
No matter what (or where) you are recording, organizing your files will save you hours of time.
A well-organized sample library is crucial for musicians, producers, and sound designers. It enables smoother workflows, saves time, and nurtures creativity by providing easy access to the perfect sounds.
Greetings, and welcome! Last month, I began the first of a multi-part Dojo series centered around field recording and making your own sound libraries by focusing on the recording process. This time, I’m going to show you ways to organize and create a library from the recordings you’ve made. We discover things by noticing patterns in nature, and we create things by imposing our own patterns back into nature as well. This is exactly what you’re doing by taking the uncontrolled, purely observant recordings you’ve made in the natural world and prepping them as raw material for new patterned, controlled forms of musical expression. Tighten up your belts, the Dojo is now open.
Easy Access Needs
Before you start diving in and heavily editing your recordings, identify what you have and determine how to categorize it for easy retrieval. A well-organized sample library is crucial for musicians, producers, and sound designers. It enables smoother workflows, saves time, and nurtures creativity by providing easy access to the perfect sounds. Whether you are starting from scratch or adding to an existing collection, a systematic approach can make a world of difference.
Take stock of your files, identify patterns, themes, and timbres, and then decide on potential categories for folders that make sense for your workflow. Typically, I will make dozens and dozens of raw recordings (empty stairwells, gently tapping two drinking glasses together, placing a contact mic on industrial equipment, etc.) and I will prearrange them into sub categories before I even start to edit. My top-level folders are: percussive and melodic. I may divide further depending on the source material.
For instance, recordings that could become drum hits can be separated into folders for kicks, snares, hi-hats, and percussion. Melodic information that might be used for one-shots or loops can be sorted by potential instrument type or key. This will save you hours of time later. For those who work with a specific genre, it can also be useful to group recordings by their possible stylistic context, like industrial, cinematic, or soundscapes.
Working with Raw Material
What are the best ways to start working with the raw recordings? First, make sure you have some way to edit them. Open your DAW and create a new session. Be sure to include the date and “raw recordings” in your session title and save the session. Next, import the file(s) into your DAW as a new audio track, or hardware sampler (for old schoolers). Then start listening for anything that ignites your imagination. Keep it short and pay attention to what you’re hearing. Ask yourself, “What would this be cool for?” Here’s a personal tip: Don’t delete everything that is not of immediate interest, just mute the sections that you’re not identifying with right now—they might become amazing once you start to process them with delays, reverb, and pitch shifting. Once you’ve got loads of appealing individual snippets and you’ve trimmed the start and ending for each one, you’re going to bounce or export each individual element to a specified folder on your hard drive. Now it’s time to think about file naming conventions.
“A well-organized sample library is crucial for musicians, producers, and sound designers.”
Clear and consistent file names are crucial. They ensure you can search for samples directly through your operating system or DAW without relying solely on folder hierarchies. Include lots of details like sample type, tempo, key, or sound source in the file name because it makes it easier to locate quickly in the future. For example, instead of naming a file “loop001.wav,” a more descriptive name like “Broken_Guitar_Arp_Raw.wav” provides instant context. I like using “Raw” at the end of my file name so I know it is in its original state. If you want to add processing like distortion, amp sims, modulation, and time-based effects, go ahead! Export each iteration with a new file name, e.g., “Broken_Guitar_Arp_TapeDelay.wav.”
Building a sample library isn’t just about organization—it’s also about curation. Remember that the quality of your library is waymore important than its size. Focus on making high-quality samples. Take the time to audition each of your recordings to weed out those of inferior sound quality. This decluttering process helps streamline your workflow and ensures that every file in your collection adds value.
Next month, I’ll guide you through ways to import and use your samples in your recording sessions. Namaste.
A dose of magic gain potion.
Works like a little vial of magic gain potion. Fattens without obscuring individual frequency bands.
None.
$129
Solodallas SVDS Boost
solodallas.com
The Schaeffer-Vega Diversity System—an early and very successful wireless system—excelled at the tasks it was designed for. But there was more magic than met the eye. Though designed to sound as transparent as possible, it nonetheless colored the signal in a way that people like Angus Young and Eddie Van Halen found essential.
