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Native Instruments O Kore 2 Operation Manual
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Native Instruments O Kore 2 Operation Manual

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OPERATION MANUAL

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Summary of Contents for Native Instruments O Kore 2

  • Page 1 OPERATION MANUAL...
  • Page 2 It is only through the loyalty and honesty of people like yourself that NATIVE INSTRUMENTS GmbH can continue to develop and create innovative audio software. On behalf of the entire company, thank you very much.
  • Page 3 5631 Hollywood Boulevard Los Angeles, CA 90028 sales@native-instruments.com www.native-instruments.com MASSIVE was designed and developed entirely by Native Instruments GmbH. Solely the name Massive is a registered trademark of Massive Audio Inc, USA. © Native Instruments GmbH, 2007. All rights reserved.
  • Page 4 1. Introduction This part of the User’s Manual gives a brief overview over KORE 2’s abilities and explains how to use this manual. Additionally, it contains notes about using the KORE 2 Controller safely and provides some general product- related information. 1.1 Welcome to KORE 2 Thank you for buying KORE 2.

  • Page 5: How To Use This Manual

    Effort has been given to make all sounds of KORE 2 accessible in a simple and unified way. While the technical details that generate a sound can differ enormously from engine to engine, your sound control is always similar: the most important parameters for each individual sound have been manually assigned to the hardware, and you can tweak them directly and effectively.

  • Page 6: Safety Considerations

    KORE after mastering a few basics, KORE about using KORE 2 with other products by NATIVE INSTRUMENTS. It 2 is unusually easy to learn. This is 2 is unusually easy to learn. This is...
  • Page 7 1.4 Notes ► Disclaimer: Native Instruments GmbH cannot be held responsible for damage or data-loss caused by improper use or modification to the KORE 2 Controller or the KORE 2 software. ►...

  • Page 8: Software Installation

    Copyright: © Native Instruments GmbH 2007. This publication may not be reproduced in whole or in part, summarized,...

  • Page 9: Hardware Setup

    2. Hardware Setup Thanks to the seamless integration of KORE 2’s software and hardware components, your software becomes a tangible instrument that is highly When you install KORE 2 When you install KORE 2 intuitive and uniform in its operation. for the first time, please for the first time, please ►...
  • Page 10 2.1 The hardware elements of your KORE 2 Controller 2.1.1 Rear Panel (1, 2) Footswitch ports These two ports can be used to attach any type of foot controller. The inputs only work with on/off signals. The footswitches can be assigned to buttons.
  • Page 11 (6, 7) MIDI Input/Output The KORE 2 Controller is also a MIDI interface. Use the IN port to attach a master keyboard and the OUT to drive an external device such as a drum machine or sampler. Please note that, at the time of writing, the KORE 2 Controller's knobs, buttons, and transport do not send MIDI information.
  • Page 12 2.1.2 Top Panel 1-8: Controller Knobs These are digital endless encoders with a far higher resolution than would be possible with the MIDI standard. They control the target parameters incrementally, leading to a very smooth control of values on the software side. You can also use the Control Knobs to morph between S ound ariationS...
  • Page 13 The Control Knobs are touch-sensitive, i.e., if the knob is touched (without altering its value) the KORE 2 Controller reacts and displays the controller’s name and its current value in the hardware display (32). This is also very convenient for assigning parameters. Each Control Knob is surrounded by a Selection Ring that displays a dimmed red light if there is an assignment (i.e., functionality) present.
  • Page 14 21: Control This button provides access to the C of the component ontrol ageS currently in focus. 22: F2 Jump to the B and the hardware options with this button. rowSer 23: Sound Switches into S for navigating the S also ound ound...

  • Page 15: Driver Installation

    KORE 2 Controller to your KORE 2 Program Folder on your computer. computer. computer. Windows: Program Files / Native Instruments / KORE 2 / Mac OS X: Applications / KORE 2 / Driver / Driver Installation on Windows XP ►...
  • Page 16 Driver Installation on Mac OS X ► Insert the KORE 2 Installation CD into the CD-ROM drive or locate the driver setup in the KORE 2 application, folder Applications / KORE 2 / Driver. ► Start the driver installation package NI Hardware Driver Installer.app with a double-click.
  • Page 17 inaccurate. If you accidentally move a control, disconnect the KORE 2 Controller then re-connect it to re-initiate calibration. 2.3.2 Connecting to an external MIDI device It can happen that the It can happen that the Hardware: display is showing stripes display is showing stripes To receive data from a MIDI controller such as a keyboard or a MIDI pedal or other artifacts.
  • Page 18 Footswitches can be connected to the two inputs at the far left of the back panel. Either normally closed or normally open type footswitches can be used, but make sure they’re plugged in on power-up so that KORE 2 can detect which type you’re using.
  • Page 19 NATIVE INSTRUMENTS products that work with KORE 2. You will also be introduced to the way KORE 2 integrates hardware and software to produce one easily usable entity, and the powerful concept of nested sounds is presented. If these terms are familiar to you, feel free to skip these passages.
  • Page 20 hardware would be your audio interface and any MIDI keyboard or controller available. This mode is called stand-alone within this manual. However, a hardware synthesizer will probably not be used alone but in combination with a mixing desk, an effect rack and some cabling. You cannot connect software with cables, so another mechanism is used to accomplish this common use case: A so-called host application loads other applications during runtime as plug-ins.
  • Page 21 ► The H is your launchpad to the NATIVE INSTRUMENTS Service Center for management of your licences and to support material on the NATIVE INSTRUMENTS website. KORE 2 as a plug-in The plug-in version of KORE 2 is identical with the stand-alone version, except that it’s lacking the abovementioned menus and for...
  • Page 22 . In plug-in mode, KORE 2 works in any host program (e.g., Cubase, Logic Audio, Pro Tools, Ableton Live, Sonar, Digital Performer, Tracktion, etc.). KORE 2 inserts into the program’s mixer as a virtual instrument or effect (there are different versions of the KORE 2 plug-in for these tasks).
  • Page 23 3.1.2 SingleSounds, MultiSounds, Performances and Nesting of a Performance containing nested Sounds. It can be a time-consuming task to find the sound that exactly fits If you are familiar with If you are familiar with into the music you are working on. Following the paradigm described sampling techniques, you sampling techniques, you above, you need to load different plug-ins into your host, and you...
  • Page 24 the location on the hard disk or arbitrary comments. Technically, it tells KORE 2 which plug-in is used to generate the sound, and which settings are required within the plug-in in order to produce exactly the sound the KoreSound was saved for. While the KoreSound takes care of the technical details, you can concentrate on making music.
  • Page 25 Referring to the compari- Referring to the compari- This is a MultiSound with its expanded. son between KoreSounds son between KoreSounds ound atrix and samples again, SingleSounds and samples again, SingleSounds The KoreSound concept also explains why KORE 2 is a sub-host. On one can be seen as recordings of single can be seen as recordings of single hand it is used as an instrument: You can load it as a plug-in with a wide...
  • Page 26 The concept of KoreSounds within a KoreSound is called nesting within this manual. Nesting allows two things: On a basic level it provides the possibility to easily combine not only SingleSounds, but also MultiSounds into a new MultiSound. This bridges the gap between both types as you don’t need to care which type you are working with (unless you want to change the inner workings of a KoreSound).
  • Page 27 ► MASSIVE ► REAKTOR These engines are derived from six products by NATIVE INSTRUMENTS and bring their full functionality except for the fact that i ntegrated ngineS don’t have a graphical user interface. The way you can interact with them is described in the following chapter.
  • Page 28 When installing KORE 2, its factory content automatically is installed, too. You can access it with the B . These sounds use the i rowSer ntegrated , so you don’t need any other plug-in to make music with Kore ngineS 2.
  • Page 29 Please be aware of this when you create your own REAKTOR Ensembles or KONTAKT Instruments and refer to the documentation of the respective plug-in if you are unsure how to manage this. For the Native Instruments KOMPLETE  series of virtual instruments, the complete library of patches has been prepared for the use in KORE 2.
  • Page 30 ► If you want to use the factory content of a plug-in, make sure that the structure of the factory libraries remains unaltered. ► If you move the factory library around on your file system, you have to set the new location inside the respective plug-in and not in KORE ►...
  • Page 31 mode, you can conveniently remote-control the cutoff from the KORE 2 interface directly and don’t need to open the plug-in’s editor separately. Easy access to parameters is taken to the next level by the KORE 2 hardware offering you a physical representation of the C ontrol ageS By selecting a KoreSound within KORE 2, its Pages are automatically...
  • Page 32 3.2 A user interface overview On the following pages we will introduce KORE 2’s interface by explaining the different elements in a broader, functional way. In this section you will also learn the names of the most important controls to help you while reading this manual.
  • Page 33 KORE 2 has four main interface areas. This chapter will give you an overview of KORE 2’s functionality. The interface is very flexible and various elements can be hidden via switches found on the g to suit the situation at hand. loBal eader The four areas are called:...
  • Page 34 3.2.1 Global Header The topmost strip of controls is called the g . It is always visible Use this interface flexibil- Use this interface flexibil- loBal eader and you can think of it as the central control of KORE 2’s interface. Its ity to your advantage by ity to your advantage by main purpose is to change KORE 2’s interface to match the situation at...
  • Page 35 When using KORE 2 as a When using KORE 2 as a Two different views on KORE 2. On top you see a minimal KORE 2 with the top level of the plug-in the global clock plug-in the global clock Sound Matrix, only.
  • Page 36 dependent parameters inside the instruments and effects. It also controls the tempo of possible sequencers, MIDI players and arpeggiators. Use those controls to start and stop the clock, dial in a new tempo with the or tap the tempo to synchronize with your musical partners. The eMPo of KORE 2’s clock can also be edited here.
  • Page 37 3.2.2 Global Controller The g is a context-sensitive view on KORE 2’s C loBal ontroller ontrol system. You can learn more about this system in the dedicated chapter (chapter 3.5) further down. You will see that every sound and every channel in KORE 2 has its own set of C .
  • Page 38 3.2.3 Edit Area and Sound Matrix The areas of KORE 2 that actually produce and process sounds are found in the channels of the S . A channel is a hierarchical system ound atrix of C (the slots of the matrix), each of which can hold a Hannel nSertS KoreSound.
  • Page 39 sends, audio signals can flow horizontally within one mixer level. MIDI data can also be distributed within a S level via a dedicated system ound atrix of sends on the Midi t . The display of the e and S ound anager is mutually exclusive, as they both sit on the same space of the interface.
  • Page 40 The C provides an easy to use editor for setting up the This can be used to eas- This can be used to eas- Hannel aPPing taB key ranges of all the channels in a Performance. The ranges are displayed ily layer sounds for fast ily layer sounds for fast on a concise graphical window that can be directly manipulated via the...
  • Page 41 3.2.5 Browser Activate the Browser with a click on Activate the Browser with a click on the dedicated Browser button on the dedicated Browser button on KORE 2’s Global Header. It always KORE 2’s Global Header. It always appears at the bottom of the inter- appears at the bottom of the inter- The B is your tool for searching, finding, loading, tagging and...

