{"id":19028,"date":"2022-03-11T15:06:20","date_gmt":"2022-03-11T15:06:20","guid":{"rendered":"https:\/\/www.garnishmusicproduction.com\/sampling-in-kontakt-and-maschine-part-1\/"},"modified":"2022-03-11T15:06:20","modified_gmt":"2022-03-11T15:06:20","slug":"sampling-in-kontakt-and-maschine-part-1","status":"publish","type":"post","link":"https:\/\/www.garnishmusicproduction.com\/sampling-in-kontakt-and-maschine-part-1\/","title":{"rendered":"SAMPLING IN KONTAKT AND MASCHINE PART 1"},"content":{"rendered":"

Kontakt 5<\/span> is the most amazing sampler I\u2019ve ever come across without a doubt. <\/span>It\u2019s an absolute powerhouse for<\/span> sound creation and comes with<\/span> a vast<\/span> library<\/span> of instruments covering everything from a full Classical Orchestra and<\/span>
authentic sounding acoustic pianos to<\/span> synthesisers,<\/span> percussion and vintage<\/span> drum machines. Kontakt is also the only sampler that can truly b<\/span>reak free of<\/span> the whole \u2018pitch and time\u2019 rulebook giving elastic audio a new definition.<\/span><\/p>\n


1.<\/span> Sampling Basics<\/span>
Whether you\u2019ve graduated from the Basic course here at Point<\/span> B<\/span>lank or<\/span> you\u2019ve dived in without studying here before it\u2019s worthwhile refreshing our<\/span> m<\/span>inds as to what exactly sampling is.<\/span> In week 1 we looked at the Sampling process where analogue sound is<\/span> converted into Digital via an A\/D converter. Back in the day, Hardware<\/span> Samplers were the only tools for the job and came with their own A\/D<\/span> converters<\/span> built in\"\"
\nYou would take a lead from whatever you were sampling, say a mixer with a turntable connected and plug it into the sampler\u2019s input. Using that tiny LCD screen and the tools on offer you would arm the sampler, cue the record to
the point you want to sample and then push record. Once converted to a digital audio waveform you could edit that sound\u2019s start and end point, maybe add a loop (we\u2019ll talk about these later) and then map the sound onto a key or
several keys on the keyboard so that you can play it.<\/span><\/p>\n


It’s worth noting that software samplers don\u2019t have an input stage, they use pre-sampled WAV\/AIFF files instead. This means that if you want to record sounds into your sampler you\u2019ll have to import audio via your Sequencer or a
dedicated Wave Editor.<\/span><\/p>\n


Software samplers come in many forms, there are a lot of them out there, but there is a reason why Kontakt is becoming the closest thing you can get to an industry standard. It’s a tool that gives you incredible flexibility and power. Kontakt can be used either standalone and in your sequencer and we’ll be looking at both of these.
\n<\/span><\/p>\n

 <\/p>\n

2.<\/span> Introduction to Kontakt<\/span><\/p>\n

\"\"
\n(The Kontakt Interface)<\/span><\/p>\n

The Kontakt<\/span> Interface<\/span> is split<\/span> into 4 main areas:<\/span>
\u2022<\/span> The Browser to the left<\/span>
\u2022<\/span> The Main C<\/span>ontrol Panel section to the top<\/span>,<\/span>
\u2022<\/span> The rack containing<\/span> the Multi Instrument Header and<\/span> individual<\/span> instruments<\/span>
\u2022<\/span> The output section to the bottom. This can be a musical keyboard or an<\/span> Output mixer depending on the selection made from the Main Control<\/span> Panel<\/span><\/p>\n

K<\/span>ontakt 5 can be loaded into your host DAW in a variety of plugin formats<\/span>
(AU, VST, AAX) and in any configuration up to 32 outputs. Each DAW<\/span>
handles this differently so it’s advisable to look at the configuration in Kontakt<\/span>
5 first.<\/span><\/p>\n


Thankfully Kontakt mak<\/span>es this relatively painless and then allows you to save<\/span>
different default configurations depending on the type of use you want.<\/span><\/p>\n

Before set up it’s worth thinking about the number of outputs you would <\/span>realistically use in any given scenario and setting the<\/span>m accordingly. For <\/span>example, if you are using a Kontakt multi as a full orchestra with individual<\/span> Kontakt instruments for each section it may be worth using multiple outputs.<\/span> But if you are using it for one or two sounds, say layering for sound design,<\/span> then<\/span> a stereo pair may be more apt.<\/span><\/p>\n

3. Configuring Outputs<\/span>
On the Master Control Section, p<\/span>ush the Outputs button at the top of the<\/span> Kontakt screen to access the configuration section. Kontakt\u2019s outputs default<\/span> internally to 2 stereo and a single Surround (5.1<\/span>)<\/span> channel<\/span> \u2013<\/span> not your typical <\/span>music production setup to be honest, so let\u2019s so<\/span>rt that out. For our example <\/span>we’re going to configure the default for 8 stereo channels.\"\"
\nIt’s possible to delete individual channels by clicking in the top right hand part of the channel (it will highlight yellow) and pressing delete channel, but there’s a far quicker way of doing things!
\"\"1. Click the Add Channel button<\/span><\/p>\n

2. Change Quantity to 8 and leave Number of channels set to 2. This will create 8 stereo channels.<\/span><\/p>\n

3. If you are in standalone mode, then the Soundcard\/Host output option will show you your physical sound card
outputs. If you are using a sound card with a limited amount of outputs <\/span>then it’s best to leave<\/span> the<\/span> Ascending output assignment<\/span> box<\/span> unticked. If you are in your host sequencer, then the dropdown box will<\/span> show you the available inputs to your sequencer.<\/span> NOTE: The list is<\/span> sequential and starts at the top with input 1 L then input 1 R, then input <\/span>2 L an<\/span>d input 2 R and so on down the list, regardless of what they<\/span>actually say!<\/span><\/p>\n


