Filter reference
Find a brief explanation of audio filters as well as a detailed description of filters available in Kontakt in the following chapter.
A filter is a signal processor which changes the frequency content of a signal that passes through it. This means that in contrast to effects like distortion, reverb, or chorus, it only changes the amplitude and phase of frequency components which are already present in your signal, without creating new frequency content.
Filters are generally distinguished by the part of the spectrum that is to be attenuated, and steepness of their attenuation curve, which is usually expressed in dB per octave. As the cutoff frequency is defined as the frequency where an attenuation of 3 dB occurs, a lowpass filter slope of 12 dB/octave with a cutoff frequency of 440 Hz attenuates frequency content at 880 Hz (an octave above the cutoff frequency) by 15 dB, frequencies at 1760 Hz by 27 dB, and so on. In digital filter design, specifying a filter slope as a number of “poles” has become the norm, with each pole corresponding to 6 dB of attenuation per octave, such that a 1-pole filter will exhibit a gentle slope of -6 dB/octave, while a 6-pole filter with its slope of -36 dB/octave is more akin to a sonic razor blade. The pole notation is being used for Kontakt’s collection of sampler filters. If you find the concept of filter slopes confusing, don’t worry — just remember that lower-order filters (like 1-pole and 2-pole forms) are generally better suited for gentle, unnoticeable tonal corrections, while higher-order filters (like 4-pole and 6-pole forms) tend to change your signal characteristics by a significant amount, and are thus better suited for broad treatments or effects.
Kontakt’s collection of filter modules is divided into 7 categories:
Lowpass Filters attenuate harmonics and signals above the cutoff frequency.
Highpass Filters attenuate signals below the cutoff frequency.
Bandpass Filters attenuate signals above and below the cutoff frequency.
Peak/Notch Filters A notch filter is like the inverse of a Bandpass filter, as it only removes signals around the cutoff frequency, but allows the signals above and below it to pass through. A peak filter is like a very narrow Bandpass.
Multi Filters in this section you will find optimized combinations of filter types in different routings.
Effect Filters are special filter modules that don’t fit any of the traditional filter characteristics of either lowpass, highpass, bandpass or band rejection. An example of these would be vowel filters, which emulate the resonances of the human vocal tract.
EQs are the kind of frequency tools that you can find on mixing consoles. They offer some ways of tonal alteration which aren’t available with traditional filters, such as attenuating or boosting a specific frequency range by an adjustable amount and with adjustable precision.
These categories contain a few different variations based on the steepness of the slope (or number of poles) and the character of the algorithm. There are five main filter variations:
State Variable (SV): These are the new standard Kontakt filters. They have a clean character which is suitable for any material.
Legacy: In order to remain backwards compatible, the filter designs from before Kontakt 5 are included with the tag Legacy. These are like the SV filters but use a much older algorithm. If you are planning to use clean filters, we advise you use the newer SV filters.
Adaptive Resonance (AR): The AR filters scale the resonance of the filter by the inverse of the amplitude of the input signal. At higher input levels, the resonance of the filter will be reduced, which helps reduce nasty peaks in the output audio. Accordingly, these filters are best used on drums, loops or full mix material.
Ladder: Based on the classic ladder circuit used in early synthesizers, these filters would be a first choice for synthetic sounds, but can work well on any signal. There is also a Legacy Ladder available, based on an older algorithm.
Daft: Taken from the Massive filter collection, the Daft filter is a more aggressive synthesizer filter design.
Pro 53: Taken from Native Instruments classic Pro-53 synthesizer, this filter emulates the analogue synthesizer filter from the early 80s.
The most convenient way to access Kontakt’s filter collection is by browsing the Filters page on the Modules tab of the Browser. Here you’ll find a list of all available filters in each of the seven categories, with icons depicting their frequency response, and descriptions of what they do and how you can use them. If you have found a filter that you’d like to try, just drag it into one of your Instrument’s signal processor slots.
In the following subsections, we’ll briefly introduce the available filter modules in Classic view in each category and describe their parameters.
Lowpass filters
This category contains filters which attenuate signals above the cutoff frequency, allowing low frequency signals to pass through - hence the name Lowpass. All filters in this category havex2 the following controls, unless otherwise specified:
Cutoff: Adjusts the frequency above which signals will be attenuated.
