INITIALIZATION Knowledgebase: ki-dev Base Query: Ich habe die Software von Native Instruments angeschlossen und irgendwie kommt nichts raus - was kann ich da machen? Model: gemini-1.5-pro-preview-0409 Use Curl?: None ================================================== QUESTIONING Clarity Score: 3 Give follow-up?: True Follow-up query: Welche Software von Native Instruments verwenden Sie und welches Audio-Interface nutzen Sie? Haben Sie bereits überprüft, ob alle Kabel und Geräte korrekt angeschlossen sind und eingeschaltet sind? ================================================== ROUTING Query type: summary ================================================== 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: ['Native'] All file names: ['KONTAKT_5_6_8_Manual_English.pdf', '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'] File names to FILTER: ['KONTAKT_5_6_8_Manual_English.pdf'] ================================================== 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: 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: 8 Context: 15.3Working with Aux Channels........................................................................................................150 15.4Outputs in Host Mode.................................................................................................................15116The Group Editor.......................................................................................................153 16.1Control Header............................................................................................................................154 16.1.1Edit All Groups...........................................................................................................155 16.1.2Group Selector...........................................................................................................155 16.1.3Edit............................................................................................................................156 16.1.4Group Solo.................................................................................................................157 16.1.5Select by MIDI............................................................................................................158 16.2Group List...................................................................................................................................158 16.3Voice Groups...............................................................................................................................159 16.4Group Start Options....................................................................................................................16117The Mapping Editor...................................................................................................164 17.1Mapping Samples Manually.......................................................................................................165 17.2Mapping Samples Automatically................................................................................................167 17.3Managing Zones.........................................................................................................................169 17.3.1Editing Parameters in the Status Bar........................................................................170 17.3.2Editing Parameters Graphically.................................................................................170 17.3.3Editing Parameters via MIDI......................................................................................171 17.4Control Strip...............................................................................................................................172 17.5Edit Menu...................................................................................................................................174 17.6Batch Tools.................................................................................................................................1771 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 9 Context: 18.4Grid Panel...................................................................................................................................189 18.4.1Fix Mode....................................................................................................................191 18.4.2Auto Mode..................................................................................................................193 18.4.3Editing Slices Manually.............................................................................................194 18.5Sample Loop Tab........................................................................................................................195 18.6Sync / Slice Tab..........................................................................................................................200 18.6.1Using the Beat Machine............................................................................................200 18.6.2Using the Time Machine............................................................................................202 18.6.3Mapping Slices Manually...........................................................................................202 18.6.4Mapping Slices Automatically...................................................................................204 18.7Zone Envelopes...........................................................................................................................206 18.7.1Assigning and Selecting Envelopes...........................................................................207 18.7.2Adjusting Assignment Parameters............................................................................208 18.7.3Editing Envelopes......................................................................................................209 18.7.4Utility Functions........................................................................................................211 18.8Sample Editor.............................................................................................................................212 18.8.1Edit Operations..........................................................................................................215 18.8.2Transform Operations................................................................................................21519The Script Editor.......................................................................................................217 19.1Loading a Script.........................................................................................................................218 19.2Saving Script Settings................................................................................................................219 19.3Editing and Saving a Script........................................................................................................21920The Source Module................................................... #################### 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: 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: 16 Context: 1 Welcome to KONTAKT We at Native Instruments would like to thank you for purchasing KONTAKT — it’s because of customers like you that we can continue developing ground-breaking music software. We hope that this application reference will provide you with all the information you need to make use of KONTAKT’s features to their full capacity. 1.1 What is KONTAKT? Simply put, KONTAKT is one of the leading sampling solutions in the audio industry. It allows you to play back and process audio samples — but that does not even begin to convey the full range of its capabilities. With KONTAKT, you can create sophisticated sample-based virtual in- struments, process their audio signals with powerful DSP structures, build complex perform- ance setups with extensive modulation routings, and gain access to a huge number of third- party sample libraries. 1.2 The Documentation KONTAKT comes with a number of documentation resources, both in printed and electronic form. We won’t suggest you should go ahead and read through all of them right now, but you might want to get an overview of what is there. That way, whenever you are stuck at some point, you will know where to look for help. 1.2.1 Document Conventions This document uses particular formatting to point out special facts and to warn you of poten- tial issues. The icons introducing the following notes let you see what kind of information can be expected: | | The speech bubble icon indicates a useful tip that may often help you to solve a task
more efficiently. | | -------- | -------- | Welcome to KONTAKT What is KONTAKT? KONTAKT - Manual - 16 #################### 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: 19 Context: 2Setup Once the installation process has finished, you should find the KONTAKT 5 installation direc-tory on your hard drive. It contains the KONTAKT 5 application and the documentation resour-ces as described in the previous chapter.Before you start KONTAKT for the first time, it is worth explaining that it has two fundamental-ly different modes of operation. You have the choice of running KONTAKT as a normal applica-tion, in which case it will behave like any other program on your computer — we refer to thisas the “stand-alone version” in the documentation — or, alternatively, you can use it as a vir-tual instrument plug-in within your sequencer or DAW (Digital Audio Workstation) application.The most important difference between these modes concerns the way in which KONTAKThandles MIDI and audio streams. In stand-alone operation, KONTAKT will address your MIDIand audio hardware directly (which requires you to specify some details about your hardwareand drivers), while in the case of using KONTAKT as a plug-in, these will be taken care of bythe sequencer host application. The following sections will explain both modes in more detail.2.1Stand-alone Operation When you launch the KONTAKT 5 application in the installation directory, KONTAKT will startas a stand-alone program that provides its own application menu, just like any other applica-tion on your computer. In this mode, KONTAKT will receive MIDI data from one or more portsof a MIDI interface and send audio signals directly to your audio interface. This can be veryuseful if you don’t need the additional functionality of a full-blown sequencer environment foryour task at hand, for instance when you’re using KONTAKT as a live performance instrumentor as a sampling host on a stand-alone computer. Also, when you are creating or editing com-plex sample libraries yourself, using the stand-alone version is often easier than opening KON-TAKT in a sequencer.When you start KONTAKT in stand-alone mode for the first time, both audio and MIDI willneed to be configured. In order to make KONTAKT receive MIDI notes from your keyboard andplay sound in response, you will first have to tell it which hardware it should use. This is donevia the Options dialog, which should appear automatically upon the first start.SetupStand-alone Operation KONTAKT - Manual - 19 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 20 Context: Options button You can also open this dialog at any time by clicking on the Options button at the top of the main window. This is the central place for configuring all aspects of KONTAKT’s user interface and its sample playback engine. In this chapter, we’ll only describe the Audio and MIDI tabs at the bottom; you can find thorough explanations of the other options later in this manual. 