66-595: The Emulator is a series of digital sampling synthesizers using floppy-disk storage that was manufactured by E-mu Systems from 1981 until 2002. Although it was not the first commercial sampler, the Emulator was innovative in its integration of computer technology and was among the first samplers to find widespread usage among musicians. While costly, its price was considerably lower than those of its early competitors, and its smaller size increased its portability and, resultantly, practicality for live performance. The line
132-590: A chill through the industry that is still felt". In the Washington Post , Chris Richards wrote in 2018 that no case had exerted more influence on pop music, likening it to banning a musical instrument. Some have accused the law of restricting creativity, while others argue that it forces producers to innovate. 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. According to
198-549: A commodity, and yet sampling has never been more risky". Sampling can help popularize the sampled work. For example, the Desiigner track " Panda " (2015) reached number one on the Billboard Hot 100 after Kanye West sampled it on " Father Stretch My Hands, Pt. 2 " (2016). Some record labels and other music licensing companies have simplified their clearance processes by "pre-clearing" their records. For example,
264-496: A few seconds in length, but this increased with improved memory . In 1988, Akai released the first MPC sampler, which allowed users to assign samples to pads and trigger them independently, similarly to playing a keyboard or drum kit. It was followed by competing samplers from companies including Korg , Roland and Casio . Today, most samples are recorded and edited using digital audio workstations (DAWs) such as Pro Tools and Ableton Live . As technology has improved,
330-496: A mainstream audience by the BBC Radiophonic Workshop , which used the techniques to produce soundtracks for shows including Doctor Who . In the 1960s, Jamaican dub reggae producers such as King Tubby and Lee "Scratch" Perry began using recordings of reggae rhythms to produce riddim tracks, which were then deejayed over. Jamaican immigrants introduced the techniques to American hip hop music in
396-470: A piano by playing the recording back at different pitches. The result better resembled a real piano than sounds generated by synthesizers. Compared to later samplers, the Fairlight was limited; it allowed control over pitch and envelope , and could only record a few seconds of sound. However, the sampling function became its most popular feature. Though the concept of reusing recordings in other recordings
462-434: A single musical note (as is the case with sample-based synthesis ), or it can consist of longer portions of music (such as a drumbeat or complete melody), and may be layered, equalized , sped up or slowed down, repitched, looped , or otherwise manipulated. They are usually integrated using electronic music instruments ( samplers ) or software such as digital audio workstations . A process similar to sampling originated in
528-556: A unique sound because of its DPCM mu-255 companding, divider-based variable sample-rate principle and analog output stages featuring SSM2045 24 dB/oct analog four-pole low-pass resonant filters. Several OEM and third-party sample libraries were developed for the Emulator II, including orchestral sounds. Many of the EII's original library sounds were sampled from the more expensive Fairlight and Synclavier workstations (for example,
594-623: A work, and gave the example of two artists both demanding more than 50%, a mathematical impossibility. He instead advocated for a process of clearing samples on a musicological basis, by identifying how much of the composition the sample comprises. According to Fact , early hip hop sampling was governed by "unspoken" rules forbidding the sampling of recent records, reissues, other hip hop records or non-vinyl sources, among other restrictions. These rules were relaxed as younger producers took over and sampling became ubiquitous. In 2017, DJ Shadow said that he felt that "music has never been worth less as
660-501: Is a creative act. In the 1940s, the French composer Pierre Schaeffer developed musique concrète , an experimental form of music created by recording sounds to tape , splicing them, and manipulating them to create sound collages . He used sounds from the human body, locomotives, and kitchen utensils. The method also involved tape loops , splicing lengths of tape end to end so a sound could be played indefinitely. Schaeffer developed
726-551: Is another important early work of sampling, incorporating samples of sources including Arabic singers , radio DJs and an exorcist . Musicians had used similar techniques before, but, according to the Guardian writer Dave Simpson, sampling had never before been used "to such cataclysmic effect". Eno felt the album's innovation was to make samples "the lead vocal". Big Audio Dynamite pioneered sampling in rock and pop with their 1985 album This Is Big Audio Dynamite . Sampling
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#1732779990332792-404: Is composed almost entirely of samples, most of which were cleared "easily and affordably"; the clearance process would be much more expensive today. 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. West has been sued several times over his use of samples. In 2000,
