16 Pads, 8 Banks, 128 Slots
DMC60's sampler follows a familiar drum-machine layout: pads on the bottom, banks on the side, and programs as your kits.
Sample Organization
Each program contains 128 sample slots organized as 8 banks (A–H) with 16 pads each. Switch banks instantly while playing to access your full kit.
Loading Samples
Drag audio files directly onto pads or use the browser rail to load samples. DMC60 automatically converts all audio to its native 12-bit / 26.04 kHz format.
Record Input
Sample straight off your audio interface. Open the Record Input recorder (Cmd/Ctrl+R) in the standalone app, pick a source, capture a take, trim it, and drop it onto a pad — DMC60 converts it to its native 12-bit / 26.04 kHz format on the way in, just like a loaded file. Record a hardware synth, a turntable, a phrase off the mixer, or the mic on your desk.
Arm the recorder and let it wait — capture begins the moment the input crosses your threshold, with the pre-roll prepended so the attack is intact.
Every take lands in a waveform preview with start/end trim points. Set the region, name it, choose a bank and pad, and assign.
Input sampling captures from the standalone app's audio device. In a DAW, resample by routing audio to DMC60's input bus or bouncing to a file and dragging it onto a pad.
Record & Chop to the Grid
Turn on Auto clips in the recorder and the sampler becomes a bar-synced looper. Pick a clip length — 1, 2, 4, or 8 bars — hit record, and DMC60 runs the metronome, captures continuously, and slices the take into fixed-length clips at the project tempo. Each clip is dropped onto the next pad automatically, so a jam becomes a playable kit with no trimming.
Clips start on the target bank and pad you pick, then march up through the slots — filling bank A, rolling into bank B, and on through H. That's up to 128 slots (16 pads × 8 banks) of continuous recording, so a long take spreads itself across the whole program. Recording stops automatically when the last slot is filled.
Browser Rail
A collapsible sidebar on the far left, Logic-library style. Two views keep your presets and your sample folders one click away, and it folds to a thin strip when you need the screen back. The search field at the top filters whichever view is active.
Browse factory and user kits (including your favorite Programs folder from Options). Select a row and hit Load, or double-click — the kit lands on the active track's program.
Add your own sample folders and browse them as a tree, or search a background index that spans every configured folder at once — results show name plus parent folder.
Preview a file cleanly through the master output before loading — click or arrow-key through the list. Toggle audition and its volume in the rail; both persist.
Drag any file-tree or search result straight onto a pad to load it there. Works across the whole window, not just the rail.
Per-Sample Parameters
Every sample has its own set of parameters for shaping the sound. Adjustments are non-destructive — the original sample data is preserved.
Pitch shift the sample up or down (just over an octave each way)
Sample playback level
Stereo position (L/C/R)
Trim playback region
Enable looping with loop point
SSM2044 lowpass frequency
Per-pad high-pass, 20 Hz (off) up to ~12 kHz
Saturation amount
Route to individual outputs
ADSR Envelope
Each sample has a dedicated amplitude envelope for shaping the attack and decay characteristics.
The envelope knobs map to fractions of the trimmed region between the start and end points — not absolute seconds. Move the start or end marker and the envelope reshapes to fit the visible chunk. For one-shots, release anchors at the end point, so the fade lands exactly where the sample ends instead of cutting off hard.
Crop & Normalize
Crop destructively trims a sample down to its current start/end region — the trimmed audio becomes the whole sample, and the start, end, and loop points reset into the new length. Use it to commit a chop or bake in a tighter region.
Normalize raises the sample so its loudest peak hits -0.3 dB, leaving a little headroom for the 12-bit engine and drive stages — unlike Crop, your start/end and loop points stay put. Start, end, volume, pan, filter, and drive remain non-destructive; Crop and Normalize are the two editor actions that rewrite the sample buffer. Chop slices that share one buffer can't be normalized individually — normalize the source before chopping instead.
Warp & Tempo Sync
Warp locks a pad's playback to the project tempo instead of a fixed rate — ideal for loops and musical phrases that need to follow the beat. Set the tempo the audio was recorded at with the Orig BPM knob (20–300 BPM), or let the “set BPM from…” helper derive it from the sample's length in bars. Warp amount is simply Orig BPM ÷ project tempo, and it is per-sample and non-destructive.
No tempo tracking — the pad plays at its normal speed regardless of tempo.
Classic sampler behavior — speeds up or slows down the audio to fit the tempo, so pitch rides tempo. Zero extra CPU or memory.
Pitch-preserved time-stretch, pre-rendered off the audio thread so playback stays glitch-free. Fits the tempo without changing the note.
Stretch mode renders each warped buffer in the background and caches it, so changing tempo re-renders without interrupting audio. When you bounce, DMC60 warms the cache for the project tempo first, so exports capture true time-stretch rather than the live fallback.
Mute Groups
Assign samples to mute groups (choke groups) for realistic hi-hat behavior. When a sample in a mute group is triggered, other samples in the same group are silenced.
This is essential for open/closed hi-hat pairs, where hitting the closed hat should cut off the ringing open hat.
Chromatic Mode
Each sample supports a chromatic offset of ±24 semitones, enabling MPC-style chromatic playing where a single sample can be pitched across the keyboard.
Synth Voices
A pad doesn't have to play a sample. Switch its voice type from Sample to Osc in the editor and the pad becomes a full synth voice, sharing the same pitch, ADSR, filter, and pan. See Keygroup Synth for the oscillators, dual ladder filters, and modulation matrix.