Sample Clearance 101: What You Can and Can’t Use Legally in SA Music

For independent South African music creators, sampling can be a double-edged sword. Lifting a catchy riff or beat from someone else’s song might elevate your track – but it can also land you in legal trouble if done without permission. A recent example is telling: In 2023, legendary composer Caiphus Semenya reportedly demanded 50% of the royalties from a song on rapper AKA’s album, alleging that AKA sampled one of his classics without clearance. This incident highlights a simple truth: if you use someone’s music in your own, you need to know the rules.

Modern producers often work in digital audio workstations where sampling is just a click away. But understanding the legal side of sampling in South Africa is crucial to avoid disputes.

This guide will walk you through what counts as a sample under South African law, whether any “fair use” or fair dealing exceptions allow sampling, whose rights you’re affecting, when you need permission (and from whom), how to clear a sample legally, and the penalties for not doing so. We’ll also bust some common myths with real examples – like looping 2 seconds of a beat or using a vocal phrase – to illustrate what you can and cannot legally do. Let’s dive in.

What Exactly Is “Sampling” (and What Counts as a Sample)?

In music, sampling means taking a portion of an existing recording and incorporating it into a new song. That portion could be a beat, riff, melody, or even a brief vocal phrase – any snippet of sound from the original track. When you drop a James Brown drum break into your hip-hop beat or use a line from a classic tune in your chorus, you’re sampling that original recording.

It’s important to distinguish sampling from an interpolation. In an interpolation, you replay or re-sing a part of an existing song without directly copying the original audio. Think of interpolation as using the musical idea (melody/lyrics) of a song but recording it yourself, whereas sampling uses the actual sound recording (“the master”) from the original. In practical terms, sampling = using the original “bricks” of a song, and interpolation = recreating the “blueprint” of a song in your own recording.

Both techniques raise legal issues under South African copyright law:

1. Sampling implicates two layers of copyright in the original song – the sound recording and the underlying composition (more on these below).
2. Interpolation avoids copying the sound recording, but it still uses the original composition (melody, lyrics, etc.), which counts as creating an adaptation of the song. Under Section 6 of the SA Copyright Act, only the copyright owner has the exclusive right to make adaptations of a musical work. In other words, even if you re-record the part yourself, you still need permission from the original song’s composer/publisher to use their melody or lyrics.

Key takeaway: Any recognizable portion of someone else’s music – whether directly sampled or replayed – counts as using their copyrighted material. There’s no magic loophole that a short or altered snippet isn’t a “real” sample. If it originated in someone else’s track, legally it’s their property.

Two Copyrights in Every Song: Sound Recording vs Composition

Why do you often hear that clearing a sample is complicated? It’s because every commercially released song actually involves two separate copyrights:

1. The Sound Recording (Master): This is the specific recorded performance of the song. In industry terms, it’s called the “master.” The owner is typically the record label that financed the recording, or an independent artist if they self-produced it. For example, the actual studio recording of Brenda Fassie singing “Weekend Special” is a sound recording owned by her label (or its successor).
2. The Musical Composition (Underlying Work): This covers the song’s underlying musical and lyrical content – the melody, chord progressions, lyrics, arrangement, etc.. In copyright terms this is the “musical work” (and lyrics are protected as a literary work). The composition is owned by the songwriter(s) or their music publisher. In our example, the composition of “Weekend Special” (the tune and words) is owned by the composers/publishers.

When you sample a piece of an existing recording, you are using both of these protected elements: you copied the actual recording (master) and the underlying composition embedded in that recording. This means you need permission from two sets of rights-holders – whoever owns the master, and whoever owns the composition. Typically, that means the record label (for the master) and the publisher or composer (for the composition). If the artist is independent or the track is self-released, the artist might own the master; if the artist wrote the song and isn’t signed to a publisher, the artist might also be the composer rights-holder. But often for major releases, a label owns the master and a publisher represents the songwriters.

By contrast, if you interpolate (re-record a melody or lyric), you’re not touching the original master recording, so you don’t need the record label’s master license. However, you do still need permission from the composer/publisher for the composition. An interpolation is legally an adaptation of the musical work, which is one of the exclusive rights of the composer under Section 6(f) of the Act. Bottom line: Sampling = get permission from master and composition owners. Interpolation = get permission from composition owners. Either way, some permission is required if the part is copyrighted.

