A sampler is an electronic or digital instrument similar in some ways to a synthesizer, but instead of producing a new sound with filters, it uses sound recordings (or "samples") of real instrument sounds (eg, piano, violin or trumpet), excerpts from recorded songs (eg, five seconds bass guitar riffs from funk songs) or other sounds (eg, sirens and ocean waves). The sample is loaded or recorded by the user or by the manufacturer. These sounds are then played back by using the sampler program itself, a MIDI keyboard, a sequencer, or other triggering device (eg an electronic drum) to perform or compose music. Because these samples are usually stored in digital memory, the information can be accessed quickly. One sample may often be diverted to a different tone to produce scale and music chords.
Often samplers offer filters, effects units, modulation via low frequency oscillations and other processes such as synthesizers that allow original sound to be modified in various ways. Most of the samplers have Multitimbrality capabilities - they can play different sounds simultaneously. Many are also polyphonic - they can play more than one note at a time.
Video Sampler (musical instrument)
Histori
Before computer memory-based samplers, musicians use replay tape keyboards, which store recordings on analogue bands. When a button is pressed, the ribbon ribbon head moves and plays sound. Mellotron was the most prominent model, used by a number of groups in the late 1960s and 1970s, but the system was expensive and heavy due to the dual band mechanism involved, and the instrument range was limited to three octaves at the most. To change the sound, a new tape set should be installed in the instrument. The emergence of digital samplers makes sampling much more practical.
The earliest digital samples were conducted on the EMS Musys system, developed by Peter Grogono (software), David Cockerell (hardware and interface) and Peter Zinovieff (design and system operation) in London (Putney) Studio. 1969. This system runs on two mini computers, Digital Equipment PDP-8's. It has a fast pair of D/A and A/D converters, 12,000 (12k) byte core memory (RAM), supported by 32k hard drives and by cassette storage (DecTape). EMS equipment was used to control the world's first digital studio (EMS London (Putney) Studio), and their initial digital sampling was performed on the system during 1971-1972 for Harrison Birtwistle "Chronometer" released in 1975.
The first commercially available sampling synthesizer is the Melodian Music Computer by Harry Mendell (1976), while the first polyphonic digital sampling synthesizer is the Australian Fairlight CMI produced, first available in 1979. This initial sampling synthesizer uses a wavetable sample-based synthesis.
Since the 1980s, samplers have used pulse code modulation (PCM) for digital sampling. The first PCM digital sampler was the Toshiba LMD-649, made in 1981 by engineer Kenji Murata for the Japanese electronic music band Yellow Magic Orchestra, who used it for extensive sampling and recurrence on their 1981 Technodelic album. LMD-649 plays and records PCM samples at 12-bit audio depth and 50 kHz sampling rate, stored in 128 KB dynamic RAM. LMD-649 was also used by other Japanese synthpop artists in the early 1980s, including Chiemi Manabe and Logic Systems.
The E-mu SP-1200 percussion sampler, once released in August 1987, popularized the use of digital samplers in hip hop music in the late 1980s. Akai pioneered many processing techniques, such as crossfade looping and "time stretch" to shorten or lengthen samples without affecting the pitch and vice versa. The Akai MPC60, released in 1988, later became the most influential sampler in hip hop music.
During the 1980s, hybrid synthesizers began using short samples (such as the instrumental phase of the instrument) along with digital synthesis to create more realistic instrument imitations than was previously possible. Examples are Korg M1, Roland U-110, SY Yamaha series, and Kawai K series of instruments. The limiting factors at the time were the cost of physical memory (RAM) and the limitations of external data storage devices, and this approach made the most of the small amount of memory available to design engineers. The 2010-era music workstation usually uses sampling, whether simple playback or complex editing that matches all the most sophisticated dedicated samplers, and also includes features such as sequencers. Samplers, along with traditional Foley artists, are the mainstay of the production of modern sound effects. By using digital techniques, various effects can be shifted and changed in ways that take hours if done with tape.
Maps Sampler (musical instrument)
Element
Interface
Usually the sampler is controlled by an installed music keyboard or MIDI controller or other external source. Each message received by the sampler accesses a particular sample. Often some samples are arranged on the keyboard, each assigned to a record or group of notes. Keyboard tracking allows samples to be shifted in pitch by the appropriate amount, usually in semitones and tones. Each group of records that a single sample has been assigned is often called "keyzone", and the resulting zone set is called a keymap.
