Native Instruments Komplete

Native Instruments is a leading manufacturer of software and hardware for computer-based audio production and DJing. KOMPLETE 13’s builder platforms can be used to create just about any instrument you can imagine. KONTAKT 6 powers advanced sampling and instruments from Native and hundreds of leading manufacturers. REAKTOR 6 takes care of the synthesis side of things with a flexible modular environment for building synths, effects, and more. Many customers expected a Komplete 9 announcement in Fall 2012, given the traditional Komplete release cycle- but instead of announcing a new version of Komplete at that time, Native Instruments refreshed Komplete 8 Ultimate with new box art. Komplete 9 was announced several months later, in a rare early Spring release (March 2013). C: Program Files Native Instruments VSTPlugins 32 bit; VST location (64-bit) Windows only: This is the location for your 64-bit VST-plug-ins. Please watch this video to learn more about VSTplug-in administration on Windows computers. The default locaion is: C: Program Files Native Instruments VSTPlugins 64 bit.

Native Instruments Komplete Start
Native Instruments Komplete Kontrol S61
Native Instruments Komplete Kontrol S61 Mk2

Well, Komplete 13 is finally here and it’s a doozy... or is it? Matt Vanacoro digs right in to this super-comprehensive collection of tools for producers, sound designers and composers.

There are 4 variations of Komplete 13 to choose from these days, so picking out the one that works for you is a little more tricky - plus the larger variations are most definitely “SSD Eaters” (the collector’s edition clocks in at a whopping 1 TB). There are a few plugin updates, like Guitar Rig, but this review is going to focus on the new instrumental content. Strap in, there’s a lot!

Reality Bytes

Okay, can we first stop for a second to appreciate the genius of that section header? Because the realistic instruments taking up valuable bytes of hard drive space and… oh, fine.

The sampled instruments see a significant upgrade this time around with the inclusion of Noire, Stradivari (I tested the Ultimate edition which came with the violin), Mallet Flux, Mysteria, and Session Guitarist.

The interesting thing about these instruments is their propensity to offer two complete paradigms. Mallet Flux, for examples, offers some truly inspiring mallet instruments that sound absolutely stunning. They are meticulously sampled, and have a level of polish that feels wonderful. Add a mix interface that allows you to play back activated rhythm patterns on each instrument, and you’ve got an incredibly useful engine for generating realistic sounding mallet patterns.

This holds true with the other sampled instruments. Noire would be an excellent piano instrument on its own. There are 16gb worth of samples and dynamic layers, it sounds rich and playable. Add the ability to insert a felt dampener between the hammers and the strings and now you can get a truly mellow piano tone that really sits way back in the mix. The particles engine doesn’t just add ‘pads’ to your piano, but it actually adds rhythmic textures and swirling motion behind the piano in a way that makes you want to explore every preset (which, I’ll admit, I did).

The Session Guitarist instruments are very much worth the investment in time it takes to learn them. The guitar loops provided are diverse, and putting the guitar in ‘melody mode’ truly gives you the flexibility to get guitar tracks that are nearly indistinguishable from an actual player. Having access to so many different guitar articulations at the press of a keyswitch really allows you to bring out the natural sound in the samples and make it very convincing.

I found Mysteria to be fun for crafting vocal textures, but I am not completely convinced I want to put aside 30gb of space for it. It definitely has its place in cinematic sound design, but I definitely categorize this one in the ‘you already know if you need it’ classification.

The Stradivari Violin was truly awe-inspiring. The size is huge, but this solo instrument was so good I instantly regretted not getting the entire quartet and splurging for the “Collector’s Edition”. Orchestral composers, if the other 3 instruments in this acoustic string collection are anything like the Stradivari Violin - this is the new collection to beat.

So Unreal

In terms of the synths provided, there are a few fun ones to check out. Super 8 is a new synth that has its own plugin as opposed to running in Kontakt or Reaktor. It has a very ‘big’ sound to me, which makes sense because it uses its own combination of dual oscillators plus FM synthesis. I found the plugin easy to navigate (although it definitely has a Reaktor ‘look’ to it) and the presets are ample. The modulation routing and mapping for Komplete Kontrol owners is well thought out and makes playing Super 8 with a well-equipped controller fun and simple.

There are three additions to the ‘play series’ and my favorite of them is Butch Vig Drums. I was ready to write off BVD as something I wouldn’t use much as I have a TON of drum instruments already - but BVD is something special. The combination of well played and powerful grooves with the synth / filtered / effected elements make this a wonderfully useful tool for quick modern production. It also looks amazing (I know, we’re not supposed to care about that, but… it does!)

The synth patch expansions give you a ton more use out of Reaktor, Massive X, and Battery 4. It was fun to pull up Battery, a plugin I hadn’t delved into for a while, and hear Indigo Dust kits integrated and give a fresh sound to a plugin that wasn’t getting a lot of use for me.

