Sampling 800 Chopped Samples
Aleck Coulombe
About 2 weeks in with my Deluge, and am starting to get comfortable with a workflow. I tend to load in melodic loops, slice, fine tune, and then find chops that work with a rhythm that I've laid out. Let's say that one particular slice is really nice, and I think it could work well chromatically on a different track. Is resampling that pad in isolation, then navigating the RESAMPLE folder the fastest way to turn that pad into a sample I could assign to a Synth Kit the fastest way to accomplish that? Or is there a quicker way?
for organizing: You can always load your synths in a new project, then "collect all" and it will save your synths + samples in a new folder under songs. makes it kind of neat to bring in somewhere else and you can clean out the resample folder without a hiccup.
There's some samples I use where I use a lot more chops than usual, in places where I wont put drums over them. For these situations I'm always able to hear where the samples been chopped, its like a very small blip in the sample. In FL Studio you would use crossfade to make multiple chops sound smooth. Is there anything in Mashine software that allows me to blend the chops more seemlessly?
I started out thinking that groups and slots are simply that you put drums on pads in groups and you play pitched samples or synths on keyboard mode, which is true, but not sufficiently detailed to cover all the capabilities of maschine.
I come from a modular synth and sound design background so I am familiar with a lot things going on with this beautiful controller. However, one thing that is cool about samples is to be able to load one and have it being played across all 8 pads the same way you would do with a Keystep Pro for instance; each pad representing a note (that I can change). Is it possible to load the same sample across all 8 pads with different notes? Or make it play in a specific scale?
I'm working on a project where I have samples that are perfectly looped but I want to chop each four bar loop into four separate one bar loops. This is quite easily handled in AudioShare but is also quite tedious to do manually as I work through chopping many loops. I have Synthjacker but it's not really designed for this use case. Any other iOS utility apps that automatically chop samples down as described?
@lukesleepwalker said:
I'm working on a project where I have samples that are perfectly looped but I want to chop each four bar loop into four separate one bar loops. This is quite easily handled in AudioShare but is also quite tedious to do manually as I work through chopping many loops. I have Synthjacker but it's not really designed for this use case. Any other iOS utility apps that automatically chop samples down as described?
After introducing the Dynamic Split function in August's Reaper column (read it at /sos/aug13/articles/reaper-notes-0813.htm), we revisit it for this tutorial to cut up a recording into a series of short samples. We'll then move on to loading these audio files into Reaper's simple software sampler to trigger them from a MIDI keyboard.
The next step in the process is to export (render) each of the split parts of the original file to new audio files. It's generally good practice to normalise to ensure even playback volume between samples later on:
The exported samples will appear in the project folder named incrementally as '[filename] render 001.wav', and the reversed versions, '[filename] reversed 001' and so on. These can be moved into a separate folder for ease of location later, and this is also an appropriate time to skim through and delete any samples that don't make the cut.
Velocity layering can be achieved using a similar approach, manipulating the 'Velocity minimum' and 'Velocity maximum' parameters in addition to defining the sample's pitch boundaries. Applications would include switching to a sample with a harsher attack at higher velocities, and layering up additional samples to thicken the texture. Again, multiple instances of the plug-in are required for this. Rest assured, though, the process does get quicker and subsequently less tedious through repetition!
Used in combination, the Dynamic Split function and the ReaSamplOmatic5000 plug-in offer a simple method for separating recordings into samples and triggering them via MIDI. Whilst some of the available tools may be considered primitive, really creative and fun results are possible even with a limited knowledge of sampling practice. Indeed, the processes discussed give those less au fait with sampling techniques the opportunity to hone their skills and better understand what's going on 'under the hood' in more complex plug-ins.
I'm having an issue with 'popping' sounds between my sample cuts. I know that in Arrange window you can "snap edits to zero crossings" (although I've never gotten this to work for me; seems to only work in the Sample Editor) or slightly fade samples in and out to alleviate the problem.
However, the issue for me is that as I play samples, I'm cutting them at different points each time and therefore still getting 'popping' sounds. In other words, snapping to zero crossings or fading the start and end of each sample means nothing if I'm cutting them off half way through, for example.
Stereo sampling is tricky because, as you can see below, while Logic may snap to a zero crossing on the left channel, that doesn't meet up with the zero cross of the right channel all the time. Thus the click. The only way to cure it is to select a very small range in the sample editor and do a destructive fade in/out.
Ok that makes sense. If doing a destructive fade in/out is the only way of really combating this issue, what would be the best way to do it? You say the Sample Editor but as I described in my OP, I'm cutting off samples at different lengths each time when playing them out, thereby making the fade out at the end of samples useless, & ultimately still getting 'pops'.
I'm using automation atm to create the fade (for when I cut off samples before the fade out) but it's labor intensive & takes some time when dealing with a large number of sample plays. Is there a more efficient way to go about this?
I usually have a group of samples in the EXS24 set to a poly of 1. I'm not entirely sure what poly means, but I've learnt it makes samples cut themselves off - so that when you play one, then play another, the first immediately stops playing.
If I have a bunch of 2 second samples for example, and I do what you recommended, which is to fade in/out the start and end of every sample, I will still be getting 'pops' because as I play samples out, I'm not always cutting the previous sample off after the fade out (which would prevent the 'pop').
So, as I'm not concerned about "snapping to zero crossings" to avoid 'popping' anymore (based on what you said about this being difficult with stereo samples), my question now is: What is the easiest way to fade in/out samples to prevent popping?
As I said, I'm currently using automation to fade in/out samples but this is very time consuming when I have numerous sample plays cutting themselves off at different points (e.g. 1 second mark, 1.5 second mark, etc).
i have exactly the same problem. When i chop up my samples, they are not always a uniform length, and therefore applying any global ADSR settings will tarnish the lot, rather than smoothing the end of each sample.
I am currently chopping all my samples in the arrange window, then copying them down a track. Select the original samples and in the arrange window on the left fade them out for 10 of 15ms or something. Then bounce in place. Unfortuneately i dont think unless you route individual outputs out of the exs24 you can simultaneously bounce individual files, but i may be wrong. then because it has all bounced as one, i use my key commands for tab to transient again, and look at the above track as to where the chops are.
The old Nyquist frequency was at $11$ kHz so it would make sense to me to low-pass frequencies above $11$ kHz after upsampling - we're basically replicating our signal 20 times across the new spectra, right? The correct cut-off is apparently 20 kHz, but I can't quite wrap my head around that fact.
This page will present you all the functions that can be used to slice, cut, reverse or explode your audio samples, incoming signals or oscillators. Each function will be presented following the same model:
smash is a combination of spread and striate - it cuts the samples into the given number of bits, and then cuts between playing the loop at different speeds according to the values in the list. So this:
segment 'samples' the pattern at a rate of n events per cycle. Useful for turning a continuous pattern into a discrete one. In this example, the pattern originates from the shape of a sine wave, a continuous pattern. Without segment the samples will get triggered at an undefined frequency which may be very high.
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If you're still unsure on how to manage your samples within your overall production then you would be interested in this post on how to produce music in Logic Pro. And by the way, if you're looking to learn Logic Pro faster then here is my 6 Pillars on Learning Logic Pro Faster.
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