4.<\/span> Make sure that you have Delete existing channels before creating new <\/span>ones selected<\/span><\/p>\n

5.<\/span> Click<\/span> OK<\/span> and the channels will be created<\/span><\/p>\n

6.<\/span> Now to make these changes permanent click on the<\/span> Make<\/span> Default <\/span>button<\/span><\/p>\n

The Presets\/Batch configuration drop down allows you fine tune your output<\/span>
section further by saving its state for different formats.<\/span><\/p>\n

\"\"<\/p>\n

4. What\u2019s in the Kontakt Rack?<\/span>
Multi Instrument Header<\/span><\/p>\n

\"\"
\nKontakt<\/span> is c<\/span>apable of receiving up to 64 individual MIDI channels (4 banks of<\/span> 16 channels)<\/span>, which<\/span> means that you can have up to 64<\/span> separate instruments <\/span>in a Multi<\/span>, each receiving on their own midi channel i.e.<\/span><\/p>\n

\u2022<\/span> Midi Channel 1: Bass<\/span>
\u2022<\/span> Midi Channel 2: Piano<\/span>
\u2022<\/span> Midi Channel<\/span> 3: Strings<\/span><\/p>\n

The multi header (or<\/span> Multi<\/span> for short) provides information about the whole<\/span>
rack as follows (left to right)<\/span><\/p>\n

1.<\/span> Quickload Multi into the Same Slot.<\/span> The drop<\/span>–<\/span>down menu to the left<\/span>
of the Name field allows you to select a new Multi from the Quicklo<\/span>ad<\/span>
list replacing the existing.<\/span>
2.<\/span> Multi Name.<\/span> Enter a name by double<\/span>–<\/span>clicking the name field and<\/span>
typing in a new one. To edit a name, drag across the section to be<\/span>
changed, and overtype the changes.<\/span>
3.<\/span> Load Next\/Previous Multi into the Same Slot.<\/span> The left\/right<\/span> arrows<\/span>
to the right of the Name field select the previous or next Multi in the<\/span>
current folder on your hard drive. Selecting this replaces the existing<\/span>
Multi.<\/span>
4.<\/span> Choose Multi Page.<\/span> Choose one of 4 potential slots of 16<\/span>
Instruments. Each page can hold 16 Instr<\/span>uments or Banks, and each<\/span>
of these can have its own MIDI channel if you want.<\/span>
5.<\/span> Show\/Hide the global Script Editor.<\/span> The Script editor is a powerful<\/span>
and flexible scripting language that allows you to interact with the MIDI<\/span>
side of Kontakt. As you will see sh<\/span>ortly it is capable of doing some<\/span>
amazing things and lies at the heart of multi and instrument<\/span>
customisation.<\/span>
6.<\/span> Show\/Hide Aux Send strips<\/span>.<\/span> Shows or hides the Aux FX Send strips<\/span>
located below each Instrument in the rack<\/span> \u2013<\/span> we\u2019ll be looking at these<\/span>
next week<\/span>
7.<\/span> M<\/span>aximise \/<\/span> Minimize all Instrument Headers.<\/span> This<\/span> maximises or<\/span>
reduces the space that Instrument Headers take up vertically in the<\/span>
rack<\/span> \u2013<\/span> very handy if the screen is cluttered.<\/span><\/p>\n

 <\/p>\n

5. Loading Instruments<\/span><\/p>\n


KONTAKT 5<\/span> includes a comprehensive library overflowing w<\/span>ith top<\/span>–<\/span>quality<\/span>
instruments:<\/span> As well as the factory library containing<\/span> a selection of orchestra<\/span>l,<\/span>
band and synthesised instruments, there other libraries include the amazing<\/span>
Studio Drummer, The Giant piano, 3 beautifully sampled pianos and other<\/span>
libraries<\/span> catering for a wide range of styles and genres<\/span>
You can load an instrument from one of 3 places;<\/span>
1.<\/span> The Browser<\/span> \u2013<\/span> click on the instruments tab in the relevant library and<\/span>
then<\/span> double click<\/span> on<\/span> the<\/span> desired<\/span> instrument name or drag it into an<\/span>
empty space on the<\/span> rack<\/span>
2.<\/span> The Multi<\/span>–<\/span>Instrument Header<\/span> Load\/Save<\/span> menu<\/span> –<\/span> navigate to<\/span> Files\/<\/span>New<\/span>
Instrument from List<\/span> to access the<\/span> Quickload<\/span> menu and choose from<\/span>
the list i.e. Grand Pianos > Steinway D ><\/span> Steinway D Lite<\/span>
3.<\/span> An existing Instrument<\/span> \u2013<\/span> Drop down the Quickload menu (Down<\/span> arrow<\/span>
to the left of Instrument name) and navigate or click on the left\/right<\/span>
arrows to load the previous\/next instrument in the quickload list.<\/span>
All that needs to be done for you to play the instrument is for you to assign the<\/span>
correct Midi Transmit chan<\/span>nel in your sequencer and away you go.<\/span>
Minimized Instrument Header View Parameters<\/span><\/p>\n

\"\"(Minimised Instrument Header<\/span>)<\/p>\n

 <\/p>\n

The Minimized view appears when you first bring an Instrument into the rack, <\/span>or create a new Instrument. You can do the following from the mi<\/span>nimized <\/span>view.<\/span><\/p>\n


1.<\/span> Edit Instrument.<\/span> Open the Instrument to reveal its various modules for<\/span> detailed editing<\/span><\/p>\n

2.<\/span> Quickload Instrument into the Same Slot.<\/span> The drop<\/span>–<\/span>down menu to <\/span>the left of the Name field allows selecting a new Instrument from the<\/span> Quickload list (as d<\/span>escribed in the Browser section). Selecting this<\/span> replaces the existing Instrument.<\/span><\/p>\n

3.<\/span> I<\/span>nstrument Name.<\/span> Enter a name by double<\/span>–<\/span>clicking the name field and<\/span> typing in a new name. To edit a name, drag across the section to be <\/span>ch<\/span>anged, and type in any changes.<\/span><\/p>\n

