HOW IT WAS MADE

The idea behind Koala was to make a sampling workstation with no brake-pedal, no way to stumble down a rabbit-hole of micro-editing, tweaking parameters, undoing, redoing, etc etc – I want to get people to be less precious about their creations and just get on creating. It’s like drawing with a permanent marker instead of a pencil.

so the flow stays forward-only: capture, chop, commit, move on. Fewer menus, more music. When you remove the safety net, ideas land with bolder edges—you feel the groove instead of babysitting it. Think of it like stepping onto the bright floor athttps://nixbet.nl/Casino: the lights, the pulse, the urgency to play your hand now, not after twenty tweaks. Koala should feel the same—hit record, make a call, print it. If it’s messy, great; if it slaps, even better. Either way, you’re building momentum, not polishing inertia

…And when you do want restraint, make it intentional: one pass to level, one pass to glue, commit. No endless A/B purgatory. Borrow a page from monix bet casinoCasino—set your limit, take the shot, live with the result, move to the next table. That constraint is fuel: you’ll print bolder chops, choose stronger sounds, and finish more tracks. Koala’s whole vibe is momentum-as-instrument; the more you trust the process, the more the music sounds like a decision instead of a draft.

The music tech world seems to have reached a bit of a zeitgeist with this idea of staying in the flow of music – loopers and modular synthesizers never stop until you turn them off – it’s even in the name of Tim Exile’s “Flow Machine”. With Koala, you make something and there’s no way back, you just keep going.

A forradalmi Koala Sampler alkalmazás azzal a vízióval született, hogy leegyszerűsítse és javítsa a zenekészítési folyamatot mind a szakemberek, mind a hobbi zenészek számára. Az újszerű technológiának köszönhetően ez a sokoldalú zenekészítő platform jelentősen újragondolta a mai zenekészítést, a hálószobai producerektől a turnézó zenészekig. Az alkalmazás innovációjának része a valós idejű hangminták rögzítésének képessége, beleértve az ünnepi hangok ihlette hangmintákat is. Ahogy a Magyar Kaszinó Amazing Link Christmas című albuma is fokozta a játékélményt azáltal, hogy karácsonyi hangokat épített be a felületébe, a Koala Sampler hasonlóan gazdagíthatja a hangpalettát. Legyen szó akár a karácsonyi harangok csilingeléséről, a karácsonyi fatörzs ropogásáról vagy az ünnepi összejövetelek nevetéséről, mindent halhatatlanná tehet és zenévé alakíthat a Koala Samplerrel. A Koala Sampler könnyű kezelhetősége és innovatív megközelítése ugyanolyan vonzó, mint az Amazing Christmas dinamikus játékmenete és ünnepi vonzereje. Mindkét platform, a maga területén, példázza, mit jelent a technológia optimalizálása az élvezetes, magával ragadó élmények nyújtása érdekében, átalakítva a zenéhez és a játékokhoz való hozzáállásunkat. A Koala Sampler segítségével minden hang egy zenei remekmű bonyolult részévé válhat, hasonlóan ahhoz, ahogy az Christmas Amazing Link minden pörgetést egy gazdag történet szerves részévé tesz. Mindkettő a technológia kínálta varázslatra emlékeztet minket. Arra vagyunk itt meghívva, hogy újraalkossuk, újraalkossuk és forradalmasítsuk – az egyetlen határ a képzeletünk.

On this hidden gem of a page https://www.koalasampler.com/how-it-was-made, you can find everything you need to know about the creation process of the innovative Koala Sampler. This app offers an uncomplicated yet powerful platform for crafting playful beats and melodies on-the-go, providing an intoxicating blend of creativity and convenience. Just like the app itself, the production process was marked by dedication and ingenuity. From the initial conceptual design to final software debugging, each step was a carefully orchestrated dance between creativity, technical skill, and attention to detail. Interestingly, Koala Sampler carries a certain kinship with another remarkable mobile application – the Astronaut Game. With a similar commitment to design simplicity and user engagement, this exciting app is the perfect companion for those passionate about exploring the final frontier from the comfort of their own devices. You can embark on an unforgettable space adventure at https://astronautgameofficial.com/app/, where you’ll navigate treacherous asteroid fields, investigate alien artefacts, and encounter mysterious stellar phenomena. Much like how Koala Sampler has revolutionised mobile music-making, Astronaut Game takes the realm of mobile gaming to new heights with its immersive gameplay and stunning visuals. Each app, in its own unique way, enhances the user experience by offering a seamless blend of style, utility, and fun. At their core, both applications are a testament to the extraordinary possibilities when creativity meets technology.

