Also, be sure to check out our video below exploring the Volt’s full capabilities. Jack’s joined by Conor Albert – a self-taught artist, songwriter and producer on Ninja Tune’s roster – who creates an entire beat in under 3 hours using the Volt 276! He showcases just how easy it is to use the Volt interface alongside his preferred DAW (in this case, Ableton), sampling and programming drums, plus recording piano and guitar straight from the studio.

Win a Volt Interface at Andertons Music!

But just before we dive into the juicy details, we want to give you the chance to win your very own Volt interface! We’ve teamed up with Universal Audio to give away three great prizes: a UA Volt 276 Studio Pack, UA Volt 276 audio interface and a UA Volt 176 audio interface.

Read the full details below on how to enter and find out how you can improve your chances of winning! Please note: the giveaway ends 10th March 2022, UK entry only. UPDATE: THIS GIVEAWAY HAS NOW ENDED.

Universal Audio Volt giveaway

6 Things You Need to Know About Volt:

1. Vintage Mic Preamp Mode

Innovative in-built tube emulation circuitry has been tailored to recreate the full-bodied, warm, rich sound of Universal Audio’s now legendary 610 tube mic/line/instrument preamp.

The original preamp was a key building block of a number of hit recordings from the likes of Van Halen, Ray Charles, Johnny Cash and the Beach Boys. Its main characteristic of increased harmonic detail made it a no-brainer for producers everywhere.

Vintage Mic Preamp Mode will apply the same well-rounded, studio-ready sound to your instruments and vocals every single time you hit record. And what’s more, you won’t find this architecture anywhere else in any other kind of audio interface; it’s a certified Universal Audio exclusive! This feature is present inside each kind of Volt interface – even the more entry-level Volt 1 and 2 variants.

2. 76 Models & the all-analogue FET Compressor

The 176, 276 and 476 models all include an onboard 76 compressor. This impressive piece of engineering, consisting of an analog circuit based on Universal Audio’s renowned 1176 Limiting Amplifier, is ideal for applying some final sheen and punch to any part of your song.

A trio of meticulously crafted presets – VOC, GTR and FAST – can be used to manage the levels of guitar, synths, vocals and more with unparalleled ease.

But what exactly is a compressor and why is it useful within music production? Well, put simply, a compressor can be used to lower the dynamic range of a sound. It helps to make the quieter and louder elements of any track closer to one another in terms of their respective volume levels.

Practically, you could use a compressor to manage sharp, aggressive transients – like a more powerful note suddenly produced from an instrument or a vocalist – to create a more palatable listening experience.

3. Portable Production

Like to get creative whenever and wherever creativity strikes you? Volt interfaces are designed to work seamlessly with both iPad and iPhone. Sling the Volt in your backpack and produce on-the-go.

Carefully craft beats, slice and splice samples, record your band’s rehearsal straight from the practice space, or edit tracks on the train. Even the 476 – the most feature-rich of the Volt’s – can be powered directly from an iPad Pro (as can the rest of the range). No external power supply is required!

One thing that’s worth noting: to work in this manner with iPhone’s and older iPad’s, you’ll require an external Volt power supply, plus an Apple Lightning to USB Camera Adapter (*unless* you’re using an iPad Pro with USB-C).

4. The Software Bundle

Every Volt comes bundled with a carefully curated selection of audio software to help you get creative from the get-go. These tools include the likes of Ableton Live Lite, Celemony Melodyne, Softube’s Marshall Plexi Classic Amp and UJAM’s Virtual Drummer. Check out the full breakdown below for some more detail.

Each one was handpicked for its practicality when it comes to producing high-quality music, livestreams, podcasts, sound-to-picture and more.

Every VOLT Interface Includes:

• Spitfire: Labs
• UJAM: Virtual Drummer DEEP, Virtual Bassist DANDY
• Plugin Alliance: Ampeg SVT-VR Classic, Brainworx bx_tuner, Brainworx bx_masterdesk Classic
• Relab: LX480 Essentials
• Celemony: Melodyne Essential
• Softube: Marshall Plexi Classic Amp, Softube Time & Tone Bundle
• Ableton: Ableton Live Lite

Spitfire: Labs

Described by Spitfire Audio as ‘an infinite series of free virtual software instruments, made by musicians, for musicians’ this pack – downloaded over 15 million times by creatives around the world – works with any DAW.

Incredibly easy to use, LABS encompasses a deep and varied selection of instruments. Synth strings, guitar harmonics, percussion, organic textures and pipe organ are just some of the sounds you’ll be able to experiment with – all of which have been captured in astounding detail.

Ableton: Ableton Live Lite

With a license that never expires, Ableton Live Lite is their entry-level DAW, allowing you to compose, capture, and produce entire tracks; you can even perform your songs live if you want!

Celemony: Melodyne Essential

Edit and enhance your vocals with this Grammy-award winning technology. Tweak everything from the timing of a specific line, to the pitch of individual notes.

Relab: LX480 Essentials

Harness the iconic sound of the now-legendary 480L hardware reverb within your mixes. Choose from emulations of four classic presets found on the original unit – Medium Hall, Fat Plate, Small Ambience and Large Wood Room – created by industry-leading mixers like Joe Carell and Richard Furch.

Transform any track with the rich, roomy reverb tails and decadent, dynamic textures that characterised this highly sought-after unit!

UJAM: Virtual Drummer DEEP, Virtual Bassist DANDY

Need some drums but aren’t a drummer yourself? Enter UJAM’s Virtual Drummer DEEP. These 60s’/70s’ inspired drum sounds are at the pinnacle of percussion plug-ins. Choose from 30 different styles, 5 drum kits, 690 patterns and more to take your beats to the next level!

Virtual Bassist DANDY is the perfect rhythmic companion. This rich, warm vintage bass offers seriously smooth basslines aplenty. 30 styles; 990 phrases; 100 presets; simply slot-in alongside Virtual Drummer DEEP, and you’ve got yourself a rhythm section to rival the very best out there.

