Kontakt 2 is the latest in Native Instruments’ sampling
line, available for Windows XP and Mac's OSx as a VST®,
DXi™ or stand alone application. Kontakt 2 is a software
sampler, a program which allows any user access to meticulously
sampled acoustic instruments – from violins to acoustic
drum kits, from saxophones to grand pianos – anyone
with a MIDI keyboard can now play these instruments in real-time
on their desktop.
The new audio engine written for Kontakt 2 allows for theoretical
unlimited polyphony (maximum note count limited only by your
computer's resources) by combining a new DFD (direct-from-disc)
engine and a brand new feature called “RAM Purge”.
Kontakt 2 is ready to handle any sized library you can throw
at it, without bogging down your workstation.
We'll begin by looking at some of the updated and new features,
along with a reminder of some of the solid features from
versions past. This first glimpse at the power of Kontakt
2 might introduce you to some new terms, if you don't understand
some of the concepts here, don’t worry, you don't need
to in order to use Kontakt.
Installation
For Kontakt 2, Native Instruments continues with their online
challenge and response copy protection; you will be prompted
to go to the NI site upon installation to log your system
ID and receive your Authorization code from them. The authorization
is all automated via an interactive tool and can be completed
from a separate computer with Internet access if your DAW
is not online.
For the street price of $489 for new users or $149 for upgraders,
Kontakt 2 users receive a 15GB library filled with sounds
by the Vienna Symphonic Library, East West, Sonic Implants and
other talented developers. This included library will get
you up and running and able to test out some of Kontakt's
newest features, including the powerful new Script Processor and
the flexible convolution engine (which ships with 130MBs+
of Impulse Response files). The scripting function can make
good use of the unlimited GROUP START options and Kontakt's
ability to assign any controller to any filter and/or effect
parameter.
To get the most out of the included library, be sure to
apply some of the new or improved, quality, internal effects
(reverb, inverter, compressor and more), which are all completely
compatible with Kontakt's new output and buss routing. Then,
apply Kontakt’s included Surround Panner effect, capable
of 16 discrete outputs (adhering to industry standards such
as 5.1 and 7.1 set-ups). All of the internal effects are
of course compatible in all Surround modes. More on the step-by-step
process for this in future articles.
New Database System
To help organize the included library, along with any other
sample library on your local discs, there is a new Database
system, which can quickly catalog your sample and instrument
folders for reduced search and loading times. Coupled with
the new import function, Konvert, built by Translator™ developer
Garth Hjelte, Kontakt can now catalog and import almost any
instrument format, including the up-till-now uncrackable,
GS3 format.
Those who are into programming and tweaking their own instruments
will appreciate the attention given to the new interface,
mapping editor, loop editor – and the ability to break
any of these windows off into a separate pane for multiple
monitor viewing. Fans of dance/atmosphere music will appreciate
the addition of a built in Metronome and Tuning Knob on the
new Master Track.
With the inclusion of a new on-screen keyboard/mod wheel/pitch
wheel (finally!), the ability to preview any wav file before
mapping it, the updated browser and the option to resize
Kontakt's screen space – I would say the GUI has been
paid as much attention to as the tech specs. Many users'
only complaint with Kontakt 1.x was its interface, and the
new tabs system works very well in reducing redundant clicking
or scrolling. NI listened to the suggestions from users and
have turned out a stellar interface.
Tabs System
There really have been very few software programs that I
could just load-and-go with. Most evenings, long after the
DHL man has dropped off my latest software purchase, you’ll
find me curled up on the couch with a Coke and a thick manual.
Usually reading of menus with the frequently used features
hidden the deepest, wild new keyboard shortcuts (going against
everything MS Word has taught us), and new feature names
that not even the best stenographer could decipher. But…
I am happy to say – Kontakt 2 afforded me no time
on the couch with a Coke.
As a Sample Library Producer, I use Kontakt mostly as a
developmental tool. What sparks my interest above all else
in Kontakt, is how visual the program is. A lot of the tweaking
is drag-and-drop, or via knobs and sliders. I love this approach
when compared to editing long blocks of text fields for parameters
in other development tools. The loop editor, the mapping
editor, even the group editor are all very visual. And the
option to now break off any of these editors into its own
pane makes me one happy mapper.
The ability to use multiple group start options on any given
group, frees one up creatively to program more flexible instruments.
The best libraries aren’t the ones that sound best,
or take up the most hard drive real estate – but rather
are the ones that are the easiest to play. Kontakt takes
the cake in this area with the ability to control any parameter
via any CC message from a MIDI controller (including effect
parameters).