For example, in Figure 1, a key map has been created with four different samples. Each sample, if it is pitched, must be associated with a particular middle pitch. The first sample (Violin G # 2) is distributed across three different notes, G2, G # 2, and A2. If G # 2 notes are received, the sampler will rotate the Violin G # 2 sample in its original tone. If the received note is G2, the sampler will shift the sample to the semitone while note A2 will play it back semitone tone higher. If the next note (Bb2) is inserted, the sampler will select the Violin B2 sample, playing it semitone lower than its middle B2 pitch.
In general, the sampler can play whatever audio is recorded. Most samplers offer editing tools that allow users to modify and process audio and apply various effects. This makes the sampler a powerful and versatile instrument.
Hierarchy
The sampler is organized into an increasingly complex hierarchy of data structures. At the bottom there are samples , individual voice recordings of any kind, recorded at the level and resolution of a particular sample. While the general sound for the sample is the instrument played (for example, a pianist plays piano notes or organs that play pipe organ), the sample may be a sound, including a "non-musical" sound like typing typewriter or a barking dog. The reference center pitch indicates the actual frequency of recorded records. Samples can also be "looped" by specifying the points where repeated sections of the sample start and end, allowing a relatively short sample to play non-stop. In some cases, "crossed loops" are indicated, allowing a less obvious transition at the loop point by fading the end of the outgoing loop while the fading is initially on.
Keymaps are organized into instruments . At this level, parameters can be added to determine how the button map is played. Filters can be applied to change the color of sound while low frequency oscillators and envelope generators can form amplitude, pitch, filter or other parameters of sound. The instrument may have multiple button map layers to rotate more than one sample at a time and each button map may have a different set of parameters so that the incoming record events affect each layer differently. For example, two layers may have different sensitivity to the speed of incoming tones, changing the timbre generated according to how hard the notes are played.
At this level, there are two basic approaches to the sampler organization. In the bank approach, each instrument is assigned to a different MIDI channel and some banks can be saved to reconfigure the sampler. A different and more powerful approach is to associate each instrument with a number or ID patch so that each MIDI channel can be configured separately by sending control information on each channel.
Type
Many of the samplers work as described above: the keying system "spreading" the sample over a certain range of keys. It has possible side effects which may be desirable in some contexts, such as speeding up or slowing down the drum. However, higher and lower parts of such keymaps may sound unnatural. For example, if the harpsichord is exemplified in a lower list and then the sample is moved to a very high tone, high notes may not sound natural and authentic. When organizing the instrument pitched over several keymaps, the transition from one to the other may be too visible for the realistic imitation of the instrument - this art to make the transition as smooth as possible.
Some phrase samplers are more optimized to trigger single "one-shot" sounds like hit drums. Each keymap includes only one key, requiring a large number of zones (61 on five octave keyboards), each with its own settings. "Phrase sampling" aims to simplify this, especially on interfaces such as the 16 pad on the MPC Akai series: the fact that each pad is actually a hidden record of the user. The sampling machine did not throw the sample, just played it back. Simplified user interface. The sampler phrases often have a groovebox format, which makes it lightweight, easy to operate, and light to carry.
Specifications
Samplers can be classified according to some specifications;
- Polyphony : How many sounds (or notes) can be played simultaneously, to create a chord
- Sample Space : How much memory is available to load the sample
- Channels : How many different MIDI channels are available for different instruments
- Bit depth : How many supported sample resolutions
- Output : How many discrete audio outputs are available
Manufacturers and models
Melodian Music Computers
Computer Music Inc. starting in New Jersey USA in 1972 by Harry Mendell and Dan Coren. The company was established to develop and market musical instruments based on computer software. The Melodian was developed in 1976 based on the Digital Equipment Corporation PDP-8 computer and hand wired D/A and A/D conversion and anti-aliasing filter tracking. The Melodian was first used by Stevie Wonder in "The Journey through the Secrets of Plant Life" (1979).
The Melodian is a monophonic synth with 12 bit A/D and sampling rate up to 22 kHz. It is designed to be compatible with analog synthesizers and has a feature where it will be synchronized with analog synth pitch, such as ARP 2600. This means Melodian captures all frequency modulation effects, including touch tape control. It can also trigger the ARPs keyboard so it can almost be considered a hybrid sampler/analog synth, utilizing the best technology available at the time.
Synclavier
The Synclavier system is an early digital synthesizer and sampler, manufactured by New England Digital. First released in 1977, proved to be very influential among music producers and electronic musicians, due to its versatility, cutting-edge technology and distinctive sound. The Synclavier system is expensive - the highest price ever paid for one is about $ 500,000, although the average system is closer to around $ 200,000- $ 300,000. While this makes it inaccessible to most musicians, it finds widespread use among professional record producers and studios, and competes in this market with other high-end production systems, such as Fairlight CMI. Though rare, Synclavier remains in use in many studios to this day.
