I get "Downloading Controller Editor failed: Could not reach the download server. Are you connected to the internet." This occurred right after a successful download of Guitar Rig Pro so I know my internet connection to NI has been working just fine. I'm using Mac Monterey 12.5.1. I have controller editor 2.7.3 installed while the updater offers 2.7.4. As long as 2.7.3 keeps working with Maschine I'm ok, but this still is an outstanding issue that needs to be addressed for long term support of our controllers.
Now while there is a workaround here that switching the verify server flag from TRUE to FALSE I can make all the programs work again, there remains the significant issue of having to update and rebuild several years worth of programs. So I was hoping for something that I could do outside of LabVIEW to try and resolve the problem, I had considered replacing the ca-bundle.crt but I am not sure of the validity of this idea.
Native Instruments Could Not Reach The Download Server
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Due to the nature of how this instrument sounds like it is perfect for creating sounds scapes and much more. While it comes with two different versions (mono and stereo) I usually pick the stereo version because I do not want to miss out on all the fun and sonic booms coming from this device. While in theory, this device could easily replace a synthesizer like Thor, the Malstrom and the subtractor for me. Since there are plenty of modulation capabilities while looking at what synthesizer has to offer. It has subtractive sounds, it has spectral effects (Malstrom) and it even does granular manipulation on a waveform. Additionally, it can just much more than Thor currently has to offer. The only part where it lacks on the synthesizer department is FM. While it does have FM as a generator, it works differently than using true FM synthesis (and this is where the FM8 will come in). And yes, I will most often do these Reason native stock devices references while writing down this article. Since I am looking at Komplete in a hypothetical replacement for what Reason as a DAW has to offer. So in case, I have to jump ship, you know the why and how (since I have given it a lot of thought as of lately).
Modulation in Native Instruments Massive is a better treat when comparing this with Absynth 5. Since you can modulate an oscillator with another oscillator and have a different mix between one setting vs another. You have 4 different modulation types: Ring Mod, Phase, Position and Filter FM. All of these can be selected with a source (Oscillator or Noise). Then you can set an amount and your all set to go. One thing I do find odd with this one, in particular, is that there is a mode for Filter FM but there is no Oscillator FM. The filter FM does a lot though, but having an oscillator FM mode would made things even better. But ok, there is still FM8 (a different synthesizer from native instruments).
The master section of the FM 8 from native instruments displays most of the overall control you can set when it comes to output levels, input levels, polyphony (64 poly at maximum!) and a unison setting. Additionally, you can map an build in arpeggiator with the FM 8. While having it running in standalone mode (without any DAW running) it can be handy when just playing it as a synth. When using this synthesizer inside your DAW it will be mapped with the transport. Meaning if the Transport is set to 142 Beats per minute, the FM 8 will set the BPM on 142.
Molekular from Native instruments is an awesome device to mess around with. Even better yet, if I have to pick an effect which sounds freaking awesome to play with, then this is it! I had a real big smile on my face while throwing a Rex loop against a few of the presets that came with it. Because it creates something, I could not even dream about. In short, Molekular is an effect processing device that can be used to play as a synth as well (where I find the first option a very impressive one).
One of the core ideas behind Kore is that you can choose patches on the basis of what they sound like, regardless of what instrument(s) made them.Photo: Mark EwingLike many innovative new products (the iPod is a good example) Kore addresses needs that you may not have been fully aware you had. However, anyone who predominantly uses a computer to make music will have come across the same frustration: you have a number of soft synths, samplers, drum machines, effects and sequencer/recording packages, and it can be a pain trying to integrate these into some kind of workflow. It's no wonder that keyboard workstations are still popular, because they allow you to compose in one place, with all your sounds together and controlled with the same knobs, laid out in the same way. Workstation sound sources are blended, have appropriate effects, and are available as presets. Native Instruments probably felt particularly close to the problems of computer-based composition and performance, as their flagship Komplete 3 package installs no fewer than 13 separate instruments and effects. Not only does this mean 13 different user interfaces, but also 13 different places to look for the sound you want. If you want a warm pad, you could use Reaktor 5, FM7, Pro 53, Kontakt 2, Kompakt and more. In terms of hardware control, you would need to spend endless hours setting up templates to control all these instruments and effects from a traditional MIDI device. Kore confronts all these challenges in an attempt to combine the advantages of computers with those of hardware synths and effects.
One of the joys of Kore is that whatever host you run it in, all your VST and Audio Units plug-ins are available.Photo: Mark EwingWhen running in a host, Kore only has one layer (the Sound layer) so the controller works slightly differently. Instead of toggling between the Sound and Performance layers, the controller's Sound button brings up a list of Kore instances in your mixer. Selecting an instance and pressing Enter switches the controller to address that instance. The lack of two layers certainly makes Kore easier to use in a host, but does slightly limit how easy it is to set up complex patches. This is because it's not currently possible to layer two Kore Sounds outside of a Performance (although this may change). If you load one sound from the Sounds browser, then try to load another, it replaces the first one. You can, however load additional instrument plug-ins into blank channels and layer these on top of the Kore Sound. You could also, of course, set up the same layering by using two tracks in the host application's mixer. Although the Kore Sound browser is one of the advantages of Kore, you don't have to use it. You can load plug-ins straight into Kore, and use them with the controller. The controller will map to automatable parameters on most plug-ins, and some third-party instruments have already had Easy Access pages added (like the Korg Legacy package). You can load a plug-in's presets from the Kore channel, or you can open up the plug-in's own interface. One problem, however, is that while the plug-in is open, you are locked out from doing anything else, so can't leave plug-in windows open. Another problem, visible in the screenshot on the previous page, is that any plug-in hosted by Kore appears as 'Kore' in the host application's mixer.
The Kore controller is a USB2 device, and offers audio and MIDI I/O as well as its control functions.Photo: Mark EwingA further consideration when deciding to using Kore instead of just inserting the raw plug-ins is that there is some CPU overhead. Kore doesn't use much CPU power, but it adds up when you use several instances. I did some tests in Live and Pro Tools to see what the difference was. I set up a six-note chord MIDI sequence in Pro Tools, over a four-bar loop. I then inserted a Pro 53 plug-in on several stereo instrument tracks, all playing the same patch, and kept adding tracks until I reached the point where Pro Tools couldn't play back reliably without CPU overload errors. With raw Pro 53 s I got to 19 tracks (with a 512-sample buffer, which is about 12ms output latency). With Kore running AU instances of the same Pro 53 patch I could run 14 instances. Pro Tools managed 15 Kore plug-ins when running VST versions of Pro 53.
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