Reso. (Resonance): With a value greater than 0, this control will boost a small frequency range around the cutoff frequency.
SV LP1
The State Variable (SV) filters have a clean characteristic that can be used for all kinds of audio signals. The LP1 is a 1-pole lowpass, which attenuates frequencies above the cutoff at a rate of -6 dB/octave. The 1-pole filter does not have a Resonance control.
The SV LP1 module
SV LP2
The State Variable (SV) filters have a clean characteristic that can be used for all kinds of audio signals. The LP2 is a 2-pole low-pass, which attenuates frequencies above the cutoff at a rate of -12 dB/octave.
The SV LP2 module
SV LP4
The State Variable (SV) filters have a clean characteristic that can be used for all kinds of audio signals. The LP4 is a 4-pole low-pass, which attenuates frequencies above the cutoff at a rate of -24 dB/octave.
The SV LP4 module
SV LP6
The State Variable (SV) filters have a clean characteristic that can be used for all kinds of audio signals. The LP6 is a 6-pole low-pass, which attenuates frequencies above the cutoff at a rate of -36 dB/octave.
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The SV LP6 module
Ladder LP1
Based on the classic ladder circuit used in early synthesizers, these filters would be a first choice for synthetic sounds, but can work well on any signal. The LP1 is a 1-pole lowpass, which attenuates frequencies above the cutoff at a rate of -6 dB/octave.
The Ladder LP1 filter also includes the following controls:
The Ladder LP1 module
High Quality: Toggles oversampling within the effect, which can increase audio quality, but will also increase CPU load.
Gain: Controls the amplitude increase after the filter. This control can be used to compensate for amplitude reduction due to the filter, or to increase the soft saturation of the effect.
Ladder LP2
Based on the classic ladder circuit used in early synthesizers, these filters would be a first choice for synthetic sounds, but can work well on any signal. The LP2 is a 2-pole low-pass, which attenuates frequencies above the cutoff at a rate of -12 dB/octave.
The Ladder LP2 filter also includes the following controls:
The Ladder LP2 module
High Quality: Toggles oversampling within the effect, which can increase audio quality, but will also increase CPU load.
Gain: Controls the amplitude increase after the filter. This control can be used to compensate for amplitude reduction due to the filter, or to increase the soft saturation of the effect.
Ladder LP3
Based on the classic ladder circuit used in early synthesizers, these filters would be a first choice for synthetic sounds, but can work well on any signal. The LP3 is a 3-pole lowpass, which attenuates frequencies above the cutoff at a rate of -18 dB/octave.
The Ladder LP3 filter also includes the following controls:
The Ladder LP3 module
High Quality: Toggles oversampling within the effect, which can increase audio quality, but will also increase CPU load.
Gain: Controls the amplitude increase after the filter. This control can be used to compensate for amplitude reduction due to the filter, or to increase the soft saturation of the effect.
Ladder LP4
Based on the classic ladder circuit used in early synthesizers, these filters would be a first choice for synthetic sounds, but can work well on any signal. The LP4 is a 4-pole low-pass, which attenuates frequencies above the cutoff at a rate of -24 dB/octave. The Ladder LP4 filter also includes the following controls:
The Ladder LP4 filter also includes the following controls:
The Ladder LP4 module
High Quality: Toggles oversampling within the effect, which can increase audio quality, but will also increase CPU load.
Gain: Controls the amplitude increase after the filter. This control can be used to compensate for amplitude reduction due to the filter, or to increase the soft saturation of the effect.
AR LP2
The Adaptive Resonance (AR) filters follow the amplitude of the input signal and adjust the resonance accordingly. At higher input levels, the resonance will reduce, and for lower levels it will increase, this avoids unpleasant peaks. These filters work best on full loops or drums. The LP2 is a 2-pole low-pass, which attenuates frequencies above the cutoff at a rate of -12 dB/octave.
The AR LP2 module
AR LP4
The Adaptive Resonance (AR) filters follow the amplitude of the input signal and adjust the resonance accordingly. At higher input levels, the resonance will reduce, and for lower levels it will increase, this avoids unpleasant peaks. These filters work best on full loops or drums. The LP4 is a 4-pole low-pass, which attenuates frequencies above the cutoff at a rate of -24 dB/octave.
The AR LP4 module
AR LP2/4
The AR LP 2/4 module
The Adaptive Resonance (AR) filters follow the amplitude of the input signal and adjust the resonance accordingly. At higher input levels, the resonance will reduce, and for lower levels it will increase, this avoids unpleasant peaks. These filters work best on full loops or drums. The LP2/4 processes the audio through a combination of 2-pole and 4-pole lowpass filters to create a more interesting frequency response.
Daft
The Daft filter has been adapted from Massive and is a more aggressive synthesizer filter design. The response of the filter is a 2-pole low-pass, which attenuates frequencies above the cutoff at a rate of -12 dB/octave. The daft filter also includes a Gain knob that controls the amplitude increase after the filter. This control can be used to compensate for amplitude reduction due to the filter, or to increase the soft saturation of the effect.
The Draft module
PRO-53
This is the same filter section that is provided by Native Instruments’ PRO-53 software synthesizer. It’s similar in nature to the 4-pole lowpass filter, but has a different and more distinctive signature sound.
The PRO-53 module
Legacy LP1
In order to remain backwards compatible, the filter designs from before Kontakt 5 are included with the tag Legacy. These are like the SV filters but use a much older algorithm. If you are planning to use clean filters, we advise you use the newer SV filters. The LP1 is a 1-pole lowpass, which attenuates frequencies above the cutoff at a rate of -6 dB/octave. The 1-pole filter does not have a Resonance control.
The Legacy LP1 module
Legacy LP2
In order to remain backwards compatible, the filter designs from before Kontakt 5 are included with the tag Legacy. These are like the SV filters but use a much older algorithm. If you are planning to use clean filters, we advise you use the newer SV filters. The LP2 is a 2-pole lowpass, which attenuates frequencies above the cutoff at a rate of -12 dB/octave.
The Legacy LP2 module
Legacy LP4
In order to remain backwards compatible, the filter designs from before Kontakt 5 are included with the tag Legacy. These are like the SV filters but use a much older algorithm. If you are planning to use clean filters, we advise you use the newer SV filters. The LP4 is a 4-pole lowpass, which attenuates frequencies above the cutoff at a rate of -24 dB/octave.
The Legacy LP4 module
Legacy LP6
In order to remain backwards compatible, the filter designs from before Kontakt 5 are included with the tag Legacy. These are like the SV filters but use a much older algorithm. If you are planning to use clean filters, we advise you use the newer SV filters. The LP6 is a 6-pole lowpass, which attenuates frequencies above the cutoff at a rate of -36 dB/octave.
The Legacy LP6 module
Legacy Ladder
In order to remain backwards compatible, the filter designs from before Kontakt 5 are included with the tag Legacy. The Legacy Ladder is like the previously mentioned Ladder filters but uses a much older algorithm. Accordingly we advise you use the non-Legacy Ladder filters. The Legacy Ladder is a 4-pole filter, which attenuates frequencies above the cutoff at a rate of -24 dB/octave.
The Legacy Ladder module
Highpass filters
This category contains filters which attenuate signals below the cutoff frequency, allowing high frequency signals to pass through - hence the name Highpass. All filters in this category have the following controls, unless otherwise specified:
Cutoff: Adjusts the frequency below which signals will be attenuated.
Reso. (Resonance): With a value greater than 0, this control will boost a small frequency range around the cutoff frequency.
SV HP1
The State Variable (SV) filters have a clean characteristic that can be used for all kinds of audio signals. The HP1 is a 1-pole Highpass, which attenuates frequencies below the cutoff at a rate of -6 dB/octave. The 1-pole filter does not have a Resonance control.
The SV HP1 module
SV HP2
The State Variable (SV) filters have a clean characteristic that can be used for all kinds of audio signals. The HP2 is a 2-pole high-pass, which attenuates frequencies below the cutoff at a rate of -12 dB/octave.
The SV HP2 module
SV HP4
The State Variable (SV) filters have a clean characteristic that can be used for all kinds of audio signals. The HP4 is a 4-pole high-pass, which attenuates frequencies below the cutoff at a rate of -24 dB/octave.
The SV HP4 module
SV HP6
The State Variable (SV) filters have a clean characteristic that can be used for all kinds of audio signals. The HP6 is a 6-pole high-pass, which attenuates frequencies below the cutoff at a rate of -36 dB/octave.
