Installation under MacOS X System Requirements and Recommendations To use the KONTAKT 2 software.

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

if present) to communicate with your computer’s audio hardware. KONTAKT 2’s audio and MIDI connections interact directly with your computer’s audio/MIDI hardware interface. KONTAKT 2 connects to the host program via “virtual patch cords. Furthermore. In this case. The table shows you which drivers are available under which Operating System: Driver ASIO 2. but first let’s look at the various interface drivers and plug-in formats used by different operating systems and programs. allow KONTAKT 2 (and other programs you have installed. This section describes how to use various audio interfaces with KONTAKT 2. and Core Audio. such as sequencing or hard disk recording software. which include software routines called drivers. As a plug-in that works in conjunction with a “host” program.Audio Interfaces Audio interfaces. MME. 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. plug-in mode allows you to integrate it seamlessly with the sequencer.” KONTAKT 2’s audio outputs appear as signals in the host’s mixer. The KONTAKT 2/computer combination acts as an instrument. DirectSound.0 DirectSound MME Core Audio Plug-In Used as a plug-in. and the host passes MIDI data to KONTAKT 2. There are two main ways to implement KONTAKT 2: As a “stand-alone” device that requires no host software. Stand-alone Application KONTAKT 2 works in stand-alone mode with ASIO. the host program interacts directly with the computer’s hardware interface. 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 • • . We’ll describe each mode in detail. similar to a hardware digital synthesizer.

This table provides you with an overview of which interfaces are supported by which host programs: Plug-in Interface VST 2. Choose the fastest interface protocol supported by your interface. Example: With Sonar.0 Plug-in DXi Audio Units Host-Program Cubase. you can also use DirectSound and Multimedia (also called MME). the audio interface (sound card) you’re using. but expect a significant delay (called latency) between the time you play a note and the time you hear it. Try each one.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. 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. This is due to the fact that the host capture keys for themselves and do not pass them on to the plug-in. and your computer platform (KONTAKT 2 supports Windows XP or MacOS X). KONTAKT 2 – 25 . running KONTAKT 2 as a DXi instrument allows using multiple outputs. For Windows.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. Available interfaces depend on your computer. which will likely be ASIO with Windows. Nuendo Sonar Logic Windows • • Mac • • • • • Note: Some hosts include “wrappers” that allow running KONTAKT 2 with a choice of plug-in protocols. as one may offer better performance than another. or Core Audio for Mac.

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

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

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

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

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

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

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

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

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

pan.• Create a MIDI track by selecting Project  Add Track  Midi Track. To play KONTAKT 2 with your keyboard. and process KONTAKT 2's output just like any other existing audio track. Please refer to the previous section on installing the plug-in for Mac platforms for more assistance on setting this up. then it is not installed correctly. The mixer of Digital Performer will allow you to mix. KONTAKT 2 – 35 . 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. Here you can control and edit all the features and functions that KONTAKT 2 has to offer. “KONTAKT 2-3” etc. 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. • • • The plug-in is now ready to use. 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. Note: If KONTAKT 2 does not appear in the list of available Audio Unit plug-ins inside your Audio Units host application.

Double-click the instrument track icon or press the “I” icon to get the Track Info. If the plug-in does not receive MIDI or generate audio. From here you can choose the icon you wish to use. • Make sure that the instruments track output is correctly set. From the Generator drop-down menu. Use in Garage Band • • • • • • • Launch Garage Band Press the “+” button to create a new “Software Instrument” Track. KONTAKT 2’s sound will generate through Digital Performers mixer and directly to your sound card. (please refer to your Digital Performer manual for more information). choose KONTAKT 2 from among Audio Unit plug-ins. From the Info window expand the Details triangle underneath the Instrument icon to expose the track settings. • 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 Digital Performer. • 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.After having loaded an Instrument from the library you should be able to trigger it via MIDI using a keyboard controller. 36 – KONTAKT 2 . KONTAKT 2 can now be played using an external MIDI keyboard.