4.<\/span> Loa<\/span>d Next\/Previous Instrument into the Same Slot.<\/span> The left\/right <\/span>arrows to the right of the Name field select the previous or next<\/span> Instrument re<\/span>spectively in a list of Multis (<\/span>e.g.,<\/span> Multis all stored in the<\/span> same directory). Selecting this replaces the existi<\/span>ng Instrument.<\/span><\/p>\n

5.<\/span> Solo and Mute buttons.<\/span> S<\/span> is Solo,<\/span> M<\/span> is Mute.<\/span><\/p>\n

6.<\/span> Volume<\/span> and Pan<\/span> Sliders<\/span>.<\/span> Volume is on top and Pan on the bottom<\/span><\/p>\n

7.<\/span> Output Meters & Volume Slider<\/span> These show the Instrument\u2019s signal<\/span> level. If the red clip<\/span>ping indicators toward the right light up, r<\/span>educe the<\/span> overa<\/span>ll level to prevent distortion.<\/span><\/p>\n

 <\/p>\n

Maximized Instrument Header View Parameters<\/span><\/p>\n

\"\"(Maximised Instrument Header<\/span>)<\/p>\n

All parameters in the Minimized View are also available in the Maximized <\/span>view, as well as the following additional parameters.<\/span><\/p>\n


\u2022<\/span> Output<\/span> We set them up earlier<\/span> \u2013<\/span> here\u2019s where you<\/span> drop down to select<\/span> which of the available outputs your Kontakt Instrument will use.<\/span>
\u2022<\/span> MIDI Port and Channel<\/span> Choose one of the 64 MIDI port \/ channel<\/span> entries, e.g. \u201cPort A \/ 3\u201d, on which the Instrument receives MIDI data. <\/span>The default is<\/span> Port A \/ 1<\/span>, where th<\/span>e Instrument responds to data<\/span> coming in<\/span> on Port A<\/span> MIDI channel<\/span> 1<\/span>. To<\/span> change this<\/span>, click on this field<\/span> and select a channel from the drop<\/span>–<\/span>down menu.<\/span> Note:<\/span> To layer<\/span> Instruments, simply set the same MIDI channel for two or more<\/span> Instruments.<\/span> By default multipl<\/span>e instruments will be given sequential <\/span>MIDI channel numbers as they are loaded<\/span>
\u2022<\/span> Voices (Note Symbols)<\/span> This shows how many voices are in use at<\/span> any given moment, and is not an editable parameter.<\/span>
\u2022<\/span> Memory<\/span> This read<\/span>–<\/span>only indicator displays how much RAM the<\/span> Inst<\/span>rument has reserved for itself.<\/span>
\u2022<\/span> Max<\/span> This sets the maximum number of voices that will be allocated to<\/span> this In<\/span>strument. Click on this field and drag up or down to increase or <\/span>decrease respectively the maximum number of notes the Instrument <\/span>can play. For the<\/span> most efficient operation, do not use more notes than<\/span> is needed, as each note requires a certain amount of CPU power. For<\/span> example, with bass, you seldom need to assign more than 2 or 3 notes. <\/span>However, with an instrument like piano with a long release time,<\/span> several notes may sound simultaneously as they decay. For this, you<\/span> would need to assign more notes to avoid \u201cvoice stealing\u201d (i.e., newer<\/span> notes have to steal a voice from notes still sounding in order not to<\/span> exceed the maximum amount of polyphony).<\/span>
\u2022<\/span> Purge<\/span> analyzes which samples were used in an arrangement, and<\/span> removes from RAM any samples th<\/span>at weren\u2019t used. Thus, KONTAKT 5<\/span> can handle huge amounts of samples while exhibiting very low RAM<\/span> usage. Although the Purge function is available on a Global level, in <\/span>this case it can also purge samples from individual instruments. <\/span>Instrument purge is handy if you\u2019ve finished a part; you can purge<\/span> samples for that Instrument alone, thus freeing up RAM for additional <\/span>overdubs.<\/span>
\u2022<\/span> Tune<\/span> This changes the Instrument\u2019s maste<\/span>r tuning in semitones, up to<\/span> \u00b112 semi<\/span>tones (one octave). To fine tune the control, hold down the<\/span> Shift key while dragging the mouse<\/span>
\u2022<\/span> Aux Show\/Hide Button<\/span> This is just below the Minimize\/Maximize<\/span> button. Click to show or hide the Aux Sends strip below the I<\/span>nstrument<\/span> maximized view (this button is not vis<\/span>ible in the minimized view).<\/span><\/p>\n

6. Script Processor<\/span>
This wicked tool might seem a bit techie (and it is!) but it is well worth<\/span> checking out. The Script Processor basically allows you to manipulate <\/span>incoming Mid<\/span>i data and transform it within the Kontakt Instrument itself, much<\/span> like midi insert plugins on your sequencer. There\u2019s a large collection of preset<\/span> Scripts including Chord Generators and Arpeggiators so let\u2019s have a look at<\/span> an introductory example without<\/span> having to even look at the code itself.<\/span>
1.<\/span> Load a piano instrument or anything that plays a variety of pitches.<\/span>
2.<\/span> Open up the instrument by clicking on the<\/span> Wrench<\/span> on the Instrument <\/span>Header<\/span>
3.<\/span> Click on the<\/span> Script Editor<\/span> button to open up the grey horizontal Script<\/span>s<\/span> Module.<\/span>
4.<\/span> Drop down the<\/span> Script<\/span> Menu on the left hand side and select<\/span> Harmonization > Harmonize<\/span>
5.<\/span> Now click the next empty<\/span> Script tab<\/span> a<\/span>nd drop down the Script Menu to<\/span> select<\/span> Sequencing > Arpeggiator<\/span><\/p>\n

