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How to customize the Z1 MK2

Customizing the Z1 MK2 allows you to use the controller in a truly personal way, and map each button on the controller to the Traktor features that you’ll use the most. By customizing the Z1 you can create a workflow that’s completely natural for you, and map the Traktor functions you need to access for performances on the buttons you want them on. The Z1 allows you to add secondary Traktor functions to the controller buttons, increasing the number of Traktor features that can be accessed.

In addition, the Z1 MK2’s colours can be customized to create a unique look and to add helpful visual cues.

Customizing the Z1 creates a natural workflow that allows you to perform your best, and create mixes in a way that’s uniquely yours. Customizing the Z1 MK2 is easier than ever using Traktor Pro 4.

In Traktor’s Preferences, there are two sections that are dedicated to customizing the main features of the Z1 MK2, and the Z1 MK2’s colours. Within a few minutes, you can easily customize the Z1 MK2 so it suits your personal style and preferences for DJing. Before you start customizing the Z1 MK2, it’s a good idea to get acquainted with the controller’s functions, so you know what the Z1 MK2 offers.

Becoming familiar with the button functions and alternative functions will allow you to think about features that will be most helpful for you to add or change. To read more about how to DJ with the Z1 MK2, check out our guide.

The history of modular DJing

When Traktor software launched back in 2000 there were some digital DJ options out there, but its extensive features instantly put Traktor way ahead of the pack. Traktor quickly became adopted by pro DJs but back then they relied on generic MIDI controllers, painstakingly assigning everything to knobs and buttons manually. A process that was both time consuming and challenging.

So in 2003 the first Traktor modular DJ controller was born: Kontrol X1. Unlike other controllers of the time, all the labeled functions on the X1’s buttons and knobs were automatically mapped. It was an instant hit. Over two decades later, and with many developments, innovations, and additions, Traktor’s modular controllers remain a mainstay for DJs of all levels around the world.

The bottom number shows the note value, and the top number tells us how many will be in a measure.

Understanding what a time signature is will be important if you want to understand 6/8 time, so read our guide on time signatures if you’d like to dive into some more detail.

6/8 time vs. other time signatures

The grouping of the 6/8 time signature sets it apart from others like 3/4 or 4/4.

The 6/8 time signature is a “compound meter”, meaning that its beats are subdivided into groups of three. The “6” in the time signature tells us that there are six beats per measure, while the “8” shows that the eighth note is the note value we are referring to. This gives the time signature its rolling or lilting feel.

Some people get confused between 6/8 and 3/4, wondering if they are the same time signature. If you’re one of those people, don’t worry. It’s a common problem. But it’s not hard to wrap your head around.

Perhaps the confusion lies in the fact that three quarter notes and six eighth notes are, mathematically speaking, the same thing. But the difference is in the way that they are grouped together.

3/4 is grouped as one set of three quarter notes per measure, which gives it a “one-two-three” waltz-like feel. On the other hand, 6/8 consists of two sets of three eighth notes per measure (or two dotted quarter notes). That’s why we call it a “compound meter”. This difference in beat grouping is what distinguishes the two, and it affects the way the two time signatures sound different.

If you want to understand the difference in more depth, check out this video:

How to create soulful melodies

There’s no formula to creating a melody that one might consider “soulful,” but here are some things to bear in mind when composing melodies:

Working in an appropriate key helps, in this example we’re working in a minor key which is a good start. Keeping things relatively simple is a good idea too, and for this melody we used a two-bar pattern that repeats with a small variation the second time around. Passing tones (notes that aren’t in the chord but link one chord tone to another) and leading tones (notes a half-step below or above a chord tone) can be useful for achieving a soulful sound, though here our melody plays ostinato over the chords. Likewise, chromatic (notes outside the scale) and blue notes (flattened 3rds, 5ths or 7ths) can add a soulful touch when used judiciously.

2. Compose complimentary chords

Let’s derive some chords from our melody. Our melody includes A, C, and E notes (with the occasional B), so A minor is the natural starting point. Add another MIDI track, and this time select Velvet Strings from the list of Fables presets.

