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

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

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

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

participate in the NI forums and download updates. The Registration Tool generates a so called System ID which serves as request code for receiving an Authorization Key. We recommend that you take notice of this chapter first. In this case the Registration Tool will reflect the change by displaying a new System ID and you have to repeat the Product Authorization. KONTAKT 2 requires the Product Authorization in order to use the software permanently. What is the Product Authorization? The Product Authorization includes a full registration. The System ID is based on some hardware components of your computer system. After having completed the authorization. it is also possible to complete the Product Authorization after 30 days. MIDI interface or external equipment will not start the request for a new Authorization Key. 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. You can run KONTAKT 2 for 30 days without any limitations. Only exchanging a basic hardware component in your computer or installing a new operating system might produce a new Product Authorization request. Of course. In this case the software will launch again as soon as the Product Authorization has been completed.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. the operating system version and the serial number you have entered at the KONTAKT 2 installation. On the Native Instruments website you can read online tutorials. KONTAKT 2 – 11 . Note: Exchanging your audio card. 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. 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. you can make use of all online services related to the registered product. get technical support. 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.

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. Native Instruments keeps your personal data like email and postal address in confidence. No data will be passed to a third party. In the following sections we describe three methods of conducting the Product Authorization. We recommend Method A and Method B since these result in the easiest and fastest way of receiving the Authorization Key. Registration Tool Conducting the Product Authorization Native Instruments has set a high value on making the authorization procedure as easy and comfortable as possible. 12 – 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. KONTAKT 2 – 13 . • MacOS: Start the Registration Tool from the KONTAKT 2 installation folder (default path: Applications\KONTAKT 2\). Your System ID will be automatically transmitted to the registration form.• Windows: Start the Registration Tool from the start menu (Native Instruments KONTAKT 2  KONTAKT 2 Registration Tool) or from the KONTAKT 2 installation folder (default path: C:\Program Files\Native Instruments\KONTAKT 2\). • • 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. • A click on the Register Now button opens the Native Instruments registration webpage. Therefore your standard Internet Browser will be opened and an internet connection will be established according to your system settings.

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

KONTAKT 2 – 15 . • • MacOS: Start the Registration Tool from the KONTAKT 2 installation folder (default path: Applications\KONTAKT 2\). Save the HTML file to any storage medium. 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. 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. • 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\).

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

• Click on the Complete button. Although Native Instruments goes after a fast handling of your authorization requests. 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. by postal mail or by fax. After completing the Product Authorization the Registration Tool looks like this Now the KONTAKT 2 Product Authorization has been completed. 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). Please note the following instructions to fullfill the Product Authorization: KONTAKT 2 – 17 . If you do not have access to the internet or if you do not have a working email address. If you do not provide Native Instruments with a valid email address in the form. be prepared to type in the Authorization Key manually (about 60 digits). the Product Authorization can also be done via postal mail or fax.

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

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

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

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

After clicking Continue and confirming the license agreement.6 Installing KONTAKT 2 OS X • • • Insert the Installation DVD into the DVD drive of your computer. • DVD drive Software • MacOS 10. where you can select which versions you want to install. 350 MB for the impulses. if you do not select a different destination. The installation program suggests a path for the KONTAKT 2 folder. Select only Audio Unit from the list of components to install. or Custom Install. a dialog opens where you can select the installation location and the destination folder. the KONTAKT 2 folder is created on the first hard disk. You can choose between Easy Install.Installation under MacOS X System Requirements and Recommendations To use the KONTAKT 2 software. and up to 15 GB for the library. The start screen appears first. where both the stand-alone and plug-in versions are installed. 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. MacOS Audio Unit plug-in Installation • • • Launch the KONTAKT 2 Installer from the DVD Select the Custom installation type.2. 22 – KONTAKT 2 . Double-click the installation program Install KONTAKT 2 to start it.

