Definition
Sampling is the digital recording of a real sound in order to play it as an instrument. A sampler loads the samples, maps them across the keyboard and processes them with filters, envelopes and modulations like a synth. Essential history: Fairlight CMI (1979) and E-mu Emulator (1981, then Emulator II in 1984) in the big studios; E-mu SP-1200 (1987, 12-bit, about 26 kHz sample rate, a grit famous in hip hop); Akai MPC60 (1988, designed with Roger Linn) and the Akai S900/S1000 family; today Kontakt, Ableton Simpler/Sampler, Logic Sampler and, in FL Studio, Sampler channel, DirectWave, Slicex, Fruity Slicer, FPC.
Fundamental concepts
- Sample rate and bit depth: 44.1 or 48 kHz, 24 bit. The Nyquist theorem says that frequencies up to half the sample rate are reproduced; above that you get aliasing. Low-resolution vintage samplers (SP-1200, S950) add a color that is sought after today.
- Root key: the note at which the sample plays at its original pitch.
- Key zones: each sample covers a range; transposing a sample too far makes it unnatural (“chipmunk” effect upward, slowed downward), so realistic instruments are sampled every 2–3 semitones.
- Velocity layers: samples recorded at different dynamics.
- Round robin: multiple samples of the same note/velocity that alternate to avoid the “machine gun” effect.
- Loop: loop start and end points to sustain long sounds, with crossfade to eliminate the click; the loop goes at a zero-crossing point and a point of similar amplitude.
- Repitch vs time-stretch: changing speed also changes pitch (repitch, “vinyl” character); stretch keeps the pitch but introduces artifacts.
Types of use
- Multisampled instrument (piano, strings, acoustic drums): realism.
- One-shots (kick, snare, FX): electronic drums.
- Chop (slicing a loop or a record): hip hop, house, jungle. Techniques: slice on the transients, reassign the slices to pads, replay them in a new order.
- Texture: a sample transformed until it is unrecognizable (granular, reverse, stretch).
Rights
Sampling someone else's recording requires clearance of both the master (label) and the composition (publisher). Famous examples of sampling: Daft Punk, “One More Time” (2000), built on a sample by Eddie Johns; Kanye West, “Stronger” (2007), on the sample of Daft Punk's “Harder, Better, Faster, Stronger.” Use royalty-free libraries or sample yourself if you can't license.
In FL Studio
- Sampler channel: drag a file into the Channel Rack; root note, time stretch, filters and envelopes in the channel settings.
- Slicex: automatically slices a loop on the transients and maps the slices to the keyboard; it also exports the corresponding MIDI.
- DirectWave: multisampling, velocity layers, round robin, loops with crossfade.
- FPC: drum pads with velocity layers.
- Edison: recording, editing, zero-crossing search, looping.
- The CMI V and Emulator II V from the V Collection 9 recreate historic samplers with their color.
Example in A minor
Sample a note of acoustic guitar (A2) and a vocal “oh” (E4) yourself. Guitar in DirectWave with root A2, zones ±3 semitones, two velocity layers (soft/hard pluck): play Am – F – C – G as an arpeggio. Voice in Sampler with a 200 ms crossfade loop in the sustained part and a 150 ms attack: vocal pad for the chorus.
Common mistakes
- Transposing a sample too many semitones: fix it by sampling more notes.
- Loops with clicks: look for the zero crossing and use the crossfade.
- Samples all normalized to 0 dBFS: you lose the natural dynamics between velocity layers.
- Forgetting the rights of a sample.
Exercise
- Create a multisampled instrument from three notes of a household object (struck glass), with two velocities and round robin.
- Slice a 2-bar drum loop in Slicex, reorder the slices and create a new groove at 170 BPM (jungle).
Connections
“Granular synthesis”, “Resampling”, “Drum design: synthetic kick”, “Layering sounds”.