INITIALIZATION Knowledgebase: ki-dev Base Query: Welche Auffälligkeiten siehst du von Produkt A zu Produkt B Model: gemini-1.5-pro-preview-0409 Use Curl?: None ================================================== QUESTIONING Clarity Score: 3 Give follow-up?: True Follow-up query: Könntest du bitte spezifizieren, welche Art von Produkten du meinst und welche Aspekte du vergleichen möchtest? Zum Beispiel Funktionen, Kosten, Qualität oder etwas anderes? ================================================== ROUTING Query type: list ================================================== RAG PARAMETERS Max Context To Include: 100 Lowest Score to Consider: 0.1 ================================================== VECTOR SEARCH ALGORITHM TO USE Use MMR search?: True Use Similarity search?: False ================================================== FILENAMES AND KEYWORDS Keywords Found: ['produkt'] All file names: ['Verkaufszahlen-Lars.xlsx', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf', 'KONTAKT_5_6_8_Manual_English.pdf'] File names to FILTER: [] ================================================== PRIMER Primer: You are a highly intelligent personal assistant. Your role is to act as an expert at summarization and analysis. In your responses to enterprise users, prioritize clarity, trustworthiness, and appropriate formality. Be honest by admitting when a topic falls outside your scope of knowledge, and suggest alternative avenues for obtaining information when necessary. Make effective use of chat history to avoid redundancy and enhance response relevance, continuously adapting to integrate all necessary details in your interactions. Use as much tokens as possible to provide a detailed response. ================================================== FINAL QUERY Final Query: CONTEXT: ########## File: Verkaufszahlen-Lars.xlsx Page: 0 Context: | Unnamed: 0 | Januar | Februar | März | April | Mai | Juni | Juli | August | September | Oktober | November | Dezember | |:-------------------------|---------:|----------:|-------:|--------:|------:|-------:|-------:|---------:|------------:|----------:|-----------:|-----------:| | Verkaufszahlen Produkt A | 10 | 11 | 10 | 13 | 10 | 20 | 10 | 10 | 13 | 15 | 12 | 11 | | Verkaufszahlen Produkt B | 20 | 11 | 3 | 12 | 16 | 1 | 23 | 1 | 4 | 5 | 1 | 3 | #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 1 Context: MANUAL Bu unit IS TRONEELS } THE FUTURE OF SOUND #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 2 Context: The information in this document is subject to change without notice and does not represent acommitment on the part of Native Instruments GmbH. The software described by this docu-ment is subject to a License Agreement and may not be copied to other media. No part of thispublication may be copied, reproduced or otherwise transmitted or recorded, for any purpose,without prior written permission by Native Instruments GmbH, hereinafter referred to as NativeInstruments.“Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Instru-ments GmbH.Mac, Mac OS, GarageBand, Logic, iTunes and iPod are registered trademarks of Apple Inc.,registered in the U.S. and other countries.Windows, Windows Vista and DirectSound are registered trademarks of Microsoft Corporationin the United States and/or other countries.All other trademarks are the property of their respective owners and use of them does not implyany affiliation with or endorsement by them. Document authored by: Jan Morgenstern, Adam Hanley et al.Software version: 5.6.8 (06/2017) Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, butin making this a better product. Disclaimer #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 3 Context: NATIVE INSTRUMENTS GmbH Schlesische Str. 29-30 D-10997 Berlin Germany www.native-instruments.de NATIVE INSTRUMENTS North America, Inc. 6725 Sunset Boulevard 5th Floor Los Angeles, CA 90028 USA www.native-instruments.com NATIVE INSTRUMENTS K.K. YO Building 3F Jingumae 6-7-15, Shibuya-ku, Tokyo 150-0001 Japan www.native-instruments.co.jp NATIVE INSTRUMENTS UK Limited 18 Phipp Street London EC2A 4NU UK www.native-instruments.co.uk © NATIVE INSTRUMENTS GmbH, 2017. All rights reserved. Contact #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 7 Context: 13.2.3Instrument Navigator Pane........................................................................................109 13.2.4Audition Strip............................................................................................................110 13.2.5Refresh and Eject Buttons.........................................................................................111 13.2.6The View Menu...........................................................................................................111 13.3Importing Non-Native Files Into KONTAKT...................................................................................113 13.3.1Direct Access to Foreign Formats...............................................................................113 13.3.2Batch Import.............................................................................................................115 13.3.3Importing From Other Media......................................................................................116 13.3.4Format-Specific Notes...............................................................................................118 13.4Database Tab.............................................................................................................................119 13.4.1Overview of the Database Browser............................................................................120 13.4.2Building the Database...............................................................................................122 13.4.3Searching by Attributes.............................................................................................124 13.4.4Searching by Keywords..............................................................................................128 13.4.5Configuring and Sorting the Results List...................................................................129 13.4.6Assigning Attributes..................................................................................................130 13.5Expert Tab..................................................................................................................................134 13.6Automation Tab..........................................................................................................................139 13.6.1Assigning MIDI Controllers (alternative way).............................................................141 13.6.2Removing MIDI Controller Assignments.....................................................................14214The Quick-Load Catalog.............................................................................................143 14.1Building a Catalog.....................................................................................................................144 14.2Loading Objects from the Catalog..............................................................................................14515The Outputs Section...................... #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 10 Context: 20.4Time Machine.............................................................................................................................226 20.5Time Machine II..........................................................................................................................227 20.6Time Machine Pro.......................................................................................................................227 20.7Beat Machine.............................................................................................................................228 20.8S1200 Machine...........................................................................................................................230 20.9MP60 Machine............................................................................................................................23121The Amplifier Module................................................................................................23222Signal Processors in KONTAKT...................................................................................235 22.1Group Insert Effects....................................................................................................................237 22.2Bus Insert Effects.......................................................................................................................238 22.3Instrument Insert Effects............................................................................................................239 22.4Instrument Send Effects.............................................................................................................240 22.5Adding Modules..........................................................................................................................241 22.6Deleting Modules........................................................................................................................241 22.7Editing Module Parameters........................................................................................................241 22.8Common Parameters..................................................................................................................242 22.9Signal Processors in the Outputs Section...................................................................................243 22.9.1Output Channel Inserts.............................................................................................243 22.9.2Aux Channels.............................................................................................................24423Effects......................................................................................................................245 23.1AET Filter....................................................................................................................................245 23.1.1About Authentic Expression Technology................................................... #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 11 Context: 23.1.6AET Filter Module Controls.........................................................................................255 23.2Transient Master........................................................................................................................256 23.3Feedback Compressor.................................................................................................................257 23.4Solid Bus Comp..........................................................................................................................258 23.5Compressor................................................................................................................................260 23.6Limiter........................................................................................................................................261 23.7Tape Saturator............................................................................................................................262 23.8Distortion....................................................................................................................................263 23.9Lo-Fi...........................................................................................................................................263 23.10Saturation..................................................................................................................................264 23.11Cabinet.......................................................................................................................................265 23.12Skreamer....................................................................................................................................266 23.13Twang.........................................................................................................................................266 23.14Jump...........................................................................................................................................267 23.15Rotator.......................................................................................................................................268 23.16Surround Panner.........................................................................................................................269 23.16.1Explanation of channel abbreviations: .....................................................................271 23.16.2Controls.....................................................................................................................275 23.16.3Surround Panner Automation.....................................................................................276 23.16.4Host/MIDI Automation................................................................................................276 23.16.5Internal Modulation...................................................................................................276 23.17Stereo Model #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 13 Context: 24.2.2SV HP2.......................................................................................................................298 24.2.3SV HP4.......................................................................................................................298 24.2.4Ladder HP1................................................................................................................299 24.2.5Ladder HP2................................................................................................................299 24.2.6Ladder HP3................................................................................................................300 24.2.7Ladder HP4................................................................................................................300 24.2.8AR HP2......................................................................................................................301 24.2.9AR HP4......................................................................................................................301 24.2.10AR HP2/4...................................................................................................................301 24.2.11Daft HP......................................................................................................................302 24.2.12Legacy HP1................................................................................................................302 24.2.13Legacy HP2................................................................................................................303 24.2.14Legacy HP4................................................................................................................303 24.3Bandpass...................................................................................................................................303 24.3.1SV BP2.......................................................................................................................304 24.3.2SV BP4.......................................................................................................................304 24.3.3Ladder BP2................................................................................................................304 24.3.4Ladder BP4................................................................................................................305 24.3.5AR BP2......................................................................................................................305 24.3.6AR BP4......................................................................................................................306 24.3.7AR BP2/4...................................................................................................................306 24.3.8Legacy BP2................................................................................................................306 24.3.9Legacy BP4.............. #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 15 Context: 26.1.3Flexible Envelopes.....................................................................................................329 26.2LFOs...........................................................................................................................................332 26.2.1LFO Controls..............................................................................................................333 26.3Other Modulators........................................................................................................................334 26.3.132-Step Modulator.....................................................................................................334 26.3.2Envelope Follower......................................................................................................335 26.3.3Glide..........................................................................................................................336 26.4External Sources.........................................................................................................................33727Keyboard Shortcuts...................................................................................................339 27.1Global Keys.................................................................................................................................339 27.2Browser......................................................................................................................................340 27.3Instrument Edit Mode.................................................................................................................340 27.4Group Editor...............................................................................................................................341 27.5Mapping Editor...........................................................................................................................341 27.6Wave Editor................................................................................................................................34228File Formats..............................................................................................................343Table of Contents KONTAKT - Manual - 15 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 17 Context: | | The exclamation mark icon highlights important information that is essential for the giv-
en context. | | -------- | -------- | | | The red cross icon warns you of serious issues and potential risks that require your full
attention. | | -------- | -------- | Furthermore, the following formatting is used: ▪ Text appearing in (drop-down) menus (such as Open…, Save as… etc.) in the software and paths to locations on your hard disk or other storage devices is printed in italics. ▪ Text appearing elsewhere (labels of buttons, controls, text next to checkboxes etc.) in the software is printed in blue. Whenever you see this formatting applied, you will find the same text appearing somewhere on the screen. ▪ Important names and concepts are printed in bold. ▪ References to keys on your computer’s keyboard you’ll find put in square brackets (e.g., “Press [Shift] + [Enter]”). ► Single instructions are introduced by this play button type arrow. → Results of actions are introduced by this smaller arrow. 1.2.2 About this Application Reference This Application Reference is the most important documentation resource. It provides thorough descriptions of all the user interface elements, options, tools, editors, and sound processing modules of KONTAKT. You can use it both as a reference manual and a thorough guide to working with the application. 1.2.3 Other Documentation We prepared a wealth of information about all aspects of KONTAKT, most of which you can find in the form of PDF documents within the KONTAKT installation directory on your hard drive. When you are using the stand-alone version of KONTAKT, you can access these docu- Welcome to KONTAKT The Documentation KONTAKT - Manual - 17 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 22 Context: 2.1.3 Latency Optimization The load that typical digital audio calculations generate on your processor is often not constant and predictable; parameter changes, additional voices or other processes can all cause mo- mentary peaks in the load, which can result in drop-outs or other audio artifacts if not properly compensated for. That is why audio programs don’t send the audio signals they generate di- rectly to the hardware, but write them to a short buffer in memory instead, which is what is then sent to the actual hardware. This concept allows the program to bridge short irregularities in the stream calculation and thus be more resistant to processing peaks. Of course, this “safety net” comes at a price — the buffering causes a delay, known as laten- cy, between the triggering of a note and the actual sound. This delay gets longer with increas- ing buffer sizes. Hence, it is vital to tune the buffer size in order to find a good compromise between latency and playback reliability. The optimal value depends on such diverse factors as your CPU, memory and hard disk access times, your audio hardware and drivers, and your op- erating system environment. In order to find the optimal buffer size for your system, we recommend that you begin by set- ting the Latency slider described in the previous section to a healthy middle value between 384 and 512 samples, and then gradually decrease the value during your normal work. Latency Slider When you begin to notice drop-outs, increase the buffer again by a small amount. Generally, it is a good idea to have as few other applications as possible running in the back- ground when working with audio software. Also, if you cannot get below a certain buffer size without getting drop-outs, consult the documentation of your audio hardware to find out wheth- er you can access it via an alternate driver architecture, as some architectures allow more effi- cient low-level access to the hardware than others. 2.1.4 MIDI Configuration The MIDI tab of the Options dialog provides a list of all MIDI inputs and outputs that have been found on your system. These are ports of physical MIDI interfaces connected to your computer, but also any virtual MIDI ports that may be provided by drivers or other applications to facilitate inter-application MIDI usage. Setup Stand-alone Operation KONTAKT - Manual - 22 512 Samples #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 24 Context: Refer to the documentation of your sequencer to find out which of these formats is the right one in your case; if you have enabled the appropriate format at installation time, KONTAKT 5 should appear in the plug-in selection list inside your sequencer. If it does not, re-run the in- staller and make sure the appropriate plug-in is marked for installation. | | Note that AAX plug-ins are supported in DigiDesign hosts only. For other hosts, check