2.1.1 Low Memory Warning on Start-Up Sometimes a memory warning is displayed when running several stand-alone instances of KONTAKT simultaneously. This “low memory” warning dialog appears when KONTAKT is run- ning with no admin privileges or if a second instance of KONTAKT is started and is requesting RAM which the first instance has already reserved. Hence, running several stand-alone instances of KONTAKT simultaneously is not recommended. 2.1.2 Audio Configuration In the Audio tab of the Options dialog, you can specify which audio device KONTAKT should use for playback and adjust global playback parameters. Setup Stand-alone Operation KONTAKT - Manual - 20 #################### 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: 23 Context: MIDI tab of the Options dialog In order to make KONTAKT respond to MIDI data from the outside, you’ll have to enable one or more ports that appear in the inputs list of the MIDI tab. Make sure the Inputs button is high- lighted and identify the port(s) that you intend to use for MIDI input in the list. If the Status field on the right side of an entry reads Off, click that value and assign one of the MIDI port identifiers (A-D). This enables the respective port, which will later be identified by the selected letter throughout the user interface. 2.2 Plug-in Operation The plug-in version of KONTAKT allows you to use it as a virtual instrument inside your se- quencer or DAW. That way, you can run multiple instances of KONTAKT side-by-side along with your other sound generators and effect plug-ins, trigger them with the data of MIDI tracks from within your sequencer, and directly feed their audio output into the signal flow of your virtual mixer. Depending on your operating system and choices upon installation, KONTAKT provides VST, Audio Units (AU), and AAX plug-in formats. Setup Plug-in Operation KONTAKT - Manual - 23 eens ee #################### 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: 29 Context: out. Some places in KONTAKT, namely the Mapping Editor and the Wave Editor, provide an alternative way of zooming that you might find more convenient; you can read all about this method, dubbed “rubber-band zooming”, in the chapters of the respective editors. Horizontal and vertical scroll bars in the Wave Editor. 3.6 Value Fields Some fields contain editable — usually numeric — values without an additional control. These frequently appear in places that don’t provide enough space for knobs or other controls, such as rows of tables that can shrink or grow. There are various ways to edit their value: ▪ Click the field and drag your mouse upwards to increase the value, or downwards to de- crease the value. ▪ When you hover your mouse pointer over the field, small up and down arrows will appear on its right side. Click these to increase or decrease the value one step at a time. ▪ Double-click the field and enter a new value with the keyboard. Value field User Interface Elements Value Fields KONTAKT - Manual - 29 a #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 30 Context: 3.7Saving and Loading Presets Whenever you have created a setting that you’re really happy with in any part of KONTAKT, youmight want to save it for later use in another context. The KONTAKT environment is split upinto modules, and most of these offer a preset drop-down menu that allows you to manage pre-sets for the respective module. Loading a preset in a module won’t affect the other modules inyour Instrument — this modular approach lets you freely combine different presets into yourown Instruments.Presets are saved in files (file extension: .nkp) which reside in a series of sub-folders within a“presets” folder. KONTAKT creates two of these preset folders on your system: one containsthe factory presets, and is located in a directory which is not writable by normal users; the oth-er one resides within your home directory and will be used to store your own presets. KON-TAKT will create this user presets folder when you first start it up. On Windows, the factory anduser preset folders will be created in▪C:\Program Files\Common Files\Native Instruments\Kontakt 5\presets▪C:\Users\[username]\Documents\Native Instruments\Kontakt 5\presetsOn Mac OS X, you can find the factory and user preset folders in▪Macintosh HD/Library/Application Support/Native Instruments/Kontakt 5/presets▪Macintosh HD/Users/[username]/Documents/Native Instruments/Kontakt 5/presetsKONTAKT comes with a large number of ready-made presets for most of its modules. Theseare good starting points for your own settings, so it’s worth browsing the Factory preset list of amodule when you have a specific task in mind and don’t know where to begin.As mentioned, preset management in KONTAKT takes place within each module’s preset drop-down menu. You can access this by clicking on the drop-down menu labeled Pre or Preset thatis located on the left side of each module. It contains all preset files that were found in therespective preset folders on your hard disk, with further subdirectories (if any) appearing assub-menus. The Save Preset entry at the bottom of the menu will open a dialog, which asksyou for a filename. Enter a descriptive name and click Save — from now on, your settings willbe available within the User submenu of the presets drop-down menu. This will not work, how-ever, if you change the path in the save dialog, so it is recommended that you always save yourpresets to the default path.User Interface ElementsSaving and Loading Presets KONTAKT - Manual - 30 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 33 Context: In this section, we’ll further distinguish two general types of building blocks: the core blocks,which are hierarchically organized and make up KONTAKT’s chain of turning MIDI data intosound, and the tools, which allow you to perform a wide range of peripheral management, con-figuration, and monitoring tasks.4.1Core Building Blocks Let’s follow KONTAKT’s path of turning simple audio files into readily playable instrumentalsetups, starting from the smallest element and then working our way upwards:▪A Sample is a simple audio file on your hard disk. Samples may occasionally carry addition-al metadata, but in their purest form, they don’t provide anything other than a recorded au-dio signal. An example of a Sample would be the digital recording of a single piano note.Samples can appear in various formats, such as WAV, AIFF, or REX.▪A Zone is KONTAKT’s way of putting a Sample into a playable context. Think of a Zone as awrapper around a single Sample; in addition to the Sample itself, the Zone contains infor-mation about which MIDI data will make KONTAKT trigger this Sample, at what pitch thesample was recorded, and a few other details. An example of a Zone would be the afore-mentioned piano Sample, with the attached information that it should be played withoutany transposition whenever KONTAKT receives an F3 note with a velocity value between 64and 95. As Zones don’t contain much additional data, they only exist within a larger con-text and can’t be saved and loaded separately.▪A Group is a container that allows you to combine a number of Zones. As every Zone be-longs to a Group (and only one), each Instrument will contain at least one Group; usually,you’ll add several more Groups in order to combine your Zones by means of distinctive as-pects — the aspects you choose are entirely up to you, but there are some common ap-proaches. All Zones that belong to a specific Group will share a number of common param-eters and signal flow modules; for instance, their Samples will be played by the samesound Source Module. Consequently, if you want some of your Zones played by a SourceModule with different settings, you’ll need to separate them into their own Group first. Inthe course of this manual, modules that pertain to a Group are being referred to as “Group-level modules”. A typical example of a Group would be “all Zones in my Instrument thatshould be played at mezzoforte level”. Groups can be saved and loaded separately as fileswith an .nkg extension.KONTAKT: The Big PictureCore Building Blocks KONTAKT - Manual - 33 #################### 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: 37 Context: ▪At the top of the user interface, the Main Control Panel provides options that toggle the dis-play of various optional interface parts, such as the Browser; it also includes the file drop-down menu and access to the global functions and options, as well as some status meters.▪The Browser (left side of the user interface) provides functions for managing your collectionof KONTAKT-relevant files. In the screenshot, it’s currently switched to the Libraries tab,which contains easy access to your KONTAKT libraries.▪The Rack, which takes up the largest part of the user interface, is currently in Multi Instru-ment mode (Multi Rack); below its own header, it displays a number of Instrument Head-ers; these represent all Instruments in the current Multi.▪Within the Multi Rack, the Instrument Headers are shown at normal viewing size; they con-tain the Instrument’s name and various parameters, such as MIDI input channel, outputlevel, panning position, and tuning.▪The Outputs section displays a channel strip for each configured Output Channel, plus fourAux Channels.▪The Info Pane, which displays some details of the currently selected Instrument file belowthe Browser, and a brief explanation of the control at the mouse position below the Rack.