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//_Searching for the perfect sampler
Experiences, tricks and bad advice referring to sampler-search
Samplers are electronic devices to record, change and replay portions of existing songs and sounds. Some people only want to sprinkle their favourite sounds again and again. Others get that familiar with samplers, that lots of "stolen" sounds are used to create something new or even songs and complex compositions, sounding like a whole orchestra. Some developments in music history like hip hop or drum & base are strongly obliged to sampling devices. Everybody who gets used to the idea of making sample-based music is faced with difficulties to find the "right" equipment. This text is a trail to pass on my experiences with different samplers and some basic consideration - well, I hope to give a little support to everybody who's searching for a suitable instrument. Cursed to select A sampler should be an aid to support your creativity. Whatever your speakers spit out - it depends on you. So don't wait to find "magic machines" or "super-sounds". Because of that it's important to find out what you want to do. Then you can consider which tools could be useful or which functions you need definitely. So just ask yourself some questions about your wishes and demands: Do you only want some dirty drums? Do you want to create simple beats or very complex compositions including many samples? Are you searching for a device with full control of every detail or an easy to handle unit? Are you searching for a music instrument or do you prefer working on an computer - or do you like both ways? If you try to dig out your ideas and requirements, you can avoid much disappointment ... maybe. It's up to you ... Disputes between fans of different technologies show similarities to religious struggles. It's all about soft- or hardware, bitrates and stuff like that. Some people state that computer-based music is not "real" and that only samplers can create fat beats. Others don't understand what's funny to sit in front of a sampler for hours, chopping up sounds without graphic support. Some like 16bit samplers, others enjoy the old 12bit ones which are alleged to have a dirtier sound. And everybody owns the truth. It's less productive to join those struggles. Most of it is about delimitation, identity and being cool. Even if everybody would like a MPC or SP 12 - you could find it quite boring. You should use those tools that support your creativity no matter what others might tell you - and that's it. Some people produce wonderful music with computers. And many come up with stupid, standardized sounds - regardless what equipment was used. Nevertheless there are some points that suggest certain solutions and could be helpful to your decision. And of course it's very useful to test different types of samplers. Computer versus sampler Meanwhile there are many different software-samplers,-sequencers and scores of programs that transform a pc (one with a good audiocard!) into a compact production center. You can do everything up to burn a cd with your music. The facility seems to be obvious: Samples show up as a waveform on the graphic display and can be edited, cut up und mixed with effects precisely. Huge harddisks prevent trouble covering to sample duration or memory, data can be copied easily. Maybe you want to use one of these solid, old multimedia-computers (like Atari or Apple Mac). Reasons could be: There's a large amount of music software for these devices. And they work together fine with some samplers if you tend to mix computer and sampler. Why use a sampler? Sampler have a characteristic sound, especially old 12bit dinosaurs deliver a special "crunch" for drums etc. Indeed modern audiocards can imitate a lot, but I think the don't reach the analog-digital-converters of a good sampler. Particularly interesting devices are sampling workstations, which are designed to be a stand-alone music instrument including sampler, sequencer, effect section and more. The MPC series, Emu SP 12(00) or the sampling-keyboards Ensoniq EPS, EPS 16+ and ASR 10 belong to this type of instrument. These ones are easy to handle tools for sample-bases music which represent a different production style in contrast to computers. Of course you have to find out which style and equipment you like … An infinite story I have worked on a pc for a long time, making first musical steps with soundforge (a wave editor) and cubase (sequencer). Certainly I never liked to sit in front of a computer and stare at the screen. For me the sound was too clear, too cold in general. Mainly I don't feel like "yeah, this tool is really supporting me in creating things". Someday I started to try out sampling devices - and fell in love instantly. Since I use samplers it's pretty easy for me to be creative ... I can produce tasty drums or complex structures. It really pushed forward the intuitive way of sampling ... and it is much more funny. However my quest for the "right" devices was very arduous because I didn't ask myself what I wanted to for a long time. Many decisions based on an impulse to start things. Questions as to my expectations towards those instruments got pushed aside. A bit more reflection could have prevented some faults of mine. Well, this text is meant to be a little help for you to search in a deliberate way. Ok, the infinite story of sampler begins ... Initially I tried a Sp 12 TURBO ... nice, dirty sound, but nothing for the complicated music I was dreaming of. A MPC 2000 XL followed ... I really like the sequencer, drum pads and overall simpleness, but the sampler section and sound were stupid. An Akai s 950 joined the "team" ... crunchy 12bit sound. Last device was a ensoniq ASR 10 sampling keyboard. Now I use all three of them, the MPC for sequencing the ASR. I record many samples with the s 950 because I like to have a crunchy sound and that special pressure, especially when it comes to drums. I only work on a pc to process tracks after mixdown and sometimes to chop up samples before the go into a sampler. Sampler There are so many samplers by different manufacturers. The following reviews are limited to devices I used in the past or use nowadays. And it's only my personal view! On the internet you can find some informative sites about new and old samplers. For example www.synrise.de (synthies & sampler online-archive, english and german). Pay attention to: Many instruments are out of production. That is why you should find out if replacement parts, expansions or updates are available (for example, the german company "mutec" still produces memory expansions for older akai samplers like s 950). Check out what's inside before you purchase a sampler. Searching for out-of production expansions can be entirely nerve-wrecking. Because of that makes sense to organize a already expanded device. Even if it takes longer time. Sampling "workstations" Sampling "workstations" are multifunctional devices, which combine sampler, sequencer and sometimes even an effect section. This "magic machines" are stand-alone instruments designed for sample-based music. These devices provide nearly everything to produce complete songs. The attraction of sampling workstations is based on their own special way of production. If you feel addicted to the art of sampling you should take a look at these instruments. If sampling is "only" a small part of your music you may prefer other solutions ... maybe.
