Atoms

Tidal uses (k,n) notation inside a pattern to generate Euclidean rhythms — evenly distributing k onsets over n steps

Tidal writes chords with the apostrophe form n "c'min7" and has no separate .voicing() step

Tidal's d1..d16 channels and p come from BootTidal.hs and have no Strudel equivalent

Tidal's fundamental time unit is the cycle, not the beat, so adding events packs them tighter rather than lengthening the bar

TidalCycles emerged from the need to make live music without minutes of dead air — Perl was too slow for real-time performance

TidalCycles is a live coding environment designed for exploring musical pattern

TidalCycles is a pattern language that makes no sound; it delegates audio to a separate engine (SuperDirt/SuperCollider)

TidalCycles was designed to be immediate, so a code change is audible within a few seconds

Tides has three ramp modes: one-shot AD, cyclic oscillation, and one-shot AR envelope

Tides' entire function set reduces to one principle: voltage goes up (flow), then comes back down (ebb)

To learn a live-coding language faster, imagine the sound before pressing Run, then diagnose the difference

To modulate a running Sonic Pi effect or synth you must capture its block-argument handle and call control on it

Tonic (I), Dominant (V), and Subdominant (IV) are the three primary chords of any key, anchoring all chord progressions

Trance runs 125-150 BPM four-on-the-floor but de-emphasizes the kick to expose the bassline

Trance splits into progressive, uplifting, and tech trance subgenres with distinct BPM ranges and drop structures

Trax Records and DJ International were the primary Chicago house labels that distributed the music to New York and London

Trax Records' week-long turnaround gave Chicago house its first distribution infrastructure but exploited artists

Treating the tape recorder as a creative instrument rather than a faithful transcriber founds electroacoustic composition

Trip-hop diverges from hip-hop by prioritizing atmosphere and introspection over lyrical bravado

Trip-hop grew from Bristol's soundsystem culture merging Jamaican dub with American hip-hop in the late 1980s

Trip-hop's characteristic female-led vocals trace to its jazz and early-R&B influences

Trip-hop's melancholic mood draws on post-punk influence, distinguishing it from both hip-hop and mainstream pop

Trip-hop's signature sound combines slowed breakbeats, dub bass, filmic samples, and jazz-inflected instrumentation

Twentieth-century avant-garde artists established chance operations as a critique of rational order

Two sine waves of close but different frequencies produce audible beats at a rate equal to their frequency difference

Two sine waves of the same frequency add constructively or destructively depending on their relative phase

Two Sonic Pi live_loops with the same name are not independent — the second replaces the first

UGen .range and .exprange map a -1 to 1 signal to a custom output range (linear or exponential)

UGens are either unipolar (0 to 1) or bipolar (-1 to +1); knowing which is essential before routing their output

UGens run at audio rate (.ar) or control rate (.kr), trading CPU for update resolution; only .ar signals reach the speakers

UK anti-club laws pushed acid house events into illegal warehouse raves, founding the rave scene

UK breakbeat hardcore fragmented around 1992–93 into happy hardcore, jungle, and darkcore by selectively keeping or dropping elements

UK funky blends soulful/tribal house and UK garage with African and Latin percussion at ~130 BPM

UK garage fractured around 2002 as MC-led, darker production diverged from its soulful mainstream, birthing grime

UK garage is a derivative of US garage house, not the same genre

UK garage is defined by shuffled 16th-note hi-hats, syncopated rhythms, and chopped/time-stretched vocal samples at ~130 BPM

UK garage's darkening production and MC-centred culture directly seeded grime as a separate genre

UK hard house began as a gay-club-scene sound before broadening into the mainstream dance scene

UK hard house is a fast, offbeat-stab style defined by the 'hoover' synth sound

UK rave music accelerated from ~130 BPM in the late 1980s to ~175 BPM by the mid-1990s through a DJ-producer feedback loop

UK tabloid moral panic in late 1988 got acid house banned from radio, TV and shops almost overnight

Unbounded `u_time` loses float precision over minutes, causing visible jitter in periodic motion

Underground Resistance positioned itself as an anti-commercial, anonymous movement against the music industry

Underground Resistance used a paramilitary aesthetic to frame production as resistance to the commercial industry

Unipolar CVs range from 0 V to a positive maximum; bipolar CVs swing both positive and negative

Unlike subcultural EBM, new beat records were made mainly to chart commercially

Uplifting trance gets its 'happy' character by resting chord progressions on major chords at 135–140 BPM

US garage producers like Masters at Work used syncopated 'skippy' drum programming that UK producers studied and copied

use_bpm sets the tempo so sleep, envelopes, and FX phases all scale accordingly

Using an audio-only function in a visual context (or vice versa) in Punctual silently returns 0 rather than an error

VCV Rack is a free, near-limitless software modular synthesizer that closely approximates hardware Eurorack for learning and planning

Visual dataflow patching (Max/Pd) builds instruments by wiring boxes, distinct from text-based live coding

Visual music is defined by the quality of its audiovisual combination, not by any single medium, context, or presentation form

VJ hardware falls into five functional roles: Source, Playback, Mixing, Effects, and Output

VJ software spans content-creation tools, live-performance platforms, and custom programming environments

VJs adopted prosumer video mixers as performance instruments, mirroring DJs' Technics 1200 appropriation

VJs keep a hardware video mixer alongside software as insurance against computer crashes

Voltage control lets any module parameter be driven by another module's output

Voltage controls oscillator pitch: higher voltage produces higher pitch

Warm-cool is a relative color quality — warm blues and cool reds exist within their own hue families