Straylight and Pharlight both load up in Kontakt and are excellent additions to the lineup. Granular instruments typically excel at creating haunting textures and atmospheres, and these two are no exception. While they both have a really unique sound, I found Straylight to be unlike anything I had ever heard before. The macro controls allow for realtime manipulation of the ambient textures, and this felt far more ‘playable’ than a lot of other ‘ambient libraries’. I could definitely see those that work in scoring for film and media getting a LOT out of this instrument.

Conclusion

The instruments of Komplete 13 are truly unique and excellent additions to the lineup. As far as value, I definitely feel they are worthy of the upgrade (I have not always felt that in my 13 versions of purchasing Komplete software updates). From realistic sample libraries to out of this world synths, there is something for everyone with Komplete 13. Check out our separate review of Guitar Rig 6, as well!

Price: $1,199 / $399 update

Pros: Stradivari Violin was an absolute highlight. Noire was incredibly fun to play. Super 8 is going to be a top synth pick for me from now on.

Cons: I wish I got all 4 quartet stringed instruments. I think they could make the ‘what’s new’ advertisement a bit more clear

Web: www.native-instruments.com

Learn NI hardware & software: AskAudio | macProVideo

The answer is Komplete

Komplete 11 is the proper answer to having a lot of different variety of sounds where sound design and having a lot of content basically come together as one. While looking to the near future, I might eventually upgrade this to version 12 already because of the upcoming Massive X which will be released on February 2019. From a technical point of view, this whole bundle could eventually replace almost everything I personally own from the Rack Extension platform (yes, I did my research on this). There are a few exceptions here since I will most likely miss devices such as Expanse (Blamsoft), where Serum could be a replacement for that. And I will totally miss the external wiring within Propellerhead reason itself while using the Komplete bundle inside a different DAW.

But the thing is, I personally do not need Control Voltages when it comes to using a large bundle like this. Since all the sounds are out of the box. With a little tweaking, songs basically write themselves. Once I really want to go towards the modular route, there is always Reaktor. So that part fixed itself for me. So by now, you may realize why I started with getting Komplete 11, maybe move towards Komplete 12 later next year and explore that too.

Another good thing about having a legal license of this bundle is that it comes with Native Access (something you simply do not have when downloading a torrent of Komplete or something similar). Native Access is the single access point to download all your plugins from and it automatically sends you notifications one you launch Native Access when something needs to be updated. Everything is nicely connected to a single account. And yes, you can install this on as many computers as you like (which another big plus sine for me, since I have 3 computers laying around).

This is how Native Access looks like. It will simply display all the plugins you have installed, the libraries you still have available to download and install and once an update gets released it will simply show up in the Available updates section too. Nicely done, and it works pretty well once you have linked it with your online Native Instruments account.

I might like to point out that downloading the complete bundle takes a long time. Since there are some instruments which contain +11Gb of sample based material. While writing this down, I am still in the progress of just installing everything. I might also just add, I am doing this at a slow pace. Once I have installed a package I usually start messing around with it before moving on to the next.

The major key players of Native Instrument Komplete Ultimate

The major reasons why I wanted to get this bundle (and I am talking about the Ultimate edition, not the other versions because they are less complete (pun!)) is because it contains most of the stuff I really want. Just to name a few things: Additive synthesizers, Subtractive synthesizers, FM synths, wavetable synthesizers, effects, modular stuff and a large sample library that goes with it.

So if I have to summarize the content as I have explored it this far. It could be said as followed:

Battery 4 for playing drums (would be my replacement of Kong and the Redrum)
Absynth (so long Thor, bye)
Massive (because of wavetables)
Rounds (because of using frequency modulation)
Kontakt (because it is a better sampler)
Reaktor 6 (because of cv)
Fm8 (because of px7)
Molekular (because of synchronous on steroids)
Razor (because of additive)
Guitar Rig (modular effects)

And this is just a shorthand list on why I would be needing this set of instruments.

What also gets to me is on well these plugins are organized and useable. The first plugins I threw inside my DAW it didn't require too many explanations on what is really going on. Almost every device (let it be an instrument, synthesizer or effect) they usually display a general overview of what the patch is doing. And if you like tweaking sounds there is most often an under the hood panel which will then display how the sound is created.

Sure the will be consistency errors (especially when you using different Kontakt libraries). But once you the hang of things it a real smooth ride.

The synthesizers of Komplete 11

Once you start categorizing the complete bundle you will have 4 main sections: synthesizers, sample-based libraries, effects, and Reaktor. Yeah, I am actually separating Reaktor (not marking it as a synthesizer) because Reaktor itself could just be seen as a standalone Midi Editor and sound design tool if you will. I kind of see it as a stand-alone tool that does happen to borrow from the other synthesizers and effects. Which is nicely done. While making this article I am looking at the major key features on what I find handy. Writing down everything that this bundle contains would take ages. I am just touching the surface for this one.