▪The Status Bar, where messages from running Scripts and, at startup, the Database loadingprogress will appear.Each of these sections is explained in detail within its own section of this manual.5.1Stand-alone Menu In addition to the contents of the main window, the stand-alone version of KONTAKT providesa system drop-down menu labeled Help. It’s located at the top of the desktop on Mac OS X, orat the top of the KONTAKT window on Windows. The Help menu lets you launch Native Instru-ments’ NATIVE ACCESS application, access the additional PDF documents that are part of theKONTAKT installation and explain special topics, and point your web browser to the KONTAKTwebsite.The KONTAKT WindowStand-alone Menu KONTAKT - Manual - 37 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 41 Context: ▪If you enable the Absolute Sample Paths checkbox below the Patch Only option, the Sam-ple files will be referenced by the Instrument with their absolute paths; this has the benefitthat KONTAKT will still be able to find them when you move the Instrument file to a differ-ent location. However, if you know that the Samples already reside in a folder that will al-ways be moved and backed up along with the destination folder of your Instrument, youcan keep the saved file reference relative to the Instrument location by disabling the Abso-lute Sample Paths option.▪Patch + Samples will save the .nki file and copy the contained Samples to a new location,changing the file references within the Instrument to the copies in the process. If you leavethe Sample Sub-Folder option below set to its Use Default value, KONTAKT will save theSample files to a “Samples” folder inside the destination location of your Instrument file;this folder will be created if it doesn’t exist yet. That way, the Samples will be kept close tothe Instrument, which helps you keeping track of them when doing backups or moving di-rectories. You can also specify a different Sample location, though; for example, you mightwant to use a common “Samples” folder that resides in the directory of your project.▪Monolith will combine the Instrument and its referenced Samples into a single, large file.This is the safest option to choose in terms of keeping Sample references intact, as theSamples cannot accidentally get separated from the Instrument later. This is also a goodway to create Instruments that should be distributed to other users of KONTAKT.Should you choose to save the referenced Samples along with your Instrument data by select-ing either Patch + Samples or Monolith, you further have the choice to save them in a com-pressed format by checking the box below the sub-folder field. In this case, KONTAKT willwrite the Samples using a proprietary, lossless audio codec that typically yields compressionrates between 30% and 50%. This will not only improve access performance when streamingthe Instrument from disk, but will also reduce its memory footprint, as KONTAKT will decom-press the Samples on-the-fly from memory with very little CPU overhead. The downside of us-ing compressed Samples, however, is that you cannot use external wave editors to access themdirectly anymore.It’s important to keep track of the ways the Sample and Instrument files on your hard disk re-late to each other; this protects you from unpleasant surprises when you move files around, de-lete them, or recover KONTAKT data from a backup.The KONTAKT WindowThe Main Control Panel KONTAKT - Manual - 41 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 45 Context: ▪ Collect Samples and create new destination folder structure: In this mode the folder sub- structure of the target folder will be different from the source folder’s structure: Instrument files will be saved in an "Instruments" subfolder, while all samples are saved in "Collected Samples". This prevents having to resave the same sample more than once (if it was refer- enced by more than one Instrument in the source folder for instance). | | Whichever strategy you choose, samples and Instruments in the source folder will nei-
ther be deleted nor updated. Impulse Response samples and wallpapers of the source
Instruments will be resaved as well, but without compression. | | -------- | -------- | ▪ For converting uncompressed samples to lossless compressed .ncw-files select Lossless compressed NCW. ▪ For converting compressed .ncw-files back to an uncompressed format select Uncom- pressed WAV / AIF. | | Note that Batch Compress does not work for copy-protected libraries. | | -------- | -------- | Global purge: The purge mechanism in KONTAKT keeps track of which samples in an instance have been actually triggered in a session, and gives you the option of removing all other sam- ples from the Instrument. This way, you can reduce the number of samples that are being kept in memory to the subset that you have actually used in your arrangement. ► Place your mouse over this entry in the Files menu to open a submenu with options for sample purging and loading. The Global purge submenu The Global purge submenu contains 4 entries: The KONTAKT Window The Main Control Panel KONTAKT - Manual - 45 Batch re-save Collect samples/Batch compress Reset markers Global purge » Update sample pool | Purge all samples Reload all samples ~ #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 48 Context: A KONTAKT Instrument in Minimized view Above the Instrument Header, a the Main Control Panel remains mostly unchanged, however the contents of the Workspace Menu has been reduced to just the Keyboard and Quickload op- tions. ► Click the Minimized View button again to return to the full KONTAKT workspace. 5.2.4 System Performance Meters In the upper right section of the Main Control Panel, you’ll find a number of system meters that are being continually updated during operation. Voice count, memory, CPU, and disk meters The value next to the notes icon indicates the total number of voices that are currently being played (this is also known as the Voice Count). Below, the total amount of allocated Sample memory is displayed; this figure will be much smaller when you’re using DFD Instruments. The values to the right show the current CPU and disk load as percentage values. These pro- vide immediate visual feedback on whether you’re close to maxing out your computer’s capa- bilities. To the right of the CPU and Disk meters is an exclamation point (!). This is the Restart button and can be used if KONTAKT is suffering from hanging voices (i.e. stuck notes) or persistent CPU overloads. Clicking this button will re-initialize KONTAKT’s audio engine, including all the instruments that are currently loaded. Essentially this button is a soft reset, returning all val- ues to their starting positions, but without closing and reloading everything. The KONTAKT Window The Main Control Panel KONTAKT - Manual - 48 et WE ER En] Ba PETE “ae ER Tr ut EITEScH cr Er Cpu 0% EEE #################### 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: 54 Context: MIDI channel assignment for loaded patches: This drop-down menu lets you switch betweentwo different modes that affect in which way KONTAKT will assign MIDI channels to newlyadded Instruments:▪Assign 1st Free is the default behavior and will assign the smallest possible MIDI port thathasn’t been used yet (if available)▪Assign to Omni was the standard behavior of KONTAKT 1 and will always assign loaded In-struments to Omni (thus making them respond to all input ports).▪The additional Keep Channels from K1.x Patches toggle option lets you specify whetherKONTAKT should use the MIDI channel embedded in KONTAKT 1 patches (later versionsdon’t save MIDI assignments in Instrument files anymore, only in Multi files).Enable undo: Selecting this option enables the ability to undo actions. However, this can bequite resource intensive, especially with larger instruments, which is why it is unselected bydefault.External wave editor: This setting lets you specify your own preferred sample editor. When youclick the Ext. Editor button in the Wave Editor, KONTAKT will start the specified editor withthe current sample, and automatically pick up the changes when you save the Sample withinthat editor.The KONTAKT WindowOptions Dialog KONTAKT - Manual - 54 #################### 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: 60 Context: | | Using KMS is only recommended when working with very large numbers of samples
which require more physical memory than one KONTAKT instance can access. You
should not enable KONTAKT Memory Server if it is not absolutely necessary! | | -------- | -------- | In order to use KMS on your computer, Mac OS X needs to be installed, and at least 4 GB of physical RAM must be available. Using KMS also requires administrator privileges, so make sure you are logged in as an administrator. KONTAKT will detect the Mac OS X version and the amount of RAM present on your computer automatically. Subsequently, it will display an op- tion to enable advanced memory access. The Memory tab on OS X After activating KMS you need to restart KONTAKT for the changes to take effect. KONTAKT will automatically set the size of accessible RAM to a value suitable for most cases. You can find the amount of determined accessible RAM in the KMS Options dialog. KONTAKT Memory Server is a separate application running in background. KONTAKT no lon- ger loads samples itself as long as the KMS option is enabled. All running KONTAKT instances share the KONTAKT Memory Server and can access the samples loaded. The KONTAKT Memo- ry Server will boot automatically as soon as you start a KONTAKT instance. The KONTAKT Window Options Dialog KONTAKT - Manual - 60 De Engine Den [er fees Den Aue a] Rear eae eee ee ie [ee eta eer ieee ores T.) Sees Gunite oe | 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: 74 Context: Instrument Edit rack, with all editors and panels open If you find this a little intimidating, don’t worry; you don’t have to know every panel inside out before you can create useful Instruments or edit existing ones. Just conquer the interface one step at a time and refer to this manual and the Info Pane whenever you’re not sure what a spe- cific knob, button or menu does; this way, you’ll get the hang of how to get the most out of KONTAKT sooner than you might think. Let’s take a quick look at what each panel does. All interface elements will be explained in detail within the respective chapters of this manual. The Rack Instrument Edit Mode KONTAKT - Manual - 74 Er Sue ö BETT Ca een See EIRESCR eer Purge cup Eater Er BE BE Er Cee A: eC Mee deu U Ce DEE Eure Core Le Cee CoG ic coe (ok ee ec) eee co ESP BE IL Tan ITS TTS Tr SET Care SO Ee EL Pe En DEAD ne Sample: ACSMLoop wau [> Tecra Canc) Giereree = Ne ec En Er nae eed Eo co ES IC RE TE Je a lan est rer Tune >] Gis) | ee ca = coal ee Routing cc Ay 5 AM u Cu Dre Se Os Reverb Delay Pan output Ss) Ui Reverb ||| Deiny (a Modulation #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 78 Context: After you have added a skin to your Instrument, we recommend that you save it once with sam- ples; this will put the skin image file into a “wallpaper” sub-folder inside the Instrument’s sample folder. ▪ Resource Container: Now that KONTAKT libraries can link to many different types of files, the Resource Container was designed as a tool for library developers to help them keep all of these files in a convenient location. In this area you can Create a Resource Container, or attach an nki to an existing one via the browse button. 