isolating sounds within a sample

i am guessing that this is a completely ignorant question, but i will ask it anyway as i have tried searching for the answer to no avail. forgive me ya'll, i am new to all of this and am happily learning the basic use of my new (to me) MPC1000. so here goes:

Q: is there a way to sample only specific sounds in a recording? for instance, say i want to sample only the guitar on song X without also getting all of the other instruments too. is that possible? is there a specific type of software that i should be looking for?

it seems like this *should* be possible. i want this to be possible. i have the feeling this might not be possible. but then how do people sample vocals and lay them over their tracks?

again, sorry for the rookie question, but then i am a rookie to the mpc and sampling so i don't feel THAT bad.

thanks ...

Some times u can get a lucky break when in the original recordin ur samplin from sh!t is hard panned... so maybe theres drums on left channel and horns on right and ur able to pan far left and sample just the drums etc etc, its a rarity but is possible (I managed to sample things without aload of percussion which was in the back due to how sh!ts been panned).

But besides that no it isnt possible... when peeps put vocals over theyre shit its either a part of the original they used with vocals... or vocals on theyre own, or they hi pass filtered so they got more or less close to just vocals and got rid of all the noticable bass and bottom end etc.

U cant just seperate instruments that are playing together.. they share frequencys, u can do standard things like filter everything but the bass so u just have the bass... but u couldnt seperate guitar from horn for instance, again unless each instrument was each hard panned to a diff side.

Quite alot of old jazz u can find when listenin in headphones trumpet and sax are quite usually each hard panned to opposite sides from each other, so in those cases u can split them.. but what i mentioned here is about as far as it goes..

Via eq and gates and shit u can make more things noticable then others and mask other things etc, best u get learnin man

^^^^

hey, thanks for the response -- i appreciate it.

at least i have an answer now so i can stop wasting time trying to think of new search terms to throw into google to magically produce a response that i want.

so ... i'll just have to use the limitations sampling technology forces on me against itself, sumo-like, and produce hot sh!t anyway.

thedude1977 ... out!

thedude1977 wrote:^^^^

hey, thanks for the response -- i appreciate it.

at least i have an answer now so i can stop wasting time trying to think of new search terms to throw into google to magically produce a response that i want.

so ... i'll just have to use the limitations sampling technology forces on me against itself, sumo-like, and produce hot sh!t anyway.

thedude1977 ... out!

Its not so much a limitation of sampling technology as it is the nature of sound, or really any two things trying to occupy the same space (frequency in this case). Look at it as a (forced) inspiration to be more creative, not a way to fail at doing a thing but a success at finding a way that doesn't work.

Peace,
KM

yeah, i guess i misspoke there re limitations of sampler technology. i am just used to recording my own music on multiple tracks being able to do whatever i want to each individual track.

it's taken awhile to accept that i am dealing with mixed-down stereo tracks as opposed to infinite mono tracks.

other than that, i couldn't agree with you more. i was kind of trying to get across the same idea as you via a clumsy sumo metaphor.

thanks

thedude1977 wrote: i am just used to recording my own music on multiple tracks being able to do whatever i want to each individual track.

it's taken awhile to accept that i am dealing with mixed-down stereo tracks as opposed to infinite mono tracks.

U should chop some of that sh!t up.. often peeps buy records (library ones can be good for it) for strictly individual instruments..

When samplin try not to limit urself to choppin from 1 source for ur melody.. u might find a flute on 1 record, guitar on other... etc etc, all u gotta do is pitch them right so they work together can be much more rewardin workin sh!t that way, plus it can actually be alot easier then choppin somin from 1 source.

Some of my peeps swear by it and build each melody from at least 3 sources or more each time, simple lil bits from each worked together real dope.. can get real heavy sh!t...

Plus u'll keep the diggers on theyre toes, havin them sure they got the same record u sampled but then where the hell that flute come from lol

You cant isolate an instrument unless you have access to the original multirack recordings.

Some things you may like to try are gating and eqing. But in reality that will 9 times out of ten leave you with thin artificial sounding audio trash.

The best thing is to look for small segments of sound. Like try capturing 1 note of the gtr, or a bit of sax whatever.

Then you can try pitching it about.

To sample whole segments is a bit old now anyway. The best way to work is to use a general midi sound module to realistically reproduce the sounds of the trumpets or gun shot samples on your favorite 50 cents tracks.

Also it can be worth scouring the itunes iloops library. This has lots of very well recorded loops, exactly the same and even more vibey then those classic funk and disco records.


I normally like to use the reason factory sound bank. I then load up Dr rex sound files and loops into reason, and try to aproimate my favorite rhianna and neptunes tracks.

I think the best I heard it put was: "You can't bake a cake, then decide you wanna take the eggs out!" lol

GritKitz wrote:
I normally like to use the reason factory sound bank. I then load up Dr rex sound files and loops into reason, and try to aproimate my favorite rhianna and neptunes tracks.

panning and EQing should do it to an extent