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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

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

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

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

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

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

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

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

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

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

After completing the Product Authorization the Registration Tool looks like this Now the KONTAKT 2 Product Authorization has been completed. it is generally recommended that you prefer Method A or Method B for shortest return times and most comfortable operation. by postal mail or by fax. the Product Authorization can also be done via postal mail or fax. If you do not provide Native Instruments with a valid email address in the form. Although Native Instruments goes after a fast handling of your authorization requests. You will receive the Authorization Key either by email (recommended). Please note the following instructions to fullfill the Product Authorization: KONTAKT 2 – 17 . be prepared to type in the Authorization Key manually (about 60 digits).• Click on the Complete button. If you do not have access to the internet or if you do not have a working email address. 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.

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

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

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

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

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

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

Furthermore. and the host passes MIDI data to KONTAKT 2. 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 • • . such as sequencing or hard disk recording software. which include software routines called drivers. but first let’s look at the various interface drivers and plug-in formats used by different operating systems and programs. We’ll describe each mode in detail. This section describes how to use various audio interfaces with KONTAKT 2. Stand-alone Application KONTAKT 2 works in stand-alone mode with ASIO. the host program interacts directly with the computer’s hardware interface. DirectSound. KONTAKT 2 connects to the host program via “virtual patch cords. 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. similar to a hardware digital synthesizer. As a plug-in that works in conjunction with a “host” program.” KONTAKT 2’s audio outputs appear as signals in the host’s mixer. There are two main ways to implement KONTAKT 2: As a “stand-alone” device that requires no host software. The KONTAKT 2/computer combination acts as an instrument. In this case. if present) to communicate with your computer’s audio hardware. The table shows you which drivers are available under which Operating System: Driver ASIO 2.0 DirectSound MME Core Audio Plug-In Used as a plug-in. KONTAKT 2’s audio and MIDI connections interact directly with your computer’s audio/MIDI hardware interface.Audio Interfaces Audio interfaces. allow KONTAKT 2 (and other programs you have installed. and Core Audio. plug-in mode allows you to integrate it seamlessly with the sequencer. MME.

Available interfaces depend on your computer. This table provides you with an overview of which interfaces are supported by which host programs: Plug-in Interface VST 2.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 is due to the fact that the host capture keys for themselves and do not pass them on to the plug-in. which will likely be ASIO with Windows. For Windows. KONTAKT 2 – 25 . you can also use DirectSound and Multimedia (also called MME). Example: With Sonar. or Core Audio for Mac. as one may offer better performance than another. running KONTAKT 2 as a DXi instrument allows using multiple outputs. the audio interface (sound card) you’re using. Choose the fastest interface protocol supported by your interface. and your computer platform (KONTAKT 2 supports Windows XP or MacOS X).0 Plug-in DXi Audio Units Host-Program Cubase. Nuendo Sonar Logic Windows • • Mac • • • • • Note: Some hosts include “wrappers” that allow running KONTAKT 2 with a choice of plug-in protocols. while running it as a VST instrument provides more automation options Interface Details The interfaces described below represent different ways KONTAKT 2 can communicate with your sound card. Try each one. but expect a significant delay (called latency) between the time you play a note and the time you hear it.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 is tied in closely with the operating system. RTAS plug-ins are “native. and high performance. DirectSound: Developed by Microsoft. MME is even less suitable than DirectSound for real-time applications due to its comparatively high latency. AU (Audio Units): This plug-in format is exclusively for the Macintosh OS X platform. this plug-in interface for software synthesizers and instruments is designed for low latency and high performance on the Windows platform. Most sound cards support this interface and work with it quite well. Plug-In Details VST (Virtual Studio Technology): Like ASIO. DXi2 (DirectX Instrument 2): Based on Microsoft DirectX technology. RTAS (Real Time Audio Suite): This interface protocol from Digidesign allows using plug-ins with ProTools (or other Digidesign-compatible software).0 or higher for Windows.” the host processor performs all computations needed for the plug-in. Unlike traditional TDM effects that depend on using Digidesign hardware. It is highly recommended for its low latency. this cross-platform plug-in technology was developed by Steinberg. MME (Multi Media Extension): This is the standard Windows audio driver. and works with external audio hardware as well as the Mac’s integrated audio output. If you adjust the interface for an acceptable amount of latency. Core Audio: This audio interface for MacOS X is integrated tightly into the operating system. multi-channel audio card support. 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. Cakewalk Sonar and Image Line FL Studio are the most well-known hosts that support DXi. 26 – KONTAKT 2 . How well DirectX works well depends on your sound card. this is a is a component of DirectX 5. However.ASIO (Audio Streaming Input Output): This cross-platform plug-in protocol was developed by Steinberg. It is the most common plug-in format.

