Most sound sampling libraries will sample every 3rd or 4th
whole tone (major 3rd or perfect 4th). 

i) If the registers are really distinct, ii) tone coloration
is abrupt, iii) quality of the sample resolution, iv) quality
of antialiasing filter

... are going to play a part in pitch range and register and 
are considered when creating a sampling library or batch of
samples for your particular instrument. If an acoustic 
instrument is being sampled, performance and mic technique
are crucial. 

That's why sampling libraries like "Vienna 
Symphonie" (by Ilio I think) are so pricey. If you're doing
one instrument across a couple of registers and a couple of
different articulations each, then it shouldn't be too much
of a problem.

Once you're done with a sample make copies of the files and 
use the copies to edit and process with. Don't use your raw 
master. If you use your raw sample and have no back up copies 
and you don't like what you have,... you'll end up having to 
do it over again. And that chews up a lot of time and resources.
Found that out the hard way on a film I was doing audio for.

Enjoy the explorations into the world of sampling.


--Partev


======================================================


--- kontrapunktstefan@googlemail.com wrote:

From: Stefan Thomas 
To: csound@lists.bath.ac.uk
Subject: [Csnd] Re: Re: Re: Re: samples, register
Date: Mon, 13 Dec 2010 13:26:46 +0100

Dear Richard,
thanks very much for Your explanations.
I will it also show to my wife, who is a flutist.

2010/12/13 Richard Dobson 

On 13/12/2010 11:36, Stefan Thomas wrote:

  Dear Richard,
  Ok, I've understood that I've choosen a difficult task.
  But could You give me maybee a little hint?
  Can I try to do it with filters?

  ~Possibly~.
  It is basically an exercise in morphing. Say you want to generate
  the scale from A up to E on the flute (across the "break" between
  C# and D). "first-finger" C comes out of a large tone hole high up
  (low ratio  of sounding length to diameter), E comes out of a much
  longer  sounding  length,  as a second harmonic. C# (the one
  "l'Apres-Midi" starts with) comes out of a very small tone hole,
  much higher up than it should be so it can double up as an "octave
  key" (Blame Boehm for that!) so sounds ~very~ different to each.
  So, for example, you might use pvcross or similar to find an
  intermediate  timbre between A and E (pitch shifted to the same
  note of course, and the midpoint of pvcross adjusted according to
  the pith of the target note), and pitch shift the results to get
  the intermediate notes. Maybe with a bit of formant preservation
  thrown in for good measure. It depends of course on how widely
  spaced your samples are, pitch-wise.
  What the player does is to adjust the tone of each note, very
  slightly, to achieve as smooth-sounding a scale as possible -
  toning down notes that are naturally rich, and working extra hard
  on ones that are not. In the case of all the flute samples I have
  heard this is ~not~ done very well. Think of the image of the
  waiter carrying a tray of drinks, on a rolling ship. That is pretty
  much what it feels like, most of the time.
  As it was taught to me decades ago: "here is the bottom note of the
  piano... here is the top note. They sound very different. But here
  is the chromatic scale from one to the other ... there is no single
  point where you hear the tone colour change". Which suggests that
  the sound designer will have to work just as hard to get the same
  effect. The fact that it involves a lot of work rather explains why
  sample libraries either have a separate sample for each note (and
  they cost commensurately more), or have abrupt and arbitrary
  transitions.
  As for that pesky C# - flutes were and often are made with an extra
  full-size C# tonehole so players could get a matched tone on it
  easily; so there are precedents of a sort for this sort of tonal
  tinkering!
  (All those punters who claimed that sample libraries would make
  live musicians redundant, really didn't have a clue. Ears like old
  boots, the lot of them.)

Richard Dobson
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