I admit, I saw the rumors of a soon to be released Kontakt 4 but I didn’t believe them. I was wrong, NI recently announced Kontakt 4, Guitar Rig 4 Pro, Absynth 5 and Komplete 6.
Kontakt 4
This announcement is a bit weird, Kontakt 3.5 was just released. It seems like NI is going the Apple route. Kontakt 4 better bring something interesting to the table.
The selling points this time are:
- Authentic Expression Technology (AET)
- NCW compression
- Improved sound library
- New browser
- Multi-scripts
Lets start with looking at AET.
From the Native Instruments press release:
With AET [Authnetic Expression Technology], the dynamic tonal behaviour of original instruments can be replicated in new and highly expressive ways. The technology enables the seamless transformation between the spectral characteristics of different sounds, achieved via a phase-corrected convolution technique based on FFT analysis of the original sample. AET avoids the typical shortcomings of conventional velocity layer techniques, and gives additional realism to sampled instruments like strings, brass, woodwinds and choirs. AET also makes it possible to combine and blend the spectral characteristics of any set of sounds in real time, opening up vast new possibilities for creative sound design.
Unfortunately there are no detailed videos on the NI website showing the new features, but for me the possibility to blend the sounds is actually more interesting than anything else with this technology. Even if I must say the entire concept sounds good. Hopefully it’s not just another fancy name, but something that actually makes a difference.
Specifically developed for KONTAKT, the new NCW compression format reduces sample size by up to 50 percent. During playback in KONTAKT 4, the sample material is decompressed to its exact original format with minimal CPU load, and without any loss in audio fidelity. This substantially widens the typical performance bottleneck of today’s computer systems, and results in profound performance gains for complex multi-timbral arrangements and high-polyphony instruments.
Yes, yes, yes! I can’t believe I’m close to outgrowing my 500 GB sound library disk, while storage is cheap, making the sounds smaller is cheaper (for the user). The major concern is of course regarding the CPU load it takes to decompress the sounds. NI says “minimal”, lets hope it is.
The acclaimed sound library of KONTAKT has been enhanced and expanded once again in its fourth revision. A major addition is a full-featured chamber choir collection, recorded exclusively for KONTAKT 4 and equipped with AET-based vowel morphing controls. Further additions include solo strings and a concert organ from the acclaimed VSL library, as well as a painstakingly sampled Mellotron that complements the extensive “Vintage” collection in the KONTAKT factory library. A new professional impulse response library also expands the value of the powerful convolution effect integrated in KONTAKT. Now at 44 GB, the KONTAKT 4 factory library provides a comprehensive arsenal of acoustic and synthetic instruments for all areas of professional composition and music production.
When you first install Kontakt 3 you realize the library is pretty big. After a while in use however, you’ll probably realize that it’s actually lacking! I guess it all depends on the music you do, but for me a choir and solo strings are complete no-brainers to include with a sampler. Luckily they are now included. I expect them to sound excellent. At the moment my favorite instrument for choir is actually Omnisphere! Hopefully NI can challenge it. A concert organ is also a welcomed addition, so is the Mellotron, even if I think we’ve soon depleted the latter.
To utilize the KONTAKT library in the most efficient way, KONTAKT 4 also introduces a new sound browser with greatly enhanced convenience. Users can search for instruments, multis, samples and even effect presets based on clear musical attributes, making it easy to find the right material for any application and context. Drag-and-Drop assignment and support for custom attributes allow to easily manage even the most diverse sound collections, and get the most out of the unparalleled range of KONTAKT-compatible instrument content on the market.
I’m not really sure what this means. Should we expect a browser like the one in Kore perhaps?
Other improvements in KONTAKT 4 include the unique Kontakt Script Processor (KSP), which now offers a whole new level of functionality through powerful “Multi Scripts.” The new version also offers greatly enhanced design possibilities for Performance View panels, which brings improved usability and a more distinctive look to KONTAKT-based instruments.
And multi scripts. Doesn’t really make a difference to me at the moment, but the enhanced performance view looks dandy.
KONTAKT 4 will be available in October 2009 for a suggested retail price of $399 / €379. An update for owners of previous versions of KONTAKT will be available for $149 / €129.
Absynth 5
Absynth is actually one of the few NI products I’m not very familiar with. I of course know it from reputation and have heard it, but I’ve never used it myself. Therefore, take my comments with a slight grain of salt, and if you’re an Absynth user I encourage you to chime in on what you think about the new features.
Listening to the sound demos on the NI website, I think it sounds very promising. But presets are not a good way to measure synthesizers in my opinion.
Among the new features in Absynth 5 we find new filters:
- Supercomb filter that “opens up a new world of physical modeling-type sounds with intricate acoustic resonances”
- Cloud Filter, granular based, that “can add both subtle and drastic spectral modulations”
New in the Absynth 5 filter section is also the filter feedback paths.
