Sampling in hip hop began in the 1970s when DJs in the Bronx like Kool Herc would play instrumental sections of songs on vinyl and encourage people to dance. This evolved into adding vocals over the instrumentals. Digital sampling later allowed musicians to manipulate and reuse sound recordings. While sampling revolutionized hip hop music, it also raised legal issues around copyright infringement if samples were used without permission. Courts have ruled that unauthorized sampling is illegal unless it is considered transformative or an insignificant portion of the new work.
This document discusses music sampling in hip hop. It defines copyright and explains that copyright protects original creative works like songs and gives copyright holders exclusive rights for the lifetime of the creator plus 70 years. Sampling involves incorporating portions of prior recordings into new works. While sampling has a history in folk music, it is widely used in hip hop. Producers must obtain permission to use samples due to copyright, otherwise they can face penalties. The document outlines various hardware and software tools used for sampling and techniques employed by famous producers.
CFADW PRESENTATION(Music sampling in hip hop)shirlon
While sampling in hip hop has evolved from using vinyl records to modern digital software, it remains a core element of the genre. Early hip hop artists sampled funk records from the 1970s to create breakbeats and instrumentals. This helped spread exposure to old music, though it sometimes lacked permission from copyright holders. Over time, legal issues arose as sampled music became more commercially successful. While sampling allows old music to find new audiences, it can also be seen as making hip hop less original.
Sampling involves reusing portions of existing sound recordings in new music. It has been practiced since the 1960s in genres like hip hop, electronic music, and disco. Legally, sampling is an area of contention but was found to be fair use in the landmark 1994 Supreme Court case Campbell vs. Acuff-Rose involving 2 Live Crew sampling Roy Orbison. The document discusses various types of samples, famous samples like the "Amen break", legal issues, and both criticism and praise of sampling as an artistic technique.
This document provides definitions for key terms related to sound design and production for computer games. It includes a glossary with over 20 terms defined, each with a short definition and link to the source. The student has also provided details on how several of the terms relate to their own production practice, such as using .wav and .mp3 file formats, MIDI keyboards to create sounds, and sample rates and bit depths when rendering sounds.
This document provides definitions for audio and sound design terms as part of a glossary assignment. It includes:
- Definitions for terms like Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations like mono and stereo audio, audio recording systems, MIDI, software sequencers, plug-ins, and audio sampling concepts.
- For each term, it also provides details on how the definition relates to the student's own production practice, such as how file formats allow easy transfer of audio or how limitations could impact a project.
- The definitions are from online research and each includes a URL source. This glossary is intended to help the student better understand key concepts
A presentation given by Keith Hatschek during the 2013 Pacific Music Business Camp that gives an overview of the entire record production process and concludes with sharing five notable tracks that show some of the key attributes of a well produced popular music recording.
The document is a glossary assignment for a games design course requiring the student to research and define terms related to sound design and production. It contains definitions for over 20 key terms with references, including types of audio file formats (.wav, .mp3, MIDI), hardware components (sound cards, RAM), recording systems (digital, analog, CD), and software (sequencers, plugins). The student provides brief explanations of how each term relates to their own production practice, such as using sample libraries and compression formats to reduce file sizes.
This document summarizes a student's presentation seminar on Ubiquitous Computing Music Making. It discusses Nike Music Shoe installation by artist Daito Manabe as inspiration. The student proposes a music space with four look-alike "instruments" (guitar, drums, flute, piano) placed in different areas, each producing sounds controlled by sensors. Users will challenge each other making music. Contextual studies on Daito Manabe's use of bend sensors, acceleration sensors, Arduino and music software are also summarized.
This document discusses music sampling in hip hop. It defines copyright and explains that copyright protects original creative works like songs and gives copyright holders exclusive rights for the lifetime of the creator plus 70 years. Sampling involves incorporating portions of prior recordings into new works. While sampling has a history in folk music, it is widely used in hip hop. Producers must obtain permission to use samples due to copyright, otherwise they can face penalties. The document outlines various hardware and software tools used for sampling and techniques employed by famous producers.
CFADW PRESENTATION(Music sampling in hip hop)shirlon
While sampling in hip hop has evolved from using vinyl records to modern digital software, it remains a core element of the genre. Early hip hop artists sampled funk records from the 1970s to create breakbeats and instrumentals. This helped spread exposure to old music, though it sometimes lacked permission from copyright holders. Over time, legal issues arose as sampled music became more commercially successful. While sampling allows old music to find new audiences, it can also be seen as making hip hop less original.
Sampling involves reusing portions of existing sound recordings in new music. It has been practiced since the 1960s in genres like hip hop, electronic music, and disco. Legally, sampling is an area of contention but was found to be fair use in the landmark 1994 Supreme Court case Campbell vs. Acuff-Rose involving 2 Live Crew sampling Roy Orbison. The document discusses various types of samples, famous samples like the "Amen break", legal issues, and both criticism and praise of sampling as an artistic technique.
