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.
Probably the greatest opening line for a project description in Disquiet Junto history.
I think of a glitch as a slight change in something that makes it seem unreal. Déjà vu in the Matrix. I started this piece with a simple MN René driven piece, single DPO voice, simple envelope. I recorded it into MN Morphagene and then phased the splice a bit so it wasn’t in time with the running sequence. Then I added some glitch to the sequence, then went further by manipulating the sound-on-sound / VCA control on Morphagene, shifting back and forth between the slightly out of phase sequences, along with the random breaks to the sequence.
Then I made the video.
I spent way more time on the video, first cutting up an old educational film called “What’s Under Your Hood” in mostly time with the “glitches” in my track.Then ran the whole cut up film through Lumen, then went back and forth in a second cut up session between the Lumen film and the original cut up. Multiple layers of cut up.
Original film is in the public domain and available here: https://archive.org/details/WhatsUnderYourHood
This was super fun.
Brothers Johnson! Love those early albums.
Cheers all! Er…headphones please…
Efter Fel (disquiet0349)
Perfect prompt for me this week, in and out of error, in and out of repeating moments, and all around disorientation :-/
Started with a patch in Animoog/Monster Moog that was fittingly evolving and then opened that in Sector, the perfect app for glitchiness, where it was divided into 16 sections, warped, slowed and mangled in varying degrees.
This was recorded and sent to Cubasis where it was chopped some more and added alongside a glitch beat made in Patterning, which ultimately got dropped. No beats needed here, plenty of rhythm on its own!
Following my recent direction of chaos resolving to order, a patch in Thor with the perfect blend of glitch was chosen for voice. The added bonus being the modulation wheel changed it from harsh noise to almost angelic choir. You hear this effect beginning 28 seconds in, that rocket lift off sound is at full mod and is slowly pulled down for the rest of the piece. The glitch effect is also being reduced while I played the remainder.
The mix down was set into two tracks with mixed panning, and the intro was further chopped into pieces and set alternately between them for a nice stereo feel.
Most of the effects were in the synths themselves, but in this final mix both had ascending sends to ADverb for a bit of atmospheric finishing. First try had a Waves L1+Ultramaximizer in the final mix bus, and while it added a cool compressed gritty edge, in the end I chose the greater transients and more dynamic sound without…seemed more fitting to the end.
The title is loosely translated from Swedish meaning “After Error”. I thought this fit better than the original “Nach Glitschen” I had chosen, while it may be the possible origin of glitch, the slide/slither origin seemed at odds with how this sounded
Great idea Sevenisn, Mark Lentczner, and other folks in the Junto Slack!
First time participating in a Disquiet project!
In my opinion what separates glitch from other sorts of noise used in music is that it’s created by accidental or forced errors of computation.
There’s a wonderful “Stutter Mode” built into Sandrine Sims’ Reflex Liveloop. It’s based on an older sampler she built where she accidentally shorted an address pin, and the mode essentially scrambles the binary addressing system of the module. She describes the behavior in the original manual:
“A binary number produced by the knobs is laid onto the sampler’s pointer in memory. This will cause some locations to repeat, depending on what the binary weight is, large or small loops will occur.”
I used this as the basis for glitching this song. The original sounds are composed on a sampler and polysynth. I set the Liveloop to record into a long buffer, around 1 minute, and feedback on itself so errors are layering atop errors. After letting the errors build upon each other for several cycles I started recording the performance. Each channel of the module is set to stutter differently, creating two opposing but related rhythms, and each is fed into a different filter and then mixed back in with its own dry signal. In order to blend the channels together I ran them through a Mid-Side encoder which sounded more interesting than a mono mix but much less jarring than feeding one into each ear separately. The left and right channels are slightly out of phase, too, so the side signal shouldn’t totally disappear when not listening through headphones (though I would recommend headphones).
I started off quite wary of this week’s junto; i have a… faintly overwrought relationship with SCARE QUOTES the glitch SCARE QUOTES i guess; a deep affection coloured by a certain… wariness? i always wonder to myself if i’m doing it right which is kinda ridiculous but exactly the sort of thought pattern i’m inclined to… maybe that in itself is a glitch in itself?
So yeah, i figured i was gonna sit this one out & i tried not to think about it but, well, it was a quiet Saturday & ended up thinking about it quite a lot and ended up, y’know, tinkering.
