Converting Sample Libraries to the Kronos

In this tutorial I'll go through the steps I recommend when converting computer-based sample libraries to the Kronos. 

THREE WAYS TO GET LIBRARIES INTO THE KRONOS

1) If the sample library is in SoundFont2 (SF2) format, you can of course directly import it.  As a side note, there are a lot of funky SF files out there and it’s not unusual to run into issues when converting them.  Just be aware of this, it can be hit and miss.

2) If you have soft synths like Synthogy Ivory, East West Quantum Leap, or products for Kontakt that run in the Kontakt player or show up in the library tab in the full version of Kontakt, you can bring these into the Kronos only if you re-sample them.  Because you don’t have access to the actual WAV samples, you cannot simply convert them into another format like SF2 and bring them into the Kronos.  They need to be re-sampled.  You would use software like Sample Robot or Extreme Sample Converter to accomplish this.  These products, through an automated process, go and re-sample your libraries.  You could also use this approach sample hardware.  In this tutorial I’m not going to be covering re-sampling.

3) What I will be covering are the steps I would recommend when converting standard sample libraries, and specifically Kontakt libraries, into the Kronos.  What I mean by standard libraries are those that don’t have copy protection and give you access to actual WAV samples.  If you have a library which REQUIRES the full version of Kontakt in order to run, then it’s a standard library and doesn’t typically have copy protection.  Some examples include:

• Cinesamples – Piano in Blue
• Sampletekk libraries
• SoundIron – libraries such as Emotional Piano
• Hollow Sun
• and lots more

NOTE: There are a few libraries that DO require the full version of Kontakt but where the WAVs were saved using compression (.NCW).  You will need to re-save them without compression to get access to the waves.

CLEANUP PRIOR TO CONVERSION

One problem with converting these large libraries to the Kronos is that they can be very detailed and include things like release samples, noises, and other layers that add to the sound.   Now I would argue, that while these sounds do add detail, these components are considerably less critical than the overall sustain sound.  So my recommendation is to edit the library to eliminate everything but the base sounds, in order to guarantee a successful conversion to the Kronos. If you want to, you can add detail sounds later.  It’s up to you as to how much detail you think is necessary and how much work you want to put into it.

So one aspect of the clean up of the library is removing everything but the essential sounds and another is to make sure the layers are lined up nicely in order to create multisamples in the Kronos.  

Fig.1

Here are images of two different piano libraries within Kontakt.  The samples are mapped across the keyboard horizontally and shown at rising velocity layers vertically.  Fig. 1 has a very complex mapping.  Essentially, each note has it’s own velocity map.  This is going to be a challenge to convert cleanly into the Kronos.  If you would still like to convert a library like the one shown in Fig.1, I would recommend using the re-sampling process.

Fig. 2

The library shown in Fig. 2 is mapped in a much more straightforward manner.  This is how you want things to look.  Each velocity layer is going to end up being a multisample in the Kronos. Converting the library on the right should be easy.

While I’m going to be using Kontakt, if you have libraries in other formats such as EXS24 in Logic or Halion, you should be able to use their editors to do the same cleanup or prep that I’m going to show you in Kontakt.

Open Kontakt (standalone mode is preferred).  I use version 3 because it’s supported by all of the conversion utilities (Translator, ESC, CDxtract).  Only Translator 6 supports Kontakt 4 and none support Kontakt version 5.

Fig. 3

The example I’m using is Sampletekk’s Black Grand (Fig.3).  It is available at their website for download.  It’s a Steinway D mic’ed at three positions.  You can purchase the close, medium ambient, and ambient versions separately or as a collection.  I will be using the Close Grand.  It comes in EXS for Logic, Halion and Kontakt NKI format.  The programs are numbered.  Programs one through six are progressively mellower.  Programs seven through ten are progressively brighter.  Sampletekk approaches this is a similar way to the Kronos pianos where the dark or more mellow pianos use more the lower velocity layers while the brighter ones use more of the higher velocities. 

Fig. 4

I’m going to choose Close Grand #3 which is a 14-velocity layer piano.  In order to get to the editors in Kontakt you need to click on the wrench icon.  You will be using the Group and Mapping editors.  As you can see in the mapping editor (Fig. 4) there are zones on top of zones.  This is going to create issue if you try to bring it into the Kronos without simplifying the mapping.  

Fig. 5

So use the group editor to delete all groups other than the basic sustain groups.  Select the non-sustain groups (in this example it would be all the pedal down and rel groups) and choose delete selected group(s).  Now you should have a mapping like what you see in fig. 5 that is very clean with only just the sustain level remaining.  Save the file with a new name….   And close out of Kontakt.