\"\"<\/p>\n

6.<\/span> Now for the coo<\/span>l bit, with the Arpeggiator tab selected, find the 16<\/span>th<\/span> grid<\/span> display and drag a couple of the vertical volume bars down<\/span> \u2013<\/span> the image <\/span>below is a good guide.<\/span><\/p>\n

\"\"<\/p>\n

7.<\/span> Now play on your keyboard and you\u2019ll get an automatic La<\/span>tin vibe that<\/span> can be modulated up and down in pitch whilst playing the keys on the<\/span> keyboard up and down.<\/span>
8.<\/span> Try changing the notes in the<\/span> harmonizer<\/span> script for different chords.<\/span> Hopefully this demonstration has shown a little bit of the potential of the<\/span> scri<\/span>pts, you\u2019ll find a good gu<\/span>ide to them all in the Kontakt 5<\/span> Docum<\/span>entation<\/span> folder called Kontakt 5<\/span> Script Library.pd<\/span><\/p>\n

 <\/p>\n

7. Building a Kontakt Instrument<\/span>
Mapping Editor<\/span><\/p>\n

The Mapping Editor is where you place samples on the keyboard, layer them <\/span>in Zones, assign<\/span> them to specific velocity ranges, do velocity<\/span>–<\/span> or pitch<\/span>–<\/span>based <\/span>crossfading among overlapping samples, and more.<\/span><\/p>\n

\"\"<\/p>\n

<\/div>\n
Point Blank LTD<\/span> 12<\/span><\/div>\n
Once the Mapping Editor is open, you\u2019ll see three main fe<\/span>atures\/<\/span> From top to<\/span> bottom, these are:<\/span>
1.<\/span> An Upper Edit strip with various buttons, and<\/span> a sample selection field<\/span> toward the lower right.<\/span>
2.<\/span> A Zone Info strip that displays several Zone<\/span>–<\/span>related parameters<\/span>
3.<\/span> A keyboard along the bottom and a blank space above it, called the<\/span> Zone Field. Assuming your MIDI keyboard is hooked up properly,<\/span> playing notes<\/span> should place little red dots in the field. The height of the<\/span> dot corresponds to velocity.<\/span><\/div>\n
<\/div>\n
Note that there are horizontal and vertical scroll bars with + and<\/span> \u2013<\/span> zoom <\/span>buttons,<\/span> allowing you to zoom in and out on the Zone map.<\/span><\/div>\n

Mapping Samples<\/span><\/div>\n
Dragging a sam<\/span>ple from the browser or desktop into the Mapping Editor <\/span>creates a<\/span> Zone<\/span>. You can also shift<\/span>–<\/span>click on multiple samples, or click<\/span>–<\/span>drag a <\/span>rectangle around contiguous samples, and drag them all into the editor. <\/span>Dragging the sample toward the top of the Zone Fie<\/span>ld widens its keyrange,<\/span> while dragging toward the bottom of the Zone field narrows it. If you drag over<\/span> multiple samples, they will occupy consecutive keyranges, whose width also<\/span> depends on whether they are dragged toward the editor\u2019s top or bottom. <\/span>Dragg<\/span>ing multiple samples on the key itself places them one on top of each <\/span>other, with the first sample in the list appearing at the bottom<\/span> \u2013<\/span> very handy <\/span>when building velocity<\/span>–<\/span>switched or velocity<\/span>–<\/span>crossfaded presets.<\/span><\/div>\n

There are three ways to select Zones.<\/span>
\u2022<\/span> Clic<\/span>k on the Zone.<\/span>
\u2022<\/span> Shift<\/span>–<\/span>click to select multiple Zones.<\/span>
\u2022<\/span> Click in a blank spot in the Zone Field, outside of the Zones you want <\/span>to select, then draw a rectangle around the Zones to be selected. Even <\/span>if a Zone hides another Zone by being overlaid on it, both wi<\/span>ll be<\/span> selected if you drag over them. <\/span><\/div>\n
When you select multiple Zones, the one with the thickest outline is the Zone <\/span>with the current focus.<\/span>
Drag the boundaries of zones to spread them up or down the keyboard,<\/span> vertically to cover the velocity ranges.<\/span><\/div>\n
<\/div>\n
The Wave Editor<\/span>
This editor allows you to work directly on the sample contained in a specific <\/span>zone.<\/span><\/div>\n
\"\"(The<\/span> Wave<\/span> Editor Window<\/span> showing the Sample Loop tab<\/span>)<\/div>\n
<\/div>\n
There are four tabs at the bottom of the wave editor that give you access to a <\/span>variety of different<\/span> functions:<\/span>
\u2022<\/span> Sample Loop<\/span>, here you can add up to 8 different loops to the sample.<\/span>
\u2022<\/span> Sync\/Slice, allows you to chop up the sample into slices, we\u2019ll look at <\/span>this next week in more detail.<\/span>
\u2022<\/span> Zone Envelopes<\/span> applies modulation directly to the waveform, we will be <\/span>looking at this next week.<\/span>
\u2022<\/span> Sample Editor,<\/span> gives you access to sample edit functions like copy, <\/span>paste etc.<\/span><\/div>\n
<\/div>\n
There are three main ways to call up the<\/span> Wave<\/span> Editor:<\/span><\/div>\n

\u2022<\/span> With the Instrument editor open, click on the Zone you want to edit in <\/span>the Mapping Editor, the<\/span>n click on the<\/span> Wave<\/span> Editor button.<\/span>
\u2022<\/span> Open the<\/span> Wave<\/span> Editor, then click on a Zone.<\/span>
\u2022<\/span> If the<\/span> Wave<\/span> Editor isn\u2019t open, double<\/span>–<\/span>click on a Zone to open the Loop <\/span>Editor<\/span> and<\/span> load the Zone\u2019s sample. <\/span><\/div>\n
<\/div>\n
If multiple Zones are selected, the one with the focus (thicker yellow<\/span> outline) <\/span>will appear in the<\/span> Wave<\/span> Editor when invoked.<\/span><\/div>\n

