338:; lower notes don't sound dull, and higher notes don't sound unnaturally bright. It is also possible to sample the same note at several different levels of intensity, reflecting the fact that both volume and timbre change with playing style. For instance, when sampling a piano, 3 samples per key can be made; soft, medium and with force. Every possible volume in between can be made by amplifying and blending the samples.
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of sample-based machines is generally a lot higher. A downside is, however, that in order to include more detail, multiple samples might need to be played back at once (a trumpet might include a breath noise, a growl, and a looping soundwave used for continuous play). This reduces the polyphony
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to create complex melodies and rhythms from sampled sounds from nature. The first tune Wonder recorded was "The First Garden" where he used a sampled bird chirp as the lead sound in the song. More affordable sample-based synthesizers available for the masses with the introduction of the
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As memory became cheaper, it became possible to use multisampling; instead of a single recording of an instrument being played back faster or slower to reproduce other pitches, the original instrument could be sampled at regular intervals to cover regions of several adjacent notes
349:, while the higher range has a more bell-like sound. The bark will be more distinct if the keys are struck with force. For the model to be sufficiently expressive, it is therefore necessary that multisamples be made across both pitch and force of playing.
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or additive synthesis is that processing power requirements are much lower. This is because most of the nuances of the sound models are contained in the prerecorded samples rather than calculated in realtime.
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A sample-based synthesizer's ability to reproduce the nuances of natural instruments is determined primarily by its library of sampled sounds. In the earlier days of sample-based synthesis,
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When sample-based synthesis was first developed, most affordable consumer synthesizers could not record arbitrary samples, but instead formed
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In a contrast to analog synthesizers, the circuitry does not have to be duplicated to allow more voices to be played at once. Therefore the
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A more flexible sample-based synthesis design allowing the user to record arbitrary waveforms to form a sound's basic timbre is called a
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again, as sample-based synthesizers rate their polyphony based on the number of multi-samples that can be played back simultaneously.
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so that harder playing would translate into louder playback. In some cases key velocity also modulates the
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sound. Since the late-1980s, however, samplers have featured specifications at least as good as
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was expensive and samples had to be as short and as few as possible. This was achieved by
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to make the sound fade away. An amplifying stage would translate key velocity into
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a part of the sample (often a single wave), and then using a volume
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sounds or instruments instead of fundamental waveforms such as
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is a form of audio synthesis that can be contrasted to either
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361:. Early samplers were very expensive, and typically had low
421:. United States, H. Leonard Books, 1988. 72f.
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Stevie Wonder's
Journey Through "The Secret Life of Plants"
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215:Sample-based instruments have been used since the
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116:Learn how and when to remove this message
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193:by combining pre-recorded samples from
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54:adding citations to reliable sources
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151:used in other types of synthesis.
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23:Audio synthesis technique
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16:Not to be confused with
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233:Computer Music Melodian
217:Computer Music Melodian
129:Sample-based synthesis
648:Sound synthesis types
576:Karplus–Strong string
379:software synthesizers
353:Sampling synthesizers
133:subtractive synthesis
627:Software synthesizer
471:Frequency modulation
182:(1960s) used analog
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609:Digital synthesizer
18:Wavetable synthesis
586:Analog synthesizer
548:Physical modelling
419:Synthesizer Basics
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106:February 2024
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511:Sample-based
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223:and the NED
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48:Please help
43:verification
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491:Subtractive
324:attack time
259:sound cards
242:Roland D-50
168: [
501:Distortion
406:References
281:Advantages
225:Synclavier
76:newspapers
523:Wavetable
400:SoundFont
367:bit depth
336:registers
295:polyphony
254:concept.
180:Mellotron
176:phonogene
174:(1930s),
149:saw waves
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528:Granular
496:Additive
389:See also
261:for the
240:(1984),
210:ROMplers
599:Modular
571:Formant
515:Sampler
486:Scanned
395:Rompler
371:aliased
359:sampler
312:looping
273:. (See
246:Korg M1
206:filters
203:digital
191:timbres
159:Before
155:History
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90:scholar
533:Vector
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69:news
513:or
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201:or
195:ROM
135:or
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