Fairlight Instruments
Fairlight Instruments began in Sydney, Australia, in 1975 by Peter Vogel and Kim Ryrie. The company was originally established as a manufacturer and retailer of special video effects equipment.
The Fairlight CMI or Computer Music Instrument, released in 1979, started life as a Qasar M8. M8 is a hand and legend says that it took two hours to boot. CMI is the first commercially available digital polyphonic sampling instrument. The original Fairlight CMI samples use 8 bit resolution per sample, at a rate of 24 kHz, and use two Motorola 6800 8-bit processors (later upgraded to the stronger 68/16-bit Motorola 68000). It comes with two six-octave keyboards, an alphanumeric keyboard, and an interactive video display unit (VDU) where sound waves can be edited or even taken from scratch using a light pen. The software is allowed to edit, play, and mix sounds that can then be played via keyboard or software-based coupler. It sells for about US $ 25,000.
Fairlight then released the IIx Series, which increased the sampling rate to 32 kHz and was the first to feature basic MIDI functionality. In 1985, the Series III was released with two significant improvements: bit rate and sampling rate increased to CD quality (16 bit/44.1 kHz) and SMPTE time code is now supported. The leading users of Fairlight CMI include Peter Gabriel, Herbie Hancock, Trevor Horn, Art of Noise, Yello, Pet Shop Boys, Jean Michel Jarre, Duran Duran, and Kate Bush. The horn, considered "The man who created the eighties", first used his famous sampling technique on the album Adventures in Modern Recording , the second studio album released under his project name The Buggles. Saying that he was "quite fascinated by Fairlight brass and all such things that Geoffrey and I have started messing with before he went to join Asia," the sampling technique on Adventures will later be used for notes Horns are produced like Slave To The Rhythm by Grace Jones, Art of Noise's The Seduction of Claude Debussy and Frankie Goes To Hollywood's Welcome to my Pleasuredome .
Your E-system
E-mu Emulator (1981) is your initial E-System plunge into sampling, and saves the company from financial disaster after the Audit failure is entirely due to the $ 70,000 price tag. The name 'Emulator' comes as a result of flipping through the thesaurus and matching the company's name to perfection. Emulators come in polyphonic versions of 2-, 4-, and 8-notes, 2-notes that fall due to limited interest, and display a maximum sampling rate of 27.7 kHz, a four-octave keyboard and 128 kB of memory.
E-mu Emulator II (1984) is designed to bridge the gap between Fairlight CMI and Synclavier and Ensoniq Mirage. It features 8 polyphony notes, 8-bit sampling, 512kb RAM (1mb on EII although it can only be accessed as two independent 512kb banks), 8-track sequencer, and analog filtering. With the addition of hard disk options, Emulator II is comparable to the samplers released 5 years later.
Your E-mu SP-12 (1986) is the pioneer of your E-mu SP-1200.
E-mu Emulator III (1987) is a 16-bit stereo digital sampler with 16-note polyphony, 44.1 kHz maximum sample rate and has up to 8 MB of memory. It features a 16 channel sequencer, SMPTE and a 40 MB hard drive.
The E-mu SP-1200 (1987) is, and is still one of the highest samples to be used in hip-hop related production. The 12-bit sampling engine provides the desired warmth for the instrument and a thorough punch to the drum. It displays 10 seconds of sample time spread over four 2.5 sections.
E-mu Emax , sold between 1985 & amp; 1995, and aimed at the lower end of the market.
E-mu ESI-32 (1994) is EIIIx pioneered, much cheaper, and simplified, and can use the same sample. This unit can accommodate up to 32 MB RAM. 32 polyphony and sound notes can be routed internally to one of four polyphonic outputs. Through the optional SCSI interface, ESI-32 can access external CD-ROMs, Zip-100s, and hard drives.
Akai
Akai entered the world of electronic musical instruments in 1984 when Roger Linn, the creator of Linn LM-1, Linn 9000, and LinnDrum, partnered with Akai Corporation Japan/Singapore to create a sampler similar to that made in Linn's own company. , Linn Electronics. With this comes the first in a series of affordable samplers, S612, 12 bit digital sampler module. The S612 was replaced in 1986 by the S900.
The Akai S900 (1986) is the first truly affordable digital sampler. It's 8-note polyphonic and 12-bit sampling features with frequency ranges up to 40 kHz and up to 750 kB of memory allowing for just under 12 seconds at the best possible sampling rate. It can store up to 32 samples in memory. The operating system is software-based and allows for upgrades to be booted every time the sampler is turned on.
