With an instrument as diverse, capable, and exposed as the violin, there is no cutting corners, so we strived to capture as much of the possible sounds a violin can make as possible, resulting in the huge list of articulations you can see below, as well as four sampled legato styles, also shown below. We even specially sampled slurred and bowed legato so you can correctly and realistically phrase passages, and a specially sampled kontakt 4 library torrent legato” set of intervals, which will allow you to play virtuosic runs and scale passages. On top of this, we want our instruments to be as close in sonic-flexibility to a real situation as they can be, so in addition to kontakt 4 library torrent close and stage mic positions, we have also made sure to have both a ribbon and condenser mic, which you can choose to switch between. Both sounds offer so much in their own right, the ribbon having a beautiful smooth tone, and the condenser kontakt 4 library torrent ruthless in exposing every little detail in the sound.
Free Kontakt Libraries
Published February By Nick Magnus It’s got a bigger sample library and some whizzy new features, but what Kontakt 4 really wants to do is make your life easier Kontakt’s rack view, showing the library browser left and an Orchestral instrument loaded.
Note the Dynamic keyswitches blue and the Standard keyswitches pink on the keyboard. Kontakt, as I’m sure you all know by now, is Native Instruments’ flagship software sampler, and, as the large number four above suggests, it has now reached its fourth version. Each major Kontakt update so far has brought significant usability enhancements, improved stability and reliability, and new tools with which to manipulate and process samples.
Kontakt’s impressive sample library has also matured in presentation and grown in size with each version, and this library, for many, must be amongst Kontakt’s major selling points. Version 4 sees little change to the software’s core functionality compared to, say, the differences between versions 2 and 3.
Cosmetically, Kontakt 4 sees a return to the slightly more dour, monochromatic style of version 2. Nevertheless, the graphics and text in the new colour scheme are all very clear and legible. This one is an Articulation Morph from the Choir collection. Kontakt 4’s big new feature is designed to aid the authentic reproduction of acoustic instruments. AET works by introducing gradual timbral transitions between one set of samples and another, allowing you to ‘morph’ smoothly between them in real time.
This concept might initially be open to misinterpretation: In essence, what happens is that the AET filter analyses the spectral content of one group of samples and applies it to another in continuously variable amounts. The degree of morphing is determined using one of two methods: Velocity Morphing is designed to provide naturalistic timbral transitions between adjacent velocity layers.
We’re all familiar with the usual problem with sampled instruments using multiple velocity layers: Using AET’s Velocity Morphing, each sample in a layer progressively takes on the timbre of the layer above as you approach the velocity boundary. When the boundary is crossed, the next group of samples takes on the characteristics of the layer below. As you continue to increase velocity, they regain their original timbre in the middle of their velocity range, and towards the top of that range they gradually take on the timbre of the next velocity layer, and so on.
You can think of it as a timbral ‘relay race’, where each velocity layer hands its timbral ‘baton’ to the next. Attribute-based browsing in the updated Database, with the attributes pane at the top and the results pane below.
In an ideal example of this scenario, a more naturalistic dynamic timbral progression occurs, masking transitions between velocity layers as you cross velocity boundaries. This process can be applied to any number of velocity layers. NI expect this to be one of the most common uses for AET, and have simplified the procedure by providing an ‘Auto add Velocity Morph’ function, making this the easiest AET type to set up.
The Articulation Morph method takes a different approach, and is most suitable for sustained sounds such as choirs, strings, woodwind and other sounds that exhibit a generally constant tonality and volume. With Articulation Morphing, vocal ‘oohs’ can seamlessly become ‘ahhs’, soft muted strings can progress gradually into a loud, triple f ensemble, and so on.
However, unlike Velocity Morphing, there is no ‘auto setup’ option available — Articulation Morphs must be configured manually. The procedure is explained clearly in the PDF manual, and although it involves a little effort, it’s easily grasped. Let’s say you want to make an Articulation Morphed brass sound, using three dynamic levels of samples, p, mf and ff. First, you need to prepare an instrument that contains all three sounds layered together, each covering the full velocity range and each assigned to their own sample Group.
To describe the entire process in detail would take much too long: This Morph Map automatically assigns the three sounds into three equal morphing ‘ranges’, which can be swept through using the on-screen Morph knob, or any external controller such as the mod wheel. The end result is a smooth progression from p to ff, but without any of the volume dips or phasing problems usually encountered with the traditional sample crossfading method.
However, it’s important to bear in mind that we’re not transforming one set of samples into another, we’re applying the spectral characteristics of each sample group onto just one of those groups.
Therefore we have to decide which group is to be the ‘master’ — the one we will actually hear — and then mute all the other groups so we can’t hear their original samples. So, at the top of the Morph range we hear the ff samples au naturel, and as we morph downwards, these samples progressively take on the tonality of the mf samples, and at the bottom they sound very much like the p samples.
Of the two Morphing methods, Articulation Morphing provides the most successful and musical results. The success rate of Velocity Morphing is variable, and highly dependent on the nature of the samples involved. On the other hand, some very interesting hybrid sounds can be created using the AET filter to process disparate sample types!
