book

Audio Sampling

by Sam McGuire, Roy Pritts

April 2013

Beginner to intermediate

232 pages

5h 30m

English

Routledge

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1.1 What is sampling?1.2 A sampler survey1.2.1 Sample players1.2.2Hardware samplers1.2.3 Software samplers1.2.4 Tape-based sampling1.2.5 Miscellaneous utilities1.3 Basic sampler expectations1.3.1 Basic editing features1.3.2 Editing the audio fi le length1.3.3 Playback direction1.3.4 Level control1.3.5 Pitch shifting1.3.6 Looping1.3.7 Capable GUI1.3.8 Project manager1.4 Other expectations1.4.1 Sampler memory1.4.2 Voice count1.4.3 Advanced volume control1.4.4 Pitch control1.4.5 Spectral control1.4.6 Velocity layers1.4.7 Round-robin1.4.8 Key switching1.4.9 Scripting1.5 Additional software sampler features1.5.1 Low-resolution playback1.5.2 Hold samples in memory1.5.3 Sample streaming1.6 Benefits to using samplers without creating your own instruments1.7 Using samplers1.7.1 Preproduction1.7.2 Production1.7.3 Live performance1.7.4 Composition1.7.5 Post production1.8 Benefits to creating your own sampled instruments1.8.1 Low-cost solution1.8.2 Need-based solution1.8.3 Unavailable instrument1.8.4 Instrument preservation1.9 Summary
2.1 Signal chain2.2 Capturing the sound source2.3 Using microphones2.3.1 Power2.3.2 High pass filter2.3.3 Pad2.3.4 Polar patterns2.4 Using a line input/instrument input2.5 Using microphone preamplifi ers2.6 Using analog-to-digital converters2.7 Using audio interfaces2.7.1 Expansion cards2.7.2 USB and FireWire2.7.3 Miscellaneous connections2.7.4 Monitoring2.8 Using an alternative to audio interfaces2.9 Hooking it all together2.10 Cable types2.11 Balanced vs. unbalanced2.12 Grounding2.13 MIDI connections2.14 General equipment tips and tricks2.14.1 Forums2.14.2 Patience in buying new gear2.14.3 Find a quality reference

3.1 Choosing your source3.1.1 Traditional instruments3.1.2 Brand new instruments3.1.3 Existing vs. new3.1.4 Who should be the performer?3.1.5 Non-acoustic sources 64 Sidebar: Pay $ Now Or Pay $$$$ Later, by Storm Gloor3.1.6 Straight in3.1.7 Batteries of non-pitched instruments3.1.8 Focus is on musical instruments3.2 Preparing your source3.2.1 The range of your virtual instrument3.2.2 What is the range of a kitchen cupboard?3.2.3 Tuning issues3.2.4 Instruments can be more or less in tune3.2.5 Equal-tempered tuning is easiest3.3 Understanding your source3.3.1 Change in pressure3.3.2 The ear3.3.3 The speed of sound3.3.4 Applied knowledge3.4 Putting it all together
4.1 Ear training4.1.1 Goals4.1.2 Transparent listening Why is transparent listening a goal of ear training? How is transparent listening developed?listening 4.1.3 Focused listening memoryWhy is focused listening important?How is focused listening developed?4.1.4 Listening memory Why should listening memory be developed? How is listening memory developed?4.1.5 Projected listening Why should projected listening be developed? How is projected listening developed? 4.1.6 Summary4.2 Basic acoustic issues4.3 Microphone choice and placement4.3.1 Capturing source and ambience 4.3.2 Microphone placements for capturing sourceand ambience Spaced pairBlumleinMSORTFX/Y A mix of close and distant microphone techniques 4.3.3 Eliminating the ambience4.3.4 Microphone placements for eliminating ambience4.3.5 Surround-sound possibilities4.4 The recording session4.4.1 PreparationHow?Where?When?4.4.2 Setup for session4.4.3 Have a plan in place4.4.4 File management4.4.5 Be critical of everything4.5 Tidying up
5.1 Editing styles5.1.1 Independent editing style5.1.2 Integrated editing style5.1.3 Combination editing style5.2 Basic editing5.2.1 Editing in the sampler5.3 Advanced editing in the digital audio workstation5.4 Adding additional effects/processors5.4.1 Time effectsDelayVarious delay-based effectsReverb5.4.2 Frequency processorsFilters and equalizersApplication of EQPitch correctionDistortion processorsApplication of distortion processors5.4.3 Dynamics processorsCompressorApplication of compressorsLimiterApplication of limitersGateApplications of gatesExpanderDeEsserMultiband compressorApplication of multiband compressors5.4.4 Applying effects and processors5.4.5 Export settings
6.1 Importing files into zones6.1.1 Setting the root note6.1.2 Setting the zone outputs6.1.3 Zone overlapVelocity rangesFades between ranges6.1.4 Using the round-robin function6.1.5 Looping6.1.6 Envelopes6.2 Advanced mapping6.2.1 Key switching6.2.2 Scripting6.3 Fine-tuning6.4 An example of mapping6.5 Additional sampler features6.5.1 Flexible envelopes6.5.2 Filter6.5.3 LFOs6.5.4 Built-in effects and processors
7.1 MIDI7.1.1 Overview7.1.2 Connections7.1.3 Interfaces7.1.4 MIDI data7.1.5 Controllers7.2 Musical instrumentation7.2.1 Emulation7.2.2 Emulation7.2.3 Realization7.2.4 Arrangement7.2.5 Composition7.3 Composition and orchestration7.3.1 The plan7.3.2 The prescription7.4 Musical terms7.4.1 Melody7.4.2 Harmony7.4.3 Rhythm7.4.4 Texture7.4.5 Motif (or motive)7.4.6 Phrase7.4.7 Form7.5 Compositional techniques7.5.1 Rhythmic expansion7.5.2 Rhythmic contraction7.5.3 Intervallic expansion7.5.4 Intervallic contraction7.5.5 Inversion7.5.6 Retrograde7.5.7 Sequence7.5.8 Imitation7.5.9 Repetition7.6 Performance characteristics7.6.1 Vibrato7.6.2 Tremolo7.6.3 Articulation7.6.4 Dynamics7.7 MIDI performance control7.7.1 Note on/off7.7.2 Note number7.7.4 After-touch7.7.5 Breath control7.7.6 Patch change7.7.7 DSP7.8 Observations7.8.1 Observations about timbre7.8.2 Observations about melodic development7.8.3 Observations about melodic motion7.8.4 Observations about layering sounds7.8.5 Observations about the string ensemble7.9 Bibliography
8.1 Timetable of processes8.1.1 1950s–1960sClassic studio techniqueMusique concreteElectronic music (Elektronische Musik)8.1.2 1970s–1980sDigital samples8.1.3 1990sWavetable synthesis8.2 Timetable of historically innovative systems8.2.1 Analog devices8.2.2 Digital devices1970s–2000s8.3 Bibliography
9.1 Modeling and convolution meet sampling9.2 Future uses of sampling9.3 Summary

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ACKNOWLEDGEMENTS

Thank you to Lorne Bregitzer (MIDI master) and Storm Gloor (industry guru) for your great additions. Thank you to Martin Russ for showing no mercy. It really made a difference. Thank you to Sarah Smith for the super sweet illustrations. Thank you to Catharine Steers, David Bowers, and everyone else at Focal for all the hard work (and patience).

—Sam McGuire