Making Beats on Koala Sampler: The Workflow of Grey Mouse

Grey Mouse has developed a streamlined process for creating hip-hop, lo-fi, and remix-ready beats using Koala Sampler. By combining samples from sources like Tracklib with SP-style chops and a final polish in Logic, he demonstrates how mobile tools can be at the core of a flexible, hardware-friendly workflow. Below is a step-by-step overview of his approach, along with insights on how Koala Sampler’s features mesh seamlessly with classic sampler techniques.

Why Koala Sampler?

Koala Sampler is known for its quick and intuitive design, offering auto-chopping, resampling, and FX buses similar to Roland’s SP series. Grey Mouse leverages Koala’s choke groups, real-time bus FX, and stretch-to-pitch functions to shape loops on the fly. He enjoys working anywhere inspiration strikes, with the freedom to import WAV files from Tracklib or other sources directly into the app.

Step 1: Hunting for Samples

The process begins with searching for samples—often on Tracklib—to find the right vibe or melodic hook. Once a suitable track is selected, he imports the full song into Koala Sampler as a WAV file. This approach allows for multiple potential loops or chops to be discovered without leaving the app.

Step 2: Initial Setup

After importing, Grey Mouse may use Koala’s auto-chopper to identify transients. He ensures the audio file is labeled as “sample” and “edit,” then sets it to “one shot” with a choke group of 1. This choke setting means that triggering a second sample immediately silences the first—mimicking classic SP or MPC behavior for tight, stutter-free playback.

Step 3: Assigning Buses and Adjusting FX

Before slicing, he designates one of Koala’s four buses (A, B, C, or D) for the imported audio. Each bus can have its own FX or EQ, making it easy to apply the same processing across all chops. At this stage, he typically does minimal tweaking—saving detailed FX work for later in the process.

Step 4: Chopping the Source Material

Grey Mouse then scrolls through the waveform to locate interesting loops or hits. When a promising loop is found, he duplicates the waveform to a new pad, adjusting start and end markers. The choke group ensures that each new chop cleanly cuts off the previous one. Because the entire source is routed to the same bus, any FX added later will automatically apply to all chops. Labeling the bus (e.g., “SAMPLE”) keeps things organized as the project expands.

Step 5: Resampling and Stretching

After building a 4- or 8-bar loop, Grey Mouse resamples the audio within Koala and sets the stretch to “pitch.” This step makes it easier to match the loop’s tempo and tone to other elements—particularly any acapellas he plans to blend in. He frequently imports a segment of the original song or vocal track into Koala, aligns the BPM, and places his loop alongside the acapella. By muting the original instrumental and unmuting his newly created loop, he can hear a rough remix version in real time.

Step 6: Manipulating FX

With both loops and vocals ready, Grey Mouse applies Koala’s built-in FX. Each bus has its own set of parameters, allowing for quick stutters, tape or vinyl emulation, and reverb or delay. For instance, pressing the “S” button during playback isolates the vocal or beat, creating a stutter-like effect to highlight a bar or phrase. These performance FX draw on Koala’s SP-inspired design, making it easy to add live flair.

Step 7: Recording into Logic

When satisfied with his arrangement, Grey Mouse records the output into Logic. Often, he routes Koala’s audio through hardware samplers like the SP-404 or SP-606 before it hits Logic—using these devices as additional FX boxes to impart an authentic, vintage-style warmth. This blend of mobile app sampling and hardware processing bridges the gap between lo-fi textures and modern convenience.

Step 8: Final Touches

Inside Logic, the track is finalized with an iZotope mastering suite to add clarity and cohesion. Although Grey Mouse doesn’t heavily focus on mixing, this final pass ensures that the finished beat has enough polish for listeners. He remains keen on improving his engineering skills, viewing each project as an opportunity for growth.