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the current state of advanced samplers (not good?)
Old 15th March 2019
  #121
That was not the point of this aliasing test, it was 100% about how different sample engines create inharmonic aliasing when transposing a sample away from the original pitch.


Quote:
Originally Posted by Muser View Post
kontakt seems to have a strange squawk everytime it hits around 1K.

but take into account that the pitch sweep is a pre generated sweep. thats not the same as pitch bending the sample engine to create the sweep. I'd try a fixed pitch sine with a long 14 bit pitch bend midi event coming from the DAW. and also if the 950 has an envelope for pitch you could try a long version of that.

if you fish around in the resources of some synth plugins you have, you may well find a high quality sample of a sine wave in there.
you could probably use sustained pitches that way too. thanks for the post. there's possibly more to be investigated.
Old 15th March 2019
  #122
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Quote:
Originally Posted by studio460 View Post
Gotcha, thanks for that mini-review. I don't recall if you have one or not, but it's still one of two synths giving me the most GAS, that and a Deckards Dream.
Yes, I have one...
Old 15th March 2019
  #123
mp3
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Quote:
Originally Posted by xled View Post
I like tubediggas videos so will have to check out the S1000 one. The MPC live is so close to being good , but I feel like it was made by people who aren’t creative types / musicians, sadly.
Of course they're musicians:



But on a serious note, (as a Toraiz SP-16 owner) the Pioneer samplers are dope as all get-out IMO, but they are not workstations. They're moreso instruments like the Elektrons than full-on sample based workstations like the MPC Live. So I don't even really think the comparison is a good one to make.

In the end I would just say evaluate your workstation vs. instrument preference before you go one way or another. There is absolutely nothing wrong with a feature complete workstation if that's what you're after, and though I've never used one, I'm more than sure the MPC Live has all sorts of 'instrument' tricks up its sleeve.

Quote:
Originally Posted by xled View Post
I’ve started using ableton a lot more recently, and really love how much you can get done with simpler, or audio files. The different pitch shifting / sampling modes are so deep and yet so simple. I wish something would expand on that concept, or just straight up integrate it into a hardware box.
Might want to add Ableton Push 2 to your list of gears to evaluate then. You might appreciate how it lends some hands-on-ness to Ableton's sampling plugins.
Old 15th March 2019
  #124
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Muser's Avatar
Quote:
Originally Posted by Harvey Specter View Post
That was not the point of this aliasing test, it was 100% about how different sample engines create inharmonic aliasing when transposing a sample away from the original pitch.
yes I know, but I was adding to other possible ways of triangulating why that is.
Old 16th March 2019
  #125
Ahh my bad for not reading your post properly.... the it is a pre calculated sweep but I feel the transposing of keys from C3 to G4 show off the different ways aliasing is dealt with by the different hardware software samplers.

Kontakt in perfect mode surprised me more than I thought it would. Standard mode it was terrible but perfect was very good indeed. The Disting eurorack modules aliased to hell and back without any transposition which is odd.
Old 16th March 2019
  #126
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Pindrive's Avatar
Computers are here to stay. Workflow & the progress of technology make them the future. There are boards like the Kronos that can do everything, just about. However, the cost puts them out of the market, for most. &, they aren't as versatile as a computer for all around studio needs.
Personally, I don't use a computer in my setup. I'll likely do my finally mastering there, though. I use a number of vintage samplers & the ASR10, as my centerpiece/controller. I like the workflow, & sometimes even the limitations. With all of the vintage samplers out there, the only way I'd buy a new one is if they remade some of the old classic samplers, updated the memory & storage to modern specs, w/ cutting corners. I feel like modern Samplers are packed with too many features. I feel like buyers just want "that sound" back.
Old 16th March 2019
  #127
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you might find this page useful. I think he was using a Tamborine here though. from what I remember. which might be insufficient to find the artifacts you found in perfect mode in Kontakt. I think Kontakt had some kind of hi pass tracking filter as well. again from memory. may have changed since then.

Sampler anti-aliasing and pitch shifting comparison
Old 17th March 2019
  #128
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has there ever been a word from Uli B. about samplers?
Old 17th March 2019
  #129
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Cornish1999's Avatar
Quote:
Originally Posted by ontherun View Post
has there ever been a word from Uli B. about samplers?
Not that I’ve read sadly. They don’t seem to be on any of his wish lists of old synths at all. More of a synth man than a sampler guy by the looks of it! Our Uli sampler thread is currently on lock down too lol
Old 18th March 2019
  #130
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NawSon's Avatar
 

Quote:
Originally Posted by xled View Post
Uhh, you’re the one who “trotted out” the negative , off-topic generalizations. You must have pretty limited tastes if nothing appeals to you, as there is more music now than there ever has been in the past. I’d make some suggestions based on what you like, but it sounds like you’re not interested in changing / opening your mind about this. Maybe I’m wrong ! Give me a couple examples of things you like and I will do my best to make suggestions .
You’re right, my music taste is VERY limited: I don’t listen to bull****.