7.1.2 Voices Handling Tab The Voices tab of the Instrument Options Voice Stealing This section contains options for setting how the instrument should react when it starts to ex- ceed its voice limit. ▪ Mode: This sets the default way in which KONTAKT will free up voices when the Instru- ment’s maximum voice count has been reached. These options are explained in section ↑16.3, Voice Groups of the Group Editor chapter. ▪ Fadeout Time: When KONTAKT has to recycle a voice, it won’t just cut it off abruptly, but apply a short fade-out; this eliminates clicking noises. This parameter adjusts the length of the fadeout in milliseconds. The Rack Instrument Edit Mode Instrument Options Dialog KONTAKT - Manual - 78 ae Weioe Haning oa Contra Snapshot noe Dee Mode Fadeout Time (rn) Sea) Cero Ser coy #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 79 Context: Time Machine Pro In order to produce high quality time and pitch manipulation, the Time Machine Pro machine mode uses more resources than the other machine modes. As such, the number of voices it can process at any one time have their own limits, separate from the main Instrument voice limit. These limits are set in this section. ▪ Standard Mode Voice Limit: Sets the voice limit for groups using the standard quality Time Machine Pro mode. ▪ HQ Mode Voice Limit: Sets the voice limit for groups using the HQ Mode option in Time Machine Pro. 7.1.3 DFD Tab The DFD tab of the Instrument Options dialog In the DFD Tab you can access the options for Direct From Disk streaming. This allows KON- TAKT to read samples directly from the Hard Drive, and only load a small section of the sam- ple in RAM, reducing the overall RAM usage of the Instrument. ▪ DFD Preload Buffer Size: With this slider, you can adjust the size of each Sample portion that will be buffered in memory for instant playback. This value applies only to Samples that belong to Groups whose Source Module is operating in DFD mode. If any Group in DFD mode causes drop-outs which disappear when you put the respective Source Module into Sampler mode, you might want to try increasing this parameter. The Rack Instrument Edit Mode Instrument Options Dialog KONTAKT - Manual - 79 ae Den oa Contra Snapshot noe ar es PL ee | Ce eee ee ee eee re sk overload, Decreasing the ual lowers the memory usoge ofthe Se eee eee Ce ee eee Cot) Cees Disable this option you experience glitches or other eet ere neice coy #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 81 Context: ◦ Controller Only: KONTAKT won’t use sustain pedal messages for sustaining notes, but you will be able to access them as MIDI controllers for your own purposes. ▪ Accept all notes off / all sounds off: When activated, KONTAKT will interpret and adhere to incoming “all notes off” MIDI messages. ▪ Accept standard controllers for Volume and Pan: When activated, you can change the out- put volume and pan settings of an Instrument by sending MIDI CCs #7 and #10, respec- tively. These are the standard controller numbers for volume and pan. ▪ MIDI Controller #7 (Volume) range: This drop-down menu lets you choose how the value range of MIDI CC #7 controller messages will be mapped to the output volume slider if the previous option is enabled. The selected range endpoints correspond to the volume levels at MIDI values 0 (minimum) and 127 (maximum), respectively. The default setting is neg- ative infinity .. 0dB, which mutes the Instrument at controller value 0 and puts it at unity gain at controller value 127. 7.1.5 Snapshot Tab The Snapshot tab of the Instrument Options Snapshots are a way of saving any processing related information associated with an Instru- ment, without the need to save the whole instrument. The Rack Instrument Edit Mode Instrument Options Dialog KONTAKT - Manual - 81 ae am Cee eG Contra cory ed co DEE en [1 eee res ER ET Same BELLE Fan En #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 82 Context: For example, if you want to create an Instrument with some synthesizer samples, and then save a version of that same Instrument with a low pass filter applied, you can save that filtered version as a Snapshot. In the Snapshot Tab you can view the locations of the Snapshot files associated with the In- strument. ▪ Snapshot Saving Location: This area will display the location on your computer where the user Snapshots for this Instrument will be saved to and loaded from. Clicking on the Show button will open this folder in your operating systems file browser. ▪ Factory Snapshots: Some 3rd Party libraries will come with their own Snapshots, which can- not be overwritten. These Snapshots are stored in a separate location, which you will be able to see here. You can toggle the availability of factory Snapshots by clicking the button to the right of this section. 7.1.6 Infos Tab The Infos tab of the Instrument Options ▪ Instrument Icon: KONTAKT allows you to assign icons to your Instruments; these will be displayed within normal-sized Instrument Headers in the Rack and provide visual hints about the Instrument category. The rightmost icon in the list, labeled new, is the default icon for newly created Instruments. Note that KONTAKT will assign special icons to Instru- ments that were imported from third-party formats; these don’t appear in this list. The Rack Instrument Edit Mode Instrument Options Dialog KONTAKT - Manual - 82 ae en ne SE Ku En #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 83 Context: ▪Instrument Info: Use this text field to enter any information, credits, or production notesyou’d like to be attached to your Instrument.▪Author: When you have created an Instrument and want to distribute it, you can enter yourown or your company’s name here.▪Weblink: This field lets you provide a web location where people can find more informationabout you and your KONTAKT creations.If the Instrument is part of a 3rd Party Library, then it will display information about the libraryand will not be editable.The Rack Instrument Edit ModeInstrument Options Dialog KONTAKT - Manual - 83 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 86 Context: The Content Missing dialog In its upper half, the Content Missing dialog displays a list of all Sample files that were refer- enced within the Instrument file, but couldn’t be found in the expected locations; these loca- tions are shown in the right column. Whenever you’re not sure which action might have caused the Content Missing dialog to appear, study the locations displayed in the assumed at column carefully; you might recognize a folder that you’ve moved to a different location at some point in the past. In the lower half of the dialog, KONTAKT provides a number of commands that will either search for the missing files automatically (left side), or allow you to specify the new location manually (right side). If you’re not sure where the missing Samples could be located, choose one of the automatic options on the left side: Loading and Creating Instruments KONTAKT - Manual - 86 Oe ete En nee eed nee med nee med nee med nee med nee med nee med See me eee En Cena eee Pre tee eer ees tee eer erie tee eer erie tee eer erie tee eer erie tee eer erie tee eer erie tee eter moe ie Deren Der [rer Des [m rs enge Beer [Keep search made and selected foders for Ihe current session ED Terre #################### 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: 94 Context: 9.3 Loading Snapshots from the File System KONTAKT supports two ways of loading Snapshot files (.nksn): ▪ Dragging and dropping a Snapshot file from the Finder / Explorer onto the Rack ▪ Loading via double-click in Finder (Mac OS X) or Explorer (Windows) This allows you to take your favorite Snapshots to the studio on a flash drive or send them at- tached to an e-mail and load them from your Desktop without altering the installation on the studio computer. Drag and Drop In order to load a Snapshot from any disk, drag an .nksn file from its current location onto an empty area of the Rack. KONTAKT will load a new instance of the corresponding Instrument with that Snapshot. If you drag a Snapshot onto an active Instrument in the Rack instead, that Instrument will be replaced by the Instrument loaded from the Snapshot. Snapshots you open are not automatically saved to the default location. | | Please note, the Next/Previous buttons can only skip through Snapshots located in the
Factory Snapshots and the User Content folder | | -------- | -------- | Double-click Double-clicking a Snapshot file in Finder (Mac OS X) or Windows Explorer inserts a new Instru- ment instance in KONTAKT. 9.4 Deleting a User Snapshot In order to keep things tidy in the Snapshot Menu, you can delete any Snapshots you saved when you feel you don't need them anymore. Keep in mind that Snapshots are saved on a per- Instrument basis. So in order to delete a Snapshot in KONTAKT, you have to load it first. Using Snapshots Loading Snapshots from the File System KONTAKT - Manual - 94 #################### 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: 103 Context: 13.1.2 Function Menu The Function menu is located at the bottom right of the Library box The Function menu provides access to important resources like Library readme files and man- uals, and maintenance tasks such as location of the library and removal of a library box. The Function menu contains the following: ▪ Open containing folder: opens the location of the library on your hard disk in your operating systems file browser. ▪ Remove library: removes the library from the Library tab. Note that this does not delete or uninstall the library. If you want the library to appear in the Libraries tab again, you can do this via the Libraries tab of the Options dialog (see ↑5.3.6, Libraries Tab for more details) ▪ User Manual(s) (if available): if the library folder contains a user manual, it will be dis- played here. Clicking on this option will open the manual file. ▪ License Agreement: contains a list of the licenses for the library. ▪ Readme (if available): if the library folder contains a readme text file, it will be displayed here. clicking on this option will open the file. 13.1.3 Add Library Button Clicking on the Add Library button will open NATIVE ACCESS with the Add a Serial window open. The Browser Libraries Tab KONTAKT - Manual - 103 era) N Dr DRS ee RETRO Mesa re #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 105 Context: | | Adding a library is only possible with admin rights. | | -------- | -------- | 13.1.4 Library Activation via KONTAKT Libraries are activated through NATIVE ACCESS, but it is possible to quickly open NATIVE AC- CESS to activate a specific library from the KONTAKT Library Browser. 