One of the main reasons for this is down to modern gear itself and how it affects the whole production process. In the early days of sampling, this was a huge issue. I am going to date myself here and Fuck In A - Captain Three Leg* - Coming Up Short (File) that my first sampler — an Ensoniq ASR which I still lovingly own Award Tour - Various - X-Mix Issue Sixteen shipped with 2MiB of internal memory.
This was expandable to 16MiB. This translated into a default sampling max time of about 20 seconds, with the upgrade pushing you to the nose-bleed heights of about 2 minutes. With the limited sampling time, time literally was of the essence — so any way Secret Love - Killer - Ready For Hell shorten sampling time was good.
One creative technique early vinyl samplers used was to sample the record at a pitched up speed — often sampling a 33rpm record at 45rpm — so that the sampling time was shortened. Once inside the sampler, the sample could then be pitched back down to its original speed. Subtle, but there. Another restriction of early sampling gear was that it could only sample in Mono.
So, once again, a limitation of early sampling gear contributed to the way that samples sounded. Even with the ability to sample Atrofiado Entorno - Nemessis - Environment stereo, many early producers would still opt to sample in mono because of the way samples could be edited.
Of course, producers wanted to give their productions a stereo feel, so a raft of techniques developed to accomplish this. There were all sorts of techniques people dreamed up to overcome the limitations inherent in their setups. EQ, reverb, compression, limiting etc. It should be noted that all of this would be done out of the box — no DAW. Analogue mixers would be used with outboard processing or onboard processing from the sampler, all of which imparts a unique feel depending on the gear configuration.
Not to mention a healthy amount of noise. This hopefully gives you an insight into some of the early sampling techniques and most importantly gives you an understanding Award Tour - Various - X-Mix Issue Sixteen a simple concept that today is often overlooked — limitation in the studio is often one of the best creative forces. Try some of these techniques out yourself, making use of your own sample library — make them mono, pitch them up and sample them and then pitch them down again, add some dirt and noise to your sounds to emulate the dirt that outboard gear imparts, and so on.
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Learn how your comment data is processed. Speeding Up The Sample With the limited sampling time, time literally was of the essence — so any way to shorten sampling time was good. Mono Sampling Another restriction of early sampling gear was that it could only sample in Mono. Production Techniques Of course, producers wanted to give their productions a stereo feel, so a raft of techniques developed to accomplish this.
Conclusion This hopefully gives you an insight into some of the early sampling techniques and most importantly gives you an understanding of a simple concept that today is often overlooked — limitation in the studio is often one of the best creative forces.
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