Let's look at a sampling device. Samplers share the same DNA as your DAW. What that means is that if my DAW is running at 44,100 samples per second, my sampling device, which is a plugin, will be able to sample audio at 44,100 samples per second. Samples originated as hardware devices, and have turned into plugins in our DAWs. I'll open up a track, and put a sampler across that track. My sampler is called Structure Free. Structure Free opens up with a sound in it already. It's a sine tone. I'll go in and remove that patch. I will take my current vocal piece, and I will export that vocal piece out to the desktop. I already did that. Let me look for it on the desktop, there it is, I'm going to pull that into my sampler. My sampler has now loaded that voice into a module in structure free. Structure free doesn't give you a great depiction of what's going on with your audiowave form the way Pro Tools does. Some samplers do. You can actually see the wave form inside the sampler, just like this. I don't believe I can do that structure free. Now, this sample's not playing and just to not distract us I'll get that out of the way. I have a keyboard plugged up to my sampler, and if I hit C3, I should hear that voice. [MUSIC] If I go up a half step to c sharp three, I should hear that voice up a half step. [MUSIC] If I go to d. [MUSIC] D sharp. [MUSIC] E. [MUSIC] F. [MUSIC] F sharp. [MUSIC] G. [MUSIC] G sharp. [MUSIC] A. [MUSIC] A sharp. [MUSIC] B. [MUSIC] And C. [MUSIC] That's a whole octave. [MUSIC] I have a range from C-2 to G8. I have a pretty short keyboard here, so my lowest note. [MUSIC] In this particular, too often optic keyboard is like that, but then if I drop down by an optic I can go even lower. [MUSIC] Or I can go up even higher. If I go up two octaves. [MUSIC] [LAUGH] Now, if you notice something, the time is changing. If I go to my default C3. [MUSIC] That will be in tempo with the composition, so I could literally record, and let me get my transport. And open my transport up, setup a recording. [MUSIC] Go in and quantize those bits that I just recorded. Select them and quantize them. And if I listen to them, they should be beating in time. [MUSIC] Now if I change the pitch of those samples and go up by a half step, one semitone, listen to the timing of that phrase now. [MUSIC] I'll go up even further, I'll go up by a minor third, by three-halves. Listen to the phrase again, listen to the timing of that phrase against the clip. [MUSIC] The start time, is in time. I have a start time at bar two, a start time at bar three, and a start time at bar four. What's not in time is the entire phrase, a sampler can only lock the start time of a phrase. So, the beginning of these phrases is definitely in time, but then as the phrase performs, the time has modified. The shorter the phrase, the higher the pitch. The longer the phrase, the lower the pitch. Let's listen to this one more time. [MUSIC] A lot of time between phrases. I'll lower the pitch now, and you'll see that there's a lot of length. And they'll start to spill over into each other, because the length of the phrase is elongated the pitch of the phrase will get lower, and we've got something a bit bizarre happening with our sampler now. [MUSIC] I should be able to make it spill right on top of each other. [MUSIC] I actually have a stop time. Let's go in there and elongate that time a little bit, all my phrases, so they'll kind of spill into each other. Let's elongate this one, also. [MUSIC] And it got a little bit too long on that first one, because it interrupted the start time of the second one. If I go in and look at another window for editing the media event list, and look at the duration, and change this first duration to one beat, actually just slightly [SOUND] beat. And change this one to one beat, and change this one to a one beat. Well, it's actually one bar, sorry, so one bar. That should allow them to play, let's. [MUSIC] It's got no bearing to anything musical that I might do in a composition. I'm just showing this to an octave will be down an entire octave, and the timings should be relative. Let's see what the time sounds like. [MUSIC] Did you see how that felt like it was in time? I've actually come down to a second relative time based. The octaves will be the same note, and it will be half time, exactly half time, so. If my tempo's at 92, that want to get to know, is performing at, what would that be, 46 beats per minute. And if I went up an octave, it would be performing at 184, and it would sound like it's kind of in my time base, also. [MUSIC] Really cool concept, there are samplers that can do time compression expansion where as the length changes, the pitch does not change. I'll show you how to do that in the DAW itself in another section.