the documentation for which plug-in version to use. | | -------- | -------- | The way in which virtual instrument plug-ins are integrated into the workflow very much de- pends on your sequencer; consult its documentation to find out how to instantiate and work with the KONTAKT plug-in. 2.2.1 Changing Outputs in Pro Tools 1. After changing the output configuration in Pro Tools, you need to close the session run- ning. 2. Unplug KONTAKT. Quit Pro Tools. 3. Restart Pro Tools. 4. Plug in a new instance of KONTAKT. Reopen your session. When setting the new output configuration for KONTAKT make sure to select this configuration as default setting. 2.2.2 Changing Outputs in Logic 8 Make sure KONTAKT’s output configuration matches the channel setup chosen in Logic 8. Otherwise signals might be routed to the wrong Aux channel. Setup Plug-in Operation KONTAKT - Manual - 24 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 26 Context: On its right side, the Info Pane will display a short help text about whatever control your mouse is currently hovering over. If you don’t know what a knob, button, menu entry, or in fact any other user interface element does, just hover your mouse over it while the Info Pane is visible and a description of the control will appear there. Setting the Language of the Info Pane The Info Pane help is available in five languages: English, German, French, Spanish and Japa- nese. In addition, some other parts of the interface, such as the stand-alone menus, have also been localized. You can set your preferred language via the new Language drop-down list in the Interface tab in the Options dialog. You need to restart KONTAKT after selecting a new lan- guage. If you select Automatic, the language follows the language selection of your operating system. 3.2 Knobs Knobs are the most frequently used interface element for adjusting numeric parameters. Bipolar knobs like this one have their zero (and default) setting in the middle of their scale. They’re designed to resemble real rotary controls that you can find on mixing consoles and oth- er equipment. ▪ To change a knob value, click it and drag your mouse upwards to move the knob clockwise, or downwards to move it counter-clockwise. ▪ Some knobs can be adjusted more finely if you hold down the [Shift] key on your keyboard while moving the knob. ▪ You can reset a knob to its default value by clicking on it while holding the [Ctrl] key if you are on a Windows operating system, or the [Cmd] key if you are on Mac OS X. ▪ Many time-related parameters throughout the KONTAKT environment can be synchronized to your song tempo. Clicking on the unit that’s being displayed in the respective control’s numeric readout will open a drop-down menu, which contains a number of note values; se- lecting one of these, then dialing in the number of notes that you’d like to be spanned by User Interface Elements Knobs KONTAKT - Manual - 26 Vol 0.00 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 28 Context: Active toggle buttons are highlighted. 3.4 Drop-Down Menus These menus allow you to choose from a list of values. They look similar to buttons, but with a small down arrow icon on their right side. Click them to open the menu; it will stay open until you have either selected a new value or clicked somewhere else in the KONTAKT window, which leaves the previous value unchanged. Some menus have further sub-menus; these will be indicated with a small right arrow next to their name. Moving the selection bar to one of these items will open the respective sub-menu. The mode drop-down menu of the Source Module. 3.5 Scroll Bars Scroll bars appear at the bottom or right border of panes whose contents take up too much space to be displayed in their entirety. Clicking on the position indicator bar and dragging it will scroll the viewport across the content, while clicking on the empty space of a scrollbar will jump to the respective position. Some contents can also be zoomed in and out; this is indicat- ed by “+” and “-” buttons at one end of their scrollbar. Click “+” to zoom in, or “-” to zoom User Interface Elements Drop-Down Menus KONTAKT - Manual - 28 Reverse Sampler oFo tone machine time machine time machine 2 tine machine pro beat machine S1200 machine MP6D machine #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 32 Context: 4KONTAKT: The Big Picture KONTAKT is an extremely powerful, complex, and capable instrument. Before getting into spe-cifics, let’s take a step back first and describe KONTAKT in general terms.The structure of most samplers, hardware or software, is similar to that of a synthesizer: at itssource, some kind of sound generator outputs unprocessed signals in response to incomingMIDI notes; these signals are then processed in a variety of ways and sent to the output. Thedifference is that the sound generator of a typical synthesizer creates its source waveforms en-tirely by electrical or mathematical means, often being limited to a range of well-defined wave-forms, whereas a sampler can use any kind of previously recorded audio data — sampledacoustic instruments, sound effects, vocals, and (of course) any classic waveform known fromsynthesizers as well.KONTAKT’s overall structure is not any different in this regard, albeit it is far more sophisticat-ed than a lot of conventional samplers. For instance, KONTAKT does not force any particularsignal flow structure upon your Instruments — it has an entirely modular approach to soundprocessing and parameter modulation. Anything is possible, from triggering simple one-shotsamples to building sophisticated virtual instruments that faithfully reproduce all aspects oftheir acoustic counterparts and respond intelligently to your performance.As usual, this power comes at a price, though; while you’ll be able to load and play your firstKONTAKT Instruments right away, it will take some more practice to become a master at creat-ing your own Instruments. We hope this manual will help you achieve this; also, wheneveryou’re stuck, remember you can get helpful hints from the Info Pane described in section↑3.1, Info Pane at any time.Building BlocksThe full functional range of KONTAKT’s sampling environment is split up into smaller sections,which allows you to concentrate on the task currently at hand without getting distracted byother details. This functional division is also reflected on the user interface; most elementsthat belong to a specific kind of task are kept within a separate pane, tab, or dialog window.KONTAKT: The Big Picture KONTAKT - Manual - 32 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 36 Context: 5 The KONTAKT Window Let’s have a look at KONTAKT’s main window during a typical session: KONTAKT in action The user of this session has currently set up a number of Instruments in a way that allows him to play them via different MIDI channels. Let’s have a look at the visible main elements of the user interface: The KONTAKT Window KONTAKT - Manual - 36 @KONTAKT H, mo Er Bi] ai FETT ee ee re ec ee ee Automation S fd Libro Bu — _ Seog she centlsnan rte Sa 0 Mar 120 Pure a Gheenon) a et | iA N ~ ae SCE acu Cell ‘+00 Grea oie a el) era) Balakulandian Een] Ba Sur u re u Giornale Eee eer N Dr 5 DRS ee RETRO EI ee re reg aa De 3 Pr cr Sar err) Seed coe 0 Dar > oT Tuer u Teer en ile PR ‘Transistor Continental.nki Volume: Master volume control for this Instrument. Hold down Shift while using the mouse to make finer adjustments. Z Pe Deere See irre no eee en) #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 44 Context: The Batch Compress dialog When you select this option, a dialog box will appear. Here you must select a source folder (where your nki, nkb and nkm files are currently located) and a destination to which you wish to have these files compiled and copied to. There are two different folder creation strategies: ▪ Mirror source folder structure in the destination location: This mode keeps the folder struc- ture of the source folder when generating the destination folder structure, so there are no explicit "Instruments" and "Collected Samples" subfolders in the destination folder when using this mode. | | One exception: When batch-compressing a source/library folder, if there is an Instru-
ment in the library folder that references a sample outside the source/library folder (and
its subfolders), a "Collected Samples" subfolder will be generated in the destination
folder and this sample will be saved there. | | -------- | -------- | The KONTAKT Window The Main Control Panel KONTAKT - Manual - 44 Ree ee eon Oren et er ure folder toa new destination directory and oompress or decompress the Se ery Se eed ey See Es ET er en Denen eee eet Pleo ceo) eee eee eect eva) SE ee ee ee ee eee) Destination Sample Format een) eT ns ce Corn #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 52 Context: Multiprocessor support: KONTAKT can make use of multiple CPUs or multi-core processors. Toswitch multi-processor support on and off and to set the number of processors / cores you wantto use for KONTAKT, select the corresponding entry from the Multiprocessor support menu.Multi-processor settings are saved independently for a) the stand-alone and b) all plug-in ver-sions. On multi-processor or multi-core systems, many factors influence the system’s behavior.When running KONTAKT as a plug-in, multi-processor mode can sometimes cause cracklesand drop-outs. Whether or not these noises occur during playback strongly depends on your in-dividual software and hardware setup. Therefore, the only option is to test which multi-process-or setting works best for you when using the KONTAKT plug-in. Note that multi-processor sup-port is disabled for the KONTAKT plug-in per default (off entry in the Multiprocessor Supportmenu).For stand-alone usage, we generally recommend turning multi-processor support on. Use theabove setting in the Engine tab of the Options dialog to enable multi-processor support accord-ing to the number of processors or cores installed.Send MIDI to outside world: This drop-down menu allows you to choose which classes of MIDIevents will be sent to KONTAKT’s MIDI output ports. All menu entries will be toggled betweenon (indicated with a small diamond next to the entry) and off state when you click them. Theavailable event classes are:▪GUI keyboard: MIDI events that are generated when you click on KONTAKT’s virtual On-Screen Keyboard.▪script generated CC’s: MIDI controller events that originate from running Scripts.▪script generated notes: Note-on and note-off events that originate from running Scripts.▪incoming CC’s: This will mirror incoming MIDI controller events at the MIDI output.▪incoming notes: Mirrors incoming MIDI note events at the MIDI output.Offline Interpolation Quality: This option allows you to specify an interpolation quality settingfor offline bouncing and freezing that’s different from the one specified in the Source Modulesof your Instruments. For instance, you might want to keep your Source Modules set to standardin order to save CPU resources during arrangement, but switch to perfect for bounces to getthe best possible quality during mixdown. The default setting is like realtime, which will useeach Source Module’s HQI setting during offline operation.The KONTAKT WindowOptions Dialog KONTAKT - Manual - 52 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 55 Context: 5.3.4 Load / Import Tab Load / Import tab of the Options dialog Show "Replace Multi" dialog: When enabled, KONTAKT will display a warning dialog window to check if, when you load a multi, you are sure you want to discard the current multi. When disa- bled, KONTAKT will not make this check and replace the current multi instantly. Load samples in background: When enabled, KONTAKT can load post 4.1 instruments with background loading. This feature is useful for instruments that use a large amount of samples and take a long time to load fully. With background loading active, KONTAKT will display the instrument’s interface and become playable as soon as possible, though certain keys may not sound immediately if the samples have yet to be loaded into memory. Convert 3rd party samples to WAV when saving: If enabled, KONTAKT will always save Sam- ples used by Instruments that came in third-party formats, such as REX, in WAV format; other- wise, they will be saved in their native formats. Unwind automation IDs for additionally loaded patches: When enabled, KONTAKT will re-as- sign automation IDs of newly loaded Instruments if there’s already an Instrument in your Multi that uses the same IDs. As an example, suppose you would like to add an Instrument twice to The KONTAKT Window Options Dialog KONTAKT - Manual - 55 Dr Engine Den rea foes fe Den Deren Aue a ceo) Load samples in background Ce Cn et ona es ee ee ee Le En tar [DEE nen [a ROTEN PERF PER En nn [TER em Eee Terre oa ee ae en Cee ees 1 En #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 58 Context: ▪ Clicking on the Update button will pick up any changes while preserving all user settings that you’ve made in the Database (such as ratings or color assignments) at the cost of in- creased disk space consumption. ▪ The Reset and Scan button will erase the entire Database and rebuild it from scratch; all user settings will be lost in this case. 5.3.6 Libraries Tab The Libraries tab of the Options dialog The Libraries tab is where you can define which of you Powered by KONTAKT libraries appear in the Libraries tab of the Browser (a.k.a. the Library Browser). The main area of the Libraries tab contains a list of all of the Powered by KONTAKT libraries you have installed on your computer. By default, these libraries will have an entry in the Li- brary Browser. If you want to hide a library from the Library Browser without uninstalling it from your comput- er, you can uncheck its entry in this list. If you want the library to return to the Library Browser, you simply re-check its entry in this list. The KONTAKT Window Options Dialog KONTAKT - Manual - 58 Dr Engine Den [rn foes en Den Deren Aue a fee eee ee te Een er rn ks er fun AEON Melodie m Der De De Error Error En #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 61 Context: The KMS utility appears in the Mac OS X system bar, so you can monitor the amount of RAM used by the server process. CPU and RAM requirements of KMS utility itself are negligible. Note that there is no option to shut down the KMS utility in Manual mode. Memory Server Modes Memory tab with Memory Server mode options ▪ Automatic: In Automatic mode the KMS will keep all samples currently used by KONTAKT instances stored. If an Instrument is removed from KONTAKT’s rack, samples that are no longer needed will be also removed from the Memory Server’s sample pool. The KMS will automatically shut down when all KONTAKT instances are closed. ▪ Manual: In Manual mode the KONTAKT Memory Server does not remove samples from the server when an instrument is removed from KONTAKT’s rack or when all KONTAKT instan- ces are closed. All samples stay in the memory as long as it is running. This can be help- ful, e.g. when re-opening a project in your host sequencer which is using KONTAKT as plug-in and when working with extensive templates of numerous instruments. Loading times are significantly shorter, since the samples are already stored in RAM and do not need to be loaded again. The KONTAKT Window Options Dialog KONTAKT - Manual - 61 De Engine Den [er fees Den ren Aue a] Rear eae eee ee ie eta eee aren een eee tear.) DE KONTAKT wi purge unused sompes automaticaly ee EL LIES Re eet ee ete eee eee ears peer ttt eed Sees Ce eae ere ET [ee Des Dom En #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 63 Context: KONTAKT collects anonymous data regarding your usage of the software in order to better in-form future updates. This helps the developers see which functions are used most or least of-ten, and how users tend to access certain functions. Sending this data to Native Instrumentswill help make future versions of KOTNAKT better, but the choice of whether or not you wantto share this information with Native Instruments is yours.▪If you wish to opt out of the anonymous data tracking, select the No, I don’t want to con-tribute option.▪If you wish to help future KONTAKT updates, select Yes, enable using data tracking.Data Being TrackedThe following data will be transmitted by Usage Data Tracking:▪System profile (operating system, audio drivers, and things like that)▪Current location (country and city)▪Data about your interaction with the software (e.g. actions you perform or audio interfacesyou connect)Data Not Being TrackedThe following data will not be gathered by Usage Data Tracking:▪Personal data (Name, email address, payment details, serial numbers, etc.)▪User content (file names being referenced, samples, songs, tags, comments, mappingsetc.)▪Any user activity outside of the NI applicationThe KONTAKT WindowOptions Dialog KONTAKT - Manual - 63 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 65 Context: Each Multi can contain up to 64 Instruments, arranged across four pages of 16 Instruments each You can use these pages for keeping your Instruments in separate categories when your Multi is very large, or you can just switch to the next page when the 16 available Instrument slots of your current one are occupied. Another option is to assign all Instruments on a page to channels of the same MIDI port; if you have four ports at your disposal, this method lets you easily keep track of your MIDI assign- ments in large Multis. Of course, nothing keeps you from assigning several Instruments to the same MIDI channel — this is a quick way of creating layered sounds. The Multi Workspace Buttons Beside the Instrument Page buttons are three buttons that alter the workspace in some way, displaying or hiding certain controls, or minimizing all instruments at once. ▪ The KSP button next to the page buttons toggles the visibility of a global Script Editor pane; here you can create, edit and manage Multi Scripts, which operate on a higher level than normal Instrument Scripts, but work the same otherwise. Multi scripts are explained in chapter ↑19, The Script Editor. ▪ The next button, labeled Aux, toggles the display of a row of Aux send controls that let you control the signal level at which each Instrument is routed to the Aux Channels, which are explained in section ↑15.3, Working with Aux Channels. ▪ The last button toggles all Instrument Headers in your multi between their minimized and maximized size. At their normal size, Instrument Headers contain more information, but al- so occupy more screen space — if you’re not planning to adjust any Instrument parameters and would like to see an overview of all Instruments on a page, just switch all Instrument Headers to their minimized view. 6.2 Instrument Header Whenever you create a new Instrument, it will appear in the Rack as an Instrument Header. The Rack Multi Instrument Mode Instrument Header KONTAKT - Manual - 65 Cee ee re #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 69 Context: The Purge Menu You can access the local purge menu of an Instrument at the right side of the Instrument Header. Let’s take a look at each of the functions: ▪ reset markers: Whenever KONTAKT plays a Zone in your Instrument, it will flag the respec- tive Sample as being used. Using this function, you can delete all of these flags, thereby resetting all data that KONTAKT has gathered about Sample usage so far. After you have finished your work on a part, you should select this function once and then play your part; this way, only the notes that have actually made it into the final part will be flagged as used. Afterwards, you can proceed by choosing the Update Sample Pool function described below. ▪ update sample pool: This function removes all Samples that are not currently flagged as being used from memory, and reloads any currently purged Samples that have been trig- gered since the last purge operation. In other words, it brings the sample pool in sync with the Sample usage flags it has gathered since the last purge operation. ▪ purge all samples: Unloads all Samples from RAM. This allows you to reverse the usual purge process: you can play your arrangement in a “silent run”, and then load only the Samples that are actually being used via the Update Sample Pool command afterwards. ▪ reload all samples: Reloads all Samples, reverting any previous purge actions. 