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Orchestra hit
Synthesized orchestra hit from Roland's SR-JV80-01 Pop sound card
Other instrument
Classification Digital sample
DevelopedEarly 1980s
Musicians
David Vorhaus, Trevor Horn, Duran Duran

An orchestra hit is a sound effect consisting of isolated staccato note or chord synthesized from the sounds of many orchestral instruments together, or sampled from a single sforzando performance.[1] The orchestra hit sound was propagated by the use of early samplers, particularly the Fairlight CMI's ORCH2 sample.[2] The sound is used in pop, hip hop, jazz fusion, techno, and video game genres to accentuate passages of music.[3] In video games, it can also be used as a standalone sound effect, often to indicate a special gameplay situation.

The orchestra hit has been identified as a "hip hop cliché".[4] In 1990, Musician magazine stated that Fairlight's ORCH5 sample was "the orchestral hit that was heard on every rap and techno-pop record of the early 1980s".[5] The orchestra hit has been described as popular music's equivalent to the Wilhelm scream, a sound effect widely used in film.[6]

History

[edit]

Precursors to the popular samples can be found in contemporary classical music, for example in Igor Stravinsky's ballet The Firebird.

Owner of a Lonely Heart
An orchestra hit is used after the chorus in "Owner of a Lonely Heart" (1983) by Yes
Problems playing this file? See media help.

Use of short samples (such as the orchestra hit) became popular in the early 1980s with the advent of digital samplers.[7] These devices allowed sounds to be replayed at specific times and at regular intervals by sequencing, which was extremely difficult through previous methods of tape splicing.[7] Samplers also began to allow sections of audio to be edited and played by a keyboard controller.[7]

The orchestra hit was popularized in Afrika Bambaataa's "Planet Rock" (1982)[8] and used soon after in Kate Bush's "The Dreaming" (1982).[9]

In "Owner of a Lonely Heart" (1983), Yes used an orchestra hit that was sampled from Funk, Inc.'s "Kool is Back" (1971).[10]

By the mid-1980s, the orchestra hit had become commonplace in hip hop music,[11] and its ubiquitous use became a cliché.[12]

Other examples of use in popular music include Duran Duran's "A View to a Kill" (1985)[13] and En Vogue's "Hold On" (1990).[14]

Use in other genres extends to jazz funk, where it was used on the title track of the Miles Davis album Tutu (1986).[15]

By the mid-1990s, the sound had begun to be used in Caribbean music.[1][16]

Anne Dudley and Trevor Horn used an orchestra hit with the Art of Noise as a sound effect rather than a melodic instrument.[9] The sample was used in "Close (to the Edit)", where it was sequenced alongside sound effects of chainsaws, breaking glass and motorcycles.[17] Similarly, the brass orchestra hits in "Owner of a Lonely Heart" are used as a rhythmic device, rather than an effect to evoke a specific environment (in a similar way to samples in Yes's earlier recordings).[7] The stabs in the song may also be substitutes for other instruments in the rhythm section, possibly drum fills, and the use of orchestra hits and other samples is particularly noticeable between the first chorus and the start of the guitar solo.[7] High-pitched versions of the orchestra hit were used in many late 80s and 90s songs in Eastern Europe, for example one notable use there was in the song "S'agapao pou na parei" (Σ'αγαπάω που να πάρει) by Greek singer Thanos Kalliris in 1997.[citation needed]

Orchestra hits are sometimes used in film music to represent loud noises such as closing doors.[18]

Technical

[edit]

Orchestra hit is defined in the General MIDI sound set.[19] It is assigned voice 56, in the ensemble sub group.