KONTAKT 2 – 23 .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 is not a stand-alone program but rather a program “module” that can be integrated into a “host” program such as a sequencer. and Core Audio. KONTAKT 2 connects to the host program via “virtual patch cords. KONTAKT 2’s audio and MIDI connections interact directly with your computer’s audio/MIDI hardware interface. DirectSound. There are two main ways to implement KONTAKT 2: As a “stand-alone” device that requires no host software. but first let’s look at the various interface drivers and plug-in formats used by different operating systems and programs. such as sequencing or hard disk recording software. which include software routines called drivers. In this case. and the host passes MIDI data to KONTAKT 2. The table shows you which drivers are available under which Operating System: Driver ASIO 2. We’ll describe each mode in detail. plug-in mode allows you to integrate it seamlessly with the sequencer. Stand-alone Application KONTAKT 2 works in stand-alone mode with ASIO.0 DirectSound MME Core Audio Plug-In Used as a plug-in. 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 • • . The KONTAKT 2/computer combination acts as an instrument. similar to a hardware digital synthesizer. the host program interacts directly with the computer’s hardware interface. MME. allow KONTAKT 2 (and other programs you have installed. if present) to communicate with your computer’s audio hardware. Furthermore.” KONTAKT 2’s audio outputs appear as signals in the host’s mixer.Audio Interfaces Audio interfaces. As a plug-in that works in conjunction with a “host” program. This section describes how to use various audio interfaces with KONTAKT 2.

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

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

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

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

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

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

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

This will create a list of available MIDI out ports to assign to this MIDI track. If the plug-in does not receive MIDI or generate audio. then make sure to check the following areas: Make sure "MIDI thru" is enabled in Cubase. and process KONTAKT 2's output just like any other existing audio track in your Nuendo project. Click on the Devices menu and choose VST instruments from the menu options (or press F11 on your keyboard). Choose KONTAKT 2 VST from the list. A window showing the instrument rack appears. • • • • The plug-in will now appear in your list and automatically be turned on. The MIDI channel of your MIDI track must correspond to the receive channel of the loaded instrument.through the VST mixer and directly to your sound card. This will allow you to mix. Click on an empty slot and choose KONTAKT 2 VST from the available list of installed plug-ins. Here you can control and edit all the features and functions that KONTAKT 2 has to offer. 32 – KONTAKT 2 . Click on the Edit button to call up the KONTAKT 2 interface. Now go to the "Project Editor" page and create a MIDI track (if you do not have one already created). pan. (please refer to your Cubase manual for more information) • • Using the KONTAKT 2 plug-in in Nuendo 2.0 • • • Launch an empty or current project in Nuendo. • Make sure that you have properly configured your sound card for use with Cubase. Go to the Output parameter section for this MIDI Track and click on the field. It will also create a set of audio channels in your VST mixer that will be used for mixdown within your project. Also make sure you assign the MIDI input port to correspond to whatever MIDI controller your are using.

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

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

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

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

If the plug-in does not receive MIDI or generate audio. KONTAKT 2’s sound will generate through Sonar’s mixer and directly to your sound card. 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. 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 . • The MIDI channel of your MIDI track must correspond to the receive channel of the loaded instrument. (please refer to your Sonar manual for more information). • Make sure that you have properly configured your sound card for use with Sonar.DXi 2 plug-in DXi is a Microsoft DirectX technology based plug-in format Use in Sonar 4 • • Launch Sonar In the synth rack choose KONTAKT 2 DXi 2. • Make sure that the instruments track output is correctly set.

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

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

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

Load a Preset If a KONTAKT 2 module can load and save presets. you also click on the Preset button.nki suffix and Multis have a . but go to the end of the list and select Save Preset.nkp suffix. These are saved within folders inside a Presets folder located in the main KONTAKT 2 directory. KONTAKT 2 is smart enough to put it in the correct folder. Note that when saving.Just as Instrument files have a distinctive . Click on this and select the desired Preset from the drop-down menu. 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. Presets have a . there will be a Preset button with a downward arrow.nkm suffix. A dialog box opens up that allows naming and saving the Preset.

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

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

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

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

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

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

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

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

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

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

Maximized Instrument Header View Parameters

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

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

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

KONTAKT 2 – 49

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

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

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

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

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

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

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

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

KONTAKT 2 – 51

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

KONTAKT 2 – 53 .

54 – KONTAKT 2 .

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

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

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

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

These step through successive Instrument Banks in the Library folder. 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 . 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.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. Library Fast Find drop-down menu (left of the name). “<” / “>” buttons (right of the name). which you can select for loading into KONTAKT 2. This displays files in the KONTAKT 2 Library folder (located within the KONTAKT 2 program folder). orange = partly loaded. The name strip includes the following controls: • • • Edit button. Click to show the Program Change map. it may be dragged to other slots to edit the Program Change assignment.