858-632: Is one of the foundations of hip hop , which emerged in the 1980s. Hip hop sampling has been likened to the origins of blues and rock , which were created by repurposing existing music. The Guardian journalist David McNamee wrote that "two record decks and your dad's old funk collection was once the working-class black answer to punk ". Before the rise of sampling, DJs used turntables to loop breaks from records, which MCs would rap over. Compilation albums such as Ultimate Breaks and Beats compiled tracks with drum breaks and solos intended for sampling, aimed at DJs and hip hop producers . In 1986,
924-702: 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
990-466: Is protected under American fair use laws, which grant "limited use of copyrighted material without permission from the rights holder". The American musician Richard Lewis Spencer , who owned the copyright for the widely sampled Amen break , never received royalties for its use as the statute of limitations for copyright infringement had passed by the time he learnt of the situation. The journalist Simon Reynolds likened it to "the man who goes to
1056-629: The E-mu Emulator , Akai S950 and Akai MPC . 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
1122-559: 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". The court ruled that permission was required for recognizable samples; modified, unrecognizable samples could still be used without authorization. United States Dollar Too Many Requests If you report this error to
1188-501: 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." 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." By comparison, the 1989 Beastie Boys album Paul's Boutique
1254-457: The Phonogene , which played loops at 12 different pitches triggered by a keyboard. Composers including John Cage , Edgar Varèse , Karheinz Stockhausen and Iannis Xenakis experimented with musique concrète, and Bebe and Louis Barron used it to create the first totally electronic film soundtrack, for the 1956 science fiction film Forbidden Planet . Musique concrète was brought to
1320-584: The $ 10,000 range because the only alternatives were the $ 30,000–$ 200,000 Fairlight CMI and the $ 75,000–$ 500,000 NED Synclavier system. However, as technology had advanced and become increasingly accessible, E-mu faced great difficulty remaining competitive. Although the Emulator III did not prove a great success, it may be heard in the music of Tony Banks of Genesis , Lynda Thomas , 808 State and Depeche Mode , who used it on their 1990 album Violator . The Emulator IV (EIV or E4) series of samplers
1386-590: The 1940s with musique concrète , experimental music created by splicing and looping tape . The mid-20th century saw the introduction of keyboard instruments that played sounds recorded on tape, such as the Mellotron . The term sampling was coined in the late 1970s by the creators of the Fairlight CMI , a synthesizer with the ability to record and playback short sounds. As technology improved, cheaper standalone samplers with more memory emerged, such as
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#17327799903321452-411: The 1969 track "Amen, Brother", known as the Amen break , became popular with American hip hop producers and then British jungle producers in the early 1990s. It has been used in thousands of recordings, including songs by rock bands such as Oasis and theme tunes for television shows such as Futurama , and is among the most sampled tracks in music history. Other widely sampled drum breaks came from
1518-635: The 1970 James Brown song " Funky Drummer "; the Think break , sampled from the 1972 Lyn Collins song " Think (About It) ", written by Brown; and Led Zeppelin 's 1971 recording of " When the Levee Breaks ", played by John Bonham and sampled by artists including the Beastie Boys , Dr. Dre , Eminem and Massive Attack . In 2018, the Smithsonian cited the most sampled track as " Change
1584-515: The 1970s. Holger Czukay of the experimental German band Can spliced tape recordings into his music before the advent of digital sampling. The Guardian described the Chamberlin as the first sampler, developed by the English engineer Harry Chamberlin in the 1940s. The Chamberlin used a keyboard to trigger a series of tape decks, each containing eight seconds of sound. Similar technology
1650-547: The 1980s includes early adopter Stevie Wonder , Front 242 , Depeche Mode , 808 State , New Order , ABC , Genesis , Paul McCartney , David Bowie , Herbie Hancock , Vangelis , Tangerine Dream , Jean-Michel Jarre , Yes , OMD , Stevie Nicks and Mr. Mister . It was also used on the Terminator 2: Judgment Day film score by Brad Fiedel , many of Michael Kamen 's film scores (such as Lethal Weapon and Highlander ) and nearly all of John Carpenter 's films in
1716-549: The 1980s, samples were incorporated into synthesizers and music workstations , such as the bestselling Korg M1 , released in 1988. The Akai MPC , released in 1988, had a major influence on electronic and hip hop music, allowing artists to create elaborate tracks without other instruments, a studio or formal music knowledge. Its designer, Roger Linn , anticipated that users would sample short sounds, such as individual notes or drum hits, to use as building blocks for compositions; however, users sampled longer passages of music. In
1782-406: The 1980s. The Emulator II is featured in the film Ferris Bueller's Day Off when the titular character plays samples of coughing and sneezing in order to feign illness over a phone. David Foster mentioned his Emulator II in the 1985 documentary about the creation of Tears Are Not Enough , a song in which a note of a French horn was included in the single. The Emulator III was introduced after