For thick analog bass or soaring vintage leads, Monark comes custom built to deliver the richness and warmth of the classic synthesizer it was lovingly modelled after – with a few digital enhancements under the hood. The main oscillator can be set to triangle, sawtooth, ramp up, square or pulse waveforms, while two additional oscillators offer the same shapes, along with tuning up to seven semitones above or below the incoming note, allowing for a wide range of fat detuned patches and creative voicing.

The intuitive mixer section comes with a dedicated noise oscillator that can be set to pink or white, along with a filter feedback loop and dedicated load for added grit and warmth. A sumptuous filter comes in four modes, with steep resonance and a dedicated envelope, alongside a dedicated envelope in the amp section. Beautifully designed and easy to use, Monark comes with a host of additional options on the back panel. Being monophonic it can’t play chords – but excels with bass lines, leads, tuned percussion, and more.

Download free Monark demo

Types of audio effects

Audio effects can be broadly categorized into four types: dynamic, time-based, modulation, and harmonic effects. Each type serves a unique purpose in shaping sound.

Effects are best understood when they’re heard so we’ll be comparing sounds with effects on and off. Note that when a sound does not have any effects on it, we refer to it as ‘dry’.

1. Reverb

Reverb (which is short for ‘reverberation’) simulates the natural reflections of sound in a space. It’s the difference between hearing a singer in a small room versus a cathedral. When a recording lacks reverb, it gives us the impression that it exists in a vacuum, which can feel very unnatural. It will be flat, and feel very close to the listener. Adding a bit of reverb will create a sense of depth and dimension.

Let’s listen to what reverb can do to a clap sound. Here is the dry sample with no reverb:

Leap is a Kontakt 8 feature for jamming with samples live, and in Creating beats with Leap, modern loop engine we looked at getting started using the Leap kits included with Kontakt 8.

This time, we’re going to walk through the process of importing your own samples to create custom kits, and make unique new musical ideas.

As part of this process, we’re also going to take a closer look at Leap’s sample processing and playback capabilities, giving you a more thorough idea of what Leap is capable of.

Jump to these sections:

1. Start a new Leap kit
2. Add musical loops
3. Adjust individual keys
4. Record a jam

To follow along with this tutorial, you’ll need Kontakt 8, and this free sample pack.

You can use Kontakt 8 standalone or in your DAW. In this guide, we’re going to use it in a DAW to make a beat. Using a MIDI controller is recommended, but you can also use Leap by sequencing notes in your DAW.

Discover Kontakt 8

Here we can see that the LFO is set to modulate the Pro Filter’s filter cutoff frequency. We can adjust the modulation destination with the Reassign Assignment control to the left of the horizontal fader. You can drop this onto a parameter, and it will assign the modulation source to modulate that parameter. You can adjust the modulation amount with the fader itself.

Let’s check out the initial sound of the preset on our guitar instrument. Turn the track down to -6dB otherwise we’ll clip the master, which means the signal will be distorted, and won’t give us an accurate idea about how the preset sounds.

Kontakt 8 – a load of new creative tools

This latest generation of Kontakt brings a new set of intelligent tools to change the way you generate ideas and create music. There’s so many new sound design options, intuitive, playful workflows, and fresh features that break the barriers of pure sampling.

Tools add a new layer of creative features across the platform. They work with any Kontakt instrument, old and new. There’s plenty more to come in future but for the first drop, we launched MIDI content and randomization features with Chords and Phrases, all designed to spark new ideas and get you in the zone fast. Learn more about Tools in our overview.

Leap is a fast and fun way to play and manipulate loops. Spark fresh ideas, sprinkle in expressive performance effects, or just jam. Breathe new life into your sample collection or try something totally fresh with the new Leap Expansions series. Again there is plenty more to come but we’re starting off with 12 curated packs for specific genres and styles. You can learn more about Leap in our blog.

This is an exciting one. Conflux is the first in a new breed of Kontakt instruments for experimental sound design. It’s built with a new range of Kontakt features that let you merge organic and synthetic samples and add dynamic movement to static sounds in real time – with original PPG wavetables and techniques like FM, phase modulation, and ring modulation.