Atoms

Progressive breaks fuses breakbeats with progressive-house atmospherics and a build-to-breakdown structure

Progressive house builds intensity by regularly adding and subtracting sound layers rather than using anthemic choruses

Progressive house sits at 122–128 BPM with most producers targeting 126–128 BPM for the dancefloor

Pseq without an explicit repeats argument plays the list once then stops, silencing the voice

Psytrance builds tension by adding new layers every 4–8 bars over a constant bassline

Psytrance is built on a constant bass beat that pounds throughout the whole track

Psytrance is faster, more rhythmically complex, and structurally different from trance despite shared ancestry

Psytrance tempos run 125–150 BPM, faster than most trance and techno

Public domain is a legally narrowing 'national park' where freely borrowable material is always receding from the present

Punctual edits quantize to the next cycle boundary with a short crossfade by default, so a change can take up to one cycle to land

Punctual feedback (fb) with gain at or above 1 blooms to white and requires re-evaluation to reset

Punctual is not wired into this livecoding rig — no file hot-reload, no 4-bin a.fft shim; run it at its own URL or in Estuary

Punctual's [...] list is combinatorial (channel-count product) while {...} is pairwise; using [...] where {...} is intended silently multiplies channels

Punctual's $ makes everything to its right the final argument while & is reverse application; confusing them silently reorders the graph

Punctual's cps is fixed at 0.5 when run standalone; it only reflects the ensemble tempo inside Estuary

Punctual's lo/mid/hi analyse the program's own audio output; ilo/imid/ihi analyse microphone input — reading lo with no audio output gives 0

Punctual's three arrow operators have distinct roles: >> routes to output, <> sets crossfade duration, and << is assignment (synonym for =)

Pure Data patches run in realtime, so editing the patch changes the sound immediately

Putting yourself in a feedback loop — doing, observing results, adjusting — is how artistic skill with a tool develops

QLC+ Blackout forces all HTP channels to zero regardless of running functions

Quantization acts like guitar frets — it removes the need for exact placement so musicians can focus on expression

Quantization error is the rounding difference between the true signal amplitude and the nearest sample value

Quantization snaps notes to the time grid; humanization reintroduces small timing deviations for feel

Ragga DnB connects sound system culture to the DnB dancefloor through reggae vocals and offbeat rhythm

Raggacore fuses ragga and dancehall vocals and rhythms with breakcore's chaotic breakbeats

Raising a modulator from LFO rate into the audio range turns vibrato into a new timbre

Rasterization and ray tracing are inverse nested loops: triangles→pixels versus pixels→triangles

RAVE requires a CUDA GPU with 5–32 GB VRAM depending on config, and hours of audio

RAVE training requires CUDA verified via nvidia-smi and a dedicated conda environment

Ravi Shankar's sitar drone entered Western pop via the Beatles' 'Revolver' in 1966

Re-evaluating an Ndef with a syntax error keeps the old graph running with no audible indication

Re-running a Sonic Pi buffer does not restart the piece; it swaps each live_loop body in at its next boundary and loops keep their .tick counters

Realtime DSP processes audio as it is produced; offline DSP calculates ahead of playback

Realtime technology is what makes live AV performance possible by enabling simultaneous capture and manipulation of sound and image

Receiver notation (a.msg(b)) and functional notation (msg(a,b)) are interchangeable in SuperCollider

Record every wire connection and modification as you make it—notes taken after the fact are unreliable

Recording splits a sound from its original source context — schizophonia

Red-orange is the warmest color and blue-green the coldest, but intermediate hues shift warm or cold only relative to their neighbors

Reliable stereo imaging requires the two speakers and the listener to form an equilateral triangle

Remapping CAPS LOCK to CTRL removes pinky strain for keyboard-heavy workflows

Renardo 1.0 replaces the legacy Tkinter editor with a browser-based Svelte web client as its default interface

Repetition of a point or element is a source of elementary rhythm and a means of heightening inner vibration

Rephlex coined 'braindance' as an artist-side alternative to the externally-imposed IDM label

Resistor color bands encode value and tolerance using a fixed two-digit-plus-multiplier scheme

Resistors in series add; in parallel the net is a little less than the smaller one

Returning to a mix after overnight rest reveals problems that ear fatigue conceals

Reverb amount controls a sound's perceived distance: drier sounds appear closer

Reverb belongs on a wet-only send-return with post-fader sends so one effect serves every track and the mix stays balanced

Reverse-engineering razor-blade tape medleys teaches song structure and edit timing

RGB numeric values have no meaning without a color space to interpret them

Rhythm & grime blended grime's 140 BPM production with R&B vocals, softening the genre while retaining its rhythmic identity

Rings in Sonic Pi wrap around on any index access, enabling infinite cycling of sequences

Rinse FM as a pirate station and BareFiles as an archive site distributed early dubstep globally before any label releases

Roger Linn's 1979–80 LM-1 introduced machine swing by delaying every other quantised step

Roland TR-808 and cheap Japanese synths democratised studio production for Chicago house DJs

Ron Hardy's Music Box created a physically overwhelming intensity that raised the energy floor for Chicago house

Room acoustics are at least as important as the speakers and deserve equal spending

Russolo's 1913 Futurist manifesto established noise as a principled musical aesthetic

s.freeAll (Cmd-.) frees every running node but leaves the server booted and SynthDefs loaded

Sample playback reproduces a stored recording at variable rate to change pitch, trading flexibility for sound quality and memory