The use of any portion of a particular recording by any outside parties without permission or legal right is prohibited for the protection of said individuals in said contract. The scope of those rights are outlined in several contracts between the artist, producer, composer, recording studio, engineer, record label, etc. of a recording has a legal and moral right to his/her work. The author, composer, producer, artist, etc. I think this is a simple concept to grasp. It is impossible to morally justify failing to give someone else credit for their work while benefiting from that work yourself. The same goes for a musical composition or section thereof. Legally and morally, the original recorder and owner of the voice should be compensated per copyright and royalty laws. The producer will likely benefit from this theft in that he/she will likely sell his/her product and make a profit. Morally, they are undermining the work of that person, and failing to recognize and pay for that work. If a producer uses another person's voice in a composition without permission, they are guilty of copyright infringement on the musical work of that person, legally. Either way, let's debate.Īs far as not discussing legal definitions, it is these that dictate the morality, or lack thereof, when referring to sampling.
He then goes on to say that he is not referring to a "few special cases, rather the vast majority of instances of sampling and the way in which it is generally carried out". He says let's not discuss the legality of the issue, but his definition specifies "without permission or legal right". He is trying to limit the scope of his claim so much that almost any argument can be made against the Con. To begin with, I would like to point out that my opponent is contradicting himself. I hope my rambling pedantry has not left anyone confused as to my basic position.įirst off, let me thank my opponent for presenting this debate.
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Instead I mean the vast majority of instances of sampling and the way in which it is generally carried out are not theft.Īlthough I am Pro - sampling is not theft, as I am making a negative claim (against the popular assertion that sampling is in fact moral theft) I will let my opponent present his case first and explain how sampling is theft. To make my position clearer: I am talking about neither all sampling nor a few special cases as being morally justifiable (not theft). I would also like to point out that in my opinion there are extremely rare circumstances where sampling CAN qualify as moral theft. dishonestly pass off (another person's ideas) as your own.' take (something) without permission and without intending to return it. take (something) without permission or legal right and without intending to return it - dishonestly pass off (another person's ideas) as your own.'Īs I have stated that in this debate we are concerned with the moral and not the legal definitions, for our purposes these last two should of course be read as: 'theft: the action or crime of stealing.'. the technique of digitally encoding music or sound and re-using it as part of a composition or recording.' To clarify, here are some definitions: (I use the Concise Oxford English Dictionary, 10th edition revised)
And save hours of tedious editing with new drag-and-drop hot zones.I would first like to make it clear that I am referring to theft in a moral rather than a legal sense of the word, If you wish to debate the legality of sampling please do not accept this debate. Use the zone waveform editor to make precise edits to sample start/end and loop ranges with an option to snap to transients or zero crossings.
And the reimagined mapping editor adds powerful, time-saving features that speed the creation of complex instruments - including editing commands for automatic mapping, automatic loop finding, and analyzing and splitting samples into zones. An extendable modulation section allows you to add more sources and destinations as needed.
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An expanded synthesis section with sound-shaping controls brings more depth and dynamics to your instruments - it features twin filters with parallel and serial routings, and five filters modeled after both analog and modern synths. The new single-window design makes it easier to create and edit sampler instruments while remaining backward compatible with all EXS24 files. We redesigned and improved our most popular plug-in - the EXS24 Sampler - and renamed it Sampler.
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