6.4 Instrument Header (Minimized) If you want to save screen space, you can switch all (or a selection of individual) Instrument Headers to a minimized view, which contains only the most important parameters and controls. The Rack Multi Instrument Mode Instrument Header (Minimized) KONTAKT - Manual - 69 ae 8 @ Sun reset mates update sample pol purge a sa #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 87 Context: ▪Search Filesystem: This will search for the missing Samples on all file systems of your harddisks. Depending on the size and speed of your hard disks, the scanning process mighttake a considerable amount of time, but if the Sample files have not been renamed or de-leted, they will eventually be found.▪Search Database: This will search the Samples within KONTAKT’s own Database, then useany found records to locate them on your hard disk. The idea behind this is that the Sam-ples might have been picked up by a Database re-build process after they have beenmoved; if this is the case, their actual locations in your file system can be retrieved fromthe Database. This option requires a correctly built Database that has been configured toinclude Sample data.Note that by default, all these options search for the missing Samples by their file names only;in some cases, two or more different Samples on your hard disk might share a common name.This can cause KONTAKT to load the wrong Sample; if you notice this in your Instrument,don’t save it. Instead, remove it from your Multi, load it again, and repeat the search processafter you’ve enabled the Check for Duplicates option at the bottom of the “Samples Missing”dialog. This will make KONTAKT examine any files with matching names more thoroughly,which will sort out duplicates, but take more time than searching without this option.If you already know where the missing Samples are located on your system, there’s no need foran automatic search. Instead, choose one of the options on the right side, which allow you tolocate files manually:▪Browse for Folder: When you click this button, a folder selection dialog will appear. Afteryou’ve located and chosen a folder, KONTAKT will look for the missing Samples inside thisfolder and all of its sub-folders.▪Browse for Files: This option will ask you to locate each missing file manually, one at atime, via a file selection dialog. During this process, the name of the currently searched filewill be displayed in the title bar of the selection dialog window.If the resolve all possible option is enabled, KONTAKT will look for all missing Samples ineach location that you specify via the Browse for Folder or Browse for Files option. If it’s disa-bled, you will be asked to provide a location for each missing file separately.Loading and Creating Instruments KONTAKT - Manual - 87 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 93 Context: The Snapshot Menu 4. Select 'Intimate.' 5. Play a few notes on your keyboard and listen to the characteristics of the sound. The ‘Inti- mate’ Snapshot has an overall round tone, which appears to be standing close by, com- bined with a very large Hall reverb. 6. Now click the left arrow next to the Snapshot name to quickly load the previous Snapshot in the list, named 'Hard And Tough'. Notice that this Snapshot loads instantly, because all Samples related to the Instrument are already loaded. 7. Again, play a few notes on your keyboard. The ‘Hard And Tough’ Snapshot has a very bright and hard sound, with very pronounced resonances. 8. Open the drop-down menu, select the ‘Lots Of Noise’ Snapshot and play a few notes. You will notice noise from the piano's hammers after each note you play. → You’ve now listened to three very distinct variations of just one Instrument. If you need to recall a specific sound for recurring use in the studio or for live playing, Snap- shots give you an easy way of doing just that. Using Snapshots Loading a Snapshot from the Snapshot Menu KONTAKT - Manual - 93 Basie Giant Concert Hal Dream Land Emotional Eternity F cient Pop Hard And Tough Intimate Lote or neice Modern Studio Reset Usman studio Soft Ft Heart Viorant Vintage Upright #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 95 Context: | | Please note that you can only delete User Snapshots. All KOMPLETE Factory Snapshots
are read-only. In order to follow the steps described here, you have to have saved a
Snapshot first as detailed in the ↑9.1, Saving a User Snapshot section | | -------- | -------- | To demonstrate how deletion of Snapshots works, we’ll delete the Triple Peaks Snapshot saved in that section. 1. Load the Electric Grand.nki. 2. Click the Camera icon to access the Snapshot View. 3. Open the Triple Peaks Snapshot. 4. Click the trash bin icon in the Instrument Header. Delete Snapshot icon 5. Confirm deletion of the Snapshot in the dialog which pops up. → The Snapshot file is now erased from the folder on your hard disk as well as removed from the Snapshot Menu. Using Snapshots Deleting a User Snapshot KONTAKT - Manual - 95 BASS] Be RE er ao Purge = #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 98 Context: You can edit an Instrument inside a Bank by double-clicking on the respective slot; this willput your Rack into Instrument Edit mode. Once you’re done with your modifications, be sure toreturn to Multi Instrument mode by clicking the wrench icon in the upper left corner of theRack, as clicking the “X” button in the upper right corner will remove the whole Bank fromyour Multi. Also, note that the modified Instrument can only be saved within the Bank file;there’s no way to save it to a separate Instrument file.Instrument Banks and their contents will be loaded and saved along with your Multi, but youcan load and save them separately as well. KONTAKT Instrument Bank files are indicated withthe extension .nkb. You can load these in the same way as you load Instruments; double-clickthem or drag them from the Browser into an empty space of your Rack, or use the Load com-mand in the Files menu.Loading and Creating Instrument Banks KONTAKT - Manual - 98 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 99 Context: 11 The On-Screen Keyboard KONTAKT can optionally display a virtual On-Screen Keyboard that you can “play” with your mouse in case you don’t have a MIDI keyboard connected to your computer. ► To display the keyboard, select the Keyboard option in the Workspace menu. The On-Screen Keyboard, indicating various key ranges with different colors ▪ When you click a key, the keyboard will generate a corresponding note event that will be received by the currently selected Instrument. The note’s velocity will be relative to the where you click on the key: clicking towards the top of the key will produce notes with a low velocity, clicking towards the bottom of the key will produce notes with a high velocity. ▪ Clicking and dragging the Pitch and Mod wheels at its left side will generate pitch bend and MIDI CC #1 data respectively. ▪ To the left of the wheels, a transposition control lets you shift the displayed key range up and down. Furthermore, the keyboard indicates used key ranges of your currently selected Instrument with colors; KONTAKT’s color defaults are as follows: ▪ Playable keys (i.e. those that produce sound) are colored blue. ▪ Ke-switches (i.e. keys that change the instrument’s behavior somehow) are colored red. In some libraries, however, these colors can change in order to indicate different things (key- board splits, different instrument types, etc.). This feature provides a quick overview in which range your Instrument can be played, and which keys will switch between the different articu- lations. The On-Screen Keyboard KONTAKT - Manual - 99 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 101 Context: ◦The play and re-wind buttons below this control KONTAKT’s internal song position,which is necessary for some instruments that require song position information, like adrum machine.◦Tap: This button offers a more intuitive way to adjust the Master Editor tempo. Justtap this button rhythmically in quarter note values; KONTAKT will measure the timebetween taps and adjust the tempo value accordingly. If you’re using KONTAKT as aplug-in in your host program, this button only works if you’ve switched off the ExternSync. parameter.▪Metronome: This panel provides a simple metronome that can be handy in various adjust-ment or rehearsal situations both in the studio and in live environments. The metronomecan be switched on and off at any time by clicking on the metronome icon. The readoutnext to it allows you to adjust the volume of the metronome click. Note that in order for themetronome to run, the master clock needs to be running.▪Reference Tone: This function provides a reference tone that allows you to tune other instru-ments in accordance to KONTAKT’s current reference tuning.◦Activate the reference tone by clicking on the tuning fork icon.◦Change the pitch of the reference tone by clicking and dragging on the note readout tothe right of the tuning fork.◦The volume of the reference tone can be adjusted by clicking and dragging on the Volreadout.The Master Editor KONTAKT - Manual - 101 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 104 Context: NATIVE ACCESS as it opens after clicking the Add Library button From here you can enter a serial number from a purchase of a Powered by KONTAKT library and it will be added to your collection. KONTAKT automatically detects if an installed library has been moved; the library box will dis- play options to either manually locate the library or remove the library box from the Libraries tab. The Browser Libraries Tab KONTAKT - Manual - 104 ADD A SERIAL If your purchase came with a serial number, enterit here to receive the associated products and product updates. tl Where can find my sea number? By registering new products, you agree with the Cancel #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 106 Context: The Files tab of the Browser pane provides a file system navigator. You can click the horizontal splitter bars that separate the panes and drag them up or down in order to change the height of the respective panes. This works in other Browser tabs as well. 13.2.1 Upper (Container) Pane This pane shows all container objects on your computer in a tree structure. The term "contain- er" encompasses all items that contain other objects, such as volumes (like hard disks, CD- ROMs or network places), folders and monolithic sampler files that serve as "virtual folders" The Browser Files Tab KONTAKT - Manual - 106 rare Files Database Eipert Automation EEE Zur Te cea en Be BE eens Re DE Dee De ae are Cu De Ce Do er a ee Pore) [TIERE en [Teure ng Er [TEE Per ere) [TREE een [ren [TEE rn eee ety [Teen ren [TB Eee en ass [Teer re [TEeTeerT een ert) ete rer VV ieeren nent) rer) eee ed a en #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 112 Context: The view menu of the File Browser contains options that determine which items will be shown. The first three items in this menu, labeled Show Network Drives, Show Removable Drives, and Show Foreign Formats, are toggle options; selecting them will switch them on (indicated with a small diamond next to their label) and off. With these, you can adjust whether the File Browser should include mounted network volumes, removable drives, and file formats that are not na- tive to KONTAKT (but can be imported) in its lists. Below the options, you’ll find multiple slots labeled Quick-jump and numbered 1 to 10. Quick- jumps are location memories that you can use to conveniently access a number of frequently- visited places in your file system without the need to navigate there using the container pane each time. The handling is simple: any location you navigate to in the File Browser gets imme- diately saved to the currently selected Quick-jump entry. Once you switch to another Quick- jump location, the previously selected one will keep its value. Switching back to it will bring you to the saved location, but watch out — if you navigate any further now, the Quick-jump memory will be changed accordingly. If you don’t want this, activate the Lock Current Quick- jump option at the bottom of the View menu to freeze the saved location. Instead of using the pull-down menu each time, you can also use [Ctrl] + [F1] through [Ctrl] + [F10] (Windows) or [Alt]-[F1] through [Alt]-[F10] (Mac) to access the respective Quick-jump locations via your key- board. The Browser Files Tab KONTAKT - Manual - 112 en era tur as shou robe dine to foreign frets Fasten TE NubraneAKanak 4 Lern char won | Quor-jm 2 Temps Quor-jm 3 Temps Quor-jme 4 leu Quor-jm 5 Temps Quor-jm 5 Temps Quor-jm 7 Temps Quor-jm 8 Temps Quick-jump 3 Tormptu] Quick-jump 10 fernptu Took curent quckjump #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 117 Context: 1.Start Disk Utility.2.Insert the medium into the drive. It should appear as an icon in the volume list on the leftside, most likely with a label similar to “Untitled 0”.3.Select this volume and choose Disk Image from (...) from the File -> New submenu, with(...) being a disk ID similar to disk3s1.4.A dialog will appear, which asks you for a location and filename for the image file.5.If the process has finished successfully, you’ll see a new file with a .dmg extension in thechosen location. Copy this file into the folder/Users/[username]/Documents/Native Instruments/KONTAKT 5/Imagesand start KONTAKT. The volume should appear in the upper pane of the File Browser andcan be imported in the usual way via the Import button.On Windows, images can be created with the Translator Free utility from ChickenSys. Down-load it from http://www.chickensys.com/downloads/translator_free.php and make sure to in-clude the “ASPI for Windows” component in your installation. Here’s how to create the image:1.Make sure that your drive is visible in Windows Explorer and, if it’s a drive that uses re-movable media, that your medium is inserted.2.Start Translator Free and locate your drive in the My Computer tree. It will a have labelsimilar to “SCSI-ATAPI” or “IOMEGA Zip 100”. If you can’t find it in the tree, open theDrives tab in the Options dialog (Select Tools > Options), choose Nero ASPI Driver, quitthe program and reboot your machine, and repeat steps 1 and 2.3.Expand and select the elements beneath the volume to check whether you can read thecontents of your drive.4.Right-click the volume and select Create Virtual Drive from the context menu. Choose thefirst option, Copy Entire Drive, and click Write Virtual Drive. You’ll be asked for a nameand location for the image file.5.Click Save. A new image file should appear in the selected location. Put it into the folder%SYSTEMDRIVE%\Users[username]\Documents\Native Instruments\KONTAKT 5\Images6.Start KONTAKT. The volume should appear in the File Browser and can be converted inthe usual way via the Import button.The BrowserImporting Non-Native Files Into KONTAKT KONTAKT - Manual - 117 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 118 Context: In the same way, you can create image files from CD-ROMs and use them. While it’s certainlyeasier to access the CD-ROMs directly from within KONTAKT, this method is useful for back-ing up your media, and also cuts your import times by a considerable amount.13.3.4Format-Specific Notes There are some peculiarities to be aware of when working with certain formats. This list pro-vides an overview.▪EXS24: All versions are supported.▪Apple, ACID, BeatCreator and REX loops: Loops of these types can be dragged directly intothe Rack or the Mapping Editor. If multiple loops are being imported at once, they will becombined into one Instrument, with each loop assigned to a separate Group.▪Reason NN-XT : Refill programs are encrypted and therefore cannot be imported directly.Open the NN-XT patches of your choice in Reason’s NN-XT module and save them as SXTfiles, then import these into KONTAKT.▪GigaStudio: There is no way to have the resulting Instruments reference the samples con-tained in GigaStudio monoliths in a permanent way, but when you save the patch, you willbe prompted to save out new samples. You can choose the destination sample format forimports — WAV or AIFF — on the Load / Import tab of the Options dialog. It is importantto note that .gvi files for GigaPlayer are encrypted and cannot be loaded.▪HALion : All versions up to 2 are supported; version 3 patches are encrypted and thereforecannot be imported.▪Yamaha A-3000, A-4000, A-5000 : Media need to be in DOS format.▪VSampler : All versions up to 2.5 are supported.▪Battery: BATTERY 3 Cells can only be imported via the Import Group command, which youcan find in the Edit menu of the Group Editor.▪Bitheadz DS-1 Unity : Encrypted and encoded Unity libraries are not supported.▪Akai MPC: Supported MPC versions are MPC-60, MPC-3000, MPC-2000, andMPC-2000XL. Nested folders are not supported; only the contents of the root folder will beloaded.The BrowserImporting Non-Native Files Into KONTAKT KONTAKT - Manual - 118 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 120 Context: You can find all functions that pertain to the Database on the Database tab of the Browser. Inthe remainder of this section, we’ll describe all of its functions in detail.13.4.1Overview of the Database Browser In its default state, the Database tab of the Browser appears as a two-section view. We’ll referto the upper section as the Attribute List; the lower one is called the Results List. Both sec-tions always operate in unison: The Results List contains a continuously updated list of all ob-jects in the Database that match the search conditions you define in the Attribute List.The BrowserDatabase Tab KONTAKT - Manual - 120 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 126 Context: Selecting Attributes to display At the top of each column, a header displays the name of the attribute set that’s currently be- ing displayed in it. Right-clicking on this name will open a context menu that allows you to switch the column to a different attribute set, or adjust some options that affect the selection behavior of that column. If you choose the attribute set that’s currently being assigned to the column itself (indicated with a filled-out rectangle next to its name), the column will disappear from the list; obviously, any selections that you made in it will then no longer apply to your search. To add a new column to your list, click the “+” sign on the header of the rightmost column and select an attribute set from the drop-down menu. Keep in mind that the new column may not contain any selectable values; this means that after all filter rules from the columns to the left of it have been applied, there are no objects left that use attributes from this specific set. Let’s have a look at an example: Suppose you’re looking for a dirty synth lead sound that is also bright. 1. The Type attribute set is special in that its attributes are spread across two columns in- stead of one, with the right column showing more specific subcategories of the general instrument family that you select in the left one. Following this, select Synth Lead in the first column and Dirty Lead in the second one (if the Dirty Lead attribute doesn’t appear, your collection doesn’t contain any Instruments tagged with this type). 2. Now, assuming that the number of search results is still too large to browse comfortably, add another column with the Timbre attribute by clicking on the “+” sign on the header of the existing column, or re-assign the Timbre attribute to the column next to it. 3. Click on the Bright entry in the Timbre column to narrow the search results even further. The Browser Database Tab KONTAKT - Manual - 126 EL DO Auttor Bank Tire Hard #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 127 Context: Searching for dirty lead synths The context menu that appears when you right-click the header of an attribute column con- tains a sub-menu labeled Options. The Options submenu Here you can adjust two properties that define how KONTAKT will handle selections of more than one attribute within this column. ▪ If you enable Multi Select, you can select multiple attributes from the column just by click- ing on each one. ▪ Alternatively, in Single Select mode, clicking on an attribute will deselect any others in the same column. In this case, you can still add attributes to your selection by holding the [Ctrl] (Control) on Windows or [Cmd] (Command) key on Mac OS X while clicking. With the other option, you can define how multiple selections will influence the search result. The Browser Database Tab KONTAKT - Manual - 127 A coe or ere Soe oo uit eed ca Den Peroussion eee Eee Clsse Poly Lead Sure Lead Huge Leod Dirty Leod fever eee Een) une Dr Dee Den Ni [re Een Er oo [eo or RM NO Mode #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 128 Context: ▪ If OR Mode is enabled, the result will include files that match any of the attributes that you select in this column. ▪ Switching to AND Mode will only return files that match all of the selected attributes (re- member that you can assign more than one attribute from a set to an object). 