The Fairlight CMI synthesizer included a sampled orchestra hit voice, which was later included in many sample libraries.[10] The voice was given the name ORCH5, and was possibly the first famous orchestra hit sample.[20] The sound was a low-resolution, eight-bit digital sample from a recording of Stravinsky's Firebird Suite[8] – specifically, the chord that opens the "Infernal Dance" section, pitched down a minor sixth.[21] It was sampled by David Vorhaus.[21] Music magazine The Wire suggests that the prototype sample is owned by Vivian Kubrick.[22]

Early orchestra hits were short in duration (often less than a second) both due to the nature of the sound (a staccato note) and the restrictions on sampler memory. A compromise for longer durations would be lower bitrates, which would leave the sample with little timbre.[7]

Fairlight produced a number of orchestra hit samples, including a chord version (TRIAD), a percussion version (ORCHFZ1) and a looped version (ORCH2).[21] Samples ORCH4, ORCH5 and ORCH6 were located on the CMI's disk 8, within the STRINGS1 library.[23]

The Chord is an F minor sixth chord.

Samples

[edit]

The following samples are examples of orchestra hit voices on different sound modules. Each note is played at C4 (see scientific pitch notation).

Synthesizer Sample Waveform
Roland SR-JV80-01 Pop
Roland S-50
Yamaha CS1x
Yamaha MU50
Yamaha PSS31

See also

[edit]

Footnotes

[edit]

Sources

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Orchestra hit

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from Grokipedia
An orchestra hit, also known as an orchestral stab or orch hit, is a brief, percussive audio sample or synthesized sound that replicates a sudden, emphatic chord struck by a full orchestra, often featuring brass, strings, and woodwinds in unison for a dramatic, tutti effect.[1] This sound typically lasts less than a second and serves as a rhythmic accent or punctuation in musical arrangements, adding tension, emphasis, or energy to transitions and builds.[2] Commonly employed in genres such as pop, hip-hop, electronic, and rock, it has become a staple in modern music production due to its versatility and immediate impact.[3] The iconic version of the orchestra hit traces its origins to classical music, specifically a sample from the "Infernal Dance of King Kastchei" section in Igor Stravinsky's ballet suite The Firebird (1910), recorded by conductor Josef Krips with the Philharmonia Orchestra in 1965.[4] This one-second excerpt was digitized and included as the preset "ORCH5" in the Fairlight CMI, one of the first digital samplers released in 1979 by Australian developers Peter Vogel and Kim Ryrie, revolutionizing music production by making high-fidelity sampling accessible to studios.[5] The Fairlight CMI's library of pre-loaded sounds, including ORCH5, quickly popularized the orchestra hit during the 1980s, as its high cost (around £18,000 for early models) limited it to major productions but influenced countless tracks through emulation and copying.[2] By the 1980s, the orchestra hit defined much of the era's bold, synth-driven sound in pop and new wave, appearing in hits like Afrika Bambaataa and the Soulsonic Force's "Planet Rock" (1982) for hip-hop intensity.[3] Its use extended into film scores, house music, and later hip-hop and techno, building percussive tension in various tracks.[1] Today, orchestra hits are readily available in digital audio workstations (DAWs) and sample libraries, often layered with effects like reverb or distortion to fit contemporary productions across electronic, pop, and even orchestral hybrid genres.[2]

Definition and Characteristics

Acoustic Properties

An orchestra hit is characterized as a brief, staccato tutti chord produced by the full ensemble of a classical orchestra, typically encompassing brass, strings, woodwinds, and percussion sections to deliver a sharp, percussive attack.[1] This synchronized sonic event relies on the collective force of multiple instrument families, with brass providing bold harmonic foundation, strings contributing resonant overtones, woodwinds adding piercing clarity, and percussion enhancing the initial transient impact.[6] The acoustic profile of an orchestra hit features a broad frequency spectrum from low fundamentals of bass instruments to high harmonics from upper-register winds and strings, though its punchiness derives primarily from concentrated energy in the mid-to-high frequencies, where brass and percussion transients create density and penetration.[6] In terms of amplitude envelope, it exhibits a rapid attack phase due to the sforzato articulation for immediate onset, followed by a swift decay to reduce volume quickly, with negligible sustain and a minimal release tail, resulting in a duration typically under 1 second that emphasizes explosive brevity over prolongation.[6] As a sonic phenomenon, the orchestra hit manifests as a unified burst from the entire orchestra, blending diverse timbres into a singular, dramatic effect that evokes intensity and surprise through its dense, layered harmonics and sharp transient.[7] This explosive quality arises from the tutti orchestration, where the simultaneous voicing across sections amplifies perceived loudness and timbral richness without individual instrument dominance.[6] A seminal acoustic example appears in Igor Stravinsky's ballet The Firebird (1910), specifically in the "Infernal Dance" section, where a prominent tutti chord structures as a power chord in A major—comprising the root A in the bass, reinforced by the fifth E across mid-register instruments, and extended by the octave A in higher voices—realized by the full orchestra including piccolo for shrill highs, tuba for depth, and basses doubled an octave higher.[6] This chord's penetrating timbre and immediate attack exemplify the hit's capacity for dramatic punctuation in orchestral writing.[6]

