Cloud-Based Music Production

Matthew T. Shelvock teaches at Western University in Ontario, Canada. Matthew currently works in the music industry in Legal and Business Affairs and also has professional experience as a session musician, engineer, and producer.

• Introduction: Cloud-based Music Production (CBMP)0.1 Defining Music Production0.2 CBMP Services0.3 Sound-Tagging and Search Filters0.4 Project Backup and Sharing0.5 Access to Professional Sounds0.6 Free Tools/Rent-to-Own0.7 Community, Contests, and Collaboration0.8 Chapter OutlineChapter 1: Understanding Samples, Synthesis, Editing, and Mixing1.1 Virtual Performance: Performing Samples, Performing Synthesis1.1.1 Performance Inputs: Sample Triggering, Synthesis, and MIDI1.1.2 Point and Click Editing1.2 Creating Hip Hop Sounds: Sampling1.2.1 Technological Constraints, Sample Arrangement, and Sample Phrasing1.2.2 Types of Samples: One Shots and Continuous Samples1.2.3 Timbre and Arrangement1.2.4 Categorizing Samples: Instrument Families as Conceptual Groups in Sample Arrangement1.3 Synthesizers 1.3.1 Synthesizer Types1.3.2 Synths in Modern Hip HopChapter 2: Making Music Using CBMP Resources2.1 Making Music from Samples2.2 Drums, Percussion, Bass2.2.1 Creating Drum and Percussion Tracks with One Shots: Timbral Selection and Arrangement2.2.2 Rhythmic Congruence in Sampling: Using Continuous Samples for Additional Percussion2.2.3 Hip Hop Microrhythm: Creating Intentional Rhythmic Incongruence2.3 Bass2.4 Melodic Sounds2.4.1 Categorizing Short-to-Medium Length Melodic Samples: ADSR Profiles2.4.2 Arranging Long Duration Melodic Samples2.4.3 Arranging Commonly Used Short- to Medium Duration Melodic Sounds2.5 Textures, Atmosphere, and Harmony2.5.1 Ready-Made and Cloud-Based Textures and Atmospheric Samples2.5.2 Custom Atmospheres and TexturesChapter 3: The Mix — Conditioning Musical Materials on Records3.1 What is Mixing?3.2 Establishing Genre through Material Means3.3 Spectral Distribution3.4 Dynamic Contours3.5 Stereo Configuration3.6 Ambient Design3.7 Noise, Distortion, Saturation, and EnhancementChapter 4: Hearing for Your Audience — Beat Production as a Psychoacoustic Art4.1 Sonic Realism and The Canvas of Psychophysiology4.2 Mixing Beats: Constructing Past Tense Aural Narratives4.3 Painting on the Psychoacoustic Canvas: Applying Gestalt Theory to Mixing Technique4.4 What is Gestalt Theory?4.5 Auditory Stream Segregation and the Law of Disjoint Allocation4.6 Laws of Similarity and Common Fate: Location, Timbre, and Signal Routing4.7 The Figure-Ground Phenomenon: More Applications for Mix Buses4.8 The Rule of Good Continuation: Parameter Automation and Low Frequency Oscillators4.9 Chapter SummaryChapter 5: Case Studies in CBMPCase 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