Disquiet Junto Project 0349: Got Glitch?

Disquiet Junto Project 0349: Got Glitch?
The Assignment: Help define “glitch” by glitching something, and explaining what you did.

Major thanks to Sevenisn, Mark Lentczner, and other folks in the Junto Slack for pitching in on this project’s development.

Step 1: Consider what “glitch” means in music/sound.

Step 2: Make a piece of music employing a glitch that arose from your thinking in Step 1.

Six More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0349” (no spaces or quotation marks) in the name of your track.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0349” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation a project playlist.

Step 3: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 4: Post your track in the following discussion thread at llllllll.co.

Step 5: Annotate your track with a brief explanation of your approach and process.

Step 6: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Other Details:

Deadline: This project’s deadline is Monday, September 10, 2018, at 11:59pm (that is, just before midnight) wherever you are on. It was posted in the early evening, Oregon time, on Thursday, September 6, 2018.

Length: The length of your track is up to you.

Title/Tag: When posting your track, please include “disquiet0349” in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, and be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Download: Please consider setting your track as downloadable and allowing for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution, allowing for derivatives).

Linking: When posting the track online, please be sure to include this following information:

More on this 349th weekly Disquiet Junto project (Got Glitch? / The Assignment: Help define “glitch” by glitching something, and explaining what you did) at:


Major thanks to Sevenisn, Mark Lentczner, and other folks in the Junto Slack for pitching in on this project’s development.

More on the Disquiet Junto at:


Subscribe to project announcements here:


Project discussion takes place on llllllll.co:


There’s also a Junto Slack. Send your email address to twitter.com/disquiet to join in.

Image associated with this project is by Roland Gesthuizen, used thanks to Flickr and a Creative Commons license:




The project is now live.

Decades ago, when I listened to vinyl records, some of my albums had pops and jumps in them. Today, when I listen on streaming services to those same recordings, I still have the mental note of those glitches.

For me, “glitch” is about an unexpected and mostly-unwanted mistake happening, usually technically. I don’t think I could purposefully “glitch” an existing piece of music. That is not my style.

“Pretty Glitchy” was made around 2011 or 2012, recorded live. I used bad output wires then. I don’t anymore.

Normally, I would delete this kind of track, but there was something interesting about the juxtaposition of a “pretty” piece of music and the creeping glitch happening during the performance, so I kept it and I’m glad I did.



I am looking forward to this.

I have been thinking about exploring some glitch sounds for a while, and then will focus me on that.

Pity I’m stuck at work.

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Nicolas Collins
Hacking the CD Player
September 2009



I think “glitch” pretty much sums up my approach to making music, possibly also “junk”. Most things I do are the result of mistakes or accidents that I then make into some kind of structure and then add simplistic improvisations.

This weeks track is largely constructed from elements that have had some kind hardware, software or player malfunction contribute to the sound generation or rhythm. The different elements were recorded over a number of years and these have been arranged into a “song” structure to which I then added a simplistic bass line and percussion (very heavy handedly at the end).

A few years ago I was mucking about with my Yamaha CS70M’s ring modulator and feeding it through a recently acquired Eventide H8000FW. Something happened to H8000 while I was quickly scrolling through presets, it kind of freaked out and got stuck (a patch with bad data I think) and became unresponsive. The mangled patch was a combination of Harmonizer and Distortion effects. I was holding a few notes down on the CS70M through the H8000 and it sounded pretty cool so I recorded the resultant drone into Logic before having to hard reboot the H8000. I recorded another pass playing a slow melody while tweaking the ring mod controls. Sadly, the glitched patch is lost forever.

The random, glitched rhythmic parts come from Stylus RMX. I had a lot of issues with Stylus back in the day, and once I managed to freak it out playing with Stylus’ Chaos Designer. Logic froze, but the crazy stuttered craziness it was making was too good not to capture. I used AudioHijack Pro to grab the audio before force quitting Logic. The glitched up loop fades in at the beginning of the track and continues through.

The “rhythm guitar” part was a stuff up. I was trying to program strums into MusicLab’s Real Guitar playing in real time. My janky playing ended up sounding like someone drumming their fingers on the strings, a little bit of quantisation later and I had an interesting “guitar” part. Maybe. If I was a better player I’d funk up the bass line a bit. :smiley:


Using SuperCollider I tried to perturb the playback of this sample https://freesound.org/people/Bradovic/sounds/171326/

into something glitchy - dropouts, reverse, rate changes, etc. plus delay and reverb


The code can be found here: https://github.com/dmorgan-github/droptableuser/blob/master/modules/patches/bufplayer/glitch_buf.scd



"If you develop an ear for sounds that are musical it is like developing an ego. You begin to refuse sounds that are not musical and that way cut yourself off from a good deal of experience. " John Cage (1912 - 1992)

Some years ago I was infatuated with the “glitch and noise” style, all the “no-input mixer” and plain-noise music making.