Musical Function

The orchestra hit functions primarily as a percussive accent in musical arrangements, delivering a sharp, isolated burst of sound to punctuate phrases and heighten rhythmic drive, often placed on strong beats to underscore transitions or build momentum.[8] This role draws from classical orchestration principles, where such accents provide emphatic punctuation without overwhelming the underlying structure, akin to a snare drum hit but enriched with orchestral timbre for added intensity.[6] Harmonically, the orchestra hit serves as a brief chord stab that reinforces key tonal centers or facilitates subtle shifts, offering momentary resolution or tension without introducing sustained melodic lines that might disrupt the composition's flow.[8] In practice, it emphasizes harmonic progressions through fused sonorities, where the collective orchestral blend creates a unified timbral impact that supports the overall chordal framework, particularly in tutti passages that amplify emotional weight.[8] Rhythmically, orchestra hits integrate into common time signatures like 4/4 by mimicking percussive elements, such as substituting for snare accents on beats 2 and 4, while their orchestral character imparts a sense of grandeur and synchronization across the ensemble.[8] This integration enhances clarity and propulsion, using sharp onsets to delineate metric boundaries and propel the music forward.[8] Psychologically, the sudden onset and high volume of an orchestra hit evoke surprise and emphasis, triggering physiological responses like elevated heart rate and heightened arousal due to its abrupt dramatic intrusion, a principle rooted in the perceptual effects of orchestral grouping that draw listeners' attention intensely.[9] This impact stems from classical tutti orchestration, where collective force creates an "afterglow" of emotional intensity persisting beyond the hit itself.[10]

Historical Origins

Classical Roots

The orchestra hit, often referred to as a tutti stab, originated in the orchestral practices of the 19th and early 20th centuries, where composers employed sudden, full-ensemble chords to punctuate musical narratives with heightened intensity. A pivotal advancement came with Igor Stravinsky's ballet score The Firebird (1910), which featured a dissonant tutti chord in the "Infernal Dance of King Kastchei" section that exemplified the orchestra hit's potential as a concise, explosive sonic event. This chord, executed by the entire ensemble in unison, produces a bold, resonant stab that underscores the chaotic intensity of the infernal dance, serving as a foundational model for later sampled versions in popular music. Stravinsky's innovative orchestration here emphasized timbral contrast and rhythmic precision, transforming the hit into a versatile tool for musical emphasis.[2] The Firebird premiered on June 25, 1910, at the Opéra de Paris during the second season of Sergei Diaghilev's Ballets Russes, where it achieved immediate acclaim from audiences and critics alike, launching Stravinsky's global career. This performance marked the orchestra hit's emergence as a prominent element in the classical repertoire, particularly in ballet and symphonic contexts, where it facilitated precise synchronization with choreography and narrative peaks to deliver visceral impact—decades before digital reproduction made it ubiquitous in other genres.[11]

