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Sampling is one of the foundations of hip hop, which emerged in the 1980s. [34] Hip hop sampling has been likened to the origins of blues and rock, which were created by repurposing existing music. [24] The Guardian journalist David McNamee wrote that "two record decks and your dad's old funk collection was once the working-class black answer ...
Sampling is one of the biggest aspects of hip hop and rap, and these types of records provide breaks for artists to use in their songs. [15] Examples of rare groove samples, such as Eazy-E's "Eazy Duz It" [16] (which samples the Detroit Emeralds, Bootsy Collins, Funkadelic, Isley Brothers, Sly and the Family Stone, the Temptations and even Richard Pryor), can be found in modern hip hop ...
Several other sampling rates were also used in early digital audio. A 50 kHz sample rate, used by Soundstream in the 1970s, following a 37 kHz prototype. In the early 1980s, a 32 kHz sampling rate was used in broadcast (esp. in UK and Japan), because this is sufficient for FM stereo broadcasts, which have 15
Plunderphonics is a music genre in which tracks are constructed by sampling recognizable musical works. The term was coined by composer John Oswald in 1985 in his essay "Plunderphonics, or Audio Piracy as a Compositional Prerogative", [ 1 ] and eventually explicitly defined in the liner notes of his Grayfolded album.
The first commercially available sampling synthesizer was the Computer Music Melodian by Harry Mendell (1976), while the first polyphonic digital sampling synthesizer was the Australian-produced Fairlight CMI, first available in 1979. These early sampling synthesizers used wavetable sample-based synthesis. [8]
The Warner/Reprise Loss Leaders were a series of promotional sampler compilation albums released by Warner Bros. Records throughout the 1970s. Each album (usually a 2-record set) contained a wide variety of tracks by artists under contract to Warner Bros. and its subsidiary labels (primarily Reprise Records); often these were singles, B-sides, non-hit album tracks, or otherwise obscure ...
The studio practices of the Beatles evolved during the 1960s and, in some cases, influenced the way popular music was recorded. Some of the effects they employed were sampling, artificial double tracking (ADT) and the elaborate use of multitrack recording machines. They also used classical instruments on their recordings and guitar feedback.
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