Digital Sampling

<p><i>Digital Sampling</i> is the first book about the design and use of sampling technologies that have shaped the sounds of popular music since the 1980s. </p><p>Written in two parts, <i>Digital Sampling</i> begins with an exploration of the Fairlight CMI and how artists like Kate Bush and Peter Gabriel used it to sample the sounds of everyday life. It also focuses on E-mu Systems and the use of its keyboards and drum machines in hip-hop. The second part follows users across a range of musical worlds, including US/UK garage, indie folk music, and electronic music made from the sounds of sewers, war zones, and crematoriums.</p><p>Using material from interviews and concepts from the field of Science and Technology Studies (STS), <i>Digital Sampling</i> provides a new and alternative approach to the study of sampling and is crucial reading for undergraduates, postgraduates, and researchers from a wide range of disciplines, including music technology, media, communication, and cultural studies.</p> <p><em>LIST OF FIGURES</em></p><p><em>PRELUDE/ACKNOWLEDGEMENTS</em></p><p>Introduction</p><p>Part I: Instruments</p><p>Chapter 1 – Tomorrow’s Music Today: The Fairlight CMI Series I and II </p><p>Chapter 2 – Page R and the Art of the Loop: The Fairlight CMI Series II, IIx, and III </p><p>Chapter 3 – Technologies of Hip-Hop: The E-mu Emulator, SP-12, and SP-1200 </p><p>Interlude: Methodologies </p><p>Part II: Users</p><p>Chapter 4 – Microsampling: Akufen and Todd Edwards </p><p>Chapter 5 – Appropriation, Additive Approaches, and Accidents: Found </p><p>Chapter 6 – Foot Pedals and Folk Music: King Creosote </p><p>Chapter 7 – The Sounds of Everyday Life (and Death): Matthew Herbert </p><p>Conclusions</p><p><em>INTERVIEWS AND PERSONAL COMMUNICATION</em></p><p><em>BIBLIOGRAPHY</em></p><p><em>DISCOGRAPHY</em></p><p><em>INDEX</em></p>