  • Page 42: Global Controls

    3.3 Global controls Some parts of KORE 2’s interface are of a global nature and independent of the KoreSounds that currently sit in the S ound atrix These are, for example, the stand-alone version’s application menu, the is activated via a is activated via a of the plug-in, the g with its V...
  • Page 43 KORE 2 Controller and they are explained in chapter 3.3.5. ► Please have a look at the separate NATIVE INSTRUMENTS Setup Guide for details about the Audio and MIDI Settings for your system. ►...
  • Page 44 The Edit Menu The e comes with a handy undo system. Please note the keyboard shortcuts (written out on the menu) for the different commands. ► Undo rolls back your work to the previous step. If you accidentally deleted a channel or simply decide that you would like to do something differently, use Undo to return the state before your most recent command.
  • Page 45 ► Visit KORE 2 on the web opens your default web browser pointing you to the KORE 2 pages of the NATIVE INSTRUMENTS website where you find a host of additional information and content to enhance you KORE 2 experience. The KORE 2 User Forum on the NATIVE INSTRUMENTS web site keeps you up to speed with the latest developments in KORE 2.
  • Page 46 The g of the plug-in combines some commands you loBal find on the F and V menus of the stand-alone: ► New Performance creates an empty Performance. ► Open Performance opens a dialog, letting you navigate through your file system to choose and load a Performance File (.kpe). ►...
  • Page 47 KoreSounds in the Performance. It holds the following controls: ► The Kore 2 l (and the NATIVE INSTRUMENTS logo to the far right), when clicked, opens the a . This displays the version Bout Creen number and installation type of your KORE 2 installation.
  • Page 48 ► The S switch invokes the S on the u ound anager ound anager PPer , providing control over keyboard mappings of Performances and Sounds and the management of C for automation. This can ontrol ageS only be visible alternatively to the S .
  • Page 49 The Transport Area The next part of the g contains the t . If not loBal ontrolS ranSPort synchronized via an external MIDI clock (see F of the stand- alone) or running as a plug-in in a host environment, KORE 2 produces its own timing information that gets propagated to the KoreSounds for synchronization and control of sequencers, arpeggiators or any time- depending parameters.
  • Page 50 ► provides another convenient way to define the tempo; just click on this button in quarter beats. KORE 2 averages the frequency of your clicks, and uses this to derive a tempo. Please note that you can assign the Tap button to a u , like any other button in KORE 2.
  • Page 51 ► The Midi P button (the exclamation mark) sends an “all notes aniC off” message to all plug-ins, which turns off any “stuck” notes and often solves other MIDI quirks. Furthermore, it resets KORE 2’s audio engine. Use this if you are experiencing quirky note behavior or if you “overloaded”...
  • Page 52 ► If the u button is active, the displayed Pages can be u ageS of the Performance or of any Single or Multi Sound currently focused You can also focus KORE You can also focus KORE in the S components via your components via your ound atrix...
  • Page 53 3.3.5 Options General Options On the g tab you find the entry r eneral PtionS eload laSt erForManCe at . It toggles KORE 2’s starting behavior. If checked, the Performance StartuP you had open the last time when you closed the application automatically comes up again.
  • Page 54 Any content you generate yourself by using KORE 2 will be saved in sub- folders of the NATIVE INSTRUMENTS S folder. It is located Hared ontent in a folder on your file system called the S . Normally you tandard don’t have to change its location.
  • Page 55 ► completely re-reads all available KoreSounds on your system and rebuilds the database accordingly. This also rescans the complete factory content and is only necessary if you have installed new NATIVE INSTRUMENTS products. ► When you activate the option H , sounds from ide unaVailaBle oundS...
  • Page 56 ► In the P field you will find the path to the folder on your system containing the VST-plug-ins. Click on the S button to open a file dialog window. In this dialog you can navigate to a different folder to set it as your new PlugIn directory. Of course you can also type the path directly into the Path field.
  • Page 57 Hardware Options The Hardware Options screen mirrors the parameters from the KORE 2 Controller’s Options Menu. ► allows you to adjust the sensitivity of the eight touch- ouCH enSitiVity sensitive knobs. If set to zero the touch sensor is inactive. ►...
  • Page 58 Hit the r button and move the pedals through their complete eCaliBrate range once or twice. KORE 2 will automatically adapt itself to the pedal inputs and everything should be smooth again. 3.4 Edit Area: Routing signals This is a KoreSound with three mixer levels. The e of KORE 2 is where sound is assembled, mixed and routed.
  • Page 59 It provides a roster of C (the slots) that hold the building Hannel nSertS blocks of the KORE 2 Performance. These C form the S Hannel nSertS ound atrix Please note, that the concept of a Performance is a rather artificial one, as you can at any time convert a Performance to a normal KoreSound (use the Save Performance as Sound…...
  • Page 60 A growing channel. When you create a new sound, the S will only show a single ound atrix row of C . As soon as you fill one of them, another row of Hannel nSertS Inserts will appear. You can pack as many components into a channel as your computer can handle.
  • Page 61 Each channel holds a stack of C that can be populated Hannel nSertS with SingleSounds, MultiSounds, VST/AU-plug-ins (AU plug-ins are only available on Macs) or MIDI-plug-ins. This is the context menu of ane empty Hannel nSert The empty C can be filled via drag-and-drop from the B Hannel nSertS rowSer...
  • Page 62 For populated the context menu offers more choices. Hannel nSertS If the C is already occupied, the context menu looks a little Hannel nSert different: ► Replace provides access to the components menu tree to replace the module or plug-in residing in the C with a different one.
  • Page 63 ► Bypass removes the respective component from the signal path. This is called S in contrast to the C described ound yPaSS Hannel yPaSS below. ► The Open Plug-in Window command opens the interface of the respective component. It is equivalent to a double-click. This is not available for MultiSounds, as they can have multiple, nested plug- ins.
  • Page 64 The contents of the C can be moved around on the S Hannel nSertS ound . Just use your mouse to drag a component to another C atrix Hannel nSert anywhere on the S . You can: ound atrix ► Replace the existing component by dropping the moved one directly on the C .
  • Page 65 The Channel Views level can switch between two different views. These can ound atrix be toggled via the M button to the left of the C ixer Hannel nSertS the leftmost channel. The Channel View, showing the Channel Inserts and the Audio and MIDI tabs.
  • Page 66 Click on the the i button below the M button to see the i nPutS ixer nPut section in M . The same applies to the a button for ixer utPutS displaying the output section. Viewing Channel Insert content A click or double-click on an occupied C both have different Hannel nSert...
  • Page 67 ► With MultiSounds, single-clicks recall the last display state of the MultiSound: closed or opened. A MutliSound is opened with a double- click. You can always close the component you recently opened by using the button on the S loSe ideBar 3.4.2 Channel types and signal routing Signals –...
  • Page 68 ► are for audio input from external hardware or parental nPut HannelS levels (i 1 – or S on the Source menu). ound atrix nPut ound nPut ► are for summing and processing the output of Channels rouP HannelS of the same S level (g on the Source Menu).
  • Page 69 Use as Master is explained next: The M is a bit special. Although it is basically nothing more aSter Hannel than a g , it behaves slightly differently. There can be one rouP Hannel per S level. By default, the top level always aSter Hannel ound...
  • Page 70 The Audio Tab The Audio and MIDI tabs of the Sound Matrix. The first element of the Audio Tab is the C switch. Use it Hannel to deactivate audio processing for the Channel. This will also take the respective load from your CPU. The S button switches the channel to solo mode.
