I like the sound of old samplers, and I use plugins to emulate their sound, but I wanted to know what these emulation effect plugins were doing, so I analyzed a few of my favorites.
Last updated: 7/7/25
Three iconic samplers from Akai and E-mu have defined music production sound especially in hip hop electronic and experimental music with unique characteristics. The following is a review of their sound quality and differences with a new, plugin-only, dynamic quantizer thrown in because I like the sound of it.
It is important to keep in mind that, in most cases, the character and flavor these sampler emulation plugins add to instruments and tracks are subtle. Sometimes this is very subtle. But once you tune into it, you can hear it, and these slight differences in tone and texture can set your music apart from others.
The Hardware Samplers
First, I’ll list the hardware that these are based on and why you may want to emulate them in your music.
Akai S950
- Sound Quality: The S950 is a 12-bit sampler, which gives it a slightly grittier and warmer sound compared to the S1000. The S950 has very little aliasing because it doesn’t have interpolation, and this contributes to its unique sound. It has a subtle crunch to the samples, especially when sampled at lower rates,
- Filters: The S950 features a Butterworth low-pass filter, which is highly regarded for its smooth and musical quality. This filter is often used to shape basslines or remove high frequencies, and is used to give the samples a warm, rounded tone,.
- Character: The S950 is a very flexible machine and can sound quite clear at high sample rates, but it’s most useful for dirty, lo-fi textures. It’s a favorite for hip hop producers who want the best of both worlds – fidelity and character.
E-mu SP-1200
- Sound Quality: The SP-1200 is also a 12-bit sampler, but its sound is much grittier and more coloured than the S950. This is because of its lower sampling rate (26.04 kHz) and the use of analog SSM low-pass filters on its outputs. These filters add a warm, punchy, and dynamic quality to the sound, and are a hallmark of the SP-1200,.
- Character: The SP-1200 is legendary for its “dirty” sound, which comes from its low bit depth, low sample rate, and analog circuitry. It’s particularly well-suited for drums and percussive elements, as it adds a punchy, gritty texture that has become synonymous with classic hip-hop and house music,.
- Pitching Technique: A unique feature of the SP-1200 is its pitching technique. The sound is sampled at a high pitch and then pitched down during playback which adds more artefacts and makes it even more gritty and lo-fi.
Akai S1000
- Sound Quality: The S1000 is a 16-bit sampler, which was a significant step up in fidelity compared to earlier 12-bit samplers like the S950 and SP-1200. The S1000 gives a clean, high fidelity sound, therefore, it is best for refined productions. However, it lacks the lo-fi, gritty sound of the S950 and SP-1200 unless you deliberately choose lower bit rates or sample rates.
- Character: The S1000 is often described as neutral and transparent. This is either a good or a bad thing depending on what kind of sound you are looking for. It’s ideal for producers who need accurate and precise samples.
One Non-Hardware Sampler Worth Mentioning
The Wavetracing DQ5010 Dynamic Quantizer (plugin only – not hardware)
The DQ5010 plugin from Wavetracing provides an exclusive approach to sound processing that differs from traditional hardware samplers, including the Akai S1000, S950, and E-mu SP-1200. The DQ5010 operates as a dynamic quantizer to generate a distinct digital distortion effect which different from the specific hardware-driven sound characteristics found in the Akai S1000, S950 and E-mu SP-1200 samplers.
How the DQ5010 Sound Compares to the S1000, S950, and SP-1200
- Unique Dynamic Quantization
The DQ5010 functions like a bitcrusher yet exhibits distinct behavior due to its floating-point processing system. The DQ5010 maintains full signal dynamic range while distributing its effect uniformly across all signal levels which distinguishes it from standard bitcrushers that produce noise or distortion mainly on low-level signals while high-level signals stay clear. - Grit and Saturation
The DQ5010 generates harsh drum sounds and heavy bass tones similar to the SP-1200 and S950 but through its modern algorithmic quantization process. - Artifact Behavior
The DQ5010 generates unique sound artifacts which do not resemble any existing hardware or software plugin according to the developers. This characteristic distinguishes the DQ5010 from the Akai S950 and SP-1200 which have distinct aliasing and low-pass filter characteristics. Users can adapt the DQ5010 sound to match different input signals and settings which results in extensive lo-fi texture possibilities. - Clean vs. Gritty
The S1000 produces exact sound without any noticeable distortion because it remains free from coloration. The S950 and SP-1200 share similarities with the DQ5010 because they both introduce grit and character to audio output. The DQ5010 generates its unique sound through digital processing combined with dynamic quantization instead of depending on hardware restrictions that characterize the S950 and SP-1200.