Softube: Marshall Plexi Classic Amp, Softube Time & Tone Bundle

Known for their incredibly accurate emulations of hardware classics in software form, the inclusions from Softube here continue that pedigree.

The Marshall Plexi Classic Amp – based on the renowned Marshall Plexi Super Lead 1959 – ensures you can conjure the very same tones present on the original, transporting your guitar tone back to the midst of the rock ‘n’ roll era.

The Time & Tone Bundle packs together a further four excellent plug-ins: Drawmer S73 Intelligent Master Processor, Tube Delay, Saturation Knob and the TSAR-1R Reverb.

Plugin Alliance: Ampeg SVT-VR Classic, Brainworx bx_tuner, Brainworx bx_masterdesk Classic

Ampeg’s SVT amps are instantly recognisable. Now, you can access the killer tone of these bass behemoths in plug-in form! Generating the same accurate tones as the original (that was favoured by the likes of Bootsy Collins), apply the rounded, punchy low-end and gutsy midrange to your bass sound.

Brainworx have also supplied two plug-in favourites for your collection: bx_tuner and bx_masterdesk Classic. Just like it says on the tin, the former allows you to quickly (and precisely) tune your bass or electric guitar; the latter provides a premium analog mastering unit confined to an all-in-one plug-in.

5. They Look Cool

Featuring the trademark Universal Audio grey and silver colourway, each interface is seriously sleek – slotting perfectly into any kind of studio space. When in use, the various parts of the interface light up in a handful of vibrant colours too, creating a nice visual contrast. The minimalist, retro-inspired industrial design is enhanced further on the 76 models, with real wood end cheeks completing the look.

They aren’t just a pretty face though; quality metal components ensure the Volt is incredibly durable, withstanding years of recording both on-the-go and at home.

Universal Audio Volt Interfaces

6. Which Model is Right for you?

Each model thrives in different sonic scenarios; compare each model against one another below and find the one that’s right for you!

Volt 1:

• In/Output: 1-in/2-out
• Vintage Preamp: Yes
• 76 Compressor: No
• Who is it for: Singers, Songwriters, Guitarists, Podcasters

Volt 2:

• In/Output: 2-in/2-out
• Vintage Preamp: Yes
• 76 Compressor: No
• Who is it for: Musicians, Songwriters, Guitarists, Content Creators

Volt 176:

• In/Output: 1-in/2-out
• Vintage Preamp: Yes
• 76 Compressor: Yes
• Who is it for: Singers, Songwriters, Guitarists, Podcasters

Volt 276:

• In/Output: 2-in/2-out
• Vintage Preamp: Yes
• 76 Compressor: Yes
• Who is it for: Producers, Musicians, Songwriters, Content Creators

Volt 476:

• In/Output: 4-in/4-out
• Vintage Preamp: Yes
• 76 Compressor: Yes
• Who is it for: Producers, Musicians, Bands, Content Creators

Enjoyed this?

We’ve collated some more relevant articles for you to check out:

• Best Budget Audio Interfaces Under £250
• The Best 5 USB Microphones
• Music Production 101: Tips and Tricks for Beginner Music Producers
• What is a DAW?
• Choosing the Best Gear for your Podcast
• Recording Drums as a Guitarist – What are my Options?
• MIDI 2.0 – What’s New?

The post 6 Things you Need to know About Universal Audio Volt Interfaces appeared first on Andertons Blog.

https://blog.andertons.co.uk/learn/what-is-sampling-in-music https://blog.andertons.co.uk/learn/what-is-sampling-in-music#respond Mon, 01 Nov 2021 14:31:59 +0000 https://blog.andertons.co.uk/?p=8809

What is Sampling in Music? Sampling in music involves taking a section of audio from another source – in this instance, an existing song – and then reworking it into the creation of a new track. Some ill-informed musicians have described it as blatant, shameless plagiarism, but this is an ignorant view point to take. […]

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What is Sampling in Music?

Sampling in music involves taking a section of audio from another source – in this instance, an existing song – and then reworking it into the creation of a new track. Some ill-informed musicians have described it as blatant, shameless plagiarism, but this is an ignorant view point to take. There was once a time when the Grammys would not consider recognising any song that used a sample for the prestigious ‘Song of the Year’ award. Thankfully, this rule was changed in 2014.

The amount of sound that’s ‘sampled’ varies wildly from project to project. Some producers will lift an entire chorus from another song; others might just take a drum beat and slice it up (taking just the kick drum and snare, for example) to suit their own musical needs. Other popular sections to sample include vocals and basslines. It’s not just songs that get sampled either; spoken lines from film, TV and online videos appear often too. For example, Disclosure’s well known track ‘When a Fire Starts to Burn’ features a sample taken from a motivational speaking clip!

Samples are then usually looped, sliced, spliced and manipulated. While some will honour the original sample more closely, many producers will tweak and mould it even further by altering the pitch, tempo and other sonic characteristics too. This can sometimes result in a completely unrecognisable sample, leading to something that’s truly new!

Sampling in Music: A Short History

When discussing sampling in music, you probably immediately think of hip-hop. However, you can quite easily argue that the concept of sampling predates the pioneering golden era of the ’80s.

20th Century Jazz

With the jazz boom during the early part of the 20th century, many musicians would ‘sample’ sections from other players’ pieces when performing live. This was to pay homage to the skill and creativity of their peers, and was done by working these recognisable hooks and melodies into their own music.

Music Concrète

Fast forward to the 1940s and you’ll encounter a pair of Pierre’s – Schaeffer and Henry – and their ground-breaking idea of ‘Music Concrète’. This principle challenged the root definition of music itself. The duo used rudimentary disc cutters to craft entirely unique sonic palettes that were unlike anything that had been heard before.

The sounds of machinery and trains would form the bedrock of their sound. These pre-recorded samples (which were later captured by other enthusiasts thanks to the introduction of the tape recorder) were heavily edited and looped – with changes made to the tempo and pitch. The most famous example of Music Concrète is the song ‘Revolution 9’ from ‘The White Album’ by The Beatles’.