SoloDallas explored the possibilities of this circuit before in pedals like theSchaeffer Replica, but the new SVDS Boost strips the formula to essentials. Minimalist controls—one knob, that’s it—make this boost no less delicious. I’m not surprised Angus Young was smitten with the original SVDS. An SG and Marshall 18-watt amp sound fantastic naked, but the SVDS Boost has the rare talent for fattening everything without seeming to favor or obscure any frequency band too much. And as zest to the PAF/Marshall style formula, it makes the kind of rowdy, organic, airy, large, and punch-packing Marshall sound you would dream of getting in a studio or hearing on the radio. There are many shades of this basic awesome color in spite of the single knob. Unity gain lives in the earliest third of its range. From there you certainly get more volume, but mostly you bathe in various hues of compressed, saturated, thick, and dynamite growl. You don’t need a Gibson and a Marshall to use it to devastating effect, either. A Telecaster and Vibrolux snap with attitude and whip-crack energy with the SVDS in the line. And with both guitar/amp combos, the SVDS’ wide dynamic responsiveness to volume and tone attenuation assures that things stay cracking when you need more control.
Positive Grid's Spark NEO offers guitarists a wireless guitar rig built into premium headphones, with AI-powered tone customization, exceptional sound quality, and versatile connectivity.
Positive Grid announces Spark NEO, a groundbreaking wireless guitar rig built directly into premium over-ear headphones. Designed to deliver a seamless, personal guitar experience, Spark NEO combines Positive Grid’s award-winning guitar amp technology with true wireless connectivity and AI-powered guitar tone customization.
Spark NEO offers a seamless solution for guitarists seeking exceptional sound quality, advanced tone-shaping tools, and the freedom to play anywhere. Built with custom-designed 40mm drivers and an ultra-lightweight bio-fiber diaphragm, Spark NEO ensures rich, balanced sound for every style of music. The included wireless transmitter instantly pairs any guitar with the headphones for plug-and-play convenience, while Spark NEO’s built-in 1/4" input can also support traditional guitar cables, for added versatility.
With four onboard, customizable guitar presets, Spark NEO enables private playing anywhere, free from space limitations or noise constraints. For even more variety, connecting to the free Spark app unlocks additional presets, amps & effects, and advanced tone controls. Spark NEO also doubles as premium Bluetooth® headphones, offering exceptional clarity for music, podcasts, and more.
Key Features:
- Optimized for Guitarists: Spark NEO integrates Positive Grid’s renowned tone engine, delivering precise sound tailored to electric, acoustic, and bass guitars.
- True Wireless Freedom: A proprietary 2.4GHz system provides reliable, ultra-low latency connectivity between Spark NEO and the user’s guitar, for a smooth and stable playing experience.
- AI-Powered Guitar Tone Customization: Create and refine tones effortlessly with AI-driven tools that adapt to every playing style.
- Exceptional Sound Quality: Precision-engineered drivers deliver clarity and balance for both guitar playing and music listening.
- Portable Design: Spark NEO’s compact, foldable build and rechargeable battery with up to six hours of play time make it easy to take anywhere.
Built for Guitarists
Spark NEO bridges the gap between traditional guitar setups and modern technology. Unlike using generic headphones with a guitar amp, Spark NEO’s integrated design ensures every element—from app to drivers—delivers unparalleled performance.
Noise Isolating Design
Spark NEO’s ultra-soft, durable ear cups ensure a comfortable fit. With advanced damping materials, tuned venting, and precise port adjustments, Spark NEO provides passive noise isolation, letting every musical detail shine without external interference. Jam with backing tracks or favorite songs without disturbing a soul.
Enhanced Creativity with Spark App
The Spark App expands Spark NEO’s capabilities with access to 33 amps and 43 effects, plus over 100,000 tones on Positive Grid's online ToneCloud. Auto Chords helps players learn and jam along with any song by displaying its chords in real time as the song plays, while customizable presets offer endless creative possibilities. Play with backing tracks or along with favorite songs. Whether practicing, playing, or experimenting, Spark NEO delivers unmatched flexibility for guitar players at every level.
Availability and Pricing
Spark NEO is priced at USD $199, including the headphones, wireless transmitter, and full access to the Spark App. It will be available soon on Positive Grid’s website, Amazon, and select retailers.
For more info, please visit positivegrid.com.
Neil Young’s ’70s hits are some of the most recognizable radio rock jams of all time. But Neil’s guitar playing continued to grow over the ensuing decades, as he traversed styles from blues to country to electronic to rockabilly and beyond, eventually developing one of the most tonally decadent, fully formed improvisational voices in the entire guitar universe.