Early Digital Adoption

The transition of the orchestra hit into digital music production began with the Fairlight CMI, the first commercially available digital sampling synthesizer, released in 1979 by Fairlight Instruments. One of its preset sounds, ORCH5, was created by co-inventor Peter Vogel through an unauthorized sampling of a staccato tutti chord from the "Infernal Dance" section of Igor Stravinsky's 1910 ballet suite The Firebird, performed by the Philharmonia Orchestra under Josef Krips. This one-second orchestral stab, digitized directly from a vinyl recording, captured the dramatic impact of the full ensemble playing a dissonant cluster, making it instantly accessible to producers without the need for live orchestration.[12][13] The ORCH5 preset gained prominence in its first major commercial application on Afrika Bambaataa and the Soulsonic Force's 1982 electro-funk track "Planet Rock," where it was rented via a Fairlight CMI and deployed as an "alien power source" to punctuate the song's futuristic rhythm, blending hip-hop with Kraftwerk-inspired electronics. This usage marked a pivotal moment in early digital adoption, transforming the classical-derived sound into a rhythmic accent for urban dance music and influencing the electro genre's development. Bambaataa himself highlighted the Fairlight's role in enabling such innovative sound design, which helped "Planet Rock" become a cornerstone of 1980s hip-hop production.[12][14] By the mid-1980s, the orchestra hit proliferated through expanded synth libraries and drum machines, notably the E-mu Emulator series (introduced in 1981), which adapted similar classical orchestral stabs for broader pop production accessibility. The Emulator's floppy-disk-based sampling allowed producers to load and manipulate these hits in real-time, integrating them into tracks by artists like Herbie Hancock and Art of Noise, and solidifying the sound's role as a staple in electronic and pop arrangements. This democratization via affordable hardware shifted the orchestra hit from elite studio tools to widespread use in commercial music.[12][3] The unauthorized nature of the ORCH5 sample from Stravinsky's work exemplified early digital sampling's ethical and legal ambiguities, as no royalties or clearances were pursued for its inclusion in Fairlight presets or subsequent tracks throughout the 1980s. This lack of attribution contributed to the sound's ubiquity in rap and techno-pop records, with Musician magazine noting in 1990 that ORCH5 had appeared on "every rap and techno-pop record of the early 1980s." It was not until landmark lawsuits in the early 1990s, such as Grand Upright Music, Ltd. v. Warner Bros. Records (1991), that sampling practices faced stricter copyright enforcement, prompting retroactive considerations for pre-existing recordings like The Firebird.[12][15]

Production Techniques

Sampling Methods

Orchestra hits are typically created by sampling full orchestral tutti passages, where the entire ensemble plays a short, powerful chord or accent. Producers source these either by recording live orchestras in professional studios or by using pre-recorded samples from reputable libraries such as Spitfire Audio's Tutti or Orchestral Tools' Berlin Orchestra, which capture blended sections of strings, brass, woodwinds, and percussion.[16][17] Once sourced, the audio is imported into a digital audio workstation (DAW) like Pro Tools for editing. The key step involves trimming the tutti recording to a brief clip of 0.5 to 1 second, focusing on the initial attack and decay to emphasize the percussive impact while removing sustain tails that could muddy the sound.[18][19] To adapt the sample for different tracks, pitch-shifting and time-stretching are applied to match the musical key and tempo. In Pro Tools, Elastic Audio's X-Form algorithm or Warp modes in similar DAWs allow independent adjustment of pitch (e.g., by semitones) and duration without introducing artifacts, with warp markers placed precisely on transients to preserve the sharp attack of the orchestral onset.[20][21] This ensures the hit retains its dynamic punch, avoiding the smearing common in lower-quality algorithms. Once edited, the sample is loaded into hardware or software samplers for playback and further manipulation. The Akai MPC series excels for hardware-based workflows, enabling quick chopping and sequencing of orchestral samples, while Native Instruments' Kontakt software supports advanced scripting for velocity layering and MIDI integration within DAWs.[22][19] A common technique is layering multiple sections—such as brass accents over string foundations—to build density, with brass providing the bright, aggressive top end and strings adding warmth and body; volume and EQ balancing prevents one section from overpowering the other.[19][23] Producers must address common pitfalls during this process to maintain audio quality. In multi-mic orchestral recordings, phase issues arise from time delays between close and room microphones (e.g., 11-18 ms offsets), leading to comb filtering that weakens the hit's clarity; alignment can be achieved by adding delay compensation in the DAW or sampler.[24] Additionally, ensuring proper stereo imaging is crucial for modern mixes, as unbalanced panning or unprocessed multi-channel sources can collapse the wide orchestral spread—use mid-side EQ or stereo wideners sparingly to enhance immersion without introducing artifacts.[18][24] An early example of this sampling approach is the Fairlight CMI's ORCH5, a trimmed orchestral stab derived from Stravinsky's Firebird Suite.[25]