The Chamberlin & The Mellotron

Technological advances in the late 1940s and early ’50s saw the conception of the Chamberlin – named after its inventor, Harry Chamberlin. This keyboard (with an electro-mechanical architecture) boasted an external library of tape loops consisting of many different pre-recorded instruments. This made the Chamberlin an extremely versatile piece of gear for the time, as you could swap between a multitude of sounds as and when they were required.

Its instrumental successor was actually spawned from the Chamberlin itself. In 1962, a man named Bill Fransen purchased a couple of Chamberlin’s. After taking an in-depth look at what made them tick, he began to manufacturer and release his first clone; this was called The Mellotron. This took the concept of the Chamberlin up a notch, improving the engineering and user experience of the unit, with more modern enhancements across the board. The Mellotron was used by The Beatles on ‘Strawberry Fields Forever’ and turned up even later on Radiohead’s ‘OK Computer’.

(The Mellotron)

The Rise of Hip-Hop (& House)

Sampling really came into its own in the latter half of the ’70s and early 1980s with the emergence of hip-hop. DJs from New York would make samples on-the-fly while they played a show. This was done through precisely manipulating vinyl records. The most popular example of this was the use of break beats. These were drum breaks taken from notable jazz, funk and R&B tracks of the period. They were chosen because they could easily get a crowd going and could be rapped over too.

House music’s origins can also be traced back to the early ’80s. However, early house artists differed from their hip-hop counterparts in the type of material that they preferred to sample. Back then, classic disco staples were used as the bedrock of house because of their energy and ability to get people onto the dancefloor. To this day, disco remains a go-to component of house music for the genres’ biggest names.

Enter the Sampler

The late 1970s saw one of the biggest technological milestones in music production – the creation of the very first monophonic digital sampler. Dubbed the Computer Music Melodian, it saw use by the likes of Stevie Wonder. Hot on its heels was the Fairlight CMI (which stands for Computer Music Instrument), which is now regarded as one of the most iconic samplers ever. Usurping its predecessor, this sampler combined a polyphonic design with a DAW (digital audio workstation) and a digital synth.

However, it was not a viable option for the average producer or musician due to the sheer cost of the unit. The Fairlight CMI was quickly adopted by the likes of Herbie Hancock, Kate Bush and Peter Gabriel, amongst others.

Akai Accessibility

With the onset of the ’80s, sampling became even more accessible thanks to the engineering ingenuity of new brands like Akai. They managed to design and build a range of standalone samplers known as MPCs – which is short for music production centre. And they were exactly what they said on the tin. When the MPC60 burst onto the scene in 1988, it gave musicians and producers a more affordable, versatile tool that they could use to make an entire song without ever having to step foot in a studio.

The MPC left an indelible mark on the world of hip-hop – becoming synonymous with legendary producers such as J Dilla – and saw an explosion of new music across the globe that made use of samples. You can find out more about how the Akai MPC changed the music production world in our blog here.

(The Akai MPC60)

The Current Day

Nowadays, the potential for high-quality sampling is better than ever before. The majority of the top tech brands have each developed their own unique samplers with distinct workflows, ranging from entirely standalone gear, to equipment that works best when used in conjunction with a DAW. Check out the section on ‘How do you Sample Music?’ below for our recommendations on some different hardware and advice on how to get started with sampling!

Where do you find Samples for Music?

To avoid getting into legal trouble (which you can find out more about later in this blog), these will be your best avenues to follow:

Use royalty-free samples & free sample packs

A quick Google search throws up a tonne of results for free samples and royalty-free libraries. You might have to do some digging around when it comes to these, but you’ll be safe in the knowledge that nobody is going to sue you for whatever you end up using!

Use a Paid-For Sampling Service

For a monthly fee, companies like Tracklib offer a library of pre-cleared tracks that can be legally sampled and used in any music that you release. Their offering spans both well-known songs and more obscure cuts from a multitude of different genres and decades.

Record your own Samples

This is definitely the more creative way of doing it. Take a handheld recorder and head outside for a field recording session, or capture an instrument at home or in the studio and slice apart and use the best sections. If you’ve got the patience – and the time – you could even meticulously capture the full breadth of notes from a piano individually, insert them into Native Instruments’ Kontakt software, and build your own virtual instrument!

Handheld & Pocket Recorders

How do you Sample Music?

Use a DAW

If you prefer the idea of sampling ‘in the box’, a good place to start would be using a DAW like Ableton. The three different versions – Intro, Standard & Suite – cater to different ability levels, production requirements, and budgets. Ableton’s workflow has been designed from the ground-up for sampling. The first step would be to drop the section of audio or the song that you’d like to sample onto your timeline.

Within the DAW, every audio file can work as a sample. This is due to a handy ‘Warp’ function. Using Warp, you can tweak a tracks tempo with Warp markers; you can then click on the track and start cutting away after you’ve positioned them.

You also have access to two plugins built especially for sampling. ‘Sampler’ can simulate a range of acoustic instruments authentically, and will also effectively cover your more straightforward sampling needs. ‘Simpler’ is the best option for complete beginners, as you can only load up one sample at a time. You’ll be able to playback and cut up samples to your hearts content with it too.

Some other additional tips to consider while you’re sampling in a DAW:

• Make sure that the tempo and key of any sample you use works with your track.
• Ensure that any sample you use is processed properly. There’s nothing more jarring than a sample that stands out in a mix for the wrong reasons.
• Samples can be used to thicken up drums – e.g. placing a kick sample underneath your acoustic one should make it far more punchier.

Use Hardware

However, the best (and arguably most fun) way to dive head first into the exciting world of sampling is to get your hands on some hardware. We’ve outlined some of our favourite samplers for you below. Our selection encompasses a range of gear with tactile, hands-on workflows at five different price points from the likes of Akai, Roland, Novation, Teenage Engineering and Elektron!

Teenage Engineering PO-33 K.0! Pocket Operator – £81

At the entry-level end of the sampler spectrum, there’s the Teenage Engineering PO-33 K.O! Part of their extremely portable and popular Pocket Operator Series, this micro sampler packs in an integrated microphone, letting you sample anytime, anywhere, as well as 40 seconds of total sample memory – making it the ideal companion for production on-the-go!