CONVERT KONTAKT TO SF2

In order to convert these libraries into the Kronos, you’re going to have to first convert them to Soundfont 2 (SF2) format, which the Kronos can then directly import.  There are several conversion utilities that can do this: 

• Chicken Systems Translator (Mac & Windows)
• Extreme Sample Converter (Windows)
• CDXtract (Mac and Windows).   

I have found these conversions, especially after one has gone through the cleanup process described above, to work very well.  I use Translator 6 (Mac).  The process of conversion is simple.  Open the .nki file, right-click on it and choose "Convert As..."  Then Choose "Soundfont" and select a destination.  After the conversion is done, use FTP or copy the file to a USB stick and bring it into the Kronos.  You should find that the SF2-Kronos conversion creates a single program with a mapping just like the clean version in Kontakt (or other software sampler).

WRAP UP

I hope this helps you in converting some of your sample libraries into the Kronos.  The process might seem a bit complicated at first, but once you get the hang of it you'll find it's really not bad.  Spending a little more time up front leads to a better conversion in the end. 

Using Kronos CX-3 with a Ventilator

The Neo Instruments Ventilator is an excellent digital simulation of the Leslie 122 rotary speaker.  Here's an easy what to integrate the Kronos and Ventilator.

In the setup example, we'll keep the Main L/R outputs of the Kronos connected to the mixer or speakers.  Note that on the Kronos there are the Main L/R outputs and then four individual outputs (1 through 4).

First, physically connect the output of the Kronos to the input of the Ventilator.  As both the PRE AMP out and the Ventilator in are both mono, you will only need one cord.  Make note of the Kronos output that you've used to make the connection.

In Program mode select EXi 1 ==> AMP/VC/ROTARY ==> AMP/VC.
In the AMP TYPE box, select PRE AMP.
At the bottom of this page in the MAIN OUTPUT section is OUTPUT LEVEL (use this parameter to control volume level going into the Vent. It is easy to overdrive the Vent using the Kronos).

Now open IFX section and go to the ROUTING page.  At the bottom, BUS SELECT, choose the output that corresponds to the output you're using on the back of the Kronos.

At this point you should be be getting signal into the Ventilator and hearing sound from its outputs.  You can always run it into a mixer or powered speakers.

Another interesting option is to run the Ventilator outputs back into the Kronos.  This allows you to add FXs like reverb, have more consistance control over levels and eliminate the requirement for an external mixer.  To do this, connect the L/R outputs from the Ventilator to the analog inputs #1 and #2 on the Kronos.  Make sure the large switches are pushed in (line level) and adjust the trims knobs closer to min than max.

Click on PLAY and then AUDIO IN/SAMPLING to get to the screen below.  Unselect USE GLOBAL SETTING as we're going to make the changes at the program level vs. globally.  The first two columns correspond to the analog inputs 1 & 2 on the Kronos.  If you don't want to add insert FXs you can select L/R.  But if you do want to add insert FXs, choose IFX1 (as shown below).  If you want to send to the MFX1/2 master FXs, you can also do that via the SEND 1 to MFX1 or SEND 2 to MFX2.  If you see the warning ADC OVERLOAD! you need to turn the physical gain controls on the back of the Kronos for both inputs.

Sonatina Strings

This is a sample-set based on the public domain Sonatina Orchestra.  The strings were recorded in stereo so I brought the WAVs into the Kronos in stereo.  The .KSC is 86MB in size.  It includes sustain, staccato and pizzicato for 1st/2nd violin, viola (sustain and pizz only), cello and bass sections.  There is also a solo violin.

I created multisamples based on each of the articulations listed above.  In addition, I created some hybrid ensemble multisamples.  Ensemble1 consists of 1st violins and cellos.  Ensemble 2 includes 2nd violin, violas, and basses.  There are sustain, staccato and pizzicato versions of these ensemble multisamples.  This allows you to create larger sounding strings at the program level without the need to create a combi.

All the multisamples play within their normal lower limits.  This allows you to place, for example, violins and violas in the same osc without the issue of violins playing too low.

