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Watched 'Kids' by Larry Clark last night, and heard the sample Caspa used on Rubber Chicken, knew he'd got his name from that film but didnt know thats where that sample came from, sick sample, sick film.

Also, im gonna check tonight, but theres a sample from the Burial album I love, I cant fully remember the name of the track (bad for names off that album, I just love to listen to it), the one at the start of the track where its the guy saying 'Him and I, are from different ancient tribes....take it back to the old skool ways'.
Ive got a funny feeling that may have come from an episode of Oz, again, sick sample, proper fitting, will check the episode I think its from tonight.

I like it when you find samples like this, anyone got any more??

i don't want to dampen things, but with the power of google, these kind of "name that sample" threads aren't going to make the producers very happy. the internet is a permanent animal, and these threads, albeit interesting, open some doors that people don't want left open.

surely there isnt problems encountered with samples lifted from films,
I wasnt talking about samples from music, just spoken samples

djfurness wrote:surely there isnt problems encountered with samples lifted from films,
I wasnt talking about samples from music, just spoken samples

every part of a film is copyrighted. it applies to dialogue, sound design, everything.

in the past these threads end up generating complaints from the people being associated/linked.

I love sampling film but would never divulge what my sources are - i find it better to stumble across things by accident...and then hold it down

how can they prove that its a sample though if its only spoken word?
Caspa could have done an impression of that lad out of Kids voice and said that line into a mic, in fact, he did didnt he? (in case Larry Clark browses the forum)

djfurness wrote:how can they prove that its a sample though if its only spoken word?
Caspa could have done an impression of that lad out of Kids voice and said that line into a mic, in fact, he did didnt he? (in case Larry Clark browses the forum)

even then Kids owns the rights to the idea behind the lyrics, the melody, etc.

seckle wrote:

djfurness wrote:surely there isnt problems encountered with samples lifted from films,
I wasnt talking about samples from music, just spoken samples

every part of a film is copyrighted. it applies to dialogue, sound design, everything.

Edits are also copyrighted. It's crazy but I own the way I've cut this video I'm working on. Of course it means virtually fuck all as they could just slip it a fram or two here or there and it'd look the same but my ownership wouldno longer be valid.

seckle wrote:i don't want to dampen things, but with the power of google, these kind of "name that sample" threads aren't going to make the producers very happy. the internet is a permanent animal, and these threads, albeit interesting, open some doors that people don't want left open.

Damn right.

Don't even open tha fucks..

.

how much does it cost to clear a sample?

obviously i know most, if not all, vinyl releases wont make enough profit to pay for samples to be cleared, but im just interested.

Batfink wrote:how much does it cost to clear a sample?

obviously i know most, if not all, vinyl releases wont make enough profit to pay for samples to be cleared, but im just interested.

Depends on the individual case.

Some people, artists in particular will allow sample clearance for free, but if you ask them, and they say no, then you have given the game away, slightly.

Material owned by large companies usually is not clearable for free or small money.

Some people are adverse to the concept of sampling and therefore will refuse clearance or charge extortionately high rates.

I have heard of $50,000+ for sample clearance
So the range then, is about $0 to $50,000.

I presume you could clear some minor reggae sample for about £200 to £300 though.

Of course, should you choose to (god forbid) release a track without clearing the samples.. The resulting court case would reveal a particularly high value to the samples clearance fee, a lot more than the figure you would be quoted to clear the samples in the first place. And then there's the case of money the record hase earned off the back of the sample so to speak. liken De La Soul, the poor fellows, had to give up ALL the cash from their album sales, on account of 1 (one) sample, deemed to be the main basis of one track (the single) and hence tha whole album. Not cool.

jesus. think i'll stick to using samples of me playing the recorder then.

Batfink wrote:jesus. think i'll stick to using samples of me playing the recorder then.

Yes. A policy I happen to favour, incidentally.

And watch the notes you are playing, wouldn't want to get sued for "stealing" other peoples MUSIC either!!!

THA ILLSTA wrote:

Batfink wrote:jesus. think i'll stick to using samples of me playing the recorder then.

Yes. A policy I happen to favour, incidentally.

And watch the notes you are playing, wouldn't want to get sued for "stealing" other peoples MUSIC either!!!

Looking forward to the tudorstep Benny - big up my elizabethan woodwind crew

If you sample instrumental parts, is there any way they can prove you didn't just record them yourself? Or would you be done for stealing notes?

What about individual drum hits. There is absolutely NO way they can get you for that, right? I'd always heard with fairly small scenes like this major record labels turned a blind eye to sampling, because if, for example Michael Jackson wanted to sue Burial for Nite Train, the money they would get from hyperdub wouldn't even pay for the lawyers' fees.

Slim wrote:If you sample instrumental parts, is there any way they can prove you didn't just record them yourself? Or would you be done for stealing notes?

Yep, you can't steal the notes.

But if you re-record something it's a lot cheaper to get the rights because you are only considering the writer of the MUSIC and not the general recording as well.

You can, however, just change a few notes, and you are free as a bird.

Slim wrote:What about individual drum hits. There is absolutely NO way they can get you for that, right? I'd always heard with fairly small scenes like this major record labels turned a blind eye to sampling, because if, for example Michael Jackson wanted to sue Burial for Nite Train, the money they would get from hyperdub wouldn't even pay for the lawyers' fees.

Technically you can be sued for individual drum hits, the law used to be samples over a certain length but that is no longer the case.
And the artists and engineers CAN tell when you use 'em, contrary to popular belief.

It is true that in general, a blind eye is turned to recordings of release less than 5000 units. But that ain't a guarantee. And of course if you actually make any real MONEY off of your tune, there they are, ready to come a knockin' fo' yo ass.

Of course if the artist in question is untraceable, then they're gonna have a hard time getting you into court.

And if you have made every reasonable effort to trace the owners of a particular sample in order to clear it, with no luck, then you are free to use it as well..

Hope this helps,

And remember kids, don't try this at home.

P.S.

And if it's PROMO ONLY

Then no profit was made, hence, nothing to sue for

As with many samples, the copyright history of the Amen break is complex. Neither the drummer, G.C. Coleman, nor the copyright owner Richard L. Spencer, the Grammy-award winning composer and performer of the hit "Color Him Father," has ever received any royalties for the sampling.

Imagine how much they should have got!

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