How to make glitches for botanica (and more). transcript

Hello everyone. Um, today I'm going to show you how I make my glitches. Yeah, so like the techniques I'm going to show you are like from uh, from things I've like learned from like other people. And before I like show you like how I like go through like to make the glitches I want to go over like like what make glitches like good and like uh, sounds like uh, like the glitches that you like hear from like most of the botanical like uh, songs. >> [music] >> Um, the main thing is like to have like those uh, very like goopy like um, uh, sharp and like metallic like glitches.

Like you really need to have like a lot of like randomness like in your uh, source like audio. You need like uh, pitch movements and delays and like some effects like uh, dispersal and like vocoders like to make the sounds like more uh, liquidy. So I'll be going through like two different workflows that I usually do. Um, so like this is one of the methods that I'm that I'm going to show you like how to make glitches.

Um, the main concept of like using like the pitch like delays and like filters are basically like all the same for like like for whatever you use. Um, for whatever plugin you use. And in this patch I'm only using like a an operator patch which is just a simple like sine wave like movement. And and like the the main sound is just like an operator like being an operator like sine plug like being uh, modulated like with the arpeggiator like and the MIDI looks like this.

It's I've like put all the notes from C0 to like C7 to have a wider range. And uh, the arpeggiator is like going through all of it and and the rate is also like controlled by like a random LFO. And this this is basically how it sounds like the the base sound. Yeah, it's just basically the sine like sine plugs like hits. And if I if I like turn on like the and then and then the for the pitch pitch shifter you can basically use any like plugins like and in this case I'm using elastic pitch but you can also do it with like Ableton's like shifter.

And like the the like the main thing about like glitches are just um, like modulating like any like parameter from a plugin. So like for the for the synth for the operator I'm like uh, modulating like the attack like the the decay and the release like the ADSR stuff. And also like the pitch envelope stuff. So like it's like getting getting it's like movement like from like any any like like if you're basically like changing like small amount of like stuff for the sound like so it's like when you're like have post-processing on like it'll like amplify like the changes and then it will just sounds like like glitchy.

And after like the pitch um, the pitch shifter I'm like adding a disperser like like which is like a disperser ran through like a LFO random like it's it's basically just controlling like the the think the frequency of the disperser. And it's just to give like a bit more like a liquidy texture. These these are all like the LFO controls like for the the operator. Then this for the arpeggiator. So it's like it's going to like go very like random and then it's going to go like very glitchy even though like there's nothing like going on.

And it already sounds like really good. Which which I really like like how this sounds to like I also like use these type of sounds on my like um, like foleys. Then this this LFO like uh, chain is just to control like the the pitch envelope like the the parameters of like elastic pitch. And yeah, it's mostly just a lot of LFOs. It already sounds like really good. Now I have like two disperser racks like which also which is also like random.

To like give it more like liquidy texture. And and then this sounds already like way better. And then I tried using like two vocoders like with like a parallel chain. Uh, one's like having like alternate like uh, bends and then one's like a flipped one. I mean there's no reason behind doing this but it's just something that I want to like try out. And then it surprisingly gives me like a plasticky um, texture which is like pretty good.

And then like a disperser to like a bit smoothen it out. Then like an EQ to like uh, clean up the mud but I mean it doesn't really matter like it's just since I have like a lot of like MIDI like going on like when the when the arpeggiator like goes through all the notes it's going to have a messy sound so I really just don't have like a muddy sound like at the end. Like it's it's really it's really not necessary like it just depends on like what what what what you need.

And it's just an OTT just to like uh, bring up the sound again. Then this plugin uh, is from uh, E1 uh, Bristow like it's a plugin it's a plugin data effect. And I'm using this like I mean it's a it's a soothe like a free soothe but I'm using like the dental signal to like like take the like the mushy texture of like the sound. And then the amount is also like automated so that it's not like uh, always like taking the texture.

It's just randomly taking the texture so it's like sounds really good. You can also like turn like you can also like reduce like the resonance frequency instead of like using the the like the dental signal. I think like both sounds good but this one sounds a bit like more like uh, like toned down and this one sounds more like a bit more sharper. Yeah, but either way like both are like good like good to like good to like have it.

