Sampling a 33/3 RPM record at 45 RPM and then pitch it down

CharlesRandolph wrote:What are your thoughts on the 8 pole hf vs 6 pole hf? Are there any situations where you would use one over the other?

I like the 8 pole (especially on the 5000) because its the most extreme filter on there.It can severely sweep through the whole sample.Every noise and artifact can be revealed.Like crackles on the record ect.The 5000 excels with this filter for some reason.The X/live is similar but more refined,not as warm.But great also.Probably the converters.BTW im not trying to emulate anything,just looking for character.

Not projection, because the process is fairly simple. But people tend to make it out to be more than it is. I use what works for the situation. Never, stuck in one work flow. When some tools are not available, yet I want a certain sound. I figure out other ways to achieve it. (My Personal way of working.)

Projecting because your imagining what other people are doing/hearing and coming up with answers like "you can get the same effect with a bit crusher ectect........ "

edit-i thing all of us probably use plug ins especially when mastering on the daw so nothing new here.Whats great tho is experimenting with old school techniques and gear to find 'your sound'.A lot of the time soft synths and plug ins sound like trash.

tiger001 wrote:Rossum Electro (of SP1200 make/fame) Assimil8tor can vary sample playback interpolation to drop sample behaviour (as explained above in S900, as in ensoniq mirage) but even so to HQ 9 (!) octaves pitch down perfect
-it will sample in 48, 92 or 192khz but it will read those 26.04 samples correctly
pair it with a doepfer A105 filter (or two), the same SSM as used in the SP1200 et voila

Have or can you use the Doepfer A105 filter to pass audio directly through?

dryad-66 wrote:I like the 8 pole (especially on the 5000) because its the most extreme filter on there.It can severely sweep through the whole sample.Every noise and artifact can be revealed.Like crackles on the record ect.The 5000 excels with this filter for some reason.The X/live is similar but more refined,not as warm.But great also.Probably the converters.BTW im not trying to emulate anything,just looking for character.

The Akai MFC42 works well, I wonder if the MPC 5000 filter is based off of it?

dryad-66 wrote:Projecting because your imagining what other people are doing/hearing and coming up with answers like "you can get the same effect with a bit crusher ectect........ "

edit-i thing all of us probably use plug ins especially when mastering on the daw so nothing new here.Whats great tho is experimenting with old school techniques and gear to find 'your sound'.A lot of the time soft synths and plug ins sound like trash.

Offering other ways to achieve results is not projecting, it's adds to the discussion. To project would require me to be defensive and blaming my faults upon another. There are no faults and no blame, and no harboring of ill feelings to project.

Just from this post, I've learned a couple ways to achieve different results, all from other suggestions. I also found that sampling a 45 record at 78 bpm, yield better audio quality when pitched back.

CharlesRandolph wrote:
Have or can you use the Doepfer A105 filter to pass audio directly through?

yes, that's what it is for

tiger001 wrote:

CharlesRandolph wrote:
Have or can you use the Doepfer A105 filter to pass audio directly through?

yes, that's what it is for

Can audio pass through without any filtering, allowing the signal to remain unaltered?

it is a (LP) filter with a freq and Q knobs but with filter 100% open & no Q you still experience a certain boost, it is quite remarkeble (esp. in the percieved volume area)

the good thing is you don't have to filter much and apply not much/ no Q for that specific timbre to arise

if you don't want any change in the signal, you just leave it out of the signal flow / patching

CharlesRandolph wrote:I always laugh at how some glorify the whole Lo Fi sounds. Sample a record, add distortions, run it through some filters, tweak the envelope and resonance, Low Pass Filter the bass line, add compression to the drums, and BOOM.

If you are on a Software DAW use these 4 Plug Ins:

Bit Cruncher
Low Pass Filter
High Pass Filter
Compressor

From the outside looking in, most say that about Lo Fi, but really its has no effects or distortion at all. Its actually recorded to best abilities too. Posers use distortion and effects to create so called lofi.

Ill-Green wrote:

CharlesRandolph wrote:I always laugh at how some glorify the whole Lo Fi sounds. Sample a record, add distortions, run it through some filters, tweak the envelope and resonance, Low Pass Filter the bass line, add compression to the drums, and BOOM.

If you are on a Software DAW use these 4 Plug Ins:

Bit Cruncher
Low Pass Filter
High Pass Filter
Compressor

From the outside looking in, most say that about Lo Fi, but really its has no effects or distortion at all. Its actually recorded to best abilities too. Posers use distortion and effects to create so called lofi.

