First time I really explored in depth the tonal differences in sampling 26k vs 48k for different sounds, in combination with classic vs hifi engines and output filters - by comparing each in pattern. Did each sample at both resolutions and played around with them to see how they’d sit in the mix at both resolutions with different output filtering. What I landed on here is:
Horn samples were pretty colored as is, so all horns here are the 48k versions but in Classic mode and run through the Dynamic Filter on Channel 1. Channel 1 is also going through an analog delay pedal (Boss DM-2w ftw!! - it’s never met a sound it didn’t endlessly repeat )
Guitar was too piercing at 48k, so wnet 26k 12 bit and classic engine which warmed it up but also ran it through Channel 1’s Dynamic Filter which really glued it together
Main sample (first sound you hear) - is 26k 12 bit and classic engine and running in the main mix (my output routing is a bit lacking ATM - main mix out and then a single channel I’m sending through FX, with some strategic choking on that channel). In this video it isn’t, but I intended to have that track running through Channel 5’s Fixed Filter - it takes some of the bite out and REALLY warms it up, but must’ve switched it off prior to recording
You may hear some random triggers when I switch banks, specifically when it hits the live loop bank it plays a random trigger - I owe @Mickey the snippets from the vid so he doesn’t have to watch the whole thing over again, to see if it’s a bug or not - most audible examples occur at 4:41 and 6:50
TL;DR from here - look up Pretty Lights if you’ve never heard him - IMO he kinda glues the S2400 community together with (simply put) a very nice blend of hip-hop and house/dance grooves - his live shows really bring this out, and all shows from 2016 - 2018 on YouTube he officially recorded in HQ audio and if you’re looking for something new, well worth a listen.
Made this using some really cool breaks. Not sure how many are familiar with Pretty Lights but if you know me you know he’s is one of my all time favorite producers, performers, and just artists in general. He gets REALLY creative with how he approaches each project - his most recent album, A Color Map of the Sun - used a recording process that to my knowledge was unique to him - there’s a really cool 20min documentary (can’t link another YouTube vid won’t allow me). Basically he created his own record collection to sample from by recording live studio sessions of bands he compiled, playing music he wrote, to “emulate” the types of breaks and sounds he would go vinyl digging for. I sampled from the reel breaks used in on of those sessions.
PL was known for his sampling wizardry, genre-blending old (like really old, digs back into the early 1900s) soul and blues records with classic hip-hop drums, classic lines/verses, and them an EDM style synth setup and dance groove - gets really out there tough put a genre to - I’d say his early work is best compared to Bonobo. Anyway, because of his sampling style, between the incredibly difficult to track down owners, and then incredibly popular samples an un-signed artist would never get clearance for, he gave all his music away for free (still does at prettylightsmusic.com).
Cut to the most recent album (A Color Map of the Sun) - it was going to be his magnum opus from the get go, but how could he use his sampling process if clearance would be almost unattainable - he couldn’t so instead he used his years of knowing what to look for in records he sampled, and instead compiled bands in different cities (LA, Brooklyn and New Orleans), wrote music for them to play or jam on breaks he knew he was going for - recorded them using X recording process from the time period he was going for (reel to reel for some, acetate pressings, but all analog baby!) to acheive the truest possible sound he was after time-period included. Then recorded all those sessions to vinyl and voila - he had his own, custom record collection to sample from. The album went on to be nominated for a Grammy for best Dance/Electronic album in 2013 - but unfortunately happened to be the same year Daft Punk (RIP ) came out of retirement and released R.A.M. - which won the category. The story goes that Daft Punk actually reached out to Derek Smith (Pretty Lights) to say they thought he should have won, that his record was like nothing ever produced, and the recording process floored them. Obviously musicians aren’t in it for the awards, but still crazy to think an independent producer from Colorado - went in 7 years from his very first release to a Grammy nominated album and a personal consolation from Daft Punk. I was at his last show at Red Rocks on August 11th, 2018 (was his 10th consecutive year selling out a weekend at Red Rocks) and he has not been heard from since…some lore for ya!