Thanks to things like Indaba's Mantis studio and Soundation, a digital music studio which Bryant helped to develop, this is already starting to seem like a reality. But the real reason has to do with the explosion and evolution of sampling.
In the past four decades, sampling has grown from an avant-garde artistic curio into one of the foundations of popular music. Hip hops golden age would never have happened without carefully extracted snippets of James Brown records; and more recently, Ushers Love in this Club and Rihanna's “Umbrella," two of the biggest songs of the past two years, were built out of Garageband loops.
Not only are samples everywhere in our musical culture, they are instantly accessible. And for Bryant, whose company, PowerFX, created the samples Polow da Don and “Tricky" Stewart used on their respective chart-topping smashes, thats a wonderful thing.
It was also unexpected. “A TV station in Sweden, SVT, like the BBC of Sweden, actually told us [about] that," Bryant recalls. “There was a big argument on YouTube where a bunch of people found that those songs were using Garageband sounds, and people were saying, 'Oh, these producers are getting paid all this money, and theyre just ripping off sounds from garageband and making mega hits!'"