• Make sure that the instruments track output is correctly set.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. then make sure to check the following two areas: Make sure Midi Patch Through is enabled in the Studio menu of Sonar. 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. • KONTAKT 2 – 37 . KONTAKT 2’s sound will generate through Sonar’s mixer and directly to your sound card. • Make sure that you have properly configured your sound card for use with Sonar. (please refer to your Sonar manual for more information). 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. • The MIDI channel of your MIDI track must correspond to the receive channel of the loaded instrument. If the plug-in does not receive MIDI or generate audio.

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.Using KONTAKT RTAS with Pro Tools 6. you will be able to play KONTAKT with your midi keyboard.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. (Please refer to your Pro Tools manual for more information on how to record KONTAKT’s output). In this case. Click on the first empty slot to show all available RTAS plug-ins. while nonetheless offering the widest range of features. • • • • • • 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. 38 – KONTAKT 2 . Choose KONTAKT 2 from the menu • • Now locate the MIDI channel you just created In the output slot.

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

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

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

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

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

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

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

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

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

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.

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

KONTAKT 2 – 53 .

54 – KONTAKT 2 .

Modulation strip which. Instrument Header. Modulation Router(s) for the Source module (i. but determines several Instrument characteristics (key and velocity range. Amplifier module 11. 6. Edit loop points. Channel routing matrix (shown if the Amplifier’s Channel Routing button is selected) 13. Effect parameters for a selected Group Insert effect (if the Group Insert FX strip Edit button is enabled). Effect parameters for a selected Send effect (if the Send Effects strip Edit button is enabled) 17.1. This is a powerful MIDI data processing module – so powerful. KONTAKT 2 – 55 . transposition. one or more strips. each of which can assign a modulator and modulation amount to a Source module parameter) 8. there’s a separate tutorial on how to create scripts. etc. set start times. Group Insert FX strip that can be populated with up to eight effects 9. voice-stealing options. Here is where you map samples to the keyboard. 3. when opened.). each of which assigns a modulator and modulation amount to an Amplifier module parameter) 12.. Send Effects strip that holds up to eight send effects 16. etc. Loop Editor (if the Loop Editor button is enabled). the Instrument Options button does not open up a window or create a space in the rack. and the like for individual samples. create Zones. 4. Effect parameters for a selected insert effect (if the Insert Effects strip Edit button is enabled) 15. 10. This is where you enter Edit mode – by clicking on the “Wrench” button. one or more strips. 5. assign samples recorded at different velocities. Script Editor (if the Script Editor button is enabled). as well as perform other Group operations. Modulation Routers for the Amplifier module (i.e. Insert Effects strip that holds up to eight insert effects 14. This is where you select and edit Groups.. Group Editor (if the Group Editor button is enabled). This can have Modulation Router(s) below it as well.e. Source (Sampler) module 7. 2. shows all modulators in use stacked one above another Additionally. in fact. Mapping Editor (if the Mapping Editor button is enabled). set loops.

It takes much more CPU power to process multiple Voices individually than a single Instrument as a whole. Blue modules work on an Instrument level. the CPU has to calculate a separate filter setting for voice currently playing. which drains much more CPU power. 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. These options are: 56 – KONTAKT 2 . for the overall Instrument output signal. Therefore. Instrument Edit Mode Show/Hide Options That’s a lot of flexibility – but also a lot of stuff to deal with. The CPU then only has to calculate filter settings once. 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). Example: If you want to use a filter on an Instrument but don´t need to modulate it. Fortunately. KONTAKT 2 has numerous show/hide options so you can focus in on seeing only the modules you need to see. and therefore affect an entire Instrument (and all Voices and Groups within it) as a single entity. If you insert the filter on the Group level (green Group Insert FX chain). Green modules work on a Group level.Use of Color Within Edit Mode View Colors are used in the Edit Mode View to indicate the various modulation capabilities. the parameters are not modulatable. Their parameters can generally be modulated.