Neil Young’s ’70s hits are some of the most recognizable radio rock jams of all time. But Neil’s guitar playing continued to grow over the ensuing decades, as he traversed styles from blues to country to electronic to rockabilly and beyond, eventually developing one of the most tonally decadent, fully formed improvisational voices in the entire guitar universe.
Like any discography that’s been growing over the course of more than half a century, it can be hard to decode Young’s work. And with such an adventurous spirit, it could be easy to make some missteps and miss out on his best guitar works. In this episode, Nick guides Jason through some of his hero’s finest moments.
More news from Neil always seems to be on the horizon, so here’s your chance to catch up.
This episode is sponsored by Gibson.
This Japan-made Guyatone brings back memories of hitchin’ rides around the U.S.
This oddball vintage Guyatone has a streak of Jack Kerouac’s adventurous, thumbing spirit.
The other day, I saw something I hadn’t noticed in quite some time. Driving home from work, I saw an interesting-looking fellow hitchhiking. When I was a kid, “hitchers” seemed much more common, but, then again, the world didn’t seem as dangerous as today. Heck, I can remember hitching to my uncle’s cabin in Bradford, Pennsylvania—home of Zippo lighters—and riding almost 200 miles while I sat in a spare tire in the open bed of a pickup truck! Yes, safety wasn’t a big concern for kids back in the day.
So, as I’m prone to do, I started digging around hitchhiking culture and stories. Surprisingly, there are organized groups that embrace the hitching life, but the practice remains on the fringe in the U.S. Back in the 1950s, writer Jack Kerouac wrote the novel On the Road, which celebrated hitchhiking and exposed readers to the thrill of maverick travel. Heck, even Mike Dugan (the guitarist in all my videos) hitched his way to California in the 1960s. But seeing that fellow on the side of the road also sparked another image in my brain: Yep, it always comes back to guitars.
Let me present to you a guitar that’s ready to go hitching: the Guyatone LG-180T, hailing from 1966. The “thumbs-up” headstock and the big “thumb” on the upper bout always made me think of thumbing a ride, and I bought and sold this guitar so long ago that I had forgotten about it, until I saw that hitchhiking dude. Guyatone was an interesting Japanese company because they were primarily an electronics company, and most of their guitars had their wooden parts produced by other factories. In the case of the LG-180T, the bodies were made by Yamaha in Hamamatsu, Japan. At that time, Yamaha was arguably making the finest Japanese guitars, and the wood on this Guyatone model is outstanding. We don’t often see Guyatone-branded guitars here in the U.S., but a lot of players recognize the early ’60s label Kent—a brand name used by an American importer for Guyatone guitars.
With a bit of imagination, the LG-180T’s “thumbs up” headstock seems to be looking for a roadside ride.
Kent guitars were extremely popular from the early ’60s until around 1966. The U.S. importer B&J fed the American need for electric guitars with several nice Kent models, but when the Guyatone contract ended, so did most of the Kent guitars. After that, Guyatone primarily sold guitars in Japan, so this example is a rare model in the U.S.
“Unless you are a master at guitar setups, this would be a difficult player.”
This headstock is either the ugliest or the coolest of the Guyatone designs. I can’t decide which. I will say, no other Japanese guitar company ever put out anything like this. You have to give the Guyatone designers a thumbs up for trying to stand out in the crowd! Guyatone decided to forgo an adjustable truss rod in this model, opting instead for a light alloy non-adjustable core to reinforce the neck. Speaking of the neck, this instrument features the most odd-feeling neck. It’s very thin but has a deep shoulder (if that makes any sense). Totally strange!
Another strange feature is the bridge, which offers very little adjustment because of the three large saddles, which sort of rock back and forth with the tremolo. It’s a shame because these pickups sound great! They’re very crisp and have plenty of zing, but unless you are a master at guitar set-ups, this would be a difficult player.
This could be why the LG-180T only appeared in the 1966 and 1967 catalogs. After that, it disappeared along with all the other Yamaha-made Guyatone electrics. By 1969, Guyatone had gone bankrupt for the first time, and thus ended guitar production for a few decades. At least we were blessed with some wacky guitar designs we can marvel at while remembering the days when you could play in the back end of an explosive 1973 AMC Gremlin while your mom raced around town. Two thumbs up for surviving our childhoods! PG