  • Page 71 Menu of a top-level nPut ourCe ourCe Hannel When the channel sits on the top S level, you can either choose ound atrix None, for no input, Group Bus, for input from possible g rouP HannelS (read on for more on this) or you can use the inputs of your audio hardware that are presented as numbered inputs.
  • Page 72 ► None, meaning no output. ► Master, which routes the signal to the M of the respective aSter Hannel level, should there be one. The number in front of the ound atrix entry refers to the number of channels on that S level.
  • Page 73 The top level receives the external input which is routed into two channels on the next level. If you want to route external input to channels of lower hierarchy levels, you have to use the top level to get the audio signal from your hardware and channel it to the lower mixer Level.
  • Page 74 ► The output of each mixer level is summed and is routed back up to the next higher mixer level. Note that every mixer level can have its own for controlling the “horizontal” sum of its channels. aSter Hannel ► By using the a sends of a mixer level, signals can also be distributed horizontally within that mixer level.
  • Page 75 ► Every channel can be switched to receive audio signals via the a sends by choosing g as its i rouP nPut ourCe ► Use the a menu to select a group destination. In uxiliary eStination front of the Group bus entries, you can view the channel numbers of the available g rouP HannelS...
  • Page 76 To the far left you will find the Midi a led, displaying any incoming CtiVity MIDI data. Next comes the MIDI C for choosing the MIDI Hannel eleCt channel, on which the Sound Matrix channel will receive its data. You can either specify a MIDI channel from 1 to 16 or choose a , to receive MIDI in omni mode.
  • Page 77 The logic behind the MIDI routing is very simple: ► Every channel has its own set of Outputs. ► Set all available MIDI targets via the o menu. utPut ► If there is no other channel on the respective S level the ound atrix...
  • Page 78 either a S or the interface of an internal KORE 2 Module (audio ound eader effect or MIDI plug-in). If it is a MultiSound another S opens up ound atrix and shows the S for the MultiSound you just focused. ound atrix 3.4.4 Examples...
  • Page 79 This is a simple solution and perfectly suitable if this is all that your KORE 2 instance will be handling. If the setup exceeds this simple case, it may be better to put the effects processing taking place in the two g rouP HannelS into a separate MultiSound:...
  • Page 80 Also, it is easy to expand the top level of the S by adding more ound atrix components without clutter. MultiSounds as songs The MultiSound concept is very convenient when it comes to structuring a live performance. Simply put all the stuff you need for a song into one MultiSound and the elements for the next track into the next MultiSound.
  • Page 81 Morphing FX The S provide an easy way for producing very smooth ound ariationS pseudo-morphing effects if applied to the a system. Set up a variety of g with effects KoreSounds and route your rouP HannelS through them. Then you take a Performance u ourCe HannelS and assign the a...
  • Page 82 3.5 Global Controller: Controlling sounds In the above picture you can see the g displaying a u loBal ontroller of a SingleSound. The g is your one-stop, context- loBal ontroller sensitive interface to the C system in KORE 2. It also mirrors the ontrol status of your KORE 2 Controller in terms of page display and parameter values.
  • Page 83 parameter. Beside of the Controller element (Knob or Button) you can see the S which is not editable. Hort araMeter 3.5.1 Pages and Sound Variations Control Pages The hardware and the display loBal ontroller the same ontrol The C system plays an important role in making KORE 2 a ontrol musical Super Instrument.
  • Page 84 The Pages belong to the KoreSounds sitting in the C Hannel nSertS the S . Every component and every channel has its own set of ound atrix Pages. You can assign as many parameters as you want to a single knob or button of your KORE 2 Controller –...
  • Page 85 Sound Variations The S are of similar importance to the Pages in demonstrating ound ariationS KORE 2’s instrumental merits. S are roughly equivalent to ound ariationS the presets for the u . The great thing about S ageS ound ariationS that they are not discrete entities but can be morphed into each other.
  • Page 86 3.5.2 Plug-in Pages, Channel Pages and User Pages A Channel Page, a Plug-in Page and a User Page of a KoreSound. can take three forms: ontrol ageS s display the parameters published by a VST-/AU-plug-in. Depending on the complexity of the plug-in, there can be quite a number of them.
  • Page 87 They get populated automatically as you build your routing structures. You cannot change them manually. are your flexible tools for setting up your own interface. By ageS default there are one or two pre-defined u per KoreSound ageS offering the most important parameters. They can be adjusted to your liking.
  • Page 88 3.5.3 Creating Pages and assigning controls The only Page type you can create from scratch is the u . Of course you are also free to change any existing u to fit your needs. ageS To create a new u you must first decide on which level of your you want to create it.
  • Page 89 ► via the amount of range adjustment of the assigned parameter when in learn mode. If you move it over a small range and deactivate l earn mode, the C on the C will control that small ontroller ontrol range with its complete movement. Please note that you can not only assign continuous dials to knobs and buttons to switches but that it also works the other way around.
  • Page 90 KORE 2 also provides a means for assigning multiple parameters to a single on a C . The M switch toggles the Learn ontroller ontrol ulti SSign button to multi-assign-mode. If you then use the Learn function you can assign multiple parameters. Just click them on the interface to add them to the d on the right side of the C eStination...
  • Page 91 Controller ranges For every Destination on the list you can define a minimum and a maximum setting for the control range. This can also be done interactively during Learn (see above). To change the range grab one of the yellow range limits and move your mouse horizontally.
  • Page 92 Sometimes you may have the feeling that a synth or effect has a parameter inversed or you want to control two parameters with one knob in a way similar to a crossfader. This is easily done in KORE 2 by setting the value to a higher value than the d eStination ange...
  • Page 93 turn the hardware knob to go through the complete range of values. The lowest value is 30° and the highest is 3600°, meaning that you have to make ten full cycles to go through all values. In the P menu you have the choice between: edal ►...
  • Page 94 ► FS 1 or FS 2 for controlling the respective Controller button via one of the two Footswitches that may be connected to your KORE 2 Controller. Of course you can also use external MIDI data to move the Controllers on , be it a u , a C or a P...
  • Page 95 The crosshair symbol below the Save button is called S ound ariation orPH button. When activated (yellow) you can seamlessly move between the different S with your mouse or your KORE 2 Controller. ound ariationS If the S button is inactive, you can only switch the Please note that you can ound ariation...
  • Page 96 3.6 Sound Manager: Arranging Performancess Use the S to define the Keyboard ranges of the various ound anager elements of a Performance and manage the C within the host ontrol ageS for parameter automation. 3.6.1 The Sound Tree The Sound Tree displaying a KORE 2 Performance. On the left side of the S you have the S with all...
  • Page 97 ► The child-nodes of a MultiSound are the channels of that MultiSound, ordered by their C Hannel uMBer ► The child-nodes of a channel are KoreSounds – which can be Single or MultiSounds – ordered by signal flow. ► At the bottom of the hierarchy you can find the plug-ins, which are the child-nodes of Single Sounds.
  • Page 98 ► The M and the aPPing ditor ► utoMation Both will be explained in the following sections. 3.6.2 Advanced Page Management To the right of the S you find the P . It always displays ound the available Pages of the node you have currently selected on the S ound .