Database Browsing An example of how the Quick Load Catalog is used to create a customised, folder-based directory of your favourite sounds. Attribute-based browsing is fast becoming the standard way to search the large preset libraries found in soft synths such as Massive and Absynth.
Kontakt 3 already offered three types of browsing: Attribute browsing is now part of Kontakt 4, and it works in conjunction with the ‘search string’ method. The entire Kontakt 4 library has conveniently been pre-tagged, enabling searches to be progressively narrowed down by type.
Simply click on one or more attributes in the upper pane, and the search results appear instantly in the lower pane. You can also narrow down the results within an attributes search by typing in keywords into the centre search field — for example, if you just select ‘Bowed Strings’ in the upper pane, then type ‘Bass’ into the search field, only bowed string basses will be shown in the results pane. Out of the box, Kontakt’s database is populated only with its own library, so if you want your personal sample creations to be included, they need to be added to the database.
That in itself is easy enough: However, at this stage you’ll only be able to search for your own material using whole or partial patch names as keywords. To search by attributes, you’ll have to tag them yourself manually, and happily, Kontakt provides the tools to do this. You can customise the attributes pane exactly to your own requirements, creating your own sets of attributes or removing attribute types that you feel aren’t relevant. The PDF manual explains the whole tagging procedure in detail, and as you might imagine, tagging a large personal library is likely to be a lengthy task — one best reserved for times of unemployment or several very rainy days!
As well as being able to search for Multis, Banks, Instruments and Samples, Kontakt 4 provides two new searchable categories: Groups and Presets.
These can be imported back into any other instrument from within its Group Edit window — but how useful it would be if they could simply be dragged onto the Group Edit window from the database browser?
Well, that’s exactly how this works. NI have already exported and tagged many if not all of the Groups that make up its library instruments, and these can be searched for by attribute just like any instrument. Fancy having an ‘ooh’ choir pad along with the electric piano you just loaded? The Preset category works in the same way, only this time all Kontakt’s presets for Effects, Filters, Modulators, Convolution, KSP scripts and more are represented — and searchable — by attributes.
For example, selecting Convolution and Big Rooms as attributes displays all the relevant Presets. Just drag one from the browser and drop it onto an instrument’s Effect slot, and Kontakt loads the Convolution reverb with the appropriate reverb impulse in place.
The Kontakt 4 Library Each of the seven Performance View categories now has its own distinctive graphic styling and dedicated controls. This is the Choir instrument. Pride of place goes to the new Choir collection, specially recorded for Kontakt 4. Featuring soprano, alto, tenor and bass choir instruments, each range of the choir has been sampled singing six different vowel sounds: Several Choir patches take the opportunity to show off Kontakt’s new AET processing, using the mod wheel to morph through various combinations of the vowel sounds.
The results are quite impressive — I think I feel a Stabat Mater coming on. Next up are the new Solo String instruments comprising violin, viola, cello and bass solo instruments, adding to the already well-stocked Vienna Symphonic Orchestra section. The Keyboards category gains new concert organ samples, whilst the Band section has been augmented by all the electric pianos from NI’s Elektrik Piano virtual instrument.
The final new addition is in the Vintage category, containing a collection of 13 classic sounds from the mighty Mellotron. Performance Views for all instruments in the library have been completely redesigned: The Orchestral graphics, in particular, look very opulent, with a dark, polished finish adding a touch of class.
The Performance Views for each category provide controls specifically designed to suit each instrument — this is especially evident in the Band category. The views are also much larger than before, giving more of the feel of a virtual instrument to each patch.
In addition to the standard keyswitches, a new type of Dynamic keyswitching allows articulations to be changed while a note is still sounding. None of these Legacy presets include Performance Views, but if you have the original version 3 library installed on your drive, you can always load those if you miss the facilities offered by the Performance Views. Interestingly, the solo strings are also offered as Legacy sounds, even though they didn’t exist in previous versions of the library!
This proprietary codec can reduce memory footprint by between 30 percent and 50 percent, the advantage being that disk streaming is more efficient, especially for large instruments such as grand pianos, using very little CPU overhead as Kontakt decompresses the samples ‘on the fly’. Finally, and at long last, Kontakt 4’s GUI is now fully resizeable, which is sure to please anyone everyone? Conclusion Kontakt has unquestionably inherited the ‘professionals’ sampler of choice’ crown previously worn by Gigastudio, and deservedly so.
The software has matured into an exceptionally musical and creative tool, and it’s no surprise that so many third-party sample libraries are being made available in Kontakt format. Although version 4 offers only one major new sound design tool AET , the improvements and new additions made to the library will be welcomed by many.
The benefits of attribute-based browsing and enhanced database functionality are also a major plus for anyone concerned with efficiency of workflow. It’s somewhat strange that there are not more instrument Presets than just the Choir taking advantage of the new AET filter, but I have a feeling that keen sound designers will be only too happy to have a go at forging their own AET creations.
These are some of the better-known software samplers as distinct from sample players, or virtual instruments based around a themed library in combination with a dedicated sample player:
Download Library Kontakt 4 Torrent – best software for Windows. Native Instruments Kontakt Factory Selection: instruments. KONTAKKONTAKT FACTORY. Download 38 of the best free Kontakt libraries, including pianos, It features 4 virtuoso string players, 3 round robins, true legato and a natural.
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