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In a digital world, there surely isn’t a shortage of samples – but quality samples.
My sample library seems to have an endless supply of drum loops and sifting through hundreds of files in search of the ideal sample seems like a nightmare.
I know, starting with high-quality samples will give you a leg up on the competition – but finding a website like depositphotos.com/music.html isn’t a cakewalk that can cater to all your music needs.
Choosing samples with top-notch quality isn’t easy thus to get all your queries answered, scroll down!
Before you settle for a sample, think about whether you are looking for a short snappy kick-in or a longer boom. According to the general rule of thumb for electronic music, the heavier baseline you go for, the snappier length you will go for.
Ask yourself – do you want a mellow transition or something on the crispier and brighter spectrum? The secret to finding the right balance is to decide on the ideal frequency spectrum.
Now, this is something related to the harmonics. Based on whether you choose to go for a sine or a square wave – makes all the difference. However, here’s a tip from my end: the more distorted the sound, the more aggressive the sample will be and the more space it will occupy in the mix.
It’s important to consider the fundamental note of the sample to find a suitable pitch. No matter which type of sample genres you are looking for – without the right pitch, everything can go downhill.
How do you like your samples – with a clicky one or a long attack? The louder the transient and, the shorter the attack you want, the higher the frequencies will eventually get.
Most DAWs have their own sampler modules built right in. But working with sampler VSTs is also a good way to go if you are looking for the right sampling workflow. Working with a separate sampler VST allows for better adjustment of ADSR envelopes, faster filtering, pitching, and MIDI controller mapping.
All of the top sample packs include loops in addition to one-shots and single hits.
Synth and bass loops are the most prevalent. You can use the given key and tempo as a jumping-off point for your own compositions. But just because a loop is included in your sample pack doesn’t mean you have to use it exactly as is.
Try chopping and rearranging your loops in your DAW, sampler plugins, or sampling hardware to create something new, or take sounds from multiple loops with the same key or BPM to create your own new sequences.
Consider your loops as a beginning point, not a finished piece. Create your own fresh loops to create something different than the identical sample that everyone else has.
Using a high-pass, low-pass, or band-pass filter as the first step in your sample processing workflow will help you remove unwanted background noise, clicks, and pops. I would also suggest using quick filtering to fit your samples into the track’s existing frequency information. In fact, an entire sample’s characteristics can be altered with some creative EQing!
Considering only the higher-end information of a sample and overlaying it with additional samples will help make your loops and shots more distinct and adaptable. Before you get too detailed with your EQs, try some easy filtering. Also, allow your filters to dig in and discover the track textures that you may not have noticed in the initial sample.
If there are samples you want to work with but don’t like the frequencies – you can add a high-pass or low-pass filter to the sample to get rid of the noisy information.
There are tons of bad sample packs out there you’ll come across if you just scroll through a couple of sampling sites. Especially, the websites which claim to offer sample music free of cost – tend to practice such fake claims by providing average sample packs.
In my years of experience, I have learned that “everything comes at a cost”. If you want good samples, don’t shy away from spending at least $50 to $100 and reap its benefits for at least a couple of years. Don’t keep on purchasing them every month!
What I mean by this is that you should start paying close attention to your favorite tracks. For example, take your favorite tracks and try to figure out how the kick really sounds and how the symbols sound. Because in deep house, for example, they often don’t use open hi-hats but instead use shakers, which you need to put in your track when you send it to labels. The goal here is to make everything look good together!
The kick is the most important thing ever, and it’s likely to be in your tracks forever. What I mean by that is that most of the time, a good kick drum sample is not only basic, but it’s also better than the one you spent days layering, compressing, keying, and EQing. So, take your time picking the right kick to use as a reference track, and if it’s not good, just replace it.
Everything has a note, so if the sample isn’t already labeled in your sample pack, check out how it’s tuned. I think you should try different things to find the tune of that sample. You could use a tuner plug-in, EQ, or just pitch it up one or two octaves and listen to it. Even with the kick and snare in the mix, I know that many producers just stay on key and pick the right notes from their samples.
While it’s not the best resource out there to look for samples, it’s still a worthy one – thanks to the endless opportunities that are there for a creative individual. I have personally used various foley variations that were taken straight from YouTube.
Even though YouTube is quite a savior, I’m going to break the ice here – the quality is going to be limited. While it’s fine to resort to the platform, it isn’t the ideal resource for high-quality samples.
Also, don’t forget to abide by the copyright restrictions of the platform!
A producer may hear a bass line they like, sample it, alter it, and apply it in their own mix. However, unless the element is soloed at some point within the track, this can be difficult to do.
Entering remix contests is an excellent alternative. Producers frequently organize remix contests to promote a new track, which can be an excellent opportunity to come in early, grab the stems, and personalize them to your taste.
However, I don’t recommend using the stems directly in your composition, but you can generally find a few components here and there to sample for future tracks.
The first choice is to go straight to a sample site. These are sites that are focused on providing you with high-quality samples. The diversity is limitless here. Keep in mind that decent samples are usually not free. They will normally provide a few free token sample packs, but the good stuff will be beyond a paid gate.
Even though it’s more complex, a lot of producers still make their own samples. This ensures that they have full reign over their artistic output. It’s also a lot of fun once you get the hang of it.
You’ll start to see the world around you as a huge collection of ideas just waiting to be tweaked and shaped into something new. You can record your own foley, use a coin drop as a progressive element, or play some acoustic guitar lines.
If you aren’t already aware, Reddit has a thriving producer community. There is a vast drum sample bank, in particular, that many producers swear by. While you may receive a lot for free, some of them do demand payment.
Other than drum packs, there are a few other subreddits for samples. If you haven’t already, I recommend subscribing to a few of the production subreddits. A lot of useful information is provided there.
Using royalty-free samples is completely within the law. I recommend that you mostly look for royalty-free sounds because it will save your time, money, and the chance of being turned down in the future. Conversely, using a sample of a recording that you do not own without authorization is unethical and can result in your music being removed as well as legal ramifications. Thus, it is unlawful to sample a sound that is not your own, even if you are offering your music for free.