This document provides definitions for key terms related to sound design and production for computer games. It includes a glossary with over 20 terms defined, each with a short definition and link to the source. The student has also provided details on how several of the terms relate to their own production practice, such as using .wav and .mp3 file formats, MIDI keyboards to create sounds, and sample rates and bit depths when rendering sounds.
This document provides definitions for audio and sound design terms as part of a glossary assignment. It includes:
- Definitions for terms like Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations like mono and stereo audio, audio recording systems, MIDI, software sequencers, plug-ins, and audio sampling concepts.
- For each term, it also provides details on how the definition relates to the student's own production practice, such as how file formats allow easy transfer of audio or how limitations could impact a project.
- The definitions are from online research and each includes a URL source. This glossary is intended to help the student better understand key concepts
A presentation given by Keith Hatschek during the 2013 Pacific Music Business Camp that gives an overview of the entire record production process and concludes with sharing five notable tracks that show some of the key attributes of a well produced popular music recording.
The document is a glossary assignment for a games design course requiring the student to research and define terms related to sound design and production. It contains definitions for over 20 key terms with references, including types of audio file formats (.wav, .mp3, MIDI), hardware components (sound cards, RAM), recording systems (digital, analog, CD), and software (sequencers, plugins). The student provides brief explanations of how each term relates to their own production practice, such as using sample libraries and compression formats to reduce file sizes.
This document summarizes a student's presentation seminar on Ubiquitous Computing Music Making. It discusses Nike Music Shoe installation by artist Daito Manabe as inspiration. The student proposes a music space with four look-alike "instruments" (guitar, drums, flute, piano) placed in different areas, each producing sounds controlled by sensors. Users will challenge each other making music. Contextual studies on Daito Manabe's use of bend sensors, acceleration sensors, Arduino and music software are also summarized.
1) The document is a glossary of terms related to sound design and production for computer games. It provides definitions for various terms gathered from online research and describes how each term relates to the author's own production practice.
2) Key terms defined and discussed include file formats like .wav and .mp3, audio hardware like sound cards and MIDI keyboards, recording techniques like sampling and bit depth, and software tools like plug-ins and sequencers.
3) The author explains which terms are relevant to their own work creating sound effects, such as using uncompressed .wav files and stereo/surround sound, and which terms do not apply to their process, like formats for CDs/DVDs.
This document provides guidance on using audio in computer-assisted language learning (CALL). It discusses best practices for recording, formatting, and storing audio files to be used in CALL projects. Key recommendations include using mp3 format, sampling rates of 22 kHz, and bit rates of 16 bits or higher. The document also covers issues to consider for audio content, such as appropriate language styles for the learner group, clear instructional focus, and avoiding outdated or regionally specific language. Overall, the document aims to help educators create high-quality audio files and select appropriate audio content for CALL.
Will AI produce really good music or even music that is merely a commercial success in the moment? Can computer brains put composers and musicians out of business? Is the day of amazing guitarists like Jimi Hendrix gone, replaced by computer generated perfection guaranteed to gain the widest possible audience?
1) The author tried to create evolutionary music by generating intermediate 10 second audio samples that moved from an initial sample towards a target sample using different arrangements of notes, but the initial attempts failed to produce good results.
2) The second attempt used Python for its audio libraries but a homebrew evolutionary algorithm still only generated noise and got stuck in local minima.
3) A third try using a genetic algorithm library still failed with the program terminating early due to average fitness, likely because the author lacked knowledge of music theory needed to evaluate fitness.
This document provides a glossary of terms related to sound design and production for computer games. It includes definitions for over 20 key terms sourced from online references. For each term, the student provided the researched definition and URL source, and in many cases also described how the term relates to their own production practice. The terms cover areas such as foley artistry, sound file formats, audio limitations, recording systems, sampling, and more.
The document is a glossary created by Robert Hillard-Linney for a unit on sound design and production. It contains definitions for over 20 key terms related to sound design methodology, file formats, audio limitations, audio recording systems, audio sampling, and MIDI instruments. Each definition includes a short researched definition from an online source and Robert's description of how the term relates to his own production practice.
This integrated media series is about my interest in the field of audio recording and the technologies surrounding the possibility of creating a studio at home, something that would have been seen as impossible 50, 40 or even 30 years ago. Home recording has revolutionized the way music can be captured and shared by anyone from the beginning amateur to the serious professional.
