My Favorite Sampling Techniques

It’s quite ironic that after spending a year studying sound synthesis, I came back to becoming increasingly interested in sampling as one of my favourite ways to make music. But I need to say that while studying synthesis, we also looked into how sampling can be used in many ways to create simple to complex sound sources, so it is ironic that sampling came strong as an inspiration.

When I dove into music production and exploration in the late 90s, the first piece of hardware that became a favourite was the Yamaha SU700, a sampler with an internal sequencer. People like Gez Varley and Speedy J used it creatively to make music and for live performances. While its audio quality and converters were not the best, you could turn an austere sound into a synth-sounding source using the polyvalent internal LFOs. It was wild and would be pretty versatile when performing live by morphing simple sounds into melodic synth sequences. Someone told me it was a “mind-warping experience” after one of my sets.

With modern DAWs such as Ableton, sampling has been integrated thoroughly. Many have bells and whistles, with so many options that it can take a while to understand how to incorporate them into your music. I’ll cover some basics and more advanced ideas for you to explore.

 

Basic Sampling In Ableton Live

 

 

Let’s start by covering the definition of sampling.

 

Definition:

Sampling is taking a portion (or “sample”) of a sound recording—such as a drum beat, melody, vocal phrase, or any other sound—and reusing it as an element in a new composition. This technique can involve chopping, looping, pitch-shifting, or manipulating the sample to fit the new track. One tool that people who resample use is a “sampler.”

Initially developed in the late 1970s and popularized by hip-hop producers, sampling has become a core technique across various genres, such as electronic, pop, and experimental music.

The Most Basic Sampler

Whether you like it or not, dragging a sample or loop is a form of sampling but doesn’t involve a sampler. When you have imported a sample in Ableton, you’ll have access to some basic controls over that sound.

The goal of this post is not to be a tutorial for the basic features of Ableton, but for some people who are using the software, they tend to forget that a simple sample dragged in is wrapped into a limited sampler with features:

• Loop: This will set if this loop, when played, will loop or not.
• BPM: The Beat Per Minute speed at the sample was initially recorded. The division or multiplication button will shift the speed of the sample to one speed or another, altering the integrity of the sound.
• Warp mode: If the loop is activated, Live will try to match it to the tempo of the current project based on the original tempo at which the sample was recorded. This means if the sample is at 133 BPM and my project’s at 120 BPM, it will slow it down, using the Warp mode. Depending on the mode, you’ll get different results. For instance, the Texture mode will reveal some details in complex sounds, while the Repitch will adjust the pitch up or down depending on the BPM adjustment.
• Gain: Control over the amplitude of the sound (volume). I recommend using this to normalize the sound, which means getting it as close to zero dB as possible.
• Pitch: To change it’s tonality (eg. note), which for harmonic samples, you will change it to another note, while inharmonic sound will feel higher or lower pitch
• Direction: Reversed or Normal (Forward).
• Transient control: This will detect the transient and cut out the tail of the sound detected. You can then make a longer sound shorter by reducing the amount applied.

One thing that is hardwired in the clip is the envelopes that allow you to change completely, through time, specific parameters, bringing the mangling possibilities to mind-boggling options.

I’m opening with these points to remind you that we can start with fundamental points and then complicate them. If these are clear enough, the rest of the other points will always point to them.

 

Resampling

 

This method, in general, whichever tool you use, implies that you’re going to sample (record) the output of your tool. An example of resampling would be that you have made a complex design for one sound and would like it to be recorded statically; you would resample it to be able to replay it as is each time. This is partially useful if your design is complex and gives you different results each time you trigger it, and you’d like your sounds to be more stable.

One use of resampling is to change a sound to personalize it to your tastes. In past posts, I often encouraged people to use premade samples, and this implies one risk: someone else might have used it before you, which means you might recognize it in other songs. Altering the sound and resampling it can help make the sound personal and unique.

Resampling is one of the first beloved techniques I’ve always used in every song. Sometimes, generating random material, resampling it, then slicing it, reusing it and resampling all over again. Another use would be to record myself tweaking a sound in real-time and recording the outcome, mainly the tweaking as a new file, which gives it odd modulation. I name this process “Generation,” where the first resampling is Generation 1 and when I resample again, it becomes a sample Generation 2, and so on. Complex-sounding samples are usually Generation 6 to 10 on most of my productions.

