Artists that have used samplers as a creative compositional tool

At the risk of raising further ire by trying to clarify, would it help if 'compositional' was replaced with 'performative'? While the mentioned in the thread indeed used samplers, couldn't most of the suggestions made be achieved through other means, eg with tape loops or turntables?

Would it sound as good, is the key question.

That David Dunn reminds me of another really awesome sound recording...doing my head in all morning. xp

geir should check this out. just a dude sitting down with a guitar:

https://www.youtube.com/watch?v=XzK2U8ljJ4A&feature=relmfu

and as far as sampled sound compositions go paul is my go to guy

https://www.youtube.com/watch?v=mRWbbWGeeuQ

think thats just layered tape though? later he uses computers. think the 80's stuff was all hundreds of hours of music layered into single pieces of holy hell. its actually not easy to get info on his methedology on the internet. i've looked in the past. someone go interview the guy, okay?

love paul dolden! he goes into detail about his method in the liner notes, and there was a Wire interview around 2005, but he basically scores the piece with sheet music, records each instrument independently, then layers it out until it basically sounds like an orchestra of one to ten thousand people playing in a small room; no electronic processing, rarely even adds reverb, just multiplication, so it is simultaneously a very realistic, plausible, acoustic sound, and one that absolutely could not happen in the real world. Threshold of Deafening Silence and L'ivresse de la vitesse are my favorite two albums.

Why Remaster Old Works? (L’ivressse de la vitesse 1)

In the late 1970’s I started to write and produce music involving hundreds of parts or tracks. In the early days, the analogue recording medium was very noisy when bouncing (or premixing) tracks together. Things improved throughout the 1980’s and ’90’s, but a large multitrack digital tape recorder was still out of my financial reach. By the late 1990’s the new computer and hard drive speeds finally provided me with an affordable multitrack solution. For the first time in my life I was able to achieve the balance between individual voices that I had so carefully notated in the original scores. I achieved further musical clarity and a new depth of sound by using quality compression, equalisation and reverb. To remaster, I went back to the individual tracks. This was a huge undertaking. For example, a piece like Dancing on the Walls of Jericho (1990) may be only 16 minutes and 15 seconds long, but it is a large tape work comprising eighty hours of original recorded materials.

Recordings always ‘freeze’ or crystallise musical and spectral meaning for the listener. An odd sound combination that you have grown fond of in the old master may not appear in the same way in the new one. However, I think you will agree that I have stayed true to the original compositions. I changed some musical moments and transitions in Dancing on the Walls of Jericho, Beyond the Walls of Jericho, and the tape components for Physics of Seduction. Invocations #2 and Physics of Seduction. Invocations #3, all originally released on the L’ivresse de la vitesse CD in 1994. These changes were motivated by compositional concerns and were created using the musical materials from the Walls Cycle. The only new recordings made for the remastering process were the drum parts (performed by Philippe Keyser) in Physics of Seduction. Invocation #2 and Physics of Seduction. Invocation #3.

I invite you to discover many new levels of meaning and clarity in the new masters, which are much closer to my original artistic intention.

yes the liners are pretty much all the info i have.

Intoxicated By Speed, the discs [from the 1994 edition]

The music on these two discs represents two different but related compositional strategies. The first compositional strategy is represented by the creation of the four solo tape works and the second strategy is the creation of the five works for soloist and tape.

The creation of the solo tape compositions involves the composition of several hundred simultaneous musical parts or lines on large manuscript paper. Each part or line is individually performed on an acoustic instrument and recorded. Once all several hundred parts have been individually recorded, they are digitally mixed together with usually no, or very little, signal processing or electronic effects. This working method allows for new and complex polyrhythmic and microtonal tuning relationships between parts that could never be performed by a live ensemble. This compositional technique also allows for unique orchestration and density possibilities that can be constantly transformed.

The exclusive use of acoustic instruments in these recordings could be partially explained by the fact that I regularly perform on the violin, guitar and cello. Therefore I hear a richness of human expression in acoustic instrumental performance which, to me, is largely absent in any other electroacoustic production method. Indeed the sound worlds found in these recordings could not be created by current electronic synthesis techniques, which are unable to produce a large palette of convincingly different timbres or sounds. The narrowness of this range of unique timbres prevents the type of orchestration strategies that can occur for acoustic sounds in which large numbers of sound sources can be combined and the individuality of each sound is somewhat maintained while there is a contribution to the overall sound. Likewise, this music could not be produced by current sampling techniques, which cannot create convincing long musical phrase structures which develop according to the compositional language of each piece.

samples here for anyone interested:

http://www.electrocd.com/en/cat/imed_0317/

you can even sample the samples and make your own composition

http://www.electrocd.com/en/boutique/empreintesdigitales/

plus, empreintes digitales is just a rad label. they put out amazing stuff. and all their CDs now are dvd audio and they sound friggin' great. if you are into state of the art sound that is. if you are an earbud/ipod person than nevermind.

*drops acid*

https://www.youtube.com/watch?v=ZHj1jY36kGk

https://www.youtube.com/watch?v=cJoto35onao&feature=related

https://www.youtube.com/watch?v=ryBVFWd-pxg

https://www.youtube.com/watch?v=KEn8Xl8Ve2U

No amen breaks etc.

etc.

Toshio Nakanishi is a hero of mine. Major Force records and his stuff as Tycoon Tosh completely influential in my life. before Major Force he had started the new wave band Plastics. in the early 80's he was doing stuff like this too:

https://www.youtube.com/watch?v=ZooBeaSaGcY&feature=relmfu

https://www.youtube.com/watch?v=fhJEGUzVjl4&feature=related

https://www.youtube.com/watch?v=fUajcyh-F6s&feature=related

and his stuff as Melon is different from all that!

https://www.youtube.com/watch?v=W5WsXWBPzmI&feature=relmfu

https://www.youtube.com/watch?v=uZIAwC3ij-g&feature=relmfu

https://www.youtube.com/watch?v=Kh5wEcLLI-w&feature=relmfu

https://www.youtube.com/watch?v=_0b_9X0xFYs&feature=relmfu

scott u just redeemed the existence of this idiotic thread

i dunno.... that stuff is prettttty close to "amen breaks etc" territory!

omg not an amen break! how uncreative

No mention of Public Enemy?

4 independent metions of "the bomb squad" and one quote.
walter ruttmann - weekend.
"artist" / "sampler"

mennnnnnnnnnntions.
how would christian marclay fit in?
i'm not sure i could be arsed to even begin thinking about it