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id="toc-De_minimis_use-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> </ul> </li> <li id="toc-See_also" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#See_also"> <div class="vector-toc-text"> <span class="vector-toc-numb">5</span> <span>See also</span> </div> </a> <ul id="toc-See_also-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> <span class="vector-toc-numb">6</span> <span>External links</span> </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> <span class="vector-toc-numb">7</span> <span>References</span> </div> 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Available in 28 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-28" aria-hidden="true" ><span class="vector-icon mw-ui-icon-language-progressive mw-ui-icon-wikimedia-language-progressive"></span> <span class="vector-dropdown-label-text">28 languages</span> </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-ar mw-list-item"><a href="https://ar.wikipedia.org/wiki/%D8%A3%D8%AE%D8%B0_%D8%A7%D9%84%D8%B9%D9%8A%D9%86%D8%A7%D8%AA_%D8%A7%D9%84%D9%85%D9%88%D8%B3%D9%8A%D9%82%D9%8A%D8%A9" title="أخذ العينات الموسيقية – Arabic" lang="ar" hreflang="ar" data-title="أخذ العينات الموسيقية" data-language-autonym="العربية" data-language-local-name="Arabic" class="interlanguage-link-target"><span>العربية</span></a></li><li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/Sampleig" title="Sampleig – Catalan" lang="ca" hreflang="ca" data-title="Sampleig" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target"><span>Català</span></a></li><li class="interlanguage-link interwiki-cs mw-list-item"><a href="https://cs.wikipedia.org/wiki/Samplov%C3%A1n%C3%AD" title="Samplování – Czech" lang="cs" hreflang="cs" data-title="Samplování" data-language-autonym="Čeština" data-language-local-name="Czech" class="interlanguage-link-target"><span>Čeština</span></a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Sampling_(Musik)" title="Sampling (Musik) – German" lang="de" hreflang="de" data-title="Sampling (Musik)" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target"><span>Deutsch</span></a></li><li class="interlanguage-link interwiki-es badge-Q70894304 mw-list-item" title=""><a href="https://es.wikipedia.org/wiki/Sampling" title="Sampling – Spanish" lang="es" hreflang="es" data-title="Sampling" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target"><span>Español</span></a></li><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%D9%86%D9%85%D9%88%D9%86%D9%87%E2%80%8C%D8%A8%D8%B1%D8%AF%D8%A7%D8%B1%DB%8C_(%D9%85%D9%88%D8%B3%DB%8C%D9%82%DB%8C)" title="نمونه‌برداری (موسیقی) – Persian" lang="fa" hreflang="fa" data-title="نمونه‌برداری (موسیقی)" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target"><span>فارسی</span></a></li><li class="interlanguage-link interwiki-gl mw-list-item"><a href="https://gl.wikipedia.org/wiki/Sampling" title="Sampling – Galician" lang="gl" hreflang="gl" data-title="Sampling" data-language-autonym="Galego" data-language-local-name="Galician" class="interlanguage-link-target"><span>Galego</span></a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%EC%83%98%ED%94%8C%EB%A7%81_(%EC%9D%8C%EC%95%85)" title="샘플링 (음악) – Korean" lang="ko" hreflang="ko" data-title="샘플링 (음악)" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target"><span>한국어</span></a></li><li class="interlanguage-link interwiki-hr mw-list-item"><a href="https://hr.wikipedia.org/wiki/Uzorkovanje_(glazba)" title="Uzorkovanje (glazba) – Croatian" lang="hr" hreflang="hr" data-title="Uzorkovanje (glazba)" data-language-autonym="Hrvatski" data-language-local-name="Croatian" class="interlanguage-link-target"><span>Hrvatski</span></a></li><li class="interlanguage-link interwiki-id mw-list-item"><a href="https://id.wikipedia.org/wiki/Pemercontohan_(musik)" title="Pemercontohan (musik) – Indonesian" lang="id" hreflang="id" data-title="Pemercontohan (musik)" data-language-autonym="Bahasa Indonesia" data-language-local-name="Indonesian" class="interlanguage-link-target"><span>Bahasa Indonesia</span></a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Campionamento_(musica)" title="Campionamento (musica) – Italian" lang="it" hreflang="it" data-title="Campionamento (musica)" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target"><span>Italiano</span></a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/%D7%93%D7%92%D7%99%D7%9E%D7%94_(%D7%9E%D7%95%D7%96%D7%99%D7%A7%D7%94)" title="דגימה (מוזיקה) – Hebrew" lang="he" hreflang="he" data-title="דגימה (מוזיקה)" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target"><span>עברית</span></a></li><li class="interlanguage-link interwiki-kk mw-list-item"><a href="https://kk.wikipedia.org/wiki/%D0%94%D1%8B%D0%B1%D1%8B%D1%81%D1%82%D1%8B%D2%9B_%D1%82%D0%B8%D0%BF" title="Дыбыстық тип – Kazakh" lang="kk" hreflang="kk" data-title="Дыбыстық тип" data-language-autonym="Қазақша" data-language-local-name="Kazakh" class="interlanguage-link-target"><span>Қазақша</span></a></li><li class="interlanguage-link interwiki-lb mw-list-item"><a href="https://lb.wikipedia.org/wiki/Sampling_(Musek)" title="Sampling (Musek) – Luxembourgish" lang="lb" hreflang="lb" data-title="Sampling (Musek)" data-language-autonym="Lëtzebuergesch" data-language-local-name="Luxembourgish" class="interlanguage-link-target"><span>Lëtzebuergesch</span></a></li><li class="interlanguage-link interwiki-ms mw-list-item"><a href="https://ms.wikipedia.org/wiki/Sampling" title="Sampling – Malay" lang="ms" hreflang="ms" data-title="Sampling" data-language-autonym="Bahasa Melayu" data-language-local-name="Malay" class="interlanguage-link-target"><span>Bahasa Melayu</span></a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E3%82%B5%E3%83%B3%E3%83%97%E3%83%AA%E3%83%B3%E3%82%B0" title="サンプリング – Japanese" lang="ja" hreflang="ja" data-title="サンプリング" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target"><span>日本語</span></a></li><li class="interlanguage-link interwiki-no mw-list-item"><a href="https://no.wikipedia.org/wiki/Sampling_(musikk)" title="Sampling (musikk) – Norwegian Bokmål" lang="nb" hreflang="nb" data-title="Sampling (musikk)" data-language-autonym="Norsk bokmål" data-language-local-name="Norwegian Bokmål" class="interlanguage-link-target"><span>Norsk bokmål</span></a></li><li class="interlanguage-link interwiki-nn mw-list-item"><a href="https://nn.wikipedia.org/wiki/Musikksampling" title="Musikksampling – Norwegian Nynorsk" lang="nn" hreflang="nn" data-title="Musikksampling" data-language-autonym="Norsk nynorsk" data-language-local-name="Norwegian Nynorsk" class="interlanguage-link-target"><span>Norsk nynorsk</span></a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Sampling_(muzyka)" title="Sampling (muzyka) – Polish" lang="pl" hreflang="pl" data-title="Sampling (muzyka)" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target"><span>Polski</span></a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Sampling_(m%C3%BAsica)" title="Sampling (música) – Portuguese" lang="pt" hreflang="pt" data-title="Sampling (música)" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target"><span>Português</span></a></li><li class="interlanguage-link interwiki-ro badge-Q70894304 mw-list-item" title=""><a href="https://ro.wikipedia.org/wiki/Sampling" title="Sampling – Romanian" lang="ro" hreflang="ro" data-title="Sampling" data-language-autonym="Română" data-language-local-name="Romanian" class="interlanguage-link-target"><span>Română</span></a></li><li class="interlanguage-link interwiki-simple mw-list-item"><a href="https://simple.wikipedia.org/wiki/Sampling_(music)" title="Sampling (music) – Simple English" lang="en-simple" hreflang="en-simple" data-title="Sampling (music)" data-language-autonym="Simple English" data-language-local-name="Simple English" class="interlanguage-link-target"><span>Simple English</span></a></li><li class="interlanguage-link interwiki-fi badge-Q70894304 mw-list-item" title=""><a href="https://fi.wikipedia.org/wiki/Samplaaminen" title="Samplaaminen – Finnish" lang="fi" hreflang="fi" data-title="Samplaaminen" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target"><span>Suomi</span></a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Sampling_(musik)" title="Sampling (musik) – Swedish" lang="sv" hreflang="sv" data-title="Sampling (musik)" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target"><span>Svenska</span></a></li><li class="interlanguage-link interwiki-th mw-list-item"><a href="https://th.wikipedia.org/wiki/%E0%B9%81%E0%B8%8B%E0%B8%A1%E0%B8%9E%E0%B8%A5%E0%B8%B4%E0%B8%87" title="แซมพลิง – Thai" lang="th" hreflang="th" data-title="แซมพลิง" data-language-autonym="ไทย" data-language-local-name="Thai" class="interlanguage-link-target"><span>ไทย</span></a></li><li class="interlanguage-link interwiki-tr mw-list-item"><a href="https://tr.wikipedia.org/wiki/Ses_%C3%B6rne%C4%9Fi" title="Ses örneği – Turkish" lang="tr" hreflang="tr" data-title="Ses örneği" data-language-autonym="Türkçe" data-language-local-name="Turkish" class="interlanguage-link-target"><span>Türkçe</span></a></li><li class="interlanguage-link interwiki-vi mw-list-item"><a href="https://vi.wikipedia.org/wiki/Sample_(%C3%A2m_nh%E1%BA%A1c)" title="Sample (âm nhạc) – Vietnamese" lang="vi" hreflang="vi" data-title="Sample (âm nhạc)" data-language-autonym="Tiếng Việt" data-language-local-name="Vietnamese" class="interlanguage-link-target"><span>Tiếng Việt</span></a></li><li class="interlanguage-link interwiki-zh mw-list-item"><a href="https://zh.wikipedia.org/wiki/%E5%8F%96%E6%A8%A3_(%E9%9F%B3%E6%A8%82)" title="取樣 (音樂) – Chinese" lang="zh" hreflang="zh" data-title="取樣 (音樂)" data-language-autonym="中文" data-language-local-name="Chinese" class="interlanguage-link-target"><span>中文</span></a></li> </ul> <div class="after-portlet after-portlet-lang"><span class="wb-langlinks-edit wb-langlinks-link"><a href="https://www.wikidata.org/wiki/Special:EntityPage/Q596446#sitelinks-wikipedia" title="Edit interlanguage links" class="wbc-editpage">Edit links</a></span></div> </div> </div> </div> </header> <div class="vector-page-toolbar"> <div class="vector-page-toolbar-container"> <div id="left-navigation"> <nav aria-label="Namespaces"> <div id="p-associated-pages" 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searchaux" style="display:none">Reuse of sound recording in another recording</div> <p class="mw-empty-elt"> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:DJ_Premier_Digging33.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/74/DJ_Premier_Digging33.jpg/220px-DJ_Premier_Digging33.jpg" decoding="async" width="220" height="220" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/7/74/DJ_Premier_Digging33.jpg 1.5x" data-file-width="300" data-file-height="300" /></a><figcaption><a href="/wiki/DJ_Premier" title="DJ Premier">DJ Premier</a> selecting records to sample</figcaption></figure> <p>In <a href="/wiki/Sound" title="Sound">sound</a> and <a href="/wiki/Music" title="Music">music</a>, <b>sampling</b> is the reuse of a portion (or <b>sample</b>) of a <a href="/wiki/Sound_recording" class="mw-redirect" title="Sound recording">sound recording</a> in another recording. Samples may comprise elements such as rhythm, melody, speech, or sound effects. A sample can be brief and only incorporate a single <a href="/wiki/Musical_note" title="Musical note">musical note</a> (as is the case with <a href="/wiki/Sample-based_synthesis" title="Sample-based synthesis">sample-based synthesis</a>), or it can consist of longer portions of music (such as a drumbeat or complete melody), and may be layered, <a href="/wiki/Equalization_(audio)" title="Equalization (audio)">equalized</a>, sped up or slowed down, repitched, <a href="/wiki/Loop_(music)" title="Loop (music)">looped</a>, or otherwise manipulated. They are usually integrated using electronic music instruments (<a href="/wiki/Sampler_(musical_instrument)" title="Sampler (musical instrument)">samplers</a>) or software such as <a href="/wiki/Digital_audio_workstation" title="Digital audio workstation">digital audio workstations</a>. </p><p>A process similar to sampling originated in the 1940s with <i><a href="/wiki/Musique_concr%C3%A8te" title="Musique concrète">musique concrète</a></i>, experimental music created by <a href="/wiki/Tape_splice" class="mw-redirect" title="Tape splice">splicing</a> and <a href="/wiki/Tape_loop" title="Tape loop">looping tape</a>. The mid-20th century saw the introduction of keyboard instruments that played sounds recorded on tape, such as the <a href="/wiki/Mellotron" title="Mellotron">Mellotron</a>. The term <i>sampling</i> was coined in the late 1970s by the creators of the <a href="/wiki/Fairlight_CMI" title="Fairlight CMI">Fairlight CMI</a>, a <a href="/wiki/Synthesizer" title="Synthesizer">synthesizer</a> with the ability to record and playback short sounds. As technology improved, cheaper standalone samplers with more <a href="/wiki/Computer_memory" title="Computer memory">memory</a> emerged, such as the <a href="/wiki/E-mu_Emulator" title="E-mu Emulator">E-mu Emulator</a>, <a href="/wiki/Akai_S900" title="Akai S900">Akai S950</a> and <a href="/wiki/Akai_MPC" title="Akai MPC">Akai MPC</a>. </p><p>Sampling is a foundation of <a href="/wiki/Hip_hop_music" title="Hip hop music">hip hop music</a>, which emerged when producers in the 1980s began sampling <a href="/wiki/Funk" title="Funk">funk</a> and <a href="/wiki/Soul_music" title="Soul music">soul</a> records, particularly <a href="/wiki/Drum_break" class="mw-redirect" title="Drum break">drum breaks</a>. It has influenced many other genres of music, particularly <a href="/wiki/Electronic_music" title="Electronic music">electronic music</a> and <a href="/wiki/Pop_music" title="Pop music">pop</a>. Samples such as the <a href="/wiki/Amen_break" title="Amen break">Amen break</a>, the "<a href="/wiki/Funky_Drummer" title="Funky Drummer">Funky Drummer</a>" drum break and the <a href="/wiki/Orchestra_hit" title="Orchestra hit">orchestra hit</a> have been used in thousands of recordings, and <a href="/wiki/James_Brown" title="James Brown">James Brown</a>, <a href="/wiki/Loleatta_Holloway" title="Loleatta Holloway">Loleatta Holloway</a>, <a href="/wiki/Fab_Five_Freddy" title="Fab Five Freddy">Fab Five Freddy</a> and <a href="/wiki/Led_Zeppelin" title="Led Zeppelin">Led Zeppelin</a> are among the most sampled artists. The first album created entirely from samples, <i><a href="/wiki/Endtroducing....." title="Endtroducing.....">Endtroducing</a></i> by <a href="/wiki/DJ_Shadow" title="DJ Shadow">DJ Shadow</a>, was released in 1996. </p><p>Sampling without permission can <a href="/wiki/Copyright_infringement" title="Copyright infringement">infringe copyright</a> or may be <a href="/wiki/Fair_use" title="Fair use">fair use</a>. <b>Clearance</b>, the process of acquiring permission to use a sample, can be complex and costly; samples from well-known sources may be prohibitively expensive. Courts have taken different positions on whether sampling without permission is permitted. In <i><a href="/wiki/Grand_Upright_Music,_Ltd._v._Warner_Bros._Records_Inc." title="Grand Upright Music, Ltd. v. Warner Bros. Records Inc.">Grand Upright Music, Ltd. v. Warner Bros. Records Inc</a></i> (1991) and <i><a href="/wiki/Bridgeport_Music,_Inc._v._Dimension_Films" title="Bridgeport Music, Inc. v. Dimension Films">Bridgeport Music, Inc. v. Dimension Films</a></i> (2005), American courts ruled that unlicensed sampling, however minimal, constitutes copyright infringement. However, <i><a href="/wiki/VMG_Salsoul_v_Ciccone" title="VMG Salsoul v Ciccone">VMG Salsoul v Ciccone</a></i> (2016) found that unlicensed samples constituted <i><a href="/wiki/De_minimis" title="De minimis">de minimis</a></i> copying, and did not infringe copyright. In 2019, the <a href="/wiki/European_Court_of_Justice" title="European Court of Justice">European Court of Justice</a> ruled that modified, unrecognizable samples could be used without authorization. Though some artists sampled by others have complained of <a href="/wiki/Plagiarism" title="Plagiarism">plagiarism</a> or lack of creativity, many commentators have argued that sampling is a creative act. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Precursors">Precursors</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Sampling_(music)&action=edit&section=1" title="Edit section: Precursors"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Phonogene.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/70/Phonogene.jpg/180px-Phonogene.jpg" decoding="async" width="180" height="234" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/70/Phonogene.jpg/270px-Phonogene.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/7/70/Phonogene.jpg 2x" data-file-width="312" data-file-height="406" /></a><figcaption>The Phonogene, a 1940s instrument which plays back sounds from tape loops</figcaption></figure> <p>In the 1940s, the French composer <a href="/wiki/Pierre_Schaeffer" title="Pierre Schaeffer">Pierre Schaeffer</a> developed <i><a href="/wiki/Musique_concr%C3%A8te" title="Musique concrète">musique concrète</a></i>, an experimental form of music created by <a href="/wiki/Reel-to-reel_audio_tape_recording" title="Reel-to-reel audio tape recording">recording sounds to tape</a>, splicing them, and manipulating them to create <a href="/wiki/Sound_collage" title="Sound collage">sound collages</a>. He used sounds from the human body, locomotives, and kitchen utensils.<sup id="cite_ref-Howell-2005_1-0" class="reference"><a href="#cite_note-Howell-2005-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> The method also involved <a href="/wiki/Tape_loop" title="Tape loop">tape loops</a>, splicing lengths of tape end to end so a sound could be played indefinitely.<sup id="cite_ref-Howell-2005_1-1" class="reference"><a href="#cite_note-Howell-2005-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Schaeffer developed the <a href="/wiki/Phonogene" class="mw-redirect" title="Phonogene">Phonogene</a>, which played loops at 12 different pitches triggered by a keyboard.<sup id="cite_ref-Howell-2005_1-2" class="reference"><a href="#cite_note-Howell-2005-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> </p><p>Composers including <a href="/wiki/John_Cage" title="John Cage">John Cage</a>, <a href="/wiki/Edgard_Var%C3%A8se" title="Edgard Varèse">Edgar Varèse</a>, <a href="/wiki/Karlheinz_Stockhausen" title="Karlheinz Stockhausen">Karheinz Stockhausen</a> and <a href="/wiki/Iannis_Xenakis" title="Iannis Xenakis">Iannis Xenakis</a> experimented with <i>musique concrète,</i><sup id="cite_ref-Howell-2005_1-3" class="reference"><a href="#cite_note-Howell-2005-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> and <a href="/wiki/Bebe_and_Louis_Barron" title="Bebe and Louis Barron">Bebe and Louis Barron</a> used it to create the first totally electronic film soundtrack, for the 1956 science fiction film <i><a href="/wiki/Forbidden_Planet" title="Forbidden Planet">Forbidden Planet</a></i>. <i>Musique concrète</i> was brought to a mainstream audience by the <a href="/wiki/BBC_Radiophonic_Workshop" title="BBC Radiophonic Workshop">BBC Radiophonic Workshop</a>, which used the techniques to produce soundtracks for shows including <i><a href="/wiki/Doctor_Who" title="Doctor Who">Doctor Who</a></i>.<sup id="cite_ref-Howell-2005_1-4" class="reference"><a href="#cite_note-Howell-2005-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> </p><p>In the 1960s, Jamaican <a href="/wiki/Dub_music" title="Dub music">dub reggae</a> producers such as <a href="/wiki/King_Tubby" title="King Tubby">King Tubby</a> and <a href="/wiki/Lee_%22Scratch%22_Perry" title="Lee "Scratch" Perry">Lee "Scratch" Perry</a> began using recordings of <a href="/wiki/Reggae" title="Reggae">reggae</a> rhythms to produce <a href="/wiki/Riddim" title="Riddim">riddim</a> tracks, which were then <a href="/wiki/Deejay_(Jamaican)" class="mw-redirect" title="Deejay (Jamaican)">deejayed</a> over.<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-mccann_3-0" class="reference"><a href="#cite_note-mccann-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> Jamaican immigrants introduced the techniques to American <a href="/wiki/Hip_hop_music" title="Hip hop music">hip hop music</a> in the 1970s.<sup id="cite_ref-mccann_3-1" class="reference"><a href="#cite_note-mccann-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Holger_Czukay" title="Holger Czukay">Holger Czukay</a> of the experimental German band <a href="/wiki/Can_(band)" title="Can (band)">Can</a> spliced tape recordings into his music before the advent of digital sampling.<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Techniques_and_tools">Techniques and tools</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Sampling_(music)&action=edit&section=2" title="Edit section: Techniques and tools"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Samplers">Samplers</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Sampling_(music)&action=edit&section=3" title="Edit section: Samplers"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Sampler_(musical_instrument)" title="Sampler (musical instrument)">Sampler (musical instrument)</a></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Fairlight.JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/ed/Fairlight.JPG/220px-Fairlight.JPG" decoding="async" width="220" height="164" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/ed/Fairlight.JPG/330px-Fairlight.