You can record any of your ideas to one of eight melodic sample banks, which allows for chromatic playback, or one of eight drum banks (which, you’ve guessed it) allows for drum playback. You’ll then be able to add more sonic intrigue to your beats using a range of 16 onboard effects. It might look like a toy, but this calculator-like sampler punches well above its weight.

If you prefer the idea of a Pocket Operator sampler with more of a pop culture twist, why not check out the PO-133 Street Fighter Micro Sampler, or PO-137 Rick and Morty Vocal Synth, Sampler and Drum Machine?

Notable Features:

• BPM setting (with an adjustable swing function)
• Microphone for sampling (with 40 seconds of total sample memory)
• 8 melodic sample slots
• 8 drum slots
• Parameter locks
• Jam sync
• 16 chainable patterns
• 16 contrasting onboard effects
• Playback patterns in real-time
• Pattern crafting via the onboard sequencer
• Additional sampling technique available using the line in (see video below)
• Battery powered (with 1 month battery life & 2 year standby time)
• Animated LCD display
• Built-in speaker
• 3.5mm audio I/O

Novation Circuit Rhythm – £359

Novation’s standalone Circuit Rhythm focuses entirely on beat-making and sampling; it’s equally suitable for your home studio or live performance setup.

You’ll be able to capture your samples straight into the Rhythm and can even edit your beat entirely in the box – with no additional external software or hardware required! Slice, resample, loop and reverse your beat, or apply reverb, delay, lo-fi tape emulation, stutter and beat repeat to add even more dynamics and variety. If you prefer to work with an old-school methodology, you can cut samples directly from vinyl!

Notable Features:

• Onboard rechargeable battery – with a battery life of up to four hours
• 8 individual tracks available for sampling (with each boasting 32-step patterns which can be chained up to 256 steps per track)
• Incorporate MIDI hardware with full-size five-pin MIDI In, Out and Thru connectors (plus analog sync out).
• Use Novation’s Components standalone software to backup your creations & load in fresh samples
• Record samples straight into the unit
• Integrated resampling capabilities
• Powerful FX – including reverb, delay, sidechain, master compressor & more
• Add a loose, or more regimented feel to beats through off-grid or quantised beat capture
• Beat repeat, vinyl simulation & other grid FX
• Headphone out & stereo out

Roland SP-404 MKII Sampler – £439

Roland took on board the constructive feedback from producers and beat-makers on their previous SP samplers and have distilled these suggestions into a range of impressive refinements for their latest iteration: the SP-404MKII Sampler.

It packs together 17 velocity-sensitive tactile pads, a larger suite of effects, a crisp OLED display, a library full to the brim with exciting sounds (144 in total) and seamless sampling and sequencing capabilities.

A lightweight, compact design – paired with an even quicker workflow and load/start-up times – plus 16GB of built in storage and an AA battery power option makes the SP-404MKII a flexible, powerful tool for on-the-go production.

Notable Features:

• Can work in conjunction with SP-404MKII editor software for Mac & Windows
• 32-voice polyphony
• 160 samples per project (with 16 in-built projects in total)
• Cassette Simulator, new lo-fi, Vinyl Simulator, DJFX Looper, Guitar Amp Simulator, Vocoder & more effects
• Rapid sample editing via real-time or auto-chop mode
• BPM detect, pitch shift, envelope & resampling (for applying layered patterns & sounds)
• Low-latency pads (with a no-click design)
• Access & manage samples, assign them to pads and accurately edit waveforms via the SP-404MKII software editor for Windows & Mac OS

Elektron Digitakt Drum Computer & Sampler – £599

One of our best-selling pieces of gear here at Andertons, the Elektron Digitakt combines the beat-making capabilities of a drum machine and a sampler and squeezes them into one compact, robust unit.

Creative sampling functions and a flexible, highly interactive 64-step sequencer provide you with the tools required to craft melodies and beats without a second thought.

With over 400+ factory samples – encompassing acoustic and digital sounds across percussion, drum kits, synths and more – there’s more than enough material here to work with. And for even more options, you can store up to 128 samples of your own too!

Notable Features:

• Sound shaping parameters including delay, modulation, envelope filters, reverb, overdrive and more
• Eight separate audio tracks – assign them to any of your samples or one of the pre-installed factory sounds
• Easily connect to external MIDI equipment (with 8 dedicated tracks available)
• 64mb of RAM and 1GB of onboard storage
• USB connectivity
• Live performance benefits – including micro timing function & the ability to line-up new beats, or drop tracks in & out

Akai MPC Live II Retro Sampler & Sequencer – £1019

The MPC Live II Retro Sampler & Sequencer follows in the footsteps of Akai’s storied predecessors, bringing the renowned MPC workflow and look firmly into the 21st century.

It functions as a standalone sampler and sequencer; you don’t need a computer or laptop to start getting creative. Based around a layout of 16 velocity sensitive RGB pads, you’ll be able to craft beats in a truly hands-on fashion – editing and slicing up your rhythms via the 7-inch touch screen.

Your sounds will be delivered in astounding detail too due to a carefully designed in-built stereo monitoring system. A dual tweeter woofer ensures every nuance of a beat is displayed, from the crack of a snare, to the boom of your bass.

Notable Features:

• New colourway that matches classic MPC models of the past
• 5 hours of battery life thanks to a rechargeable onboard lithium-ion battery
• Versatile connectivity options let you easily connect a range of different studio equipment
• 16GB of internal storage & 2GB of RAM
• Seamlessly integrates with Splice, MPC Software 2 and Ableton Live
• Built-in monitors
• Ableton Link, plus 3 months of Splice access
• Bluetooth/Wi-Fi enabled
• 2 USB slots for MIDI controllers/thumb drives

Samplers

Is Music Sampling Legal?

Yes, if done correctly. If you make the decision to sample another persons music for a track that you intend to release, it’s imperative that you get the express permission from the rights holder(s) so that you can legally use it. These rights holders will most likely be a combination of a record label and a publisher/and or writer(s); very few musicians nowadays own their own copyright.

