That was the Bomb Squad’s entire modus operandi in terms of production for Public Enemy: tons of short samples turned into a sonic orchestra.
They had to abandon this style once new laws about sampling were established making it easier to charge a lot of money for small samples, as it would have been too expensive to pay for dozens or hundreds of them. This was before the recent ‘victories’ by Madonna, etc. for short samples, but regardless it would have been a legal nightmare if they were sued 20 times for each track even if they won each case.
Madonna’s sample was “hidden” and altered, wasn’t discovered for 20 years, and is less than half a second long, so it’s not really much of a test case for samples like those in the Electric Method video, many of which are very recognizable (and easily tracked due to the video hint!)
Looks like the other case (2-second Kraftwerk sample) was decided in a German court, so we’ll see what that means for the rest of the world.
“Flagged by YouTube” carries the implication that you are trying to do something shady or ‘illegal’…
IMNSHO, the copyright laws are getting a little out of hand; I get that they were intended to prevent wholesale theft of material, but using them to bludgeon someone making a derivative work using a very short portion of that work is taking the piss.
I seem to remember that someone got in trouble for sampling the silence at the end of a bunch of records. I can’t find the article, but I’ll keep poking around.
“This Is The End, Beautiful Friend” was made by recording run-out grooves (supposedly silent) of thirty-six selected records and manipulating them both by analogue and digital means (mainly by playing them on vari-speed turntables and adding delay, echo and reverberation). The audible result is a series of thirty-six short tracks of manipulated surface noise (mostly pops, cracks and hiss).
