Creating a Percussion Sample Library 

At Capital University we are fortunate to have a plethora of world-class percussion instruments, some of which are the only ones of their kind in the world. In addition to these outstanding instruments, thanks to our robust world music program, we have access to instruments from a variety of sonic backgrounds including Cuba, Brazil, Africa, Japan, and China. Having played these instruments over the last several years, I know their sounds and their values well. To preserve this value, and add an extra resource for future composition I would like to create a sample library featuring these percussion instruments. 

I propose the project would consist of 2 main portions. Creating virtual instruments of large melodic instruments such as Marimba, and Vibraphone. As well as creating some patches similar to “MIDI Channel 10” that would be home to sounds of various world cultures such as those listed above. This process would include the recording of these instruments at various dynamic levels, with various implants, and feature extended techniques such as rolls,  and “dead strokes.” These recordings would be implemented into a virtual instrument through Kontakt 6’s virtual instrument creation feature.  

This is a multiple-step process. For example, the process to sample the 5.3-octave DeMorrow Marimba would be as follows: 

1. Record each bar between 5 and 10 times with at least 2 condenser microphones of contrasting quality (e.g a C414 and a U87). Recording fidelity will be at 24-bit,  96khz sample rate. This process on each would be repeated at multiple dynamic to create several “velocity layers.”

2. Edit and label these recordings in Reaper. This process would include noise reduction, soft fades, and ensuring the start of each clip is aligned with the transient. 

3. Once the clips have been labeled and exported (at 24-bit 48khz) they will then be imported into Kontakt 6, a sampling software.  

4. Once in Kontakt, the samples would be mapped to their appropriate spots on the keyboard, loops will be created, and any extra editing within Kontakt such as adding reverb or adjusting the ADSR of samples will be completed. 

The end result would be several virtual instrument patches able to be used in DAWS during composition, or live performance with a MIDI controller such as the Pearl MalletStation. In addition to being a highly productive project creating a professional quality tool that I can use perpetually, this will also be an amazing chance to get more familiar with the workflow involved in professional sample mapping, and the tools available within Kontakt and Reaper. 

In short, this project will encompass a variety of skill sets including audio engineering, musicianship, editing, and programming. As proof of the quality of the samples, a short recording will be taken of the live instrument being played, then compared to the sample. This will not only hopefully reveal a great fidelity sample, but also show some inconsistencies that might be able to be improved upon the next time I am to build a sampled instrument.