Synthesis Approaches

Orchestra hits can be emulated through subtractive synthesis by generating rich harmonic content from oscillators and sculpting it with filters and envelopes to approximate the timbral blend of brass, strings, and percussion. This approach typically layers multiple waveforms: sawtooth waves provide the bright, harmonic density associated with brass sections due to their full spectrum of harmonics, while sawtooth or triangle waves provide the fuller, smoother quality of bowed strings through their rich content of even and odd harmonics. A noise oscillator is often incorporated at low levels to introduce percussive impact and turbulent breathiness, mimicking the attack of cymbals or the air in wind instruments.[26][27][26][28] Envelope shaping is crucial for replicating the transient punch of an orchestral stab, using ADSR parameters where the attack phase is set to a very short duration of 0-10 milliseconds to achieve an immediate onset, followed by a quick decay to simulate the rapid energy release without lingering sustain. The release is typically minimal to ensure clean note endings, preventing overlap in rhythmic contexts. These settings emphasize the percussive nature of the hit while maintaining dynamic responsiveness to velocity for expressive variation.[29][26] Popular software synthesizers like Spectrasonics Omnisphere and Xfer Serum facilitate these techniques through hybrid synthesis capabilities, where presets layer subtractive elements with FM modulation for added metallic timbre. In Omnisphere, hybrid patches combine classic oscillators with orchestral-inspired timbres, using FM to introduce bell-like overtones that enhance the dramatic flair of hits. Serum presets achieve similar results by employing FM from a secondary oscillator to modulate the carrier for complex, evolving harmonics, combined with comb or low-pass filters to emphasize key frequencies and reduce harshness.[30][31] Synthesis offers distinct advantages over sampling for orchestra hits, including infinite pitch variation across the keyboard without introducing artifacts like formant shifts or phase issues that occur when transposing fixed samples. This ensures timbral consistency regardless of note range, which is particularly beneficial for melodic or chromatic applications. Additionally, synthesized hits are ideal for live performance, as real-time parameter adjustments allow performers to adapt sounds dynamically without loading multiple samples.[32][32]

Usage Across Genres

Pop and Rock Applications

In the 1980s, the orchestra hit became a staple in arena rock and new wave music, often utilized for dramatic intros and to infuse rhythmic drive into tracks. A prominent example is Yes's "Owner of a Lonely Heart" (1983), where the ORCH5 sample from the Fairlight CMI sampler appears in the introduction, establishing a bold, propulsive tone that contributed to the song's mainstream success.[2] The sound also permeated 1980s pop productions, punctuating verses to add emphasis and intensity. In Michael Jackson's "Bad" (1987), the orchestra hit features prominently at the beginning and in the intro, enhancing the track's aggressive energy and rhythmic punctuation.[33] By the 1990s and 2000s, the orchestra hit continued to appear in pop and rock, often layered to heighten emotional peaks through MIDI arrangements for nuanced dynamics.

