According to Brian Eno, the recording studio is a composition tool that enables musicians to enjoy a more direct relationship with sound. This article examines the role of the sampler as a technology that is tightly interlinked with the creative process. Most academic publications on sampling digress from their initial subject to focus on the impact of the use of these tools on copyright. The aim here is to examine the process of musical creation and the aesthetic choices made in the studio, in order to analyze the role of digital technologies in the expansion of composers' musical palette. The shift from an approach of appropriation based on recognizable sampling to the manipulation of errors and accidents defies current definitions of sampling and its relation to post-modernism.