Digital Sampling: The Design and Use of Music Technologies (2019)
Book
Harkins, P. (2019). Digital Sampling: The Design and Use of Music Technologies. London: Routledge. https://doi.org/10.4324/9781351209960

Digital Sampling is the first book about the design and use of sampling technologies that have shaped the sounds of popular music since the 1980s. Written in two parts, Digital Sampling begins with an exploration of the Fairlight CMI and how artis... Read More about Digital Sampling: The Design and Use of Music Technologies.

Was the Sampler a Revolution? Continuity and Change in the Design and Use of Synthesizer/Sampling Technologies (2018)
Presentation / Conference
Harkins, P. (2018, September). Was the Sampler a Revolution? Continuity and Change in the Design and Use of Synthesizer/Sampling Technologies. Paper presented at The Sound of the Anthropocene: Materialities Seminar

No abstract available.

Questioning the Digital Revolution: Continuity and Change in the Design and Use of Music Technologies (2017)
Presentation / Conference
Harkins, P. (2017, June). Questioning the Digital Revolution: Continuity and Change in the Design and Use of Music Technologies. Paper presented at 19th Biennial Conference of the International Association for the Study of Popular Music, Kassel, Germany

The use of digital technologies since the 1980s have changed the way in which music is stored, distributed, and consumed. The use of digital technologies has also reshaped the processes of musical production. This paper, though, challenges the view t... Read More about Questioning the Digital Revolution: Continuity and Change in the Design and Use of Music Technologies.

Following the Fairlight CMI and its Users: The Digital Reproduction of 'Real' Instruments and Sounds (2017)
Presentation / Conference
Harkins, P. (2017, June). Following the Fairlight CMI and its Users: The Digital Reproduction of 'Real' Instruments and Sounds. Paper presented at Galpin Society/AMIS Conference on Musical Instruments, The University of Edinburgh

This paper will focus on the Fairlight Computer Musical Instrument (CMI), which is generally regarded as the first commercially available digital sampler. However, its designers, Peter Vogel and Kim Ryrie, were primarily interested in the use of digi... Read More about Following the Fairlight CMI and its Users: The Digital Reproduction of 'Real' Instruments and Sounds.

'The Rest is History': Writing a History of Music Technologies and their Users (2017)
Presentation / Conference
Harkins, P. (2017, March). 'The Rest is History': Writing a History of Music Technologies and their Users. Presented at Burgundy School of Business Research Seminar, University of Burgundy, Dijon

The socio-musical practice of sampling is closely associated with the re-use of pre-existing sound recordings and the technological processes of looping. These practices, based on appropriation and repetition, have been particularly common within the... Read More about 'The Rest is History': Writing a History of Music Technologies and their Users.

Real Sounds, Real Instruments: Discourses of Fidelity and Authenticity in the Design and Use of Digital Sampling Technologies (2016)
Presentation / Conference
Harkins, P. (2016, December). Real Sounds, Real Instruments: Discourses of Fidelity and Authenticity in the Design and Use of Digital Sampling Technologies. Paper presented at Art of Record Production (ARP) conference, University of Aalborg

This paper explores how an ideology of realism was central to the designers of early digital synthesizer/sampling technologies and how discourses of authenticity remain important to the contemporary users of digital technologies in the production of... Read More about Real Sounds, Real Instruments: Discourses of Fidelity and Authenticity in the Design and Use of Digital Sampling Technologies.

The Art of the Loop: JJ Jeczalik and the Fairlight CMI Series II/III (2015)
Presentation / Conference
Harkins, P. (2015, June). The Art of the Loop: JJ Jeczalik and the Fairlight CMI Series II/III. Paper presented at Over and Over: Exploring Repetition in Popular Music, University of Liege, Belgium

The socio-musical practice of sampling is closely associated with the quotation of sound recordings, the technological processes of looping, and an aesthetic based on appropriation and repetition, primarily within the genres of hip-hop and Electronic... Read More about The Art of the Loop: JJ Jeczalik and the Fairlight CMI Series II/III.

