I’ve always considered “Sample Packs” as the kind of thing that people who have just bought FL studio, but don’t know how to write music buy so they can copy paste things together until they learn how to do it properly.
The exceptions being one shot drums and things you may not have access to like acoustic drum loops and vocals. (I use Samples from Mars a ton)
However I saw a tutorial by someone fairly respectable who advised to get a few really high quality commercial sample packs and learn them really well. I would have dismissed this, but I recently watched a Ben Bohmer tutorial where he seemed to be doing just that.
Interested to hear the opinions of the Elektronauts.
I really love Drench Case sound pack.
These one-shot distorted drums are a pleasure to play with, I love the territories they bring me to. My favorite sample pack by far.
Percussion loops, for example, lend a nice atmosphere to the song. I don’t like tracks that sound as if every sound is programmed because they feel too rigid.
If you want to develop a sound of your own, you’re better off either learning to manipulate the stock samples that come with your DAW or device, or going in search of your own samples. Both of those practices tend to instill a sense of pioneering, and force you to bend sounds to your will, using the tools at hand.
Conversely, large sample libraries are notorious for cause option paralysis, by leading you to believe that the “right” sound is surely just around the proverbial corner.
And sample packs, well…
People typically struggle to unhear what they have heard, and sample packs are designed to push you in a particular direction, starting with the title. If I hand you a small set of nondescript drum sounds, that’s a blank canvas. Whereas if I hand you a “Dub” pack, full of stabs and wubs, complete with a demo track showing them off, you’re most likely going to use them thusly, because there’s already a timbral cohesion and context implied.
These things are the antithesis of creativity.
So, save your money, and enjoy the quest, as defined by you.
I guess everyone has their own definitions for sample packs. Some go after genres, others after the core sounds of devices, ie a 909 pack.
Sample packs are great for drums and should not be overlooked. You can layer everything into your own stuff which is really fun and addictive. I spend at least one day per week layering drums, running through fx and adding those to my own library.
I personally see sample packs as presets, you find something you like and maybe change it or not. I always immediately delete folders with loops in packs as those are not that interesting
What skill level was this tutorial aimed at? I can imagine an expert telling a total novice to use sample pack loops because they’re easy to work with, and so you’re focused on learning one skill at a time (sample manipulation) and not two (sample selection)
I can see that being true, but it also depends on the aim of the producer in question. I’ve seen it said (and found it to be mostly true) that a “professional sounding” production starts with the quality of the sounds you use. It really depends on the aim of your production, if you want it to sound lofi and textured or if you want a HD club ready beat, but in the right sample packs, there are hundreds of ultra high quality recordings.
Most low budget or even medium budget producers may not have thousands of dollars worth of gear in their mic locker and professional musicians to record organic one shots or other various samples from, those same people may however have $10-30 for a sample pack full of high quality hits and riffs.
I’m not trying to win any awards, I’m not looking for an ultra hifi sound. I have some sample packs but I’ve really only used a few random things out of any of them as I’m more likely to sample a casio keyboard or something and then further reduce the bit rate of the sample to make it sound dirty on purpose, I’ve done that to a few sample pack samples because the audio was higher fidelity than what fit in with the rest of the samples I had recorded myself.
I think if I wanted to make something that sounded professional, like if I was a young person who worked with samples trying to get on a label that had a certain level of quality to their productions, the first thing I would do was identify the best sample pack or packs I could afford and acquire them. It doesn’t mean that’s a good expense for everyone or the only way to go about it, but you can’t always play fair if you want to compete with people who have a bigger budget and more toys than you.
Use anything. Your music will find its listener. it dont matter. I think, in any form of creative process, the only person that matters is the artist, well in this case its yourself. Thing might be differ when you work for/with other artist or even commercial music labels.
If you are working in a sample-heavy genre, then you either need the standard samples and some cool ones of your own, or you need to create everything you intend to use, in line with the norms of the genre. If you are working to a deadline and samples can speed your work up, then use them. If your creative vision is focused elsewhere than the samples, then use sample packs.
I have the Samples from Mars collection as well as the stuff that comes with Logic and Ableton. I have a few Sonic Couture sample packs as well that I’ve used in the past, but haven’t installed in a long time. I have an Octatrack and a Polyend Tracker, but so far prefer to sample my own material with those than to use existing samples.
The rules are mostly guidelines, and they follow logically from what you are trying to accomplish. If using samples is wrong, then using romplers is wrong too. I prefer to work with synths, but there is a lot of great electronic music made with samples so it would be silly to outlaw their use. (but maybe that’s a creative limitation that you would enjoy)
I have some drum sample packs, but since i have kick2, i just synthesize the kick, use maybe 10 hihat samples over and over again, for the snare - i layer it. Since i layer the stuff anyway - or use the Syntakt - there is no reason to buy further samples. Its also fun to make percussion loops, i process them with fx - etc. (Drumrack, selector to LFO, pitch, distort etc - just too much fun to leave that out of the process.)