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

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

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

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

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

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

• Record enable the MIDI track. either in the arrange or mixer window. Note: If KONTAKT 2 does not appear in the list of available VST instruments inside your VST 2 host application. The MIDI channel of your MIDI track must correspond to the receive channel of the loaded instrument. Double click the audio instrument track to open the environment window. • 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. After having loaded an Instrument from the library you should be able to trigger it via MIDI using a keyboard controller. holding down the mouse button and choose Audio  Audio Instrument  Inst 1. Then click onto the insert slot. • • Audio Units Plug-ins Use in Logic 7. hold down the mouse button and KONTAKT 2 – 33 • • . If the plug-in does not receive MIDI or generate audio. Please refer to the previous section on installing the plug-in for both Windows and Mac platforms for more assistance on setting this up. then 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. Logic scrolls automatically to the first instrument bus in the Logic mixer. Choose the KONTAKT 2 Audio Unit plug-in in the appropriate insert slot of the instrument mixer bus.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.

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

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

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

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. Assign a MIDI track to the KONTAKT 2 -DXi-Plug-in After having loaded an Instrument from the library you should be able to trigger it via MIDI using a keyboard controller. then make sure to check the following two areas: Make sure Midi Patch Through is enabled in the Studio menu of Sonar. Loading the KONTAKT 2 DXi 2 plug-in in the synth rack • Route a MIDI track to the DXi 2-Plug-in by selecting KONTAKT 2 in the Out drop down list. • Make sure that you have properly configured your sound card for use with Sonar. • 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. KONTAKT 2’s sound will generate through Sonar’s mixer and directly to your sound card. • KONTAKT 2 – 37 . (please refer to your Sonar manual for more information). • Make sure that the instruments track output is correctly set.

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

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

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

These are saved within folders inside a Presets folder located in the main KONTAKT 2 directory. KONTAKT 2 is smart enough to put it in the correct folder. KONTAKT 2 – 41 . Presets have a .nkm suffix.Just as Instrument files have a distinctive . 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. but go to the end of the list and select Save Preset. Load a Preset If a KONTAKT 2 module can load and save presets. A dialog box opens up that allows naming and saving the Preset. there will be a Preset button with a downward arrow.nki suffix and Multis have a .nkp suffix. Click on this and select the desired Preset from the drop-down menu. Save a Preset To save a Preset. Note that when saving.

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

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

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

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

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

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

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

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

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

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

Maximized Instrument Header View Parameters

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

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

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

KONTAKT 2 – 49

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

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

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

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

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

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

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

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

KONTAKT 2 – 51

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

KONTAKT 2 – 53 .

54 – KONTAKT 2 .

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

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

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

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

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

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

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

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

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

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

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

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

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

Master Tempo This sets the tempo for tempo-synched effects. There are three ways to set tempo manually: • Adjust the tempo knob. If KONTAKT 2 is used within a host program.00 BPM. this sits right under that panel and provides a lot of useful functions. Metronome Click the On button to enable. Master Tune This defaults to A=440. • Double-click on the tempo field and type in a new number. Hint: This is also useful for finding out the tempo of a song if you don’t already know it. The default is 120. There is also a sync button to sync to incoming tempo information (not visible in the standalone version).The MasterKontrol Section When enabled in the Main Control Panel. 68 – KONTAKT 2 .88. but can be adjusted with the knob from A=392.00 to A=493. The light below the on button flashes with the tempo. and the control varies the metronome volume. this displays the host’s tempo. • Tap a rhythm on the Tap button.