The Sounds of Everyday Life (and Death): Digital Sampling, House Musique Concrete, and Field Recordings (2014)
Presentation / Conference
Harkins, P. (2014, September). The Sounds of Everyday Life (and Death): Digital Sampling, House Musique Concrete, and Field Recordings. Paper presented at IASPM UK and Ireland Conference, University College Cork

No abstract available.

Replies to the Critics: The Grounded Theories of Simon Frith (2014)
Presentation / Conference
Harkins, P. (2014, April). Replies to the Critics: The Grounded Theories of Simon Frith. Paper presented at Studying Music: An International Conference in Honour of Simon Frith, The University of Edinburgh

No abstract available.

La Transmission Perdue et Retrouvee : Le Sampler Comme Outil de Composition et de Decontextualisation de L’Enrigistrement (2012)
Journal Article
Harkins, P. (2012). La Transmission Perdue et Retrouvee : Le Sampler Comme Outil de Composition et de Decontextualisation de L’Enrigistrement. Réseaux, 172, 92. https://doi.org/10.3917/res.172.0092

According to Brian Eno, the recording studio is a composition tool that enables musicians to enjoy a more direct relationship with sound. This article examines the role of the sampler as a technology that is tightly interlinked with the creative proc... Read More about La Transmission Perdue et Retrouvee : Le Sampler Comme Outil de Composition et de Decontextualisation de L’Enrigistrement.

Extending the Term: The Gowers Review and the Campaign to Increase the Length of Copyright in Sound Recordings (2012)
Journal Article
Harkins, P. (2012). Extending the Term: The Gowers Review and the Campaign to Increase the Length of Copyright in Sound Recordings. Popular Music and Society, 35, 629-649. https://doi.org/10.1080/03007766.2012.709664

After the UK government commissioned a review of intellectual property in 2005, a campaign to “Extend the Term” of copyright in sound recordings was orchestrated by trade magazine Music Week on behalf of the recording industry and performing artists.... Read More about Extending the Term: The Gowers Review and the Campaign to Increase the Length of Copyright in Sound Recordings.

King Creosote’s Foot Pedal: The Fence Collective and the New Folk Sound of Fife (2012)
Presentation / Conference
Harkins, P. (2012, September). King Creosote’s Foot Pedal: The Fence Collective and the New Folk Sound of Fife. Paper presented at (IASPM) UK and Ireland conference, University of Salford, Manchester

No abstract available.

Appropriation, Additive Approaches and Accidents: The Sampler as Compositional Tool and Recording Dislocation (2010)
Journal Article
Harkins, P. (2010). Appropriation, Additive Approaches and Accidents: The Sampler as Compositional Tool and Recording Dislocation. Journal of the International Association for the Study of Popular Music, 1(1), 1-19. https://doi.org/10.5429/2079-3871%282010%29v1i2.3en

Brian Eno describes the recording studio as a compositional tool that has enabled composers to enjoy a more direct relationship with sound. This article will explore the use of the digital sampler as one of the studio tools that forms part of this cr... Read More about Appropriation, Additive Approaches and Accidents: The Sampler as Compositional Tool and Recording Dislocation.

Appropriation, Additive & Accident: A Case Study of Digital Sampling and Recording Dislocation (2010)
Presentation / Conference
Harkins, P. (2010, June). Appropriation, Additive & Accident: A Case Study of Digital Sampling and Recording Dislocation. Paper presented at ANR Research Workshop, Universite Paris 1

No abstract available.

Transmission Loss and Found: The Sampler as Compositional Tool (2009)
Journal Article
Harkins, P. (2009). Transmission Loss and Found: The Sampler as Compositional Tool. Journal on the Art of Record Production, 4,

This article explores the use of the digital sampler as one of the studio tools that forms part of this creative process and focuses on interviews with a group of Edinburgh musicians called Found who successfully combine the writing of pop songs with... Read More about Transmission Loss and Found: The Sampler as Compositional Tool.

Transmission Loss and Found: The Sampler as Compositional Tool (2008)
Presentation / Conference
Harkins, P. (2008, November). Transmission Loss and Found: The Sampler as Compositional Tool. Paper presented at Art of Record Production (ARP), University of Massachusetts

Item subsequently published as journal article - see item http://researchrepository.napier.ac.uk/id/eprint/5031