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

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

Library Fast Find drop-down menu (left of the name). which you can select for loading into KONTAKT 2. 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. 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. The name strip includes the following controls: • • • Edit button. These step through successive Instrument Banks in the Library folder. This displays files in the KONTAKT 2 Library folder (located within the KONTAKT 2 program folder). Click to show the Program Change map. “<” / “>” buttons (right of the name).Once an Instrument is in a slot. The lower part of the Instrument Bank header also includes (from left to right): • • • • • • • • • • The MIDI channel over which Program Changes will be received. orange = partly loaded.

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

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

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

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

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

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

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

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

Metronome Click the On button to enable. and the control varies the metronome volume. There are three ways to set tempo manually: • Adjust the tempo knob. • Tap a rhythm on the Tap button. The light below the on button flashes with the tempo. this displays the host’s tempo. • Double-click on the tempo field and type in a new number. but can be adjusted with the knob from A=392. If KONTAKT 2 is used within a host program.00 BPM.The MasterKontrol Section When enabled in the Main Control Panel. 68 – KONTAKT 2 . Hint: This is also useful for finding out the tempo of a song if you don’t already know it. There is also a sync button to sync to incoming tempo information (not visible in the standalone version). Master Tune This defaults to A=440. this sits right under that panel and provides a lot of useful functions. The default is 120.88.00 to A=493. 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. and use the knob to set the reference tone level. and tune the sample against it. or provide a reference tone for tuning guitar. The reference tone can also be used for level setting within systems. Click on the Note Name field and drag up and down to select the reference pitch. etc. you’re going to love this feature – you can set a reference pitch. Turn it on with the On button. bass. KONTAKT 2 – 69 .

Rather than having to drag from the desktop. It consists of two main panes. an optional Info pane (depending on whether the Info tab is selected). 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. and an Audition Strip along the bottom. The Files Browser This part of the Browser displays your computer’s drives and files in a familiar Windows Explorer-type “tree” structure. 70 – KONTAKT 2 .The Browser The Browser is where you can browse several things. or folders nested within folders.

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

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

a sample plays automatically as soon as you click on it. It has three elements. When enabled. Click on this to replay a Sample in Auto mode.This pane is the only optional Browser pane. KONTAKT 2 – 73 . Show/hide it by clicking on the Info button on the Files toolbar. Auto button. This controls the sample playback level. 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. or play a selected Sample when not in Auto mode. Volume slider. It shows information about individual files (not folders). Speaker button.

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

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

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

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

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

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

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

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

For example. you will see only items that you just check-marked. as it lets you define subsets of the file system. As with the Quickload example. assume you have tons of samples and are working on two projects. 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. You could easily define all the samples you need for d&b in one view and all 82 – KONTAKT 2 . You can rename favorite views by selecting them and then editing their name in the field at the bottom of the top section. A Practical Example Creating favorites is a very powerful feature. one of them being a drum & bass song and one an orchestral score.Now when you go to the View menu.

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

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

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

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

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

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

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

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

• • • • • 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. from 0 to 1000ms.Instrument Options Instrument Tab Voice Stealing Mode: Choose from the following. the Instrument being triggered will play a D#. KONTAKT 2 – 91 . MIDI Transpose: Transposes incoming MIDI data in semitones. Key Switch Default Key: This is the first key that is activated when you load this instrument with “Start on key” group start options. This may cause the number of voices to temporarily exceed what’s specified as the maximum amount of polyphony. Example: If this is set to 2 and you play a C# on your keyboard.

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

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

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

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

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

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

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

such as MIDI lighting. Group Start Options This exceptionally powerful feature determines the condition under which a Group will play. • KONTAKT 2 – 99 . This may cause the number of voices to temporarily exceed what’s specified as the maximum amount of polyphony. values 80 and 127. You have a sampled guitar. select No. from 0 to 1000ms. You can assign the feedback samples to a separate group that is triggered by a key only if the mod wheel is between. You can set Groups to play only if the incoming notes are not in the range of those bottom three keys. you’ll select Always. select Yes. Mode: Choose from the following voice-stealing modes if the number of voices is exceeded. consider the following: • In one song. Fade Time: Sets how long a stolen voice will fade out before it disappears.Voices: Determines the number of voices in the Group. • • • • • 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. and like to bring in feedback occasionally. for example. 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. Otherwise. you use the bottom three keys of your keyboard to trigger some other device. There can be up to 16 Exclusive Groups. However. Normally.

