I'm thinking I may need to 'downsize' my studio a bit, particularly some of the keyboards could go.
Which leads me to wanting to sample the keyboards as much as possible before they go.
So I'm wondering, what extent can/should I go to to get an archive level of detail when sampling, and I'm not really talking about sample rates and bit depths here (though weigh in on that if you like), I am more curious about the types of patches I should be creating & sampling for the purposes of 'capturing' or 'backing up' the instrument as much as possible, so to speak.
For instance, envelopes. I like long releases and sustains ... and some of these keyboards have a nice envelope 'shape' or 'action'. But, preferences aside, for an 'archive' level backup ... I should be sampling a broad range of release etc lengths, right ?
Also, LFO's ... should I be sampling the whole breadth of LFO -> Pitch modulation settings that are possible, and LFO -> Filter cut off ... etc ?
I feel it may be a 'how long is a piece of string' type of question ... on one extreme you might simply sample waveforms the whole length of the keyboard, and let the sampler software handle all the lfo/envelope duties itself ... on the other extreme you may spend a lot of time and data sampling settings to no measurable benefit.
any thoughts, tips, suggestions, experiences that you want to share will be appreciated.
cheers.
Tips/Suggestions/Instructions for Sampling old gear ? Archive detail ...
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- KVRAF
- 4315 posts since 31 Oct, 2004
Personally, I would keep the keyboards. Sampling them would take a lot of time, even if you use an automated sampling software like SampleRobot. Otherwise, it really depends on the instrument itself.
For instance, I have a Korg Poly-800, there's no velocity on it but the ADSR have a break point and slope before the sustain. The break point and slope are not functions I'm particularly attached to so I would only sample the basic waveforms with no attack and no release. I like the filter though so I would sample multiple settings of the filter for most sounds and make it velocity sensitive in my sampler. That would make the sampled instrument more live and more playable than the original instrument. Plus, it would take a reasonable amount of time to sample. However, I would lose the filter ADSR of the original instrument.
You could always go for a complete sampling of the instrument, but it would take so much time that I'm not sure it would be worth it.
Looking for commercial/free sample libraries of the instrument you want to get rid of would be a way to save time. Still not perfect, but at least you would save time.
For instance, I have a Korg Poly-800, there's no velocity on it but the ADSR have a break point and slope before the sustain. The break point and slope are not functions I'm particularly attached to so I would only sample the basic waveforms with no attack and no release. I like the filter though so I would sample multiple settings of the filter for most sounds and make it velocity sensitive in my sampler. That would make the sampled instrument more live and more playable than the original instrument. Plus, it would take a reasonable amount of time to sample. However, I would lose the filter ADSR of the original instrument.
You could always go for a complete sampling of the instrument, but it would take so much time that I'm not sure it would be worth it.
Looking for commercial/free sample libraries of the instrument you want to get rid of would be a way to save time. Still not perfect, but at least you would save time.