Deep Dive into Quick Sampler of Logic Pro

1. Intro Edited: Hi, and welcome to the course. If you are a music producer, composer, beatmaker or just someone who loves exploring creative tools inside Logic Pro, then this course is for you. In this class, I'll guide you step by step through a focused creative workflow that transforms Logic Pro built in loops into expressive, playable instruments using the quick sampler. No third body sounds, no paid sample packs, logic's own content creatively re imagined. Logic Pro Cam is packed with thousands of professional quality loops, and Quick sampler is an incredible, powerful, yet under used stool for turning those loops into new sounds. In this course, I'll show you exactly how to find inspiring loops and prepare them for sampling. Chop, slice, and repeat oops in musical or rhythmic ways. Turn drum loops into custom drum kits, create meloding instruments from vocal chops, textures or synth, shape your sound with filters, envelopes and modulation. Build complete beaten melody layers using only logic native tools. By the end of this course, you'll not only have a better understanding of logic's quick sampler, you'll also have a practical repeatable process for creating original music that doesn't rely on stock loops, sounding stock. Whether you're walking on low five bits, electronic music, cinematic soundscapes, or hip hop instrumentals, this course gives you the tools to sound unique, even if you are using the same loops as everyone else. So what do you need? Just logic Pro and nothing more. I've made this course approachable with zero external plugins, no price sampling knowledge required, and a clear focus on creativity over complexity. Thanks for joining me. I'm excited to show you how much you can do with tools you already have. Let's get started, and I'll see you in the first lesson. 2. Lesson 01 - Quick Sampler Overview: Welcome. I'm really glad you're here. In this course, I'm walking you through one of my absolute favorite tools in logic P for Mac. The quick sampler. It's hands down one of the easiest and most creative ways to turn a sound into an instrument. So what exactly is it? Quick sampler lets me take any audio file, drumhead, a synth stab, a vocal, chop, even a random field recording, and instantly start shaping it musically. I can pitch it, chop it up, loop it up, sketch it, and then play it across my met keyboard like any other instrument. And the best part is it takes just a few clicks to get it going. Quick sampler is a software instrument plugging. That means I just create a new software instrument track, go into plug in list, and choose Quicksampler, under the sampler section. It also works perfectly with live so if I ever want to jam out ideas in a loop based way, quick sampler is ready for that, too. Once I open it up, I see two main parts. At the top, there's the sample section. This is where the audiophile leaves. I can drag in any sound, trim it, slice it, loop it, and pitch it from here. Below that, there are speech, filter, and am sections. This is where I start shaping the tone and dynamics of the sample. And if I want to add motion or texture, there are LFOs, envelopes, and mod matrix. Now, if some of those terms feel unfamiliar, don't worry. I'll take it step by step and show you how I use these tools in my own workflow. You don't need to be a synth expert. I'll keep things simple and practical. Over the next few lessons, I'll guide you through everything from loading and trimming a sample to looping, filtering, modulating, and even creating an entire track. If you're ready to load your first sound, let's jump into Lesson two. 3. Lesson 02 - Adding Audio: All right. In this lesson, I'll show you a few different ways to load sounds into quick sampler. What the differences between original and optimized mode and how to save your instrument once you've built something you like. Let's dive in. So I've already got to software instrument track loaded with Quick sampler. And the simplest way to bring a sound in is just drag and drop. I'm grabbing an audio file from the finder here, and I'll drop it right into the middle of quick Sampler. It's ready to play now. I can trigger it with a meta keyboard or just use the piano roll. That's how quick this thing is. Now, let me show you something important. When I drag a new file in. Check this out. I get two drop zones, original the left and optimized on the right. If I drop the file on the original side, quick example keeps it exactly as it is. The page, the loudness, any silence or looping, all untouched. But if I drop it on the optimized side, logic does some prep work for me. I trims silence, fixes tuning and gain, and if it's a rhythmic loop, it might even find loop points automatically. I'll go ahead and drop this loop into the optimized side, and now it's cleaned up and ready to go. Alright, let's try another method. At the top of the quick sampler window, I'm clicking the sample name, and then selecting Load audio file. This opens a Finder window. And in the bottom left corner, there is an options button. When I click that, I can choose between original and optimized again. Same idea as before, through the menu this time. I'll take optimized and hit open. Now, here's a third way. You can drag an audio file directly under the track header of the quick sampler track. I'll drag this loop here. And when I let go, logic asks how I want to process it? I'll pick a regional this time just to hear it raw. Now the sample replaces whatever was in Quick sampler before. So all three methods work just depends on your workflow. Okay, now let's talk about saving. Say I found