To use a sample, you will need to clear two separate pieces of copyright: the written song itself and the actual recording. Clearance is required from the owners of both of these before you can use the sample in your music. This is because a fee will almost always be involved. The cost will likely take into account the popularity of the original track and your standing as a producer or artist. Longer samples will almost always cost more than shorter ones.

When trying to clear a sample, it’s common for many people to run into roadblocks – and it isn’t always because of the fee. Sometimes, the record label might say that you can use the recording, but the publisher (or even just one person from a group of writers) won’t give permission from their side. Some publishers and labels will also ask to listen to the new recording before they grant you a license. If they don’t agree with how it’s being used, you won’t get far.

If any of this does happen, you cannot legally use the sample or digitally distribute your song on streaming services etc – no matter how well it works in your track! Doing so can result in liability for copyright infringement. Even the likes of industry heavyweights such as Jay-Z have gotten in trouble in the past for their use of sampling, with the courts ruling against him in a landmark 2005 case.

The argument of stolen work raises its head again here too – especially when it comes to profiting monetarily off of somebody else’s ideas. Clyde Stubblefield – known for his iconic drumming on James Brown’s Funky Drummer – is widely regarded as the world’s most sampled percussionist. You can hear his legendary beats on projects from titanic hip-hop names like J Dilla and Dr. Dre. However, he never got any compensation for his work whatsoever.

Who Has Used Samples in Their Music?

To put it simply, everyone and anyone. The idea transcends genres and appears in more places than you might expect. It’s likely that a tonne of your favourite songs feature samples that you might not even know about! The list below features some great examples of the differing levels of creativity employed by artists and producers.

If you want to get into even more of the nitty gritty behind how certain samples have been flipped, Tracklib’s YouTube channel is a great resource to refer to. Their range of  insightful ‘Sample Breakdown’ videos really help to pull back the curtain on the entire process. Who Sampled is worth checking out too; just search for any track and find out exactly which songs have been sampled during its creation.

Here’s some of my favourite tracks with their associated samples:

• Track: Warren G & Nate Dogg – Regulate (Sampled Track: Michael McDonald – I Keep Forgettin’)
• Track: Kanye West – Bound 2 (Sampled Track: Ponderosa Twins – Bound)
• Track: Mac Miller feat. Vince Staples – Rain (Sampled Track: J.O.B Orquestra – Govinda)
• Track: MF DOOM – One Beer (Sampled Track: Cortex – Huit Octobre 1971)
• Track: N.W.A – If It Ain’t Ruff (Sampled Track: Average White Band – A Star in the Ghetto)
• Track: Eric B. & Rakim – Don’t Sweat the Technique (Sampled Track: Kool & the Gang – Give It Up)
• Track: Hieroglyphics – Powers That Be (Sampled Track: Roland Kovac – Bottle Ghost)
• Track: Ice Cube – It was a Good Day (Sampled Track: The Isley Brothers – Footsteps in the Dark)
• Track: Mos Def – Mathematics (Sampled Track: The Fatback Band – Baby I’m-a-Want You)
• Track: The Notorious B.I.G – Big Poppa (Sampled Track: The Isley Brothers – Between the Sheets)
• Track: Roots Manuva – Dreamy Days (Sampled Track: Floyd Cramer – MacArthur Park)
• Track: Eminem – Stan (Sampled Track: Dido – Thank You)
• Track: Nas – Get Down (Sampled Track: James Brown – The Boss)

Enjoyed This Article?

Why not have a read of some more of our Learn articles below:

• How the Akai MPC Changed the Music Production World
• What is a DAW?
• What is EQ?
• What is Autotune?
• What’s the Difference Between Mixing & Mastering?
• Recording Drums as a Guitarist – What are my Options?
• Music Production 101: Tips and Tricks for Beginner Music Producers

The post What is Sampling in Music? appeared first on Andertons Blog.

This solidified autotunes place within pop music’s production arsenal. It’s gone on to be used by the likes of Daft Punk, Kanye West, T-Pain and other big artists – receiving a further surge in popularity during the 2010s within trap music especially.

Critical Reception

However, it wasn’t well received by everyone. Some said it would ruin the music industry. Others claimed that it was cheating – helping vocalists to disguise the fact that they couldn’t actually sing. Steve Albini, who famously recorded bands like Nirvana, was one of its earliest detractors, saying that it was “mind-numbing”. He also said it would become tiresome and a cliche in no time at all. Later, Jay-Z shared a similar sentiment, claiming that it had become a gimmick, and that too many artists were jumping on a bandwagon.

It wasn’t just artists being critical; other professionals and publications were putting the boot in too. An anonymous recording engineer (with a Grammy) stated that as every track now has perfect pitch, songs are becoming harder to differentiate and everyone sounds the same. Time Magazine even put autotune in their 2010 article ‘The 50 Worst Inventions’. Others have described it as “Photoshop for the human voice”.

There’s a practical argument in favour of autotune though – especially if you’re not a professional. For example, you may have a couple of duff notes present in your recording, yet don’t have the time or money to get yourself or the artist back in the studio. This is where auto-tune comes into its own. You won’t have to record take after take either.

How do you use Autotune?

The first thing to consider when using autotune is that you should only use it on the sections of your song that require it. Don’t add the effect to the entirety of your vocal take. This is is because having autotune on the whole track will be detrimental to the sound quality of your recording.

There’s two main schools of thought when it comes to using autotune. The first is to use it as an outright effect – slathering your vocal in it so it’s obvious to absolutely everyone. This will make it sound more robotic.

The other way is more subtle, using it in a more transparent manner to fix any rogue pitches in your vocal take. This should keep the vocal sounding a lot more natural if used correctly.

To change the amount of auto-tune to your liking, there are three key settings that you’ll need to consider:

Input Type: this is what you’re applying the autotune to. For example, the autotune plugin should have options for the different kinds of vocal – tenor, alto, soprano, bass etc – and even instruments (guitar, keyboard etc). Selecting the correct input type will make the autotune sound far more natural, as well as being more precise.

