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Glitching/distortion techniques
Old 11th January 2019
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Glitching/distortion techniques

Thanks Starcadian for making yourself available. I love your sound/interplay {on some of your tracks} when you have multiple loud instruments playing at the same time. Particularly the subtle sound of glitch/artifacting. How do you approach this... and what is the most important technique(s) do you use to achieve the right amount of distortion (glitch/artifact) in mixing or mastering? thanks much s wave
Old 17th January 2019
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Originally Posted by s wave View Post
Thanks Starcadian for making yourself available. I love your sound/interplay {on some of your tracks} when you have multiple loud instruments playing at the same time. Particularly the subtle sound of glitch/artifacting. How do you approach this... and what is the most important technique(s) do you use to achieve the right amount of distortion (glitch/artifact) in mixing or mastering? thanks much s wave
Thanks for listening! For artifacting, I mostly use Retro RC-20, it's really nice for dialing in that grunginess, but I also found this free VST called La Petite Excite that gives stuff a nice grime. Also again a ton of the Glue compressor.

For glitches, especially the older stuff, a LOT of that is just hand cut and individually placed samples that either reverse or pitch up/down. Spectrum line was basically a patchwork quilt of 6 different vocal lines and a ton of individual samples.
Keep in mind, I was learning electronic music as I was making Sunset Blood, so the whole album is littered in production no-nos, like hand drawing arpeggios and manually slicing up samples and placing them in the timeline!
I also got a Maschine recently to maybe help me with any glitching filigree I want to do, but I'm really not happy with the DAW integration. The standalone software is amazing, but it's not intuitive at all to pass it into Bitwig.
My dream is to find something that lets you do sample rolls/cue points like in Serato, but in a DAW, that would really make my life a lot easier haha
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Old 17th January 2019
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Excellent generosity! Paying it backwards and forwards! Rolls/cue points in Serato looks amazing. Again... your glitching is off the charts and, to me. separates your music (in a fantastic way) from others. Have you thought of using... A (possibly 'realtime') gate in the DAW but make the gate trigger sub audio (unused area of infra bass say low or -hertz) or a high hertz (ultrasonic) trigger. Something like this could work well because the cue is getting cued by something not in the song. Not seen or heard in the song or by anyone. The trigger would be flexible and you could roll off the trigger sound if need be. Thanks much take care. s wave.
Old 17th January 2019
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Quote:
Originally Posted by s wave View Post
Excellent generosity! Paying it backwards and forwards! Rolls/cue points in Serato looks amazing. Again... your glitching is off the charts and, to me. separates your music (in a fantastic way) from others. Have you thought of using... A (possibly 'realtime') gate in the DAW but make the gate trigger sub audio (unused area of infra bass say low or -hertz) or a high hertz (ultrasonic) trigger. Something like this could work well because the cue is getting cued by something not in the song. Not seen or heard in the song or by anyone. The trigger would be flexible and you could roll off the trigger sound if need be. Thanks much take care. s wave.
Oo that's kinda interesting, I'm actually foaming at the mouth waiting for Bitwig 3, so I could probably set up a network to do that!
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