 

Other techniques

 

Micro-Sampling (Granular Approach)

What is Granular Sampling?

Granular synthesis is a sound processing technique that breaks an audio sample into tiny fragments called grains, typically ranging from 1 to 100 milliseconds in length. These grains can then be rearranged, layered, time-stretched, and pitch-shifted independently to create new textures, ambiences, or rhythmic patterns.

Unlike traditional sampling, which plays back audio linearly, granular synthesis allows you to manipulate sound non-linearly and fluidly, making it a potent tool for experimental and atmospheric music production. You can imagine it as a delay, looper, or real-time sampling.

Standard Controls in a Granular Sampler/Synthesizer

Most granular samplers include the following parameters:

1. Grain Size – Determines the length of each grain.

   • Short grains create textured or glitchy effects.
   • Longer grains produce smoother, stretched sounds.

2. Grain Density (Rate/Spray) – Controls how frequently grains are triggered.

   • High-density results in a continuous, lush texture.
   • Low density creates sparse, pointillistic sounds.

3. Grain Position (Scan/Offset) – Sets the playback start position of grains within the sample.

   • Automating this creates evolving or rhythmic patterns.

4. Pitch & Tuning – Changes the pitch of each grain independently.

   • Some granular synths allow randomization per grain for organic, shimmering effects.

5. Time-stretching allows the sample to be slowed down or sped up without affecting the pitch, which is helpful for drone and ambient sound design.

6. Envelope/Shape (Window Function) – Controls how each grain fades in and out.

   • A Gaussian shape produces a smooth, crossfaded texture.
   • A Rectangular shape makes the grains sound sharper and more rhythmic.

7. Grain Spread (Stereo Width/Spatialization) – Determines how grains are panned across the stereo field.

   • High spread creates an immersive, wide stereo effect.
   • Mono settings keep the sound focused.

8. Randomization (Jitter, Chaos, Modulation) – Introduces unpredictability in pitch, position, and timing for organic movement.

Tools: Ableton Simpler/Granulator II, Kontakt, Pigments, MGranular, Tasty Chips GR-1, Paul Stretch, GrainDad.

Use Cases in Sampling

• Turning vocals into lush, evolving pads.
• Creating glitchy, rhythmic textures from drums. It is also valuable for making drums fatter.
• Transforming field recordings into cinematic soundscapes.
• Stretching a short sound into an infinite drone.

Chopping & Rearranging

 

Historical Context: From Musique Concrète to Hip-Hop

The technique of chopping and rearranging samples can be traced back to Musique Concrète, a 1940s experimental music movement led by composers like Pierre Schaeffer. Musique Concrète manipulated recorded sounds (from everyday noises to orchestral instruments) by cutting, splicing, looping, and reassembling tape recordings in new, non-linear ways.

Fast-forward to the 1970s and 1980s. Hip-hop producers, particularly those working with samplers like the E-mu SP-1200 and Akai MPC series, revolutionized this idea by chopping drum breaks, basslines, and melodic phrases from vinyl records. Producers like DJ Premier, J Dilla, and RZA became known for their intricate chopping techniques, turning old jazz, soul, and funk records into new, rhythmically compelling beats.

Today, chopping and rearranging are standard sampling techniques across multiple genres, from hip-hop to electronic music, glitch, and experimental production.

How Chopping & Rearranging Works

At its core, chopping means slicing a sample into smaller segments and rearranging them to create something fresh. The process can involve:

1. Slicing by Transients – Automatically cutting a sample at each transient hit (great for drum breaks).
2. Manual Chopping – Selecting meaningful segments by ear, such as a particular note in a melody or a vocal phrase.
3. Randomization & Reordering – Playing the chops in a different sequence to create unexpected grooves.
4. Time-Stretching Individual Chops – Altering the speed of specific chops to add groove variations.

 

Case Scenarios: How to Use Chopping & Rearranging in Production

Recreating Classic Drum Breaks with New Energy

• • Chop a funk or soul breakbeat into drum hits (kick, snare, hi-hat).
  • Reassemble them in a new rhythm or shuffle pattern.
  • Layer with additional percussive sounds for uniqueness.
  • Example: Boom-bap drum programming using old jazz breaks.

