Atoms
5,034 knowledge atoms — one concept each, the smallest teachable units. To find something specific, use search or browse by domain, level or type.
Showing 601–660 of 5,034 · page 11 / 84
FM synthesis builds harmonic complexity up from sine waves; subtractive removes harmonics from a rich source
FM synthesis uses one oscillator (the Modulator) to vary the frequency of another (the Carrier)
Footwork evolved continuously from Chicago house and ghetto house, not as a clean break from the scene
Footwork music and footwork dance co-evolved — neither the tracks nor the moves make sense without the other
Footwork settled at 160 BPM after DJs escalated the tempo to meet dancers' demands for speed
Footwork uses recognizable samples in unrecognizable ways to make familiar source material alien
Forward slash in mini-notation stretches a sequence over n cycles
Four foundational DJ mixer exercises establish the skills needed to begin mixing
Four-on-the-floor places a kick drum on every beat of a 4/4 bar
Fourier's theorem decomposes any periodic sound into sinusoidal partials, and their amplitudes fix its timbre
Fourths and fifths come in only one standard size called 'perfect', not major or minor
Frankfurt's Dorian Gray and Omen clubs incubated early trance as a complement to techno
Frankie Knuckles helped define house by re-editing and extending disco breaks and intros for the dancefloor
Frankie Knuckles pioneered house by mixing and manipulating records live at The Warehouse from 1977
Freesound accepts stems, loops, and isolated elements but rejects complete songs
Freesound attribution must name the sound, the author, the URL, and the license
Freesound's Broad Sound Taxonomy sorts sounds into five browsable top-level categories
French house is defined by filter and phaser effects over late-1970s and early-1980s disco samples at 110–130 BPM
Frenchcore is defined by tempo above 160–185 BPM plus a loud distorted offbeat bassline
Frequencies above the Nyquist frequency fold back into the audio band as inharmonic aliases
Frequency measures how many complete wave cycles occur per second, in hertz
Frequency, amplitude, and waveform are the three fundamental parameters of a sound
Future garage gets its off-kilter rhythm from 2-step garage's syncopated, non-four-on-the-floor drums
Gabber began as an anti-establishment underground movement with illegal warehouse raves in early 1990s Rotterdam
Gabber developed a distinct youth subculture look: tracksuits, shaved heads, and Nike Air Max trainers
Gabber is characterised by fast beats (140–190 BPM), distorted heavy kickdrums, and dark themes
Gabber was not just a music subgenre but the Netherlands' most significant 1990s youth-culture movement
Gain and volume are different: gain sets input amplitude at the preamp; the fader sets output level downstream
Gain staging means maintaining an appropriate signal level at every stage of the signal chain from source to output
Gain staging targets a high signal-to-noise ratio: strong enough signal to clear the noise floor, weak enough to avoid distortion
Garage house is the piano-led, gospel-vocalled, NYC/NJ counterpart to machine-driven Chicago house
Generative aesthetics occupy the sweet spot between order and chaos
Generative art emphasises autonomous process and distance from the author; software art embeds the human in the code
Genres are socially constructed systems of expectation, not fixed prescriptive feature sets
German kosmische Musik / Berlin School synthesizer music laid the groundwork for ambient
Ghetto house fuses Chicago house with punchy claps, crude catchy lyrics and bass-heavy arrangements
Ghetto house is a minimal, lo-fi 808/909-driven strain of Chicago house
Ghetto house is the Chicago root that spawned ghettotech, juke and footwork
Glicol BPM is set at launch with `-b` and cannot be changed in-file during a session
Glicol CLI has no embedded sample bank; samples must be placed in the `samples/` folder
Glicol CLI keeps the previous graph running on a parse error, reporting it in the TUI console
Glicol has no built-in limiter, so summed lines and high gains clip hard
Glicol has no mini-notation, Euclidean syntax, or per-step probability operators
Glicol has no note names, scales, or chord primitives — pitches are hand-coded as MIDI integers
Glicol parameters are safest written with a decimal point, as the grammar's float rule wants a `.`
Glicol synth and drum nodes are silent without an upstream trigger (`imp`, `seq`, or `speed`)
Glicol.org documents nodes that the CLI version 0.13.5 cannot parse
Glicol's `seq` outputs a pitch ratio, not a frequency — feeding it straight to `sin` gives ~1 Hz
Glide (portamento) makes synth notes slide into each other for a live-performance feel
Glitch music treats digital errors as compositional material rather than problems to eliminate
GLSL `mediump` precision makes large `u_time` and fine gradients visibly step — use `highp`
GLSL does not implicitly convert `int` to `float` — mixing them in an expression is a compile error
GLSL ES requires a precision mediump float block at the top of every shader
GLSL integer division truncates: `1/2` is `0`, not `0.5`
GLSL operations with undefined results produce NaN/Inf that spread and turn pixels black
GLSL swizzling reads or writes a vector's components in any order in one expression
GLSL syntax must match the `#version` directive — mixing ES 1.00 and 3.00 syntax fails to compile
GLSL vector constructors are exact — you cannot assign a `vec2` to a `vec3`, and swizzles must exist
GLSL's mix() linearly interpolates between two colors by a 0.0–1.0 factor
glslViewer in this rig has no audio input — `a.fft` does not exist and reactivity must use `u_time`