Furthermore, there are horizontal and vertical scroll bars with \u201c+\u201d and \u201c<\/span>\u2013<\/span>\u201d <\/span>zoom buttons, allowing you to zoom in and out on the loop. These features <\/span>allow for very detailed, precise loop editing.<\/span><\/div>\n
\n
<\/div>\n
Th<\/span>e Loop Editor is calibrated along the top in seconds. The \u201c+\u201d and \u201c<\/span>–<\/span>\u201d but<\/span>tons<\/span>toward the lower section of the right scroll bar changes the magnification of <\/span>the waveform amplitude, by zooming in and zooming out, respectively. The<\/span>
bottom scroll bar views di<\/span>fferent portions of the Sample; the \u201c+\u201d and \u201c<\/span>–<\/span>\u201dbuttons <\/span>zoom<\/span> in<\/span> and<\/span> out,<\/span> respectively.<\/span> The<\/span> calibrations<\/span> along<\/span> the<\/span> top<\/span> vary<\/span> to <\/span>accommodate changes caused by horizontal zooming.<\/span><\/div>\n

View Menu<\/span>
When editing a sample, it\u2019s convenient to be able to jump to differen<\/span>t portions <\/span>of the waveform. The location you select will be centred in the viewing area. If <\/span>there are no loops, the choices are Sample Start and Sample End. If there are <\/span>loops, the view can also jump directly to the selected Loop Start or Loop End, <\/span>as well<\/span> as enable the Loop Editor (described later).<\/span><\/div>\n

Here are details on each option:<\/span>
\u2022<\/span> Go to Sample Start:<\/span> The sample start point appears at the left<\/span>–<\/span>most <\/span>side of the viewing area.<\/span><\/div>\n
<\/div>\n
\u2022<\/span> Go to Sample End:<\/span> The sample end point appears at the right<\/span>–<\/span>most <\/span>side of the view<\/span>ing area.<\/span><\/div>\n
<\/div>\n
\u2022<\/span> Go to Loop Start:<\/span> Centres<\/span> the selected loop start point in the<\/span> centre<\/span> of <\/span>the viewing area.<\/span><\/div>\n
<\/div>\n
\u2022<\/span> Go to Loop End:<\/span> Centres<\/span> the loop end point in the<\/span> centre<\/span> of the view<\/span>ing <\/span>area.<\/span><\/div>\n

\u2022<\/span> Show Both Channels:<\/span> When enabled (as indicated by a diamond to the <\/span>left of<\/span> the menu option), both channels of a stereo file are displayed. <\/span>When disabled (as indicated by a blank space to the left of the menu<\/span>option), both channels are summed together in mono.<\/span><\/div>\n

\u2022<\/span> Loop Edit Mode:<\/span> This splits the screen in two parts. The left part sho<\/span>ws<\/span>the end of the selected loop. The right shows the start of the selected <\/span>loop. This allows judging how well the two match up, as the transition <\/span>should be as seamless as possible; you can change the loop start and<\/span>end parameters to adjust the loop, while<\/span> seeing the results in real time.<\/span><\/div>\n

Snap Menu<\/span>
The Snap menu chooses whether Loop Start and End points will \u201csnap\u201d to <\/span>places where the signal amplitude is equal, thus minimizing clicks or pops <\/span>caused by an abrupt level change when the loop jumps back to the b<\/span>eginning. <\/span>It\u2019s generally thought that any Loop Start and End points should be at zero <\/span>amplitude for optimum looping. However, the crucial aspect is not necessarily <\/span>that the points be at zero amplitude, but that they have equal amplitude. So, <\/span>KON<\/span>TAKT 5<\/span> offe<\/span>rs two different ways to optimize loop points. <\/span>For example, some loops sound more seamless when the Loop Start and End<\/span>points are on peaks of the signal.
\n<\/span><\/div>\n

\u2022<\/span> Snap to Zero Crossing:<\/span> Snaps the Loop Start or Loop End point <\/span>(whichever is being adjusted) to the<\/span> nearest zero crossing that sits in a transition from negative to positive. Note: In some cases, you\u2019ll obtain a better loop by setting loop points at zero crossings where the signal transitions from positive to negative. For this, use \u201cSnap to Value Crossing\u201d (described next) instead.<\/span><\/div>\n

\u2022 Snap to Value Crossing: If you set one of the Loop points to a particular value with Snap off, then turn on Snap to Value Crossing, adjusting the other loop point will snap it to a part of the waveform with the same level, and with a transition in the same direction (e.g., goes more positive or more negative through the value crossing).<\/span><\/div>\n

Command Menu<\/span><\/div>\n

KONTAKT 5 includes some basic artificial intelligence to help find good loop points; it can analyse a waveform and decide where good loop point candidates would be. While not infallible, this can speed up the process of finding good loops. The Command menu also provides other functions. <\/span><\/div>\n
<\/div>\n
Find Loop End (Short): If you\u2019re not happy with a file\u2019s loop points, this function searches through the waveform, seeks out a possible candidate for a good Loop End point that\u2019s close to the existing End point, and changes the loop end accordingly. You can continue trying this if the new suggested End point isn\u2019t satisfactory.<\/span><\/div>\n

Find Loop End (Long): This is a similar automated loop finding function, but can lengthen the loop considerable if KONTAKT 5 thinks the end result will be a good Loop End point. As with finding short loops, you can apply this
repeatedly if desired.<\/span><\/div>\n

Restore Loops From Sample: Reverts to the original loop settings when youopened the sample, thus undoing the effect of any loop editing you\u2019ve done.<\/span><\/div>\n

Remove DC Offset: Removes sub-sonic artefacts. While inaudible, these take up bandwidth and therefore limit headroom during the mixing process. The process of transposing and processing samples can create these
artefacts, so it\u2019s recommended that before looping, you invoke DC Removal to have the \u201cpurest\u201d sample possible. Note that this is a destructive operation that overwrites the sample data on disk.<\/span><\/div>\n

