Disquiet Junto Project 0374: Glitch Glitch


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.


I recorded an improvisation on my kora which I then fed through my pedalboard using a Hexe Revolver pedal for glitching duties and a strymon timeline providing a lower octave delay. I then fed that recording through Fieldscaper on the iPad, glitching it further. I tried mixing these into a track but I wasn’t happy, so I glitched a little further! I created some glitchy loops in Samplr using the three original tracks. I then processed and glitched them further in Fieldscaper. I ended up with 4 layers using these loops which I arranged and mixed into a single layer that I liked. I then used this layer as a key input to apply some extreme sidechain compression to the original three tracks. Phew!


Original glitchy techno song created on an Elektron Analog Four. Further glitched in Ableton using Beat Repeat and Replika delay.


Great challenge this week!

I recorded the room yesterday and then spliced a number of melodies together, sent into a sampler to then sequence a few notes to quickly duplicate. Recorded final cut through a room mic from a cassette player for more audio chopping. Flattened with some compression and a fixed filter bank.


I recorded a piano loop the other day onto my Op-1. So I took that and started to mess with it, transpose it, warp it, layer it, reverse it etc. Reading up on glitch techniques I learnt you could have Audacity interpret raw data so I had it first read my tax report and then some map of a ferry. I glitched/chopped that further - til I just put an end to it.


Cut up and manipulated the main rhythm track, which became a strange rolling loop. Fiddled that through a heavily modulated Clouds, then mixed in some random samples from old cassettes of source material that I was using in the 80’s.
This doesn’t sound like much through laptop or other small speakers, so listen through good headphones or speakers, if you can.


• Source: Korg SQ1 > Make Noise 0-Coast > Way Huge Supa-Puss > Digitech Polara
• Glitch 1: GlitchMachines Hysteresis > Ableton Beat Repeat
• Glitch 2: Ableton Granulator II


The playlist is now rolling:


man! some really great stuff here, as always.

the Junto has become a really important part of my music practice. I always make an effort to listen in even when I can’t contribute.

Thank you @disquiet for organizing this remarkable group!


Here is the awesome Bing’s speech, from Black Mirror S01E02 “Fifteen Million Merits”, performed by Daniel Kaluuya.

I glitched the voice, and then glitched the beat a little.

GlItch hope you’ll like it!


Mmmm, interesting …

A: Original track constructed from an early ‘70s public information record and a couple of instances of Native Instruments’ Absynth
B: Wrote a small Reaktor 6 ensemble to play back (A) with skips and discontinuities modulated by some slow-running LFOs. (ensemble available on request!)
C: Hand-glitched (B) using automation on the Logic Pro X bitcrusher plugin.

Parts A and B are also uploaded alongside this piece, although they are obviously not part of disquiet0374


When I saw this week’s assignment, I remembered that I had an old project labelled “glitch techno” lost somewhere on my harddrive. When I opened it, I found a 158 bpm project with a glitchy, bouncy drum loop I had created, along with a basic baseline, and some slow harmony and chords I had played on the Prophet 6. I’d not been able to get any farther with it then, but instantly realized this was the perfect starting point for Glitch, Glitch.

I’ve been practicing lately with Inear Display’s Eurydice vst and I’m also a big fan of Glitchmachine’s Hysteresis vst. My first step was to take my harmony line and create a few Eurydice patches (first glitch) and then feed the output of that into Hysteresis (second glitch). What I discovered is that both plugins often create a lot of “self-noise”, a glitchy, sometimes rhythmic white noise when no signal is being routed through them. This became a great source for embellishments and quirky little background noises, especially when coupled with Vengeance Sound’s Philta XL using a crazy LFO-driven filter envelope.


Really fun track! Love the samples you used and the progression of the track is really interesting.


Here is mine…some how managed to master it a bit too quiet but thats another glitch i guess…


Triple Glitch
• Key: G minor BPM: 20 Time signature: 2/2 DAW: Reaper
• Instruments: Arcade by Outlook
• Plug-ins: Ozone 8, Neutron
• Created a midi track of glitch sounds with Arcade
• Used that midi track to trigger different glitch sounds
• Created a third midi track with different glitch sounds
• Mixed with Neutron
• Mastered with Ozone


Hi everyone. Here’s my output for the week.
I’ve been crazy busy on a work project, but we may have a snow day tomorrow, so I thought that was the perfect excuse to blow off work and do something fun. :slight_smile:

Yesterday I recorded a voice over for said work project with a person who had lots of mouth clicks when speaking. I’m always amazed at what a de-clicking plug-in can do, and love the “only play removed clicks” option as a cool novelty aside from its practical application.

So for this project, I took a minute long clip of just the clicks of the voice over. Then I layered 35 instances of this track on top of itself in random intervals. This is what you hear at the beginning of the track.

Next I took the mix down of those 35 tracks and layered that on top of itself another 35 times, but now constrained to short rhythmic intervals, which created a lovely noise track that ebbs and flows.

Next, I ran the result through a few different presets on Stutter Edit.

Lastly, I mixed everything together into one cohesive track that maybe resembles something akin to music.

But mostly I just loved creating something out of (almost) nothing. :slight_smile:


Thanks! This is only the second disquiet junto that I’ve done. Having a deadline is really great… I’ve played a lot of sessions, and I’m pretty efficient at that, but I tend to fiddle with my own music, often not finishing it.


Here’s mine! I recorded the simplest beat and some random notes after playing around with the Triple Oscillator settings in LMMS. First glitching (and a half) was done with DISTROH’s MaBitcrush, and The Infamous Hip2b. Second glitching was simply adding little loops in Mixxx. Does that qualify as glitch? It was fun exploring this process, including the glitching of a picture with Audacity :slight_smile:

Have a great week, everyone!


This used to be a rock song from a rehearsal recording of my band. But it was glitched hard using a couple of VSTs. Fracture, Valhalla FreqEcho, and Tal-Bitcrusher. Modulating the levels of each and the parameters using automation.

Somehow turned into ambient nightmare.