Is There a “Fair Use” or Fair Dealing Exception for Sampling?

One of the biggest misconceptions among creators is the idea that “fair use” might allow them to sample a bit of music without permission. It’s critical to understand that South African law does not have a broad U.S.-style “fair use” clause that would let you use copyrighted material freely for creative purposes. Instead, SA law has a more limited concept called fair dealing (Section 12 of the Copyright Act) – and it only covers specific purposes like research or private study, criticism or review, or news reporting. Using someone’s music in your own new song does not fit these categories. Unless your song is literally a commentary or critique that quotes another work for the purpose of critique (and even then you’d have to credit the source), fair dealing won’t protect you when sampling for a new composition.

Important: The Act does have a “quotation” exception, but it’s meant for things like quoting a passage of text in a review or academic work. It requires that the use is compatible with fair practice and that the source is acknowledged. Using an uncredited sample in a song doesn’t meet those criteria, so you can’t claim you were just “quoting” another song in an artistic way – South African courts would reject that defense.

In short, there is no “free pass” that lets you bypass clearance for samples under SA law. No, you cannot rely on “fair use” (that’s not in our law yet), and fair dealing’s allowed uses are narrow and mostly non-musical. Even internationally, courts have been tough on unlicensed sampling. For example, Europe’s highest court in a case involving a 2-second loop from a Kraftwerk song made it clear that even a very short snippet of a sound recording can infringe – the copyright owner has the exclusive right to copy any part, however small. South African law follows a similar principle: what matters is whether the part you took is “substantial” in the sense of being recognizably part of the original work, not how long it is. The emphasis is on the quality and significance of what was copied rather than the quantity.

So, forget the myth of a “5-second rule” or “8-bar rule” – those don’t exist in law. A 2-second drum loop or a single catchy line can absolutely be a substantial, protected part of a song. The only scenario where a sample might fall outside infringement is if you’ve altered it so much that it’s truly unrecognizable to the average listener. But if you’ve transformed it beyond recognition, it’s arguably no longer serving the purpose of a sample, and practically it’s very risky to assume your alteration is enough – if the original owner can tell it’s from their work, expect an infringement claim. As one court bluntly put it in a famous U.S. sampling case, “Get a license or do not sample. That’s the safest motto to live by in South Africa as well.

When Do You Need Permission, and From Whom?

Short answer: almost always, and from multiple parties. If you plan to use any part of someone else’s music in your track (beyond what the law explicitly allows for things like reviews or private study), you need to get permission first. This process is known as sample clearance.

Here’s who you need permission from when sampling:

1. For the Sound Recording (Master): You need a license from the master owner – typically the record label that released the original track. If it’s an independent artist who owns their masters, you’d approach the artist (or their management). This is often called a Master Use License. It gives you permission to use that specific recorded snippet in your song.
2. For the Musical Composition: You need permission from the songwriter(s) or their publisher. In practice, you usually get this via the publisher or a rights agency representing the composer. This permission is often called a Composition or Publishing Clearance (or a Sample Use License for the composition). It covers the melody/lyric/content you’re borrowing.

Both are required for a true sample because you are using both the recording and the underlying song. For example, if you sample 5 seconds of a Miriam Makeba recording, you’d likely have to get a license from the label that owns that recording and from the publisher or estate that controls the song itself.

If you’re doing an interpolation (replaying a part), you skip the master license (since you’re not using the original recording), but you still must clear the composition. This means contacting the publisher/composer for a license to use that melody or lyric in your new recording. Failing to do so is still copyright infringement – in fact, the Copyright Act explicitly lists adaptation of a musical work as an exclusive right of the owner (meaning only they can authorize a remake of their melody/lyrics). So even if you cleverly avoid sampling the master by re-recording the notes yourself, you haven’t sidestepped the law; you only sidestepped one of the two rights.

What about very short or “non-musical” bits, like a single drum hit or a generic chord? It doesn’t matter – if it’s original and recognizable, it’s protected. You might think a drum beat isn’t copyrightable, but that’s a risky assumption. Original drum patterns or sound combinations can be protected as part of the musical work. The Music Publishers Association of SA cautions not to presume any portion of someone else’s song is free to use – even a bassline or beat that sounds simple could be an original, protectable element. And South African law doesn’t provide a duration threshold, so even a three-second sample requires clearance if it’s a “substantial” part of the song. Essentially, if you didn’t create it from scratch, assume you need permission to use it.