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/ed/Fairlight.JPG/440px-Fairlight.JPG 2x" data-file-width="2695" data-file-height="2008" /></a><figcaption>The Fairlight CMI, a sampler and synthesizer released in 1979. The designers coined the term <i>sampling</i> to describe one of its features.</figcaption></figure> <p><a href="/wiki/The_Guardian" title="The Guardian">The <i>Guardian</i></a> described the <a href="/wiki/Chamberlin" title="Chamberlin">Chamberlin</a> as the first sampler, developed by the English engineer Harry Chamberlin in the 1940s. The Chamberlin used a keyboard to trigger a series of tape decks, each containing eight seconds of sound. Similar technology was popularised in the 60s with the <a href="/wiki/Mellotron" title="Mellotron">Mellotron</a>.<sup id="cite_ref-McNamee-2009_5-0" class="reference"><a href="#cite_note-McNamee-2009-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> In 1969, the English engineer <a href="/wiki/Peter_Zinovieff" title="Peter Zinovieff">Peter Zinovieff</a> developed the first digital sampler, the <a href="/wiki/EMS_Musys" class="mw-redirect" title="EMS Musys">EMS Musys</a>.<sup id="cite_ref-McNamee-2009_5-1" class="reference"><a href="#cite_note-McNamee-2009-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> </p><p> The term <i>sample</i> was coined by <a href="/wiki/Kim_Ryrie" title="Kim Ryrie">Kim Ryrie</a> and <a href="/wiki/Peter_Vogel_(computer_designer)" title="Peter Vogel (computer designer)">Peter Vogel</a> to describe a feature of their <a href="/wiki/Fairlight_CMI" title="Fairlight CMI">Fairlight CMI</a> synthesizer, launched in 1979.<sup id="cite_ref-Howell-2005_1-5" class="reference"><a href="#cite_note-Howell-2005-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> While developing the Fairlight, Vogel recorded around a second of piano performance from a radio broadcast and discovered that he could imitate a piano by playing the recording back at different pitches. The result better resembled a real piano than sounds generated by synthesizers.<sup id="cite_ref-Newsscientist_6-0" class="reference"><a href="#cite_note-Newsscientist-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> Compared to later samplers, the Fairlight was limited; it allowed control over pitch and <a href="/wiki/Envelope_(music)" title="Envelope (music)">envelope</a>, and could only record a few seconds of sound. However, the sampling function became its most popular feature.<sup id="cite_ref-Howell-2005_1-6" class="reference"><a href="#cite_note-Howell-2005-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Though the concept of reusing recordings in other recordings was not new, the Fairlight's design and built-in <a href="/wiki/Music_sequencer" title="Music sequencer">sequencer</a> simplified the process.<sup id="cite_ref-Howell-2005_1-7" class="reference"><a href="#cite_note-Howell-2005-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup></p><figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Akai_MPC60.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/2d/Akai_MPC60.jpg/220px-Akai_MPC60.jpg" decoding="async" width="220" height="205" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/2d/Akai_MPC60.jpg/330px-Akai_MPC60.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/2d/Akai_MPC60.jpg/440px-Akai_MPC60.jpg 2x" data-file-width="450" data-file-height="419" /></a><figcaption>The <a href="/wiki/Akai_MPC" title="Akai MPC">Akai MPC</a>, an influential sampler produced from 1988</figcaption></figure><p>The Fairlight inspired competition, improving sampling technology and driving down prices.<sup id="cite_ref-Howell-2005_1-8" class="reference"><a href="#cite_note-Howell-2005-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Early competitors included the <a href="/wiki/E-mu_Emulator" title="E-mu Emulator">E-mu Emulator</a><sup id="cite_ref-Howell-2005_1-9" class="reference"><a href="#cite_note-Howell-2005-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> and the <a href="/wiki/Akai_S900" title="Akai S900">Akai S950</a>.<sup id="cite_ref-MusicRadar_7-0" class="reference"><a href="#cite_note-MusicRadar-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Drum_machine" title="Drum machine">Drum machines</a> such as the <a href="/wiki/Oberheim_DMX" title="Oberheim DMX">Oberheim DMX</a> and <a href="/wiki/Linn_LM-1" title="Linn LM-1">Linn LM-1</a> incorporated samples of drum kits and percussion rather than generating sounds from circuits.<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> Early samplers could store samples of only a few seconds in length, but this increased with improved <a href="/wiki/Computer_memory" title="Computer memory">memory</a>.<sup id="cite_ref-Milner-2011_9-0" class="reference"><a href="#cite_note-Milner-2011-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> In 1988, <a href="/wiki/Akai" title="Akai">Akai</a> released the first <a href="/wiki/Akai_MPC" title="Akai MPC">MPC</a> sampler,<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> which allowed users to assign samples to pads and trigger them independently, similarly to playing a keyboard or drum kit.<sup id="cite_ref-Vox_11-0" class="reference"><a href="#cite_note-Vox-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> It was followed by competing samplers from companies including <a href="/wiki/Korg" title="Korg">Korg</a>, <a href="/wiki/Roland_Corporation" title="Roland Corporation">Roland</a> and <a href="/wiki/Casio" title="Casio">Casio</a>.<sup id="cite_ref-M1-Retrozone_12-0" class="reference"><a href="#cite_note-M1-Retrozone-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> </p><p>Today, most samples are recorded and edited using <a href="/wiki/Digital_audio_workstation" title="Digital audio workstation">digital audio workstations</a> (DAWs) such as <a href="/wiki/Pro_Tools" title="Pro Tools">Pro Tools</a> and <a href="/wiki/Ableton_Live" title="Ableton Live">Ableton Live</a>.<sup id="cite_ref-Milner-2011_9-1" class="reference"><a href="#cite_note-Milner-2011-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-McNamee-2008_13-0" class="reference"><a href="#cite_note-McNamee-2008-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> As technology has improved, the possibilities for manipulation have grown.<sup id="cite_ref-Fact-2016_14-0" class="reference"><a href="#cite_note-Fact-2016-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Sample_libraries">Sample libraries</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Sampling_(music)&action=edit&section=4" title="Edit section: Sample libraries"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Samples are distributed in sample libraries, also known as sample packs.<sup id="cite_ref-10_classic_15-0" class="reference"><a href="#cite_note-10_classic-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> In the 1990s, sample libraries from companies such as <a href="/wiki/Zero-G_Ltd" title="Zero-G Ltd">Zero-G</a> and <a href="/wiki/Spectrasonics" class="mw-redirect" title="Spectrasonics">Spectrasonics</a> had a major influence on contemporary music.<sup id="cite_ref-10_classic_15-1" class="reference"><a href="#cite_note-10_classic-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> In the 2000s, <a href="/wiki/Apple_Inc." title="Apple Inc.">Apple</a> introduced "Jam Packs" sample libraries for its DAW <a href="/wiki/GarageBand" title="GarageBand">GarageBand</a>.<sup id="cite_ref-Music_2011_16-0" class="reference"><a href="#cite_note-Music_2011-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> In the 2010s, producers began releasing sample packs on online platforms such as <a href="/wiki/Splice_(platform)" title="Splice (platform)">Splice</a>.<sup id="cite_ref-Tannenbaum_Tannenbaum_2021_17-0" class="reference"><a href="#cite_note-Tannenbaum_Tannenbaum_2021-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> </p><p>The Kingsway Music Library, created in 2015 by the American producer <a href="/wiki/Frank_Dukes" title="Frank Dukes">Frank Dukes</a>,<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> has been used by artists including <a href="/wiki/Drake_(musician)" title="Drake (musician)">Drake</a>, <a href="/wiki/Kanye_West" title="Kanye West">Kanye West</a>, <a href="/wiki/Kendrick_Lamar" title="Kendrick Lamar">Kendrick Lamar</a>, and <a href="/wiki/J._Cole" title="J. Cole">J. Cole</a>.<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> In 2020, the US <a href="/wiki/Library_of_Congress" title="Library of Congress">Library of Congress</a> created an <a href="/wiki/Open-source" class="mw-redirect" title="Open-source">open-source</a> web application that allows users to sample its copyright-free audio collection.<sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Interpolation">Interpolation</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Sampling_(music)&action=edit&section=5" title="Edit section: Interpolation"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Interpolation_(popular_music)" title="Interpolation (popular music)">Interpolation (popular music)</a></div> <p>Instead of sampling, artists may recreate a recording, a process known as interpolation.<sup id="cite_ref-Jones-2022_22-0" class="reference"><a href="#cite_note-Jones-2022-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> This requires only the musical content owner's permission, and creates more freedom to alter constituent components such as separate guitar and drum tracks.<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Impact">Impact</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Sampling_(music)&action=edit&section=6" title="Edit section: Impact"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Sampling has influenced many genres of music,<sup id="cite_ref-McNamee-2009_5-2" class="reference"><a href="#cite_note-McNamee-2009-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> particularly pop, hip hop and electronic music.<sup id="cite_ref-Fact-2016_14-1" class="reference"><a href="#cite_note-Fact-2016-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> The <i><a href="/wiki/The_Guardian" title="The Guardian">Guardian</a></i> journalist David McNamee likened its importance in these genres to the importance of the guitar in rock.<sup id="cite_ref-McNamee-2009_5-3" class="reference"><a href="#cite_note-McNamee-2009-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> In August 2022, the <i>Guardian</i> noted that half of the singles in the <a href="/wiki/UK_Top_10" class="mw-redirect" title="UK Top 10">UK Top 10</a> that week used samples.<sup id="cite_ref-Jones-2022_22-1" class="reference"><a href="#cite_note-Jones-2022-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> Sampling is a fundamental element of <a href="/wiki/Remix_culture" title="Remix culture">remix culture</a>.<sup id="cite_ref-TechCrunch_24-0" class="reference"><a href="#cite_note-TechCrunch-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Early_works">Early works</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Sampling_(music)&action=edit&section=7" title="Edit section: Early works"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Using the Fairlight, the "first truly world-changing sampler", the English producer <a href="/wiki/Trevor_Horn" title="Trevor Horn">Trevor Horn</a> became the "key architect" in incorporating sampling into pop music in the 1980s.<sup id="cite_ref-McNamee-2009_5-4" class="reference"><a href="#cite_note-McNamee-2009-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> Other users of the Fairlight included <a href="/wiki/Kate_Bush" title="Kate Bush">Kate Bush</a>, <a href="/wiki/Peter_Gabriel" title="Peter Gabriel">Peter Gabriel</a> and <a href="/wiki/Thomas_Dolby" title="Thomas Dolby">Thomas Dolby</a>.<sup id="cite_ref-MusicRadar_7-1" class="reference"><a href="#cite_note-MusicRadar-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> In the 1980s, samples were incorporated into synthesizers and <a href="/wiki/Music_workstation" title="Music workstation">music workstations</a>, such as the bestselling <a href="/wiki/Korg_M1" title="Korg M1">Korg M1</a>, released in 1988.<sup id="cite_ref-M1-Retrozone_12-1" class="reference"><a href="#cite_note-M1-Retrozone-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> </p><p>The <a href="/wiki/Akai_MPC" title="Akai MPC">Akai MPC</a>, released in 1988, had a major influence on electronic and hip hop music,<sup id="cite_ref-25" class="reference"><a href="#cite_note-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Vox_11-1" class="reference"><a href="#cite_note-Vox-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> allowing artists to create elaborate tracks without other instruments, a studio or formal music knowledge.<sup id="cite_ref-Vox_11-2" class="reference"><a href="#cite_note-Vox-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> Its designer, <a href="/wiki/Roger_Linn" title="Roger Linn">Roger Linn</a>, anticipated that users would sample short sounds, such as individual notes or drum hits, to use as building blocks for compositions; however, users sampled longer passages of music.<sup id="cite_ref-Milner-2011_9-2" class="reference"><a href="#cite_note-Milner-2011-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> In the words of Greg Milner, author of <i>Perfecting Sound Forever</i>, musicians "didn't just want the sound of <a href="/wiki/John_Bonham" title="John Bonham">John Bonham's</a> kick drum, they wanted to loop and repeat the whole of '<a href="/wiki/When_the_Levee_Breaks" title="When the Levee Breaks">When the Levee Breaks</a>'."<sup id="cite_ref-Milner-2011_9-3" class="reference"><a href="#cite_note-Milner-2011-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> Linn said: "It was a very pleasant surprise. After 60 years of recording, there are so many prerecorded examples to sample from. Why reinvent the wheel?"<sup id="cite_ref-Milner-2011_9-4" class="reference"><a href="#cite_note-Milner-2011-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> </p><p><a href="/wiki/Stevie_Wonder" title="Stevie Wonder">Stevie Wonder's</a> 1979 album <a href="/wiki/Stevie_Wonder%27s_Journey_Through_%22The_Secret_Life_of_Plants%22" title="Stevie Wonder's Journey Through "The Secret Life of Plants""><i>Journey Through the Secret Life of Plants</i></a> may have been the first album to make extensive use of samples.<sup id="cite_ref-McNamee-2009_5-5" class="reference"><a href="#cite_note-McNamee-2009-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> The Japanese electronic band <a href="/wiki/Yellow_Magic_Orchestra" title="Yellow Magic Orchestra">Yellow Magic Orchestra</a> were pioneers in sampling,<sup id="cite_ref-26" class="reference"><a href="#cite_note-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-thevinyldistrict_27-0" class="reference"><a href="#cite_note-thevinyldistrict-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-condry_59_28-0" class="reference"><a href="#cite_note-condry_59-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> constructing music by cutting fragments of sounds and <a href="/wiki/Looping_(music)" class="mw-redirect" title="Looping (music)">looping</a> them.<sup id="cite_ref-condry_59_28-1" class="reference"><a href="#cite_note-condry_59-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> Their album <i><a href="/wiki/Technodelic" title="Technodelic">Technodelic</a></i> (1981) is an early example of an album consisting mostly of samples.<sup id="cite_ref-thevinyldistrict_27-1" class="reference"><a href="#cite_note-thevinyldistrict-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-29" class="reference"><a href="#cite_note-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> <i><a href="/wiki/My_Life_in_the_Bush_of_Ghosts_(album)" title="My Life in the Bush of Ghosts (album)">My Life in the Bush of Ghosts</a></i> (1981) by <a href="/wiki/David_Byrne" title="David Byrne">David Byrne</a> and <a href="/wiki/Brian_Eno" title="Brian Eno">Brian Eno</a> is another important early work of sampling, incorporating samples of sources including <a href="/wiki/Arabic_music" title="Arabic music">Arabic singers</a>, radio DJs and an <a href="/wiki/Exorcism" title="Exorcism">exorcist</a>.<sup id="cite_ref-30" class="reference"><a href="#cite_note-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> Musicians had used similar techniques before, but, according to the <i><a href="/wiki/The_Guardian" title="The Guardian">Guardian</a></i> writer Dave Simpson, sampling had never before been used "to such cataclysmic effect".<sup id="cite_ref-Guardian_31-0" class="reference"><a href="#cite_note-Guardian-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> Eno felt the album's innovation was to make samples "the lead vocal".<sup id="cite_ref-Q_32-0" class="reference"><a href="#cite_note-Q-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Big_Audio_Dynamite" title="Big Audio Dynamite">Big Audio Dynamite</a> pioneered sampling in rock and pop with their 1985 album <i><a href="/wiki/This_Is_Big_Audio_Dynamite" title="This Is Big Audio Dynamite">This Is Big Audio Dynamite</a></i>.<sup id="cite_ref-33" class="reference"><a href="#cite_note-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Hip_hop">Hip hop</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Sampling_(music)&action=edit&section=8" title="Edit section: Hip hop"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure typeof="mw:File/Thumb"><a href="/wiki/File:DJ_Shadow_tim_festival.jpg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d1/DJ_Shadow_tim_festival.jpg/140px-DJ_Shadow_tim_festival.jpg" decoding="async" width="140" height="210" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d1/DJ_Shadow_tim_festival.jpg/210px-DJ_Shadow_tim_festival.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d1/DJ_Shadow_tim_festival.jpg/280px-DJ_Shadow_tim_festival.jpg 2x" data-file-width="683" data-file-height="1024" /></a><figcaption><a href="/wiki/DJ_Shadow" title="DJ Shadow">DJ Shadow</a>'s 1996 album <i><a href="/wiki/Endtroducing....." title="Endtroducing.....">Endtroducing</a></i> is cited as the first created entirely from samples.</figcaption></figure><p>Sampling is one of the foundations of <a href="/wiki/Hip_hop_music" title="Hip hop music">hip hop</a>, which emerged in the 1980s.<sup id="cite_ref-Fintoni-2013_34-0" class="reference"><a href="#cite_note-Fintoni-2013-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> Hip hop sampling has been likened to the origins of <a href="/wiki/Blues" title="Blues">blues</a> and <a href="/wiki/Rock_music" title="Rock music">rock</a>, which were created by repurposing existing music.<sup id="cite_ref-TechCrunch_24-1" class="reference"><a href="#cite_note-TechCrunch-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> The <i>Guardian</i> journalist David McNamee wrote that "two record decks and your dad's old funk collection was once the working-class black answer to <a href="/wiki/Punk_rock" title="Punk rock">punk</a>".<sup id="cite_ref-McNamee-2008_13-1" class="reference"><a href="#cite_note-McNamee-2008-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> </p><p>Before the rise of sampling, DJs <a href="/wiki/Turntablism" title="Turntablism">used turntables</a> to loop <a href="/wiki/Break_(music)" title="Break (music)">breaks</a> from records, which MCs would <a href="/wiki/Rapping" title="Rapping">rap</a> over.<sup id="cite_ref-The_Economist_35-0" class="reference"><a href="#cite_note-The_Economist-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> Compilation albums such as <i><a href="/wiki/Ultimate_Breaks_and_Beats" title="Ultimate Breaks and Beats">Ultimate Breaks and Beats</a></i> compiled tracks with drum breaks and solos intended for sampling, aimed at DJs and hip hop producers<i>.</i><sup id="cite_ref-The_Economist_35-1" class="reference"><a href="#cite_note-The_Economist-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> In 1986, the tracks "<a href="/wiki/South_Bronx_(song)" title="South Bronx (song)">South Bronx</a>", "<a href="/wiki/Eric_B._is_President" class="mw-redirect" title="Eric B. is President">Eric B. is President</a>" and "<a href="/wiki/It%27s_a_Demo" title="It's a Demo">It's a Demo</a>" sampled the funk and soul tracks of <a href="/wiki/James_Brown" title="James Brown">James Brown</a>, particularly a drum break from "<a href="/wiki/Funky_Drummer" title="Funky Drummer">Funky Drummer</a>" (1970), helping popularize the technique.<sup id="cite_ref-Fact-2016_14-2" class="reference"><a href="#cite_note-Fact-2016-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> </p><p>The advent of affordable samplers such as the <a href="/wiki/Akai_MPC" title="Akai MPC">Akai MPC</a> (1988) made looping easier.<sup id="cite_ref-The_Economist_35-2" class="reference"><a href="#cite_note-The_Economist-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> <i><a href="/wiki/Guinness_World_Records" title="Guinness World Records">Guinness World Records</a></i> cites <a href="/wiki/DJ_Shadow" title="DJ Shadow">DJ Shadow</a>'s acclaimed hip hop album <i><a href="/wiki/Endtroducing....." title="Endtroducing.....">Endtroducing</a></i> (1996), made on an MPC60,<sup id="cite_ref-Taylor_36-0" class="reference"><a href="#cite_note-Taylor-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> as the first album created entirely from samples.<sup id="cite_ref-37" class="reference"><a href="#cite_note-37"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Sullivan_38-0" class="reference"><a href="#cite_note-Sullivan-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> The <a href="/wiki/E-mu_SP-1200" title="E-mu SP-1200">E-mu SP-1200</a>, released in 1987, had a ten-second sample length and a distinctive "gritty" sound, and was used extensively by <a href="/wiki/East_Coast_hip_hop" title="East Coast hip hop">East Coast producers</a> during the <a href="/wiki/Golden_age_hip_hop" title="Golden age hip hop">golden age of hip hop</a> of the late 1980s and early 90s.