Atoms

SuperCollider Patterns are lazy descriptions of streams; asStream materialises them one value at a time

SuperCollider Pbind's pitch hierarchy supports alternative tunings via stepsPerOctave and scale

SuperCollider responds to incoming MIDI by registering callback functions on MIDI message types

SuperCollider routes audio between synths on numbered buses; Out.ar writes, In.ar reads, and Bus.audio allocates free buses

SuperCollider Routines and Tasks are coroutines that yield time to the clock between musical events

SuperCollider sends and receives OSC messages over UDP, enabling integration with other software and hardware

SuperCollider sounds are built from networks of Unit Generators (UGens) wired by nesting

SuperCollider's cross-platform GUI builds windows, sliders, and views by composing View objects in layout managers

SuperCollider's Env class defines a breakpoint envelope that EnvGen (or the .kr shortcut) plays back as a control signal

SuperCollider's Event system dispatches sound by type, making note, rest, group, and bus events uniform

SuperCollider’s GUI redirect system returns the active kit’s class when you request a generic Window

SuperCollider's Out UGen writes a signal to a numbered audio bus, not directly to hardware

SuperCollider's PMOsc implements phase modulation synthesis, producing FM-like timbres with modulator-as-ratio control

Superimposing two live images creates a 'third space' that belongs to neither source

Surge XT Filter 2 offset mode links its cutoff and resonance to Filter 1 as relative offsets

Surge XT LFO trigger modes determine whether the LFO phase resets on each new note

Surge XT macros are eight assignable MIDI-CC controllers that act on both scenes simultaneously

Surge XT portamento supports constant-rate glide, glissando quantization, and envelope retrigger at scale degrees

Surge XT provides digital ring modulation between oscillator pairs in the mixer and as a filter configuration

Surge XT provides four inter-oscillator FM routing topologies controlling which oscillators modulate each other

Surge XT routes modulation by selecting a source, engaging routing mode, then dragging a blue depth slider

Surge XT stores two independent synthesis scenes in every patch

Surge XT's 16-step sequencer can retrigger envelopes per-step and shape transitions with the Deform control

Surge XT's Classic oscillator blends pulse, sawtooth, and dual-saw waveforms with sub-oscillator and hard sync

Surge XT's Delay supports independent L/R times, crossfeed, and LFO modulation for stereo widening

Surge XT's eight filter configurations control serial, parallel, stereo, feedback, and ring-mod signal paths

Surge XT's mono play modes combine note priority, single-trigger legato, and fingered portamento independently

Surge XT's scene high-pass filter at the end of the voice chain removes DC and unwanted low end per scene

Surge XT's waveshaper applies a nonlinear per-sample transfer function to add harmonic distortion

Sustained (ADSR/ASR) envelopes require a gate argument: gate=1 opens the envelope, gate=0 triggers release

Swapping basslines cuts the low end on the outgoing track to make room for the incoming bass

Swapping L/R channels reveals whether an instrument is truly centred in a stereo recording

Sweeping a high-resonance (high-Q) filter is the acid-line's whole sonic identity

Sweeping pulse width with an LFO animates a single oscillator into a thick, chorused timbre

Swing is only audible when notes land on the delayed off-beat steps — a pattern with only on-beat hits is unaffected

Symmetry (reflection, radial, tiling) turns a small motif into a full frame at minimal cost

Synchronous granular synthesis produces ordered streams while asynchronous synthesis produces stochastic clouds

Syncopation and polyrhythm in Detroit techno distinguish it from European variants — this 'funkiness' is the defining tell

SynthDef names and stores a reusable synth recipe in the server; Synth instantiates it with specific argument values

Synthesis instruments must band-limit waveforms to avoid aliasing above Nyquist

Synthesizing drum sounds gives more parametric control than samples

Synthwave arrangements copy a reference track's classical verse-chorus song form

Synthwave chords use major progressions voiced on filtered analog-style pad synths

Syphon (Mac) and Spout (Windows) share live video streams between apps as VPT sources or outputs

Systematic pre-mix session preparation — cleaning, organizing, and routing tracks — prevents costly interruptions during the mix

t_gate arguments in SuperCollider automatically reset to zero after one control cycle, enabling clean re-triggering

Taking the absolute value of one coordinate in an SDF replicates geometry on both sides of a mirror plane

Tech house fuses house and techno via a distorted, off-beat bass at 120–130 BPM

Tech-house was born as a London party aesthetic blending Chicago house swing with Detroit techno toughness

Techno composition is loop-based: overdub successive layers over a repeating sequence, then shape structure by adding and removing elements

Techno departs from house through pounding low-end kicks and sparser hi-hats

Techno's aesthetic is harmonic stasis: one chord, drone, or none for the whole track, never a progression

Techno's near-zero swing and mechanical straight grid are an intentional aesthetic, not a production failure

Techstep replaced DnB's Afrodiasporic cultural references with sci-fi soundscapes and industrial textures

Techstep was a deliberate reaction against pop and virtuosic elements entering jungle/DnB

Television is the one area of audio where the loudest possible final level is not wanted

Tempered intervals differ slightly from just ratios: a tempered fifth is ~2 cents narrower than the natural 3:2 fifth

Tempo sync locks time-based parameters to host BPM so rates and times stay musically aligned across tempo changes

Tempo-locked visual changes are not achievable in this rig because the bridge exposes only FFT energy with no beat-phase or onset

Tempo-synced gain switching adds rhythmic emphasis a compressor cannot