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 same applies to the a button for ixer utPutS displaying the output section.
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.
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 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.
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.
In uxiliary eStination front of the Group bus entries, you can view the channel numbers of the available g rouP HannelS 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.
Then you take a Performance u ourCe HannelS and assign the a Page 82 3. 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. 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 — 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. 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. 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. Of course you are also free to change any existing u to fit your needs. 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. 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.
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. 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.
However, Native Instruments reserves the right to make changes to the specications of software and hardware at any time without notice or obligation to update existing units. It lists the products model name and other technical information. The serial number is also located on the bottom of the unit. Disposal Notice: Should this product become damaged beyondrepair, or for some other reason come to the end of its life, please observe all regulations of your country that relate to the disposal of electronic products.
Copyright: Native Instruments GmbH This publication may not be reproduced in whole or in part, summarized, transmitted, transcribed, stored in a retrieval system, or translated into any language, in any form or by any means without the prior written permission of Native Instruments GmbH.
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