Messing with a sequence on Octatrack, ScenesĠ0:29:16 18. Messing with a sequence on Digitakt, Control AllĠ0:26:34 17. Recording and trimming on OctatrackĠ0:23:04 16. Recording and trimming on DigitaktĠ0:10:24 9. “It’s a bit long, but if you’re interested in this stuff, I hope you’ll find the video interesting.”Ġ0:08:23 8. “Here’s a mega workflow comparison video, where I’m comparing them side by side in a number of aspects,” explains Cuckoo. This creates six 'macro' knobs, each of which can be assigned to one or more Kontakt parameters and linked to the knobs and faders on your MIDI keyboard - just the thing for building complex performance instruments.Synthesist Cuckoo shared this video comparison of the new Elektron Digitakt and the Elektron Octatrack. Kontakt is fair bristling with MIDI-controllable dials and sliders, so live performers in particular will want to check out the 6 MIDI Controllers.nkp preset in the Script Editor. Next, turn off Edit All Groups, before tuning the first group up by 50 cents and the second one down by the same amount. Load the sample into a new instrument, then open the Group Editor and duplicate the sample's group (right-click it and choose Duplicate Group). Turn a boring, plain old sawtooth sample into a menacing, nasty Reese bass using Kontakt's Group Editor. Kontakt's built-in delay is very useful, but the Delay Sequencer (found in the Script Editor) allows the creation of a customised MIDI delay line - sequencing the pan steps hard left and right for a ping-pong delay, to give one simple example. Try it in Free mode at under 0.1ms to create wild glitching effects. Load up Retrigger in the Script Editor and experiment with the Rate control. Retrigger FingerĪ good way to create unique drum patterns is to slice a drum break in Kontakt and play it back via MIDI. This affects the amplitude of the sample, rather than the frequency content, giving a cleaner sound. A simple but different way to achieve the same effect is to modulate the Volume control found in the Amplifier module. Making a wobbly, dubstep-style bass is usually done by modulating the filter cutoff on a square wave. A crude example would be using the Random Unipolar and Bipolar modulation sources (found in the External Sources section of the Add Modulator menu), which change their state every time a note is pressed. Organic ModulationĪdding elements of randomness to a Kontakt instrument can really bring it to life. It's ideal for filtering samples with sharp transients, such as drums, resulting in less unpleasant resonances than you'd get with a regular filter, for example. The Adaptive Resonance Filter can be used to create filter sweep effects without adding too much harshness - as the amplitude of the signal increases, the resonance is reduced to match. Sync it to host tempo or adjust the playback speed manually. Hidden inside the Other section of the Modulation menu is a 32-step modulator that works in a similar fashion to a step sequencer. So Solid CrewĪs well as super-clean digital EQ and compression algorithms, NI have included some superb emulations of classic SSL hardware processors in Kontakt's extensive roster of built-in effects - try the Solid G EQ for characterful EQ boosts, and the Solid Bus Comp to add that SSL-style snap to your transients. Reached the limits of what Kontakt's main functions offer, or just fancy learning a bit of programming? Why not look at the Script Editor? The scripting functions included with the software can be used to customise the playability and functionality of any instrument, and even allow you to make your own custom backgrounds and controls.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |