Kore 2 Overview

Computers are endlessly flexible for music — but how do they function as actual, playable instruments? As computer software matures, finding a way to make these tools more fun to play is increasingly the aim. Native Instruments’ first crack at a “super instrument” with KORE 1 had some fans, but was a disappointment to many others (myself included, even as a fan of NI’s terrific instruments and effects and Reaktor platform). But a lot of us still believed in the potential of what it was doing. That’s why it’s really exciting for me to have caught a first glimpse of what the new KORE 2 looks like. In just about a year and a half, NI has radically changed the application. We expect to get the full version for review soon, but here’s a sneak peak.

KORE Transplant

Native Instruments’ KORE showed plenty of promise for computer musicians when it was announced. The idea was to create a “sound platform” or “super instrument” — a single piece of software that could bring together all your sound-making needs, organizing instrument and effects plug-ins and presets and allowing them to be easily combined and played live in the studio or onstage. This software was to be integrated with a hardware control surface for accurate, hands-on control of sound parameters and navigation of different sounds. The result: a computer-based workstation with endless flexibility.

At least, that was the idea. But while a few power users embraced KORE 1, the first version clearly had some major kinks. Actual integration proved to be somewhat limited; just moving from sound to sound wasn’t as easy as it should be. The first couple of releases of the software was buggy, with some significant functionality missing or not working. And, most importantly, even once the bugs were ironed out, the KORE software itself was difficult to navigate, with confusing, multiple layers of control. Powerful tools can often be complex, but complex tools are not always the most powerful.

Native Instruments says KORE 2 is a ground-up recode of the first KORE, with a new development team in place. It also involves a substantially redesigned hardware interface, minus the audio features but with some important improvements. It’s too early to judge the full outcome of these moves without more hands-on time, but we can at least show you what the results look like and some of the new features.

Interface Tour

You’ll notice from the overview that KORE has a much cleaner interface. The other good news is that the screen you see is the only screen you need; NI has wisely done away with the various confusing screens and functional layers previously needed to put together a KORE performance setup. A closer look reveals extensive streamlining of what KORE actually does; it does more than before but has less of an interface getting in your way.

KORE interface top left

The toolbar at the top easily toggles different parts of the interface. As with tools like Ableton Live and Logic Studio 8, though, these additional interface elements all appear on a single screen, making editing much easier. From left: the knob icon toggles the “global controller” panel for assignments to KORE’s dedicated hardware interface. The square grid and tree structure icons switch between sound matrix and sound manager editing panels for control of your sounds. You can use the next two icons to view presets by preset panel or an Apple Loops-style sound browser, or ignore this functionality altogether. There’s also an info pane, toggled by the “i.”

The on-screen knobs, as you can see, assign easily to the eight encoders on the hardware. These are endless encoders, and they’re really precise — they transmit high-resolution data directly to KORE, instead of using MIDI. That was available in KORE 1, but the new encoders feel even better, and now the red glowing ring around the encoder will brighten based on what value you’re set to, so it’s much easier to see where an encoder is set. (And the red light is pretty, too.)

KORE top right and morphing

The boxes lettered A – H are the really fun part: the morphing function. You can now interpolate between any number of settings in your presets. NI accidentally discovered a really bizarre effect morphing a sequencer from Reaktor into nothing, which felt like dropping a sequencer into a wormhole; I’ll see if I can post some video and sound of that when I get a copy of KORE.

Curiously, instead of using an X/Y pad, you use the encoders on the hardware to move between values. This will require some adjustment, but I imagine it could be very precise — X/Y morphing tends to be pretty coarse in practice.

Note also the tap / tempo functions. You can use KORE as a host or your only running application if you want, as before.

KORE interface middle

The middle portion of the screen is really a whole lot better than it was in the first KORE. You can still do extensive layers, splits, and channel setups, but even in our short demo, I could see it’s much, much clearer and easier to work with than before.

Kore 2 channels

Having a set of channel strips doesn’t sound so different — that’s something you get from any host, or standalone tools like Rax on the Mac. It’s what you can put in these channels that gets interesting. KORE now incorporates the engines of all of NI’s major instruments and effects, for one, which means you don’t need the full plug-in to get sounds from their product line. That means you could just buy KORE and get its set of sounds right out of the box. So, for instance, here we have electric piano, synth, audio effects, and even a Reaktor effect patch all running in KORE. As long as these presets are included with KORE (or, I suspect, soon add-on packs), you can use them and do basic tweaking with the encoders. You will need the actual plug-ins to do more extensive editing, and unfortunately it sounds as though you won’t be able to take your own presets and use them on KORE without owning the plug-in — too bad, as it’d be great for Reaktor developers to be able to share their work with any KORE users. (More on exactly how that works once it ships.)

The other new addition is MIDI plug-ins, including step sequencers, arpeggiators, and the like. That for me is getting into the real draw of using KORE, especially when combined with custom MIDI and audio processing in Reaktor. Even ignoring the rest of NI’s software suite, I can imagine some really cool combinations of KORE and Reaktor; you can bet I’ll be testing that part of this setup as much as possible.

Kore 2 bottom left

As before, a big part of KORE is making it easier to navigate presets from NI’s extensive sound library. A lot of this functionality is now integrated with NI’s other products; what KORE does is give you access to this meta-information from one place, and let you take that on the road.

Easy sound navigation does seem largely geared for new users rather than sound designers. But it would be interesting to see if KORE makes it easier to organize your own sounds. All the meta-data is customizable, so there’s no reason to use NI’s categorizations if they don’t make sense to you, and since KORE works with any plug-ins, you could organize sounds from your own instruments and effects, not just NI-branded ones. I didn’t really work with the first KORE enough to see if this made sense for sound designers, but I do plan to spend more time with it in KORE 2.

The one thing that hasn’t happened since the release of KORE that I hoped would is that third-party developers haven’t really taken on the KoreSound format. So, as far as out-of-the-box metadata, this is almost exclusively useful to NI products. (Interestingly, Apple has added its own scheme for browsing through presets in this manner in Logic 8, though there’s nothing stopping you from running Logic, KORE, and Komplete next to one another. Well, except potentially that might make your head explode with sound possibilities, and you have to shell out a significant amount of cash.)

Kore 2 bottom right

Here are the actual presets. The important bit to recognize, though, is that when you see “Massive”, “Reaktor5”, etc., these now run off the included sound engines, so you don’t necessarily need to own Komplete to take advantage of everything. And you can see there are some nice effects — audio and MIDI — built right into KORE. The included granular audio effect in KORE sounds really fantastic; we got to fiddle with it a little bit. I had complained about the lack of in-the-box value in KORE, and it does seem to be something they’ve addressed with KORE 2. Needless to say, I’ll be picking apart each new effect once I’ve got it.

New KORE Hardware

KORE 2 hardware

From the top down, the KORE hardware interface looks the same as the first one, but it’s actually quite different. The most noticeable change is that the audio interface is gone; you’ll find 1/4″ jacks on the back, but they’re MIDI input pedals only. NI cited two reasons for the change. First, they argued their users weren’t making use of the audio interface. That I find interesting, as CDM readers here were specifically disappointed by the removal of audio. The second reason sounds more likely: transmitting lots of high-resolution control data from the hardware and audio, over USB 2.0, sometimes caused conflicts. We heard reports of that here, so it sounds like this may have been the right move, especially given so many people own decent mobile audio interfaces. One more gadget in my bag isn’t a deal killer for me, at least.

Existing users: note that you do not have to upgrade to the new hardware if you don’t want to. See the upgrade policy below.

Having felt the new interface, I will say it feels a lot more solid in terms of controls, but is also lighter and more compact. It would be nice to have integrated audio, but I suspect I may like the new design.

NI also promises greater reliability in terms of the controls; we’ll have to see how that pans out when people have had these for some time.

New KORE 2 interface panel on the hardware

It’s tough to show here, but they’ve also done a lot of much-needed work on actual hardware integration. Auditioning sounds is much easier, navigation is simplified, and again, having feedback from the lights on actual encoder levels is terrific. As before, the controls are touch-sensitive, so just making contact with an encoder brings up related information on the LCD, which remains pretty cool.

Why Sequels Can Be Good

See also my review of KORE 1 for Keyboard Magazine, which talks specifically about many of the issues this upgrade addresses. How successfully have done that? We’ll know when it ships. At the time, I said:

If NI can fix the bugs in the current release, make it easier to switch from one sound to another on the controller and in performance, and make hardware integration more flexible, Kore has the potential to be a very powerful tool indeed.

I was also concerned about the multiple layers in the interface for sound design:

These can lead to some very powerful performance setups, though having to deal with both levels can get confusing for simpler routing tasks: You can easily wind up with three conflicting key maps (at the Performance, Sound, and plug-in level), with only the Performance level shown in the Mapping tab.

Sure enough, those layers have now been integrated into one editing window (there are still editing options within the plug-in, but that’s the nature of the beast, and if the editing tools work well in KORE you may not need to edit deeper than that).

Hands-on Soon

KORE should be just a few days from showing up in people’s hands, so I expect to have some quality time with the real thing soon. I’m particularly interested in integrating it with what I’m doing with Live 7 (currently in beta) and Reaktor 5 (still mind-numbingly deep). I’ve got plenty of questions of my own in terms of how it works. But what would you like to know about KORE? What would or wouldn’t make it worth integrating into your software music rig (and what do you use now)? Let us know in comments.

KORE 2 Product Page
KORE 2 Upgrade Information, which starts at US$59 depending on what NI kit you own.

  • JDSampo

    I'm still curious about these "sound engines" and how they relate to the real versions.

    For example I would assume that as an Absynth owner I could program my own patches for playback in Kore. But since I don't own Massive would I be able to play other people's patches but not be able to edit them? That sounds like how it should work, but I'll be interested to see how it all shakes out.


  • Grumbly Dan

    What I want to know is why a browser gets so much attention. Has the music software industry gotten so lame that it's now browsers with hardware dongles that make the press…

    Founder and Junior Vice President Compu-Global-Hyper-Mega-Net

  • moni

    Couple of questions:

    1. how will the Kore1 hardware work with Kore2 software?

    2. Will the Kore1 hardware be able to be used as a "sound engine?"

    3. Can we use the bloody controller as a midi-style controller or is it Kore only?

    4. Will the glue on the rubber feet on the bottom actually stay in place or start coming off within a few minutes of ownership? I still haven't figured out a way to attach this – hasn't been pressing either because it's been sitting on the shelf not being used.

    I have to say Kore1 had potential, but it just misses the mark. I was looking for a way to manage my Komplete library, but it just too too much time to manage, and didn't really make things easier. If Kore2 also misses the mark, it'll be going on ebay (or something)

  • Andy

    I'm curious how this will affect existing Kore 1 owners. Is the hardware improvement significant enough to replace the old one? Will the hardware provide access to functions not accessible from a Kore 1 hardware piece and Kore 2 software? Will the new software fully support Kore 1 hardware? Will NI provide Kore 2 software for free to existing Kore 1 customers? Will they offer a competitive upgrade path for the hardware? Seeing as Kore 1 came out at $500 and within a year they could be had for around $200 on clearance it seems like NI needs to take care of their early customers since they released an immature product.

  • Very nice preview.

  • Kore has been a wonderful addition to my studio! On a PC dedicated to softsynths, Kore acts as:

    1) Audio Interface

    2) MIDI Interface

    3) VST Host

    4) Softsynth Control Surface

    5) Patch Browser

    6) Also, it allowed the construction of "multis" from numerous softsynth presets, even from different manufacturers.

    Mine always worked flawlessly, probably because I never used it as a plugin in another application.

    Their removal of the audio interface was a very bad move in my opinion. They should have just fixed the bugs in the earlier version. This way, they get people to "buy it twice" – awful way to treat customers…especially those of us that bought Kore at the original release price.

    Kore is not a stand-alone synth and has no internal DSP – many folks still don't seem to understand this.

  • @Carbon111: Kore now DOES have internal DSP, both these sound engines and also some effects of its own. That includes some MIDI/audio effects that apparently don't yet exist elsewhere in the NI line (though it seems a safe bet to figure we'll see them crop up elsewhere down the road.)

    @GrumblyDan: If Kore were just a browser, then it wouldn't deserve attention, you're right. I think it at least aspires to be more than that. I didn't feel it was successful the first time around, and talked about some of its weaknesses in my first review. But I'm willing to give it a second shot.

    Re: the sound engines and playback — apparently you can only use Kore's own presets with the engines. If you want to use your own presets, you have to use the full plug-in. As I said, this is really disappointing to me, so I hope to find out more about that (though I guess it may be a piracy concern, which may be why there's also no more Reaktor Player any more, sadly).

    I actually don't know some of the answers on the hardware in terms of how it relates to Kore 1. My sense, though, is that you won't be able to use the original hardware. NI seemed to feel that these were improvements they needed to make, which to me implies that there were significant quality problems with the first interface. But I do have a Kore 1 device here, so I'll test it just to double-check once Kore arrives, and I'll see if I can get more solid info from NI.

    You do NOT have to buy the new hardware. Software-only upgrades run $59-$119. And there's a hardware upgrade available as well.

    Details for upgraders here:

  • Fintain

    I had a kore and have also tried the new version.

    In my view its overly complex. It like a host inside a host inside a host.

    The questions I asked myself before giving up on it was, do I really need this in my current setup or am I just caught up in a companies new products for the sake of it merry go round. The heavy "revolution in sound" marketing also kind of led me to hold the second opinion.

  • Fintain, I hear you. At the same time, it seems there's some argument for bringing together control functions, presets, layers, etc. in this way. I think it's not necessarily going to work for everyone. I'm not going to fault them for having overzealous marketing; the test is ultimately how it works in your personal setup — and those are good questions to ask.

  • Fintain

    Hi Peter,

    As you say, there is a need for bringing together a way to manage your soft synths. But for me, the keyword is easy. There is an upper level of complexity after which people loose track. With Kore I think they have surpassed it. Lets say you load up kore inside Logic. You now have a host that has its own mixer, midi sequencing, insert effects, program levels, splits, layers etc running inside a single channel of logic, which also has it own insert effect, etc. Add to this that you can also load Native plug-ins into individual tracks in logic. And then there is there are the kore meta presets as well on top.

    Maybe I'm getting old, but for me its just too much, when using kore I didn't know where I was.

    If they did something simple like analog factory, it would be really cool, but I think they just went over the top on the features in an attempt to make it sell and ended up going way too far.

  • I thought and prayed long and hard about adopting kore into my setup. Personally, my goal is to emulate a keyboard workstation, much like a korg n264 from back in the day. The limitations of the "cheesy sounds" and "beefy price" of workstations led me to an all-software setup. I expect kore to do that with v2. I use kore 1 as a plugin (and i got a sweet deal, refurb kore 1 for 225, and a "refurb" komplete 4 from musicians friend (how the heck do you refurb software?)lol, anyways, it shipped in plastic and everything was there, just got the FREE komplete 5 upgrade today. YaY!

    Here's the bone i would like to pick, and this is not kore's fault, and by and large it is more of a conceptually unrealized extention of what modern software and hardware platforms can achieve: cpu playing nice with huge sound libraries, all going at once.

    With kore and live, i want 16 channels of midi coming from my hardware keyboard into live. I want all 16 channels routed into kore on a single channel. I want the outputs of the kore plugin as AUDIO to be frozen independently of each other to conserve cpu. That is the solution i desire. Currently, running kontakt, massive, reaktor, fm8, and battery (for strings, bassline, effects, synth, and drums) in a track kills my cpu. It is a 3ghz dual core pentium d with 4 gb of ram on a windows xp box with ableton, komplete, and kore on it an nothing else hogging the resources.

    Thus, the ability to "pre-freeze" the output of what kore WOULD output would vastly free up resources so that my cpu would not choke after playing 8 or 16 channels. This gets back to my need to emulate a keyboard multi-timbral, polyphonic workstation via kore.

    I wouldn't even need to run kore as a plugin if I could "render" / "export" a wav file from kore standalone with the midi files in place on each of 16 channels.

    Kore and reaktor seem to pair nicely with live, and for re-arrangements it is second to none. But, unless i become an intern at NASA and sneak in at night with superuser access to their computer resources, install live and kore, i don't think i will be able to match the potential of the software with current hardware requirements.

    In short, there needs to be a way to "sample and stream" the output of virtual instruments even if that audio is derived from incoming midi or rewire (much like highlife does with vsti's, without the crashes).

    Kontakt hinted at it with DFD technology, so an audio buffer would have to allocate virtual memory on the hard disk, then give it to the input of the host as required. This process could be rendered as a wav file and a song could be not only made, but heard in realtime.

    The problem with (multi-timbral) kore as a plugin or standalone?- clicks and pops ad infinitum, even with a very expensive computer.

    NI's solution? Make a keyboard with parallel processing and gigabit/usb3 bandwidth optimized for native instruments software. They did it with their soundcards, now just add sufficient hardware dsp. Then we can ditch the bloated windows and mac os's and have something a working musician on a tight schedule can use.

  • Rozling

    Andy, AFAIK Kore 2 will support multiple outputs, which means you will be able to use one instance of Kore to route instruments to multiple tracks. Obviously it doesn't go quite as far as you're looking for though – but I'm not sure that there's any VST sub-host that does? Do you use Ableton Live? In the soon-to-be-released version 7 there is an External Instrument device which is intended for control of external hardware instruments. You can actually 'freeze' them (playing them back in realtime) but the interesting thing is you can also route the MIDI to/audio from VST plugins being hosted within Live (including within Racks/Drum Racks).

    So basically you could freeze individual outputs of Kore track-independently, although you'd have to put up with the freezing being done in realtime. Out of curiosity, what's the issue with using multiple instances of Kore?

    Peter Kirn wrote:

    "@Carbon111: Kore now DOES have internal DSP, both these sound engines and also some effects of its own. That includes some MIDI/audio effects that apparently don’t yet exist elsewhere in the NI line (though it seems a safe bet to figure we’ll see them crop up elsewhere down the road.)"

    Are you sure about that Peter? I haven't seen it mentioned anywhere on the NI site – it's something I and obviously many others had been hoping for (and pretty much the only reason I would upgrade my Kore 1 hardware). The inclusion of DSP could be the tipping point that I have been waiting for with NI – I honestly think what they have with the Kore concept is a real winner and I adopted early because I knew that the solution would improve over time (didn't think it'd take this long though…). NI are in a very good position in that they now have the instruments we want, they are on their way towards a useable 'management' system for their content (I'll have to get my hands on it to see how far they are), they have a workable hardware method of controlling it all but the one thing that they are missing is that it's very difficult to convince people of all of this. If they offer DSP and people start seeing a significant performance improvement AND consolidation of their sounds Kore will jump off the shelves.

  • Rozling

    I forgot to mention, the one thing I'm most anxious to check out about Kore 2 is whether you can make a control template for a plugin and apply that to existing .ksd's (kore sound files). At the moment Kore users are in the krazy position of having to re-save every sound for a particular plugin if they make any changes to the template. It takes a long time. A looooong time.

  • brett

    I'm curious about the included sound engines and koresoundpacks. Do you actually get the GUI's from the respective software? I can't find this info anywhere.

    and can you manipulate the patches and save the changes.

  • Fintain

    I'm intrigued about how people plan to use kore in a practical live setup. Maybe a good thing if native gave some real world scenario's on how to use it in this context. Do people use kore to control a single plug-in only or do you switch plug-ins its controlling during a set? For me the problem was that I didn't know where I was, in that the knobs were modal, they change functionality. Once a knob could be controlling a cut-off, another time something else on a different plug-in. I found this very differcult to keep track of, and even more so in a live situation. The beauty of hardware is that a knob only ever did one thing.

  • brett

    "*Contains the respective audio engines with 500 sounds plus 400 FX sounds, not the individual user interfaces."

    nevermind. i answered my own question.

  • Rozling

    Check it: "*Every KORE 2 user receives one KORESOUND PACK for free. The KORE 2 package includes a coupon valid for downloading one KORESOUND PACK (worth $59 / 49€) of your choice in the Online Shop"

    That's pretty cool. I would wonder about your 2nd question also – "can you manipulate the patches and save the changes". For me one of the main benefits of Kore is I can change the layout of the controls. I have changed almost all of the +7500 presets in the library to reflect the layout I want, and I have more intuitive control as a result. The problem is that preset design is a personal thing. Some bright spark at NI decided that unused knobs should be indicated by a "—" instead of just nothing, which means you get a cluttered screen even if half the controls do nothing. Little things like that piss me off but the benefit of re-configuring the templates is you get to do it your way.

    Fintain, maybe to partially answer your question I'd say that part of the beauty of Kore is that a knob can do a lot more than one thing. Yes, the knobs change their function but you can define what that function is and apply YOUR logic to it… one great side-effect of this is you can create a uniform 'synth' pages so no matter what synth you are using you will always know that ADSR, filter & maybe FX controls are a set number of button presses away.

    I don't play live much anymore but the few times I've jammed with Kore I've found it useful for swapping instruments without having to open the laptop, and I will swap plugins, yes. But also consider that one knob can control more than one VST parameter. It can control 20, or 30… And it can control different functions in different plugs at the same time, so for example I have an Elektrik Piano wurlitzer patch which has Guitar Rig as an effect. The patch on its own is too dry so I want reverb, but I want the signal that reaches Guitar Rig to be dry so I have one button set up which both turns on GR and toggles between 25%/0% wet on Elektrik Piano's reverb. That's the kind of complexity I like 🙂

  • Right, what you get from the sound engines is just playback — no editing, no interface. But that means if Komplete is overkill, and you just want, say, Kontakt and Reaktor, you don't lose the other sounds.

    And yes, I'm reasonably sure about those DSP features; saw them demoed. 🙂 There's not a whole lot in there, but some useful-looking tools. And it's nice to have stuff at the Kore level and not just the plug-in level; I think the more fleshed-out Kore itself gets, the more it may make an argument for using the tool.

    These other queries are really good questions; I'll try some different workflows based on this feedback and report back.

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  • smoke dawg 69 fx

    I use kore live and it is great. I have experienced some bugs but nothing that i havnt been able to work around. Im using os x leopard now and its still great, and it seems my patches load faster. Can't wait to receive the update to Kore 2. I have been using the built in soundcard in kore 1 controller and it has been great. I dont own komplete. i just got kore so that i would have a live interface for kontakt2 and a few delay AU's, works great. Some of my VSTs weren't compatible but that wasnt a big deal as there are so many good free ones out there that do work. I make sure to turn off instruments im not using to keep the cpu load down and all is good.

  • The way NI explains it, nothing is subtstantially changed – The "sound engines" run on your CPU, not Kore DSP…there isn't any.

    I would love to be wrong. 😀

  • I just checked…They removed the audio interface and added a playback-only "sound engine" to the software that runs on your computer. Thats about it. 🙁

    The new software is compatible with the Kore1 hardware…they want more money from me for what ammounts to a, admittedly decent, software update. I paid around half a grand for Kore1 and they want another $120 from me. If I had bought one of the Kore1s that were being blown out recently for $200, I'd be part of the "grace period" and the update would be free. So, yeah, its a bit dissapointing. 🙁

  • Andy

    I just don’t understand how they can put out a product that is so full of flaws and dare ask their customers to pay for the upgrade.

  • Fintain

    Just had a look at the native site, and they are charging for kore presets.

    Even the way its sold is complex!.

  • Oh, *** DSP ***. Now I see what you mean.

    No, there's not DSP internal to the hardware. What I meant was that they're now signal processing facilities in the software. I misunderstood the question.

