Atoms

Making the raymarching hit threshold proportional to distance implements view-dependent level-of-detail

Mala's production philosophy was that contributing by removing elements is as valid as adding them

Manipulating individual latent dimensions of a RAVE model morphs continuously between audio-effect and synthesizer behavior

Many self-timed audio voices and many self-timed visual agents are the same concurrent-agents structure expressed in two domains

Mapping a per-track OSC envelope to visual parameters turns a music sequencer into a precise visual accent machine

Mapping source brightness to tile size rasterizes an image into a halftone-like grid where dark areas make smaller tiles

Marbles separates random rhythm (t) from random voltage (X) as two independently controllable stochastic layers

Marbles' Y output is a slow smooth random source, immune to DEJA VU, ideal for self-patched modulation

Markov chains model context-dependent musical choices by making each event depend probabilistically on prior states

Masking human scent on microphone windshields lets you place mics near scent-sensitive animals without disturbing them

Master-buss compression applied early in the mix allows individual tracks to be balanced against the buss processing

Mastering a small, specific tool set can produce deeper work than a large gear inventory

Mastering engineers apply objective technical skills but aesthetic outcomes vary — choose one whose taste aligns with yours

Matching vocal rhythm to the natural stress pattern of lyrics produces natural-sounding vocal melodies

MATHS builds a full ADSR by chaining Channel 1 and Channel 4 with EOR as the link

Maths compares two signals and outputs a gate when one exceeds the other via SUM-based subtraction

Maths creates an Arcade Trill complex LFO by triggering CH.1 from CH.4 EOC and patching CH.4 output back to CH.1 Both IN

Maths divides an incoming clock by a ratio set by the RISE parameter of a triggered channel

MATHS divides an incoming clock by setting Rise time longer than the interval between triggers

MATHS extracts a gate from a CV by comparing it to a threshold and firing an instant EOR pulse

MATHS implements a 1-bit set-reset flip-flop with CH1 Trigger as Set and BOTH CV as Reset

Maths mirrors a control voltage around an offset point by inverting it on one channel and summing a fixed offset from another

Maths multiplies two control signals by patching both to a channel with RISE full CW and FALL full CCW

Maths performs full-wave rectification by multing a signal to CH.2 (normal) and CH.3 (inverted) into OR OUT

Maths simulates a bouncing-ball physics envelope by chaining two channels with decaying amplitude

Maths soft-syncs to a sawtooth oscillator by patching it to the lag input in audio-rate cycling mode

mc.nn~ processes multiple audio channels through one RAVE model instance to cut CPU and RAM

mc.nn~ runs several audio streams through one model as a batch, saving CPU and RAM versus duplicating nn~

mcs.nn~ packs all of one instance's inlets/outlets into a single multi-channel connection, enabling per-batch latent operations

Meantone and well temperaments trade unlimited modulation for purer intervals and distinct key colors

Melody on chord tones sounds resolved; on tensions it pulls — good lines put tension on weak beats and resolution on strong beats

Micro timing shifts individual trigs ahead of or behind the beat grid

Micro-power FM radio is the modern pamphlet — a community speech technology suppressed by spectrum-scarcity doctrine

Microfacet models represent rough surfaces as collections of tiny facets described by a normal distribution

Microfiltration applies a unique filter to each grain for spectrally animated textures

Micromontage assembles micro-sound particles manually or algorithmically on a timeline

Microsound composition operates simultaneously on multiple time scales

Mid/Side encoding separates the mono centre from the stereo-only sides for independent control

MIDI 2.0 extends MIDI 1.0 rather than replacing it, so existing devices and messages stay valid

MIDI tracks use the same p-lock and condition system to sequence external gear with up to 4-note chords

MIDI-CI is MIDI 2.0's discovery-and-negotiation layer, delivering profiles, property exchange, and process inquiry

MIDI-CI Property Exchange uses JSON over SysEx to get and set device data with no bespoke software

MIDI-CI runs over any MIDI 1.0 transport because it is carried in System Exclusive messages

MIDIOut sends MIDI from SuperCollider to a DAW via the macOS IAC Driver virtual MIDI bus

Minimal techno creates groove by nesting rhythmic layers inside each other rather than layering sounds

Minimal techno layers 'rhythms inside rhythms' so sustained listening reveals hidden structure

Minimising voice movement between chords through inversions creates smoother, more playable progressions

MiniTidal's continuous signals (sine, saw, tri, square, rand) can modulate any control parameter

Minor ninth chords (m9) add a major ninth above a minor-seventh chord, producing a beautiful mellow sound used in deep house and ambient

MIR uses content-based audio feature extraction and machine learning to automate musical analysis and similarity search

Mirror neurons fire both when performing and when observing an action, enabling embodied perception of musical effort

Mirroring the intro, looping with subtraction, or fading out are three distinct strategies for ending a track

Mixing a dry kick and a processed copy on separate channels lets each be balanced independently

Mixing on an analog console trains ear-based instinct that digital screens cannot replicate

Modern New Beat (2010s) is more futuristic and cinematic than Old New Beat and directly precedes Midtempo Bass

Modern real-time rendering uses rasterization + ray tracing + denoising together, not pure ray tracing

Modulating partial frequencies and amplitudes with noise spreads each sine into a band, letting additive synthesis approximate noisy timbres

Modulating the decay envelope length with a clock divider creates alternating open and closed hi-hat patterns

Modulation changes the tonal center mid-song; the dominant seventh of the new key is the primary agent

Monte Carlo integration converges at O(n^-1/2) regardless of problem dimension, unlike quadrature methods