a sound I like, maybe twit it a bit, and I want to keep it. From the menu in the top left corner of the Quicksampler, I can choose Save to overwrite the current instrument. Save as to make a new version with a different name or save a copy as, which is great for backing things up somewhere else. There's also save as default. I want this setup to be my go to every time I open Quick sampler. Now, if I want to save this whole instrument and any effects or pluggings on the track, I can save it as a patch. To do that, I'll open the library by pressing Y. Or clicking the library icon up at the top left. At the bottom of the library, I click Save. Pick a folder, name the patch, and hit safe. Now I've got it saved in my library for quick access in other sessions. All right. That's it for this one. You now know three ways to load sounds into Quick Sampler and how to save your work, either as an instrument or as a full patch. In the next lesson, we'll look at the different playback modes inside Quicksampler. Classic, one shot and slice, and how each one gives you different creative options. Let's keep going. 4. Lesson 03 - Four Playback Modes: All right. Now that we've got a sample loaded into quick sampler, let's exploit four playback modes. Classic, one shot, slice, and recorder. Each mode completely changes how the sample behaves and each one has a specific use case, depending on what you're working on. Let's take a look. At the top of quick sampler, you'll see the four mode buttons. By default, we're in classic mode. In classic mode, the sample plays only while you hold a key down. The second, you release the key, playback stops unless you've added looping. Let me play a note so you can hear. This is great for pitched instruments, pads or textures, basically anything you want to perform like a traditional sampler. If I scroll down here, I can enable looping underneath the waveform. That means the sample will repeat while I hold the key, which is perfect way for things like sustained strings, synths, or ambient sounds. Next up, one shot. In this mode, pressing a key plays the entire sample from beginning to end. No matter how long you hold it, let me trigger it. Every time I press a key, the full sample plays. I don't need to hold anything down. This is perfect for drums, percussive heads, vocal chops, or sound effects. Anything where you just wanted to play through, quick and simple. And it's super consistent. I can tap the key repeatedly and it'll play cleanly every time. As soon as I switch to slice, logic scans the sample and adds slice markers and transients. Those are the natural heads or attacks in the sound. For this demonstration, let me drag a loop from the loop library. Each slice now gets mapped to a different key on my media keyboard. So check this out. I can now play individual pieces of the sample like a custom drum kit. Super fun for chopping up loops or mixing a performance. If I want to fine tune it, I can zoom into the Wave foam and move the slice markers around. I can also add or delete slices as needed. Down here, I've got gate mode. If it's on, playback stops when I release the key. If it's off, the slice plays to the end, even if I let go. Slice mode is amazing for sampling vocals, breaks or just slicing gap inspiration and reworking it your own way. And finally, recorder mode. This turns Quick sampler into a live audio capture tool. If I click the red button, I can record audio from microphone, interface, or even internal sources right into quick sampler. When I stop the recording, I can instantly switch to classic, one shot or slice and start manipulating what I just recorded. Rat for live ideas, walk on takes, grabbing sounds on the fly. Let's quickly recap. Classic mode gives you a keyboard style control with optional looping. One shot places the full sample with one keypress ready for drums and hits. Slice, lets you chop a sample into playable pieces and rearrange them creatively. Recorder turns quick sampler into Mic ready recorder ready for instant sampling. Each one unlocks a different way to walk, and switching between them is literally just one click. In next lesson, we'll study each of these modes in detail. 5. Lesson 04 - Classic Mode: Today, I'm diving into classic mode in Quick Sampler, my go to when I want to loop, trim, and play samples across my keyboard. It's super intuitive and gives me precise control over how a sample behaves musically. First, I make sure a classic is selected at the top of the quick sampler it's right next to one shot, slice, and recorder. Just one click, and I'm in. Here on the right, I can see the name of the sample I've loaded. If I haven't loaded one yet, I'll drag something in. Maybe a percussion loop or a vocal snippet. Once it's in, I see a few controls, a snap setting. I usually keep this on beat for musical edits and a Zoom slider that helps me focus on parts of the waveform. Now I'm looking at the big wave foam display in the middle of the screen. That's where I do most of my edits. To define the playback range, I drag the blue start and end markers. I can zoom in and get really precise. If I hold option and drag, either marker, both move together. It's great for keeping the overall length constant. Below the waveform, logic shows me the marker values. So I always know exactly where I am in the sample. How comes the looping magic? I see yellow loop start and end markers. I can move them to define the looped region. Once I place them, a yellow shaded section appears. That's my loop. I can drag the whole loop by grabbing that yellow area, and again, option drag moves both markers as a unit. To clean up transitions, I