This document provides definitions for key terms related to sound design and production. It includes a glossary with over 20 terms defined, each with a short definition and URL for reference. Examples of defined terms include Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations like sound cards, digital audio techniques like PCM, audio recording systems such as analog and digital, MIDI, software sequencers, and concepts of audio sampling like bit-depth and sample rate. For many terms, the document also provides a brief description of how the term relates to the author's own production practice.
Creating a Remix w/ D.Satori (2/16/18)Danny Satori
Creating a Remix w/ D.Satori (2/16/18)
Presented by D. Satori | www.dannysatori.com
Hosted by Mmmmaven | http://mmmmaven.com/
Have you ever heard a track, and wanted to give it a twist with a fresh, unique sound? If so, please join us on Friday, the 16th of November, as D.Satori shares his global approach to creating the ultimate remix. From conceptualization to execution, D will deconstruct the different levels of building harmonic/melodic motifs, quick tips for Ableton Live workflow, and deconstructing select reference tracks. Open to all levels from Beginner to Advanced, with a Q&A session to follow.
Whether it be performing live electronica at the Ableton Loop Conference in Funkhaus Berlin or hybrid DJ sets for ToUch Performance Art’s AcousticaElectronica, D.Satori is no stranger to artistic expression. Having been a featured artist on imprints such as Teknofonic Recordings (NYC) & Krafted Digital (London), D loves to share his passion for musicianship and advocates for the transcendent power of musical education. For more information, please visit www.dannysatori.com.
Level: Beginner - Advanced
The EMS Musys system was the first digital sampler, developed in the late 1960s using two PDP-8 mini computers with 12k of memory. The Fairlight CMI, designed in 1979, was an early digital sampling synthesizer that used recorded sounds as starting points due to limitations of earlier synthesizers. The SP-1200 became iconic for hip hop due to allowing artists to construct full songs on a portable device.
A history of reverb in music productionPaulo Abelho
Reverb has played an important role in music production throughout history. Early techniques included natural reverb captured in recording spaces and echo rooms. Mechanical reverb systems like spring and plate reverbs provided more control and flexibility. Digital reverb systems later used algorithms to recreate reverb digitally. Modern software reverb plugins now provide powerful and realistic reverb effects.
The document provides a vision for the future of the music industry from the perspective of Finbar O'Hanlon based on his 15 years of experience in digital music and media. It analyzes problems facing the industry like declining revenues despite increased consumption. It argues that measuring and controlling access to music is key, and proposes a solution of removing music data from files to make them access tokens that can track every play. This would make access universal, controlled, measurable and valuable again while protecting artists' works and IP. The solution is to build a system with these principles in mind.
The document discusses the history of sound recording and playback technology from the late 19th century to modern times. It focuses on how technology evolved in the 1990s, enabling home recording. This posed challenges and opportunities for audio engineers to adapt to new software and non-traditional recording environments. The role of an audio engineer is outlined, requiring skills like operating equipment, achieving balance, and strong communication to record artists effectively.
Hip-hop sampling originated in the Bronx in the 1970s and involves using sounds from other songs to create new instrumentals. Early samplers included the Chamberlin 100 and Mellotron, while the AKAI MPC2000 became popular in 1997. Sampling is commonly used to create back beats for rap, R&B, and hip-hop songs. However, it can raise legal issues around copyright infringement, as seen in one of the earliest cases involving James Tenney. The document concludes that most hip-hop songs today still incorporate sampling, while noting the importance of obtaining rights to avoid legal problems.
Hip hop sampling originated in the 1970s in the Bronx and involves using portions of existing songs to create new music. Early sampling was done using turntables and machines like the Chamberlin 100 and Melotran to extract and loop sounds. While sampling fueled the success of many hip hop, R&B, and rap songs, it also led to legal issues around copyright infringement. The presentation provides an overview of the history and techniques of hip hop sampling as well as some of its most recognizable uses and legal challenges.
This is a presentation I made (in French) at the Siestes Electroniques Music Festival in Toulouse, in June 2013.
It starts with a brief history of music distribution and then gets into to the details of digital music and streaming
Primitive rituals and early theatre in China and India utilized simple instruments and music to accompany performances. The Greeks emphasized the actor's voice and used music and amphitheatre acoustics. During the Renaissance, music was used between scenes and for effects. Realism in the late 1800s required practical effects. The phonautograph, phonograph, tape recording and digital audio advanced sound recording technology. Cinema incorporated optical then magnetic film sound. Theatre initially used shellac records then tapes for effects but technology was unreliable until digital audio provided greater control for sound designers by the 1990s.
The document outlines the timeline of key developments in turntables and recorded sound technology from 1857 to present day. Some of the major developments include:
- 1857: Édouard-Léon Scott de Martinville invents the phonautograph, the first device capable of recording sound.
- 1877: Thomas Edison invents the phonograph, the first device capable of both recording and playback of sound.
