How To Sample Using FL Studio 20 | Mike Wilson | Skillshare

How To Sample Using FL Studio 20

Mike Wilson, Rapper/Producer/Engineer

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5 Lessons (21m)
    • 1. Intro

      2:27
    • 2. Lesson 1 - Time & Pitch

      6:15
    • 3. Lesson 2 - Chopping & Stuttering

      5:04
    • 4. Lesson 3 - Make It Unique

      5:26
    • 5. Outro - Example

      2:16

About This Class

Another installment in my FL Studio class, this course focuses on Sampling. After viewing the class, you will be able to grab any sound, chop it up, and make it your own unique sample. 

Transcripts

1. Intro: Hey, what's going on? It's rapper producer and engineer Real Michaels and this class we're gonna be talking about sampling. So when they're sampling, sampling is taking a sound and using it for your own production purposes. Sample is interesting because sampling could be taking a song from another artist and then using that to create your own song out of it. But it can also be taking the drums just a cake with a sneer, maybe taking the baseline piano. There's a lot of different aspects from sampling. Sampling is super important hip hop, but you also here in other genres, is putting a pop records that actually have samples. And and again, it's just taking one sound from one place and using it in your own way. So it's sampling. You can take something exactly as it is you can take. I don't know, maybe these classic rock song and just kind of cut it up movement of starting away and making a tired beat from that. But they take that same song, just changed completely fill of it. You can take one b one measure of the song and use it, or you can literally take I don't know. Maybe even have the song and just rework it in a different way and that had some of your own variations. That idea is to live and you've sampled something in part one. We could be talking about time and pitch. That is how to get the sample to fit to be PM that doesn't has and have changed to pitch off theatrics sample if you're trying to get a different for kind of, like keep registry in the particular part two we're going to talk about chopping it up in studying what I mean by that is actually taking the sample, cutting it up in certain ways and then finding ways to make it studded jacket repeat itself . And in part three, we're gonna talk about making get more. We're gonna talk about techniques you can use to quite literally separate one part of the sample from another by making a unique track or by actually reversing the actual sample so that you get it provide sound from it. And it in part for I'm going to show you what I did with the sample that working with inside of fo studio kind of like how I took these different ideas and made an entire song out of sample using just to show you guys how to get going. So my pain sampling is a wonderful tool to really add more flair to your music. But let's stop talking about it. Why don't you go over the lesson one. Let's get started. 2. Lesson 1 - Time & Pitch: So lesson one, we're going to be talking about time in pitch. We're going to go over how to change the action. Time off the samples. So we have a four bar sample. If we want to stretch that, make it a part of sample often went to make it to bar sample, which will obviously change the speed of the sample. But then, that's when pitch comes in because they change. The actual pitch of the sample will also discuss how we can keep the actual picture example , or you want to change the pitch to something completely different. How we can do that as well. So let's get to it. So the first thing you want to do when you work off a sample is get the sample into your day. W So I have mine here in a loose folder inside of the Image Line folder. I'm going to drag what I call it Tiki over here, so I want to have this option here. Stretch on, but let's listen to the actual sample one time. So that's what the sample sounds like when it's played at 1 40 bpm because you can see it's not matching up with the actual bar and beach structure of the actual playlist and in the Temple Open 40. So it's not actually on B and I'll show you what I mean, if I turn it temple, uh, the mentor no more, which is going to play at every click of the B, We'll hear what I mean. So it's very different is definitely not matching the common time before for when you play the actual sample. But there's a couple of things we could do to fix this first thing we can do to make sure that what the's rushed the stretch Tulis highlighted and just move it over. So let's everyone to play and it's kind of a bar structure. Then we can actually hear so obviously, uh, squeezing it in a little bit, changed the pitch, but we'll talk about that in about a minute. Um, but something else we can do is let's say we keep it the way it was. There was roughly there. Ah, we decide. We want to change the actual tempo here. Then we can bring down the tempo and the sample will not move. But you'll notice something when you hear the sample. So even though I didn't stretch out the tempo of the sample because I changed the tempo and I slowed it down, that stretched out the actual sample and it slowed down the sample. Um, so that's another thing that you can work with where you have to kind of get used to. But then you can always squeeze, and then and if we do, that will hear the difference, So that also helps. But there's two more things we can do, and first thing we can do is detect tempo. So if I going to detect tempo and generally using the 50 to 100 because we assume based on the actual sound, that's going to be between 50 and 100 ah, we can get the actual temple of the B. And then we can change the tempo of the sample, uh, as well as the tempo so that we can have them work together. So now we hear how the samples intended to sound what we can do something else. So if I make the