Yojan Gautam - Portfolio

Sampling is an art form. It’s not just about finding a cool loop—it’s about transformation, context, and creating something entirely new from existing material.

Here’s how I approach sampling in my productions.

The Philosophy of Sampling

Sampling is data transformation in the sonic domain.

You take source material (input), apply processing (transformation), and create something new (output). Just like code.

The best samples are unrecognizable. If listeners can immediately identify the source, you haven’t transformed it enough.

My Sampling Workflow

1. Source Selection

I look for samples in unexpected places:

Old Nepali folk recordings - Sarangi, madal, bansuri
Vinyl crackle - Adds warmth and texture
Nature sounds - Birds, rain, wind (processed heavily)
Spoken word - Chopped and pitched for rhythmic elements
YouTube documentaries - Obscure audio gold mine

The more obscure the source, the more unique your sound.

2. Extraction and Isolation

Original Sample (3 minutes)
    ↓
Extract interesting 2-second phrase
    ↓
Isolate specific frequencies
    ↓
Remove unwanted elements

I use:

Spectral editing - iZotope RX for surgical extraction
EQ - Remove mud and focus on desired frequencies
Transient shaping - Tighten or loosen attack/sustain

3. Time-Stretching and Pitch-Shifting

Traditional folk music is often not in A440 tuning or 4/4 time. You need to adapt.

Time-stretching techniques:

Elastic Audio in Logic Pro for tempo matching
Granular synthesis for extreme time-stretch without pitch change
Manual slicing when algorithms fail

Pitch-shifting strategies:

Shift to fit your key (but not always—microtonal samples add flavor)
Formant preservation for vocal samples
Extreme pitch shifts for texture (±12 semitones creates new instruments)

Creative Processing Chains

Here are my go-to processing chains:

Chain 1: Lo-Fi Warmth

Sample → Bit Crusher → Vinyl Simulator → Low-pass Filter → Saturation → Reverb

Use this for nostalgic, lo-fi hip-hop vibes.

Chain 2: Aggressive Trap

Sample → Distortion → High-pass Filter → Sidechain Compression → Stereo Widener

Creates hard-hitting, in-your-face samples that cut through 808s.

Chain 3: Ambient Soundscape

Sample → Reverse → Grain Delay → Shimmer Reverb → Chorus → Low-pass Automation

Turns any sample into ethereal pads and textures.

Chopping Techniques

The Classic Chop

Slice sample on transients. Rearrange slices. Create new rhythm.

Original:  A - B - C - D
Chopped:   C - A - D - A - B

This is the foundation of boom-bap and sample-based hip-hop.

The Stutter Chop

Repeat a slice multiple times at fast intervals.

A - A - A - A - B (where each A is 1/16th note)

Creates rhythmic tension and movement.

The Granular Chop

Break sample into micro-grains (10-50ms). Randomize playback.

Result: Original sample becomes a texture, not a melody.

Layering Samples

I rarely use a single sample alone. Layering creates depth.

Example: Kick Drum

Layer 1: 808 sub bass (low end)
Layer 2: Acoustic kick (mid punch)
Layer 3: Vinyl kick sample (high-end crackle)

Each layer occupies a different frequency range. Together, they create a full-spectrum sound.

Example: Melodic Element

Layer 1: Sarangi sample (harmonic content)
Layer 2: Synth pad (fill gaps, add sustain)
Layer 3: Reversed piano (textural movement)

Sidechain and Ducking

Make samples breathe with the rhythm.

Kick triggers sidechain compressor on sample
    ↓
Sample ducks (volume drops) when kick hits
    ↓
Creates pumping, rhythmic effect

Critical for modern trap and electronic music. The sample and drums interact dynamically.

Creative Sampling Case Study: “Neon Horizon”

For my track “Neon Horizon,” I sampled a Nepali folk song from the 1960s.

Process:

Source: 78 RPM vinyl recording (mono, lots of noise)
Extraction: Isolated a 4-second bansuri (flute) phrase
Cleaning: Spectral de-noise in RX, but left some crackle for character
Pitch: Shifted down 3 semitones to match song key (Dm)
Time: Stretched from 95 BPM to 140 BPM (introduced artifacts, kept them)
Processing:
- Bit reduction (12-bit) for lo-fi texture
- Bandpass filter (300Hz - 3kHz) to remove extreme lows/highs
- Tape saturation for warmth
- Stereo delay (1/8th notes, ping-pong)
Arrangement:
- Chopped into 8 slices
- Mapped to drum pads
- Played new melody (not original progression)

Final result: Unrecognizable as the source, but retains emotional quality.

Legal and Ethical Considerations

The Legal Reality

Sampling without clearance = copyright infringement (in most countries)
Clearance is expensive - Major labels charge thousands per sample
Fair use is murky - Transformative use is a defense, but not guaranteed

My Approach

For personal/portfolio work:

Sample freely, credit sources, don’t monetize

For commercial releases:

Clear samples or use sample-free alternatives
Use royalty-free sample packs
Create original “samples” (record own instruments, process)

Ethical Sampling

If you’re sampling traditional/folk music:

Respect the culture - Don’t trivialize sacred music
Credit the artists - Even if legally not required
Understand context - Know what you’re sampling and why

Tools of the Trade

DAW: Logic Pro (but Ableton is king for sampling workflow)

Plugins:

iZotope RX - Spectral editing and cleanup
Serato Sample - Quick sampler/chopper
Native Instruments Kontakt - Advanced sampling
Output Portal - Granular effects
FabFilter Pro-Q3 - Surgical EQ

Hardware (if you’re fancy):

Akai MPC - Classic sampler/sequencer
SP-404 - Lo-fi sampling legend
Teenage Engineering OP-1 - Portable creativity

Advanced Techniques

Resampling

Sample your own processed track. Apply new effects. Repeat.

Original loop → Process → Bounce → Re-import → Process again → Bounce

Each iteration degrades and transforms. Embrace the artifacts.

Spectral Morphing

Blend two samples in the frequency domain.

Take the timbre of Sample A and the rhythm of Sample B. Creates hybrid sounds impossible otherwise.

Convolution

Use an impulse response of one sample to shape another.

Example: Use a vocal sample as an IR to “sing” a piano chord.

The Creative Mindset

The best samples come from accidents.

Accidentally reverse a sample? Keep it.
Pitch algorithm creates weird artifacts? Feature, not bug.
Wrong BPM stretch sounds broken? That’s the vibe.

Don’t over-perfect. The imperfections are what make sampling human.

From Sample to Song

A sample is just an ingredient. The song is the recipe.

My process:

Find/create sample
Build drums around it (or let sample dictate rhythm)
Add bass (often 808 sub bass)
Layer additional melodic elements
Arrange (intro, verse, chorus, bridge)
Mix (levels, EQ, compression)
Master (final polish)

The sample sets the tone. Everything else serves it.

What’s Next

I’m currently working on “Sonic Architecture Vol. 1” where every sound is sourced from field recordings of construction sites.

Jackhammers become hi-hats. Metal clangs become snares. Concrete drills become bass.

The challenge: Make industrial noise sound musical.

What’s your sampling workflow? What sources do you use? Let me know—I’m always looking for new techniques.