- 1950s: The vinyl record is invented, allowing for longer playback times and better sound quality compared to earlier materials like shellac.
- 1972: Technics releases the direct-drive Technics SL-1200 turntable, setting the standard for DJ and studio tur
Electronic music developed from early experiments in the 19th century to mechanically record and reproduce sounds. Thomas Edison's phonograph, which could both record and playback sound, marked the beginning of sound recording. Later inventors like Thaddeus Cahill developed early electronic music synthesizers. Modern electronic music uses digital instruments like samplers, synthesizers, drum machines, and sequencers to produce a wide variety of genres like house, techno, ambient, and others.
Electronic music developed from early experiments in the 19th century to mechanically record and reproduce sounds. Thomas Edison's phonograph, which could both record and playback sound, marked the beginning of sound recording. Later inventors like Thaddeus Cahill developed early electronic music synthesizers. Modern electronic music uses digital instruments like synthesizers, drum machines, samplers, and sequencers to produce a wide variety of genres including house, techno, ambient, and others.
1. Hip hop is not the new pop, as pop music incorporates hip hop elements but remains pop, while hip hop maintains its identity though it has become more popular.
2. It is acceptable to mix hip hop with electronic music, as hip hop can be blended with many genres, as long as it is done skillfully.
3. The interviewee is skeptical of auto-tune overuse but acknowledges hip hop has benefited from expanding its audience through fusion with electronic music, which electronic fans now have some appreciation for hip hop artists through.
this is an introduction about music production using new technologies and how one can be a music producer using the given 8 steps...enjoy!!... and send your feedbacks...
1) The document is a glossary of terms related to sound design and production for computer games. It provides definitions for various terms gathered from online research and describes how each term relates to the author's own production practice.
2) Key terms defined and discussed include file formats like .wav and .mp3, audio hardware like sound cards and MIDI keyboards, recording techniques like sampling and bit depth, and software tools like plug-ins and sequencers.
3) The author explains which terms are relevant to their own work creating sound effects, such as using uncompressed .wav files and stereo/surround sound, and which terms do not apply to their process, like formats for CDs/DVDs.
This document provides guidance on using audio in computer-assisted language learning (CALL). It discusses best practices for recording, formatting, and storing audio files to be used in CALL projects. Key recommendations include using mp3 format, sampling rates of 22 kHz, and bit rates of 16 bits or higher. The document also covers issues to consider for audio content, such as appropriate language styles for the learner group, clear instructional focus, and avoiding outdated or regionally specific language. Overall, the document aims to help educators create high-quality audio files and select appropriate audio content for CALL.
Will AI produce really good music or even music that is merely a commercial success in the moment? Can computer brains put composers and musicians out of business? Is the day of amazing guitarists like Jimi Hendrix gone, replaced by computer generated perfection guaranteed to gain the widest possible audience?
1) The author tried to create evolutionary music by generating intermediate 10 second audio samples that moved from an initial sample towards a target sample using different arrangements of notes, but the initial attempts failed to produce good results.
2) The second attempt used Python for its audio libraries but a homebrew evolutionary algorithm still only generated noise and got stuck in local minima.
3) A third try using a genetic algorithm library still failed with the program terminating early due to average fitness, likely because the author lacked knowledge of music theory needed to evaluate fitness.
This document provides a glossary of terms related to sound design and production for computer games. It includes definitions for over 20 key terms sourced from online references. For each term, the student provided the researched definition and URL source, and in many cases also described how the term relates to their own production practice. The terms cover areas such as foley artistry, sound file formats, audio limitations, recording systems, sampling, and more.
The document is a glossary created by Robert Hillard-Linney for a unit on sound design and production. It contains definitions for over 20 key terms related to sound design methodology, file formats, audio limitations, audio recording systems, audio sampling, and MIDI instruments. Each definition includes a short researched definition from an online source and Robert's description of how the term relates to his own production practice.
This integrated media series is about my interest in the field of audio recording and the technologies surrounding the possibility of creating a studio at home, something that would have been seen as impossible 50, 40 or even 30 years ago. Home recording has revolutionized the way music can be captured and shared by anyone from the beginning amateur to the serious professional.
This document provides definitions for key terms related to sound design and production. It includes a glossary with over 20 terms defined, each with a short definition and URL for reference. Examples of defined terms include Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations like sound cards, digital audio techniques like PCM, audio recording systems such as analog and digital, MIDI, software sequencers, and concepts of audio sampling like bit-depth and sample rate. For many terms, the document also provides a brief description of how the term relates to the author's own production practice.
