My interest in sampling should have started with the Casio SK-10 I had as a kid. Here I had the ability to record and warp short bursts of any sound I could think of, and the best idea I could come up with was getting the built-in demonstration songs to play symphonies of armpit farts. I sampled the TV a few times, but that was as creative as I got.
In the mid-2000s I heard a Bjork song in a restaurant. I think it was right before I really got into her music. I’ve never been able to figure out which song it was, but I remember there was this sound swimming through the whole thing — something like a field of wind chimes being upended by a swarm of locusts.
“Sampling!” I thought. “Yes! I must get a sampler! I must make sounds like this! No more farting with my arms! I’m a grownup now!”
I could have had a lot of fun with the SK-10 right about then, but it was collecting dust in a house full of people I never wanted to see again. So much for an emotional, armpit fart-free reunion.
The Roland V-Synth looked like an attractive option for a while. Then I discovered I already had a synthesizer with sampling capabilities — a Korg Triton LE. For a fraction of the cost of a V-Synth I could get an EXB-SMPL sampling board, slip it into the guts of the Triton, and go nuts.
I can’t remember if the sampling board came with instructions. If it did, they weren’t very helpful. Johnny Smith helped me wedge the thing inside of the Triton, but we had no idea what we were doing. We couldn’t get it to work. One of the high A# keys stopped functioning not long after that, and I’ve always wondered if it had anything to do with my little sampling misadventure.
A few days ago we opened the Triton up for the first time in close to fifteen years. I thought it was about time I got some use out of the EXB-SMPL. Thanks to a helpful YouTube tutorial, it wasn’t going to be so difficult to set up this time.
What we found was…well, this:
What you see there is an empty space where the sampling card is supposed to be. We must have taken it out when it didn’t work and chucked it back in the box. I guess that high A# stopped working all on its own.
Maybe I was never meant to sample anything with this synth. The way it worked out, I found other solutions.
In early 2014, a few months before work began on YEAR OF THE SLEEPWALK, I bought a circuit-bent Casio SK-1 off of eBay. An unbent Yamaha VSS-30 followed a little while later. For the last five years, I’ve been having a blast sampling all kinds of things. As great as the SK-1 is — and most of the time I’m not even engaging the bends — it’s the VSS-30 that’s become an indispensable sonic weapon. From here on out, I can’t imagine making an album that doesn’t feature it in a pretty integral role.
There’s one specific sound that’s always appealed to me. It’s what happens when a human voice gets chopped up and bent out of shape. You hear a lot of this in different strains of electronica-driven modern pop music.
A few examples:
That’s right. I just posted a song featuring Justin Bieber, and not in an ironic way. Be afraid. The high-pitched distorted synthesizer-sounding thing you hear during the instrumental choruses is the Biebernator’s voice, believe it or not. That’s what sampling and mangling can do.
Now, if I had access to something like this, I would be in heaven:
Disembodied voices, all primed and ready to be manipulated? Sign me up.
Alas, I don’t use a computer to record, so software like this isn’t an option for me. If I want to get sounds that live in that world, I have to create them myself.
(I know I said I was done sharing excerpts from the SLEEPWALK documentary thing. I lied. Jesus, look at all that grey hair.)
I’m loving the Zoom H1 for voice-capturing purposes when I’m recording video and my face needs to be on the screen. It’s easy to put on a mini-stand and point in my general direction, allowing me to speak freely regardless of where the camera is. Whenever I was using one of the Flip cameras, I always had to try and get my face as close as possible to the camera if I wanted to get something resembling clean, present sound out of the built-in microphone. Now it’s not an issue. Even when I point the H1 at the monitors so the playback takes precedence over my voice, what I’m saying still comes through loud and clear.
Compare the above video to something like this and I think you’ll hear what I mean. You might notice a bit of a difference in the visual quality as well. Three cheers for the Canon T5i (and for opening the blinds to let in some natural light).
Sort of related, a little bit, maybe:
For years I had this itch in the back of my brain. I couldn’t stop myself from wondering what would happen if someone else produced/recorded my music. I was pretty sure I would try handing the reigns over to someone else someday, if only for a song or a quick EP, so I could satisfy that curiosity.
It’s not something I wonder about anymore.
For better or worse, I’ve developed a recording aesthetic that’s very specific to me and what I do. By now it’s as much a part of my music as my voice or the way I play piano. Strip that away, put someone else in charge of dialling in the sounds they believe are appropriate and keeping the performances they like best, and I don’t think the results would sound a whole lot like me anymore.
Very few of the sounds coming out of professional recording studios right now do anything to move or inspire me. That’s just my own personal taste. The few producers I would have an interest in working with are nowhere near Windsor, and they charge such a disgusting amount of money for their services, I’d maybe be able to afford five seconds of studio time with them. Even if I won the lottery, after all the time and work and money that’s gone into building my studio into what it is today, it would make no sense to pay someone else to bark orders at me and spend two hours getting a drum sound they’re only going to obliterate later on with samples they bought in a bundle from Waves Audio.
I want to make it clear that I’m not dumping on this way of working. I’m only saying it isn’t what I’m after as a producer. I think any way of working is valid if it gets you the results you’re after.
Earlier this year, Ryan Lewis (owner/operator of RadSouls Studio) came over to record some piano and vocal tracks. When he told me to do whatever I wanted with the basic tracks, I saw it as a unique opportunity to compare my work to another producer’s. Though the song wasn’t my own, this was the closest I was ever likely to get to hearing what someone else would do with my music. We both started with the same source material and took it in very different directions.
Here’s Ryan’s mix:
And here’s mine:
As dissimilar as our mixes are in terms of instrumentation and arrangement, what really stands out to me is the use of compression. In my mix the piano is allowed to breathe in a natural way and the snapping is treated as just another sound. In Ryan’s mix the snapping is emphasized, the piano is pumped up with a ton of compression, and everything is a lot louder.
I’m not sure I could come up with a much better demonstration of what I mean when I say my sensibilities are almost violently out-of-sync with what most other producers seem to want to achieve. It’s right there in black and white.
Here’s a bit of a breakdown of some of the elements I added to my take on the song, showcasing some of what the VSS-30 can do when you take the time to create your own samples.