Effects
Glitch
Breaks audio on purpose: stutters, machine-gun rolls, reverses, octave jumps and tape stops, locked to a clock.
Learn about it in FM & distortion: changing the timbre
How it works
It keeps the last few seconds of IN. On each CLK tick it may (Chance) start a glitch lasting Length ticks: repeat the slice that just played (STUTTER), repeat it with each pass shorter than the last so it speeds up into a buzz (RATCHET), chop the live sound on and off (GATE), or — more often as Warp goes up — play it backwards, an octave up or down, or slow it to a halt like a tape stop. Slices are fractions of a tick, from a whole tick down to 1/16, triplets included; Density lets the tiny ones in. With nothing in CLK it ticks by itself about 8 times a second.
Inputs
| IN | Audio to break — drum loops are the classic. |
|---|---|
| CLK | The tempo: slices and Length follow its ticks. Try Clock 1/16. |
| TRIG | Forces a glitch right now, whatever Chance says. |
Outputs
| OUT | The glitched audio. |
|---|---|
| ACTIVE | High while a glitch is happening — open a bitcrusher, a filter or a second effect with it. |
Knobs and switches
| Chance | How likely each tick is to start a glitch. |
|---|---|
| Length | How long a glitch lasts, in ticks. |
| Density | How small the slices can get. High = buzzy rolls. |
| Warp | How often glitches are reversed, pitched or tape-stopped instead of plain repeats. |
| Mix | How much of the glitch replaces the dry sound while it plays. |
Patches to try
- Clock 1/16 into CLK, Chance 50%, Density 100%: drill ’n’ bass.
- Euclid (7 steps) into TRIG: glitches in seven against the beat.
Lessons that use the Glitch
Each one opens as a working patch in the synth.