  • Page 99 or by the recall of S . Please note that the settings of the ound ariationS Pages are always saved into S , they just are not recalled if ound ariationS the r flag is unchecked. eCall Below the P you find some buttons.
  • Page 100 3.6.3 Pages and host automation KORE 2’s list of automatable parameters. KORE 2 – 100...
  • Page 101 The VST standard for audio plug-ins provides a way for remote-controlling Automation of parameters parameters in plug-ins called automation (this also applies for AU, RTAS does work along similar and other plug-in protocols). Nearly every sequencing package that can lines in other plug-in protocols like host VST-plug-ins supports this.
  • Page 102 in reach for the host. In the case of Ableton Live, the Pages you want to automate have to sit in slots lower than 128. If you tend to think your VST automation from the host (choosing the parameters in the host, and not automating by recording parameter changes in KORE 2) the a can also be of help.
  • Page 103 Editing the Automation List The a can run in two modes; you can toggle between via the utoMation button. If the button is inactive, the list is read-only utoMation and you can’t change it. For editing, toggle the button to yellow. Pages are removed from the Automation List by selecting them and hitting the r button.
  • Page 104 3.6.4 Advanced MIDI mapping of sounds R’s ound anage Hannel aPPing Whether you are using KORE 2 in a performance setup to be controlled via a keyboard on stage or as a plug-in in a sequencing environment, being able to control the input range of MIDI notes and MIDI velocities for your components can be very important.
  • Page 105 via the l values shown in the upper right part of the M aPPing (see below for more information). ditor Below the M , the P displays the MIDI octaves to help aPPing iano orientation. You can play this virtual keyboard with your mouse, which is helpful when you’re using KORE 2 and no MIDI keyboard is connected.
  • Page 106 The settings shown here can also be found on the MIDI Tab of the channel. Please see chapter 3..1 for details. The key range can be set with the mouse by clicking on the l values and dragging up or down. Use the t parameter to transpose the channel up or down in ranSPoSe...
  • Page 107 3.7 Browser: Accessing the sound repository The next section deals with a very important aspect of KORE 2: the . First we will talk about the basic structure and functions of its rowSer main elements. Next will be the part about actually finding sounds and loading them into KORE 2.
  • Page 108 In KORE 2 you can expand this system by defining your own a ttriButeS tailoring the Sound database to your own needs with the u feature. Please read chapter 3.7. for a good introduction into this topic. 3.7.1 General usage There are different ways to use your KORE 2 Library: The left part is comprised of the a which is context sensitive...
  • Page 109 The V are your main tools for browsing and searching the KORE uttonS 2 database and for navigating the KORE 2 content on your file system. The first group of four buttons is for choosing the basic type of component you are looking for.
  • Page 110 For every column of the a List you can decide which a ttriButeS ttriButeS will be displayed by setting the respective flag on the menu. Depending on what you are browsing, the menu appears differently. And if you have created your own u , it will look different, too.
  • Page 111 The context-menu of the for Performances, Sounds, MIDI Files and ttriButeS eader Plug-ins. Note that the are different when browsing aCtory ttriButeS ategorieS instrumental, FX, or MIDI Sounds. The basic structure is similar in all four cases: ► Path displays the u as defined in KORE 2’s Options oundS olderS...
  • Page 112 Customizing your Search Results List The S is also very flexible in its organization. By right- earCH eSultS clicking (Mac: Ctrl-click) on the S of the columns you earCH eSultS eader get a context menu showing all available categories the M nForMation (see one of the next sections for a detailed description) plus some additional ones:...
  • Page 113 ► Author shows information written in the a field of the M utHor nForMation ► Bank displays the information written in the B field of the M nForMation ► Path shows the location of the KoreSound on your file system relative to the F or the S aCtory...
  • Page 114 The S can be re-structured by: earCH eSultS ► Clicking between the columns (the mouse pointer changes to a resize- symbol) and dragging the mouse sideways to resize the columns. ► Clicking and dragging the column header of a column to move it to another place horizontally.
  • Page 115 You can select multiple KoreSounds on the S for editing, earCH eSultS deleting or opening. Use your mouse and the Ctrl-key (Mac: cmd-key) on your keyboard to select multiple non-contiguous sounds from the list. If you want to select contiguous sounds use the shift key and click on the first and the last sound of the group of sounds you want to select.
  • Page 116 The only difference is that you cannot open their plug-in interfaces to program sounds on the plug-in level. If you already have licenses for the respective NATIVE INSTRUMENTS products, they replace the i and can be programmed.
  • Page 117 (be they pre-defined by ttriButeS NATIVE INSTRUMENTS or of your own design) leading to a list of Search Results. ► Furthermore, you can use the Q field to search for sounds...
  • Page 118 Searching via the Attributes List After having configured your a by using the context menus ttriButeS of the column header (see above) you can start combining a ttriButeS retrieve the content you are looking for. The more a you tag, the ttriButeS fewer sounds will match your criteria, effectively leading to a shorter list of search results on the S...
  • Page 119 Searching via the Quick Search The Q field allows you to enter arbitrary keywords that get uiCK earCH matched against the content of the database. The search function investigates all the available aspects of the sounds. You will get hits from the names, the authors, the M , etc.
  • Page 120 To the right of the Q you can see the number of results for the uiCK earCH current search. The C button will reset the B to a neutral state by lear earCH eSultS rowSer clearing the tags on the a and the Q field.
  • Page 121 ► Another way to open KoreSounds is by using the context-menu of the (rightclick for PC or Ctrl-click for Mac). Choose earCH eSultS Open from the menu and the KoreSound is opened in the currently focused C of the S Hannel nSert ound...
  • Page 122 hits. Activate the P button to start the function. This will load iSten the currently selected KoreSound from the S into the earCH eSultS currently selected C on the S . Use your MIDI Hannel nSert ound atrix keyboard or a sequencer track to listen to the sound. If you keep the P function active and select a different KoreSound iSten...
  • Page 123 3.7.4 Setting Attributes, saving sounds and Performances To extend KORE 2’s pre-defined system of a and to attributize new ttriButeS KoreSounds the B has an e mode, which can be activated with a rowSer click on the e button to the far right of the B window.
  • Page 124 The a shows the various a belonging into the currently ttriButeS ttriButeS selected a ttriButeS laSS For adding a to a KoreSound, simply click on an a and a ttriButeS ttriBute tick will appear next to it. Work your way through the different classes to add descriptive a to your KoreSound.
  • Page 125 Please note that you can invoke the e mode for multiple KoreSounds at the same time. Just select multiple sounds on the S earCH eSultS and hit the Edit button. This way you can attributize multiple sounds at once. In the picture above you can see the a mode for ttriButeS iSt in...
  • Page 126 The Meta Information The M fields provide important information relating to your nForMation KoreSounds. Among those are technical facts like the P or descriptive fields like the r ating Remember that Meta fields containing words are also included in your database and can be searched via the B .
  • Page 127 ► The r field allows you to rate the KoreSounds by giving between ating 1 and 5 stars. ► The C field allows you to associate a color with the KoreSound. olor This is also the color of the symbol displayed in the C Hannel nSert the sound is opened.
  • Page 128 As shown in the picture above, you can create u in the normal view via the context menu of the a . After creation, rowSer ttriButeS they populate the context menu, where you can choose them for display. They will stay empty, though, as long as they are not classed with .