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

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

or type in value). 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. Method #4: Use keyboard shortcuts (see Appendix B).

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

Mapping Editor Header Controls Here’s what the various buttons in the Edit Strip do. 108 – KONTAKT 2 . List View There are two Mapping Editor views. In the standard. drag mouse. or type in value). default view. some samples may be hidden by other samples. a sample’s velocity is indicated by height.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. Note that if samples overlap or layer each other. and key range by width.

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

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

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

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

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

Play a key to set the Zone’s lower pitch limit. Play a second key to set the Zone’s upper pitch limit. Set Key Range by MIDI Click on the MIDI <-> button. Set Velocity Range by MIDI Click on the MIDI up/down arrow button.Lock Zones The Lock Zones button in the Mapping Editor prevents any Zones (selected or not) from being moved. when you want to make sure you don’t move a Zone accidentally. 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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

KONTAKT 2 – 143 .To create a connection. Similarly. The number of available output channels varies depending on which output is selected in the Instrument. and a drop-down menu appears of all available outputs. a smaller number of input channels (i. from the Group) can be sent to a larger number of output channels by assigning the same input channels to multiple outputs. Leave this set to “Default (Instrument)” unless you want to specify a different output for the current group. In the example above.e. The number of available input channels varies depending on how many channels are in the selected Group. Output Click on this button. 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.. left-click in the rectangle where you want to make the connection. You can also right-click on a connection to change its gain. Left-click on a connection to delete it.

KONTAKT 2 Effects Types KONTAKT 2 has a sophisticated and flexible effects structure. 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. 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 . The following diagram shows how effects patch into a KONTAKT 2 instrument.

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

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

This is described later. and strings. 3. For example. each Instrument has a strip below it with four aux send faders. and therefore require comparatively little processor power. but process whatever is feeding the Output channel. Output Channel Aux/Insert Effects In a Multi. The Send Effects receive signal as determined by a Send Levels module.6 dB. which is added to a Group Insert Effects or Instrument Insert Effects slot. Output Channel Insert Effects place little load on the CPU. 2. In other words. you could bring down the level to decrease the overall amount of reverb. suppose you have four instruments in your multi: Bass. you cannot insert a Send Level control into a Send Effects slot. a little reverb on the guitar and piano. The Bass Aux Send 1 control would be at minimum. insert the Reverb effect. but affect entire Groups or Instruments. In an Outputs section Aux Return channel. piano. KONTAKT 2 – 147 . Like Send effects within an Instrument. Note: Of course. just like a regular effect. to the four Aux Return channels in the Outputs section. The Strings Aux Send 1 control would be set the highest.15 dB to add just a little reverb. . Or. Thus. you would increase the level fader. Let’s say it’s inserted in Aux Return channel 1. Each Aux Return channel can hold up to four insertable effects. Output Channel Aux Return effects do not process each voice individually. Each sends a signal from the entire Instrument. rhythm guitar. in the section on the various effects modules. which can be several instruments. no signal is going from the bass to the Outputs section reverb. 5. The Guitar and Piano Aux Send 1 controls would be set to something like . Send effects do not process every single Voice. if you wanted to increase the amount of reverb on all instruments slightly. including all inter-instrument processing. Here’s how you would do this. for example. and lots of reverb on the strings. 1. You’d like to have no reverb on the bass. to avoid feedback. You can now use the Aux 1 level control in the Outputs section to vary the overall amount of reverb. 4.Note that unlike Group Insert 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. 148 – KONTAKT 2 . then proceeds to the right.For more information on using Aux effects. see the section of the manual that covers the Outputs section. The slot position determines the order of effects: The signal passes through the left-most effect first. EQs. Note: When adding Send Level modules. or in between effects. and choose from three lists (Filters. Effects). after a chain. you can drag it before a chain. the sent signal will include any processing from slots to the left of the Send Level module. You can add any number of send modules. To change an effect’s placement. Click on the Down arrow in the lower right corner of an empty effects slot. A vertical line appears at any valid location where you can drag the effect.

click on the effect strip that includes the parameters (not the module in the slot). Common Effects Parameters All Effects include a Byp. KONTAKT 2 – 149 . All Effects also include a Preset drop-down menu. 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.Deleting Effects To delete an effect. The configuration of the Effects strip in the Group Insert Effects. Then. and Send Effects can also be saved and loaded as a Preset. Insert Effects. the effect strip becomes outlined in orange. (bypass) button. as in “stop”).