<sup id="cite_ref-39" class="reference"><a href="#cite_note-39"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Common_samples">Common samples</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Sampling_(music)&action=edit&section=9" title="Edit section: Common samples"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1235681985">.mw-parser-output .side-box{margin:4px 0;box-sizing:border-box;border:1px solid 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0;background:transparent}.mw-parser-output .listen-header{padding:2px}.mw-parser-output .listen-embedded .listen-header{padding:2px 0}.mw-parser-output .listen-file-header{padding:4px 0}.mw-parser-output .listen .description{padding-top:2px}.mw-parser-output .listen .mw-tmh-player{max-width:100%}@media(max-width:719px){.mw-parser-output .listen{clear:both}}@media(min-width:720px){.mw-parser-output .listen:not(.listen-noimage){width:320px}.mw-parser-output .listen-left{overflow:visible;float:left}.mw-parser-output .listen-center{float:none;margin-left:auto;margin-right:auto}}</style><div class="side-box side-box-right listen noprint"><style data-mw-deduplicate="TemplateStyles:r1126788409">.mw-parser-output .plainlist ol,.mw-parser-output .plainlist ul{line-height:inherit;list-style:none;margin:0;padding:0}.mw-parser-output .plainlist ol li,.mw-parser-output .plainlist ul li{margin-bottom:0}</style> <div class="side-box-flex"> <div class="side-box-image"><figure class="mw-halign-center" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/8/87/Gnome-mime-sound-openclipart.svg/50px-Gnome-mime-sound-openclipart.svg.png" decoding="async" width="50" height="50" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/87/Gnome-mime-sound-openclipart.svg/75px-Gnome-mime-sound-openclipart.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/87/Gnome-mime-sound-openclipart.svg/100px-Gnome-mime-sound-openclipart.svg.png 2x" data-file-width="160" data-file-height="160" /></span><figcaption></figcaption></figure></div> <div class="side-box-text plainlist"><div class="haudio"> <div class="listen-file-header"><a href="/wiki/File:The_Amen_Break,_in_context.ogg" title="File:The Amen Break, in context.ogg">The Amen break</a></div> <div><span typeof="mw:File"><span><audio id="mwe_player_0" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="232" style="width:232px;" data-durationhint="15" data-mwtitle="The_Amen_Break,_in_context.ogg" data-mwprovider="local"><source src="//upload.wikimedia.org/wikipedia/en/8/80/The_Amen_Break%2C_in_context.ogg" type="audio/ogg; codecs="vorbis"" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/en/transcoded/8/80/The_Amen_Break%2C_in_context.ogg/The_Amen_Break%2C_in_context.ogg.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /></audio></span></span></div> <div class="description">The widely sampled "Amen break" as it originally appeared, on "Amen, Brother" (1969) by <a href="/wiki/The_Winstons" title="The Winstons">the Winstons</a></div></div></div></div> <div class="side-box-abovebelow"><hr /><i class="selfreference">Problems playing this file? See <a href="/wiki/Help:Media" title="Help:Media">media help</a>.</i></div> </div> <p>Commonly sampled elements include strings, basslines, drum loops, vocal <a href="/wiki/Hook_(music)" title="Hook (music)">hooks</a> or entire bars of music, especially from <a href="/wiki/Soul_music" title="Soul music">soul</a> records.<sup id="cite_ref-Salmon-2008_40-0" class="reference"><a href="#cite_note-Salmon-2008-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> Samples may be layered,<sup id="cite_ref-The_Economist-2_41-0" class="reference"><a href="#cite_note-The_Economist-2-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Equalization_(audio)" title="Equalization (audio)">equalized</a>,<sup id="cite_ref-The_Economist-2_41-1" class="reference"><a href="#cite_note-The_Economist-2-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup> sped up or slowed down, repitched, <a href="/wiki/Loop_(music)" title="Loop (music)">looped</a> or otherwise manipulated.<sup id="cite_ref-Fact-2016_14-3" class="reference"><a href="#cite_note-Fact-2016-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> </p><p>A seven-second drum break in the 1969 track "Amen, Brother", known as the <a href="/wiki/Amen_break" title="Amen break">Amen break</a>, became popular with American hip hop producers and then British <a href="/wiki/Jungle_music" title="Jungle music">jungle</a> producers in the early 1990s.<sup id="cite_ref-The_Economist_35-3" class="reference"><a href="#cite_note-The_Economist-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> It has been used in thousands of recordings, including songs by rock bands such as <a href="/wiki/Oasis_(band)" title="Oasis (band)">Oasis</a> and theme tunes for television shows such as <i><a href="/wiki/Futurama" title="Futurama">Futurama</a></i>, and is among the most sampled tracks in music history.<sup id="cite_ref-The_Economist_35-4" class="reference"><a href="#cite_note-The_Economist-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> Other widely sampled drum breaks came from the 1970 <a href="/wiki/James_Brown" title="James Brown">James Brown</a> song "<a href="/wiki/Funky_Drummer" title="Funky Drummer">Funky Drummer</a>"; the <a href="/wiki/Think_break" title="Think break">Think break</a>, sampled from the 1972 <a href="/wiki/Lyn_Collins" title="Lyn Collins">Lyn Collins</a> song "<a href="/wiki/Think_(About_It)" title="Think (About It)">Think (About It)</a>", written by Brown;<sup id="cite_ref-42" class="reference"><a href="#cite_note-42"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup> and <a href="/wiki/Led_Zeppelin" title="Led Zeppelin">Led Zeppelin</a>'s 1971 recording of "<a href="/wiki/When_the_Levee_Breaks" title="When the Levee Breaks">When the Levee Breaks</a>", played by <a href="/wiki/John_Bonham" title="John Bonham">John Bonham</a> and sampled by artists including the <a href="/wiki/Beastie_Boys" title="Beastie Boys">Beastie Boys</a>, <a href="/wiki/Dr._Dre" title="Dr. Dre">Dr. Dre</a>, <a href="/wiki/Eminem" title="Eminem">Eminem</a> and <a href="/wiki/Massive_Attack" title="Massive Attack">Massive Attack</a>.<sup id="cite_ref-43" class="reference"><a href="#cite_note-43"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup> </p><p>In 2018, the <a href="/wiki/Smithsonian_(magazine)" title="Smithsonian (magazine)"><i>Smithsonian</i></a> cited the most sampled track as "<a href="/wiki/Change_the_Beat" title="Change the Beat">Change the Beat</a>" by <a href="/wiki/Fab_Five_Freddy" title="Fab Five Freddy">Fab Five Freddy</a>, which appears in more than 1,150 tracks.<sup id="cite_ref-44" class="reference"><a href="#cite_note-44"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup> According to <a href="/wiki/WhoSampled" title="WhoSampled">WhoSampled</a>, a user-edited website that catalogs samples, James Brown appears in more than 3000 tracks, more than any other artist.<sup id="cite_ref-45" class="reference"><a href="#cite_note-45"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup> The <i><a href="/wiki/The_Independent" title="The Independent">Independent</a></i> named <a href="/wiki/Loleatta_Holloway" title="Loleatta Holloway">Loleatta Holloway</a> as the most sampled female singer in popular music. Her vocals were sampled in <a href="/wiki/House_music" title="House music">house</a> and <a href="/wiki/Dance_music" title="Dance music">dance</a> tracks such as "<a href="/wiki/Ride_on_Time" title="Ride on Time">Ride on Time</a>" by <a href="/wiki/Black_Box_(band)" title="Black Box (band)">Black Box</a>, the bestselling single of 1989 in the UK.<sup id="cite_ref-46" class="reference"><a href="#cite_note-46"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup> </p><p>The <a href="/wiki/Orchestra_hit" title="Orchestra hit">orchestra hit</a> originated as a sound on the Fairlight, sampled from <a href="/wiki/Igor_Stravinsky" title="Igor Stravinsky">Stravinsky's</a> 1910 orchestral work <i><a href="/wiki/Firebird_Suite" class="mw-redirect" title="Firebird Suite">Firebird Suite</a>,</i><sup id="cite_ref-Fink_2005_1_47-0" class="reference"><a href="#cite_note-Fink_2005_1-47"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup> and became a hip hop cliché.<sup id="cite_ref-Fink_2005_6_48-0" class="reference"><a href="#cite_note-Fink_2005_6-48"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup> <i><a href="/wiki/MusicRadar" class="mw-redirect" title="MusicRadar">MusicRadar</a></i> cited the <i><a href="/wiki/Zero-G_Datafiles" class="mw-redirect" title="Zero-G Datafiles">Zero-G Datafiles</a></i> sample libraries as a major influence on 90s dance music, becoming the "de facto source of breakbeats, bass and vocal samples".<sup id="cite_ref-10_classic_15-2" class="reference"><a href="#cite_note-10_classic-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Legal_and_ethical_issues">Legal and ethical issues</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Sampling_(music)&action=edit&section=10" title="Edit section: Legal and ethical issues"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>To legally use a sample, an artist must acquire legal permission from the copyright holder, a potentially lengthy and complex process known as clearance.<sup id="cite_ref-Salmon-2008_40-1" class="reference"><a href="#cite_note-Salmon-2008-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> Sampling without permission can <a href="/wiki/Copyright_infringement" title="Copyright infringement">breach the copyright</a> of the original sound recording, of the composition and lyrics, and of the performances, such as a rhythm or guitar riff. The <a href="/wiki/Moral_rights" title="Moral rights">moral rights</a> of the original artist may also be breached if they are not credited or object to the sampling.<sup id="cite_ref-Salmon-2008_40-2" class="reference"><a href="#cite_note-Salmon-2008-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> In some cases, sampling is protected under American <a href="/wiki/Fair_use" title="Fair use">fair use</a> laws,<sup id="cite_ref-Salmon-2008_40-3" class="reference"><a href="#cite_note-Salmon-2008-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> which grant "limited use of copyrighted material without permission from the rights holder".<sup id="cite_ref-49" class="reference"><a href="#cite_note-49"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup> </p><p>The American musician <a href="/wiki/Richard_Lewis_Spencer" title="Richard Lewis Spencer">Richard Lewis Spencer</a>, who owned the copyright for the widely sampled <a href="/wiki/Amen_break" title="Amen break">Amen break</a>, never received <a href="/wiki/Royalties" class="mw-redirect" title="Royalties">royalties</a> for its use as the <a href="/wiki/Statute_of_limitations" title="Statute of limitations">statute of limitations</a> for copyright infringement had passed by the time he learnt of the situation.<sup id="cite_ref-50" class="reference"><a href="#cite_note-50"><span class="cite-bracket">[</span>50<span class="cite-bracket">]</span></a></sup> The journalist <a href="/wiki/Simon_Reynolds" title="Simon Reynolds">Simon Reynolds</a> likened it to "the man who goes to the sperm bank and unknowingly sires hundreds of children".<sup id="cite_ref-The_Economist_35-5" class="reference"><a href="#cite_note-The_Economist-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Clyde_Stubblefield" title="Clyde Stubblefield">Clyde Stubblefield</a>, the performer of the widely sampled drum break from "<a href="/wiki/Funky_Drummer" title="Funky Drummer">Funky Drummer</a>", also received no royalties.<sup id="cite_ref-:0_51-0" class="reference"><a href="#cite_note-:0-51"><span class="cite-bracket">[</span>51<span class="cite-bracket">]</span></a></sup> </p><p>DJ Shadow said that artists tended to either see sampling as a mark of respect and a means to introduce their music to new audiences, or to be protective of their legacy and see no benefit.<sup id="cite_ref-NPR-2012_52-0" class="reference"><a href="#cite_note-NPR-2012-52"><span class="cite-bracket">[</span>52<span class="cite-bracket">]</span></a></sup> He described the difficulty of arranging compensation for each artist sampled in a work, and gave the example of two artists both demanding more than 50%, a mathematical impossibility.<sup id="cite_ref-Convery-2017_53-0" class="reference"><a href="#cite_note-Convery-2017-53"><span class="cite-bracket">[</span>53<span class="cite-bracket">]</span></a></sup> He instead advocated for a process of clearing samples on a <a href="/wiki/Musicological" class="mw-redirect" title="Musicological">musicological</a> basis, by identifying how much of the composition the sample comprises.<sup id="cite_ref-Convery-2017_53-1" class="reference"><a href="#cite_note-Convery-2017-53"><span class="cite-bracket">[</span>53<span class="cite-bracket">]</span></a></sup> </p><p>According to <i>Fact</i>, early hip hop sampling was governed by "unspoken" rules forbidding the sampling of recent records, reissues, other hip hop records or non-vinyl sources, among other restrictions.<sup id="cite_ref-Fintoni-2013_34-1" class="reference"><a href="#cite_note-Fintoni-2013-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> These rules were relaxed as younger producers took over and sampling became ubiquitous.<sup id="cite_ref-Fintoni-2013_34-2" class="reference"><a href="#cite_note-Fintoni-2013-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> In 2017, DJ Shadow said that he felt that "music has never been worth less as a commodity, and yet sampling has never been more risky".<sup id="cite_ref-Convery-2017_53-2" class="reference"><a href="#cite_note-Convery-2017-53"><span class="cite-bracket">[</span>53<span class="cite-bracket">]</span></a></sup> </p><p>Sampling can help popularize the sampled work. For example, the <a href="/wiki/Desiigner" title="Desiigner">Desiigner</a> track "<a href="/wiki/Panda_(Desiigner_song)" class="mw-redirect" title="Panda (Desiigner song)">Panda</a>" (2015) reached number one on the <i><a href="/wiki/Billboard_Hot_100" title="Billboard Hot 100">Billboard Hot</a></i> <a href="/wiki/Billboard_Hot_100" title="Billboard Hot 100">100</a> after <a href="/wiki/Kanye_West" title="Kanye West">Kanye West</a> sampled it on "<a href="/wiki/Father_Stretch_My_Hands,_Pt._2" class="mw-redirect" title="Father Stretch My Hands, Pt. 2">Father Stretch My Hands, Pt. 2</a>" (2016).<sup id="cite_ref-Fact-2016_14-4" class="reference"><a href="#cite_note-Fact-2016-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> Some record labels and other <a href="/wiki/Music_licensing" title="Music licensing">music licensing</a> companies have simplified their clearance processes by "pre-clearing" their records.<sup id="cite_ref-54" class="reference"><a href="#cite_note-54"><span class="cite-bracket">[</span>54<span class="cite-bracket">]</span></a></sup> For example, the Los Angeles record label <a href="/wiki/Now-Again_Records" title="Now-Again Records">Now-Again Records</a> has cleared songs produced for West and <a href="/wiki/Pusha_T" title="Pusha T">Pusha T</a> in a matter of hours.<sup id="cite_ref-55" class="reference"><a href="#cite_note-55"><span class="cite-bracket">[</span>55<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-56" class="reference"><a href="#cite_note-56"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup> </p><p>The owner of sampled material may not always be traceable, and such knowledge is commonly mislaid through corporate mergers, closures and buyouts.<sup id="cite_ref-NPR-2012_52-1" class="reference"><a href="#cite_note-NPR-2012-52"><span class="cite-bracket">[</span>52<span class="cite-bracket">]</span></a></sup> For example, Eddie Johns, the author of a song sampled in the 2000 <a href="/wiki/Daft_Punk" title="Daft Punk">Daft Punk</a> track "<a href="/wiki/One_More_Time_(Daft_Punk_song)" title="One More Time (Daft Punk song)">One More Time</a>", has never been located. As of 2021, he was owed an estimated "six-to-seven-figure sum" based on streams.<sup id="cite_ref-57" class="reference"><a href="#cite_note-57"><span class="cite-bracket">[</span>57<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Lawsuits">Lawsuits</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Sampling_(music)&action=edit&section=11" title="Edit section: Lawsuits"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In 1989, the <a href="/wiki/The_Turtles" title="The Turtles">Turtles</a> sued <a href="/wiki/De_La_Soul" title="De La Soul">De La Soul</a> for using an unlicensed sample on their album <i><a href="/wiki/3_Feet_High_and_Rising" title="3 Feet High and Rising">3 Feet High and Rising</a>.</i> The Turtles singer <a href="/wiki/Mark_Volman" title="Mark Volman">Mark Volman</a> told the <i><a href="/wiki/Los_Angeles_Times" title="Los Angeles Times">Los Angeles Times</a></i>: "Sampling is just a longer term for theft. Anybody who can honestly say sampling is some sort of creativity has never done anything creative."<sup id="cite_ref-Runtagh-2016_58-0" class="reference"><a href="#cite_note-Runtagh-2016-58"><span class="cite-bracket">[</span>58<span class="cite-bracket">]</span></a></sup> The case was settled out of court and set a <a href="/wiki/Legal_precedent" class="mw-redirect" title="Legal precedent">legal precedent</a> that had a <a href="/wiki/Chilling_effect" title="Chilling effect">chilling effect</a> on sampling in hip hop.<sup id="cite_ref-Runtagh-2016_58-1" class="reference"><a href="#cite_note-Runtagh-2016-58"><span class="cite-bracket">[</span>58<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Biz_Markie_2016.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/91/Biz_Markie_2016.jpg/220px-Biz_Markie_2016.jpg" decoding="async" width="220" height="127" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/91/Biz_Markie_2016.jpg/330px-Biz_Markie_2016.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/91/Biz_Markie_2016.jpg/440px-Biz_Markie_2016.jpg 2x" data-file-width="5456" data-file-height="3149" /></a><figcaption><a href="/wiki/Biz_Markie" title="Biz Markie">Biz Markie</a> in 2016</figcaption></figure> <p>In 1991, the songwriter <a href="/wiki/Gilbert_O%27Sullivan" title="Gilbert O'Sullivan">Gilbert O'Sullivan</a> sued the rapper <a href="/wiki/Biz_Markie" title="Biz Markie">Biz Markie</a> after Markie sampled O'Sullivan's "<a href="/wiki/Alone_Again_(Naturally)" title="Alone Again (Naturally)">Alone Again (Naturally)</a>" on the album <i><a href="/wiki/I_Need_a_Haircut" title="I Need a Haircut">I Need a Haircut</a></i>. In <i><a href="/wiki/Grand_Upright_Music,_Ltd._v._Warner_Bros._Records_Inc." title="Grand Upright Music, Ltd. v. Warner Bros. Records Inc.">Grand Upright Music, Ltd. v. Warner Bros. Records Inc</a>,</i> the court ruled that sampling without permission infringed copyright. Instead of asking for royalties, O'Sullivan forced Markie's label <a href="/wiki/Warner_Bros._Records" class="mw-redirect" title="Warner Bros. Records">Warner Bros</a>. to recall the album until the song was removed.<sup id="cite_ref-auto2_59-0" class="reference"><a href="#cite_note-auto2-59"><span class="cite-bracket">[</span>59<span class="cite-bracket">]</span></a></sup> </p><p>The journalist <a href="/wiki/Dan_Charnas" title="Dan Charnas">Dan Charnas</a> criticized the ruling, saying it was difficult to apply conventional copyright laws to sampling and that the American legal system did not have "the cultural capacity to understand this culture and how kids relate to it".<sup id="cite_ref-60" class="reference"><a href="#cite_note-60"><span class="cite-bracket">[</span>60<span class="cite-bracket">]</span></a></sup> In 2005, the writer <a href="/wiki/Nelson_George" title="Nelson George">Nelson George</a> described it as the "most damaging example of anti-hip hop vindictiveness", which "sent a chill through the industry that is still felt".<sup id="cite_ref-auto2_59-1" class="reference"><a href="#cite_note-auto2-59"><span class="cite-bracket">[</span>59<span class="cite-bracket">]</span></a></sup> In the <i><a href="/wiki/The_Washington_Post" title="The Washington Post">Washington Post</a></i>, Chris Richards wrote in 2018 that no case had exerted more influence on pop music, likening it to banning a musical instrument.<sup id="cite_ref-Richards_61-0" class="reference"><a href="#cite_note-Richards-61"><span class="cite-bracket">[</span>61<span class="cite-bracket">]</span></a></sup> Some have accused the law of restricting creativity, while others argue that it forces producers to innovate.<sup id="cite_ref-Richards_61-1" class="reference"><a href="#cite_note-Richards-61"><span class="cite-bracket">[</span>61<span class="cite-bracket">]</span></a></sup> </p><p>Since the O'Sullivan lawsuit, samples on commercial recordings have typically been taken either from obscure recordings or cleared, an often expensive option only available to successful acts.<sup id="cite_ref-Richards_61-2" class="reference"><a href="#cite_note-Richards-61"><span class="cite-bracket">[</span>61<span class="cite-bracket">]</span></a></sup> According to the <i>Guardian</i>, "Sampling became risky business and a rich man's game, with record labels regularly checking if their musical property had been tea-leafed."