Hi all!
I would like to discuss about the process that you use to choose the samples for your tracks?
Actually I’m new in the sampling world and my process start with choosing a bunch of samples that I like and I try to find a way to using them inside a track.
I think that expert producers do exactly the opposite, they start with the idea of the sound they need and they find or build that sound.
What is your process? And how to you get there?
bye
Depends what I want.
Lets say I want a bass drum sample, and I want to make it on a synth, then sample it.
Thats exactly what I do.
Now lets say I want some interesting texture to use as background for some ambient nonsense. In that case, I’ll pick any old sample, and fiddle with it until something interesting happens.
Or, lets say I want some spoken word, or a drum break, or a musical phrase, I’ll sample that from where ever. Vinyl is nice.
Samplers are just jumped up tape recorders. You can record anything you want. And manipulate it how ever you like.
That’s the art of sampling. Its fun.
So to answer your question: both.
I’m not a sampling pro, but I use both methods.
Starting with a sample (almost any sample) and figuring out what you can do with it is a great way to develop sampling chops. You start getting an ear for sample “features” (think, geology) that can be shaped into certain kinds of sounds. You’ll also get an idea how to fit them into a track. I think honing this perception necessarily comes before mastering sample selection.
It’s a lot like cooking: figure out how to make a meal out of an egg, dry noodles, and simple veggies before you move onto curating artisanal ingredients.
My sample search process is 100% removed from my process of actually making music.
Every now and then I put time aside to find (or erase) samples.
A lot of how I choose depends on my personal tastes at the time, but I need have some sort of technical aspects I follow. Like if I’m looking for some new kicks I’ll say I’m going to find 4 kicks that I want to punch around 50Hz and 4 kicks that I want to punch around 90hz to suite high and low basslines.
I sort of have a similar thing with snares but its not as strict as chances of bass clash are fewer. But I will generally almost try to build a kit around my kicks. The kits are generally quite similar in frequency content, but very different in character.
I don’t sample synths as I do all that myself. Vocals I sample quite a lot, but I’m not as picky with them as by the time I’m finished, no one knows much about the source material. But I generally check it has the correct mode just so I don’t have to chop tune which sucks if there is a nice sliding modulation.
Then there’s random field recordings I make. Obviously that is dictated by where ever I go or what unusual sounding traffic is going past my flat.
I gave up the idea of finding samples for purpose when required as it killed my flow and I’d often compromise myself by using stuff that was kind of what I wanted but hindered myself because they usually weren’t very mix ready and by the time I crow barred them in… they were sort of shit.
I tend to just keep an ear out without thinking about it too much. Go about my day, listen to stuff, watch movies/shows etc etc, then often there will be something that sticks out and I’ll think, that’ll make a great sample. Grab it, see what happens, then build a track around that as a starting point. You can always grab more samples with something more definite in mind once you’re up and running.
To say all “experts” do the opposite just isn’t true, everyone has their own process and methodology.
Also “samples” and “sampling” are pretty broad terms. There are many different types of samples as there are ways of sampling them.
Both - Starts with an idea, and something comes close to, or better than that idea. I have lots of records
Yeah, that’s an interesting one.
Off the top of my head, reasons can vary:
Obviously, there is a lot more choices or reasons.
And how to you get there?
This is also quite interesting, as with older gear like early Akai samplers, it’s common to work on creating sounds in one session and making music with them in another. However, I find with the speed at which you can create and sample in modern equipment, this sometimes blurs. Personally, I find the speed or convenience of newer gear both amazing and also missing an important aspect of creation, and that is the benefits of spending time. Something to always consider I feel.
In my process, typically I don’t save many sounds, although do have a 1 or 2 starting points. For example, I have a disk that has 808 written on it. Or maybe if I am collecting some specifically related sounds I will save them, but generally, it’s a blank starting point. Sometimes using the sampler for its own sound, sometimes using it more as a synth, sometimes drums, sometimes more abstract.
I have a friend who enjoys record sounds, and he saves those sounds and organizes those sounds. He is probably more akin to a typical collector than someone who makes music with them. He just enjoys creating, collecting and listening to them. I think that’s pretty cool.
The fact you think of yourself as new is one of, if not the most exciting times, as you are less likely to get bogged down with ideas of right and wrong. There really is none. It’s just your way and someone else ways.
I find it hard to start with just an idea. With Sampling i prefer the ideas of others(a note a chord or phrase) and morph it into my work. I think its called Stealing like a Pro 
Thank you all for telling your story, it was an interesting reading. Inspiring in some way.
Love the Elektronauts!!
I really like the title to this thread.
I only ever really sampled when I had an OT. Don’t do much of it with Ableton - just lots of VST stuff. But wihen I was really getting along with the OT I think I can safely say I fell into the “sample chose you” camp. I’d just sample all sorts of shit from old vinyl or radio and “force” those samples into being kicks or snares or weird synth stuff. Generally no big plan to any of it and 95% of things ended up sounding like dog shit but every now and again I’d strike gold (to my ears only of course!) and have a blast sketching out a tune.
At one point I was going through a phase of recording an x second snippet off the radio and forcing myself into doing a track with only that sample. Guess in that scenario nobody chose anything! But it did force me to learn how to mould a sample better. I’m still shit at it but it’s not like I’m trying to make a living off of this.