add fades. I drag the gray fade markers at the beginning and end of the sample. Holding option lets me move both fades at once. On the left side, under the waveform, there is a root key pop up. I said this ta logic Wat key plays the sample at its original pitch and speed. It's usually around middle C, but I can change it depending on the sound. Next to that is tune. I can fine tune the pitch up or down in sens. Either I drag it up or down, or I just double click and type a number in. Now I set how the sample plays. In the playback menu, I choose either forward or reverse if I want to flip the sample backward for a creative effect. Then under loop mode, I can choose no loop, plays through once, forward. It loops from start to end, reverse, loops backward, alternate, bounces back and forth. Play to end on release, keeps going to the end even after I left the key. On the lower right, I see a flex button. Once I enable this, the sample keeps its original speed. No matter what key I press. It's perfect when I want to change pitch without spitting things up or slowing them down. With flex on, I can also enable follow tempo, which gives the sample synced to my project BPM. If it doesn't sound right, I go to the action menu and choose derive tempo from loop length. In this case, logic recalculates the tempo based on the samples loop. Lastly, there's flex speed. This pop up lets me double or half the samples tempo in musically relevant ways. It's great for experimenting. I can even assign this to modulation later if I want to automate tempo changes. So to wrap up, classic mode gives me everything I need to shape a sample musically. I can loop just the part I want, pitch it across the keyboard, sync it to my track, and fine tune every little detail all in one clean interface. I'm feeling more confident every time I explore these controls. With each sample I load, I've got endless creative options to stretch, twist, or reshape it into something new. If you're ready for the next lesson, let's go. 6. Lesson 05 - One Shot Mode: Explore one shot mode in a quick sampler. Click one shot. Above the way phone to switch modes. This mode, place the sample once from start to end. No matter how long you hold the key, same marker behavior as in classic mode. Rag to adjust, option drag to move the hold section. Fade in and out also work the same for smoothing the attack and tail. The root key, tune filled, flex, follow tempo and flex speed are identical to what we covet in lesson four. One difference, loop markers are ignored here. Also, under the waveform, use the playback direction button to choose forward or reverse. That's it for one shot mode. Simple, but powerful. 7. Lesson 06 - Slice Mode: Quick sampler, slice mode in Logic Pro allows you to divide your audio into smaller segments called slices, which you can then trigger with different keys on your keyboard. This gives you full control over playing individual hips or parts of a sample, allowing you to completely change the rhythm or pattern. For example, you could play every second or third note in a sample to create a pseudo gating effect. You can adjust each slice by dragging the yellow slice markers, which determine the start position and length of the sample segment. When you strike the corresponding key, the slice will play. If you move your pointer to the bottom of each slice marker, a play icon will appear. Clicking this icon, we'll play that specific slice. The blue start and end markers let you adjust the beginning and end of the audio sample. By holding option, you can drag both markers together to move the entire audio section. Clicking any marker handle will display the parameter values below the waveform. If you opt for a transient slicing, you can use the sensitivity slider to control how many slice markers are placed based on transient detection. A high sensitivity value adds most slice markers. The division slider allows you to slice the audio based on beats. And it enables equal divisions between the start and end markers. The start key pop up menu lets you assign the key for the first slice. And you can map additional slices to keys using the start key mapping pop up menu. You can choose chromatic, white or black key mappings, depending on your preference. If you enable the gate button, the slice will only play while the key is held down, and it will stop once you release it. If you turn on the play to end button, the slice will play through to the end marker regardless of when you release the key. Mode is a key feature in slice mode, allowing you to preserve the original timing and pitch across different nodes. This is especially useful when you want your slices to follow the project's tempo. If you try on flax, the follow tempo button ensures that the slices and just to measure the project's tempo. Flex speed gives you the ability to change the playback speed of the slice without affecting their pitch. You can even modulate their settings for creative effect. To insert a slice marker, simply click on the wave fonm where you want it. You'll see a vertical line indicating where the slice will be placed. Control clicking opens a shortcut menu to create a slice marker at the current position. To move a slice marker, drag it to a new location. If you want to delete a slice marker, double click on it. Clicking the slice marker handle will show its parameters below the wave foam, and you can click the X icon to hide them again. If you lower the sensitivity settings and notice that some slice markers are disappearing, you can prevent this by selecting the slice marker and choosing slice marker ignores sensitivity from the action menu. Alternatively, Control click the marker and select Ignore sensitivity. If you want the marker to respond to sensitivity again, simply choose slice marker response to sensitivity. With the flex mode enabled, you can ensure that the slices play in time with the project's tempo, maintaining the original timing and pitch, even if you change the pitch of a slice. This gives you total control over your sample manipulation, whether you're following the tempo or adjusting speed for a more creative result. 