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 2,281–2,340 of 5,034 · page 39 / 84
Irrational c/m ratios place FM sidebands between harmonics, creating inharmonic spectra for metallic sounds
Isolating and looping a track's most compelling section creates a hypnotic transporting effect
Isolationism took ambient into claustrophobic, foreboding territory in the early 1990s
Italo house is defined by busy rhythmic piano drops and acapella samples from US R&B records
iter n rotates a pattern's starting point forward by one subdivision each cycle
Japan's Kansai no wave scene, rooted in New York no wave, gave rise to the Japanoise movement
Jazz four-on-the-floor is feathered — the kick is struck so lightly it is felt rather than heard
Jazz-Jungle fusion in 1995 DnB borrowed chord textures but not improvisational process, producing what Reynolds called 'fuzak'
Jazzstep integrates live jazz instrumentation — saxophones, trumpets, piano — into the DnB breakbeat framework
Jersey club smooths Baltimore club at a steady 140 BPM with its 'bed squeak' sample
Jersey drill fused Jersey club kick patterns with drill flows, formalised from a 2021 viral skit
Jitter adds controlled timing randomness to a clock, from subtle humanization to complete chaos
Joey Beltram's 'Energy Flash' was re-labelled techno by the market though its maker considered it house
John Cage dissolved the distinction between musical sound and noise by treating all sounds as equally usable
Juan Atkins was the originator who introduced Detroit's Black youth to the creative possibilities of electronic music
Judging bass from several room positions averages out room-mode errors
Juke and footwork grew from ghetto house sped 33-at-45 rpm; juke is the abstract parent, footwork the dance-linked form
Jungle had three major internal subgenres: ragga jungle, jump-up, and ambient jungle, each with distinct sonic priorities
Jungle producers built a new genre by slicing the Amen break into individual hits and rearranging them at high speed
Jungle underwent multiple revivals showing that underground scenes can re-emerge decades after apparent commercial extinction
Jungle was a site of contested Black British identity — the 'jungle' label itself was both reclaimed and weaponised
Jungle’s sub/upper split with a deliberate mid-range gap is a structural template for deep bass music
Just intonation tunes intervals to small-integer frequency ratios to eliminate beats with harmonic timbres
jux applies a transformation to only one stereo channel, splitting a mono pattern into a hard stereo image
Kandinsky theorised that specific colors have inherent associations with specific forms
Kandinsky's basic plane is an active field in which colors exert forces of advance and recession
Karplus-Strong synthesizes a plucked string by recirculating a noise burst through a delay line and a lowpass averaging filter
Keep drum and bass levels constant as the mix's steady backdrop
Keep the sub-bass mono and singular — one bass note at a time, because chords in the sub range turn to mud
Keeping code and output permanently synchronized eliminates the mental model gap that causes creative blindness
Keeping the carrier-to-modulator frequency ratio constant preserves FM timbre across pitches
Kevin Saunderson pioneered a remix method in 1988 that discarded the original track and rebuilt it around just the vocal and key
Key sync in FM synthesis resets each operator's phase on every new note, ensuring consistent sound across retriggers
Keyboard follow routes note pitch to the filter so higher notes open the filter more
Kick and bass must occupy slightly different frequency spaces and complementary roles to avoid muddiness
Klank implements a bank of resonant filters excited by an impulse to model acoustic resonators in SuperCollider
knit creates a ring by repeating each value a specified number of times
Language-side random functions in a SynthDef choose values at compile time, not at Synth creation
lastOf and firstOf apply a transform on one specific cycle out of every n
Late-2000s glitch hop absorbed dubstep and neurofunk into an EDM strand that diverged from its hip hop roots
Latent diffusion runs the denoising process in a compressed latent space instead of pixel space, cutting compute cost
Latin house brought clave rhythms and live Latin percussion into house via Masters at Work
Layer blend modes are non-destructive and dynamic; painting tool blend modes permanently alter pixels
Layered African percussion and indigenous-language chants are what make house sound like afro house
Layering a clicky hi-hat sample under a rounded kick adds the high-frequency presence the kick lacks
Layering a snare on every kick hit fills the frequency spectrum and adds attack to the kick
Layering a sub-bass 'rumble' sample beneath each kick deepens techno low end without a separate bassline
Layering a TR-808 and TR-909 kick into one sample yields a kick with both deep sub and sharp attack
Layering multiple drum sounds triggered simultaneously creates fuller, richer textures than any single sample
Layering multiple simultaneous entropy sources yields mush; add one knob of chaos at a time
Layering two closed hats with contrasting envelopes builds depth without velocity programming
Layering two contrasting kick sounds creates depth and rhythmic identity
Leaving 10-15 dB of headroom in a digital mix preserves transients and prevents overload distortion
LedFx auto-discovers WLED devices on the local network, enabling plug-and-play LED strip control without manual configuration
LedFx processes audio input in real time and pushes light effects to networked LED devices over Wi-Fi
Lengthening the 808 bass drum decay and tuning it to pitch converts a kick drum into a melodic bass instrument
lerpColor() over a for-loop of stacked lines builds a smooth gradient in p5.js
Level-matching before A/B comparison is required to evaluate processing objectively
LFO sync determines whether timbral modulation restarts with each note or runs continuously
Limiting simultaneous arrangement elements to four prevents listener fatigue