Glitch textures with a denoiser! #botanica #glitch transcript

[Music] Hello and welcome. In this video, we're going to look at how to use a deninoiser to create glitchy textures like the kind that you hear in Botanica to layer behind your music. So, let's get into it. [Music] So, how does this deninoiser work? In this example, I'm going to be using Blue Lab Audios Dinoiser. But before we get into Glitch Texture Creation, let's look at how this deninoiser works. As it says in its name, its main purpose is to remove noise from a signal.

Firstly, we get the plug-in to learn which aspect of the signal is noise. And after this, we start turning up the threshold until we have removed the background noise from the signal and are left with what we want. In this case, a clean voice signal with no background hiss. But what happens if we push the threshold too far? Then this is where the fun begins. So now that we know how the dinoiser works, we're going to use it to create a glitchy texture for this music.

So, what I've done is I've recorded that down into an audio file. [Music] So, now that we're in the dinoiser, we're going to use the music itself to learn what the noise is. Now, technically the music isn't noise, but for this case, this is what allows us to get that glitchy texture. [Music] And now if we push the threshold, you can hear that we start to get that kind of spectral wobbling sound, which is the start of us getting into that glitchy texture layer.

In this D noiseiser, the main two dials that you want to focus on is the threshold and the transient boost. So, as we push the threshold up and it starts to lose a lot of the integrity of the original sound, we can reintroduce some transients by boosting those up. [Music] Now, depending on how much your computer can handle this, cuz this can use a lot of processing power, the quality can be be dictated by these four numbers here.

[Music] I tend to work with the fourth one because you get a lot more ability and quality out of the sound. But at the moment, this isn't sounding that good. So, we're going to have to do a few things to get the most out of this deninoiser. So, the first thing that we can use is an EQ and just carve out all of the low end. Now, I would recommend that you relearn the sound. [Music] As you can see, you don't want too much low-end and mid content if you want the high-end glitchy sound.

[Music] So, it's starting to get better. Now, let's increase the cutff. [Music] And now we're getting into a more interesting territory. So, now that we've learned our noise image from the original sound, we can start to go further with this to make it as glitchy as possible. So, for example, we can go into the waveform and pitch it up two octaves. And let's see how that sounds. It's starting to get a little bit more interesting.

But at the moment, because because the original signal doesn't have that much dynamic change, it's not really getting into sort of the glitchy rhythmic kind of texture that we want. So what we can do is we can artificially introduce that into the sound. Now before the dinoiser, I've just set up this little rack where I have an LFO, a shaper, and a utility. The shaper is affecting the utilities level and the LFO is affecting the speed of the shaper here.

So let's introduce that into the signal chain. So now we're getting into that territory of glitchy textures, but we can keep going further with this if we want. You could stop there and just have that bounce it down and then layer it into the music, which that would work in and of itself, but depending on how far you want to go with this. Now, I have this quite large rack here with lots of different things in, but I will explain all of them as as we go along.

So first of all we have a multiband compressor to increase the highs more. We have a vocoder just to introduce some noise to the sound. A drum bus to increase the transients that are running through this noise profile in dinoiser. Some grain delay to add some more intrigue. Now this is uh set to 12 semmit tone pitch and then spray and random pitch as well just to add some more difference and nuance to the sound. Another OTT just to embellish those frequencies that we've put.

I've got KHz transient shaper again just to push the transients further. And then a glue compressor just to wrap it off so it doesn't clip too much. And then we can listen back to that. And again, we can play around with the threshold, decide how few or how many of these glitches that we want. And then once we're happy with that, we can render that down to audio in another channel. [Music] And now that we have that, we can add this to our music.

We can cut it up, change it around, reverse it, and do much more editing techniques to complement the music we've made. Now, the really cool thing that I've done with this recording the music that I'm working on is all of this sound and noise that we create is going to be contextually relevant to the music. It's not like we're just adding in random samples that weren't made with the project in mind. And just before I disappear from this video, I can show you some examples of how far you can take this.

And you can take this infinitely far, but here is an example of what I've done with it. [Music] Come on. [Music] Anyway, I hope you find these techniques showcased useful and have fun using them in your own music. I've included a link to Blue Lab Audios Denoiser in the description of this video as well. It's free to download. And as always, until next time, good bless and goodbye.