Sampoly6 began as a revision of the sampoly, but it became something quite different. I’ve decided to keep both up. I wanted to see if I could use all 8 MIDI notes that the ZOIA provides, if I used samplers as oscillators. And you can! But I would rather have six voices, with some of the features I added at the expense of those voices. Sampoly6 is geared more toward performance than synthesis, and the differences between the two reflect that.
I would compare them like this:
Download ‘sampoly’: if you want to use samples as oscillators for subtractive synthesis (sampoly6 features no filters and therefore less dramatic capacity to shape your sound), if you don’t have any other effects in your chain (sampoly 6 features no reverb lite module), if you would rather have dynamic performance through velocity than aftertouch (there is velocity on the sampoly6, but it doesn’t work as effectively as the filter velocity on sampoly, yet…).
Download ‘sampoly6’: if you would rather have more voices, if your controller features aftertouch (it is a big element of the sampoly6 and has two distinct routing options for performance), if you would use effects later in your chain on the sampler’s output, if you prefer the greater stereo image available with the ‘pan spread’ option.
FOOTSWITCHES & FRONT PAGE CONTROLS
Left footswitch, momentary: record
Middle footswitch, latching: forward/reverse
Right footswitch, latching: aftertouch routing
[SS][SL] [G] [A][D][S][R]
[AV]
[TR][TD] [VR][VD]
[AM][SA][SR]
[PS] [FR]
SS = sample start
SL = sample length (use these to trim sample)
G = pushbutton, determines whether samples play to their end or pass through the VCA envelope
ADSR = ADSR
AV = amount of velocity directed to ADSR sustain
TD = tremolo depth. The tremolo is global can be applied to either mode of play (whether sample length is determined by the recorded audio or adjusted via the ADSR).
TR = tremolo rate. The default LFO is a slightly swung sine, but if you would like to use a different waveform or change the swing, you would select it here.
AM = indicator pixel for aftertouch. If unlit, the aftertouch is routed to vibrato. If lit, the aftertouch is routed to the pitch sweep. (Right footswitch.)
VR = vibrato rate on aftertouch. The default LFO is a sine, but if you would like to use a different waveform you would select it here.
VD = vibrato depth on aftertouch. There is also a slew limiter on the page marked “aftertouch” in the upper right-hand corner that you may want to adjust if you think the vibrato is applied too slowly or too quickly. For subtle pitch modulation, use veeery gently. I provided a large range (up to an octave high and low) in case you wanted to get wacky, so “gently” is like .001-.050 for depth. (I forget the math, a whole semitone would be ~.075ish?).
SA & SR = sweep amount and sweep range. These are actually the same sort of control, with the “amount” allowing you to fine tune and adjust for whether you would like pitch to sweep up or down. The “range” determines the absolutes of the “amount,” such that a value of 1.000 would be ten (!!) octaves. Which you probably don’t want, but hey, you never know. Having a pitch that just keeeeeeeeeeeps sweeping down might be cool for an effect (which is why I kept it for myself, too). Since pitches sweeping up will also grow shorter in length (pitch = speed), upward sweeps are best used with smaller amounts, longer samples, or beginning at a speed below the recording speed (or some combination of these). Additionally, on the page titled “aftertouch” there is a (different) slew limiter in the upper right-hand corner that you might wish to adjust if the sweep happens too fast or too slow for your liking.
PS = pan spread. This spreads the voices out across the stereo field. Slight amounts can make the sound “fuller,” large amounts can produce quite pronounced differences in left and right sounds.
FR = indicator pixel for forward/reverse mode. When forward is selected, the pixel is unlit. When reverse is selected, the pixel is lit. (Middle footswitch.)
MIDI channel 1
Note priority newest
Instead of mapping these parameters, I have starred them (most of them–I forgot to star some of the parameters changed between the original sampoly and this, sorry! But the really pertinent ones are on the “front page”), so you can map them according to your own preferences.
IF I WERE TO REVISE:
I’m still turning over possibilities for improving the velocity sensitivity. Consider it on the to-do list.
Sound clip:
0:00-1:10–Rhodes from Yamaha CP-1, recorded directly.
The first sound is the sample in its entirety, then I apply a slow attack envelope to give it a more “bowed” sound. Then, I demonstrate polyphony, as well as the aftertouch vibrato. Notice the quaver! So quaver-y! I follow that with a more dramatic performance of the vibrato (this is at about ~.600 on the vibrato amount, it can go even farther).
After that, I slide down a few octaves to show how the distortion/”crunch” that comes from the sample-stretching can make some nice bass sounds. I follow that up with a demonstration of the aftertouch pitch sweep, here sweeping up.
1:10-2:05–Our old friend the cello sample! First, the sample as recorded (and trimmed), then a demonstration of polyphony. After this, I apply some subtle tremolo. Then, I use a very light tremolo and some aftertouch vibrato to make the sample more “lively.” Then, some… not very light tremolo is applied.
2:05-2:18–I use some pitched toms and a dramatic pan spread to show one application of the feature.
2:18-2:53–A sample from… I think it was a Prophet 08. Some synth. I’m trying to ramp up the pan spread as the sample plays, but it’s too short for me to do a full sweep, so I keep repeating the note until it’s maxed out.
I use the same sample to demonstrate a pitch sweep, this time down. As I release, the pitch sweeps back up.
2:54-3:57–Okay. I never, ever use other effects for demos. It’s a choice, not an accident, that my demos sound dry as bones. I want someone who downloads my patch to know what it sounds like with as little processing as possible, so they can imagine how they might use it. So I go direct in to my Komplete Audio 6, and right to recording. But, I just couldn’t resist…
Acoustic piano with plate reverb from an Eventide H9. I demonstrate some of the velocity sensitivity (as well as I can in its current implementation). Then, I remember, “Oh right, it does reverse.” So, reverse piano! Which the plate reverb sort of struggles with, if I’m honest. But it sounds pretty with the forward piano!
Is there a way to save a preset for the patch with the recorded samples saved as well? Every time I change patches it seems to delete the audio files. Cheers