Kind of tired of rifling through the same old sample packs, trying to find that one loop that ‘kinda’ fits your track? Feeling like every track you make is just a recycled version of the last?
In the ever-evolving landscape of music production, sample packs have become a staple in the arsenal of both amateur and professional producers alike. Yet, the conversation around their utilization often circles familiar strategies, leaving a void of creative potential largely unexplored.
This article is an attempt to show you some lesser-known paths of processing these samples.
The traditional use of sample packs often involves searching for the perfect loop or one-shot that slots seamlessly into a track. While there’s some value in this approach, it barely scratches the surface of what can be achieved.
Look at it from a different perspective: If you process your samples into something completely different by potentially using the techniques that we are about to discuss, no one is going to have these exact parameters and order of effects. So, meaning: the sound you made is unique to you.
Let’s begin!
How to use Creative Sound Design with Samples To prevent Sounding Like Everyone Else
In the pursuit of originality, music producers often face the challenge of distinguishing their sound from the vast sea of creators who have access to the same pool of sample packs. The key to unlocking the full potential of these sound collections lies not in the samples themselves but in how creatively one can manipulate them.
Let’s discuss some ways we can do this.
1. Convolution Reverb: A Secret Sound Design Weapon
You know how some tracks just have that feel to them, like you’re standing in the middle of a cathedral or right inside a cozy attic? That’s probably convolution reverb at work. It’s like having the power to place your sounds anywhere in the world—or even in places that don’t exist—without leaving your studio.
Think of it this way: you’ve got a guitar track that sounds alright but kind of flat. Now, run it through a convolution reverb with the echo of a grand hall, and bam, it’s like you’re playing in a concert hall. Or, let’s say you want something out of the box, like the vibe of a sound bouncing off a mountain in a quiet valley. If you can get that echo as an IR (impulse response), you can make your track feel like it was recorded there. Or, you can make an IR yourself by recording a sound (preferably by hitting something in that environment) and use that.
So, this is the basic use of a convolution reverb. But let’s take it a step further. Essentially you can ‘feed’ it any sound you like. In the examples below I used 2 sounds from my pack String Manipulation. The Bass Manipulation-2 is used as the original sound, the Violin Manipulation-33 is used as the impulse response.
CMPLEX_Bass-Manipulation-2original sound
CMPLEX_Violin-Manipulation-33
as impulse response
Send it through a convolution reverb. This is the Ableton stock CR, but any will do
Kind of cool huh. Try it yourself, this is a really powerful way of creating something new.
2. Double Granulators, Double Pleasure
Let’s use a granulator. In short a granulator takes audio samples and splits them into small ‘grains’ or segments, allowing for deep manipulation and reconfiguration of the sound.
Normally, you load a sample into one granulator, so, wouldn’t it be cool to combine multiple instances? When you blend two sounds using separate granulators, you can merge them into a single, complex texture.
Below, I’ve taken 2 granulators. While I use Ableton’s granulators here, the principles apply across various DAWs or with a plugin of your choosing (if you don’t have one yet, try one for free: https://bedroomproducersblog.com/2019/03/18/free-convolution-reverb-vst/).
Dragged within the first granulator is a manipulated cello sound from the String Manipulation pack from above and the other from a pack called Orchestral Drum Manipulation.
CMPLEX_Cello-Manipulation 39
in the first granulator
CMPLEX_Drum-Manipulation-79
in the second on
Kind of feels like a sound that a space robot picked up from another planet. Very nice!
3. Extreme Effect Stacking: The Creative Power of Excess
In music production, moderation is often preached as the key to a balanced mix. However, for sound design purposes there’s an unconventional technique that thrives on excess and challenges this notion: extreme effect stacking. This involves loading not just one or two, but a multitude of the same effect onto a single audio track, each tweaked slightly differently. The idea isn’t to overwhelm but to intricately layer nuances that transform the sound into something magnificently complex.
You start by adding an effect that you like. Then, you add another… and another, doing small or big changes in each effect.
Here I took another sample from my Drum Manipulation pack. Put 4 Shifters behind it, tweaked them differently, changed them around, and this is what I got.
CMPLEX_Drum-Manipulation-33Â original sound
Through 4 shifter instances with random parameters. I made a pack that randomizes Ableton’ audio effects called: Ableton Stock Audio Effects Randomized. You can download the pack for free 🙂
CMPLEX_Drum-Manipulation-33effected
CMPLEX_Drum-Manipulation-33
CMPLEX_Drum-Manipulation-33
You see where I’m getting at? Try it out yourself! 🙂
4. Multiband Processing: Sculpting Your Sound Across Frequencies
Another cool sample processing trick I often use is splitting a sample into different frequency bands, allowing you to process each band individually.
