Atoms

Breakcore is the clearest example of a genre whose development is intrinsically linked to peer-to-peer distribution

Breaks tracks span roughly 110–175 BPM, letting DJs mix them across many genres

Broken beat (bruk) is an electronic dance genre defined by syncopated, choppy rhythms that avoid four-on-the-floor

Broken beat is nicknamed 'West London' because its scene clustered around Ladbroke Grove studios

Buchla omitted the piano keyboard, using touch plates not tied to equal-tempered tuning

Buchla systems use 1.2 volts per octave for pitch CV, not the Eurorack 1V/oct standard

Buchla systems use three distinct signal types — CV, audio signal, and pulse — on separate connectors

Buchla's first modular system grew from a 1963 San Francisco Tape Music Center commission

By 1986 house crossed to the UK, which embraced it more than its US birthplace did

By 1997 Jungle split, its dancehall audience migrating to Speed Garage as neurofunk turned technoid

cables.gl builds interactive WebGL scenes by connecting operator nodes with virtual cables in a browser-based patch editor

Calling .asStream.next consumes a SuperCollider pattern's stream, which cannot be rewound

CC0 waives all rights; CC-BY requires credit; CC-BY-NC additionally bars commercial use

Changing a sample's playback rate simultaneously shifts its pitch and duration

Changing a waveform's shape changes its mixture of harmonics and therefore its timbre

Cheap PC software instead of pro studios pushed early dubstep toward its twisted-bass sound

Chicago DJs' reel-to-reel dancefloor edits were a direct precursor to producing original house tracks

Chicago house emerged from underground disco culture that survived the mainstream 'Disco Demolition Night' backlash of 1979

Chicago house is the original house style: simple basslines, four-to-the-floor, disco/funk-influenced

Chord-quality ear training is naming a chord's quality from its sound alone

chord() and scale() return rings of MIDI notes, making music-theory patterns directly executable

Chowning discovered FM synthesis from fast vibrato and licensed it to Yamaha, who shipped the DX7 a decade later

ChucK has no hot-reload path in this rig and runs as a separate process

ChucK STK instruments stay silent until `.noteOn()`, and an ADSR stays closed until `keyOn()`

ChucK sums every UGen chucked to `dac` with no master limiter, so stacked voices clip

ChucK UGen class names are CamelCase-exact and must be verified against `names/ugens.txt`

ChucK's `=>` operator means patch, control, or assign depending on the operand types

ChucK's `signal()` wakes one waiting shred while `broadcast()` wakes all

Cinema communicates through a pre-verbal language of movement, sensation, and image that operates below conscious verbal processing

Clashing between MCs and producer war dubs is a central cultural practice in grime, not just entertainment

Classic electro was typically built from just a TR-808 and one synthesizer — extreme gear minimalism that defined the genre

Color aesthetics has three distinct orientations: impression (visual), expression (emotional), construction (symbolic)

Color agent (the physical pigment) and color effect (the perceived result) almost never coincide — ground and context transform what we see

Color is relative: the same hue is almost never perceived as it physically is

Color paper isolates hue relationships from mixing and texture variables, revealing interaction more clearly

Colors carry different visual weights that must be balanced to achieve compositional equilibrium

Comma in mini-notation stacks patterns to play simultaneously in parallel

Commercial 'Euro trance' vocals and mainstream crossovers diverged from the underground trance sound in the early 2000s

Commercialisation and mass events created an authenticity conflict that fractured early techno culture

Complementary colors incite each other to maximum vividness when adjacent and annihilate each other to gray when mixed

Computer music programs route audio by connecting unit generators in a signal processing graph

Computer-generated randomness is always pseudo-random, not truly random

Concave-well keyboards like the Kinesis Advantage curl fingers along their natural arc to prevent strain

Concordant intervals have simple frequency ratios and blend smoothly; discordant intervals have complex ratios and create tension

Constrained instruments with few controls can be more creatively productive than instruments with unlimited options

Contemporary live coding sits in a continuous lineage of live-electronics performance practice

Continuous tone sensation begins around 20-30 Hz pulse rate

Contrast of hue uses undiluted colors in full intensity; yellow/red/blue is the maximum instance

Correct typing posture puts the keyboard at lap height with elbows at right angles and wrists straight

Creative coding at intermediate level assumes fluency in loops, conditionals, arrays, and objects — not specific language knowledge

Creators need an immediate connection to what they are creating — any delay hides ideas

Cross-check a mix on both headphones and speakers, trusting neither alone

Csound is a text-based software sound synthesis system, created by Barry Vercoe in 1985

Cut-up — that recorded sound and culture can be fragmented and reassembled — is the conceptual root of electronic music

CV carries continuous parameter values; gates carry binary on/off events

Cybotron (Juan Atkins + Rik Davis) bridged New York electro and Detroit techno after hearing 'Planet Rock' and buying an 808

Daft Punk's Homework was tracked entirely in hardware with DAT as both recording medium and source

Dance Mania was the Chicago label that distributed ghetto house before ceasing around 2000 and reviving in 2013

Dance-music history advances by inventing potent clichés — effects so good everyone copies them

Dark 2-step stripped R&B influence and became a direct sonic precursor to dubstep