Cloud-based music production : sampling, synthesis, and hip-hop /: sampling, synthesis, and hip-hop. (2020)
- Record Type:
- Book
- Title:
- Cloud-based music production : sampling, synthesis, and hip-hop /: sampling, synthesis, and hip-hop. (2020)
- Main Title:
- Cloud-based music production : sampling, synthesis, and hip-hop
- Further Information:
- Note: Matthew T Shelvock.
- Authors:
- Shelvock, Matthew T
- 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 2.5.1Introduction: 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 … (more)
- Edition:
- 1st
- Publisher Details:
- London : Routledge
- Publication Date:
- 2020
- Extent:
- 1 online resource, illustrations (black and white)
- Subjects:
- 781.649134
Rap (Music) -- Production and direction
Cloud computing
Software synthesizers - Languages:
- English
- ISBNs:
- 9781351137089
9781351137096
9781351137072
9781351137102 - Related ISBNs:
- 9780815353188
9780815353195 - Notes:
- Note: Description based on CIP data; resource not viewed.
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- Legal Deposit; Only available on premises controlled by the deposit library and to one user at any one time; The Legal Deposit Libraries (Non-Print Works) Regulations (UK).
- Access Usage:
- Restricted: Printing from this resource is governed by The Legal Deposit Libraries (Non-Print Works) Regulations (UK) and UK copyright law currently in force.
- View Content:
- Available online (eLD content is only available in our Reading Rooms) ↗
- Physical Locations:
- British Library HMNTS - ELD.DS.492389
- Ingest File:
- 03_054.xml