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

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

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

1 Cinema. 5.1 Cinema. The input can vary from mono to 16 channels. and the output Format similarly ranges from Mono up to 16-channel surround. KONTAKT 2 – 153 . 2. 5. This provides the opportunity to change the surround format depending on your host environment or loudspeaker system.1 Stereo. Menus and Buttons Surround Format: This drop-down menu chooses the panner output surround format.1 Music. 8. The following table shows the list of available surround formats. 10.1 Mono. while maintaining the original sound source positions. These show how loudspeakers are assigned to audio channels. 3.1 Heptaphonic. natural touch and enhance the spatial impression.0 Surround and more. 4.1 Quad.Surround Panner This module adds surround panning capabilities to Group Insert and Instrument Insert Effects (not Send Effects). Options includes 1.1 Surround.2 Surround. 5. 7. air absorption. 7. 7. Special effects (delays on each loudspeaker.1 Surround.1 Octaphonic.1 Music.1 Pentaphonic. 16.1 Front. and Doppler effect) can add a realistic. 3. 4. and their channel assignments.

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

Y: Mirror – Each sound source will be mirrored on the Y-Axis only KONTAKT 2 – 155 . Mouse Mode: This drop-down menu provides various modes for moving the sound source(s) with the mouse.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. Mono Mix – All sound source(s) will be panned together at the same location 2. X/Y – Each sound source is mirrored on the X-Axis and Y-Axis 6. Sync – Sound sources move in sync while maintaining their relative positions 4. Individual – Each source can be panned individually with the mouse 3. you can use the Channel Routing module within the amplifier (see Channel Routing under the Amplifier section for more information). Center – Sound sources are mirrored in the system center 5. 1. X: Mirror – Each sound source will be mirrored on the X-Axis only 7.

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

and will be more noticeable if the sound source is far away from the center of the surround system. increase the panning field’s size with the “size” knob. and move the source far away from the center point. the high frequencies are damped depending on the listener’s distance (center point). Air Absorption (on/off): When a sound moves away from a listener. depending on distance. KONTAKT 2 – 157 . Delay (on/off): This button enables a delay-based panning effect. This effect simulates absorption. Enabling this function gives better results in recognizing the sound source position(s). 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. To hear delay-based panning only. It calculates the distance of each sound source for each loudspeaker in real time. In order to give a strong distance impression. which will bypass with amplitude-based panning effect. Logarithmic . set the Divergence knob to 0%.3. but uses a lot of CPU power.Logarithmic panning uses a logarithmic function for the volume.

depending on the chosen surround format and number of audio channels in the group´s sample. air absorption. Setting the knob to 0% will cause no volume changes on any of the loudspeakers. and delay effects. delay. 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. Options: In the options for the surround panner. the amounts for doppler. 158 – KONTAKT 2 . Controls Output (-� to + 12 db): Changes this module’s overall level. Divergence (0%-100%): Alters the focus of a sound source in the surround system. Size (10%-100%): Varies the size of the surround field in which the sound source(s) move. Setting the divergence to 100% will enhance each sound source’s directional focus. 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).. To hear this in action. and the LFE-channels cutoff frequency are editable. Changing the size to very small results in stronger doppler. The fields Input channels and output channels show the number of in and out channels. airabsorption.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.

