These samples likely came from the Series6000 sound collection, which was and is found in almost every sound studio in the US for film, tv and games.
It's been around since the late 70's and is still in use today, so you'll find similar, familiar samples all over the place going back as far as 40 years!

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That is the important point. Studio budget drives the quality of effects companies. Poor effects can be due to the limits of studio budgets.

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It looks beautiful, but where's the amazing high concept stuff Dust have been doing?

If you're gonna make a sci-fi movie on another planet, and you're outside the bounds of the studio system, give me an interesting story. Ask some questions about our place in the stars or how technology will shape humanity. Don't give me a story that could have been set in the old west.

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You know, and it gets into this whole issue of border security
You know, who's gonna say that the borders are secure?
We've got the House and the Senate debating this issue
And it's, it's really astonishing that in a country founded by immigrants
"Immigrant" has somehow become a bad word
So the debate rages on and we continue
And just like that it's over, we tend to our wounded, we count our dead
Black and white soldiers wonder alike if this really means freedom
Not yet
I got one job, two job, three when I need them
I got five roommates in this one studio, but I never really see them
And we all came America trying to get a lap dance from Lady Freedom
But now Lady Liberty is acting like Hilary Banks with a pre-nup
Man, I was brave, sailing on graves
Don't think I didn't notice those tombstones disguised as waves
I'm no dummy, here is something funny, you can be an immigrant without risking your lives
Or crossing these borders with thrifty supplies
All you got to do is see the world with new eyes
Immigrants, we get the job done
Look how far I come
Look how far I come
Look how far I come
We get the job done
Look how far I come
Look how far I come
Look how far I come
Immigrants, we get the job done
It's a hard line when you're an import
Baby boy, it's hard times
When you ain't sent for
Racists feed the belly of the beast
With they pitchforks, rich chores
Done by the people that get ignored
Ya se armó
Ya se despertaron
It's a whole awakening
La alarma ya sonó hace rato
Los que quieren buscan
Pero nos apodan como vagos
We are the same ones
Hustling on every level
Ten los datos
Walk a mile in our shoes
Abróchense los zapatos
I been scoping ya dudes, ya'll ain't been working like I do
I'll outwork you, it hurts you
You claim I'm stealing jobs though
Peter Piper claimed he picked them, he just underpaid Pablo
But there ain't a paper trail when you living in the shadows
We're America's ghost writers, the credit's only borrowed
It's a matter of time before the checks all come
But
Immigrants, we get the job done
Look how far I come
Look how far I come
Look how far I come
We get the job done
Look how far I come
Look how far I come
Look how far I come
Immigrants, we get the job
Not yet
The credit is only borrowed
It's America's ghost writers, the credit's only borrowed
It's America's ghost writers
America's ghost writers
America's ghost writers, the credit's only borrow-borrowed
It's America's ghost writers, a credit is only borrowed
It's America's ghost writers, a credit is only borrowed
It's America's ghost writers, a credit is only borrowed
It's
Immigrants, we get the job done
Ay yo aye, immigrants we don't like that
Na they don't play British empire strikes back
They beating us like 808's and high hats
At our own game of invasion, but this ain't Iraq
Who these fugees what did they do for me
But contribute new dreams
Taxes and tools, swagger and food to eat
Cool, they flee war zones, but the problem ain't ours
Even if our bombs landed on them like the Mayflower
Buckingham Palace or Capitol Hill
Blood of my ancestors had that all built
It's the ink you print on your dollar bill, oil you spill
Thin red lines on the flag you hoist when you kill
But still we just say "look how far I come"
Hindustan, Pakistan, to London
To a galaxy far from their ignorance
'Cause
Immigrants, we get the job done
Por tierra o por agua
Identidad falsa
Brincamos muros o flotamos en balsas
La peleamos como Sandino en Nicaragua
Somos como las plantas que crecen sin agua
Sin pasaporte americano
Porque la mitad de gringolandia es terreno mexicano
Hay que ser bien hijo de puta
Nosotros les sembramos el árbol y ellos se comen la frutas
Somos los que cruzaron
Aquí vinimos a buscar el oro que nos robaron
Tenemos mas trucos que la policía secreta
Metimos la casa completa en una maleta
Con un pico, una pala
Y un rastrillo
Te construimos un castillo
Como es que dice el coro cabrón?
Immigrants, we get the job done
Look how far I come
Look how far I come
Look how far I come
We get the job done
Look how far I come
Look how far I come
Look how far I come
Immigrants, we get the job done
Look how far I come
Look how far I come
Look how far I come
Immigrants, we get the job done
Not yet

Tags for this video have been changed from 'Vox, Why, many, sitcoms, look, identical, same, similiar, TV, television, Amercian, USA, US' to 'Vox, TV, sitcom, karl freund, studio, lighting, cinematography' - edited by Eklek

I'm in the "who cares?" camp.

If you're gonna be mad about studio tricks, why even stop there?

How about multiplying vocals for harmonic effect, speeding up or slowing down the vocals, echoes, fades, etc etc etc?

And why stop at vocals? Instrumentation and arrangements are manipulated in tons of "unrealistic" ways as well.

Production is an art in itself. I consider is as one of the ingredients, together with the "organic" stuff," in the stew which is the final recordeding.

shiiiit. sure everything is stitched together. that's the modern digital audio workstation (DAW).
What folks don't realize is that Anteres Autotune is THE standard in the studio. Every pop star and song gets their dose.
That, ultra compression on everything and ultra repetition in production, gone are the days of creamy analog bliss by good musicians, performing a well-written song actually written by the artists.
Now everything is done post-production, and Autotune is 'the sound' of today's pop. The writing is done by teams of "producers" who have mastered today's pop sound and format.

And then LAWYERS.
For hip hop, in the 2000's lawyers began suing the shit out of anyone who sampled old stuff. Today, an artist can use samples, but they must PAY quite a bit. So, only artists with labels behind them can AFFORD to sample. Hence, Bruno Mars can sample everything, and steal everything, then autotune the shit out of it. And wha-laa - he's got a super-produced, money-backed hit where his producers just copy the shit out of everyone.
And in the end, Bruno Mars is the P.F. Changs of music - white appropriation all-dressed up, pre-packaged and sold.

Visited there during a trip to Florida as a kid. I probably had more fun on the rides at Busch Gardens, but my memories from Weeki Wachee Springs had greater staying power.

What I remember most from Universal Studios that trip is long line ups.