1848-823: The American producer Frank Dukes , has been used by artists including Drake , Kanye West , Kendrick Lamar , and J. Cole . In 2020, the US Library of Congress created an open-source web application that allows users to sample its copyright-free audio collection. Instead of sampling, artists may recreate a recording, a process known as interpolation. This requires only the musical content owner's permission, and creates more freedom to alter constituent components such as separate guitar and drum tracks. Sampling has influenced many genres of music, particularly pop, hip hop and electronic music. The Guardian journalist David McNamee likened its importance in these genres to
1914-465: The Beat " by Fab Five Freddy , which appears in more than 1,150 tracks. According to WhoSampled , a user-edited website that catalogs samples, James Brown appears in more than 3000 tracks, more than any other artist. The Independent named Loleatta Holloway as the most sampled female singer in popular music. Her vocals were sampled in house and dance tracks such as " Ride on Time " by Black Box ,
1980-678: The Bridgeport judgement was decided in an American Federal court of appeal , lower courts ruling on similar issues are bound to abide by it. However, in the 2016 case VMG Salsoul v Ciccone , the United States Court of Appeals for the Ninth Circuit ruled that Madonna did not require a license for a short horn sample in her 1990 song " Vogue ". The judge Susan Graber wrote that she did not see why sampling law should be an exception to standard de minimis law. In 2019,
2046-586: The E4 Platinum, was loaded with the RFX effects card and every option. The EIV series was discontinued in 2002. The following musicians have played an E-mu Emulator series sampler in their recordings: Sampling (music) In sound and music , sampling is the reuse of a portion (or sample ) of a sound recording in another recording. Samples may comprise elements such as rhythm, melody, speech, or sound effects. A sample can be brief and only incorporate
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2112-553: The E4X Turbo as the new 128-voice flagship model. The E4X (without Turbo) and e6400 offered only 64 voices and fewer options in order to meet lower price points, although unlike the e64, it was fully upgradable. E-mu also released the E-Synth in both rack and keyboard form, with both models including a 16 MB sound ROM and an optional 16 MB "Dance" factory-installed sound ROM that would be accessible immediately upon startup of
2178-402: The Emulator III was considerably less popular than its predecessors, largely because of its price; at a time when manufacturers such as Akai, Ensoniq and Casio offered samplers at less than $ 2,000, the Emulator III's use of high-quality components resulted in a price as high as $ 12,695 for the 4 MB model and $ 15,195 for the 8 MB model. E-mu had previously been able to sell its samplers in
2244-439: The Emulator commercially. Finally released in 1981, the Emulator was a floppy disk-based keyboard workstation that enabled the musician to sample sounds, recording them to storage media and allowing them to be played as musical notes on the keyboard. The 5 1 ⁄ 4 " floppy disk drive enabled the owner to build a library of samples and share them with others, or to purchase prerecorded libraries on disk. The original Emulator
2310-681: The Fairlight's "Sarrar/Arr1" choir sample is called "DigiVcs" in the E-mu library). Samples include the Shakuhachi flute used by Peter Gabriel on "Sledgehammer" and by Enigma on their album MCMXC a.D. , and the Marcato Strings heard on the Pet Shop Boys ' " West End Girls ". According to the Pet Shop Boys' Neil Tennant , every instrumental sound on the track was produced with an Emulator II. Musicians who used The Emulator II in
2376-530: The Los Angeles record label Now-Again Records has cleared songs produced for West and Pusha T in a matter of hours. The owner of sampled material may not always be traceable, and such knowledge is commonly mislaid through corporate mergers, closures and buyouts. For example, Eddie Johns, the author of a song sampled in the 2000 Daft Punk track " One More Time ", has never been located. As of 2021, he
2442-530: The Secret Life of Plants may have been the first album to make extensive use of samples. The Japanese electronic band Yellow Magic Orchestra were pioneers in sampling, constructing music by cutting fragments of sounds and looping them. Their album Technodelic (1981) is an early example of an album consisting mostly of samples. My Life in the Bush of Ghosts (1981) by David Byrne and Brian Eno
2508-571: The System used the original Emulator on his productions from Sweat to Don't Disturb this Groove . The Residents , who had received the fifth Emulator produced, used the instrument extensively on their album The Tunes of Two Cities . Vangelis had an Emulator at Nemo Studios in London and used it on the Blade Runner soundtrack . Released commercially in 1984, the Emulator II (or EII)
2574-416: The album until the song was removed. The journalist Dan Charnas criticized the ruling, saying it was difficult to apply conventional copyright laws to sampling and that the American legal system did not have "the cultural capacity to understand this culture and how kids relate to it". In 2005, the writer Nelson George described it as the "most damaging example of anti-hip hop vindictiveness", which "sent
