Hardware samplers were pretty advanced by 1995. By 2005 they were very nearly extinct, replaced by software samplers on computer.
It is often more realistic , rather than sampling individual notes, to get players into the studio and let them play the sort of music that is typical of their repertoire.
The recordings are then cut up into short sections of two or three notes, including slides, trills etc. These are often very particular to the instrument, and almost impossible to fake on a keyboard, often because of the mechanical and acoustic shortcomings of the real instrument- which are what gives it it's character.
Each sample is them mapped to a key on the control keyboard and can be triggered in real time by a keyboard player.
That gives the arranger freedom to assemble the tiny phrases into original melodic lines, but still preserving the human feel and the authentic way in which one note affects the next.
I know of a very well known composer, who after creating a hit single featuring a distinctive instrumental ostinato, was sued by the player of the featured instrument.
The player lost the case on the grounds that although he played every note, every incidental sound, he had never actually played the phrase in question. He was entitled to be recognised as the player,and the performer, but not to any part of the composition royalties.