<sup id="cite_ref-McNamee-2008_13-2" class="reference"><a href="#cite_note-McNamee-2008-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> For less successful artists, the legal implications of using samples pose obstacles; according to <i>Fact</i>, "For a bedroom producer, clearing a sample can be nearly impossible, both financially and in terms of administration."<sup id="cite_ref-Fact-2016_14-5" class="reference"><a href="#cite_note-Fact-2016-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> By comparison, the 1989 <a href="/wiki/Beastie_Boys" title="Beastie Boys">Beastie Boys</a> album <i><a href="/wiki/Paul%27s_Boutique" title="Paul's Boutique">Paul's Boutique</a></i> is composed almost entirely of samples, most of which were cleared "easily and affordably"; the clearance process would be much more expensive today.<sup id="cite_ref-samples2_62-0" class="reference"><a href="#cite_note-samples2-62"><span class="cite-bracket">[</span>62<span class="cite-bracket">]</span></a></sup> The <i>Washington Post</i> described the modern use of well known samples, such as on records by <a href="/wiki/Kanye_West" title="Kanye West">Kanye West</a>, as an act of <a href="/wiki/Conspicuous_consumption" title="Conspicuous consumption">conspicuous consumption</a> similar to flaunting cars or jewelry.<sup id="cite_ref-Richards_61-3" class="reference"><a href="#cite_note-Richards-61"><span class="cite-bracket">[</span>61<span class="cite-bracket">]</span></a></sup> West has been sued several times over his use of samples.<sup id="cite_ref-Fact-2016_14-6" class="reference"><a href="#cite_note-Fact-2016-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="De_minimis_use"><i>De minimis</i> use</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Sampling_(music)&action=edit&section=12" title="Edit section: De minimis use"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In 2000, the jazz flautist <a href="/wiki/James_Newton" title="James Newton">James Newton</a> filed a claim against the Beastie Boys' 1992 single "<a href="/wiki/Pass_the_Mic" title="Pass the Mic">Pass the Mic</a>", which samples his composition "Choir". The judge found that the sample, comprising six seconds and three notes, was <i><a href="/wiki/De_minimis" title="De minimis">de minimis</a></i> (small enough to be trivial) and did not require clearance. Newton lost appeals in 2003 and 2004.<sup id="cite_ref-63" class="reference"><a href="#cite_note-63"><span class="cite-bracket">[</span>63<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Gardner-2016_64-0" class="reference"><a href="#cite_note-Gardner-2016-64"><span class="cite-bracket">[</span>64<span class="cite-bracket">]</span></a></sup> </p><p>In the 2005 case <i><a href="/wiki/Bridgeport_Music,_Inc._v._Dimension_Films" title="Bridgeport Music, Inc. v. Dimension Films">Bridgeport Music, Inc. v. Dimension Films</a></i>, the hip hop group <a href="/wiki/N.W.A" title="N.W.A">N.W.A</a>. were successfully sued for their use of a two-second sample of a <a href="/wiki/Funkadelic" title="Funkadelic">Funkadelic</a> song in the 1990 track "<a href="/wiki/100_Miles_and_Runnin%27_(song)" title="100 Miles and Runnin' (song)">100 Miles and Runnin'</a>".<sup id="cite_ref-Meiselman-2016_65-0" class="reference"><a href="#cite_note-Meiselman-2016-65"><span class="cite-bracket">[</span>65<span class="cite-bracket">]</span></a></sup> The <a href="/wiki/United_States_Court_of_Appeals_for_the_Sixth_Circuit" title="United States Court of Appeals for the Sixth Circuit">United States Court of Appeals for the Sixth Circuit</a> ruled that all samples, no matter how short, required a license.<sup id="cite_ref-Meiselman-2016_65-1" class="reference"><a href="#cite_note-Meiselman-2016-65"><span class="cite-bracket">[</span>65<span class="cite-bracket">]</span></a></sup> A judge wrote: "Get a license or do not sample. We do not see this as stifling creativity in any significant way."<sup id="cite_ref-Gardner-2016_64-1" class="reference"><a href="#cite_note-Gardner-2016-64"><span class="cite-bracket">[</span>64<span class="cite-bracket">]</span></a></sup> </p><p>As the Bridgeport judgement was decided in an American <a href="/wiki/United_States_courts_of_appeals" title="United States courts of appeals">Federal court of appeal</a>, lower courts ruling on similar issues are bound to abide by it.<sup id="cite_ref-Meiselman-2016_65-2" class="reference"><a href="#cite_note-Meiselman-2016-65"><span class="cite-bracket">[</span>65<span class="cite-bracket">]</span></a></sup> However, in the 2016 case <i><a href="/wiki/VMG_Salsoul_v_Ciccone" title="VMG Salsoul v Ciccone">VMG Salsoul v Ciccone</a></i>, the <a href="/wiki/United_States_Court_of_Appeals_for_the_Ninth_Circuit" title="United States Court of Appeals for the Ninth Circuit">United States Court of Appeals for the Ninth Circuit</a> ruled that <a href="/wiki/Madonna" title="Madonna">Madonna</a> did not require a license for a short horn sample in her 1990 song "<a href="/wiki/Vogue_(Madonna_song)" title="Vogue (Madonna song)">Vogue</a>". The judge Susan Graber wrote that she did not see why sampling law should be an exception to standard <i>de minimis</i> law.<sup id="cite_ref-Gardner-2016_64-2" class="reference"><a href="#cite_note-Gardner-2016-64"><span class="cite-bracket">[</span>64<span class="cite-bracket">]</span></a></sup> </p><p>In 2019, the <a href="/wiki/European_Court_of_Justice" title="European Court of Justice">European Court of Justice</a> ruled that the producers <a href="/wiki/Moses_Pelham" title="Moses Pelham">Moses Pelham</a> and Martin Haas had illegally sampled a drum sequence from the 1977 <a href="/wiki/Kraftwerk" title="Kraftwerk">Kraftwerk</a> track "<a href="/wiki/Metal_on_Metal_(song)" title="Metal on Metal (song)">Metal on Metal</a>" for the <a href="/wiki/Sabrina_Setlur" title="Sabrina Setlur">Sabrina Setlur</a> song "Nur Mir".<sup id="cite_ref-BBC_News-2019_66-0" class="reference"><a href="#cite_note-BBC_News-2019-66"><span class="cite-bracket">[</span>66<span class="cite-bracket">]</span></a></sup> The court ruled that permission was required for recognizable samples; modified, unrecognizable samples could still be used without authorization.<sup id="cite_ref-BBC_News-2019_66-1" class="reference"><a href="#cite_note-BBC_News-2019-66"><span class="cite-bracket">[</span>66<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Sampling_(music)&action=edit&section=13" title="Edit section: See also"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/Remix" title="Remix">Remix</a></li> <li><a href="/wiki/Mashup_(music)" title="Mashup (music)">Mashup (music)</a></li> <li><a href="/wiki/Chopped_and_screwed" title="Chopped and screwed">Chopped and screwed</a></li> <li><a href="/wiki/Musical_quotation" title="Musical quotation">Musical quotation</a></li> <li><a href="/wiki/Plunderphonics" title="Plunderphonics">Plunderphonics</a></li> <li><a href="/wiki/Recombinant_culture" title="Recombinant culture">Recombinant culture</a></li> <li><a href="/wiki/Riddim" title="Riddim">Riddim</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Sampling_(music)&action=edit&section=14" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/WhoSampled" title="WhoSampled">WhoSampled</a>, a website that catalogs samples</li></ul> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Sampling_(music)&action=edit&section=15" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-columns references-column-width" style="column-width: 30em;"> <ol class="references"> <li id="cite_note-Howell-2005-1"><span class="mw-cite-backlink">^ <a href="#cite_ref-Howell-2005_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Howell-2005_1-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Howell-2005_1-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Howell-2005_1-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Howell-2005_1-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-Howell-2005_1-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-Howell-2005_1-6"><sup><i><b>g</b></i></sup></a> <a href="#cite_ref-Howell-2005_1-7"><sup><i><b>h</b></i></sup></a> <a href="#cite_ref-Howell-2005_1-8"><sup><i><b>i</b></i></sup></a> <a href="#cite_ref-Howell-2005_1-9"><sup><i><b>j</b></i></sup></a></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFHowell2005" class="citation web cs1">Howell, Steve (August 2005). <a rel="nofollow" class="external text" href="https://www.soundonsound.com/techniques/lost-art-sampling-part-1">"The Lost Art Of Sampling: Part 1"</a>. <i><a href="/wiki/Sound_on_Sound" title="Sound on Sound">Sound on Sound</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20181209123730/https://www.soundonsound.com/techniques/lost-art-sampling-part-1">Archived</a> from the original on 9 December 2018<span class="reference-accessdate">. Retrieved <span class="nowrap">12 October</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Sound+on+Sound&rft.atitle=The+Lost+Art+Of+Sampling%3A+Part+1&rft.date=2005-08&rft.aulast=Howell&rft.aufirst=Steve&rft_id=https%3A%2F%2Fwww.soundonsound.com%2Ftechniques%2Flost-art-sampling-part-1&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation book cs1"><a rel="nofollow" class="external text" href="https://books.google.com/books?id=goNpkxHhH48C&pg=PA55"><i>Reggae Wisdom: Proverbs in Jamaican Music</i></a>. Univ. Press of Mississippi. 2001. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781604736595" title="Special:BookSources/9781604736595"><bdi>9781604736595</bdi></a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20240505130232/https://books.google.com/books?id=goNpkxHhH48C&pg=PA55#v=onepage&q&f=false">Archived</a> from the original on 5 May 2024<span class="reference-accessdate">. Retrieved <span class="nowrap">11 September</span> 2017</span> – via Google Books.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Reggae+Wisdom%3A+Proverbs+in+Jamaican+Music&rft.pub=Univ.+Press+of+Mississippi&rft.date=2001&rft.isbn=9781604736595&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DgoNpkxHhH48C%26pg%3DPA55&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-mccann-3"><span class="mw-cite-backlink">^ <a href="#cite_ref-mccann_3-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-mccann_3-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Bryan J. McCann, <a rel="nofollow" class="external text" href="https://books.google.com/books?id=0xOtDgAAQBAJ&pg=PA41"><i>The Mark of Criminality: Rhetoric, Race, and Gangsta Rap in the War-On-Crime ERA</i>, pages 41-42</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20240505130239/https://books.google.com/books?id=0xOtDgAAQBAJ&pg=PA41#v=onepage&q&f=false">Archived</a> 5 May 2024 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, <a href="/wiki/University_of_Alabama_Press" title="University of Alabama Press">University of Alabama Press</a></span> </li> <li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBeaumont-Thomas2017" class="citation news cs1">Beaumont-Thomas, Ben (6 September 2017). <a rel="nofollow" class="external text" href="https://www.theguardian.com/music/2017/sep/06/holger-czukay-bassist-with-can-dies-aged-79">"Holger Czukay, bassist with Can, dies aged 79"</a>. <i><a href="/wiki/The_Guardian" title="The Guardian">The Guardian</a></i>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0261-3077">0261-3077</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20230812120730/https://www.theguardian.com/music/2017/sep/06/holger-czukay-bassist-with-can-dies-aged-79">Archived</a> from the original on 12 August 2023<span class="reference-accessdate">. Retrieved <span class="nowrap">12 August</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=Holger+Czukay%2C+bassist+with+Can%2C+dies+aged+79&rft.date=2017-09-06&rft.issn=0261-3077&rft.aulast=Beaumont-Thomas&rft.aufirst=Ben&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fmusic%2F2017%2Fsep%2F06%2Fholger-czukay-bassist-with-can-dies-aged-79&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-McNamee-2009-5"><span class="mw-cite-backlink">^ <a href="#cite_ref-McNamee-2009_5-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-McNamee-2009_5-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-McNamee-2009_5-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-McNamee-2009_5-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-McNamee-2009_5-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-McNamee-2009_5-5"><sup><i><b>f</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMcNamee2009" class="citation web cs1">McNamee, David (28 September 2009). <a rel="nofollow" class="external text" href="https://www.theguardian.com/music/2009/sep/28/whats-that-sound-sampler">"Hey, what's that sound: Sampler"</a>. <i><a href="/wiki/The_Guardian" title="The Guardian">The Guardian</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20140304190836/http://www.theguardian.com/music/2009/sep/28/whats-that-sound-sampler">Archived</a> from the original on 4 March 2014<span class="reference-accessdate">. Retrieved <span class="nowrap">12 October</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Guardian&rft.atitle=Hey%2C+what%27s+that+sound%3A+Sampler&rft.date=2009-09-28&rft.aulast=McNamee&rft.aufirst=David&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fmusic%2F2009%2Fsep%2F28%2Fwhats-that-sound-sampler&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-Newsscientist-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-Newsscientist_6-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHamer2015" class="citation web cs1">Hamer, Mick (26 March 2015). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20080708224444/http://www.newscientist.com/channel/opinion/mg18524921.400">"Interview: Electronic maestros"</a>. <i><a href="/wiki/New_Scientist" title="New Scientist">New Scientist</a></i>. <a href="/wiki/Reed_Business_Information" class="mw-redirect" title="Reed Business Information">Reed Business Information</a>. Archived from <a rel="nofollow" class="external text" href="https://www.newscientist.com/channel/opinion/mg18524921.400">the original</a> on 8 July 2008<span class="reference-accessdate">. Retrieved <span class="nowrap">4 April</span> 2016</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=New+Scientist&rft.atitle=Interview%3A+Electronic+maestros&rft.date=2015-03-26&rft.aulast=Hamer&rft.aufirst=Mick&rft_id=https%3A%2F%2Fwww.newscientist.com%2Fchannel%2Fopinion%2Fmg18524921.400&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-MusicRadar-7"><span class="mw-cite-backlink">^ <a href="#cite_ref-MusicRadar_7-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-MusicRadar_7-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.musicradar.com/tuition/tech/a-brief-history-of-sampling-604868">"A brief history of sampling"</a>. <i><a href="/wiki/MusicRadar" class="mw-redirect" title="MusicRadar">MusicRadar</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20190626032124/https://www.musicradar.com/tuition/tech/a-brief-history-of-sampling-604868">Archived</a> from the original on 26 June 2019<span class="reference-accessdate">. Retrieved <span class="nowrap">12 October</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=MusicRadar&rft.atitle=A+brief+history+of+sampling&rft_id=https%3A%2F%2Fwww.musicradar.com%2Ftuition%2Ftech%2Fa-brief-history-of-sampling-604868&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMcNamee2009" class="citation web cs1">McNamee, David (22 June 2009). <a rel="nofollow" class="external text" href="https://www.theguardian.com/music/2009/jun/22/linn-oberheim-drum-machines">"Hey, what's that sound: Linn LM-1 Drum Computer and the Oberheim DMX"</a>. <i><a href="/wiki/The_Guardian" title="The Guardian">The Guardian</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20181026233316/https://www.theguardian.com/music/2009/jun/22/linn-oberheim-drum-machines">Archived</a> from the original on 26 October 2018<span class="reference-accessdate">. Retrieved <span class="nowrap">9 February</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Guardian&rft.atitle=Hey%2C+what%27s+that+sound%3A+Linn+LM-1+Drum+Computer+and+the+Oberheim+DMX&rft.date=2009-06-22&rft.aulast=McNamee&rft.aufirst=David&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fmusic%2F2009%2Fjun%2F22%2Flinn-oberheim-drum-machines&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-Milner-2011-9"><span class="mw-cite-backlink">^ <a href="#cite_ref-Milner-2011_9-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Milner-2011_9-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Milner-2011_9-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Milner-2011_9-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Milner-2011_9-4"><sup><i><b>e</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMilner2011" class="citation book cs1">Milner, Greg (3 November 2011). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=x-faxiGMNWoC"><i>Perfecting Sound Forever: The Story of Recorded Music</i></a>. Granta Publications. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781847086051" title="Special:BookSources/9781847086051"><bdi>9781847086051</bdi></a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20181209124448/https://books.google.co.uk/books?id=x-faxiGMNWoC">Archived</a> from the original on 9 December 2018<span class="reference-accessdate">. Retrieved <span class="nowrap">7 December</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Perfecting+Sound+Forever%3A+The+Story+of+Recorded+Music&rft.pub=Granta+Publications&rft.date=2011-11-03&rft.isbn=9781847086051&rft.aulast=Milner&rft.aufirst=Greg&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3Dx-faxiGMNWoC&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.musicradar.com/news/tech/the-10-most-important-hardware-samplers-in-history-361471">"The 10 most important hardware samplers in history"</a>. <i><a href="/wiki/MusicRadar" class="mw-redirect" title="MusicRadar">MusicRadar</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20180702035529/https://www.musicradar.com/news/tech/the-10-most-important-hardware-samplers-in-history-361471">Archived</a> from the original on 2 July 2018<span class="reference-accessdate">. Retrieved <span class="nowrap">13 May</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=MusicRadar&rft.atitle=The+10+most+important+hardware+samplers+in+history&rft_id=https%3A%2F%2Fwww.musicradar.com%2Fnews%2Ftech%2Fthe-10-most-important-hardware-samplers-in-history-361471&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-Vox-11"><span class="mw-cite-backlink">^ <a href="#cite_ref-Vox_11-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Vox_11-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Vox_11-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAciman2018" class="citation news cs1">Aciman, Alexander (16 April 2018). <a rel="nofollow" class="external text" href="https://www.vox.com/culture/2018/4/16/16615352/akai-mpc-music-history-impact">"Meet the unassuming drum machine that changed music forever"</a>. <i><a href="/wiki/Vox_(website)" title="Vox (website)">Vox</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20181221091206/https://www.vox.com/culture/2018/4/16/16615352/akai-mpc-music-history-impact">Archived</a> from the original on 21 December 2018<span class="reference-accessdate">. Retrieved <span class="nowrap">11 May</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Vox&rft.atitle=Meet+the+unassuming+drum+machine+that+changed+music+forever&rft.date=2018-04-16&rft.aulast=Aciman&rft.aufirst=Alexander&rft_id=https%3A%2F%2Fwww.vox.com%2Fculture%2F2018%2F4%2F16%2F16615352%2Fakai-mpc-music-history-impact&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-M1-Retrozone-12"><span class="mw-cite-backlink">^ <a href="#cite_ref-M1-Retrozone_12-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-M1-Retrozone_12-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFVail2002" class="citation web cs1">Vail, Mark (February 2002). <a rel="nofollow" class="external text" href="https://www.soundonsound.com/reviews/korg-m1-retrozone">"Korg M1 (Retrozone)"</a>. <i><a href="/wiki/Sound_on_Sound" title="Sound on Sound">Sound on Sound</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20191102113614/https://www.soundonsound.com/reviews/korg-m1-retrozone">Archived</a> from the original on 2 November 2019<span class="reference-accessdate">. Retrieved <span class="nowrap">6 November</span> 2019</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Sound+on+Sound&rft.atitle=Korg+M1+%28Retrozone%29&rft.date=2002-02&rft.aulast=Vail&rft.aufirst=Mark&rft_id=https%3A%2F%2Fwww.soundonsound.com%2Freviews%2Fkorg-m1-retrozone&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-McNamee-2008-13"><span class="mw-cite-backlink">^ <a href="#cite_ref-McNamee-2008_13-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-McNamee-2008_13-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-McNamee-2008_13-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMcNamee2008" class="citation web cs1">McNamee, David (16 February 2008). <a rel="nofollow" class="external text" href="https://www.theguardian.com/music/musicblog/2008/feb/16/whendidsamplingbecamesono">"When did sampling become so non-threatening?"