Absynth 5

Absynth 5 from Native Instruments is a combination of using subtractive synthesis, FM (based on Sine waves as a modulator), Ring modulation, Granular, and wavetable synthesis. It comes with 3 different type of oscillators: Simple waves (subtractive), Morph Waves (Wavetable), While the simple wave has the different type of oscillators (such as Ring, FM, Granular, Subtractive).

Designing a sound with Absynth 5 start with the oscillator which can be defined using 3 different oscillator slots. The oscillator is the heart of the sound and going from that you can define 2 additional slots. While by default these are labeled as 'Filter' and 'Modulation', it can basically be anything you like. In theory, you can use 2 different filter slots per oscillator. Or use a modulator first and then it passes it on the filter.

This is an interesting choice since this kind of fits in a modular build up where you define an oscillator and it passes this on to a series of different processing units. But the way these processors are defined can be nonlinear inside the synth itself.

What makes things even more interesting is the way you are able to use waveforms directly inside the modulation section itself (which kind of reminds me of ring modulation from one waveform to another, but I can be totally mistaken about that concept and idea). But just the idea you have all these different ways you can shape a waveform inside a synthesizer like this is just mind boggling at first (ok, for a synthesizer guy like me, I kind of know what I am doing. For someone who has no idea what frequency shifting is, it might be a different story).

And to be honest, I haven't talked about the mutator just yet ;)

Absynth 5 from Native Instruments comes with a few built-in effects. These are just there for the icing on the cake if you would ask me. If this synthesizer would not really have them, I wouldn't be much bothered about it. But ok, since they are there, let me say a few words about the effects of Absynth 5.

What you have here is for instance 'Pipe', an operator for defining space and filtering. Kind of like what you would do with the Haas effect. I am not sure at this point if this is the angle they went for with this mechanic though. But it kind of sounds that way.

The next effect is multi-comb. While multi-comb can act as a comb filter type of setup, sometimes it touches the realm of being a synthetic type of 'reverb' / 'delay' effect. While traditional combing is all about that idea. With the multi-comb, you are able to define the amount in milliseconds. Thus defining your own type of digital reverb effect while doing so.

'Multitap' in Absynth 5 is a multitap delay that comes with percentages. This is a part I do not get since there is no definition for 'sync' with the tempo. But ok, luckily there are plugins for that that can do that for us.

'Echoes' is similar to multitap (since you can define 3 of them in total). Yet the defined parameters are different compared to Multitap.

'Resonators' is a nice addition when it comes to adding harmonics to the sound while having a feeling you are throwing the sound through a tube. It often makes the sound brighter, yet hollow and self-resonating while doing so. It is the more creative effect which could work nicely in faking the idea of an orchestral type of sounds (like a cello, strings, and vibraphones).

'Aetherizer' is like a reverb but then using a granular engine. These two usually fit well together since a reverb tail can easy be chopped in smaller grains and played back different. This is a more creative type of 'reverb' effect which is a nice addition to the character of this synthesizer.

Wave editor in Absynth 5

One thing that I really like about the concept of Absynth is that it ships with its own build in wave-form editor. So from that angle, anything is possible. Sure you still choose to load your own custom sample (which works perfectly for a synth like this). But once you something really specific as a sound, then customizing your own waveform is the way to go.

Due to the nature of how this instrument sounds like it is perfect for creating sounds scapes and much more. While it comes with two different versions (mono and stereo) I usually pick the stereo version because I do not want to miss out on all the fun and sonic booms coming from this device. While in theory, this device could easily replace a synthesizer like Thor, the Malstrom and the subtractor for me. Since there are plenty of modulation capabilities while looking at what synthesizer has to offer. It has subtractive sounds, it has spectral effects (Malstrom) and it even does granular manipulation on a waveform. Additionally, it can just much more than Thor currently has to offer. The only part where it lacks on the synthesizer department is FM. While it does have FM as a generator, it works differently than using true FM synthesis (and this is where the FM8 will come in). And yes, I will most often do these Reason native stock devices references while writing down this article. Since I am looking at Komplete in a hypothetical replacement for what Reason as a DAW has to offer. So in case, I have to jump ship, you know the why and how (since I have given it a lot of thought as of lately).

Massive from Native Instruments

Massive from Native Instruments might not really require much of an introduction. Since this is a workhorse that has been around for almost a decade. Even a whole genre (dubstep) came out of this. Also, it might be noted that a lot of off-spring synthesizers have been based on the sonic capabilities of Massive itself. While initially when looking at Massive itself, it surely does not really look like being that much. Because well... It kind of looks rather simple to use, it has oscillators, filters, and some other under the hood panels. I guess at this point what makes massive so great until this point is the ease of creating sounds, morph it, and then press a few notes just to have a swing at what it creates. Once you start diving more deep in what Massive is all about, you will start to realize how intimidating (from a positive point of view) Massive can be. Because it can just do a lot. Hence it will be no surprise on how popular this synthesizer has become.

