.

[DJ Mart-Kos]

You didn't have the range of ability of linking multiple samplers together then-then you have now. you'd required a multi-track recorder to link the 3 samplers together (properly) . editing back then also was not as easy as Highlight-Delete/edit as it is now with DAWs. buying 3 SP1200's back in the day without the technical knowledge of recording on a multi-track recording system would've done nothing for your 10 second limit.

You can just MIDI them together right and record that?

 

[Nomadum]

You can just MIDI them together right and record that?

MIDI records absolutely NO SOUND what-so-ever. MIDI is used to record instances or happenings so for example, if you have MIDI files for let's say a bass-kick track and port it into a editing software such as Logic or something, all you will have is the snap-shot or recording of when something happened.

you could then use this as a 'road-map' for either the same bass-kick sample or utilize a completely different bass-kick sample and it will hit on the marks records in the MIDI file.

just linking up the MIDI (3 different SP1200's) won't be effective if you do not have the means to multi-track record.

10 seconds is 10 seconds, technically speaking with the proper knowledge of multi-track recording, you could turn 10 seconds into 60 but again, it takes alot of editing and it will not be able to be done on the actual SP1200 itself.

 

[Nomadum]

to give an example of what's dope about loops,



that's The Alchemist's "For the record" beat off the 1st Infantry tape. this is what he sampled,



a Ms.Christine McVie and her track "No Road Is The Right Road" off her 1970's debut album "Christine Perfect".

and Apollo Brown walk's you through how he chops and loops,



it's a science to it all, sure-anyone can sample and piece together cuts but the same can be said about painting, without mastery of it you'll never be called a Picasso

 

[Be@t Bangerz Fan]

I don't understand why some people talk down on sampling, which is basically what birth the sound of Hip-Hop. As a producer, I'd like to be able to know how to sample a hot track and how to compose a hot track from scratch. Where's the harm in mastering both? What's so bad about being labeled versatile?

And another thing, since the sampling laws has gotten so strict, why not compose an original track, then sample yourself? That way, you won't have to worry about sample clearances. That's one of the things I learned by studying DJ Toomp. Toomp has several tricks-of-the-trade when it comes to sampling techniques. For example, for Kanye's "Big Brother" record, Toomp said Prince wanted at least 90% of the publishing for the sample clearance. Upon hearing that news, what did Toomp do? He interpolated (replayed) the sample, then transposed it. Voila! "Big Brother" was born with no sample clearances necessary.