Download Sonatina-Strings

Here's a link to the Sonatina Symphonic Orchestra: http://sso.mattiaswestlund.net/

Program Listing

Sonatina Ensemble 1     : Program U-G000              
Sonatina Ensemble Pizz  : Program U-G001               
Violins + Violas        : Program U-G002             
Violins + Violas + Celli: Program U-G003             
Sonatina Violins + Celli: Program U-G004             
1st + 2nd Violins Dyn   : Program U-G005            
1st + 2nd Violins       : Program U-G006
1st Violins             : Program U-G007
1st Violins Dyn         : Program U-G008            
1st Violins Stacc       : Program U-G009          
1st Violins Pizz        : Program U-G010 
2nd Violins             : Program U-G011           
2nd Violins Dyn         : Program U-G012 
2nd Violins Stacc       : Program U-G013        
2nd Violins Pizz        : Program U-G014          
Sonatina Solo Violin    : Program U-G015         
Violas                  : Program U-G016 
Violas Pizz             : Program U-G017
Cellos                  : Program U-G018          
Cello Dyn               : Program U-G019 
Cello Stacc             : Program U-G020         
Cello Pizz              : Program U-G021         
Basses                  : Program U-G022         
Basses Dyn              : Program U-G023 
Basses Stacc            : Program U-G024           
Basses Pizz             : Program U-G025

RMI Electra-Piano

Here's a small (1MB) RMI Piano Program.  The samples were converted from a freeware Hollow Sun library originally in Akai format.  I also included a few Vox organ programs from one of the OASYS PCGs.

FYI, Hollow Sun has some excellent, very low priced libraries available for Kontakt.  Be sure to check them out.  http://www.hollowsun.com/

Let me know if you have issues with getting this loaded on your Kronos.

RMI Piano

RMI Electrapiano        : Program U-G000 
Vox E.Organ 1           : Program U-G001 
Vox E.Organ 2           : Program U-G002 
Vox Organ Perc          : Program U-G003 
1966 Organ SW,Knob      : Program U-G004 

A much more detailed RMI 368 piano can be found here.

RMI 368

Brass-Winds (Breath Controller)

Below find a number of brass/wind programs which are designed to use breath controller for expression.  If you do not have a breath controller, use the keyboard version of these programs which can be found in a different post.

They require that all of EXi3 be loaded (only a portion of the EXi is loaded by default).

They also require that your breath controller is set to transmit CC#02, which is standard.  The MIDI Solutions device allows you to change what is transmitted.

The majority of the programs are monophonic and suitable for solo lines (you, of course, can make a small edit and change these to polyphonic if you'd like).  At the end, you'll find some polyphonic variations which you can use to make brass/wind ensemble combis.

Brass-Winds Breath Controller version


Full Trumpet :BC        : Program U-G000 
Miles Trumpet :BC       : Program U-G001 
Cornet :BC              : Program U-G002 
Flugelhorn :BC          : Program U-G003 
Fanfare Trumpets :BC    : Program U-G004 
Piccolo Trumpet :BC     : Program U-G005 
Trombone mp :BC         : Program U-G006 
Trombone mf :BC         : Program U-G007 
Tuba :BC                : Program U-G008 
ContrabTuba :BC         : Program U-G009 
Oboe 2 :BC              : Program U-G010 
Oboe 3 SW1=Vib/SW2=Stac : Program U-G011 
Woody Alto Sax 2 BC     : Program U-G012 
English Horn 2 :Kb      : Program U-G013 
Clarinet 2 SW2=sfz :BC  : Program U-G014 
JazzClarinet SW2=sfz :BC: Program U-G015 
Clarinet 3 :BC          : Program U-G016 
WS Sop Sax :BC          : Program U-G017 
Body Heat Ballad Alto BC: Program U-G018 
Mute Trumpet            : Program U-G019 
Soft Flute 2 "D" Atk :BC: Program U-G020 
Tull Flute :BC          : Program U-G021 
Tull Flute K Atk :BC    : Program U-G022 
Tull Flute (SW2=uni/16v): Program U-G023 
Stan Getz Ballad Ten BC : Program U-G024 
Alto Sax (poly) BC      : Program U-G025 
Bari Sax (poly) BC      : Program U-G026 
Sop Sax (poly) BC       : Program U-G027 
Poly Trumpet BC         : Program U-G028 
Poly Trombone BC        : Program U-G029

Prophet 5 Emulation

As you read through the AL-1 section of the Parameter Guide you'll see references to “a famous five voice American synthesizer” which can only mean the Sequential Circuit Prophet 5.  So how well does the AL-1 do?  Actually pretty darn good.  I documented below the few areas where there are differences.  I was able to re-create many of the original Prophet 5 programs.  A few presented a challenge and I have to admit, by the time I got to the last bank I wanted to move on to another project, so they got left out.

