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Every Technique of Sampling Music You NEED to Know (A Complete Guide)

Will Hatton20:43 452.566 Aufrufe veröffentlicht Auf YouTube

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  1. three levels of sampling from beginner to Pro production first let's talk about what makes a good sample and how to find what you need quicker when you're
  2. digging for a sample it's good to have knowledge of genres decades and keyw knowing the difference between a yangqin and a western zither will result in
  3. different styles and key signatures despite them being similar instruments [Music] if you're looking for a funky Baseline
  4. having a knowledge of the decade that bands were pushing drum and bass solos is going to speed up the detective work [Music]
  5. too but what makes a bad sample you ask of course a lot will rely on taste but in my opinion finding an overly compressed or noisy sample will make
  6. your job as a producer even more hard take this track for [Music] instance a wonderful song but the
  7. general level is consistent throughout so it's going to be tough to find any chops in here compared to a sample that has a variety of Dynamics the same can
  8. be said for busy samples when we get to the advanced stages of flipping a sample later in the
  9. video I'll show you techniques which can reduce or fix busy samples but if you're just starting out finding a sample with too many instruments or vocals without a
  10. break is going to really slow you down despite how good the song sounds and there's a key point to remember you are making a song and you're looking for a
  11. sample you're not necessarily looking for a completely full sounding song before we get into a variety of ways that we can make changes or Contour to
  12. sample get familiar with your tools at hand and find a workflow you like some folks like to use a drum wreck others use a syn sampler there are producers
  13. that Chop on the grid and of course there's Hardware Samplers too with each of these tools I get a different result so knowing where I work best for each
  14. kind of sample is really crucial let's get to the three levels of sampling starting now with the basics let me know if this was the type of video you were
  15. looking for today by dropping a like or giving me your opinion in the comments below first off we need to track down a sample and in this episode I'm going to
  16. use track clip it's quickly become my favorite place to dig for gold and we can use track clip to show the fundament mtal and most basic ways of manipulating
  17. a sample so over at track clip we're going to go to new arrivals and let's just look at the first sample so it looks like we've got a SEO by Tony
  18. [Music] Allen down here in the bottom right we have three tools let's start with the first two pitch and Tempo plus the size
  19. of the loop choosing a two or four bar Loop might be the difference between a banger and something that misses the mark
  20. [Music] one there's just too much here but if we do one
  21. bar that works from the get-go let's see what else we got that could be a great house
  22. sample little drum feel at the end there that's great and let's pitch this down when pitching something down while slowing down the tempo it'll introduce
  23. more base and mud but if we pitch that up we introduce more brightness and
  24. sibilance so it's a real Balancing Act choosing something that sits in the right Sonic space think about pairing what you're
  25. combining with a sample is also going to change the vibe of that sound as well inside track clip we can pair our sample with drums to see what would be the best
  26. fit and how it would affect the vibe of the [Music] sample that feels a bit busy because the
  27. drums are awfully similar so let's try an early house [Music] beat outside of track lib and inside
  28. your door having knowledge of relative minor and major keys can switch the vibe completely I felt the air up in me kn down and clear the St L I want
  29. you [Music] see something we'll Circle back to later is also combining this with other sample
  30. chops and what to look out for let's find a new sample and let's drag this into our [Music]
  31. software and let's talk about the basics of chops there are so many ways to chop a sample and at the basic level finding the stabs or sections that make the most
  32. sense as a core ression or Groove is going to be really [Music] helpful playing a sample in from left to
  33. right on your keyboard is only going to sound as good as the sample [Music] Source but playing the sample out of
  34. order and switching up the Rhythm gives it brand new life [Music] now you can imagine that if you combine
  35. this technique with effects you'll also generate different results so let's talk about that too applying things like Reverb
  36. delay pit shift or a chorus can all have an effect on the sample we're now changing the
  37. perspective of that sound to something brighter darker wider or its perceived distance to The Listener we'll come back to more effects in just a little bit
  38. another great way to chop a sample that takes very little brain power is to slice to new midi track it will ask you how many slices you want to create per
  39. beat marker I normally leave it on quarter notes at first this break will play in order but after clicking in the piano
  40. roll you can start to edit these slices change the position and edit how long these slices play for this will help you come up with new rhythms that you might
