Heavyocity EVOLVE | © 2008 2

The information in this document is subject to change without notice and does not represent a
commitment on the part of Native Instruments Software Synthesis GmbH. The software
described by this document is subject to a License Agreement and may not be copied to other
media. No part of this publication may be copied, reproduced or otherwise transmitted or
recorded, for any purpose, without prior written permission by Native Instruments Software
Synthesis GmbH. All product and company names are trademarks of their respective owners.

If you’re reading this, it means you bought the software rather than stole it. It’s because of
people like you that we can continue to create great tools and update them. So, thank you very
much.

User Guide written by Heavyocity Media, Inc.

For more information regarding Heavyocity, please visit www.HEAVYOCITY.com.

(c) Native Instruments Software Synthesis GmbH, 2006. All rights reserved.

KONTAKT is a trademark of Native Instruments Software Synthesis.

Germany

Native Instruments GmbH

Schlesische Str. 28
D-10997 Berlin
Germany
www.native-instruments.de

USA
Native Instruments USA, Inc.
5631 A Hollywood Boulevard
Los Angeles, CA 90028
www.native-instruments.com

Heavyocity EVOLVE | © 2008 3

Table of Contents
End User License Agreement……………..................................................................................................... 5

Introduction……………………………………………………………………………………………………………………………………. 8
Basics of Organization In EVOLVE…………………………………………………………………………………………..….8
Overview of EVOLVE User Interfaces and Skins…………………………………………………………………… 9

Installation Instructions…………………………………………………………………………………………………………….. 12
System Requirements…………………………………………………………………………………………………………….…. 12
Installation under Windows XP…………………………………………………………………………………………….….. 12
Installation under Mac OS X..……………………………………………………………………………………………………. 13

Authorizing the Library………………………………………………………………………………………………………………. 14

Standalone Use……………………………………………………………………………………………………………………………. 14
Audio Setup and Soundcard Settings…………………………………………………………………………………….. 15
MIDI Setup……………………………………………………………………………………………………………………………………. 16
Plug-in Use……………………………………………………………………………………………………………………………………. 16
VST Plug-in……………………………………………………………………………………………………………………………………. 18
Audio Units Plug-in………………………………………………………………………………………………………………………. 19
DXi.…………………………………………………………………………………………………………………………………………………. 22
RTAS………………………………………………………………………………………………………………………………………………. 22

Using KONTAKT PLAYER 2………………………………………………………………………………………………………. 24

Browser………………………………………………………………………………………………………………………………………… 25
Automation (MIDI CC)…………………………………………………………………………………………………………………26
Output Routing…………………………………………………………………………………………………………………………….. 28
System Performance Meters…………………………………………………………………………………………………… 36
Multi Area……………………………………………………………………………………………………………………………………… 37

EVOLVE Control Features………………………………………………………………………………………………………….. 39

Troubleshooting……………………………………………………………………………………………………………………………. 49
Standalone……………………………………………………………………………………………………………………………………. 49
Plugin Issues & Error Messages…………………………………………………………………………………………….. 51

Credits…………………………………………………………………………………………………………………………………………….. 52

Appendix…………………………………………………………………………………………………………………………………………. 53
EVOLVE Instrument and Multi Preset Lists…………………………………………………………………………… 53
EVOLVE Continuous Controller (CC) Number Assignments………………………………………………. 60

Heavyocity EVOLVE | © 2008 4

 Heavyocity Media, Inc.
EVOLVE End User License Agreement
1. IMPORTANT READ CAREFULLY: This End User License Agreement ("Agreement") is a
legal and binding agreement between you (either an individual or a single entity) ("you" or "your")
and Heavyocity Media, Inc. ("Owner") that must accepted prior to your download and/or use of
“Evolve,” an audio development software tool that is and remains the sole property of Owner, as
well as any documentation and updates thereto provided by Owner (collectively, the "Software").

2. WHEN YOU CLICK ON THE "ACCEPT" BUTTON OR WHEN YOU OTHERWISE INSTALL
OR USE ANY PART OF THE SOFTWARE, YOU ARE CONSENTING TO BE BOUND BY, AND
ARE BECOMING A PARTY TO THIS AGREEMENT. IF YOU DO NOT AGREE TO (OR CANNOT
COMPLY WITH) ALL OF THE TERMS OF THIS AGREEMENT, CLICK THE "CANCEL" BUTTON,
AND YOU WILL NOT BE AUTHORIZED TO USE OR HAVE ANY LICENSE TO ANY PART OF
THE SOFTWARE. WRITTEN APPROVAL OR CONSENT IS NOT A PREREQUISITE TO THE
VALIDITY OR ENFORCEABILITY OF THIS AGREEMENT. IF THESE TERMS ARE CONSIDERED
AN OFFER BY OWNER, ACCEPTANCE IS EXPRESSLY LIMITED TO THESE TERMS WHICH
ARE NOT SUBJECT TO CHANGE WITHOUT THE EXPRESS WRITTEN CONSENT OF THE
PRESIDENT OF OWNER. WHEN YOU CLICK ON THE "ACCEPT" BUTTON, YOU ARE
REPRESENTING TO OWNER THAT YOU ARE OF LEGAL AGE TO ENTER INTO THIS
AGREEMENT AND WILL FULLY COMPLY WITH ITS TERMS.

3. GENERAL SOFTWARE LICENSE.

This copy of the Software is intended solely for your personal use in connection with development
of audio sound, spoken work, and/or music sequences for use in audiovisual works. You are not
permitted to sell, sublicense, share, or otherwise transfer rights to the Software to any third
party. You may not, for example, and not in limitation, decompile, reverse engineer, or
disassemble the Software, except as permitted by law. The Software, including, without
limitation, all code, data structures, images, sounds, text, screens, interfaces, derivative works
and all other elements of the Software may not be copied, shared resold, rented, leased,
uploaded to any computer system and/or network, distributed (electronically or otherwise), or
otherwise used except as expressly authorized hereunder. Owner retains all right, title and
interest in and to the Software including all intellectual property rights embodied therein and
derivatives thereof. As between you and Owner, the Software and accompanying audio samples
are and remain the exclusive property of Owner, and are licensed, not sold, to you for use in your
hardware and software only as provided in this Agreement. All rights not expressly granted are
reserved exclusively by Owner.
A library of audio samples (the “Samples”) are one element of the Software. These Samples are
provided for your use only with the Software, for use as sound effects, and as tools for
integration into, or use in development of, musical compositions. Samples are not to be resold,
sublicensed, used with any product that is competitive to the Software, or otherwise distributed,
except as expressly provided herein.

Use of unmodified Samples appearing in isolation such as, but not limited to, in video game
soundtracks, gaming machines, and/or toys (where they may appear in isolation or as sound
effects) is not permitted without first obtaining a separate written license (which may be issued
at the sole discretion of Owner).

Loops (continuous repeating compositions that contain only a combination of modified Samples)
must be used in a musical context with at least two other instruments or loops that contribute
significantly to the composition. The Loop may be an element, but not the entire composition.

Heavyocity EVOLVE | © 2008 5

4. TERM AND TERMINATION

The license granted in this Agreement is effective until terminated hereunder. You may
terminate the license at any time by destroying the Software (including the related
documentation, if any) together with all copies in any form. Owner will have the right to
terminate the license granted herein immediately if you fail to comply with any term or condition
of this Agreement. The license granted to you herein will terminate automatically upon any
breach of Section 3. Upon termination of this Agreement for any reason, you shall immediately
stop using the Software and shall destroy and remove from all computers, hard drives,
networks, and other storage media all copies of the Software. Sections 3 and Sections 5
through 9 shall survive termination of this Agreement.

5. DISCLAIMER OF WARRANTY

THE SOFTWARE IS PROVIDED "AS IS" WITHOUT WARRANTIES OF ANY KIND. TO THE
MAXIMUM EXTENT PERMITTED BY LAW, OWNER EXPRESSLY DISCLAIMS ALL WARRANTIES,
INCLUDING WITHOUT LIMITATION, WARRANTIES OF CONTINUOUS PERFORMANCE,
NONINFRINGEMENT, AND ANY IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS
FOR A PARTICULAR PURPOSE. THE DISCLAIMER OF ALL WARRANTIES CONSTITUTES AN
ESSENTIAL AND MATERIAL PART OF THIS AGREEMENT

THE ENTIRE RISK ARISING OUT OF THE USE OR PERFORMANCE OF THE SOFTWARE RESTS
WITH YOU.

IN NO EVENT WILL OWNER, ITS OFFICERS, DIRECTORS, AGENTS, AND/OR EMPLOYEES, BE

LIABLE FOR ANY CONSEQUENTIAL, INCIDENTAL, INDIRECT, SPECIAL, OR PUNITIVE DAMAGES
WHATSOEVER (INCLUDING, WITHOUT LIMITATION, DAMAGES FOR LOSS OF PROFITS,
OPPORTUNITIES, OR OTHER PECUNIARY LOSS) ARISING OUT OF THIS AGREEMENT OR THE
USE OF OR INABILITY TO USE THE SOFTWARE EVEN IF OWNER HAS BEEN ADVISED OF THE
POSSIBILITY OF SUCH DAMAGES. BECAUSE SOME STATES/JURISDICTIONS DO NOT ALLOW
THE EXCLUSION OR LIMITATION OF LIABILITY FOR CONSEQUENTIAL OR INCIDENTAL
DAMAGES, THE ABOVE LIMITATION MAY NOT APPLY TO YOU.

6. INDEMNITY

You agree that Owner shall have no liability whatsoever for any use you make of the Software.
You shall indemnify and hold harmless Owner from any third party claims, damages, liabilities,
costs and fees (including reasonable attorney fees) arising from your use of the Software as well
as from your failure to comply with any term of this Agreement.

7. LIMITATION OF LIABILITY.

Under no circumstances and under no legal theory will Owner’s liability hereunder exceed the
price paid by you for the Software.

8. ASSIGNMENT; NO THIRD PARTY BENEFICIARIES

This Agreement is personal to you. You have no right to assign or otherwise transfer this
Agreement and any action or conduct in violation of the foregoing shall be void and without
effect. Owner expressly reserves the right to assign this Agreement and to delegate any of its
obligations hereunder. The parties further intend that this Agreement is solely for the exclusive
benefit of the parties and there are no third party beneficiaries hereunder.

Heavyocity EVOLVE | © 2008 6

9. GENERAL

This Agreement represents the complete agreement concerning the subject matter between
the parties and supersedes all prior agreements and representations between them. This
Agreement may be amended only by a writing executed by both parties. If any provision of this
Agreement is held to be unenforceable for any reason, such provision shall be reformed only to
the extent necessary to make it enforceable. The failure of Owner to act with respect to a breach
of this Agreement by You or others does not constitute a waiver and shall not limit Owner’s
rights with respect to such breach or any subsequent breaches. This Agreement shall be
governed by and construed under New York law (without regard to its conflicts of laws
provisions) as such law applies to agreements between New York residents entered into and to
be performed within New York. The sole and exclusive jurisdiction and venue for actions arising
under this Agreement shall be the State or federal courts located in Borough of Manhattan, City
and County of New York. You hereby agree to service of process in accordance with the rules of
such courts. The party prevailing in any dispute under this Agreement shall be entitled to its
costs and legal fees.
Each party recognizes and agrees that the warranty disclaimers and liability and remedy
limitations in this Agreement are material bargained for bases of this Agreement and that they
have been taken into account and reflected in determining the consideration to be given by each
party under this Agreement and in the decision by each party to enter into this Agreement.
Questions concerning this Agreement should be sent to the address set forth below. Any
notices or correspondences will only be effective if sent by prepaid Certified Mail, Return Receipt
Requested, to such address.

Heavyocity Media, Inc.

307 7 Avenue
th

Suite 1203
New York, NY 10001

10. COPYRIGHT AND TRADEMARK INFORMATION

EVOLVE ©2008 Heavyocity Media, Inc. All rights reserved.

Heavyocity and Evolve are trademarks of Heavyocity Media, Inc. All Rights Reserved.

Heavyocity EVOLVE | © 2008 7

Introduction
The Heavyocity team would like to extend our sincere thanks for purchasing this modern virtual
instrument collection. We look forward to hearing about your experiences with EVOLVE and how
you are incorporating it into your works. This manual will get you started quickly by guiding you
through the installation process and outlining EVOLVE’s incredible features.

Find your signature and EVOLVE!