My use of glitch&noise ended up on two interesting things, first I was commissioned a soundtrack just because the director wanted” more noise than music” in the score. He gave me 2 hours of recordings from different sources of noise, glitches, interferences, insects etc

I loved it and got the idea of a full musical album that I ended up doing using noise and glitch along with more traditional instruments and composing (Larmkunst, I shared some track from that in previous junto challenges)

For this “Larmkunst Theme” I created glitches out of analog and tape delays, set to infinite feedback and saturation. The long coda produced by these distorted delay tails is used in edited form here and there to produce textures and contrast with the simple and pure acoustic theme.

The main theme is already online here: https://soundcloud.com/daniel-diaz/larmkunst-main-theme

It’s a duo acoustic guitar performance

But this final version develops further the use of glitches adding radio noise and interferences and it’s a duo Acoustic Guitar + Upright bass.


Nice to have a prod to visit this… I’ve always wanted to make more glitchy stuff.

I had a quick wikipedia, as my usual starting point for inspiration… I like the idea of the glitch as an ‘unexpected input’… a ‘transient fault’… or “such a minute change in voltage that no fuse could protect against it” - although I wouldn’t want to apply that concept to my Bus Limiter :slight_smile:


Love the no-input mixer stuff and malfunctioning hardware too, but I don’t have any :frowning: so this is a software homage… I played around with a paulstretch-ed field recording of some city ambience in Iris2, adding lots of LFOs with sharp attack or pinch curves all working upon each other and on different effects, mainly pitch and distortion but also chorus, gain, HP filter and reverb… a couple of passes and then a little editing.


i thought it was appropriate how my name is glitched in the project info!
just thought about inadvertent errors in software i use.
iris2 has some nice distortion if you redeuce the biuffer size and numner of buffers
live8 has this weird feedback delay whe n recording auidoi , ive prob got it set up wrong bu t ilike it
just improvised with a pioano sample incorporating the sound of the glitches into the feel of the piece

(felt appropriate to keep in tpyos in this descritpion too)
treid to databend the image by opening as text and writing sevenisn in there but didnt get anythingh intersting!


Dancing like its Friday. It’s a party tonight. Vocals and vibes by Steve Adams with Doug Forest bringing the ambience and Widdly on the glitch. Recorded straight of the desk.



I got as glitchy as I could with various Logic instruments! Nice to see you all again! :smile:


this is ¶radio hummingbird’s contribution to this week’s disquiet junto with the serial number 0349. in short, the requirement for this contribution was to create a piece of music by “glitching something”.

for this track, i recorded outside noises from the neighbourhood onto a cassette loop and with it also the sounds of the recorder running. the signal, however, has been run through a pedal called Telegraph Stutter with which i created irregular glitches and dropping out gaps. this cassette loop has then been recorded onto a 4-track cassette.
in the second step, done in the same way, i captured two differently tuned wine glasses, also broken into glitchy pieces by the Telegraph Stutter and layered them onto the 4-track loop.
to conclude, i recorded the sound of me blowing bubbles into one of the water-filled wine glasses with a straw onto another tape loop, again, randomly broken up by the use of the stutter pedal.
furthermore, i connected a pic-up mic to a tiny fan operated by the FieldKit and placed it onto the last tape loop while playing it back so it picked up not only the glitchy noises of the electromagnetic field of the fan but also some sounds o the tape being played back.
and if that would not be enough, i also patched up my travel modular with an ambient soundscape which has been created mixing several oscillators and field recordings together to create glitchy sample-like sounds. on top of that i fed a copy of this sound through the 2hp Freeze module to add further glitch.
some of these pieces have been run through a cassette echo with a very crumpled up tape to add even more character.

this whole setup has then been played and mixed live in one take. the final recording has only been subjected to light mastering in ableton live and here we are…please enjoy what you hear…

More on this 349th weekly Disquiet Junto project (Got Glitch? / The Assignment: Help define “glitch” by glitching something, and explaining what you did) at:


Major thanks to Sevenisn, Mark Lentczner, and other folks in the Junto Slack for pitching in on this project’s development.

More on the Disquiet Junto at:


Subscribe to project announcements here:


Project discussion takes place on llllllll.co:



Glitch- malfunction/irregulatity
I wanted to incorporate the human glitch into the music since sometimes we carry extra noise and voltage in our person. Or were just tired and need a smoke.
I also have been playing around in MAX for live and with picture to video creation for a show I will be doing visuals for in October. I really love the fact I can take my other art and bring it into music. Glitch really allows for that with the melodic noise factor in sound and visuals. It also allows for the absurdities I love to not be tied to anything, allowing for full exploration of the sonic spectrum. I hope to improve at the hardwear component so I can truly mix both live.

