Want to make your own sample pack? Tips from someone who’s actually done itMaking sample packs is a fun way to add a new income stream to your music career. You can explore multiple musical ideas at once without the pressure of finishing them as full tracks.
But that doesn’t mean sample pack creation is easy.

READ MORE: Future-proofing your DAW project: A guide to exporting multitracks, stems, and more

Whether you team up with a marketplace like Splice or decide to sell independently, your success relies heavily on organisation. If you’re unsure where to start, here’s a practical guide based on my real-world experience of making sample packs.
Planning ahead
Companies that release sample packs regularly, such as Splice, BandLab Sounds and Loopcloud, already have their delivery specifications in place. One platform may require true peak levels of -6dB, while another may prefer samples limited to 0dB. Unless you have direct communication, you can’t predict every requirement. But you can optimise your workflow for efficiency.
First, choose a clear theme. You can make a single-genre pack with multiple instruments, a vocal pack filled with EDM toplines, or an instrument-specific collection such as acoustic drums. Song-starter packs often include not only audio, but MIDI files as well. Like an album, a sample pack benefits from creative direction from the get-go.
Even with song-starter packs, it’s not enough to create a few beats, stem them out, and call it a day. Sample packs often contain hundreds, sometimes even thousands of audio files. Sound effects packs tend to be denser, but 200-400 samples is perfectly acceptable for a musical pack. These numbers may seem high now, but many of the samples should be dry or stripped-down versions of fully processed sounds.
For example, imagine building a four-bar drum loop. The full version presents the entire groove. From there, you might mute everything except the kick and snare to create an alternative version. Next, you could export just the hi-hats and shakers as a topper. You can then go further by printing each sound individually. For every loop and one-shot, provide a dry version with no time-based effects for producers who want more control over their mixes.
To plan ahead, sketch out your ideas and prepare a folder with subfolders, such as:

Artwork
Demo track
Loops
One-shots
MIDI

Image: SIRMA
Once you see everything laid out, it’s much easier to focus on one task at a time.
Loops vs one-shots
Many foley and field-recording sample packs consist entirely of one-shots. But for melodic, rhythmic, and harmonic sample packs, providing loops in multiple keys and tempos is standard.
A vocal pack, for instance, may feature toplines in several keys and BPMs. Variety is important, but so is relativity — some one-shots and loops should be easily combinable within the same track.
The main difference between loops and one-shots lies in editing.
A loop is aligned to the grid and cut at a specific tempo, like a shaker pattern or a repeating vocal phrase. A one-shot can be anything from a kick drum to an ambient drone, intended for use as-is or loaded into a sampler.
When editing one-shots, it’s best to remove silence at the beginning of the sample. If it’s a sustained sound or there’s a reverb tail, a natural fade-out tends to work well.
As for loops, maintaining tempo accuracy is critical. Ideally, a loop should play seamlessly when multiplied across the arrangement. To achieve this, insert fades as short as a couple of milliseconds at the beginning and end of the clip.
If a loop contains reverb, try bouncing it in place to capture the reverb tail, then insert it at the beginning of the loop on a separate track. This way, when you sum the two tracks, the reverb tail will be baked into the start of the loop.
Here’s a step-by-step demonstration to walk you through the process.

Editing and mixing with accuracy
Poor editing can be a deal-breaker, regardless of recording quality. Most sample pack platforms have a quality control team to filter out samples that are too loud, too quiet, or plagued by clicks and pops. More often than not, missing fades are the culprit behind such noises. But synthesizers can produce unexpected artefacts too. And vocal recordings typically require careful removal of plosives and excessive sibilance.
Any healthy audio editing workflow should include minimising distracting noises and inserting appropriate fades.
To speed things up, tools such as noise gates or automatic processors like iZotope RX Mouth De-click can be invaluable.
Once edited, you can process your samples in multiple ways to maximise their potential.
Say you cut an electric guitar arpeggio loop with a clean tone and minimal compression. Then, you create an alternative version of it with rhythmic delay and reverb. The same loop can sound quite different with some distortion or tremolo.
This is how experienced sample pack producers approach mixing. With each processing decision, their packs find new homes across multiple genres.
Because varied processing affects levels, it’s best to run all samples through the same limiter. Keeping perceived loudness and true peak levels consistent prevents users from constantly adjusting the volume knob while previewing your sounds.
Consistent labelling and file formats
Consistency in bit depth, sample rate, and file naming makes a pack far more accessible.
MIDI files are straightforward, but audio exports vary by platform. A bit depth of 24-bit is a safe bet. Some marketplaces require a 48kHz sample rate while others accept 44.1kHz. Either way, most major sample marketplaces require WAV files.
Each file name should include all essential information in a single line. For loops, this typically means:

Tempo (BPM)
Key
Instrument type
Loop type
Dry or wet indicator
Descriptive keywords

To differentiate one-shots from loops, you can omit the tempo information.
Let’s break down an example from my Splice pack, SIRMA’s Vocal Palette:
VOX_SIRMA_90_vocal_stack_perfect_storm_lead_wet_Emin.wav
“VOX” — the name of the sample pack label
“SIRMA” — the name of the artist
“90” — signifies the tempo in BPM
“vocal stack” — describes loop type
“perfect storm” — a unique title based on lyrics
“lead” — signals that this is the lead part of the vocal stack
“wet” — indicates that the loop contains time-based effects
“Emin” — means that the key of the loop is E minor
Although some one-shots leave out both the tempo and key information, the formatting remains consistent throughout the pack. The fixed order and the underscores between each word make samples easier to search and work with.
Image: SIRMA
Building a demo track with samples
Most producers stumble upon individual samples while searching for specific vocals or instruments. Even so, a polished demo track still plays an important role in presenting the value of your pack.
A strong demo should function as a medley built largely from your own samples. It can move between tempos and keys, stitching together short sections from multiple song-starters. Taking a DJ-like approach to smoothing the transitions can make your track an enjoyable listen.
Demo tracks typically run between 60 seconds and four minutes. Regardless of length, the first 30 seconds matter most. Grab the listener’s attention immediately: long intros are largely wasted here.
Final checks before delivery
Before finalising your first sample pack, run through a checklist:

Confirm audio specifications
Test loops in a DAW for correct tempo and key
Check perceived loudness and true peak levels
Review file and folder naming consistency
Listen to the demo track
Organise artwork and promotional assets

Remember: this is a repeatable skill. Paying attention to the details that matter will become second nature with practice. Treat your first pack as a test of your system, then refine and build with intention.
The post Want to make your own sample pack? Tips from someone who’s actually done it appeared first on MusicTech.