  41. otherwise not have thought [Music] of all right so we're getting to the
  42. intermediate levels now let's look at side chaining giving your sample a ducking effect does not only exaggerate a bouncy Groove but it can also act as a
  43. helpful mixing tool to carve out space in your mix for other instruments or samples or ensure that your kick and base hits even harder again it's great
  44. that we have this as an option from the jump inside track clip so we get this duckin option which is essentially side chain and if we set that to hard you get
  45. that real kind of cada vibe [Music] without everything's a little bit too
  46. close the inverse can be applied when using a noise game I love this effect but it's not used half as much as I'd like to hear it but it's an awesome
  47. technique that you can use to punch a sample into the mix at random points using a chosen Source instrument the right sample tied to a kick can be a
  48. tremendous way to inject sample stabs into a mix [Music]
  49. [Music] this works great with a mud pie it's kind of the word we use for a really long sample of just weird sound design
  50. choices have you ever thought about using a vocoder or maybe a spectral resonator I use the vocoder all the time to enhance the peaks of a drum sample or
  51. have some something sound [Music]
  52. brighter but using a spectral resonator is something different alog together here we're redistributing the harmonics based on the sample source and with
  53. modern Daws you can give the resonator a rule so it stays in key with your track I want to talk about the filter effect I love this method it changes the vibe
  54. completely using a filter or an EQ and automating a sweeped low or high pass can give you a very futuristic sound and it works great as a b section to your
  55. sample flip [Music] autotune yes you can add autotune to anything not just vocals about 6 years
  56. ago I heard this example in the outro to a James Blake track which I think was called if the car beside you moves ahead in the outro the piano is autot tune
  57. switching the notes as they Glide from Pitch to pitch it's really weird and gives this kind of dissonant f
  58. [Music] don't sit on beat repeats or arpeggios either Fred again utilize the arpeggio effect on a recent piece of work he did
  59. and folks went wild for it it's a great way to think outside the box and leave the sample chop to chance and randomize those choices
  60. [Music] and if you want your sample to sound more in keeping with a certain decade
  61. you can get creative with sound design or just use one of the tools at my patreon here I have the swerve device which is applying a little bit of bit
  62. Crush for brto and Pitch wobble and filter in to make the sample sound less polished therefore older and more
  63. degraded you may have heard of arcade and there's many plugins like it which is a wonderful tool to rework your samples but you can do this for free by
  64. hand as well reverse change the pitch and stutter some of your samples then consolidate those moments into one long sample now as you chop up your samples
  65. like in part one in the basic section of the video you suddenly have different results you wouldn't have been able to do with the original sample just by
  66. playing it out on the sampler this next part differs greatly from sample to sample but it's my
  67. favorite for noise and pads when pairing with a really long rever it's the tremolo let's grab a pad from track clip all right we're going to drag this in
  68. and grab the tremolo we're now going to automate the rate from high to low on each chord
  69. [Music] change how cool is that it's basically every cyber Punk style trailer but it
  70. does have this really futuristic alien sound all right so we're getting to the Advanced Techniques now time and pitch or tape slope using a plugin like cable
  71. guys half time or just by knowing your way around the tape delay means you can create those cool tape slow effects heard in a lot of drill and trap
  72. [Music] I also want to talk about isolating an audio cleaner using a tool like isotope RX can be a great way to clean up noisy
  73. or lowquality samples but using a site like laa AI can be a terrific way for isolating parts of a sample that doesn't have the stems
  74. [Music] available your reflection keeping I can see your
  75. [Music] reflection in the mirror baby your reflection keep on haunting me I can see
  76. your reflection when you are looking for vocal chops you want to keep an ear out for vow sounds more often than not
  77. you're going to be using u e and r sounds over the cilent consonants [Music] bear that in mind hopefully that helps
  78. let's take a look at a more advanced level of sample chopping that was made famous by Jay Diller listen to this sample which is actually in
  79. three4 1 2 3 1 2 3 instead of playing this sample in as it's heard 1 2 3 1 2 3 try to play at a faster speed as 4 4 1 2 3 4 1 2 3
  80. [Music] 4 putting the snare on the third beat you now get a completely different Groove all right strap in for the most
  81. mind-blowing chopping method I forget about this one often and it's something I picked up from Mr Bill so shouts to you buddy at the bottom here I have
  82. quite a mundane beat and at the top here I have a sound design Mud Pie by dragging that to a new midi clip
