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In page Remix culture:

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Analog creation devices were expensive and also limited in their editing and rearranging capability. An analog copy of a work (e.g. an audio tape) cannot be edited, copied and worked on infinitely often as the quality continuously worsens. Despite that, a creative remixing culture survived to some limited degree. For instance composer John Oswald coined in 1985 the Plunderphonics term in his essay Plunderphonics, or Audio Piracy as a Compositional Prerogative for sound collages based on existing audio recordings and altering them in some way to make a new composition.[citation needed] Likewise, the phenomenon of scratch videos emergered at the onset of remix culture.[3]