Oscillators

As you can see below, the waveforms of the oscillators are flipped around but the sync is flipped around as well, so if you're copying an original P5 program keep this in mind.

       PROPHET 5                  AL-1
OSC 1: Saw/Rectangle              Saw/Triangle/Rectangle
OSC 2: Saw/Triangle/Rectangle     Saw/Rectangle

There are other differences, like the fact that on the P5 you can have Saw/Tri/Rect all on at the same time.  That's not possible with the AL-1.  And the combination Saw/Tri is not available either.  Still, the AL-1 allows you to blend two waveforms whereas these are mixed at 50/50 on the P5.  There are also double and detuned saw waveforms on the AL-1 which don't exist on the P5.

When trying to re-create the Prophet 5 programs from Arturia's Prophet V, I found that the Edge parameter should be 0 or slightly negative.

Poly-Mod
While you can apply the filter envelope (or any EG) to Osc. 1/2 pitch, pulse width and filter, you cannot modulate the filter or pulse width with either of the oscillators.  It is possible to have osc. 1 modulate osc.2 (remember we're flipped in comparison to the P5).  Here's a related quote from the manual: 

"This feature is similar to a classic five‐voice analog synthesizer’s “Osc B to Freq A” function, except that the depth can be up to eight times greater–16 octaves instead of 2."

Filter
The AL-1 filter does not self-oscillate.

Envelope/LFO Values
Again, when trying to re-create the Arturia P5 programs I found the translation charts for EG (page 210 in the Parameter Guide) and LFO (page 216 in the Parameter Guide) to be very helpful.  If you mouse over any control on the soft synth it will display the value in ms/Hz.

---------------------

Here is a PCG with re-creations of many of the original Prophet 5 programs.  I used the Arturia Prophet 5 as my source.

Prophet 5 Original Programs


P5 11 Brass             : Program U-G000 
P5 12 LowStrings        : Program U-G001 
P5 13 MutedClav         : Program U-G002 
P5 14 Perc E Piano      : Program U-G003 
P5 15 Flutes            : Program U-G004 
P5 16 Harpsichord       : Program U-G005 
P5 17 Sync1             : Program U-G006 
P5 18 PercussiveOrgan   : Program U-G007 
P5 21 UniGlide          : Program U-G008 
P5 22 Harmonium         : Program U-G009 
P5 23 OrganWithRes      : Program U-G010 
P5 24 ToyPiano          : Program U-G011 
P5 25 TrumpetFlute      : Program U-G012 
P5 27 ReedOrgan         : Program U-G013 
P5 28 BrassInFifths     : Program U-G014 
P5 31 PipeOrganFlutes   : Program U-G015 
P5 32 SyncII            : Program U-G016 
P5 33 Electric Piano    : Program U-G017 
P5 34 HighStrings       : Program U-G018 
P5 35 OctaveSawteeth    : Program U-G019 
P5 36 ReleaseRepeat     : Program U-G020 
P5 37 DelayedHarmonic   : Program U-G021 
P5 41 PulseWidthMod     : Program U-G022 
P5 42 SlowSyncSweep     : Program U-G023 
P5 43 4thsWithRes       : Program U-G024 
P5 44 SweepingHarmonic  : Program U-G025 
P5 45 SlowSync          : Program U-G026 
P5 47 SawtoothArp       : Program U-G027 
P5 48 ClangerousBells   : Program U-G028 

Setting up SGX-1 Pianos

With regards to the Kronos APs/EPs you really should play them on a weighted action. I noticed this in the audio demos prior to getting mine. I was really only knocked out by the APs in the Japanese demos, which were done on weighted actions. All the other demos were on the 61. With the semi-weighted action you grab into the velocity layers too high and it's too easy to push them to the extreme. In my home studio I have a semi-weighted and weighted action placed like a dual manual keyboard and I am frequently shocked at the tonal differences when playing a sound on one of the keyboards and then moving to the other. It can be stark.

If you’re playing the Kronos 61, try going into the main piano parameter page and setting the VELOCITY INTENSITY to +30 to +60. This will significantly increase the dynamic range. While you’re there you might take the VELOCITY BIAS down a bit, maybe -5 to -10 and possible lower the lid a bit. 

I recommend you try setting the Velocity Curve in Global to 9 on the 61 as well as the 73 and 88.  It makes for a more expressive playing experience, IMO.

Still, I believe something psychosomatic occurs when you play an acoustic piano sound on a semi-weighted synth keyboard. There is a disconnect between the sound and the feel of the action, so your brain says something is wrong or phony. Play the same sound from weighted keys and it sounds/feels much more authentic.