To All Selected Zones:
The above commands apply to individual samples. However, you can also choose several options for all selected zones. <\/span>These are:
\u2022 Copy Current Zone\u2019s Loop Settings: The current Zone\u2019s loop settings are applied to all selected Zones.
\u2022 Restore Loops from Samples: The same as for a single Zone, but affects all selected Zones.
\u2022 Adjust Loop Ends \u20131: Moves all loop ends one sample to the left, thus making the loop one sample shorter.
\u2022 Adjust Loop Ends +1: Moves all loop ends one sample to the right, thus making the loop one sample longer.
\u2022 DC Removal: Removes DC offset for all selected Zones.
\n<\/span><\/div>\n
<\/div>\n<\/div>\n
The ability to adjust loop ends by one sample is important because some <\/span>audio editors handle loop points differently. If you bring a l<\/span>ooped sample from<\/span> a digital audi<\/span>o editing program into KONTAKT 5<\/span> and the loop is not correct, try<\/span>
using these options to compensate.<\/span><\/div>\n

Wave Editor Information Strip<\/span><\/div>\n

These parameters show various loop characteristics.<\/span>
\u2022<\/span> Sample:<\/span> Shows the name of the sample lo<\/span>aded into the Loop Editor.<\/span>
The two arrows choose the next and previous sample in a list of<\/span>
samples (e.g., the samples in a directory), and loads the selected<\/span>
sample into the Loop Editor.<\/span>
\u2022<\/span> S.<\/span> Start:<\/span> Sets how far into the sample that playback begins. For<\/span>
exam<\/span>ple, starting later can bypass a sound\u2019s attack. The value shown<\/span>
is in samples. Edit this parameter by clicking and dragging the green<\/span>
\u201cS\u201d (Sample Start) marker.<\/span>
\u2022<\/span> S. End:<\/span> Sets where sample playback ends. Edit this parameter by<\/span>
clicking and dragging the red<\/span> \u201cE\u201d (Sample End) marker.<\/span>
\u2022<\/span> Bits:<\/span> Displays the Sample\u2019s bit resolution. This cannot be edited.<\/span>
\u2022<\/span> S. Rate:<\/span> Shows the Sample\u2019s sample rate. This cannot be edited.<\/span>
\u2022<\/span> Len:<\/span> Shows the Sample\u2019s total length, in seconds. This cannot be<\/span>
edited.<\/span>
Sample Loop Tab<\/span>
The<\/span> sampl<\/span>e loop tab<\/span> below the waveform determines the number of loops (up<\/span>
to 8) and whether they are enabled or not. The reason for having multiple<\/span>
loops is that you can repeat a loop for a specific number of times. As just one<\/span>
example, you could load a 16<\/span>–<\/span>bar samp<\/span>le of, say, a vocal, and loop specific<\/span>
parts for a certain number of times to create a \u201cstuttering\u201d effect.<\/span>
Loop Selection buttons:<\/span> Before editing a loop, you first need to select the<\/span>
one you want to edit. Click on one of the 8 loops for editing. The but<\/span>ton for a<\/span>
loop being edited glows orange. Buttons for any other loops that are turned on<\/span>
are blue, while loops that are turned off (and therefore have no effect on the<\/span>
sound) are gray. Note that these buttons themselves do not turn loops on and<\/span>
off, but in<\/span>stead select them for editing.<\/span> You can also select a loop for editing by clicking on it in the waveform view.<\/span>
Its corresponding button will glow orange.<\/span><\/div>\n
<\/div>\n
Loop Mode<\/span><\/div>\n

There are six looping modes.<\/span>
\u2022<\/span> Off:<\/span> Turns off the loop. The waveform view will no longer sho<\/span>w the<\/span>
loop, and the loop start and end points will be reset to the beginning<\/span>
and end of the sample.<\/span><\/div>\n
\n
Until End:<\/span> Plays the loop until the note ends. If the loop extends to the<\/span>
end and there is a release time on the amplitude envelope, the loop will<\/span>
continue<\/span> during the release phase.<\/span>
\u2022<\/span> Until End <<\/span>–<\/span>>:<\/span> This is similar to Until End, but the loop plays forward,<\/span> then backward, then forward, etc.<\/span>
\u2022<\/span> Until Release:<\/span> Plays the loop as long as the note is held down. Upon<\/span> releas<\/span>ing the note, the loop stops and the rest of th<\/span>e sample after the<\/span> loop plays through.<\/span>
\u2022<\/span> Until<\/span> Release<\/span> <<\/span>–<\/span>>:<\/span> Resembles<\/span> Until<\/span> Release,<\/span> but<\/span> the<\/span> loop<\/span> plays<\/span> forward, then backward, then forward, etc.<\/span>
\u2022<\/span> One Shot:<\/span> Plays the sample one time, from sample start to sample <\/span>end, and ignores note off events. This is typi<\/span>cally used for triggering<\/span> drum sounds, which when triggered, continue until they end.<\/span><\/div>\n

Note that if there are several loops in a sample, Until End and Until Release<\/span>
affect only the last in the series of loops. The behaviour of prior loops<\/span>
depends on the Co<\/span>unt control, which determines how many times a loop<\/span>
repeats before moving on to the next loop<\/span><\/div>\n<\/div>\n
<\/div>\n
\n
8. Automation<\/span>
Here\u2019s where you can assign midi controllers or assign parameters to me<\/span> automated by the sequencer. Click the<\/span> Auto<\/span> tab in the Browser and choose<\/span>t<\/span>he desired automation Mode:<\/span><\/div>\n

\u2022 Midi Controller is for assigning knobs and sliders on your controller<\/span>
\u2022 Host is for recording Automation from the sequencer itself<\/span><\/div>\n
<\/div>\n
With<\/span> MIDI CC mode<\/span>, move the MIDI<\/span> device\u2019s control that you want to use for<\/span> parameter control<\/span> in<\/span> KONTAKT 5<\/span>. A<\/span> \u201clightning bolt\u201d will light in red to the left of <\/span>the corresponding CC number in the <\/span>browser. Click on the CC number and drag<\/span> it on top of the parameter you want to<\/span> control. A hand will appear if the<\/span> assignment is \u201clegal.\u201d Release the mous<\/span>e,<\/span>and the assignment is made.<\/span><\/div>\n