 

Flipping a Melodic Sample

• • Take a piano or string loop from a vintage record.
  • Chop it into 4-8 smaller pieces and rearrange the order.
  • Add pitch modulation, reverb, or tape wobble for variation.
  • Example: J Dilla’s signature swing and off-grid melodic chops.

 

Chopping Vocals for a Unique Hook

1. • Sample a spoken word or acapella phrase.
   • Chop it into syllables or individual words.
   • Rearrange the syllables rhythmically for an engaging groove.
   • Example: House and UK Garage vocal chops (Burial, Four Tet, Flume).

 

Glitch & IDM Experiments

• • Take a long synth pad or soundscape and slice it at random intervals.
  • Re-sequence the chops unpredictably, applying bit-crushing, reverses, and stutters.
  • Example: Autechre, Aphex Twin’s IDM approach.

 

Drum & Bass Rechopping (Jungle-Style)

• • Sample an Amen Break or similar drum groove.
  • Chop it into individual drum hits and rolls.
  • Re-sequence it with fast break edits to get rolling energy.
  • Example: Classic Jungle and Drum & Bass production (LTJ Bukem, Squarepusher, Photek).

Last year I bought the Digitakt II and this is a beast of a machine that I will write more about in the future but I now use it mostly for slicing.

 

Follow-Actions

 

One of my favourite ways of working with samples is to use the “Follow Actions” feature in Ableton. This method lets you chain multiple clips and give them “behavioural orders” for how they work. For instance, you could tell a clip to play, but jump to another clip once it’s at the end of the sample’s length. This allows you to duplicate the same clip multiple times, modify each clip with different parameters and then let the chain of effect jump between clips, perhaps randomly, to give you different sequences. But the fun happens when you play only parts of the clip, such as 1/4th of the clip and then jump to another random 1/4th, which is a way to deconstruct a clip into different patterns.

This is when you can use resampling to capture moments when random ideas propose new patterns, which can be used to create variations, fills, and happy accidents.

 

 

Layering for Hybrid Sounds

 

What is Timbre and Why Layering Matters?

Timbre (pronounced tam-ber) makes a sound unique, even when two notes have the same pitch and loudness. It’s a sound’s tone colour or character, shaped by its harmonic content, envelope, and dynamic response.

You are essentially sculpting a new timbre when layering samples by combining different sound sources. The goal is to create a hybrid sound with each layer’s best qualities while maintaining clarity and balance.

For example:

• A punchy digital kick + an acoustic kick → Fat but organic-sounding drum
• A plucked synth + a bell sample → Crisp, percussive, melodic sound
• A cello layer + a synth pad → Orchestral-meets-electronic textures

 

Two Main Approaches to Layering

1. Frequency Splitting Approach (Stacking by Frequency Ranges)

   • Each layer is designed to occupy a specific frequency range to avoid clashing.
   • Example:
     • Low layer → A sub bass for warmth and depth (20-150Hz)
     • Mid layer → A distorted bass or plucked synth for the body (150-800Hz)
     • High layer → A crispy top-end sound for presence (1kHz+)
   • Best use case: Creating massive bass sounds, rich pads, or full-bodied drum hits.
   • Tool to use: Multiband compressors, EQ separation.

2. Envelope Shaping Approach (Stacking by Dynamics & Transients)

   • Each layer shapes the sound’s overall attack, sustain, decay, or release.
   • Example:
     • Sharp attack layer → Plucky or percussive sound to add bite.
     • Body layer → A midrange-rich sound for warmth.
     • Sustained layer → A pad or long-decay element to add depth.
   • Best use case: Designing hybrid instruments, tight basslines, or cinematic textures.
   • Tool to use: ADSR envelopes, transient designers.

Key Considerations When Layering (Common Mistakes to Avoid)

1. Stereo Width Conflicts

   • Avoid stacking too many wide stereo layers—this can lead to phase cancellation.
   • Solution: Keep low-end elements in mono and let higher frequencies spread.

2. Root Key & Tuning Issues

   • Ensure all layers are in the same key and tuning—some samples might be slightly sharp/flat.
   • Solution: Use auto-tune, pitch shifting, or fine-tuning for alignment.

