Ethics

Ghana has a budding music scene with many talented artists. Over the past ten years, many of them are doing great with little or no support. This however, isn’t stopping these musicians from creating – and churning out greatness.

In this first issue of the Norient Sound Series, we examine how political contexts of our time are transformed into musical production. With case studies from all around the world, this Norient Special approaches sampling as a tool for critical thought and a way of alternative storytelling.

In this testimonial, the electronic music producer Eomac describes how his sampling strategy has changed over time. Starting out as a young producer, he used any sound available. Temporary ending as an experienced musician, he is confronted by complex ethical questions. Today, when using foreign sounds, Eomac emphasizes the intent behind as key.

As digital samplers became more prominent during the 1990s, the «soundware» industry grew, providing sample libraries for music producers to use in their derivative works. South Asian sounds have long occupied a place in this market while being advertised as «world» sounds. Here, Chris McGuinness discusses the case of Sohan Lal, a Punjabi singer whose voice ended up in such a sample library and was used in many popular songs.