Cloud-Based Music Production: Sampling, Synthesis, and Hip-Hop

Contents

• Introduction: Cloud-based Music Production (CBMP)
• 0.1 Defining Music Production
• 0.2 CBMP Services
• 0.3 Sound-Tagging and Search Filters
• 0.4 Project Backup and Sharing
• 0.5 Access to Professional Sounds
• 0.6 Free Tools/Rent-to-Own
• 0.7 Community, Contests, and Collaboration
• 0.8 Chapter Outline
• Chapter 1: Understanding Samples, Synthesis, Editing, and Mixing
• 1.1 Virtual Performance: Performing Samples, Performing Synthesis
• 1.1.1 Performance Inputs: Sample Triggering, Synthesis, and MIDI
• 1.1.2 Point and Click Editing
• 1.2 Creating Hip Hop Sounds: Sampling
• 1.2.1 Technological Constraints, Sample Arrangement, and Sample Phrasing
• 1.2.2 Types of Samples: One Shots and Continuous Samples
• 1.2.3 Timbre and Arrangement
• 1.2.4 Categorizing Samples: Instrument Families as Conceptual Groups in Sample Arrangement
• 1.3 Synthesizers
• 1.3.1 Synthesizer Types
• 1.3.2 Synths in Modern Hip Hop
• Chapter 2: Making Music Using CBMP Resources
• 2.1 Making Music from Samples
• 2.2 Drums, Percussion, Bass
• 2.2.1 Creating Drum and Percussion Tracks with One Shots: Timbral Selection and Arrangement
• 2.2.2 Rhythmic Congruence in Sampling: Using Continuous Samples for Additional Percussion
• 2.2.3 Hip Hop Microrhythm: Creating Intentional Rhythmic Incongruence
• 2.3 Bass
• 2.4 Melodic Sounds
• 2.4.1 Categorizing Short-to-Medium Length Melodic Samples: ADSR Profiles
• 2.4.2 Arranging Long Duration Melodic Samples
• 2.4.3 Arranging Commonly Used Short- to Medium Duration Melodic Sounds
• 2.5 Textures, Atmosphere, and Harmony
• 2.5.1 Ready-Made and Cloud-Based Textures and Atmospheric Samples
• 2.5.2 Custom Atmospheres and Textures
• Chapter 3: The Mix - Conditioning Musical Materials on Records
• 3.1 What is Mixing?
• 3.2 Establishing Genre through Material Means
• 3.3 Spectral Distribution
• 3.4 Dynamic Contours
• 3.5 Stereo Configuration
• 3.6 Ambient Design
• 3.7 Noise, Distortion, Saturation, and Enhancement
• Chapter 4: Hearing for Your Audience - Beat Production as a Psychoacoustic Art
• 4.1 Sonic Realism and The Canvas of Psychophysiology
• 4.2 Mixing Beats: Constructing Past Tense Aural Narratives
• 4.3 Painting on the Psychoacoustic Canvas: Applying Gestalt Theory to Mixing Technique
• 4.4 What is Gestalt Theory?
• 4.5 Auditory Stream Segregation and the Law of Disjoint Allocation
• 4.6 Laws of Similarity and Common Fate: Location, Timbre, and Signal Routing
• 4.7 The Figure-Ground Phenomenon: More Applications for Mix Buses
• 4.8 The Rule of Good Continuation: Parameter Automation and Low Frequency Oscillators
• 4.9 Chapter Summary
• Chapter 5: Case Studies in CBMP
• Case Study 1: "melancholy" by kingmobb (2019)
• Case Study 2: "fayth" by kingmobb (2019)
• Case Study 3: "Dxn't Want U" by kingmobb, from KNGMXBB II (2017)
• Conclusions