For those of use that make glitchy noises and use it in muzak…what are some techniques and or plugins you use…or fx you created…
Me:
Harmor
buffer override
Skidder
granulizer
maximus
Gross beat
Slicex
Peak controller
Limiter
1 Like
Reaktor ensembles:
cirklz
flakes
debris
I use Reaktor for generating weird, granular stuff or whatever
Reaktor user library has tons of cool thingies 
2 Likes
I use manual edition on Ableton Live. But I also use a few plugins :
Sugar Bytes Effectrix (effect sequencer)
Output Portal (grain stretcher/delay + effects with a cool X/Y macro)
Henke’s Granulator II
Serum’s resampling mode & Serum FX
NI Replika XT (Insanely powerful delay)
And Renoise sometimes but I still have to improve my general knowledge about this wonderful piece of software.
1 Like
Make a sound/or record a random noise.
Add a convolution reverb.
Record sound.
Stretch it, reverse it, and then record it again.
Take small snippets from it and do things like NY Compression, add bitcrush style distortion, ping pong style delay, a rotary style delay, and record the snippet.
Turn the snippet into a new sound, and imagine it being whatever you feel like it sounds.
Being it into a sampler, add some adsr of the perceived sound (kick drum? No sustain, little to no attack, slight delay matched by release).
Create a pattern with said sound.
Make said sound stutter by painting/drawing small regions right next to each other.
After you have a solid region, chop it up, throw it Away… forget about it!
Come back another day, and get it out the trash! Salvage a small bit of it you like, and use it in a song.
One of the ways I do glitching.
I also sometimes cheat and use plugs like:
Tornado
Stutter Edit
dblue glitch
Egoist
Alchemy (as a granulizer)
2 Likes
I DON’T MAKE MUZAK I MAKE MUSIC OF WORTH!
Looks at evidence
Yep, you got me.
2 Likes
I usually start with found sound/samples and process the hell out of it. Literally process. Like I’ll run it out to tape and back in at half speed and then speed it back up in DAW and then high pass everything and reverb the shit out of it with a wide Q and then EQ out the interesting bits and then resample it through my old 12" Peavey before slicing it up…shit like that. Getting there’s more than half the fun.
Lots of Reaktor and M4L bits and bobs, also a fan of Grainspace and The Mangle. Cosmosf is getting a lot of screen time lately.
And by careful use of effects in the wrong way. What do you mean the reverb’s supposed to go before the distortion? Nah, man, you’re all backwards.
1 Like
I use Ableton to do my stuffs. While I’ll use effects to add to my edits, I tend to just do them with edits. I don’t know what other DAWs are capable of but I enjoy editing into this.
One thing is(which is a Beat Battle I did): Take an audio clip. It can be a full track, a group, something individual and send it to another audio track. Set it to record. Then, you can go back to the original audio clip and change things about it. Whether it be to take it from beat or pitch or anything else, while you manipulate the sample itself. Stretch, shrink, change octaves, etc. Go back and edit it up to some degree.
Another thing, take a sample. Pitch it up or down. Typically down. Your sample is now twice as long, or longer. Now go in and gap it. Take the first 1/16, the 3, the 5, the 7, etc. Put the new stuff together. Join it. You now have a varied snare or hat. You can pitch it back up to original pace. See the difference.
Micro edits. These can give you repeats or even be tiny spots out of place from the original sample, or used in patterns. I typically do these over previously edited stuffs.
Random edits. So you’ve done a bunch of edits, done a freeze with some effects, etc. Now you take small sections randomly, and copy and paste. See what happens.
Also, lets say you have this reall disjointed edited bit. You can then take it and pair it with the original and do fades or edit them into the loop, etc.
In all cases, with audio edits especially, you can get stuff that you’d never use but you may be able to pull aside for something else.
Glitches aren’t hard to achieve, finding a place for them can be. But I personally love doing them by hand. And it doens’t have to be down to the individual level. It can be groups of tracks or entire bits.
It’s like a game within a game. I’m trying to edit a video of me doing some drum stuffs editing a layer of hats and snare. Will add for curiousity.
1 Like
Wanna use fl’s patcher to make glitch muzak…all I know about it is that like colored dots link to like colored dots
speaking of, does anyone have a clean copy of dblue? the creator himself claims, "you can download this, but you may get syphilis. so there’s that. but i wanted to blend my custom sound design with some slick auto generated glitch. anyone?
It’s in his free pack. Just verified
GRM Tools… As another set of tools I lurv! Specially for 3D type stuff, and the granulated stuff is out of this world…
But tbh…another awesome technique…that you can waste loads of time with…
Any simple envelope…
Got hardware? No problem, make a sound, use short envelopes and get to click click clakin! Then send that to other bits of gear, then just send it to another envelope, and use a lfo to modulate the rate of the envelopes parameters…you might get some buffering type edits…but use those in conjunction with pitch bends, and some sort of LFO slow rate, and you’ll get some sliding bends…can listen to this for hours, or do like some people and create samples and manipulate further…
Sometimes it’s not creating glitch, it’s not getting so lost into it, and attempting to figure out how to use it…imo
Also…if you have guitar pedals… specially microcosm…well yeah you can beyond lost glitch any sound out for days…
1 Like
The warping in Ableton allow you to do many things, particularly the Complex pro & the Texture warping mode for me ! Then put some saturation, reverb or w.e, then resample, then warp again. I do this process until I end with something cool and I personally never felt the need for another method/plugin
2 Likes