Quite interesting, remember doing this back when rack samplers were king, I had a A3000 too.
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Dan Worrall + sampling? Love it
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I still work this way with a variety of sample editors and software tools. I love building up multisampled instruments and still tend to create endlessly sustainable, looped samples rather than memory-hogging one-shots. Me, I use Wavelab for editing, and have an old G3 iMac for Jupiter Systems’ Infinity looping software. I also run the long-lost Zero-X Seamless Looper on Windows. Both of these help with ‘impossible’ loops.
I have done so, so many samples over the years… tens or possibly even hundreds of thousands of the things for Computer Music’s cover-mounted disc. It’s almost an automatic process now.
I’ve never owned a Yamaha sampler, but I currently have two EPS’ (one classic, one 16+), a Mirage, an Akai Z4 and recently got an MPC Live (the latter of which I’ve not yet had time to really try due to a studio re-organisation).
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I was doing this a couple of days ago, making a CPU-hog Repro patch into a friendly and lightweight NN-XT instrument in Reason.
Mono’s fairly straightforward, but stereo still trips me up. Any tips? I sometimes think it might be an idea to split the left and right channels into mono layers, but it’s literally twice the work. Maybe there’s a better way?
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EPS was (is!) a great sampler, waveboy fx!
Never had a Mirage but did briefly have a Prophet 2000, the filters and sound were great for punchy drums, I always wanted to try a Prophet 3000 but pretty unobtainium!
Ha, I contributed samples (17 drum loops) to the very first Future Music CD back in 93, it was pretty funny back in the day listening to pirate radio in London and hearing loops I made on other peoples records.
If anyone is interested you can still (I think) download it.
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Stereo’s always going to be harder since the best loop points aren’t always going to be in the same place in both channels. As you say, you can split ‘em and process them as two separate panned samples. Of course, you’ll need to layer them in the sampler, but that’s usually not a big deal. Failing that, cross-fading may be the easiest option in many cases.
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I am now itching to get my room re-cabled so I can make some multisampled instruments on my nearly-untouched MPC Live. 
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Fun video! Thanks for sharing… some of the old habits I developed with those sort of samplers are still very much used when I’m working with my DT or OT. The DT is excellent for creating playable instruments out of really short samples of that nature… I actually really like the clicky badly looped vibe especially when playing up and down the keyboard a bit… but then I still have soft spot for the old Mille Plateaux stuff of the early 00s…
I was interested and I was able to download it… I kind of wish that FM would make more of their old CD contents available. Would love to revisit some of the old reader’s demo’s from back in the day. Would be an interesting time capsule for sure!
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Thanks sensei 
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Wow, that loop tuner feature would have saved me a lot of time back in my FT2 days! That said, it was easy enough to adjust the loop point while the sample was playing.
Ha, same. I never really tolerated it in my tracks, but it was an interesting effect in other music.
Holy shit, yes! I’ve been on a bit of a rave kick lately on the Model:Samples, this will be perfect 
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Watched this earlier, love his videos.
The MPC live has this auto sampler feature which seems really cool, making this whole process automated.
I wonder how’s the best way to do multisampled synth instruments. If you sample finished sounds with filter etc applied, you are not really flexible anymore I guess. It’s a fixed sound where you can’t play with filter settings anymore, or perform filter sweeps or anything like that.
Or would you just sample raw oscillator sounds and use the sampler’s filter? I guess you loose the characteristic of the synth…
Just wondering, never thought about making multisampled stuff before.
The idea of capturing some synths in the MPC and having all the sounds in the sampler is quite tempting
Love hearing the Computer Music and Future Music references from @Scot_Solida and @darenager. My first job was as a sub editor for CM, sitting right behind the FM guys. Good times!
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Unfortunately, many hardware and software samplers just ignore RIFFs SMPL chunks these days. Elektron is no better here.
I do both. Generally when I make a full set of sounds, I sample the raw waveforms for the purpose of using the samplers filters, etc. But I more often sample fully patched sounds in order to capture the character of the sampled instrument’s filter, VCA, etc. You can’t do as much with these samples without compromising the character, but that’s okay - if the patch is completed on the source, I’ll likely only need a bit of minor high/low-pass filtering and amp envelope adjustments in the sampler itself.
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Hi Craig! I’m still writing for 'em. I started way back in 2002. I couldn’t ask for a better gig 
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makes sense thanks
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I remember buying the first 40 or so CMs back in the days. There was only 1 bookstore in Antwerp that was selling them, would rush out the door when a new one was out.
Soundblasters with soundfonts and shizzle like that 
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Me too. There were very few bookstores that sold CM in my town (Colorado Springs), and they never knew when the issues were arriving. When I knew the time was near, I’d call the store every day until they arrived, and then hop on the bus for the 45-minute ride to the store. If I was lucky, I’d get there before shoplifters had purloined the cover discs off of the very few issues that were stocked. It was always an exciting bus ride home, looking forward to exploring the samples and software on that disc!
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Pre-internet these magazines were pretty much the only way to get decent info on electronic music, I’m very grateful they existed, and for the reviews and writers of the articles, it is nice to see a few familiar names on this forum and some other forums too.
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I am really looking forward to trying this feature. I didn’t know the MPC could do this until after I bought it. It was a nice surprise!
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