Glitch music production advice thread


The best glitch music combines controlled randomization…and music composition effectively.

There are a variety of methods to create glitches…

I personally rely heavliy on a combination on beat slicing audio clips and glitching beat sliced audio clips with glitch plugins like gross beat.

I create wierd envelopes with love philter and automation of volume in conjunction with glitching with plugins and beat slicing.

I then resample and select audio phrases that fit together to create the desired sequnce or the best sounding sequence…

There are a variety of methods that involve fx and even using generative plugins or methods…but manual beat slicing and combining different resampling generations is the most hands on and time consuming but also the most rewarding in terms of execution of musical ideas in my opinion…

But thats just me…

Feel free to share your methods of composing glitch music or glitch elements in your music…



Mine are mostly going to be from the design-end. I don’t really write songs, so YMMV.

Chaos sources can lead to really interesting results if you’re working with CV. Even just having a crackle source trigger your sample can allow you to really pinch and fuck with it in various ways. Similarly, using more than one chaos source and boolean logic can create a shitload of randomized triggers and gates for you to do whatever you’d like with.

Randomizing Glitchmachines plugins is fun; grab a source, record yourself flicking through them and then take out the shitty dicerolls. Similarly, familiarizing yourself with follow actions can give you a really unique shuffle through sound sources at whatever intervals you specify, leading to glitchy goodness without any plugins.

Ratcheting is kind of a ‘glitch’ technique too, if you use them fast enough. It’s basically a trigger that launches a timed burst of other triggers, leading to a trill in the sequence. Works good for melodies, drums, etc. Samples are obviously an instant glitch.

One of my favorite methods lately is to take a sampler with an input jack and recording mechanism, create a loop around it and ‘pinch’ the recording interval (usually just with a square LFO or something to set off the recording mechanism’s threshold). Similarly you can also just feed one sampler into the other, which at certain speeds really reminds me of Ableton Live transient stretch modes (even though it’s interval-based, you can also set your threshold to actually catch transients and peaks instead with an envelope follower).

Granular synthesis is another one; I use the IRCAM tech inside of Falcon, Granulator II, and The Mangle predominantly. You’d think any two granular synthesizers / samplers would sound / act alike, but they’re actually so unbelievably different most of the time that you can create really cool glitches with whichever you fancy, and pull out another one for even more inspiration.

BYOME and TRIAD are pretty easy to get glitchy stuff going with, too. This probably needs no explanation for those who have used them. For everyone else, check out the demos and you’ll see what I mean. You don’t need to be a modular savant to utilize all of their modulation, just pull out a shitload of wires and start randomizing.

Transient-splitting and spectral-splitting opens up a shitload of possibilities in the glitch territory, too. Usually I pair these with the aforementioned Unfiltered Audio plugins to create new, interesting modulation sources and an array of effects to act upon them.

I’ll probably edit this post with video demonstrations for anyone who cares, if I get bored / inspired enough. I’m pretty bad at explaining things without a visual counterpart but it’s all much simpler than it sounds.


Adding a wierd gate/envelope to a transient processors compression envelope…

I use maximus to create wierd envelope and sometimes automate the adsr and turn the input signal to the max leaving the post volume untouched…

Image lines maximus is a compressor limiter multiband compressor and transient proccessor all rolled into one