Musical Key: this is the key you’re working in. You need to set the autotune to match the key of the song you’re doing.

Retune Speed: this parameter decides how quickly your autotune will capture a missed note and then tune it. The higher the retune speed – e.g. 20 – the more transparent the effect will be; the lower the retune speed – e.g. 0 – the more robotic the effect becomes.

A faster retune speed can sometimes be more suitable for singers with less experience/ability, while a slower retune speed will suit vocalists with more control over their voice.

Autotune & Pitch Correction Software

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• Aston Stealth vs Shure SM7B vs Neumann U87 – Most Versatile Recording Microphone

The post What is EQ in Music? appeared first on Andertons Blog.

What is the Easiest DAW to use?

Again, this will be dependant on your own current experience level, preferred workflow and a willingness to learn. The best way to find out which DAW will be easiest for you to use is to download the free version of each major brands’ software first. These free versions don’t contain every single option and feature available in the complete programs, but do provide a good entry-point to each piece of software.

Once you’ve experimented with each – and have found one you like to use – you can then pay to upgrade to the full version with the complete set of features. If you’re serious about your music/audio production, you’ll outgrow these free offerings relatively quickly.

Here are the free versions that we recommend starting with:

• Pro Tools First
• Ableton Live 10 Lite
• Cubase LE
• Garageband

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• Guitarists Guide to Recording
• Using Acoustic Diffusers in a Recording Studio

The post What is a DAW? appeared first on Andertons Blog.

A Short History

Behringer was established by Uli Behringer in 1982. Uli was a Swiss music/sound engineering graduate, and had a track record of creating his own musical equipment from an even earlier age. By 16, he had already made his very first synthesizer: the UB-1. These early products were initially intended just for himself, but his friends were soon asking for their own too. With this ever increasing demand, Behringer went from strength to strength and started manufacturing gear for the wider market.

As well as synths, Uli developed a range of additional gear too – from drum machines and eurorack modules, to mixers and guitar pedals. With every single product that was released, the idea was to create durable, professional hardware that didn’t break the bank. Uli wanted as many people to use his creations as possible.

This ideal and philosophy has carried over to the modern day, becoming the brand’s most important ethos. It was spotting this gap in the market that has propelled them to new heights.

Why are Behringer Synths so Cheap?

Behringer follow their mantra of “double the features at half the price” to the letter. It’s this commitment to creating affordable instruments – that still remain deep and intriguing, but are also accessible enough to operate and explore – that have solidified the brand’s status in the analog synth world.

With such reasonable prices across the board, this has made their gear extremely accessible. If you couldn’t/can’t afford a synth from one of the brand’s competitors, Behringer offer a product range that’s varied and affordable enough where they’re bound to have something that suits your requirements. Basically, if you’re working with a budget or are a complete synth beginner, Behringer is suitable for you. You’ll be able to pick one up for as little as £120!

They managed to keep costs down by becoming one of the first music technology companies to relocate their production to the far-east. It’s from these state of the art facilities that Behringer manufacture their synths and more. However, just because each product they produce there is cheaper to make, this isn’t a detriment whatsoever to the overall build quality. It still manages to remain on a level with the majority of their competitors.

Behringer Synths

Are Behringer Synths Any Good?

To put it simply, yes they are. Behringer have remained on the cutting-edge of synth development in part due to the acquisition of other brands (like T.C. Electronic, Klark Teknik etc) that also continue to push the envelope in their respective fields. It’s through Behringer’s in-house engineers, and the eggheads from these other companies that innovation is bred. Intense research and development is important to them.

A lot of their synths are influenced by legendary designs from other equally big brands. This is known as cloning. For example, a certain Behringer synth may take inspiration from a Roland or Moog product – with a similar suite of features and sound quality too – however, it’s going to be noticeably cheaper in comparison. These modern recreations of classic models are being expanded upon every year, with more being added to the range as you read this. So, if you’ve got your eye on an expensive synth, it may be worth checking to see if Behringer offer a similar alternative that could be more within your price range.

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• How To Use Modular Synthesizers

The post Why are Behringer Synths so Popular? appeared first on Andertons Blog.

Mixing

What is the Mixing Process?

Mixing comes after you’ve captured any vocals, instruments, MIDI etc and then arranged them within your DAW (digital audio workstation). These sessions will likely be made up of a lot of tracks. It involves balancing the separate parts (be it instruments, vocals or other textures) of your session against one another, making sure that they all sound good when played together. It makes these disparate parts become one cohesive whole, combining them into a multichannel/stereo format.

What is the Purpose of Mixing?

To make your music sound good, and to prepare it for the mastering process.

The first thing that’s usually taken care of in a mix is sorting out the volume levels of each track. You’ll want to ensure that no one element is too loud, or too quiet. Each track should compliment each other without getting lost (or standing out too much) in the overall mix. Each instrument/vocal should then be panned appropriately to create a balanced and varied sonic picture. For example, a lead vocal will usually remain in the centre, but you might pan a rhythm guitar slightly to the right or left etc. This gives each part of your mix space, and prevents masking and a muddy, messy sound.

Other basic housekeeping will involve making edits to tracks (e.g. cutting parts off, splicing pieces together), tweaking the pitch, and automating parameters that will change during real-time; this can be used to effect pan, volume levels, and other settings within plug-ins.

Your workflow can also be made easier by naming each part of your mix correctly – e.g. drums (split out into snare, hi-hats, kick etc), lead guitar, vocals and so on. These can then be colour coded and organised into similar groups.

Mixing will always involve a suite of plug-ins. Compression should be used to maintain the dynamic range of each part; EQ will help to develop a gap for an instrument or vocal to sit in (which can be augmented further with a low pass/high pass filter); creative effects such as delay, reverb, modulation etc can add flavour and intrigue to certain tracks, or the whole mix if you prefer.

When you think you’re done, it’s worth regularly checking your mixes on a few different systems, like speakers, studio monitors, in-ear headphones etc. This will ensure that your mix sounds consistent and as good as possible on different gear – reflecting the variety of equipment that will be used by your audience.

Mastering

What Does Mastering Mean?

