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On the synthesis side of things, Kontakt 's filters have undergone a few changes. Gone are the one-pole band-pass and two-pole notch filters; instead, there are new four-pole band-pass and four-pole notch variations. The Pro 53 filter from NI's excellent Pro 53 virtual Prophet 5 also makes an appearance, as does a four-stage ladder filter — bringing the total up to 13 'synth-style' filters. The Effects have been augmented by the addition of two new features, a convolution reverb and a Surround panner.
The reverb below offers control over a variety of parameters, such as early reflections, reverb tail lengths and pre-delay time, and impulses can be reversed. An optional eight-stage envelope can be superimposed upon the IR window to further tailor the amplitude shape of the reverb. A MB library of impulse responses is provided to get you going, and of course you can drag impulses onto the IR window from your own collection.
There are many IRs available for free on the internet — try visiting www. The process is fairly CPU-hungry, but you can compensate for this by reducing its sample rate and selecting 'Preserve Length'. This way you can trade off CPU usage against sound quality. A convolution reverb, showing the optional eight-stage amplifier envelope. Logically enough, the Surround panner is used as an Insert Effect, and it can be applied at the Group or Instrument level. Depending on the Surround format chosen, an appropriately configured virtual output channel needs to be present — for example, 5.
Fortunately, the Kontakt 2 manual provides a chart showing the channel assignments for each Surround format. There is a choice of constant power, sinusoid and logarithmic pan curves, which when used in conjunction with the Divergence and Distance controls, can alter the subjective directional impression. Air Absorption and Size combine to simulate high-frequency damping effects according to source distance, whilst the Delay Effect automatically calculates the distance of each sound source for each loudspeaker in real time.
The Surround panner's X-shift, Y-shift, Angle and Distance parameters can be automated by external MIDI controllers, host automation and internal modulators, allowing for such niceties such as circling or random-positioning effects.
The possibilities here defy detailed description — ultimately it's down to your specific mixing environment and, of course, your own judgement, but the tools are there if you can use them.
However, I did find a stability issue here — altering certain parameters whilst inputing MIDI notes caused Kontakt and Sonar to crash repeatedly. I hope this will be addressed in a future update. The built-in Surround panner in 6. This mode loads complete Samples into RAM, and is suitable for Instruments using short samples, when disk streaming is not necessary.
As its name suggests, it conserves RAM when playing long samples by playing them from hard disk. It's essential when using large commercial libraries. The Tone Machine imposes an overall musical pitch onto a sample drum and percussion loops work well whilst keeping its tempo constant or sync'ed to the host.
It's a slightly unearthly effect, rather like the classic 'drums through a vocoder' trick popular in the '80s, but it's great for rhythmical chord parts. A real-time time-stretch function that allows samples to be played back sync'ed to the host tempo whilst following pitch changes. It also allows the tempo to be changed without changing pitch. Similar to the above, this offers greatly improved quality, with parameters specially optimised for rhythmical loops.
The Beat Machine takes a rhythmical loop and slices it up into segments — very similar to 'Acidised' loop-slicing. The loops will then sync to the host DAW's tempo changes. If desired, each segment can then be mapped to discrete keys for individual triggering. The keymapping process generates a small exportable MIDI file which represents the loop as a sequence of notes. When imported into your host sequencer of choice, this sequence plays back the individual loop segments exactly as the original loop sounded.
This is strikingly similar to Spectrasonics' Groove Control concept, as seen in the likes of their Stylus instrument, and allows you to change the tempo much further than by time-stretching, as well as affording you the possibility of re-arranging the note orders to produce different patterns from the same sample data.
Virtually any parameter with a knob or fader in Kontakt can be automated, either live or from within a MIDI sequence, using MIDI controllers or host sequencer parameter numbers. Selecting the Auto tab in the Browser brings up two lists — one of MIDI controller numbers, or one of host parameter numbers. Assignment is a doddle — for example, to automate a filter's cutoff frequency with the modulation wheel, click on MIDI controller CC1, then drag and drop it onto a filter's cutoff knob in the Instrument edit window.
The Browser changes to reflect what has occurred — CC1 now displays 'cutoff', and the small pane at the bottom of the Browser tells you which Instrument has the assignment, as well as which Groups are affected. The Browser, showing Automation assignments. Each assignment can be given a minimum and maximum operating range the default is 0 to percent but you can narrow this down to as specific a range as you need, which is very useful, say, for exercising subtle control of a very narrow filter range.