Also, note: Getting permission from just one rights holder is not enough. A common mistake is “Well, I DM’d the original artist and they said it’s cool.” That verbal okay from the performer means little if the artist doesn’t actually control the rights (and many don’t, especially if signed to a label and publisher). The record label usually owns the master, and the publisher (not the performing artist) often controls the composition. Even if the artist personally says “sure, sample my song,” the legal licenses still have to come from the owners of the rights (which could be the label/publisher). Always track down the actual rights holders and get formal clearance.

How to Legally Clear a Sample in South Africa

Legally clearing a sample might sound daunting, but it’s a routine process in the music industry. Here’s a step-by-step breakdown of how you can go about it:

1. Identify the Rights Holders of the Original Track. Start by finding out who owns the song you want to sample – both the master and the composition. Check the album liner notes or metadata: the record label is usually listed (for the master), and the songwriters and publishers are listed (for the composition). In South Africa, you can often identify the publisher through organizations like SAMRO or CAPASSO (for composers), and the label via RISA or just the record info. If you’re unsure, the Music Publishers Association of South Africa (MPA SA) can assist or point you in the right direction. For international songs, there’s often a local publisher representative or licensing agent in SA. Remember, the artist themselves might not own these rights – focus on the label and publisher names.

2. Contact the Rights Holders with a Sample Clearance Request. Reach out to the publisher and the label (or their licensing departments). You’ll need to inform them of exactly what you plan to use and how. Typically, you’ll send a sample clearance request that includes:

1. The song and portion you want to sample (e.g. “the first 4 bars of the chorus of [Original Song Name]”).
2. Your new song details – title, how the sample will be used (looped, as a background element, etc.), and the context (album, single, etc.).
3. An audio clip or demo of your new song featuring the sample, if possible. This helps them evaluate the use.
4. Info about your release plans – whether it’s a commercial release, indie EP, etc., and anticipated distribution (just online, physical copies, etc.). Sometimes they ask for this to gauge exposure.

You can usually find contact info for licensing on the publisher’s or label’s website. Some larger rights owners have standard forms for sample requests. Be professional and clear in your request, and give yourself plenty of lead time.

3. Negotiate the Terms of the License. If the rights holders are open to letting you use the sample, they’ll propose terms (or ask you to propose terms). Common clearance terms include:

1. Credit and Royalty Share: Often, the original composers will take a writer credit on your new song (since you’re using part of their composition) and a share of royalties. For example, they might say “we want 30% of the publishing on the new track.” This means 30% of any composer royalties from your song would go to them.
2. Upfront License Fee: Especially for well-known foreign songs, the label or publisher might charge an upfront fee for the sample clearance. This can range widely (from a few thousand rand for a small indie sample to huge sums for famous hits). International samples can be pricey.
3. Master Use Royalty or Fee: The record label might ask for either a flat fee or a royalty on the master side (i.e. a percentage of revenues from your recording) for the use of their sound recording. Sometimes instead of an ongoing royalty, they’ll just take a one-time fee.
4. Usage Limitations: The agreement might specify where you can use the song with the sample (e.g. album only, not in film/ads unless further permission, etc., though usually a full clearance covers all normal exploitation).

Be prepared to negotiate. You might start by offering a lower percentage or fee and see if they counter. In some cases, rights holders might be more concerned about proper credit and a modest share rather than a big fee, especially if it’s a smaller release – but every case differs. They are also within their rights to say no outright, or not respond. Unfortunately, a non-response doesn’t mean yes; you cannot assume permission if they don’t reply. You have to either wait it out or consider not using the sample if you can’t get an answer in time.

4. Get the Agreement in Writing. Once terms are settled, the rights holders will usually provide a license agreement (or two agreements – one for master, one for composition). Read them carefully, sign them (you might need a witness), and make sure you comply with any conditions (like giving proper credit in your liner notes, paying the fee, etc.). After this, you have “cleared” the sample – meaning you have the legal green light to release your song with that sample, under those agreed terms.

5. Plan for Time (and Budget). Clearing samples isn’t an overnight thing. It can take weeks or even months to get all the approvals and finalize deals. Start the process early in your production schedule. Also, budget for it – if you need a big sample that’s likely to cost money, factor that into your project costs. If you can’t afford it, consider looking for alternatives (like sample libraries or lesser-known tracks that might be cheaper or easier to clear).

