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Topic: Sampling rules or procedures?

  1. #1

    Sampling rules or procedures?

    Hi all,
    I\'m interested in taking samples from two mediums: an acoustic instrument and from an audio CD with acoustic instruments on it.
    Are there any sampling rules that one should follow in terms of how many .wavs are necessary to make a sampled instrument? For example, gigapiano has 21 wavs (i think) whereas a sampled juno 60 has just one. If your\'re sampling an acoustic instrument, at what notes or intervals do you take the samples? If you take a .wav from an acoustic instrument on an audio CD, is one .wav enough like it is for the sampled juno 60 or do you need more even though the physical instrument isn\'t there to tell where the notes are? If anyone can shed any light on this i would appreciate it as i would like to make some kick as$%^ samples!

  2. #2

    Re: Sampling rules or procedures?

    GS and all samplers can pitch transpose a single sample across
    the keyboard if necessary, the process is much like playing a tape
    faster or slower, though it is a bit different since ultimately
    it will play the pitch shifted sample out to a constant
    sample rate out (like 44.1KHz). To do this it will
    stretch the sample in real time and then resample it.
    On some samplers this can add unpleasant artifacts so
    you use a lot of samples to minimize the artifacting
    of a big stretch. In my opinion GS has a
    really good pitch shifting algorithm, better
    than most I have heard and mostly free from
    damage even with a significant shift.

    However a lot of instruments (especially
    pianos and voices) have significantly different overtone
    series across their range. If you stretch
    these much they sound quite unnatural, and also
    a sample pitch shifted up will not match well against
    the next one pitch shifted down. For this reason
    you generally want to sample a Piano at least every 5 semitones as a

    But then I\'ve compared multisamples of
    like 10 sawtooth waves to a single one stretched
    and there\'s virtually no difference. So with
    synthy, unnatural tones you can get away
    with a lot, but with harmonically complex sounds
    where people expect a certain timbre in a certain
    range (natural, well recognized sounds like
    accoustic instruments, it\'s best to use a
    lot, it sounds better and makes a more
    int4eresting and believable instrument.

    I usually shoot for 4 notes/octave if I\'m working
    fast but still want good quality. And velocity switched
    layers is also very good for accoustic instruments,
    3 or 4 per note makes a great instrument

  3. #3

    Re: Sampling rules or procedures?

    you havent said how

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