Hip-Hop and Electronic Uses

In the 1980s electro-hip-hop scene, the orchestra hit emerged as a key accent to basslines, providing sharp, dramatic punctuation that enhanced the genre's futuristic energy. A seminal example is its use in Afrika Bambaataa & the Soulsonic Force's "Planet Rock" (1982), where the Fairlight CMI's ORCH5 sample underscores the track's iconic synth riff and Roland TR-808 beats, marking an early fusion of orchestral timbre with electronic rhythms.[14][2] In electronic dance music, particularly techno and house subgenres, the orchestra hit serves as a staple for build-ups and transitions, building tension through its bold, ensemble swell before drops. Producers frequently pitch it down to integrate sub-bass impacts or apply sidechain compression against kicks for the characteristic "pumping" effect that drives dancefloor energy, as seen in tracks from the late 1980s onward.[2][34] The orchestra hit has also appeared in film scores and contemporary hybrid genres, adding dramatic accents; for example, in Hans Zimmer's scores, orchestral stabs draw from similar percussive traditions for tension building. As of 2023, sample libraries continue to include processed variants for modern electronic and pop productions.[2]

Notable Examples

Iconic Recordings

One of the earliest and most influential uses of the orchestra hit appears in Afrika Bambaataa and the Soulsonic Force's "Planet Rock" (1982), where the Fairlight CMI's ORCH5 sample is deployed at approximately 0:15 to provide rhythmic propulsion, punctuating the track's electronic beats and Kraftwerk-inspired synth lines.[14] This implementation helped define the electro genre, blending hip-hop with futuristic electronic elements and inspiring subsequent dance music production.[35] In progressive rock, Yes's "Owner of a Lonely Heart" (1983) incorporates the ORCH5 sample prominently in the intro and chorus sections, creating syncopated energy that contrasts with the track's layered guitars and driving rhythm section.[36] Produced by Trevor Horn using the Fairlight CMI, the hits add a dramatic, orchestral punch that elevated the song to commercial success, reaching number one on the Billboard Hot 100. Michael Jackson's "Bad" (1987) features sharp orchestra hit stabs during the recurring title chant, enhancing the song's funk groove and aggressive energy alongside Quincy Jones's polished production.[37] These stabs, reminiscent of synth-based orchestral accents from the era, contribute to the track's bold, confrontational vibe and its status as a pop-funk staple.

Sample Libraries and Modern Revivals

Commercial sample libraries have played a significant role in making orchestra hits accessible to modern producers, offering high-quality, royalty-free recordings that can be manipulated for various productions. Native Instruments' Rise & Hit, released in 2014, is a prominent Kontakt-based virtual instrument featuring over 8 GB of exclusive samples, including live recordings from a 66-piece orchestra with variations such as pitched swells, reversed impacts, and layered brass and string stabs for cinematic tension builds.[38] Similarly, Splice provides orchestral hit samples through packs like Prime Loops' Orchestral Scores and Cinematic Impacts Vol. 1, which include processed one-shots and loops with pitched, reversed, and hybrid electronic variations suitable for hip-hop and electronic genres.[39][40] These libraries emphasize flexibility, allowing users to create custom hits by combining orchestral elements with synths and effects. In the late 1990s and early 2000s, orchestra hits experienced a revival in video game soundtracks, notably in the Tony Hawk's Pro Skater series, where the sound punctuated punk and rock tracks like Del the Funky Homosapien's "If You Must" in Tony Hawk's Pro Skater 3 (2001), adding dramatic flair to skateboarding sequences. Post-2010, the hit reemerged in electronic dance music (EDM) contexts at major festivals, such as Tomorrowland's 2019 "Symphony of Unity" event, where orchestral ensembles performed reimagined versions of EDM anthems, incorporating live orchestra hits to blend classical and electronic elements for large-scale audiences.[41] The 2020s have seen innovations in orchestra hit production through AI-assisted tools and genre-specific applications. Sample Logic's Symphonic AI (2020) offers a 13 GB library of multi-sampled orchestral instruments, including AI-enhanced presets for generating dynamic hits that mimic live ensembles with procedural variations in timbre and dynamics.[42] In hyperpop, producers have revived the sound by layering orchestral hits with glitchy synths and distorted vocals, as demonstrated in tutorials for creating orchestral hyperpop beats that evoke artists in the genre's experimental style.[43] Licensing practices for orchestra hits evolved in the post-2000s era to prioritize cleared, original recordings and royalty-free options, mitigating risks from earlier unauthorized uses of classical sources like Stravinsky's works. Modern libraries such as those from Native Instruments and Splice provide pre-cleared samples from proprietary sessions, ensuring legal compliance through standard publishing and master licenses, which has facilitated broader adoption in commercial music without disputes.[44][45]

