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2. Future bass - Wikipedia

   en.wikipedia.org/wiki/Future_bass

   Future bass is a style of electronic dance music which developed in the 2010s that mixes elements of dubstep and trap with warmer, less abrasive rhythms. [1] The genre was pioneered by producers such as Rustie, Hudson Mohawke, Lido, San Holo and Cashmere Cat, [2] [3] and it was popularised in the mid to late-2010s by artists such as Flume, Martin Garrix, Illenium, Louis the Child and Mura Masa.

3. Rage (music genre) - Wikipedia

   en.wikipedia.org/wiki/Rage_(music_genre)

   Rage (also known as rage music, [1] [2] rage rap, [3] or rage beats [4] [5] [6]) is a microgenre of trap music. [3] [7] Distinguishing features of rage include short looping stereo-widened future bass-influenced synthesizer lead hooks and basic, energetic trap rhythms.

4. Category:Future bass songs - Wikipedia

   en.wikipedia.org/wiki/Category:Future_bass_songs

   Pages in category "Future bass songs" ... Young & Free (Xiumin and Mark song) This page was last edited on 5 November 2022, at 06:36 (UTC). ...

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6. Category:Future bass - Wikipedia

   en.wikipedia.org/wiki/Category:Future_bass

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7. Sampling (music) - Wikipedia

   en.wikipedia.org/wiki/Sampling_(music)

   In the 2000s, Apple introduced "Jam Pack" sample libraries for its DAW GarageBand. [16] In the 2010s, producers began releasing sample packs on online platforms such as Splice. [17] The Kingsway Music Library, created in 2015 by the American producer Frank Dukes, [18] has been used by artists including Drake, Kanye West, Kendrick Lamar, and J ...

8. Jungle music - Wikipedia

   en.wikipedia.org/wiki/Jungle_music

   Jungle is a genre of electronic music that developed out of the UK rave scene and Jamaican sound system culture in the 1990s. Emerging from breakbeat hardcore, the style is characterised by rapid breakbeats, heavily syncopated percussive loops, samples, and synthesised effects, combined with the deep basslines, melodies, and vocal samples found in dub, reggae and dancehall, as well as hip hop ...

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