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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 ...
The Akai MPC60, released in 1988, went on to become the most influential sampler in hip hop music. [14] That same year, the Ensoniq EPS – the successor to the Mirage – was launched and was the first sampling keyboard which was designed specifically for live performance rather being a purely studio based tool as most samplers had been hitherto.
Upon its release, hip-hop producers embraced sampling loops and musical phrases such as breaks in addition to individual drum sounds with SP-1200. [ 3 ] [ 6 ] [ 29 ] [ 30 ] [ 24 ] [ 32 ] Early adopters soon innovated with techniques beyond looping by combining SP-1200's truncation and sequencing features to slice (or "chop") samples of drums ...
Hip hop does not simply draw inspiration from a range of samples, but it layers these fragments into an artistic object. If sampling is the first level of hip hop aesthetics, how the pieces or elements fit together constitute the second level. Hip hop emphasizes and calls attention to its layered nature.
Sampledelia features "disorienting, perception-warping" manipulations of audio samples or found sounds via techniques such as chopping, looping or stretching. [2] [3] Sampladelic techniques have been applied prominently in styles of electronic music and hip hop, [4] such as trip hop, jungle, post-rock, and plunderphonics. [5]
The MPC was designed by Roger Linn (pictured in 2010), who also created the LinnDrum.. By the late 1980s, drum machines had become popular for creating beats and loops without instrumentalists, and hip hop artists were using samplers to take portions of existing recordings and create new compositions. [1]