Mastering is one of the final stages of any production, and is seen as a bit of a dark art. On a simple level, it’s meant to add the last layer of quality and polish to your piece of music once you’re completely finished with your mix. Think of it as optimisation. However, it shouldn’t be seen as a crutch to lean on; if your initial mix is poor, mastering won’t be able to save it. Mastering is all about enhancing what is already there, not fixing the unfixable!

Is Mastering Necessary?

Yes. It’s here where you’ll be processing and balancing your mix to be the best it can be. If you’re working on more than one song (whether it’s an EP, or a full album) this can also involve working on smooth transitions, and sequencing the order of the songs themselves. For example, you may want to alter the volume slightly of each song, or apply fades to the end and beginning of every track. Mastering is therefore especially important if you’re thinking about distributing your music too – no matter whether it’s going to be via a physical format, or digitally. When done correctly, it should make your songs sound more cohesive, flowing nicely from one to the next. You should ultimately aim to achieve a professional sound that can be appreciated on any source.

How Important is Mastering?

Very important. Unlike the mixing stage – where you’re working across individual tracks – during mastering, you’ll likely be working with just a final stereo bounce of the mix, or a few stems. These formats mean that you’re limited to what you can actually achieve. You can’t go in and fiddle with a bass part, vocal harmony, or snare drum for instance.

The main tools that you’ll need to consider using will be compressors, limiters, and EQ’s (all used for broader tonal balance), augmented by stereo wideners and appropriate metering. However, any alterations made using these tools should be subtle, and used only where they’re required. This is because it will broadly effect your entire track(s) instead of individual elements. Using them in the incorrect way can be detrimental to your final product.

Critical listening is extremely important here. You may not even need to change anything at all. You’ll also need to consider the genre of music you’re working on too, as different styles will require different work.

Sometimes it’s worth having a second person master your mix. This is because listening fatigue can set in once you’ve spent a significant amount of time working on your own mix. Another pair of ears may pick out certain details that you either haven’t noticed, or haven’t considered.

Audio Editing & Mastering Software

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The post What’s the Difference Between Mixing & Mastering? appeared first on Andertons Blog.

On a basic level, you can simply use a fresh microfibre cloth and clean the surface – removing any dust, dirt, moisture or fingerprints as you go. Anything more severe and caked on can either be removed with a bit of warm water and soap (as long as you dry it off after) or a cymbal cleaner (which you can find out more about below). You should make sure that you pay attention to the cymbals edges too; splinters from your sticks can sometimes mark and stick to this area if you’re a hard-hitter.

If you want to prevent these minor blemishes on your cymbals, you can always store them away in a cymbal bag when not in use. This defends against potential metal-on-metal scratching from occurring. Also, when you carry them or take them off a stand, only handle the edges of the cymbal, as this will prevent fingerprints from covering the rest of the surface. Some drummers will even clean their cymbals (in a basic manner) after each session – but that can be a tad excessive!

How do you Polish a Cymbal?

Cymbals shouldn’t be polished every single time you decide to clean them. You should only be polishing them every so often. In many polishing formulas, the abrasives that are present can remove certain layers if it’s used too much. This can sometimes go as deep as the lathing, which will be detrimental to the sound of your cymbal. Many brands have now produced their own versions, meaning there are plenty of options available out there.

You’ll want to use one of these branded cymbal polishes. Add a small amount of polish to a soft microfibre cloth. This cloth should then be rubbed over and into the cymbals grooves, ensuring that you don’t miss any of the surface area. Once this is done, you can either get rid of the excess polish with another microfibre cloth (that’s ideally clean and dry), or by running the cymbal under water that’s warm – drying it off completely once you’re done, with all of the polish taken off. If you’re using water, ensure that you’re gently rinsing and aren’t soaking/submerging the cymbal in a bucket.

You can then repeat this process again on the cymbals underside if you prefer a complete and in-depth polishing process. Remember though: any leftover moisture on either side can damage the metal alloy itself. Moisture and metal are really not a good mix.

What’s the Best Cymbal Cleaner?

The main cymbal cleaner(s) that we stock comes from a brand called Groove Juice. They’ve carved a solid niche in this space, becoming the go-to choice of many drummers when it comes to keeping their cymbals in working order. This is because it’s so quick and easy to use. There’s a reason why it’s maintained its place on the market for over 10 years now! Their Groove Juice Cymbal Cleaner was developed to be used on premium, professional bronze cymbals, while the Groove Juice Junior Cymbal Cleaner is formulated for use on entry-level and budget cymbals.

Groove Juice Cymbal Cleaner is incredibly simple to use; just spray it onto the surface of your cymbal and wipe the mixture (using either a paper towel or a soft cloth) over the tonal grooves. The fluid should be evenly distributed and then left on the cymbal for between 30 seconds and a minute. It can then be rinsed off using warm water – which should remove any remaining residue. If there is a serious amount of detritus on your cymbal, you may want to consider using an old toothbrush to really get into the crevices. However, never use a wire brush as it can scratch and remove your cymbals surface. You should then use a towel to dry off the cymbal and get rid of any left over moisture. If done correctly, your cymbal should now be free from smudges and dirt, with a restored shine and sheen too.

Can Any Cymbal Cleaner & Polish be Used on Any Kind of Cymbal?

It’s always worth reading the description of any cymbal cleaner or polish. Some will state that it should only be used on cymbals with a brilliant finish for example (and should not be used on any with a traditional, patina or natural finish). This is the case for a product like the Zildjian cymbal polish. Ultimately, you should always use the correct polish/cleaner for the specific recommended kind of cymbal.

Zildjian Cymbal Polish

The main two finishes mentioned above for cymbals are traditional and brilliant. Traditional ones do not have a shine; brilliant ones shimmer like a mirror and must be polished to maintain this look.

You should always test cymbal cleaner/polish on a hidden test area before fully committing to using certain products. This is because discolouration can sometimes happen. If it does, you should stop using it. Logos may be affected occasionally too, meaning we recommend cleaning around them if you want them to remain completely intact.

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The post How to Clean Cymbals – The Ultimate Guide appeared first on Andertons Blog.