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

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

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

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

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

click on this button to update the directory listing.g. inserting a sample CD. CD/DVD-ROM Eject button: Click on this open your computer’s CD/DVD-ROM drawer and eject the CD/DVD-ROM. 74 – KONTAKT 2 . or renaming files). set the browser font size. 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.The Tools Menu The Tools menu allows you to include network drives and removable drives in the browser.

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

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

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

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

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

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

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

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

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. you’ll see a list with all Samples that meet the criteria you specified.instruments required by the orchestral score in another view. You’ll see a dialog box that lets you search for Samples. Instruments.” Then click on Search. 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. Banks and Multis.” In that case. select the Sample button and type a keyword in the File Name field. Assuming you actually have Samples that contain the word “bass” in their name. such as “bass. KONTAKT 2 – 83 . you’ll see a message that says “Too Many Objects for Flat View. The Search Feature Click on the Search button in the Database tab.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Attack Time. Specifies the slice decay time (how long it takes to go from full on to silence) in milliseconds. These volume envelopes are analogous to the Attack/fade-in and Release/fade-out time for the slices found in the Beat Machine mode. 140 – KONTAKT 2 . which offers the following options. 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. Enable this to place volume envelopes into all the created Groups. Envelope Create Volume Envelopes. Release Time. Specifies the slice attack time (how long it takes to go from silence to full on) in milliseconds. They start on the base key and move towards the higher notes. Note that this command is available only after the sample has been sliced.

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

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

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

The following diagram shows how effects patch into a KONTAKT 2 instrument. MULTI INSTRUMENT (1 to 64) GROUP (1 to 4096) Sample Player / Tone Machine / Time Machine / Time Machine 2 / Beat Machine SOURCE GROUP INSERT EFFECTS A 1 A 2 A 3 A 4 A 5 A 6 A 7 A 8 Send Levels B A Filter / EQ Distortion Saturation Lo-Fi Compressor Stereo Modeller Inverter Surround Panner Send Levels AMPLIFIER GROUP INSERT EFFECTS (If slots 7 and 8 are set to post amp. 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 .KONTAKT 2 Effects Types KONTAKT 2 has a sophisticated and flexible effects structure.

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

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

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

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

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

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

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

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

KONTAKT 2 – 153 . and their channel assignments.1 Music.1 Quad.1 Heptaphonic. 3. 2. 7. 4. These show how loudspeakers are assigned to audio channels. 7.1 Stereo. natural touch and enhance the spatial impression. 16.1 Music. This provides the opportunity to change the surround format depending on your host environment or loudspeaker system.1 Cinema.1 Pentaphonic. while maintaining the original sound source positions. 3.1 Surround. Options includes 1.1 Front. 8. and Doppler effect) can add a realistic.2 Surround.1 Surround.1 Octaphonic. air absorption. 10. Special effects (delays on each loudspeaker.Surround Panner This module adds surround panning capabilities to Group Insert and Instrument Insert Effects (not Send Effects). 5. The following table shows the list of available surround formats. and the output Format similarly ranges from Mono up to 16-channel surround.1 Mono. 5. 7. The input can vary from mono to 16 channels. Menus and Buttons Surround Format: This drop-down menu chooses the panner output surround format.0 Surround and more. 5.1 Cinema. 4.

