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Digital Sampling is the first book about the design and use of sampling technologies that have shaped the sounds of popular music since the 1980s.
Written in two parts, Digital Sampling 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.
Using material from interviews and concepts from the field of Science and Technology Studies (STS), Digital Sampling 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.
Paul Harkins is a lecturer in the Music Department at Edinburgh Napier University.
LIST OF FIGURES PRELUDE/ACKNOWLEDGEMENTS Introduction Part I: Instruments Chapter 1 - Tomorrow's Music Today: The Fairlight CMI Series I and II Chapter 2 - Page R and the Art of the Loop: The Fairlight CMI Series II, IIx, and III Chapter 3 - Technologies of Hip-Hop: The E-mu Emulator, SP-12, and SP-1200 Interlude: Methodologies Part II: Users Chapter 4 - Microsampling: Akufen and Todd Edwards Chapter 5 - Appropriation, Additive Approaches, and Accidents: Found Chapter 6 - Foot Pedals and Folk Music: King Creosote Chapter 7 - The Sounds of Everyday Life (and Death): Matthew Herbert Conclusions INTERVIEWS AND PERSONAL COMMUNICATION BIBLIOGRAPHY DISCOGRAPHY INDEX