With<\/span> Host Automation mode<\/span>, select an <\/span>unused ID and either double<\/span>–<\/span>click or click<\/span> on<\/span> Set<\/span> to perform the assignment. The <\/span>automation always applies to an entire <\/span>group. <\/span>In host automation mode, make sure<\/span> you assign the automat<\/span>ion ID in Kontakt to<\/span> a parameter control BEFORE you use it in <\/span>your DAW.<\/span> Note:<\/span> Several parameters can be assigned<\/span>
to the same controller. This is great if you <\/span>want a single control to do many things,<\/span> such as increase bright<\/span>ness while<\/span>
increasing level. Als<\/span>o note that the Mod <\/span>wheel is usually fixed at Controller 1, and<\/span>
Volume at Controller 7.<\/span><\/div>\n

\u2022<\/span> Remove<\/span> To remove an automation <\/span>assignment, select it then click on <\/span>Remove<\/span>.<\/span>
\u2022<\/span> Smoothing<\/span> Incoming MIDI data is <\/span>\u201cquantized\u201d to 128 divisions.<\/span> Sweeping some param<\/span>eters wit<\/span>h this quantized signal produces a<\/span> \u201cstair<\/span>–<\/span>step\u201d or \u201czipper\u201d effect. The Smoothing parameter smoothes the<\/span> incoming MIDI data (through a process of mathematical integration,<\/span> just in case you wondered) by creating a ramp between values rather. than a sudden ju<\/span>mp. However, note that higher smooth<\/span>ing values also<\/span> make the control less responsive when controlled over MIDI.<\/span><\/div>\n

\u2022<\/span> Soft Takeover<\/span> Enabling Soft Takeover causes a parameter not to<\/span> change until an external controller matches its existing value. Example:<\/span> Suppos<\/span>e a level parameter is set to halfway, and a hardware control<\/span> assigned to level is turned all the way down. Without Soft Takeover, as<\/span> soon as move the hardware control the pa<\/span>rameter will jump to the new<\/span> value<\/span> \u2013<\/span> in this case, something close to full off. W<\/span>ith Soft Takeover,<\/span> nothing will happen as you turn up the hardware control until the<\/span> control is up halfway. It now matches the existing parameter value,<\/span> which allows it to take over parameter control.<\/span><\/div>\n

\u2022<\/span> Cancel<\/span> So you didn\u2019t really mean to assign that contro<\/span>ller after all?<\/span> Click on<\/span> Cancel<\/span>.<\/span><\/div>\n<\/div>\n
<\/div>\n
9<\/span>.<\/span> Sampling in Maschine<\/span><\/div>\n
\"\"
\nMaschine is a fully featured beat<\/span>–<\/span>making powerhouse of, well, a machine that <\/span>gives you the feel of<\/span> an old school drum machine<\/span> but with a 21<\/span> st<\/span> century heart.<\/span><\/div>\n

Although it\u2019s capable of far more, f<\/span>or the purposes of this week<\/span>,<\/span> we are going<\/span> to look at how we can use Maschine as fully featured sampler that has some<\/span> pretty nifty tricks up it\u2019s sl<\/span>eeve. By focussing on using sampler side, it\u2019ll give<\/span>
you a good insight into what it was like working with a<\/span> hardware sampler<\/span> without the limitations!<\/span><\/div>\n

Maschine 2.0<\/span>
The hardware and software side of Maschine are tightly integrated meaning<\/span> you can work on either towards the same result. We\u2019ll be looking at using it<\/span> from the hardware side but every function<\/span> works in both.<\/span> Before we begin we need to understand the hierarchy of Maschine,<\/span><\/div>\n

Sound<\/span>: The basic building blocks of all sound content. Each sound is made<\/span> up of any number of plugins (Instruments, FX etc) There are 16 Sounds in a<\/span> Group. Each sound is mapp<\/span>ed to an individual pad.<\/span><\/div>\n

Group<\/span>: Contains 16 sound slots. Each Group can have it\u2019s own effects,<\/span> example you can use this to add compression to 16 sounds making up a drum<\/span> kit. You can think of this as similar to AUX\u2019s in Logic.<\/span><\/div>\n
<\/div>\n
Sampli<\/span>ng In Maschine<\/span><\/div>\n

Maschi<\/span>ne can be used as a fully<\/span>–<\/span>fledged sampler that allows you to record <\/span>both internal and external audio signals via your audio interface. You can also<\/span> use Soundflower (on a Mac) to route signals from audio sources within your<\/span>
computer and finally you can also<\/span> use it to resample from within Maschine<\/span> itself.<\/span><\/div>\n

Firstly we need to l<\/span>oad a sampler into a sound slot:<\/span>
1.<\/span> Press CONTROL to enter Control mode.<\/span>
2.<\/span> Select the Sound, Group or the Master where you want to l<\/span>oad, remove<\/span> or replace a Plug<\/span>–<\/span>in<\/span>.<\/span>
3.<\/span> Press Button 6 (PLUG<\/span>–<\/span>IN<\/span>) to display the Plug<\/span>–<\/span>in slots of the selected<\/span> Sound, Group or the Master.<\/span>
4.<\/span> Press Button 7\/8 to navigate to the desired Plug<\/span>–<\/span>in slot. The name of<\/span> the selected Plug<\/span>–<\/span>in appears in the field between the left and right<\/span> arrows under Button 7 and 8. If there a<\/span>re no Plug<\/span>–<\/span>ins in the channel<\/span> this will read (NONE).<\/span><\/div>\n