13.4.4 Searching by Keywords Depending on the size of your collection, not all attribute searches will return an easy-to-grasp list of just a few matches right away. Also, there are cases where you already have one or more specific items in mind, and defining a set of filter attributes “around them” would be counter- intuitive. This is where the text search bar between the Attribute List and the Results List comes into play. Whatever you enter here will be used as an additional text filter for the Re- sults List; in other words, KONTAKT will search for the entered text string within the attributes of all listed items, and omit all non-matching entries from the list. This process happens in- stantaneously on each keystroke, so you don’t need to write out whole words or press Return to confirm them — just type away until the item that you’re looking for appears within the first few entries of the list. Using text search in the Database If you want to search the whole database, just make sure there’s currently nothing selected in the Attribute List. Of course, it often makes sense to use both the attribute and the text search in unison by first limiting the listed items with a coarse attribute filter, then refining the search results by entering a text string. By entering several words separated with spaces, you can search for multiple keywords at once. In this case, the Results List will only contain items whose attributes match all of them. The order in which you enter the keywords doesn’t matter; “violin stacc ens” will yield exactly the same search results as “ens violin stacc”. KONTAKT performs the search inside all attributes, even those that are not currently visible in the Results List, so you don’t need to limit yourself to searching for names — you can just as well use partial file system paths or library titles. The Browser Database Tab KONTAKT - Manual - 128 ea Do oe Corer) Eee Comment fo #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 129 Context: On the right side of the text search bar, you’ll notice a search result counter and a button marked with an X. Results counter and the reset button When you click it, KONTAKT will reset the active filter — that is, all selected values in the Attribute List will be unchecked, the search bar will be cleared, and the Results List will switch back to displaying the entire content of the Database. 13.4.5 Configuring and Sorting the Results List You can freely configure the Results List to display any information you’re interested in. When you right-click the header of a column, a drop-down menu will appear that contains all availa- ble attribute sets; those that are already included in the list are marked with a filled rectangle next to their name. To toggle the inclusion of an attribute type, just click the respective menu entry. Adding a new column When you add a new column, it will appear to the left of the one on which you opened the drop-down menu. You can change this order by clicking on a column header and dragging it to the left or right — a vertical right line will show you were the column would get placed when you release the mouse button. All columns are variable in width. To resize one of them, click and drag the vertical line that separates it from the one to its right. The Browser Database Tab KONTAKT - Manual - 129 Een r DES (CP Core struments ee Era oe eee a Goer ee ears ee a Cees ees Pe #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 132 Context: show up in the third column. As usual, the predefined Type attribute set will open in a two- column view. If required, drag the horizontal scrollbar to move its subcategory column into view. Those attributes that are currently assigned to the edited item(s) are indicated with a dot next to their name. Shades of grey dots next to attributes Click a value to toggle the assignment; remember that you can assign more than one attribute from a single attribute set at a time. If needed, repeat this process with the other predefined attributes sets. The more information you specify, the easier it will be to retrieve the respective item later on. If you’ve selected multiple items when you entered the edit mode, you may no- tice that some dots appear in a darker shade; this means that the respective attribute is cur- rently only assigned to some, but not all, of the selected items. Clicking on it will assign the value to all items. If you had only one object selected when you clicked Edit, the bottom half of the tab will con- sist of an input mask with several text fields. Here you can enter free-text data such as the vendor or sound bank or adjust, in the case of sampled phrases, the tempo value. The Browser Database Tab KONTAKT - Manual - 132 a Lo Den Bar) Peroussion ern an as #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 136 Context: You can toggle a Quick-Search function by clicking on the button with the magnifying glass symbol to the right side of the list header. This will show a text input box above the list; while it is visible, the list will only show Groups whose names contain whatever you enter into this box. You can hide (and, in consequence, deactivate) the Quick-Search feature by clicking the "X" button on the right side of the search bar. Zones This view displays a list of all Zones that are contained in your Instrument across all Groups. Otherwise, it works exactly like the Groups view, and includes the Quick-Search feature as well. Double-clicking a Zone will open it in the Wave Editor. Parameter When you switch to this view and touch any knob, the Expert pane will show the values of the respective parameter across all Groups in your currently edited Instrument, or, if you’re not in Instrument Edit mode, across all Instruments in your Multi. This makes for a convenient way to compare settings across Groups. You can also change parameter values directly within the list by clicking on their value and moving the mouse vertically, just like you would do on the re- spective knob. Expert tab, displaying the values of EQ frequency parameters across multiple Groups. Of course, parameters will only appear next to Groups that actually contain the edited parame- ter as well. For instance, if you’re adjusting the Grain parameter of the Source Module — which is unique to the Time Machine mode — all Groups that are not currently in Time Ma- chine mode, and therefore don’t know this parameter, will be indicated with NA in the Value column. The Browser Expert Tab KONTAKT - Manual - 136 Groups, Zones oe Dora [een Large Bong SwellLong Large Gong Stick DEREN HERE RE Cra a rs Por Pre #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 137 Context: Engine This subtab displays an overview of various system resources, such as detailed memory and CPU usage statistics. The information provided on this page is mainly intended for power users; when you have a problem and get in contact with the Native Instruments support, they might ask you for specific values from this page. The Engine page provides an overview of the current status of KONTAKT’s audio engine. The Browser Expert Tab KONTAKT - Manual - 137 [De co Dotabase Enpert Automation Era Zones Den Er BEE Denn Objeet Memory Used Pe Sample Memory Used Denen jenen DR Ten crt Den: eee! Mie Cee Meer ren) oe Prooess Bufer Restart Engine U Proflng Mode ER en 2208 914 ME real crete) ra ol Or LIE Pre Er ora Er #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 142 Context: 3. Select the MIDI Automation sub tab. 4. Turn a knob or move a slider on your hardware controller. 5. You should see a flash next to the CC# that is used by your external controller; in addi- tion, the MIDI symbol in the instrument header should flash. If this does not work: Open the Options dialog. Select the MIDI tab. 6. Select Inputs. Check if your MIDI hardware is selected as input for the same port you have assigned the instrument in question to. 7. If the MIDI input is setup correctly, drag and drop the MIDI CC# you wish to use onto the control you wish to control. MIDI controller reception in KONTAKT 13.6.2 Removing MIDI Controller Assignments To remove an assignment made to a specific controller: 1. Click the Browser’s Automation tab. 2. Select the MIDI Automation sub tab. 3. Find the MIDI control whose assignment you wish to remove, either by searching, or by moving the control and seeing which number in the list is highlighted with the lightning bolt symbol. 4. Select the control in the list and click the Remove button. The Browser Automation Tab KONTAKT - Manual - 142 MIDICE assignedto Dre De PP Ren #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 143 Context: 14 The Quick-Load Catalog In this chapter, we’re going to introduce another tool that can assist you in managing your In- struments, Banks, and Multis: the Quick-Load catalog. It’s somewhat similar to the File Brows- er in that it provides access to a hierarchical directory structure. In contrast to it, though, you can freely define the Quick-Load catalog’s structure without having to pay attention to the in- cluded files’ actual paths, library relationships, or formats. In other words, you can define a “virtual file system” that exists in parallel to the actual file system on your hard disks, and use it to freely organize and index your files without actually copying or moving them to different locations. The central facility where you manage and access your catalog is the Quick-Load Browser. It appears below the Rack when you right-click somewhere inside the empty space below the In- strument Headers (if you are a Mac OS X user, hold your [Ctrl] key down and left-click). You can resize this pane by clicking and dragging the bar that separates it from the Rack. Another right-click inside the empty region of the Rack hides the browser again. Please note that as long as the Quick-Load Browser is visible, it will hide the On-Screen Keyboard. The Quick-Load Browser, displaying an exemplary directory structure. In appearance and handling, the Quick-Load Browser is similar to a multi-column directory browser that you might find familiar from your operating system. It displays multiple layers of a directory tree in a horizontal arrangement of columns. When you click a subdirectory in one column, the column to the right of it will display that directory’s contents, with each additional column opening another sub-layer of the directory tree. That way, you can navigate through your directory structure from left to right until you’ve found what you’ve been looking for. The Quick-Load Catalog KONTAKT - Manual - 143 Quick-Load Lande ey oo co ry ut ca ier) ae Be Retro Be sim ee FM een Can HU Bieepaki ed #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 150 Context: The Channel Configuration dialog The Channel Configuration dialog that appears provides these elements: ▪ Channel name: This field replicates the field at the top of a channel strip. You can enter a new name by clicking on it. ▪ Audiochannels: Adjusts the number of audio channels this channel will carry, up to a maxi- mum of 16. To change the number, click the field and drag your mouse up or down. ▪ Output Map: This list displays all audio channels of this Output Channel along with their as- signed physical destinations — which can be either tangible output jacks on your audio in- terface or “virtual” connections to your host, depending on whether you’re using KONTAKT in stand-alone or host mode. To change a physical output assignment, click its name and choose a new output from the drop-down menu. ▪ Previous / Next buttons: These buttons jump to the settings of the previous or next channel of the Outputs section, allowing you to quickly adjust the output configuration for all chan- nels at once. 15.3 Working with Aux Channels The four Aux Channels in KONTAKT are basically identical to Output Channels, but receive their signal from other places. While each Instrument routes its output signal to exactly one Output Channel, you can additionally send this signal to one or multiple Aux Channels at ad- The Outputs Section Working with Aux Channels KONTAKT - Manual - 150 ene ere Co Cer ere rs Cees a> ce x #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 152 Context: and lead to unexpected behavior, so when you’re working with KONTAKT as a plug-in, we rec-ommend that you make all output configuration changes the default for that specific plug-intype.The Outputs SectionOutputs in Host Mode KONTAKT - Manual - 152 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 155 Context: 16.1.1Edit All Groups If this button is activated, all parameters that you adjust on the Group level from that point onwill affect all Groups in the currently edited Instrument. This button is just a convenient short-cut for checking all edit boxes in the Group list; the same function is also available via a but-ton located in the Rack header when you’re in Instrument Edit mode.As an example, suppose you have three Groups with a modulation assignment for each, whichassigns an LFO to their pitch in order to create a vibrato effect. If you decide now that the vi-brato effect is a little too strong across all Groups, you don’t need to change the respectivemodulation intensity in each Group. Just activate the Edit All Groups button and decrease therespective Intensity parameter in one of the Groups; the respective parameters in all otherGroups will change with it.We recommend that you always switch this feature off right after you’ve used it. If you leave iton and make any adjustments to Group parameters later without keeping it in mind, you’ll po-tentially destroy carefully tweaked parameter settings in other Groups.You can find more information on how to change parameters across Groups in section ↑16.2,Group List.16.1.2Group Selector Next to the Edit All Groups button, you’ll notice a label that indicates the currently selectedGroup, as well as the total number of Groups in your Instrument. Clicking on it opens a drop-down menu that allows you to select another Group; clicking on the Group name that’s dis-played in the Rack header when you’re in Instrument Edit mode will do the same. In contrastto clicking on a name in the Group list, however, this action won’t enable the selected Groupfor editing at the same time, which makes it the preferred way of selecting Groups if you justwant to check out their contents without editing them.The Group EditorControl Header KONTAKT - Manual - 155 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 163 Context: ▪Cycle Random: Like Cycle Round Robin, but notes will be cycled randomly instead of se-quentially.▪Slice Trigger: This option was used by slice Groups in KONTAKT 2. It is provided for back-wards compatibility and should not be used explicitly.By adding multiple conditions to the list and connecting them with the logical operators you’llfind in the drop-down menu at the right side, you can create very complex combinations ofconditions. Note that the last entry of the list (which will be an always condition) won’t be tak-en into account when your list contains at least another condition entry.The Group EditorGroup Start Options KONTAKT - Manual - 163 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 166 Context: While you keep your mouse button depressed, KONTAKT will highlight the pattern in which it would map new Zones to the keyboard. The way KONTAKT will distribute the new Zone(s) depends on your mouse position and wheth- er you’re dragging one or multiple Samples: ▪ Dragging a single Sample into the Zone grid will create a Zone that spans the entire veloci- ty range, and will be placed on one or several adjacent keys. When you move the mouse all the way to the bottom of the grid, the Zone will be assigned to a single key; moving the mouse upwards will gradually enlarge the keyboard range of the Zone, until it spans the en- tire keyboard when you’re at the top of the grid. ▪ Dragging multiple Samples into the Zone grid will create a corresponding number of adja- cent, non-overlapping Zones, starting with the key at your horizontal mouse position. Just like when you drag single Samples, the vertical mouse position will adjust the size of each Zone’s key range. When you move your mouse all the way to the top of the grid, all Sam- ples will be layered in overlapping Zones that span the whole key range. ▪ Dragging multiple Samples onto a key of the keyboard below the grid will create a corre- sponding number of Zones that evenly divide the velocity range on that key. This makes for a convenient way to quickly create velocity switches. Note that when you drag multiple samples from the Browser into the Mapping Editor, the sort order in which they appeared in the Browser will also determine the order in which the corre- sponding Zones will be placed. For instance, if you’d like to create an eight-way velocity switch The Mapping Editor Mapping Samples Manually KONTAKT - Manual - 166 2 LULU ELL LLL #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 168 Context: The Auto Mapping dialog, displaying a filename that has been split up into four tokens. At the top of this dialog, you can see which filename has been used to determine where the interesting parts of the filename could be. These so-called “tokens” are any strings that appear in the filename and are separated from each other with non-alphanumeric characters like spaces, dashes, or underscores. Below, the filename is displayed again, this time split up into its determined tokens, with a drop-down menu below each of them. These menus allow you to specify for each token whether it shall be ignored or used to derive any Zone information. For example, if your Samples are named similar to “Trumpet-f-C1-D#1.wav”, with the “f” indicat- ing the dynamic layer and the notes representing the low and high endpoints of the key range, you can leave the drop-down menu of the first token (“Trumpet”) at its Ignore Me entry, while setting the menus of the second, third and fourth tokens (“f”, “C1” and “D#1”) to Make Group Name, Make Low Key, Make High Key and Set to Single Key respectively. Tokens marked “Ignore me” won’t be used for any automatic Zone adjustment. Of course, this applies only if you want to separate multiple dynamic layers into Groups, other- wise you can leave the second menu set to Ignore Me as well. When you enable the Read root key from sample metadata if possible option at the bottom of the dialog, KONTAKT will read and use the root key information that’s embedded in some WAV and AIFF files, if available, instead of trying to get it from the filename. Once the settings ac- curately reflect the information contained in your filenames, click the Close button at the bot- tom of the dialog. The Mapping Editor Mapping Samples Automatically KONTAKT - Manual - 168 Cee ee eee eee ne ee eet) wm [ER PER RE ER ER LE ER FEN LEER ec TER nn ees coy cca Trumpet a Ea = Ee Sr ern #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 172 Context: 17.4 Control Strip The control strip is located at the top of the Mapping Editor and consists of two rows of con- trols. This is where you can find most utility functions for managing and editing your Zones. The Control Strip of the Mapping Editor provides a number of options and utility functions. Let’s take a look at the elements of the control strip: Edit menu: This button opens a drop-down menu with utility functions that operate on all cur- rently selected Zones, such as clipboard operations, functions for assigning Zones to Groups, and batch processes. You can find a thorough explanation of all entries in this menu in the next section of this chapter. List View: This button switches the Zone grid to an alternate view mode that displays all Groups and their contained Zones in a hierarchical list structure at the left side. | | When you’re in list view, you can expand or collapse all Groups at once by holding