Get ready to enter the next generation in modern virtual instruments. Created by the TV and
videogame composers of Heavy Melody Music & Sound Design, EVOLVE supercharges
creativity and streamlines productivity for contemporary composers and sound designers.
EVOLVE doesn’t just contain the typical instruments and sounds that form the foundation of
most composers’ setups. Instead, it accentuates them with a powerful combination of diverse
percussion, massive stings/transitions and evocative tonalities in ways that have never
been heard before.
There are 4 main instrument categories that make up EVOLVE:
Rhythmic Suites | Percussive Kits | Stings and Transitions | Tonality and FX
Each instrument category contains submenus of instrument types for you to load and play. The
browsing system is both simple and intuitive, ensuring efficient navigation and minimal ‘creative
fumbling.’ Below is the breakdown of the 4 instrument categories:
Rhythmic Suites (.nki Preset Prefix: LPS, LPS TL and ARP)
• Looped Percussives (LPS - Loop-Suite Percussive)
• Looped Tonals (LPS TL - Loop-Suite Tonal)
• Sequenced and Arpeggiated Percussives (ARP)
• Sequenced and Arpeggiated Tonals (ARP)
Percussive Kits (.nki Preset Prefix: PERC):
• Drum Like Kits
• Hits
• Metals and Cymbals
• Toolshed And Warehouse
• Traditional
Stings And Transitions (.nki Preset Prefix: STINGS):
• Odd Noise and Build
• Sweeping Atonal Stings
• Sweeping tonal Stings
• Uncaged Piano
• Uncharted Metals
Tonality and FX (.nki Preset Prefixes: AFX, APA, APT, and INST):
• Bass (INST - Instrument)
• Melodic (INST - Instrument)
• Pads and FX (AFX - Ambient FX, APA - Ambient Pad Atonal, APT - Ambient Pad Tonal}

USER TIP: In addition to the individual instruments in EVOLVE, we’ve created 25 Multis to help you get
acquainted with the library’s diversity. Each Multi is comprised of 8 single instruments, assigned to MIDI
channels 1-8.

Heavyocity EVOLVE | © 2008 8

Introduction to EVOLVE’s User Interfaces And Skins
Within the 4 categories of EVOLVE, 3 custom user interfaces have been developed to enhance
creativity and productivity. Specific interface control features will be explained in detail starting
on page 38. The following is a brief overview of EVOLVE’s instrument categories and interfaces.

Rhythmic Suites (Beat-Sliced, nki Preset Prefixes: LPS & LPS TL)
Massive walls of cinematic percussion, tricked-out punchy beats and next-gen tonal elements
make up 7 genre based instruments. There are well over 600 beat-sliced loops as well as a
massive tonal loop suite with breakdowns. The genres covered are Dramatic EVOLVED,
Dramatic Techtronic, Electro Tech, Industrial Elements, Industrial Grunge, Quirky And
Cartoony, RockPop and Tonal Loop Suites.
All of the suites are geared to work well with one another, allowing you to mix and match
different styles to create dense rhythmic layers. Heavyocity’s intuitive key-mapping system
facilitates this process.

On the lower end of the 88 key range are the larger, deeper, darker sounds like full loops, kicks,
dumpsters and big toms. As you move up the register, the loop-types shift towards higher,
wispier types of sounds like hi-hats and shakers. This intuitive system allows you to build complex
beats and breaks with ease. The tonal loops use this same key-mapping structure.

Heavyocity EVOLVE | © 2008 9

Beat-Sliced Loops
We’ve taken specific care to create very clean beat-sliced content. Individual loops tend to
contain optimal tempo ranges, or sweetspots, spanning 80-160 bpm. However, you can create
very interesting textures by pushing the tempo beyond this range. The beat-sliced loops are
synced to either the MasterKontrol or host sequencer tempo.

Arpeggiated Instruments (nki Preset Prefix: ARP)

You control the rhythmic and tonal soundscape with EVOLVE’s custom step-sequence
arpeggiator. Select one of the nearly 60 ARP instruments and develop your own sequenced
groove or choose one of our 12 factory presets to get started. Quick and easy groove creation
enables you to produce a wide range of rhythmic textures. Additionally, we custom scripted the
step-sequencer and added user friendly velocity, filter and pan controls. For more information on
specific control features within the arpeggiated instruments, refer to page 42.

Percussive Kits (nki Preset Prefix: PERC)

There are more than 30 modern percussive-type menus and kits in EVOLVE. They contain
sounds we gathered from a warehouse, an amusement park midway, a murky stairwell, a
garage, numerous outdoor locations and of course our studios. Whether it’s a massive hit, an
ear piercing screech or a subtle scrape, this category puts an enormous variety of sound at your
fingertips.

Heavyocity EVOLVE | © 2008 10

 Stings | Transitions (nki Preset Prefix: STINGS)
With sounds like Uncharted Metals, Odd Noise and Buildups and Atonal Stings, this category
offers distinct new ways to heighten emotional impact. It is perfect for adding terrifying sonic
punctuation to a film soundtrack or otherworldly gestures to the breakdown of a pop song.
Unique new signatures await.

Tonality | FX (nki Preset Prefixes: APA, APT, AFX, INST)

The fourth and final category is a tripped out, mashed up array of instruments that stray from
the traditional “meat and potatoes” sounds that many composers already have. From organic
otherworldly soundscapes to gnarled-out synths to treated traditional instruments, EVOLVE’s
tonality will bring an innovative quality to your arrangements.
USER TIP: It is important to point out that the Tonality | FX, Stings | Transitions, and the Percussive Kit instruments
utilize the same user interface (the colors vary to differentiate the instruments, but the control features are identical
on all presets in these categories).

Please be aware that when you install EVOLVE it will be usable immediately in a 7-day demo
mode. You must register the library within these 7 days to continue using it. The registration
process is explained in the sections below.

Heavyocity EVOLVE | © 2008 11

System Requirements
• Mac OS 10.4 or later, G4 1.4 GHz or faster, 512 MB RAM or more
• Windows XP, Pentium IV or Athlon 1.4 GHz or faster, 512MB RAM or more
• DVD drive

Installation under Windows XP

If this is your first KONTAKT PLAYER 2 product, then the Player will be installed with the library. If
you already own a KONTAKT PLAYER 2 library, the Player installation will be skipped and the
library will be installed.

• Insert the EVOLVE Library disc into the optical drive.

• Use the Windows Explorer to view the contents of the disk.
• Start the installation by double-clicking EVOLVE LIBRARY Setup.exe.
• The setup program will suggest C:\Program Files\Native Instruments\KONTAKT
PLAYER 2 as the path for the destination folder. You may also choose another folder

Installed Folders, Files, and Links

The setup program creates a new folder called KONTAKT PLAYER 2 in the installation directory
(Program Files\Native Instruments). This folder contains the files required to operate the
software. If you do not choose a different program path during installation, links to KONTAKT
PLAYER 2 and a ReadMe file are added to the Start menu under Programs\Native Instruments.

Important: Do not move the installation folder to another location!

VST, DXi, and RTAS Plug-in Installation

When the choice is given by the installer, tick the correct plug-in from the list of components to
install.
For VST, you can choose to automatically search for the VST plug-in folder, or manually select
the VST plug-in folder of your choice. Please select the option that best suits your installation
requirements.

If you decide to install the VST plug-ins at a later date, simply copy the "KONTAKTPlayer2 VST.dll"
from the VST folder of the installation folder into the VST plug-ins folder of the host program.

Note: If the VST plug-ins are not visible in the Windows Explorer, select the Show All Files option.
This option is located in the Explorer menu View -> Folder Options...on the View tab below Hidden
files. Optionally, you can set up your host programs so that they all use the same VST plug-ins
folder.

Heavyocity EVOLVE | © 2008 12

Updating
Be sure to check the Native Instruments web site for any possible KONTAKT PLAYER 2 updates
that have occurred since the time your software was manufactured. Software is frequently
updated and a more recent version may be available. Library updates may be available at
http://www.heavyocity.com/downloads.html

Please check the Library Info box (Browser) for relevant links.

After the library has been installed, it needs to be registered. You are given a 7-day grace period
for the library before registration is required, but it is recommended that you register as soon as
possible. Information on the registration procedure is given below.

Installation under Mac OS X

If this is your first KONTAKT PLAYER 2 product, then the Player will be installed with the library. If
you already own a KONTAKT PLAYER 2 library, the Player installation will be skipped and the
library will be installed.
• Insert the EVOLVE DVD disc into the CD/DVD drive of your computer.
• Double-click the installation program INSTALL EVOLVE to start it.
• The start screen appears first. After clicking Continue and confirming the license
agreement, a window opens where you can select the installation location and the destination
folder.

Installation Type
Easy Install

The easy install method installs all components of the software. This includes, but is not limited
to, the standalone application, all plug-in versions, and documentation. In most cases, you will
want to use the easy install method.
Custom Install

You also have the option to perform a custom installation of your software. This is practical in
two situations:

• You want to (re)install just one or more items without installing everything again. If this is
the case, check only the necessary boxes.
• You know that you do not need certain items to be installed. In this case, leave the
necessary items unchecked.

Updating
Be sure to check the Native Instruments web site for any possible KONTAKT PLAYER 2 updates
that have occurred since the time your software was manufactured. Software is frequently
updated and a more recent version may be available. Library updates may be available at
http://www.heavyocity.com/downloads.html

Heavyocity EVOLVE | © 2008 13

After the library has been installed, it needs to be registered. You are given a 7-day grace period
for the library before registration is required, but it is recommended that you register as soon as
possible. Information on the registration procedure is given below.

Authorizing EVOLVE
After installing EVOLVE, it will run in demo mode for 7 days.
When you launch KONTAKT PLAYER 2, in the Browser you
will see a little caution icon to the left of the library title.

Yellow means the library is running in demo mode.

After a library has been properly registered, the caution

icon disappears entirely.

Red means the demo period has expired and the library can
no longer be used until it has been registered. The red icon
may also appear if the system ID of the computer changes
due to new hardware components (CPU, motherboard, etc.)
If this occurs, the library will need to be re-registered.

To authorize the library, you should use the Native

Instruments Service Center application, which was installed
along with the KONTAKT PLAYER 2 software. You can start
Service Center through the Info box registration tab. For
more information on how to use Service Center please see the accompanying documentation in
the Service Center application folder.

Methods of Using KONTAKT PLAYER 2

There are two main ways to use KONTAKT PLAYER 2: as a standalone application and as a plug-
in within a host sequencer.

Standalone Use
Standalone operation is ideal for situations in which KONTAKT PLAYER 2 is the only audio
software you need to run on the computer, for example, in a live performance situation in which
you have all your patches loaded and wish to call them up for use individually.

To use KONTAKT PLAYER 2 as a standalone application, go to the Program Files or Applications

folder and launch KONTAKT PLAYER 2. When you do this, KONTAKT PLAYER 2 communicates
directly with your computer's audio and MIDI hardware interfaces.
Audio Setup and Soundcard settings

KONTAKT PLAYER 2 works in standalone mode with ASIO, MME, and DirectSound drivers on the
PC, and CoreAudio drivers on the Macintosh. For PC users, ASIO drivers are recommended
because they usually give the best performance. You can also use Directsound and Multimedia
(also called MME), but expect a significant delay (called latency) between the time you play a note
and the time you hear it.

Heavyocity EVOLVE | © 2008 14

ASIO (Audio Streaming Input Output): this protocol was developed by Steinberg. It is highly
recommended for its low latency, multi-channel audio card support, and high performance.

DirectSound: Developed by Microsoft, this is a is a component of DirectX 5.0 or higher for

Windows. How well DirectX works well depends on your sound card. If you adjust the interface
for an acceptable amount of latency, you may hear glitches and clicks in the audio output that
can only be fixed if you increase latency.

MME (Multi Media Extension): This is the standard Windows audio driver. Most sound cards
support this interface and work with it quite well. However, MME is even less suitable than
DirectSound for real-time applications due to its comparatively high latency.

Core Audio: This driver for MacOS X is integrated tightly into the operating system, and works
with external soundcards, as well as the Mac's integrated audio output (known as built-in).
Nowadays, many audio interfaces support Core Audio out of the box. They are simply "plug and
play." Others, however, may require an additional driver to be installed. Please check your audio
interface's documentation for further information.
When using KONTAKT PLAYER 2 as a standalone application, the program communicates
directly with your soundcard. Therefore, it is necessary to specify Audio and MIDI settings, as
well as the preferred driver protocol.

Setup for Mac and Windows machines is essentially identical, except where indicated. Note that
if you change your soundcard, you will need to re-adjust these settings.

Call up the Audio and MIDI Settings dialog from the Setup menu.

You'll see two tabs: Soundcard and MIDI.

Interface: Choose the fastest driver

protocol supported by your sound
card, which will be ASIO (for PC users)
or CoreAudio (for Macintosh users).

Note for Windows users: avoid using

any drivers listed as "emulated," as
they provide poorer performance
than other drivers. For example,
although DirectSound drivers
generally outperform MME drivers,
MME drivers will outperform
emulated DirectSound drivers.
Sample rate: The drop-down menu
will display compatible sample rates
for your audio interface. 44.1kHz is
the same sample rate used for CDs,
and is the most universal choice.
However, some audio interfaces offer 48kHz, 96kHz, and higher. These higher rates stress your
computer more, but offer somewhat better high frequency response. If you are using KONTAKT
PLAYER 2 in standalone mode, choose whichever rate you prefer.

Heavyocity EVOLVE | © 2008 15

Output Device: Use ASIO written specifically for your audio interface (not "ASIO DirectX" or "ASIO
Multimedia," unless no other choices are available), or for the Mac, Core Audio.