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The SV HP6 module
Ladder HP1
Based on the classic ladder circuit used in early synthesizers, these filters would be a first choice for synthetic sounds, but can work well on any signal. The HP1 is a 1-pole highpass, which attenuates frequencies below the cutoff at a rate of -6 dB/octave.
The Ladder HP1 filter also includes the following controls:
The Ladder HP1 module
High Quality: Toggles oversampling within the effect, which can increase audio quality, but will also increase CPU load.
Gain: Controls the amplitude increase after the filter. This control can be used to compensate for amplitude reduction due to the filter, or to increase the soft saturation of the effect.
Ladder HP2
Based on the classic ladder circuit used in early synthesizers, these filters would be a first choice for synthetic sounds, but can work well on any signal. The HP2 is a 2-pole high-pass, which attenuates frequencies below the cutoff at a rate of -12 dB/octave. The Ladder HP2 filter also includes the following controls:
The Ladder HP2 filter also includes the following controls:
The Ladder HP2 module
High Quality: Toggles oversampling within the effect, which can increase audio quality, but will also increase CPU load.
Gain: Controls the amplitude increase after the filter. This control can be used to compensate for amplitude reduction due to the filter, or to increase the soft saturation of the effect.
Ladder HP3
Based on the classic ladder circuit used in early synthesizers, these filters would be a first choice for synthetic sounds, but can work well on any signal. The HP3 is a 3-pole high-pass, which attenuates frequencies below the cutoff at a rate of -18 dB/octave.
The Ladder HP3 filter also includes the following controls:
The Ladder HP3 module
High Quality: Toggles oversampling within the effect, which can increase audio quality, but will also increase CPU load.
Gain: Controls the amplitude increase after the filter. This control can be used to compensate for amplitude reduction due to the filter, or to increase the soft saturation of the effect.
Ladder HP4
Based on the classic ladder circuit used in early synthesizers, these filters would be a first choice for synthetic sounds, but can work well on any signal. The HP4 is a 4-pole high-pass, which attenuates frequencies below the cutoff at a rate of -24 dB/octave. The Ladder HP4 filter also includes the following controls:
The Ladder HP4 filter also includes the following controls:
The Ladder HP4 module
High Quality: Toggles oversampling within the effect, which can increase audio quality, but will also increase CPU load.
Gain: Controls the amplitude increase after the filter. This control can be used to compensate for amplitude reduction due to the filter, or to increase the soft saturation of the effect.
AR HP2
The Adaptive Resonance (AR) filters follow the amplitude of the input signal and adjust the resonance accordingly. At higher input levels, the resonance will reduce, and for lower levels it will increase, this avoids unpleasant peaks. These filters work best on full loops or drums. The HP2 is a 2-pole high-pass, which attenuates frequencies below the cutoff at a rate of -12 dB/octave.
The AR HP2 module
AR HP4
The Adaptive Resonance (AR) filters follow the amplitude of the input signal and adjust the resonance accordingly. At higher input levels, the resonance will reduce, and for lower levels it will increase, this avoids unpleasant peaks. These filters work best on full loops or drums. The HP4 is a 4-pole highpass, which attenuates frequencies below the cutoff at a rate of -24 dB/octave.
The AR HP4 module
AR HP2/4
The Adaptive Resonance (AR) filters follow the amplitude of the input signal and adjust the resonance accordingly. At higher input levels, the resonance will reduce, and for lower levels it will increase, this avoids unpleasant peaks. These filters work best on full loops or drums. The HP2/4 processes the audio through a combination of 2-pole and 4-pole highpass filters to create a more interesting frequency response.
The AR HP 2/4 module
Daft HP
The Daft filter has been adapted from Massive and is a more aggressive synthesizer filter design. The response of the filter is a 2-pole high-pass, which attenuates frequencies below the cutoff at a rate of -12 dB/octave. The Daft filters also include the following controls:
The Daft filters also include the following controls:
The Daft HP module
Gain: Controls the amplitude increase after the filter. This control can be used to compensate for amplitude reduction due to the filter, or to increase the soft saturation of the effect.
Legacy HP1
In order to remain backwards compatible, the filter designs from before Kontakt 5 are included with the tag Legacy. These are like the SV filters but use a much older algorithm. If you are planning to use clean filters, we advise you use the newer SV filters. The HP1 is a 1-pole highpass, which attenuates frequencies below the cutoff at a rate of -6 dB/octave. The 1-pole filter does not have a Resonance control.
