How do you feel about glitches, warbles, and artifacts?

[Rev J]

I thought that this would be kind of a fun but polarizing issue to discuss.

Personally I use fairly high end (at least from a non boutique perspective) effects. I consider myself a Jazz/FUnk bassist but there is still something kind of cool and unique to be about pedals glitching or adding weird noises when engaged as long as there isn't a drop in low end, volume or a level spike. There is just something kind of cool and exciting when something makes a weird unexpected noise.

C/S,
Rev J

 

[2010P]

I respectfully disagree. I don't want my pedals making any weird noise because that sometimes means bad electrical stuff is happening. But I play rather straightahead music so my opinion is being informed by that. I'd imagine a noise or experimental musician would really like what you are describing.

 

[symbolic_acts]

i enjoy taking my bitcrusher/sample rate reducer and turning every knob to 10

so yes i like that xD

 

[tfer]

I don’t want anything unpredictable happening.

 

[theunknowndude]

I liked it in some ways, ie my PS3 would get glitchy and warble after a fifth up... fun for a noise song but using that in a proper band context it’s not good. I don’t mind having a noise board with pedals like that on it but for band stuff, consistently sounding good is better

 

[Moody Tuner]

I have a Rainbow Machine, SuperEgo+ and a Boss SYB-3 on my board: I embrace chaos.

 

[Rev J]

One "glitch" that can be musical is latency. In a lot of pitch shifters with dry signal mixed in the latency between it and the shifted signal is almost like a chorus effect. If it is more noticeable it is a more human like doubling.

For me I think part of the attraction comes from listening to Doug Wimbish and how some of his pedals react in the context he is using them. Sure they have made the Digitech Whammy pedal track a little better but IMHO a lot of what made it sound so cool on those Living Colour albums or Tom Morellos use of it with Rage Against the Machine was those glitches and artifacts.

Lately I've been listening to a lot of instrumental Hip Hop and Chill Hop and reading about their production and histories. I read about a glitch in early samplers where there would be a dropout when in loop mode and how different producers would deal with it. I'd notice listening to some tracks when the loop would drop the MC would put in a key line for emphasis.

C/S,
Rev J

 

[radiophonic]

There's glitchy and then there's unreliable. I'm happy with a predictable glitch - something the manufacturer didn't intend, but that I can get a use out of, but it has to happen reliably. The Boss PS6 is a good example of this - the wavery shifting and the unintentionally monophonic tracking in some modes is an effect option in itself. I know this is going to happen though and I can use it. Hitting a note and not knowing what's going to happen though? That just confuses the drummer and makes him think I've messed up.

 

[cnltb]

I thought that this would be kind of a fun but polarizing issue to discuss.

Personally I use fairly high end (at least from a non boutique perspective) effects. I consider myself a Jazz/FUnk bassist but there is still something kind of cool and unique to be about pedals glitching or adding weird noises when engaged as long as there isn't a drop in low end, volume or a level spike. There is just something kind of cool and exciting when something makes a weird unexpected noise.

C/S,
Rev J

I like it as long as it is deliberate - and something a pedal is supposed to be doing.
I do not like broken pedals.

 

[cyberfola]

I love glitchy...especially if there is a mix knob. Just let it bubble underneath. Right now I'm having fun with the CNZ audio crush bit... I have the mix set low... That tiny bit of noise helps to cut through percussively...

 

[Phe]

I'm using an analogue octave pedal on this track because the pedal doesn't track artificial harmonics and glitches when those are played. I like the sort of crumbling noise it makes when it tries to track something it can't track.

 

[Rev J]

There's glitchy and then there's unreliable. I'm happy with a predictable glitch - something the manufacturer didn't intend, but that I can get a use out of, but it has to happen reliably. The Boss PS6 is a good example of this - the wavery shifting and the unintentionally monophonic tracking in some modes is an effect option in itself. I know this is going to happen though and I can use it. Hitting a note and not knowing what's going to happen though? That just confuses the drummer and makes him think I've messed up.

Right. It's one thing to be quirky another to be unreliable. I think that this is a reason why there is a market for some vintage effects.

I love glitchy...especially if there is a mix knob. Just let it bubble underneath. Right now I'm having fun with the CNZ audio crush bit... I have the mix set low... That tiny bit of noise helps to cut through percussively...

I feel you. Although not a glitch I have an Ashdown Lo Menzo Hyperdrive that I run with the drive maxed but the mix just up enough to be noticeable. Since it only distorts the midrange the closer you get to the distorted frequency the more noticeable it is. Since I run a Pigtronix Bass Envelope Phaser in front of it if I run them together you can hear the distortion follow the sweep from the envelope.

C/S,
Rev J

 

[BassBrass]

I have both a Melekko Charlie Foxtrot set on random down pitch (these days, stutter is useful but predictable) before the SuperEgos and Red Panda Particle after the Superegos, it's taken a year to learn enough of the RP Particle to use practically but you never really stop if you keep moving the knobs. A superego sample can become quite lively into a random pitch shifting delay or LFO filter.

 

[Spidey2112]

I thought this was a thread about dealing with ex-wives...

 

[hintz]

I kinda dig when the OC2 gets glitchy here and there, that's about as far I go and I sorta expect it.

 

[Inconnu]

I kinda dig when the OC2 gets glitchy here and there, that's about as far I go and I sorta expect it.

Same here, but with my old EHX Octave Multiplexer. I know exactly what to do to make it warble and I use that as a wanted effect. Pretty cool when you do it on purpose.

 

[sigterm]

What you got back home to play your fuzzy warbles with?

No for glitches clicks and hmms when I don't want them. I like my chaos controlled.

 

[JimmyM]

Usually I don't like that, but I've come to love it (sometimes) from my OC-2. Sometimes I'll be playing a song with the band and I'll play notes below what it can track just because I get a laugh out of what happens.

 

[gregmon79]

I thought that this would be kind of a fun but polarizing issue to discuss.

Personally I use fairly high end (at least from a non boutique perspective) effects. I consider myself a Jazz/FUnk bassist but there is still something kind of cool and unique to be about pedals glitching or adding weird noises when engaged as long as there isn't a drop in low end, volume or a level spike. There is just something kind of cool and exciting when something makes a weird unexpected noise.

C/S,
Rev J

I like it too. Especially when octaves like the OC2 glitch. It sounds so cool. I've been using the synth-o-matic on the HX effects and if I hit an open E it glitches to the high octave of E after I let it sustain for a few sec. It's really cool. So yeah, I dig that kind a thing.

 

[micguy]

I have no direct experience with their effects (yet), but I believe if you want chaos, you should get familiar with Chase Bliss.