Creating a Remix w/ D.Satori (2/16/18)Danny Satori
Creating a Remix w/ D.Satori (2/16/18)
Presented by D. Satori | www.dannysatori.com
Hosted by Mmmmaven | http://mmmmaven.com/
Have you ever heard a track, and wanted to give it a twist with a fresh, unique sound? If so, please join us on Friday, the 16th of November, as D.Satori shares his global approach to creating the ultimate remix. From conceptualization to execution, D will deconstruct the different levels of building harmonic/melodic motifs, quick tips for Ableton Live workflow, and deconstructing select reference tracks. Open to all levels from Beginner to Advanced, with a Q&A session to follow.
Whether it be performing live electronica at the Ableton Loop Conference in Funkhaus Berlin or hybrid DJ sets for ToUch Performance Art’s AcousticaElectronica, D.Satori is no stranger to artistic expression. Having been a featured artist on imprints such as Teknofonic Recordings (NYC) & Krafted Digital (London), D loves to share his passion for musicianship and advocates for the transcendent power of musical education. For more information, please visit www.dannysatori.com.
Level: Beginner - Advanced
The EMS Musys system was the first digital sampler, developed in the late 1960s using two PDP-8 mini computers with 12k of memory. The Fairlight CMI, designed in 1979, was an early digital sampling synthesizer that used recorded sounds as starting points due to limitations of earlier synthesizers. The SP-1200 became iconic for hip hop due to allowing artists to construct full songs on a portable device.
A history of reverb in music productionPaulo Abelho
Reverb has played an important role in music production throughout history. Early techniques included natural reverb captured in recording spaces and echo rooms. Mechanical reverb systems like spring and plate reverbs provided more control and flexibility. Digital reverb systems later used algorithms to recreate reverb digitally. Modern software reverb plugins now provide powerful and realistic reverb effects.
The document provides a vision for the future of the music industry from the perspective of Finbar O'Hanlon based on his 15 years of experience in digital music and media. It analyzes problems facing the industry like declining revenues despite increased consumption. It argues that measuring and controlling access to music is key, and proposes a solution of removing music data from files to make them access tokens that can track every play. This would make access universal, controlled, measurable and valuable again while protecting artists' works and IP. The solution is to build a system with these principles in mind.
The document discusses the history of sound recording and playback technology from the late 19th century to modern times. It focuses on how technology evolved in the 1990s, enabling home recording. This posed challenges and opportunities for audio engineers to adapt to new software and non-traditional recording environments. The role of an audio engineer is outlined, requiring skills like operating equipment, achieving balance, and strong communication to record artists effectively.
Hip-hop sampling originated in the Bronx in the 1970s and involves using sounds from other songs to create new instrumentals. Early samplers included the Chamberlin 100 and Mellotron, while the AKAI MPC2000 became popular in 1997. Sampling is commonly used to create back beats for rap, R&B, and hip-hop songs. However, it can raise legal issues around copyright infringement, as seen in one of the earliest cases involving James Tenney. The document concludes that most hip-hop songs today still incorporate sampling, while noting the importance of obtaining rights to avoid legal problems.
Hip hop sampling originated in the 1970s in the Bronx and involves using portions of existing songs to create new music. Early sampling was done using turntables and machines like the Chamberlin 100 and Melotran to extract and loop sounds. While sampling fueled the success of many hip hop, R&B, and rap songs, it also led to legal issues around copyright infringement. The presentation provides an overview of the history and techniques of hip hop sampling as well as some of its most recognizable uses and legal challenges.
This is a presentation I made (in French) at the Siestes Electroniques Music Festival in Toulouse, in June 2013.
It starts with a brief history of music distribution and then gets into to the details of digital music and streaming
Primitive rituals and early theatre in China and India utilized simple instruments and music to accompany performances. The Greeks emphasized the actor's voice and used music and amphitheatre acoustics. During the Renaissance, music was used between scenes and for effects. Realism in the late 1800s required practical effects. The phonautograph, phonograph, tape recording and digital audio advanced sound recording technology. Cinema incorporated optical then magnetic film sound. Theatre initially used shellac records then tapes for effects but technology was unreliable until digital audio provided greater control for sound designers by the 1990s.
The document outlines the timeline of key developments in turntables and recorded sound technology from 1857 to present day. Some of the major developments include:
- 1857: Édouard-Léon Scott de Martinville invents the phonautograph, the first device capable of recording sound.
- 1877: Thomas Edison invents the phonograph, the first device capable of both recording and playback of sound.
- 1950s: The vinyl record is invented, allowing for longer playback times and better sound quality compared to earlier materials like shellac.
- 1972: Technics releases the direct-drive Technics SL-1200 turntable, setting the standard for DJ and studio tur
Electronic music developed from early experiments in the 19th century to mechanically record and reproduce sounds. Thomas Edison's phonograph, which could both record and playback sound, marked the beginning of sound recording. Later inventors like Thaddeus Cahill developed early electronic music synthesizers. Modern electronic music uses digital instruments like samplers, synthesizers, drum machines, and sequencers to produce a wide variety of genres like house, techno, ambient, and others.