Start by placing an EQ (in Ableton, an EQ Three) on your audio track.
For Ableton: make a group of the EQ Three. Make 3 channels and select each band as shown below.
If you are not using Ableton, of course, it is possible to do it with another EQ.
Take an EQ of choice and make a group, within each one a separate EQ. Alternatively, if that is not possible, you can make 3 audio tracks and put an EQ on each channel.
If you’re using a normal EQ: start by setting up the three main bands. The first EQ has a high pass filter from 0 Hz to 500 Hz, the second one a mid band from 500 Hz to 2000 Hz and the third one a low pass filter from 2000 Hz up to whatever your soundcard or sample rate supports – all to a 48db angle. If you want broader or narrower bands, don’t hesitate to do so. Just make sure that the middle one has the same Hz as the other ones.
Now you can process each frequency band individually. Below is an example of a way to do it.
By processing each band independently, you transform your sample into something super interesting, in a way that normal processing might not be able to do. Don’t hesitate to overdo it. Just record what you are doing, undoubtedly there will be some hidden gems in there!
5. Layered Sound Design: The Essence of Complexity
This method is kind of like the one above, but here we don’t make an EQ split. This one is about taking one sound and multiplying its presence, treating each iteration with a unique effect processing, then blending them back together for a result that’s both complex and interesting.
So, you got your original sample. In this case, let’s take CMPLEX_Cello-Manipulation-12. Duplicate that sound multiple times. Let’s say 3 times. On the first track, leave the sample untouched. On the second, apply one or multiple effects as you wish, setting all instances to 100% wet. The third track gets another treatment, also turned completely wet.
Finally, adjust the volume of each sample, to get a balanced sound. This way the sample becomes more alive.
Example within Ableton, but the principle stays the same.
This technique doesn’t just expand the palette of sounds at your disposal; it invites you to rethink how samples can be used, encouraging experimentation and creativity. It’s a reminder that, in music production, even a single sound can open a world of possibilities, waiting just beneath the surface for you to explore.
By incorporating these techniques, producers can ensure their use of sample packs contributes to a sound that is distinctively theirs. The transformation of generic samples into unique ones is not just a technical process but a deeply creative one, reflecting the individuality of each producer. As you explore and implement these strategies, let the guiding principle be your creative vision, leading you to craft sounds that resonate with your artistic identity.
I have recorded my whole sound manipulating journey when creating the sample packs of Orchestral Manipulation. You can find them on my YouTube channel, if you’re interested in long, boring sound design sessions 🙂
Nurturing a Culture of Creative Sound design Exploration
As I up this post, it’s crucial to emphasize that the journey towards innovative use of sample packs in music production is endless. Don’t limit yourself to these techniques; build on them. Incorporate the other knowledge you have, and add that to these ones. The landscape of sound is ever-changing, and with it, the opportunities for creativity and innovation are boundless. To truly harness the power of sample packs, we must commit to a philosophy of exploration and curiosity, always seeking new ways to bend, stretch, and reimagine the sounds at our disposal.
All of the above techniques are essentially free, meaning no paid plugins were used. But if you have some kind of budget, and want to use cool, weird, and interesting ways of processing sound, I can highly recommend checking out https://freakshowindustries.com/, which is just strange in a perfect way, and https://www.zynaptiq.com/morph/buy-morph/, that is absolutely sick what you can do with it.
For some great free plugins, check out: https://kilohearts.com/products/kilohearts_essentials and https://www.meldaproduction.com/effects/free. If you get creative, you’ll be surprised by the power of these.
Conclusion
In the end, the value of sample packs lies not in the samples themselves but in the creative vision of the producer. By viewing every sample pack as a starting point for a challenge, you open up a world of possibilities for your music.
A fun next step from doing Creative Sound Design with Samples is to make your own sounds from scratch. But that is a whole other story. Maybe for a future blog.
Hopefully, you took away something from this article! It was fun writing it, and making the examples! If you are looking for some samples to manipulate, take a look at my store: www.cmplexmusic.com/samplepacks. Maybe you’ll find something you like.
If you want to find out how I process my sounds, I do have sound design videos on my second YouTube channel and I make music as CMPLEX.
Oh, yes, a big little tip: don’t forget to press record. You never know what interesting sounds arise when experimenting.
Yours Truly
