Released Album)the EPS boasted bit sampling, variable bit rate from 6. Then I got an SP on some scandal stuff that me and Melquan pulled. Then I started getting money. I eventually got the ASR. We started in the ASR looping it. And we kept on going and built up from there, he got that going to the breakdown and back and forth with it and boom, a masterpiece.
Despite their lack of glamour, the EPS and ASR machines are two of the sturdiest workhorses in modern sampling history. If the MPC defined the sound of hip-hop in the s, then the S and its siblings defined the sound of dance music.
It offered bit sampling, up to 40kHz sampling rate and a maximum of 63 seconds of sampling time. The S followed in with a higher sampling rate and increased memory. That same year Akai also released the S with bit sampling, Being rack mount units, the S samplers were arguably uglier and potentially more confusing than the MPC series, but behind their tricky facade lay a wealth of advanced editing capabilities that would prove a boon to various nascent dance music movements.
By playing with the D-value you could effect the interpolation of the stretched sample, resulting in a sonic quality that ranged from metallic to realistic and outright bizarre. The other thing about thethat a lot of people walked away from, was how it looped. We used to call it the infinite loop. If you looped a pad sound or a drum sound or anything it would have this alternating forward and backward loop. We had a lot of people coming back to us and saying how are you making those sounds?
Aside from jungle, the S samplers were also integral to the workflow and experimentations of artists including Moby, Fatboy Slim and Mr. Sample series, which began production in the early s. Adapted from the Roland MS—1 Digital Sampler, released inthe series started in with the SP—, a simple sampler designed for DJs seeking to handle loops and grooves on the go and LP a budget.
Its first update came in with the SP—, turning the machine into a more powerful phrase sampler that was still portable. While the sequencer and Inthe was upgraded to thea bulkier unit that kept the powerful suite of effects and added a bigger UI, more sound banks, Album) memory and additional sequencing.
However, it was the arrival of the SP— in that would prove the shrewdest addition to the range. Read info on my profil page click picture. Description : I made a youtube movie of travel Impressions of a Nile Cruise in Egypt, and I added music with this melody. In my first version "Arabic Theme for Flute" I did not use any effects. The character is now Album) different because I used 2 different sounds: Halo Pad and Speep Pad for the drone and the Flute also got more reverb than my first version with the result that the loop got more overtones and a cosmic touch.
Hope you like this as well. Here is the second theme. I used 2 different sounds: Sweep Pad for the drone and instead of Oboe I have chosen Solo Vox which emphasise the meloic line. I did a few LP to get the melody staccato, to get a better distinction against the drone. I could not upload the 2 loops because it would be with 6,3 MB too big.
On the other hand by combining the two loops, the first part has a more space sound and Part 2 emphasise the melody and some rhythmic changes in the drone with two different sounds in one loop. Banner via. Instruments: Paul McCartney plays bass, drums, acoustic guitar, lead guitar, piano, Mellotron, organ, and toy xylophone.
Instruments: Mike Oldfield plays acoustic guitar, bass guitar, electric guitar, Farfisa, Hammond, Lowrey organs, flageolet, fuzz guitars, glockenspiel, mandolin, piano, percussion, timpani, and tubular bells.
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