Sonic State - News (Video Item) New Series: The Art Of Sampling, Part 1: The Pioneers Of Sampling. Remix Culture. The ecstasy of influence: A plagiarism, By Jonathan Lethem (Harper's Magazine) What is your sampling epiphany? Sampling is weird.
We're so used to it, it's been such a commonplace part of pop music for so long (since the late 1980s), that it's easy to lose sight of what a peculiar thing it is. Although sampling is often compared with collage, I think there's a profound difference which relates to the added dimension of time that music inhabits. With recorded music, however much it's doctored and enhanced through studio techniques (multitracking, overdubs etc), there generally remains a kernel of life inside it; what you are hearing is a sequence of human actions happening in real-time.
(I'm talking about played music here, as opposed to programmed music. But it is overwhelmingly the case that played music is what gets sampled – music of the 70s particularly, when analogue recording quality was at its peak but drum machines and sequencers had yet to replace tight rhythm sections.) The sample-source album isn't a brand new idea. This dilemma is unique to pop music of the post-sampling era.
Www.the-breaks.com, AKA The (Rap) Sample FAQ. Hz #9 - Behind Technology: Sampling, Copyleft, Wikipedia, and Transformation of Authorship and Culture in Digital Media. Introduction In the digital environment where our intellectual and creative works are created and stored in unified digit format and can thereby be transferred or copied as 0-1 information, the ease of making digital duplicates quickly found its way into the sampling culture.
Today the term "sampling" is identifiable with digital sampling. Another computer feature, namely the ease of updating web sites by erasing, rewriting or replacing its contents, resulted in fluid publishing, bringing collaborative authoring such as Wikipedia into its existence while making the Internet virtually a space for open creative collaboration. Composed as a free journey with its starting point in sampling, this essay attempts to provide a brief summary of several relevant issues. The first part examines the history of sampling, touching upon its relation to appropriation and postmodern criticism. I. 1. In art, the technique "sampling" can be traced under various names. 2. 3. II. 1. 2. Essay. Musical instruments produce sounds.
Composers produce music. Musical instruments reproduce music. Tape recorders, radios, disc players, etc., reproduce sound. A device such as a wind-up music box produces sound and reproduces music. A phonograph in the hands of a hip hop/scratch artist who plays a record like an electronic washboard with a phonographic needle as a plectrum, produces sounds which are unique and not reproduced - the record player becomes a musical instrument. Free samples These new-fangled, much-talked-about digital sound sampling devices, are, we are told, music mimics par excellence, able to render the whole orchestral panoply, plus all that grunts, or squeaks. Some of you, current and potential samplerists, are perhaps curious about the extent to which you can legally borrow from the ingredients of other people's sonic manifestations.
Can the sounding materials that inspire composition be sometimes considered compositions themselves? The Commerce of Noise.