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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

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

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

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

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

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

• A click on the Register Now button opens the Native Instruments registration webpage. 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. Therefore your standard Internet Browser will be opened and an internet connection will be established according to your system settings. Please fill out all required fields and follow the instructions on the screen to complete the registration. • 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. • • 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.• Windows: Start the Registration Tool from the start menu (Native Instruments KONTAKT 2  KONTAKT 2 Registration Tool) or from the KONTAKT 2 installation folder (default path: C:\Program Files\Native Instruments\KONTAKT 2\). KONTAKT 2 – 13 .

This email also contains the password which is required for using the online services. Click on the Complete button.• 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. The Authorization key is available in the email body and additionally as text attachment. Within a few minutes you will also receive an email from the Native Instruments registration system containing the Authorization key. • 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. 14 – KONTAKT 2 .

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

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

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

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

Start the Registration Tool again and either copy the Authorization Key from the email and press the Paste from Clipboard button in the Registration Tool or use the Open File button in the Registration Tool to open the email attachment which you previously have saved to hard disk. KONTAKT 2 – 19 . Now the KONTAKT 2 Product Authorization has been completed. Click on the Complete button. type it in manually. fax or mail.native-instruments. If you have received the Authorization Key by mail or fax.info Please describe the occurred problem as accurate as possible and provide the registration support team with the necessary details to solve the problem.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).com/registersupport. 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. In this case send a support request on the NI website using the following URL: http://www.

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

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

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

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

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

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

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

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

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

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

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

then it is not installed correctly. Choose KONTAKT 2 from the list. go to the Devices menu option and select the VST Instruments menu option or press F11 on your keyboard. • Go to the Output parameter section for this MIDI Track and click on the field. This will allow you to mix. It will also create a set of audio channels in your VST mixer that will be used for mixdown within your project. and process KONTAKT 2's output just like any other existing audio track in your Cubase song. A window showing the instrument rack appears. 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). Here you can control and edit all the features and functions that KONTAKT 2 has to offer. KONTAKT 2’s sound will generate KONTAKT 2 – 31 . This will create a list of available MIDI out ports to assign to this MIDI track. pan. • • • The plug-in will now appear in your list and automatically be turned on. Click on an empty slot and choose KONTAKT 2 from the available list of instrument plug-ins.KONTAKT 2 as Plug-In VST 2. Note: If KONTAKT 2 does not appear in the list of available VST instruments inside your VST 2 host application. 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.0 Plug-In Using the KONTAKT 2 plug-in in Cubase SX 3 • • Launch Cubase.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

KONTAKT 2 – 53 .

54 – KONTAKT 2 .

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

then choose Copy Selection to > from the View menu. You’ll probably want to start this process in the All view.” Choose one of them. and their contents. 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. all your favorite synth pads and all electric basses).. KONTAKT 2 – 81 .In the screen shot above. the Guitars folder has been selected for the Instruments Quickload menu. It contains four folders. which are also selected. you can see the directory’s contents in the Objects pane. with all boxes unchecked. A click on the drop-down menu in an Instrument Header makes all of these folders. Creating a Favorite View The purpose of a Favorite View is to show only a specific set of folders/files. all files used on a particular session. By selecting the desired folders and files. You’ll see a list of 24 “favorite views. etc. Check those folders you want to include in a favorite view (e. and check or uncheck individual elements within the folder. such as all of one Instrument type. available instantly.g.

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

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

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

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

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

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

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

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

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

KONTAKT 2 – 91 . Example: If this is set to 2 and you play a C# on your keyboard. Key Switch Default Key: This is the first key that is activated when you load this instrument with “Start on key” group start options. 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. from 0 to 1000ms. MIDI Transpose: Transposes incoming MIDI data in semitones.Instrument Options Instrument Tab Voice Stealing Mode: Choose from the following. • • • • • 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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

then you’ll have four slices. so try the various options to determine what sounds best. This is recommended when working with material that contains a lot of transients. Transient Size: When the Transient Copy function is enabled. Time Machine II is optimized specifically for the highest possible quality of time stretching and pitch shifting. such as drum loops. 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.” Playing these back at a slower or faster rate slows down or speeds up the tempo. 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. Tracking. If you slice this file on each beat. each with a kick drum 136 – KONTAKT 2 . Beat Machine The Beat Machine divides an audio file into “slices. and Release Trigger parameters work the same way as with Time Machine. the Transient Size knob adjusts the size of those transients that remain untouched. Transient Copy: When on. The Tune. transients are preserved as accurately as possible. Speed. Following is a description of controls unique to Time Machine II. There is no Smooth control.Time Machine II While the original Time Machine is designed to offer as wide a range of effects as possible. Here’s a quick example.

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

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

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

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

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

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

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

The following diagram shows how effects patch into a KONTAKT 2 instrument. 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 . 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.