Emu SP 12 / SP 1200 (12bit, monosampling) Possibly a legendary device among many hip hop musicians. Certainly it's the crunchy, raw 12bit sound and a very easy handling. This "dinosaur" has a simple sequencer to create own songs. You should keep in mind differences between several devices: An SP 12 comes along with only 2,5 seconds sampletime, SP 12 TURBO offers 5 seconds. Both contain a small harddisk but no floppy drive - however some old 5.25 floppies used by c64 work with them. In addition there's a software ("drum library", details at www.emulatorarchive.com) to connect SP 12 and Apple Mac. Against that the SP 1200 offers 10 seconds and a regular floppy drive (size 3.5) known from computers. But this sampler isn't cheap at all (ebay: 600 euros and more ...). My advice: check out Emu EMAX (keyboard and rack-versions available) which uses the same main board and converters like SP 12(00) - and it's not so dam expensive ... User: Jel, beat conductor of Them and part of the anticon collective, creates crazy shit with his rusty SP 1200 - despite of all limitations. One of his albums was named "10 seconds" with reference to the modest sample time. Rating:
Ensoniq EPS 16+ / ASR 10 / EPS The EPS 16+ is a 16bit sampling-keyboard and more like inside information. A relative easy handling is combined with unbelievable depth when it comes to processing or modulating sounds. sequencer unit and effectboard are standard parts. And you can re-sample sounds with effect. The EPS 16+ is a very creative instrument if you like variations of samples und a living sound. I'm sure sample-artists will like this device! The ASR 10 detached the EPS 16+ - new features: Sample memory can be expanded up to 16 MB. Re-Sampling has been tightened up: Now you can re-sample and process recorded sequences or live play. An update of the operation system allows harddisk-recording via SCSI. Otherwise there are only a few modifications - if you don't need a large sample memory you will likely feel ok with an EPS 16+. The EPS 16+ is offered at about 100/200 euros at ebay, an ASR 10 costs up to 600/700 euros referring to expansions. Ok, to give a complete overview at the series: EPS is a 13bit sampler which I couldn't test yet ... what a pity ... User: El-p uses an EPS 16+ to program his sparse beats which expand to complex compositions - the instrumental album "Little Johnny From The Hospital" (done by El-p and Mr. Len) is a rare example for strange, experimental sound worlds far beyond mainstream hip hop. Expansions:
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Akai MPC 2000XL (16bit, stereosampling) The handling of the MPC is fast to learn and supports you to realize your ideas without detour. No matter what you want to do: Playing drums or develop songs ... all that can be done with a MPC easily. For me that's the main argument for this workstation. It is also pretty nice for live gigs. Ok, reverse of the medal: modulation and processing functions are very limited. Envelopes can only adjust roughly, there's no support in loopfinding. That's ok for drums and stuff like that - but adherents of eccentric sampling will be disappointed. In comparison with Ensoniq products the MPC is not favourable - and keep in mind that you have to buy every expansion seperately. MPC 60 (12bit) and MPC 3000 (16bit) were designed in collaboration with Roger Linn. Both devices are relative expensive, but are well estimated among hip hoppers (I don't really know why ... check out some hip hop discussion forums). User: RJD2's album "Deadringer" was a quite stunning demonstration how to use an MPC as an instrument - thus he creates varied compositions and interesting song structures. Scott Herren (Prefuse73) also uses an MPC to create his damm groovy hip hop beats. Expansions:
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Simple Samplers Simple samplers can not stand alone. They have to be played (or triggered like it's called by "experts") via midi ... with a keyboard, sampling workstation or computer. That is a bit uncomfortable. Anyhow there are some devices which could be interesting because of their sound or special functions. And of course many of these samplers are offered real cheap as software samplers take over markets. Akai s 950 (12bit, monosampling) The s 950 is the last 12bit sampler manufactured by Akai. Maybe it's only my imagination but my perception is that percussive samples got crunchy and the overall sound is very warm and a bit raw. Very nice is the fully adjustable samplingrate (up to 48khz). Also resampling after recording can be done quickly. Sample duration is 10 seconds at highest sample rate and can be expanded to 30 seconds with two memory expansions. Among the use of variable sampling rates sample duration can be increased noticeably. That's why this tool could be a great tool for 12bit fans which like to have more than only 12 seconds like on an SP 1200. If you want to connect s 950 and harddisk (only up to 60 MB), watch out for devices with already installed SCSI board. This interface also provides optical and digital inputs for sampling from minidisc or DAT. The programm "akaidisk" enables to load samples from floppy disks into your pc. The s 900, predecessor of s 950, doesn't support memory or SCSI expansion - if you are searching a simple drum sampler you will be alright with this. Both devices are offered at about 100/150 euros at ebay. Well konwn users: "The Main Ingredient" LP of Pete Rock & CL Smooth was produced with a sampler of the s 900 series - check out the crunchy sound! Of course Fatboy Slim also uses one of these machines. Expansions:
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If you have questions referring to this articele or if you desire to have an exchange about something - get into contact!
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Which sampler should we deliver? 
__Author: Espi Twelve, 10/2004
__This article in