Gtak6 User Manual
Contents
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Download . . . . . . . . . . . . . . . . . . .
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3.2 Locate the Kontakt6 Library . . . . . . . .
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3.3 Install on OSX (Mac) . . . . . . . . . . . .
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3.4 Install on Windows . . . . . . . . . . . . .
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3.5 Guitar to MIDI converter set up . . . . . .
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Roland Guitar to MIDI systems . .
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Fishman TriplePlay . . . . . . . . .
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Axon AX100MkII . . . . . . . . . .
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3.6 Start Kontakt6 . . . . . . . . . . . . . . . .
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The Gtak6 panel . . . . . . . . . . . . . . .
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4.2 String enable . . . . . . . . . . . . . . . . .
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4.3 Fret filter . . . . . . . . . . . . . . . . . . .
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4.4 Pick filter . . . . . . . . . . . . . . . . . . .
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4.5 Pitchbend quantization . . . . . . . . . . .
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4.6 Smart CC blocking . . . . . . . . . . . . . .
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5.2 Pedal Holds . . . . . . . . . . . . . . . . . .
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5.6 Pedalboard example . . . . . . . . . . . . .
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6 Gtak6 in the Kontakt6 Library
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Drum kits . . . . . . . . . . . . . . . . . . .
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6.2 Master FX . . . . . . . . . . . . . . . . . . .
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6.3 Key switched instruments . . . . . . . . . .
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6.4 Dynamic Keyswitching . . . . . . . . . . .
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6.5 VSL legato instruments . . . . . . . . . . .
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6.6 Monophonic instruments . . . . . . . . . .
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6.7 Harmonized Instruments . . . . . . . . . .
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6.8 Arpeggiator Instruments . . . . . . . . . .
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6.9 Micro Tuned Instruments . . . . . . . . . .
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6.11 Getting the most from Kontakt . . . . . . .
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CC blocking . . . . . . . . . . . . . . . . . .
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7.2 Transposition . . . . . . . . . . . . . . . . .
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Transpose presets . . . . . . . . . .
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Open string settings . . . . . . . . . . . . .
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7.4 Base channel . . . . . . . . . . . . . . . . .
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7.6 Pitchbend range . . . . . . . . . . . . . . .
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Pick Control settings . . . . . . . . . . . . .
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7.8 New note velocity . . . . . . . . . . . . . .
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7.9 Sustain 1 note/string . . . . . . . . . . . . .
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7.10 Allow other MIDI channels . . . . . . . . .
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10 Using Gtak6 with other instruments
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11.1 Setting the default multi . . . . . . . . . . .
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11.2 Setting MIDI Omni . . . . . . . . . . . . .
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11.3 Configuring Quick-load catalog . . . . . . .
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11.4 Setting up the database . . . . . . . . . . .
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