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

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

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

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

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

independent LFOs. if you choose Whole from the list. Higher values cause the flanging effect to sweep over a wider range. Return (when used as Send Effect): Mixes the effect signal into the main output. The delay time is modulated (detuned) separately per stereo channel by two internal. Higher values create a sharper. more intense effect. while larger values sweep the flanging effect toward the lower end of the flanging range.Flanger The flanging effect doubles the audio signal and delays the copy compared to the original signal.05 to 8Hz): Sets the LFO speed. Colour: Adjusts the range of the flanging effect. although they each run at the same speed. To synchronize the speed to an external MIDI clock. or your host software’s internal clock. Phase (0 to 90 degrees): Adjusts the phase difference between the two LFOs that drive the left and right stereo channels. Higher values mix in more processed sound. the phase difference between them is adjustable. Feedback: Routes the delayed signal back to the module’s input.” jet airplane-type sound. Unlike chorusing. 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. the MasterKontrol tempo. you can define the number of 16th notes by moving the Speed knob. click on the Speed parameter’s unit display and choose a note length value from the drop-down list. For example. Lesser values sweep the flanging effect toward the higher end of the flanging range. Controls Depth: The amount of LFO modulation. If you choose Sixteenth. Speed (0. 164 – KONTAKT 2 .

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

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

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

and 371. If you turn this off. thus giving longer reverb “tails.6. 168 – KONTAKT 2 . Reverse Button: Reverses the impulse for special effects. Latency: Adjusts Impulse Response latency in five steps (2. then re-insert. Auto is the default and usually the best choice. Higher values mix in more processed sound.150%): Changes the length of the impulse sample. 185.2.5. 1/3.8. Early Reflection: Sets the next three parameters for the early reflection part of the impulse. but retains the same reverb tail length. Lowering the sample rate multiplies the length of the impulse. 1/4. 92.” CPU usage is the same regardless of which option you choose. 11.9. the effect in order to sync to the new sound card latency. Note that you need to remove. If you hear crackles or other problems with the audio. 1/2. 1/6.reverb response in large rooms. where a short time elapses between the time a signal occurs and when it first bounces off of a room surface.” which allows using a lower sample rate to save CPU power. monitor at low levels. Use this envelope to further tailor the impulse’s decay characteristics.9 5. graphically editable envelope on top of the impulse display.5. 23. Return (when used as Send Effect): Mixes the effect signal into the main output. as well as Auto). Dry and Wet sliders (when used as an Instrument Insert effect): Varies the amount of the processed and straight signals. Note: You can also choose “Preserve Length. it is recommended that you increase your sound card latency rather than adjust this latency setting. Sample Rate: Allows dividing the sample rate in nine steps (1/1. IR Size (50% .5ms.8.4. Auto Gain: Turn this on to maintain consistent levels as you change various impulse parameters. Late Reverb: Sets the next three parameters for the tail part of the impulse. 1/1. 1/2. 1/8. as volume changes can be drastic – take care of your ears! Volume Envelope: Turn this on to superimpose an 8-segment. and Auto). 46.

Controls Time: The interval in milliseconds between hearing the straight signal and the first delay of the delayed signal..0 kHz): Attenuates frequencies below the chosen cutoff frequency. the MasterKontrol tempo. 3.2900 ms. signals alternate between the far left and far right channels. Higher settings create a noticeable echo compared to the dry signal. Delay The available delay range is 5 .0 kHz): Attenuates frequencies above the chosen cutoff frequency. the greater the stereo spread. The higher the value. Once the rhythmic value is selected.g.Highpass Filter (20 Hz – 20. For example. Higher values reduce the highs further. To synchronize the speed to an external MIDI clock. each successive echo has progressively lower high-frequency response. or your host software’s internal clock. the Time control can select a multiple of the chosen note value (e. Damping: Reduces (damps) high frequencies in the delayed signal. 4. if you choose Whole from the list. 5. Lowpass Filter knob (20 Hz – 20. With feedback applied (described below). A Pan control places consecutive echoes alternately in the stereo field’s left and right channels. Pan: Setting a value higher than 0 results in a panning effect where each consecutive echo alternates between the left and right channel. echoes will occur one bar apart. KONTAKT 2 – 169 . Delay times lower than 20 ms produce comb filter and resonator-like effects. 16th notes). if 16th note is selected. click on the Time parameter’s unit display and choose a note length value from the drop-down list. etc. use Time to select a duration of 2. at 100.