Output Latency: This field displays the output latency. For some drivers you can adjust the
latency individually using a fader. If a fader is not present, then you need to open the ASIO
Configuration by pressing the ASIO Config button in the Soundcard tab and adjust the latency
using the buffer size setting in the control panel of your audio card. Higher buffer sizes result in
higher latency and vice versa. However, lower buffer sizes place more strain upon the
computer's CPU. If a computer's CPU is strained too much, you may begin to hear audio artifacts
such as pops and clicks. Experiment with the latency setting until you find the best compromise
between fast response and clean audio performance.
MIDI Setup

If your MIDI interface offers multiple ins

and outs, you can choose which one(s)
connect to KONTAKT PLAYER 2. When you
click on the MIDI tab, you'll see a list of all
available MIDI inputs and outputs. Click on
any "off" designation to turn it on.

When used in standalone mode, KONTAKT

PLAYER 2 supports MIDI input from 4
simultaneous ports, yielding a maximum of
64 simultaneous MIDI channels. You can
access this by enabling up to four different
incoming ports in the Input Interface
section. They are assigned in order; the
first enabled port will appear in KONTAKT
PLAYER 2 as [A] 1-16, the second enabled
port as [B] 1-16, and so on.

The Output Interface section is used to specify where the MIDI is channeled to (similar to MIDI
THRU ports). Typically this is not used for most sampling applications.

Plug-in Use
Used as a plug-in, KONTAKT PLAYER 2 is not a standalone program, but rather a "module" that
can be used within a host sequencer. While standalone mode is often useful when KONTAKT
PLAYER 2 is all you need, plug-in mode is more useful when sequencing, or when other plug-ins
may be in use. For example, in a sequencing environment you may wish to record 16 channels of
KONTAKT PLAYER 2 instruments then combine them with other audio or MIDI tracks and
create a mix. Plug-in operation provides other benefits such as:
• MIDI sequencing of KONTAKT PLAYER 2 and audio mixdown of the MIDI tracks within a
single program
• Comfortable automation of KONTAKT PLAYER 2 parameters in the host sequencer
• Further processing of KONTAKT PLAYER 2 signals using additional plug-ins
• Restoring of all plug-in settings when the host sequencer recalls a project
• Integration with other instruments into a "virtual studio"

Heavyocity EVOLVE | © 2008 16

KONTAKT PLAYER 2 is available for use in VST, DXi, and RTAS formats on the PC, and in VST,
AudioUnit (AU), and RTAS formats on the Macintosh.

Note: Some hosts include "wrappers" that convert one plug-in format to another. Try each one,
as one may offer better performance than another.
VST (Virtual Studio Technology): This cross-platform plug-in format was developed by Steinberg,
and is used by programs such as Steinberg Cubase, Nuendo, Native Instruments Kore, and
Ableton Live. It is one of the most common plug-in formats, and many programs are optimized to
work with VST plug-ins.

DXi (DirectX Instrument): Based on Microsoft's DirectX technology, this plug-in interface for
software synthesizers and instruments is designed for low latency and high performance on the
Windows platform. Cakewalk Sonar and Image Line FL Studio are the most popular hosts to
support DXi.

RTAS (Real Time Audio Suite): This format was designed by Digidesign and is used in all current
versions of Pro Tools. Unlike traditional TDM effects that depend on using Digidesign hardware,
RTAS plug-ins are "native," meaning that they rely on the CPU of the host computer to do their
computations.

AU (AudioUnit): This plug-in format was developed by Apple and is unique to the Macintosh
platform. It is the most popular Macintosh plug-in format, being supported by programs such as
MOTU's Digital Performer, Apple's Logic, Native Instruments Kore, and Ableton Live.

When KONTAKT PLAYER 2 is used as a plug-in in any of these formats, it's not necessary to set
up Audio/MIDI settings as described above for standalone use. KONTAKT PLAYER 2 operates
within the host sequencer, automatically receiving the MIDI that the host sequencer sends to it,
and sending back its audio output to the host sequencer. Because of this, settings regarding
audio and MIDI interfaces as well as buffer sizes (latency) are governed by the host sequencer,
not by KONTAKT PLAYER 2.

Offline Bounce Mode: If you hear crackles or drop-outs when bouncing / freezing tracks in
hosts, please be aware that not all hosts correctly announce this mode to their plug-ins; when
Kontakt Player 2 is used as a plug-in, the "Offline Bounce Mode" button in the Engine tab is
displayed; when Kontakt receives the bounce signal from the host, this will automatically turn this
button on; if the button does not turn on automatically, this means the host does not support this
feature and you have to enable it manually (it will turn orange).

We will now describe the procedures involved in using KONTAKT PLAYER 2 inside each of the
major host sequencers on both Macintosh and PC.
Native Instruments Kore

• Launch Kore
• Locate the Browser. If it is not visible, open it and select the Plug-ins tab.
• Note the View tabs labeled Instruments and Effects. Choose KONTAKT PLAYER 2 from
the list and drag it to the rack (empty space above the browser).
• This will create a new Sound layer which includes KONTAKT PLAYER 2. Click on the
Sound layer tab to open the interface for editing, e.g. add more instruments or send
effects, assign controls, and thus begin designing your Sound layer.

Heavyocity EVOLVE | © 2008 17

 • KONTAKT PLAYER 2 now appears in the instrument slot and is ready to use. The
instrument mixer channel will allow you to mix, pan, and process the software's output.
• If the Instrument interface is not already open, press the E button in the assignment
panel to call up the KONTAKT PLAYER 2 interface. Here you can control and edit all the
features and functions that the product has to offer.
• After loading an Instrument, you should be able to trigger it via MIDI using a keyboard
controller. KONTAKT PLAYER 2's sound will generate through Kore and directly to your
sound card. If the plug-in does not receive MIDI or generate audio, then make sure to
check the following areas:
• Open the Setup menu>Audio MIDI settings dialog. Select the MIDI tab and make sure your
MIDI device shows up and is ON.
• Check the channel's MIDI filter settings. Make sure that the MIDI channel is set to receive
on the channel which your keyboard sends.

VST Plug-in
Cubase and Nuendo by Steinberg
KONTAKT PLAYER 2 in Cubase and Nuendo
• Launch Cubase, go to the Devices menu option and select the VST Instruments menu
option or press F11 on your keyboard.
• A window showing the instrument rack appears. Click on an empty slot and choose
KONTAKT PLAYER 2 from the available list of instrument plug-ins.

• KONTAKT PLAYER 2 will now appear in your list and automatically be turned on. It will
also create a set of audio channels in your VST mixer that will be used for mix down within
your project. This will allow you to mix, pan, and process KONTAKT PLAYER 2's output
just like any other existing audio track in your Cubase song.
• Click on the Edit (e) button to call up the KONTAKT PLAYER 2 interface. Here you can
control and edit all the features and functions that KONTAKT PLAYER 2 has to offer.
• Now go to the Project page and add a MIDI track (if you do not have one already created).

Heavyocity EVOLVE | © 2008 18

 • In the Inspector, go to the Output parameter section for this MIDI Track and click on the
field. This will show a list of available MIDI out ports to assign to this MIDI track. Choose
KONTAKT PLAYER 2 from the list.

Note: If a product does not appear in the list of available VST instruments, then you may need to
enable it manually via the Devices/plug-in information window. If the product does not show up
there, then it may not be installed correctly. Please refer to the previous section on installing the
plug-in for both Windows and Mac platforms for more assistance on setting this up.
After having loaded KONTAKT PLAYER 2 from the library, you should be able to trigger it via MIDI
using a keyboard controller. KONTAKT PLAYER 2's sound will generate through the VST mixer
and directly to your sound card. If the plug-in does not receive MIDI or generate audio, then make
sure to check the following areas:.

• The MIDI channel of your MIDI track must correspond to the receive channel of the
loaded instrument.
• Make sure that you have properly configured your sound card for use with
Cubase/Nuendo.

You may also want to refer to the Cubase/Nuendo manual which offers additional instruction in
using virtual instruments and plug-ins within a Cubase/Nuendo project.

Audio Units Plug-in

Apple Logic Pro and Logic Express

Launch Logic and create an audio instrument track or set an existing audio or MIDI track to an
audio instrument track by clicking on the track name, holding down the mouse button and
choose Audio -> Audio Instrument -> Inst 1.

• Double click the audio instrument track to open the environment window. Logic scrolls
automatically to the first instrument bus in the Logic mixer.
• Choose the KONTAKT PLAYER 2 plug-in in the appropriate insert slot of the instrument
track, either in the arrange or mixer window. To do so, click onto the insert slot, hold
down the mouse button and choose Stereo -> Audio Units -> Native Instruments ->
KONTAKT PLAYER 2. (KONTAKT PLAYER 2 can also be used as a multichannel
instrument.)

Heavyocity EVOLVE | © 2008 19

 • The plug-in now appears in the instrument slot and is ready to use. The instrument mixer
channel will allow you to mix, pan, and process the software’s output just like any other
existing audio track in Logic.
• If the KONTAKT PLAYER 2 interface is not already open, double click on the mixer’s insert
slot to call up the KONTAKT PLAYER 2 interface. Here you can control and edit all the
features and functions that the product has to offer.

After loading an Instrument, you should be able to trigger it via MIDI using a keyboard controller.
KONTAKT PLAYER 2's sound will generate through the mixer and directly to your sound card. If
the plug-in does not receive MIDI or generate audio, then make sure to check the following two
areas:

• Make sure the Instrument track is selected / record enabled in the Arrange window.
• The MIDI channel of your MIDI track must correspond to the receive channel of the
loaded instrument.
• Make sure that you have properly configured your soundcard for use with Logic.

You may also want to refer to the Logic manual which offers additional instruction in using virtual
instruments and plug-ins within a Logic project.

MOTU Digital Performer

• Launch Digital Performer and create an instrument track by selecting Project -> Add
Track -> Instrument Track -> KONTAKT PLAYER 2.

• Create a MIDI track by selecting Project -> Add Track -> MIDI Track. In Digital Performer's
track overview window (or in the sequence editor window) assign the output of this MIDI
track to KONTAKT PLAYER 2 and a MIDI channel.
• The plug-in is now ready to use. The mixer of Digital Performer will allow you to mix, pan,
and process KONTAKT PLAYER 2's output just like any other existing audio track.

Heavyocity EVOLVE | © 2008 20

 • To play KONTAKT PLAYER 2 with your keyboard, record-enable the MIDI track which you
have routed to KONTAKT PLAYER 2 and make sure MIDI Patch Through is enabled in the
Studio menu of Digital Performer.

After having loaded an Instrument, you should be able to trigger it via MIDI using a keyboard
controller. KONTAKT PLAYER 2's sound will generate through Digital Performer's mixer and
directly to your sound card. If the plug-in does not receive MIDI or generate audio, then make
sure to check the following areas:

• Make sure MIDI Patch Through is enabled in the Studio menu of Digital Performer.
• •The MIDI channel of your MIDI track must correspond to the receive channel of the
loaded instrument.
• Make sure that the instruments track output is correctly set.
• Make sure that you have properly configured your sound card for use with Digital
Performer.

Apple GarageBand
• Launch Garage Band
• Press the “+” button to create a new “Software Instrument” Track. From here you can
choose the icon you wish to use.
• Double-click the instrument track icon or press the “I” icon to get the Track Info.
• From the Info window expand the Details triangle underneath the Instrument icon to
expose the track settings.
• From the Generator drop-down menu, choose KONTAKT PLAYER 2 from among the
Audio Unit plug-ins.

Heavyocity EVOLVE | © 2008 21

 • Clicking on the pencil icon next to the “Manual” drop-down menu will open the KONTAKT
PLAYER 2 interface for editing.
• KONTAKT PLAYER 2 can now be played using an external MIDI keyboard.

Cakewalk Sonar
• Launch Sonar
• In the synth rack choose KONTAKT PLAYER 2 DXi 2.

• Route a MIDI track to the DXi 2-Plug-in by selecting KONTAKT PLAYER 2 in the Out drop
down list.

After having loaded an

Instrument from the library you
should be able to trigger it via
MIDI using a keyboard
controller. KONTAKT PLAYER
2's sound will generate through
Sonar's mixer and directly to
your sound card. If the plug-in
does not receive MIDI or generate audio, then make sure to check the following areas:

• Make sure MIDI Patch Through is enabled in the Studio menu of Sonar.
• The MIDI channel of your MIDI track must correspond to the receive channel of the
loaded instrument.
• Make sure that the instruments track output is correctly set.
• Make sure that you have properly configured your sound card for use with Sonar.

Digidesign Pro Tools

• Launch Pro Tools.
• Create a new Instrument track by choosing New Track from the File menu.
• Locate the channel mixer Window -> Mix
• The dark grey box at the topmost section of the Instrument channel is the RTAS insert
section. Click on the first empty slot to show all available RTAS plug-ins.
• Choose KONTAKT PLAYER 2 from the multi-channel RTAS plug-in > Instrument menu

Heavyocity EVOLVE | © 2008 22

 • To open the plug-in interface for editing, click once on the insert slot.

