TECHNOLOGY: NOW THAT'S WHAT I CAIL AM P LIN C
The advent of sampling technology, coupled with samplers becoming both affordable and available in the mid-80s, means sound creation and studio production has taken on a whole new dimension in the 90s. In a nutshell, sampling is big business — literally the stuff that most hit records are made of, as long as you’re careful to clear the copyright first! ■ /' ~. jz . .. *. .. . .... ■ A sampler, by definition, is similar to a tape recorder, allowing you to record dr “sample” any sound then play it back. With a Snpler, the sound Is stored digitally, and can then be altered in anyway (pitched, lengthened, looped, reversed etc); With so much flexibility and the ability to virtually recreate any instrument, it is little vOidafethat there twrSw ’ : : WvW- * 3SSBSSSSBBBBBBBB ' ■■■■.y.y-y vast libraries of sounds tp draw from. r Q Which brings us to the That’s What I Call Sampling CD sampler from Soundwarehouse. Featuring over one hour’s worth of samples culled from several, big-name producers at tt^e. putting edge of j the recording industry, this promotional CD is ah enticing preview of. the extensive librarM available on CD and CD-ROM. from Soundwarehouse, who claim to be me largest distributor sounds in | the world, headed by none other than Doug Rogers, ex-NZerand one-« time studio owner, q °y. LJ s ' ’ With two page colour advertising spreads in magazines such as Keyboard and offering a 24-hour, seven day 0800 ordering service, it is clear Soundwarehouse takes’ business seriously. Claiming to have “the world’s best selection of dance loops and samples for musicians, producers and DJs” complete with rave reviews from producers such as Reggie Lucas and Jeff Lorber and magazines such as Sound On Sound, Soundwarehouse aim to provide the most
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Rip It Up, Issue 184, 1 November 1992, Page 34
Word Count
391Page 34 Advertisements Column 1 Rip It Up, Issue 184, 1 November 1992, Page 34
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