The art of sampling has profoundly impacted electronic music of all kinds. From hip-hop to house to techno, the ability to sample slices of sound and weave it into your music has opened up untold creative possibilities. However, the way producers approach sampling is bound to change as technology evolves, and a new report from Red Bull Music Academy explores exactly that.
“Sampling helped lower the barrier of entry for potential music makers: No longer did a producer need studio access or a group of musicians to make full and rich productions,” writes Glenn Jackson .
Jackson points out that with the proliferation of digital technology available for music producers, the creative possibilities have essentially become limitless. The writer speaks to a variety of underground electronic artists on how their approach has changed over the years.
“I also have been using a device called the Organelle, by Critter & Guitari,” NYC producer Suzi Analogue says of her approach to sampling (see the device pictured above).
“It’s a sampler and a synth and so many things in one box, and it allows me to sample really anything in there, and then I can synthesize on top of it. It’s allowed me to sample and then take things to another level, almost like sampling in 3-D.”
House producers Detroit Swindle have particularly embraced software producing solutions like Ableton Live , which they also often use in conjunction with live hardware.
“We use the drum rack in Ableton to chop up our samples into different parts, and then we trigger the sounds from a Maschine , and just mess around with the pads and play around to a drum beat or loop to try to find what works.”
Berlin producers Analogue Cops confirm their most treasured piece of hardware is the “Elektron Octatrack, which is our favorite sampler for performing live and has a breathtaking time-stretch algorithm that doesn’t add any unpleasant sound artifacts.”
Ninja Tune producer Glenn Astro says that changes in copyright laws inspired him to shift his production in the direction of “micro samples… and finding these little bits that aren’t really traceable as samples.” Meanwhile, L.A. producer Daedelus has his own opinions on copyright.
“I feel like the reason sampling has persisted for so long is that it’s inherently dangerous. It is the only dangerous thing about electronic music anymore,” he says. “It’s still illegal and draws a lot of question marks about ownership.”
Check out “Modern Approaches: Sampling” over at Red Bull Music Academy for the full report.