Massive houses three oscillators, where they are mostly wave-table based. Which comes with two filters (based on different filter types). It has its own unique filter section (which is totally different than compared to let's say Absynth 5). Has a flexible routing mechanism (where I still believe Serum was somewhat based on that idea). It has a neat macro editor, which allows you to program 8 rotaries (there is that number again!) to have multiple settings being affected by changing them.

Massive was one of the first synths which allowed flexible modulation on using wavetables. While the execution was done pretty slick for its time (hence one of the reasons it has been heavily used in Drum and Bass, IDM, EDM, and Dubstep). While originally it had a few wavetables at the beginning, every update of massive included a wide range of new, and modern wavetables. The only downside with Massive as a synthesizer is that the wavetables are in a fixed format. Meaning people are not allowed to add their own custom-made wavetables (since this breaks the EULA even). While writing this article, I do know that Massive X is around the corner and will be released in February 2019. With that update, it would really not be a surprise to me that this update will include the use of loading custom wavetables (Serum compatible even). But the latter is just speculation I am doing at this point.

The wavetables that are available inside Massive itself. These range from pulse width modulation to basic waveforms, to analog sounds, to digital hybrids and fx/chords. Where a sound can be used as a part of a wavetable, or you can decide to use a modulator to move through the sound. Even while it may look like a small list of wavetables, there is a lot of different sounds you can make from this. From growly basses to evolving pads, soundscapes (Absynth 5 is the better option for that one), or plucky type of leads.

Modulation in Native Instruments Massive is a better treat when comparing this with Absynth 5. Since you can modulate an oscillator with another oscillator and have a different mix between one setting vs another. You have 4 different modulation types: Ring Mod, Phase, Position and Filter FM. All of these can be selected with a source (Oscillator or Noise). Then you can set an amount and your all set to go. One thing I do find odd with this one, in particular, is that there is a mode for Filter FM but there is no Oscillator FM. The filter FM does a lot though, but having an oscillator FM mode would made things even better. But ok, there is still FM8 (a different synthesizer from native instruments).

There are two different filter slots defined within a Massive patch. While one oscillator can be mapped to go through filter 1 or filter 2 (with an amount). You can also change the strength of an individual filter as you see fit. This results into flexible routing in to which oscillator goes where, and how much of a specific filter is being used and such. One thing that I did really miss (or maybe overlooked it) is the option to pan the different filter or pan the different oscillators. The pan settings seem to be a part of the amplifier (yet not the underlying sections inside the patch itself). While this can be sorted pretty easy by using 2 instances of the same device. Another option is to go heavy on the stereo effects section or using a lot of Unisono.

Which leads us to the effects

The effects of Massive come in two forms: send effects and inserts. The send effects are common effects such as reverb, chorus, flangers, delay, and phasers. One effect I find pretty interesting is the Dimension Expander. Just because it creates spaces in a natural way. The other effects work pretty well while doing patch design. While I am writing this article I do have a personal feeling that it sounds a bit out-dated. For instance, the reverb is not really the best reverb I heard and there are better alternatives out there. Also, some of these effects lack control (but ok, I am talking about a synth that has been around for 11 years now (release date was around 2007)). But once you start looking around on what the complete bundle has to offer, then well... there are better options regarding the effect department. That is what I am trying to say right about now. But I do believe that the new Massive X will most likely compensate for the lack of options and control.

While looking at the insert effects (parallel effect processing if you will), these will reshape the sound in different angles. While comparing this with Thor (in Reason) you could compare this with a shaper setting. The difference here is while Thor uses a wet signal processing method (with an amount) Massive in this case does it parallel with the option of Dry/Wet balances. Thus you determine the amount in two different ways. How much of the effect you want (drive) and how wet you want that signal to be (dry/wet).

So for what it is worth comparing this with Reason again. This would be a total replacement to Thor the wavetable oscillator but with a big surplus on it (because of the number of options). It sometimes feels like it goes on par with Europa, yet sometimes it does not. The major difference there is that Europa can have a spectral filter type of setup, where Massive is more about being Subtractive / Spectral (with limited options). But again, I am comparing a Synth that has been released in 2017 with a synth that has been released since 2007. So there is most likely some differences there.

But when it comes to the overall sonic options that Massive has to offer, it can just do a lot. And like I have mentioned elsewhere, I am barely touching the surface in this article since I just to want to have a global first impression what I have seen so far (and give my honest opinion about the way I feel while doing so).

