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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 1,621–1,680 of 5,034 · page 28 / 84

Ambiguous images flip between interpretations and cannot be seen both ways at once
Concept L2 First instrument L
Amplitude modulation produces tremolo at sub-audio rates and carrier±modulator sidebands at audio rates
Concept L2 First instrument BE
An algorithm's affordances are the musical actions it suggests or enables to its user
Concept L2 First instrument FN
An analog sawtooth VCO controls pitch by charge current, using 1V/octave exponential scaling
Concept L2 First instrument BE
An analog VCO core makes one native waveform; internal waveshapers derive the others from it
Concept L2 First instrument EB
An analyzer plots a track's averaged EQ curve so you can compare tonal balance visually
Procedure L2 First instrument D
An Archimedean spiral is drawn by incrementing both angle and radius simultaneously in a loop
Procedure L2 First instrument H
An Ardour track/bus type is chosen by its signal source and routing role, not just its name
Concept L2 First instrument N
An arpeggio is the foundational melodic element in trance that anchors pads and leads
Procedure L2 First instrument BA
An arrangement is organized into named sections, each carrying a density/energy target and a structural function
Concept L2 First instrument AF
An effective poster pairs something recognizable with an unexpected presentation to hold the viewer
Principle L2 First instrument HL
An electret condenser microphone element is a cheap, high-quality microphone that requires a bias resistor and battery to operate
Concept L2 First instrument EB
An element in painting is the tension alive within a form, not the visible form itself
Concept L2 First instrument L
An ellipsoid SDF is computed by scaling space to transform the ellipsoid into a unit sphere
Concept L2 First instrument G
An endless encoder needs an external value display because, unlike a fixed-range pot, its position carries no value
Concept L2 First instrument EN
An envelope follower extracts a control signal that tracks a sound's amplitude contour over time
Concept L2 First instrument BDJ
An envelope is just a CV shape: it can modulate any patchable parameter, not only amplitude
Principle L2 First instrument EB
An envelope on the FM modulator produces time-varying timbre with no filter
Concept L2 First instrument BE
An established 8-bar phrase cycle makes structural exceptions perceptually powerful
Concept L2 First instrument A
An exp-curve bass amplitude pump is the supported proxy for a kick-keyed visual sidechain, and it is not the same thing
Misconception L2 First instrument JH
An FM operator bundles an oscillator, a key/velocity scaler, and an envelope, making it more than a bare oscillator
Concept L2 First instrument BE
An Input Profile maps external controller channels to named parameters for hardware-agnostic VC assignments
Concept L2 First instrument I
An integer c/m ratio N1/N2 fixes the fundamental and which harmonics appear in an FM spectrum
Principle L2 First instrument B
An iterative random walk accumulates small random steps to produce an organic wandering line
Concept L2 First instrument H
An LFO controlling FM modulator amplitude creates tremolo-like timbral modulation (TM) without a filter
Concept L2 First instrument B
An ofxFloatSlider added to an ofxPanel binds a live variable to a draggable GUI control
Procedure L2 First instrument H
An open-source hardware licence let the Turing Machine spawn third-party panels, expanders, and free software clones
Fact L2 First instrument E
An oscilloscope plots time on the x-axis and amplitude on the y-axis, making voltage signals visible
Concept L2 First instrument EB
An unquantized bassline reinforces a drunk drummer beat by continuing its off-grid motif
Principle L2 First instrument A
Analog circuit imperfections become intentional character in sound design and are sometimes digitally recreated
Concept L2 First instrument EB
Analog VCOs use either a sawtooth core or a triangle core, each producing different waveform strengths and weaknesses
Concept L2 First instrument EB
Analogue gear provides at least 20 dB of headroom above 0 VU; digital systems clip hard at 0 dBFS with no equivalent safety margin
Concept L2 First instrument DB
Angle brackets in Tidal mini-notation select one element per cycle, creating slow-cycling pattern variation
Procedure L2 First instrument F
Animating shaders with the sine function and iTime creates smooth, looping motion without discontinuities
Concept L2 First instrument G
Antialiasing in ray tracing averages multiple randomly-offset rays per pixel
Concept L2 First instrument G
Anticipation is a preparatory move before a major action that primes the viewer's expectation
Concept L2 First instrument LH
Any ground subtracts its own hue and lightness from the colors it carries, shifting their perceived identity
Principle L2 First instrument L
Any Hydra number parameter can be a function evaluated each frame, enabling gestural and data-driven control
Procedure L2 First instrument H
Any Hydra parameter can be a function of time, enabling continuous animation without retyping code
Concept L2 First instrument H
Any signal can be decomposed into an overlapping sequence of grains
Principle L2 First instrument B
Apartheid-era boycott workarounds (cover versions, slowed tempo) shaped a distinct South African house sound
Concept L2 First instrument O
Apply shelving EQ before peaking filters because shelves adjust whole spectral ends with fewer artifacts
Principle L2 First instrument D
Applying a transform only every nth cycle keeps a steady section alive without changing sections
Principle L2 First instrument AF
Applying an aggressive LFO to a sampled instrument creates the grime eskibeat blinking sound
Procedure L2 First instrument BC
Applying different MPC 3000 swing amounts per element (8ths on the kit, harder 16ths on hats) creates boom bap's head-nod
Fact L2 First instrument AD
Applying stereo widening to reverb/delay returns keeps its side effects off the dry signal
Concept L2 First instrument D
Ardour snapshots save alternate versions of a session within the same folder without overwriting the current state
Concept L2 First instrument N
Ardour's processor box is the per-strip plugin chain where signal passes pre- or post-fader
Concept L2 First instrument ND
Arpeggiation breaks chord notes into a melodic sequence, creating motion within a static harmonic field
Concept L2 First instrument AF
Arrangement View is a linear timeline where clips are fixed in time and automation is written globally
Concept L2 First instrument N
Arrangements have five functional elements: foundation, pad, rhythm, lead, and fills
Concept L2 First instrument DA
Arranging colors exclusively in stripes suppresses shape dominance and foregrounds color interaction
Procedure L2 First instrument LH
Arrays in Processing store multiple values under one name, accessed by zero-based index
Concept L2 First instrument H
Art-Net and sACN are the two competing Ethernet-based DMX transport protocols
Concept L2 First instrument I
As drum and bass matured in the late 1990s it branched from a single root into many coexisting subgenres
Concept L2 First instrument O
Asynchronous granular synthesis (AGS) scatters grains statistically across time-frequency clouds
Concept L2 First instrument B
At 180-230 BPM gabber fuses kick and bass into a jackhammer pulse, so rhythm stops working as danceable groove
Concept L2 First instrument OA
Atmospheric pads and samples layered over the drums and bass set a DnB track's 'light' or 'dark' mood
Procedure L2 First instrument BA
Attack and release fast enough to track waveform cycles produce distortion
Concept L2 First instrument D
Attack and release times must be set by ear because values in milliseconds are unreliable across compressor models
Principle L2 First instrument D