Atoms

Renardo players receive SynthDef instructions via the `>>` operator and play patterns continuously

Renardo pre-defines Roman numeral chord constants I–VII as PGroups for quick chord progressions

Renardo requires SuperCollider installed and bootable separately before it can produce sound

Renardo ships a large built-in scale library covering modes, bebop, world, and symmetric scales

Renardo startup files run automatically on launch to pre-configure the session environment

Renardo supports SuperCollider, REAPER, Ableton Live, and MIDI as swappable audio backends

Renardo uses scale degree integers (not MIDI notes) as pitch values, converted via `Scale.default`

Renardo's `.fadein(n)` method ramps amplitude from 0 to full over n beats

Renardo's `lpf` and `hpf` attributes apply per-note low-pass and high-pass filters directly on players

Renardo's `play()` instrument uses a string of characters to define a rhythmic sample pattern

Renardo's gatherer module enables downloading sample packs and instrument chains from a community server

Rendering a looping animation to video: save each frame and call exit() at a target frameCount

Replacing a toy's clock resistor lets you continuously vary its pitch and tempo

Replacing step with smoothstep at an SDF boundary adds anti-aliasing and glow effects

Representation learning discovers useful features from data instead of hand-designing them

Reserve raymarched 3D for when depth adds meaning; a flat SDF composition is often stronger

Resolume clips launch on the next bar boundary when BPM sync is active

Resolume effects chain sequentially so each effect processes the output of the previous one

Resolume layers each play one clip and composite together into the output

Return tracks and sends enable shared effects processing across multiple tracks simultaneously

Returning a material ID alongside the SDF distance lets the raymarcher know which object was hit for shading

rev() reverses the time direction of a pattern's events within each cycle

Reverb and delay create front-to-back depth — the mix's third dimension beyond frequency and stereo

Reverb bundles several enhancements at once, so design a separate patch for each subset you need

Reverb can counteract masking by extending sustain or widening a masked sound

Reverb predelay sets a gap between dry attack and reverb onset that controls clarity and perceived distance

Reynolds defines DnB's distinctive essence as 'breakbeat-science and bass-mutation' — not genre-borrowing

RGB is a poor space for color reasoning because interpolation muddies through gray

Rhythm and pitch are the same phenomenon at different time scales

Rhythmic dictation transcribes a heard rhythm into standard notation

Rich granular textures emerge from superimposing grains that are individually trivial

Riddim is a minimalist dubstep subgenre defined by repetitive sub-bass lines and triplet percussion

Riley's In C structures a piece as ordered phrase cells each performer repeats and advances at will, blending determinism with indeterminacy

Ring modulation multiplies two signals, outputting sum and difference frequencies while suppressing the originals

RMS amplitude gives a perceptually smooth loudness value between 0 and 1

Robert Hood's Minimal Nation was made on secondhand pawn-shop gear with no reverb or compression

Roll off an instrument’s lows to make it stick out, or its highs to make it blend back

Rollers DnB prioritizes continuous hypnotic groove over dramatic drops, enabling seamless DJ mixing

Rolling off the lows and highs of a percussion loop lets it sit in a dense breakbeat mix

Room modes are standing waves between parallel boundaries at frequencies determined by room dimensions

room() adds reverberation to a pattern, from dry at 0 to increasingly wet at higher values

Root movement by fourths is strongest, by thirds smoothest, by seconds most contrasting — all drive chord progressions

rotate() and scale() in Processing transform geometry in local coordinate space, not screen space

Rotating a diameter chord around a circle while varying its length by noise produces a wave-clock pattern

Rotating the tonic of the pentatonic scale produces 5 distinct modes, each with a different emotional character

Round-robin sound sampling prevents perceptible repetition by rotating through a pool of similar samples rather than replaying one sound identically

Routing a sine wave through a bitcrusher at 8-bit depth creates grime's characteristic lo-fi buzzy bass

Routing an envelope to filter cutoff is the core articulation move of subtractive synthesis

Routing the highs band to kaleidoscope symmetry count produces a coherent coupling — fast bright content increases visual complexity

Routing the Mod Wheel to FM modulator amplitude gives the performer real-time control of brightness

Routing the Reese through a filter for its sub adds sub-bass that follows the main Reese's movement

rpitch: shifts a sample's pitch by semitones without manually calculating the equivalent rate

Running reverb on a parallel channel at 100% wet gives precise blend control

Running samples through a 12-bit engine adds the gritty crunch of classic Detroit drums

Running two copies of a record lets a DJ loop and tease its best section in real time

Sambass fuses Brazilian samba and bossa nova rhythms with DnB's breakbeat and bassline framework

Sample & Hold turns a continuous signal into stepped fixed values, the basis of digital audio

Sample and hold creates stepped random CV by sampling a noise source at each trigger, producing a stochastic melody or modulation

Sample chopping turns a recorded phrase into triggered slices that are re-sequenced into something new

Sample envelopes auto-set sustain to remaining sample length unless overridden