</a>. <i><a href="/wiki/The_Guardian" title="The Guardian">The Guardian</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20190331053848/https://www.theguardian.com/music/musicblog/2008/feb/16/whendidsamplingbecamesono">Archived</a> from the original on 31 March 2019<span class="reference-accessdate">. Retrieved <span class="nowrap">12 October</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Guardian&rft.atitle=When+did+sampling+become+so+non-threatening%3F&rft.date=2008-02-16&rft.aulast=McNamee&rft.aufirst=David&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fmusic%2Fmusicblog%2F2008%2Ffeb%2F16%2Fwhendidsamplingbecamesono&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-Fact-2016-14"><span class="mw-cite-backlink">^ <a href="#cite_ref-Fact-2016_14-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Fact-2016_14-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Fact-2016_14-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Fact-2016_14-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Fact-2016_14-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-Fact-2016_14-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-Fact-2016_14-6"><sup><i><b>g</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMeiselman2016" class="citation news cs1">Meiselman, Jessica (25 June 2016). <a rel="nofollow" class="external text" href="http://www.factmag.com/2016/06/25/sampling-hip-hop-copyright/">"Untangling the knotty world of hip-hop copyright"</a>. <i><a href="/wiki/Fact_(UK_magazine)" title="Fact (UK magazine)">Fact</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20181014165059/http://www.factmag.com/2016/06/25/sampling-hip-hop-copyright/">Archived</a> from the original on 14 October 2018<span class="reference-accessdate">. Retrieved <span class="nowrap">14 October</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Fact&rft.atitle=Untangling+the+knotty+world+of+hip-hop+copyright&rft.date=2016-06-25&rft.aulast=Meiselman&rft.aufirst=Jessica&rft_id=http%3A%2F%2Fwww.factmag.com%2F2016%2F06%2F25%2Fsampling-hip-hop-copyright%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-10_classic-15"><span class="mw-cite-backlink">^ <a href="#cite_ref-10_classic_15-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-10_classic_15-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-10_classic_15-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCant2022" class="citation web cs1">Cant, Tim (1 July 2022). <a rel="nofollow" class="external text" href="https://www.musicradar.com/news/tech/10-classic-sample-libraries-that-changed-music-631133">"10 classic sample libraries that changed music"</a>. <i><a href="/wiki/MusicRadar" class="mw-redirect" title="MusicRadar">MusicRadar</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20191026174523/https://www.musicradar.com/news/tech/10-classic-sample-libraries-that-changed-music-631133">Archived</a> from the original on 26 October 2019<span class="reference-accessdate">. Retrieved <span class="nowrap">26 October</span> 2019</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=MusicRadar&rft.atitle=10+classic+sample+libraries+that+changed+music&rft.date=2022-07-01&rft.aulast=Cant&rft.aufirst=Tim&rft_id=https%3A%2F%2Fwww.musicradar.com%2Fnews%2Ftech%2F10-classic-sample-libraries-that-changed-music-631133&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-Music_2011-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-Music_2011_16-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMusic2011" class="citation web cs1">Music, Future (17 March 2011). <a rel="nofollow" class="external text" href="https://www.musicradar.com/tuition/tech/a-brief-history-of-garageband-400471">"A brief history of GarageBand"</a>. <i><a href="/wiki/MusicRadar" class="mw-redirect" title="MusicRadar">MusicRadar</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20190923055853/https://www.musicradar.com/tuition/tech/a-brief-history-of-garageband-400471">Archived</a> from the original on 23 September 2019<span class="reference-accessdate">. Retrieved <span class="nowrap">6 December</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=MusicRadar&rft.atitle=A+brief+history+of+GarageBand&rft.date=2011-03-17&rft.aulast=Music&rft.aufirst=Future&rft_id=https%3A%2F%2Fwww.musicradar.com%2Ftuition%2Ftech%2Fa-brief-history-of-garageband-400471&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-Tannenbaum_Tannenbaum_2021-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-Tannenbaum_Tannenbaum_2021_17-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTannenbaum2021" class="citation magazine cs1">Tannenbaum, Rob (22 July 2021). <a rel="nofollow" class="external text" href="https://www.billboard.com/pro/splice-music-creation-platform-producers-samples-analysis/">"How Splice Became the Hottest Platform on the Beat Market"</a>. <i><a href="/wiki/Billboard_(magazine)" title="Billboard (magazine)">Billboard</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20221206120248/https://www.billboard.com/pro/splice-music-creation-platform-producers-samples-analysis/">Archived</a> from the original on 6 December 2022<span class="reference-accessdate">. Retrieved <span class="nowrap">6 December</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Billboard&rft.atitle=How+Splice+Became+the+Hottest+Platform+on+the+Beat+Market&rft.date=2021-07-22&rft.aulast=Tannenbaum&rft.aufirst=Rob&rft_id=https%3A%2F%2Fwww.billboard.com%2Fpro%2Fsplice-music-creation-platform-producers-samples-analysis%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-18">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDandridge-Lemco2020" class="citation web cs1">Dandridge-Lemco, Ben (8 May 2020). <a rel="nofollow" class="external text" href="https://pitchfork.com/thepitch/get-to-know-the-loopmakers-behind-raps-biggest-songs/">"Get to know the loopmakers behind rap's biggest songs"</a>. <i><a href="/wiki/Pitchfork_(website)" title="Pitchfork (website)">Pitchfork</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20210423012422/https://pitchfork.com/thepitch/get-to-know-the-loopmakers-behind-raps-biggest-songs/">Archived</a> from the original on 23 April 2021<span class="reference-accessdate">. Retrieved <span class="nowrap">4 June</span> 2021</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Pitchfork&rft.atitle=Get+to+know+the+loopmakers+behind+rap%27s+biggest+songs&rft.date=2020-05-08&rft.aulast=Dandridge-Lemco&rft.aufirst=Ben&rft_id=https%3A%2F%2Fpitchfork.com%2Fthepitch%2Fget-to-know-the-loopmakers-behind-raps-biggest-songs%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCush2016" class="citation news cs1">Cush, Andy (15 December 2016). <a rel="nofollow" class="external text" href="https://www.spin.com/2016/12/how-hitmaking-producer-frank-dukes-is-reinventing-the-pop-music-machine/">"How Hitmaking Producer Frank Dukes Is Reinventing the Pop Music Machine"</a>. <i><a href="/wiki/Spin_(magazine)" title="Spin (magazine)">Spin</a></i><span class="reference-accessdate">. Retrieved <span class="nowrap">4 June</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Spin&rft.atitle=How+Hitmaking+Producer+Frank+Dukes+Is+Reinventing+the+Pop+Music+Machine&rft.date=2016-12-15&rft.aulast=Cush&rft.aufirst=Andy&rft_id=https%3A%2F%2Fwww.spin.com%2F2016%2F12%2Fhow-hitmaking-producer-frank-dukes-is-reinventing-the-pop-music-machine%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAdams" class="citation news cs1">Adams, Kelsey. <a rel="nofollow" class="external text" href="https://www.complex.com/music/a/kelsey-adams/frank-dukes-kingsway-music-library-could-change-sampling-forever">"Frank Dukes' Kingsway Music Library Could Change Sampling Forever"</a>. <i><a href="/wiki/Complex_Networks" title="Complex Networks">Complex</a></i><span class="reference-accessdate">. Retrieved <span class="nowrap">4 June</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Complex&rft.atitle=Frank+Dukes%27+Kingsway+Music+Library+Could+Change+Sampling+Forever&rft.aulast=Adams&rft.aufirst=Kelsey&rft_id=https%3A%2F%2Fwww.complex.com%2Fmusic%2Fa%2Fkelsey-adams%2Ffrank-dukes-kingsway-music-library-could-change-sampling-forever&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-21">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLefrak2020" class="citation web cs1">Lefrak, Mikaela (24 April 2020). <a rel="nofollow" class="external text" href="https://wamu.org/story/20/04/24/the-library-of-congress-wants-djs-and-you-to-make-beats-using-its-audio-collections/">"The Library of Congress wants DJs (and you) to make beats using its audio collections"</a>. <i><a href="/wiki/WAMU" title="WAMU">WAMU</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20210604025215/https://wamu.org/story/20/04/24/the-library-of-congress-wants-djs-and-you-to-make-beats-using-its-audio-collections/">Archived</a> from the original on 4 June 2021<span class="reference-accessdate">. Retrieved <span class="nowrap">4 June</span> 2021</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=WAMU&rft.atitle=The+Library+of+Congress+wants+DJs+%28and+you%29+to+make+beats+using+its+audio+collections&rft.date=2020-04-24&rft.aulast=Lefrak&rft.aufirst=Mikaela&rft_id=https%3A%2F%2Fwamu.org%2Fstory%2F20%2F04%2F24%2Fthe-library-of-congress-wants-djs-and-you-to-make-beats-using-its-audio-collections%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-Jones-2022-22"><span class="mw-cite-backlink">^ <a href="#cite_ref-Jones-2022_22-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Jones-2022_22-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFJones2022" class="citation web cs1">Jones, Rhian (5 August 2022). <a rel="nofollow" class="external text" href="https://www.theguardian.com/music/2022/aug/05/common-decency-beyonces-renaissance-sparks-debate-about-the-politics-of-music-sampling">"<span class="cs1-kern-left"></span>'Common decency': Beyoncé's <i>Renaissance</i> sparks debate about the politics of music sampling"</a>. <i><a href="/wiki/The_Guardian" title="The Guardian">The Guardian</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20220806112330/https://www.theguardian.com/music/2022/aug/05/common-decency-beyonces-renaissance-sparks-debate-about-the-politics-of-music-sampling">Archived</a> from the original on 6 August 2022<span class="reference-accessdate">. Retrieved <span class="nowrap">6 August</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Guardian&rft.atitle=%27Common+decency%27%3A+Beyonc%C3%A9%27s+Renaissance+sparks+debate+about+the+politics+of+music+sampling&rft.date=2022-08-05&rft.aulast=Jones&rft.aufirst=Rhian&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fmusic%2F2022%2Faug%2F05%2Fcommon-decency-beyonces-renaissance-sparks-debate-about-the-politics-of-music-sampling&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFInglis2003" class="citation web cs1">Inglis, Sam (September 2003). <a rel="nofollow" class="external text" href="https://www.soundonsound.com/people/steve-gibson-dave-walters-recreating-samples">"Steve Gibson & Dave Walters: Recreating Samples |"</a>. <i><a href="/wiki/Sound_on_Sound" title="Sound on Sound">Sound on Sound</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20181014165401/https://www.soundonsound.com/people/steve-gibson-dave-walters-recreating-samples">Archived</a> from the original on 14 October 2018<span class="reference-accessdate">. Retrieved <span class="nowrap">14 October</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Sound+on+Sound&rft.atitle=Steve+Gibson+%26+Dave+Walters%3A+Recreating+Samples+%7C&rft.date=2003-09&rft.aulast=Inglis&rft.aufirst=Sam&rft_id=https%3A%2F%2Fwww.soundonsound.com%2Fpeople%2Fsteve-gibson-dave-walters-recreating-samples&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-TechCrunch-24"><span class="mw-cite-backlink">^ <a href="#cite_ref-TechCrunch_24-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-TechCrunch_24-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://techcrunch.com/2015/03/22/from-artistic-to-technological-mash-up/">"Remixing Culture And Why The Art Of The Mash-Up Matters"</a>. <i>TechCrunch</i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20200212113835/https://techcrunch.com/2015/03/22/from-artistic-to-technological-mash-up/">Archived</a> from the original on 12 February 2020<span class="reference-accessdate">. Retrieved <span class="nowrap">16 October</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=TechCrunch&rft.atitle=Remixing+Culture+And+Why+The+Art+Of+The+Mash-Up+Matters&rft_id=https%3A%2F%2Ftechcrunch.com%2F2015%2F03%2F22%2Ffrom-artistic-to-technological-mash-up%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-25"><span class="mw-cite-backlink"><b><a href="#cite_ref-25">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.engadget.com/2017/01/22/akai-mpc-live-mpc-x/">"Hip-hop's most influential sampler gets a 2017 reboot"</a>. <i>Engadget</i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20190331204530/https://www.engadget.com/2017/01/22/akai-mpc-live-mpc-x/">Archived</a> from the original on 31 March 2019<span class="reference-accessdate">. Retrieved <span class="nowrap">3 April</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Engadget&rft.atitle=Hip-hop%27s+most+influential+sampler+gets+a+2017+reboot&rft_id=https%3A%2F%2Fwww.engadget.com%2F2017%2F01%2F22%2Fakai-mpc-live-mpc-x%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-26"><span class="mw-cite-backlink"><b><a href="#cite_ref-26">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMayumi_Yoshida_Barakan_&_Judith_Connor_Greer1996" class="citation book cs1">Mayumi Yoshida Barakan & Judith Connor Greer (1996). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=vJbd43uxLiMC&pg=PA144"><i>Tokyo city guide</i></a>. Tuttle Publishing. p. 144. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8048-1964-5" title="Special:BookSources/0-8048-1964-5"><bdi>0-8048-1964-5</bdi></a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20170323184028/https://books.google.com/books?id=vJbd43uxLiMC&pg=PA144">Archived</a> from the original on 23 March 2017<span class="reference-accessdate">. Retrieved <span class="nowrap">6 June</span> 2011</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Tokyo+city+guide&rft.pages=144&rft.pub=Tuttle+Publishing&rft.date=1996&rft.isbn=0-8048-1964-5&rft.au=Mayumi+Yoshida+Barakan+%26+Judith+Connor+Greer&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DvJbd43uxLiMC%26pg%3DPA144&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-thevinyldistrict-27"><span class="mw-cite-backlink">^ <a href="#cite_ref-thevinyldistrict_27-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-thevinyldistrict_27-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCarter2011" class="citation web cs1">Carter, Monica (30 June 2011). <a rel="nofollow" class="external text" href="http://www.thevinyldistrict.com/losangeles/2011/06/it%E2%80%99s-easy-when-you%E2%80%99re-big-in-japan-yellow-magic-orchestra-at-the-hollywood-bowl/">"It's Easy When You're Big In Japan: Yellow Magic Orchestra at The Hollywood Bowl"</a>. <i>The Vinyl District</i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20120321110921/http://www.thevinyldistrict.com/losangeles/2011/06/it%E2%80%99s-easy-when-you%E2%80%99re-big-in-japan-yellow-magic-orchestra-at-the-hollywood-bowl/">Archived</a> from the original on 21 March 2012<span class="reference-accessdate">. Retrieved <span class="nowrap">22 July</span> 2011</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Vinyl+District&rft.atitle=It%27s+Easy+When+You%27re+Big+In+Japan%3A+Yellow+Magic+Orchestra+at+The+Hollywood+Bowl&rft.date=2011-06-30&rft.aulast=Carter&rft.aufirst=Monica&rft_id=http%3A%2F%2Fwww.thevinyldistrict.com%2Flosangeles%2F2011%2F06%2Fit%25E2%2580%2599s-easy-when-you%25E2%2580%2599re-big-in-japan-yellow-magic-orchestra-at-the-hollywood-bowl%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-condry_59-28"><span class="mw-cite-backlink">^ <a href="#cite_ref-condry_59_28-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-condry_59_28-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCondry2006" class="citation book cs1">Condry, Ian (2006). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=37QWE3yRY-4C&pg=PA59"><i>Hip-hop Japan: rap and the paths of cultural globalization</i></a>. <a href="/wiki/Duke_University_Press" title="Duke University Press">Duke University Press</a>. p. 60. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8223-3892-0" title="Special:BookSources/0-8223-3892-0"><bdi>0-8223-3892-0</bdi></a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20190420110826/https://books.google.com/books?id=37QWE3yRY-4C&pg=PA59">Archived</a> from the original on 20 April 2019<span class="reference-accessdate">. Retrieved <span class="nowrap">11 June</span> 2019</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Hip-hop+Japan%3A+rap+and+the+paths+of+cultural+globalization&rft.pages=60&rft.pub=Duke+University+Press&rft.date=2006&rft.isbn=0-8223-3892-0&rft.aulast=Condry&rft.aufirst=Ian&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D37QWE3yRY-4C%26pg%3DPA59&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-29"><span class="mw-cite-backlink"><b><a href="#cite_ref-29">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.factmag.com/2015/01/22/the-essential-yellow-magic-orchestra/">"The Essential... 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Retrieved <span class="nowrap">11 June</span> 2019</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Fact&rft.atitle=The+Essential...+Yellow+Magic+Orchestra&rft.date=2015-01-22&rft_id=https%3A%2F%2Fwww.factmag.com%2F2015%2F01%2F22%2Fthe-essential-yellow-magic-orchestra%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-30"><span class="mw-cite-backlink"><b><a href="#cite_ref-30">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSimpson2006" class="citation news cs1">Simpson, Dave (24 March 2006). <a rel="nofollow" class="external text" href="http://arts.guardian.co.uk/reviews/story/0,,1737896,00.html">"Brian Eno and David Byrne, My Life in the Bush of Ghosts"</a>. <i><a href="/wiki/The_Guardian" title="The Guardian">The Guardian</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20070820145445/http://arts.guardian.co.uk/reviews/story/0,,1737896,00.html">Archived</a> from the original on 20 August 2007<span class="reference-accessdate">. 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London. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20170214205917/https://www.theguardian.com/music/musicblog/2011/jan/20/big-audio-dynamite-clash">Archived</a> from the original on 14 February 2017<span class="reference-accessdate">. Retrieved <span class="nowrap">16 December</span> 2016</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=Big+Audio+Dynamite%3A+more+pioneering+than+the+Clash%3F&rft.date=2011-01-20&rft.aulast=Myers&rft.aufirst=Ben&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fmusic%2Fmusicblog%2F2011%2Fjan%2F20%2Fbig-audio-dynamite-clash&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-Fintoni-2013-34"><span class="mw-cite-backlink">^ <a href="#cite_ref-Fintoni-2013_34-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Fintoni-2013_34-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Fintoni-2013_34-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFintoni2013" class="citation news cs1">Fintoni, Laurent (2 August 2013). <a rel="nofollow" class="external text" href="http://www.factmag.com/2013/08/02/ethics-sampling-portishead-weeknd/2/">"Don't kick the ethics out of sampling: picking up the bullets from the Weeknd's clash with Portishead"</a>. <i><a href="/wiki/Fact_(UK_magazine)" title="Fact (UK magazine)">Fact</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20181012214538/http://www.factmag.com/2013/08/02/ethics-sampling-portishead-weeknd/2/">Archived</a> from the original on 12 October 2018<span class="reference-accessdate">. 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Retrieved <span class="nowrap">14 October</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Economist&rft.atitle=Seven+seconds+of+fire&rft.date=2011-12-17&rft.issn=0013-0613&rft_id=https%3A%2F%2Fwww.economist.com%2Fchristmas-specials%2F2011%2F12%2F17%2Fseven-seconds-of-fire&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-Taylor-36"><span class="mw-cite-backlink"><b><a href="#cite_ref-Taylor_36-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTaylor2012" class="citation web cs1">Taylor, Ken (14 August 2012). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20121021171416/http://news.beatport.com/blog/2012/08/14/dj-shadow-week-an-exclusive-interview-i-feel-like-ive-kind-of-done-a-lot-fo/">"The exclusive interview; 'I feel like I've done a lot for the MPC'<span class="cs1-kern-right"></span>"</a>. <a href="/wiki/Beatport" title="Beatport">Beatport</a>. Archived from <a rel="nofollow" class="external text" href="http://news.beatport.com/blog/2012/08/14/dj-shadow-week-an-exclusive-interview-i-feel-like-ive-kind-of-done-a-lot-fo/">the original</a> on 21 October 2012<span class="reference-accessdate">. Retrieved <span class="nowrap">16 March</span> 2013</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=The+exclusive+interview%3B+%27I+feel+like+I%27ve+done+a+lot+for+the+MPC%27&rft.pub=Beatport&rft.date=2012-08-14&rft.aulast=Taylor&rft.aufirst=Ken&rft_id=http%3A%2F%2Fnews.beatport.com%2Fblog%2F2012%2F08%2F14%2Fdj-shadow-week-an-exclusive-interview-i-feel-like-ive-kind-of-done-a-lot-fo%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-37"><span class="mw-cite-backlink"><b><a href="#cite_ref-37">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.guinnessworldrecords.com/records-1000/first-album-made-completely-from-samples/">"First album made completely from samples"</a>. <i><a href="/wiki/Guinness_World_Records" title="Guinness World Records">Guinness World Records</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20130807084205/http://www.guinnessworldrecords.com/records-1000/first-album-made-completely-from-samples/">Archived</a> from the original on 7 August 2013<span class="reference-accessdate">. Retrieved <span class="nowrap">20 March</span> 2013</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Guinness+World+Records&rft.atitle=First+album+made+completely+from+samples&rft_id=http%3A%2F%2Fwww.guinnessworldrecords.com%2Frecords-1000%2Ffirst-album-made-completely-from-samples%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-Sullivan-38"><span class="mw-cite-backlink"><b><a href="#cite_ref-Sullivan_38-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSullivan,_James2012" class="citation journal cs1">Sullivan, James (30 March 2012). <a rel="nofollow" class="external text" href="https://www.bostonglobe.com/arts/2012/03/29/shadow-influence-looms-large/Ip8K0R8rlE33LZMVIijKzH/story.html">"DJ Shadow's influence looms large"</a>. <i><a href="/wiki/The_Boston_Globe" title="The Boston Globe">The Boston Globe</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20131202221415/http://www.bostonglobe.com/arts/2012/03/29/shadow-influence-looms-large/Ip8K0R8rlE33LZMVIijKzH/story.html">Archived</a> from the original on 2 December 2013<span class="reference-accessdate">. Retrieved <span class="nowrap">23 March</span> 2013</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Boston+Globe&rft.atitle=DJ+Shadow%27s+influence+looms+large&rft.date=2012-03-30&rft.au=Sullivan%2C+James&rft_id=https%3A%2F%2Fwww.bostonglobe.com%2Farts%2F2012%2F03%2F29%2Fshadow-influence-looms-large%2FIp8K0R8rlE33LZMVIijKzH%2Fstory.