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

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

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

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

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

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

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

(1-3): Sets the resonance (boost at the cutoff frequency) for each filter. A setting of 98% or higher will cause a filter to oscillate. Increasing the value increases Filter 2’s cutoff compared to Filter 1. KONTAKT 2 – 177 . The maximum cutoff shift is 80 semitones (160 semitones compared to Filter 1). A value of 0 sets identical cutoffs for both filters. Type (1-3): “Morphs” between three filter types: 0=Lowpass. The maximum cutoff shift is 80 semitones. 1=Highpass. Gain: With higher resonance settings.Shift 2: Offsets Filter 2’s cutoff frequency compared to Filter 1 (the lowest filter). Shift 3: Offsets Filter 3’s cutoff frequency compared to Filter 2. A value of 100 adds a filter’s full output to the mix. Increasing the value increases Filter 3’s cutoff compared to Filter 2.5=Bandpass. the overall volume will be decreased automatically to avoid overly loud signals. A value of 0 sets identical cutoffs for both filters. but careful – the filter can produce very high levels. Amt. (1-3): The Amount knobs control the mix of the three filters. 0. while a value of 0 bypasses the filter completely with the unprocessed signal. Reso. You can increase the filter’s output level by increasing the Gain.

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

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

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

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

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

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

The fader in the middle sets the degree and polarity of modulation. • • • Select the Modulation Source from the left drop-down menu. Select the Modulation Target (destination) from the right drop-down menu.Click on a module’s Modulation button. 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. Click on this to reveal a drop-down menu where you can select the desired modulation source. As when dragging over from the Browser. All modulatable controls of the parent module will be listed. Using Modulation Routers Most Modulation Routers have three parameters. Show/Hide Modulation Routers and Sources • • A module’s Modulation button shows/hides the Modulation Routers that control the module’s parameters. All existing Modulation Sources are available as sources. A strip appears under the button with an Add Modulator button. When centered. Moving the slider to the right 184 – KONTAKT 2 . 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.

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

e. the envelope starts from the same point each time it’s triggered). AHDSR Parameters Retrigger: Enable to re-trigger the envelope every time it receives a note (i. 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). any key you hit while another key is down will not retrigger the envelope. Release: Upon releasing the MIDI note. and fully clockwise is a convexshaped attack. Fully counterclockwise produces a concave-shaped attack. 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 is the basis for many classic electronic drum sounds. If disabled.DBD: This is a simple. 186 – KONTAKT 2 . dual-section envelope with a center breakpoint. 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. center is linear. Attack: The time required for the envelope to go from 0 to its maximum level. Hold: The amount of time that the envelope stays at its maximum level.. It’s well-suited to pitch manipulation. this parameter determines the time for the envelope to decay down to 0 from the sustain level.

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

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

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

190 – KONTAKT 2 . Values range from 0. Vibrato is an example of a sub-audio control signal that adds a periodic pitch change.02 Hz (50 seconds are needed to finish a full cycle) to 210 Hz (210 cycles per second). Freq: Determines the LFO frequency (number of waveform cycles per second) in Hz. 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. Waveform button: This defaults to sine.e. any key you hit while another key is down will not retrigger the LFO. If disabled.. the LFO starts from the same point each time it’s triggered).

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

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

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

Example: If you choose 16th notes. you can also define the number of these notes notes by moving the Speed knob. When choosing a particular note value.384 steps). 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). KONTAKT 2 194 – KONTAKT 2 .right side of the Speed parameter and choose a note length value from the drop-down list. you can change the number to three 16th notes by moving the Speed control. Unlike all other MIDI controllers. pitch bend can use 14 bit resolution (16.

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

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

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

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

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

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

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 .

Step through overlaying zones (in the center of zones) Shift+Left Mouse Multiple selection.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 .

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

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

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

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

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

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

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

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

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

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

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