FM8 from Native Instruments

FM8 is an all in Frequency modulation solution that can do similar things as the famous DX7 from Yamaha. While originally the DX7 is all about using Sine waves as the operators, the FM8 from Native Instruments comes with different waveforms while doing so. This makes almost every FM synth from the digital market obsolete. Because of every almost every 2 operators, 4 operators and 6 operator FM synth can be created with a single instance of FM8. And this says a lot. While the DX7 is all fixed based 32 different routes, the FM8 can route anything in any possible using the matrix for the FM8.

You can see the matrix as a mixer where you tell how operator A is connected to operator B and setting an amount (because FM is all about having one operator changing another operator using a level setting).

In this picture, you can see that Operator A is modulating the Operator B with an amount of 33 (where 100 is the maximum amount). The operator B becomes the output.

While looking at the operator screen you are able to modify different parameters of what defines the operator.

The operators can vary in ratio, offset, waveform, inverted, key sync mode and pitch envelope mode. The operators A till F are waveform operators while X and Z are noise and filters

While looking at modulation, it comes with another matrix type of look and feels. Meaning you can modulate a lot of different parameters from the pitch, to attack to breath to an LFO. In other words, a lot.

The spectral view inside the FM8 is a nice addition since it tells exactly what type of sound you are creating. While at the right top corner you may find a small version of what the spectral view is. There is a nice button that displays it in more detail.

With the spectral view, you can visually see what type of waveform you are generating.

The master section of the FM 8 from native instruments displays most of the overall control you can set when it comes to output levels, input levels, polyphony (64 poly at maximum!) and a unison setting. Additionally, you can map an build in arpeggiator with the FM 8. While having it running in standalone mode (without any DAW running) it can be handy when just playing it as a synth. When using this synthesizer inside your DAW it will be mapped with the transport. Meaning if the Transport is set to 142 Beats per minute, the FM 8 will set the BPM on 142.

As far as frequency modulation goes and looking at the penitential what FM 8 can do, it just can do a lot. While exploring the different patches out there inside this synthesizer there are some really cool sounds that come with it. While at first, the FM8 from Native Instruments might look like a daunting synthesizer (even I had some issues to figure out how to enable an operator in this one). When you start realizing what makes this synth tick, you will realize it has a lot of potentials (even going way beyond the PX7 from Propellerhead)

Reaktor 6 from Native Instruments

Before I am going to touch the rest of the synthesizers that sit inside the Komplete bundle itself, I am mainly going to look at Reaktor for now. Later during this article, it might make sense why I am choosing this path (I hope). Reaktor is a modular concept that works similarly as rack designs (Propellerhead Reason) or euro rack designs (but in a digital form). Reaktor comes in two different forms, the panel overview, and the generator overview. While the panel overview is more about playing the synth or beatbox machine. The generator overview is the under the hood panel on how everything is being generated.

From this angle you can truly design your own synthesizer as modular you see fit. Because you define how gates are treated, how effects are used, and how everything gets modulated. Kind of like how Propellerhead Reason started but then with a lot of different features.

While regular synthesizer defines gate inputs from the Midi Inputs. Reaktor can also be used while having a different input to control an oscillator. The most obvious route would be to start with the Note In block. Because this is similar to using Midi controllers to control the synthesizer itself. The gate and note outputs will then go an oscillator and the oscillator can go through an output.

From this angle, you are just defining a 'press a key, play an oscillator' without even using envelopes or velocity states. However, if you want to make your own synthesizer you can define different envelopes to do whatever you want. Once you start understanding synthesizer and how they work (Amplitude envelope, Filters, Filter envelopes and such) you are able to have your own modular build pretty fast.

Here is a very basic sawtooth synth build. Using note pitch to control the saw wave pitch. While using the Gate out to control the on/off state. The output of the sawtooth goes directly into the audio output.

Understanding the modular concepts about building your own synths take time. While the patches that come with Reaktor will give enough insights on how this modular synthesizer works. It just depends on how complicated you want to make it yourself I guess (the same thing goes with anything in real life).

But as far as how far Reaktor can take it... it shows. Because a lot of their hardcore synthesizers that Native Instruments have sold as separate products are simply built inside Reaktor 6 itself. Just to name a few: Monark, Flesh, Form, Molekular, PolyPlex, Prism, Razor, Rounds, Skanner XT, Spark, The Finger, and The Mouth.

Monark from Native Instruments

This is one of those things that display how analog gear can be recreated inside a digital environment such as Reaktor 6. Monark is a monophonic synthesizer with an analog character. While some of it resembles the core of what for instance the VK-2 from Blamsoft is doing. While Monark was made using the Reaktor framework, some of these components can be found in the blocks sections of Reaktor 6 itself. Meaning, you can replicate the exact same device, yet take your own direction with the blocks if you need to.

This synthesizer uses the basic analog waveforms such as a triangle, square (different pulse width) and a saw wave. While most of these oscillators can be used to play the synth. They can also be used as an LFO (Low-Frequency Oscillator).