8. Lesson 07 - Recording Mode: Quick samplers recorder mode in Logic pro allows me to easily capture audio from any input source, which is perfect for recording live sounds or other incoming signals straight into the project. To get started, I just choose the audio input from the input pop up menu. Once that's set, I hit the record button to start. I can decide when I want the recording to begin. Through the record start pop up menu. If I select, start immediately. The recording begins as soon as I click the button. If I prefer to wait for the signal to reach a certain level, I can go with wait for signal to pass threshold. If I choose the threshold option, the recording starts only when the input signal exceeds the level I set using the level meter slider. While recording, the level meter shows the input signal level, so I can track whether it's hitting the right threshold. Once I'm ready, I press the record button to begin. Hey. When I'm done, I just click the record button again to stop. A A, A, A. In short, quick samples recording mode gives me the flexibility to record exactly when and how I want, whether it's immediately or once the signal reaches a certain level. It's a straightforward way to bring fresh audio directly into my project. 9. Lesson 08 - Markers: Really want to fine tune how a sample plays back in logic Pro. Markers are where it's at. They are like signposts. I can drop into the waveform to define where playback starts, ends, loops, fades, or slices. It all starts with the blue start and end markers. These let me set where playback begins and ends within the sample. If I hold Option and drag one of them, I can move the entire playback section at once, which is really handy when I want to keep the length the same but shift the whole region forward or backward. Just a heads up. This only works if I'm not using the full length of the sample. Then there are the yellow loop, start and end markers. These define the looped portion. And if I hold down a key, a sample cycles between those points. I can grab the yellow shaded area between the two to move the whole loop zone, a hold option and drag one of the markers to shift the loop without changing the size. Sometimes I hear a little pop when the loop cycles. This is where the gray cross fade marker comes in. By dragging this, I can create a small overlap at the loop edges, which smoothes out any clicks or glitches. It's subtle, but it makes the loop feel a lot more natural. I also use the fade in and fade out markers, especially when I'm working with chopped vocals or atmospheric samples. These are the small gray markers at the beginning and end of the playback range, and I can adjust them to create smoother entries and exits. If I hold option, I can drag both of them at once to shift the whole fade area. So in slice mode, yellow sl markers show up instead. These divide my sample into segments, and I can dig them to reposition or just click between them to create a new one on the fly. Lastly, while I usually zoom using the pinch gesture or the zoom buttons, there is a quick trick I use when I want to zoom in on a specific part. I just hold control option and drag across the section I want to focus on. It fills the entire waveform display instantly, super useful when I'm trying to dial something in precisely. Once I got comfortable with all these markers, editing became way more intuitive and musical. It's like sculpting the sample instead of just playing it. 10. Lesson 09 - From Slice to Midi: One of my favorite things to do in logic Pro is turn audio into something playable and slice mode in quick sampler, makes that super fun. Once I have chopped up a sample using slice markers, there are a bunch of ways I can get creative with it. In slice mode, I can fine tune where each slice begins by dragging the slice handles around, adjusting start and end points just the way I want. If I want to add a new slice, somewhere specific, I just have to click, and if I want to delete it, I'll double click. But here's where the magic starts. I can actually drag the sliced audio straight into a software instrument, a drum machine design, a track, or even a regular midi track. I just click to the right on the start marker in the lower part of the waveform, and when that little curved arrow shows up, I drag and drop it onto a truck. A new midi region appears with notes for each slice that I can edit like any other MDI. I also can create drum machine designer track by choosing this option from the action menu. Logic analyzes the audio, slices it up, and lays it out on pads in a new drum machine designer track. Each pad gets its own slice, and I get a midi region with notes for every hit. This is perfect when I want to rearrange or replace slices, add effects, or trigger them with my midi controller. Sometimes I don't w the whole track, the midi pattern. In this case, h. It copies the note events for all the slices between the start and end markers to the clipboard. Then I can paste that into any instrument or media track and build a synced pattern from my original audio. It's great for drum replacement or building rhythms