High Sound Pressure Levels, Wind Noise & Plosives

If you find yourself regularly recording loud sources, then make sure that you’ve got an SM57 on standby. They’re built to handle extreme SPL (sound pressure levels). This is one reason why it’s so good for both percussion and guitar amps. Shure state that the first frequency range to distort is found around 100Hz, occurring near 150dB SPL. Surprisingly, this is actually louder than a jet engine. The SM57 excels at other higher frequencies too. When you reach 1kHz, it can handle 160dB SPL; move up to 10kHz and it can supposedly handle 180dB SPL; at 20kHz it’s built to accommodate 190dB SPL. To put this data simply, the SM57 will be able to handle your source no matter how loud it is. You’ll be able to record with minimal levels of distortion; there’s literally no sound too loud for this mic.

Dynamic microphones are known for handling wind noise far better, and the SM57 is no different. The heavier mass of the diaphragm (when compared to the lighter mass of a condenser diaphragm) ensures it’s a lot less susceptible to the impact of wind noise. A condenser is also more likely to suffer from plosives and sibilance – if used without a pop filter – whereas the SM57 doesn’t really suffer as much from these issues.

Affordable Price

This one’s pretty self-explanatory. Coming in at just under £90, the SM57 remains affordable for just about everyone. You’re getting yourself a professional-grade piece of equipment at a more than reasonable price!

What’s the Difference Between the SM57 and the SM58?

Even though the SM57 and SM58 share a design that’s based on the same cartridge, there are a number of differences between the two. The SM57 was originally intended to be used as an instrument microphone. This is highlighted by the reduced grille size (which is far more practical, and doesn’t need to worry about combating plosives). The grille is also a part of the actual cartridge itself. The amount of space between the top of the grille to the diaphragm is shorter too. This delivers a much more defined proximity effect. There’s also a higher output present above the 5kHz mark due to the resonator and grille that’s been used.

On the other hand, the SM58 was created for vocal use; it boasts a ball grille with an integrated pop filter which is used to remove plosives from your sound.

The Alternatives

Even though the SM57 is already very competitively priced, that doesn’t mean there aren’t other great affordable mic’s on the market that can do a similar job. From sE Electronics, to Lewitt and Tourtech, there’s an option available here to suit a host of different budgets. Check them out below!

Dynamic Microphones

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The post How Did the Shure SM57 Become the Industry Standard Dynamic Microphone? appeared first on Andertons Blog.

What do the Different Materials Impact?

When directly compared, both rubber pads and mesh drum heads feature contrasting characteristics in a number of areas. They mainly differ when it comes to rebound, attack and response, with their own noticeably unique feel when compared to an acoustic kit. You may have a kit with all rubber pads, all mesh heads, or rubber pads for your toms/kick and a mesh head for your snare etc. It all depends on the price of the kit.

Here are the main pros and cons of both:

Rubber Pads

More cost effective: many budget entry-level electronic kits will be made up of rubber pads entirely. This helps to keep the overall cost down, as rubber pads are cheaper to produce than their mesh cousins. Some good examples of these types of kits are the Roland TD-1K, the Carlsbro Commander 130, and the Tourtech TT-12S. They’re all under £365, making them the ideal first set to kickstart your drum journey.

Compact design: rubber pads are generally a lot more compact. They feature a slimmer build, allowing you to easily fold them away on the rack systems that most electronic kits utilise. This makes them perfect if you need a kit with a smaller footprint that’ll fit into a small practice space, or one that can be easily packed away once you’re finished using it.

Lower quality feel: rubber pads do not feel as good to play as mesh heads, with a noticeably reduced rebound. This feel will also change depending on the exact rubber material itself, as well as the thickness and robustness of it. They are much harder too; some drummers complain of fatigue in their hands and wrists if they play for too long on a kit with rubber pads. If you’ve ever played on a practice pad, you should expect a similar experience when using rubber pads.

Mesh Heads

Improved playing feel: mesh heads emulate the response, feel and rebound of traditional acoustic drum skins a lot better than rubber pads. Many new electronic kits even have mesh heads that can be tweaked (tension-wise) to suit your preferred level of stick rebound, benefitting your own unique playing style in the process.

More accurate sizes: most kits with mesh heads are usually closer to the sizes of actual acoustic drums. This means they’re a good choice if you swap between an acoustic and electronic set regularly, as you won’t have to alter your technique or change your accuracy at all. It also means if you start out learning to drum using an electronic kit with mesh heads, you’ll be able to translate these skills more easily over to an acoustic kit at a later date.

High-end Engineering: many of the electronic kits with mesh heads feature far more advanced integrated technology. Every nuance of your playing with be picked up in far better detail – from ghost notes and rim shots, to cross stick. Improved dynamics once again mirror those that you’d find on an acoustic drum head.

More expensive: due to the material and technology itself, you should expect to pay more for a kit with mesh heads. However, you’re paying for a high-quality drumming experience in the process. You definitely get what you pay for if you decide to go for them!

Mesh Head Electronic Drum Kits

Are Rubber Pads and Mesh Heads Silent?

No, not completely. The actual sound of the drums will be quiet (if you’re playing through headphones), but your strikes won’t be entirely silent. Rubber pads sound louder than mesh ones (as they transfer more vibration to your rack and into the floor), so if you want an electronic drum experience that’s less likely to cheese off your family or neighbours, then an all mesh kit is the way to go. However, any kind of electronic drum kit is going to be far quieter than an acoustic – that’s for sure!

If you still want to quieten your electronic drums down even further, there’s a few easy ways to do so:

• Placing your kit on a thick rug can help reduce vibrations quite effectively.
• Replace your drum beater in your kick pedal with a ‘silent’ beater.
• Raise your kick drum onto something so it sits off of the floor. The kick drum can be one of the loudest elements of an electronic kit.
• Purchase a Roland ‘Noise Eater’ kick drum pedal. These pedals (available in a single and double variants) harness smart technology to reduce the noise transfer that’s usually generated by vibrations. They’ve been specially designed to work with electronic kits.

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