I used some clips from a session of walking around with a Zoom mic. that I glitched out and never used. I then took some clips of video I had of a old Tube tv, turntables with hand drawings and some glitch art I made from statues at the church. I created a MAX patch to run these thru.

I have a few videos running thru some Vizzie components and looped thru to 2 different Mixfader.
I utilized clips of metal screws, metal grates, finger nails scratching on grates, water inside a piano, cement, strofoam, male and female vocal noise. I created some follow clip automation and ran the clips and the video thru till I had some footage. I then added them to Youtube after processing in imovie. I hope you enjoy.



There’s a six week gap in my Junto contributions due to other commitments, holidays, travel, etc, so it’s good to get back on it. Not sure if anyone missed me, but I’ve missed you lot!

I used two sound sources:

  • A Mannequins Three Sisters filter feeding back on itself in various ways, into a delay line and in parallel into a multi-band resonant filter
  • A low quality recording of the wind chime my neighbour has in her front porch, played back by a MakeNoise Morphagene.

Various random, self-patched and interconnected modulation sources (including myself) are modulating these.

I think this delivers the desired effect.



I started with a rather minimal break from “ain’t we funkin’ now” by Brothers Johnson, and mangled it into a Zach Hill-esque solo/beat with the ER-301. (I guess this is where my thoughts of “glitch” brought me.) Norns foulplay provides some 808, and Teletype sequencing the shuttle system brings the melody.

Edit: The audio for my submission came straight out of the Shuttle and into my camera. certainly not the best method for audio, but i didn’t have my computer handy… Here is the video.



I haven’t contributed to the Junto since project 111 some years ago, but I wanted to get back on it; this particular one was relevant to me as I’m currently working on an IDM/glitch album. Interestingly, that album was in itself glitched as the WAV files I was using to construct the tracks were incorrectly Acidized, causing them to play back at the wrong speed; I had made three tracks with the samples before I caught the error, and downloaded the un-Acidized version.

Anyway, for this project I wanted to look at the idea of glitch as randomness. I selected an assortment of ten samples from Freesound.org, simply picking the first ones I saw that had a Creative Commons 0 license (which, unless I’m wrong, means you can do whatever you like with the sounds). I made an arrangement using the sounds – some of them were musical, some were pretty much just sound effects or random recordings – and then set about it with various VST’s. I tried to pick settings for these somewhat randomly as well, rather than having a specific idea in mind.

In case anyone is interested in using the same kind of method, plugins I used included:
Dmitry Sches - Tantra
Glitchmachines - various plugins
Audiority - Grainspace
Audio Damage - Discord4 and Replicant2

Once it was suitably glitchy, I added a little mastering work to polish the piece – for this I used Waves IMPusher and iZotope Ozone 8 with Joey Sturgis Tones Finality Advanced to prevent any clipping.

I forgot to mention that the track title and artwork were generated randomly too, using the rather nifty http://idm.wjt.me.uk/

Slightly off topic, but did anyone else (perhaps using a Gmail account) have trouble signing up for this site? It took me a couple of days before the account activation link came through, and even then I had to click the resend button a few times.


This is utterly GORGEOUS!

1 Like

The playlist is now rolling:




Shredder 1.0 is an “alternative web browser” developed in 1998 by artist Mark Lanier. It remains live and online today, even twenty (!) years after launch. You can try it out at https://www.potatoland.org/shredder/.

The application works by passing a website’s source code through a rudimentary Perl script, which then rearranges the visual elements into a two-dimensional pile of abstracted screen fragments. The effect resembles a screenshot sliced into tiny pieces and thrown all over the floor, not unlike the random chaos of a Jackson Pollack painting. “My works are not objects but interfaces,” Lanier wrote in 2001. “By interacting with the work, the visitors shape the piece, causing it to change and evolve in unpredictable ways.”

In his book Why Things Break, author Mark. E. Eberhart describes how “for almost everyone, the word ‘structure’ evokes a strong visual.” Lanier’s approach turns this definition on its head by forcing us to visualize the lack of structure, or at least to contemplate a structure whose components are always in fluctuation.

A glitch, then, might be defined in digital terms as the identifiable break in which computerized output (graphics, text, etc.) experiences a change in structure. “Into the computer goes the question,” writes Eberhart, “and out comes a total change in entropy.”

For this weird piece, Suss Müsik sought to recreate a change in entropy through sound. Random musical phrases were played on piano, organ, electric guitar, fake woodwinds and percussion. These recordings were refactored and split using a digital delay pedal, then resequenced to 8-track as a single audio pane.

The piece is titled Shredder. The image is the Suss Müsik website run through the Shedder algorithm.