Audio sampling : a practical guide / Sam McGuire, Roy Pritts.

Format:

Book

Author/Creator:

McGuire, Sam.

Contributor:

Pritts, Roy.

Safari, an O'Reilly Media Company.

Language:

English

Subjects (All):

Software samplers.

Physical Description:

1 online resource (231 p.)

Edition:

1st edition

Place of Publication:

Amsterdam ; Boston : Focal Press, c2008.

Language Note:

English

System Details:

text file

Summary:

Bringing sampling to a new generation of audio engineers and composers Audio Sampling explains how to record and create sampled instruments in a software setting. There are many things that go into creating a sampled instrument and many things that can go wrong, this book is a step by step guide through the process, from introducing sampling, where it begins to recording editing and using samples, providing much sought after detailed information on the actual process of sampling, creating sampled instruments as well as the different ways they can be used. 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. The companion website has exclusive material including a comprehensive comparison of the different hardware software available, as well as audio examples and video clips from each stage of the process.

Contents:

Front Cover; Audio Sampling: A Practical Guide; Copyright Page; Acknowledgments; Foreword; Preface; Contents; 1. Introduction to sampling; 1.1 What is sampling?; 1.2 A sampler survey; 1.2.1 Sample players; 1.2.2 Hardware samplers; 1.2.3 Software samplers; 1.2.4 Tape-based sampling; 1.2.5 Miscellaneous utilities; 1.3 Basic sampler expectations; 1.3.1 Basic editing features; 1.3.2 Editing the audio file length; 1.3.3 Playback direction; 1.3.4 Level control; 1.3.5 Pitch shifting; 1.3.6 Looping; 1.3.7 Capable GUI; 1.3.8 Project manager; 1.4 Other expectations; 1.4.1 Sampler memory

1.4.2 Voice count1.4.3 Advanced volume control; 1.4.4 Pitch control; 1.4.5 Spectral control; 1.4.6 Velocity layers; 1.4.7 Round-robin; 1.4.8 Key switching; 1.4.9 Scripting; 1.5 Additional software sampler features; 1.5.1 Low-resolution playback; 1.5.2 Hold samples in memory; 1.5.3 Sample streaming; 1.6 Benefits to using samplers without creating your own instruments; 1.7 Using samplers; 1.7.1 Preproduction; 1.7.2 Production; 1.7.3 Live performance; 1.7.4 Composition; 1.7.5 Post production; 1.8 Benefits to creating your own sampled instruments; 1.8.1 Low-cost solution

1.8.2 Need-based solution1.8.3 Unavailable instrument; 1.8.4 Instrument preservation; 1.9 Summary; 2 Making connections; 2.1 Signal chain; 2.2 Capturing the sound source; 2.3 Using microphones; 2.3.1 Power; 2.3.2 High pass filter; 2.3.3 Pad; 2.3.4 Polar patterns; 2.4 Using a line input/instrument input; 2.5 Using microphone preamplifiers; 2.6 Using analog-to-digital converters; 2.7 Using audio interfaces; 2.7.1 Expansion cards; 2.7.2 USB and FireWire; 2.7.3 Miscellaneous connections; 2.7.4 Monitoring; 2.8 Using an alternative to audio interfaces; 2.9 Hooking it all together; 2.10 Cable types

2.11 Balanced vs. unbalanced2.12 Grounding; 2.13 MIDI connections; 2.14 General equipment tips and tricks; 2.14.1 Forums; 2.14.2 Patience in buying new gear; 2.14.3 Find a quality reference; 3. Source preparation; 3.1 Choosing your source; 3.1.1 Traditional instruments; 3.1.2 Brand new instruments; 3.1.3 Existing vs. new; 3.1.4 Who should be the performer?; 3.1.5 Non-acoustic sources; Sidebar: Pay Now Or Pay Later, by Storm Gloor; 3.1.6 Straight in; 3.1.7 Batteries of non-pitched instruments; 3.1.8 Focus is on musical instruments; 3.2 Preparing your source

3.2.1 The range of your virtual instrument3.2.2 What is the range of a kitchen cupboard?; 3.2.3 Tuning issues; 3.2.4 Instruments can be more or less in tune; 3.2.5 Equal-tempered tuning is easiest; 3.3 Understanding your source; 3.3.1 Change in pressure; 3.3.2 The ear; 3.3.3 The speed of sound; 3.3.4 Applied knowledge; 3.4 Putting it all together; 4. Recording the first sample; 4.1 Ear training; 4.1.1 Goals; 4.1.2 Transparent listening; Why is transparent listening a goal of ear training?; How is transparent listening developed?; 4.1.3 Focused listening; Why is focused listening important?

How is focused listening developed?

Notes:

Description based upon print version of record.

Includes bibliographical references and index.

OCLC-licensed vendor bibliographic record.

ISBN:

9786611033835

9781136122613

1136122613

9781136122620

1136122621

9781281033833

1281033839

9780080552910

0080552919

OCLC:

499049839