  • Page 129 As already described, you can reach the e mode by clicking the e button of the B or by choosing Save from the context menu of a rowSer KoreSound sitting in a C Hannel nSert In the a you find the u you have created.
  • Page 130 This leads you to the e mode that we described in the previous sections of this chapter. Before saving the KoreSound by leaving the e mode you must specify the location the sound is going to be saved at. This is accomplished via the P field on the M section of the e...
  • Page 131 ► The entry B … opens a standard file system dialog window for you It is recommended to rowSe to navigate to a location of your choice. s t o r e y o u r o w n Depending on the kind of KoreSound and what you want to do with it, your KoreSounds in a limited number of options on this menu will differ.
  • Page 132 3.7.5 Advanced database operations There are some advanced functions of the Browser we didn’t touch on, yet. Search modes The Options you can choose from the context menu of the a ttriButeS provide some additional functionality for your searches: ► or M means that choosing multiple a leads to results that...
  • Page 133 ► allows you to select multiple a within one ulti eleCt ttriButeS ttriButeS ► only allows a single a to be selected within an ingle eleCt ttriBute ttriButeS Use these features to refine your searches. Sometimes you simply get too many or not enough hits and it can be productive to tweak the S earCH for a better result.
  • Page 134 3.8 Audio and MIDI Components: Enhancing sounds KORE 2 comes with a host of i that you can use to produce, nternal oduleS alter and process sound. The majority of these i are audio nternal oduleS effects but there also is a powerful set of MIDI-plug-ins that you can use to create or alter MIDI data.
  • Page 135 Label Function Range Unit Ra t e E n v Sets the amount of control the Envelope Follower has over the LFO-rate. Amount Introduces a phase set-off between the two modulation signals for the left and the right chan- PhaseL/R -180…180 nel, respectively.
  • Page 136 3.8.2 Auto Filter The a acts as a touch-controlled WahWah. This effect was very ilter popular in Funk music of the 70ies, but can be used in a wide range of applications from funky synthetic bass tracks to filtered drum loops. Label Function Range...
  • Page 137 Label Function Range Unit Crossfades between three operation modes. At low values the effect works as a low pass, filtering all frequencies above the cutoff frequency. At high values it becomes a high pass Filter Type with inverted characteristics. 0..100 In between the effect acts as a band pass, passing only frequencies around the cutoff frequency while attenuating all others.
  • Page 138 3.8.3 Beat Delay This effect unit synchronizes delay times to the internal tempo. This can be either to an internal BPM value or to KORE 2’s Master Clock. Feedback routing is also available, which provides cross-channel feedback and low pass/high pass filtering. Note: The internal delay buffer has a fixed maximum size, but KORE 2’s tempo can vary over a wide range.
  • Page 139 Label Function Range Unit Left Unit Sets the number of time units into which a bar of four quarter notes (beats) is divided, (Denominator) i.e., a value of 16 represent time units of sixteenth notes. The delay time is set as a 1..6 Right Unit multiple of those time units by adjusting the [Left/Right Numerator] control.
  • Page 140 3.8.4 Cabinet Saturator The C acts as an overdrive unit with the distinct sound of aBinet aturator a distorted speaker cabinet. With its flexible resonant filter section it can produce a wide range of interesting overdrive and distortion effects, be they subtle or harsh.
  • Page 141 3.8.5 Distortion This effect produces a wide variety of distortion sounds. The integrated peak equalizer helps to emphasise the characteristic frequencies of the processed, distorted sound. Label Function Range Unit Controls the balance between the dry, unprocessed signal (at the left) and the 0..100 wet, processed signal (at the right).
  • Page 142 3.8.6 Easy Chorus The e provides an easy to use combination of chorus, flanger and HoruS pitch modulation (i.e., vibrato). The modulation speed can be controlled as well as the effect intensity and modulation range. Label Function Range Unit Mode Menu for choosing among chorus, pitch modulation and flanger.
  • Page 143 3.8.7 Easy Compressor The e is a simple but powerful tool to control dynamic range. oMPreSSor A compressor is a preamp with variable gain depending on the input signal. When the input signal exceeds the t , the gain goes down to reduce HreSHold the output level.
  • Page 144 thus preserving “punch” and a more natural sound. If these peaks overload subsequent stages, you might want a very short a time so ttaCK the compressor can react quickly. Note that even with the shortest a , the compressor still needs some ttaCK time to analyse the signal.
  • Page 145 3.8.8 Easy Reverb This reverb unit provides an easy to use reverb effect with only six macro controls. Internally, these are mapped to multiple parameters for ease of use. Label Function Range Unit Controls the balance between the dry, unprocessed signal (at the left) and the 0..100 wet, processed signal (at the right).
  • Page 146 3.8.9 Ensemble The e effect subtly thickens the incoming signal. Similar to a chorus nSeMBle effect, the delay time of two delay lines is constantly modulated. Label Function Range Unit Controls the balance between the dry, unprocessed signal (at the left) and the 0..100 wet, processed signal (at the right).
  • Page 147 3.8.10 Expander The e is a powerful tool for shaping the dynamics of a signal. You xPander can think of it as a flexible gate effect. Technically, all signals below the are attenuated by the amount set by the r .
  • Page 148 3.8.11 Filterbank The F effect splits the incoming audio signal into eight frequency ilterBanK bands, each with a bandwidth of 1.25 octaves (15 semitones). With S HiFt and lr S set to zero, the center frequencies are: 30Hz, 71Hz, 170Hz, Plit 03Hz, 960Hz, 2282Hz, 529Hz, 12912Hz.
  • Page 149 Label Function Range Unit Controls the balance between the dry, unprocessed signal 0..100 (at the left) and the wet, processed signal (at the right). Alters the center frequencies of the eight bands simultaneously. Shift controls all frequencies up or down logarithmically (i.e., not in Hertz but in semitones) to semi- Shift -8..+8...
  • Page 150 3.8.12 Flanger The F is a classic modulation effect that produces a metallic, langer swooshing sound. It is very versatile and can be used on a wide range of different material. It works by splitting the input signal into two paths and delaying one of them by a very short amount.
  • Page 151 Keyboard shortcut Function Range Unit Depth Controls the intensity of modulation applied to the delay time. 0..100 Shows the delay time resulting from the setting of [Center] and the added Modulation Meter modulation signal. Phase L/R Changes the phase of the left and right signal paths, respectively. -180..+180 Sets the amount of Feedback, i.e.
  • Page 152 3.8.13 Flex Verb This reverb unit provides an extended parametric control of reverb with , early and late reflections, and separate control of low and high elay frequency decay times. Label Function Range Unit Controls the balance between the dry, unprocessed signal 0..100 (at the left) and the wet, processed signal (at the right).
  • Page 153 Label Function Range Unit Decay 0..100 Resonance 0..100 3.8.14 Freq Shifter The F is reminiscent of the early days of electronic music. reQuenCy HiFter Technically, this processor shifts the incoming signal‘s frequency spectrum linearly (i.e., all frequencies are shifted by the same number of Hertz). This alters the structure of the sound’s harmonics, because the energy is distributed logarithmically throughout the spectrum.
  • Page 154 Label Function Range Unit Controls the balance between the dry, unprocessed signal (at the left) and the 0..100 wet, processed signal (at the right). Menu for choosing the maximum range of the frequency shift, as multiplied by +/-1..+/- Range the [Amount] parameter value. 10000 Alters the amount of shifting as percentage of the maximum value set by Range.
  • Page 155 3.8.15 Gate Apart from the classic studio use as a noise gate, this effect has a large number of application areas including chopping up beats using the filter for gating defined frequency ranges. Label Function Range Unit Controls the balance between the dry, unprocessed signal (at the left) and the wet, pro- 0..100 cessed signal (at the right).