1. After installing a library, open KONTAKT. 2. Locate the library in the Libraries tab of the Browser. 3. Click on the Activate button on the respective library and a log-in screen will open. 4. NATIVE ACCESS will open and prompt you to enter a serial number for the library. 5. Enter a serial number and click Activate. → Your library will now be activated and ready to play. 13.2 Files Tab This part of the Browser allows you to navigate your file system in a tree-based way, which will be immediately familiar if you’re accustomed to your operating system’s file browsers and se- lectors. It consists of two main panes and an audition toolbar at the bottom of the section. There is an optional third pane, the Instrument Navigator, which you can toggle via the Instr Nav button just below the tabs. This pane is also available on the Database and Libraries tabs and will be explained in more detail later. The Browser Libraries Tab KONTAKT - Manual - 105 #################### 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: 111 Context: ▪ Auto button: When enabled, KONTAKT will automatically play a Sample once when you click it. 13.2.5 Refresh and Eject Buttons Just below the Browser tabs, you’ll see a series of function buttons and drop-down menus that are specific to the currently visible tab. On the Files tab, this row starts on the left side with a Refresh button, depicted by a circled arrow. Browser refresh and eject button. Whenever the File Browser has not yet picked up changes that recently occurred in your file system, such as newly installed or removed sample libraries, you can force an update of the file display by clicking this button. The button next to the Refresh symbol allows you to eject your computer’s CD/DVD drive(s) from within KONTAKT. Just select the drive in the upper pane and click this button to eject it. 13.2.6 The View Menu This is a drop-down menu which contains options and functions that alter the way in which information will be shown in the File Browser panes. The Browser Files Tab KONTAKT - Manual - 111 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 113 Context: 13.3Importing Non-Native Files Into KONTAKT In addition to its own native formats, KONTAKT can transparently load and use a multitude ofthird-party formats without the need for external converters or arcane import procedures. In alot of cases, using third-party content is as easy as dragging the respective files onto an emptyspace in the Rack — KONTAKT will take care of all required conversion processes behind thescenes. In other cases, you might want to import a whole library and save it on your hard diskin KONTAKT format. This functionality is provided by a powerful built-in batch converter.You’ll find a complete list of foreign sampler formats that you can use in KONTAKT in the finalchapter of this document.13.3.1Direct Access to Foreign Formats If you want to import one or more Instruments from a foreign library into your Multi withouthaving to write out the library in KONTAKT format first, KONTAKT lets you do just that. For themost part, this on-the-fly access works very similar to loading KONTAKT’s own formats; thereare a few peculiarities to keep in mind, though, which stem from the different file manage-ment approaches of other samplers:▪Some samplers (e.g. EXS-24) keep program data in separate files that include referencesto where the actual samples can be found in the file system, while others (e.g. GigaStudio)combine large amounts of program data and samples into big monolithic files — just likeKONTAKT’s own monolithic files, these can be opened and browsed in KONTAKT’s FileBrowser as if they were folders. In both cases, you can drag program files into the Rackonce you’ve located them.▪The aforementioned sampler formats, along with some others, appear in the form of com-mon files that you can manage via your operating system. There are others (e.g. AKAIS-1000/S-3000 or E-mu EOS) that are based on proprietary file systems, which are usuallyfound on CD-ROMs. The 32 bit version of KONTAKT includes facilities for reading third-party CD formats; however the 64 bit version does not.To help you get the grip on how the various supported foreign formats can be used in KON-TAKT, here are some step-by-step instructions that cover some common scenarios.The BrowserImporting Non-Native Files Into KONTAKT KONTAKT - Manual - 113 #################### 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: 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: 135 Context: At the top, you’ll notice a tool bar with five buttons, the first four of which will switch the Ex- pert view into the respective display mode: Groups This view provides a list of all Groups in your Instrument. It will only work in Instrument Edit mode. The leftmost column indicates whether a Group is marked for editing — it corresponds to the checkboxes next to the Group names in the Group Editor — and can be clicked on to toggle the edit status of the respective Group. | | The Group selection only affects commands that can be found in the "Edit" menu of the
Group Editor, and is thus different from the editing checkbox, which is being used for
changing parameters across multiple Groups. | | -------- | -------- | At the right side of the list, the Group IDs are displayed as a quick reference for KSP script editing. Groups can be selected by clicking on their names; multiple selections work in the same way as they do in the File Browser, i.e. [Shift]-clicking below or above a selected Group will select a range, a [Ctrl]+click ([Cmd]+click on Mac OS X) will add Groups to the active se- lection; [Alt]+click will select all currently visible Groups for editing. You can rename Groups by double-clicking on their name and entering a new one. Right-clicking on a Group will open a context menu with various Group-related actions; this is identical to the Edit menu of the Group Editor. The Group context menu The Browser Expert Tab KONTAKT - Manual - 135 epee Peel Large Gong Swell Long pC) Large Gon fee [ERSBICHN Poste aroun) with som Longe Gon UTE smal Goel area PR. no #################### 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: 138 Context: The Restart Engine button allows you to force a re-initialization of KONTAKT’s audio engine in case of CPU overruns. If you’re using KONTAKT as a plug-in, there will be another button below labeled Offline (Bounce) Mode. This is intended for hosts that don’t correctly advertise this mode to their plug-ins when bouncing or freezing tracks. You can check if your host behaves correctly in this regard by observing the state of the button when bouncing or freezing; if it turns orange, KON- TAKT receives the bounce signal from the sequencer. If it doesn’t and you experience crackles or drop-outs, you can activate this button manually before bouncing or freezing. CPU Profiling Mode: Switch to CPU Profiling mode in order to identify which parts of your In- struments are currently consuming the largest share of processing power. Percentages are shown in the instrument name as well as in the Source module in Edit mode and in the top parts of all effects in the effect chains. | | Use the bottom part of the effect icons to switch to different effect slots for editing
while in CPU Profiling mode. | | -------- | -------- | ▪ Instrument name: observe the Rack to identify most consuming Instruments first, then switch to Edit mode. ▪ Source module: switch to a different HQI setting if CPU usage is too high. If you are using Time Machine Pro, consider downgrading to the lighter Time Machine engines. ▪ Group Inserts: Move memory-intensive effects without attached modulators to the Instru- ment or Bus Inserts instead. Remember group effects are calculated per voice! ▪ Instrument Inserts / Bus Inserts / Sends: Move memory-intensive effects to the Outputs sec- tion, inserts into the regular output channel, sends into the Aux channels. Just like the File and Database Browsers, the Expert pane optionally provides an Instrument Navigator list. This can be shown and hidden with the rightmost button of the Expert toolbar. For an in-depth explanation of what this pane does, please refer to section ↑13.2.3, Instru- ment Navigator Pane. The Browser Expert Tab KONTAKT - Manual - 138 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 139 Context: 13.6Automation Tab Whenever you need to control any parameter of an Instrument from outside KONTAKT, usingfor instance your sequencer’s automation system or MIDI controller data generated by an exter-nal fader box, you can easily pick and assign the appropriate automation source from the Auto-mation tab of the Browser.The BrowserAutomation Tab KONTAKT - Manual - 139 #################### 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: 144 Context: At the top of the pane, you’ll find three buttons that switch between the catalogs of Multis, Banks and Instruments, respectively. The contents of these catalogs are in no way related to each other, so you can create independent directory structures for each of the three object types. Upon first activation, the Quick-Load Browser’s list is still empty, as it doesn’t have any prede- fined structure. In order to fill it with content, you can create directories and drag files from the Browser or the file manager of your operating system into their content columns. This proc- ess is described in detail in the following section. After that, we’ll explain how you can use the Quick-Load catalog during your everyday work. 14.1 Building a Catalog In order to organize any larger number of objects, you should begin by devising a directory structure that’s consistent with your approach to locating Instruments, Banks and Multis. The criteria you choose for this is entirely up to you; for instance, you could categorize your objects by their instrument types, music genres or libraries. You could also combine these and sort your collection by a coarse type category on the root level, then by the respective libraries on the levels below that. Of course, it’s also possible to mix categories on the same level — since no actual files will be touched when managing your collection via the Quick-Load Browser, you can easily put the same object into more than one directory. | | In case you’d like to keep your favorite Instruments in direct access at all times, you can
