IDM Mailing Archive

so, if i take a sound of a rubber ducky, and modulate it, pitch shift it, and stretch it out, and it ends up sounding remarkably like a bleating goat (and similiarly quite *unlike* a rubber ducky), would that be "ok"? it just seems like the only problem people have with sampling is when there's a possibility that someone could listen to it, and be like "hmm.. this sounds oddly like that one record i ha... oh.. eech, it is". is that close? -derek np: the future sound of jazz 2, disc 2 +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+ I am a kind of paranoiac in reverse. I suspect people of plotting to make me happy. -J.D. Salinger

no, i'm agreeing with sampling as a practice, and that it's up to the artist to do what they want to with it, if they use it. i don't even own a sampler. it just seems like the general idea is that it's "preferred" when an alteration is made to the sample, to, if nothing else, make it more of a creation, rather than just a sample. besides, all the discussion in the world isn't going to make people stop sampling :O) -derek

quoted 7 lines God, here we go again...

> God, here we go again... > I don't give a rat's ass about somebody else and what they do with their > sampler, I like Amon Tobin too, for crying out loud. > > I just choose never to use a sampler myself because I want to avoid the > kinds of shortcuts you can get bogged down with when using one. Thank > you, please drive through.

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At 03:43 PM 6/18/99 -0500, you wrote:

quoted 8 lines no, i'm agreeing with sampling as a practice, and that it's up to the

>no, i'm agreeing with sampling as a practice, and that it's up to the >artist to do what they want to with it, if they use it. i don't even own a >sampler. > >it just seems like the general idea is that it's "preferred" when an >alteration is made to the sample, to, if nothing else, make it more of a >creation, rather than just a sample. >

of course, the artists i respect (and what i try to do) use samples as strictly a starting point, in the same way a synthesist would use an oscillator.. instead of a square wave or a sine wave, you're using a voice or a rhythm.. you retain something of the feel, in the same way that the little anomalies in a tb-303 sawtooth wave lend it character.. in this way, it's actually less of a shortcut than using a synth or programming a drum machine since in those cases the signal path is already predefined.. it's closer to modular synthesis, really, since you're taking a sound source into a sampler, tuning it, stretching it into time, splicing it up, running it through effects/other synths, resampling, repeating the process, etc.. of course, there is something to be said for using a sample fairly "straight" as commentary (say, EBN) or for humour value (Luke Vibert, etc.).. though we all know the real reason IDM artists alter the samples is because most don't have the budget to pay those outrageous copyright infringement fees ;) - jove --- "music, the greatest good that mortals know and all of heaven we have below." (harold adamson) impending gigs - Plur My Ass! - June 30th, 1999 drop modulation audio - http://members.tripod.com/drop_modulation __ ICQ# 26360618 "Example: Where can I find information about the hobby pyrotechnics?" (alta-vista)