Atoms

Hydra organises all its operations into five types: source, geometry, color, blend, and modulate

Hydra transform order matters — `.rotate().kaleid()` differs from `.kaleid().rotate()`

Hydra values are unclamped GL floats — pushing one parameter huge blows out or locks the GPU

Hydra's method-chaining API composes visual transforms as a pipeline from source to output

Hypercompression applied during mixing or mastering cannot be undone at a later stage

I-F's 1997 'Space Invaders Are Smoking Grass' bridged electroclash and nu-disco by reviving melodic European electro-disco

ID&T's Thunderdome was the mega-rave brand that carried gabber to a mass audience

IDM is defined by idiosyncratic experimentation rather than a fixed set of musical characteristics

IDM was positioned as post-club home-listening music for a sedentary rather than dancing audience

Illbient is a dub-based trip-hop offshoot that fuses ambient with industrial hip-hop

In 1V/octave pitch control, each additional volt raises oscillator pitch by exactly one octave

In a minor key, all three primary triads (i, iv, v) are minor, giving the minor tonality its characteristic mellow, introspective mood

In a P5LIVE COCODING session the code syncs but each peer renders locally, so sketches depending on local mic/webcam/MIDI look different per machine

In Chicago usage, 'juke' is the party/vocal side and 'footwork' the hard-beat battle side of one juke culture

In ChucK `dur`/`time` are typed and cannot mix with bare numbers — units need the `::` operator

In ChucK a raw MIDI integer sent to `.freq` plays that many Hz — use `Std.mtof` to convert

In ChucK, a loop with no `=> now` computes in zero logical time and emits no sound

In ChucK, dividing two integer literals gives integer division, truncating toward zero

In classic EDM production the TR-808 supplies the drums and the TB-303 supplies the bassline

In FM synthesis, increasing the modulator's amplitude makes the carrier sound brighter

In Glicol `seq`, top-level spaces divide the bar while adjacent digits subdivide a step

In Glicol a `~name` bus is silent until another chain references it

In Glicol, every line whose name lacks `~` is sent to the speakers and summed

In Hydra, live/reactive values must be wrapped in a thunk `() => …` — bare values are baked at eval time

In live coding the human is the unambiguous creative agent; in generative art authorship is shared with the autonomous process

In live coding, each code change affects the running output immediately

In minimalist process music the gradually unfolding, audible process itself is the music

In music, pitch corresponds to line width and melodic contour traces a literal line in visual space

In P5LIVE with HY5 loaded, Hydra's noise() is aliased to noize() to avoid collision with p5's built-in noise()

In Punctual 0.5 osc is the sine oscillator and sin is the math sine function of its argument; old sin-as-oscillator code is wrong

In Sonic Pi, .tick mutates the ring counter while .look only reads it — calling .tick twice in one pass advances twice

In SuperCollider everything is an object, and behaviour is triggered by sending messages to receivers

In SuperDirt, reverb and delay are shared across all voices on the same orbit

In this rig, Hydra's `a` object is a 4-bin shim fed from Strudel, not the native mic FFT

In Tidal/Strudel mini-notation, * subdivides hits into one step while ! replicates a step across positions

In UK garage, MCs shifted from warm-up hype to becoming the headline act — equal to or above the DJ

In VCV Rack a 1 V increase on a V/oct cable raises pitch by exactly one octave

In VCV Rack, cables carry either audio signals or CV (control voltage) modulation signals

Inaudible subsonic energy from rumble, drafts, samples and DC wastes mix headroom

Industrial music emerged in the 1970s from avant-garde and early electronic music

Industrial techno fuses techno's danceability with the bleak, noisy aesthetics of early industrial music

Interleaving theory and practice chapters accelerates learning of synthesis

Internet distribution removed the competitive advantage major labels held through physical distribution networks

Interval ear training builds the ability to name the pitch distance between two notes by sound alone

Interval names (second through octave) count scale steps inclusively from the lower to upper note

iO-808 auto-persists progress across sessions while an explicit JSON save/load is used for sharing patterns

Israeli psychedelic trance continued the Goa tradition and added cosmic alien-sounding textures

ISRC codes uniquely identify each recording and are embedded in the CD's Q-channel subcode during mastering

Italy's dreamy trance subgenre emerged as a social response to rave driving fatalities, prioritizing melody over energy

Itten organised color study into seven fundamental categories of contrast

Itten's 12-hue color circle places complementaries diametrically opposite and is constructed from pigmentary primaries, not spectral primaries

J Dilla mastered MPC swing to create grooves that feel simultaneously late and propulsive

Jacking, a rippling forward-and-backward torso motion to the beat, is the core Chicago house dance that named the genre

Jamaican dub and reggae sound systems were the primary bass-culture influence on jungle and drum and bass

Jamie Principle's 'Your Love' spread via cassette copies-of-copies before any vinyl release, proving house could build a scene without records

Jazz swing is a musician's real-time feel convention while electronic swing is a fixed repeating timing offset

Jersey club evolved from Baltimore club by adding harder kicks and more chopped samples

Jersey club spread from Newark to college campuses and the internet via MySpace around 2005

Jersey club's signature is a bouncy tresillo/triplet kick at 130-140 BPM over chopped staccato samples

John Cage's 4'33" reframes the venue's ambient sound as the music itself