from natural recordings. This whole sliced media workflow made sampling feel way more dynamic and playable for me. Instead of just dropping audio into the mix, I can now shape, re sequence, and remix it in real time. Okay. 11. Lesson 10 - Making Loops Fit: One of the coolest things I discovered in Logic Pro is how easy it is to make loops match the tempo of the track I'm working on using flags inside Quicksampl. It felt like unlocking a secret weapon for making everything sit tight rhythmically, especially when dealing with Apple loops or bounced audio. Here's how I use it. I start by loading up a logic project with a few tracks already playing. Then I open the loop browser. The shortcut is just okey. I found a nice melodic Aber loop, something like rhythmic guitar part, and I drag it straight into the original drop zone in Quick Sampler. At first, if I play some notes across my keyboard, the pitch and playback speed both change with the key I'm playing. That's the default behavior. But once I click the flex button just below the waveform display, the loop starts to act differently. Now the pitch still changes, but the playback speed stays constant, no matter what key I hit. But here's the game changer. When I press play on the project and start jamming again, I notice that although the loop stays in tune, I still doesn't sink perfectly to the tempo. That's where the follow tempo button comes in. Once I turn it on, the loop locks in with the project tempo. No matter which note I'm playing, it's such a satisfying moment. Sometimes if things still don't fill quite right, I use the drive tempo from loop length from the action menu. It recalculates the loop's tempo based on how long it is and aligns everything even better. This saved me when importing loops that didn't already have tempo metadata. To spice things up, I also play with speed pop up menu. It lets me double or half the loop's tempo without messing up the sink, which is great when I want a loop to play at half time on double time, but still stay tight with their truck. The For those who love automation, flex speed can actually be modulated, so I can create evolving textures and effects just by automating that one parameter. So flex and Quick sampler made it so much easier for me to treat loops like playable instruments while keeping everything tight with a groove. 12. Lesson 11 - Mod Matrix: Once I've got my sample loaded into quick sampler and Logic Pro, one of the first places I go to explore movement and character is the mod matrix. This is where modulation comes to life. It's not just about twiking aesthetic sound anymore. It's about making it dynamic, expressive, and reactive. To begin shaping the tone, I decide to introduce some subtle motion using an LFO. I sign LFO one as the source. And set the tuget to filter cutoff. Then I adjust the amount to around 30, 40%. This creates a smooth, sweep motion in the filter, given my sound and gentle pulse. I go into the LFO setting and choose a triangle waveform which gives me an even up and down motion. And I dial the rate to something slow like 0.3 Hertz. So the filter sweeps gradually. It's a simple move, but I instantly give life to what was a flat, static sample. Next, I want to bring in a more noticeable pitch movement. I use ALFO two as the source. This time, tagatinPitch. I push the amount up to something more dramatic around 70 to 80, depending on the effect I want. Assign wave foam works well here. Given a smooth vibrato, and I adjust the rate so that it oscillates steadily, not too fast and not too slow, maybe around to hertz. This adds a kind of wobble to the pitch, making the sound feel alive as if it's being played with slight intentional variation. And without. With foto. With just these two LFO assignments, I have already added layers of motion and depth. The filter movement brings in tonal evolution, while the pitch modulation introduces a natural instability that catches the ear. What I love about this process is how even small changes can spark creativity. A little modulation goes a long way, and by carefully choosing my source, target, and amount, I can turn a simple sample into something animated and expressive. 13. Lesson 12 - LFO: Let's talk about modulation. And specifically, how to use LFOs in Quick Sampler. LFO stands for low frequency oscillator, and in Quick Sampler, you've got two identical LFOs to work with. You'll find them in the modulation section. Just click the tab at the top to switch between L LFO one and L LFO two. Elepos don't make sound on their own. Instead, they used to modulate other parameters over time, like pitch, filter, cut off or pen. Let's break down how it works. Each LFO has an on off button here at the top left. Below that is the rate nube. This controls how fast the LFO moves. It's measured in hertz or cycles per second. If you want the LFO to sync with your project tempo, just click the singer button right here. Now, the rate is shown in musical divisions, like one fourth, one eighth, and so on. Try changing the rate and listening to how it affects your modulation target. Oh, oh, oh, oh, oh. Oh, oh, oh, oh, oh. You can set that fo to fade in gradually or fade out after studying. Just select the mode here and use the fate time knobe to adjust how long that fate lasts. Oh, oh, oh, oh, oh. This is great when you want subtle modulation that evolves over time instead of kicking in instantly. The phase control tells the APO where to start in its waveform each time a U key is played. It's super useful for rhythmic consistency. Speaking of waveforms, you can pick the ALPO shape from the menu right here. It can be