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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 use of found objects in music takes one of two general forms: either objects are deliberately recorded, with their sound used directly or in processed form, or previous recordings are sampled for use as part of a work (the latter often being referred to simply as "found sound" or "sampling").
The samples can be played back by means of the sampler program itself, a MIDI keyboard, sequencer or another triggering device (e.g., electronic drums). Because these samples are usually stored in digital memory, the information can be quickly accessed. A single sample may be pitch-shifted to different pitches to produce musical scales and chords.
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In the 1970s, hip-hop music typically used samples from funk and later, from disco. The mid-1980s marked a paradigm shift in the development of hip-hop, with the introduction of samples from rock music, as demonstrated in the albums King of Rock and Licensed to Ill. Hip-hop prior to this shift is characterized as old-school hip hop.
The Holy Book of Hip-Hop was a catalogue of musical samples used in hip-hop music, published in 2001 by Black Glove Publishing. The Los Angeles Times has identified its origins as an illicit print version of Blaine Armsterd's "Sampling FAQ", which was itself compiled from Armsterd's own record collection, from liner notes, and from posts to Usenet. [1]
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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.