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-39"><span class="mw-cite-backlink"><b><a href="#cite_ref-39">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.villagevoice.com/2007/11/06/the-dirty-heartbeat-of-the-golden-age/">"The Dirty Heartbeat of the Golden Age"</a>. <i><a href="/wiki/The_Village_Voice" title="The Village Voice">The Village Voice</a></i>. 6 November 2007. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20190501043549/https://www.villagevoice.com/2007/11/06/the-dirty-heartbeat-of-the-golden-age/">Archived</a> from the original on 1 May 2019<span class="reference-accessdate">. Retrieved <span class="nowrap">17 July</span> 2019</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Village+Voice&rft.atitle=The+Dirty+Heartbeat+of+the+Golden+Age&rft.date=2007-11-06&rft_id=https%3A%2F%2Fwww.villagevoice.com%2F2007%2F11%2F06%2Fthe-dirty-heartbeat-of-the-golden-age%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-Salmon-2008-40"><span class="mw-cite-backlink">^ <a href="#cite_ref-Salmon-2008_40-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Salmon-2008_40-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Salmon-2008_40-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Salmon-2008_40-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSalmon2008" class="citation web cs1">Salmon, Richard (March 2008). <a rel="nofollow" class="external text" href="https://www.soundonsound.com/sound-advice/sample-clearance">"Sample Clearance |"</a>. <i><a href="/wiki/Sound_on_Sound" title="Sound on Sound">Sound on Sound</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20181014165034/https://www.soundonsound.com/sound-advice/sample-clearance">Archived</a> from the original on 14 October 2018<span class="reference-accessdate">. Retrieved <span class="nowrap">14 October</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Sound+on+Sound&rft.atitle=Sample+Clearance+%7C&rft.date=2008-03&rft.aulast=Salmon&rft.aufirst=Richard&rft_id=https%3A%2F%2Fwww.soundonsound.com%2Fsound-advice%2Fsample-clearance&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-The_Economist-2-41"><span class="mw-cite-backlink">^ <a href="#cite_ref-The_Economist-2_41-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-The_Economist-2_41-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><span class="id-lock-subscription" title="Paid subscription required"><a rel="nofollow" class="external text" href="https://www.economist.com/prospero/2011/12/15/just-a-sample">"Just a sample"</a></span>. <i><a href="/wiki/The_Economist" title="The Economist">The Economist</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20181014165401/https://www.economist.com/prospero/2011/12/15/just-a-sample">Archived</a> from the original on 14 October 2018<span class="reference-accessdate">. Retrieved <span class="nowrap">14 October</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Economist&rft.atitle=Just+a+sample&rft_id=https%3A%2F%2Fwww.economist.com%2Fprospero%2F2011%2F12%2F15%2Fjust-a-sample&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-42"><span class="mw-cite-backlink"><b><a href="#cite_ref-42">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://mixmag.net/read/spotify-playlist-50-tracks-that-sample-the-think-break-playlists">"Spotify playlist: 50 tracks that sample the 'Think' break"</a>. <i><a href="/wiki/Mixmag" title="Mixmag">Mixmag</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20210517160810/https://mixmag.net/read/spotify-playlist-50-tracks-that-sample-the-think-break-playlists">Archived</a> from the original on 17 May 2021<span class="reference-accessdate">. Retrieved <span class="nowrap">30 January</span> 2021</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Mixmag&rft.atitle=Spotify+playlist%3A+50+tracks+that+sample+the+%27Think%27+break&rft_id=https%3A%2F%2Fmixmag.net%2Fread%2Fspotify-playlist-50-tracks-that-sample-the-think-break-playlists&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-43"><span class="mw-cite-backlink"><b><a href="#cite_ref-43">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCheal2015" class="citation news cs1">Cheal, David (21 February 2015). <a rel="nofollow" class="external text" href="https://www.ft.com/content/8d8a2e9a-b3a3-11e4-9449-00144feab7de">"The Life of a Song: 'When the Levee Breaks'<span class="cs1-kern-right"></span>"</a>. <a href="/wiki/Financial_Times" title="Financial Times">Financial Times</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20181129100314/https://www.ft.com/content/8d8a2e9a-b3a3-11e4-9449-00144feab7de">Archived</a> from the original on 29 November 2018<span class="reference-accessdate">. Retrieved <span class="nowrap">29 November</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=The+Life+of+a+Song%3A+%27When+the+Levee+Breaks%27&rft.date=2015-02-21&rft.aulast=Cheal&rft.aufirst=David&rft_id=https%3A%2F%2Fwww.ft.com%2Fcontent%2F8d8a2e9a-b3a3-11e4-9449-00144feab7de&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-44"><span class="mw-cite-backlink"><b><a href="#cite_ref-44">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFEveleth" class="citation news cs1"><a href="/wiki/Rose_Eveleth" title="Rose Eveleth">Eveleth, Rose</a>. <a rel="nofollow" class="external text" href="https://www.smithsonianmag.com/smart-news/worlds-most-sampled-song-change-beat-fab-5-freddy-180949863/#JpXuDHHbpIOGUg7i.99">"The world's most sampled song is "Change the Beat" by Fab 5 Freddy"</a>. <i><a href="/wiki/Smithsonian_(magazine)" title="Smithsonian (magazine)">Smithsonian</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20181012214512/https://www.smithsonianmag.com/smart-news/worlds-most-sampled-song-change-beat-fab-5-freddy-180949863/#JpXuDHHbpIOGUg7i.99">Archived</a> from the original on 12 October 2018<span class="reference-accessdate">. Retrieved <span class="nowrap">12 October</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Smithsonian&rft.atitle=The+world%27s+most+sampled+song+is+%22Change+the+Beat%22+by+Fab+5+Freddy&rft.aulast=Eveleth&rft.aufirst=Rose&rft_id=https%3A%2F%2Fwww.smithsonianmag.com%2Fsmart-news%2Fworlds-most-sampled-song-change-beat-fab-5-freddy-180949863%2F%23JpXuDHHbpIOGUg7i.99&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-45"><span class="mw-cite-backlink"><b><a href="#cite_ref-45">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFX2014" class="citation web cs1">X, Dharmic (20 February 2014). <a rel="nofollow" class="external text" href="https://www.complex.com/music/2014/02/james-brown-most-sampled-artist-all-time">"James Brown is apparently the most sampled artist of all time"</a>. <i><a href="/wiki/Complex_(website)" class="mw-redirect" title="Complex (website)">Complex</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20201021055905/https://www.complex.com/music/2014/02/james-brown-most-sampled-artist-all-time">Archived</a> from the original on 21 October 2020<span class="reference-accessdate">. Retrieved <span class="nowrap">1 August</span> 2020</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Complex&rft.atitle=James+Brown+is+apparently+the+most+sampled+artist+of+all+time&rft.date=2014-02-20&rft.aulast=X&rft.aufirst=Dharmic&rft_id=https%3A%2F%2Fwww.complex.com%2Fmusic%2F2014%2F02%2Fjames-brown-most-sampled-artist-all-time&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-46"><span class="mw-cite-backlink"><b><a href="#cite_ref-46">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPerrone2011" class="citation news cs1">Perrone, Pierre (25 March 2011). <a rel="nofollow" class="external text" href="http://www.independent.co.uk/news/obituaries/loleatta-holloway-much-sampled-disco-diva-who-sued-black-box-over-their-worldwide-hit-lsquoride-on-2252360.html">"Loleatta Holloway: Much-sampled disco diva who sued Black Box over their worldwide hit 'Ride on Time'<span class="cs1-kern-right"></span>"</a>. <i><a href="/wiki/The_Independent" title="The Independent">The Independent</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20190708052439/https://www.independent.co.uk/news/obituaries/loleatta-holloway-much-sampled-disco-diva-who-sued-black-box-over-their-worldwide-hit-lsquoride-on-2252360.html">Archived</a> from the original on 8 July 2019<span class="reference-accessdate">. Retrieved <span class="nowrap">8 August</span> 2019</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Independent&rft.atitle=Loleatta+Holloway%3A+Much-sampled+disco+diva+who+sued+Black+Box+over+their+worldwide+hit+%27Ride+on+Time%27&rft.date=2011-03-25&rft.aulast=Perrone&rft.aufirst=Pierre&rft_id=http%3A%2F%2Fwww.independent.co.uk%2Fnews%2Fobituaries%2Floleatta-holloway-much-sampled-disco-diva-who-sued-black-box-over-their-worldwide-hit-lsquoride-on-2252360.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-Fink_2005_1-47"><span class="mw-cite-backlink"><b><a href="#cite_ref-Fink_2005_1_47-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFFink2005">Fink (2005</a>, p. 1)<span class="error harv-error" style="display: none; font-size:100%"> harvtxt error: no target: CITEREFFink2005 (<a href="/wiki/Category:Harv_and_Sfn_template_errors" title="Category:Harv and Sfn template errors">help</a>)</span></span> </li> <li id="cite_note-Fink_2005_6-48"><span class="mw-cite-backlink"><b><a href="#cite_ref-Fink_2005_6_48-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFFink2005">Fink (2005</a>, p. 6)<span class="error harv-error" style="display: none; font-size:100%"> harvtxt error: no target: CITEREFFink2005 (<a href="/wiki/Category:Harv_and_Sfn_template_errors" title="Category:Harv and Sfn template errors">help</a>)</span></span> </li> <li id="cite_note-49"><span class="mw-cite-backlink"><b><a href="#cite_ref-49">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSiedel2016" class="citation book cs1">Siedel, George (2016). <i>The Three Pillar Model For Business Decisions: Strategy, Law, Ethics</i>. Michigan: Van Rye Publishing. p. 135. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-9970566-1-7" title="Special:BookSources/978-0-9970566-1-7"><bdi>978-0-9970566-1-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Three+Pillar+Model+For+Business+Decisions%3A+Strategy%2C+Law%2C+Ethics&rft.place=Michigan&rft.pages=135&rft.pub=Van+Rye+Publishing&rft.date=2016&rft.isbn=978-0-9970566-1-7&rft.aulast=Siedel&rft.aufirst=George&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-50"><span class="mw-cite-backlink"><b><a href="#cite_ref-50">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.bbc.com/news/entertainment-arts-34785551">"Amen Break musician finally gets paid"</a>. <i>BBC News</i>. 11 November 2015. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20230912233116/https://www.bbc.com/news/entertainment-arts-34785551">Archived</a> from the original on 12 September 2023<span class="reference-accessdate">. Retrieved <span class="nowrap">12 September</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=BBC+News&rft.atitle=Amen+Break+musician+finally+gets+paid&rft.date=2015-11-11&rft_id=https%3A%2F%2Fwww.bbc.com%2Fnews%2Fentertainment-arts-34785551&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-:0-51"><span class="mw-cite-backlink"><b><a href="#cite_ref-:0_51-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKreps2017" class="citation magazine cs1">Kreps, Daniel (18 February 2017). <a rel="nofollow" class="external text" href="https://www.rollingstone.com/music/music-news/clyde-stubblefield-james-browns-funky-drummer-dead-at-73-124337/">"Clyde Stubblefield, James Brown's 'Funky Drummer,' Dead at 73"</a>. <i><a href="/wiki/Rolling_Stone" title="Rolling Stone">Rolling Stone</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20230519130333/https://www.rollingstone.com/music/music-news/clyde-stubblefield-james-browns-funky-drummer-dead-at-73-124337/">Archived</a> from the original on 19 May 2023<span class="reference-accessdate">. Retrieved <span class="nowrap">1 August</span> 2020</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Rolling+Stone&rft.atitle=Clyde+Stubblefield%2C+James+Brown%27s+%27Funky+Drummer%2C%27+Dead+at+73&rft.date=2017-02-18&rft.aulast=Kreps&rft.aufirst=Daniel&rft_id=https%3A%2F%2Fwww.rollingstone.com%2Fmusic%2Fmusic-news%2Fclyde-stubblefield-james-browns-funky-drummer-dead-at-73-124337%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-NPR-2012-52"><span class="mw-cite-backlink">^ <a href="#cite_ref-NPR-2012_52-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-NPR-2012_52-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.npr.org/2012/11/17/165145271/dj-shadow-on-sampling-as-a-collage-of-mistakes">"DJ Shadow on sampling as a 'collage of mistakes'<span class="cs1-kern-right"></span>"</a>. <i><a href="/wiki/NPR" title="NPR">NPR</a></i>. 17 November 2012. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20130514102427/http://www.npr.org/2012/11/17/165145271/dj-shadow-on-sampling-as-a-collage-of-mistakes">Archived</a> from the original on 14 May 2013<span class="reference-accessdate">. Retrieved <span class="nowrap">15 August</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=NPR&rft.atitle=DJ+Shadow+on+sampling+as+a+%27collage+of+mistakes%27&rft.date=2012-11-17&rft_id=https%3A%2F%2Fwww.npr.org%2F2012%2F11%2F17%2F165145271%2Fdj-shadow-on-sampling-as-a-collage-of-mistakes&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-Convery-2017-53"><span class="mw-cite-backlink">^ <a href="#cite_ref-Convery-2017_53-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Convery-2017_53-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Convery-2017_53-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFConvery2017" class="citation web cs1">Convery, Stephanie (24 May 2017). <a rel="nofollow" class="external text" href="https://www.theguardian.com/music/2017/may/24/dj-shadow-music-has-never-been-worth-less-and-yet-sampling-has-never-been-more-risky">"DJ Shadow: 'Music has never been worth less, and yet sampling has never been more risky'<span class="cs1-kern-right"></span>"</a>. <i><a href="/wiki/The_Guardian" title="The Guardian">The Guardian</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20220815103313/https://www.theguardian.com/music/2017/may/24/dj-shadow-music-has-never-been-worth-less-and-yet-sampling-has-never-been-more-risky">Archived</a> from the original on 15 August 2022<span class="reference-accessdate">. Retrieved <span class="nowrap">15 August</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Guardian&rft.atitle=DJ+Shadow%3A+%27Music+has+never+been+worth+less%2C+and+yet+sampling+has+never+been+more+risky%27&rft.date=2017-05-24&rft.aulast=Convery&rft.aufirst=Stephanie&rft_id=http%3A%2F%2Fwww.theguardian.com%2Fmusic%2F2017%2Fmay%2F24%2Fdj-shadow-music-has-never-been-worth-less-and-yet-sampling-has-never-been-more-risky&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-54"><span class="mw-cite-backlink"><b><a href="#cite_ref-54">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.musictech.net/features/opinion-analysis/future-sample-clearance-technology-facebook/">"Future of sample clearance: As easy as tagging friends on Facebook?"</a>. <i>MusicTech</i>. 13 September 2019. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20210604022936/https://www.musictech.net/features/opinion-analysis/future-sample-clearance-technology-facebook/">Archived</a> from the original on 4 June 2021<span class="reference-accessdate">. Retrieved <span class="nowrap">4 June</span> 2021</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=MusicTech&rft.atitle=Future+of+sample+clearance%3A+As+easy+as+tagging+friends+on+Facebook%3F&rft.date=2019-09-13&rft_id=https%3A%2F%2Fwww.musictech.net%2Ffeatures%2Fopinion-analysis%2Ffuture-sample-clearance-technology-facebook%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-55"><span class="mw-cite-backlink"><b><a href="#cite_ref-55">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWeingarten2018" class="citation magazine cs1">Weingarten, Christopher R. (28 June 2018). <a rel="nofollow" class="external text" href="https://www.rollingstone.com/music/music-news/kanye-wests-summer-of-samples-how-two-reissue-labels-helped-make-wyoming-funky-666876/">"Inside the Labels Where Kanye West Finds Many of His Best Samples"</a>. <i>Rolling Stone</i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20190507195305/https://www.rollingstone.com/music/music-news/kanye-wests-summer-of-samples-how-two-reissue-labels-helped-make-wyoming-funky-666876/">Archived</a> from the original on 7 May 2019<span class="reference-accessdate">. Retrieved <span class="nowrap">4 June</span> 2021</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Rolling+Stone&rft.atitle=Inside+the+Labels+Where+Kanye+West+Finds+Many+of+His+Best+Samples&rft.date=2018-06-28&rft.aulast=Weingarten&rft.aufirst=Christopher+R.&rft_id=https%3A%2F%2Fwww.rollingstone.com%2Fmusic%2Fmusic-news%2Fkanye-wests-summer-of-samples-how-two-reissue-labels-helped-make-wyoming-funky-666876%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-56"><span class="mw-cite-backlink"><b><a href="#cite_ref-56">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFNeedham2019" class="citation web cs1">Needham, Jack (29 November 2019). <a rel="nofollow" class="external text" href="https://www.redbull.com/ie-en/sampling-history-and-how-to-not-get-sued">"How to sample without getting sued"</a>. <i>Red Bull</i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20210604022942/https://www.redbull.com/ie-en/sampling-history-and-how-to-not-get-sued">Archived</a> from the original on 4 June 2021<span class="reference-accessdate">. Retrieved <span class="nowrap">4 June</span> 2021</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Red+Bull&rft.atitle=How+to+sample+without+getting+sued&rft.date=2019-11-29&rft.aulast=Needham&rft.aufirst=Jack&rft_id=https%3A%2F%2Fwww.redbull.com%2Fie-en%2Fsampling-history-and-how-to-not-get-sued&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-57"><span class="mw-cite-backlink"><b><a href="#cite_ref-57">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBrown2021" class="citation web cs1">Brown, August (6 May 2021). <a rel="nofollow" class="external text" href="https://www.latimes.com/entertainment-arts/music/story/2021-05-06/daft-punk-one-more-time-eddie-johns-homeless">"A homeless LA musician helped create a Daft Punk classic. So why hasn't he seen a dime?"</a>. <i><a href="/wiki/Los_Angeles_Times" title="Los Angeles Times">Los Angeles Times</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20210506163751/https://www.latimes.com/entertainment-arts/music/story/2021-05-06/daft-punk-one-more-time-eddie-johns-homeless">Archived</a> from the original on 6 May 2021<span class="reference-accessdate">. Retrieved <span class="nowrap">7 May</span> 2021</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Los+Angeles+Times&rft.atitle=A+homeless+LA+musician+helped+create+a+Daft+Punk+classic.+So+why+hasn%27t+he+seen+a+dime%3F&rft.date=2021-05-06&rft.aulast=Brown&rft.aufirst=August&rft_id=https%3A%2F%2Fwww.latimes.com%2Fentertainment-arts%2Fmusic%2Fstory%2F2021-05-06%2Fdaft-punk-one-more-time-eddie-johns-homeless&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-Runtagh-2016-58"><span class="mw-cite-backlink">^ <a href="#cite_ref-Runtagh-2016_58-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Runtagh-2016_58-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRuntagh2016" class="citation news cs1">Runtagh, Jordan (8 June 2016). <a rel="nofollow" class="external text" href="https://www.rollingstone.com/politics/politics-lists/songs-on-trial-12-landmark-music-copyright-cases-166396/de-la-soul-vs-the-turtles-1991-61686/">"Songs on Trial: 12 Landmark Music Copyright Cases"</a>. <i>Rolling Stone</i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20181014165007/https://www.rollingstone.com/politics/politics-lists/songs-on-trial-12-landmark-music-copyright-cases-166396/de-la-soul-vs-the-turtles-1991-61686/">Archived</a> from the original on 14 October 2018<span class="reference-accessdate">. Retrieved <span class="nowrap">12 October</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Rolling+Stone&rft.atitle=Songs+on+Trial%3A+12+Landmark+Music+Copyright+Cases&rft.date=2016-06-08&rft.aulast=Runtagh&rft.aufirst=Jordan&rft_id=https%3A%2F%2Fwww.rollingstone.com%2Fpolitics%2Fpolitics-lists%2Fsongs-on-trial-12-landmark-music-copyright-cases-166396%2Fde-la-soul-vs-the-turtles-1991-61686%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-auto2-59"><span class="mw-cite-backlink">^ <a href="#cite_ref-auto2_59-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-auto2_59-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGeorge2005" class="citation book cs1">George, Nelson (26 April 2005). <a rel="nofollow" class="external text" href="https://play.google.com/books/reader?printsec=frontcover&output=reader&id=7TRApef2zW4C&pg=GBS.PT94.w.5.0.78"><i>Hip Hop America</i></a>. Penguin. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781101007303" title="Special:BookSources/9781101007303"><bdi>9781101007303</bdi></a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20170323224200/https://play.google.com/books/reader?printsec=frontcover&output=reader&id=7TRApef2zW4C&pg=GBS.PT94.w.5.0.78">Archived</a> from the original on 23 March 2017<span class="reference-accessdate">. Retrieved <span class="nowrap">11 December</span> 2016</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Hip+Hop+America&rft.pub=Penguin&rft.date=2005-04-26&rft.isbn=9781101007303&rft.aulast=George&rft.aufirst=Nelson&rft_id=https%3A%2F%2Fplay.google.com%2Fbooks%2Freader%3Fprintsec%3Dfrontcover%26output%3Dreader%26id%3D7TRApef2zW4C%26pg%3DGBS.PT94.w.5.0.78&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-60"><span class="mw-cite-backlink"><b><a href="#cite_ref-60">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPhilips1992" class="citation web cs1">Philips, Chuck (1 January 1992). <a rel="nofollow" class="external text" href="https://www.latimes.com/archives/la-xpm-1992-01-01-ca-1136-story.html">"Songwriter wins large settlement in rap suit"</a>. <i><a href="/wiki/Los_Angeles_Times" title="Los Angeles Times">Los Angeles Times</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20220829054020/https://www.latimes.com/archives/la-xpm-1992-01-01-ca-1136-story.html">Archived</a> from the original on 29 August 2022<span class="reference-accessdate">. Retrieved <span class="nowrap">6 August</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Los+Angeles+Times&rft.atitle=Songwriter+wins+large+settlement+in+rap+suit&rft.date=1992-01-01&rft.aulast=Philips&rft.aufirst=Chuck&rft_id=https%3A%2F%2Fwww.latimes.com%2Farchives%2Fla-xpm-1992-01-01-ca-1136-story.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-Richards-61"><span class="mw-cite-backlink">^ <a href="#cite_ref-Richards_61-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Richards_61-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Richards_61-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Richards_61-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRichards" class="citation news cs1">Richards, Chris. <a rel="nofollow" class="external text" href="https://www.washingtonpost.com/opinions/the-court-case-that-changed-hip-hop--from-public-enemy-to-kanye--forever/2012/07/06/gJQAVWr0RW_story.html">"The court case that changed hip-hop — from Public Enemy to Kanye — forever"</a>. <i>Washington Post</i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20181012214521/https://www.washingtonpost.com/opinions/the-court-case-that-changed-hip-hop--from-public-enemy-to-kanye--forever/2012/07/06/gJQAVWr0RW_story.html">Archived</a> from the original on 12 October 2018<span class="reference-accessdate">. Retrieved <span class="nowrap">12 October</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Washington+Post&rft.atitle=The+court+case+that+changed+hip-hop+%E2%80%94+from+Public+Enemy+to+Kanye+%E2%80%94+forever&rft.aulast=Richards&rft.aufirst=Chris&rft_id=https%3A%2F%2Fwww.washingtonpost.com%2Fopinions%2Fthe-court-case-that-changed-hip-hop--from-public-enemy-to-kanye--forever%2F2012%2F07%2F06%2FgJQAVWr0RW_story.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-samples2-62"><span class="mw-cite-backlink"><b><a href="#cite_ref-samples2_62-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTingen2005" class="citation journal cs1">Tingen, Paul (May 2005). <a rel="nofollow" class="external text" href="http://www.soundonsound.com/sos/may05/articles/dust.htm">"The Dust Brothers: sampling, remixing & the Boat studio"</a>. <i><a href="/wiki/Sound_on_Sound" title="Sound on Sound">Sound on Sound</a></i>. Cambridge, UK: SOS Publications Group. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/1473-5326">1473-5326</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160529161250/http://www.soundonsound.com/sos/may05/articles/dust.htm">Archived</a> from the original on 29 May 2016<span class="reference-accessdate">. Retrieved <span class="nowrap">25 July</span> 2011</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Sound+on+Sound&rft.atitle=The+Dust+Brothers%3A+sampling%2C+remixing+%26+the+Boat+studio&rft.date=2005-05&rft.issn=1473-5326&rft.aulast=Tingen&rft.aufirst=Paul&rft_id=http%3A%2F%2Fwww.soundonsound.com%2Fsos%2Fmay05%2Farticles%2Fdust.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-63"><span class="mw-cite-backlink"><b><a href="#cite_ref-63">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation magazine cs1"><a rel="nofollow" class="external text" href="http://www.billboard.com/articles/news/65708/beastie-boys-emerge-victorious-in-sampling-suit">"Beastie Boys Emerge Victorious In Sampling Suit"</a>. <i>Billboard</i>. 9 November 2004. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20171119031101/http://www.billboard.com/articles/news/65708/beastie-boys-emerge-victorious-in-sampling-suit">Archived</a> from the original on 19 November 2017<span class="reference-accessdate">. Retrieved <span class="nowrap">24 May</span> 2020</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Billboard&rft.atitle=Beastie+Boys+Emerge+Victorious+In+Sampling+Suit&rft.date=2004-11-09&rft_id=http%3A%2F%2Fwww.billboard.com%2Farticles%2Fnews%2F65708%2Fbeastie-boys-emerge-victorious-in-sampling-suit&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-Gardner-2016-64"><span class="mw-cite-backlink">^ <a href="#cite_ref-Gardner-2016_64-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Gardner-2016_64-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Gardner-2016_64-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGardner2016" class="citation web cs1">Gardner, Eriq (2 June 2016). <a rel="nofollow" class="external text" href="https://www.hollywoodreporter.com/business/business-news/madonna-gets-victory-vogue-sample-898944/">"Madonna gets victory over 'Vogue' sample at appeals court"</a>. <i><a href="/wiki/The_Hollywood_Reporter" title="The Hollywood Reporter">The Hollywood Reporter</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20221217105114/https://www.hollywoodreporter.com/business/business-news/madonna-gets-victory-vogue-sample-898944/">Archived</a> from the original on 17 December 2022<span class="reference-accessdate">. Retrieved <span class="nowrap">17 December</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Hollywood+Reporter&rft.atitle=Madonna+gets+victory+over+%27Vogue%27+sample+at+appeals+court&rft.date=2016-06-02&rft.aulast=Gardner&rft.aufirst=Eriq&rft_id=https%3A%2F%2Fwww.hollywoodreporter.com%2Fbusiness%2Fbusiness-news%2Fmadonna-gets-victory-vogue-sample-898944%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-Meiselman-2016-65"><span class="mw-cite-backlink">^ <a href="#cite_ref-Meiselman-2016_65-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Meiselman-2016_65-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Meiselman-2016_65-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMeiselman2016" class="citation web cs1">Meiselman, Jessica (25 June 2016). <a rel="nofollow" class="external text" href="https://www.factmag.com/2016/06/25/sampling-hip-hop-copyright/">"Untangling the knotty world of hip-hop copyright"</a>. <i><a href="/wiki/Fact_(UK_magazine)" title="Fact (UK magazine)">Fact</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20221217105113/https://www.factmag.com/2016/06/25/sampling-hip-hop-copyright/">Archived</a> from the original on 17 December 2022<span class="reference-accessdate">. Retrieved <span class="nowrap">17 December</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Fact&rft.atitle=Untangling+the+knotty+world+of+hip-hop+copyright&rft.date=2016-06-25&rft.aulast=Meiselman&rft.aufirst=Jessica&rft_id=https%3A%2F%2Fwww.factmag.com%2F2016%2F06%2F25%2Fsampling-hip-hop-copyright%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-BBC_News-2019-66"><span class="mw-cite-backlink">^ <a href="#cite_ref-BBC_News-2019_66-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-BBC_News-2019_66-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.bbc.com/news/entertainment-arts-49162546">"Kraftwerk win 20-year sampling copyright case"</a>. <i><a href="/wiki/BBC_News" title="BBC News">BBC News</a></i>. 30 July 2019. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20200305163520/https://www.bbc.com/news/entertainment-arts-49162546">Archived</a> from the original on 5 March 2020<span class="reference-accessdate">. Retrieved <span class="nowrap">1 February</span> 2020</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=BBC+News&rft.atitle=Kraftwerk+win+20-year+sampling+copyright+case&rft.date=2019-07-30&rft_id=https%3A%2F%2Fwww.bbc.com%2Fnews%2Fentertainment-arts-49162546&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></span> </li> </ol></div> <div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Sampling_(music)&action=edit&section=16" title="Edit section: Further reading"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/Jeremy_John_Beadle" title="Jeremy John Beadle">Beadle, Jeremy J</a>. <i>Will Pop Eat Itself?: Pop Music in the Soundbite Era</i> (1993)</li> <li>Katz, Mark. "Music in 1s and 0s: The Art and Politics of Digital Sampling." In <i>Capturing Sound: How Technology has Changed Music</i> (Berkeley: University of California Press, 2004), 137–57. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-520-24380-3" title="Special:BookSources/0-520-24380-3">0-520-24380-3</a></li> <li>McKenna, Tyrone B. (2000) <a rel="nofollow" class="external text" href="http://www2.warwick.ac.uk/fac/soc/law/elj/jilt/2000_1/mckenna/?textOnly=true">"Where Digital Music Technology and Law Collide – Contemporary Issues of Digital Sampling, Appropriation and Copyright Law"</a> <i>Journal of Information, Law & Technology</i>.</li> <li>Challis, B (2003) <a rel="nofollow" class="external text" href="https://web.archive.org/web/20080723224325/http://www.musiclawupdates.com/index_main.htm">"The Song Remains The Same – A Review of the Legalities of Music Sampling"</a></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMcLeodDiCola2011" class="citation book cs1"><a href="/wiki/Kembrew_McLeod" title="Kembrew McLeod">McLeod, Kembrew</a>; DiCola, Peter (2011). <span class="id-lock-registration" title="Free registration required"><a rel="nofollow" class="external text" href="https://archive.org/details/creativelicensel00mcle"><i>Creative License: The Law and Culture of Digital Sampling</i></a></span>. Duke University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8223-4875-7" title="Special:BookSources/978-0-8223-4875-7"><bdi>978-0-8223-4875-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Creative+License%3A+The+Law+and+Culture+of+Digital+Sampling&rft.pub=Duke+University+Press&rft.date=2011&rft.isbn=978-0-8223-4875-7&rft.aulast=McLeod&rft.aufirst=Kembrew&rft.au=DiCola%2C+Peter&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fcreativelicensel00mcle&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></li> <li>Ratcliffe, Robert. (2014) <a rel="nofollow" class="external text" href="https://dj.dancecult.net/index.php/dancecult/article/view/369/459">"A Proposed Typology of Sampled Material within Electronic Dance Music."</a> <i>Dancecult: Journal of Electronic Dance Music Culture</i> 6(1): 97–122.</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPatrin2020" class="citation book cs1">Patrin, Nate (2020). <i>Bring That Beat Back: How Sampling Built Hip-Hop</i>. University of Minnesota Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-5179-0628-3" title="Special:BookSources/978-1-5179-0628-3"><bdi>978-1-5179-0628-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Bring+That+Beat+Back%3A+How+Sampling+Built+Hip-Hop&rft.pub=University+of+Minnesota+Press&rft.date=2020&rft.isbn=978-1-5179-0628-3&rft.aulast=Patrin&rft.aufirst=Nate&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASampling+%28music%29" class="Z3988"></span></li></ul> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1235681985"><style data-mw-deduplicate="TemplateStyles:r1237033735">@media print{body.ns-0 .mw-parser-output .sistersitebox{display:none!important}}@media screen{html.skin-theme-clientpref-night .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}@media screen 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template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Music_production" title="Special:EditPage/Template:Music production"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Music_production" style="font-size:114%;margin:0 4em"><a href="/wiki/Record_producer" title="Record producer">Music production</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Audio_engineer" title="Audio engineer">Engineering</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Audio_filter" title="Audio filter">Audio filter</a></li> <li><a href="/wiki/Mastering_(audio)" title="Mastering (audio)">Audio mastering</a></li> <li><a href="/wiki/Audio_mixing_(recorded_music)" title="Audio mixing (recorded music)">Audio mixing</a></li> <li><a href="/wiki/Critical_distance" title="Critical distance">Critical distance</a></li> <li><a href="/wiki/Effects_loop" title="Effects loop">Effects loop</a></li> <li><a href="/wiki/Effects_unit" title="Effects unit">Effects unit</a> <ul><li><a href="/wiki/Talk_box" title="Talk box">Talk box</a></li> <li><a href="/wiki/Wah-wah_pedal" title="Wah-wah pedal">Wah-wah pedal</a></li></ul></li> <li><a href="/wiki/Diffusion_(acoustics)" title="Diffusion (acoustics)">Diffusion</a></li> <li><a href="/wiki/Microphone" title="Microphone">Microphone</a></li> <li><a href="/wiki/Overdubbing" title="Overdubbing">Overdubbing</a></li> <li><a href="/wiki/Ping-pong_recording" title="Ping-pong recording">Ping-ponging</a></li> <li><a href="/wiki/Punch_in/out" title="Punch in/out">Punch in/out</a></li> <li><a href="/wiki/Sound_recording" class="mw-redirect" title="Sound recording">Sound recording</a></li> <li><a href="/wiki/Tape_loop" title="Tape loop">Tape loop</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Audio_signal_processing" title="Audio signal processing">Signal <br /> processing</a></th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Audio_time_stretching_and_pitch_scaling" title="Audio time stretching and pitch scaling">Pitch shift</a></li> <li><a href="/wiki/Auto-Tune" title="Auto-Tune">Auto-Tune</a></li> <li><a href="/wiki/Chorus_effect" class="mw-redirect" title="Chorus effect">Chorus effect</a></li> <li><a href="/wiki/Dynamic_range_compression" title="Dynamic range compression">Compression</a></li> <li><a href="/wiki/Delay_(audio_effect)" title="Delay (audio effect)">Delay effect</a> (<a href="/wiki/Send_tape_echo_echo_delay" title="Send tape echo echo delay">STEED</a>)</li> <li><a href="/wiki/Distortion_(music)" title="Distortion (music)">Distortion</a></li> <li><a href="/wiki/Double_tracking" title="Double tracking">Double tracking</a> (<a href="/wiki/Automatic_double_tracking" title="Automatic double tracking">ADT</a>)</li> <li><a href="/wiki/Ducking" title="Ducking">Ducking</a></li> <li><a href="/wiki/Equalization_(audio)" title="Equalization (audio)">Equalization</a></li> <li><a href="/wiki/Exciter_(effect)" title="Exciter (effect)">Exciter effect</a></li> <li><a href="/wiki/Flanging" title="Flanging">Flanging</a></li> <li><a href="/wiki/Octave_effect" title="Octave effect">Octave effect</a></li> <li><a href="/wiki/Noise_gate" title="Noise gate">Noise gate</a></li> <li><a href="/wiki/Phaser_(effect)" title="Phaser (effect)">Phaser</a></li> <li><a href="/wiki/Pumping_(audio)" title="Pumping (audio)">Pumping</a></li> <li><a href="/wiki/Reverb_effect" title="Reverb effect">Reverb</a></li> <li><a href="/wiki/Reverse_echo" title="Reverse echo">Reverse echo</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><div class="hlist"><ul><li>Practices</li><li><br />aesthetics</li></ul></div></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Hip_hop_production" title="Hip hop production">Hip hop production</a></li> <li><a href="/wiki/Lo-fi_music" title="Lo-fi music">Lo-fi</a></li> <li><a href="/wiki/Overproduction_(music)" title="Overproduction (music)">Overproduction</a></li> <li><a href="/wiki/Recording_studio_as_an_instrument" title="Recording studio as an instrument">Recording studio as an instrument</a></li> <li><a class="mw-selflink selflink">Sampling</a></li> <li><a href="/wiki/Turntablism" title="Turntablism">Turntablism</a></li> <li><a href="/wiki/Wall_of_Sound" title="Wall of Sound">Wall of Sound</a></li> <li><a href="/wiki/Xenochrony" title="Xenochrony">Xenochrony</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><div class="hlist"><ul><li>Roles</li><li><br /> professions</li></ul></div></th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Arrangement" title="Arrangement">Arranger</a></li> <li><a href="/wiki/Audio_engineer" title="Audio engineer">Audio engineer</a></li> <li><a href="/wiki/Backup_band" title="Backup band">Backup band</a></li> <li><a href="/wiki/Bandleader" title="Bandleader">Bandleader</a></li> <li><a href="/wiki/DJ" class="mw-redirect" title="DJ">DJ</a></li> <li><a href="/wiki/Ghostwriter#Music" title="Ghostwriter">Ghostwriters in music</a></li> <li><a href="/wiki/Horn_section" title="Horn section">Horn section</a></li> <li><a href="/wiki/Orchestrator" class="mw-redirect" title="Orchestrator">Orchestrator</a></li> <li><a href="/wiki/Record_producer" title="Record producer">Record producer</a></li> <li><a href="/wiki/Rhythm_section" title="Rhythm section">Rhythm section</a></li> <li><a href="/wiki/Session_musician" title="Session musician">Session musician</a></li> <li><a href="/wiki/Backup_singer" class="mw-redirect" title="Backup singer">Backup singer</a> <ul><li><a href="/wiki/Ghost_singer" class="mw-redirect" title="Ghost singer">Ghost singer</a></li></ul></li> <li><a href="/wiki/Vocal_coach" title="Vocal coach">Vocal coach</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Click_track" title="Click track">Click track</a></li> <li><a href="/wiki/Interpolation_(popular_music)" title="Interpolation (popular music)">Interpolation</a></li> <li><a href="/wiki/Loudness_war" title="Loudness war">Loudness war</a></li> <li><a href="/wiki/Mashup_(music)" title="Mashup (music)">Mashup</a></li> <li><a href="/wiki/Medley_(music)" title="Medley (music)">Medley</a></li> <li><a href="/wiki/Music_technology_(electric)" title="Music technology (electric)">Music technology (electric)</a></li> <li><a href="/wiki/Music_technology_(electronic_and_digital)" title="Music technology (electronic and digital)">Music technology (electronic and digital)</a></li> <li><a href="/wiki/Remix" title="Remix">Remix</a></li></ul> </div></td></tr><tr><td class="navbox-abovebelow" colspan="2"><div><b><span class="nowrap"><span class="noviewer" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/c/c3/45_record.png/16px-45_record.png" decoding="async" width="16" height="16" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/c3/45_record.png/24px-45_record.