How To Fast Get Alot Of Nice One-shots

THIS REQUIRES SLICEX from FL

heres something i have started doing for my new grindcore project

load up slicex,open full grindcore,pop,metal or whatever tracks,and autoslice them,save all the slices as .wav files

now go hunting for the best one-shots out of the 100s you will get.

thought someone else might find that handy

when i have a nice bunch of one-shots i make them into renoise instruments

downside you have to go through 100 of slices
upside you can make a large library of nice one-shots easily

I’m not saying that this isn’t a valid technique, but you’ve left out a couple of fairly important points here…

Slicex sells for $99, which is more expensive than Renoise itself. It’s actually on sale for $79 right now, but still… I doubt very many people here will actually have a (legitimate) copy of it. Unless there’s a different tool called Slicex which is free/cheap? (I honestly don’t know, but would be very interested to hear about it)

A large library consisting almost entirely of copyrighted material, which is therefore illegal to use. You can probably “safely” use very, very short sounds that would be unrecognisable after even more effects/edits have been applied, but this is still a very tricky and risky area to be in. You may be better off sticking to sounds which you know are legal and royalty free, or those samples which are so basic that it doesn’t matter such as clean/obvious drum machine sounds, etc.

has anyone ever been sued over a one shot? Like not trying to prove you wrong but would be nice to know. Know abt the whole Timbaland Chiptune kerfuffle…

also are there any cheap alts to slicex? or is manual slicing the only way : (

well Dblue i see your point,but i wasent talking about using chunks of samples,but only collecting one-shots out of exsisting tracks(isent that what sample is all about??? :D )

it has been done in years

and you can process the samples as you see fit

To be perfectly honest with you, I don’t really know. I’m sure there have been some issues in the past, but I guess it really just depends on what has been sampled, and how unique the process of creating that sound was.

Let’s face it, nobody is really gonna care if the sound in question is a preset from a synth or drum machine that everybody has, or if you can immediately say “yeah, that’s a default 909 kick” or “that’s the default bass patch on a Yamaha [whatever] synth” or “that’s the flute sample from sample library XYZ”, etc., etc.

But if it’s something more unique? If I can hear the one-shot sample and say “yeah, that’s taken directly from Song X by Artist Y”, or if it’s an orchestral hit/stab that is clearly taken from a well known piece of music, etc., then you could get into some pretty serious trouble I think. It’s usually the more unique and attractive sounds that we want to sample… and in those cases there is usually a lot of creative effort and hard work that has gone into creating them, which is definitely when people become a lot more sensitive about you stealing their work. So, personally, I think using such recognisable sounds just isn’t worth the risk most of the time.

To “get away with it”, I think you simply have to make the original sound unrecognisable, via whatever means you can think of… distortion, heavy filtering, etc. If you can do that, change the sound so that no-one would ever recognise it, and still manage to keep it useful for your own music, well, go for it :)

I’m simply suggesting to be careful with this kinda stuff.

well guess i should have kept this for myself then(PLEASE DELETE THIS THREAD) :blink:

Well as record companies have complete teams that are specialized in recognizing ripped audio, i guess this does happen, but i don’t think they hunt down hobbyist musicians but rather the big moneybusters that create crack-hits with these rips.

Ripping is being done all around. The big producers pick folks that hardly have a good solid (financial) ground to perfrom a counter-attack.
Timbaland is one example, but i can recall Sash! from the 90’s who pulled a similar trick with some hot Amiga mod that was swirling around, but i have forgotten what they stole from whom.

Nah, you just have to be aware of what you’re sampling. It’s still a really good technique and I do it all the time myself, but I usually sample from the huge amount of my own unfinished tracks that I have rendered to .WAV at some point.

For what it’s worth, I also think Slicex looks really useful, but I can’t quite justify the price at the moment.

This is also very true. Though it’s still good practise, I think, to avoid getting into the habit of regularly sampling from others in this way. Who knows where your music will lead you, and how much trouble you’ll have in the future trying to clear everything. It would be a shame to create a whole album filled with such samples, and then to get interest from a label who wants to release your work, but they demand that every sound be identified and cleared before doing so… that would be quite a nightmare!

Dblue you know i talked about one-shots right :D

not longer samples from exsisting tracks.people have been using other peoples samples/one-shots for centurys

i dont tell people to go use long samples from other peoples music,i just shared this technique as a way to let people know how to get some nice one-shots in another way then spend money on a sample-cd

when i have alot of one-shots i process the hell out of them

wll sometimes i even use Glitch on them,and no one can hear where the samples come from,the only thing they can hear is that i used Gllitch :D

sounds like an interesting technique. the only thing which might slightly bother me is presumably you’re ripping the samples from mp3 tracks? therefore you might potentially have a quality issue?

yeah i can see your point,in my case (in the music i make)its not that big a problem

I knew exactly what you meant by “one-shot”. No problems there.

Of course I understand that people sample one-shots all the time, and I’m definitely not denying the fact that you can usually “safely” sample generic sounds and manipulate them for your own needs… everybody does this - even me! Nobody in their right mind is going to waste time and money making a claim against you for sampling a 909 kick from their song, or for sampling any other kind of very basic sound that could easily be recreated or grabbed from countless other sources… it’s just not worth the hassle. (And in many cases, the artist probably doesn’t even have rights over the sound itself in the first place, since they probably sampled it just like you did, heh)

Where you need to be careful is with “signature” type sounds, or anything that can easily be recognised by the listener. Sampling a really basic sawtooth synth sound from a generic trance/techno/dance/whatever track is probably fine, because it usually doesn’t have a lot of creative merit, and any idiot with access to one of hundreds of VSTi’s could make it. But it’s those other unique sounds created by really skilled musicians - the sounds that make us go “wow, how the hell did he/she do that?!” - those are the sounds you need to be careful with.

Technically (and definitely legally) speaking, it doesn’t make any difference whether it’s a 30-second loop or a one-shot sound that is less than 1 second, since they’re both intellectual property and therefore both protected in the same way. Hypothetically… if you were releasing your music commercially in some way, and you were one day accused of illegally sampling from another commercial song… if they can trace that sound back to its original source, then you will have a potentially rather expensive problem to deal with.

Sampling is really such a bizarre world that is rather difficult to predict. Sometimes people get into trouble over the smallest sound bytes, and then other times you have assholes like Timbaland who rip off an entire piece of music to use as the backing track to a shitty pop song, and nobody bats a damn eyelid. :blink:

The main point I’m trying to make here is that anyone who does get into sampling should simply be aware of the legality of what they’re sampling, how it might affect the music they are creating, and ultimately how that music can be used, sold, or whatever else they want to do with it. Some stuff is public domain, some is licensed under creative commons, some artists simply don’t give a shit, and some artists will fight you to their grave if they have to. :)

I understand, and I wasn’t trying to imply that you said “hey kids, if you want cool sounds, just go and rip off other people!”, haha. That’s not what I meant at all.

Are you aware that I actually own the copyright to any sound that has been processed with Glitch, and that every sound is encoded with an undetectable, unremovable digital watermark that I can use in court to prove it? :D

Royalty payments can be sent to me via PayPal, Visa/Mastercard, Money Order, or Cheque.

j/k… that would be pure evil :yeah:

Out of curiosity, I asked a well known electronic musician if they knew anyone personally who had been sued for copyright infringement over lack of sample clearance… and their answer was an emphatic “no.”