Sorry. >> [snorts] >> And it's just like an OTT rack to just like bring out like the texture. It's just like automating like the time. And then that's it. Yeah, it's like pretty simple like like it's basically just like I would say like the main like uh, VST like plugin that you should have is like the LFO random. I just found it like on like a random website. And I mean it is free though. You just find like LFO random like Max for Live and then you'll have this.

I mean like the key like the main thing about like making glitches is just having like any type of like plugin and just modulating like all the parameters like at once and then you're just randomizing it. You can literally just have like a base loop. Like a base loop and then have an EQ8 and then just make the the notches like go randomly and then you you have like cool glitches like that's it. That's that's basically just it.

Um, so this is another patch uh, like to make glitches but then instead of using like an operator I'm using a I'm using like Ableton's like a granulator. Uh, you can use like different types of like uh, granulator synths. Uh, but I'm like more familiar with like Ableton's. Uh, so I'm using this. But I think there are like free uh, free alternatives like out there like which is like pretty good like I think uh, Emergence is a pretty good like VST for like uh, granular synthesis.

But yeah. For now I'm using uh, just Ableton's uh, granulator. But if you're using FL you can use like the built-in like granulator. And it's also pretty good. So for this patch I'm doing like the same thing as like a as like the previous patch. I'm just using a LFOs like to modulate all the parameters from like the from the granulator. So I'm I'm modulating like the grains like the file position and like the spray and even like the spread like the stereo depth for the uh, for the granulator.

So yeah, most of the sound like comes from like having multiple dispersers like like the disperser random rack. Then like four of them and like vocoders like getting like modulated like every time then having OTT, like and having like multiple delays, like I'm modulating like left and right signals from like the delay, so that it it gives you like a a very like liquidy like a mushy type of sound, like uh for this glitch uh for this type of rig, if you're like using heavily on delays, uh it's better like have like a vocoder like at the end to like kind of like tame down like the like like the like the messy effect of like the the dis- the delay.

So, a vocoder is like kind of like smoothing like the texture like into like a more like um like a liquid texture. So, yeah, like and then just has like just have like more disperser at the end. Then, this is like the base sound that I will sometime I use it to later like reprocess it to like some of like the metallic texture. So, like this is the patch [snorts] itself just sounds like this. So, it for this patch is just more like uh goopy.

Then, I'm I'm just using like uh different foleys like for like the the signal for the input signal that is just this. And I you can literally use anything that's like atonal, like um like drums, like foleys, like random hitting, like even noise. I'm I'm going to add like a drum. It's not It's like a drum collection that I just found out from my like sample packs. Then, just uh render it out into a long file then just put into the granulator.

Yeah, and then just um run it through like the patch then it just sounds like uh it just give you like more variation, like uh depen- depending on like the input like source that you like add. Yeah, and then this is more like a glassy like it's like foleys like they use from for like movies and stuff. And they also like sound pretty like neat. Yeah, and then this one is this foleys. Yeah, most of them just sounds like goopy and then it's just like the the main difference is just having like a higher like uh high frequency like uh content and like more like low frequency content like for drums.

Then, if you want to like make it more like spectral and like have the glitch more have a bit more like tonality, you can just use like uh spectral gate. For now, I'm using like uh spec ops. Then, you can literally just have the FFT size to like uh like 32k or like 16k. Then, you can literally just have like the noise filter on and then have it run through like the like the granular patch. Then, you're you'll definitely have like those uh spectral uh glitches that you like hear from like Botanica like uh textures.

Yeah, you just try to like experiment with like different plugins like Some of the plugins like give like some different like results, but most of like the technique itself uh produces like the same type of sound like regardless of like what plugins you're using. Um But, for like spectral gates, right? I think uh for spec ops, like the the s- the smearing effect uh really like adds on top as adds like a lot to the tonality, like if you if you have like a very like high end uh input source and like the high end like output, then like if you uh have like spec ops then have uh noise filter and have it on, you you kind of like you can kind of like get uh these type of sounds, like um like yeah, these these type of sounds that you can literally have them.

It's basically just the same concept, but like just having like a different like audio like input source. This is basically all from like uh spec ops, like Yeah, like it depends on like how you like like what type of like uh input source like you're feeding into like the granular patch. But, yeah. Uh so, yeah, thank you guys for like watching and you guys can follow me on my socials in the description. Bye-bye.