The distortions is added because in older sampling drum machines, the inputs in those machines was distorted pretty easily. I could just go out and buy some cheap gear, with a cheap gain stage, noise cables, and sample a record with pop/cracks and push into the red, use some low and hi pass filters and BOOM!

Lo Fi now is like $500 dollar jeans, with pre-made holes in them.

Theres so many emulation/fx plug in fanboys in this group who dont understand what its like to use traditional sampler or rack hardware, recording a sample in pitched up on a turntable or otherwise and pitching it down in the sampler allows you to shape the tone in ways not possible with bit crusher fx and filters. its a way of changing the maths of the sample rates, like all older hardware it was made better back then in all aspects, current gen samplers are made with cheap parts and generic converters along with transparent preamps you would find in a $200 audio interface, the pads, software and storage has come along way but lost alot of audio vibe in the machines with the cheapness that comes with a plastic container, and sticking an emulator on the output doesnt help just increases the cheapness of the sound.

Caustic Yoda wrote:Theres so many emulation/fx plug in fanboys in this group who dont understand what its like to use traditional sampler or rack hardware, recording a sample in pitched up on a turntable or otherwise and pitching it down in the sampler allows you to shape the tone in ways not possible with bit crusher fx and filters.

its a way of changing the maths of the sample rates, like all older hardware it was made better back then in all aspects, current gen samplers are made with cheap parts and generic converters along with transparent preamps you would find in a $200 audio interface, the pads, software and storage has come along way but lost alot of audio vibe in the machines with the cheapness that comes with a plastic container, and sticking an emulator on the output doesnt help just increases the cheapness of the sound.

Plug In/Effect Fan Boys: You sound like all those old DJ's, who use to crap on Serato, CDJ and controllers. Now all those same dudes are using Serato, CDJ, iPADS, and controllers. Also when we started, no one was talking about changing the math of the sample rate. People just experimented, twisted knobs, and hoped to come up with something good.

well they do have a point (all those old djs) its a sound quality vs convienice thing, everyone knows the vinly sounds better but are they gonna lug a crate to a gig in this day and age, not many, same with me im not gonna lug premium gear to a gig, i leave the good hardware at home and take mpc live so i can catch the train and have a few drinks. i know my vintage gear sounds best and what i use in the studio and when i space or a gig that warants it where venue has great sound and i can take my time with a complex set up i know wont get a drink spilled on it

Caustic Yoda wrote:well they do have a point (all those old djs) its a sound quality vs convienice thing, everyone knows the vinly sounds better but are they gonna lug a crate to a gig in this day and age, not many, same with me im not gonna lug premium gear to a gig, i leave the good hardware at home and take mpc live so i can catch the train and have a few drinks. i know my vintage gear sounds best and what i use in the studio and when i space or a gig that warants it where venue has great sound and i can take my time with a complex set up i know wont get a drink spilled on it

+1

Caustic Yoda wrote:well they do have a point (all those old djs) its a sound quality vs convienice thing, everyone knows the vinly sounds better but are they gonna lug a crate to a gig in this day and age, not many, same with me im not gonna lug premium gear to a gig, i leave the good hardware at home and take mpc live so i can catch the train and have a few drinks. i know my vintage gear sounds best and what i use in the studio and when i space or a gig that warants it where venue has great sound and i can take my time with a complex set up i know wont get a drink spilled on it

Those DJ were just scared of change. But once they realized that, they could play higher quality recordings and have convenience that changed the game. The worst thing a producer can do, is get caught in a time capsule. That is one sure fire way to have short and dated career. We are in the age of surround sound, which is a much more immersive experience.

Mix and Release music in the Dolby Atmos format and you may never want to go back. The thing is, Digital Recordings have a wider dynamic range than vinyl, due to the RIAA curve. So if a person plans to release their music on vinyl, much of that 45 pitch down to 33 effect is going to be lost, the extra punch in the drums will be lost, that low low sub will be lost, the top end high pass filter will be lost.

All due to the way we mix and eq the master for vinyl.

Ive mixed and mastered a fair amount of vinyl this year, some of my own releases too, the nuances come across still its all part of it, and the finished product sounds dope and well worth the effort of doing everything nicely with good gear, and you dont lose anything going to vinyl if you do it right