Ableton Forum

reaktor has stuff for that as well.

search for tom cosm's glitchy bass line tutorial, and just do that for drums. It involves random follow actions and recording the output.

anybody human wrote:

dum wrote:^^^ I don't agree with this.

Do you listen to much music of this nature ?

I do, and it's quite evident when the compositional effort is put in as opposed to when it's just a cut-up of random glitchy-vst renderings. Certainly, if you're going to take the random approach you'll need to put some effort & luck into the arrangement to make it sound engaging.

Gotta agree on that, those guys don't mess around, it's composition for the most part.

beats me wrote:I agree with recording the random results of these plugs and then scavenging the treasures from those recordings.

...and place them in the arrangement. I really didn't think I needed to add that part.

If you took a 4 bar loop, applied a glitch style plug to it, and then recorded the output as an audio track for something like 32 bars, you find the treasures in that recording and place them thusly in the arrangement.

beats me wrote:I really don't see the point of trying to manually micromanage all your glitches when there are plenty of plug-in options that will do the heavy lifting for you. The whole premise of glitch is happy mistakes.

I agree with recording the random results of these plugs and then scavenging the treasures from those recordings.

^^^ I don't agree with this.

Do you listen to much music of this nature ?

I do, and it's quite evident when the compositional effort is put in as opposed to when it's just a cut-up of random glitchy-vst renderings. Certainly, if you're going to take the random approach you'll need to put some effort & luck into the arrangement to make it sound engaging.

so, in americanese what I'm saying is: hurrr durrrrrrrrrr you're wrong

dum wrote: Do you listen to much music of this nature ?

How can you not listen to this music? It's being done to death.

Listening to edIT right now.

But if you want to believe none of these artists ever touch any of the countless glitch plug-ins then I'm not going to argue with you.

I will say when this style first started being done there wasn't the plug-ins for it that there is now, but I also don't think there's an easy shortcut to do it like the OP is asking. It's probably one of the most manually intensive music editing there is.

beats me wrote:

dum wrote: Do you listen to much music of this nature ?

How can you not listen to this music? It's being done to death.

touche

beats me wrote: Listening to edIT right now.

But if you want to believe none of these artists ever touch any of the countless glitch plug-ins then I'm not going to argue with you.

I will say when this style first started being done there wasn't the plug-ins for it that there is now, but I also don't think there's an easy shortcut to do it like the OP is asking. It's probably one of the most manually intensive music editing there is.

I'm sure they control lots of tools. But your initial statements insinuated being lazy/lucky/random is the premise of the genre. It's not. Like you say, all these plugins surfaced because people are not prepared for effort or don't have the forsight for making musical micro-edits...but they want to participate none the less. That's cool, and there are ways of getting OK results that way, but all of the effort there is spent on sifting through random garbage hoping to stitch together bits that work. But as you say, the sound is done to death because of this. at least the freebie stuff with microedits.

where I disagree with you particularly, is the suggestion that putting compositional effort into the edits doesn't pay off, or is somehow made pointless or moot by SuppaTrigga et al.


Also the OP isn't really looking for short-cuts to achieve the sound, he's already putting the compositional effort in it's just too slow & inefficient for his liking. He asks for automating sample offsets and lengths, but not randomizing. He asks for a smarter way to work with samples, chopping them up etc.... he's basically asking for Renoise. Even though that's not the answer he wants

dum wrote:

beats me wrote:

dum wrote: Do you listen to much music of this nature ?

How can you not listen to this music? It's being done to death.

touche

beats me wrote: Listening to edIT right now.

But if you want to believe none of these artists ever touch any of the countless glitch plug-ins then I'm not going to argue with you.

I will say when this style first started being done there wasn't the plug-ins for it that there is now, but I also don't think there's an easy shortcut to do it like the OP is asking. It's probably one of the most manually intensive music editing there is.

I'm sure they control lots of tools. But your initial statements insinuated being lazy/lucky/random is the premise of the genre. It's not. Like you say, all these plugins surfaced because people are not prepared for effort or don't have the forsight for making musical micro-edits...but they want to participate none the less. That's cool, and there are ways of getting OK results that way, but all of the effort there is spent on sifting through random garbage hoping to stitch together bits that work. But as you say, the sound is done to death because of this. at least the freebie stuff with microedits.

where I disagree with you particularly, is the suggestion that putting compositional effort into the edits doesn't pay off, or is somehow made pointless or moot by SuppaTrigga et al.


Also the OP isn't really looking for short-cuts to achieve the sound, he's already putting the compositional effort in it's just too slow & inefficient for his liking. He asks for automating sample offsets and lengths, but not randomizing. He asks for a smarter way to work with samples, chopping them up etc.... he's basically asking for Renoise.

OK, I'll agree with you.

But I also believe that what some of these plug-ins come up with by accident you probably couldn't plan and map out because there's just too many variables going on and the complexity in these plugs is growing. Throw a couple of them in the chain and you just really shouldn't try to compete with a computer, especially if you're attempting to not sound like every other cliché glitch edit. The plugs do have an advantage if you use them in moderation and cherry pick the gems.

sure, but they'll always be out-shun by their skilled & manual counterparts...


btw, reaktor is indeed another good format for these kinds of tools

dum wrote:sure, but they'll always be out-shun by their skilled & manual counterparts...

And you'll never get a true cathedral reverb without recording in a cathedral, but somehow the vast majority puss out and successfully use an emulation.

that's an audio effect for simulating spaces...

composition is something else entirely. a better analogy would be poetry, and someone who uses random phrase generators and stitches poetry together.

Hit record, randomly insert and remove cables, job done!

take a keyboard you having laying around and record 5 minutes of making god awful noise with it, try to make all sorts of noise without having any silent parts.

then load that noise up into like 30 simpler or samplers in a drum rack and move the start point around, use a short decay on the volume. Now you've got a crap load of short synth drum sounds to work with. It's a start. If you don't like one of the sounds you can filter it, effect it, move the start position to a different spot, change the pitch, anything really. But it cuts the sound design time down considerably because all the sounds you need are already made and you just have to find them in the noise you recorded

http://vimeo.com/8208829

Cosm you're the man!

That midinote to recordbutton tip will help a lot when trying to integrate the launchpad into that glitchy business... Very nice and efficient. Just run that miditrack and it will record your sample into tiny synced bits which then can be triggered by the lp or whatever or pulled over to the arrangement view...

Beat repeat using dummy clips for the rate parameter would be the native Live solution that works well for this.

I think you have to do both, go the randomization way and then rearrange the outcome.

-use supatrigger, beat repeat etc. with lots of randomness.
record this in arrangement and rearrange the stuff. Crap sounding parts get deleted, good sounding parts get arranged in a way that makes sense, creates tension-release etc. "Arranging" obviously includes reversing parts, levelling, etc.

some more glitchy stuff:
- use some audio in warp mode "Beats", use the type with only one little arrow (off-mode) and then reduce the size of the transient envelope.

-slice-to-midi using the presets from the covertoperators opens a universe of glitch. I think it was a pack called "slice of winter".

-abuse of distortion and gate, followed by delays can have nice outcome

- ...

ah, and I use beat repeat with my wiimote, this is the perfect controller for glitching out.

http://www.youtube.com/pepezabala#p/u/5/pHzsbamlr6c