| Introduction: Cloud-Based Music Production (CBMP) |
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1 | (16) |
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0.1 Defining Music Production |
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2 | (4) |
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6 | (2) |
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0.3 Sound-Tagging and Search Filters |
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8 | (1) |
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0.4 Project Backup and Sharing |
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9 | (2) |
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0.5 Access to Professional Sounds |
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11 | (1) |
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0.6 Free Tools/Rent-to-Own |
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12 | (1) |
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0.7 Community, Contests, and Collaboration |
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13 | (2) |
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15 | (2) |
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1 Understanding Samples, Synthesis, Editing, and Mixing |
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17 | (33) |
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1.1 Virtual Performance: Performing Samples, Performing Synthesis |
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18 | (5) |
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1.1.1 Performance Inputs: Sample-Triggering, Synthesis, and MIDI |
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18 | (4) |
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1.1.2 Point-and-Click Editing |
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22 | (1) |
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1.2 Creating Hip-Hop Sounds: Sampling |
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23 | (13) |
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1.2.1 Technological Constraints, Sample Arrangement, and Sample Phrasing |
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25 | (2) |
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1.2.2 Types of Samples: One-Shots and Continuous Samples |
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27 | (3) |
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1.2.3 Timbre and Arrangement |
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30 | (5) |
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1.2.4 Categorizing Samples: Instrument Families as Conceptual Groups in Sample Arrangement |
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35 | (1) |
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36 | (14) |
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44 | (1) |
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1.3.2 Synths in Modern Hip-Hop |
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45 | (1) |
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1.3.3 Hearing and Creating 808-Style Sounds |
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46 | (4) |
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2 Making Music Using CBMP Resources |
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50 | (46) |
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2.1 Making Music From Samples |
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50 | (2) |
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2.1.1 Sample Phrasing Charts and Audio Demonstrations |
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51 | (1) |
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2.2 Drums, Percussion, Bass |
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52 | (14) |
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2.2.1 Creating Drum and Percussion Tracks With One-Shots: Timbral Selection and Arrangement |
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52 | (7) |
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2.2.2 Rhythmic Congruence in Sampling: Using Continuous Samples for Additional Percussion |
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59 | (4) |
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2.2.3 Hip-Hop Micro Rhythm: Creating Intentional Rhythmic Incongruence |
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63 | (3) |
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66 | (4) |
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70 | (18) |
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2.4.1 Categorizing Short-to-Medium Length Melodic Samples: ADSR Profiles |
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71 | (3) |
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2.4.2 Arranging Long Duration Melodic Samples |
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74 | (2) |
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2.4.3 Arranging Commonly Used Short-to-Medium Duration Melodic Sounds |
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76 | (12) |
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2.5 Textures, Atmosphere, and Harmony |
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88 | (8) |
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2.5.1 Ready-Made and Cloud-Based Textures and Atmospheric Samples |
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91 | (1) |
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2.5.2 Custom Atmospheres and Textures |
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92 | (4) |
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3 The Mix---Conditioning Musical Materials on Records |
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96 | (28) |
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97 | (2) |
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3.2 Establishing Genre Through Material Means |
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99 | (2) |
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3.3 Spectral Distribution |
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101 | (3) |
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104 | (6) |
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110 | (3) |
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113 | (4) |
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3.7 Noise, Distortion, Saturation, and Enhancement |
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117 | (7) |
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4 Hearing for Your Audience---Beat Production as a Psychoacoustic Art |
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124 | (25) |
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4.1 Sonic Realism and the Canvas of Psychophysiology |
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125 | (4) |
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4.2 Mixing Beats: Constructing Past Tense Aural Narratives |
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129 | (2) |
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4.3 Painting on the Psychoacoustic Canvas: Applying Gestalt Theory to Mixing Technique |
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131 | (1) |
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4.4 What Is Gestalt Theory? |
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132 | (1) |
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4.5 Auditory Stream Segregation and the Law of Disjoint Allocation |
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133 | (1) |
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4.6 Laws of Similarity and Common Fate: Location, Timbre, and Signal Routing |
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134 | (7) |
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4.7 The Figure-Ground Phenomenon: More Applications for Mix Buses |
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141 | (2) |
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4.8 The Rule of Good Continuation: Parameter Automation and Low Frequency Oscillators |
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143 | (4) |
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147 | (2) |
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149 | (8) |
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Case Study 1 "Melancholy" by kingmobb (2019) |
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149 | (3) |
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Case Study 2 "Fayth" by kingmobb (2019) |
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152 | (2) |
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Case Study 3 "Dxn't Want U" by kingmobb, from KNGMXBB II (2017) |
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154 | (3) |
| Conclusions |
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157 | (3) |
| Bibliography |
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160 | (4) |
| Index |
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164 | |
