Sampling: Introduction

Pierre Schaeffer & Musique Concrète

The use of recorded material for musical compositions dates back to Pierre Schaeffer, who started experiments with turntables after World War II. He recorded environmental sounds and musical instruments, arranged them, altered the playback speed and used loops in what then became musique concrète. These techniques are well-known nowadays, but were a completely novel experience in th 1940s.

Although an engineer by profession, Pierre Schaeffer did not only explore the technical means for composing with recorded sound. With the theory of the objet sonore he also lay the foundation for a theoretical and aesthetical discourse of acousmatic music (Schaeffer, 2012).


The Cinq Études de bruits (1948), the first published works of musique concrète, use various sources and techniques.


After the first experiments, Schaeffer started to involve musicians for taking the concept to the next level. With Pierre Henry he relized the Symphonie pour un homme seul in 1950. This acousmatic composition made use of various additional techniques, including spatial aspects.




Digital Sampling

Early devices capable of digital sampling are the Fairlight CMI (1979) and the Synclavier II (1980). These expensive, bulky devices were already used in various productions.

Linn Drum

The Linn Drum (1982) represents a breakthrough for digital sampling. Using 8 bit technique, it offers a set of drum sounds, which can be found in many 1980s pop productions.


References

  • P. Schaeffer. In Search of a Concrete Music. Volume 15 of California Studies in 20th-Century Music. University of California Press, 2012. ISBN 9780520265745. Translated by C. North and J. Dack. URL: http://books.google.de/books?id=6nTruQAACAAJ.
    [BibTeX▼]
  • Henrik Brumm. Biomusic and popular culture: the use of animal sounds in the music of the beatles. Journal of Popular Music Studies, 24:25–38, 03 2012. doi:10.1111/j.1533-1598.2012.01314.x.
    [BibTeX▼]


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