  • Page 156 3.8.16 Grain Shifter At the heart of the g lies a relatively simple pitch shifting rain HiFter effect. But due to the granular nature and the feedback line this effects unit can produce lovely sounds. It produces rich sounding artefacts that can be used creatively to produce wild results and the g offers a rain...
  • Page 157 Label Function Range Unit s emi - Spread Fine This sets the fine difference in pitch shift between the left and right channels. -0.5..+0.5 tones Controls the phase offset between the grains used to create the pitch shifted Spread Phase -90..+90 signals in the left and right channel.
  • Page 158 3.8.17 Graphic EQ The g divides an editable part of the frequency spectrum raPHiC Qualizer into eight bands of equal width (based on a percentage of the overall selected frequency spectrum). Each band’s gain can be adjusted separately to boost or attenuate specific parts of the sound’s frequency spectrum. This can be useful to integrate sounds into a mix or to change the sound’s character.
  • Page 159 3.8.18 Harmonic Shaper The H is a versatile processor that covers a wide range arMoniC HaPer of waveshaping application areas. You can use it as an Exciter, adding subtle harmonic content to signals that sound too dull. It can also produce nice tape- and tube-saturation effects.
  • Page 160 Label Function Range Unit Determines the intensity of control the envelope follower has on the input gain. Drive Dynamic Turn it to the left to reduce gain for higher levels (compression). Turn it to the -2..+2 right to increase gain for higher levels (expansion). This controls the waveshaping curve.
  • Page 161 3.8.19 Limiter The l restricts the level of all signals to a particular reference level iMiter (in this case, 0dB). It is equivalent to a compressor (see above) with an infinitely high compression ratio, or conceptually like the governor on a motor that restricts the maximum number of revolutions per minute.
  • Page 162 Label Function Range Unit Sets the amount of amplification or attenuation applied to the incoming level before In Gain -2..2 it is limited. Increased Gain leads to a stronger limiting effect. Release Sets the time used to recover from maximum limiting. 10..1000 Switches the Look Ahead feature on or off.
  • Page 163 sample rate and the bit quantization, respectively. The Offset parameter compensates for volume losses that can occur at low bit depth settings. Label Function Range Unit Controls the balance between the dry, unprocessed signal and the wet, pro- cessed signal. Turning the control fully counter-clockwise results only in dry 0..100 sound, fully clockwise gives wet sound only and centering the control gives an equal mix of both.
  • Page 164 3.8.21 Mic Conditioner The M Conditioner assists you when you plug a microphone directly into KORE 2. Use it to manipulate phase, filter out unwanted low-frequency content and correct phase shifts between channels via the two delay lines. Furthermore, the M provides facilities for working on onditioner recordings produced by the mid-side recording technique.
  • Page 165 Label Function Range Unit Left/Right Delay Fine Controls the fine delay time for the respective channel. 0..5 Switch this on if you are working on a recording that used the mid-side tech- MS to LR On On/Off nique. If on, the channels will be transformed to a stereo signal. Sets how much of the middle-signal of the mid-side recording is mixed into the MS to LR S Amount -2..+6...
  • Page 166 Label Function Range Unit Controls the balance between the dry, unprocessed signal (at the left) and the 0..100 wet, processed signal (at the right). Delay Time Sets the effect unit’s initial delay time. The internal LFO modulates this value. 0..1500 Controls the delay time balance as a percentage of the initial delay time.
  • Page 167 3.8.23 Multi Compressor This multi-band compressor combines filters and compres-sors. The filters split the incoming audio signal into four frequency bands: low (below 200 Hz), midlow (200.. 1000 Hz), mid-high (1000 .. 5000 Hz) and high (above 5000 Hz). Each band has a dedicated compressor, which is similar to a traditional, single band compressor.
  • Page 168 reacts to signals above the threshold level, while r sets how much eleaSe time it takes for the compression to stop after the signal drops below the threshold. Optimum settings depend on the audio material being compressed. Longer a times let through more percussive transients, ttaCK but with the trade off of letting peaks pass that might distort subsequent stages.
  • Page 169 Label Function Range Unit Sets the time to reach maximum compression once a signal exceeds the thresh- Attack 0.1..10 old level. Sets the time for compression to cease after a signal goes below the threshold Release 10..1000 level. Switches the Look Ahead feature on or off. This allows the compressor algorithm Look Ahead to operate more precisely, but the tradeoff is a fixed delay of 32 samples (under on/off...
  • Page 170 be adjusted (more poles creates a steeper response slope). Finally, you can set the threshold at which the signal will be driven into saturation. Label Function Range Unit Sets the balance between the dry, unprocessed signal and the “wet” (filtered) 0..100 one.
  • Page 171 Label Function Range Unit Crossfades between a 2-pole and a 4-pole filter. The number of poles defines the steepness of the filter cutoff slope: At low values the 2-pole setting is used 2-pole – -pole 0..100 with a transition band slope of 12 dB per octave; at high values the -pole set- ting provides a slope of 2 dB per octave.
  • Page 172 two middle bands are peak equalizers where the gain changes apply to a band around a center frequency with controllable bandwidth. Label Function Range Unit Low Gain Sets the amount of volume change applied to the lowest band. -20..+20 Sets the frequency of the low shelving equalizer. All frequencies below this Low Frequency frequency are modified by the equalizer, i.e., their gains are changed according 2..000...
  • Page 173 3.8.26 Pattern Delay The P is an especially clever echo device that enables you to attern elay work with delays as you would when using a step-sequencer. Define the time-grid of the steps with the u knob and set the position of the four delay taps on the P .
  • Page 174 Label Function Range Unit Sets one delay tap per track. The delay tap will sound at that position on Pattern Grid the time grid. Feedback Sets the feedback level for the taps individually or on a global level. -60..0 Controls the individual positions of the taps in the stereo-field from com- -100..+100 pletely left (-100%) to completely right (+100%).
  • Page 175 Label Function Range Unit Sets the balance between the dry, unprocessed signal and the “wet” (filtered) Mix Dry-Wet 0..100 one. Changes the cutoff frequency of the internal allpass filters of the Phaser, lead- Center ing to a shift in phasing frequencies. This interacts with the modulation, as it is 0..100 added to this value (have a look at the Modulation Meter).
  • Page 176 3.8.28 Rooms This reverb unit specializes in room reflections. It is an efficient solution when long reverberation isn’t needed. Label Function Range Unit Controls the balance between the dry, unprocessed signal (at the left) and the 0..100 wet, processed signal (at the right). Sets the time by which the incoming signal is delayed before it feeds into the Pre-Delay 0..50...
  • Page 177 3.8.29 Rotor This effect, the same one used in NATIVE INSTRUMENTS’ acclaimed B “virtual organ,” simulates the effect of miking a rotating speaker. It produces the classic stereo-swirling sound you know from a lot of 70s rock music. Label Function...
  • Page 178 Label Function Range Unit Sets the cutoff frequency of a shelving high-pass filter. All frequencies below High Cut 500..16000 this value are attenuated. This controls the balance bewteen the the treble and bass speaker outputs. When turned all the way to the right you hear only the treble rotor. Fully left and Low-High -100..+100 only the bass rotor is heard.
  • Page 179 Label Function Range Unit Controls the balance between the dry, unprocessed signal 0..100 (at the left) and the wet, processed signal (at the right). Sets the time by which the incoming signal is delayed before Pre-Delay Time 0..200 it is fed into the main reverb effect. Sets the pre-delayed signal’s stereo position.

