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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. When the boundary is crossed, the next group of samples takes on the characteristics of the layer below. 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.
We're all familiar with the usual problem with sampled instruments using multiple velocity layers: the tonal jump from one layer to the next can be painfully obvious. Velocity Morphing is designed to provide naturalistic timbral transitions between adjacent velocity layers.
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The degree of morphing is determined using one of two methods: a Velocity Morph (via key velocity), or an Articulation Morph (via a continuous controller such as the mod wheel). 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. This is because AET (which is inserted as an effect at the sampler's Group level) is actually a sophisticated Fast Fourier Transform (FFT) filter which acts upon groups of samples. This concept might initially be open to misinterpretation: one sample doesn't literally morph to become another. AET works by introducing gradual timbral transitions between one set of samples and another, allowing you to 'morph' smoothly between them in real time. Kontakt 4's big new feature is designed to aid the authentic reproduction of acoustic instruments. This one is an Articulation Morph from the Choir collection. This is how the AET filter displays its morphing layouts. Nevertheless, the graphics and text in the new colour scheme are all very clear and legible. I preferred the brighter look of Kontakt 3 personally, but that's just a subjective opinion. A quick run-down of the changes implemented in version 3.5 can be found in the 'Kontakt 3.5 Updates In Brief' box overleaf.Ĭosmetically, Kontakt 4 sees a return to the slightly more dour, monochromatic style of version 2. Version 4 also benefits from a number of other under‑the-bonnet improvements which were pre-empted in the version 3.5 update, released just prior to version 4.
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Nevertheless, version 4 does include a major new feature called Authentic Expression Technology (AET), plus a reworked Database with attribute-based browsing, an updated version of the library which adds 10GB of new sample data to the collection, as well as many new Presets and all-new Performance Views for every instrument in the library. Version 4 sees little change to the software's core functionality compared to, say, the differences between versions 2 and 3.
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.
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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.
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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. Note the Dynamic keyswitches (blue) and the Standard keyswitches (pink) on the keyboard. Kontakt's rack view, showing the library browser (left) and an Orchestral instrument loaded. 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.
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