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

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

Mid. Note: The new value will become effective the next time you open KONTAKT 2. Clicking on this button to open the Options window.g. Big Size: Similar to Small Size. 62 – KONTAKT 2 . in pixels. and Big. Small Size: The View menu lets you choose one of three sizes for KONTAKT: Small. but adjusts the Big size. for the small size. Mid size: Similar to Small Size. For example. kontakt_def. This file defines the settings of a new Multi. Options Menu The Options menu is where you determine overall KONTAKT 2 preferences. The edit boxes let you specify the size. but adjusts the Mid size. Plugin Capture Keyboard from Host: Enabling this button catches certain keyboard keys and routes them to KONTAKT 2 rather than to the host program. to change a field. double-click on it and enter the new value.nkm. Enabling this ensures the keystroke is interpreted by KONTAKT but not the host.. Tab 1: Interface Here you make basic adjustments to KONTAKT 2’s layout of KONTAKT and functionality. you can overwrite this file to create a Multi with your own custom settings. in the Default folder in your KONTAKT 2 installation folder. The width and height have separate fields.Modifying the Default Loaded Patches There is a default Multi patch. 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. which has five subcategories.

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

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

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

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

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

68 – KONTAKT 2 . If KONTAKT 2 is used within a host program. and the control varies the metronome volume. this sits right under that panel and provides a lot of useful functions. There is also a sync button to sync to incoming tempo information (not visible in the standalone version). There are three ways to set tempo manually: • Adjust the tempo knob. The light below the on button flashes with the tempo. but can be adjusted with the knob from A=392.88.The MasterKontrol Section When enabled in the Main Control Panel.00 to A=493. Master Tune This defaults to A=440. Master Tempo This sets the tempo for tempo-synched effects. • Tap a rhythm on the Tap button. Metronome Click the On button to enable. The default is 120. Hint: This is also useful for finding out the tempo of a song if you don’t already know it. • Double-click on the tempo field and type in a new number.00 BPM. this displays the host’s tempo.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

instruments required by the orchestral score in another view. Instruments. KONTAKT 2 – 83 . If you have so many they won’t fit into the list.” In that case. You’ll see a dialog box that lets you search for Samples. you’ll see a list with all Samples that meet the criteria you specified. such as “bass. select the Sample button and type a keyword in the File Name field. The Search Feature Click on the Search button in the Database tab. As an example of how to use this.” Then click on Search. 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. Assuming you actually have Samples that contain the word “bass” in their name. Banks and Multis. 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.

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

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

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

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

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

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

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

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.Instrument Options Instrument Tab Voice Stealing Mode: Choose from the following. the Instrument being triggered will play a D#. 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. KONTAKT 2 – 91 . from 0 to 1000ms. • • • • • 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.

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

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

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

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

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

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

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

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

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

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

or type in value). Method #4: Use keyboard shortcuts (see Appendix B). drag mouse.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. 106 – KONTAKT 2 .

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

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

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

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

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

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

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

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 . Set Key Range by MIDI Click on the MIDI <-> button. Set Velocity Range by MIDI Click on the MIDI up/down arrow button. Play a second key to set the Zone’s upper pitch limit.Lock Zones The Lock Zones button in the Mapping Editor prevents any Zones (selected or not) from being moved. Play a key to set the Zone’s lower pitch limit. This button can be handy for extensive edits.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Output: Edits the compressed audio signal level.e. Attack: Sets how long it takes for compression to kick in after an input signal exceeds the threshold level. 5ms is a good starting point. disable to retain the original phase. Too short an attack can kill all sense of dynamics. Inverter This module allows inverting the phase and/or the pan position (i. reverse the left and right channels). Pan: Enable to switch channels. disable to retain existing stereo pan. whether the signal is compressed or bypassed.raises the output by 1 dB. Typical values range from 50 to 250 ms.. Output is normally set so that signal peaks are the same. 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. Controls Phase: Enabled to reverse phase. This is necessary because reducing the peaks gives up several dB of headroom. 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. This is how waveform levels are reduced. 152 – KONTAKT 2 .