I don’t need your recommendations either. You don’t know more music than I do. But thanks for thinking that I don’t know ****.
Old 22nd March 2019
  #131
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I just want to say that if anybody DOES make something like an Emulator II clone they better not gimp the multi-timbrality.
Because one of the BIGGEST factors that made the Emulator popular was the ability to sample a bunch of instruments and only take one keyboard onstage instead of a whole bunch. Not to mention you could use it to sample a mono-timbral synth and build up layers.

You could sample your other synths (works best with digital ones) and then take just the Emulator on the road with you with a collection of all your personal sounds sampled from say the PPG, DX7, Synclavier, Prophet-VS etc. Leave the real ones at home.

And then on top of that you can then get multi-timbrality (and sometimes polyphony) where some of those other machines have none.

And I think that's definitely the appeal to me still, for live use and having a huge bank of diverse sounds in one machine that I can layer and have be a workstation. And with SD card storage you could really just fill it up.

I'm just saying that if I theoretically had to buy 8 mono-timbral samplers to get 8 separate sounds/layers/timbres then it sort of defeats the whole purpose.
Old 22nd March 2019
  #132
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Quote:
Originally Posted by ArtFluids View Post
I just want to say that if anybody DOES make something like an Emulator II clone they better not gimp the multi-timbrality.
Because one of the BIGGEST factors that made the Emulator popular was the ability to sample a bunch of instruments and only take one keyboard onstage instead of a whole bunch. Not to mention you could use it to sample a mono-timbral synth and build up layers.

You could sample your other synths (works best with digital ones) and then take just the Emulator on the road with you with a collection of all your personal sounds sampled from say the PPG, DX7, Synclavier, Prophet-VS etc. Leave the real ones at home.

And then on top of that you can then get multi-timbrality (and sometimes polyphony) where some of those other machines have none.

And I think that's definitely the appeal to me still, for live use and having a huge bank of diverse sounds in one machine that I can layer and have be a workstation. And with SD card storage you could really just fill it up.

I'm just saying that if I theoretically had to buy 8 mono-timbral samplers to get 8 separate sounds/layers/timbres then it sort of defeats the whole purpose.
Definitely the idea. Give us a machine that captures the magic of old with the advantages of new(polyphony & Memory, mostly).
Old 19th May 2019
  #133
Quote:
Originally Posted by draig View Post

And of course the Quantum can sample from the audio input or sample itself. So it actually is a sampler. I have yet to try it.
Wow you have my full attention! Can it play back and sample from the analog inputs at the same time? Is timestretch coming to the sample edit features in 2.0?
Old 30th June 2019
  #134
Gear Head
 

Quote:
Originally Posted by Muser View Post
maybe when they started switching to stereo samples it began to pose a new technical problem for the previous engine. someone who's familiar with circuit design might be able to shed some light on what might have been going on technically. because if you just simply change the sample rate of a specific voice I would have thought the individual voice would need to be changing its sample clock rate independently for each voice. it could imply an abrupt change in design philosophy between the 950 and 1000. again assuming this is all true and without really knowing a lot about these various design philosophies and available chips of the time.
It's certainly possible (to have variable-clock sample voices synched as a pair for stereo sample replay), I used to have a Synclavier 9600 and that managed it. It also had two D to A convertors per mono sample voice, one for the left output volume and one for the right. I'm not sure if Akai did the same in the S900/950.

Fairlights also had individual voice channels with their own clock to determine sample replay pitch.

I'd be interested if there are any other samplers from that crossover era that did the same e.g. Simmons SDX, Linn 9000 / MPC 60. Anyone know?
Old 4 weeks ago
  #135
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Quote:
Originally Posted by Just View Post
It's certainly possible (to have variable-clock sample voices synched as a pair for stereo sample replay), I used to have a Synclavier 9600 and that managed it. It also had two D to A convertors per mono sample voice, one for the left output volume and one for the right. I'm not sure if Akai did the same in the S900/950.

Fairlights also had individual voice channels with their own clock to determine sample replay pitch.

I'd be interested if there are any other samplers from that crossover era that did the same e.g. Simmons SDX, Linn 9000 / MPC 60. Anyone know?
It's possible those three did. I'd assume the MPC60 had something akin S900 engine and I think those did. it's said to be the case with the 950 in any case. I think the the 9000 and SDX were both prior to the 60, so that's even a higher possibility. though maybe the SDX had stereo voices. how did you synchronize the 9600 to tape btw ?
Old 3 weeks ago
  #136
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There is nothing in the market like the OP is asking because most producers of popular electronic genres actually use sample packs to make their formulaic product. Hardware is limited because it is mostly sufficient for the target market, who don't need advanced features.
Pioneer devoted their time on updating the SP16 by providing increased sample time per track (for the DJ crowd) instead of implementing basic editing stuff such as copy/paste steps....
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