After having loaded an Instrument, you should be able to trigger it via MIDI using a keyboard
controller. KONTAKT PLAYER 2's sound will generate through the mixer and directly to your
sound card. If the plug-in does not receive MIDI or generate audio, then make sure to check the
following areas:

• A physical input may need to be assigned to the instrument track.

• The Instrument track fader (Mix window) may be down.
• The instrument track in not selected in the Edit window.

Heavyocity EVOLVE | © 2008 23

Using KONTAKT PLAYER 2
Whether you use KONTAKT PLAYER 2 as a standalone application or as a plug-in, once you've
set up its audio/MIDI options (in the standalone) or instantiated it as a plug-in and properly
routed MIDI and audio to and from it, the program will behave identically with very few
exceptions.

Browser
On the left side of the screen is the Browser. The Browser gives you the capability to navigate
through your available KONTAKT PLAYER 2 libraries, as well as view engine information and
assign automation.

Libraries
In the screenshot above, the Browser is opened to the Libraries tab. Using this tab, you will see
all installed KONTAKT PLAYER 2 sound libraries. You can have an infinite amount of sound
libraries installed here.

In the submenu under the Libraries tab are a few buttons. There is a refresh button to refresh
the Browser and an eject button to eject an optical disc.

You will also see two dropdown menus for User Instruments and User Multis. Anytime you
resave an instrument or a multi using the Load/Save menu, your saved instruments and multis
will appear in this menu. (By default, they are stored on your hard drive inside the KONTAKT
PLAYER 2 program folder/ User patches. Later in this manual, we will discuss the saving of
instruments (in the Load/Save menu section).

Heavyocity EVOLVE | © 2008 24

Library Box

For each library, there is an Instruments, Multis, and Info

tab. These three tabs allow you to navigate through the
library. Instruments are the basic patches that are created
for you to use. Multis are combinations of various
instruments.

If you click on the Instruments or Multis button, all instruments or multis will be displayed below
in the Browser.

Multis can be merged with other multis;

when loading a new multi, select “No” in
the Replace Multi dialog box so that the
existing multi is not replaced but merged
with the new one; note that only the
instruments of the new multi will be added
to the end of your current multi, all other
settings, e.g. outputs and master effects,
are left unchanged.
If you click on the arrows just to the right
of either button, the contents of the
library will appear in an easy-to-use
hierarchical menu.

The Info button brings up additional information about the library.

About: Here you see important

library information, such as the
serial number and the library
credits. Click the “Show Read-
me” button to open the library
read-me document.

Update: Use this tab to check

for available Library updates or
crossgrade offers to other
products.

Register: All libraries must be

registered to unlock them for
continued use. This tab
provides a shortcut to the
Native Instruments Service
Center. Click once to start the
Service Center application.
Note that Service Center must
be installed for this to work.

Heavyocity EVOLVE | © 2008 25

Forum: This link connects you to the user forums of both the library developer and Native
Instruments.

Support: Click this link to be directed to the relevant Support pages for technical support.

Library Installation path: Use this to set the install directory for your library. This is especially
necessary when you move your library, either to another hard disk or to another location. Please
note that if you use your KONTAKT PLAYER 2 library exclusively in KONTAKT 2, you must set the
library path here in order for the library to continue working correctly.

Note: Only libraries that are released for KONTAKT PLAYER 2 (for example, EVOLVE, which you
just purchased) can be loaded. KONTAKT PLAYER 2 is not able to load general KONTAKT or
KONTAKT 2 patches, nor is it able to import libraries from foreign formats. To do these things,
you must own the full version of KONTAKT 2.
The full version of KONTAKT 2 offers other powerful benefits, such as more extensive editing,
and the ability to use all KONTAKT patches (whether user-created or released for KONTAKT
PLAYER 2) and mix and match freely between the two, as well as import libraries in foreign
formats.
Engine
Clicking on the Engine tab brings up various information about how the KONTAKT engine is
performing. This information is updated in real-time, so you can watch exactly how it behaves
under various conditions (e.g. high polyphony, high CPU loads,
etc.)
Automation
With EVOLVE, we’ve pre-assign all of the key controller knobs to
specific MIDI CC values. For a detailed listing refer to page 59.

The Automation tab allows you to assign various types of MIDI

automation to various knobs within KONTAKT PLAYER 2

• In standalone mode, choose MIDI Automation.

• When using KONTAKT PLAYER 2 as a plug-in, select Host
Automation.

When in MIDI CC mode, move the MIDI device’s control that you
want to use for parameter control in KONTAKT PLAYER 2. A
“lightning bolt” will light in red to the left of the corresponding CC
number in the browser. Click on the CC number and drag it on
top of the parameter you want to control. A hand will appear if
the assignment is “legal.” Release the mouse, and the
assignment is made.

With Host Automation mode, select an unused ID and either

double-click or click on Set to perform the assignment. The
automation always applies to an entire group.
The only functions which can use with host automation are the
volume, tune and pan knobs. The performance view knobs

Heavyocity EVOLVE | © 2008 26

cannot be used with host automation.
Note: Several parameters can be assigned to the same controller. This is great if you want a
single control to do many things, such as increase brightness while increasing level. Also note
that the Mod wheel is usually fixed at Controller 1, and Volume at Controller 7.

Remove: To remove an automation assignment, select it then click on Remove.

Smoothing: Incoming MIDI data is “quantized” to 128 divisions. Sweeping some parameters with
this quantized signal produces a “stair-step” or “zipper” effect. The Smoothing parameter
smoothes the incoming MIDI data (through a process of mathematical integration, just in case
you wondered) by creating a ramp between values rather than a sudden jump. However, note
that higher smoothing values also make the control less responsive when controlled over MIDI.

Soft Takeover: Enabling Soft Takeover causes a parameter not to change until an external
controller matches its existing value. Example: Suppose a level parameter is set to halfway, and a
hardware control assigned to level is turned all the way down. Without Soft Takeover, as soon as
move the hardware control the parameter will jump to the new value – in this case, something
close to full off. With Soft Takeover, nothing will happen as you turn up the hardware control until
the control is up halfway. It now matches the existing parameter value, which allows it to take
over parameter control.

Cancel: So you didn’t really mean to assign that controller after all? Click on Cancel.
Main Control Panel

The KONTAKT PLAYER 2 main control panel gives you access to several controls and displays
which are global to the program.

The upper four buttons (Browser, Outputs, Keyboard, and MasterKontrol) toggle the visibility of
these four areas of the program.

Note: If you are using the standalone version of KONTAKT PLAYER 2, you can use the F1-F4 keys
to toggle each of these buttons from the keyboard.
The Browser has been discussed above; we will now look at the other three areas individuall

Heavyocity EVOLVE | © 2008 27

Output Section

When you click the Outputs button, the Outputs window appears at the bottom of the rack.

There are two types of faders: “Blue” faders that relate to channel outputs (the number of faders
depends on the number of available outputs), and four “orange” faders that control return from
the four send effects, as used in Multi setups. Each fader, output or aux return, has four effect
insert points.

Let’s cover output channel features, going from top to bottom.

Add Channel: Adds another output channel to the Outputs section.

Delete Channel: To delete a channel, click on any section of the channel that doesn’t contain an
editable parameter; the channel becomes outlined in yellow. Click on Delete Channel to delete.
Note: You cannot delete the Aux return channels.

Hide Inserts: Hides all inserts to conserve space.

Edit Effect: To edit an insert effect, click on it. Then click on this button to open and close the edit
section for that effect. To delete an effect, click on the effect strip that includes the parameters
(not the module in the slot); the effect strip becomes outlined in orange. Then, press the
computer keyboard’s Delete key.

Reset Out Map: This button can be used to restore the output mapping to the default settings.

Make Default: Clicking on this button saves the current output mappings as your permanent
defaults. (These output mappings are saved to the KONTAKT PLAYER 2 application directory
inside the Defaults folder.)

Name Fields: Each channel has a name field at the top. Double-click in the field, and type in the
desired name.

Heavyocity EVOLVE | © 2008 28

Insert Effect Slots: To insert an effect, click on the downward arrow toward the right of the slot,
and select the desired effect from the drop-down list.

Adjust Output or Aux Return Level: Move the appropriate fader.

Config: This is where you configure the output for number of channels and channel assignments.

When you click on a channel’s

Config button, a dialog box appears
with several fields. You can edit the
Channel Name, but also, the
number of audio channels (click on
the Audio Channels parameter,
then drag up or down). Note that
you can’t specify more audio
channels than actually exist.
Each channel shows up in a list.
Click on the channel’s Physical Out
field, and a pop-up menu appears
with all available output. Click on a
physical output to assign it to a
KONTAKT 2 virtual output.
You can use the << and >> buttons
in the lower left hand corner to
automatically go to the next
available output.

Output Routing
Note: There are only 16 mono outputs possible when Kontakt Player 2 is used as an Audio Unit
plug-in, even though newer Logic versions support 32 outputs. Surround channels in Cubase are
not supported. In addition to the methods mentioned below, different output configurations can
also be saved as part of a multi.

In stand-alone mode, there are 32 mono outputs possible. Therefore, the maximum number of
supported physical mono outputs is 32. If your audio interface supports more than 32 mono
outputs, you will only be able to use the first 32 outputs in Kontakt Player 2. Outputs can not be
freely mapped on the physical level of your audio interface

In plug-in mode, the maximum number of virtual mono outputs is always 32 for VST and DXi /
16 for AU and RTAS. For VST only, three default plug-in versions are available with 8, 16, and 32
outputs respectively. For all other plug-in formats, outputs are selected dynamically via the host
(please check respective host documentation for details). If your host does not allow you to
remove unused channels, these channels might still use CPU. Kontakt Player 2 will automatically
mute all unused channels and thus lower CPU usage within the Kontakt Player 2 engine.

A default configuration is kept which is used as soon as Kontakt Player 2 is started. Kontakt
Player 2 keeps a separate default config setting for every flavor of Kontakt Player 2; in other
words, standalone, VST, AU, DXi, RTAS all have their own output configurations. In order to

Heavyocity EVOLVE | © 2008 29

change the output config, you need to first organize the outputs the way you want and then click
on the "make default" button in the Output section. This ensures that at next startup the outputs
are the way you set them.

Another way to store and recall an output configuration is for plug-in use only – it is trickier and
needs careful handling. The output configuration is also stored together with a plug-in’s total
recall data, which means that a saved song will be recalled with the output config it was saved
with. This means that a recalled song might contain a Kontakt Player 2 instance with outputs
differing from the default configuration; or it might even contain several Kontakt Player 2
instances using entirely different output configurations. This bears a lot of potential trouble and
practically no host can effectively handle this situation.

This is why Kontakt Player 2 has to declare its output requirements the first time an instance
gets plugged in; this cannot be changed from that point on. The host thinks Kontakt Player 2 has
only one output configuration, being the stored default config. This is why it is a good idea to stick
to the default configuration and make every change in the default itself (by clicking on "make
default"). When using Kontakt Player 2 as a plug-in in a sequencer, it's also advisable to unplug
and then replug all instances after a fundamental change and / or reloading the song.

"Reset Out Map" (reset output mapping) restores the output mapping to the default settings.
Kontakt Player 2 allows you to freely map each of the output channels to the available physical
outputs. The button automates this in a simple default way: all physical outputs are assigned to
Kontakt Player 2's output channels until they are used up. Take for example the new 8-channel
VST version; if the user has Kontakt Player 2 set up to use 2 stereo and 4 mono outputs, and he
presses the make default button, then the 8 available plug-in outs will be fully assigned to the
available Kontakt Player 2’s output strips (1-2, 3-4, 5, 6, 7, 8). The aux channels, coming after
the "normal" output channels, will receive no assignment in this example. On the other hand, if
you Kontakt Player 2 set up with just two stereo outputs, the other four available physical
outputs will be automatically assigned to the first two (stereo) Auxilliary Outputs.

Keyboard

The Keyboard button displays an onscreen keyboard which features tinted keys, which can be
helpful in showing you which keys are active in any given instrument. Keys which have samples
mapped on them are tinted blue, and keyswitch keys are tinted red. Keys which are being played
will be shown in real time.

You can transpose the keyboard's range within three octaves as well as create pitch bend and
Modulation events (MIDI CC 1).

Heavyocity EVOLVE | © 2008 30

MasterKontrol

When enabled in the Main Control Panel, this sits right under that panel and provides a lot of
useful functions.

The tempo knob sets the tempo for tempo-synched effects. If KONTAKT PLAYER 2 is used within
a host program, this displays the host’s tempo. The default is 120.00 BPM. There is also a sync
button to sync to incoming tempo information (not visible in the standalone version).

There are three ways to set tempo manually:

• Adjust the tempo knob.

• Double-click on the tempo field and type in a new number.
• Tap a rhythm on the Tap button. Hint: This is also useful for finding out the tempo of a
song if you don’t already know it.

To use the Metronome, click the On button to enable it. The light below the on button flashes
with the tempo, and the control varies the metronome volume.

The Master Tune area defaults to A=440, but can be adjusted with the knob from A=392.00 to
A=493.88.

