Hybrid Sampling Techniques with the iD24

Initiating the process, the iD24 is configured as outlined below:

 

The Optical Out establishes a direct connection to the Hardware Sampler using a TOSlink cable. In this instance, the iconic Akai S3200, complete with its comprehensive expansions including a Digital Board primed for Optical S/PDIF input and output, takes the centre stage.

 

The iD24’s Optical Output serves for feeding the Akai’s S/PDIF Input. (illustrated in orange)

 

 

Alternatively, the second set of outputs can be harnessed to supply a standard set of sampling inputs, should some older Samplers not employ a Digital option. (depicted in blue)

 

In tandem, the Outboard Compressor’s integration connects through the Insert Send/Returns (marked in blue):

 

iD24 Channel 1 Send > Hardware Compressor Channel A Input
Hardware Compressor Channel A Output > iD24 Channel 1 Return
iD24 Channel 2 Send > Hardware Compressor Channel B Input
Hardware Compressor Channel B Output > iD24 Channel 2 Return

 

The Sampler/Synth then is routed back into the main inputs for recording (marked in green).

 

Once you have the iD24 set up, you can start using outboard compression to shape the sound of your samples. The outboard compressor can be used to add compression, gating, or other effects to the sound. You can also use the filters on the sampler to further shape the sound.

 

Within the iD Software interface, configure the System Panel Routing to Output S/PDIF.

 

 

Meanwhile, within the sampler’s audio options, you can set the sampling input:

 

Source: Digital
Input: Optical

 

 

This primes the Akai to engage with the digital TOSlink signal originating directly from the iD24.

 

 

In a quest to simulate this analog essence, a Stereo Analog Output from the sampler, is reintegrated into the iD24’s Left & Right inputs. Given the placement of the Compressor on the Insert Send/Returns path, the incoming signal is now coloured with compression, giving opportunities for creative effects and sound manipulation

 

Enthusiasts believe that the AD-DA convertors in old school samplers give the sound a unique “grit and punch.” To emulate this, you can connect the stereo analog output of the sampler back to the left and right inputs of the iD24. This will add the AD-DA conversion stage to the signal path, which can give the sound a more aggressive character.

 

 

This approach has been found to be particularly good in sculpting samples marked by dramatic compression, classic filtering, and even dynamic gating loops via the sampler.

 

The resultant timbre exudes an appealing roughness of vintage production, then seamlessly encapsulated in the digital domain courtesy of the iD24. Moreover, a dedicated Editor facilitates real-time capture of audio, especially while fine tuning the Sampler’s Filters or manipulating compression stages.

 

I usually leave this recording, to capture any effects, or mistakes in audio to edit later.

 

 

Armed with these techniques, and incorporating hardware effects such as gating and compression into the realm of Hardware Synths and Samplers, an array of novel soundscapes unfolds, primed for integration into the digital audio workstation (DAW).

 

This innovative marriage of vintage and modern yields a symphony of possibilities that extends far beyond the sum of its parts.

 

Conclusion

 

Hybrid sampling is a powerful technique that can be used to create unique and interesting sounds. By combining the use of digital and analog gear, you can create sounds that would be difficult or impossible to create with digital gear alone. The iD24 is a great tool for hybrid sampling, as it provides both digital and analog connectivity.