Sample Length

DJBlueDrink wrote:I'm not entirely sure seeing as I've never owned a rack sampler although i plan on gettin an emax someday but I would think there'd be a way. I'm not really sure what this has to do with the technique I was talkin about. When I put the samples up it will clarify what I mean.

so ur 60 is ur main unit?? u sample into it and Seq??

if so then i got nothing to worry about...

Yup, it's just my 60 and turntables. Straight basement hip hop setup. I do have a PC that I can intergrate but I want to really master my 60 b4 I go back to PC. Thats why I'm always trying to figure out all these little tricks that I know tons of PC methods to pull off.

what do you use for bass though? i'm pretty sure theres no low pass filter in the 60

That's a bit tough cuz there is no LPF, or at least not that I know of, which is why I started this thread in the first place. The sequencing technique I mentioned can actually create bass notes as long as you want and will sound nice if done properly and uses basically no memory. It just takes alot of time to tweak it but a one note bass sample has an assload more possibilities with it.. I can also take bass from breaks, and the reciever I have my turntable running through has an EQ so that helps a lilttle bit but only goes down to 100 so I cant fully filter out the rest. Also I've been playing bass and guitar since '93(started real young) so I can either sample myself playing the bass line or just sample each individual note and stretch em with that technique. My bud who I work on this s*** with is also a bass player so we like to add a live element to our stuff as well as having 2 DJ's. We just trying to get more stuff together b4 we get some MC's. Anyway, the bottom line is although its limited, if you think hard enough, there's a way to pull off almost anything on this machine. Except of course using straight samples that are 26.2 seconds long, but that's just cheating anyway.

hey, check out DITC "The enemy" and check out how premo makes samples longer. You got listen close, maybe on headphones even. Its like you method you siad on the other page but allitle dif. If you want longer bass you can just loop the sustain portion of the sound which is pretty easy, holla if you dont know how to do that and ill post up.

Yo, I listened to the track and heard what you mean. You hit the nail on the head cuz it is pretty much the same but a lil different. I like the effect his technique gives the sample tho. Please post how to loop the sustain portion of the sound, I'm always down to learn new ways to get around on my 60.

DJBlueDrink wrote:Anyway, the bottom line is although its limited, if you think hard enough, there's a way to pull off almost anything on this machine. Except of course using straight samples that are 26.2 seconds long, but that's just cheating anyway.

Yep. The 60 is awesome.

well if your flute sound is not long enough to last for a bar you can always put a little reverb to create a natural decay of the sound when you mix it.
But only if you want that reverb in the mix.
When you hear elements from beats (made in the 90s), when a sound is muted either on the SSL mixing board either its just a short sample like a sax stab or a violin (Dj Premier style), if you pay attention to the instrumental youll find out that there is a reverb decay but its added during mixdown.

I hope i helped you...

You can post an example for us to hear. Maybe itll help us... Then we can help you too

bwhahah your game trying this technique on the 60 bro, iv tried it and its pretty . I dunno if the s950 can do this but i found out this tech when i was **** with a z4 sampler. Bythe way i get release and sustain mixed up, so heres a diagrame.




Say you have a bass note, just a plain pluck or whatever. You have the attack portion which is the first tiny loudest bit, also calle the transient. Release, Then the sustain, this is where the level of the bass is about the same amplitude before it begins its release.

So what you want to do is find this sustain portion of the bass note. What i do is load the bass into cool edit then find the sustain by just guessing, using the loop fucntion on cooledit. It takes a while, remember to make sure your on zero crossing points. So now you should have a little bit of the sustain that sounds good when its looped many times over again, now i just copy this, make a 2second gap of silence (from the start of your looped portion), and keep pasting it over and over again untill i have 2second of the looped sustain.

Now just join up the end of the looped sustain to the natural release and the intital attack of the bass and it should sound good it you did it right, and shit if you did it wrong. A bit of eq could help it sound better.

Im sure theres a progamme some where thatll do this for your, or most hardware samplers can do this. This technique works best for bass , as theres not much high freq content in it.but other shit like violins which dont have too much movement in their envelopes should work.

I got the same setup as you , 60.,techniqes1200's too, just brought a dbx 166 compressor too, shit too nice.

heres my page if you want to check my old beats out, www.soundclick.com/confusius

Yeah that can be tricky on a 60. Takes hella patience cuz the 60 is slower.

Cool S*** man. Thats what I been trying to do on the 60 but theres no sustain or release and I gotta do it by ear. Sometimes I'm dead on and others it feels like days before it takes shape.

of only the 60 had the same sliders the sp1200 does!!!
but yes the 60 is just a slow process but good for those who just like the solo style of machine and records maybe a few mixing gears