Tip: If this all sounds too heavy, consider using pre-cleared sample libraries or royalty-free sound packs for your beats. There are services where you can license beats or loops explicitly for use in new music (sometimes for a flat fee or subscription). Just read the terms – some “free” samples might be free for non-commercial use only or require attribution. Using reputable libraries can sidestep the need to clear with multiple parties each time, since those samples are offered for creators to use. But always double-check that they truly own the material in the library and grant you the right to use it.

What Happens If You Don’t Clear a Sample? (Legal Penalties & Risks)

Using a sample without permission might seem tempting (“Maybe no one will notice this tiny clip…”), but be aware of the consequences. Uncleared (illegal) samples carry significant legal and financial risks:

1. Copyright Infringement Lawsuit: The original rights holders can sue you for infringing their copyright. Under the Copyright Act 98 of 1978, if you use someone’s protected work without a license, you’re infringing their exclusive rights. They can seek an interdict (injunction) to stop you from distributing the song, and they can claim damages or an account of profits (i.e. money you made from the song, or statutory damages). Often, these cases are settled out of court by you agreeing to pay a certain amount or give up a share of royalties to the original artist, but if it goes to court it can be very costly.
2. Takedowns and Lost Revenue: In practice, rights holders often move quickly to take down an infringing song from platforms. If you uploaded an uncleared sample to streaming services or YouTube, the distributor might remove it when the copyright owner complains. You could see your song yanked off radio, streaming, and stores until the issue is resolved. This can kill the momentum of a release and upset any plans you had for that track (not to mention waste any marketing money you spent).
3. Huge Royalty Claims: The original creator might demand a hefty portion of your song’s earnings after the fact. Remember the Caiphus Semenya example – he wanted 50% of the royalties of the AKA song that sampled him. There’s also the famous case of P. Diddy’s 1997 hit “I’ll Be Missing You,” which sampled The Police’s “Every Breath You Take” without clearance. The result? Diddy (and his label) got sued and lost 100% of the song’s publishing royalties to Sting, the original songwriter. In other words, all the money that huge hit earned from publishing had to be paid over to the original rights owner – a very expensive lesson.
4. Reputational Damage & Disrupted Releases: Beyond direct penalties, getting caught for sampling without permission can hurt your reputation in the industry. It may strain relationships with labels, publishers, and fellow artists. Also, an uncleared sample can make your track radioactive for other opportunities – for instance, film/TV placements and brands will avoid a song with an uncleared sample because they don’t want legal trouble. You essentially shoot yourself in the foot for any licensing deals or commercial uses of the track.
5. Criminal Liability (Worst Case): Copyright infringement in South Africa can even have criminal consequences, especially for willful commercial infringement (this is more often applied to piracy operations than individual artists, but the law is there). Under Section 27 of the Copyright Act, infringement done for profit can be an offence. On a first conviction, one could face up to R5,000 fine or 3 years imprisonment per infringement, and up to R10,000 or 5 years imprisonment per work for subsequent convictions. It’s unlikely that an artist sampling a song would be criminally prosecuted (usually the rights owner just sues civilly), but the fact remains that the law views copyright theft seriously – it’s even considered a form of property theft under SA law. So in egregious cases (like knowingly selling thousands of infringing copies), there could be criminal charges.

To sum it up: Uncleared sampling is high risk. You could lose the song, lose a lot of money, or even face legal sanctions. As a creator, it’s just not worth it when there are legal avenues available. As the chairperson of SAMRO, Nicholas Maweni, put it, unauthorised use such as sampling without permission is essentially theft of intellectual property – it’s like someone coming and taking your gear without asking. You wouldn’t want that done to you; so don’t do it to another artist.

Common Sampling Scenarios – Can I Do This?