2640-564: The bestselling single of 1989 in the UK. The orchestra hit originated as a sound on the Fairlight, sampled from Stravinsky's 1910 orchestral work Firebird Suite , and became a hip hop cliché. 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". To legally use a sample, an artist must acquire legal permission from
2706-401: The copyright holder, a potentially lengthy and complex process known as clearance. Sampling without permission can breach the copyright of the original sound recording, of the composition and lyrics, and of the performances, such as a rhythm or guitar riff. The moral rights of the original artist may also be breached if they are not credited or object to the sampling. In some cases, sampling
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2772-513: The discontinuation of the Emulator II in 1987, and was manufactured until 1991. A rack-mountable version was introduced in 1988. It featured four or eight megabytes of memory, depending on the model, and it could store samples in 16-bit, 44 kHz stereo, which was equivalent to that of the most advanced, professional equipment available. The Emulator III's sound quality was also improved greatly over that of its predecessors, with quieter outputs and more reliable filter chips produced by CEM. However,
2838-552: The first album created entirely from samples. 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. Commonly sampled elements include strings, basslines, drum loops, vocal hooks or entire bars of music, especially from soul records. Samples may be layered, equalized , sped up or slowed down, repitched, looped or otherwise manipulated. A seven-second drum break in
2904-413: The full keyboard required loading the same sound from disk into each side. Stevie Wonder , who gave the sampler a glowing review at the 1981 NAMM International Music & Sound Expo , received the first unit (serial number 0001). The first unit had originally been promised to Daryl Dragon of Captain & Tennille , as he was a longtime E-mu modular-system owner, but Wonder's greater fame moved him to
2970-464: The hip hop 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' ". The United States Court of Appeals for the Sixth Circuit ruled that all samples, no matter how short, required a license. A judge wrote: "Get a license or do not sample. We do not see this as stifling creativity in any significant way." As
3036-525: The importance of the guitar in rock. In August 2022, the Guardian noted that half of the singles in the UK Top 10 that week used samples. Sampling is a fundamental element of remix culture . 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. Other users of the Fairlight included Kate Bush , Peter Gabriel and Thomas Dolby . In
3102-509: 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. In the 2005 case Bridgeport Music, Inc. v. Dimension Films ,
3168-438: 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
3234-482: The possibilities for manipulation have grown. Samples are distributed in sample libraries, also known as sample packs. In the 1990s, sample libraries from companies such as Zero-G and Spectrasonics had a major influence on contemporary music. In the 2000s, Apple introduced "Jam Packs" sample libraries for its DAW GarageBand . In the 2010s, producers began releasing sample packs on online platforms such as Splice . The Kingsway Music Library, created in 2015 by
3300-456: The sperm bank and unknowingly sires hundreds of children". Clyde Stubblefield , the performer of the widely sampled drum break from " Funky Drummer ", also received no royalties. 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. He described the difficulty of arranging compensation for each artist sampled in
3366-466: The top of the list. In 1982, the Emulator was updated to include a VCA envelope generator and a simple sequencer, and its price was lowered. Approximately 500 units were sold before the unit was discontinued in early 1984. Other users of the original E-mu Emulator were New Order , Tangerine Dream and Tony Banks of Genesis , and it was among the instruments used in the production of Michael Jackson 's Thriller album. Composer and writer David Frank of
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#17327799903323432-476: The tracks " South Bronx ", " Eric B. is President " and " It's a Demo " sampled the funk and soul tracks of James Brown , particularly a drum break from " Funky Drummer " (1970), helping popularize the technique. The advent of affordable samplers such as the Akai MPC (1988) made looping easier. Guinness World Records cites DJ Shadow 's acclaimed hip hop album Endtroducing (1996), made on an MPC60, as
3498-526: The unit. The E-Synth Keyboard was the final Emulator keyboard model to be produced. In 1999, the final EIV samplers were marketed with the Ultra designation. The Ultras featured a fast processor and upgraded analog output stages, as well as the ability to install the RFX dedicated high-quality effects processor and ultimately run the very final version of EOS. The entry-level model was the E5000 Ultra, which
3564-408: The words of Greg Milner, author of Perfecting Sound Forever , musicians "didn't just want the sound of John Bonham's kick drum, they wanted to loop and repeat the whole of ' When the Levee Breaks '." Linn said: "It was a very pleasant surprise. After 60 years of recording, there are so many prerecorded examples to sample from. Why reinvent the wheel?" Stevie Wonder's 1979 album Journey Through
