An interview with Ben Grayson

From digital sampling and appropriation to remixing and the affordances of technology


  • Gene Shill RMIT University



music production, music technology, electronic dance music, sampling, affordance, appropriation


In this Riff article, Gene Shill speaks to Australian musician Ben Grayson, the founding member of The Bamboos and internationally acclaimed session keyboardist and electronic music producer. The conversation covers crate digging, sampling, ownership, authorship, musicianship, approaches to creating electronic music and how the affordances of technology assist the creative process.

Author Biography

Gene Shill, RMIT University

Gene Shill is a lecturer in Creative Entrepreneurship and Practice at the School of Media and Communication at RMIT University, Australia. With specialisms in entrepreneurship and intellectual property law in the global creative industries, he is also the established contemporary saxophonist and record producer ST. AMANT.


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McLeod, K., and P. DiCola. 2011. Creative License: The Law and Culture of Digital Sampling. Durham, NC: Duke University Press.

Metcalf, C. 2011. A Compulsory License for Digital Music Sampling: Historical Context and Future Guidelines. Master of Arts thesis, Michigan State University, Michigan.

Quigley, R. 2007. ‘What the GRM Brought to Music: From Musique Concrète to Acousmatic Music’. Organised Sound 12/3: 1.

Shill, G. 2017. ‘Digital Sampling and Appropriation as Approaches to Electronic Music Composition and Production’. Unpublished Doctor of Philosophy thesis, Queensland Conservatorium, Griffith University, Australia.

Zeilinger, M. (2014). ‘Sampling as Analysis, Sampling as Symptom’. In Sampling Media. Oxford: Oxford University Press.



How to Cite

Shill, G. (2019). An interview with Ben Grayson: From digital sampling and appropriation to remixing and the affordances of technology. Perfect Beat, 19(2), 161–171.