Atoms

Surge XT's Tape effect physically models analog tape saturation, bias, speed, and playhead geometry

Surge XT's Twist oscillator ports the Mutable Instruments Plaits macro oscillator with 16 selectable synthesis models

Surge XT's Vintage Ladder filter models the Moog ladder circuit via numerical integration of the differential equation

Surge XT's Window oscillator multiplies a wavetable by a window waveform, creating formant-like timbres

Sustained rhythmic consistency induces a hypnotic dancefloor state regardless of the absolute tempo

Swapping the FFT index driving a visual parameter aligns the visual energy with the new section's audio driver

Swinging a bassline or melodic layer against straight drums generates groove without touching the drums

Synaesthesia motivates early visual music but is no longer its defining criterion

sync in Sonic Pi always blocks until a future Time State event is inserted

t-SNE embeds high-dimensional feature vectors in 2D so perceptually similar items cluster together

TAESD provides fast high-quality latent previews without running the full VAE

Tape echo delay is a defining element of dub aesthetics across reggae and dub techno

Tape machines running at high speed roll off steeply below 50 Hz, shaping the spectral signature of 1970s–80s rock

TDAbleton enables bidirectional MIDI and audio-feature communication between TouchDesigner and Ableton Live, allowing visuals to drive audio and audio to drive visuals

Tech house kicks use a transient-heavy punch layer plus a pitched sub layer on every beat for low-end weight

Techno's mainstream commercial absorption lagged its underground creation by roughly 15 years

Techno's tension arcs span dozens of bars, driven by filter opening and layer subtraction rather than drops

Technology lowers the barrier to making sound but raises the risk of producing without musical development

Technostalgia is not nostalgia for the past but a strategy for achieving a particular present sound

Tempo does not equal intensity: syncopation and arrangement can make slow tracks feel fast and fast tracks feel slow

Temporal recursion — a function calling itself with a time delay — is a core live coding time-representation technique (as in Extempore/Impromptu)

Tension is built by ramping one or two dimensions over a phrase then resolving on a boundary

Text conditioning is injected into the UNet by attention layers placed between ResNet blocks

Thai classical music uses approximately 7-tet because Thai instruments have bar-like spectra whose dissonance curves have minima near 7-tet steps

The :slicer FX modulates amplitude rhythmically using a control wave at a configurable phase duration

The :slicer FX's probability: opt gates each phase on or off deterministically for random-sounding rhythms

The 'nice property' lets you sample any diffusion timestep directly from the original image without iterating the forward process

The 'visual wallpaper' problem arises when VJs compete for attention rather than complementing the music and space

The /live/song/get/track_data command queries multiple tracks and clips in a single OSC message

The ~> and <~ operators shift a Tidal pattern forward or backward in time by a fraction of a cycle

The 1/x function creates neon glow effects in shaders by producing extreme brightness near zero and a slow falloff

The 222e Kinesthetic Input Port tracks performer hand position in 3D space via IR rings, outputting XYZ control voltages for live gestural control

The 227e System Interface voltage-controls spatial placement of signals in 2D quad space and offers a swirl mode for rotating audio

The 230e envelope follower's transient pulse mode generates triggers only when a CV increase occurs — useful for extracting rhythmic info from complex audio

The 251e sequencer's per-stage loop counters enable nested rhythmic repetition without cycling the entire sequence

The 252e's ring display has five independent layers for pulses and CVs, enabling selective phase-shifting of rhythm, pitch, and velocity independently

The 256e CV processor applies piecewise-linear transformations to control voltages using a configurable breakpoint, enabling non-linear CV shaping

The 259e Twisted Waveform Generator's memory bank wavetables scan volatile program memory, producing unpredictable and non-repeating timbres

The 281e Quad Function Generator's quadrature mode chains two generators so their attack and decay phases overlap in a fixed sequence

The 285e frequency shifter shifts all harmonics by a fixed Hz amount, destroying harmonic relationships and creating inharmonic sidebands

The 291e Triple Morphing Filter interpolates between stored filter snapshots over time, with per-stage timing control

The 297 Infinite Phase Shifter creates barber-pole phasing — a comb filter whose notches continuously move in one direction without net positional change

The Abbey Road reverb EQ curve (roll off below 600 Hz and above 10 kHz) makes reverb blend smoothly without muddying the mix

The AbletonOSC Python client uses a threading.Event to block on an OSC reply, creating a synchronous query interface

The apparently simple 'reversal' operation has multiple non-equivalent implementations depending on assumptions about rests, events, and scale

The ATK provides two toolsets: FOA (first-order, 4-channel) and HOA (higher-order, (n+1)² channels)

The ATK uses a right-hand coordinate system: azimuth 0°=front, positive=counter-clockwise, elevation 0°=horizon

The ATK workflow is encode → transform → decode, each stage operating on B-format

The Audio Trigger widget maps audio spectrum bands and volume to DMX channels, functions, or VC widgets

The auditory system resolves frequency within critical bands: components within one band interact, components in separate bands do not

The base-width filter defines a frequency band by center and bandwidth rather than cutoff and slope

The Buchla 252e Polyphonic Rhythm Generator sequences pulses and CVs on concentric rings driven by up to three independent clocks

The Buchla 260e generates Shepard-tone auditory illusions — pitches that appear to rise or fall endlessly without net movement

The Buchla 266e Source of Uncertainty generates multiple flavors of controlled randomness — fluctuating CVs, quantized random voltages, and stored random voltages

The club context demands atmosphere over narrative; the gallery or theater sustains focused attention — context determines appropriate AV strategies

The Cognitive Dimensions of Notation framework describes trade-offs in programming language design using named dimensions

The color occupying the larger area in a composition acts as background; the smaller area advances — and these roles can reverse as area proportions shift

The complement of a Euclidean rhythm is also Euclidean

The consonance of an interval depends on the timbre of the sound, not just the frequency ratio

The DDPM ELBO decomposes into per-timestep KL divergences between Gaussians, each computable as an L2 loss