The filters range from bandpass to low pass and its own unique MM filter (which has a nice analog touch to it). The load in the volume kind of reminds me of some form of saturation that takes place. Which does not come as a surprise since I have a feeling something like 'Driver' (a block from Reaktor 6) creates these type of effects.

While I have a lot of these type of devices laying around, I do see its applicable usage because of the filter itself is quite distinctive compared to what others are doing. Some parts remind me of the Legend (Synapse) while others sound similar to the character you can get, from the earlier mentioned, VK-2.

Molekular from Native Instruments

Molekular from Native instruments is an awesome device to mess around with. Even better yet, if I have to pick an effect which sounds freaking awesome to play with, then this is it! I had a real big smile on my face while throwing a Rex loop against a few of the presets that came with it. Because it creates something, I could not even dream about. In short, Molekular is an effect processing device that can be used to play as a synth as well (where I find the first option a very impressive one).

The way it works may look very intimidating at first. Because you have a digital display in the middle that goes all over the place. While at some point you could see it as a device like Quad (from Rob Papen). Where Quad uses a vector to connect to different oscillators. Molekular uses this method to modulate different type of effects (four in total). So in a way you can mix all those effects in different directions. The way that this moves can be altered in different ways. The amount of modulation that takes place can be changed. You can make your brain explode using dry/wet settings, and you can get an erection while using Plagiarism.

I can just say one last word about this device: epic!

And nothing more.

Form from Native Instruments

Ow boy... if you think grain is cool, you haven't seen Form yet. Form is a granular type of sample editor that takes performance to a whole different level. The engine is set up with 5 different type of presets. Where each preset can have its own way of going through the waveform itself. While the waveform itself is just a sample (could even be a voice recording), the way you can manipulate the sample in different ways is just awesome.

The only small downside I did figure out very fast is that the limitation of the sample length is set to 30 seconds. But if I think in terms of usability, flexibility and having short samples for recordings, I do not really see that the 30 seconds should be that much of a limitation (I mean, who wants to throw a 4-minute song file to sound like a granular mess anyway?).

Form comes with a sample player and motion and performance switches. Under the hood, you can alter the sound output in different ways and set up a wide range of different effects.

From a UI perspective, I have some dilemmas with this setup in particular. Because I personally do not really understand why the sample needs to take up to 70% of the screen real estate, while the other sections (such as sound settings and effects) are put into their own screens. This is a minor nit-pick I am doing right about now since it was the first thing I noticed. Does it really have to be that large? But ok, I got over this really fast because the controls for this synthesizer are pretty easy to find.

The sample section is part of the heart of this synthesizer. Since it defines which sample you are using, and you can set the start and end point of the sample itself. Below this, you can alter the speed of the motion. At first, I found the term 'sample length' a bit confusing because I would see it like a length of playback. But what it really does is set the movement speed (and modulators) on where it connected towards. The sample length label seems to be bit odd... Naming this 'sample modulation' would have made more sense from my point of view.

But maybe I am just missing something.

While I may sound skeptic about the way it is presented (it is nothing really big anyway), there are a lot of good things about it. Because it touches the realm of granular synthesis (make note, this device is released in 2016) it does a really good job at it. The motion can be altered in many different ways using a different type of presets. The presets can than be modified in different ways as you see fit.

The motion editor can alter the way the sample is played back

But since you have 5 different play styles in this synthesizer, you can (if you are up to it) set up 5 different motions and have those tied up with the keys C1 till E1). So you can alter with a flip of a key the way it sounds like.

The sound section (where you can define 5 different states) comes with an oscillator (waveform), you can alter the FM amount (which is awesome!) and you are able to reshape the sound output using something called Deform, Shaper and multiply. Most of these parts I am really missing in something like Grain of Propellerhead for instance. Is this comparison fair? I think so... because it is their take on Granular synthesis and I have a feeling Native instruments did a way better job with this. But this is a personal preference ;)

And the best part of Form from native instruments, it has unison and polyphonic modes.

PolyPlex from Native Instruments

Polyplex made by Twisted Tools (released under the Native Instruments Komplete bundle) is an odd one. I guess once you start looking at the name 'twisted tools' it makes sense. At some point you can look at it from this angle: what if you have a drum machine with 128 samples and you roll a dice and it throws 4 different layers of sounds in a different angle. Result: PolyPlex ;) That is the shorthand description because you have a lot of manual control, but just saying to can automatically map it with a lot of different parameters.

You can see it as a random preset generator while looking at it. And sometimes these things can be cool in a way once you are looking for a series of sounds yet, have no idea. So you basically hit the 'random' button and polyplex will randomly select from a wide range of samples a new sound from it. At some angle where it does get cool is using the Ambient section (just because I am totally into this anyway). You have a wide range of different ambient sounds (called one shot) and by taking the 'samples' section you can alter the samples in any wave possible. The subtype section will define which sample bank you are using (ranging from effects to tonal synthesizers to impact sounds). While PolyPlex also comes with a wide range of percussion sounds, you can turn a normal sounding kick drum into a large layered kick with ease.