The Legacy HP1 module
Legacy HP2
In order to remain backwards compatible, the filter designs from before Kontakt 5 are included with the tag Legacy. These are like the SV filters but use a much older algorithm. If you are planning to use clean filters, we advise you use the newer SV filters. The HP2 is a 2-pole highpass, which attenuates frequencies below the cutoff at a rate of -12 dB/octave.
The Legacy HP2 module
Legacy HP4
In order to remain backwards compatible, the filter designs from before Kontakt 5 are included with the tag Legacy. These are like the SV filters but use a much older algorithm. If you are planning to use clean filters, we advise you use the newer SV filters. The HP4 is a 4-pole highpass, which attenuates frequencies below the cutoff at a rate of -24 dB/octave.
The Legacy HP4 module
Bandpass
This category contains filters which attenuate signals below and above the cutoff frequency. All filters in this category have the following controls, unless otherwise specified:
Cutoff: Adjusts the frequency below which signals will be attenuated.
Reso. (Resonance): With a value greater than 0, this control will boost a small frequency range around the cutoff frequency.
SV BP2
The State Variable (SV) filters have a clean characteristic that can be used for all kinds of audio signals. The BP2 is a 2-pole band-pass, which attenuates frequencies above and below the cutoff at a rate of -12 dB/octave.
The SV BP2 module
SV BP4
The State Variable (SV) filters have a clean characteristic that can be used for all kinds of audio signals. The BP4 is a 4-pole band-pass, which attenuates frequencies above and below the cutoff at a rate of -24 dB/octave.
The SV BP4 module
Ladder BP2
Based on the classic ladder circuit used in early synthesizers, these filters would be a first choice for synthetic sounds, but can work well on any signal. The BP2 is a 2-pole band-pass, which attenuates frequencies above and below the cutoff at a rate of -12 dB/octave. The Ladder BP2 filter also includes the following controls:
The Ladder BP2 filter also includes the following controls:
The Ladder BP2 module
High Quality: Toggles oversampling within the effect, which can increase audio quality, but will also increase CPU load.
Gain: Controls the amplitude increase after the filter. This control can be used to compensate for amplitude reduction due to the filter, or to increase the soft saturation of the effect.
Ladder BP4
Based on the classic ladder circuit used in early synthesizers, these filters would be a first choice for synthetic sounds, but can work well on any signal. The BP4 is a 4-pole band-pass, which attenuates frequencies above and below the cutoff at a rate of -24 dB/octave. The Ladder BP4 filter also includes the following controls:
The Ladder BP4 filter also includes the following controls:
The Ladder BP4 module
High Quality: Toggles oversampling within the effect, which can increase audio quality, but will also increase CPU load.
Gain: Controls the amplitude increase after the filter. This control can be used to compensate for amplitude reduction due to the filter, or to increase the soft saturation of the effect.
AR BP2
The Adaptive Resonance (AR) filters follow the amplitude of the input signal and adjust the resonance accordingly. At higher input levels, the resonance will reduce, and for lower levels it will increase, this avoids unpleasant peaks. These filters work best on full loops or drums. The BP2 is a 2-pole band-pass, which attenuates frequencies below and above the cutoff at a rate of -12 dB/octave.
The AR BP2 module
AR BP4
The Adaptive Resonance (AR) filters follow the amplitude of the input signal and adjust the resonance accordingly. At higher input levels, the resonance will reduce, and for lower levels it will increase, this avoids unpleasant peaks. These filters work best on full loops or drums. The BP4 is a 4-pole bandpass, which attenuates frequencies below and above the cutoff at a rate of -24 dB/octave.
The AR BP4 module
AR BP2/4
The Adaptive Resonance (AR) filters follow the amplitude of the input signal and adjust the resonance accordingly. At higher input levels, the resonance will reduce, and for lower levels it will increase, this avoids unpleasant peaks. These filters work best on full loops or drums. The BP2/4 processes the audio through a combination of 2-pole and 4-pole bandpass filters to create a more interesting frequency response.
