Atoms

IEM stage monitoring should average no more than 95–97 dB for multi-hour performances

Image convolution applies a kernel matrix to each pixel's neighbourhood to produce blur and sharpen filters

img2img and txt2img mode in StreamDiffusion differ in their latent initialization and CFG constraints

Imperative engines can express tension arcs as continuous automation; cyclic engines can only produce section-quantized staircases

In a live modular techno rig most modules serve sequencing and manipulation, not sound generation

In a live set reverb is played as an expressive element for builds and breakdowns, not a static effect

In DnB production, maximum rhythmic complexity can coexist with extreme surface minimalism — 'minimal-is-maximalist'

In dub techno the effects chain, not the source sounds, does the bulk of the creative work

In dub techno, live-recorded automation of filter cutoff and send levels does the work of arrangement

In freeze mode, the playback position of a sample becomes a continuous sound parameter instead of advancing automatically

In Hardstyle, the kick drum must be pitched to match the track's melody — the most crucial production requirement

In industrial music, noise functions as an emancipatory strategy to overload and disrupt perceptions of order

In ixi lang musical phrases are named agents you manipulate by name with verb-noun-adjective actions

In live cinema, software is used as a real-time instrument for expression, not as a tool to produce a finished product

In pop music, timbre and production texture have replaced melody as the primary copyrightable identity

In sound clash competition, record selection decides the win over technical mixing prowess

In SuperCollider, effects buses require correct node ordering so the effect Synth reads the source Synth's output

In Surge XT you can modulate one LFO's parameters with any other modulation source

In techno a lowpass filter opening over 32 bars is itself the arrangement, replacing chord changes

In this livecoding rig a file save is the performance action: Strudel hot-swaps gaplessly and Hydra re-evals on the same GL context

In Tidal each sound parameter is patterned independently, so timbre aspects can carry their own polyrhythms

In VCV Rack 0 dBFS equals 10 V, and 0 dBVU sits at −18 dBFS by hardware convention

in_ratio and out_ratio in nn~ method registration define the temporal compression between audio and model outputs

Industrial music structurally relies on extremist imagery rather than merely tolerating it

Industrial music sustains a permanent tension between pan-revolutionary ideology and danceable pop appeal

Industrial music uses cut-up and détournement to recycle existing media fragments without concealing the seams

Industrial techno's 2010s revival drew a post-dubstep audience but faced 'sounds old' criticism

Industrial vocals are traditionally distorted to reject the sonic clarity that marks authority

Inharmonic timbres have a pseudo-octave — a non-2:1 interval that plays the functional role of the octave

Injecting fake bounce/subsurface lighting by hand into a raymarched scene fakes realistic results without global illumination

Inter-sample clipping can occur when the reconstructed waveform exceeds 0 dBFS between sample points even if no individual sample clips

Interactive music systems react to performer input in real time, ranging from deterministic score-following to autonomous improvising agents

Interference patterns in live coding produce outcomes that exceed the coder's prior imagination

Intertextual composition evokes familiar musical styles without citing sources explicitly

Introducing all elements early then removing them can create tension more effectively than holding them back

Introducing new elements every 8 bars and gradually increasing drum complexity sustains energy throughout a progressive house track

Introducing one micro-variation per bar across a drum loop prevents it from sounding like wallpaper

Inverting a mask on a black solid top layer turns it into a cutout window onto lower layers

ixi lang encodes rhythm as monospaced text agents where horizontal position of characters marks timing

ixi lang operates as a 'parasite' on SuperCollider — adding a constrained high-level syntax that coexists with full SC access in the same document

ixi lang organises musical notation into three real-time-synchronised modes — melodic, percussive, and concrète — each with its own bracket syntax

ixi lang represents music as agents performing scores that rewrite themselves in real time when transformed by code

ixi lang rewrites an agent's score in the editor when it is transformed, keeping the code a live view of current state

ixi lang's 'coder' mode removes the latency between typing and sound by mapping keystrokes directly to audio in real time

Jacques Attali argued that noise in music prefigures rather than reflects social transformation

Jam sync timecode locks location audio to camera via a brief cable handshake and periodic re-checks

Japan built one of footwork's most vibrant international scenes, adapting it into subgenres like vocaloid juke and party-juke

Jazz builds beats from the top (cymbals) down while rock builds from the bottom (kick and snare) up

Jersey club seeded the deconstructed club movement in the early-mid 2010s NYC underground

Jersey club's mainstream adoption raised concerns about outsiders coopting the sound for bookings

JITLib can crossfade a proxy's source when it is redefined instead of cutting abruptly

JITLib treats a running SuperCollider program as an ongoing construction rather than a compile-then-run tool

Jitter buffers use per-packet timestamps to reorder out-of-sequence audio packets

Jitter is variation in latency over time, not latency itself

Journalists routinely reprint and cannibalize what others have written without checking sources — making media manipulation easy

JUCE's ValueTree structure can serve as a single source of truth for a plugin's complete state, driving all object creation

Jungle tracks circulated primarily via acetate dubplates that wore out after ~50 plays, creating a hyper-local release cycle

Kandinsky proposes three primary contrasting pairs linking line type, plane shape, and color: straight/triangle/yellow, curved/circle/blue

Karplus-Strong physical modeling feeds an excitation signal into a tuned feedback delay to synthesize plucked or bowed strings

Keeping a sample's surface noise is an aesthetic choice that anchors a track to an era and feeling