#Dblue glitch 2 logic pro x pro#
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.Logic Pro X is the most advanced version of Logic ever. 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. 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).
I’ve been practicing lately with Inear Display’s Eurydice vst and I’m also a big fan of Glitchmachine’s Hysteresis vst. I’d not been able to get any farther with it then, but instantly realized this was the perfect starting point for Glitch, Glitch. 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. When I saw this week’s assignment, I remembered that I had an old project labelled “glitch techno” lost somewhere on my harddrive. Bok won a Nobel Peace Prize the same year Talk Talk’s debut album was released.
In addition to writing the book Lying: Moral Choice in Public and Private Life, Ms. The piece is titled Sissela, named after the Swedish author and ethicist Sissela Bok. The loop was then passed through an Infinite Jets re-synthesizer and re-recorded live to 8-track. The digital output was spliced and reassembled as a loop. A simple acoustic guitar phrase was played live and recorded to disk. 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.įor this weird piece, Suss Müsik sought to explore the dynamic between humans and musical instruments in the form of glitch mechanics. Listen to the guitar on “ Life’s What You Make It,” for example. Even during Talk Talk’s relatively commercial phase as a viable mid-1980’s synth-pop band, one can hear undercurrents of instrumental distress. Suss Müsik mourned the loss of Mark Hollis this week. “And in our faults by lies we flattered be.” “Therefore I lie with her, and she with me,” wrote Shakespeare in Sonnet 138. Technological malfunctions impede the transference of accurate or complete information, akin to how human being lie in order to shroud an unpleasant truth.Ī 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. Glitch can be interpreted as a form of deception. The screen went all whack, which I then used as the cover for this second track. It’s not actually as glitchy as I expected it to be…įun 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. 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. It was futzy in an interesting way, too, so yay. What’s strange is that the resultant audio was BACK at the original sample rate. I then opened up this version in Photoshop, and immediately re-saved it as a new file, without editing the image at all. This “glitch” emulating bad DAW settings/bad imports. 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. I used my Junto entry #363, Gymnopedie Rats for the base recording. Yay glitch! I always find it’s a balance of too much glitch and…not enough