tempo 90 and I'm going to get this to work with that, I could just go here and go to fit to tempo. So now you'll see that this sample is actually moved over a little bit. So it's actually not completely in the four. And that's because it's literally playing exactly at the temple of 90 so that every beat is falling where it should fall. So let's take a listen and out with the Metro morning so it sounds a little fast, but we still have the snap to grid, uh, to here. So we're gonna go the line ever going to make it so that it covers eight bars and noticed that Thea the actual pitch of the sample, hasn't changed. The reason why the pitch of the sample did it changes because I felt Studio has is great tool call mold. And we would go to re sample here and you'll see that the actual audiophile changed a bit. Let's listen. Way went to fit to tempo. Uh, fl studio assumed that we were trying to capture both fit to Temple, and when we detected the tempo and used it for ah fo studio, um, it assumed that we're trying to capture the true sound of the sample. So we go back down here, Toto, we can actually also use the pitch will to change the pitch of the sample. This is useful if where adding instruments to a sample or we want to add a sample to a bunch of instruments. We have another piece of production. We can actually change the pitch so that it sounds closer to the key of whatever instruments are already in the song. Let's give it a listen thing, so it's just a really great tool there. I mean, I went to the right, which increased the pitch, but if I goto left out, decreased the pitch and just start here. So those are just some really great tools to start sampling just to kind of get the sample into the program and then work the sample into the key that's usable for you and also to find the proper tempo or, you know, create the tempo that you need to make the sample work for you. So let's go over to the next lesson. We will be talking about chopping and stuttering 3. Lesson 2 - Chopping & Stuttering: so welcome to listen to this less. I'm gonna be talking about shopping and stuttering. So when I say chopping, I mean actually slicing up the samples so that we can play around with it. If it's a drum sample, maybe only want to kick, maybe you only want to stare. We can chop it up to exactly which parts of the sample one. And then we can use it that way. When I say stuttering, it's also really popular and sampling to actually have one part off the sample. Repeat. But how do you do that? We're going to actually go over both techniques as faras chopping and stuttering to give the sample more of a sample. Phil. So let's get to it. In order to really start working with your sample, you want to chop it up. So we have this sliced tool here and the sliced who allows us to cut the actual sample of based on how we have a set up. If it's four steps or beats or what have you. So we have it here for line. That is, quite literally every line we can see, which is based on the common time, so I can slice here. I can slice here and, you know, I can slice wherever I want. All right. So I'm gonna control Z that But that's the the easiest and simple this way to actually begin to cut up and slice up your beat. Another really great tool, which I like a lot, um is to click here and go over here to chop so much like using the snap degree to which, if I went to 1/2 step and abs Umed in, I'm able to cut and between kind of light these particular areas for Go back the line, it goes back to kind of four in four and four. Ah, so if I go back over here using the door to and go to chop my go time based on go chopping beats and it cuts based on the beads, everything for me all the way through. So if I want to use that same tool, But I didn't want to chop the entire thing, I could use a slice to hear that Go this first part. Go to child. Let's go chop and beats again. And now it's stopped into the four beats. Press control Z, I go to Chap one more time. The time based on let's say I'm gonna go 16 for the beat now Shopping's this. Think it would be it? See that? So that would give me the ability to kind of work with the sample any way I want. So another really cool thing about the chop area is that there's these other options. But I want to go into repeating and then I'm gonna go into complex repeating allows us to actually chop and very intricate ways. So we're going to impress the that one there, and we're gonna listen to it. So the deal was state this first part and just repeated all the way through, its quite literally chopping to repeat, so you don't have to move anything around. You don't have to do any extra work. You press that and boom, everything is repeated. If we go over here to a six of a little, so is literally just when you get to the six beat, it's just repeating that, so to speak. Let's go over here to complex my favorite. If we go to beat shuffle, it takes the entire sample and it puts it into a beat. It grabs each individual B and it just shuffle them around. It's a very random kind of thing, So let's listen toe now. Obviously, that doesn't sound very good. But just to show you in context how much fun it might be the use if we cut here, cut here and cut here. Let's say we use that same one for that part and then used this one. Do something similar. Let's listen to this. So there's a lot of potential in using the complex, uh, chap Tal, But ah, one of my other favorite ones. And this would be the last one. I'm sure you started to and started to just takes the sample and just finds places to study . It says You can see is taking one B and then bring that beat down into an eighth 16 for 32 just letting it stutter out while still maintaining the actual time and placement of each particular beat. So it's a really fun and really cool way to ADM. Or to your sample after you stretch it out, got into the temple that you want to go to put in it with the right pitch and then you can go. You can chop it up and you can stutter the actual sample just to give it a new vibe and more interesting sounds. 