The accelerated processes of digitalisation revolutionize music production on many levels. The internet is an ever-expanding archive, and the cost of data storage on computers or in the cloud is getting lower and lower. Nearly every piece of music, every song, every sound, is only a couple of mouse clicks away. Acoustic data is both savable and easier than ever to process and edit with music software on computers and tablets or with new instruments (midi keyboards, controllers, and apps). In contemporary tracks, sound, music, and noise samples from international, regional, and local contexts are fused together into a single context. These samples are published as tracks on online platforms such as Soundcloud and Bandcamp, promoted worldwide on social networks, brought to life in concerts, performances, and installations, and in the process are both recontextualised and rewritten.

What role does "locating" play in digital music-making? How free of or bound to geography are tracks today? How are "places" enacted and interpreted in various contexts? This panel discusses these questions from both musical and social perspectives. It reveals the discourses and controversies that grow out of both free, lax work with references and more deliberate and scrupulous citation processes.  Should there be ethical boundaries in the handling of war sounds, for example?