Like how playing a kick drum with a pedal and leaving the beater on the head damps the kick.Īdd a filter envelope to that last tip to damp the brightness as well. Then notes with short gate lengths will ring out and notes with long gates will damp themselves. Or turn the release all the way up, the sustain all the way down or to the lowest volume you want the sound to be, and the decay to the shortest you ever want the sound to be.
Short gate gets a short hit, long gate gets a long hit, obvs. Send different gate lengths to drum samples for more dynamic drums. Toggling voice retriggering as well can drastically change the sound. That Aphex Twin ride sound, for example, is a long ride sample using 2 voices so you still get some decay when the next ride plays. If your sampler lets you control the number of voices for each program then use it cause a sequence can sound totally different with 3 or 6 or whatever voices.Īlso try drum samples with more than 1 voice. This even lets you record wah wah pedal action after recording the original guitar/bass material and also lets you tweak the processing to your liking after recording the source material.Įmbrace your attack/decay/release sounding wildly different when playing a single sample in different ranges cause it can sound awesome and is, for me, the sound of samplers and the reason I use them.
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Then send those full length riffs/basslines through your guitar pedal board and tweak sounds to your liking and record that into your multitracker/DAW/whatever. Now use sequencer to create full length guitar riffs and basslines. Sample dry signal of yourself playing electric guitar riffs / electric bass basslines. instead of building your sounds/samples from single instrument sources, consider layering them before sampling to get closer to the results your finished song would need.Ħ. Why sample single notes from a synth when you can layer multiple instruments, mix them together with your mixer and record that instead? I.e. If the sampler lets you layer two samples which can be heard playing together, that feature can be used for this technique, as long as each sample can be tuned separately from each other.ĥ. The result sounds like a super high passed drum loop which HP filter cutoff gets lower and lower as the sample plays forward.
Trigger both samples playing at the exact same time. Tune this new copy just a tiniest bit faster or slower than the original copy. This tip works best in tracker environment or anywhere where sample playback start is guaranteed to happen in fixed amount of time after you trigger the note: Take for example a drum loop and make a copy of it. Use short single cycle waveforms + sampler's own filters + ADSR and your sampler becomes a VA synth.Ĥ. Great for acid without using the actual synth for the final composition.ģ. Now assign those notes to different keys and use sequencer to play them as you wish. A variation of the above: If your sampler lets you create sample slices, record 8+ acid style bass notes which all have different filter ADSR amounts. Trackers let you control the sample start by note basis. Some samplers let you tie the sample start to velocity, use that. This gives you different filter cutoff for each note you play with your sampler: great for acid style bass lines with jumpy filter cutoff, etc. Then change the sample playback start for each note you play. Sample a long single note filter sweep from a synth. I can start with couple of things I've learned and used:ġ. I'm interested in hearing about topics concerning: I'd like to raise discussion and idea sharing about tips, tricks and techniques you've learned when using samplers for music production.
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