Electronic music developed from early experiments in the 19th century to mechanically record and reproduce sounds. Thomas Edison's phonograph, which could both record and playback sound, marked the beginning of sound recording. Later inventors like Thaddeus Cahill developed early electronic music synthesizers. Modern electronic music uses digital instruments like synthesizers, drum machines, samplers, and sequencers to produce a wide variety of genres including house, techno, ambient, and others.
1. Hip hop is not the new pop, as pop music incorporates hip hop elements but remains pop, while hip hop maintains its identity though it has become more popular.
2. It is acceptable to mix hip hop with electronic music, as hip hop can be blended with many genres, as long as it is done skillfully.
3. The interviewee is skeptical of auto-tune overuse but acknowledges hip hop has benefited from expanding its audience through fusion with electronic music, which electronic fans now have some appreciation for hip hop artists through.
this is an introduction about music production using new technologies and how one can be a music producer using the given 8 steps...enjoy!!... and send your feedbacks...
Real Time Drum Augmentation with Physical ModelingBen Eyes
This document discusses augmenting acoustic drums with physical modeling to create new sounds and performances. It summarizes previous research that used convolution or spectral processing to digitally process drum sounds. The author then describes his own project that uses a physical model of strings as a VST plugin to process drum sounds from a snare drum and rototoms in real time. An interview with the percussionist discusses the collaborative composition process and how playing with the system required experimenting with extended techniques. The author concludes that future work will involve developing their own drum models and exploring new interfaces like facial recognition to control sound parameters.
The synthesizer for A2 music tech studentsmusic_hayes
The document discusses the history and evolution of synthesizers from early electronic instruments like the Theremin to modern digital synths. It covers important analog synths like the Minimoog and Prophet-5, early digital synths like the Yamaha DX7 and Roland D-50 that used new synthesis methods, and how sampling synths like the Korg M1 allowed realistic sounds. The document provides examples of classic synths and how they were used to shape popular music genres.
Recording technology has evolved significantly over time. Early devices like the phonograph used wax cylinders to record sound mechanically by tracing sound waves. The development of magnetic tape and digital technology improved recording quality and allowed for multi-track recording. Now, high quality multi-track recording can be done on portable devices small enough to fit in your hand.
The document discusses the relationship between electronic dance music and drugs, specifically ecstasy. It notes that different genres of music have historically been associated with different drugs, such as jazz with opium in the 1940s and psychedelic rock with LSD in the 1960s. In the late 1980s and early 1990s, ecstasy became closely linked with the emerging genres of techno, house, acid house, and rave culture. Electronic dance music and ecstasy developed a strong bond, as ecstasy use was rampant at the electronic music performances of the time and influenced the music. Without ecstasy, it is argued that electronic dance music, raves, and rave culture would not have developed in
House music originated in Chicago in the 1980s and is characterized by repetitive 4/4 beats centered around drum machines. It grew popular in the mid-1980s and by 2012 became the most popular form of dance music worldwide. Common instruments used in house music include samplers, drum machines, synthesizers, turntables, sequencers, and personal computers.
1. Name: Shirlon Charles<br />Date: April/ 13/2011<br />Topic: Music Sampling in Hip Hop<br />Introduction: <br />To understand sampling in hip hop you must first understand what hip hop is and the history of hip hop. Hip hop is a culture or a way of life. When most people hear the term “hip hop” the first thing that comes to mind is music; mostly drums with a heavy baseline with the addition of a few keyboard notes mixed in every so often with someone talking in rhymes or “rapping” in timing to the beat, but hip hop is much more than that. Hip hop is art, dance, and fashion and of course music. <br />History: <br />. Rap was born as an incestuous inter-cultural phenomenon of New York's poor suburbs. Rap music was an evolution of Jamaica's dub music, whereby the rapper would record his voice over a pre-recorded base of percussions, bass and horns. In 1975 a Jamaican immigrant living in the Bronx New York named Clive “Hercules” Campbell or DJ “kool Herc”as he was also known as. Kool Herc was already familiar with “toasting” a reggae artist talking in rhymes over an instrumental section of a record. Playing at block parties in the Bronx, Kool Herc experimented with the toasting but this time, instead of reggae instrumental he used music from James Brown, Marvin Gaye and other soul, jazz and rhythm and blues recording artist. <br />Kool Hercquot;
, started making that music with two turntables out of breakbeats (the instrumental breaks of a song that focused on the rhythm section, the favourite part of the song for most dancers), while another young man of the Bronx, Theodore quot;
Grand Wizardquot;
Livingstone was accidentally discovering quot;
skratchingquot;