Even some Effect parameters which cannot be assigned modulators can still be assigned MIDI controllers — thus practically anything in Kontakt can be animated one way or another. If you've ever had too many redundant samples loaded, or if your mega-orchestra setup has caused you to run out of RAM, even when using disk streaming, you need Kontakt 2 's Purge function.
Consider this scenario: you've loaded an entire violin section, complete with five different keyswitched articulations, yet you actually need only a handful of notes using one articulation. No problem — once you've finalised the part and recorded it into your sequencer, simply play back the sequence, click the Purge button on that particular Instrument and choose 'Update Sample Pool'. Kontakt 2 then unloads from memory all the samples that were not used, freeing up a considerable amount of RAM.
The Purge function can also be performed globally — a 'master' Purge button above the Instrument rack cleans up an entire Multi's redundant samples in a single pass. Purging will of course leave Instruments with gaps on the keyboard where samples are now missing. So what if you subsequently wish to change a part so that it includes some of those missing samples? Kontakt makes this a no-brainer; you simply select Purge again for the Instrument whose part you wish to alter and choose 'Reload Samples'.
All the samples for that Instrument will then be reloaded, returning it to normal. Once you've re-recorded your new part, you can of course Purge that Instrument again to clean up the RAM. Interestingly, a similar facility was available on Roland's S and S hardware samplers, and its appearance in Kontakt 2 is very welcome indeed.
Kontakt 2 comes supplies with a A piece orchestra to go? I'm loving it Along with this are numerous pianos, electric and acoustic guitars, basses, organs, synths and drums. Many of these have been painstakingly programmed to take full advantage of Kontakt 2 's new Kontakt Script Processor feature for more on the KSP, see the box. Notable KSP instruments include the 'Akkord Guitar', which is designed to replicate strummed acoustic guitar parts.
This instrument employs samples and a pattern-based user-programmable 'sequencer' to reproduce 43 individually sampled chord types in several playing articulations and in every key! Also of note is the 'Elektric Guitar', which uses some natty KSP programming to vary the neck position and picking styles, creating realistic-sounding guitar parts that would be otherwise unattainable using a traditional sampled guitar patch. PDF documentation is supplied for the library and explains every instrument in detail, including full instructions on how to use the KSP scripts for those instruments that employ them.
The Master Kontrol view, located at the top of the main window, shows the master tempo for all sync'able parameters and effects, and can be switched from internal to external host sync. A Tap button allows the internal tempo to be set by clicking with the mouse, and an optional metronome is also provided, together with its own volume control.
Master Tune sets the overall tuning offset for the entire Multi. The built-in reference tone is a great help in the absence of a tuner, and can be set to whatever reference pitch you like. The optional Keyboard view displays not only an Instrument's keyrange in blue , but also shows which keys are acting as keyswitch triggers in pink — a very handy visual reference when an Instrument has several articulations loaded.
Splendidly, Groups can be copied and pasted between different Instruments in a Multi — as well as between different instances of Kontakt 2. When a copied Group is pasted to a new location, you have the choice of pasting with or without samples — the latter choice is extremely useful if you simply want to copy a Group's parameters to another Instrument.
The Instrument Options menu allows for further customising of individual Instruments, including settings such as global transpose, key range, and velocity range.
The behaviour of the sustain pedal continuous controller message 64 is definable per Instrument, unlike older versions where this was a global setting that applied to all instances of Kontakt. This is good news for those wanting to use Kontakt to combine instruments from Garritan Personal Orchestra, say, which use CC64 in different ways. Finally, category-based icons can be assigned to Instruments. They serve no real function other than being cute, but they're fun nevertheless.
We're hard at work on a new space for the online community where it's easier for you to jump into conversations, share your ideas, and find what you're looking for. Please make sure your email address used in the forum is the same as your Native ID. Check your email If you have any questions or want to read more about our new space - check our thread here. You can find our latest compatibility status in our knowledge base area If you have any questions or feedback about this update, please use the thread - here.
We're moving soon!! Messages: 6. Hi All, I need to install a copy of Kont 5. I need 5. It seems the new Native Access, does not let me download anything other than the most current. Any thoughts, URL, or help gratefully accepted! Messages: 19, EvilDragon , Jul 1, Thank you for the info, MUCH appreciated, unfortunately the link is a closed loop of hell.
I understand NI wanting to make this stuff simple, but its really problematic when they lock out any option other than just getting the most current. So, then contact NI support. EvilDragon , Jul 3, Hi ED thats for the reply. I have and I'm hoping that i will get a reply this time. My emails to support.
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