technological advance is always a double-edged sword. it is a plain and simple fact that the development of modern
recording, starting in the 1920's, has inexorably reduced
the working opportunities for the masses of live musicians
who used to enjoy, if not social standing, at least a very
good income compared to the average person. many musicians worked tons of gigs and earned well during the great depression. there are so few jobs today compared to then, and the pay for most is sparse by comparison. on the other hand, radio and tv created lucrative jobs for many for a while, recordings provided exposure never before possible, and the ranks of mega-stars has increased dramatically and their income and status is beyond any musicians of the past's wildest dreams.

there was a man who bravely fought for the rights of the
musicians who were falling victim to technology. the name
of this moral hero was James Petrillo, head of the AFM union. In the early 40's, he instituted a "recording ban" that lasted for years. the result of this well-intentioned policy was quite the opposite of its intent--it was one of the major tragedies of our time and did more to destroy
the music business for musicians than the technological
enemy ever had.

what's my point and how does this relate to the sampling
issues raised here? just this..there seem to be clear moral issues here that are inarguable by anyone who knows right from wrong. .yet they are also clouded by the advance of technology that changes the ground rules
ever faster, and, that technology is inexorable and creates
its own standards. the Fender Rhodes didn't start out to be "that great vintage rhodes sound" It started out to be
a portable ersatz piano. then the "subsitute" became its own musical genre. The arranger kb and those that play it
started out as a way to have a portable ersatz band. Yet
all of us who really are skilled and years into it know we
can do things with it that bands can't do, it has become
a way of making music that has its own standards.

so that's how the double-edge works, and that's why
what seems to be a clear moral issue on resampling has
ramifications that are unclear, and unpredictable, and why
there are so many different points of view being expressed on this subject. we are hypocrites playing
sampled arranger keyboards, and at the same time we are
not. I don't have the answer, and neither do any of you.


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Miami Mo