Future articles will focus on step-by-step programming tutorials
for all the features mentioned here, suffice to say, that
anyone who has programmed in Kontakt 1, or simply tinkered
around with a few stock instruments, will have no trouble
finding their way around the new interface. The inclusion
of multiple manuals focusing on Kontakt, and one devoted
solely to the new Script Processing function, doesn’t
hurt either.
Convolution Engine
I was most excited to try out NI’s new convolution
engine. A convolution engine applies an impulse response
file to your instrument. An impulse response is a snapshot,
a sample, of an acoustic area – a concert hall, a scoring
stage or even unique environments like valleys and caves.
These snapshots, when applied in a musical context, produce
reverbs that no digital unit can reproduce.
I've gone through my fair share of IR engines and wanted
to put Kontakt's to the test. I’m afraid to say I was
disappointed with most of the included impulses, however,
upon loading one of my favorite IRs from GOS (Concert
Hall 1), I knew NI had something special. The included impulses
(more than 130MBs of concert halls, chambers and special
effects) will get you started – but I have a feeling
you will be shopping around for a quality IR collection shortly.
My instruments are all created from actual acoustic samples;
therefore, I haven't tried my hand at any filter/oscillator-based
sounds yet, though I hear others are making good use of the
new filters. The PRO-53 filter is a classic analog emulation
and the 4-Stage Ladder filter is modeled after popular 3
oscillator synthesizers. As for manipulation of acoustic
samples, the internal effects, including a compressor, EQ,
chorus effect and inverter are more than enough to get you
sound designing instantly. The best part about the routing
and effects applications is that, as mentioned before, its
all visual – all drag-and-drop.
Surround Panner
I find myself not reaching for the Surround Panner as much
as I initially thought I would. I'm currently engulfed in
the new SACD albums I've purchased – but I tend to
do a lot of my sound engineering in SAW Studio,
where I am using Kontakt as a VST plug-in. It's good to know
the Surround options are there – and that all the effects
are Surround compatible.
On the other hand, I rely heavily on the new Konvertor from Rubber
Chicken Software. Importing most instruments
on the fly, I’ve only been caught up once or
twice on some deeply programmed gig files. After an
easy fix, (which is already included in the newest
update, thank you NI) I’m tearing open some of
my older libs to apply the new effects and convolution
engine to. You'd be surprised what a mic model and
concert hall impulse will do to breath new life into
some great samples from the past.
I've also had great success with the new DFD engine. My
RAM specs are embarrassing when compared to most, at a modest
768MBs, but I find that with K2 I'm able to load some of
the biggest patches and not have to keep my eye on the Task
Manager. Even more impressive is the innovative “RAM
Purge” option. RAM Purge unloads all samples not being
used by the currant performance from memory, making sure
not to waste any valuable memory. For instance, if playing
a four-note guitar arpeggio, RAM Purge can unload all samples
but the few needed to repeat the four-note arpeggio. Reloading
is only a click away, for those times when you decide to
change the song’s key and need a few of those discarded
notes back.
Since Native Instruments introduced Kontakt in 2002, the
softsampler has quickly grown in popularity with both professional
and amateur sound developers. The advanced features of the
Kontakt engine are powering orchestral libraries by Garritan, Kirk
Hunter, East West,
and most recently, the Vienna Symphonic Library’s
Horizon Series – while it’s flexibility
and ease-of-use is appealing to hobbyists creating their
own custom sounds. Native Instruments has succeeded in creating
an inspired product for all electronic musicians.
With a huge sampling project on the horizon I'm looking
forward to the challenge knowing I'll have Kontakt as my
toolbox...
In my future articles for SonicControl,
I 'll focus on detailed instrument programming tips, tutorials,
and a special ‘how-to’ article for the new Script
Processor. Developers are masters at what
they do, especially when the native sampler's functions are
understood completely by the developer. But developers have
certain ways they like to see instruments 'play' and 'feel'.
So, while this was a quick review and introduction to Kontakt,
the remainder of these articles I write, will teach you,
the user, as many programming tricks and tips as I know,
to put the power in your hands.
Each article
will focus on a unique area of programming and all the
options available for tweaking within that area. Kontakt
is huge and could never be fully explored in the limited
time and space of one article. But each new month we
will explore how deep Kontakt's programming allows you
to go, and I hope my advice will enable you to customize
and optimize your personal instruments.
For Kontakt
2 informations, click
here.
Alan
Lastufka is both a musical arist and sample library producer
for Bela D Media where he develops exclusively with Kontakt.
Alan lives in Chicago and is producing his first musical
album releasing Fall 2005. Write alan@soniccontrol.com