If you’ve used use a sample library where some of the notes are out of tune, you’re going to love
this feature – you can set a reference pitch, and tune the sample against it. The reference tone
can also be used for level setting within systems, or provide a reference tone for tuning guitar,
bass, etc.

Click on the Note Name field and drag up and down to select the reference pitch. Turn it on with
the On button, and use the knob to set the reference tone level.
Load/Save

The Load/Save menu gives you options for loading and saving instrument and multis, as well as
resetting the entire multi (i.e. clearing the rack.)

Instruments and multis can be loaded using the Load option, and can also be loaded by simply
dragging and dropping the NKI or NKM file from the desktop.
Note that when saving instruments and multis, you are only saving the instrument/multi
definition files, not the individual samples. Each individual sample is encrypted within the
protected monolith file, and the raw samples cannot be extracted. In the Save dialog box, the
patch + samples and monolith options are not available. This is due to the copy protection of the
library; the samples cannot be extracted nor resaved.

Heavyocity EVOLVE | © 2008 31

There is an option to save the patch with absolute sample paths enabled or disabled. When you
save with absolute paths enabled, the patch file includes a direct and absolute link to the location
of the encoded samples on your hard drive. In other words, the absolute path will reference your
hard drive name and the exact subfolders which the encoded samples are stored. This is the
best option to use if you will not be sharing this library among multiple computers and intend not
to move the location of the encoded samples. By doing this, every time you load one of the user
patches, it will instantly and automatically find the samples.

By disabling the absolute path option, a relative path is used instead. For example, if you save the
instrument in a subfolder which sits alongside the encoded sample files, a relative path will read
something like "go up one level in the folder hierarchy and you'll find the encoded samples there."
Relative paths are the best option if you think you may move the samples around. Be sure that
the relative location between the newly saved patch and the encoded samples stays the same in
order to make sure the samples can always be found automatically.

If a saved patch ever loses track of where its samples are stored, you will be presented with a
dialog box upon load which prompts you to find the location of the samples.

Instruments and multis saved from within KONTAKT PLAYER 2 are accessible through the
Browser's User Instruments and User Multis menus, and can be used by anyone who owns the
same library, from within either KONTAKT PLAYER 2 or the full version of KONTAKT 2. The
instruments cannot be used by a user who does not own the same library.
Options

The Options menu is where you determine overall KONTAKT PLAYER 2 preferences. Clicking on
this button to open the Options window, which has five subcategories.
Tab 1: Interface

Here you make basic adjustments to KONTAKT PLAYER 2’s layout of KONTAKT and functionality.

Small Size/Mid Size/Big Size: The View menu lets you choose one of three sizes for KONTAKT
PLAYER 2: Small, Mid, and Big. The edit boxes let you specify the size, in pixels, for the size. The
width and height have separate fields; to change a field, double-click on it and enter the new
value. Note: The new value will take effect the next time you open KONTAKT PLAYER 2.

Capture Keyboard from Host: Enabling this button catches certain keyboard keys and routes
them to KONTAKT PLAYER 2 rather than to the host program. For example, you may want to
type certain things on the keyboard and have them affect KONTAKT PLAYER 2 but have no
effect on the host (e.g. you want to name something in KONTAKT PLAYER 2 using a letter that
happens to be a keyboard shortcut for the host). Enabling this ensures the keystroke is
interpreted by KONTAKT PLAYER but not the host.
Capture Mouse from Host: This is similar to Capture Keyboard from Host, but directs Mouse
Wheel movements to KONTAKT PLAYER 2 instead of the host.

Heavyocity EVOLVE | © 2008 32

Show Mapping and Keyswitches on Keyboard: This button shades keys on the “virtual master
keyboard” (along the lower part of the window) to indicate mapping and keyswitching.

Auto-refresh Browser: This option activates the auto updating of the browser. When activated,
the browser automatically detects from the operating system if a folder is changed / created.

Menu Font Size: This drop-down list allows setting the font size bigger for increased legibility, or
smaller to fit more items on screen.
Tab 2: Audio Engine

These settings affect KONTAKT PLAYER 2's audio engine.

Default Volume for New Instruments and Volume Reset: Choose between –6dB and 0dB.

CPU Overload Protection: This function will kill voices if the CPU load gets too high. You can
specify how tolerant you want the engine to be.

Multiprocessor Support: Enable this checkbox if you have a computer with more than one
processor to take advantage of the additional CPU power.

Send MIDI to outside world:

* GUI keyboard: Virtual keyboard / Mapping Editor keyboard / computer keyboard events

* Script generated CCs: script controller events like CCs, RPNs, NRPNs

* Script generated notes: script note events (when enabled,

this setting might create duplicate notes when recording in your host)

Offline Interpolation Quality: The new HQI mode allows you to select among three quality
options when bouncing audio from within a host. “Standard” corresponds to the old mode,
whereas “High” and “Perfect” increase the quality. HQI mode helps you eliminate digital aliasing
sounds which become particularly audible when you transpose sounds with significant high
frequency content upwards. Note that this quality comes with a price in the form of additional
CPU load and thus a lower total voice count.

Important: Both modes “high” and “perfect” will use more cpu if the transposition is higher. E.g. if
you transpose a sample one octave, then 2 octaves, the cpu load will double every octave. So if
you transpose your sample many octaves higher, the cpu load might be very high.
Open Audio and MIDI Settings: Click on this button to view audio and MIDI settings that relate to
your audio interface.
Tab 3: Handling

Use Computer Keyboard for MIDI Playback: This lets you use your computer keyboard to
trigger KONTAKT PLAYER 2 (handy for laptop jockeys on airplanes!). You can also edit the
Velocity value that a key will trigger.

Heavyocity EVOLVE | © 2008 33

Keyboard Velocity: This specifies what velocity should be sent when using the computer
keyboard for MIDI playback.

Solo Mode: Choose between Solo In-Place (only one instrument can be soloed, others will be
muted) and Solo Latch (you can switch several instruments into solo mode).

Browser: Double-Click Loads Instrument: If enabled, double-clicking on a Sample in the Browser

creates a new Instrument, with the sample spanning the entire keyboard range. If you Shift-Click
multiple samples and double-click on the group of Samples, this not only creates a new
Instrument, but also auto-maps the Samples equally across the keyboard.

Browser: Show Files Before Folders: This alters the sorting algorithm of the Browser to show
files before folders.

Default Root Key for New Zones: Samples without root key information will default to this as
their root key.
MIDI Channel Assignment for Loaded Patches: This menu tells KONTAKT PLAYER 2 what MIDI
channel you want newly loaded instruments to be assigned to. "1st Free" loads up each
subsequent instrument on the first unused MIDI channel. "Omni" assigns all instruments to
OMNI (meaning they will receive MIDI on any incoming channel). "Keep channels from K 1.x
Patches" will allow the patches to load with whatever MIDI channels were saved within older
KONTAKT 1 patches.

Installation Base Path: If you change the name of the KONTAKT PLAYER 2 folder, certain
presets might not be available anymore. Set the installation path here to the location of the
KONTAKT PLAYER 2 folder.
Tab 4: Load/Import

Load Instruments/Banks/Multis in “Purged Mode” (Without Loading Samples into RAM):

Reloads the parameters of Samples that were purged, but without the Sample data itself. See
Purge Menu below.

Force-load Pre-2.0 Patches in DFD Mode: This forces the engine to use DFD streaming even
for old patches that were not originally saved with it.

Unwind Automation ID's for Additionally Loaded Patches: This is a very useful option when
assigning host automation IDs to a patch and then loading the same patch in several slots; just
imagine that you assign host automation IDs #0 to #9 to a patch to control typical synth
features; now if you load the patch into Kontakt rack slots 3 and 7 in your song you would want
to select different LFO settings for the two slots; this is now possible with this new feature
because the second instance of your patch now gets host IDs #10 to #19 instead!
Library Path: This is the “User Patches” save location. Here you can save User tweaked
instruments and combination multis (from many libraries). By default it is set to the Kontakt 2
Application folder. If you move that folder to another location, use this option to reset the “User
Patches” path.
Tab 5: Search/DB

This screen gives you options to specify what folders or volumes should be used when using
search functions.

Heavyocity EVOLVE | © 2008 34

Tab 6: DFD - Direct from Disk

Amount of Memory for DFD: Adjusts the amount of RAM to dedicate to the DFD process.
Although samples stream from disk, it is necessary to store attacks in RAM so they are available
instantly upon playback. If DFD isn’t working properly, try allocating more RAM to this function.

Purge Menu
Purge analyzes which samples were used in an arrangement, and removes from RAM any
samples that weren’t used. Thus, KONTAKT PLAYER 2 can handle huge amounts of samples
while exhibiting very low RAM usage. Scoring of large ensembles with many instruments and
samples now becomes manageable.

Purge is available here on a Global level, but is also available on the Instrument level. You would
use Global purge after a song was done, and you wanted to remove all unneeded samples. The
Instrument purge is handy if you’ve finished a part; you can purge samples for that Instrument
alone, thus freeing up RAM for additional overdubs.
Click on the downward arrow to access the following functions.

Reset Markers: Deletes all “tags” that mark samples as used.

Update Sample Pool: Unloads unused Samples from RAM, and loads newly marked Samples in
RAM.
Purge All Samples: Unloads all Samples from RAM.
Reload All Samples: Reloads all Samples used in an Instrument.
Load Everything Purged (Without Samples): Reloads the parameters of Samples that were
purged, but without the Sample data itself.

A display for the instrument shows Purge status.

Green: All Samples are loaded.

Orange: Samples have been purged to reduce RAM requirements.
Red: Empty – all Samples are unloaded from RAM.

View Menu

The entire instrument can be re-sized from the View menu. Choices are Normal, Bigger, and
Large. Typically you will use Large when creating Instruments, and Normal when everything has
been programmed, and you’re using KONTAKT PLAYER 2 as a plug-in or stand-alone device. You
can set the window size under Options > Interface.

Heavyocity EVOLVE | © 2008 35

System Performance Meters
These are located in the upper right section of the Main Control Panel.

Clockwise from upper left, these show the following.

Notes: The amount of polyphony being used. The first digit shows the current number of notes
being played; the second digit shows the maximum amount of polyphony.

CPU: Shows how much CPU power is being used by KONTAKT PLAYER 2. More bars indicate
more CPU use.

Disk: Shows the amount of KONTAKT PLAYER 2’s hard disk access. Pulling more data from disk
illuminates more bars.

RAM: Indicates how much memory is being taken up by the samples used by KONTAKT PLAYER
2. This figure will be much higher if DFD is not being used.
Minimized Player View
The last button on the right (next to the NI logo) is for Instrument Focus view.

Clicking on this button will instantly zoom into the currently selected instrument, and will hide all
other areas of the KONTAKT PLAYER 2 interface (e.g. Browser). This can be a useful tool to
instantly collapse the KONTAKT 2 Player screen to its smallest size and most essential
elements.

Heavyocity EVOLVE | © 2008 36

About KONTAKT PLAYER 2
An About screen can be accessed by clicking either the KONTAKT PLAYER 2 logo in the far
upper left corner of the interface, or the NI logo in the far upper right corner. The About screen
contains the specific version numbers of all components of the KONTAKT PLAYER 2 installation,
as well as design credits and links to web pages containing updates, support, and more.
Multi Area
The Multi area is the large area on the right side of the KONTAKT PLAYER 2. Also referred to as
the rack, this is where all loaded KONTAKT PLAYER 2 instruments reside. You can load multis
(which are combinations of instruments) or you can load individual instruments, and they will
both appear here.
Instruments can be reordered in the rack within the same multi page. This works via drag-and-
drop. When loading new instruments, these might still appear in between the already loaded
instruments and not at the bottom of the rack.

In the above picture you see an instrument being dragged from the top to the bottom position in
the Kontakt Player 2 rack.
There are a few buttons in the upper right hand corner that allow you to work with the rack.

The four numerical buttons allow you to switch between four different pages of the rack. By using
these, it's possible to load up to 64 different instruments at once.

The Aux button is a toggle switch to show or hide the aux send faders for each instrument.

Heavyocity EVOLVE | © 2008 37

Instrument views
Performance View
The performance view shows a custom panel which allows you to alter specific characteristics of
the instrument. Here is a view of an EVOLVE instrument. Views for EVOLVE will differ from
instrument to instrument. You can view this panel by clicking on the icon immediately below the
gear icon in the upper left hand corner (in the example below, it's a Heavyocity icon.)

Heavyocity EVOLVE | © 2008 38

EVOLVE User Interface Control Features
This section will help familiarize you with the general instrument parameters of EVOLVE.

Control Parameters
USER TIP: We have assigned basic CC values to key knobs in the instruments. Should you wish to re-assign CC
numbers, we strongly recommend referring back to the MIDI-automation section on page 25. Assigning controllers
is extremely quick and easy!