The AR BP 2/4 module
Legacy BP2
In order to remain backwards compatible, the filter designs from before Kontakt 5 are included with the tag Legacy. These are like the SV filters but use a much older algorithm. If you are planning to use clean filters, we advise you use the newer SV filters. The BP2 is a 2-pole bandpass, which attenuates frequencies below and above the cutoff at a rate of -12 dB/octave. The Legacy BP2 does not have a Resonance control.
The Legacy BP2 module
Legacy BP4
In order to remain backwards compatible, the filter designs from before Kontakt 5 are included with the tag Legacy. These are like the SV filters but use a much older algorithm. If you are planning to use clean filters, we advise you use the newer SV filters. The BP4 is a 4-pole bandpass, which attenuates frequencies below and above the cutoff at a rate of -24 dB/octave.
The Legacy BP4 module
Peak and notch filters
A notch filter removes a specific frequency band from the signal. It can be thought of as the inverse of a bandpass filter - in fact, it is sometimes referred to as a "band reject" filter. A peak filter, on the other hand, is quite different - it simply adds a resonant peak to the signal, without doing much attenuation to the signal. All filters in this category have the following controls, unless otherwise specified:
Cutoff: Adjusts the frequency below which signals will be attenuated.
Reso. (Resonance): With a value greater than 0, this control will boost a small frequency range around the cutoff frequency.
SV Notch
The State Variable (SV) filters have a clean characteristic that can be used for all kinds of audio signals. The Notch 4 is a 4-pole notch filter, which attenuates frequencies at the cutoff.
The SV Notch module
Ladder Peak
Based on the classic ladder circuit used in early synthesizers, these filters would be a first choice for synthetic sounds, but can work well on any signal. The Peak is a unique filter that accents frequencies at the cutoff.
The Ladder Peak filter includes the following additional controls:
The Ladder Peak module
High Quality: Toggles oversampling within the effect, which can increase audio quality, but will also increase CPU load.
Gain: Controls the amplitude increase after the filter. This control can be used to compensate for amplitude reduction due to the filter, or to increase the soft saturation of the effect.
Ladder Notch
Based on the classic ladder circuit used in early synthesizers, these filters would be a first choice for synthetic sounds, but can work well on any signal. The Notch cuts two narrow bands of frequencies at either side of the cutoff.
Ladder Notch includes the following additional controls:
The Ladder Notch module
High Quality: Toggles oversampling within the effect, which can increase audio quality, but will also increase CPU load.
Gain: Controls the amplitude increase after the filter. This control can be used to compensate for amplitude reduction due to the filter, or to increase the soft saturation of the effect.
Legacy BR4
In order to remain backwards compatible, the filter designs from before Kontakt 5 are included with the tag Legacy. These are like the SV filters but use a much older algorithm. If you are planning to use clean filters, we advise you use the newer SV filters. The BR4 is a 4-pole band reject filter, which attenuates frequencies at the cutoff.
The Legacy BR4 module
Multi
SV Par. LP/HP
The State Variable (SV) filters have a clean characteristic that can be used for all kinds of audio signals. The Par. LP/HP is the combination of a highpass filter and a lowpass filter routed in parallel (ie. the signal is split and routed through each separately). The result is similar to a notch filter.
The SV Par. LP/HP filter contains the following controls:
The SV Par. LP/HP module
Cutoff: Adjusts the central cutoff frequency of the two filters.
Reso. (Resonance): Adjusts the amount of boost around the cutoff frequency of each filter.
B.Width (Bandwidth): Controls the gap between the cutoff frequencies of the two filters, with the highpass filter’s cutoff always above that of the lowpass. The gap is generated around a central point controlled by the Cutoff control.
SV Par. BP/BP
The State Variable (SV) filters have a clean characteristic that can be used for all kinds of audio signals. The Par. BP/BP is a combination of two parallel bandpass filters.
The SV Par. BP/BP filter contains the following controls:
The SV Par. BP/BP module
Cutoff: Adjusts the central cutoff frequency of the two filters.
Reso. (Resonance): Adjusts the amount of boost around the cutoff frequency of each filter.
B.Width (Bandwidth): Controls the gap between the cutoff frequencies of the two filters. The gap is generated around a central point controlled by the Cutoff control.
SV Ser. LP/HP
The State Variable (SV) filters have a clean characteristic that can be used for all kinds of audio signals. The Ser. LP/HP is the combination of a high-pass filter routed serially after a low-pass filter. The result is similar to a band-pass filter.