. Skatching is a DJ or turntablist technique used to produce distinctive sounds by moving a vinyl record back and forth on a turntable while optionally manipulating the cross fader on a DJ mixer) sound of a turntable. The technical foundations of rap and hip-hop music were laid by these two people. (www.wikipedia.org/DJtechnique)<br />The precursors of rap were disc-jockeys, or quot;
spinnersquot;
, who used the technique to comment on the song or to incite to the crowd to dance. The idea of altering the instrumental score originated from the need to provide non-stop dance tracks, but it evolved as disc-jockeys began to pronounce more pretentious slogans that became the equivalent. In hip hop this is where “sampling “started. (Taken from an unidentified online source through a www.Google.com search).<br />Sampling: <br />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. <br />This is typically done with a sampler, which is a hardware or software device that records an analogue sound signal as digital information, and offers detailed ways of processing and reconfiguring this recorded sound. Samplers are connected to other instruments in the studio via MIDI (Musical Instrument Digital Interface), a specification developed by synthesizer manufacturers in the early 1980s that, put simply, allows digital instruments to exchange information and operate in sync with each other. In most electronic music studios, a MIDI sequencer and/or multitrack recording device are used to arrange samples with other audio components to make a complete track or song.<br />Sampling is also possible with tape loops or with vinyl records on a phonograph. Often samplers offer filters, modulation via low frequency oscillation and other synthesizer-like processes that allow the original sound to be modified in many different ways. Most samplers have polyphonic capabilities - they are able to play more than one note at the same time. Many are also multitimbral - they can play back different sounds at the same time. Prior to computer memory-based samplers, musicians used tape replay keyboards, which store recordings on analog tape. When a key is pressed the tape head contacts the tape and plays a sound. The Mellotron was the most notable model, used by a number of groups in the late 1960s and the 1970s, but such systems were expensive and heavy due to the multiple tape mechanisms involved, and the range of the instrument was limited to three octaves at the most. To change sounds a new set of tapes had to be installed in the instrument. The emergence of the digital sampler made sampling far more practical. The first digital sampler was the EMS Musys system, developed by Peter Grogono (software), David Cockerell (hardware and interfacing) and Peter Zinovieff (system design and operation) at their London (Putney) Studio c. 1969. The system ran on two mini-computers, Digital Equipment’s PDP-8s. These had 12,000 (12k) bytes of read-only memory, backed up by a hard drive of 32k and by tape storage (DecTape). EMS equipment was used to control the world's first digital studio.<br />The first commercially available sampling synthesizer was the Computer Music Melodian by Harry Mendell (1976), while the first polyphonic digital sampling synthesiser was the Australian-produced Fairlight CMI, first available in 1979. The E-mu SP-1200 percussion sampler progressed Hip-Hop away from the drum machine sound upon its release in August 1987, ushering in the sample-based sound of the late 1980s and early 1990s. Akai pioneered many processing techniques, such as crossfade looping and quot;
time stretchquot;
to shorten or lengthen samples without affecting pitch and vice versa.<br />During the 1980s hybrid synthesizers began to utilize short samples (such as the attack phase of an instrument) along with digital synthesis to create more realistic imitations of instruments than had previously been possible. Examples are Korg M1, Korg O1/W and the later Korg Triton and Korg Trinity series, Yamaha's SY series and the Kawai K series of instruments. Limiting factors at the time were the cost of physical memory (RAM) and the limitations of external data storage devices, and this approach made best use of the tiny amount of memory available to the design engineers.<br />The modern-day music workstation uses sampling as the basis of its sounds, whether simple playback or complex editing that matches all but the most advanced dedicated samplers, and also includes features such as a sequencer. Samplers, together with traditional Foley artists, are the mainstay of modern sound effects production. Using digital techniques various effects can be pitch-shifted and otherwise altered in ways that would have required many hours when done with tape. <br /> (http://en.wikipedia.org/wiki/Sampling_(music)<br />Video tutorial of how to sample in music: ( I intend to add a youtube video here)<br />Video from youtube.com: In this video the guys explains sampling and the different machines or instruments that can be used. He uses turntables to demonstrate how looping and chopping is done. http://www.sciencefriday.com/program/archives/201101287<br />Legal Debate: <br />Most critics of on the use of samplers do not see sampling as a creative process and focus on the dissolution of boundaries between human-generated and automated musical expression, and focus on the copyright infringement issues surrounding sampling practices. With the increasing convergence of tools in software studios, as well as with synthesizer manufacturers’ continual development of multi-functional hardware instruments, it is often difficult to isolate the sampler as a discrete object in the studio. A producer with a software studio may, for example, use several different software programs for the sampling process, such as a dedicated software sampler in conjunction with a sound editing program and digital signal processing (DSP) effects plug-ins. Likewise, hardware samplers often perform multiple tasks in the studio: sequencing, synthesis, and effects processing as well as sampling.