AMPLITUDE ENVELOPE (denoted ‘AMP ENV’ on the interfaces):

An amplitude envelope enables the user to mold the volume of an instrument’s sound over time.
User defined attack, decay, sustain and release parameters are built into many of the presets
(Percussive, Stings | Transitions, and Tonality | FX instruments). The AMP ENV control strip is laid
out sensibly for quick adjustment at any time. Below is a more formal description of each
parameter of the envelope.

*Units of time are defined in milliseconds*

Attack determines how quickly a sound reaches full volume after the key is pressed. A slow
attack is commonly used for sounds that are more pad-like, whereas a fast attack usually occurs
with more percussive instruments.
Decay determines how quickly the sound drops to the sustain level after the initial peak is
reached.
Sustain corresponds to the “constant” volume that the sound takes after the decay until the
note is released.
Release controls how quickly the sound fades when a note ends (the key is released).
Continuous Controller (CC) Assignments
Attack: CC 23
Decay: CC 24
Sustain: CC 25
Release: CC 26

Heavyocity EVOLVE | © 2008 39

FILTER CONTROLS
Filters allow you to select a range of frequencies and either amplify or reduce them. Decreasing
high frequencies or increasing low frequencies within a sound makes it seem “darker” or
muffled, while increasing high frequencies or decreasing low frequencies makes the sound seem
“brighter.”

EVOLVE houses 2 controllable filters with user definable parameters.

4-Pole High-pass filter – High frequencies are passed, while low frequencies are attenuated.
4-Pole Low-pass filter – Low frequencies are passed, while high frequencies are attenuated.

Filters Off Filters On

Within the interface, filters are easily engaged by simply clicking on the grey ‘HP off’ and/or ‘LP
off’ boxes in the filter control area. When the filters are engaged, the boxes will turn yellow.

Filter Parameters
Cutoff (Cutoff frequency) – This defines which frequencies are removed from the audio signal.
In other words, the cutoff frequency setting can either ‘brighten’ or ‘darken’ a sound, depending
on the value.

Reso (Resonance) – Resonance emphasizes frequencies at the filter’s cutoff point. It can create
dramatic effects if the percentage is high and the filter cutoff point is changing. This is described
as a ‘filter sweep’.

Continuous Controller (CC) Assignments

High-pass filter cutoff: CC 75
High pass filter resonance: CC 76

Low-Pass filter cutoff: CC 74

Low-Pass filter resonance: CC 71

Heavyocity EVOLVE | © 2008 40

EFFECTS CONTROLS
All the instruments house user programmable effects designed to sweeten existing instrument
sounds. The EFFECTS panel contains a drop-down menu on the left, which enables the user to
toggle between reverb and delay effects.
REVERB
Reverb simulates the component of sound that results from reflections from surrounding walls
or objects. Users can introduce different types of emulated environments in which the
instruments can be played.

There are 3 specific parameters for users to control:

Level determines how “Wet” the sound is; increasing the
level makes a sound more washed out (more effect).
Size determines the size of the simulated room, and,
accordingly the reverb tail. for example, larger sizes will
give sounds the effect of being set in a large hall, or arena.
Smaller size gives the impression of the sound being
played in a tighter space like a studio isolation booth.
Damping sets the amount of simulated absorption that
takes place in rooms due to objects affecting the reflection behavior. This parameter will make
the ‘wet’ sound of reverb less apparent.

DELAY
The delay effect takes the input signal and plays it back after a preset increment of time. It can
be played back multiple times creating a repeating, decaying echo. The delay in EVOLVE is
automatically tempo-synced in sixteenth note increments, to ensure smooth rhythmic results
with the sound being played.

Level determines how loud the delay will playback with

the sound. Increased level results in louder delay effect.
Time determines the tempo-synced note value of the
delay. The number value shown represents the number
of sixteenth notes the sound is delayed. For example:
1.0=1/16 note, 2.0=1/8 note, 3.0= 3/16 (dotted
eighth), 4.0=1/4 note, etc.
Feedb. (Feedback) determines the length of the delay
tail. Increasing the feedback will create longer delay tails.

CC (continuous controller) Assignments

Reverb Send Level: CC 91

Delay Send Level: CC 90

Heavyocity EVOLVE | © 2008 41

Specific Interface Controls
Rhythmic Suite Instruments

There are 2 centers of user definable control within the rhythmic suites.

FILTER Parameters EFFECTS Parameters

Notice that there is no amplitude envelope associated with this interface, due to the instrument-
type (beat-sliced loops). In order to create perfectly seamless loops, the envelope is set with
specific values that ensure best results.
USER TIP: Applying and automating the filters and effects in the loop suites can produce a variety of results. For
example, sweeping the high-pass filter with resonance set between 40 and 60 % will create unique timbral effects.

Heavyocity EVOLVE | © 2008 42

SEQ and ARP Instruments

The “SEQ and ARP” instruments work similarly to a classic step sequencer allowing you to define
a progression of 16 values playing back at a constant rate. The tempo can be synced to either
your host or the MasterKontrol tempo.

The sequencer controls three different parameters: Velocity, Filter, and Pan. To the left of the
sequence edit window is a drop-down menu.
In this menu you can select which of the three
parameters (Velocity, Filter, or Pan) is
displayed in the sequence edit window. The
Filter knob below the menu controls the
frequency range of the filter sequence.

ARP Sequence Edit and Drop-Down Menu

There are twelve user programmable chromatic key-switchable presets. The “preset knob”
represents the key that you have selected. The key-switching has been preset to A-1 through A0.
However, you can change this setting by clicking the “Learn KS” button and then pressing the
desired key from which the presets will ascend. We have pre-assigned Continuous Controller
number (CC number) 89. As a template for use we have copied the 12 factory presets to each
of the key-switch preset slots.

In the sequencer window clicking and dragging the mouse vertically will change the value of an
individual step. To redraw all of the sequence steps in a linear fashion, right-click (or Ctrl-click on
a Mac) and drag the mouse horizontally. For a more drastic change in the sequence steps, you
can click the randomizer button. This will randomly change each of the 16 values in the
displayed parameter. Also, if you’d like to start fresh the reset button will bring all of the values
to a default position. The Filter resets to a value of 127, the Velocity to a value of 100, and the
Pan to the center position (0).

Heavyocity EVOLVE | © 2008 43

 If you would like to copy your newly created ARP preset to another
slot, open the edit drop-down menu and click “Copy Preset”. Then,
select a different preset slot either by hitting a key-switch key or by
turning the preset knob and select “Paste Preset to Knob” in the
edit pull-down menu. In stand alone mode you must save the
instrument to keep your newly created preset. In plug-in mode the
presets will be saved with the session. Additionally, if you save a
Kontakt Player 2 Multi, it will retain the parameters of all of your
loaded instruments. We recommend saving your presets in
Standalone or Plug-in mode.

You also have the option of choosing one of the 12 factory preset
sequences from the edit pull-down menu.

ARP Edit Menu

The default CC Assignment for the preset select is: CC 89

The tempo knob controls the rate of the steps in the sequencer. The possible subdivisions are:
4/4, 3/4, 1/2, 3/8, 1/2 triplet, 1/4, 3/16, 1/4 triplet, 1/8, 3/32, 1/8 triplet, 1/16, 3/64, 1/16
triplet, 1/32, 1/64, 1/128.

Via a drop-down menu above the tempo knob, the input quantize can be set
to: no quantize, bar (1 full 16 step bar), 1/2, 1/4, 1/8, and 1/16.

ARP Quantize Menu

You also have the ability to control the sustain of each step of the sequence. To alter the
sustain, click the number in the sustain bar and drag the mouse up or down to change the value.

Similar to the other instruments, there is an effects

menu with three knobs attached. In this menu, Phaser
is added to the list (along with Delay and Reverb). The
Phaser knobs give you the ability to control the level,
speed, and depth.

The default CC Assignment for Phaser level is: CC 95

ARP Phaser Parameters

USER TIP: (With the input quantize set to a value other than “No In-quant”) If the notes are triggered simultaneously,
all the notes will play in unison through the sequence. However, if they are triggered slightly off, the sequences on
each key played will start staggered from one another, creating intricate and interesting textures, while remaining
tempo synced.

Heavyocity EVOLVE | © 2008 44

Percussives, Stings | Transitions, Tonality | FX Instruments

Within The Tonality | FX interface, there are 3 centers of user definable control:

Amplitude Envelope

FILTER Parameters EFFECTS Parameters

Again, these user controls function as described above. We strongly encourage users to take
advantage of the assignable CC numbers found on page 60.
Minimized and Maximized View

The instrument minimize and maximize buttons allow you to instantly collapse or expand every
instrument in the rack to its minimized or maximized view, respectively. The maximized view is
useful when editing an instrument and accessing its panel. The minimized view is useful when you
want to view all your instruments at once.

An instrument in minimized view shows only its name, solo and mute buttons, volume, pan, and
tune knobs, and meters. The X button in the upper right corner deletes the instrument, and the
+ button switches to performance view.

Heavyocity EVOLVE | © 2008 45

Instrument maximized view is also available. An instrument in maximized view shows additional
details about the instrument, such as output settings, MIDI channel, polyphony, a memory meter,
and the purge.

KONTAKT PLAYER 2 supports up to 64 MIDI input channels (4 ports with 16 channels each);
only the stand-alone version supports 4 MIDI in ports; your physical MIDI in ports that are
marked as active in the Audio Setup dialog's MIDI tab are assigned to ports A - D automatically;
in the plug-ins, only port A is active.
Clicking on the gear icon itself brings up the Instrument Options window, which will be discussed
below.
Instrument Options

Instrument Tab

Voice Stealing Mode: Choose from the

following.

• Kill Any (the algorithm decides which

is the best one to steal)
• Kill Oldest (oldest note still sounding)
• Kill Newest (most recently played
note)
• Kill Highest (highest-pitched note)
• Kill Lowest (lowest-pitched note)

Voice Stealing Fadeout Time: Sets how long

a stolen voice will fade out before it
disappears, from 0 to 1000ms. This may
cause the number of voices to temporarily
exceed what’s specified as the maximum
amount of polyphony.

Key Switch Default Key: This is the first key that is activated when you load this instrument with
“Start on key” group start options.

MIDI Transpose: Transposes incoming MIDI data in semitones. Example: If this is set to 2 and
you play a C# on your keyboard, the Instrument being triggered will play a D#.

Key Range: This sets the Instrument’s keyboard range. Placing your mouse over the lower or
upper limit causes a double arrow to appear. Drag up to raise the limit’s note pitch, or drag
down to lower. The range cannot go below C-2, or above G8. Use this with multiple Instruments
to create keyboard splits - for example, bass could cover the lower two octaves of your keyboard,
and piano the rest. Double-click the a value field to enter a note from your computer keyboard.

Heavyocity EVOLVE | © 2008 46

Velocity Range: This restricts the velocity range to which an Instrument will respond. Placing
your mouse over the lower or upper limit causes a double arrow to appear. Drag up to raise the
velocity limit, or drag down to lower. The range cannot go below 1, or above 127. Double-click a
value field to enter a value from your computer keyboard. Example: You could set a B3-type
organ Instrument to respond to velocities 1-127, while a pipe organ Instrument responds to
velocities 111-127. Velocities of 111 or above will layer the two organ sounds for a more
powerful effect.
DFD & Load Tab

DFD Preload Buffer Size: Sets the amount of RAM dedicated to each preload buffer when using
DFD. This is an expert setting and should not be adjusted unless you are instructed to do so from
tech support. You have been warned!
Controller Tab

MIDI Controller #64: This drop-down menu determines how KONTAKT PLAYER 2 responds to
MIDI Controller #64, which defaults to controlling the sustain pedal. Here are your options.

• Sustain Pedal and Controller: KONTAKT PLAYER 2 will respond to a switched (on-off) or
continuous controller (values above 64 = sustain on, values 64 or under = sustain off).
• Sustain Pedal without Controller: KONTAKT PLAYER 2 will recognize only a switched
controller.
• Controller Only: KONTAKT PLAYER 2 will recognize only a continuous controller.

Accept All Notes Off/All Sounds Off: This option will filter All Notes Off and All Sounds Off
messages, which some older controllers send by default.

Accept Standard Controllers for Volume and Pan: This option will automatically cause each
instrument to automatically respond to CC#7 for volume and CC#10 for pan.

MIDI Controller #7 (Volume) Range: Using this dropdown menu, you can adjust the minimum
and maximum values that incoming MIDI CC#7 will translate to when controlling the volume of
an instrument.
Info Tab

Instrument Icon: Choose an Instrument’s identifying icon.

Instrument Info: A notepad for the Instrument, possibly including copyright information, helpful
tips, etc.
Instrument Categories: Choose an Instrument category. Being able to search on this can help
considerably with database searches.
Author: Information on the sample’s creator. This is limited to 8 characters, so longer
descriptions can go in the Info box.
Weblink: Provides a web link to the author’s web site.

Heavyocity EVOLVE | © 2008 47

Troubleshooting
If something doesn't seem to work correctly, there must be a logical reason for it. Native
Instruments software is tested on a variety of computers and configurations to ensure proper
function. Having said that, there remain an infinite number of possible setups and within them
any number of compatibility issues, software conflicts, hardware problems and so on.
Below you will find some tips in regards to troubleshooting common problems with KONTAKT
PLAYER 2. This list is by no means exhaustive. For more product specific issues please consult
the product handbook, the Native Instruments Support Knowledge Base, or Native Instruments
Technical Support.