put these — in parallel to your normal categorization in the Quick-Load Browser — into
a “favorites” directory. As contents are always sorted alphabetically, though, this direc-
tory will most likely appear amidst all others. To circumvent this, just prepend its name
with a special character, such as an asterisk (*) | that way, it will always appear at the
top of the list. | | -------- | -------- | -------- | Begin by right-clicking into the empty list inside the leftmost column and choose the com- mand Add New Folder from the context menu. A new directory entry will appear. Give it a meaningful name and repeat these steps for every directory that you’d like to create on the root level. In order to extend the directory structure with deeper levels, select one of the new en- tries and create more subdirectories within the column next to it as described. That way, you can build a hierarchical directory structure step by step. Of course, you can also extend a Quick-Load catalog that has already been populated with content at any time. To rename a di- The Quick-Load Catalog Building a Catalog KONTAKT - Manual - 144 #################### 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: 160 Context: How can we accomplish this? You can adjust the maximum number of voices to be used for an Instrument in the Instrument Header, but this would restrict all other parts of the drum kit to one voice as well. A more practical way would be to make use of the Voice Group concept: it allows you to create a voice allocation setting and apply it to any number of Groups in your Instrument. In contrast to Groups, you don’t have to create or manage Voice Groups; instead, 128 of them are pre-defined in every Instrument. By default, Groups are not assigned to any Voice Group, which means they will share the pool of voices as defined in the Instrument Header with all other Groups. By assigning some of your Groups to one of the 128 Voice Groups and adjusting this Voice Group’s parameters, you can define a new set of voice allocation rules for these Groups. For instance, you could solve the hi-hat problem by assigning the closed and open hi- hat Groups to Voice Group 1, then set the voice count of this Voice Group to one. There are more parameters to a Voice Group than its maximum voice count; these will be explained later. The 128 Voice Groups can be assigned and edited in the strip below the Group list of the Group Editor. Selecting a Voice Group from the drop-down menu at its left will assign all cur- rently selected Groups to this Voice Group, and display its parameters in the fields to the right. The row of parameters below the Group list allows you to assign and adjust Voice Groups. Here’s a run-down of these parameters, from left to right: ▪ Voices: Adjusts the maximum number of voices that can be used by the Groups in this Voice Group. If a Sample is triggered and the maximum voice count has already been reached, voices of Samples that would otherwise still sound will be “sacrificed” and recy- cled. ▪ Mode: This setting decides which of the currently allocated voices will be sacrificed and recycled if a newly triggered Sample would otherwise exceed the maximum voice count for this Voice Group: ◦ Kill Any: Let KONTAKT decide what to do. ◦ Kill Oldest: The oldest, still playing Sample will be cut off. ◦ Kill Newest: The most recently triggered Sample will be cut off. ◦ Kill Highest: The note with the highest pitch will be cut off. The Group Editor Voice Groups KONTAKT - Manual - 160 #################### 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: 167 Context: out of samples named “Piano-C3-1.wav” through “Piano-C3-8.wav”, you should make surethat the Samples list in the Browser is sorted by name in ascending order before you selectand drag the Samples into the Mapping Editor.In addition to Samples, you can also drag one or multiple sliced loops into the Mapping Editorto place them on the keyboard. In this case, the newly created Zones won’t belong to the cur-rently selected Group; instead, a new Group will be created for each Loop with its Source Mod-ule set to Beat Machine mode.17.2Mapping Samples Automatically Placing Zones manually by dragging Samples from the Browser into the Zone grid works well ifyour Instrument won’t contain a lot of Zones, or if your Samples are conveniently named in away that makes it possible to pre-sort them in the Browser before you create Zones out ofthem. But what if the samples of your violin set are not named “Violin-1.wav” through “Vio-lin-14.wav”, but instead “Violin-G2-A2” through “Violin-A#5-C6”? There’s no way to get theBrowser to sort them in any meaningful way.For scenarios like this, the Mapping Editor includes an Auto-Mapping feature. It consists of acustomizable filename scanner that first attempts to determine which parts of your Sample’sfilenames could contain valuable information, then lets you assign to which Zone parametersthese parts should be mapped.To use the Auto-Mapping feature, you’ll have to create Zones out of your Samples first by drag-ging them into the Mapping Editor as described above. While doing this, you won’t have tocare about aspects that can be derived from the Sample filenames later. For instance, if yourfilenames contain the key range, you don’t need to place the Zones anywhere particular; theywill be moved to their correct destinations by the Auto-Mapping feature anyway.In the next step, mark all Zones in the Mapping Editor upon which you want the Auto-Mappingfeature to act. You can select multiple Zones either by holding the [Shift] key while clicking onthem, or by clicking on the grid background and dragging the mouse to open a “rubber band”selection frame. When all Zones you want to process are selected, open the Edit drop-downmenu at the top of the Mapping Editor and choose Auto Map — Setup. A dialog window willappear that displays the result of the filename scanning process.The Mapping EditorMapping Samples Automatically KONTAKT - Manual - 167 #################### 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: 177 Context: Auto map functions: Contains a number of entries that replicate the functions of the corre-sponding buttons which you can find in the control strip; they are explained in detail in theprevious section of this chapter.17.6Batch Tools You can find these tools in the Batch Tools submenu of the Edit menu. In addition to func-tions that place root keys in relation to the respective Zone borders, the menu includes severalutility operations that let you create crossfades between Zones, which needs a brief introduc-tion.When you create Sample sets of tonal instruments that don’t include a Sample for each note,the notes that haven’t been sampled need to derive their signal from the Samples of nearbynotes. This is usually done by transposing these “native” Samples upwards or downwards. Thismethod has a downside — the necessary re-sampling process can “skew” the sound characterof your instrument, especially when transposition over a wider note range is required. Conse-quentially, this means that two consecutive notes on a scale which happen to cross the “bor-der” between two Zones, and thus are both transposed versions of different Samples, cansound dissimilar.The same problem can arise with velocity switched Sample sets; suppose you’re using fourSamples per note, each assigned to one of four equally large velocity ranges. Especially whenyou’re sampling an acoustic instrument, it can easily happen that two consecutive notes withonly marginally different velocity values still happen to fall into two different velocity ranges,thus resulting in noticeably different timbres.Crossfades provide a way to counteract these effects. The basic idea is that overlapping yourZones and creating a crossfade between them, thus making them blend into each other withinthe overlapping parts, will mask the difference in sound for notes that fall “between” them.The Mapping EditorBatch Tools KONTAKT - Manual - 177 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 182 Context: ▪ Below that, a status bar displays various aspects of your current Zone, such as its start and end positions, in numeric form. These readouts make it possible to edit with sample accu- racy. ▪ The largest space is taken up by the waveform view, which contains the Sample waveform and allows graphical editing of various position-related parameters. At the top of the wave- form view, you’ll notice a time line that informs you about the currently displayed time re- gion and scale of the display. If you don’t see a waveform in this section, select a Zone in the Mapping Editor first. ▪ At the bottom of the editor, four tabs provide access to function sets, which relate to the various tasks you can perform in the Wave Editor: creating and editing loops, synchronizing sliced Zones to your song tempo, creating and editing Zone Envelopes, and editing your Sample destructively. ▪ Next to the tab section, a Grid panel allows you to define a number of markers at rhythmi- cally relevant points across your Zone; we’ll refer to this process as “slicing”. Slicing your drum loops or phrases opens up a range of possibilities for changing their speed and pat- terns, and can be used to align most editing operations to rhythmical values of your materi- al. Before we get to the more sophisticated facilities that the Wave Editor has to offer, let’s stick to the basics and take a closer look at the utility sections, starting at the top. 18.1 Tool Bar The topmost row of buttons in the Wave Editor pane provides various navigation functions that affect which part of the Sample is currently being displayed, a set of playback controls, and menus that contain selection options and utility commands. The Wave Editor Toolbar From left to right, here’s what the elements do: ▪ Size (only visible in external window): If you have opened the Wave Editor within an exter- nal window by clicking the arrow next to the Wave Editor button at the top of the Rack, this drop-down menu lets you choose between three predefined window sizes. The Wave Editor Tool Bar KONTAKT - Manual - 182 PS cur a ee ee Greiz #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 199 Context: sition in the center of the view; the more it looks like a continuous waveform, the cleaner yourloop will turn out to be. To return to the normal waveform view, just click the Loop Edit buttonagain.Tune: This control allows you to change the pitch of Sample loops independently from the restof your Zone. Note that the detuning will affect all playback passes after the first loop jump; inother words, KONTAKT will play the region at its normal pitch once until the playback positionreaches the end marker of the loop, then the specified pitch will come into effect for the dura-tion of the loop.Count: This value specifies how many times the loop region will be repeated before KONTAKTproceeds to play the rest of the Sample. A value of zero will loop the region indefinitely, whichmeans that playback will never reach any following Sample material and loop regions.Loop Mode: This drop-down menu lets you choose between several different loop characteris-tics. In addition to the displayed entry, the selected behavior is depicted with an illustrationabove the menu. KONTAKT provides the following loop behaviors:▪Until End: KONTAKT will play the loop in a forward direction. The loop will keep playingduring your amplitude envelope’s release phase, if any.