Disquiet Junto Project 0374: Glitch Glitch

Disquiet Junto Project 0374: Glitch Glitch
The Assignment: what happens when you glitch something that’s been glitched?

Step 1: Take a recording. Glitch it.

Step 2: Glitch it a second time, in some different manner, and try to have moments where the initial glitch remains evident and untarnished (well, un-further-tarnished).

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0374” (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 “disquiet0374” (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: If posting on social media, please consider using the hashtag #disquietjunto so fellow participants are more likely to locate your communication.

Step 7: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Additional Details:

Deadline: This project’s deadline is Monday, March 4, 2019, at 11:59pm (that is, just before midnight) wherever you are on. It was posted in the afternoon, California time, on Thursday, February 28, 2019.

Length: The length is up to you. Short is good.

Title/Tag: When posting your track, please include “disquiet0374” 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 for this project be sure to set your track as downloadable and allowing for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution, allowing for derivatives).

For context, when posting the track online, please be sure to include this following information:

More on this 374th weekly Disquiet Junto project — Glitch Glitch / The Assignment: what happens when you glitch something that’s been glitched? — at:


More on the Disquiet Junto at:


Subscribe to project announcements here:


Project discussion takes place on llllllll.co:


There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Image associated with this project adapted (cropped, colors changed, text added, cut’n’paste) thanks to a Creative Commons license from a photo by Ario:




The project is now live.

I was looking forward to this today… Be warned noise content!

Step 1: Take a recording. Glitch it.

Step 2: Glitch it a second time, in some different manner, and try to have moments where the initial glitch remains evident and untarnished (well, un-further-tarnished

For this piece i took a field recording of a electromagnetic squeal i had recorded, which i fed into Ableton’s sampler, which was automated by random LFO’s to create the first stage of glitch processing. The next layer of glitching involved running that sound source through randomly triggered fx (Glitch2 and Ableton’s Ping Pong delay) with randomly determined values for the paramaters. This results in a stuttering of on/off functions sometimes revealing the source material and sometimes totally rearranging it.




for this one I re-glitched this following glitchy track:

North_woods – Glitch-vector

itself glitched using a piece of code written in ChucK that sweeps filter frequencies around a fuzzed-out oscillator.

I put this track into a sample granulator I wrote in ChucK which allows me to use a MIDI controller to control eight parameters: grain length, grain position in the sample, pitch of the sample, degree of randomness in pitch, degree of randomness in position, reverb level, echo level, and gain. I then manipulated these parameters and recorded the result. I never play the full original sample (it would make the piece too long) but you can hear hints of it here and there.


I took a basic recording made of a song written earlier this week, ran it through Glitchmachines’ Hysteresis and then into my Rabbit Hole delay.


Hi Everyone!

A pretty glitchy analogue modular patch digitally (over) glitched using Audio Damage plugins …

Have a lovely week!

h u :slight_smile:


Fun! I’m taking this as an excuse/reminder to read up on glitch techniques – I got a long list of tips from a little googling. Looking forward to a weekend of noise!

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Hi folks, I was especially interested in this week’s project as it’s so close to my own working practices, most notably on my album, “Process” where simple jams on guitar or piano were glitched several times over and then the best bits of the resulting audio sequenced to make the final track.

For this week’s piece I took a Gavin Bryars style string piece that I wrote as material to load into my Music Thing Radio Music for my performance at Brighton Modular Meet in 2016. Here I’ve glitched it with both Sonic Charge’s Permut8 and an Albeton FX Rack, “Trillionaire Syndrome”:

Have a great weekend,



first step: recorded audio with tardigrain on zoom H4n Pro
second step: filter and distortion with electron analog heat mk II
third step: grain delay with ableton live

have fun…


in iris 2 theres a really nice noisy distortion when you reduce the buffer size. i had a cello sample in there sometimes raising the buffer so that it was intelligible. recorded in audacity

played at 70% speed re-recorded in live8 - theres an issue with my setup that does this nice clicky delay had more feedback thru podfarm2 also running thru vinyl, ddly, ozone 8 elements

also recording in audition to try and overload the memory. mastered it a bit since i was there


I did this…

The track I chose was a melange of sounds produced by an online synth called “Surprise”, accessed without design and operated without talent or forethought, which was then reprocessed (equally randomly) using Granulab in ways it wasn’t designed to be used… so it was pretty glitch to start with. This was double-tracked and time-tinkered to do funny things to the stereo image.

