![]() Doug Wimbish and other session musicians were called upon to play live music on many classic Sugar Hill records. However, instead of 'sampling' the existing record "Good Times" by Chic, Sugar Hill employed a house band, called "Positive Force" to record a copy of "Good Times" which was then rapped over. However, sampling did not truly take off in popular music until the early eighties when pioneering hip hop producers, such as Grandmaster Flash, started to produce Rap records using sampled breaks rather than live studio bands, which had until then been the norm.Ĭonventional wisdom would hold that the first popular rap single to feature sampling was "Rapper's Delight" by Sugar Hill Gang on their own independent Sugar Hill Label in 1979. In the early 70's and early 80's, DJ Kool Herc, who is often credited as the inventor of hip-hop, often looped hard funk break beats at block parties in The Bronx. The Beatles also used the technique on a number of popular recordings in the mid' '60s, including "Yellow Submarine" and "I am the Walrus." Burroughs would record, for instance, a radio broadcast about military action, then dub parts of the broadcast likely at random often stuttering and distorting the original work far beyond comprehension. Burroughs preferred a much more frantic and disorganized sound that would later spawn similar disjointed collage material from modern groups such as negativland. Brion Gysin's work tended to favor his permutation poems as the vehicle for cut-ups with spliced repetition of the same series of words rearranged in every conceivable pattern, frequently utilizing snippets of speeches or news broadcasts. Burroughs were experimenting with the new technology that was tape-recording by manipulating existing works such as radio broadcasts. Sampling existing (copyrighted) recordings using manipulation with tape recorders goes back at least as far as 1961, when James Tenney created Collage #1 ("Blue Suede") from samples of Elvis Presley's recording of the song "Blue Suede Shoes."Īt the time, many artists such as Brion Gysin and William S. ![]() International sampling is governed by agreements such as the Berne Convention for the Protection of Literary and Artistic Works and the WIPO Copyright and Performances and Phonograms Treaties Implementation Act. Some sampling artists fought back, claiming their samples were fair use (a legal doctrine in the USA that is not universal). Early sampling artists simply used portions of other artists' recordings, without permission once rap and other music incorporating samples began to make significant money, the original artists began to take legal action, claiming copyright infringement. Sampling has been an area of contention from a legal perspective. ![]() "Samples" in this sense occur often in industrial music, often using spoken words from movies and TV shows, as well as electronic music (which developed out of the musique concrète style, based almost entirely on samples and sample-like parts), hip hop, developed from DJs repeating the breaks from songs (Schloss 2004, p.36), and contemporary R&B, but are becoming more common in other music as well. Dre, Eminem, Mike Oldfield, Rob Dougan, Coldcut, Depeche Mode and Erasure, and the guitar riffs from Foreigner's "Hot Blooded" in Tone-Loc's "Funky Cold Medina". ![]() Often "samples" consist of one part of a song, such as a break, used in another, for instance the use of the drum introduction from Led Zeppelin's "When the Levee Breaks" in songs by the Beastie Boys, Dr. Sampling is also possible with tape loops or with vinyl records on a phonograph. This is typically done with a sampler, which can be a piece of hardware or a computer program on a digital computer. In music, sampling is the act of taking a portion, or sample, of one sound recording and reusing it as an instrument or a different sound recording of a song. This article is about reusing existing sound recordings in creating new works. i figured it would be best putting it here.
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