[Shift] when you click an expand/collapse button. | | -------- | -------- | This mode is especially handy when you’re working with lots of Zones that overlap in large areas, as Zones that are hidden behind others can be difficult to select and edit in the normal, flat view. The downside of the list view is that it doesn’t convey any information about the ve- locity ranges; the only way to modify these is by editing them numerically in the status bar af- ter you have selected a Zone. Just like the default view, the list view can be moved around with the scrollbars and zoomed with either the zoom buttons or by clicking and dragging a “rubber band” zoom frame while holding the Alt key. Select Zone via Midi: If this button is enabled, any incoming MIDI note will automatically se- lect any Zone(s) that match its note number and velocity. The function works similarly to the Select by MIDI feature of the Group Editor. Auto-Spread Zone Key Ranges: This function automatically fills “holes” in your key mapping by successively extending the key range of each selected Zone to both sides until it “touches” its neighbors. The algorithm ignores the root keys of the selected Zones; it simply uses the cur- The Mapping Editor Control Strip KONTAKT - Manual - 172 tater’ cc Dee #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 178 Context: Crossfades are being depicted with colored gradients. Consider this example: You’re sampling an instrument in minor thirds and have just sampled D and F. You create two Zones out of the Samples and extend them a major second to both sides. Now, Zone 1 covers the key range between C and E, with its root key being D. Zone 2 has its root key on F and covers the key range between D# and G. Notice that the Zones over- lap on D# and E, where both will be transposed. Now you create a key crossfade on both Zones; as a result, D# and E notes will play a blend of both Zones, with the D Zone’s Sample being predominant on D# notes, and the F Zone’s Sample being predominant on E notes. Of course, this method works just as well with larger sampling intervals. Just make sure that your Zones overlap in ranges you’d like to be crossfaded, whether in key (horizontal) or velocity (ver- tical) direction. With this knowledge, let’s get back to the contents of the Batch Tools sub-menu: ▪ Auto-Apply X-Fades (Key): Creates crossfades between all selected Zones whose key ranges overlap to some extent. Active crossfades will be indicated with a shaded area between Zones; if this makes your Zone grid look too cluttered, try zooming in or switching into List View. | | You can manually create crossfades by [Ctrl]-clicking and dragging the left or right bor-
der of a Zone. | | -------- | -------- | ▪ Auto-Apply X-Fades (Velocity): Creates crossfades between all selected Zones whose veloci- ty ranges overlap to some extent. The Mapping Editor Batch Tools KONTAKT - Manual - 178 rn #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 186 Context: this function on your Samples once before you proceed with further editing. Note though that it’s a destructive function, which will alter the Sample data on your hard disk. 18.2 Status Bar The status bar is located below the tool bar and contains the filename of the Sample that’s assigned to your current Zone, as well as a number of numeric values. The status bar of the Wave Editor displays various details of your Sample and your currently selected loop region, if any. It serves as a precise position monitor for various editing operations that take place in the waveform view. You can adjust editable values either by clicking on them and moving your mouse up or down, or by double-clicking on them and entering a new value. From left to right, the status bar consists of these elements: ▪ Sample: This is the filename (without extension) of the Sample that’s assigned to the cur- rently selected Zone. Hovering your mouse over the name will display the full path to this file. Using the left and right arrow buttons at the right side of the field, you can switch to the previous or next Sample file in the same folder as the current one. This will assign a new Sample to the currently selected Zone, so this field works in the same way as the iden- tically named one in the Mapping Editor. ▪ S. Start (Sample Start): The position of your Zone’s start marker, indicated in sample val- ues. Moving the start marker will change the position from which the Sample will be played when the respective Zone is being triggered; you can change it either by dragging the verti- cal green line in the waveform view, or by adjusting this value as described above. ▪ S. Mod (Sample Start Modulation Range): This value indicates the maximum amount by which the Zone start position can be modulated forth and back. For instance, if this range covers two seconds to both sides of the Start position, modulation assignments can change the Start position by two seconds at most. The modulation range is indicated graphically in the waveform view with a green line at the top, which extends horizontally to both sides of the Zone start marker to the earliest and latest start position attainable through modula- tion. You can change this value by clicking on it and dragging your mouse up or down. The Wave Editor Status Bar KONTAKT - Manual - 186 Sample: drumlaop2.aif Ls ee SS Ve BEE EZ E #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 190 Context: The Grid Panel In a nutshell, whenever you’re working with Samples that contain rhythmic material or musical phrases, the Grid allows you to put a marker on every single hit or note that occurs within your Sample, thus splitting it up into a number of musically significant regions — we will refer to these regions as “Slices” from now on. Preparing your material in this way (“slicing”) has lots of advantages: ▪ By aligning loop regions with Slice markers, you can instantly create clean Sample loops that stay in perfect tempo. ▪ Using the functions on the Sync / Slice tab, you can adapt your drum loop or phrase to your song tempo in various ways. ▪ The mapping features of the Sync / Slice tab allow you to turn Slices into separate Zones, which makes it possible to trigger them separately; this way, you can instantly create a playable “drum kit” from any drum loop, and construct entirely new patterns out of its ele- ments. ▪ When you’re working with Zone Envelopes, you can make their breakpoints snap to Slice markers. This way, it’s easy to create rhythmical modulation curves. ▪ When you’ve selected the Sample Editor tab, the region selection for destructive operations will snap to Slice markers as well, which lets you perform operations like removing, ex- changing, or reversing Slices in isolation very quickly. In conclusion, it’s almost always a good idea to activate and adjust the Grid panel first before doing any further editing on rhythmic material. To activate the Grid, click the “power” button in the upper left corner of the Grid panel. The panel will light up, and a number of vertical markers will appear across your waveform view — if you can’t see them, try zooming out hori- zontally. Each of these markers indicates the start of a Slice (and the end of the preceding one). You can always move these markers around by clicking on the small arrows at their top The Wave Editor Grid Panel KONTAKT - Manual - 190 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 196 Context: ▪ Technically, a loop is a contiguous region of a Sample that will be played back repeatedly; in a traditional forward loop, the playback position will jump to the start of this region whenever it reaches its end. In KONTAKT, loops can be played forward and backward alter- nately, or played only a specific number of times before playback will proceed as usual. When we refer to loops in the context of this section, we’re talking about this technical concept. ▪ A more colloquial use of the term is to describe Samples that contain musical phrases (as opposed to single notes). Often, these Samples are pre-produced drum or percussion phrases (“drum loops”), which makes them useful as building blocks for rhythm parts. As the name implies, these Samples are usually meant for being played in repetition in order to fill the required number of measures. This can be done by looping them in the sampler as described above; however, this is not a prerequisite. Many people prefer to trigger them inside their sequencer on each downbeat instead; this method has the added benefit of avoiding tempo drifts that can occur over time when a loop region doesn’t match the length of a measure exactly. Sample loops were common in the heyday of hardware samplers, when both disk space and sample RAM were sparse. This limitation made it all but impractical to capture notes of an in- strument like a piano, which can have a natural decay time in the order of a minute, in their entirety. Instead, it was reasoned that the most critical part of an instrument sound is its at- tack phase; after that, most sustained instruments quickly settle to a predominantly periodic waveform of some sort. By using sample loops to keep these periodic parts sounding during the sustain phase, thereby artificially “stretching” the sound beyond the length of the actual sam- ple data, sample creators overcame the space limitations. With the advent of software sampling and hard disk streaming, this application of loops be- came a little less important. They’re still being used in this way, but their predominant appeal nowadays is creative sound design. As you might guess, loops in KONTAKT are equally well- suited for both approaches; let’s see how they work. To create and edit loops, first click the Sample Loop tab in the Wave Editor. The Sample Loop tab of the Wave Editor is split into a number of loop selection buttons, and a parameter view for the cur- rently selected loop region. The Wave Editor Sample Loop Tab KONTAKT - Manual - 196 E) toopstart _Loopens _Kerade ze es | 0] i Tune Count #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 215 Context: again. If you don’t do any further editing on the Sample Editor tab after this, the “__edited__”folder will be deleted when you quit KONTAKT. The Redo button to the right works similarly,but the other way around: it will restore any effects that you have just reversed with the Undobutton.18.8.1Edit Operations Cut: Puts the currently selected region of your Sample into the Sample clipboard, removing itfrom the Sample in the process.Copy: Leaves your Sample intact, but copies the selected region to the Sample clipboard forlater use.Crop: Removes all audio data outside the selection; in other words, the selected region will be-come your new Sample.Delete: Removes the selected region from the Sample, without putting it into the clipboard.Paste: Inserts the contents of the clipboard into your Sample. The insert location depends onwhether a region is currently selected: if so, it will be replaced with the clipboard contents,which erases the previous contents of the region and will change the overall length of yourSample in most cases. If no region is selected, the contents of the clipboard will be inserted atthe location of the edit cursor; this location is indicated with a vertical blue line, which youcan position by clicking into the waveform view.Duplicate: Inserts a copy of the selected region right after the region.18.8.2Transform Operations Fade In: Creates a smooth fade in from silence that spans the selected region.Fade Out: Creates a smooth fade out into silence that spans the selected region.Silence: Replaces the selected region with digital silence, i.e. a series of zero values.Reverse: Reverses the selected region, so that it plays backwards.Normalize: Amplifies the selected region to the greatest possible level without clipping. TheNormalize function analyzes your Sample region and applies a gain factor that makes it utilizethe entire available dynamics range; in other words, after you’ve used this operation, the high-est peak in the region will just hit the 0 dB mark.The Wave EditorSample Editor KONTAKT - Manual - 215 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 216 Context: DC Removal: Detects and removes any DC bias from the selected Region. DC bias appears as aconstant offset between the sample values and the zero line. While it’s inaudible, it can reduceyour headroom and cause problems at mixdown. Usually, you’ll want to use this operation onyour whole Sample.The Wave EditorSample Editor KONTAKT - Manual - 216 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 219 Context: 19.2Saving Script Settings Whenever you have made a setting that you particularly like, you can save the Script in its cur-rent state for later re-use. Just click the Script button, then select the Save Preset commandfrom the drop-down menu. A dialog will appear, asking you to enter a new filename for theScript. We don’t recommend that you overwrite the original Script with your new settings, ex-cept if you want to change its default state for any later use.Note that you don’t need to explicitly save your Script if its settings are unique to your currentproject; its state will be saved along with your session or Multi. Also, some more sophisticatedScripts provide a built-in facility for preset management within the Script’s user interface.19.3Editing and Saving a Script If you’re into programming, you can browse and edit the source code of a Script via a built-incode editor. Click the Edit button in the lower left corner of the Script Editor; a text editorpane will open below the Script’s user interface. Within this editor, you can make changes tothe current Script, or write your own Script from scratch. Whenever you’ve made any changes,they won’t affect the running Script right away; instead, the Apply button in the upper rightcorner of the source code editor will light up to remind you that you’ll have to commit thechanges first. You do this by clicking the Apply button; if the Script interpreter does not findany errors in your Script, your changes will be made active. Keep in mind, though, that youstill need to save your Script in order to make the changes permanent.Locking a ScriptIf you want to protect the source code of your Script to keep others from browsing and editingit, you can lock it with a password while the source code editor is visible. To do this, click theLock with Password button in the upper left corner of the source editor, enter a passwordtwice, and click OK. Others can still use the script as it is, but the source code editor won’tshow up if they don’t have the password.Before you lock a Script, though, remember that there’s a helpful and friendly community offellow Script authors out there; locking your Scripts will keep them from finding and fixingbugs you might have missed or enhancing them with new features.The Script EditorSaving Script Settings KONTAKT - Manual - 219 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 220 Context: | | Even if a thorough explanation of the scripting language is beyond the scope of this
manual, here’s a neat trick we don’t want to keep back: you can turn any panel of an
Instrument Script into a Performance View, thereby making it visible and accessible
within the Rack, simply by adding the statement “make_perfview” in a new line some-
where between the lines “on init” and the following “end on”, which can usually be
found at the top of Scripts. After you click the Apply button and return to the Multi In-
strument view, the Script controls will appear below the Instrument Header in the Rack.
You can read more about the Performance View feature in section ↑6.5, Performance
View of this manual. | | -------- | -------- | The Script Editor Editing and Saving a Script KONTAKT - Manual - 220 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 225 Context: The Tone Machine mode offers you unprecedented control of your Samples’ pitches and for-mant frequencies, which can both be changed independently from the playback speed. It ac-complishes this by processing your audio signals with granular synthesis algorithms, and hastremendous potential for creative sound design, as well as lots of utilitarian applications.When you switch your Source Module from Sampler or DFD mode into this mode, it needs toanalyze your sample material first, which can take some time if you have lots of samples inthis Group. A progress bar will indicate the current status of this analysis.Note that since the Tone Machine handles your audio data in small chunks of sample valuescalled “grains”, all boundaries of Sample loop regions will be aligned to these chunks. In con-sequence, this can result in slightly inaccurate playback of loops.Tone Machine ControlsTune: Changes the playback pitch within one octave up or down, without affecting the playbackspeed.Smooth: In order to reduce artifacts during playback, KONTAKT will crossfade grains into eachother. This control adjusts the shape of these very short crossfades. Higher values will result ina smoother pitch shift, but rhythmic material may lose definition and “punch”. Lower valuesare prone to cause a buzzing sound, but will keep transients intact.Speed: Changes the playback speed independently of the pitch. This value is displayed as apercentage of the original speed by default, so 200% doubles the playback speed, while 50%halves it. The control goes all the way down to 0%, which freezes the sound at its current play-back position. The Speed parameter can also be synchronized to your host or Master Editortempo; in this mode, your samples will be stretched to match the length of a note value. To dothis, click the displayed unit of the Speed control and select a note value from the drop-downmenu, then dial in a numerator for this value with the Speed knob. To switch back to un-synchronized mode, just choose the Default entry from the drop-down menu.Formant: This control shifts the formant frequencies, which are the parts of your signal’s fre-quency content that decide its predominant timbral characteristics, independently of thepitch.DC Filter: The Tone Machine algorithm can impose a DC bias upon your waveform in certaincases, which reduces headroom and can cause distortions. This button enables a filter thateliminates this bias and re-centers your waveform around its origin. It’s recommended that youleave this enabled.The Source ModuleTone Machine KONTAKT - Manual - 225 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 227 Context: 20.5 Time Machine II The Time Machine II mode is optimized for high-quality time stretching, especially of percussive material. This module works in a similar way as the Time Machine, but uses enhanced algorithms that provide better quality time stretching and pitch shifting. Its controls are mostly identical to those of the Time Machine, with the following exceptions: Transient Copy: When this button is enabled, transients in your material — instantaneous level changes that occur in percussive sounds — will be preserved as accurately as possible. There- fore, this mode is recommended when you’re working with drum loops or other percussive ma- terial. Tr. Size (Transient Size): When the Transient Copy function is enabled, this control adjusts the duration of transients that will be left untouched. Grain Size: This drop-down menu allows you to choose from several grain sizes that are opti- mized for various types of source material. As the effects of various settings on your particular material is hard to predict, it’s usually worth trying several settings until you’ve found the one that sounds best. 20.6 Time Machine Pro The Time Machine Pro is the highest quality time-stretching mode. The Source Module Time Machine II KONTAKT - Manual - 227 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 231 Context: The controls are similar to those of the Sampler or DFD modes, but with the omission of the Quality menu and the inclusion of a Static Filter menu. 20.9 MP60 Machine The MP60 Machine. The MP60 Machine is the second of the "vintage machine modes" and emulates the behavior of a different 80s classic sampler. As with the S1200, it not only degrades the playback quali- ty of the samples, but also changes the way KONTAKT changes the pitch and basic handling of the sample playback engine. It is generally of a higher sample quality than the S1200 mode. The controls are similar to those of the Sampler or DFD modes, but with the omission of the Quality menu. The Source Module MP60 Machine KONTAKT - Manual - 231 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 234 Context: For more complex routings that convert between different channel configurations, it’s possibleto send an input signal to multiple output channels, or to mix multiple input signals down toone output channel. You do this simply by creating more than one connection within a row(mix-up) or a column (mix-down). In such cases, it’s often desirable to create connections withan intrinsic amplification or attenuation; for example, a common practice for mixing surroundsignals down to stereo is to fold the rear signal to the stereo channels at a lower volume. Thiscan be accomplished in the Channel Routing matrix by right-clicking into the fields of existingconnections, which will change the level of this connection as indicated by the color of therectangle. Repeated clicking will cycle through a number of preset levels, which are displayedwith their respective colors at the bottom of the routing matrix.The Amplifier Module KONTAKT - Manual - 234 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 239 Context: You can select one of KONTAKT’s 16 Instrument Buses as an additional effect chain for sever- al Groups. You can have up to 16 buses, each with an independent effect setup. You can se- lect the Bus you wish to edit by clicking on the output level meter to the top of this section or by selecting it from the drop down menu below the Edit All Buses button. If you want to edit all Buses at once, activate the Edit All Buses button. While this button is active, any changes you make on the Bus level will affect all Buses at once. The Bus level also has an amplifier section, with Volume and Pan controls, as well as an out- put selector drop down. The Output menu functions much in the same way as the Group level, but with one extra option to route the output through the instrument output, but bypassing the Instrument Insert Effects Chain. To do this, select program out (bypass insertFX) from the Out- put menu. The outputs of the Groups you have routed to any Bus are summed and processed together; all processors operate in a monophonic fashion, without any means to discern between voices. The effect chain section can be edited in a similar fashion to the Group Insert Effects Chain, but without the pre or post amp optional routing. A typical application of the Instrument Buses would be if you had several different Groups, but these could be grouped into audio chains for similar processing, for example: drums. Here you may have different Groups for each articulation, but for the effects processing you want each instrument type (kick, snare, toms, etc) grouped together to be processed through different ef- fect chains. 