This was then “improvised” on using The Mangle (also in unintended ways). The result was also double-tracked and time-tinkered, then laid over the original tracks and cut into three and spread out so that the original track could peek through in places – though it’s pretty difficult to tell where since they tend to sound somewhat similar.


hello all

this track is my 2nd attempt - on my 1st attempt I stepped outside the parameters of the glitch glitch task and I lost my way with it. I decided to start again rather than salvage the first attempt.

just this week I discovered an enormous amount of unused solo instrument tracks on an old hard drive that were part of a previous recording from years ago,
this guitar track is an excerpt of one of them.

the first glitch was on the track when it was originally recorded by my friend Stody,
he used a nylon string synth guitar,
and chose a random effect,
the second glitch is a step filter that I added during mixing.

please enjoy the glitar…


Yay glitch! I always find it’s a balance of too much glitch and…not enough :slight_smile:

I used my Junto entry #363, Gymnopedie Rats for the base recording. For reference:

I then re-exported it at 192kHz, brought it BACK into Logic at 48k, essentially slowing it down to 1/3rd speed, and then downsampled the result at 8bit. This “glitch” emulating bad DAW settings/bad imports. Result of Glitch 1:

I then opened up this version in Photoshop, and immediately re-saved it as a new file, without editing the image at all. What’s strange is that the resultant audio was BACK at the original sample rate. No more pitch-shift. Very strange. It was futzy in an interesting way, too, so yay. I then opened both the bounced down-sampled version, AND the then-futzed-in-Photoshop-version-of-the-down-sampled-version in TextEdit and set to work copying, pasting, typing, cutting, duplicating, moving, etc. All the fun things. It’s not actually as glitchy as I expected it to be…

Fun side note, at one point during my glitching, I tried to use Fission to convert an MP3 to AIFF quickly…and Fission totally glitched out on me. The screen went all whack, which I then used as the cover for this second track.



Elijah Cummings’ concluding remarks in the Cohen hearing via Youtube fed through Native Instruments Grainstates. The output of the effect was fed into a mixer. Sends were routed to another instance of Grainstates and then fed back to a second channel in the mixer. So we have in one stereo pair the original gliched signal, and in the second the re-glitched gliched signal.

Difficult listening. I was on the fence about making it intelligible vs completely noise based. Also made several passes through the whole hearing capturing various participants, but those recordings were even longer than this one.

In the end, I chose to submit Rep. Cummings remarks, as to me they were the most powerful.



SOURCE: acoustic guitar >> volume pedal >> looper >> ableton.wav
STAGE #1: ableton.wav >> tracktion >> dblue glitch vst >> traktion.wav
STAGE #2: traktion.wav fed from android phone into pedalboard - strymon sunset (manually adjusting drive levels throughout track) >> strymon timeline (bokeh bells) >> zoom ms70cdr (hollywood patch) >> boss tr2 tremolo (manually adjusting rate levels throughout track) >> pedalboard.wav
STAGE #3: pedalboard.wav >> ableton (fracture vst, “selected ambient work” patch on main track and also on both return tracks) >> reverb all over the place >> izotype vinyl vst

The source material (acoustic guitar drone) forms the core of this week’s Naviar Haiku contribution:

Have a great weekend!!


Fun project idea :slight_smile:

Had a few false starts for this project. First, I didn’t read the instructions properly and just went ahead and tried to make some 170 BPM IDM glitch madness from scratch. So reluctantly I threw that away.
I’ve been listening to Martin Newell / The Cleaners From Venus recently so I tried glitching up: https://www.youtube.com/watch?v=faf1WoCihSg enjoyable as it was to play around with I couldn’t reach anything satisfying.

Remembered I had an unfinished track from when I was sick a couple of weeks ago, so I decided to screw around with that.
Basic process was to render the existing project and then put it on a single track in a new project. Speed up the tempo by about 1.5, roughly chop random pieces and reverse / strectch / apply FX.
To the overall track I applied Fracture from GlitchMachines (thanks to @bassling for making me aware of them) without reading the manual, selecting a preset and just randomly adjusting knobs.


Glitch can be interpreted as a form of deception. Technological malfunctions impede the transference of accurate or complete information, akin to how human being lie in order to shroud an unpleasant truth.

A double-glitch is akin to a poignant human arrangement in which two people willingly deceive one another, relinquishing any semblance of trust in order to achieve mutual recognition. “Therefore I lie with her, and she with me,” wrote Shakespeare in Sonnet 138. “And in our faults by lies we flattered be.”

Suss Müsik mourned the loss of Mark Hollis this week. Even during Talk Talk’s relatively commercial phase as a viable mid-1980’s synth-pop band, one can hear undercurrents of instrumental distress. Listen to the guitar on “Life’s What You Make It,” for example. A friend of Suss Müsik described the guitar tone as sounding like “it doesn’t even want to be there,” which brings to mind the uneasy relationship that musicians sometimes have with their instruments.

For this weird piece, Suss Müsik sought to explore the dynamic between humans and musical instruments in the form of glitch mechanics. A simple acoustic guitar phrase was played live and recorded to disk. The digital output was spliced and reassembled as a loop. The loop was then passed through an Infinite Jets re-synthesizer and re-recorded live to 8-track.

The piece is titled Sissela, named after the Swedish author and ethicist Sissela Bok. In addition to writing the book Lying: Moral Choice in Public and Private Life, Ms. Bok won a Nobel Peace Prize the same year Talk Talk’s debut album was released.


Love love love the diagram.

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