Re: Free Wen Samples
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Sampling is a foundation of hip hop music, which emerged when producers in the 1980s began sampling funk and soul records, particularly drum breaks. It has influenced many other genres of music, particularly electronic music and pop. Samples such as the Amen break, the "Funky Drummer" drum break and the orchestra hit have been used in thousands of recordings, and James Brown, Loleatta Holloway, Fab Five Freddy and Led Zeppelin are among the most sampled artists. The first album created entirely from samples, Endtroducing by DJ Shadow, was released in 1996.
Sampling without permission can infringe copyright or may be fair use. Clearance, the process of acquiring permission to use a sample, can be complex and costly; samples from well-known sources may be prohibitively expensive. Courts have taken different positions on whether sampling without permission is permitted. In Grand Upright Music, Ltd. v. Warner Bros. Records Inc (1991) and Bridgeport Music, Inc. v. Dimension Films (2005), American courts ruled that unlicensed sampling, however minimal, constitutes copyright infringement. However, VMG Salsoul v Ciccone (2016) found that unlicensed samples constituted de minimis copying, and did not infringe copyright. In 2019, the European Court of Justice ruled that modified, unrecognizable samples could be used without authorization. Though some artists sampled by others have complained of plagiarism or lack of creativity, many commentators have argued that sampling is a creative act.
The Fairlight inspired competition, improving sampling technology and driving down prices.[1] Early competitors included the E-mu Emulator[1] and the Akai S950.[11] Drum machines such as the Oberheim DMX and Linn LM-1 incorporated samples of drum kits and percussion rather than generating sounds from circuits.[12] Early samplers could store samples of only a few seconds in length, but this increased with improved memory.[13] In 1988, Akai released the first MPC sampler,[14] which allowed users to assign samples to pads and trigger them independently, similarly to playing a keyboard or drum kit.[15] It was followed by competing samplers from companies including Korg, Roland and Casio.[16] Today, most samples are recorded and edited using digital audio workstations (DAWs) such as Pro Tools and Ableton Live.[13][17]
Sampling has influenced many genres of music,[9] particularly pop, hip hop and electronic music.[7] The Guardian journalist David McNamee likened its importance in these genres to the guitar's importance in rock.[9] In August 2022, the Guardian noted that half of the singles in the UK Top 10 used samples.[8] Sampling is a fundamental element of remix culture.[25]
Using the Fairlight, the "first truly world-changing sampler", the English producer Trevor Horn became the "key architect" in incorporating sampling into pop music in the 1980s.[9] Other users of the Fairlight included Kate Bush, Peter Gabriel and Thomas Dolby.[11] In the 1980s, samples were incorporated into synthesizers and music workstations, such as the bestselling Korg M1, released in 1988.[16]
Stevie Wonder's 1979 album Journey Through the Secret Life of Plants may have been the first album to make extensive use of samples.[9] The Japanese electronic band Yellow Magic Orchestra were pioneers in sampling,[27][28][29] constructing music by cutting fragments of sounds and looping them.[29] Their album Technodelic (1981) is an early example of an album consisting mostly of samples.[28][30] My Life in the Bush of Ghosts (1981) by David Byrne and Brian Eno is another important early work of sampling, incorporating samples of sources including Arabic singers, radio DJs and an exorcist.[31] Musicians had used similar techniques before, but, according to the Guardian writer Dave Simpson, sampling had never before been used "to such cataclysmic effect".[32] Eno felt the album's innovation was to make samples "the lead vocal".[33] Big Audio Dynamite pioneered sampling in rock and pop with their 1985 album This Is Big Audio Dynamite.[34]
The advent of affordable samplers such as the Akai MPC (1988) made looping easier.[36] Guinness World Records cites DJ Shadow's acclaimed hip hop album Endtroducing (1996), made on an MPC60,[37] as the first album created entirely from samples.[38][39] The E-mu SP-1200, released in 1987, had a ten-second sample length and a distinctive "gritty" sound, and was used extensively by East Coast producers during the golden age of hip hop of the late 1980s and early 90s.[40]
The orchestra hit originated as a sound on the Fairlight, sampled from Stravinsky's 1910 orchestral work Firebird Suite,[46] and became a hip hop cliché.[47] MusicRadar cited the Zero-G Datafiles sample libraries as a major influence on 90s dance music, becoming the "de facto source of breakbeats, bass and vocal samples".[18]
DJ Shadow said that artists tended to either see sampling as a mark of respect and a means to introduce their music to new audiences, or to be protective of their legacy and see no benefit.[49] He described the difficulty of arranging compensation for each artist sampled in a work, and gave the example of two artists both demanding more than 50%, a mathematical impossibility.[53] He instead advocated for a process of clearing samples on a musicological basis, by identifying how much of the composition the sample comprises.[53]