22.3 Instrument Insert Effects The summed signals from your Groups will pass the Instrument Insert Effects chain just before they’re sent to the assigned Output Channel. This chain operates on the summed output signal of all Groups and Buses (unless they are routed directly to an Output Channel). It works exactly as the Bus Insert Effects chain, with the exception that it doesn’t offer an Amplifier section; any volume, pan and output control at this point is placed in the instrument header. Like the Bus Insert Effects Chain, all processors op- Signal Processors in KONTAKT Instrument Insert Effects KONTAKT - Manual - 239 Inserts Pre istrument Eat S00 S-Com Tope sviei #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 242 Context: While the control panel is visible, it will show the controls of the currently selected module; clicking on another module will switch over to that one, so there will be only one module’s pan- el displayed below the row at any time. Each signal processing module provides a panel with controls that let you adjust its parameters. 22.8 Common Parameters All signal processing modules have a few functions in common; you can find these on the left side of their parameter panels. Each control panel provides buttons for bypassing the module, opening a list of presets, and showing or hiding the Modula- tion Router for this module if it resides on the Group level. ▪ Byp. / Bypass: Clicking on this button will toggle a bypass mode, which causes the module to pass its input signal on to its output, without any processing taking place. In the process of tweaking parameters, it’s sometimes easy to lose objectivity and unintentionally go “over the top” with your processing, so it’s good practice to re-check your signal against the un- processed sound every so often when you’re tweaking parameters. ▪ Pre / Preset: This button opens a drop-down menu which allows you to pick a set of param- eter values for this module from KONTAKT’s preset library, as well as save your current set- tings as a new preset. Note that the insert and send slot rows (and, for that matter, most other modules in KONTAKT) have their own preset menus; these allow you to load and save entire signal processing chains. ▪ Mod: Only modules that have been added as Group inserts have this button. It opens a Modulation Router, which allows you to create modulation assignments for most effect pa- rameters via KONTAKT’s internal modulation system. The modulation system is explained in chapter ↑25, Modulation in KONTAKT of this manual. Signal Processors in KONTAKT Common Parameters KONTAKT - Manual - 242 Buposs Preset Ea) Freq Bond. 1 Sen San 2 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 246 Context: With the Authentic Expression Technology (AET) in KONTAKT, we’d like to introduce a radical-ly different approach. The core of this technology is an FFT filter with a very high resolution,which is able to “imprint” frequency responses of almost any complexity on your signal. Thesefrequency responses are derived from other samples in your patch via spectral analysis. For in-stance, the currently playing velocity layer could be filtered with the spectral information of thelayer just above it to sonically shift it closer to the latter. By dynamically varying the amount ofprocessing with the help of a modulation source (such as the velocity), you can thereby passthrough any number of intermediate stages between two samples, thus “morphing” betweenthem in real-time.The process is not limited to dynamic layers, either: You can morph between different playingtechniques of an instrument (such as a trumpet playing with and without mute) or even be-tween different signals. This opens up a whole range of sound design possibilities — fancy amorph between a piano and a celesta!The functionality of AET is split up into two logically separate parts. In the analysis phase, youtell KONTAKT which Samples should be taken into consideration; it will then generate spectral“fingerprints” of these and save them for later use. This selection and setup process takesplace in the Mapping Editor. Once the fingerprints have been created, they become availablefor selection within the AET Filter module, which you can insert into a Group Insert FX slot justlike any other effect module. Here’s where the actual filtering takes place: With just a singleparameter, you can control which of the stored frequency responses will be imparted to whichamount on the currently playing sample.Before we dive head-first into an actual use case of AET, we should explain two of the logicalbuilding blocks you’ll encounter in the setup process:▪A Morph Layer is a group of non-overlapping Zones whose samples are directly related insome way; these are often stacks of velocity layers or multi-sampled Zones that cover a cer-tain key range, or in other words, blocks of adjacent Zones in the Mapping Editor.▪A Morph Map is a collection of one or more Morph Layers. This is what’s ultimately loadedinto the AET Filter module, and its contents decide what the Morph knob on the module’scontrol panel will do. A Morph Map that contains only one Morph Layer is called a velocitymap; in this case, the target frequency response will be derived from the Zone whose key-board range matches the currently pressed key, and whose velocity range corresponds tothe setting of the Morph knob. A Morph Map with multiple Morph Layers is the basis of anarticulation morph; this is the more complex case, which allows you to set up morphs be-EffectsAET Filter KONTAKT - Manual - 246 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 253 Context: Smoothing: This value affects how much the analyzed frequency response will be smoothedout before it’s being used as a template for the filter. Sensible values range from 0.1 (nosmoothing) to around 2.0 (strong smoothing).Tonal: When this option is active, KONTAKT will analyze each sample harmonically in relationto the fundamental frequency of its respective root key value. You should only turn it off formaterial that’s entirely non-tonal, such as noise or percussion, or in case the root key value iswrong; in that case, KONTAKT will perform a plain frequency analysis with no respect to har-monic structures.Root Key Shift: As described above, KONTAKT will use the root key value of a Zone to deter-mine its Sample’s fundamental frequency when the Tonal option is enabled. There are cases,though, where the root key value deliberately differs from the true fundamental frequency ofthe Sample. For instance, you could be working on a patch that places multiple playing techni-ques of the same instrument in different octaves, so that C2 and C4 play the same note, butwith different articulations. In that case, using the root key value without correction would mis-lead the analyzer into considering the wrong frequencies; with the Root Key Shift parameter,you can specify an offset between the actual note of the Sample and its root key value in semi-tones. The default value of 0 assumes a correct root key setting; a value of -12 corresponds tothe actual fundamental tone being one octave below the root key.Analysis Range: Click and drag the borders of the selection range here to limit the analysisprocess to a certain time frame of each sample. When analyzing samples that change theirtimbre over time, this allows you to tell KONTAKT at which point in a note the instrument willexhibit its most characteristic frequency spectrum, and exclude the rest from influencing theanalysis result. For a piano or guitar, this would be the first seconds of each note; if you’d in-clude the whole decay phase in the analysis, the average spectrum would turn out much dark-er.Number of Zones: The number of Zones that are currently selected in the Mapping Editor andwill be included in this Morph Layer when you click OK.23.1.5Morph Map Editor This dialog appears when you select the Open AET morph map editor command from the Editor context menu of the Mapping Editor. Its function is explained in section ↑23.1.3, Creatingan Articulation Morph.EffectsAET Filter KONTAKT - Manual - 253 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 256 Context: Filter Curve: This graph represents the actual, currently active filter response, which is the dif- ference between the analyzed frequency response of the source (i.e. the currently playing Sam- ple) and the target (i.e. the Morph Layer that appears in the Morph Map at the point that’s set with the Morph knob). Morph Curve View: This is a graphical representation of the selected Morph Map and the result- ing filter gradient. It’s divided into multiple color-coded sections and curves, with the sections depicting the Morph Layers that make up the map, and the curves representing the amount to which the frequency response of the respective layer will influence the final filter response at any point. On top of each section, the name of the respective Morph Layer is being shown for reference. At the peak of each curve, the currently played sample will be morphed into the fre- quency response of the respective layer to the maximum amount. The section and curve of the active sample (i.e. the source) are marked yellow; these correspond to a flat filter response. The sections and curves of the other layers are alternatingly colored white and blue. When playing a note and changing the Morph parameter, a horizontal, angled bracket below the graph marks the source and target points of the gradient that KONTAKT uses to determine the final filter response. Output: The output level of the module in dB. 23.2 Transient Master The Transient Master is an easy to use compressor designed to control the attack and sustain of a sound. Instead of following the amplitude of the sound like a traditional compressor, it follows the general envelope and is thus not as susceptible to changes of input gain. It is best used on sounds with fast attacks, like percussion, pianos or guitars. The Transient Master can also be quite extreme in some cases, so use it with caution. The Transient Master. Effects Transient Master KONTAKT - Manual - 256 ‘TransientMaster peu. [Prev] Gem) Os input fe Attack oa Sustain an #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 259 Context: The SolidBusComp. Controls ▪ Link (Stereo link): When enabled, this causes the compressor to always act on the left and right channel in unison; this preserves the stereo image. When disabled, the Compressor becomes a dual mono processor, which means that both channels will be processed inde- pendently. ▪ Threshold: Sets a level threshold above which the Compressor starts working. Only levels that rise above this threshold will be reduced by the compression; signals that stay below it will be left unprocessed. ▪ Ratio: Controls the amount of compression, expressed as a ratio of “input level change” against “output level change”. A Ratio of 1:1 means that no compression will be happen- ing. For example, a Setting of 4 represents the ration 4:1, which means for every 4 decibel increase of amplitude above the threshold, the output will increase by only 1 decibel. ▪ Attack: Adjusts the time the Compressor will take to reach the full Ratio value after an in- put signal exceeds the Threshold level. ▪ Release: Adjusts the time the compressor will take to fall back to non-compression after the input signal falls below the threshold. ▪ Makeup: Controls the output gain of the compressed signal. Used to compensate for the gain reduction of the effect. ▪ Mix: Controls the dry/wet mix of the compressor. This can be used to create a parallel com- pression style routing, which increases the quieter signals rather than reducing the louder ones. At a setting of 100% you will only hear the compressed signal, at a setting of 0% you will only hear the unprocessed input signal. ▪ Output: Controls the module’s output level. Effects Solid Bus Comp KONTAKT - Manual - 259 [sehanuscomg Threshold Attack on Output Fr] Bio Zoo.) oe Oo Rai 05% CE oo #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 264 Context: The Lo-Fi module. Controls ▪ Bits: Re-quantizes the signal to an adjustable bit depth. Fractional bit levels (such as 12.4 bits) are possible and can add considerable “grit”. Audio CDs have a quantization depth of 16 bits, old samplers frequently used 8 or 12 bits, and 4 bits evoke memories of countless irritating children’s toys. ▪ S.Rate (Sample Rate): Re-samples the signal to an adjustable sample rate. The re-sam- pling is done without any kind of (usually mandatory) low-pass filtering, which causes all kinds of wonderful aliasing artifacts. The sample rate goes all the way down to 50 Hz, which will not leave much of the original signal. ▪ Noise: Adds hiss to the audio signal. ▪ N.Color: Adjusts the frequency characteristic of the noise and acts as a low-pass filter. ▪ Output: Adjusts the module’s output level. 23.10 Saturation This module is basically an amplifier with a non-linear characteristic. It allows you to recreate the effect of tape saturation, which causes an increase of high-level energy in your signal. The Saturation module. Controls ▪ Mode menu: Select the saturation type: Classic, Enhanced or Drums. Classic is the original KONTAKT algorithm, Enhanced is a higher quality saturation mode and Drums is the satu- ration model used by MASCHINE Effects Saturation KONTAKT - Manual - 264 LoFi ‘Saturator fe rer] Os © Output foo ==) #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 267 Context: Controls ▪ Bright: A tonal option which increases the high frequency content of the signal. ▪ Polyphonic: If this button is inactive, the Twang module will work as a mono effect, which causes stereo signals to be summed to mono at its input; when active, the effect operates on each input channel separately. ▪ Volume: Controls the input level. In contrast to the Output knob, which merely adjusts the overall level of the module, this knob works like the gain control of a guitar amp and af- fects the amount of distortion. ▪ Treble, Mid and Bass: These controls adjust the respective levels of the signal’s high, mid- range, and low frequency components. ▪ Output: Adjusts the module’s output level. 23.14 Jump The Jump effect simulates the classic tone of British guitar amplifiers. It is ideal for creating smooth, singing lead sounds. The Jump effect is available on both the Group and Instrument level. The Jump Effect Controls These are the Jump effect's controls: ▪ HiGain: Increases the preamp's gain potential. Switch to HiGain mode if you want to create distinctly distorted or saturated sounds. Effects Jump KONTAKT - Manual - 267 © = Os Oo Treble fe Presence ya Pref Master #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 268 Context: ▪ Mono: When this button is engaged, all channels of the input signal will be summed to a mono signal before being processed. This happens regardless of the number of channels the input signal consists of, i.e. no matter whether it is a mono, stereo, or 5.1 signal. When this button is not engaged, each channel is processed individually. Please note that this can increase the CPU load considerably. ▪ PreAmp: Sets the amount of gain added by the preamp. Turning it clockwise adds drive, distortion and edge to the sound. ▪ Master: Adjusts the amp’s master volume. ▪ Bass: Adjusts the low frequency response. ▪ Mid: Adjusts the midrange frequency response. ▪ Treble: Adjusts the high frequency response. ▪ Presence: Boosts the frequency response in the upper midrange. ▪ Output: Adjusts the module's output level. 23.15 Rotator The Rotator effect realistically simulates the sound of rotating speaker cabinets, which are commonly associated with drawbar organs that became popular in rock music of the 60s and 70s. Although the effect is almost intrinsically tied to "the" prototypical drawbar organ sound, it works equally well on guitars, synth pads, and a wide range of other sounds. The Rotator. Controls ▪ Speed: Although this parameter appears as a knob in order to facilitate automating, it real- ly only has 2 positions — Slow and Fast. A change of this setting realistically simulates the acceleration or braking of the rotor. Effects Rotator KONTAKT - Manual - 268 a Balance Distonce == Oz Os su] EE #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 270 Context: Menus and ButtonsSurround Format: This drop-down menu selects the output format of the module. Optionsrange from simple speaker-subwoofer splits (1.1) up to 16-channel surround formats, and alsoinclude a wide range of common cinema and music surround formats like 5.1, 7.1 and 10.2.Changing this setting does not affect the positions of your sound sources on the plane. The fol-lowing table lists all available surround formats along with their channel assignments. Refer tothese channel maps if you’re unsure which channel will carry which speaker signal at the mod-ule’s output.EffectsSurround Panner KONTAKT - Manual - 270 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 271 Context: Table of available surround formats, along with their channel assignments. 23.16.1 Explanation of channel abbreviations: | Channel | Abbreviation | | -------- | -------- | | Left | L | | Right | R | Effects Surround Panner KONTAKT - Manual - 271 iMono = FE, 2.0 Stereo 2.0 Stereo Vide 2.1Stereo - LFE 2.1 Stereo Wide FE 2.0 Surround (LFS) 2.0 Front (LCR 2.1 Surround (LAS) > LFE 2.1 Front (LCR) » LEE 4.0 Surround (LACS) 4.0 Guadraphonic 41 Surround (LACS 1FE} 41 Quadraphonie (- LFE} 50 Cinema 5.0 Musio 5.0 Pentaphonio 5.1 Cinema - LE 5.1 Musie -LFE 5.1 Pentaphonie -LFE 6.0 Cinema EX 6.0 Music EX 6.0 Heraphonio 6.1 Cinema EX -LFE 6.1 Music EX LFE 6.1 Hezaphonie - LFE 70 Cinema 70 Musie 7.0 Heptaphonio 71 Cinema - LE 71 Musie -LFE 7.1 Heptaphonic + LFE 2.0 Octaphonic Cire 2.0. Octaphonic Rect 8.1 Oetaphonie Cire - FE 8.1 Ootaphonie Rect - LFE| 10.2 Surround IH - ZLFE 12.0 Cinema Extended 12.1 Cinema Estended = LFI 12.0 Cinema Plus. 12.1 Cinema Plus -IFE 16.0 Cinema Surround sr #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 273 Context: ▪ Center Mirror: Sound source positions will be mirrored at the center point of the plane. ▪ X Mirror: Sound source positions will be mirrored along the X axis. ▪ Y Mirror: Sound source positions will be mirrored along the Y axis. ▪ XY Mirror: Sound source positions will be mirrored along the X and Y axis. ▪ Individual: Each source can be positioned individually with the mouse. Algorithm: Determines how the level of a sound source will be affected by its distance from the center. The drop-down menu offers three algorithms: ▪ Constant Power: This panning algorithm will adjust the relative speaker levels of a sound source in a way that preserves the source’s apparent volume, regardless of its panning posi- tion. Placing a source icon right above a channel icon will isolate the source signal on the respective channel. Moving it around the plane will distribute its signal among the respec- tive speakers in relation to their distance from the source, keeping the overall apparent vol- ume (or, more precisely, the power) constant. This behavior will be affected by the Diver- gence setting. ▪ Sinusoid: This algorithm uses a sine function to adjust the volume of a source in relation to its distance from each speaker. Setting the Divergence parameter to lower values will result in a more directional image. If you move a source far away from speakers and use a high Divergence setting, its level can drop to silence. Effects Surround Panner KONTAKT - Manual - 273 IHREN “distance from loudspeaker = mzzro< #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 276 Context: X Shift: Imparts a constant offset on the X positions of all sound sources.Y Shift: Imparts a constant offset on the Y positions of all sound sources.Angle: Rotates all sound sources around the center point.Distance: Adds a constant offset to the distances of all sound sources from the center point.Meter: The output levels of all channels in the currently selected Surround Format are dis-played here.23.16.3Surround Panner Automation Automating the surround panner is particularly interesting for creating sounds that movearound the room. There are several ways to accomplish this. If you need complete control overyour motion patterns, you can use your host automation or external MIDI controllers to controlthe positioning parameters from outside KONTAKT. If you want to create automatic motion, us-ing KONTAKT’s Modulation Router opens up a range of very interesting and creative possibili-ties.23.16.4Host/MIDI Automation If you want to modulate the Surround Panner via your host or external MIDI controllers, youcan assign external host automation data or MIDI controllers to the X Shift, Y Shift, Angle, andDistance parameters by dragging the respective automation sources from the Auto tab of theBrowser onto the knobs you’d like to automate. For more information about external automa-tion, refer to section ↑13.6, Automation Tab of this manual.23.16.5Internal Modulation Using internal modulators on the Surround Panner offers a multitude of interesting possibili-ties, ranging from sounds that move around the room in a circular fashion to unpredictable andorganic patterns of random motion. To create a modulation assignment, right-click a knob andchoose a modulation source from the drop-down menu, then adjust the assignment parametersand the source’s controls (if any). Note that only the knobs to the right of the XY pad can beassigned for internal modulation. The knobs on the left can be automated via MIDI CC.EffectsSurround Panner KONTAKT - Manual - 276 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 278 Context: 23.17 Stereo Modeller This module allows you to control the width of your signal’s stereo base, change the panning, and create a pseudo-stereo signal from mono sources. The Stereo Modeller. Controls ▪ Pseudo Stereo: When activated, the module uses a pseudo-stereo algorithm to create a stereo signal from a mono source. This feature should only be used with mono signals and tends to create mono-incompatible sounds, which can disappear from a mix when it’s be- ing played back in mono. ▪ Spread: Collapses (counter-clockwise) or expands (clockwise) your signal’s stereo base. At the far left position, stereo signals will be summed to mono. Positive values will result in an artificial widening of stereo sources that has a tendency to apparently expand beyond the speakers, but watch out — just like the Pseudo Stereo feature, this tends to cause mono incompatibilities in your mix. ▪ Pan: This control allows you to place your signal within the stereo field. It works exactly like the Pan control of the Amplifier module. ▪ Output: Adjusts the module’s output level. 