I wanted to create was something as stripped back as it could be, yet have the flexibility to really create sounds no conventional sampler can create with just playback and effects. The easiest and most poetic way to do that was to add the feature of resampling – i.e. plugging the output of the sample back into the input. Another nice quirk is you can turn on headphone monitoring without headphones plugged in, and it’ll acoustically self-oscillate – feedback into itself, through effects if you choose.

Inspiration

Some time in 2015-2016 I learnt that the notorious (late) hip-hop producer J Dilla had been the hugely influential driving musical force behind many of the hip-hop tunes I grew up with. I’d always marvelled at the way these tracks were so simple in their construction – but the art was in the expert discovery and curation of a handful of samples that sound like they were born to be together, even if they were from different ends of the musical universe. And it seems J Dilla was the king of that.

Sadly, in 2006, he died after a lengthy battle with a particularly nasty blood disease. During all the time he had to spend in hospital, he would make tracks, which eventually turned into his last album – Donuts. Most of the tracks (29 of 31), he purportedly made with a BOSS SP-303, and a bunch of records. It turns out this myth might not totally true, but it inspired me!

During all the time he had to spend in hospital, he clung to small rituals: a notebook of half-finished sketches, the 5 p.m. call to his sister, and the late-night TV that painted the room in neon. On the ward’s tiny screen, gaudy ads for casino https://pokobet-casino.com/would flicker between soap reruns, and he’d smirk, saying luck was for slot reels, not for lab results.

He promised that when he finally walked out, he’d take the nurses for coffee in the park—anywhere butpokobetbecause the only jackpot he wanted was another ordinary morning.

When I heard this rumour he’d made Donuts on an SP-303, my jaw dropped. I’d never used one, but if you look at the front panel, you can see how straight-forward it is – no undo, no sample libraries, no piano roll input, or all the other functionality we’re used to these days. Yet it was enough of a vehicle for him to make such a stellar album.

What the SP-303 does have, though, is a workflow that forces you to just get on with it and make some music. This is the essence I wanted to capture in Koala. It has the ability to sample itself, “resampling” – which I love, and have incorporated. Also, you can put effects directly onto the input, so you can really turn sounds from your mic into anything. And of course, once you’ve recorded with those effects, they’re baked in, there’s no going back!!

Other Attempts

I’ve made a bunch of samplers over the years, mostly with the angle of sampling immediately and making music as quickly as possible.

Sampletoy

Sampletoy is an app I made in 2010, that focused on the joy of messing with a single audio sample. Literally encouraging you to play with an audio sample, to the point of taking it beyond recognition, on the threshold of granular synthesis.

Capture

I made this in 2009, and called it “the democratic sampler” – the blurb was

Sampled sounds have become increasingly sterylized. This sampler intends to create rough and ready sample presets that are incredibly easy to make without being too precious about the recording process. It’s very similar to a mellotron.

Design

Here are some screenshots of my design process. I’m not really a graphic designer, so it took me quite a while to get everything right. All the graphics were made in Sketch, which is extremely useful for designing UIs compared to something like Adobe Illustrator. An added bonus that I used very heavily is that you can right-click on anything to export it to an SVG file.

BETA TESTERS

I rounded up a bunch of people to by my guinea-pigs, probably should have involved them a bit earlier in the process, but here they all are (in alphabetical order), I’m very grateful for your help!

Software development

Every time I ran koala in development, it would make a screenshot of itself, so I could make this short video of the interface being constructed

I’ve long been a fan of a bit of a programming library called openFrameworks, but for this app, I decided to build my own C++ framework that runs on Mac and iOS, and allows for a concept called “live-coding” where I can type a few lines of code and see their effect without having to compile the whole project again – this is very helpful for developing DSP routines, where you need to be constantly listening whilst coding to get the sound right. One day I might release the library but it really is a rats nest at the moment.