sine, triangle, square, and more. Each shape creates a different motion, smooth, sharp, stepped, et cetera. Polarity. Let's you choose between bipolar, modulating both above and below the neutral point or unipolar, modulating in just one direction. You also have a few ways to control how the LFO triggers. Polymode means each node you play gets its own Apo cycle. It's great for layered, evolving textures. Monomode uses one shared fo across all nodes, which is ideal for synced modulation, like vibrato or tremble. Key trigger, when enabled, restarts the LFO cycle every time a U key is played. These modes help shape the fill and timing of your modulation. Now, let's rule this LFO to control something. From the target menu, I chose pen. Next, I use the amount slider to set how strong that modulation is. If I want more dynamic control, I use the Y system. You can choose a modulation source from the Y menu, like velocity, modulation wheel, or an envelope. So in LFO one menu, I set amount to around 35. And I select pen as a target. You'll also notice a red arc around the pen. And when I press a key, you can see how the pen position changes. Oh oh oh oh oh. So with just a few settings, a fos in a quick sampler can bring motion, dynamics, and life to any sound from subtle shimmers to bold rhythmic effects. Whether you are shaping pitch, filtering, or any other parameter, these tools offer precise and flexible control every time. 14. Lesson 13 - Pitch Controls: In this lesson, I want to show you how I shape the pitch of a sample using quick samplers pitch controls. These controls are right below the wavefoam and they give me a lot of flexibility from simple tuning adjustments to more creative pitch movements over time. Let's break it down. First, I use the core snope to shift the pitch up or down in semitone steps. For example, if I want to sample one octave higher, I just turn it up by 12. Then there is the fine knob, which adjusts pitch and sense that's tiny steps, 100th of a semitone. I use this when I want to make subtle tuning twigs or to tune a sample slightly to create a thicker sound when layering. Next is the glide knob. I love this one for smooth transitions between nodes. When I turn up glide, the pitch doesn't jump instantly from one node to another. It slides. I use it a lot for baselines or lead synth to give them that flowing gliding fill. It works best when I play notes legato one after the other without releasing the key. There is also a key tracking button, which I switch on or off, depending on what I want. When it's on, the sample pitch follows the key I play. The higher keys play faster and the sample sounds higher pitched. When it's off, no matter which key I hit, the sample plays back at the original pitch. I usually keep this off for drum one shots or vocal chops that I want to sound the same on every key. The band range in the pitch menu sets how far the pitch will shift when you use pitch bend a media controllers pitch bend wheel or automation. For example, if you set the band range to, two, moving the pitch band we all the way up will raise the pitch by two semitones. I'll step, and moving it all the way down will lower it by two semitones. Set it to 12, and the pitch band will shift a full octave up or down. It basically defines the maximum pitch deviation in either direction from the original node. Then comes the pitch envelope section. This is where I control how pitch changes over time. The NF depth controls how much the envelope affects the pitch. When I turn it up, I can get dramatic pitch movements. The actual movement depends on the shape I draw and the envelope display. For example, if I want a quick rise, then drop and pitch like a classic laser effect. I use sharp attack and fast decay. The envelope type gives me control over how that motion happens. Let's look at a simple AD envelope, which stands for attack and decay. In this mode, there is no sustain and no release, just two stages that shape the beginning of your sounds pitch movement. I set the pitch envelope amount to plus 300 $0.50. That means the pitch will start 300 $0.50 higher than the original sample. Then I set the attack to around 50 milliseconds. This controls how quickly the pitch rises from the original value up to that 300 $0.50. It's a short glide upward, not instant, so it feels smoother. Next, I set the decay to about 300 milliseconds. This controls how quickly the pitch falls back to the original node after the attack phase. Since we are in AD mode, once it reaches the end of the decay phase, the pitch just stays there. There is no sustain to hold it or release to fade it out. The movement is fast, snappy, and it's over quickly. Ah. Mo Mo. In this way, I get a nice little upward swoop at the start of the note. A kind of glide or pitch bend that gives the sound some personality. It's perfect for things like percussive hits, plugs or sound effects, where you want just a little motion right at the start. You can flip it around, too. Send the amount to -500 cents. And now the beach stars slightly lower and then snaps back up to normal. Ooh Ooh. Let me adjust attack. Oh Oh. The beauty of the AD envelope is its simplicity. It shapes only the very start of the note, giving it character without getting in the way of the rest of the sound. Lastly, the val slider lets me link pitch movement to how hard I hit the keys. At 0%, the pitch envelope is always the same. At 100%, it reacts to my playing. Softer notes might barely move and pitch, while harder hits make the envelope go full range. All of these pitch controls help me go beyond just tuning. They let me add motion, dynamics, and shape to my samples, whether it's subtle tuning, dramatic drop or gliding transition. This is where I start making a static sample, feel alive. 