3630-423: Was E-mu's second sampler. Like the original Emulator, it was an eight-bit sampler, but it delivered superior fidelity by employing companding digital-to-analog converters and a 27.7 kHz sample rate. It also allowed more flexibility in editing and shaping sounds, as resonant analog filters (provided by longtime E-Mu collaborators SSM) were added. The EII also featured greatly improved real-time control. Its price
3696-406: Was a very basic eight-bit sampler with only a simple filter, and it only allowed for a single loop. The initial model did not include a VCA envelope generator. It was produced in three forms: a two-voice model (only one of which was ever sold), a four-voice model and an eight-voice model. The keyboard was designed to be played in split mode with one sample on each side, so playing the same sound on
3762-450: Was discontinued in 2002. E-mu Systems was founded in 1971 as a manufacturer of microprocessor chips , digital scanning keyboards and components for electronic instruments. Licensing revenue for this technology afforded E-mu the ability to invest in research and development , and it began to develop boutique synthesizers for niche markets, including a series of modular synthesizers and the high-end Audity system, of which only one prototype
3828-537: Was introduced in 1994. The new, proprietary operating system used in the EIV was known as the Emulator Operating System or EOS. The flash memory in these models was expandable. The Emulator IV was the first to be released, a rack sampler that featured 128 voices and memory expansion up to 128 MB. Options included a multi-effects processor, additional output sockets, and 32 MIDI channels. The e64
3894-470: Was launched in 1995 and, in order to meet a lower price point, was limited to only 64 voices and a maximum 64 MB of memory. It was joined in 1996 by the E4K, essentially an E64 with a 76-key weighted keyboard, although it could be expanded to 128 voices and 128 MB of memory and included the effects processor and other previous options as standard. A second series of rackmount EIV was launched in 1997 with
3960-653: Was limited to four output jacks, could not accept the voice upgrade, and was unable to write sound ROMs. The E6400 Ultra (now with a capital "E") was a basic model but with full upgradability, the E-Synth Ultra (rack only) refined the previous E-Synth models (since referred to as "Classic"s) with one or two new 16 MB sound ROMs, and the E4XT Ultra was the top model with the full 128 voices, digital audio inputs and outputs, 32 MIDI channels, and an ASCII keyboard input for remote control. The final Ultra sampler, called
4026-561: Was not new, the Fairlight's design and built-in sequencer simplified the process. The Fairlight inspired competition, improving sampling technology and driving down prices. Early competitors included the E-mu Emulator and the Akai S950 . Drum machines such as the Oberheim DMX and Linn LM-1 incorporated samples of drum kits and percussion rather than generating sounds from circuits. Early samplers could store samples of only
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#17327799903324092-521: Was owed an estimated "six-to-seven-figure sum" based on streams. In 1989, the Turtles sued De La Soul for using an unlicensed sample on their album 3 Feet High and Rising . The Turtles singer Mark Volman told the Los Angeles Times : "Sampling is just a longer term for theft. Anybody who can honestly say sampling is some sort of creativity has never done anything creative." The case
4158-496: Was popularised in the 60s with the Mellotron . In 1969, the English engineer Peter Zinovieff developed the first digital sampler, the EMS Musys . The term sample was coined by Kim Ryrie and Peter Vogel to describe a feature of their Fairlight CMI synthesizer, launched in 1979. While developing the Fairlight, Vogel recorded around a second of piano performance from a radio broadcast and discovered that he could imitate
4224-535: Was produced. In 1979, founders Scott Wedge and Dave Rossum saw the Fairlight CMI and the Linn LM-1 at a convention, inspiring them to design and produce a less expensive digital sampling keyboard. E-mu originally considered selling the design for the Emulator to Sequential Circuits , which was using E-mu's keyboard design in its Prophet-5 synthesizer. However, Sequential Circuits ceased paying E-mu royalties for its keyboard design, which prompted E-mu to release
4290-502: Was settled out of court and set a legal precedent that had a chilling effect on sampling in hip hop. In 1991, the songwriter Gilbert O'Sullivan sued the rapper Biz Markie after Markie sampled O'Sullivan's " Alone Again (Naturally) " on the album I Need a Haircut . In Grand Upright Music, Ltd. v. Warner Bros. Records Inc , the court ruled that sampling without permission infringed copyright. Instead of asking for royalties, O'Sullivan forced Markie's label Warner Bros . to recall
4356-542: Was similar to that of the original Emulator, at US$ 7,995 for a regular model and $ 9,995 for a "plus" model featuring extra sample memory. Several upgrades, including a second floppy drive, a 20 MB hard drive, and a 512K memory upgrade were also available. Despite the EII's price, it was considered a value in comparison to the Fairlight CMI Series II, the most basic model of which was priced at $ 30,000 upon its initial release. The Emulator II offers
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