Slicing, or chopping, samples is a process that is so common nowadays, and in most genres, that it has become recognised as a genuine engineering process. It is so accepted and widely used that most software manufacturers incorporate this function in their software designs.
The most common slicing software are Recycle, Phatmatik Pro, Guru, most DAWs and even audio editors allow for slicing of samples.
Let us examine what slicing actually is.
Simply put, slicing (chopping) is a process whereby a piece of audio recording is taken and cut into shorter segments. This then allows the user to use these segments (slices) to create their own arrangements in their compositions. The beauty of this process is one of versatility and flexibility. Additionally, you can drop Rex (the Recycle format) files into your audio sequencer and match them to any tempo without having to time-stretch etc.
Slicing was originally conceived to allow users to slice drum loops into smaller sound components (kicks, hi hats, snare etc) and to then edit and rearrange the slices to create a new pattern from the original pattern. In fact, sampler manufacturers like Emu used their own generic function called the ‘Beat Munger’, which effectively sliced any sample and afforded the user to treat the slices like any other sample. Akai (MPC Chop Shop), Roland etc all have these functions incorporated into their hardware samplers/workstations nowadays, so it has become a tool that is almost mandatory to provide.
Software manufacturers were also on the scene at a very early stage and Propellerheads created possibly the most popular and used slicing software called Recycle. This became so popular that many manufacturers now allow for their software to import the Recycle format called REX. Rex files are simply slices with midi data attached to them. In effect, you can load the midi file that was used to trigger the slices into a pattern format, whilst simultaneously loading the slices.
Recycle works in much the same way as audio editors when it comes to detecting and creating hitpoints. Hitpoints are merely markers that the user places in any part of the audio sample. In Cubase, when we wanted to extract a groove template, hitpoints were created by a process that searched and detected peak values. You do not have to rely solely on the software finding peak values and assigning hitpoints to them. You can manually input hitpoints anywhere you want. However, it is always beneficial to allow the software to search and mark the hitpoints. This saves time, particularly when dealing with a large audio sample with lots of peak values. You can then add or remove hitpoints to your heart’s content. Almost all of these software (and some hardware) will allow you to control the detail of the search and marking of these hitpoints using a function called ‘Sensitivity’. Sensitivity allows the software to search for lower peak values. In fact, it can detect and mark just about every single peak value, if that is what you want. Basic rule of thumb is; the higher the sensitivity value, the more slices you end up with.
But always bear in mind that your own audio editor will have slicing tools, and even sequencing packages with audio editing features will provide you with slicing tools. So, always check your software (or hardware) to make sure you have this function so as to save you having to spend money buying a dedicated slicing program. Personally, I use Recycle even though I have many other slicing software and hardware.