    NI did ship free updates for Kore 1. This seems like an upgrade to me, so I see why they're charging for it. Now, *whether it's worth the money* — that's a different matter, and I'll feel more confident of that once I've tested the thing.

  • armando

    I'm considering purchasing a Kore1 from sweetwater.com for $269.00 with free shipping. The sales reps are very reasonable when it comes down to throwing in extras. Since they had the promotion on the free update to Kore2 software, and it appears that they are overstocked with old Kore1 hardware, i'm sure that they would backdate the grace period to make the sell. The only issue I would have with purchasing Kore1 is whether or not I could use it as a sound module with attached midi controller keyboard. It appears that the unit is powered only from USB. I guess that means that you must have it attached to a laptop or computer through USB for it to work live. Any ideas?

  • smoke dawg 69 fx

    kore isnt a sound module. there are no sounds in it. you always have to have a computer to use it. but yes if you have a midi controller you can plug it into the kore interface and control the sounds that already exist in yer computer. so yes it must be plugged in. but it is good for live applications once you work around its glitches. kore 1 that is. hopefully kore 2 addresses this.

  • ew

    In answer to rozling's question about templates, with the NI plugins- no (or at least I haven't succeeded in doing so yet). With them, the only way is to make a template for a patch and then recall the other patches from the plugin's GUI, saving with each patch.

    For non- NI items, the easiest way is to setup your controllers on one patch, and then use the import .fxb command. All the patches imported at that time will share the template's assignments.

  • Fintain


    I can see where they are going with that type of a assignment though.

    Its to do with some parameters being more interesting to control than others on a per preset basis. A fixed template for all presets would mean that you loose this interesting controls per preset functionality.

    On solution would be to have a template that allows you to apply an assignment to every preset (something always useful like the filter cutoff) and then have a second option to have an assignment only applying to the current preset. Template + per preset assignments.


  • dinerdog

    I saw the sale at Sweetwater too. I just wonder if there are any enhancements "under the hood" of the Kore2 hardware that I'd wish I gotten instead? I did mistakenly get the Kore2 update for Komplete4 owners (I don't have Kore1 – but it didn't make that clear – so Sweetwater will take that off if I buy the hardware for 1 or 2) and LOVe IT. The sounds are great and I like the system A LOT. The only things is that even on my G5 dual 2GHz 4GB Ram I feel way underpowered for the NI stuff. One big chord on a layered patch and the sounds can cut out. If I don't get a much more powerful computer, this will have to be used sparingly. I also using it with Logic8 which is almost forcing me to get a more powerful computer also.

  • richardl

    So I got my free KORE 2 grace period upgrade for the KORE 1 I bought after KORE 2 was announced. It won't register/authorize. More NI nonsense. Why do they insist on creating product registrations and authorization schemes that are so complex they can't manage them?


    So…since it's not abundantly clear anywhere so far… Somebody here mentioned that you still had to have Kore connected to a computer to use it live. I'm confused, because I thought that 'standalone' meant that it worked without being connected to something else, such as a computer. Is this just a controller, or is it hardware that you can download VST's into for use live? I was imagining this as a sound module that I could use my existing VST/VSTi plugins with.

    At the moment, I'm thinking of it as a way to bring VST's, such as my SampleTank XL patches, to a live show to be used with drum pads for sound effects that our drummer will trigger. Is this not what the Kore 2 is for?

  • @DTKII: No, you'll still need a computer. "Standalone" refers to the software, which can run your plug-ins without the use of another host. I think there are advantages to the KORE software that might make you want to bring a computer along, but if you want an all-hardware solution, you need something like the Muse Receptor — more expensive stuff. (and in fairness, it's also a computer — just one built exclusively for the job)

  • Richard Lawler

    Regarding my problem with authorizing my KORE 2 upgrade. NI fixed it. Something on their end to do with their registration service.

  • Richard Lawler

    Ok. Maybe I spoke too soon. It seems they are still having problems with the authorization server.

    I can't imagine being dependent on a product as a performer that requires authorization where problems can't be resolved for several days.

    Don't worry you can run the program in demo mode. It only runs for 30 minutes, but that's long enough for your performance.