Congratulations! You’ve bought near a thousand synthesisers, and now spend all your ‘quality time’ swapping internal batteries, making line diagrams, racking and unracking, piling up dead Behringer patch bays and all kinds of other non-music related busy work. You’ve just bought a keyboard you already have, same as the one under the one propping up the table on which all the Korg boxes sit dust farming. This is out of control!
Sometime in the last year you managed to create some patches on one or more of them (which ones it’s not clear, maybe a black one) that would sound great on that tune you’ve been nursing forever. How the hell do you get all those sounds in a place where you can actually use them?
The simplest way is to sample the sounds. Plug the keyboard into a sound interface, play each note over MIDI, and cut them into individual samples. The first few times you don’t mind doing it manually, but you soon realise it’ll become yet another task that’ll keep you away from actually being creative.
There are tools that will automate this, the most prominent one being SampleRobot. That’s because it’s been around for a long time, back from when a MOOG was something you hired by the hour. Venerable it is, and venerable it looks, a little bit-mapped interface that would look right at home on a 90’s beige CRT. (The authors are aware of this and promise a new version soon that will stretch). Actually it’s not just the size of the interface that confounds people born after 199x, it’s the metallic robot/car/can opener detailing. Little metal buttons on little metal remote controls.
I am old and had an Amiga so I understand where this aesthetic comes from. I also understand that coders used to be free to develop their own interface rules. SampleRobot will often send you back to the manual trying to figure out WTF is going on. For example, having bought the Pro version, I get a tool called WaveRobot, which helps edit loops. I kept wondering how the hell to get the ‘Open File’ menu item to be available, eventually discovered that it’s disabled, and you can only load by right clicking an on-screen keyboard in SampleRobot. Of course.
A ‘wizard’ will set you up for your first sampling adventure. It’ll ask you questions about what you’re trying to achieve and set up the numerous parameters for capturing the sounds (is it a pad or a piano? How many keys did you want to capture?) If you try to do it yourself you’ll find the parameters spread over a number of dialog windows all over the screen. Chances are good that you’ll miss one of them and so you’ll be wizarding for a while.
Assuming you’ve got it set up properly, you then start the recording and the robot plays each key over MIDI, waiting a while between each, attempting to find loop points. It’s not the best at looping (that would be Zero-X Seamless Looper which sadly has left this world on the sky train) but if you take some time to practice with all the settings you can get close to a good loop straight off.
More likely you’ll want to load up each sample in WaveRobot, which as I said took a lot of figuring out, as did the controls to make the waveform sit properly on a large screen. But, like the old hardware you’re sampling, once you get the logic of how it works you can get quick at it. It leans a bit on the crossfade, and you will need to tune things. The overlapping visual waveforms at the loop point are very helpful.
Now hopefully you’ve produced a set of samples that you can work with. Although it claims to save out Kontakt files, it actually saves out Reason’s sampler format which Kontakt must then convert (as NI licenses Chicken System’s Translator software). If you aren’t careful SR will save new truncated samples into its own folder, inside C:\Program Files which is evil, and probably why they want you to launch the software on an admin account (double evil).
Now you have a monolith file in Kontakt … and no more frigging around with MIDI cables, patchbays or that kind of vibe-killing drudgery. Kontakt of course has its own filters, envelopes and so on, so you might sample some of your sources as pure oscillator and enjoy tweaking the filters later, making up multiple versions.
I started with the UltraProteus, from which flows very long complex sounds. It was difficult to get the start point right, and SampleRobot had little chance of finding a loop point by itself. Although it looked like my volume level was good, my first samples came out much too quiet. Turning up the inputs revealed that the UP makes a lot of hum, which of course pitches up and down as the samples are played. I made it not too noticeable. I really liked being able to attach effects to each sound in Kontakt, which isn’t really possible with the UP hardware.
Sampling the MR Rack makes perfect sense as (a) it has no inbuilt resonant filter and (b) the battery is flat whenever you want to use it – but no sense because (c) transwaves don’t play back the way they are supposed to and (d) neither do the wacky FX. SampleRobot wasn’t much help here, and the best thing to do is manually play each transwave, load in Alchemy or Morphine, translate that into an additive wave which will then pitch shift nicely over the whole keyboard without multi-samples. You then modulate the wave point and get perfect Fizmo like results.
Really the process is best for sounds that don’t rely on your active or programmed modulation. It’s fine for an MKS-80 bass, perhaps for Korg Radias chime, but not much use for a modular sequence. Getting SR working is a complete pain in the ass up front, but I know it beats playing each note by hand and then editing it apart manually.
And once you’ve grabbed Lately Bass from your TX81z you can leave that turned off forever.