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- #Kontakt 4 tutorial how to#
- #Kontakt 4 tutorial mod#
- #Kontakt 4 tutorial full#
- #Kontakt 4 tutorial software#
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While there are variations on this in the synthesizer world, they all function in fundamentally the same ways.Īttack time is the time taken for initial run-up of level from nil to peak, beginning when the key is first pressed (or breath pressure rises above zero)ĭecay time is the time taken for the subsequent run down from the attack level to the designated sustain level. We’re doing this because we want to create our own envelope to define the attack characteristics of our sound and as stated earlier, we also want the attack amplitude defined by breath, NOT by velocity. First we need to understand how synthesizers (and yes, samplers) interpret the control of sound, specifically the attack and the duration of a sound, and then what happens after that initial attack, e.g., how does the sound evolve? Synthesizers and samplers use in general terms an ADSR ENVELOPE to map how sounds behave over time.
#Kontakt 4 tutorial mod#
Now you will delete the default ADSR MOD by right clicking on it and selecting DELETE from the popup menu that appears:Īlso, delete the MODULATOR that was automatically created for VELOCITY. Now that you’ve accomplished this, open the MOD assignments under the Amplifier section: Doesn’t work so great for wind instruments as we use breath to control the timbre, intensity and loudness (perceived) of a sound. Sound generation volume for those instruments is completely generated by velocity. Velocity works great for keyboards and percussion instruments. No real volume control other than velocity for the initial attack. You will also note that you don’t really have any control over it other than on and off. Now, if you blow into your EWI you should hear a basic sawtooth wave. Once you’ve done this, close the MAPPING EDITOR. For this basic tutorial we’re simply going to stretch the entire sample across the range. Once you’ve done this, expand the KEY RANGE to C-2 – G8, the entire range of pitches available in the MIDI specification. You want to assign the sample to the ROOT NOTE of C3, and make sure the properties are set as shown here: Now, take our EWI SAW SYNTH SAMPLE and drop it into the grid shown in the middle of the window: Then in the window that opens, click on the MAPPING EDITOR to bring up this view: Then open the instrument editor by clicking the wrench icon in the upper left corner of the instrument: Then select NEW INSTRUMENT in the dropdown menu as shown here: You should see something similar to this: They’re pretty much stock as you can see:ĭownload the sample file that we’ll use to build our instrument, here.įirst thing to do is open Kontakt. Here is a screenshot of my basic EWI USB settings. For now, you should disable all other transmitted CC’s. These methods should work equally well regardless of the EWI you are using, as long as you have BREATH CC#2 turned on in your breath sensor.
#Kontakt 4 tutorial full#
Kontakt Player will not work! The following tutorial is based on Kontakt 5, but should function similarly in older full versions.Īlso check out my tutorial on breath control programming for Apple’s Logic/Mainstage sampler, the EXS24.įor the purposes of this tutorial, I am using an EWI USB. Please note: For all of this to work correctly, you will need a fully functional and licensed version of Kontakt. And again, the number one most requested tutorial has been for breath control programming of Kontakt. There are literally millions of users out there, so the knowledgebase is large and the support community is deep and well experienced. There are others – I will also be doing a similar tutorial on Logic’s very powerful sampler, the EXS24 – but none that offer the power, flexibility and market saturation of Kontakt.
#Kontakt 4 tutorial software#
Kontakt is arguably the most widely distributed and most powerful software sampler available today.
#Kontakt 4 tutorial how to#
While there are thousands upon thousands of keyboardists that utilize programming and synthesis on a daily basis, there are very very few serious wind controller players, and even fewer that are interested in programming their own sounds, so there’s no real financial incentive in the market 2) no one is really willing to share their knowledge of this “arcane art” freely, without compensation for it and 3) most people really just have no clue how to do it. I think there are a couple of reasons for this: 1) the market for wind driven synthesis is rather small. Why? Well, because there just really isn’t all that much information out there on programming sounds for wind synthesis. Probably my number one all-time requested tutorial has been for Kontakt and breath control. In this tutorial we’re going to delve into a subject that I have been asked about on many occasions. (View the companion video for this tutorial here) Basic Breath Control Programming For Kontakt