Glitch: The term derives from the German glitschig, meaning ‘slippery’, possibly entering English through the Yiddish term glitsh. With or without previous knowledge of the original effect plugin, it is easy to get on with the program, seeing how the learning curve isn’t that steep.Īll in all, I can really recommend any curious individual who would like to gently alter, or completely squash whatever audio you will throw at it. You pretty much feel at home, knowing how and why the plugin acts as it does. Glitch 2 might not take the road of strange/crazy, which some glitch plugins available in Reaktor-format tend to do, but this is not really a let-down or a negative thing. Perhaps it is a developed skill set from working with other projects, such as the dark-horse music-tracker Renoise, which is showing in the final product? I don’t know, but it would make sense, seeing that this tracker is quite an intelligent and original DAW in its own right. Setting up the old and new effects next to one another does confirm improvements, however. But I still was quite surprised at what I heard, to the point that I suspected some inherent bias on my part in favor of what’s new.
Most of these effects sound better than the original glitch – noticeably so. The effects themselves remain hospitably straightforward, and each comes with its own four-type filter effect. Control these via your DAW-sequencer or keyboard, and it could become a potential ally for live shows.
Add variations, trigger these via MIDI, and you have instant play with different glitch setups. Also, CPU usage went up.ĭo you like that sequenced pattern you did there? Copying and pasting settings to a new page is very simple. I sometimes resorted to stacking the effect, using two or three glitch FX inserts at once, but due to this choice of workflow – it made project management increasingly hard. There were ways of triggering several effects at once, but it could become quite tedious. Having a number of years to think out improvements, the most obvious one is that you previously pretty much had one channel time line grid-oriented sequencer to look at.
The result can range from the subtle to the radical. In this sequencer you may apply one or several effects at any one time, to influence whatever sound you want to alter. These are neatly placed as separate “instrument”-tracks, next to a number of grids resembling a step sequencer, a BPM-synced sequencer at that. Like before we have a number of effects, namely: a gate, stutter, delay, bit reduction, reverse and more – nine in total. There are of course others, but ever since I heard of Illformed making their own follow up, which was also going to be released for Mac users, I was excited to say the least.
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