When you make larger tempo adjustments to complex mixed audio, though, noisy and harmonically rich components of the signal will start exhibiting 'wavery' processing artifacts, and transients can sound smeared or flammed. Some kind of time-stretching algorithm is built into pretty much every DAW now, and they usually produce excellent results with simple non-percussive samples (solo vocal or instrumental phrases, for example) as long as the tempo-shift range is modest perhaps a five percent stretch either way. Matching Tempo & PitchĪ primary concern with any rhythmic sample is matching its tempo to that of your track. In this article, I'll explore how to tackle these challenges so that they don't stand in the way of your creativity. In reality, though, fitting a sample from one record into a whole new production presents plenty of practical challenges, both while making the music and when creating a final mix. Music that's based around samples of commercial records is big business these days, and getting started with this kind of production seems easy, requiring little more than a computer, some DAW software, and a few CDs.
Sampling a record may be child's play, but using such samples effectively in your own compositions requires plenty of skill and finesse.
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