While PolyPlex (is from what I have heard) is a monophonic synth, it still does an amazing job to throw samples in different angles. At the same time, I also wished this would be a polyphonic sampler because of the idea that you can define your own unique user preset against it (thus defining your own layers while doing so)

Native Instruments Prism

When it comes to physical modeling and using this in the realm of synthesis, Prism is where it is at. It uses a spectral model bank to define the character of the sound and it uses a different type of modulation to reshape the sound to a different direction. This synth shines at doing creative vibraphones and belly type of sounds. And if start taking the creative route (bending) it turns in to beautiful modeling mess.

While browsing through the different patches, it sure sounds like a nice sonic output that this device can generate. Since I am touching the surface with these devices, I do not really feel the need to go too much in-depth about it (because I am already reaching a 27Mb text file at the moment). And by the time you got here you probably already lost me ;)

Native Instruments Razor

Razor from Native Instruments touches the realm of Additive Synthesis. Using set pre-fixed waveforms which can be altered defined by the parameters of the oscillators itself. It has multiple options to reshape the sound itself. Different oscillators will have a different impact on how they interact with partials (because additive synthesis is all about partials). While it is a synthesizer, I do feel (looking at it from a sound designer perspective) is that it does not use additive synthesis to its fullest potential. I am more thinking in terms like adding different modifiers to make partials move around (like what for instance Oberon from Zvork can do).

But when looking at the sonic capabilities of Razor itself, it sure can create a lot of clear, razor-sharp sounds. Hence the name of this device I guess. It has the basic features to create an oscillator which can go through a wide range of additive filter types.

The combination of oscillators and filters will be the heart of the sounds you can create with this synthesizer.

And while looking at what most filters inside Razor, they basically go on par with Parsec from Propellerhead. There are similarities, yet also differences.

The visual eye candy in Razor is pretty cool. While normally this would not be needed inside a tool while using this inside a DAW, but it is nice they invested so much time in to add a lot of different visuals while looking at the sound that changes a lot.

Native Instruments Rounds

Native instruments Rounds is a combination of using eight Analog sounds and eight digital sounds, while using a step sequencer to step through 8 different tables and where every table can have 4 different voices. At some angle, you can compare it while using a clever setup using Blamsoft Distributor to send out 8 different gates. While every gate is connected to another distributor that is connected to 4 different instruments.

So it starts off with defining the different oscillators with a filter, modulation amounts and the number of effects that go with each oscillator. Later on, the sounds can be defined in a pattern play style or defined as mixed together when playing a specific amount of polyphony.

At some extent, you could see this as a combination of playing sounds in a sequence or playing multiple sounds (as defined) together.

The analog oscillators contain waveforms such as Saw, Square, Triangle, and Noise. While the digital oscillators use Frequency Modulation based on sine waves. Where they go in two pairs. The ratios may vary per pair. Thus there is plenty of different ways to trigger a different type of sounds coming from this device.

Native Instruments Skanner XT

Skanner XT from Native Instruments is a creative sampler morph playback device which takes sample manipulation to a whole different direction. While there is something like Form (which sets 4 different parts with a different type of modulation), Skanner XT takes it a different angle. While it houses by default 23 different samples, you can extend this to the maximum of 30 samples in total.

While at first sight, it looks like it is playing a part of a sample and has no effects, nor changes that are taking place. While the front panel of this sampler looks very simplistic (since you have an LFO section, a Morph Section and some macro control which can also be modified using an LFO). However, this device comes with an A side and a B side. Where the B side is the 'under the hood panel' that looks like the following:

The sample is treated as an oscillator. Like it is only playing a part of the sample itself. The start position of the sample can be modified and you can morph through the sample by using an LFO. Morphing meaning, this isn't your traditional wavetable nor based on granular synthesis. It just does something like morphing with a touch of Amplitude Modulation (by the sound of it, I could be mistaken about that part). It comes with different filters, cabinets, effects and so on.

While the morphing sound is pretty cool to play around with on a midi keyboard, I have noticed myself that it is pretty hard to predict the outcome of a sample while starting with a 'default' patch. Since it picks a part of the sample, it will never play the way it was originally intended. Also due to its morphing techniques, it may make a sound much more complex then the original sample you are using.

So in a way, I might not be using this synth that often since it is a bit out of my league and comfort zone (partially because I do not really understand what is really happening with the different samples and patches while hitting the preset morpher).

