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.
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Hard Light and Overlay are commuted versions of the same formula: Hard Light treats the blend layer as Overlay treats the base layer
Hard NRG blends offbeat bass patterns from Hi-NRG over darker anthemic trance beats
Hard sync resets a slave oscillator's phase every master cycle, locking its pitch and generating bright harmonics
Hard-coding the kick/bass/backbeat while making ornaments probabilistic gives a pattern both stability and life
Hardstyle melodies prioritize uplift through major scales and simplicity through minimal notes
Hardstyle's 'reverse bass' is a distorted offbeat bass that alternates with the kick in call-and-response
Hardstyle's defining kick has a pitched, distorted long tail produced through EQ, distortion, and layering
Hardstyle's production techniques spread outward into big room house, frenchcore and happy hardcore
Hardware modules like Stoicheia make Euclidean rhythm distribution tangible and patchable as a form of live coding
Harmonic dictation trains the ear to identify a chord progression and notate its outer voices
Harmonic synthesizers must zero out partials above the Nyquist frequency to prevent aliasing
Harmonious dyads, triads, tetrads, and hexads can be constructed by inscribing geometric figures in the 12-hue color circle
Harsh noise emerged in the early 1980s from the Japanoise scene and European power electronics
Harsh noise wall (HNW) sustains a single monolithic block of distorted static with no development
Hearing Ron Hardy in Chicago gave May a goal: make music worth playing, not music that sounds like anything
Hegarty argues noise music only becomes a genre proper with 1990s Japanese noise
Hi-hats on every offbeat define the garage rhythmic framework
High tech soul names Detroit techno's core identity: Black electronic music with soul
High-density mineral-fiber bass traps placed at room boundaries absorb low-frequency room modes
High-pass filtering below ~40 Hz removes inaudible subsonic content that makes bass sound flabby
High-passing the reverb return clears low-frequency mud without losing the blend or spatial effect
Hip-hop head-nod comes from heavy swing (30–50%) plus a slightly late, laid-back snare
Hip-hop lo-fi texture comes from vinyl crackle, tape saturation, and bitcrushing — not from reverb wash
Hip-hop places the kick before or after beat 1 of bar 2 instead of on it
Honour the rough mix as intent but bring your own craft rather than copying it
Hood created acid-style lines using a Roland Juno 106 rather than a TB-303, demonstrating tool-agnosticism
House drum tracks layer a sampled loop with individual synthesized drum hits to combine groove and punch
House drumming centers on a four-on-the-floor kick inherited from disco
House is the most harmonic four-on-the-floor genre, with 7th/9th chord-stabs as its hook
HTP (Highest Takes Precedence) sends the highest channel value when multiple sources compete
Hue/Saturation/Color/Luminosity blend modes swap perceptual dimensions between layers rather than mixing channel values
Human skin conducts electricity and can serve as a variable resistor inside a circuit
Humanization randomizes timing and velocity, distinct from swing's systematic long-short pattern
Humanizing MIDI drums means subtle off-grid timing and narrow velocity variation — controlled imperfection, not randomness
Hydra accepts a function in place of any numeric parameter, evaluated every frame
Hydra blend operations are per-pixel arithmetic on R, G, B values, not layer compositing
Hydra can embed multiple sources inline in one chain instead of routing each to a separate output
Hydra can use another browser tab or window as a live video source, then process it like any signal
Hydra color transforms multiply, shift, or key the RGBA channels of a texture
Hydra geometry transforms reposition, scale, or tile a texture without changing its colors
Hydra is a browser-based live coding environment for visual synthesis, enabling collaborative networked visual performance
Hydra models WebRTC browser streams as patchable modules, enabling live routing of video between remote peers
Hydra processes a webcam by initialising it into s0 and using it inside src()
Hydra reads only the browser's default microphone input, not desktop audio; DAW output requires virtual audio routing
Hydra shares sketches as links that reopen the editable code, building a traceable remix lineage
Hydra sources inside Estuary are chained with dot-notation and sent to outputs with .out()
Hydra visuals are built by chaining functions, and the order of the chain changes the output
Hydra's `a` object exposes real-time FFT bins so any parameter can be driven by an audio frequency band
Hydra's a.fft array holds per-bin amplitude values produced by FFT analysis of the microphone input
Hydra's a.onBeat() callback fires whenever a.vol crosses a configurable threshold
Hydra's a.setSmooth sets smoothing for all bands globally — to smooth one target differently, write a per-value lerp in the thunk
Hydra's blend family composites two sources by arithmetic on their pixel colors
Hydra's modulate() uses one texture's red/green channels as coordinate offsets to warp another
Hydra's six built-in source functions each generate a distinct base texture type
Hydra's speed global scales the global time variable that drives parameter animation
Hypercompression flat-lines the waveform to chase loudness, destroying dynamics irreversibly
I/O vector size in Max/MSP sets the tradeoff between audio latency and CPU efficiency
Immediate-mode 2D canvas redraws the whole frame each tick from explicit vector calls while retaining program state between frames
Immediate-mode canvas treats text as a first-class visual element and can convert glyph outlines to point clouds
Impulses fuse into a continuous tone at about 20 impulses per second