I used to try and approach a lot of things this way. I’ve got hella respect for folks that put in the time to do things this way. It’s a lot of dedication, and my had goes off to @Fidelium and others that put in the effort here.
I think at some point i realized that I personally would get too caught up in the weeds and would never actually use those sounds in a meaningful way. I also don’t really like all of the clutter this method produces in my arrangement.
I know @Erysys has done a lot of really intense micro-editing sessions to get his glitch effects. I’ve seen those projects and watched him work through doing that several times.
These days. I tend to take the road of using a base sample or a held midi note with an arpegiattor going to a weird synth patch and modulating the fuck out of every imaginable parameter on the instrument and/or effects i throw on it and doing big long macro takes. I usually then just look for nuggets of things that i like in there and cut them out and save them as samples. I kinda like to just let things happen without putting to much thought in and see what happens. Almost like a generative / modular mind-frame.
I think the big problem with this is that i’m really at the mercy of randomness. It’s hard to get reproducible results this way sometimes. If i would take the time to be more intentional, this probably wouldn’t be as much of an issue.
This is especially true when I get lazy and instead of bouncing takes I just leave the random modulation on the original track i’m “glitching”. If i have a whole arrangement fleshed out with a track or more that use this technique, every time I bounce the whole track, it sounds different. It’s only consistent if I bounce the glitched track to audio first before I export the track, which a lot of the time I don’t do because again, i’m lazy af.
All that being said, I don’t really feel like I typically do “glitch” per-se, but i think this technique could work for that as well if you wanted it to.