Standalone
Library doesn’t find samples:

This dialog opens when the loaded instruments

cannot find the associated samples. In most cases
the reason is because the Library Installation path
has been changed, as in the case when you expand
your library storage and move your libraries to a
new, bigger disk. In this example, reset the library
installation path using the Library box Info button.

If you have this option correctly set and continue to

get this error, then please use the option which
best suits your needs.

Sample Search Dialog (“Samples Missing”) with

Spotlight Support

The Sample Search / Samples Missing dialog

appears when sample paths have been changed
for whatever reason – for example, you have
moved sample files to a different place on your
hard disk – and Kontakt asks for your advice on
how best to find them. Here is a quick run-down of
the current options:

Search File System: Look for samples in the volumes / folders that you have specified in the
new Search / DB tab in the Options dialog (see below)
Search Spotlight: On OSX 10.4 (Tiger) and higher, you can now use the native Spotlight search
to find samples in an instant!
Check for Duplicates: The new option works with any of the above actions; just consider that you
have the 16 and 24 bit version of piano samples with the same name on your system; if you
check this option, you will be presented with a choice of either the 16 bit or the 24 bit sample
folder
Browser for Folder: Look for samples in the folder of your choice (including all subfolders)
Browse for Files: Look for a specific sample file; use the Resolve All Possible option to look for
other samples in the folder of the selected file
Skip Missing: Load the patch only with the samples found so far and ignore any missing samples
Abort Loading: Cancel the whole loading process

Heavyocity EVOLVE | © 2008 48

KONTAKT PLAYER 2 won’t start (or crashes upon start):
• Check the systems requirements for the KONTAKT PLAYER which you want to use. The
minimum requirements are the very least you can get by with, and are often not enough
for larger projects. If your project calls for more nstruments, more plug-in instances, etc.
updating your RAM configuration may save you a lot of trouble.
• Make sure you have the most recent KONTAKT PLAYER version.
• Make sure that you have not clicked on an outdated application alias / shortcut.
• Try to restart your computer. Disconnect any audio interfaces and computer peripherals
like printers, scanners and the like.
My soundcard / MIDI device is not recognized:
• Quit all open applications
• Disconnect and reconnect the device. Try another USB / Firewire port if one is available.
Connect the device directly to the computer and not via a USB / Firewire hub.
• Open Audio MIDI Setup (Mac OS X) and see if the device shows up there. Test the MIDI
setup for MIDI received.
• Update any soundcard / MIDI drivers from the manufacturer’s website.
• Deinstall and reinstall your soundcard / MIDI drivers.
I don't hear any sound:
Without being too product specific, there are usually two reasons for this problem. It is either
MIDI or soundcard / routing related.
• Make sure that the KONTAKT PLAYER MIDI channel is set to receive from your MIDI
device properly. They must be on the same MIDI channel. If in doubt, set the KONTAKT
PLAYER to OMNI.
• Output routing is incorrectly setup. Open the KONTAKT PLAYER Audio MIDI Setup /
Routing tab and set the outputs to correspond to your soundcard's monitor (Main)
outputs.
• Incorrect soundcard selected. Open the Audio MIDI Setup dialog and choose the correct
output device.
The sound is distorted, playback drops out:
• Your latency settings are too low. Low soundcard buffers (low latency settings) strain
your CPU more, so it may be helpful to increase the buffer size via your ASIO control
panel; or in a host, the soundcard setup. For standalone, open the Audio MIDI Setup
dialog and move the output latency to the right until you don’t hear any more distortion or
playback is normal.
• Your CPU may be overloading. KONTAKT PLAYER 2 CPU meter to give you a quick look at
what processing power is being used. If things here look normal, then your computer may
have another process which is using resources needed for real-time audio processing.
(PC) Check the Task Manager (ctrl-alt-delete) or (Mac) Activity Monitor
(Applications/Utilities) and quit any processes which are using valuable CPU. Usually it is
a good idea to deactivate virus scan software when working with audio.
I hear a noticeable latency:
• The output latency is too high. Open the Audio MIDI Setup dialog and move the output
latency slider to the left.
For PC users: Please note that some soundcards may not be able to achieve a comfortable
latency. If this is the case you may want to to try the generic ASIO4ALL driver.

Heavyocity EVOLVE | © 2008 49

Plug-in
My plug-in does not show up:
Before checking the following options, please make sure that the latest NI product updates are
installed.
• Cubase / Nuendo: From the Devices menu, open the plug-in information dialog. Make
sure that the installed plug-in can be seen. Click the checkbox next to the plug-in name to
activate it. Restart Cubase or Nuendo to have the changes take effect.
• Logic: Make sure that the plug-in was installed. Check the local plug-ins folder (Macintosh
HD/Library/Audio/Plug-ins/Components) for installed items.
Start the Logic AU Manager from the Logic Menu/Preferences.
Rescan individual plug-ins or reset and rescan all plug-ins.
Even after scanning, you may need to activate a plug-in by clicking the checkbox
next to it.
• Digital Performer: Rescanning all the plug-ins usually helps. To force Digital Performer to
rescan all plug-ins, you should delete the preference file AudioUnit info cache from the
folder: Macintosh HD/Users/~/Library/Preferences/Digital Performer
The plug-in makes no sound:
Try the software's virtual keyboard (if applicable) to see if the problem is MIDI related. Also set
the plug-in MIDI channel to OMNI (when applicable).
Cubase / Nuendo: MIDI track output not assigned to plug-in.
Logic: Instrument Track not record enabled
Digital Performer:
MIDI track Output not assigned to plug-in.
MIDI Track is not record enabled.
MIDI Patch Through not active from the Setup menu.
Pro Tools: Physical Input not assigned to Instrument track

Error Messages
Application Install Error: If you receive this error, then something has gone wrong with the
software installation. Your only choice at this point is to reinstall the software. Before doing so,
back up any important files.
PC: use the add/remove programs software in the Windows control panel to remove the
software and all components. In case the program does not show up please use the uninstaller
(UNWISE.EXE) located in the application folder (i.e. C:\Program Files\Native
Instruments\Program name\ )
Mac: Delete the Application folder and any preference (plist) files before reinstalling. Plist files
are located in
• MAC HD/Library/Preferences
• ~ /Library/Preferences (where ~ is your home folder)
Error Creating Folder / Access Denied: If you receive this error upon installation of any NI
product on Mac, then it is likely there is a permission problem. The solution is beyond the scope
of this guide, but the following link may help:
http://www.nativeinstruments.de/index.php?id=niosxtut_us

Heavyocity EVOLVE | © 2008 50

 CREDITS
EVOLVE Concept
Dave Fraser

EVOLVE Content Creation

Dave Fraser, Neil Goldberg

Additional EVOLVE Content Creation

Ari Winters, Mark Kauffman

Mastering and Engineering:

Neil Goldberg, Dave Fraser

Sample Editing & Formatting

Dave Fraser, Neil Goldberg, Ari Winters, Mark Kauffman

Kontakt 2 Scripting & Programming

Ari Winters, Josef Natterer

Graphic Design & Packaging

Dave Fraser, Ari Winters

Business Development & Public Relations

Chris Peterson

Performances:
Guitar and Bass
Neil Goldberg

Piano
Dave Fraser

Drums & Percussion

Dave Fraser, Neil Goldberg, Robert C. Kelly
Violin
Ari Winters

Trumpet
Mark Kauffman

Vocals
Faye Gerbes, Carolyn Rowan, Stephanie Anne Landers, Dave Fraser, Neil Goldberg, Chris
Peterson, Mark Kauffman, Ari Winters

Heavyocity EVOLVE | © 2008 51

Appendix

Instrument Preset Organization

Instruments are structured in 4 key categories. Each categories houses a system of simple sub-menus and presets.
Presets have prefixes for easy recognition in a multi-timbral setup (i.e. Loop Suite: LPS). In addition to the
individual instruments in EVOLVE, we’ve created 25 Multis to help you get acquainted with the library’s
diversity. Each Multi is comprised of 8 single instruments assigned to MIDI channels 1-8. (these are helpful
to familiarize you with the library as a whole). Below you will find how EVOLVE is categorized.

1 Rhythmic Suites
•Looped Percussives (LPS)
•Looped Tonals (LPS TL)
•Single Tonal Loops
•Seq and Arp Percussives (ARP)
•Seq and Arp Tonals (ARP)

2 Percussive Kits
•Drum Like Kits (PERC)
•Hits (PERC)
•Metals and Cymbals (PERC)
•Toolshed and Warehouse (PERC)
•Traditional (PERC)

3 Stings and Transitions

•Odd Noise and Build Ups (STINGS)
•Sweeping Atonal Stings (STINGS)
•Sweeping Tonal Stings (STINGS)
•Uncaged Piano (STINGS)
•Uncharted Metals (STINGS)

4 Tonality and FX
•Bass (INST)
•Melodic (INST)
•Guitar
•Other
•Piano
•Vocal
•Synth
•Pads and FX (APA, AFX, APT)
•Ambient Pad Atonal (APA)
•Ambient Pad FX (AFX)
•Ambient Pad Tonal (APA)

Heavyocity EVOLVE | © 2008 52

INSTRUMENT (nki) PRESETS

1 Rhythmic Suites (LPS, LPS TL, ARP)

Looped Percussives (LPS)
LPS Dramatic Evolved.nki LPS Industrial Grunge.nki
LPS Dramatic Techtronic.nki LPS Quirky and Cartoony.nki
LPS Electro Tech.nki LPS Rock Pop.nki
LPS Industrial Elements.nki

Looped Tonals (LPS TL)

LPS Tonal Loop Menu.nki (This is a full menu of all loops, tuned to C)
Combinations of loops from full menu (3-4 loops mapped across keyboard)
LPS TL Alias Solitudes.nki
LPS TL Bassic Attitudes.nki
LPS TL Bassic Budda.nki
LPS TL Bassic Distortions .nki
LPS TL Bassic Syncopation.nki
LPS TL Bassic Synth Pedals.nki
LPS TL Bell Shaped Groove.nki
LPS TL Chill Factors.nki
LPS TL Chuggin With Dirt.nki
LPS TL Chuggin With Grit.nki
LPS TL Creepy BellHops.nki
LPS TL Crispy Percolator.nki
LPS TL Digital Blipfest.nki
LPS TL Drum Dirt with 7.nki
LPS TL Glitchy Smacky.nki
LPS TL House Play.nki
LPS TL Industrial Tonal I.nki
LPS TL Industrial Tonal II.nki
LPS TL Introspection.nki
LPS TL Odditty Machine.nki
LPS TL Pedal On MinMaj 3rd.nki
LPS TL Psycho Hiro.nki
LPS TL Robotronic.nki
LPS TL Stealth Actions.nki
LPS TL Stealth Reactions.nki
LPS TL Strat Guitarsica.nki
LPS TL Suburban sprawls.nki
LPS TL Sweeping Synth Osti.nki
LPS TL Synth Abrasions.nki
LPS TL Tribal Synthos.nki
LPS TL Tritonal Mysteries.nki