The Akai MPC60 Digital Sampler/Drum Machine and MIDI Sequencer (1988) are the first non-rack mounted models to be released. This is also the first time a sampler with touch sensitive trigger pads manufactured by AKAI, spawned a popular series of MPC sequencers.
The Akai S950 (1988) is an improved version of the S900, with a maximum sample frequency of 48 kHz and some editing features of the contemporary S1000.
The Akai S1000 (1988) is probably the most popular 44.1 kHz 16-bit stereo sampler of its time. It features 16-sound, up to 32 MB of memory, and 24-bit internal processing, including digital filters (18 dB/octave), an LFO, and two ADSR envelope generators (for amplitude and filtering). S1000 also offers up to 8 different loop points. Additional functions include Autolooping, Crossfade Looping, Loop In Release (which cycles through the loop as sound decay), Loop Until Release (which cycles through the loop until its decay start), Reverse and Time Stretch (version 1.3 and higher).
Other samplers released by AKAI include S01, S20, S700, S2000, S2800, S3000, S3000XL, S5000, S6000, MPC500, MPC1000, MPC2000, MPC2000XL, MPC2500, MPC3000, MPC3000XL, MPC3000LE, MPC4000, MPC5000, Z4 and Z8.
Roland
Roland Corporation produces the S series. It is a true sampler that provides all the features described above, including sampling, sample editing, tone transposition, and mapping of key zones:
Recently, Roland introduced the concept of Groove Sampler . This device is known for its ease of use, but some lack of pitch transposition and keyzone mapping capabilities that most samplers have. Some have limits for creating loops or samples of sound effects that are played on the same note recorded. Although these machines are equipped with various built-in effects, some lack of pitch transposition and keyzone mapping that reduce their utility significantly. The Roland Groove Sampler line includes the following:
Other manufacturers
- Alesis
- Casio FZ1 and version of the shelf and the SK LO-FI series sampler
- Clavia (Nord Wave, Electro 3 & amp; 4, Stage 2 all have sampling capabilities)
- Dynacord (no longer in production)
- Ensoniq
- Korg
- Kurzweil
- Original Instruments
- Rebis (no longer produced)
- Peavey
- Publison
- Sequential Circuits (no longer in production)
- Steinberg
- Tascam/NemeSys
- Youth Engineering
- Waveframe
- Yamaha
- Zadok Products
Sample storage
Most older samplers use SCSI as a protocol to get sampled data in and out of the machine. The SCSI interface is standard on the sampler or offered as an option. SCSI provides the ability to move large amounts of incoming and outgoing data from the sampler within a reasonable time. Hard drives, CDROM drives, Zip drives, and removable cartridge drives such as Syquest and Iomega Jaz drives are the most popular SCSI devices used with samplers. Each has its own strengths and weaknesses, with hard drives being the fastest devices. Modern (after 2000) samplers use solid-state memory cards (such as compact flash or SmartMedia) for storage and transfer of samples.
Sampling software
In the 1990s and 2000s, increased computer power and memory capacity have made it possible to develop software applications that provide the same capabilities as hardware-based units. These are usually produced as plug in instruments - for example, using a VST system. Some of these examples provide relatively simple sample playback facilities, which require users to switch to other software for tasks such as sample editing, sample recording, and DSP effects, while others provide features beyond those offered by shelf-mounted units.
Trackers
Also in the 1980s, users on home computers found Trackers. Sequencer is software samplers as real-time resampling is the required capability for Tracker concept. Since the 1980s, Trackers were able to perform 4-channel resampling in realtime under the use of Paula Chip in Amiga. Since the early 1990s, Trackers performed on multi-track PC resampling in realtime as a pure software solution. This is possible in the use of highly optimized assembly code, the first example being InertiaPlayer released in 1993. The latest PC trackers with good sampler capabilities are for example Renoise Tracker.
See also
- Drafts
- Sampling (music)
- Remix
- Rompler
- Synthesizers
- Synthesizer
- Synthesis by sample
- Drum machine
- Historical
- Optophonic Piano
- Lichttonorgel (in German)
- Chamberlin
- Mellotron
References
External links
- Harry Mendell. "Melodian Music Computer Interview on NPR 1980!" (audio) . soundcloud.com .
I was interviewed on NPR to find the first digital synth sampling
- The history of the original sampling instrument on '120 years of electronic music'
- S-50/S-550/S-330/W-30 - Website Presented For Original Roland Sampler
Source of the article : Wikipedia
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