1 Music. KONTAKT 2 – 153 .1 Surround. This provides the opportunity to change the surround format depending on your host environment or loudspeaker system. Options includes 1. while maintaining the original sound source positions.1 Cinema. 3. 7. 8. 5. and the output Format similarly ranges from Mono up to 16-channel surround.1 Cinema.1 Octaphonic. and their channel assignments. and Doppler effect) can add a realistic. 2. 10. 7.1 Heptaphonic.1 Mono. 4.1 Music.1 Stereo.Surround Panner This module adds surround panning capabilities to Group Insert and Instrument Insert Effects (not Send Effects). 3.2 Surround.1 Pentaphonic.0 Surround and more. 16. Special effects (delays on each loudspeaker. air absorption.1 Quad. 5. The following table shows the list of available surround formats. 7. natural touch and enhance the spatial impression. Menus and Buttons Surround Format: This drop-down menu chooses the panner output surround format. These show how loudspeakers are assigned to audio channels. The input can vary from mono to 16 channels. 5.1 Surround. 4.1 Front.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

4. Auto is the default and usually the best choice. graphically editable envelope on top of the impulse display. 11. Auto Gain: Turn this on to maintain consistent levels as you change various impulse parameters. 1/4.5ms. 92. 1/8.” CPU usage is the same regardless of which option you choose. then re-insert. 168 – KONTAKT 2 .6. Note: You can also choose “Preserve Length. where a short time elapses between the time a signal occurs and when it first bounces off of a room surface. Return (when used as Send Effect): Mixes the effect signal into the main output. Latency: Adjusts Impulse Response latency in five steps (2. as volume changes can be drastic – take care of your ears! Volume Envelope: Turn this on to superimpose an 8-segment.9 5. the effect in order to sync to the new sound card latency.150%): Changes the length of the impulse sample.2. 1/6. Note that you need to remove.” which allows using a lower sample rate to save CPU power.5. it is recommended that you increase your sound card latency rather than adjust this latency setting. 46.reverb response in large rooms. 185. Use this envelope to further tailor the impulse’s decay characteristics. Early Reflection: Sets the next three parameters for the early reflection part of the impulse. 1/1. Late Reverb: Sets the next three parameters for the tail part of the impulse.9. 1/2. Reverse Button: Reverses the impulse for special effects.8. Lowering the sample rate multiplies the length of the impulse. and Auto). IR Size (50% . 1/2. Higher values mix in more processed sound. as well as Auto). and 371. monitor at low levels. If you hear crackles or other problems with the audio. 23. Dry and Wet sliders (when used as an Instrument Insert effect): Varies the amount of the processed and straight signals. 1/3. but retains the same reverb tail length. If you turn this off. Sample Rate: Allows dividing the sample rate in nine steps (1/1.8.5. thus giving longer reverb “tails.

4. signals alternate between the far left and far right channels. each successive echo has progressively lower high-frequency response. With feedback applied (described below). Controls Time: The interval in milliseconds between hearing the straight signal and the first delay of the delayed signal. Higher settings create a noticeable echo compared to the dry signal. To synchronize the speed to an external MIDI clock.0 kHz): Attenuates frequencies below the chosen cutoff frequency. 3.0 kHz): Attenuates frequencies above the chosen cutoff frequency.. if 16th note is selected. For example. click on the Time parameter’s unit display and choose a note length value from the drop-down list. the MasterKontrol tempo. or your host software’s internal clock.g. Delay times lower than 20 ms produce comb filter and resonator-like effects. the Time control can select a multiple of the chosen note value (e. Once the rhythmic value is selected. if you choose Whole from the list. 16th notes).Highpass Filter (20 Hz – 20. echoes will occur one bar apart. A Pan control places consecutive echoes alternately in the stereo field’s left and right channels. The higher the value. KONTAKT 2 – 169 . Damping: Reduces (damps) high frequencies in the delayed signal. 5. etc. the greater the stereo spread. Delay The available delay range is 5 . use Time to select a duration of 2. Lowpass Filter knob (20 Hz – 20. Higher values reduce the highs further.2900 ms. at 100. Pan: Setting a value higher than 0 results in a panning effect where each consecutive echo alternates between the left and right channel.

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

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

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

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

6 Pole Lowpass Cutoff: Controls the frequency above which signals will be attenuated. Values range from 0% (no emphasis) to 100% (maximum emphasis). Values range from 0% (no emphasis) to 100% (maximum emphasis). 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. 174 – KONTAKT 2 . Resonance: Emphasizes the frequencies just below the cutoff frequency. A cutoff this steep is not common.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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