5.3 Advanced sample manipulation techniques

Advanced sample manipulation opens up a world of sonic possibilities. By breaking down audio into tiny grains, composers can stretch, warp, and transform sounds in ways unimaginable with traditional techniques. These methods allow for the creation of rich textures and evolving soundscapes.

Resampling, layering, and advanced processing take sample manipulation further. By combining and processing multiple audio sources, composers can craft unique, complex sounds that defy conventional categorization. These techniques are essential for modern electronic music production and sound design.

Advanced Sample Manipulation Techniques

Techniques of granular synthesis

Top images from around the web for Techniques of granular synthesis

• 

  MLab in the Humanities » University of Victoria » From Grain to Glitch: Simulating Microsound View original

  Is this image relevant?

• 

  Tool: Microsonic FM - FM-based granular synthesiser | Cycling '74 View original

  Is this image relevant?

• 

  Tool: cm.grainlabs~ - granular synthesis external | Cycling '74 View original

  Is this image relevant?

• 

  MLab in the Humanities » University of Victoria » From Grain to Glitch: Simulating Microsound View original

  Is this image relevant?

• 

  Tool: Microsonic FM - FM-based granular synthesiser | Cycling '74 View original

  Is this image relevant?

1 of 3

Top images from around the web for Techniques of granular synthesis

• 

  MLab in the Humanities » University of Victoria » From Grain to Glitch: Simulating Microsound View original

  Is this image relevant?

• 

  Tool: Microsonic FM - FM-based granular synthesiser | Cycling '74 View original

  Is this image relevant?

• 

  Tool: cm.grainlabs~ - granular synthesis external | Cycling '74 View original

  Is this image relevant?

• 

  MLab in the Humanities » University of Victoria » From Grain to Glitch: Simulating Microsound View original

  Is this image relevant?

• 

  Tool: Microsonic FM - FM-based granular synthesiser | Cycling '74 View original

  Is this image relevant?

1 of 3

• Granular synthesis basics involve dividing a sample into small pieces called "grains" with typical grain durations ranging from 1 to 100 milliseconds (ms)
• Grain playback parameters include:
  • Grain size: Adjusting the length of individual grains (e.g., 50 ms, 20 ms)
  • Grain density: Controlling the number of grains played simultaneously (e.g., 10 grains per second, 100 grains per second)
  • Grain pitch: Altering the pitch of individual grains (e.g., +1 octave, -2 semitones)
  • Grain envelope: Shaping the amplitude of each grain over time (e.g., fade-in/fade-out, percussive attack)
• Grain organization techniques encompass:
  • Synchronous granular synthesis plays grains back at regular intervals (e.g., every 100 ms)
  • Asynchronous granular synthesis plays grains back with varying intervals, creating a more chaotic texture (e.g., random intervals between 50-200 ms)
• Creative applications of granular synthesis include:
  • Time-stretching lengthens or shortens a sample without changing its pitch (e.g., doubling the length of a vocal sample)
  • Texture creation generates complex, evolving soundscapes by manipulating grain parameters (e.g., slowly changing grain pitch and density over time)
  • Granular clouds layer multiple granular streams to create dense, immersive textures (e.g., combining granular streams of different samples)

Creative resampling and layering

• Resampling techniques involve:
  • Bouncing renders a processed or layered sound to a new audio file (e.g., rendering a complex patch to a single sample)
  • Reprocessing applies additional effects or manipulations to a resampled sound (e.g., applying distortion to a bounced sample)
• Layering techniques combine multiple samples or synthesized sounds to create a new, composite sound by adjusting volume, panning, and pitch of individual layers to create depth and interest (e.g., layering a kick drum with a sub-bass tone)
• Creative resampling and layering applications include:
  • Sound design generates unique, complex sounds by iteratively processing and layering (e.g., creating a new lead sound by layering and processing multiple synth patches)
  • Drum layering combines multiple drum samples to create powerful, customized drum sounds (e.g., layering a snare drum with a clap and white noise)
  • Texture building stacks and manipulates layers to create rich, evolving textures (e.g., creating a pad sound by layering and processing multiple atmospheric samples)

Advanced processing for samples

• Filtering techniques encompass:
  • Low-pass filter attenuates frequencies above a specified cutoff frequency (e.g., rolling off high frequencies above 1 kHz)
  • High-pass filter attenuates frequencies below a specified cutoff frequency (e.g., removing low frequencies below 100 Hz)
  • Band-pass filter allows a specific range of frequencies to pass through while attenuating others (e.g., isolating a specific frequency range around 500 Hz)
  • Filter modulation dynamically changes filter parameters over time using LFOs or envelopes (e.g., using an LFO to sweep the cutoff frequency of a low-pass filter)
• Modulation effects include:
  • Amplitude modulation applies a modulator signal to vary the amplitude of a carrier signal (e.g., using an LFO to create tremolo effect)
  • Frequency modulation uses a modulator signal to vary the frequency of a carrier signal (e.g., creating complex, dynamic timbres)
  • Ring modulation multiplies two signals to create new frequency components (e.g., creating metallic, bell-like tones)
• Other advanced effects:
  • Distortion adds harmonics and saturation to a signal (e.g., applying overdrive to a bass sample)
  • Convolution reverb applies the characteristics of a real or synthetic space to a sound (e.g., using an impulse response of a concert hall)
  • Granular effects apply granular processing techniques to create unique textures and timbres (e.g., using a granular delay to create a stuttering, glitchy effect)

Rhythm creation with sliced samples

• Sample slicing techniques involve:
  • Transient detection automatically identifies and slices a sample at its transient points (e.g., slicing a drum loop at each drum hit)
  • Manual slicing divides a sample into smaller segments based on user-defined markers (e.g., slicing a vocal phrase into individual words)
• Rearranging sliced samples by:
  • Reordering slices to create new rhythmic patterns (e.g., rearranging the order of drum hits in a sliced loop)
  • Repeating or omitting specific slices to alter the groove (e.g., repeating a specific snare slice to create a double-hit effect)
• Groove creation strategies include:
  • Swing and humanization slightly shift the timing of slices to create a more organic, human-like feel (e.g., applying a 16th note swing to a sliced drum loop)
  • Velocity variation adjusts the volume of individual slices to emphasize certain beats or create dynamic patterns (e.g., increasing the velocity of every 4th slice in a drum loop)
  • Layering sliced loops combines multiple sliced samples to generate complex, polyrhythmic grooves (e.g., layering a sliced drum loop with a sliced bassline)
• Creative applications of slicing and rearranging:
  • Drum loop manipulation transforms existing drum loops into new, unique rhythms (e.g., rearranging a 4/4 drum loop into a 7/8 time signature)
  • Melodic sample repurposing rearranges slices of a melodic sample to create new melodies or harmonies (e.g., slicing a piano chord progression and rearranging the slices to create a new melody)
  • Glitch and IDM production uses aggressive slicing and rearrangement techniques to create glitchy, abstract rhythms (e.g., rapidly slicing and rearranging a drum loop to create a complex, stuttering rhythm)