My main problem at first was how to make * honest * glitches, not something that was * simply * an effect but then, in the process of even gently mapping something out I [re]discovered that my aging computer is running out memory & storage space & so it was actually quite easy to make the poor think skip & buffer during playback; play a bunch of files whilst downloading a large-ish pdf & i could [let it] turn the smoothest playback into something jittery, stilted & breaking…
so yeah, with the idea in mind that a glitch is an abrupt skip or lurch intrinsic to the playback medium, I got to work mangling things & then mangling the mangled things; in the end this piece is as much about splicing as glitching i suppose but, at least in my mind the two are connected; maybe the deliberately abrupt splice is the fully intentional glitch?
so yeah, what we have here is some rain, an alarm, a faintly randomised set of percussive pre-sets, one of those tedious advert tracks recorded off of a spam Soundcloud account, some YouTube fragments, some hiss, & iterations and entanglements thereof.
You showed remarkable restraint here, I was expecting seizure inducing coma Fun stuff! That is exactly why I don’t make many vids anymore, so much fun but just don’t have the time necessary. Being a bit of an old car nut, I fully endorse your source material!
First time trying something intentionally “glitch” - I really liked the idea of embracing and celebrating the “faults” of a media source and/or effect through disruption. Sometimes the world is too polished and clean for its own good.
For this, I took a 20sec sample of a bowed cymbal and ran it through various effects [ETA: in Ableton 9] to disrupt the original sound source.
Layer 1: Trance gate + around the head pan
Layer 2: Transmission [frequency shifter]
Layer 3: Kaputt [redux effect]
Layer 4: Kaput + Transmission
Layer 5: Insect [beat repeat effect]
Layer 6: Original source
I then ran the whole thing through Bit Reduction + Reverb.
Welcome to the Junto!
I am not 100% happy how it turned out musically but I managed to find a few nice techniques that I would like to study more in the future so not everything is lost In this one I tried to glitch it on many levels.
First I started to play my guitar sloppy without trying to keep tight rhythm and catching enviromental noises in the recording (like my dog walking)
Then I used Ableton live timestreatching algorithm to make it locked to the grid and created a four bar loop.
Next I sliced this four bar loop into 64 slices and used lfos to play random slices (to simulate jitter) and random lfos to bitrate and sample rate reduction.
Then I recorded around 2,5 minutes from this random playing
Then I created four copies of this track and pitched them: one octave lower, non transposed, two octaves higher and four octaves higher.
After that I applied reverb and some Reaktor grainstates fx to some track and automated it.
At the end of the track you can hear the guitar loop after the timestretching but before slicing.
I liked how audio after pitching it up by four octaves started to resemble aliasing noises.
My first thought was to use a no-input mixing or some of my circuit bent stuff, but I wanted to do something different.
An all modular patch from me, using a few modules. In this case, the instrument the clock is clocking is influencing the clock, hence the glitch.
Here is my piece for this week’s Got Glitch?
I had this
circuit bending youtube video https://youtu.be/PvlYM5Js450 on my watch list so went for it as source of inspiration but other than some vocals nothing really attracted me…
After a little bit of though processing I remembered my first ever DIY project which I got somewhat working – Glitched?? – a rakits.co.uk Atari Punk Console so I used that as the main sound source.
As I’m in the process of learning the Octatrack everything was done on it and I abused the effects to get the raw sound a little more palatable…
The beginning of track is from a Bhudist prayer radio that I had at hand slowed down so it doesn’t sound right.
It’s a dark one as I wasn’t in the best of moods while playing it.
It was all recorded “live” with me playing parts on the Octatrack.
I hope it feels glitched.
What the Glitch – It’s Broken
I. Did a little reading about Glitch music and used some of the methods and techniques
II. Chose the following vsti’s and effects to use for this project
III. VSTi’s: Minibit cm, Eurydice cm, RG Muted cm, Thorn, VST Speek, Paulstretch, Blip
IV. Effects: Filterjam, iZotope vinyl, Reverberate cm, Granular loop sampler
V. Recorded, mixed (iZotope Neutron), mastered ( iZotope Ozone 8) in Reaper
Really like the simplicity of the track great stuff!
The basic source material is some great free samples from Glitchmachines. After stepping all over them, I added a beat from Richard Devine to draw it together.
Just a small beat with a glitched up piano.
I got the idea to make a basic rhythm from a field recording of some audio signals from pedastrian crossings at night that I found interesting since they were sort of out of phase with each other. A natural glitch sort of? Then I messed around with the Creative Extensions pack in Ableton, warped some tracks for additional glitch etc.