Now you need to load a<\/span> Sampler<\/span> into the selected Plug<\/span>–<\/span>in slot:<\/span>
1.<\/span> Press SHIFT + BROWSE to open the Plug<\/span>–<\/span>in Browser and browse<\/span> for<\/span> the Sampler Plug<\/span>–<\/span>In<\/span>
2.<\/span> On the left display, use Knob 1 to select<\/span> TYPE<\/span> to<\/span> IN<\/span>TERNAL<\/span>.<\/span> The right<\/span> display shows the list of available<\/span> Plug<\/span>–<\/span>ins in this sub<\/span>–<\/span>category.<\/span>
3.<\/span> Make sure that you have selected the<\/span> first Plug<\/span>–<\/span>in slot of a Sound,<\/span> and<\/span> use Knob 2 to select the<\/span> SUBTYPE<\/span> to<\/span> INSTR<\/span> (Instruments)<\/span>
4.<\/span> Turn the Control encoder (or Knob 5) to<\/span> s<\/span>elect Sampler from th<\/span>e list in <\/span>the right hand window.<\/span>
5.<\/span> When you have found the<\/span> Sampler<\/span> Plug<\/span>–<\/span>in, press Button 8 to load it.<\/span><\/div>\n
<\/div>\n
Sampling Mode<\/div>\n
\"\"With the sampler Plug<\/span>–<\/span>in loaded we can now access<\/span> Sample Mode<\/span> which<\/span> giv<\/span>es<\/span> you access to all the functions you would expect to find in an sample<\/span>r<\/span>.<\/span><\/div>\n
<\/div>\n
To enter Sampling Mode on the Maschine MK 2 Controller:<\/span>
1.<\/span> With your controller in Control mode, press the pad of the desired<\/span> Sound to put it under focus<\/span>.<\/span>
2.<\/span> Press<\/span> SAMPLING<\/span> to enter Sa<\/span>mpling mode and access the Sample<\/span> content of the focused Sound:<\/span>
3.<\/span> Press Button 1<\/span>\u2013<\/span>4 to select the desired page:<\/span>
\u2022<\/span> The<\/span> Record<\/span> page allows you to record new Samples<\/span>.<\/span>
\u2022<\/span> The<\/span> Edit<\/span> page allows you to apply destructive edits to existing<\/span> Samples.<\/span>
\u2022<\/span> The<\/span> Slice<\/span> page allows<\/span> you to create Slices from your existing<\/span> Samples.<\/span>
\u2022<\/span> The<\/span> Zone<\/span> page allows you to assign your Samples to particular<\/span> note and velocity ranges (called Zones) in your Sound and to adjust<\/span> various playback settings for each Zone individually<\/span><\/div>\n
\"\"<\/div>\n
<\/div>\n
There are two ways of getting audio into the sampler when<\/span> the Plug<\/span>–<\/span>in<\/span> is <\/span>loaded<\/span>.<\/span>
1.<\/span> Drag and drop an audio file (aif or wav) into the<\/span> Edit<\/span> page<\/span> from the <\/span>Files tab in the Browser<\/span>.<\/span>
2.<\/span> In the<\/span> Record<\/span> page<\/span> you can record your own samples directly in<\/span>to <\/span>Maschine from either an external source or internally from Maschine <\/span>itself (resampling).<\/span><\/div>\n
\"\"
\nTo record a sample in the Record page you first need to select a source using <\/span>the Source Selector<\/span>
\u2022<\/span> If you select Inte<\/span>rnal, you can specify which Group or Sound you wish <\/span>to record.<\/span>
\u2022<\/span> If you select External you can choose one of Maschine\u2019s four external <\/span>inputs.<\/span><\/div>\n
<\/div>\n
\"\"
\nOnce you have your input source selected there are then tw<\/span>o ways of <\/span>triggering the recording.<\/span>
\u2022<\/span> Sync<\/span>: If Sync is selected, you can synchronize the recording function<\/span> to the sequencer, so that the recording starts in sync with the<\/span> sequencer after you clicked Start.<\/span>
\u2022<\/span> Detect<\/span>: If<\/span> Detect<\/span> is selected, you can set a cert<\/span>ain threshold using the <\/span>THRESHOLD<\/span> con<\/span>trol on the right. After you clicked<\/span> Start<\/span>, the input<\/span> signal level exceeding this threshold will start the recording. You can<\/span> then manually stop the recording by clicking<\/span> Stop<\/span>. This is useful to record a singer or an instrumentalist, for example. You can also adjust
the threshold by dragging the slider that appears on the horizontal input level meters above the RECORDING section.<\/span><\/div>\n

With the sample recorded into Maschine, we can now manipulate and edit it exactly as we want, but more of this next week………..<\/span><\/div>\n","protected":false},"excerpt":{"rendered":"

Kontakt 5 is the most amazing sampler I\u2019ve ever come across without a doubt. It\u2019s an absolute powerhouse for sound creation and comes with a vast library of instruments covering everything from a full Classical Orchestra andauthentic sounding acoustic pianos to synthesisers, percussion and…<\/p>\n","protected":false},"author":73,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[883],"tags":[],"class_list":["post-19028","post","type-post","status-publish","format-standard","hentry","category-ni"],"_links":{"self":[{"href":"https:\/\/www.garnishmusicproduction.com\/wp-json\/wp\/v2\/posts\/19028","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.garnishmusicproduction.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.garnishmusicproduction.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.garnishmusicproduction.com\/wp-json\/wp\/v2\/users\/73"}],"replies":[{"embeddable":true,"href":"https:\/\/www.garnishmusicproduction.com\/wp-json\/wp\/v2\/comments?post=19028"}],"version-history":[{"count":0,"href":"https:\/\/www.garnishmusicproduction.com\/wp-json\/wp\/v2\/posts\/19028\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.garnishmusicproduction.com\/wp-json\/wp\/v2\/media?parent=19028"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.garnishmusicproduction.com\/wp-json\/wp\/v2\/categories?post=19028"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.garnishmusicproduction.com\/wp-json\/wp\/v2\/tags?post=19028"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}