Atoms

Multiband processors introduce filter artifacts at crossover frequencies that reduce clarity in that region

Music games can be 'ecooperatic' — governed by ecological forces and cooperative social dynamics rather than economistic competition and correct/incorrect evaluation

Music technology falls into three epistemes: acoustic, electronic, and digital

New digital instruments borrow work-processes and gestures from older ones (ergomimesis)

OBS noise suppression filters garble music and must be removed when streaming DJ sets or live instruments

On-the-fly pitch and tempo shift augmentation improves separation model generalisation across musical keys and tempos

OpenCV's calibrateCamera function enables automatic intrinsic and extrinsic calibration of projector-camera systems within TouchDesigner

OSCdef triggers a function on incoming OSC and can be re-evaluated live to remap external data to sound

Overidentification — staging a system so extremely it exposes its own absurdity — is Laibach's core political mechanism

Owning a visible DJ mistake with humor prevents it from derailing the set's social energy

Patching SSG Smooth output to its own VC Rate input creates exponential glide on sequencer pitch

Perceived loudness comes from psychoacoustic balance of overtones and transients, not peak level

Percussion rhythm can be treated as communication — a message that shapes a shared feeling

Perform Kit mode preserves live parameter tweaks across pattern changes without auto-saving

Place a high-frequency shelf above the region already EQ'd to avoid pulling energy back down

Placing algorithms in physical robotic devices introduces real-world complexity that enriches the musical result beyond simulation

Placing an unexpectedly deep track mid-set resets the energy and grounds the crowd

Pre-programming a finite set of patterns and presets, then improvising their combination, balances reliability with spontaneity

Prewrite expands an axiom by production rules to generate self-similar, non-random rhythmic sequences

Professional mastering adds value beyond loudness: tonal balance, song sequencing, and a fresh reference set of ears

Progressive distillation halves the required sampling steps by training a student to match two teacher steps in one

Projecting code reveals process but does not by itself make a performance legible to a non-programmer audience

Projecting the code makes live coding an honest, transparent mapping from instruction to sound

Pulsar synthesis generates pitched textures by combining a waveform table with a duty-cycle envelope repeated at audio rate

Purpose-built live-coding systems gain performance power from deliberate constraint, and their vocabulary becomes a 'technology for thinking'

Randomly remixing stems from different songs during training forces the model to learn true source priors

Recognising the point of diminishing returns and stopping prevents late-stage tweaking from undoing correct early decisions

Recording less material with greater intentionality produces a stronger body of work than always capturing

Recuperation is how systems of power absorb and neutralise transgressive movements, reselling them as commodity

register() adds a new method to Strudel's Pattern class and returns it as a standalone function

Rendering instruments to audio early in the process forces completion by removing the option to keep editing the source

Score-based models learn the gradient of the log data density and generate samples via Langevin dynamics

SCTweets are complete SuperCollider pieces in 140 characters that exploit syntax shortcuts for extreme concision

Sensory dissonance analysis can help reconstruct the tuning a historical composer likely used

Separating TouchDesigner authoring UI from a JSON-defined playback engine enables decentralised multi-process show control with load balancing

set_mixer_control! applies global LPF, HPF, and amplitude adjustments to all Sonic Pi output

Setting the limiter before EQ in mastering lets all subsequent decisions account for its tonal contribution

Shifting a label from chasing hit 12-inches to building long-term artist relationships is what transforms a label into a cultural institution

Simplifying a live modular setup paradoxically increases musical complexity because the performer can focus on what the instrument can do

Skepta's independent grassroots approach in New York rebuilt Grime's global credibility and proved ground-up community building outperforms major-label marketing

Soft clipping at a limiter's ceiling adds subtle harmonic grit instead of hard gain reduction

Some live coding systems fold machine learning and machine listening into the performance, letting the coder train and steer models live

Spectral mapping transforms the partials of one sound to a target spectrum while preserving the overall tonal character

splitQueries breaks multi-cycle queries into per-cycle sub-queries

Splitting a live hardware rig into two independent halves guards against single-point failures

Splitting mic signals to separate house and monitor consoles requires isolation transformers to prevent ground loops

Spring tuning models adaptive retuning with vertical springs (just ratios), horizontal springs (pitch stability), and grounding springs (tonal center)

Stage monitors are placed in the rear null of the vocal mic's polar pattern to maximize gain before feedback

Staying focused on one genre through trend changes builds identity and longevity while followers who chase trends lose distinctiveness

SuperCollider classes encapsulate reusable synthesis behaviour and extend the language

Surge XT's Formula modulator runs Lua scripts that read voice/MIDI state and output arbitrary modulation curves

Temporary save and reload create a live restore point without permanently altering the pattern

Texture uses Euclidean distance to automatically wire typed values to functions, making visuospatial layout syntactically significant

The :sound_out FX routes audio to both its outer FX context and a specific hardware output channel

The 296e Spectral Processor performs vocoding by transferring the spectral envelope of one signal onto another across 16 bandpass filters

The Benjolin generates self-playing patterns from internal chaos rather than an external random source

The central critical debate on fascist aesthetics: whether ironic reuse still empowers fascism (Sontag) or refusing the signs concedes them to fascists (Žižek)

The character of iconic drum machines like the 808 and 909 lies in fine waveform details that are easy to state in principle but hard to replicate exactly

The Creative Systems Framework analyses creativity as search space, traversal strategy, and evaluation — with bricolage externalising traversal into the computer

The diffusion training objective decomposes into per-timestep KL divergence terms plus a reconstruction term