What a sampler does that no synthesis method can, and why almost every design decision in one — looping, key splits, truncation, even normalising — traces back to memory being the most expensive thing in the room.
Every method in the previous course generates its sound: an oscillator produces a waveform, a model calculates one, operators modulate each other. A sampler does something categorically different. It starts with a recording — anything you can capture — and turns it into a playable instrument.
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