▪Until End <->: KONTAKT will play the loop in alternating forward and backward directions(“ping-pong loop”). The loop will keep playing during the release phase of your sound.▪Until Release: KONTAKT will play the loop in a forward direction as long as the key is be-ing held. When it’s released, it will resume normal playback of the Sample, starting fromthe current playback position.▪Until Release <->: Like Until Release, but with an alternating forward and backward play-back direction during the loop.▪One Shot: If the first loop region of your Sample is set to this mode, KONTAKT will ignoreall other active loop regions and play the Sample in its entirety when it’s triggered, withoutstopping at note-off events. This is useful for drum samples that should always play to theirend, regardless of the actual trigger note length. Note that this works only if you’re not us-ing a volume envelope on your Group; otherwise, the release phase will still fade the Zoneout as soon as the key is released.The Wave EditorSample Loop Tab KONTAKT - Manual - 199 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 201 Context: freely change the playback pitch of the Slices. To use this feature, make sure your Grid is cor-rectly set up, and enable the Use Beatmachine button on the Sync / Slice tab. Depending onthe contents of the Group to which your current Zone belongs, one of two things will happen:▪If the current Zone is the only one in your Group, KONTAKT will switch the Source Moduleof this Group into Beat Machine mode.▪If there are any other Zones in your Group, KONTAKT will move the current Zone into itsown Group first and then switch that Group’s Source Module into Beat Machine mode. Thisreassignment is necessary to avoid disrupting the playback of other Zones which cannot betriggered correctly by the Beat Machine.Once the Source Module that plays your Zone is in Beat Machine mode, any key to which theZone is assigned will trigger the tempo-synchronized playback of all Slices in succession.When you look at the Speed knob of your Group’s Source Module, you will notice that it dis-plays the keyword Zone instead of the usual numeric value. This indicates that it uses the ZoneLength value (as displayed on the left side of the Sync / Slice tab) to determine at which speedit has to play the Slices so that the phrase will span the same length at your song tempo. Thisis the same mechanism that allows you to select a note value from the drop-down menu of anytime-related control in order to synchronize it, and in fact, the special Zone keyword appearsamong the usual note values in the drop-down menu of the Speed control if you use the BeatMachine via the Sync / Slice tab. Of course, nothing prevents you from selecting a differentnote value from the drop-down menu, or selecting the Default entry in order to adjust the play-back speed independently from your tempo. You can always return to synchronized mode byselecting Zone again.Note that all changes to the slicing of your Sample will be immediately picked up by the BeatMachine, which lets you hear any modifications instantly. For example, you might notice dur-ing playback that some ghost notes are not properly marked in your Sample and are thus beingplayed back with incorrect timing. Just add the respective Slice markers, as explained withinthe Grid section of this chapter — the Beat Machine will adopt your changes right away, evenduring playback.The Wave EditorSync / Slice Tab KONTAKT - Manual - 201 #################### 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: 218 Context: An empty Script Editor At the top of the panel, you’ll notice five tabs, each of them with an empty label. These are slots that can take up a Script each; if a Script changes any events, another script in a slot to its right will “see” the modified events. In other words, the five slots act as a chain of event filters. Below the slot tabs, there’s an empty space; each script can provide its own user inter- face, which will appear here. 19.1 Loading a Script To load a Script, click the Preset button. A drop-down menu will appear, allowing you to select an item from the preset scripts folder of your KONTAKT installation. Loading a preset Script After you’ve selected a Script, its user interface controls will appear in the space below the tabs. Most Scripts will work right away after loading; others might need you to do any meaning- ful adjustments first. You can always bypass a Script, thus temporarily deactivating it, by click- ing on the Bypass button in the upper left corner of the Script Editor. Whenever you’re using a Script that provides its own controls, you can automate these like any other control of the KONTAKT user interface; select the Auto tab in the Browser and drag ei- ther a MIDI controller or a host controller ID onto the knob whose parameter you’d like to auto- mate. For more information on how this works, refer to section ↑13.6, Automation Tab of this manual. The Script Editor Loading a Script KONTAKT - Manual - 218 empty Cr Praset KR." > cempty> Harmenize Instrument Speii Performance Randomize & Change #################### 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: 221 Context: 20 The Source Module As its name suggests, the Source Module is located at the very beginning of KONTAKT’s signal flow and acts as the source of all audio signals. It provides access to the underlying sample playback engine, and as such can’t be removed from an Instrument. It operates in one of six playback modes, all of which are optimized for handling different audio material: ▪ Sampler: This is a traditional sample playback engine that keeps all sample data in your computer’s RAM. ▪ DFD (Direct from Disk): This is a high-performance solution for streaming samples from disk in real-time. ▪ Tone Machine: In this mode, you can change the pitch and formants of your sounds inde- pendently from the playback speed. ▪ Time Machine, Time Machine II, and Time Machine Pro: These playback modes allow you to compress and stretch your Samples in real-time, while leaving their pitch unaffected. ▪ Beat Machine: This mode handles rhythmic samples (such as drum loops) that have been “sliced”, making them fit your song tempo. The mode of operation can be switched via the drop-down menu in the upper left corner of the Source Module’s control panel. Note that the Source Module is located on the Group level, which means that each Group in your Instrument has its own Source Module, and changes to the playback mode only affect Zones within the Group to which the respective module belongs. Let’s have a look at how each of the playback modes works and what controls it does provide. 20.1 Sampler The Sampler mode provides traditional, interpolated playback of Samples from memory. The Source Module Sampler KONTAKT - Manual - 221 #################### 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: 245 Context: 23Effects This section provides descriptions of all effects modules that are available in KONTAKT, aswell as explanations of their parameters. The term “effects” encompasses dynamics tools,such as compressors, as well as audio processors that change the signal in a usually non-linearway, such as reverbs, flangers or distortion effects.You can access these modules by clicking on the + icon in the lower right corner of each ef-fects slot, which opens a drop-down menu of available effects.23.1AET Filter This module constitutes the core of the powerful Authentic Expression Technology (AET) inKONTAKT, which allows you to “morph” continuously between the timbral characteristics ofmultiple samples. The module is designed to work on the Group level, so it can only be placedin the Group Insert FX chain.As the process of creating and using a morph extends to other elements of the user interfacethan this module itself, we’ll start with a high-level explanation of the idea and technology be-hind AET; if you’re just interested in a reference of the involved dialogs and the module’s con-trols, you can find those at the end of this section.23.1.1About Authentic Expression Technology When sampling acoustic instruments, one of the common difficulties to overcome stems fromthe fact that most of them change their tonal characteristics radically throughout their range ofdynamic and expression — a french horn played mf can sound very different from one playedp. This makes it more difficult to capture the whole range of their sonic character in a convinc-ing way with static samples alone. The traditional approach has been to tackle this problemwith sheer size: Sample libraries that contain several dozen velocity layers per note have nowbecome a common occurrence, and indeed, this is a good way to increase the sampled instru-ment’s level of detail. In a lot of cases, though, the shortcomings of turning highly dynamicinstrumental sounds into static samples, such as noticeable timbre changes when moving fromone velocity layer to the next, still persist.EffectsAET Filter KONTAKT - Manual - 245 #################### File: KONTAKT_5_6_8_Manual_English.pdf Page: 251 Context: 1. Open the AET Morph Map Editor from the Edit menu; a dialog window with an input line on top will appear. 2. Combine your Morph Layers into Morph Maps with the AET Morph Map Editor. 