The terms sampling and sampled refer to very different things in music and sound-related contexts. This volume sheds light on the development of the discourses surrounding these terms, analyzes instrumental sampling processes, and reflects on sampling practice as an artistic research process. The focus is on the following questions: How has the understanding of sampling and samples changed? How is sampling mediated through instrumental practice? To what extent does individual artistic sampling practice shape the perception of sampling? These questions will be addressed using examples and discourse analyses. For example, the analysis of concrete applications shows how the interface design of instruments influences the understanding of sampling. The author's software tool is also considered in this context. The approach aims to offer an alternative to the prevailing practice to date, which seeks to further differentiate the terms sampling and sample through new definitions and establish them as exclusive technical terms. It aims to present and discuss sampling in as comprehensible and compatible an approach as possible in its various facets.