Let’s address a few real-world sampling scenarios and myths in Q&A style:

1. Q: “I only used a 2-second drum loop from another track. Do I really need permission for just two seconds?”A: Yes. There’s no 2-second exception in the law. If that 2-second loop is recognizable (and drum loops often are), it’s a sample of the sound recording and likely the composition (the drum pattern). South African law looks at whether you took a substantial, qualitatively important part of the other song. A short but unique riff can be the hook of a song – clearly substantial. So even for two seconds, you need to clear it (both with the label and publisher). Many lawsuits worldwide have hinged on small samples like this. Bottom line: No matter how short, if it’s distinctive enough to be identified, treat it as protected.
2. Q: “What if I sample a single word or vocal phrase from the original song? It’s just one line of lyrics.”A: That one line can get you in double trouble. Sampling vocals copies the master and also the lyrics (a literary work) and melody (musical work). So you’d be infringing the sound recording and the composition (lyrics are protected just like melody) at the same time. Even a short vocal phrase like a famous shout or lyric needs clearance. The original songwriter’s permission is required for using their lyric, and the label’s permission is required for using the recorded performance of that lyric. For instance, using the iconic “Mama say, mama sa…” refrain from a Michael Jackson song would definitely require clearing the composition with the publisher (originally from Manu Dibango’s song) and the master with the label. Don’t assume “it’s just one line, nobody will mind” – that line could be the heart of the song.
3. Q: “I changed the sample a bit – sped it up, pitched it down, or chopped it – so isn’t it mine now?”A: Changing a sample’s tempo or pitch does not make it yours. If the original content is still recognizable or derives from the original, you haven’t escaped copyright. The law (and rights owners) consider that a derivative work at best, which still infringes unless authorized. Simply altering the sound doesn’t avoid the need for clearance. Many producers try to “mask” samples with effects, but if you can tell it’s that riff or that voice, it’s infringing. Only if your changes render it completely unrecognizable to the ear might you avoid infringement – but then you’re not getting the flavor of the original anyway. Don’t bank on hiding a sample through editing; assume it’ll be caught (content recognition algorithms on platforms are very good these days, too).
4. Q: “It’s just a beat or drum pattern, and beats aren’t melodic. Isn’t a beat safe to use?”A: Beats can be original, creative works as well. A drum pattern can be a protected element of the musical work if it’s sufficiently original (and many are). It’s true that single drum hits or very generic rhythms might not qualify for copyright, but determining that is not straightforward. The law doesn’t say “melodies are protected but beats aren’t” – it protects “musical works” which can include rhythm if it’s a result of creative effort. Unless the beat is a stock rhythm that’s public domain or so basic no one can claim it, you run the same risk. Famous example: The beat from the “Amen Break” (a 4-bar drum solo from a 1960s track) has been sampled countless times; it’s arguable whether that specific beat was protected (and the original owner didn’t aggressively enforce it), but don’t assume any given beat you sample will be treated as unprotected. It’s safer to clear it or use a legitimately licensed drum loop.
5. Q: “I’m just going to release the song with the uncleared sample for free on the internet, not selling it. That’s okay, right?”A: Sorry – even free distribution is infringement. Copyright law applies whether or not you profit. Fair dealing has no exception for “non-commercial use” except maybe personal private use (like making a mix for yourself). The moment you share it publicly (SoundCloud, YouTube, etc.), you’re publishing the work, and that’s an exclusive right of the owner. Rights holders have sued or issued takedowns even when people gave the work away. While a court might award lower damages if you truly made no profit, you could still be forced to stop distributing the track and potentially pay something. Also, “free” releases can still harm the market for the original (one reason they object). If anything, rights owners may be more irritated by unlicensed free uses because they’re not even getting compensation. The safe route: even if it’s a mixtape track, get permission. There are mixtapes that were blocked or artists who got in hot water for “free” sampling. Don’t risk your creative work being pulled down.
6. Q: “I got this sample from a royalty-free sample pack online. Can I use it without clearance?”A: If it’s truly royalty-free and properly licensed to you, then yes – by definition, those samples are pre-cleared for your use (though some require you to credit the source or have other conditions). Be cautious and read the license of the sample pack. Some “free” samples are only free for non-commercial projects or have limits. Others might be fine for any use after you’ve paid for the pack. The key is that when you obtain a sample from a legitimate library, you are effectively being given a license to use that piece of audio, so it’s not “unauthorized.” This is a great way to avoid clearance headaches. Just ensure the source is reputable – you don’t want a “free sample” that actually was pirated from a song without you knowing, because then you could still get in trouble. Stick to known libraries or those provided by equipment/software companies, etc.
7. Q: “What if the original song is really old or out-of-print? Can I sample it if it might be in the public domain?”A: South Africa’s general copyright term for music is the life of the author plus 50 years. Very old traditional songs or recordings from more than 50 years after the author’s death might be public domain (no copyright). For example, a folk song from the 1800s is free to use (the composition, at least – but if you sample a specific recording of it, that recording might have its own 50-year-from-release term). If you genuinely believe a song is out of copyright, do your homework to confirm. Most commercial music from the 20th century is still protected. And note: recordings have a separate term (in SA, sound recordings get 50 years from the year of release). So even if an old composition is public domain, a specific recording of it might not be if it was recorded relatively recently. When in doubt, consult a music rights expert or lawyer to verify public domain status before assuming you can use it freely.

