How many of you sample their own music?

i do this a lot with an octatrack. take old unfinished jams and chop/treat/remix them in a totally different context.

  On 5/19/2016 at 12:10 AM, Jev said:

 

  On 5/18/2016 at 3:10 AM, xox said:

i see no point in sampling my own stuff; if i'd want to recycle some parts of my music i'd rather go back to synthesis

The point is to manipulate the samples and get new sounds.

Wouldn't it be more flexible if you manipulate it on the synthesis level?

  On 5/19/2016 at 7:55 AM, digit said:

i do this a lot with an octatrack. take old unfinished jams and chop/treat/remix them in a totally different context.

example?

  On 5/19/2016 at 12:02 PM, xox said:

 

  On 5/19/2016 at 12:10 AM, Jev said:

 

  On 5/18/2016 at 3:10 AM, xox said:

i see no point in sampling my own stuff; if i'd want to recycle some parts of my music i'd rather go back to synthesis

The point is to manipulate the samples and get new sounds.

Wouldn't it be more flexible if you manipulate it on the synthesis level?

 

Can you synthesise audio-reversed sequence from field-recording material? Can you synthesise manipulated real-world guitar samples? Complex real-life timbers?

Not every music relies on synthesised sounds.

Also you would have to be a freaking genius powerhouse mathematician to synthesise lots of manipulated sampled sounds.

But if you work with simplistic synthesised sounds then I understand it would be better to recreate them in some cases then to sample them. It all depends on what you are trying to achieve.

  On 5/19/2016 at 2:42 PM, Jev said:

 

  On 5/19/2016 at 12:02 PM, xox said:

 

  On 5/19/2016 at 12:10 AM, Jev said:

 

  On 5/18/2016 at 3:10 AM, xox said:

i see no point in sampling my own stuff; if i'd want to recycle some parts of my music i'd rather go back to synthesis

The point is to manipulate the samples and get new sounds.

Wouldn't it be more flexible if you manipulate it on the synthesis level?

 

 

Can you synthesise audio-reversed sequence from field-recording material? Can you synthesise manipulated real-world guitar samples? Complex real-life timbers?

 

Not every music relies on synthesised sounds.

 

Also you would have to be a freaking genius powerhouse mathematician to synthesise lots of manipulated sampled sounds.

 

But if you work with simplistic synthesised sounds then I understand it would be better to recreate them in some cases then to sample them. It all depends on what you are trying to achieve.

 

yes, i understand that. i rarely use samples and i rarely use field recordings but when i do and when i want to recycle those i'd also go back as much as i can, either to a saved max or ableton patch/file where i used them in the first place and i'd change things there.

Whatever works for you, mate. But sometimes you can create pretty unpredictable sounds when resampling stuff numerous times.

I sometimes sample myself playing other sounds through eqs and fx till it's shaped like I want

I sample stuff I make extensively. One thing I love doing is taking a loop and layering a 50% slower clip underneath it along with a 50% faster clip on top. It can create some crazy polyrhythms. here's an example, it samples a loop from a different track and creates a fascinating mixture of calm and intensity by having all these different layers of the same melody and rhythm interacting:

here's another even more minimalistic one that uses some of the same processes

at some points there are these interactions between the slowed down reverb and the sped up flutter reverb that make these ringing sounds that I did not synthesize or create intentionally. they are like phantom perceptions that come from the mixture.

When you slow down sounds it opens up a whole world of harmonics that one might not notice or register usually. It gives it this psychedelic richness that I love so much.

i sample my stuff all the time, helps me get in the right headspace where i'm stepping a little bit past the limits of my conscious mind. like, if i sat down & consciously said "okay time to write a melody & a drum line from scratch", I'd generally get a particular sound. But when I'm sampling I'm not focusing so much on traditional composition so much as the textures, and the harmonic//rhythm that results from all that is usually different than what my intellectual mind could have come up with.

Both methods are useful tools imo, just like writing a piece using theory vs improvising on an instrument

  On 1/23/2018 at 11:02 PM, Salvatorin said:

I sample stuff I make extensively. One thing I love doing is taking a loop and layering a 50% slower clip underneath it along with a 50% faster clip on top. It can create some crazy polyrhythms. here's an example, it samples a loop from a different track and creates a fascinating mixture of calm and intensity by having all these different layers of the same melody and rhythm interacting:

 

 

here's another even more minimalistic one that uses some of the same processes

 

at some points there are these interactions between the slowed down reverb and the sped up flutter reverb that make these ringing sounds that I did not synthesize or create intentionally. they are like phantom perceptions that come from the mixture.

This is really good stuff, thanks for the ideas! I have never really got into the sampling mindset easily, but now I have a bunch of finished and half-finished tracks that I have been thinking about re-arranging all the fragments and playing around, so seems like a time to get into this thing as well.

thanks! i realize i made an error in my description. i meant to write twice as slow, and twice as fast.

Not enough. 

Today I just started transferring the dozens of cassettes I recorded between around 4 years old and 10 years old (I don't really remember how young I was but I remember my dad showing me how to operate a tape recorder before I was strong enough to actually press the record button on my own, and the box of tapes has stuff going back to the day I was born, although obviously I didn't make THAT one) and I may try taking some short samples of some of them and manipulate them beyond recognition, just as a kind of high-concept thing.

The only trouble is I don't really want to listen to recordings of myself when I was 6. I've been transferring them with my monitors muted once I determine that there's no shedding or anything happening.

salv, dooope tracks.

  On 1/23/2018 at 11:06 PM, Salvatorin said:

When you slow down sounds it opens up a whole world of harmonics that one might not notice or register usually. It gives it this psychedelic richness that I love so much.

Yeah, slowing just about anything down 20%-30% (not timestretch, although that can be cool too, old-school slowing down with no pitch correction or anything) is one of the best sounds.  Everything you said plus what happens to transients when they're slowed down is just magic.

I like to write melodies a lot so quite a lot of unfinished or abandoned tracks are manipulated into "diddles" that flow in and out of the background of a full track if I find there is a lull in interesting things. I usually render the melody and throw it into some max processing or manipulate the sample in Renoise by using the playback effect commands and retriggering.

  On 1/25/2018 at 11:33 PM, yek said:

salv, dooope tracks.

THX YEK