The versatile effects section of ABSYNTH has been expanded with the new “Aetherizer,” a unique algorithm that breaks up sound into microscopic particles and rearranges them in complex ways, creating sophisticated and previously unheard sound treatments. With all parameters available for realtime modulation via versatile envelopes and MIDI control, the Atherizer also supercharges the popular application of ABSYNTH as an extraordinary creative effects processor for external audio material.
ABSYNTH 5 also introduces the “Mutator”, an innovative feature that enables intuitive sound creation and variation based on actual musical terms. For any given preset, users can choose specific attributes from the sound browser that they want to change the sound towards. The software then analyzes other presets related to these attributes, and adjusts the original patch to adapt the desired sound characteristic. Combined with various customization options and an adjustable randomization function, the Mutator allows all users of ABSYNTH 5 to create unique and complex new sounds in an efficient and highly convenient way.
Both these additions sound interesting, to me the Mutator especially. It sounds like a quick and creative way to change sounds into something new without mousing around too much.
And finally…
To further refine the general audio quality, ABSYNTH 5 also utilizes new oversampling algorithms in various stages of the signal path that enable increased sonic clarity in the crucial upper frequency range.
I look forward to put Absynths reputation to the test, mainly exploring its soundscape capabilities, but I imagine it could be very interesting to route external audio signals into it for process by Mutator for example.
ABSYNTH 5 will be available in October 2009 for a suggested retail price of $199 / €179. An update for owners of previous versions of ABSYNTH will be available for $79 / €69.
Guitar Rig 4 Pro
Amp simulators have gotten so much better over the years! I remember the first version of Amplitube, the early PODs (have you grabbed your free POD Farm by the way?) and the V-Amp. They’re so far behind today its incredible really. While I think what I call “the hi-fi sound” that most amp simulators possess is useful in its own right, especially if you’re making more contemporary music, it’s my opinion that Softube really raised the bar in true amp simulation with their Amp Room products. That’s, in my opinion, what the new Guitar Rig 4 Pro has to beat. Sure, the previous versions had many more effects and amps than the Amp Rooms, and in that regard they’re possibly aimed at slightly different buyers, but in the end it’s still that emulation it has to be measured against.
To bring the acclaimed authenticity of GUITAR RIG to the next level, the new version introduces advanced cabinet and microphone modeling, providing an enhanced organic tone based on latency-free convolution technology. The advanced speaker emulation is also the basis for the versatile new “Control Room” module, developed in collaboration with leading German studio guitarist and recording expert Peter Weihe. This new module allows users to freely mix and match up to eight phase-aligned studio microphones for each cabinet, allowing an unlimited range of high-end studio recording tones.
Eight(!) microphones at the same time? Yikes, never even occurred to me that I could do that! Heck, do I even own eight microphones? It will be interesting to see if NI really have taken this to the next level. Adding microphones is one thing, but in this bloggers humble opinion it seems like where many amp simulators fail is in the emulation of it actually sounding like the microphone is placed where the screen says and that it’s actually played back in a room, as opposed to a DI’ed guitar with an EQ curve similar to the microphone. I would almost describe it as ‘emulating the air’.
Additional new features includes:
- Two new tube amp models: the hot-rodded “Hot Plex” and the energetic “Jump”
- Two new delay units and two new reverb units
- A master effects section.
- A new preset browser
- Optimized sound quality for pitch-based effect modules
- Expanded host automation and controller assignment features
- Universal MIDI control functionality for the Rig Kontrol 3 pedal board
The GUITAR RIG 4 PRO software will be available for a suggested retail price of $199 / €179. Further versions of GUITAR RIG 4 include GUITAR RIG KONTROL with included foot controller/audio interface ($449 / €399), GUITAR RIG 4 ESSENTIAL as a more affordable software version with a reduced feature set ($99 / €89), GUITAR RIG SESSION which combines GUITAR RIG 4 ESSENTIAL with the SESSION I/O audio interface ($249 / €229), and GUITAR RIG MOBILE which now also includes the mid-range GUITAR RIG ESSENTIAL software ($119 / €99).
Komplete 6
So to the big package. Komplete 6 now includes the updated plug-ins mentioned above, making the total list:
- Kontakt 4
- Guitar Rig 4 Pro
- Absynth
- Battery 3
- FM8
- Massive
- Reaktor 5
What happened to “the classic keys”? Elektrik Piano is now included in Kontakt 4, B4 II and Akoustik Piano are now removed, as the individual products have been discontinued.
KOMPLETE 6 will be available in October 2009 for a suggested retail price of $559 / €499. An update for owners of KOMPLETE 2/3/4/5 will be available for $169 / €149.
Furthermore, Native Instruments will offer a special time-limited upgrade for owners of any version of KONTAKT or REAKTOR. These users will be able to purchase KOMPLETE 6 at a special price of $339 / €299 until December 31st 2009.
[...] wrote a post about the new Komplete 6 discussing it. I still haven’t tried it, but am looking forward to give Kontakt 4 a [...]