15. Lesson 14 - Filter Controls: Now let's talk about filters, one of my favorite parts of shaping a sound. In quick sampler, the filter section is super powerful. I use it to scalp the tone of a sample, removing hush, his, making things sound vomer, or even creating movement with the envelope. Let me walk you through how I use each control. First, I make sure the filter is turned on. Without it, none of the filter setting do anything. So easy to forget. Then I pick a filter type from the menu. Each one has its own wipe. Lowpass filter. This is the one I use most. It removes high frequencies and keeps the lows. It's great for making things sound smooth, round, or low fi. High pass filter is opposite to low pass. It removes the lows and keeps the highs. It's useful for thin, bright sounds. Bend pass keeps just a narrow band of frequencies. I use this when I want a focused nasal kind of sound. We also have band reject filter. It does the reverse. It removes a narrow band and keeps everything else. It creates a hollow or pazy effect sometimes. The cut off knob sets the main frequency point where the filter begins to shape the sound. In quick sampler, this is shown as a percentage rather than a specific hertz value. For example, if I'm using a low pass filter and set the cut off to around 30%, it means most of the high frequencies are being reduced, and mainly the lower part of the sound spectrum is coming through. As I increase the percentage, more of the high frequencies are allowed to pass gradually opening up the sound. Then there is resonance, reso, which boosts the frequencies right at the cut off point. When I turn it up, I get a sharper whistling sound. It's great for reading character or turning a simple sample into something more synth like. The drive knob adds some grid by over driving the signal inside the filter. Depending on the filter type, this can go from warm saturation to full on distortion. I use this when I want the sound to be more aggressive or analyte sounding. Just like with pitch, there is an envelope that controls how the filter moves over time and the envelope in depth. Sets how much influence that envelope has. The cutoff acts as the starting point of the filter where it begins shaping the sound. Envelope depth determines how far the filter travels from that point at 100%, the envelope pushes a filter fully open from the cutoff position. At lower values, the movement is more restrained, keeping it closer to the starting point. With envelope depth, I'm not controlling the speed. I'm shaping the range of the movement. The envelope itself defines the timing. How fast or slow the filter travels through the range. For example, a shot attack will snap the filter open quickly, while the longer release will is it back down gradually. The visual envelope display makes this easy to understand. It shows how fast the movement happens, and with enveloped depth, I control how far it goes. Together, they give me full control over the shape and character of the filter motion. Key scale lets the filter respond to where I'm playing on the keyboard. If it's at zero, the filter behaves the same on every key. But when I raise it, say to 100, higher nodes will have a more open filter and lower nodes more closed. That's great when I want to keep a natural fill across the keyboard, especially for instruments or pets. The velocity slider controls how much the envelope responds to the velocity of my playing. Basically, how hard or soft I hit the keys. At 0%, the envelope always plays at full strength, no matter how I press the key. At 100, the envelopes strength is entirely based on velocity. Soft notes trigger a smaller envelope, while hard notes trigger a full one. The filter section in Quick Sampler really helps me carve out space in a mix or add movement to otherwise static sounds. Whether it's warming up a vocal chop, cleaning up a low end rumble, turning a boring loop into something dynamic and expressive. Filters are a key part of my toolkit. 16. Lesson 15 - Amp Controls: When I'm shaping a sound in quick sampler, logic P, the controls how I manage its volume, padding, and how it behaves over time. These settings are key to making a sample feel dynamic, responsive, and musical, whether I want it to hit hard, pay gently, or react differently, depending on how I play. The amp section not only controls the basic output level and stereo position, but also includes a powerful amplitude envelope, which allows me to shape how the sound evolves from the moment I press a key to the moment it fades out. First, I usually start by adjusting the pen knob to place the sample in the stereo field. For example, if I'm layering multiple high heads or percussion elements, I'll spread them slightly left and right using the pen control to give the beat some width and space. It's a simple way to make a mix feel more alive and balanced. I might pen a vocal chop slightly to the left and response chop slightly to the right, given the filling of a back and forth conversation in the stereo field. The polyphony setting lets me decide how many voices can play at once. If I want to use the sampler like a synth pad, I'll allow full polyphony, so I can play reach chords. But if I'm doing something like a chopped vocal or eight oh eight, where I want each new note to cut off the previous one, I'll set it to monophonic. One voice at a time. This is especially useful for drum, one shots or bass lines where overlapping notes would sound muddy or unrealistic. For instance, in a