References

  1. Orchestra Hit - Cult Sounds
  2. Orchestra Hit: Stravinsky's Legacy in Hip-Hop & Techno - Mind Flux
  3. 5 Things That Defined The Sound Of 80s Music Production
  4. Fairlight CMI's 'ORCH5' sample of Josef Krips and Philharmonia ...
  5. Studio Icons - Vintage: Fairlight CMI Series - MusicTech
  6. The Sampled Orchestra: Part 9
  7. The orchestra hit as a possible future for classical music
  8. MTO 28.3: McAdams, A Taxonomy of Orchestral Grouping Effects
  9. Orchestral Music and Emotions: The Beautiful Psychological Impact ...
  10. [PDF] Exploring emotional responses to orchestral gestures
  11. Best Wagner Works: 10 Essential Pieces By The Great Composer
  12. Stravinsky's "The Firebird Suite" brings a magical bird to life
  13. the story of orch5, or, the classical ghost in the hip-hop machine
  14. The Famous Music Sample That Originated From a 1910 Stravinsky ...
  15. Afrika Bambaataa and Soulsonic Force's 'Planet Rock' sample of ...
  16. The fascinating history of the “orchestra hit” in music - Kottke
  17. How to Make an Orchestral Sample Library Sound Real
  18. New TUTTI Library Puts A Wonderful-Sounding Orchestra Within ...
  19. Guide to Using Samples in Music & Digital Audio Production - Avid
  20. Creating orchestra hits / stabs - Sound Design Forum - KVR Audio
  21. Pitch Shifting + Time Stretching: 9 Unique Tips To Transform Your ...
  22. Using Higher Sample Rates For Pitch Shifting And Time Stretching
  23. MPC Orchestral (Professional Edition)
  24. The Sampled Orchestra: Part 2
  25. Phase coherency in multi-mic orchestral sample libraries - Vi-Control
  26. ORCH5 by Fairlight CMI - Samples, Covers and Remixes
  27. Synthesizing Brass Instruments - Sound On Sound
  28. Sound and Music - Sound Synthesis
  29. ADSR explained: How to control synth envelopes in your music
  30. Hybrid Symphonic for Omnisphere 2 - Vicious Antelope
  31. Hybrid Orchestral String with Serum (Free preset!) | Tunecraft Sounds
  32. [PDF] Sound Synthesis and Sampling, Third Edition (Music Technology)
  33. The secret of the birth of the sound "everyone knows" with the ornate ...
  34. How Phil Collins Accidentally Created the Sound That Defined ...
  35. Orchestra Hits - 1 by E-mu Systems - Samples, Covers and Remixes
  36. Boom Bap Orchestral Shots - Diginoiz
  37. Oldschool house orchestral hit sample
  38. 90s Boom Bap Hip Hop - Attack Magazine
  39. The Story of ORCH5, or, the Classical Ghost in the Hip-Hop Machine
  40. Yes's 'Owner of a Lonely Heart' sample of Fairlight CMI's 'ORCH5'
  41. The Number Ones: Michael Jackson's “Bad” - Stereogum
  42. 'U Can't Touch This' at 25: MC Hammer's Breakthrough Single
  43. https://www.native-instruments.com/en/products/komplete/cinematic/rise-hit/
  44. Classical Sample Pack by Prime Loops - Orchestral Scores - Splice
  45. Cinematic Impacts Vol. 1: Cinematic Sample Pack by Prime Loops
  46. Classic Orchestra Hit | Various Sound Effects - Vol 2 - YouTube
  47. Symphonic AI - Sample Logic LLC
  48. Making an Orchestral Hyperpop Beat for Lil Uzi Vert | FL Studio 20
  49. KVR Forum: orchestra hit samples - the really bugging legal question
  50. The Do's & Don'ts of Sample Clearances - Spotify for Artists
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