I have been playing around with re-sampling audio for a while now when sound designing for my music projects. However, I have found it very difficult to manage all the different snippets of audio.

I find my projects get very messy with many different snippets relating to one sound. I also have many FX chains that are dedicated to re-sampling. Some of these chains I reuse and some I don't. I tend to keep all of my FX chains open just in-case I need to go back and use them again but I don't know if this is the best approach. The DAW I am using is FL Studio.

Has anyone got any tips on how I should approach re-sampling?

  • 2
    Is your question about how to manage multiple audio 'snippets'? If so, I'd recommend editing the question to make that clear. Asking for someone's approach is very subjective, but asking for process management techniques can be objective.
    – Rory Alsop
    Commented Feb 20, 2013 at 17:35
  • I'm not sure this question can be saved, as it is better served by a discussion of possible solutions. There isn't one "best" way to manage this workflow, and each solution is likely to leave its fingerprint on the final creative product. Commented Feb 21, 2013 at 17:29

1 Answer 1


I think you need to look at the universe of possible solutions, try some of them out, and observe how they impact your work. Then decide which solution is the most effective solution for you.

Some possibilities for you to try:

  • Create a giant project with all your samples and all your FX chains. Does this get unwieldy? Is it easy to find your way around?

  • Create smaller projects that are organized around similar samples and FX chains. Use these as a library, and copy out the FX chains and samples and into your new project as you need them. Can you come up with a schema or organizing principle that makes it easy to find what you are looking for later?

  • Create projects organized around compositional ideas. Leave unused chains and samples in the project but disabled. Does it help to think in terms of past projects and the successful and failed ideas associated with those projects?

  • Create projects organized around compositional ideas, but ruthlessly cull the chains and FX that don't work. Consider moving the failed ideas and processes into another project, or just delete them. Does it help to only catalog an idea once it has become part of a successful project?

  • Read widely about experimental music. Draw influence from people working with radically different technology, such as Stockhausen's tape editing, Morton Feldman's visual scores, or Pauline Oliveros' deep listening strategies. Take from others what appeals to you, and make it work within your own workflow.

  • Read widely about creativity in general. Find a painter that inspires you and come up with a way to apply their painting process to your composition.

  • Read widely beyond creativity. Pick a book on military history or business strategy. Apply the lessons learned to music production in your own way. Brian Eno used this route as a starting point for much of his studio innovation.

  • There is some good stuff in this three part Matmos interview too. Their process is interesting, and they reference a number of other artists that have interesting sound creation process as well.

  • Hi, Thanks for the response! I understand there is multiple ways of tackling this problem which is why I was interested to see the different approaches people take. I am taking your your advice on starting a new project for each sound. I am playing around with it now and it seems to be working well for me. Thank you for the creative tips also, it is sometimes very hard to answer questions relating to music production due to the high degree of subjectivity, but you provided a great answer.
    – Hiren Umradia
    Commented Feb 21, 2013 at 19:12

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