Kore 2 manual download

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. Page 93 turn the hardware knob to go through the complete range of values. Page 96 3. On the left side of the S you have the S with all 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.

Page 3. KORE 2 — Page 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 in reach for the host. In the case of Ableton Live, the Pages you want to automate have to sit in slots lower than 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 Editing the Automation List The a can run in two modes; you can toggle between via the utoMation button. For editing, toggle the button to yellow. Pages are removed from the Automation List by selecting them and hitting the r button. Page via the l values shown in the upper right part of the M aPPing see below for more information.

Please see chapter 3. 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 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. Please read chapter 3. The first group of four buttons is for choosing the basic type of component you are looking for. Page 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. 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 The only difference is that you cannot open their plug-in interfaces to program sounds on the plug-in level. Page 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 The search function investigates all the available aspects of the sounds.

You will get hits from the names, the authors, the M , etc. Page hits. Activate the P button to start the function. If you keep the P function active and select a different KoreSound iSten Work your way through the different classes to add descriptive a to your KoreSound. Page Please note that you can invoke the e mode for multiple KoreSounds at the same time. This way you can attributize multiple sounds at once. In the picture above you can see the a mode for ttriButeS iSt in 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 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 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 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 Sometimes you simply get too many or not enough hits and it can be productive to tweak the S earCH for a better result.

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 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.

The delay time is set as a With its flexible resonant filter section it can produce a wide range of interesting overdrive and distortion effects, be they subtle or harsh. 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 The modulation speed can be controlled as well as the effect intensity and modulation range.

When the input signal exceeds the t , the gain goes down to reduce HreSHold the output level. 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. Internally, these are mapped to multiple parameters for ease of use. Similar to a chorus nSeMBle effect, the delay time of two delay lines is constantly modulated. 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. Alters the center frequencies of the eight bands simultaneously. Shift controls all frequencies up or down logarithmically i. 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. Label Function Range Unit Controls the balance between the dry, unprocessed signal Page Label Function Range Unit Controls the balance between the dry, unprocessed signal at the left and the Label Function Range Unit Controls the balance between the dry, unprocessed signal at the left and the wet, pro- 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 Label Function Range Unit s emi - Spread Fine This sets the fine difference in pitch shift between the left and right channels.

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 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. This controls the waveshaping curve. 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.

Increased Gain leads to a stronger limiting effect. Release Sets the time used to recover from maximum limiting. Page 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 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. If on, the channels will be transformed to a stereo signal. The internal LFO modulates this value. The filters split the incoming audio signal into four frequency bands: low below Hz , midlow Each band has a dedicated compressor, which is similar to a traditional, single band compressor.

Page 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 Label Function Range Unit Sets the time to reach maximum compression once a signal exceeds the thresh- Attack 0.

Sets the time for compression to cease after a signal goes below the threshold Release Switches the Look Ahead feature on or off. Page be adjusted more poles creates a steeper response slope. Finally, you can set the threshold at which the signal will be driven into saturation. Page two middle bands are peak equalizers where the gain changes apply to a band around a center frequency with controllable bandwidth.

All frequencies below this Low Frequency frequency are modified by the equalizer, i. Define the time-grid of the steps with the u knob and set the position of the four delay taps on the P. 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. 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 Sets the time by which the incoming signal is delayed before it feeds into the Pre-Delay It produces the classic stereo-swirling sound you know from a lot of 70s rock music. Label Function All frequencies below High Cut 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 Sets the time by which the incoming signal is delayed before Pre-Delay Time Page Stereo Chorus 3. Sets the amplitude of the delayed signal that is fed back to the effects input. Feedback Amount At -1, only the left channel can be Balance For example: if you choose a low velocity Filter value of 32 0… Control and a high value of 96, all MIDI notes with a velocity below 32 and above 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 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. Click raCK with your mouse and use the keyboard to change it to your liking. Page is received. Page To the right you find the C menu. Via this menu you can redirect the MIDI data to a different channel. 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 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. As Played Reverse Note order reversed. Played from lowest to highest. Down Played from hieghset to lowest. Plays the keys in the following order: lowest — Page 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. 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 This is a very flexible and fun pattern generator that can be tweaked in realtime with your KORE 2 Controller.

Page 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. In combination with a portamento sound this can be used to produce the well-known acid lines. A tied note is also indicated by a small, black arrow on the step itself. Page this works independently from the t setting. With an active t rigger ranSPoSe button you can also transpose the sequence in normal run mode.

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 has no functionality in KORE 2. Page 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 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 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. SCaPe Please note that the light-state of the u depends on the igHt situation.

Page 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. As soon as you touch a C on the noBS uttonS ontrol Then hit C on your hardware to ontrol find the C 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 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. Page using the respective C. Produce ound ariationS a nice sound with the C and hit F1. With an active P button, any a lot smoother if you sort iSten More on this in chapter 3. Page The update aims to make automation possible for every parameter in all Ensembles.

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 the KoreSound will be unable to find the Ensemble.

This is similar to a sampler that needs its samples at a pre-defined place. All product and company names are or trademarks of their respective owners. Furthermore, the fact that you are reading this text means you are the owner of legal version rather than an illegal, piratedcopy. On behalf of the entire company, thank you very much. Users Guide written by Thomas Loop. Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a betterproduct.

Native Instruments GmbH, All rights reserved. Additionally, it contains notes about using the KORE 2 Controller safely and provides some general product- related information. KORE 2has been designed in order to let you nd the sound you have in mind fast. The Browser of KORE 2is lled with musical attributes specify any combination, and the sounds that match the description are immediately listed. The repertoire of the KORE 2Browser is lled with more than sounds, each providing several variations which can be morphed seamlessly.

They have been created for immediate use in your production: All 3. 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 andeffectively.

Beyond these immediate usage possibilities, you can integrate any other plug-in into the KORE 2 host application. This manual will help you get the best out of KORE 2. The software installation and activation is described within the separate Setup Guide.

As each part of the user interface is focused on a specic functionality, the manual structure will guide you quickly and easily to the information you need. Note that the reference part is introduced by two overview sections. Reading these is strongly recommended if you want to understand and use all the features KORE 2 provides. It also holds an index of important terms as well as a keyboard shortcutoverview. The device contains no user-serviceable parts.

Do not open the device or attempt to disassemble or modify any internal hardware. If it appears to malfunction, immediately stop using it and have it inspected by qualied service personnel. Do not expose the unit to rain, and do not use it near water or in damp or wet conditions.

Also, make sure that no glasses or bottles containing liquids which might spill are placed on the hardware. Do not allow any objects or liquids of any kind to penetrate the unit. Note that you can set the Info Panes language within the applications Options dialog explained in chapter 3. Do not use excessive force on the buttons, knobs, switches, or connectors.

Do not use paint thinner, solvents, cleaning uids, or chemically-impregnated wiping cloths. Specications subject to change: The information contained in this manual is believed to be correct at the time of printing.