Pure Data means a bit too much head-scrathing and pure gaga before I can persuade it to emit at least some sound, but for the aspiring glitschersmensch it must be the most rewarding free way.Here it is: http://www.vellocet.com/software/VReorder.htmlmeister eder wrote:
And talking about grandfathers: Remember Velocet Reorder?
I think there is a difference - the difference between wave slicing (or even CD player abusing) and glitch plugins may not be big in terms of sound, but it is big in terms of methodology and the attitude you need to bring to the music. If you look at the early stuff from people like Mille Plateaux or (in particular) Oval, using glitches is part of a fundamentally different approach to digital technology, these days it's often just another cool set of noises to use. Nothing wrong with that, but there is a difference.Kingston wrote::-o
Oh yes there is! This thread quite effectively proves that.
Sure if you are an ubertweaker and get a kick off that kind of trainspotter pedancy you *can* do it manually. But just look at that list of plugins (page 2). I dare you to do all that manually!
wakax wrote:Mopis
Mopis is a high-quality software synthesizer that combines traditional subtractive synthesis with new technology we call reconstructive synthesis.
( so you can load your own wave and (de)construct it )
http://www.mopis-synth.com/mopis/index.html
i did a (1st) short DEMO for Mopis that will show some of its unique features. take a listen:
* demo is made with only 4 instances of Mopis and nothing else
http://deviation04.com/~waks/mopis_demo_1.mp3
d/ls the demo!
I knew someone was going to say something along those lines (I left a bait in my post I supposeDWb wrote:I think there is a difference - the difference between wave slicing (or even CD player abusing) and glitch plugins may not be big in terms of sound, but it is big in terms of methodology and the attitude you need to bring to the music. If you look at the early stuff from people like Mille Plateaux or (in particular) Oval, using glitches is part of a fundamentally different approach to digital technology, these days it's often just another cool set of noises to use. Nothing wrong with that, but there is a difference.Kingston wrote:
Oh yes there is! This thread quite effectively proves that.
Sure if you are an ubertweaker and get a kick off that kind of trainspotter pedancy you *can* do it manually. But just look at that list of plugins (page 2). I dare you to do all that manually!
). But like with every pioneer, it's their job to do it the hard way, inspire others, and leave a legacy. You could say this thread represents just that.I think what DWb was suggesting was less the good protestant assumption that harder work is divine and more that what Tone Yasunao and Oval were doing with glitches carried a greater theoretical weight than "this sounds cool." I think a lot of what glitch initially was was a reaction to the "perfect sound forever" idea associated with digital technology. They were showing that these seemingly perfect machines were in fact fallible, warning that it would be foolhardy to devote too much social reliance on the machines to the exclusion of all other mechanisms (like the paperless office, for example), and were also aiming to humanize this highly impersonal technology. But most of the social theory has faded over the years into a mechanism of making exclusively digital music. Such is the way of all things, I suppose, but I can't help but think that course of events occurs so that many people can avoid thinking too much about the world in which they live.Kingston wrote:I knew someone was going to say something along those lines (I left a bait in my post I suppose
I know a lot of people who do traditional glitch music and I suppose things like this would be "an abomination in the face of the lord" to them. You're only supposed to use broken harddrives, microphones, digitalmedia, or abuse the functionality of all manner of digital instrumentation to create those sounds.
Thing is, we've come a long way already, and some of these plugins put such elitist attitudes to shame.
Pretty much exactly, yes. I was pretty unclear on the details of the social theory bit myself before I read your post, but the point was that it existed.shamann wrote:I think what DWb was suggesting was less the good protestant assumption that harder work is divine and more that what Tone Yasunao and Oval were doing with glitches carried a greater theoretical weight than "this sounds cool." I think a lot of what glitch initially was was a reaction to the "perfect sound forever" idea associated with digital technology. They were showing that these seemingly perfect machines were in fact fallible, warning that it would be foolhardy to devote too much social reliance on the machines to the exclusion of all other mechanisms (like the paperless office, for example), and were also aiming to humanize this highly impersonal technology. But most of the social theory has faded over the years into a mechanism of making exclusively digital music.Kingston wrote:I knew someone was going to say something along those lines (I left a bait in my post I suppose :wink: ). But like with every pioneer, it's their job to do it the hard way, inspire others, and leave a legacy. You could say this thread represents just that.
I know a lot of people who do traditional glitch music and I suppose things like this would be "an abomination in the face of the lord" to them. You're only supposed to use broken harddrives, microphones, digitalmedia, or abuse the functionality of all manner of digital instrumentation to create those sounds.
Thing is, we've come a long way already, and some of these plugins put such elitist attitudes to shame.
I'd guess that the reason that a lot of people (myself included to some extent) listened to Tone Yasunao and Oval was their cool noises rather than their theorizing, and that the cool noises were the bit that they then replicated. Fair enough, if you make good music using glitches I'll listen to them whether you made them by leaving a CD player in the rain at the top of a mountain for two days and then hitting it with a hammer while playing a CD of bulgarian peasant tunes that you 'treated' using a mixture of vinegar and domestos, or you did the whole thing with a plugin in cubase.Such is the way of all things, I suppose, but I can't help but think that course of events occurs so that many people can avoid thinking too much about the world in which they live.
It's less of protestant work ethic than pretentious eliteness in IDM circles. You see, when you create the most outrageously and oddly difficult, yet cool sound you get some of this thing they call respect. It's directly related to the computerised geek culture where many of the artists grew up. Luckily most of them aren't awfully serious about it, but I've met some pretty hopeless "scenesters" in my life.shamann wrote:Such is the way of all things, I suppose, but I can't help but think that course of events occurs so that many people can avoid thinking too much about the world in which they live.
Regarding the protestant work ethic, it's vaguely ridiculous that its preachers found their way to lay claim to digital musicmaking, given how much of their invective has been aimed at the "cheating" involved with digital technology over the years.
We're into our individual creative processes here, which is a notoriously bad starting point for generalizing. Since we're here, though, I tend not to use any glitch plugins unless I threw them together myself in synthedit because for me, glitches are part of a broader 'what happens if I do this' approach to making music rather than a particular sound that I want to be able to make, use, and get on with it.Kingston wrote: As for my attitude towards 'glitch': I like it so I can throw certain effects on the song without going into macro detail (trust me I've done enough of that by now). Creative process is a time consuming one, and having one thing less to worry about helps to concentrate on the most important thing.
And for me that certainly isn't making glitch for glitches sake or a post-protools-bohemian artistic statements. That's far too artsyfartsy for a musician like me.
and the beatles said there's nothing you can sing that isn't sung.vurt wrote:i believe it was chumbawamba who said you cant write a song that has never been sung(see also no technique is new,its just applied differently)
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