3. Frequency Masking (Clashing Frequencies)

   • Too many layers in the same range muddy the mix rather than enhancing it.
   • Solution: Use EQ to carve space for each layer.

4. Envelope Mismatch (Cluttered Attack or Release)

   • Two layers with different attack speeds may not feel glued together.
   • Solution: Adjust ADSR envelopes to match transients smoothly.

5. Overcompression (Killing Dynamics)

   • Layering too many compressed sounds can make the final sound lifeless.
   • Solution: Use parallel compression instead of full compression.

Recommended Tools for Layering

 

• Ableton Live’s Instrument Rack → Stack multiple samples with macros.
• Kontakt & Falcon → Multi-sample layering with advanced controls.
• Serum & Pigments → Blend wavetables + samples for hybrid synthesis.
• FabFilter Pro-Q 4 → Surgical EQ for avoiding masking issues.
• Waves Vitamin → Multiband stereo width & harmonics control.

Creating New Instruments by Layering Samples

This technique is widely used to create unique, custom instruments that don’t exist in the real world. Some famous examples:

• Hybrid Pianos (Real piano + Synth attack) → Adds warmth and futuristic textures.
• Epic Trailer Percussion (Layered acoustic + synthetic impacts) → Powerful, cinematic drum sounds.
• Organic-Sounding Synth Leads (Synth + real-world plucks) → Natural, expressive electronic sounds.

Practical Example: Layering a Hybrid Lead Sound

1. Start with a plucky synth – This provides the attack and initial transient.
2. Layer in a bell sample – Adds metallic harmonics for presence.
3. Add a vocal chop – Gives the sound an organic, breathy texture.
4. Blend a pad layer – Extends the tail for warmth and body.

 

 

Time-Stretching & Pitch Warping

 

Slowing down a vocal sample can transform it into an eerie pad, while extreme pitch modulation can create glitchy textures. You can pitch down your sounds and ideas by 2-3 octaves and then discover a whole new concept. Or down-pitch it randomly, and you’ll have the same idea but with a different key. This also works lovely on percussion if you want to unlock a dose of fatness and a feeling of old-school sounds. As explained above, another fun tool is the Paul Stretch plugin that slows down music to extreme levels, creating incredible scapes, odd melodies and textures.

Tools: Ableton Warp Modes, Ableton Shifter, Ableton Autoshift, MicroPitch, Elastique, and Pitchmap (for next-level ideas).

Vinyl & Cassette Resampling

 

Resample sounds by recording them onto a vinyl simulator or an old cassette tape. This adds warmth, pitch inconsistencies, and noise, giving the sample a nostalgic, lo-fi character. People have also been experimenting with VHS tapes, where they record their sounds externally to a tape and then resample them. This technique is a good way to convert your sounds into a new outcome, blurring the lines of digital perfection into a retro feeling. While this is not available for everyone, some plugins offer some emulation of that process. You can lower the sample rate and add some noises and inconsistencies, giving your sound a new edge. For some reason, when you take a sound that has received a Lofi treatment and pitch it down, you’ll automatically gain some ear-pleasing fuzziness (or at least, for me).

You can search on your local marketplace to find old tape players and explore some options.

Tools: RC-20 Retro Color, Super VHS, Klevgrand DAW Cassette, recording to the actual tape

Contextual Sampling (Field Recordings & Found Sounds)

 

You might have heard about field recordings before, or perhaps not, but that activity is a form of sampling. Picking up recordings of your environment is a fun hobby that has some valuable music uses. You can use field recordings to create lush pads, do percussion, or add a background to a dry song, but in any case, it will always bring an organic feel. But where things get fun is when you explore various types of microphones. Sennheiser MKH’s series offers high-end recording and picks up high frequencies you can’t hear. What’s the use, I hear you ask. You’ll listen to mysterious melodies and sounds if you down-pitch high frequencies.

Another type of microphone will pick up electromagnetic signals, discovering weird noises from your world.

There is also a microphone to pick up low sounds from the Earth with the Geophon.

Another type of microphone to explore is the contact microphone, which you can use to pick up little percussive sounds and turn a shoebox into a reverb space.

Tools: Zoom H5, Tascam DR-40, iPhone Voice Memo + FX processing