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 (nobody)...and 365 guests Last 5 registered Oplandisks nothingstar N_loop yipe foxtrotromeo Browse members... |
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Members 8025Messages 2613457 Today 3 Topics 127500 |
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Ok.. here's a question for those of you who's doing some sampling. If you were to sample, like say a grand piano, are there any preferred methods of doing this? Should the spacing of the multisamples be the same over the whole register or are there any other tips/rules for this? And how many samples would you need? I've read that you should have atleast seven samples per octave for instruments like pianos, but are there other opinions on this? Any pointers to multisampling tutorials/resources would be appreciated :) The reason I'm asking is that I'm writing a semester thesis in music technology on sampling and they want calculations on the number of samples to be used in multisampling. From what I've read, people generally choose this quite randomly, not by caculating. |
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that would be a great tutorial to write, so i prefer 2 samples for each octave, there are no rules, sure you'll need some filters, envelope and so on... just make a programm and add all your keygroups, test around, calculate the pitch with the frequencies, it's hard to begin, so rush over the whole keyboard and listen exactly to each key for wrong sounding to the next key... it's a bit feelish work ... |
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also crossfades, LFO, cutting the samples exactly, timestretching... i think you know what i mean. i begin by a normal C3 sample, tuning it by layering it with an original C3 sample, mostly i got three pitches up and down for each sample... |
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thanks for the tips.. hadn't thought much about layering yet. I'll look into that. |
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just work with a identically sampling rate, never use 22 khz and 44khz samples on the same keymap.. Try multisampling at F2, C3, G3, D4, A4, E5, B5, and F#6 |
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i normally sample three tones per octave but it also depends on the tone color of the instrument how complex the sound is the more complex the more samples where as if yer just use a chip sound [i.e. a basic waveform such as pulse or square] you only need one sample for the entire dynamic range of yer programming capabilites |
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To sample a piano properly, you need to sample every note, if you don't the formants will be wrong(unless you have a special resynthesis/formantcorrecting sampler)... |
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any reason you mention these specific notes? (F2, C3, G3, D4, A4, E5, B5, and F#6) |
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an interval of six semitones.. I'm too tired for this :) |
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Sample just middle C. Then you get built in distortion the higher/lower you go ;) |
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ah.. built-in distortion, and only one sample.. that's resource effective at least :) |
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there are several solutions, so, just test around, i think timestretching, looping and release looping are important for good pianos, also the attack phase ... just think at the theory: if you play a sample one octave up, it rings out only the half time from the original, same when you pitch it a octave down... octave up/down original length *2/ /2 |
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You can also try running your music package on a 486 for more built in distortion :) I've always wondered how the instrument files in programs distort so little even though they're only one note whereas .wavs distort after a couple of octaves... |
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CeriJC i'll test that, i like such crazy ideas, like reversing the sample, adding horrible effects, but not loud and then reversing it again :) |
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