  • Page 180: Stereo Chorus

    3.8.31 Stereo Chorus This effect implements a standard stereo chorus/flanger unit: The two input signals are delayed by a small amount, and the delay times are constantly modulated. Label Function Range Unit Controls the balance between the dry, unprocessed signal (at the left) and the 0..1 wet, processed signal (at the right).

  • Page 181: Stereo Mix

    Label Function Range Unit Sets the phase offset of the LFO modulating the right or left channel delay Modulation LR Phase times, respectively. At the maximum setting the LFO signal is 180° out of 0..180 Degrees phase. Sets the amplitude of the delayed signal that is fed back to the effects input. Feedback Amount 0..0,995 High settings result in flanging sounds.
  • Page 182 Label Function Range Unit Controls the level of the left or right channel. At -1, only the left channel can be Balance -1..+1 heard; if +1, only the right channel can be heard. L/R Swap If on, the left and right channels are swapped. On/Off Split Frequency Controls the frequency at which the input signal is split into two bands.
  • Page 183 Internal MIDI plug-ins are full control over the type and range of MIDI data reaching the different handled in the same way plug-ins used in the Performance. as any other device in KORE. This Whether the MIDI filter receives any MIDI data and on which MIDI channel means you can save them as a the data will be received depends on the C and i...
  • Page 184 Label Function Range Unit Use these to specify the lower and upper margins of the MIDI velocity values that the filter will let through. Click with the mouse and drag up or down to Low / High Velocity change the values. For example: if you choose a low velocity Filter value of 32 0…127 Control and a high value of 96, all MIDI notes with a velocity below 32 and above 96...
  • Page 185 3.8.34 MIDI Player The Midi P offers flexible facilities for playback and looping of MIDI Internal MIDI plug-ins are layer files. You can load MIDI files from disk, trigger and stop playback via handled in the same way note messages, set loop points and create l for controlling as any other device in KORE.
  • Page 186 whenever the loop length of the l wraps. You could, for example, ooP traCK set up a list of l in a Midi P , that have different lengths raCKS layer and by cycling through them you would get breaks in the downstream sequencers.
  • Page 187 Whether the Midi P receives any MIDI data and on which MIDI layer channel they are received depends on the C and i Hannel eleCt nPut ourCe settings of the Sound it belongs to. Please read chapter 3. for details about how to use the e The MIDI trigger behaviour of the P is defined by the settings of the...
  • Page 188 The four columns of t hold the following parameters, most of raCK which can be changed: ► The t shows the MIDI file names in the leftmost column. Click raCK with your mouse and use the keyboard to change it to your liking. ►...
  • Page 189 is received. Please read chapter 3. for details about how to use the e . The Midi i and o (labeled In and Out) flash Internal MIDI plug-ins are nPut utPut CtiVity eterS when MIDI data passes the plug-in’s input or output, respectively. handled in the same way The V Section is for scaling Velocity values.
  • Page 190 To the right you find the C menu. Normally every MIDI event has a Hannel MIDI channel stamped onto it. Via this menu you can redirect the MIDI data to a different channel. Choose between u , the 16 MIDI channels nCHanged and To All.
  • Page 191 Play and Time Internal MIDI plug-ins are handled in the same way as any other device in KORE. This means you can save them as a KoreSound to recall their settings at a later stage. The sections P and t provide the basic functionality of a classic Arpeggiator.
  • Page 192 The t button defines if the incoming note messages that feed the Arpeggiator are transmitted downstream to the next C Hannel nSert not. If inactive, the Arpeggio start is dependent on the Clocksync setting. If active, the notes you played on the keyboard will also immediately trigger sounds in the instrument (if the Arpeggiator goes directly into an instrument).
  • Page 193 The g parameter controls the length of the produced MIDI notes. The displayed unit is % of the note length defined by the rate parameter. It ranges from 1% to 200%. 1% is very short, 100% leads to notes exactly “filling”...
  • Page 194 Pattern Note order As Played Note order as they came in. As Played Reverse Note order reversed. Played from lowest to highest. Down Played from hieghset to lowest. Up/Down Played alternating up and down. Down/Up Played alternating down and up. Plays the keys in the following order: lowest –...
  • Page 195 The scale correction of the Arpeggiator has two menus. With the S Cale menu you choose between major and minor scales and the r menu defines the root note. With the Scale menu set to you get no change of the notes. You can also alter the MIDI velocity of the incoming notes.
  • Page 196 Repeat and Force The S knob in the r section only works in combination with the tePS ePeat knob. The concept is that the complete Arpeggio is repeated up to itCH seven times (defined by the value of the S dial) and every repetition is tePS transposed by a number of semitones defined by the P...
  • Page 197 The F knob sets the portion of the eight note buffer that the orCe tePS Arpeggiator cycles over. As you don’t always play an eight note chord, the Arpeggiator has to decide what to play for the “empty” slots. This choice is controlled via the M menu: ►...
  • Page 198 3.8.37 Step Sequencer KORE 2’s step sequencer builds on the heritage of the old analogue sequencers but as it is implemented in software it does not have their limitations. This is a very flexible and fun pattern generator that can be tweaked in realtime with your KORE 2 Controller.
  • Page 199 upper section of the markers to drag them into any position. Use this to set up 32 steps worth of content that can be arranged on the fly via the Note that you can assign markers. the Loop Marker position The small dice to the left of the keyboard is the P .
  • Page 200 ► An active t for a step leads to a prolongation of the tied note producing an overlap with the following note. In combination with a portamento sound this can be used to produce the well-known 303 acid lines. A tied note is also indicated by a small, black arrow on the step itself.
  • Page 201 this works independently from the t setting. With an active t rigger ranSPoSe button you can also transpose the sequence in normal run mode. The C menu has three different entries: loCKSynC ► None causes the S to switch to the new track immediately, eQuenCer without syncing the switch time to the global or host clock.
  • Page 202 ► (also called trioles) lead to notes that are two thirds as long as riPletS the grid width defined by r . If r is set to fourth and the triplet button is active, three notes correspond to a half note. As with any decent step sequencer you can set the length of the produced notes via the g parameter.
  • Page 203 3.9 The KORE 2 Controller: Touching KORE 2 The improved KORE 2 Controller provides you with a quick and tactile interface with access to nearly all KORE 2’s functions. Whether you want to set channel volume, tweak an instrument’s filter cutoff frequency, load a KoreSound from the library, or morph through your S –...
  • Page 204 has no functionality in KORE 2. Also, the t of the hardware ranSPort has no function in the KORE 2 plug-in. Hotplugging your KORE 2 Controller You can plug in or unplug your KORE 2 Controller at any time, KORE 2 This is not the case with will react transparently, automatically registering or unregistering the the old KORE 1 control-...
  • Page 205 For the rest of this chapter we will use the new nomenclature (F1 and F2). Please read the rest of this chapter carefully, as the new KORE Controller functionality differs profoundly from the old implementation. The basic modes As a quick introduction we will provide an overview for the three basic modes the KORE 2 Controller uses in KORE 2: ►...
  • Page 206 3.9.1 Navigating with the KORE 2 Controller As a KORE 2 Performance is a hierarchical structure, this hierarchy is also mirrored in the way you navigate through it via your KORE 2 Controller. The gist being that you first have to choose which part of the Performance you want to focus before you can access its respective u -, P - ,or...
  • Page 207 Now you can see the contents of the Performance. The S ound atrix is depicted by rectangular slots that are show the C Hannel nSertS SingleSounds have open rectangles while MultiSounds are displayed with closed rectangles. Again, the d shows the Performance name, iSPlay eader this time in short form.
  • Page 208 ► The e button navigates into the selected KoreSound. nter ► The e buttons brings you back up one level. SCaPe Please note that the light-state of the u depends on the igHt situation. If you can’t navigate further left, the l button won’t light up, if you can move down you will see the d button light up.
  • Page 209 3.9.2 Controlling sounds: Pages and Sound Variations The main purpose of your KORE 2 Controller revolves around tweaking the C and using the S . The direct, intuitive ontrol ageS ound ariationS connection between hard- and software makes KORE 2 a real Super Instrument.