base patch, I set it to mono with a bit of glide. So each node transitions smoothly to the next without stacking up. The volume knob is straightforward. It controls the overall loudness. I often use it to balance the sampler's output against the rest of the mix. If I've added a filter that makes a sound quieter or used an envelope that changes the dynamic shape, I may need to tweak the volume here to bring it back to the level I want. The real magic happens in the envelope section, where I can shape how the sound behaves over time using an ADHSR envelope, attack, decay, hold, sustain, and release. I can either drag points on the envelope for visual tweaking or enter values directly for precision. Attack controls how quickly the sound reaches full volume after I press a key. A fast attack gives me a sharp, immediate hit. It's great for drums or percussive samples. A slow attack creates a fading effect, which I use for pets, reverse sounds, or swelling effects. For example, when I want a vocal sample to wash into the mix, I'll slowly attack to make it feel more ambient and gentle. Hold determines how long the full volume is held after the attack before the sound starts to decay. It's useful when I want the sound to stay loud for a brief moment before fading, kind of like a plateau. If I'm working with a snare that I want to ring out just a little longer before the tail fades, I'll use hold to extend that peak without affecting the attack or decay settings. Decay controls how long it takes to fall from that peak volume after the hold face down to the sustained level. If I want a quick, tight sound, I'll shut in the decay. For more natural or expressive sounds like a plucked string or vocal note, a slightly longer decay helps it feel more livelie. Sustain sets the level, the sound holds while I'm holding the key down. Unlike attack or decay, it's not a time based setting, just a volume level. If I set sustain to zero, the sound will decay to silence unless I increase the release. If I raise the sustain, the sound will hold at the level as long as I'm pressing the note. This is important for sounds that need to stick around like organ, chords or lead melodies. Release is what happens when I let go of the key. It sets how long it takes for the sound to fade to silence. A short release gives me a clean stop, good for rhythmic or staccato pads. A long release makes the sound linger, which works beautifully for ambient textures or lash chords. For example, if I'm designing a reverb heavy pad, I'll extend the release to make the sound fade radially, even after I've released the key. One of the more expressive tools in this section is the velocity slider, which controls how responsive the amplitude envelope is to how hard I play. At zero, every note is the same volume regardless of how soft or hard I hit the keys. But if I want more expression, I erase the velocity slider. At full, it gives me full control. Playing softly produces a quiet sound and playing hard gives me the full volume. Altogether, these controls allow me to shape not just how loud a sound is, but how it behaves, responds, and evolves. Whether I want a plucky staccato sound, a slowly blooming bed or a punchy one shot drum head that fades out quickly. This section gives me all the tools I need. It's not just about volume. It's about fill. How the sound reacts to each keystroke or midi message can make a massive difference in how musical and dynamic the result is. By mastering the amp envelope and understanding how each parameter works together, I can make even a simple sample feel expressive and alive. This abiy quick sampler really starts to feel like a full instrument, letting me shape the character of each sound with nuance and precision. 17. Lesson 16 - Final Project: Alright. Now that you've gone through the course, it's time to pull everything together. Here's your final project. Take one sample, any sample, and shape it using envelopes and modulation in Quick sampler. You're not building a full track, just transforming a single sound into something alive and expressive. Let me show you what I did. I grabbed a vocal chop, dragged it into logic, and loaded it into Quick sampler. Oh. You can use anything, a synth note, voice memo, even a random sound from the street. Step two, set the amp envelope. In the section, I shaped it like this. A quick attack, round six milliseconds, long hold and decay, a few seconds, sustain at 100%. A short release for a clean tail. This gave me a soft but stretched vocal with some emotional weight. Step three at filter movement. In the MT matrix, I set LL one to modulate filter cutoff at about 20%. The filter is set to LP 12 to be creamy, and I chose a triangle waveform at 1 Hertz. This adds a gentle rhythmic sweep that keeps the sound evolving. Oh. Oh. Next step number four, Modulate pitch. I use Llevo two to modulate pitch by 100 cents. This adds a bubble like vibrato or tension that brings more character. Try a sign in a random waveform and adjust the rate for different flavors. Oh Oh. Step five, play and explore. Now it's your turn. Tweak the envelope, try different LFO shapes and more modulation. You'll find that even small changes can unlock something unexpected. Your task is to upload a screenshot of your mod matrix and envelope. Write a couple of lines. What sound did you start with? What did you change? How did it turn out? If you can, share a short audio clip. A link from SoundCloud or YouTube works great. That's it. One sample, a few thoughtful moves, and suddenly it's something personal, shaped by your ear, your choices, your vibe. I can't wait to hear what you come up with.