Buying vocal samples makes sense imho, but that depends on genere, for some house stuff, its maybe necessary.)
Having a sample manager is somewhat benefical too, having similar samples - or tuned samples can help. Mostly i am still to lazy, and synthesize drum hits on the go. (I just have fun, making sounds.)
i avoid anything sample-based because it creates more problems than solves.
in particular, i do music in my spare time which is limited, and i have absolutely no time to sort through thousands of samples finding That Right One.
but this is just start. then you easily can run into a situation where That Right One does not play well with Another Right One in a mix … so you start again.
so, unless it’s LinnDrum (that does hot have decent AUv3 emulation) – just no.
PS. creative sample mangling™ is another thing that is totally beyond my understanging.
There’s nothing wrong with making samples to share with others, and one shouldn’t let societal stigmas keep oneself back from trying to understand something that peaks their curiosity, especially if it’s going to involve making one feel better as a person and inspires being a better person towards others in the process. I’d like to imagine some shady/efficient record labels/equipment manufacters/potential bad characters have teams of trolls posting negative stuff about artists trying to release their own packs because it may threaten income streams, even slightly, so they nip it in the bud. There is the option of making them under a fresh alias if you’re worried about any backlash, as Doom did with his simultaneous projects.
Personally, I’ll only support the nauts packs, and the OG E-MU/Akai CDs, though I don’t use them that much anymore as I’ve been putting off chopping and making chains of one shots for a long time now and it stares at me everyday on my whiteboard creating an unnecessary burden until it gets done
Down to hear what you have to offer us man, I’ve witnessed your strengths!
Grab a recorder and create your own sample pack. :). I do this frequently:
Nothing wrong with using sample packs imho. You can treat them like sound sources just like an oscillator. Like others have said though it’s important to make sure you don’t end up in the scrolling abyss. If you think of samples as sound sources to design new sounds from, almost any sample can become anything. So no need to search for the perfect sample. Take that time and make the sample yourself.
Do whatever you like. Use samples, use synths, hit the sink with a spoon and record that. Don’t ask permission and don’t change what you’re doing based on what anybody here says.
Some people think they’re intellectuals because of their process and whatever they do or don’t do, but it’s just their own personal thing and you can have yours.
Nobody ever complained when someone made a piece of art that was a collage. They shouldn’t complain if you use some samples to make something new.
I’ve thought about making sample packs because I spend more time noodling around with sounds than making music. I don’t have any expensive outboard gear so I can’t claim anything special, but I reckon if you release something that other can enjoy it’s still has value.
I had the same feeling at the time I didn’t own a Digitakt. Now, even if it’s not That Right One, the DT can tweak any sample into That Right One. (ok not any, you have to be a bit closer of what you look)
I have that masterclass (big up PML!) I’m into that kind of house that Ben makes and I think there’s a few things to pop in here.
I think it’s really important to discuss the specific genre that you’re referring to here. The PML crew promote a style of house that is very close to what I would consider to be traditional songwriting. You start with a synth patch 9/10, work up a melody, almost just like writing a guitar tune. (Aka; it’s a lot of work to get from a blank slate to a full tune.) The key point there, is that in this genre - the sample packs and loops typically only ever form background elements. It’s not like Burial or other forms of electronic music where the samples and the manipulation of those samples is the sounds itself.
If you’ve written a basic beat, often using one shots, and then come up with the entire instrumentation and arrangements under your own steam - I think reaching for packs for things like top loops and percs is absolutely fine. Or use a tool like XO or Session Percussionist. But honestly, for this specific genre, I would suggest that pushing back on sample packs is like saying that a pinch of salt in a dish is represents a lack of creativity in a chef.
Ben Bohmer also uses Kick or Kick 2 (can’t remember which one.)
This. I’ve collected a lifetime of one shots, but loops have their place, especially for tops & percs.
Edit: You could also consider a tool like Arcade, which is neither a sample pack, nor a VST, because it’s both. It also gives you the tools to chop those samples directly in the DAW - so that means you’re not necessarily starting with the same sample as someone else. It’s not perfect by any means. But because it’s a playable sample kit, it blurs the line between what’s a sample pack and what’s an instrument. Sub only, but worth looking at. I know Julian (Bound to Divide at PML) rates it. In many ways, it resolves the issues mentioned above re: getting lost in thousands of samples, because all you’re ever doing is finding a sample that’s going in your current track. On sale for £50 a year at the mo.
