If one could sample a piano sound successfully, that was considered some sort of measure of quality (although now, 35 years later, I find myself scratching my head as to what all the fuss was about). One of the first things to sample, of course (following up on Marshall McLuhan’s principle that the first thing people usually do with a new technology is to imitate an older one), were acoustic instruments. Shortly thereafter, by the mid-1980s, cheaper sampling, from companies like Akai and Ensoniq and Casio, began offering sampling to the masses. The Fairlight CMI and the Synclavier, expensive though they were, offered practical sampling, if not to the masses, at least to musicians who could figure out (or afford) how to get access to them. Many years ago, in the deep dark ages of the 1970s, sampling first achieved a bit of maturity and usefulness. ![]() ![]() ![]() Here’s a suite of keyboard modules from the 1980s and 90s that will provide more sampled digital keyboard sounds than you can shake a stick at – and at a bargain price, no less.
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