Atoms

Monte Carlo integration estimates the rendering-equation integral by averaging random samples

Morphing between two parameter sets gives additive synthesis a single performable control dimension

Motion blur is achieved by rendering multiple frames at sub-frame time offsets and averaging the results

MTS-ESP allows one central source instrument to retune all compatible plugins simultaneously in a session

Multi-band tape saturation on the drum bus shapes frequency balance and adds perceived loudness

Multi-purpose voice modules keep a live rig compact by each covering several sonic roles

Multi-scale SpectralLoss compares audio at multiple FFT sizes to balance time and frequency resolution

Multi-stage compression across analog and digital domains achieves high levels with less audible artifact than a single heavy stage

Multiband compression is for imbalances specific to one frequency band

Multiband dynamics fix a dynamic problem in one frequency region without touching the others

Multichannel reverb mix modulated by source-to-speaker distance models sound spatialization in SuperCollider

Multiple distinct techniques for widening stereo use different mechanisms and have different mono-compatibility profiles

Multiple LoRA weights can be loaded and fused into StreamDiffusion before inference for style mixing

MUSDB-HQ is the standard benchmark dataset for music source separation research

MUSIC V's unit generator model chains composable processing blocks to build synthesis instruments

Music-centred design extends user-centred design to privilege the needs of performers, audiences, and musical flow — not just usability metrics

Musicians can recalibrate their hearing to lower IEM levels within a few weeks of consistent practice

Nakamura treats the no-input mixer as an equal partner, surrendering control to what the system produces

Named noise colors (pink, brown, yellow) map to specific fBm spectral slopes and Hurst exponents

Naming a pattern-transformation function adds it to a system's compositional vocabulary and shapes what music is possible

Narrow EQ boosts on a synthesized drum can model the resonant chambers within the instrument

NDI and Spout outputs let a TouchDesigner rig feed any downstream software without a physical video signal

Network latency above 20-30 ms disrupts tight rhythmic ensemble playing but can be worked around with free improvisation or asynchronous structures

Network music performance has latency thresholds: below 10ms is unnoticed; 10-40ms requires tempo negotiation; above 40ms demands independent tempi

Neurofunk basslines twist and morph through complex modulation to a menacing, robotic timbre

Never tell someone your work is great before they hear it — let the work speak

New Beat is a mid-tempo (90–120 BPM) Belgian subgenre of EBM

nn~ can output audio-analysis features as control-rate signals by using a large out_ratio

nn~ is a Max/PureData external that bridges trained neural audio models (RAVE, vschaos2) into a patching environment

nn~'s void/lazy mode lets you fix inlet/outlet count before attaching a model

Node-and-wire diagrams are not just tools but a diagrammatic aesthetic that restructures how an artist perceives and generates form

NodeProxy and Ndef are SuperCollider's server-side placeholders whose synthesis source can be swapped while playing

NodeProxy.map connects a running control proxy to a synth argument without stopping synthesis

Nodes that mutually repel each other self-organise into an even spatial distribution without explicit placement logic

Noise-based fBm fills the frequency spectrum with far fewer octaves than sine-wave additive synthesis

Non-12-tet equal temperaments (7-tet, 10-tet, 19-tet, etc.) are viable musical systems matched to specific timbres

Norwegian 'Norse House' fused space disco with nu-disco into a cosmic sub-scene led by Lindstrøm, Prins Thomas and Todd Terje

Note FX process MIDI note data before the instrument, so a fixed clip can vary at performance time without editing it

Nu-disco arrangement uses drawn-out repetitive sections that ramp up and back, with filters and subtle changes keeping motion

Nudging the kick early or snare late creates urgency or drag without changing grid position

Objective color principles override personal taste when the context has fixed requirements — meat markets, confectioneries, and floral occasions all specify palette constraints

Offline rendering's trajectory from rasterization to pure ray tracing predicts interactive graphics' future

On a broken or silent output the agent must recover to a known-good state before adding new ideas

One borrowed chord from a parallel mode in an otherwise diatonic loop is a cheap, strong hook

One-time events — sounds, gestures, or processing applied exactly once — prevent loop-based music from feeling predictable

Only MIT/BSD/Apache/CC0/CC-BY non-NC code may be emitted verbatim into committed jam files; gray-licensed snippets are local-reference only

Only three frequencies — sr/3, sr/4, sr/6 — produce sine waves with zero quantization error at any amplitude

Onset detection locates the start of new sound events in an audio signal by finding rapid increases in energy or spectral flux

onset: pick in Sonic Pi selects a random transient event from a sample for instant hit variation

Operate a live sound system 6 dB below the feedback threshold to maintain stable gain

Optimal workflow is personal and must be synthesised through trial rather than copied from others

Orca's O and X operators read and write cells at an (x,y) offset from themselves

OSC lets SuperCollider send and receive timestamped musical messages over a network

Outdoor SDF shaders use three light sources: sun key light, sky dome fill, and ground bounce

Overlap-add processing reconstructs audio from overlapping FFT windows without boundary artifacts

Overlaying a structural pattern and a material (colour) pattern produces an interference result you cannot read off the code

p5.Framebuffer is an off-screen GPU surface you can draw to and then reuse as a texture

PA tuning begins with listening to known references, not measuring — verify before correcting

Pairing genres with shared cultural lineages creates combinations that feel coherent even when they sound unexpected

Paracinema identifies cinematic properties realized in non-filmic media, without the standard film apparatus