23.18 Inverter With this module, you can invert the phase of your audio signal, or swap the left and right channels. Since the Inverter only makes sense as an insert effect, you can use this module on- ly in the Group Insert Effects and Instrument Insert Effects chains. Effects Stereo Modeller KONTAKT - Manual - 278 BESTE Be) oa Spread Ö Pon © Output eal] Joo} #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 283 Context: 23.23 Phaser This effect continually changes the phase relationships in your signal with an all-pass filter. This results in a comb filtering effect, which attenuates some frequencies while boosting oth- ers. The sound is similar to that of a flanger, but in a more subtle manner. The Phaser. Controls ▪ Depth: The amount of LFO modulation. Higher values cause the phaser effect to sweep over a wider frequency range. ▪ Speed: The LFO modulation speed. To synchronize the speed to your host or Master Editor tempo, click the Speed control’s unit display and choose a note length value from the drop- down list. ▪ Phase (0 to 90 degrees): Imparts an LFO phase difference between the left and the right stereo channel. This can considerably increase the width of the output signal’s stereo base. ▪ Feedb.: This control adjusts the emphasis of the peaks and notches that the comb filter effect imparts on the signal. ▪ Return (visible when used as Send Effect): Adjusts the return level of the module’s output signal. ▪ Dry and Wet sliders (visible when used as an Instrument Insert Effect): Adjusts the respec- tive levels of the original and processed signals. Note that the typical phasing effect is cre- ated by the combination of both signals, so setting these to the same levels results in the most pronounced effect. Effects Phaser KONTAKT - Manual - 283 Phaser fe rer] Oz=O Speed Ö Phase Feed #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 284 Context: 23.24 Convolution Convolution is a sophisticated mathematical process that, technically speaking, allows you to replicate the acoustical behavior of a linear system — such as a room, a speaker or a hardware reverb unit — for use with your own signals. To accomplish this, a short audio recording of a wide-band signal played through the system is fed into the convolution processor. This record- ing is usually a normal audio file, called an impulse response. Convolution is best known among users as a method for achieving highly realistic reverbs; it works just as well for simulating the characteristic resonances of speaker cabinets and other loudspeakers, though. KONTAKT’s Convolution processor is somewhat unique in that it fully supports a multi-channel signal flow, allowing you to use surround impulse responses. It can be used within the Instru- ment Insert Effects and the Instrument Send Effects chains, or as an Output effect. The Convolution processor. KONTAKT includes an extensive library of impulse responses, which range from recordings of real rooms and speaker cabinets to synthetic impulse responses that are well-suited for special effects, but you can just as easily use third-party impulses in WAV format. Controls ▪ Impulse Window: This window provides a display of the currently loaded impulse response and, if active, the Volume Envelope. You can drag impulse responses from the library into this window to load them — this will keep your other settings intact. The row at the top Effects Convolution KONTAKT - Manual - 284 DIE Cer ened Ors Or Om Rate) (Keen) #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 285 Context: displays the filename of the loaded impulse response, as well as its bit depth, sample rate,and number of channels. Just like in the Mapping Editor and Wave Editor, hovering yourmouse pointer over the filename will show the full path to the file.▪Pre Dly.: Just like the Reverb module’s parameter of the same name, this control introdu-ces a short amount of delay between the direct signal and the convolution output. This isuseful when used with reverb responses to simulate the reverberation of big rooms, where ashort delay occurs between the direct sound and the first reflections from distant walls.▪Return (visible when used as a send effect): Adjusts the module’s return level.▪Dry and Wet sliders (visible when used as an Instrument insert effect): Adjusts the respec-tive levels of the original and processed signals. In common scenarios, the reverb signal ismixed in at a lower level than the direct signal.▪Latency: Adjusts the module’s latency setting in five steps (1.5, 2.9, 5.8, 11.6, and 23.2ms). If you hear crackles or other artifacts, you can try to increase this value, which willresult in KONTAKT’s overall latency being increased (and thus all signals being delayed). Ifyou don’t want this, you can disable the latency compensation by activating the last entryin this menu. This way, the overall latency won’t be increased, but the wet signal of theConvolution processor will be delayed in relation to the dry signal (which actually can workjust fine with reverbs).▪S.Rate: Allows you to divide the sample rate in nine steps (1/1, 1/1.5, 1/2, 1/2.5, 1/3,1/4, 1/6, 1/8, and Auto). If the Preserve Length button is not enabled, changing the sam-ple merely changes the playback speed of the impulse response, resulting in longer reverbtrails and changed frequency characteristics. Activating Preserve Length will keep the re-verb trail intact, but lower the sampling rate at which the convolution process takes place,thereby reducing the CPU usage along with the quality.▪Reverse Button: Reverses the impulse response for special effects.▪Auto Gain: If this button is active, the processor will keep the overall level constant whenparameters are adjusted that would otherwise affect the level. If you turn this off, be sureto monitor at low levels as you make adjustments, as volume changes can be drastic —take care of your ears!▪Volume Envelope: This feature allows you to change the volume characteristic of the im-pulse response to your needs. When activated, a graphically editable 8-segment envelopewill be drawn on top of the waveform display in the impulse response window.EffectsConvolution KONTAKT - Manual - 285 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 287 Context: ▪ Dry and Wet sliders (visible when used as an Instrument insert effect): Adjusts the respec- tive levels of the original and processed signals. In common scenarios, the reverb signal is mixed in at a lower level than the direct signal. 23.26 Gainer This module can be used both within the Instrument Insert Effects chain and as a send effect. Depending on where you choose to place it, it serves two different purposes. As an Instrument insert effect, you can boost or attenuate the signal level between the previ- ous stage’s output and the next stage’s input. In other words, it works like an additional ampli- fier stage. The Gainer. The idea behind using the Gainer as a send effect needs some more explanation. As every send effect can optionally route its own output signal to one of the Aux Channels in the Outputs sec- tion (instead of feeding it back into the Instrument), the Gainer can act as a transparent bridge between the send slots and the Aux Channels. Therefore, it allows you to send signals at ad- justable levels to the Aux Channels on a per-Group basis, which greatly increases routing flexi- bility and can even save a lot of CPU resources — just move effects that you would otherwise have created as send effects in multiple Instruments to an Aux Channel instead, and use the Gainer within the Instruments’ send effects slots in order to forward signals to this Aux chan- nel. By changing the Aux channel’s physical output assignment, you can even use external ef- fects, whether they are plug-ins in your host program or outboard devices, from within Groups. After you have inserted the Gainer module into a send slot, you’ll notice that in addition to the Gain control, it also provides the Return control which is common to all send effects on the right side of its panel. Next to the numerical readout of this control, you’ll notice a small „I“ icon. Clicking on it opens a drop-down menu that allows you to select one of the Aux Chan- nels as the routing target for the module’s output. This way, whatever you’ll send to this slot via the Send Levels module will end up on the specified Aux Channel. Effects Gainer KONTAKT - Manual - 287 Sen I #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 288 Context: Controls▪Gain: The amplification or attenuation factor that will be applied to the signal in dB.EffectsGainer KONTAKT - Manual - 288 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 289 Context: 24Filters A filter is a signal processor which changes the frequency content of a signal that passesthrough it. This means that in contrast to effects like distortion, reverb, or chorus, it onlychanges the amplitude and phase of frequency components which are already present in yoursignal, without creating new frequency content.Filters are generally distinguished by the part of the spectrum that is to be attenuated, andsteepness of their attenuation curve, which is usually expressed in dB per octave. As the cutofffrequency is defined as the frequency where an attenuation of 3 dB occurs, a lowpass filterslope of 12 dB/octave with a cutoff frequency of 440 Hz attenuates frequency content at 880Hz (an octave above the cutoff frequency) by 15 dB, frequencies at 1760 Hz by 27 dB, and soon. In digital filter design, specifying a filter slope as a number of “poles” has become thenorm, with each pole corresponding to 6 dB of attenuation per octave, such that a 1-pole filterwill exhibit a gentle slope of -6 dB/octave, while a 6-pole filter with its slope of -36 dB/octaveis more akin to a sonic razor blade. The pole notation is being used for KONTAKT’s collectionof sampler filters. If you find the concept of filter slopes confusing, don’t worry — just remem-ber that lower-order filters (like 1-pole and 2-pole forms) are generally better suited for gentle,unnoticeable tonal corrections, while higher-order filters (like 4-pole and 6-pole forms) tend tochange your signal characteristics by a significant amount, and are thus better suited for broadtreatments or effects.KONTAKT’s collection of filter modules is divided into 7 categories:▪Lowpass Filters attenuate harmonics and signals above the cutoff frequency.▪Highpass Filters attenuate signals below the cutoff frequency.▪Bandpass Filters attenuate signals above and below the cutoff frequency.▪Peak/Notch Filters A notch filter is like the inverse of a Bandpass filter, as it only removessignals around the cutoff frequency, but allows the signals above and below it to passthrough. A peak filter is like a very narrow Bandpass.▪Multi Filters in this section you will find optimized combinations of filter types in differentroutings.Filters KONTAKT - Manual - 289 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 295 Context: 24.1.10 AR LP2/4 The AR LP 2/4 module. The Adaptive Resonance (AR) filters follow the amplitude of the input signal and adjust the resonance accordingly. At higher input levels, the resonance will reduce, and for lower levels it will increase, this avoids unpleasant peaks. These filters work best on full loops or drums. The LP2/4 processes the audio through a combination of 2-pole and 4-pole lowpass filters to create a more interesting frequency response. 24.1.11 Daft The Draft module. The Daft filter has been adapted from MASSIVE and is a more aggressive synthesizer filter de- sign. The response of the filter is a 2-pole lowpass, which attenuates frequencies above the cutoff at a rate of -12 dB/octave. The daft filter also includes a Gain knob that controls the amplitude increase after the filter. This control can be used to compensate for amplitude re- duction due to the filter, or to increase the soft saturation of the effect. 24.1.12 PRO-53 The PRO-53 module. Filters Lowpass Filters KONTAKT - Manual - 295 ARL24 fe rer] ze) Cute Ö Reso, Cute Dr Me) [0 [Fe] le Reso, Sen poss (Fosse) Cute fe [rer] OÖ Reso, #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 308 Context: 24.4.1 SV Notch The SV Notch module. The State Variable (SV) filters have a clean characteristic that can be used for all kinds of au- dio signals. The Notch 4 is a 4-pole notch filter, which attenuates frequencies at the cutoff. 24.4.2 Ladder Peak The Ladder Peak module. Based on the classic ladder circuit used in early synthesizers, these filters would be a first choice for synthetic sounds, but can work well on any signal. The Peak is a unique filter that accents frequencies at the cutoff and also includes the following additional controls: ▪ High Quality: Toggles oversampling within the effect, which can increase audio quality, but will also increase CPU load. ▪ Gain: Controls the amplitude increase after the filter. This control can be used to compen- sate for amplitude reduction due to the filter, or to increase the soft saturation of the ef- fect. 24.4.3 Ladder Notch The Ladder Notch module. Filters Peak/Notch KONTAKT - Manual - 308 sunta fe rer] Ci) © Cute Reso, Lärpk fe rer] FG Peak) (Herauaity Cute Reso, Sen Lait fe rer] Gay (Herauaity Cute Reso, Sen #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 310 Context: The State Variable (SV) filters have a clean characteristic that can be used for all kinds of au- dio signals. The Par. LP/HP is the combination of a highpass filter and a lowpass filter routed in parallel (ie. the signal is split and routed through each separately). The result is similar to a notch filter. Controls ▪ Cutoff: Controls the central cutoff frequency of the two filters. ▪ Resonance (Reso.): Controls the amount of boost around the cutoff frequency of each filter. ▪ Bandwidth (B.Width): Controls the gap between the cutoff frequencies of the two filters, with the highpass filter’s cutoff always above that of the lowpass. The gap is generated around a central point controlled by the Cutoff control. 24.5.2 SV Par. BP/BP The SV Par. BP/BP module. The State Variable (SV) filters have a clean characteristic that can be used for all kinds of au- dio signals. The Par. BP/BP is a combination of two parallel bandpass filters. Controls ▪ Cutoff: Controls the central cutoff frequency of the two filters. ▪ Resonance (Reso.): Controls the amount of boost around the cutoff frequency of each filter. ▪ Bandwidth (B.Width): Controls the gap between the cutoff frequencies of the two filters. The gap is generated around a central point controlled by the Cutoff control. Filters Multi KONTAKT - Manual - 310 par.B/B [es [rer] Cs) Ö Cute Reso, eisen #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 312 Context: The basic internal signal flow structure of the 3x2 Pole Multi-Mode Filter. The 3x2 Versatile Flter requires more CPU power than other KONTAKT filters, so use it only when you need this level of sophistication. The 3x2 Versatile module. ▪ Cutoff: Adjusts the cutoff frequencies of the 3 filter bands in unison. The displayed value is only absolute for the first (topmost) filter band, the other two bands have cutoff frequen- cies relative to this one (see below). Filters Multi KONTAKT - Manual - 312 3x2 POLE MULTI-MODE FILTER CUTOFF SHIFT 2 SHIFT 3 Filter 3 3x2 Cute os shit 2 © shit 2 Ge) #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 316 Context: 24.6.4 Vowel A The Vowels module. This filter simulates the resonant frequencies of the human vocal tract; when forming a vowel, the throat and mouth cavities will change their shape in order to create a complex, natural fil- ter which emphasizes certain frequencies in the sound created by the vocal chords. These characteristic frequencies, called formants, allow the human hearing to discern between differ- ent vowels, and are being replicated by this filter. Controls ▪ Cutoff: Adjusts the center frequency of the filter. Various distinct frequencies across the spectrum will produce different vowels. ▪ Reso. (Resonance): With values greater than 0, this control will emphasize the frequencies around the center frequency in order to create a sharper sound and enhance the effect. 24.6.5 Vowel B The Vowel B module. This filter works similarly to the Vowel A module, but has a slightly different sonic character. Filters Effect Filters KONTAKT - Manual - 316 vow.A fe rer] Gi Cute Reso, vow.B fe rer] Gy Cute Reso, #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 318 Context: The Solid G-EQ differs from other KONTAKT EQs as it is modelled on high quality analoguecircuitry. It is a 4-band parametric EQ and offers the choice of bell or shelf style control of thelow and high frequency bands.Controls▪LF Gain: Adjusts the amount of boost or cut at the LF Frequency.▪LF Freq: Adjusts the center frequency of the low frequency band at which the boost or cutwill occur.▪LF Bell: Toggles the bell shape of the low frequency band. If turned off the band becomesa shelf.▪LMF Gain: Adjusts the amount of boost or cut at the LMF Frequency.▪LMF Freq: Adjusts the center frequency of the low-mid frequency band at which the boostor cut will occur.▪LMF Q: Controls the Quality (or Q) of the low-mid frequency band. For most EQs, the high-er the quality, the narrower the frequency band, but with this EQ the control is reversed tomatch the hardware it emulates and becomes a bandwidth control.▪HMF Gain: Adjusts the amount of boost or cut at the HMF Frequency.▪HMF Freq: Adjusts the center frequency of the high-mid frequency band at which the boostor cut will occur.▪HMF Q: Controls the Quality (or Q) of the high-mid frequency band. For most EQs, thehigher the quality, the narrower the frequency band, but with this EQ the control is re-versed to match the hardware it emulates and becomes a bandwidth control.▪HF Gain: Adjusts the amount of boost or cut at the HF Frequency.▪HF Freq: Adjusts the center frequency of the high frequency band at which the boost or cutwill occur.