Atoms

Generative music apps (Bloom, Scape) blur composer and listener; reactive apps use sensors (GPS, microphone) to make music responsive to physical context

Generative mutation drifts a pattern imperceptibly moment-to-moment but completely over minutes

Geometric motion should be restrained and mechanical-but-eased so the eye can follow every edge

Geometric visuals are built by combining one SDF shape with boolean operations, then imposing symmetry, then composing the frame

Geometric visuals are built on precision — outline-stroke shapes, high value-contrast, no noise, on a flat ground

Getting media onto a VPT layer takes two steps: activate a source, then select it in the layer's source menu

Ghetto house evolved from Chicago house in the early 1990s and directly seeded footwork and juke

Ghetto tech leans toward electro and Detroit techno while ghetto house is Chicago four-to-the-floor

Ghost notes are very quiet unaccented hits that add groove without changing the overt pattern

Glicol builds sound by chaining named audio nodes in a directed graph

Glicol compiles to WebAssembly for garbage-collection-free real-time audio in the browser

Glicol suits ambient drones because its modular graph natively sustains and slowly modulates signals

Glicol's seq node divides a bar by spaces and sub-divides each beat with concatenated MIDI numbers

Glitch hop fuses glitch production techniques with hip hop rhythmic structure

Glitch motion is frantic and discontinuous — jumps, freezes, and strobe-flash accents rather than smooth transitions

Glitch palette is high-contrast and electric — black plus saturated green/magenta/cyan and white, with broken color from channel offset on-brand

Glitch pop and folktronica bring digital-error aesthetics into song-based, acoustic-instrument structures

Glitch production migrated from damaged hardware into software simulation of failure states

Glitch's defining distinction is deliberate engineered failure versus accidental malfunction

Global illumination (indirect light) has no good rasterization solution and requires ray tracing

GLSL pow(x,y) returns undefined for negative x, causing silent visual bugs

GLSL requires a decimal point on all floating-point literals

GLSL uniforms pass values from the CPU to the GPU each frame

GLSL UV coordinates let shaders vary per-pixel, turning time oscillators into spatial patterns

GLSL's in/out/inout qualifiers set whether a function reads, writes, or modifies an argument

Goldie's 'Timeless' elevated drum and bass from sample-looping into long-form orchestral composition

Good melodies balance ascent and descent and alternate between stepwise and leapwise motion

GPU fragment shader color output channels are clamped to [0,1]; values exceeding 1 saturate and produce incorrect gradients

GPU instancing draws multiple copies of the same geometry in one draw call, using @builtin(instance_index) to differentiate each copy

GPU-side data is stored in GPUBuffers created with size and usage flags, then populated via device.queue.writeBuffer

Gqom and Miami bass share bass and car culture but are distinct in origin and production

Grain density spans texture from discrete rhythmic events to continuous tone

Grain start position and duration together determine which region of a sample buffer each grain plays back

Granular clouds are statistical sound masses at the meso time scale

Granular grains are less than 50 ms long, typically 10-30 ms

Granular synthesis blurs the boundary between microstructure and macrostructure by making grain-level choices compositional

Granular synthesis changes a sound's duration independently of its pitch

Granular synthesis exposes per-grain parameters: pitch, duration, position, panning, and waveform content

Granular textures organise into three perceptual layers: points, lines, and clouds

Granulating a sound file by manipulating the read pointer transforms the identity of the original source

Granulation segments an existing sound into grains and reassembles them in new time order

Grassmann's laws let color matching be decomposed into independent primary matches then summed

Great mastering engineers form a mental image of the finished sound on first listen and then execute toward that goal

Great mixes think in three dimensions: tall (frequency), deep (effects/ambience), and wide (panning)

Grid, Live, and Step recording modes each offer a distinct trig-entry workflow

Griffin-Lim reconstructs a plausible phase from a magnitude spectrogram, so its output sounds robotic

Grime basslines use pulse waves through low-pass filter envelopes to produce a round, punchy sub sound

Grime producers recycle riffs from old speed garage, DnB, and hardcore vinyl as raw sound design material

Grime's 'bedroom' intimacy comes from going easy on reverb so sounds sit right by the ear

Grime's clash culture at Jammer's basement built MC careers through recorded head-to-head battles before any commercial release infrastructure existed

Grime's disjointed feel comes from displacing the second snare in a two-step pattern rather than adding layers

Groove is tension against even time — perfect quantization destroys it by removing human variation

Groove timing is judged by ear against the feel, not by the metric grid

Hakken is a chopping/stomping dance that evolved exclusively within the gabber scene

Halftime DnB slows the perceived groove to half the tempo while the track still runs at DnB speed

HAP trades low CPU usage for high storage bandwidth, so full-quality playback needs a fast drive (SSD)

Happy hardcore evolved in the late 1990s by losing its breakbeats and adopting a distorted 909 kick pattern

Happy hardcore's commercial success split from underground gabber and alienated the diehard community

Hard color boundaries read as spatial separation; soft boundaries signal proximity or penetration

Hard house has an unprocessed punchy kick, while hardstyle has a distorted long-tail kick and reverse bass