<br />It is well documented that sampling is not a new musical practice, roots of sampling extend throughout Afrodiasporic musical practices, including Caribbean ‘dub and reggae production techniques. However it has come more mainstream with the hip hip and has caused much a debate as to wether it is stealing or a creative process . The courts have ruled that Sampling music, unless in the public domain is illegal if permission is not given from the recorded artist or whoever owns the copyrights to the music.<br />The most talked about case is the ruling in 1991 by Judge Kevin Thomas Duffy in which ruled against the sometimes blatant unauthorized sampling that characterized some hip hop music; “Thou shalt not steal” the judge said in a case between The Grand Upright Music Ltd vs. Warner Bros. Records, a decision that many would hope would give some clarity the uncertain legal implications of sampling. The judge concluded that Biz Markie and his record label infringe the copyright in the Gilbert O’Sullivan composition that the rapper sampled without permission. <br />(http://www.lavelysinger.com/digital_sampling.pdf)<br />Hip Hop artist have taken the position that it is a context issues, because not every sample is a large part of a song. They may take a small insignificant sound from a record and then slow it down and add 30 other sounds on top of it .At this point it is not a recognizable sample .This is different then taking a huge part from a hit song that everyone knows such as the Biz Markie case where the whole song by Gilbert O’sullivan is used. - Beastie Boyshttp://wwwwired.com/wired/archive/12.11/beastie.html.<br />Hip hop artist see the sampler and other digital instsurments as new type of instrument to be learned and explored. The sampling process encompasses selecting, recording, editing and processing sound pieces to be incorporated into a larger musical work. With the increasing number of tools and software available it is difficult to to isolate the sampler as a discrete object in the studio. Samples themselves must be analysed as highly aestheticised digital bits with a specific musical function within the context of a particular sequence or mix. The historical and cultural circumstances of a sample’s source, and the politics of its reconfiguration into ongoing, evolving sonic environments (such as DJ mixes or remixed recordings) are likewise essential to how sample-based music is interpreted. They argue that sampling as a complex musical process ,, The gathering and manipulation of samples is one of the most time-consuming (and thus, central) aspects of electronic music production. <br />Prince Be Softly of PM Dawn has compared hip hop production with writing songs on a guitar, arguing that ‘it can take more time to find the right sample than to make up a riff’ (Rose 1994: 79). In addition, because there are many similarities, and even direct overlaps, between a producer’s sampling process and a DJ’s process of weaving together myriad audio components into an overall mix, it can be argued that any musicological inquiry into electronic music and digital culture demands a thorough understanding of the sampling process.<br />Sampling has become much more pervasive throughout all music genres, largely due to rap producers’ pioneering uses of the sampler in the 1980s and 1990s. Rose writes, ‘prior to rap, the most desirable use of the sample was to mask the sample and its origin; to bury its identity. Rap producers have inverted this logic . Many hip hop producers favour Akai’s MPC samplers for their touch-sensitive pads – a<br />unique feature that facilitates expressive beat programming (Rose 1994: 76–7; hwseq-list, 3 July 2000).<br />The repetitive gestures associated with making music on digital instruments<br />can even serve as a source of musical inspiration. <br />Conclusion: <br />Samples have a certain relatity, it does not just take the sound, it is the whole way in which it was recorded. What we see emerging is an ongoing interplay between a musician and machine where the goal is a mutual musical spontaneity that will articulate a ‘human feel’ through a digital tool. <br />Although the culture of hip hop was created to be different and original; hip hop music is anything but that. It has evolved from focusing principally on musicianship and performance into an auditory collage where no sound is off limits. From its origin, inventors used the music of recordings to create this dynamic force it is today. With that being said I think there are pros and cons to sampling in hip hop. Pros: It allows old music that has been created in the 50s, 60s and 70s that might not have being heard on mainstream radio or media to be brought to the spot light. It also allows the original artist or copyright holder to earn royalties on the music. Cons: It takes away the authenticity of the original recording and makes hip hop music even more unoriginal. It can end up being very costly. In my opinion sampling in hip hop will always be part of the music as more savvy electronic and digital equipment is developed.<br />References:<br /> http://www.lavelysinger.com/digital_sampling.pdf<br />http://www.sciencefriday.com/program/archives/201101287<br />(http://en.wikipedia.org/wiki/Sampling_(music)<br />www.wikipedia.org/DJ<br />Boyshttp://wwwwired.com/wired/archive/12.11/beastie.html.<br />(http://www.lavelysinger.com/digital_sampling.pdf)<br />