In the realm of sampling, an artist's decision to incorporate an unidentified segment of another work elicited no requirement for declaration or financial compensation towards the original creator.

In the vibrant world of music during the 1980s, a new technology revolutionised the industry - the sampler. These devices, which became more affordable and accessible, allowed musicians to capture and reuse short sections of audio, opening up a new realm of creative possibilities.

The concept of sampling can be traced back to 'Musique Concrète', a French avant-garde movement from the 1940s. However, it was in the 80s that sampling truly came into its own, with digitisation enabling longer recordings of around 45 seconds to minutes, even if the quality was limited or the recording was in mono rather than stereo.

One of the most prolific samples to emerge was from James Brown's band, The Funky Drummer. A single bar of drum loop from this track became a staple, used extensively in various genres, including hip-hop, rap, pop, and even novelty hits like The Simpsons (feat Jazzy Jeff): Deep, Deep Trouble. Artists such as Public Enemy, Run-DMC, NWA, Dr Dre, LL Cool J, Beastie Boys, George Michael, and Emeli Sandé all used the Funky Drummer breakbeat in their works.

Another significant sample was the Amen Break, a drum loop and breakbeat that originated from the little-known B-side Amen, Brother by the American soul band the Winstons. This break was played at speeds exceeding 160BPM, creating space for heavy, compressed synth bass sounds. The Amen Break gained prominence during the late 80s and early 90s, particularly in the drum and bass movement of the 90s.

The widespread unauthorized use of samples led to significant legal battles, with the case between Grand Upright Music Ltd and Warner Brothers Records in 1991 having a significant impact on the shaping of sampling law. As a result, any sample usage must now be declared before a track can be released to prevent artists from hiding original samples in their mixes to avoid paying the original artist.

Despite the legal battles, some of the most sampled drummers, such as Clyde Stubblefield and George Coleman, did not receive financial rewards for their extensive sampling during the 80s to early 90s due to ineffective and vague sampling law. However, Clyde Stubblefield later released a sampling CD to gain some financial reward for his famous loop.

In the present day, the Funky Drummer breakbeat is still in use by current artists such as Ed Sheeran and Aphex Twin, demonstrating the lasting impact of these early samples. The digitisation of samplers has also allowed for short sections of audio to be manipulated digitally, further expanding the creative possibilities for musicians.

The evolution of sampling has been a fascinating journey, from its roots in 'Musique Concrète' to its widespread use in contemporary music. As technology continues to advance, it will be interesting to see how sampling continues to shape the music landscape in the future.

In the realm of sampling, an artist's decision to incorporate an unidentified segment of another work elicited no requirement for declaration or financial compensation towards the original creator.