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

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

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

It calculates the distance of each sound source for each loudspeaker in real time. This effect simulates absorption. increase the panning field’s size with the “size” knob. KONTAKT 2 – 157 . and move the source far away from the center point.3. depending on distance. the high frequencies are damped depending on the listener’s distance (center point). Delay (on/off): This button enables a delay-based panning effect. Enabling this function gives better results in recognizing the sound source position(s). Logarithmic .Logarithmic panning uses a logarithmic function for the volume. Air Absorption (on/off): When a sound moves away from a listener. which will bypass with amplitude-based panning effect. set the Divergence knob to 0%. None of the above algorithms or modes only need to be used with a certain format or system and its recommended to experiment with the algorithms and parameters in order to find the most suitable setting for your surround production. To hear delay-based panning only. but uses a lot of CPU power. In order to give a strong distance impression. and will be more noticeable if the sound source is far away from the center of 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. Size (10%-100%): Varies the size of the surround field in which the sound source(s) move. The fields Input channels and output channels show the number of in and out channels. Setting the knob to 0% will cause no volume changes on any of the loudspeakers. 158 – KONTAKT 2 . Setting the divergence to 100% will enhance each sound source’s directional focus. delay.. airabsorption. depending on the chosen surround format and number of audio channels in the group´s sample. Options: In the options for the surround panner. the amounts for doppler. Changing the size to very small results in stronger doppler. To hear this in action. Controls Output (-� to + 12 db): Changes this module’s overall level. air absorption. and the LFE-channels cutoff frequency are editable. 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). Divergence (0%-100%): Alters the focus of a sound source in the surround system.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. and delay effects.

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

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

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

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

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

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

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

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

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

Dry and Wet sliders (when used as an Instrument Insert effect): Varies the amount of the processed and straight signals. Latency: Adjusts Impulse Response latency in five steps (2.150%): Changes the length of the impulse sample. and 371. Early Reflection: Sets the next three parameters for the early reflection part of the impulse.5ms. Use this envelope to further tailor the impulse’s decay characteristics. Higher values mix in more processed sound. Auto is the default and usually the best choice. IR Size (50% . Reverse Button: Reverses the impulse for special effects. Lowering the sample rate multiplies the length of the impulse. 1/3.4.” CPU usage is the same regardless of which option you choose. 1/2.5. Late Reverb: Sets the next three parameters for the tail part of the impulse. If you hear crackles or other problems with the audio. then re-insert. 1/6. Note that you need to remove. 1/8. Sample Rate: Allows dividing the sample rate in nine steps (1/1. thus giving longer reverb “tails. 1/2. as volume changes can be drastic – take care of your ears! Volume Envelope: Turn this on to superimpose an 8-segment.8. Auto Gain: Turn this on to maintain consistent levels as you change various impulse parameters. 1/4. 11. Note: You can also choose “Preserve Length.9. 168 – KONTAKT 2 . 185. monitor at low levels. 92.reverb response in large rooms. the effect in order to sync to the new sound card latency. where a short time elapses between the time a signal occurs and when it first bounces off of a room surface.5.6. and Auto). 46. 23. but retains the same reverb tail length. it is recommended that you increase your sound card latency rather than adjust this latency setting.2. 1/1. Return (when used as Send Effect): Mixes the effect signal into the main output. If you turn this off.8. as well as Auto).9 5. graphically editable envelope on top of the impulse display.” which allows using a lower sample rate to save CPU power.

echoes will occur one bar apart. if 16th note is selected. Once the rhythmic value is selected.. To synchronize the speed to an external MIDI clock. Damping: Reduces (damps) high frequencies in the delayed signal. if you choose Whole from the list. 5.0 kHz): Attenuates frequencies above the chosen cutoff frequency.g. The higher the value. For example. KONTAKT 2 – 169 .0 kHz): Attenuates frequencies below the chosen cutoff frequency. click on the Time parameter’s unit display and choose a note length value from the drop-down list. each successive echo has progressively lower high-frequency response. signals alternate between the far left and far right channels. 3. Delay times lower than 20 ms produce comb filter and resonator-like effects. the MasterKontrol tempo. etc. use Time to select a duration of 2. the Time control can select a multiple of the chosen note value (e. or your host software’s internal clock.2900 ms. 16th notes). Controls Time: The interval in milliseconds between hearing the straight signal and the first delay of the delayed signal. Higher settings create a noticeable echo compared to the dry signal. With feedback applied (described below). Lowpass Filter knob (20 Hz – 20. the greater the stereo spread. Pan: Setting a value higher than 0 results in a panning effect where each consecutive echo alternates between the left and right channel. at 100. 4. Higher values reduce the highs further. A Pan control places consecutive echoes alternately in the stereo field’s left and right channels.Highpass Filter (20 Hz – 20. Delay The available delay range is 5 .

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

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 .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.

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

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

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

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

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

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

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

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

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

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

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

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