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/c3/45_record.png/32px-45_record.png 2x" data-file-width="792" data-file-height="800" /></span></span> </span><a href="/wiki/Portal:Record_production" title="Portal:Record production">Record production portal</a></b></div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"></div><div role="navigation" class="navbox" aria-labelledby="DJing_and_turntablism" style="padding:3px"><table class="nowraplinks mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239400231"><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:DJing" title="Template:DJing"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:DJing" title="Template talk:DJing"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:DJing" title="Special:EditPage/Template:DJing"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="DJing_and_turntablism" style="font-size:114%;margin:0 4em"><a href="/wiki/Disc_jockey" title="Disc jockey">DJing</a> and <a href="/wiki/Turntablism" title="Turntablism">turntablism</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">Equipment</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/CDJ" title="CDJ">CDJ</a></li> <li><a href="/wiki/DJ_mixer" title="DJ mixer">DJ mixer</a></li> <li><a href="/wiki/DJ_software" class="mw-redirect" title="DJ software">DJ software</a></li> <li><a href="/wiki/Drum_machine" title="Drum machine">Drum machine</a></li> <li><a href="/wiki/Effects_unit" title="Effects unit">Effects unit</a> <ul><li><a href="/wiki/Reverb" class="mw-redirect" title="Reverb">Reverb</a></li> <li><a href="/wiki/Digital_delay" class="mw-redirect" title="Digital delay">Digital delay</a></li></ul></li> <li><a href="/wiki/Headphones" title="Headphones">Headphones</a></li> <li><a href="/wiki/IPod" title="IPod">iPod</a></li> <li><a href="/wiki/Magnetic_cartridge" title="Magnetic cartridge">Magnetic cartridge</a></li> <li><a href="/wiki/Mixing_console" title="Mixing console">Mixing console</a></li> <li><a href="/wiki/Foldback_(sound_engineering)" class="mw-redirect" title="Foldback (sound engineering)">Monitor speaker</a></li> <li><a href="/wiki/Phono_input" title="Phono input">Phono input</a></li> <li><a href="/wiki/PA_system" class="mw-redirect" title="PA system">PA system</a></li> <li><a href="/wiki/Phonograph" title="Phonograph">Record player</a> <ul><li><a href="/wiki/Direct-drive_turntable" title="Direct-drive turntable">Direct-drive turntable</a></li> <li><a href="/wiki/SL-1200" class="mw-redirect" title="SL-1200">SL-1200</a></li></ul></li> <li><a href="/wiki/Laptop" title="Laptop">Laptop</a></li> <li><a href="/wiki/Microphone" title="Microphone">Microphone</a></li> <li><a href="/wiki/Emil_Beaulieau" title="Emil Beaulieau">Minutoli</a></li> <li><a href="/wiki/Foldback_(sound_engineering)" class="mw-redirect" title="Foldback (sound engineering)">Monitor speaker</a></li> <li><a href="/wiki/Pitch_control" title="Pitch control">Pitch control</a></li> <li><a href="/wiki/Sampler_(music)" class="mw-redirect" title="Sampler (music)">Sampler</a></li> <li><a href="/wiki/Slipmat" title="Slipmat">Slipmat</a></li> <li><a href="/wiki/Sound_system_(DJ)" title="Sound system (DJ)">Sound system (DJ)</a></li> <li><a href="/wiki/Sound_system_(Jamaican)" title="Sound system (Jamaican)">Sound system (Jamaican)</a></li> <li><a href="/wiki/Speaker_enclosure" class="mw-redirect" title="Speaker enclosure">Speaker enclosure</a></li> <li><a href="/wiki/Subwoofer" title="Subwoofer">Subwoofer</a></li> <li><a href="/wiki/Synthesizer" title="Synthesizer">Synthesizer</a></li> <li><a href="/wiki/Two_turntables_and_a_microphone" title="Two turntables and a microphone">Two turntables and a microphone</a></li> <li><a href="/wiki/Vinyl_emulation_software" class="mw-redirect" title="Vinyl emulation software">Vinyl emulation software</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Techniques</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Audio_mixing_(live_audio)" class="mw-redirect" title="Audio mixing (live audio)">Audio mixing</a></li> <li><a href="/wiki/Back_spinning" title="Back spinning">Back spinning</a></li> <li><a href="/wiki/Beat_juggling" title="Beat juggling">Beat juggling</a></li> <li><a href="/wiki/Beatmatching" title="Beatmatching">Beatmatching</a></li> <li><a href="/wiki/Beatmixing" class="mw-redirect" title="Beatmixing">Beatmixing</a></li> <li><a href="/wiki/Break_(music)" title="Break (music)">Break</a></li> <li><a href="/wiki/Chopped_and_screwed" title="Chopped and screwed">Chopped and screwed</a></li> <li><a href="/wiki/Chopping_(sampling_technique)" title="Chopping (sampling technique)">Chopping</a></li> <li><a href="/wiki/Cover_version" title="Cover version">Covered</a></li> <li><a href="/wiki/Cue_(audio)" title="Cue (audio)">Cue</a></li> <li><a href="/wiki/Cut_(music)" title="Cut (music)">Cut</a></li> <li><a href="/wiki/Drop_(music)" title="Drop (music)">Drop</a></li> <li><a href="/wiki/Harmonic_mixing" title="Harmonic mixing">Harmonic mixing</a></li> <li><a href="/wiki/Interpolation_(popular_music)" title="Interpolation (popular music)">Interpolation</a></li> <li><a href="/wiki/Mashup_(music)" title="Mashup (music)">Mashup</a></li> <li><a href="/wiki/Medley_(music)" title="Medley (music)">Medley</a></li> <li><a href="/wiki/Music_loop" class="mw-redirect" title="Music loop">Music loop</a></li> <li><a href="/wiki/Needle_drop_(DJing)" title="Needle drop (DJing)">Needle drop</a></li> <li><a href="/wiki/Phrasing_(DJ)" title="Phrasing (DJ)">Phrasing</a></li> <li><a href="/wiki/Remix" title="Remix">Remix</a></li> <li><a class="mw-selflink selflink">Sampling</a></li> <li><a href="/wiki/Scratching" title="Scratching">Scratching</a></li> <li><a href="/wiki/Slip-cueing" title="Slip-cueing">Slip-cueing</a></li> <li><a href="/wiki/Pitch_cue" class="mw-redirect" title="Pitch cue">Pitch cue</a></li> <li><a href="/wiki/Voice-tracking" title="Voice-tracking">Voice-tracking</a></li> <li><a href="/wiki/Video_scratching" title="Video scratching">Video scratching</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Scratches</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Orbit_(scratch)" class="mw-redirect" title="Orbit (scratch)">Orbit</a></li> <li><a href="/wiki/Tear_(scratch)" class="mw-redirect" title="Tear (scratch)">Tear</a></li> <li><a href="/wiki/Transform_(scratch)" class="mw-redirect" title="Transform (scratch)">Transform</a></li> <li><a href="/wiki/Flare_(scratch)" class="mw-redirect" title="Flare (scratch)">Flare</a></li> <li><a href="/wiki/Chirp_(scratch)" class="mw-redirect" title="Chirp (scratch)">Chirp</a></li> <li><a href="/wiki/Crab_(scratch)" title="Crab (scratch)">Crab</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Releases and distribution</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/DJ_mix" title="DJ mix">DJ mix</a></li> <li><a href="/wiki/Battle_records" class="mw-redirect" title="Battle records">Battle records</a></li> <li><a href="/wiki/Rare_groove" title="Rare groove">Rare groove</a></li> <li><a href="/wiki/Digital_pool" class="mw-redirect" title="Digital pool">Digital pool</a></li> <li><a href="/wiki/Remix_service" title="Remix service">Remix service</a></li> <li><a href="/wiki/Mixtape" title="Mixtape">Mixtape</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related articles</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Controllerism" title="Controllerism">Controllerism</a></li> <li><a href="/wiki/Hip_hop_production" title="Hip hop production">Hip hop production</a></li> <li><a href="/wiki/Rave" title="Rave">Rave</a></li> <li><a href="/wiki/Record_collecting" title="Record collecting">Record collecting</a></li> <li><a href="/wiki/Record_producer" title="Record producer">Record producer</a></li></ul> </div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"></div><div role="navigation" class="navbox" aria-labelledby="Appropriation_in_the_arts" style="padding:3px"><table class="nowraplinks mw-collapsible mw-collapsed navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2" style="background:#FFCC99;"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239400231"><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Appropriation_in_the_arts" title="Template:Appropriation in the arts"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Appropriation_in_the_arts" title="Template talk:Appropriation in the arts"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Appropriation_in_the_arts" title="Special:EditPage/Template:Appropriation in the arts"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Appropriation_in_the_arts" style="font-size:114%;margin:0 4em"><a href="/wiki/Appropriation_(art)" title="Appropriation (art)">Appropriation</a> in the arts</div></th></tr><tr><th scope="row" class="navbox-group" style="background:#FFCC99;;width:1%">By field</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="background:#FFCC99; font-weight:normal;;width:10.5em">Music</th><td class="navbox-list-with-group navbox-list navbox-odd" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Bootleg_recording" title="Bootleg recording">Bootleg recording</a></li> <li><a href="/wiki/Chopped_and_screwed" title="Chopped and screwed">Chopped and screwed</a></li> <li><a href="/wiki/Contrafact" title="Contrafact">Contrafact</a> <ul><li><a href="/wiki/List_of_jazz_contrafacts" title="List of jazz contrafacts">list</a></li></ul></li> <li><a href="/wiki/Contrafactum" title="Contrafactum">Contrafactum</a></li> <li><a href="/wiki/Cover_version" title="Cover version">Cover version</a></li> <li><a href="/wiki/DJ_mix" title="DJ mix">DJ mix</a></li> <li><a href="/wiki/Interpolation_(popular_music)" title="Interpolation (popular music)">Interpolation</a></li> <li><a href="/wiki/Medley_(music)" title="Medley (music)">Medley</a></li> <li><a href="/wiki/Mashup_(music)" title="Mashup (music)">Music mashup</a></li> <li><a href="/wiki/Music_plagiarism" title="Music plagiarism">Music plagiarism</a></li> <li><a href="/wiki/Musical_quotation" title="Musical quotation">Musical quotation</a></li> <li><a href="/wiki/Nightcore" title="Nightcore">Nightcore</a></li> <li><a href="/wiki/Parody_music" title="Parody music">Parody music</a></li> <li><a href="/wiki/Pasticcio" title="Pasticcio">Pasticcio</a></li> <li><a href="/wiki/Plunderphonics" title="Plunderphonics">Plunderphonics</a></li> <li><a href="/wiki/Potpourri_(music)" title="Potpourri (music)">Potpourri</a></li> <li><a href="/wiki/Quodlibet" title="Quodlibet">Quodlibet</a></li> <li><a href="/wiki/Remix" title="Remix">Remix</a></li> <li><a href="/wiki/Riddim" title="Riddim">Riddim</a></li> <li><a class="mw-selflink selflink">Sampling</a></li> <li><a href="/wiki/Sound_collage" title="Sound collage">Sound collage</a></li> <li><a href="/wiki/Standard_(music)" title="Standard (music)">Standard</a></li> <li><a href="/wiki/Tribute_act" title="Tribute act">Tribute act</a></li> <li><a href="/wiki/Trope_(music)" title="Trope (music)">Trope</a></li> <li><a href="/wiki/Variation_(music)" title="Variation (music)">Variation</a></li> <li><a href="/wiki/Vaporwave" title="Vaporwave">Vaporwave</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background:#FFCC99; font-weight:normal;;width:10.5em">Literature / theatre</th><td class="navbox-list-with-group navbox-list navbox-even" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Assemblage_(composition)" title="Assemblage (composition)">Assemblage</a></li> <li><a href="/wiki/Cut-up_technique" title="Cut-up technique">Cut-up technique</a></li> <li><a href="/wiki/Flarf_poetry" title="Flarf poetry">Flarf poetry</a></li> <li><a href="/wiki/Found_poetry" title="Found poetry">Found poetry</a></li> <li><a href="/wiki/Jukebox_musical" title="Jukebox musical">Jukebox musical</a></li> <li><a href="/wiki/Trope_(literature)" title="Trope (literature)">Trope</a></li> <li><a href="/wiki/Verbatim_theatre" class="mw-redirect" title="Verbatim theatre">Verbatim theatre</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background:#FFCC99; font-weight:normal;;width:10.5em"><div style="display: inline-block; line-height: 1.2em; padding: .1em 0;">Visual arts</div></th><td class="navbox-list-with-group navbox-list navbox-odd" style="padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><td colspan="2" class="navbox-list navbox-odd" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Collage" title="Collage">Collage</a></li> <li><a href="/wiki/Combine_painting" title="Combine painting">Combine painting</a></li> <li><a href="/wiki/Photographic_mosaic" title="Photographic mosaic">Photographic mosaic</a></li> <li><a href="/wiki/Readymades_of_Marcel_Duchamp" title="Readymades of Marcel Duchamp">Readymades of Marcel Duchamp</a></li> <li><a href="/wiki/Swipe_(comics)" title="Swipe (comics)">Swipe</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:7.5em;background:#FFCC99; font-weight:normal;">By source material</th><td class="navbox-list-with-group navbox-list navbox-even" style="padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/Mona_Lisa_replicas_and_reinterpretations" title="Mona Lisa replicas and reinterpretations">Mona Lisa</a></i></li> <li><a href="/wiki/Replicas_of_Michelangelo%27s_David" title="Replicas of Michelangelo's David">Michelangelo's <i>David</i></a></li> <li><a href="/wiki/Replicas_of_Michelangelo%27s_Piet%C3%A0" title="Replicas of Michelangelo's Pietà">Michelangelo's <i>Pietà</i></a></li> <li><a href="/wiki/Replicas_of_the_Statue_of_Liberty" title="Replicas of the Statue of Liberty">Statue of Liberty</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="background:#FFCC99; font-weight:normal;;width:10.5em">Cinema / television / video</th><td class="navbox-list-with-group navbox-list navbox-odd" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Abridged_series" class="mw-redirect" title="Abridged series">Abridged series</a></li> <li><a href="/wiki/Anime_music_video" title="Anime music video">Anime music video</a></li> <li><a href="/wiki/Collage_film" title="Collage film">Collage film</a></li> <li><a href="/wiki/Found_footage_(appropriation)" title="Found footage (appropriation)">Found footage</a></li> <li><a href="/wiki/Literal_music_video" title="Literal music video">Literal music video</a></li> <li><a href="/wiki/Parody_film" title="Parody film">Parody film</a></li> <li><a href="/wiki/Re-cut_trailer" title="Re-cut trailer">Re-cut trailer</a></li> <li><a href="/wiki/Remake" title="Remake">Remake</a> <ul><li><a href="/wiki/Shot-for-shot" title="Shot-for-shot">Shot-for-shot</a></li></ul></li> <li><a href="/wiki/Supercut" title="Supercut">Supercut</a></li> <li><a href="/wiki/TV_format" title="TV format">TV format</a></li> <li><a href="/wiki/Vidding" title="Vidding">Vidding</a></li> <li><a href="/wiki/Mashup_(video)" title="Mashup (video)">Video mashup</a></li> <li><a href="/wiki/YouTube_poop" title="YouTube poop">YouTube poop</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background:#FFCC99; font-weight:normal;;width:10.5em">Other arts</th><td class="navbox-list-with-group navbox-list navbox-even" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/In-joke" title="In-joke">In-joke</a></li> <li><a href="/wiki/Internet_meme" title="Internet meme">Internet meme</a></li> <li><a href="/wiki/Joke_theft" title="Joke theft">Joke theft</a></li> <li><a href="/wiki/Parody_advertisement" title="Parody advertisement">Parody advertisement</a></li> <li><a href="/wiki/Revivalism_(architecture)" title="Revivalism (architecture)">Revivalism (architecture)</a></li> <li><a href="/wiki/Video_game_modding" title="Video game modding">Video game modding</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="background:#FFCC99;;width:1%">General <br />concepts</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="background:#FFCC99; font-weight:normal;;width:10.5em"><a href="/wiki/Intertextuality" title="Intertextuality">Intertextual figures</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Allusion" title="Allusion">Allusion</a></li> <li><a href="/wiki/Calque" title="Calque">Calque</a></li> <li><a href="/wiki/Parody" title="Parody">Parody</a></li> <li><a href="/wiki/Pastiche" title="Pastiche">Pastiche</a></li> <li><a href="/wiki/Plagiarism" title="Plagiarism">Plagiarism</a></li> <li><a href="/wiki/Quotation" title="Quotation">Quotation</a></li> <li><a href="/wiki/Translation" title="Translation">Translation</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background:#FFCC99; font-weight:normal;;width:10.5em"><a href="/wiki/Adaptation_(arts)" title="Adaptation (arts)">Adaptation</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Film_adaptation" title="Film adaptation">Film</a></li> <li><a href="/wiki/Literary_adaptation" title="Literary adaptation">Literary</a></li> <li><a href="/wiki/Theatrical_adaptation" title="Theatrical adaptation">Theatre</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background:#FFCC99; font-weight:normal;;width:10.5em">Other concepts</th><td class="navbox-list-with-group navbox-list navbox-odd" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/After_(art)" title="After (art)">After (art)</a></li> <li><a href="/wiki/Assemblage_(art)" title="Assemblage (art)">Assemblage (art)</a></li> <li><a href="/wiki/Bricolage" title="Bricolage">Bricolage</a></li> <li><a href="/wiki/Citation" title="Citation">Citation</a></li> <li><a href="/wiki/D%C3%A9tournement" title="Détournement">Détournement</a></li> <li><a href="/wiki/Found_object" title="Found object">Found object</a></li> <li><a href="/wiki/Homage_(arts)" title="Homage (arts)">Homage</a></li> <li><a href="/wiki/Imitation_(art)" title="Imitation (art)">Imitation in art</a></li> <li><a href="/wiki/Mashup_(culture)" title="Mashup (culture)">Mashup</a></li> <li><a href="/wiki/Reprise" title="Reprise">Reprise</a></li> <li><a href="/wiki/Satire" title="Satire">Satire</a></li> <li><a href="/wiki/Source_criticism#Source_criticism_in_the_arts" title="Source criticism">Source criticism in the arts</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="background:#FFCC99;;width:1%"><div style="display: inline-block; line-height: 1.2em; padding: .1em 0;">Related artistic<br />concepts</div></th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Aesthetic_interpretation" title="Aesthetic interpretation">Aesthetic interpretation</a></li> <li><a href="/wiki/Anti-art" title="Anti-art">Anti-art</a></li> <li><a href="/wiki/Archetypal_literary_criticism" title="Archetypal literary criticism">Archetypal literary criticism</a></li> <li><a href="/wiki/Artistic_inspiration" title="Artistic inspiration">Artistic inspiration</a></li> <li>"<a href="/wiki/The_Death_of_the_Author" title="The Death of the Author">The Death of the Author</a>"</li> <li><a href="/wiki/Divine_inspiration" title="Divine inspiration">Divine inspiration</a> <ul><li><i><a href="/wiki/Afflatus" title="Afflatus">Afflatus</a></i></li> <li><a href="/wiki/Genius_(literature)" title="Genius (literature)">Genius (literature)</a></li> <li><a href="/wiki/Muses" title="Muses">Muses</a></li></ul></li> <li><a href="/wiki/Fan_labor" title="Fan labor">Fan labor</a> <ul><li><a href="/wiki/Fan_fiction" title="Fan fiction">Fan fiction</a></li></ul></li> <li><a href="/wiki/Genre" title="Genre">Genre</a></li> <li><a href="/wiki/Genre_studies" title="Genre studies">Genre studies</a></li> <li><a href="/wiki/Originality" title="Originality">Originality</a></li> <li><a href="/wiki/Simulacrum" title="Simulacrum">Simulacrum</a></li> <li><a href="/wiki/Western_canon" title="Western canon">Western canon</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background:#FFCC99;;width:1%"><div style="display: inline-block; line-height: 1.2em; padding: .1em 0;">Standard blocks<br />and forms</div></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Archetype" title="Archetype">Archetype</a></li> <li><a href="/wiki/Formula_fiction" title="Formula fiction">Formula fiction</a></li> <li><a href="/wiki/Genre_fiction" title="Genre fiction">Genre fiction</a></li> <li><a href="/wiki/Jazz_standard" title="Jazz standard">Jazz standard</a></li> <li><a href="/wiki/Plot_device" title="Plot device">Plot device</a></li> <li><a href="/wiki/Stock_character" title="Stock character">Stock character</a></li> <li><a href="/wiki/Story_structure" title="Story structure">Story structure</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background:#FFCC99;;width:1%"><div style="display: inline-block; line-height: 1.2em; padding: .1em 0;">Epoch-marking<br />works</div></th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/L.H.O.O.Q." title="L.H.O.O.Q.">L.H.O.O.Q.</a></i> <span style="font-size:85%;">(1919)</span></li> <li>"<a href="/wiki/Pierre_Menard,_Author_of_the_Quixote" title="Pierre Menard, Author of the Quixote">Pierre Menard, Author of the <i>Quixote</i></a>" <span style="font-size:85%;">(1939)</span></li> <li><i><a href="/wiki/Reality_Hunger" title="Reality Hunger">Reality Hunger: A Manifesto</a></i> <span style="font-size:85%;">(2010)</span></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background:#FFCC99;;width:1%">Theorization</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Dada" title="Dada">Dada</a></li> <li><i><a href="/wiki/Copia:_Foundations_of_the_Abundant_Style" title="Copia: Foundations of the Abundant Style">De Copia Rerum</a></i></li> <li><a href="/wiki/Diegesis" title="Diegesis">Diegesis</a></li> <li><a href="/wiki/Dionysian_imitatio" title="Dionysian imitatio">Dionysian <i>imitatio</i></a></li> <li><a href="/wiki/Mimesis" title="Mimesis">Mimesis</a></li> <li><i><a href="/wiki/Johann_Joachim_Winckelmann#Critical_response_and_influence" title="Johann Joachim Winckelmann">Nachahmung</a></i></li> <li><i><a href="/wiki/Palimpsests:_Literature_in_the_Second_Degree" title="Palimpsests: Literature in the Second Degree">Palimpsests: Literature in the Second Degree</a></i></li> <li><i><a href="/wiki/The_Pictures_Generation" title="The Pictures Generation">The Pictures Generation</a></i></li> <li><a href="/wiki/Pop_art" title="Pop art">Pop art</a></li> <li><a href="/wiki/Postmodernism" title="Postmodernism">Postmodernism</a></li> <li><a href="/wiki/Russian_formalism" title="Russian formalism">Russian formalism</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background:#FFCC99;;width:1%"><div style="display: inline-block; line-height: 1.2em; padding: .1em 0;">Related non-<br />artistic concepts</div></th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Academic_dishonesty" title="Academic dishonesty">Academic dishonesty</a></li> <li><a href="/wiki/Appropriation_(sociology)" title="Appropriation (sociology)">Appropriation in sociology</a></li> <li><a href="/wiki/Articulation_(sociology)" title="Articulation (sociology)">Articulation in sociology</a></li> <li><a href="/wiki/Cultural_appropriation" title="Cultural appropriation">Cultural appropriation</a></li> <li><a href="/wiki/History_of_printing" title="History of printing">History of printing</a></li> <li><a href="/wiki/Information_society" title="Information society">Information society</a></li> <li><a href="/wiki/Intellectual_property" title="Intellectual property">Intellectual property</a> <ul><li><a href="/wiki/Copyright_infringement" title="Copyright infringement">Copyright infringement</a></li> <li><a href="/wiki/Derivative_work" title="Derivative work">Derivative work</a></li> <li><a href="/wiki/Fair_use" title="Fair use">Fair use</a></li></ul></li> <li><a href="/wiki/Meme" title="Meme">Meme</a></li> <li><a href="/wiki/Open_source" title="Open source">Open 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