3. Enter a descriptive name here (such as “ahh -> ooh morph”) and click the Add: button. The Morph Layers you just prepared will now turn up in the right one of two lists at the bottom of the dialog, meaning that they’re available for inclusion in your new Morph Map. Select them one-by-one in the right list and move them into your map by clicking the left arrow button. Note that the order in which you include them is important; in our example, we want the filter to morph the original “ahh” samples into the frequency response of the “ooh” samples, so the “ahh” layer has to be on top of the list. 4. Before you finish, make sure you switch the Morph Map type to articulation morph instead of velocity morph; otherwise, KONTAKT will display an error message, as velocity maps may only consist of a single Morph Layer. Click OK; your Morph Map is now ready for use. Now would be a good time to stress the fact that in this scenario, the “ooh” samples will take no part whatsoever in the resulting sound; they just served as templates for setting up the morph filter. Even at the highest Morph setting, what you hear will actually be the “ahh” sam- ples with the frequency response of the “ooh” samples superimposed. This also means that Effects AET Filter KONTAKT - Manual - 251 Create morph map #################### 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: 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: 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: 280 Context: 23.20 Delay This module offers a delay line that can optionally be synced to the tempo and provides an ad- justable feedback level, a low-pass filter, and a pan control for ping-pong echo effects. If you don’t use the tempo syncing feature, the available delay range is 5 to 2900 ms. Delay times lower than 20 ms are not discernible as delays, but can produce interesting comb filtering ef- fects. The Delay module. Controls ▪ Time: The delay time in milliseconds. To synchronize the time to your host or Master Editor tempo, click the Speed parameter’s unit display and choose a note length value from the drop-down list. ▪ Damping: Attenuates high frequencies in the delayed signal. Turning this control clockwise will increase the damping effect. If you have set a feedback level, the signal will gradually lose more high frequency content with each repetition. ▪ Pan: Setting a value higher than 0 creates a panning effect, which alternates echos be- tween the left and the right side of the stereo panorama — this is affectionally called a ping-pong delay. Higher values will result in wider panning; at 100, signals alternate be- tween the far left and far right channel. ▪ Feedb.: Controls the amount of the output signal that’s being fed back into the input of the delay line, thereby creating a series of echos that gradually fade into silence. ▪ 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 delayed signal is mixed in at a lower level than the direct signal. Effects Delay KONTAKT - Manual - 280 #################### 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: 296 Context: This is the same filter section that is provided by Native Instruments’ PRO-53 software synthe- sizer. It’s similar in nature to the 4-pole lowpass filter, but has a different and more distinctive signature sound. 24.1.13 Legacy LP1 The Legacy LP1 module. In order to remain backwards compatible, the filter designs from before KONTAKT 5 are in- cluded with the tag Legacy. These are like the SV filters but use a much older algorithm. If you are planning to use clean filters, we advise you use the newer SV filters. The LP1 is a 1-pole lowpass, which attenuates frequencies above the cutoff at a rate of -6 dB/octave. The 1-pole filter does not have a Resonance control. 24.1.14 Legacy LP2 The Legacy LP2 module. In order to remain backwards compatible, the filter designs from before KONTAKT 5 are in- cluded with the tag Legacy. These are like the SV filters but use a much older algorithm. If you are planning to use clean filters, we advise you use the newer SV filters. The LP2 is a 2-pole lowpass, which attenuates frequencies above the cutoff at a rate of -12 dB/octave. 24.1.15 Legacy LP4 The Legacy LP4 module. Filters Lowpass Filters KONTAKT - Manual - 296 [ei Gy fe rer] Cute EIS 2 fe rer] Gr © Cute Reso, 1a fe rer] Gr © Cute Reso, #################### 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: 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: 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: 349 Context: | Hardware Formats | File Extension | | -------- | -------- | | Kurzweil Disc | proprietary | | Mac HFS Disc (PC) | proprietary | File Formats KONTAKT - Manual - 349 ########## """QUERY: Ich habe die Software von Native Instruments angeschlossen und irgendwie kommt nichts raus - was kann ich da machen?""" 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: 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 8, KONTAKT_5_6_8_Manual_English.pdf - Page 9, KONTAKT_5_6_8_Manual_English.pdf - Page 10, 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 16, KONTAKT_5_6_8_Manual_English.pdf - Page 17, KONTAKT_5_6_8_Manual_English.pdf - Page 19, KONTAKT_5_6_8_Manual_English.pdf - Page 20, KONTAKT_5_6_8_Manual_English.pdf - Page 22, KONTAKT_5_6_8_Manual_English.pdf - Page 23, 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 29, KONTAKT_5_6_8_Manual_English.pdf - Page 30, KONTAKT_5_6_8_Manual_English.pdf - Page 33, KONTAKT_5_6_8_Manual_English.pdf - Page 36, KONTAKT_5_6_8_Manual_English.pdf - Page 37, KONTAKT_5_6_8_Manual_English.pdf - Page 41, KONTAKT_5_6_8_Manual_English.pdf - Page 45, KONTAKT_5_6_8_Manual_English.pdf - Page 48, KONTAKT_5_6_8_Manual_English.pdf - Page 52, KONTAKT_5_6_8_Manual_English.pdf - Page 54, KONTAKT_5_6_8_Manual_English.pdf - Page 58, KONTAKT_5_6_8_Manual_English.pdf - Page 60, 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 74, KONTAKT_5_6_8_Manual_English.pdf - Page 78, KONTAKT_5_6_8_Manual_English.pdf - Page 79, KONTAKT_5_6_8_Manual_English.pdf - Page 81, KONTAKT_5_6_8_Manual_English.pdf - Page 82, KONTAKT_5_6_8_Manual_English.pdf - Page 83, KONTAKT_5_6_8_Manual_English.pdf - Page 86, KONTAKT_5_6_8_Manual_English.pdf - Page 93, KONTAKT_5_6_8_Manual_English.pdf - Page 94, 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 103, KONTAKT_5_6_8_Manual_English.pdf - Page 105, KONTAKT_5_6_8_Manual_English.pdf - Page 106, KONTAKT_5_6_8_Manual_English.pdf - Page 111, KONTAKT_5_6_8_Manual_English.pdf - Page 113, KONTAKT_5_6_8_Manual_English.pdf - Page 117, KONTAKT_5_6_8_Manual_English.pdf - Page 126, KONTAKT_5_6_8_Manual_English.pdf - Page 135, KONTAKT_5_6_8_Manual_English.pdf - Page 137, KONTAKT_5_6_8_Manual_English.pdf - Page 138, KONTAKT_5_6_8_Manual_English.pdf - Page 139, KONTAKT_5_6_8_Manual_English.pdf - Page 142, KONTAKT_5_6_8_Manual_English.pdf - Page 144, 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 160, KONTAKT_5_6_8_Manual_English.pdf - Page 163, KONTAKT_5_6_8_Manual_English.pdf - Page 167, KONTAKT_5_6_8_Manual_English.pdf - Page 168, KONTAKT_5_6_8_Manual_English.pdf - Page 177, KONTAKT_5_6_8_Manual_English.pdf - Page 182, KONTAKT_5_6_8_Manual_English.pdf - Page 199, KONTAKT_5_6_8_Manual_English.pdf - Page 201, KONTAKT_5_6_8_Manual_English.pdf - Page 216, KONTAKT_5_6_8_Manual_English.pdf - Page 218, 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 221, 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 245, KONTAKT_5_6_8_Manual_English.pdf - Page 251, 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 268, KONTAKT_5_6_8_Manual_English.pdf - Page 270, 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 280, 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 296, 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 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 338, KONTAKT_5_6_8_Manual_English.pdf - Page 339, KONTAKT_5_6_8_Manual_English.pdf - Page 349 ================================================== FINAL ANSWER Answer: Du hast deine Native Instruments Software angeschlossen und es kommt kein Ton heraus? Das kann verschiedene Ursachen haben. Hier sind einige Schritte, die du zur Fehlerbehebung durchführen kannst: **1. Überprüfe die Grundlagen:** * **Ist die Software korrekt installiert und aktiviert?** Schau im Native Access nach, ob die Software korrekt installiert und aktiviert ist. * **Ist die Software als Audiogerät ausgewählt?** In deiner DAW (z.B. Cubase, Logic, Ableton) musst du KONTAKT als Audiogerät auswählen, damit der Ton ausgegeben wird. * **Sind die richtigen Ein- und Ausgänge in KONTAKT ausgewählt?** Überprüfe in den Audio-Einstellungen von KONTAKT, ob die richtigen Ein- und Ausgänge für deine Soundkarte ausgewählt sind. * **Ist der richtige MIDI-Kanal eingestellt?** Stelle sicher, dass der MIDI-Kanal in KONTAKT mit dem MIDI-Kanal deines Controllers übereinstimmt. * **Ist der Lautstärkeregler in KONTAKT aufgedreht?** Manchmal übersieht man die einfachsten Dinge. 😉 **2. Fehlerbehebung bei KONTAKT:** * **Starte KONTAKT neu:** Schließe KONTAKT und öffne es erneut. Manchmal hilft ein Neustart, um kleinere Probleme zu beheben. * **Überprüfe die Instrumenteneinstellungen:** Stelle sicher, dass das Instrument in KONTAKT geladen ist und der Lautstärkeregler aufgedreht ist. * **Überprüfe die Output-Sektion:** In der Output-Sektion von KONTAKT kannst du die Ausgänge für die einzelnen Instrumente einstellen. Stelle sicher, dass die Ausgänge korrekt geroutet sind. * **Überprüfe die Effekte:** Deaktiviere alle Effekte in KONTAKT, um zu sehen, ob diese das Problem verursachen. * **Nutze den "Restart Engine" Button:** In der Expert-Ansicht des Browsers findest du einen Button namens "Restart Engine". Ein Klick darauf kann helfen, wenn KONTAKT nicht richtig funktioniert. **3. Weitere Tipps:** * **Treiber aktualisieren:** Stelle sicher, dass die Treiber für deine Soundkarte auf dem neuesten Stand sind. * **Andere Programme schließen:** Schließe alle anderen Programme, die du nicht benötigst, um Ressourcen freizugeben. * **Native Instruments Support kontaktieren:** Wenn du das Problem nicht selbst beheben kannst, wende dich an den Native Instruments Support. Die Mitarbeiter dort können dir bei der Fehlerbehebung helfen. **Zusätzliche Informationen:** Da du das KONTAKT Handbuch erwähnt hast, gehe ich davon aus, dass du mit der Software vertraut bist. Die detaillierten Erklärungen im Handbuch können dir bei der Fehlersuche helfen. Gib mir gerne mehr Details zu deinem Problem, damit ich dir noch gezielter helfen kann. Zum Beispiel: * Welche Native Instruments Software verwendest du genau (z.B. KONTAKT, MASCHINE, etc.)? * In welcher DAW arbeitest du? * Welche Soundkarte benutzt du? * Was hast du bereits versucht, um das Problem zu lösen? Je mehr Informationen du mir gibst, desto besser kann ich dir helfen, den Sound wieder zum Laufen zu bringen! 🎶 ==================================================