The SV Ser. LP/HP filter contains the following controls:
The SV Ser. LP/HP module
Cutoff: Controls the central cutoff frequency of the two filters.
Reso. (Resonance): Controls the amount of boost around the cutoff frequency of each filter.
B.Width (Bandwidth): Controls the gap between the cutoff frequencies of the two filters, with the lowpass filter’s cutoff always above that of the highpass. The gap is generated around a central point controlled by the Cutoff control.
3x2 Versatile
The 3x2 Versatile Filter provides three separate filter bands, each of which can be continuously “morphed” between 3 characteristics (lowpass, bandpass, or highpass). Each filter band has a slope of 12 dB/octave. By combining these bands at various amounts, you can create almost every imaginable filter configuration. What’s more, the resonance controls of each filter band exhibit a behavior known from very high-quality analog filters: at high settings, the filter will begin to oscillate and produce sound, even if there’s no signal present at the input. This effect is known as self-oscillation. The 3x2 Versatile Filter requires more CPU power than other Kontakt filters, so use it only when you need this level of sophistication.
The basic internal signal flow structure of the 3x2 Pole Multi-Mode Filter
The 3x2 Versatile Filter contains the following controls:
The 3x2 Versatile module
Cutoff: Adjusts the cutoff frequencies of the 3 filter bands in unison. The displayed value is only absolute for the first (topmost) filter band, the other two bands have cutoff frequencies relative to this one (see below).
Shift 2: Adjusts the second filter band’s cutoff frequency as an offset in relation to the first filter. With a value of 0, both filters will have identical cutoff frequencies, while increasing the value will set the second cutoff frequency higher than the first.
Shift 3: Adjusts the third filter band’s cutoff frequency as an offset in relation to the second filter.
Reso. 1 to Reso. 3(Resonance): Adjusts the resonance (boost at the cutoff frequency) for each filter band. Values of 98% or higher will result in self-oscillation.
Type 1 to Type 3: Adjusts the characteristic of each filter band, allowing you to morph continuously between a lowpass (0.0), bandpass (0.5), or highpass (1.0) characteristic.
Amt. 1 to Amt. 3 (Amount): Adjusts the amount to which each filter band will affect the overall result. At a value of 0, the respective filter will be inactive.
Gain: As high resonance settings can significantly increase the signal level, Kontakt will automatically reduce the level the output level in such cases. You can compensate this with the Gain control, but be careful — it’s easy to get excessive volume levels from this filter.
Simple LP/HP
This very clean sounding filter lacks any pronounced resonance and is ideally suited for removal of low frequency rumble and high frequency issues like harshness and excessive noise without coloring the filtered signal.
The HP filter is a 2-pole (12 dB/octave), whereas the 1-pole LP has a more gentle slope of 6 dB/octave.
The Simple LP/HP Filter
Cutoff LP: Controls the cutoff frequency of the Low Pass filter.
Cutoff HP: Controls the cutoff frequency of the High Pass filter.
Effect filters
Filters in this category don’t match any of the traditional filter characteristics, and are thus better suited for special effects.
Formant I
Formants are acoustic resonances. The term often applies to the phonetics of human speech, as such, the formant filters are designed to mimic the frequency response of the human vocal tract. These filters can be used to emulate the “talk box” effect.
The Formant I filter contains the following controls:
The Formant I module
Talk: Controls the frequency response of the filter. Can be used to morph between vowel-sounds.
Sharp: Increases and decreases the peaks and notches in the response respectively, analogous to the resonance control of the other filters.
Size: Controls the center of the frequency response, analogous to the cutoff control of the other filters.
Formant II
Formants are acoustic resonances. The term often applies to the phonetics of human speech, as such, the formant filters are designed to mimic the frequency response of the human vocal tract. These filters can be used to emulate the “talk box” effect.
The Formant II filter contains the following controls:
The Formant II module
Talk: Controls the frequency response of the filter. Can be used to morph between vowel-sounds.
Sharp: Increases and decreases the peaks and notches in the response respectively, analogous to the resonance control of the other filters.
Size: Controls the center of the frequency response, analogous to the cutoff control of the other filters.
