This familial distinction of sampled materials refers to what most think of when the convention of
sampling is mentioned; the practice of borrowing a sound from another artist's recorded body. There
is an artform which orbits the practice of using samplers, that is the towing the line of taste
with what one chooses to jar and incorporate into their own output. What the various selections
set out to accomplish is the organized representation of jarred sounds according to their origins
and means of packaging (jars of varying thicknesses, opacities and dimensions are sure to accumulate
within the bounds of these archives); origin is important as it is the central identifier, hearkener
to remind the user where the sound is derived. Device names are optimal and necessitated as someone
in my position takes such things into consideration when searching for sounds - my reasoning here
is that some specific devices possess characteristics unique to them which are hard to locate at
all and especially not consistently in other devices. The same is true for cultural music and the
entailed traditional instruments; some characteristics are shared between African and Latin
percussion, but when a wealth of aesthetic congruities are desired, you may find yourself shovel
on shoulder en route to distant locales to dig in order to find what your mind craves.
	An elaboration to this obscure take comes as an anecdote; early in my sampling days, when
the first impressions about key structures in music technology (drum machines, different DAW
software, Microsoft GS wavetable synth tone generators from the Microsoft store, hardware FM synths
(later)) were being defined, I analysed the works which inspired me and scrutinized their percussive
elements. I still carry with me the observations I'd made internally about Devourment's kick drum
sound on Impaled - that it sounds like cartilage; a rubbery end of a (large) chicken wing thwacking
a REMO or DDrum or whatever kick head. The paired snare drum is high pitched and if I remember
correctly, is a drum of the piccolo classification. The full effect is not possible however without
the third dimension of this sketch, which is the player's physical sequencing of these x and y values
(so axis z). Combining the timbralities of kick and snare with a distinct and, importantly, a suitable
pace for the independent element and accompanied picture the same, you precipitate a musical product.