4. Lesson 3 - Make It Unique: wasn't a lesson through in this particular lesson. Gonna be talking about making the sample unique. So that's a making the sample unique. I mean, doing things like rearranging the sample. Once we chopped up the sample, we can actually take the different parts of the sample of moving around. But we have a piano melody. We can actually create a new melody by moving. I don't know some part of the sample here. Over here, we can even do the same thing for drumbeat. We could take the sneer, moving to another place and create a whole new drumbeat. And then there's also reversing, which can give a completely new, vibrant filling to a particular sample. So we're gonna talk about reversing and just kind of see how that changes the vibe off the sample. So let's get started. So let's talk about making of the actual sample unique in the last one. We kind of we learned how to chop it up, and we also learned tile to, ah, stutter it and to give it a different feel. But let's use a chopping mechanism that we learned and rearrange the beat. The sample. Ah, and the beats of the sample to get a different feeling. So let's do this. We're going to cut up each one based on four beats, and they were just going to move it around. Oh, actually, I want to bring this here brain this hair. I'm going to bring this one over here and this one over here. I was going to make it look like we never changed a thing. So let's give this a listen. All right? So I admit the stutter at the in here just to give it a different five. So now that we have that, we can actually go into this now, all of these are still the same is that foul? But there's another really great option kind of here in the settings of the actual track. And you can access that just by double clicking the audio foul. Ah, and it's reverse. I like reverse a lot because it literally does exactly what it says. It just reverses it. So I really like that. But I didn't like the last parts. I'm going control Z, until I get back to this and then I'm going to go and keep this reversed. And now, now only was I able to trap it up, rearrange it a bit, But then I was able to find something you need to do with it. I just use a reverse to. But if I really wanted to, I could go in. If I click one here and then click here, I can duplicate the actual sample. I can go here to make unique. And so now I can independently do whatever I want with this sample. Ah, if I get rid of the first to hear and I use the stretch to, I can drag to stamp out making this elongated. But mind you, the autos on. So we're gonna keep the same is that pitch unless we give it a listen. Now, I don't necessarily like the way that sounds, but that could be a desired effect in the future. If you want to use something with it, I can also get rid of the stretch tool and then just literally find the rest of the sample all the way through by dragging this out. It's very, you know, sometimes I do this in the stretch to, uh, stretch option is on. And so I end up stretching a sample by mistake, and I often work with on none, which literally allows me to stretch not based on the actual beats of the actual song. So you want to be very mindful of that? I've made that mistake a 1,000,000 times, so just keep an eye out for you know how you're moving the sample around. But if I just wanted to use the line too, and they bring it out here and then do this, Theo And again, I'm only able to do that because I made this its own unique track. So it's not actually responding, um, to whatever. I'm doing it here because as far as Fo studio is concerned, this is a different instrument. So if I just wanted to make it work along with what I'm doing, um, with everything else, I just make sure the settings of the same and then I could just play back. So, yeah, this is a really cool way to make unique you. Basically, you chop up a particular sample, you re arrange it the way you want it to work and then used tools like reverse nor to really get the vibe and filling from the sample that you want 5. Outro - Example: so thanks for checking out the class. I really hope the class was helpful for me. Same plane has been so important to me as a producer and especially is a hip hop artist because the samples really help. Kind of like a guide to what I was doing musically while I was actually making my songs, you know, I would hear a sample and then we just really inspired lyrics to go certain ways. Having a really good sample using in a really unique way can really bring something new out of a writer. And if you're producing for the sake of working with other emcees, trust me samplings a beautiful tool to use to its by more creativity from you. And but enough about that, I'm going to show you what I did with Sample we've been using in the lesson. Now it's not very different from what I did in some of the early lessons. However, the vibe and energy that I was with the get from working with this sample really, really already began to influence me to write some music. So I just want to show you guys with it sound like and again thank you for checking out the class. Really? Hope this has been helpful. Please leave a comment. Let me know if there's anything else that you talked about to be able to help you guys learn more about FL studio or music production or sound engineering General. So let's check out the sample. So I really hope that this class was helpful. I just want to show you guys what I did ultimately with the actual sample that we've been working with. I haven't gotten very far with it, but I just want to give you an idea of what the sample could sound like once you start working with it. So I hope to see you guys in the next lesson, and I hope you enjoy the song.