Atoms

Fascism is inseparable from aesthetics — its visual and sonic purity enacts its politics, not merely illustrates them

Fell's Multistability uses independent percussion and chord layers, no fixed grid, and velocity/speed/duration focus to generate emergent rhythmic complexity

Field recordings used as sources through Eurorack modules produce hybrid electronic-acoustic sound design

Finishing a bad track provides irreplaceable practice in completion that starting but not finishing does not

First-order Ambisonics encodes a 3D soundfield as four channels (W, X, Y, Z) decoded for any speaker layout

Fixed-length variable-step delay lines keep decay time constant across pitch, unlike variable-length lines

Footwork legitimacy is validated in Chicago's battle circles, not by commercial exposure elsewhere

Footwork music was co-developed with dancers in a real-time feedback loop between producers and the floor

Footwork producers pitch, slow, and loop samples to reveal new meaning and tell a story in familiar material

Footwork spread internationally by proxy: Rashad toured RP Boo's tracks abroad before RP Boo ever traveled

Fractional delay times require interpolation, which trades tuning accuracy for frequency-dependent attenuation

Given a target scale, the inverse problem finds a spectrum whose dissonance curve has minima at those scale steps

Giving artists creative autonomy — rather than directing their sound — is the core mechanism through which progressive labels generate original music

GLSL shaders can calculate and output 40k+ DMX channels in real time, enabling large-scale kinetic and LED installations from a single TD network

Guitar feedback can be simulated by feeding Karplus-Strong output through a nonlinear shaper back into the delay line

Harmonic entropy measures pitch-perception uncertainty; high entropy means the interval is not close to any simple integer ratio

Heuristic algorithms pair computational power with expert judgment to guide composition, unlike borrowed formal models

High-pass filters in mastering introduce phase shift that reduces punch and clarity in the sub-bass

Higher-order Ambisonics adds degree-n spherical harmonics to increase soundfield spatial resolution at the cost of (n+1)² channels

Humans acting unconsciously in a system can serve as autonomous generative agents

Imagen conditions image generation on a frozen large language model, and scaling that encoder matters more than scaling the U-Net

Importance sampling reduces Monte Carlo variance by drawing samples proportional to the integrand's magnitude

Importance sampling reduces path-tracer variance by sampling directions proportional to the integrand

Improvising live as a duo gives each performer time to step back and plan the next move, which solo improvisation denies

In a live rig, sync only the elements that must be locked and leave the rest free-running for a more musical, less rigid result

In abstract AV art, audiences engage through resonance with personal experience and self-reference, not object recognition

In higher-order live coding, code becomes physical material sculpted in real time through sensory feedback

In live modular performance, choosing equipment you know deeply and can operate with eyes closed beats choosing technically superior but less familiar gear

In live modular techno, the performer's hands replace LFOs and random sources as the primary source of dynamic variation

Industrial music structurally presumes a white audience because its core narrative of waking up to oppression requires prior privilege

Industrial music's deliberate political ambiguity protects its revolutionary consistency by refusing to dictate meaning

Industrial music's pan-revolutionary ideology targets language, identity and logic itself, not just economic systems

Industrial music's use of non-western cultural signifiers as exotica reproduces colonial othering while claiming political radicalism

Interference — where combined patterns yield features present in neither — may lie at the heart of algorithmic music

Inverting the sign of a waveguide's reflected wave drops the pitch an octave and cancels DC buildup

JITLib NodeProxies can run on remote servers for collaborative live coding over a network

Learning the reverse-process variance as an interpolation between two fixed endpoints improves likelihood

Level-gated loudness measurement ignores quiet passages so it tracks foreground loudness

Link Audio channels are demand-driven: a sink only transmits when at least one source subscribes

Link Audio shares named audio streams (channels) between peers aligned to the shared Link timeline

Link session state modifications should only happen on the audio thread to achieve sample-accurate timing

Link session state must be captured before reading and committed after writing to ensure consistency

Live AV systems range from fully autonomous algorithmic performance to semi-autonomous systems guided from a higher level

Live coding at an algorave produces creative flow because abstract code structures are directly experienced as sound by a responsive dancing crowd

Live coding can be performed by geographically distributed musicians sharing code over networks, challenging the conventional requirement for co-presence

Live coding involves tacit knowledge — knowing how that cannot be fully articulated — alongside explicit computational knowledge

Live coding is a kairotic practice: intervening at the opportune moment (kairos) rather than executing planned time (chronos)

Live coding lacks the DJ's ability to preview material before presenting it, so submitted code goes straight to the audience

Live coding treats the programming language itself as a real-time musical notation

Live granulation requires recording to a looping buffer first, then running GrainBuf on the buffer with a trailing pointer

LOOP LENGTH cycles each output over N values independently, so independently-clocked X outputs form polyrhythms

Loop-library companies profited from lax sampling enforcement while helping to lock sampling down through copyright

Loudness enhancement requires loudness-matched comparison to avoid bias toward the processed version

Loudness Range (LRA) quantifies loudness variation within a programme as a supplement to integrated loudness

LUFS is absolute loudness referenced to full scale; LU is the relative loudness difference

Making each record sound as different as possible from the last keeps a DJ set dynamic, not just smoothly mixed

markovPat generates sequences driven by a probability transition matrix rather than a fixed pattern

Mastering engineers use small gain adjustments to reinforce the emotional arc of a track

Metrically ambiguous tracks (e.g. triplet D&B at 85/170 BPM) open polyrhythmic mixing between tempos and genres

MFCC UGen extracts 13 spectral shape coefficients from an FFT frame for timbre classification in SuperCollider