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

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

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

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

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

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

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

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

2 Surround. 5. 4. natural touch and enhance the spatial impression. This provides the opportunity to change the surround format depending on your host environment or loudspeaker system.1 Stereo. while maintaining the original sound source positions.1 Quad. Special effects (delays on each loudspeaker. KONTAKT 2 – 153 . 3. 7.1 Surround. The input can vary from mono to 16 channels. 7. Menus and Buttons Surround Format: This drop-down menu chooses the panner output surround format.1 Front.0 Surround and more. 7.1 Mono.1 Cinema. air absorption. 8. and their channel assignments. 3. and the output Format similarly ranges from Mono up to 16-channel surround.1 Music.1 Cinema. The following table shows the list of available surround formats. 5. 5.Surround Panner This module adds surround panning capabilities to Group Insert and Instrument Insert Effects (not Send Effects).1 Surround.1 Pentaphonic. 2. These show how loudspeakers are assigned to audio channels. 10. 4. and Doppler effect) can add a realistic.1 Music. Options includes 1.1 Heptaphonic. 16.1 Octaphonic.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1/2.150%): Changes the length of the impulse sample.reverb response in large rooms. 46.6. 92. 1/2. Higher values mix in more processed sound.4. 11. monitor at low levels. it is recommended that you increase your sound card latency rather than adjust this latency setting. then re-insert. If you hear crackles or other problems with the audio. Late Reverb: Sets the next three parameters for the tail part of the impulse.5ms. 1/4. Note: You can also choose “Preserve Length. graphically editable envelope on top of the impulse display.9. as volume changes can be drastic – take care of your ears! Volume Envelope: Turn this on to superimpose an 8-segment. 1/6.2. the effect in order to sync to the new sound card latency.8. 1/8. 168 – KONTAKT 2 . If you turn this off.” CPU usage is the same regardless of which option you choose. 1/1. and 371. 185. Reverse Button: Reverses the impulse for special effects. as well as Auto). Use this envelope to further tailor the impulse’s decay characteristics. Dry and Wet sliders (when used as an Instrument Insert effect): Varies the amount of the processed and straight signals. Note that you need to remove.” which allows using a lower sample rate to save CPU power. Auto Gain: Turn this on to maintain consistent levels as you change various impulse parameters. Latency: Adjusts Impulse Response latency in five steps (2. Lowering the sample rate multiplies the length of the impulse. 1/3. and Auto). Early Reflection: Sets the next three parameters for the early reflection part of the impulse. but retains the same reverb tail length.5.5. where a short time elapses between the time a signal occurs and when it first bounces off of a room surface.9 5.8. Sample Rate: Allows dividing the sample rate in nine steps (1/1. IR Size (50% . thus giving longer reverb “tails. Return (when used as Send Effect): Mixes the effect signal into the main output. Auto is the default and usually the best choice. 23.

5. The higher the value. 4. With feedback applied (described below). the greater the stereo spread. To synchronize the speed to an external MIDI clock. the MasterKontrol tempo. 3. For example. KONTAKT 2 – 169 . the Time control can select a multiple of the chosen note value (e. 16th notes). each successive echo has progressively lower high-frequency response. Higher values reduce the highs further. A Pan control places consecutive echoes alternately in the stereo field’s left and right channels. use Time to select a duration of 2. Controls Time: The interval in milliseconds between hearing the straight signal and the first delay of the delayed signal. Lowpass Filter knob (20 Hz – 20. click on the Time parameter’s unit display and choose a note length value from the drop-down list. signals alternate between the far left and far right channels. Damping: Reduces (damps) high frequencies in the delayed signal. Delay times lower than 20 ms produce comb filter and resonator-like effects..0 kHz): Attenuates frequencies below the chosen cutoff frequency.0 kHz): Attenuates frequencies above the chosen cutoff frequency. Higher settings create a noticeable echo compared to the dry signal.2900 ms. if 16th note is selected. Once the rhythmic value is selected. echoes will occur one bar apart.g. etc. Pan: Setting a value higher than 0 results in a panning effect where each consecutive echo alternates between the left and right channel.Highpass Filter (20 Hz – 20. at 100. or your host software’s internal clock. if you choose Whole from the list. Delay The available delay range is 5 .

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

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

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

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.” higher values produce a narrower. while lower values yield a broader. The steep cutoff produces filter sounds typical of the classic Minimoog synthesizer. at a rate of 24 dB/octave. Values range from 0% (no emphasis) to 100% (maximum emphasis). gentler peak. 4 Pole Highpass Cutoff: Controls the frequency above which signals will be attenuated. at a rate of 24 dB/octave. 4 Pole Bandpass Cutoff: Sets the bandpass range’s center frequency. Resonance: Emphasizes the frequencies just above the Cutoff frequency. Resonance: Emphasizes the frequencies just below the cutoff frequency. This changes the steepness of the bandpass “skirt. 4 Pole BR (Band Reject) Cutoff: Controls the frequency of the filter band to be attenuated. Reso: Stands for Resonance. high peak. KONTAKT 2 – 173 . 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. Resonance: Emphasizes the frequencies just below the cutoff frequency. and is one of KONTAKT 2’s many special features. Values range from 0% (no emphasis) to 100% (maximum emphasis). 6 Pole Lowpass Cutoff: Controls the frequency above which signals will be attenuated. 174 – KONTAKT 2 . A cutoff this steep is not common.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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 .Appendix B: Keyboard Shortcuts Note: Use the Command key instead of the Ctrl key on OSX.

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

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

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

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

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

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

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

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

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

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

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

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

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