Heavyocity EVOLVE | © 2008 53

1 Rhythmic Suites (Cont)
Looped Tonals (Cont)
Sub-menu for SINGLE LOOP Presets (these are used in the combination presets)
(Sweet spot key ranges are generally between C2 and C5)
LPS TL Aeolian house.nki LPS TL Guitonal Wah.nki
LPS TL Ayoo Flat 7 Osti.nki LPS TL Itchy 1.nki
LPS TL Basic Shred.nki LPS TL Itchy 2.nki
LPS TL Bass Menace.nki LPS TL Kill Poke.nki
LPS TL Bassic Attitude.nki LPS TL Lost Dimension.nki
LPS TL Bassic Boinkin.nki LPS TL Mad Bass.nki
LPS TL Bassic Bow Wow.nki LPS TL Mind Out.nki
LPS TL Bassic Counter Punch.nki LPS TL Minorly Squared.nki
LPS TL Bassic Driven One.nki LPS TL Modem Synthetics.nki
LPS TL Bassic Dub Eat.nki LPS TL Percolating Organs.nki
LPS TL Bassic Evil Shaper.nki LPS TL Plunk Tones.nki
LPS TL Bassic Funktion.nki LPS TL Raspy Pedaler.nki
LPS TL Bassic Krunchiness.nki LPS TL Razor Pound.nki
LPS TL Bassic Square sub.nki LPS TL Ready to Run.nki
LPS TL Bassic Stealth 1.nki LPS TL Reso Cavern Piano .nki
LPS TL Bassic Stealth 2.nki LPS TL Reso Pedal 1.nki
LPS TL Bassic Stealth 3.nki LPS TL Reso Pedal 2.nki
LPS TL Bassic Stealth 4.nki LPS TL Rhode to Knowhere.nki
LPS TL Bassic Thievery.nki LPS TL Robotic Malfunction.nki
LPS TL Bassic Threats.nki LPS TL Root 2nd Major 3rd.nki
LPS TL Bassic Thumptick.nki LPS TL Root 2nd Minor 3rd.nki-
LPS TL Bella Below.nki LPS TL Sine me Up.nki
LPS TL Bit Crushed Trip.nki LPS TL Solemn Synthetics.nki
LPS TL Biting Synthaxe.nki LPS TL Spy Factor.nki
LPS TL Crispy Gwatar.nki LPS TL Suspense Bells 1.nki
LPS TL Cyber Synthopation.nki LPS TL Suspense Bells 2.nki
LPS TL Cyber Talk Box.nki LPS TL Synth Filteroid.nki
LPS TL Digital Blipfest.nki LPS TL Synthetic Waivers.nki
LPS TL Disintigrated Pedal.nki LPS TL Synthopated.nki
LPS TL Disto Bytes.nki LPS TL Thumper Mute.nki
LPS TL Disto Pianocker.nki LPS TL Tonal Bulbs.nki
LPS TL Disto Pound.nki LPS TL Trance Atlantic.nki
LPS TL Distonal Drum.nki LPS TL Tribal Buckets.nki
LPS TL Dumbek Ostinato.nki LPS TL Tritonal Blips.nki
LPS TL Electric Squares.nki LPS TL Tritonal Mystery.nki
LPS TL Electrofried.nki LPS TL Tritonish Faller.nki
LPS TL Electrolysis.nki LPS TL Violince 1.nki
LPS TL Electropokes.nki LPS TL Violince 2.nki
LPS TL Ethnic Curiosities.nki LPS TL Vocoded Enigmas.nki
LPS TL Finding the Killer.nki LPS TL Wah Pumper.nki
LPS TL Gnarley Groove.nki LPS TL Whum Whom Waam.nki
LPS TL Guitarsica 1.nki
LPS TL Guitarsica 2.nki
LPS TL Guitarsica 3.nki

Heavyocity EVOLVE | © 2008 54

1 Rhythmic Suites (Cont)
Seq and Arp Percussives (ARP) SEQ and Arp Tonals (ARP)
ARP 4 Bit Grit.nki ARP Analog VariPad.nki
ARP Air Release and Thuds.nki ARP Analogue Trem.nki
ARP Beat Box.nki ARP Bass Destructo.nki
ARP Bin and Shovel.nki ARP Bass Robomatic.nki
ARP Brown Air.nki ARP Bass Shocking.nki
ARP Comedy Kit.nki ARP Bass Synth Thumper.nki
ARP Cymbal FX.nki ARP Cagey Quivers.nki
ARP Cymbal Spires.nki ARP Digilog Dirt.nki
ARP Drum Bits.nki ARP Digilog Dirtier.nki
ARP Dumpster.nki ARP Dirty Roads.nki
ARP Ethnic Drums.nki ARP Doinky Pops.nki
ARP Garage Tidbits.nki ARP Ethnic Islands.nki
ARP Grungy Kit.nki ARP Evil Pianocks.nki
ARP Hand Percussion.nki ARP Frozen Piano.nki
ARP Metals One.nki ARP Glasteroids.nki
ARP Metals Too.nki ARP Guitar Clean Angels.nki
ARP Nails and Rails.nki ARP Guitar Eclectic Chimer.nki
ARP Orch Bass Drum.nki ARP Piano Bass Muted.nki
ARP Piano Percussives.nki ARP Piano Bass Stac.nki
ARP Saw and Wrench.nki ARP Piano Broken Caberet.nki
ARP Shakers.nki ARP Piano Dreamer.nki
ARP Tambourine.nki ARP Sawvage Synth Filth.nki
ARP Trash and Sprayer.nki ARP Sawvage Synth.nki
ARP Tubs Cans Ratchets.nki ARP Singing Bowl.nki
ARP Tweak It.nki ARP Smiley Piano.nki
ARP Warehouse Drums.nki ARP Steinpan.nki
ARP You Tool.nki ARP Synctifry.nki
ARP Synctify.nki
ARP Toy Harp.nki
ARP Toy Xylophone.nki
ARP Wood Pop Melody.nki

Heavyocity EVOLVE | © 2008 55

2 Percussive Kits (PERC)
Drum Like Kits Hits
PERC 4 Bit Grit Kit.nki PERC Cavern Kickers.nki
PERC Beat Box Kit.nki PERC Deep Echo.nki
PERC Brown Air Kit.nki PERC Dumpster.nki
PERC Comedy Kit.nki PERC Hugeness Combo.nki
PERC Drum Bits Kit.nki PERC Orch Bass Drum.nki
PERC Grungy Kit.nki PERC Piano Percussives.nki
PERC Tweak It Kit.nki

Metals and Cymbals Toolshed and Warehouse

PERC Cymbal Crashes.nki PERC Air Release Thuds.nki
PERC Cymbal FX.nki PERC Bin and Shovel.nki
PERC Cymbal Spires.nki PERC Garage Tidbits.nki
PERC Dumpster Scrapes.nki PERC Nails and Rails.nki
PERC Gongs and FX.nki PERC Saw and Wrench.nki
PERC Metals One.nki PERC Sweep and Pump.nki
PERC Metals Too.nki PERC Trash and Sprayer.nki
PERC Tubs Cans Ratchets.nki
Traditional PERC Warehouse Drums.nki
PERC Ethnic Drums.nki PERC You Tool Combo.nki
PERC Hand.nki
PERC Shakers.nki
PERC Tambourine.nki

3 Stings and Transitions (STINGS)

Odd Noise and Build Ups Sweeping Atonal Stings
STINGS Alien Guitar Womb.nki STINGS 6 String Torture.nki
STINGS Build Up To Fear.nki STINGS Atonal Evil.nki
STINGS Creep Out Builds.nki STINGS Diminishing Hope.nki
STINGS Mating Calls.nki STINGS Re Entry.nki
STINGS Odd Noise.nki STINGS Tritone Screams.nki
STINGS Sweepy Bward FX.nki STINGS Vapor Freeze.nki
STINGS TelemiTweaks.nki STINGS Whaling Wailing.nki
STINGS The Breathers.nki

Sweeping Tonal Stings Uncaged Piano

STINGS Tonal Sweeps Menu.nki STINGS Piano FX Sweeps.nki
STINGS Beautiful Pierces.nki STINGS Piano Glissandos.nki
STINGS Low Disto Sweeps.nki STINGS Piano Jagged Edges.nki
STINGS Lowlife Sweeps.nki STINGS Piano Mood Setters.nki
STINGS Maj 3rd Enigmas.nki STINGS Piano Odd Rips.nki
STINGS Pitchy Solace.nki STINGS Piano Reverse Builds.nki
STINGS Scared Sweeps.nki STINGS Piano Riptones.nki
STINGS Soft Piercings.nki STINGS Piano Ugly Rips.nki
STINGS Solemn And Chirp.nki STINGS Piano Whines 1.nki
STINGS The Sevens.nki STINGS Piano Whines 2.nki
STINGS Untru Piano.nki

Uncharted Metals
STINGS Bowed Cymb Tonal.nki STINGS Metallic Afterlife.nki
STINGS Bowed Cymbals.nki STINGS Metallic Gleamers.nki
STINGS Cymballic Reverses.nki STINGS Twisted Metal.nki
STINGS Cymballica.nki STINGS Waterphone Sweeps.nki
STINGS Dumpster Deth.nki STINGS Waterphone Trips.nki
STINGS Gong FX.nki

Heavyocity EVOLVE | © 2008 56

4 Tonality and FX (INST, AFX, APA, APT)
BASS (INST)
INST Bass Destructo.nki
INST Bass Guitar.nki
INST Bass Robomatic.nki
INST Bass Synth Thumper.nki
INST Bassic Sweetener.nki
INST Gnarly Piano Gods.nki
INST Nuclear Bass Strike.nki

Melodic (INST)
Guitar Synth
INST Gitarbeez.nki INST Analog VariPad.nki
INST Gtr Eclectic Chimer.nki INST Analogue Trem.nki
INST Gtr Eclectic Twanger.nki INST Cagey Quivers.nki
INST Guitar Clean Angels.nki INST Digilog Dirt.nki
INST Guitar Cosmic Dirt.nki INST Dirty Roads.nki
INST Guitar Metal Waves.nki INST Doinky Pops.nki
INST Guitar Rotokill.nki INST Gnarled Synth.nki
INST Guitar Soft Harmony.nki INST Sawvage Synth.nki
INST Guitar Trem.nki INST Supertones.nki
INST Synctify.nki

Other Vocals
INST Brastard.nki INST Vocal Chants and FX.nki
INST Ethnic Islands.nki INST Vocal Fem Ethereal.nki
INST Glasteroids.nki INST Vocal Fem Opera Mel.nki
INST Singing Bowl.nki INST String Scratchers.nki
INST Vocal Fem Operatic.nki
INST Tongual Drums.nki
INST Toy Harp.nki
INST Toy Xylophone.nki
INST Trumpoddity.nki
INST Violin FX.nki
INST Wood Pop Melody.nki

Piano
INST Evil Pianocks.nki
INST Frozen Piano.nki
INST Piano Bass Muted.nki
INST Piano Bass Stac.nki
INST Piano Broken Caberet.nki
INST Piano Dreamer.nki
INST Projector Piano.nki
INST Smiley Piano.nki
INST Steinpan.nki
INST Upright Piano Bass.nki

Heavyocity EVOLVE | © 2008 57

4 Tonality and FX (Cont)
Ambient Pad Atonal Ambient Pad Tonal
APA Alien Guitar Nest.nki APT Aqua Moans.nki
APA Atonal Heebies.nki APT Chillin Major 7.nki
APA Bad Bad Feeling.nki APT Dusty Findings.nki
APA Blind Inspection.nki APT Getting Scared.nki
APA Brooding Wash.nki APT Immersive Trancer.nki
APA Deep Grudge.nki APT Interventions.nki
APA Drug Induced.nki APT Isolation Shock.nki
APA Entombed.nki APT Lydian Choir Gods.nki
APA Fedback Oddity.nki APT Mellow Padding.nki
APA Happy Menace.nki APT MellowTronish.nki
APA IcePad Bumps.nki APT Odd Bell Pads.nki
APA Metallic Mystery.nki APT Reso Strike Pad.nki
APA Mystery Trance.nki APT Serenghostly.nki
APA Nebu Momento.nki APT Shocking Bassic.nki
APA NightChimes.nki APT Silver Pad Flute.nki
APA Odd Sines.nki APT Sined Out.nki
APA Ogre Trips.nki APT Sing Meets Pad.nki
APA Paranormal.nki APT Sun Pad.nki
APA Space Stationed.nki APT Trace It Up.nki
APA Strangeland Pads.nki APT Trippin Octavia.nki
APA Submersed Oceanic.nki APT Tron Pads.nki
APA Suspense Tones.nki APT VioTremolo.nki
APA Sweet Nightmares.nki APT Warm Bass Flow.nki
APA Tension Swells.nki APT Wine Bell Pad.nki

Ambient Pad FX
AFX Alarming Sci Fi.nki
AFX Alien Recon.nki
AFX Aqueous Gloom.nki
AFX Bad Weather Chimes.nki
AFX Beach Combing.nki
AFX Bug Chatter.nki
AFX Cavernous Rumblings.nki
AFX Cavernous Sines.nki
AFX Data Streams.nki
AFX Drafting Space.nki
AFX Jungle Rumbles.nki
AFX Making Contact.nki
AFX Pre Rain Forest.nki
AFX Rumbly Noize Farms.nki
AFX Space Bores.nki
AFX Utility Draft.nki
AFX Windy Apparitions.nki

Heavyocity EVOLVE | © 2008 58

Multi-Instruments (Instruments assigned to MIDI channels 1-8)
Big Screen Devastastion.nkm
Comic Relievers.nkm
Creep Into The Unknown.nkm
Deep Space Recon.nkm
Dirty Beat Loop Soup.nkm
Disco Revolution.nkm
Euphoric Percolations.nkm
Fragile Terriotories.nkm
Ghost Stories.nkm
Lost Island.nkm
Minor In The House.nkm
Nine Inch Spikes.nkm
Out Of Body Experience.nkm
Prelude To Shred.nkm
Purely Percussive.nkm
Secret Agent Man. nkm
Stung In Transition.nkm
Synthetic Assault.nkm
The Martini Lounge.nkm
Trailer Smash.nkm
Tune In The Pop.nkm
Vocalize.nkm
Your Worst Nightmare.nkm

Continuous Controller (CC) Numbers

CC 23 Attack CC 74 Low-Pass Filter Cutoff
CC 24 Decay CC 71 Low-Pass Filter Resonance
CC 25 Sustain CC 75 High-Pass Filter Cutoff
CC 26 Release CC 76 High-Pass Filter Resonance

CC 90 Delay Send Level CC 89 Arp Preset Selector

CC 91 Reverb Send Level
CC 95 Phaser Send Level

Heavyocity EVOLVE | © 2008 59

Heavyocity EVOLVE | © 2008 60