Phaser
The Phaser creates a distinct comb filter effect by using an all-pass filter design that radically alters the phase relations in your signal. Note that there’s also a Phaser module in the standard effects section, which has a built-in modulation mechanism. While that module and the phaser filter share the underlying principle, the filter is better suited for timbral changes, while the Phaser effect module is recommended for creating the classic effect of the same name that can be found in countless effects processors and guitar stomp boxes.
Phaser contains the following controls:
The Phaser module
Cutoff: Adjusts the center working frequency of the phaser’s comb filter effect. Changing this parameter will alter the tonality of your sound in a distinct and not always easily predictable way.
Reso. (Resonance): Adjusts depth and narrowness of the notches that the phaser imposes on the frequency spectrum, and thereby the intensity of the effect.
Vowel A
This filter simulates the resonant frequencies of the human vocal tract; when forming a vowel, the throat and mouth cavities will change their shape in order to create a complex, natural filter which emphasizes certain frequencies in the sound created by the vocal chords. These characteristic frequencies, called formants, allow the human hearing to discern between different vowels, and are being replicated by this filter.
Vowel A contains the following controls:
The Vowel A module
Cutoff: Adjusts the center frequency of the filter. Various distinct frequencies across the spectrum will produce different vowels.
Reso. (Resonance): With values greater than 0, this control will emphasize the frequencies around the center frequency in order to create a sharper sound and enhance the effect.
Vowel B
This filter works similarly to the Vowel A module, but has a slightly different sonic character.
Vowel B contains the following controls:
The Vowel B module
Cutoff: Adjusts the center frequency of the filter. Various distinct frequencies across the spectrum will produce different vowels.
Reso. (Resonance): With values greater than 0, this control will emphasize the frequencies around the center frequency in order to create a sharper sound and enhance the effect.
Equalizers
Kontakt’s fully parametric peak equalizers allow for a wide range of tonal alterations and corrections. Using up to three EQ bands per module, you can boost or cut any frequency range throughout the entire spectrum by up to 18 dB, with an adjustable Bandwidth parameter allowing you to choose between gentle corrections or very steep “surgical” edits.
The EQ module is available in 1-band, 2-band, and 3-band flavors. You can switch freely between these configurations without losing your settings.
All EQ bands contain the following controls:
The EQ module
Freq. (Frequency): Adjusts the center frequency at which the boost or cut will occur.
Bandw. (Bandwidth): Adjusts the width of the frequency range that will be affected in octaves.
Gain: Adjusts the amount of boost (positive values) or cut (negative values) at the center frequency.
Solid G-EQ
The Solid G-EQ differs from other Kontakt EQs as it is modelled on high quality analogue circuitry. It is a 4-band parametric EQ and offers the choice of bell or shelf style control of the low and high frequency bands.
The Solid G-EQ contains the following controls:
The Solid G-EQ module
HP Freq: Adjusts the cutoff frequency of the highpass filter.
Highpass: Toggles the highpass filter on or off.
LF Gain: Adjusts the amount of boost or cut at the LF Frequency.
LF Freq: Adjusts the center frequency of the low frequency band at which the boost or cut will occur.
LF Bell: Toggles the bell shape of the low frequency band. If turned off the band becomes a shelf.
LMF Gain: Adjusts the amount of boost or cut at the LMF Frequency.
LMF Freq: Adjusts the center frequency of the low-mid frequency band at which the boost or cut will occur.
LMF Q: Controls the Quality (or Q) of the low-mid frequency band. For most EQs, the higher the quality, the narrower the frequency band, but with this EQ the control is reversed to match the hardware it emulates and becomes a bandwidth control.
HMF Gain: Adjusts the amount of boost or cut at the HMF Frequency.
HMF Freq: Adjusts the center frequency of the high-mid frequency band at which the boost or cut will occur.
HMF Q: Controls the Quality (or Q) of the high-mid frequency band. For most EQs, the higher the quality, the narrower the frequency band, but with this EQ the control is reversed to match the hardware it emulates and becomes a bandwidth control.
HF Gain: Adjusts the amount of boost or cut at the HF Frequency.
HF Freq: Adjusts the center frequency of the high frequency band at which the boost or cut will occur.
HF Bell: Toggles the bell shape of the high frequency band. If turned off the band becomes a shelf.
Output: Adjusts the overall output volume of the module.
LP Freq: Adjusts the cutoff frequency of the lowpass filter.
Lowpass: Toggles the lowpass filter on or off.