Audio sampling : a practical guide / Sam McGuire, Roy Pritts.
| Author/creator | McGuire, Sam |
| Other author | Pritts, Roy, author. |
| Format | Book |
| Publication Info | Amsterdam ; Boston : Focal Press, ©2008. |
| Description | xviii, 212 pages : illustrations ; 24 cm |
| Subjects |
| Contents | Foreword -- Preface -- Introduction to sampling. What is sampling? -- A sampler survey. Sample players ; Hardware samplers ; Software samplers ; Tape-based samplers ; Miscellaneous utilities -- Basic sampler expectations. Basic editing features ; Editing the audio file length ; Playback direction ; Level control ; Pitch shifting ; Looping ; Capable GUI ; Project manager -- Other expectations. Sampler memory ; Voice count ; Advanced volume control ; Pitch control ; Spectral control ; Velocity layers ; Round-robin ; Key switching ; Scripting -- Additional software sampler features. Low-resolution playback ; Hold samples in memory ; Sample streaming -- Benefits to using samplers without creating your own instruments -- Using samplers. Preproduction ; Production ; Live performance ; Composition ; Post production -- Benefits to creating your own sampled instruments. Low-cost solution ; Need-based solution ; Unavailable instrument ; Instrument preservation -- Summary -- Making connections. Signal chain -- Capturing the sound source -- Using microphones. Power ; High pass filter ; Pad ; Polar patterns -- Using a line input/instrument input -- Using microphone preamplifiers -- Using analog-to-digital converters -- Using audio interfaces. Expansion cards ; USB and FireWire ; Miscellaneous connections ; Monitoring -- Using an alternative to audio interfaces -- Hooking it all together -- Cable types -- Balanced vs. unbalanced -- Grounding -- MIDI connections -- General equipment tips and tricks. Forums ; Patience in buying new gear ; Find a quality reference -- Source preparation. Choosing your source. Traditional instruments ; Brand new instruments ; Existing vs. new ; Who should be the performer? ; Non-acoustic sources. Sidebar. Sampling: pay $ now or pay $$$ later / Storm Gloor ; Straight in ; Batteries of non-pitched instruments ; Focus is on musical instruments -- Preparing your source. The range of your virtual instrument ; What is the range of a kitchen cupboard? ; Tuning issues ; Instruments can be more or less in tune ; Equal-tempered tuning is easiest -- Understanding your source. Change in pressure ; The ear ; The speed of sound ; Applied knowledge -- Putting it all together -- Recording the first sample. Ear training. Goals ; Transparent listening. Why is transparent listening a goal of ear training? ; How is transparent listening developed? -- Focused listening. Why is focused listening important? ; How is focused listening developed? -- Listening memory. Why should listening memory be developed? ; How is listening memory developed? -- Projected listening. Why should projected memory be developed? ; How is projected memory developed? ; Summary -- Basic acoustic issues -- Microphone choice and placement. Capturing source and ambience ; Microphone placements for capturing source and ambience: Spaced pair ; Blumlein ; MS ; ORTF ; X/Y ; A mix of close and distant microphone techniques ; Eliminating the ambience ; Microphone placements for eliminating ambience ; Surround-sound possibilities -- The recording session. Preparation ; How? ; Where? ; When? ; Setup for session ; Have a plan in place ; File management ; Be critical of everything -- Tidying up -- Sample editing. Editing styles. Independent editing style ; Integrated editing style ; Combination editing style -- Basic editing. Editing in the sampler -- Advanced editing in the digital audio workstation -- Adding additional effects/processors. Time effects ; Delay ; Various delay-based effects ; Reverb ; Frequency processors ; Filters and equalizers ; Application of EQ ; Pitch correction ; Distortion processors ; Application of distortion processors ; Dynamics processors ; Compressor ; Application of compressors ; Limiter ; Application of limiters ; Gate ; Application of gates ; Expander ; DeEsser ; Multiband compressor ; Application of multiband compressors ; Applying effects and processors ; Export settings -- Creating the instrument. Importing files into zones. Setting the root note ; Setting the zone outputs ; Zone overlap ; Velocity ranges ; Fades between ranges ; Using the round-robin function ; Looping ; Envelopes -- Advanced mapping. Key switching ; Scripting -- Fine-tuning -- An example of mapping -- Additional sampler features. Flexible envelopes ; Filter ; LFOs ; Built-in effects and processors -- Using samples. MIDI. Overview ; Connections ; Interface ; MIDI data ; Controllers -- Musical instrumentation. Emulation ; Transcription ; Realization ; Arrangement ; Composition -- Composition and orchestration. The plan ; The prescription -- Musical terms. Melody ; Harmony ; Rhythm ; Texture ; Motif (or motive) ; Phrase ; Form -- Compositional techniques. Rhythmic expansion ; Rhythmic contraction ; Intervallic expansion ; Intervallic contraction ; Inversion ; Retrograde ; Sequence ; Imitation ; Repetition -- Performance characteristics. Vibrato ; Tremolo ; Articulation ; Dynamics -- MIDI performance control. Note on/off ; Note number ; Velocity ; After-touch ; Breath control ; Patch change ; DSP -- Observations. Observations about timbre ; Observations about melodic development ; Observation about melodic motion ; Observation about layering sounds ; Observations about the string ensemble -- Examining the roots of sampling. Timetable of processes. 1950s-1960s ; Classic studio technique ; Musique concrete ; Electronic music (Elektronische Musik) ; 1970s-1980s ; Digital samples -- 1990s ; Wavetable synthesis -- Timetable of historically innovative systems. Analog devices ; Digital devices ; 1970s-2000s -- Thoughts on the future of sampling. Modeling and convolution meet sampling -- Future uses of sampling -- Summary. |
| Abstract | Explains how to record and create sampled instruments in a software setting. The software used is the NN-XT a sampler that is a part of the Reason studio software and ProTools LE, however the material discussed is applicable and can be used with any sampler. |
| Bibliography note | Includes bibliographical references and index. |
| LCCN | 2007025666 |
| ISBN | 9780240520735 (pbk. ; alk. paper) |
| ISBN | 0240520734 (pbk. ; alk. paper) |
Availability
| Library | Location | Call Number | Status | Item Actions |
|---|---|---|---|---|
| Music | Closed Stacks - Ask at Circulation Desk | ML74.3 .M43 2008 | ✔ Available | Place Hold |