The Wavetracing DQ5010 plugin presents an innovative digital approach to creating lo-fi sound design in the present day. The DQ5010 achieves its unique distortion through dynamic quantization rather than the hardware-based aliasing and low-pass filtering and 12-bit resolution that produces character in the Akai S950 and E-mu SP-1200. Users can access a wide range of flexible audio textures through this plugin which generates sounds unlike any specific hardware device but presents an original lo-fi processing method.
Summary of Samplers
Clean vs. Gritty: The S1000 is the cleanest and most hi-fi of the three, while the SP-1200 is the grittiest and most colored. The S950 sits in between, offering a balance of fidelity and character.
Filters: The SP-1200’s analog filters provide a warm, punchy sound, while the S950’s Butterworth filter is smoother and more versatile. The S1000 lacks the same analog warmth but compensates with precision and clarity.
Use Cases:
- The SP-1200 is ideal for gritty, punchy drums and lo-fi textures when applied to almost any material.
- The S950 is versatile, excelling in both lo-fi and cleaner applications.
- The S1000 is best for clean, polished productions where fidelity is a priority.
- The DQ5010 can also sound clean but is more versatile than the S1000 emulations in that it can give a highly nuanced sound through dynamic quantization.
Each sampler has its own unique charm, and the choice often depends on the desired aesthetic and the type of music being produced.
A grainy or gritty sound is what typifies the S950 and SP-1200 samplers while the S1000 is much cleaner, and the DQ5010 ranges from clean to uniquely gritty.
In my analyses below, I am using the DDMF Plugin Doctor plugin in Hammerstein mode, showing the harmonics amplitude on the vertical scale vs. the frequency on the horizontal scale. The input is a 1 kHz waveform, and the horizontal lines going across represent the harmonics (odd and even) of the fundamental (pink line).
The Akai S950 Sampler
The Akai S950 is known for its 12-bit linear sampling, which contributes to a distinct sound characterized by a grainy and gritty texture, often described as “transformer type” due to its analog-like warmth and coloration. This 12-bit processing, combined with its 48 kHz sampling rate, gives the S950 a unique sonic quality that has been favored by many producers, especially in hip-hop. In fact, the Akai S950 has a sampling rate from 7.5 kHz to 48 kHz. When transposing upwards, its DAC clocking frequency can be adjusted, which is a unique feature that produces a distinct aliasing sound.
The reason why I first started looking for a plugin that could emulate it was because I studied Biosphere’s techniques and sound, and I found he had a fondness for the Akai S950 sampler. He mainly liked it for the filter, which is a sixth-order Butterworth filter, but I’m sure it also colored his sound with its unique harmonics, too. This is what led me to search for S950 sampler emulations.
The Inphonik RX950 Effect Plugin
The Inphonik RX950 is a faithful emulation of the SP950.
At low to moderate input gain (note the green, yellow, red meter in the top left of the plugin) the harmonics stayed relatively low with some increase toward the top end past 5 kHz and some spikes in there. Overall, the harmonic waveforms were active, indicating some noise that was low, around -75 dB, at the low end of 100 Hz and increasing to -60 dB around 2 kHz. The overall sound rolled off at 10 kHz, with the audio bandwidth set to its default state (12-bit). See the waveform below.
Turning up the input until the input meter was in the red, the third and fifth harmonics appeared prominently. Odd harmonics are a characteristic of transformers, and there can be even harmonics increasing only in the top end where saturation occurs (the red and green in the waveform below are the second and fourth harmonics, respectively). That is what is happening here in this plugin emulation.
Additionally, with the bandwidth fully turned up, the characteristic increase in the top end was apparent, as this is a feature of the S950, imparting brightness to the top end when the bandwidth is at its maximum. See the waveform below.
The filter I did not test here, but it performs as expected and is true to the original. This plugin is a classic and an essential one for me that finds its way onto most of my tracks. I like how it imparts a subtle imperfection to whatever it touches, making it more authentic and “real.”