  • Page 210 Now you are in the Page stack of your KoreSound. The d iSPlay eader always displays your location by stating that you are viewing a u and shows the name of that Page. This SingleSound has two pre-defined u and we can toggle them ageS via the u buttons.
  • Page 211 These three view modes are (shown in the picture above from left to right): ► All shows the S of all assigned parameters for all C Hort aMeS ontrolS and B . As soon as you touch a C on the noBS uttonS ontrol...
  • Page 212 a MultiSound or the Performance (which is a MultiSound, too), as SingleSounds do not host a mixer structure: Hit e in S until you reach the level of a MultiSound or the SCaPe ound top level, which is the Performance. Then hit C on your hardware to ontrol find the C...
  • Page 213 Touching Sound Variations Due to their M facilities and the fact that they are abstracted from orPHing the underlying plug-ins the S play a major part in KORE 2 ound ariationS being such a powerful instrument. The KORE 2 Controller makes them even more appealing because by using the hardware you can intuitively touch and massage the S to produce an ever-evolving sound.
  • Page 214 If a S is in use you see a letter (A to H) in its slot. In the ound ariation picture above all eight S are occupied. ound ariationS Now you can start tweaking the S with the C ound ariationS ontrol noBS...
  • Page 215 using the respective C . In this mode the selected ariationS ontrol noBS and the “target” S act as stop positions for your M ound ariationS orPH This ensures that you always end up on a defined S ound ariation not somewhere in between as with the F .
  • Page 216 Saving Sound Variations You can also save S via your KORE 2 Controller. Produce ound ariationS a nice sound with the C and hit F1. The currently selected ontrol noBS Sound Variation starts to blink on the display of your hardware and the displays “Store”.
  • Page 217 Hitting Enter loads the currently selected KoreSound into the C Hannel you have focused. nSert You can also use the P functionality of KORE 2 by activating the The Pre-Listen Mode runs iSten button on the Controller. With an active P button, any a lot smoother if you sort iSten...
  • Page 218 The Morph Mode option cannot be changed via the KORE 2 application; it is only available on the hardware. More on this in chapter 3.9.2. KORE 2 – 218...
  • Page 219 Appendix A – NATIVE INSTRUMENTS plug-in considerations The following section deals with some special considerations concerning Native Instruments plug-ins. ABSYNTH 4, FM8 and MASSIVE Please check the Update Manager of the Service These three products natively support the KoreSound format and save all Center in order to download the lat- their patches as SingleSounds.
  • Page 220 The update aims to make automation possible for every parameter in all Ensembles. Technically speaking, the MAX ID value has been increased for every Ensemble to its MAX ID IN USE value. The sort and compress commands have not been used to preserve the original parameter IDs that might be used in any given automation context.
  • Page 221 the KoreSound will be unable to find the Ensemble. (This is similar to a sampler that needs its samples at a pre-defined place.) To keep the Factory Content working, don’t move the files. This is also true for custom KoreSound and custom Ensembles. Pre-defined Control Pages and User Pages All pre-defined pre-defined C...
  • Page 222 Each KoreSound contains a field called B in its M anKnaMe nForMation Here the name of the Ensemble file is placed that the KoreSound uses within Reaktor. This entry also determines the pre-defined Control Pages to be loaded when loading this KoreSound. If Reaktor is loaded blankly without using a KoreSound (e.g.
  • Page 223 Custom u , however, are always part of the KoreSound, they are ageS not saved with the Ensemble or its snapshots. They can only be re-loaded if the KoreSound is loaded – re-assembling the sound by subsequently loading Reaktor, the Ensemble and the snapshot won’t recall any u As mentioned above, the REAKTOR Factory Library has been prepared for use in KORE 2.
  • Page 224 adapted to the needs of the particular Ensemble. This should be done in Reaktor stand-alone, for convenience. stand-alone, for convenience. As a first step, the local list(s) of the instrument(s) have to be prepared. Execute the Sort and Compress IDs command from the instrument’s prop- Sort and Compress IDs command from the instrument’s prop- command from the instrument’s prop- erties.
  • Page 225 Now close Reaktor stand-alone and start Reaktor stand-alone and start stand-alone and start KORE 2. Create a new REAKTOR REAKTOR instance by dragging the REAKTOR plug-in from the Browser into a REAKTOR plug-in from the Browser into a plug-in from the Browser into a S ound .
  • Page 226 KoreSound references the Ensemble file. If the path to the Ensemble is changed, KORE 2 2 won’t find it. KONTAKT If you want to automate parameters of KONTAKT in a host environment, you have to assign them to KONTAKT’s Automation Table. Refer to the KONTAKT manual for more information.
  • Page 227 ELEKTRIK PIANO ELEKTRIK PIANO exposes none of its parameters to the host and its presets cannot be changed by the host, either. VOKATOR As VOKATOR is partially modular, its parameters on the pre-defined u can only function when the respective VOKATOR part is active. ageS Presets cannot be changed for VOKATOR.
  • Page 228 Appendix B – Keyboard Shortcuts On Mac OS X computers, use the Command key instead of the Control key. The left and right mouse buttons are abbreviated with “LMB” and “RMB”, respectively. Global Keys Keyboard shortcut Function New Performance Ctrl + N Open Performance Ctrl + O Save Performance...
  • Page 229 Keyboard shortcut Function Info Pane Pre-Listen Ctrl+P Find KoreSound Ctrl+F (opens Browser to the Quick Search field) Start/Stop Space Stop and reset transport Ctrl+Space Undo Ctrl+Z Redo Ctrl+Y Panic button Numeric 0 Reset parameter to default value Double-click LMB Adjust a parameter in fine steps Shift+Drag LMB KORE 2 –...
  • Page 230 Edit Area Keyboard shortcut Function Move sound or channel to another location Drag LMB Duplicate sound in different location Alt+Drag LMB Open context menu Browser Keyboard shortcut Function Select sound in Results List Open context menu for selected sound Select previous or next sound in Results List Cursor Up / Down Add sound to current selection Ctrl + LMB...
  • Page 231 4. Index Symbols Attributes .............. 43 .kpe XE ..............42 Attributes Area .............109 KORE Controller Attributes List ............108 Rear Panel ............10 Attributes Set ............110 Top Panel ............12 AU ................55 Results List Audio and MIDI Settings ........43 Author ..............113 Audio components ..........134 Bank ..............113 Audio Unit...............55 Color ..............113...
  • Page 232 Instruments ............109 MIDI Files ............109 Easy Chorus ............142 Performances ...........109 Easy Compressor ..........143 Plug-ins ............109 Easy Reverb ............145 Sounds .............109 Edit Menu .............. 44 Browser Results List ..........112 Effects plug-ins ............134 Browser View Buttons...........109 ELEKTRIK PIANO ...........227 Enable plug-in scan at startup ......55, 56 Ensemble............146, 223 Cabinet Saturator ..........140 Exit ................
  • Page 233 Input Menu .............71 Gate ..............155 Input Source .............70, 75 Grain Shifter ............156 Instruments ............109 Graphic EQ ............158 Invert Display ............57 Group Bus ............71, 75 Kensington Lock .............11 Hardware Options ...........57 KONTAKT ..............226 Backlight ............57 KORE Controller ............10 Contrast .............57 Channel Pages ..........211 Invert Display .............57 Footswitch ............10 LED Brightness High ...........57...
  • Page 234 Limiter ..............161 Multi Select ............133 Lo-Fi ..............162 MultiSound ............43 Load Sound… ............43 Mute ...............70 Master ..............72 Name ..............112 Master Channel ............69 New Performance ...........42 Meta Information ..........43, 113 None ...............72 Mic Conditioner ............164 Numbered outputs ..........72 MIDI Activity LED ............76 MIDI Channel All .............76 MIDI Channel Select ..........76 Open Manual ............45...
  • Page 235 Pedal ..............10 Rooms ..............176 Pedal Recalibrate ...........57 Pedals ..............57 Performance ............42 Save Performance ..........42 Performance to KoreSound ........43 Save Performance As… ........43 Phaser ..............174 Save Performance As Sound…......43 Pitch Transpose ............76 Save performance as Sound… ......131 Plug-in Pages ............211 Scan User Folders ..........
  • Page 236 Update plug-ins ............55 USB 2 port ..............10 Use as Master ............69 User Categories ............110 User Library ............45 User Pages ............211 Validate Plug-ins ............56 Vendor ..............112 View Buttons ............109 View Menu ............. 44 Visit KORE on the web ..........45 VOKATOR ..............227 VST .................55 Windows XP Service Pack 2 ........15 KORE 2 –...