Atoms

Disabling time-stretching links pitch transposition to tempo change, creating rhythmic variation from a single sample

dispatchWorkgroups takes the number of workgroups, not invocations — total invocations equals workgroup count times workgroup size

Distortion plus a high-feedback delay turns a dry vocal chant into an EBM industrial texture

Dividing a shader build into named checkpoint stages lets you resume from a stable state and avoid rabbit holes

Divisive rhythm subdivides a fixed cycle; additive rhythm builds sequences by adding or removing beats

DJ Fulltono of Osaka pioneered Japanese footwork from 2008, persisting past crowds who found the tempo too fast

DnB distribution shifted from 12-inch vinyl singles to digital download to streaming, tracking the wider EDM market

DnB producers like Droppin' Science used polyrhythmic breakbeats to produce kinesthetic, bodily responses rather than purely sonic ones

DnB producers switch between two different breaks each bar to create rhythmic variety and tension

DnB with 'flavour' (musical identity, replay value) outlasts technically-competent but disposable tracks

Dragging (behind the beat) creates a heavy laid-back feel; rushing (ahead) creates urgency and forward drive

Drexciya extended electro's afrofuturism into a sustained science-fiction aquatic mythology

Driving percussion above 0 dB into StageLimiter compresses the whole mix on each hit for a sidechain-style pump

Dropping the bass one bar before a structural change signals the transition and eases the landing

Drum and bass is dominated by independent labels run by DJ-producers, which maintained genre control outside major labels until 2016

Drum sound replacement doubles (not replaces) subpar drums with samples to improve consistency while preserving human feel

Drumfunk foregrounds rhythmic complexity of breakbeats by minimizing bass and melody

Dub techno bass is deliberately simple — often a single sustained sine note pushed forward in the mix

Dub techno chord voicing stacks fixed semitone offsets to build a minor chord from one incoming note

Dub techno drums are low-passed to cut the top end and then saturated — the opposite of clean, punchy minimal-techno drums

Dub techno is a vibe and aesthetic, not a specific toolset — any synth becomes dub via saturation, a coloured filter, then delay and reverb

Dub techno melody ranges from old-school one-note to structured lines, usually in a minor key with D a common root

Dub techno percussion is pushed into dub territory with amp distortion, delay, and added noise

Dub techno sub bass is made from the kick sample by cutting its transient and keeping only the subby tail

Dub techno uses only a few elements filtered down low and sparse, filling the space with delays and reverbs

Dub techno's live feel comes from slowly automating filter, delay feedback, and reverb decay across the section

Dub techno's space comes from two shared sends: an overdriven reverb and a 100%-wet ping-pong echo

Duplicating a snare slice and tuning each copy up produces the classic drum-and-bass ascending pitch fill

Each arc should reserve its single highest-energy move for one boundary it has built toward

Each Buchla 200e module type has a module ID that lets the preset manager and internal bus address multiple identical modules independently

Each genre has characteristic groove parameters: drag/rush amounts, swing ranges, and which elements vary

Each grain can carry an independent spatial position for three-dimensional microsound projection

Each hue has a perceived brightness (luminosity) that peaks at yellow/cyan/magenta and dips at red/green/blue

Each Live scene can carry its own tempo and time signature, settable via OSC

Each livecoding edit should introduce or retire exactly one concept-id so the diff is legible and attributable

Each polyphonic grain in Max/MSP needs a unique instance ID to avoid shared-state collisions

Each Surge XT LFO exposes three independent outputs: full LFO, raw waveform only, and envelope only

Each track can have an independent length and speed to create polymetric patterns

Each VCV Rack cable adds a one-sample delay, which can cause clock/reset ordering bugs

Early sampling culture predated rights-clearance, leaving source performers uncompensated

EBM and industrial draw on pre-modern British Isles ballad repetition patterns, not only African-diaspora groove traditions

EBM's 'body music' ideology demanded an aggressive physical performance style, rejecting the static synthesizer act

EBM's use of totalitarian and military imagery is an ironic-provocative strategy inherited from punk, not political endorsement

Echoic memory lasts only ~20 seconds, making accurate cross-room comparison unreliable

Editing non-overlapping repetitions of a single track to create a fake double-track adds width without phase cancellation

Effective chance in art is never blind — it is planned, constrained, and then surprising within those constraints

Effective counterpoint requires rhythmically independent voices that each function as standalone melodies

Effective live visual sets balance continuity (flow) and surprise (break): too little novelty is boring, too much destroys coherence

Effects such as delays can be constituent parts of sound creation, not just post-processing

Electroclash's core stance was double-coded — critiquing the excess it simultaneously celebrated

Electronic tracks stay engaging by having a sense of direction and propulsion rather than a static repeating loop

Emergence is complex organized behavior arising from many simple local interactions

Emulate the dub mixing board by driving the delay/reverb chain into saturation — overdrive placed after the wet effects

Enabling pitch tracking on a noise oscillator makes it follow the played MIDI note for melodic noise effects

Envelope following maps smoothed audio amplitude over time to continuously control visual parameters

EQ boosts on multimiked tracks change comb-filtering relationships unpredictably; cuts are safer

EQ swaps do not fix key clashes — mismatched keys still clash after a bassline swap

EQ treats speaker-to-room interactions — it cannot fix fundamental room acoustic problems

EQing a parallel dynamics return aims the processing at specific frequency regions

Equal temperament divides the octave into 12 equal semitones; just intonation uses pure frequency ratios — the two differ by cents