As you can see, in the vast majority of cases you cannot use a sample legally without clearance. The only “safe” unlicensed samples are those truly in the public domain or explicitly released for free use – everything else requires permission.

Final Tips and Takeaways

1. When in doubt, clear the sample or don’t use it. The legal landscape in South Africa is clear that unauthorized sampling is not allowed. It’s better to be safe (legally) than sorry. If you can’t get a sample cleared, consider finding an alternative sound or creating something original that gives a similar vibe.
2. Understand the rights involved. Always remember the two layers – master and composition – and make sure you’ve addressed both in any sample clearance. Missing one can still halt your release.
3. Plan ahead. If your new track heavily relies on a sample hook, start the clearance process early or have a backup plan in case you can’t clear it. Don’t wait until after you’ve released the song to seek permission – by then you’ve already infringed, and your bargaining position with the original owner isn’t great (“permission after the fact” often comes with a higher price or penalties).
4. Get agreements in writing. Verbal permissions or casual emails are not enough. Ensure you have a signed license or agreement for your records. It will save you if any questions arise later about whether it was properly cleared.
5. Educate collaborators. If you’re a producer or working with others, make sure everyone on the team knows not to sneak in uncleared samples. Sometimes one band member or a co-producer might toss something in not realizing the implications – and it becomes your problem too. Set a policy in your project: no samples without discussion and clearance.
6. Leverage local resources. Organizations like SAMRO (Southern African Music Rights Organisation) and CAPASSO (Composers Authors and Publishers Association) deal with music rights and might help identify rights owners or offer guidance. The Recording Industry of SA (RISA) might assist on the label side. MPA SA (Music Publishers Association) is also a great resource for publishing queries. Don’t hesitate to reach out – it’s better to ask questions early on than to fight lawsuits later.

Remember, your music is your property, and so is someone else’s music theirs. South African law views musical copyright as property that’s just as real as a car or a house. You’d want others to respect your creations; likewise, the onus is on you to respect existing works when sampling. With the right clearances, sampling can be a brilliant creative tool that pays homage to past music and brings it into new contexts. Without clearance, it’s a legal ticking time bomb.

In summary: South African copyright law does not allow you to use samples freely just because they’re short or altered – fair dealing won’t cover making new songs out of old ones. If you sample without permission, you risk takedowns, lawsuits, damages, or worse. But with proper clearance – getting the OK from the label and publisher – you can legally drop that classic hook into your next hit and sleep easy, knowing you’ve done it by the book. Happy producing, and sample responsibly!

Sources:

1. South African Copyright Act 98 of 1978 (Sections 6, 9, 12, 23, 27)wipo.intwipo.intwipo.int.
2. Bongani Mdakane, “Music sampling and South African law,” Music In Africa (28 Jun 2023) – explanation of master vs composition rights and the need for clearancemusicinafrica.netmusicinafrica.net.
3. Music Publishers Association of South Africa (MPA SA), “Music Sampling” (13 Mar 2023) – guidance on clearing samples and common misconceptionsmpasaonline.co.zampasaonline.co.za.
4. Rachel Sikwane (ENSafrica), “Copyright: Just A Sample,” Mondaq (11 Sep 2019) – discusses short snippets and the “substantial part” testmondaq.commondaq.com.
5. Mail & Guardian (N. Maweni), “Stealing a song is like stealing a car…,” (23 Mar 2025) – commentary on music copyright as property and unauthorized sampling as theftmg.co.za.
6. Berghahn Journals, “SA music landscape and Copyright Amendment Bill” – notes that unauthorised music sampling is not sanctioned by law in SAberghahnjournals.com. (Academic perspective)
7. Additional examples from global cases: Kraftwerk case on 2-second samplemondaq.com, and Sting vs. Diddy royalty outcomempasaonline.co.za, illustrating how strictly sampling is treated.