  83. I'll be creating a simpler instrument right clicking that I can create a sampler I'm going to come over to MIDI select velocity and choose sample offset
  84. and then set that to 100 we now want to randomize this sample by choosing one midi note shift command M and then choose one long Legato note right now
  85. the sample won't randomize but if we select an arpeggiator and a velocity tool we can set the velocity
  86. tool to random and maybe increase the rate to 24 increase the steps for pitch and reduce the gate if you want more or less of the sample to be
  87. heard let's see what that sounds like with our Drums of course you can audition new sounds by just dragging in a new sample
  88. [Music] now from here there's another granular technique that is just terrific with an actual granulator we're going to use the
  89. granny 3 inside Ableton but use whatever of your choice it's the most destructive way you can manipulate a SLE and the results are different almost every time
  90. from producer to producer it's a great way to create new ambiences for your track but it's also a wonderful way to find new rhythms you probably wouldn't
  91. have thought about by playing it in by hand so here I have a short excert of an Indian vocal and I'm just going to reverse
  92. that and then go shift command T to grab a new midi instrument and drag in the granulator 3 I'll drag that sample into the granulator 3 and add a nice long
  93. Reverb to that granulator as well adding a long midi note at C3 will start to play the sample through setting your granulator to Loop whilst experimenting
  94. with position scan and grain size whilst resampling onto a new track will give you new ideas for this
  95. [Music] sample and then throw that onto a new midi track in which you can chop it by
  96. beat [Music]
  97. regions using AI tools could be super handy as well U izing a website likeo or Udo can give you reimagine samples that don't currently exist or at least a
  98. great reference tool for samples or Loops that you could recreate yourself so I'm going to ask for a dark synthwave track with a groovy
  99. Baseline okay let's see what we [Applause]
  100. got and let's see the second one [Music] this gives me a great template to start a song of my own I'm thinking about
  101. doing another video on how you can use helpful AI tools and if that's something that you want to see in terms of creating samples let me know in the
  102. comments below earlier in the video I spoke of pairing samples as well if you've ever visited who sample.com you'll recognize that some artists and
  103. producers pair multiple samples in one song so how do you go about doing this in enablon project I like to create a template where I can audition multiple
  104. one-hot kits with plugins and synthesizers and a selection of samples that I've downloaded that day it's here we can get a basic idea of what works
  105. together before sending it to the last chain in which we chop up the samples [Music] when I'm thinking about pairing samples
  106. I try to imagine what's going to take up the low frequencies what will be heard in the midband frequencies and what will take up space in a more treble focused
  107. area I think lastly I want to talk about converting to MIDI this is God mode level sampling and you'll never know if a producer has utilized this technique
  108. Okay so we've got this sample inside track clip and it says that the key is C we're going to download this and inside software we can convert this to a New
  109. Harmony track it's not always perfect but by turning on the scale and then choosing fold we can see and potentially delete the notes that shouldn't be in
  110. the [Music] scale from here we can quantize this core progression if we like and really
  111. make it our own I'm going to add some extra notes from this B here and I'm going to copy and paste them to a higher octave as well
  112. [Music] it's a great way to make a start on using a sample but completely making it
  113. your own with extended chords or just different instruments this is how a lot of producers in the late '90s and early 2000s got around copyright I hope you
  114. enjoyed this episode this was absolutely everything I could think to include about manipulating and flipping samples speaking of sampling check out outro
  115. made by Legend Community member Jon o n the sample was taken from track clib and completely manipulated and I think it's the perfect addition to inspire by let
  116. jonno and I know in the comments whether you think it should be the staple outro to the show we've never changed it in the history of inspired by thank you so
  117. much for swinging by guys I hope you enjoyed this episode and I'll catch you next time and if
  118. you and if you want to ask and if you want you know
  119. [Music]

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Sampling (Musik)In der Musik bezeichnet Sampling den Vorgang, einen Teil einer – bereits fertigen – Ton- oder Musikaufnahme (ein Sample; engl. für ‚Auswahl', ‚Muster', … Sampler (Klangerzeuger)Ein Sampler ist in der Musik ein elektronisches, meistens über MIDI ansteuerbares Musikinstrument, das Klänge jeglicher Art aufnehmen, diese in Form von … KlangfarbeDie Klangfarbe (auch das Timbre) ist in der Musik einer der Parameter des einzelnen Tons. Sie wird bestimmt durch dessen Klangspektrum, also das spezifische … Digital Audio WorkstationEine Digital Audio Workstation (kurz DAW) ist ein digitales System zur Aufnahme, Bearbeitung, Mischung und Ausgabe von Audio- und häufig auch MIDI-Daten.