The E-mu SP-1200 Sampler
The SP-1200 helped make hip hop’s golden age by letting musicians make the most of a song with one machine.
Here’s why it was a big deal:
- It was the first time you could make almost a whole song with one machine that you could carry around.
- It made it cheaper to produce hip-hop music.
- Hip-hop artists had more control over their music.
- The 12-bit, 26.04 kHz sampling had a unique, gritty tone to it.
The Inphonik SP-1200 Instrument Plugin
Although I am not reviewing what instrument plugins do in this post, I need to mention the Inphonik SP-1200, as it is a spot-on emulation of the SP-1200 sampler.
The Wavetracing SP950 Effect Plugin
This plugin is a hybrid of sorts. It has the sound of the SP-1200 with the filter of the S950. Combined, you can get a lot of great sounds out of this one.
With the settings at their default state, without the input turned up, there are increasing harmonics from the low end of 100 Hz, around -40 dB, up to -20 dB around 2 kHz. Beyond that, they go way up. The overall output drops past 10 kHz without any filter engagement.
Increasing the input while decreasing the output (linked), provides the third and fifth harmonics (odd) with the characteristic increase of even harmonics toward the top end, emulating the effect of transformer saturation.
While the plugin emulates the SP-1200 in sound and harmonics, the filter emulates the S950 as a sixth-order Butterworth filter. This is just like the RX950 plugin in regards to the filter, so if you’re looking for this type of combination, which was popular with many producers who used the S950’s filter to isolate the low end of their SP-1200, then this one is for you.
I like this plugin for the SP-1200 grit, and I use it on many drum tracks to give them an edge and an old feel.
The Wavetracing DQ5010 Effect Plugin
Although not based on a real-world product, it is innovative and originated from a unique idea following the development of the SP950 plugin. The DQ5010 acts like a bitcrusher and it has a distinctive sound because of its floating-point design.
It keeps the signal’s dynamics, unlike normal bitcrushers. The DQ5010’s sound quality varies depending on the settings and input.
- Use mid-quantization for gritty drums or vocals.
- Low quantization with high taming makes interesting distortion and can boost lows or create stereo effects using the width control.
- With the SP950 ahead of it, you can get a crisper sound using this plugin.
At full quantization, this plugin has a transformer-like saturation that is very low but this type of analysis does not show the quantization effect which is pronounced.
At the default settings of 50 on the quantize, the third and fifth harmonics are there along with the transformer-like high-end saturation.
But this simple analysis belies the true sound of this plugin. You have to hear it to appreciate what it does. I like to use it on synth leads where it can either accentuate the low end or subtly impart grain throughout, depending on the settings.
The Akai S1000 Sampler
The Akai S1000 is a landmark digital sampler that was released in 1988. It is notable for being one of the first professional-quality 16-bit stereo samplers, which allowed musicians and producers to work with high-quality audio samples. The S1000 quickly became an industry standard due to its advanced features and sound quality.
I studied this sampler because Boards of Canada used it in their music, and I wanted to know if it gave a distinctive sound or not.
Key Features
- Sampling Quality: The S1000 operates at a sampling rate of 44.1 kHz and offers 16-bit resolution, which was considered high fidelity at the time of its release. This made it suitable for professional music production .
- Memory and Sampling Time: The sampler features 2MB of RAM, which can be expanded to 32MB. In its standard configuration, it can sample up to 12 seconds in stereo or 24 seconds in mono.
- Editing Capabilities: The S1000 features a variety of editing functions, including the ability to splice, crossfade, trim, loop, and merge samples. These capabilities allow for intricate sound manipulation, making it a powerful tool for music production.
- Polyphony: It supports 16-note polyphony, enabling users to play multiple samples simultaneously, which is essential for creating complex musical arrangements.
The Akai S1000 played a significant role in shaping the sound of music in the late 1980s and early 1990s. Its ability to handle high-quality audio and provide extensive editing options made it a favorite among producers across various genres. Artists and bands, including influential groups like Boards of Canada, have cited the S1000 as a key component of their sound, highlighting its unique character and versatility.
The TAL DAC Effect Plugin – S1000
It has a gentle roll-off over 5 kHz and produces mainly odd harmonics, with a lesser amount of even harmonics mixed in. Overall, it has a much cleaner sound than the S950 or SP-1200 plugin emulations, primarily due to its higher sample rate and bit depth.