EXAMINING THE ROOTS OF SAMPLING 8 Timeline The desire to re-create the performance of existing instru- ments from a keyboard has an interesting history. Early pipe organs would use Fourier additive synthesis in combining multiple pipes and resonators of various sizes and designs to emulate brass and woodwind voices. These were not sam- plers, but the intrigue of orchestrating at the keyboard was obvious. Keyboard performance of recorded samples was advanced in music production by Harry Chamberlin in the 1950s with his keyboard instrument that engaged the playback of a bank of tape samples of the chromatic range of selected instruments (string ensemble, choir, and the like). The mechanics of this