Native Instruments Spark

Here is a more simple pick up and play synth. Spark from Native Instruments uses two different oscillators (Pulse and Sine) which can be blend in all kind of different ways. While this may sound simplistic by just saying this, there are tons of synthesizers that are based on just that idea. Hence, it is a smart move to integrate this as a Reaktor Synth.

While it may look rather complicated (due to the number of knobs and buttons) in fact it is quite easy to use. The oscillator section is defined by two different waveforms: pulse and sine. Both have a method for applying FM (which leads to a lot of different sonic capabilities here). Combine that with a pulse with you are all set.

If you just take out this snippet of the synth itself, it makes it much easier to understand what is really happening. Because this is the core of the synth itself. The rest is just additional stuff that defines ring modulation, filters, shapers, effects.

What drives this synth (while I have been messing around with it) is the amount of modulation and changes you can make with just a single set of pulse and sine waves. The ring modulator is a clever design. Because you set an oscillator (pulse/sine) and define feedback on the amplitude modulation. This can result in a wide variety of different sounds.

The filter itself is a mixing filter where you can mix between LP and BandPass and then mix it from BandPass to a Highpass filter. The slopes can be changed using rotaries (something I haven't seen very often).

While all of this combined together can be used to create a straightforward synth sound (like a pulse width modulator) however by exploring most of the patches, you will find how creative this synthesizer can really become. Sometimes to a point of being odd even.

These are more common synths out there inside of Reaktor 6 itself. While there are also the effects like Mouth and the Finger, I am just leaving these two out in this article.

Battery 4 from Native Instruments

While I do believe that Battery 4 from Native instruments does not require introductions (since most people who are making beats or play with a Digital Audio Workstation have most likely touched Battery themselves). While battery 4 is quite cool, it is also pretty 'large'. As from a content perspective. Because there are a lot of samples out there inside the default Battery 4 library itself. It just goes way beyond being 'just a drum machine'.

While if I think about what Reason has to offer (Kong and the Redrum), Battery 4 is just even more then that. Even better, I think this would become my next default installment when it comes to laying down a beat in any production from this day on.

Kontakt 5 from Native Instruments

I am keeping the largest for last. Because Kontakt 5 and Komplete 11 are pretty huge. Writing down a small piece of text about it won't really do this justice. Since there is a lot of sound material in here that keeps you busy for months to explore just everything. And yes, there is a lot. While there are some obvious routes that a Kontakt library will be about, since String Sessions is all about strings, Woodwinds is all about flutes and such. There are some libraries that need some more exploring before even understanding what the heck is happening.

Just to put this into context, Kontakt as a product is a sample based library. The designer of the instrument can load up samples and define in an interface how the sampler is taking its route. Every Kontakt library has its own purpose, and function in this case (especially while looking at Komplete).

Just to present a glimpse of what is in here, I will just link up the Komplete 12 library of Kontakt. But take into account, I bought this Komplete 11 bundle somewhere during the summer sale of 2018 (July) and I am still going through what is in here.

While there are a lot of things out there, they are also nicely grouped together in a different type of music. For instance the Symphony essentials and the Session Horns, Session Strings are ideal for making Orchestral set pieces. Some parts have been upgraded with Komplete 12, but with Komplete 11 they almost sound pretty much 'complete' as it is for now.

While if you explorer other things inside the Kontakt library there are plenty of different creative sounds out there. Like Rise and Hit. Where it is all about different hit type sounds that you change in different directions. Especially in terms of building tension, these things are pretty sweet. Since it uses samples that can be altered, with different play styles. So a sample can start as being a 'hit' type of sound. But at the same time, it can also be played reverse with a different key going 'woosh'. Faders can be used to balance different layers and decay times can be used to alter the course of that specific sound.

Part of the issue with these libraries, however (I will give it that) is that the playstyle and the way the keyboard is mapped (to toggle on/off certain settings) is sometimes a bit frustrating to figure out which keys really do what. Reading up manuals that go with these type of libraries is most obviously the way to go. Personally, I would love to see that Native Instruments would set a basic guideline, or a set of rules to make sure every Kontakt Library developer would have to apply those rules so playing these huge sample packs would make it a more coherent workflow.

In conclusion

Native Instruments Komplete Start

While it has taken me almost a week to write down this whole story about the Komplete 11 bundle from Native Instruments, even while still exploring everything that sits in this complete package I still feel that I am mostly touching the surface. So if there is any need for some more in-depth guides about this bundle in particular, don't hesitate to leave me a comment. While I mainly looked at the synths and instruments department I haven't even spoken a word about the Guitar Rig effect. Since in a way this would be like a large effect bus that can handle a lot of different routes.

For more details about the Komplete 12 bundle, you can find it all here: Komplete 12

Native Instruments Komplete Kontrol S61

This is Hydlide signing off for now. Have an awesome weekend and I will type to you later!

Native Instruments Komplete Kontrol S61 Mk2

Written by hydlide
Published: 2018-10-20

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