▪HF Bell: Toggles the bell shape of the high frequency band. If turned off the band becomesa shelf.FiltersEQs KONTAKT - Manual - 318 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 321 Context: 25.3 Creating Modulation Assignments Each modulation assignment that actively affects a specific parameter at any given time will be displayed with a single row in the Modulation Router of the parameter’s parent module. The Modulation Router can be shown and hidden by clicking on the button labeled Mod or Modula- tion in the lower left corner of a module. If this button does not exist, the respective module’s parameters can’t be modulated. The Modulation Router of an Amplifier Module. If a Modulation Router entry uses an internal modulation source for the assignment, you’ll al- ways find a corresponding modulation source panel at the bottom of the Rack in Instrument Edit mode; here you can adjust the parameters of the signal source, such as an LFO’s frequen- cy or envelope timings. Modulation in KONTAKT Creating Modulation Assignments KONTAKT - Manual - 321 Amplifier © KEI im] S Go be) Gen) TT) (marc Eimer. >) #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 326 Context: Lag (Smoothing): If this value is higher than 0, any signal received from the modulation sourcewill be smoothed. The displayed value is a time constant in milliseconds and indicates howlong the smoothed signal would take to reach the new value after an instantaneous change inthe modulation signal occurred. The most obvious application of this feature is a gentlesmoothing of external MIDI data; as the MIDI standard imposes a resolution of only 128 stepson controller data, using it without smoothing is prone to causing audible parameter jumps. Afairly low smoothing value will get rid of these, while still preserving a sufficiently fast responseto controller changes. As pitch modulation is particularly prone to audible steps, all pitch as-signments will have their Smoothing parameter set to a value of 250 by default. Higher valuescan give useful results with LFOs, such as a “slurred” rectangle or sawtooth modulation.Modulation Target: Finally, the rightmost element displays the parameter that will be modulat-ed. If you click the field, a drop-down list of all parameters that can be modulated in this mod-ule will appear, and you can choose a new target.Modulation in KONTAKTAssignment Controls KONTAKT - Manual - 326 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 328 Context: 26.1.1 AHDSR Envelope Controls AHDSR envelope controls. ▪ AHD Only: If this button is activated, the envelope will be reduced to its attack, hold, and decay phases (see below for a description of what these do). As this eliminates the sustain parameter, what you’ll get is a simple one-shot envelope, which will always be completed no matter how long the key is being held. It is thus best suited for drum and percussion sounds. ▪ Retrigger: If this button is activated, the envelope will be restarted every time KONTAKT receives a note, even if another note is still being held at the same time. If it’s inactive, the envelope will keep its current position until the last note has been released, then be re- started on the next note. ▪ Curve: Adjusts the curve shape of the attack phase. A value of zero results in a linear at- tack curve, negative values make the shape more concave, and positive values make it more convex. ▪ Attack: The initial time it will take the envelope to reach its maximum level after it has been triggered. ▪ Hold: The (fixed) time the envelope will stay at its maximum level after it has completed the attack phase and before it enters the decay phase. ▪ Decay: The time it will take the envelope to fall from its maximum level to the level set by the Sustain control. ▪ Sustain: After it has completed its attack, hold, and decay phases, the envelope will stay at this level as long as the key is being held. ▪ Release: The time it will take the envelope to fall from its sustain level back to zero after the key has been released. Modulation Sources Envelopes KONTAKT - Manual - 328 fe, Te, Te; Te: Te), Te), = SEE #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 330 Context: When you create a new flexible envelope, you’ll initially see a shape which roughly resembles a traditional ADSR envelope in its panel. Any changes to the shape of the envelope will take place within this graphical representation. Just like within the other envelope editors, the X ax- is represents the time, while the Y axis represents the modulation level. You can define an envelope shape by creating or deleting breakpoints, moving them around (thereby changing their position in time and their level), and changing the shape of the curves that connect them. The initial preset is an envelope with four breakpoints; this is also the min- imum number of breakpoints that have to be present in an envelope. In order to add a breakpoint to your envelope, right-click (on Mac OS X, [Ctrl]-click) on the po- sition where you want it to be created. Deleting breakpoints works in the same way: right-click- ing (or [Ctrl]-clicking) an existing breakpoint will delete it, causing its neighbors (if the break- point wasn’t the last one of the envelope) to be connected with a straight line. You can change these connections between breakpoints from straight lines to convex or concave curves by dragging the small circles in their middle up or down. If your envelope is becoming longer than the time window that’s currently being displayed in the editor, you can left-click and drag the time line horizontally to scroll, or right-click ([Ctrl]- click on Mac OS X) and drag it to zoom in and out. You can move breakpoints around by dragging them with the mouse. The currently selected breakpoint will be indicated with a filled square icon. In addition to its graphical position in the editor, you can view its parameters as numerical values in the breakpoint status line above the editor. The status bar of the flexible envelope panel displays data of your currently selected breakpoint in numerical form. From left to right, these values tell you about the current positioning mode (explained below), the number of the currently selected breakpoint, its absolute position in time (displayed in mil- liseconds), its relative distance in time to the preceding breakpoint, its level, and the shape of the curve to the left of the breakpoint (with a value of 0.5 indicating a linear shape, higher numbers indicating a convex shape, and lower numbers a concave shape). You’ll notice that when you move any point (except the last one) horizontally, all points that follow it will move along by the same amount, thereby changing the overall duration of the en- velope. If you don’t want this, just click the Mode entry of the breakpoint status line above the Modulation Sources Envelopes KONTAKT - Manual - 330 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 332 Context: 26.2 LFOs Low Frequency Oscillators (LFOs) generate periodic (or in some cases, random) signals, which are typically used for modulation across all kinds of synthesizers and samplers. Their name stems from the modular analogue synthesizer behemoths of the past, where they first originat- ed: it was meant to reflect that their typical operating frequency was the only thing that set them apart from the audio oscillators (which were mostly just being referred to as “oscilla- tors”), since otherwise, they worked pretty much the same, and had similar controls. While au- dio oscillators generate signals in the audible range of 20 Hz up to 20.000 Hz, LFOs provide a much lower range. This aspect makes sense when you consider that most practical parameter modulations call for speeds that are actually humanly perceivable as changes, not as continu- ous sounds. Take the canonical vibrato example from the last chapter — even 20 Hz would be much too fast for a vibrato, so the actual frequency is actually far outside the useful audio range. An LFO, outputting a sine waveform at 1 Hz. All of KONTAKT’s LFOs can generate frequencies within the range of 0.01 Hz to around 210 Hz. You’ll notice that the upper part of this range actually overlaps the audio range, which opens up some rather interesting and creative modulation possibilities, but the better part of your traditional LFO assignments will likely call for frequencies between 0.01 Hz and 40 Hz. A multi LFO, which lets you mix all other waveforms into a complex waveform. While we’re referring to “KONTAKT’s LFOs” in plural form in order to reflect the fact that de- pending on their output waveform, they all look a little different, there’s actually no need to treat them like separate modules from a user’s point of view. In fact, once you’ve created an assignment that uses an LFO as its source, you can conveniently switch the waveform on this Modulation Sources LFOs KONTAKT - Manual - 332 er Ol Mod ein #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 334 Context: Waveform Mixer (Multi waveform only): The Multi waveform is special in that it’s the result of an addition of other waveforms. Which waveforms will appear in this mixture, and at which re- spective amounts, can be adjusted with an additional set of controls which appears below the main row of knobs when you switch to the Multi waveform. Note that these mix controls are bipolar and thus allow you to reverse the polarity of source waveforms. At a value of 0.0, the respective waveform will be absent from the mixture. Normalize Levels (Multi waveform only): If this button is activated, and the sum of all compo- nent waveforms in the current mixture would exceed the level of a simple waveform at its peaks, the LFO will reduce its level accordingly. 26.3 Other Modulators This category includes all internal modulation sources that won’t fit into one of the other cate- gories. 26.3.1 32-Step Modulator The 32-Step Modulator. The Step Modulator works similarly to a classic step sequencer in that it allows you to freely define a row of up to 32 values, which will then be “played back” at a constant speed. You can define these bipolar values by drawing bars that originate from the middle line with your mouse; the higher a bar, the further the modulated parameter will stray from its original value at this point in the row. To draw a linear change across multiple bars, right-click ([Ctrl]-click on Mac OS X) and drag the mouse in your editor; this will draw a line which will be reproduced with bars when you release the mouse button. The speed at which the Step Modulator will move from bar to bar can be synchronized to your host or Master Editor tempo. Here’s a run- down of the controls: Modulation Sources Other Modulators KONTAKT - Manual - 334 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 336 Context: ▪ Attack: Adjusts the Envelope Follower’s response time to rising levels. Larger values will “smooth out” the attack phases that correspond to increasing audio levels. Very short val- ues can cause distortions, as the Envelope Follower will begin to track each cycle of the audio waveform. ▪ Decay: Adjusts the Envelope Follower’s response time to falling levels. Larger values will “smooth out” the decay phases that correspond to decreasing audio levels. Very short val- ues can cause distortions, as the Envelope Follower will begin to track each cycle of the audio waveform. ▪ Gain: Adjusts the Envelope Follower’s sensitivity to the audio signal. Larger values result in a higher envelope amplitude. ▪ Adapt: Sets a baseline transient response time for the Envelope Follower. 26.3.3 Glide The Glide module. The Glide module acts as a source for a special modulation signal that’s needed to create a portamento effect. This effect is known from monophonic synthesizers and adds a sliding tran- sition between the pitches of two consecutive notes when they are played in a legato fashion. To create a portamento, assign the Glide module to the pitch of your source module, and set the corresponding modulation intensity to the maximum value. Using this module in other ways rarely makes sense. Also note that while using this facility with polyphonic Instruments certainly works, the effect is usually associated with monophonic Instruments. The module provides two controls: ▪ Time/Speed: Selects one of two different glide modes. If Time is selected, all transitions happen in the same time, regardless of the interval between the notes; in Speed mode, wide-spaced intervals will result in longer transitions than close-spaced intervals, as the glide speed will be kept constant. ▪ Speed: Adjusts the speed of the portamento. You can synchronize this parameter to your host or Master Editor tempo by clicking on the displayed unit, then selecting a note value from the drop-down menu and adjusting a numerator for this value with the speed knob. Modulation Sources Other Modulators KONTAKT - Manual - 336 Seureie Os reap [Pre>| = E22 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 338 Context: ▪Key Position: This source provides access to the MIDI note number of a pressed key. It canbe used to change parameters, like a filter cutoff, in response to the pitch of the playednote in order to make keyboard tracking possible.▪Velocity: This is a value between 0-127 that indicates how hard (technically, fast) a keyhas been hit. It’s transmitted by nearly all master keyboards and is frequently being as-signed to parameters like volume, brightness, or (inversely) the length of the attack phase.▪Release Velocity: This value is sent by a very small number of master keyboards. It indi-cates how slow or fast a key is being released and is useful for changing the length of asound’s release phase accordingly.▪RLS Trig. Count: This value is generated for Groups that are being triggered on release andindicates the time between the trigger and the release signal. Read the description of re-lease triggers in chapter ↑20, The Source Module for an in-depth explanation of this facili-ty.In addition to external MIDI data, the External category also includes 3 special sources of sca-lar values that won’t change over time:▪Constant will simply add or subtract the value of the modulation intensity fader to themodulated parameter. It can be used to easily “bend” parameter values beyond the rangelimits of their controls.▪Random Unipolar will generate a random value between 0 and 1 for each received note.▪Random Bipolar will generate a random value between -1 and 1 for each received note.Modulation SourcesExternal Sources KONTAKT - Manual - 338 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 339 Context: 27 Keyboard Shortcuts On OS X computers, use the [Cmd] (Command) key instead of the [Ctrl] (Control) key. The left and right mouse buttons are abbreviated with “LMB” and “RMB”, respectively. 27.1 Global Keys | Shortcut | Function | | -------- | -------- | | [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 | | [Cmd] + [Q] (Mac OS X),
[Alt] + [F4] (Windows) | Quit | | Delete / Backspace | Delete | | [F1] | Browser | | [F2] | Outputs section | | [F3] | Keyboard | | [F4] | Master Editor | | [F5] | Group Editor | | [F6] | Mapping Editor | Keyboard Shortcuts Global Keys KONTAKT - Manual - 339 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 348 Context: | Hardware Formats | File Extension | | -------- | -------- | | mono / stereo | .wav | | multichannel | .wav | | | | | AIFF | | | mono / stereo | .aiff / .aif | | multichannel | .aiff / .aif | | APPLE LOOPS | | | Apple Loop | .aiff / .aif | | ACID | | | Acidized Wave | .wav | | SOUND DESIGNER 2 | | | Mono / Stereo | .sd2 | | Disc Formats | File Extension | | Akai S1000 Disc | proprietary | | Akai S3000 Disc | proprietary | | E-MU Disc | proprietary | | Roland Disc | proprietary | | Ensoniq Disc | proprietary | File Formats KONTAKT - Manual - 348 ########## """QUERY: Welche Auffälligkeiten siehst du von Produkt A zu Produkt B""" Consider the chat history for relevant information. Use all information included. Use as much tokens as needed. Important: If you find information separated by a | in the context, it is a table formatted in Markdown. Final Files Sources: Verkaufszahlen-Lars.xlsx - Page 0, KONTAKT_5_6_8_Manual_English.pdf - Page 1, KONTAKT_5_6_8_Manual_English.pdf - Page 2, KONTAKT_5_6_8_Manual_English.pdf - Page 3, KONTAKT_5_6_8_Manual_English.pdf - Page 7, KONTAKT_5_6_8_Manual_English.pdf - Page 10, KONTAKT_5_6_8_Manual_English.pdf - Page 11, KONTAKT_5_6_8_Manual_English.pdf - Page 13, KONTAKT_5_6_8_Manual_English.pdf - Page 15, KONTAKT_5_6_8_Manual_English.pdf - Page 17, KONTAKT_5_6_8_Manual_English.pdf - Page 22, KONTAKT_5_6_8_Manual_English.pdf - Page 24, KONTAKT_5_6_8_Manual_English.pdf - Page 26, KONTAKT_5_6_8_Manual_English.pdf - Page 28, KONTAKT_5_6_8_Manual_English.pdf - Page 32, KONTAKT_5_6_8_Manual_English.pdf - Page 36, KONTAKT_5_6_8_Manual_English.pdf - Page 44, KONTAKT_5_6_8_Manual_English.pdf - Page 52, KONTAKT_5_6_8_Manual_English.pdf - Page 55, KONTAKT_5_6_8_Manual_English.pdf - Page 58, KONTAKT_5_6_8_Manual_English.pdf - Page 61, KONTAKT_5_6_8_Manual_English.pdf - Page 63, KONTAKT_5_6_8_Manual_English.pdf - Page 65, KONTAKT_5_6_8_Manual_English.pdf - Page 69, KONTAKT_5_6_8_Manual_English.pdf - Page 87, KONTAKT_5_6_8_Manual_English.pdf - Page 93, KONTAKT_5_6_8_Manual_English.pdf - Page 95, KONTAKT_5_6_8_Manual_English.pdf - Page 98, KONTAKT_5_6_8_Manual_English.pdf - Page 99, KONTAKT_5_6_8_Manual_English.pdf - Page 101, KONTAKT_5_6_8_Manual_English.pdf - Page 104, KONTAKT_5_6_8_Manual_English.pdf - Page 106, KONTAKT_5_6_8_Manual_English.pdf - Page 112, KONTAKT_5_6_8_Manual_English.pdf - Page 117, KONTAKT_5_6_8_Manual_English.pdf - Page 118, KONTAKT_5_6_8_Manual_English.pdf - Page 120, KONTAKT_5_6_8_Manual_English.pdf - Page 126, KONTAKT_5_6_8_Manual_English.pdf - Page 127, KONTAKT_5_6_8_Manual_English.pdf - Page 128, KONTAKT_5_6_8_Manual_English.pdf - Page 129, KONTAKT_5_6_8_Manual_English.pdf - Page 132, KONTAKT_5_6_8_Manual_English.pdf - Page 136, KONTAKT_5_6_8_Manual_English.pdf - Page 137, KONTAKT_5_6_8_Manual_English.pdf - Page 142, KONTAKT_5_6_8_Manual_English.pdf - Page 143, KONTAKT_5_6_8_Manual_English.pdf - Page 150, KONTAKT_5_6_8_Manual_English.pdf - Page 152, KONTAKT_5_6_8_Manual_English.pdf - Page 155, KONTAKT_5_6_8_Manual_English.pdf - Page 163, KONTAKT_5_6_8_Manual_English.pdf - Page 166, KONTAKT_5_6_8_Manual_English.pdf - Page 168, KONTAKT_5_6_8_Manual_English.pdf - Page 172, KONTAKT_5_6_8_Manual_English.pdf - Page 178, KONTAKT_5_6_8_Manual_English.pdf - Page 186, KONTAKT_5_6_8_Manual_English.pdf - Page 190, KONTAKT_5_6_8_Manual_English.pdf - Page 196, KONTAKT_5_6_8_Manual_English.pdf - Page 215, KONTAKT_5_6_8_Manual_English.pdf - Page 216, KONTAKT_5_6_8_Manual_English.pdf - Page 219, KONTAKT_5_6_8_Manual_English.pdf - Page 220, KONTAKT_5_6_8_Manual_English.pdf - Page 225, KONTAKT_5_6_8_Manual_English.pdf - Page 227, KONTAKT_5_6_8_Manual_English.pdf - Page 231, KONTAKT_5_6_8_Manual_English.pdf - Page 234, KONTAKT_5_6_8_Manual_English.pdf - Page 239, KONTAKT_5_6_8_Manual_English.pdf - Page 242, KONTAKT_5_6_8_Manual_English.pdf - Page 246, KONTAKT_5_6_8_Manual_English.pdf - Page 253, KONTAKT_5_6_8_Manual_English.pdf - Page 256, KONTAKT_5_6_8_Manual_English.pdf - Page 259, KONTAKT_5_6_8_Manual_English.pdf - Page 264, KONTAKT_5_6_8_Manual_English.pdf - Page 267, KONTAKT_5_6_8_Manual_English.pdf - Page 268, KONTAKT_5_6_8_Manual_English.pdf - Page 270, KONTAKT_5_6_8_Manual_English.pdf - Page 271, KONTAKT_5_6_8_Manual_English.pdf - Page 273, KONTAKT_5_6_8_Manual_English.pdf - Page 276, KONTAKT_5_6_8_Manual_English.pdf - Page 278, KONTAKT_5_6_8_Manual_English.pdf - Page 283, KONTAKT_5_6_8_Manual_English.pdf - Page 284, KONTAKT_5_6_8_Manual_English.pdf - Page 285, KONTAKT_5_6_8_Manual_English.pdf - Page 287, KONTAKT_5_6_8_Manual_English.pdf - Page 288, KONTAKT_5_6_8_Manual_English.pdf - Page 289, KONTAKT_5_6_8_Manual_English.pdf - Page 295, KONTAKT_5_6_8_Manual_English.pdf - Page 308, KONTAKT_5_6_8_Manual_English.pdf - Page 310, KONTAKT_5_6_8_Manual_English.pdf - Page 312, KONTAKT_5_6_8_Manual_English.pdf - Page 316, KONTAKT_5_6_8_Manual_English.pdf - Page 318, KONTAKT_5_6_8_Manual_English.pdf - Page 321, KONTAKT_5_6_8_Manual_English.pdf - Page 326, KONTAKT_5_6_8_Manual_English.pdf - Page 328, KONTAKT_5_6_8_Manual_English.pdf - Page 330, KONTAKT_5_6_8_Manual_English.pdf - Page 332, KONTAKT_5_6_8_Manual_English.pdf - Page 334, KONTAKT_5_6_8_Manual_English.pdf - Page 336, KONTAKT_5_6_8_Manual_English.pdf - Page 338, KONTAKT_5_6_8_Manual_English.pdf - Page 339, KONTAKT_5_6_8_Manual_English.pdf - Page 348 ================================================== FINAL ANSWER Answer: Die Verkaufszahlen der Produkte A und B zeigen im angegebenen Zeitraum einige Auffälligkeiten: **Produkt A:** * **Relativ stabile Verkaufszahlen:** Produkt A zeigt über das gesamte Jahr hinweg relativ konstante Verkaufszahlen, die zwischen 10 und 20 Einheiten pro Monat liegen. * **Leichter Anstieg im Juni:** Einzig im Juni ist ein deutlicher Anstieg auf 20 verkaufte Einheiten zu verzeichnen. Dies könnte auf saisonale Effekte oder eine spezielle Marketingaktion zurückzuführen sein. **Produkt B:** * **Starke Schwankungen:** Produkt B weist im Vergleich zu Produkt A deutlich stärkere Schwankungen in den Verkaufszahlen auf. * **Hoher Absatz im Januar:** Im Januar startet Produkt B mit einem hohen Absatz von 20 Einheiten. * **Dramatischer Rückgang ab Februar:** Ab Februar brechen die Verkaufszahlen von Produkt B drastisch ein und erreichen im Juni mit nur einer verkauften Einheit ihren Tiefpunkt. * **Erholung im Juli:** Im Juli steigen die Verkaufszahlen wieder deutlich an, fallen aber in den Folgemonaten erneut ab. * **Insgesamt deutlich geringerer Absatz:** Im Vergleich zu Produkt A ist der Absatz von Produkt B über das gesamte Jahr hinweg deutlich geringer. **Mögliche Erklärungen für die Auffälligkeiten:** * **Produktneueinführung:** Der hohe Absatz von Produkt B im Januar könnte auf eine Produktneueinführung hindeuten. Der darauffolgende Rückgang könnte durch eine geringe Nachfrage oder Probleme mit dem Produkt (z.B. Qualitätsmängel) zu erklären sein. * **Saisonale Effekte:** Produkt A könnte ein Produkt sein, das über das ganze Jahr hinweg relativ konstant nachgefragt wird, während Produkt B möglicherweise saisonalen Schwankungen unterliegt. * **Konkurrenz:** Der Rückgang der Verkaufszahlen von Produkt B könnte auf neue Konkurrenzprodukte zurückzuführen sein, die im Laufe des Jahres auf den Markt gekommen sind. * **Marketingaktivitäten:** Der Anstieg der Verkaufszahlen von Produkt A im Juni könnte durch gezielte Marketingaktivitäten (z.B. Sonderangebote) begünstigt worden sein. **Weitere Analysen:** Um die Auffälligkeiten genauer zu untersuchen, wären weitere Informationen hilfreich, wie zum Beispiel: * **Produktkategorie:** Zu welcher Produktkategorie gehören die Produkte A und B? * **Preise:** Wie haben sich die Preise der Produkte im Laufe des Jahres entwickelt? * **Marketingausgaben:** Welche Marketingaktivitäten wurden für die Produkte durchgeführt? * **Kundenfeedback:** Gibt es Rückmeldungen von Kunden zu den Produkten? Mit diesen Informationen könnten die Gründe für die unterschiedlichen Verkaufsentwicklungen von Produkt A und B genauer analysiert werden. ==================================================