Since the O'Sullivan lawsuit, samples on commercial recordings have typically been taken either from obscure recordings or cleared, an often expensive option only available to successful acts.[60] According to the Guardian, "Sampling became risky business and a rich man's game, with record labels regularly checking if their musical property had been tea-leafed."[17] For less successful artists, the legal implications of using samples pose obstacles; according to Fact, "For a bedroom producer, clearing a sample can be nearly impossible, both financially and in terms of administration."[7] By comparison, the 1989 Beastie Boys album Paul's Boutique is composed almost entirely of samples, most of which were cleared "easily and affordably"; the clearance process would be much more expensive today.[61] The Washington Post described the modern use of well known samples, such as on records by Kanye West, as an act of conspicuous consumption similar to flaunting cars or jewelry.[60] West has been sued several times over his use of samples.[7]
In 2000, the jazz flautist James Newton filed a claim against the Beastie Boys' 1992 single "Pass the Mic", which samples his composition "Choir". The judge found that the sample, comprising six seconds and three notes, was de minimis (small enough to be trivial) and did not require clearance. Newton lost appeals in 2003 and 2004.[62][63]
In the 2005 case Bridgeport Music, Inc. v. Dimension Films, the rap group N.W.A. were successfully sued for their use of a two-second sample of a Funkadelic song in the 1990 track "100 Miles and Runnin'".[64] The United States Court of Appeals for the Sixth Circuit ruled that all samples, no matter how short, required a license.[64] A judge wrote: "Get a license or do not sample. We do not see this as stifling creativity in any significant way."[63]
In 2019, the European Court of Justice ruled that the producers Moses Pelham and Martin Haas had illegally sampled a drum sequence from the 1977 Kraftwerk track "Metal on Metal" for the Sabrina Setlur song "Nur Mir".[65] The court ruled that permission was required for recognizable samples; modified, unrecognizable samples could still be used without authorization.[65]
NASA's Mars Perseverance rover is building a unique rock collection, which also includes samples of Mars atmosphere and loose surface material. These samples record the history of the Jezero Crater landing site, and may even preserve signs of ancient life. Learn more about these precious samples, which Mars Sample Return could deliver to Earth for detailed study in the future.
Important note about accessibility: In version 1.3 of the schema we introduced a label property on Inputs to improve accessibility. If the Host app you are targeting supports v1.3 you should use label instead of a TextBlock as seen in some samples below. Once most Host apps have updated to the latest version we will update the samples accordingly.
Zephyr also provides a variety of Samples and Demos, including very simple Basic Samples.These samples are a good starting point for understanding how to put together your own application.However, Zephyr samples and applications are not tested and verified to work with the nRF Connect SDK releases.
All samples in the nRF Connect SDK use Fatal error handler library and are configured to perform a system reset if a fatal error occurs.This behavior is different from how fatal errors are handled in the Zephyr samples.You can change the default behavior by updating the configuration option CONFIG_RESET_ON_FATAL_ERROR.
Our samples demonstrate how to build several Diagram types and showcase specific features and layouts. You can use the HTML and JavaScript in these samples as the starting point for your application.
In 2 meta-analyses on gender differences in depression in nationally representative samples, we advance previous work by including studies of depression diagnoses and symptoms to (a) estimate the magnitude of the gender difference in depression across a wide array of nations and ages; (b) use a developmental perspective to elucidate patterns of gender differences across the life span; and (c) incorporate additional theory-driven moderators (e.g., gender equity). For major depression diagnoses and depression symptoms, respectively, we meta-analyzed data from 65 and 95 articles and their corresponding national data sets, representing data from 1,716,195 and 1,922,064 people in over 90 different nations. Overall, odds ratio (OR) = 1.95, 95% confidence interval (CI) [1.88, 2.03], and d = 0.27 [0.26, 0.29]. Age was the strongest predictor of effect size. The gender difference for diagnoses emerged earlier than previously thought, with OR = 2.37 at age 12. For both meta-analyses, the gender difference peaked in adolescence (OR = 3.02 for ages 13-15, and d = 0.47 for age 16) but then declined and remained stable in adulthood. Cross-national analyses indicated that larger gender differences were found in nations with greater gender equity, for major depression, but not depression symptoms. The gender difference in depression represents a health disparity, especially in adolescence, yet the magnitude of the difference indicates that depression in men should not be overlooked. (PsycINFO Database Record
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