Wether you use self-created MIDI loops, or audio loops from sample packs, adding motion to loop based music can be a vital part of producing a final version. DJ/Remix style glitch, gates, chops and stutters can help to move a track forward by adding much needed variation. We’ll look at 5 different plugins of this type suited for processing a mix, or for individual instrument tracks. In the audio examples below, all the plug-ins are individually processing the entire song on the master track. When choosing the effects for this article, it was important that none of them added any coloration when not processing the incoming signal. This way you can easily leave them enabled on the master output without worry, and of course on individual channels/buses too.

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Also important was either a click-less ability to enable and bypass the effect, or an internal fade/bypass. Easy setup was also a requirement, as all 5 plug-ins do not require any side chain configuring making them quick and easy. Editor's Note: We've featured iZotope's and in previous articles about glitch and stutter effects, and although they're not given proper mention in this article, we do recommend you check them out as well! Sugarbytes Looperator First up let’s look. This fun new plug-in allows you to chop up the incoming signal into 16 synchronized slices. All 16 of them are processed in their own private space and never bleed over to the next so Looperator is the closest thing to an actual handmade audio edit as you can get in a plug-in. You can easily repeat and rearrange slices in any order, but that’s just the beginning.

All 16 slices can be processed with loopers of different speeds, filters (including vowel type), envelope/gates, vinyl tape stops, and more. The built-in bypass button allows you to conveniently stop and start processing without any noticeable click, or you can use the Dry/Wet slider to move between the un-effected and effected sound. Download Game Balap Mobil Untuk Hp Nokia X2.

In the audio example below (and on each of the 5 reviewed effects). The first 4 bars are the raw unprocessed track, then effected by the plug-in, then faded out. VPS Glich Bitch by default is disabled which makes it perfect for creating glitch/stutter effects. The idea is that the processed song, bus, or musical part is totally unaffected until the Glitch button is pressed. Since these type of effects are meant to be left on all the time, this make a lot of sense. The large “glitch” button in the center of the effect turns the effect on and off, and can be easily automated specifically. When enabled, you can trigger perfectly synchronized repeats.

The size of the repeat is easily selected with values like 1/4, 1/16, etc. These repeats can be set to play out for specified lengths of time like 1/4 notes to 2 bars (or more) in length with the “Length” parameter.

They’re then processed with low pass/high pass filters, semitone pitch intervals, panning, gates, and more. Of course, all of the effects can be sequenced over the chosen length with independent envelopes. Despite a somewhat small and semi-confusing interface, this one has one of the most dramatic and musical sounding results. Sinevibes Sequential is a step sequencer that can be used to blast in cool effects like multi filter types, bit reductions, drive, chorus and flange effects. When triggers are placed all the way across the original lane the effect is completely bypassed.

You can then start to add various triggers on the various effect lanes. The sequencer area can be set to various lengths like 1 bar up to 32 bars, and when used with the 8 different snapshots, you can sequence up to a 256 measure song. The Dry/Effect blend doesn’t look controllable via automation, but you can easily use you’re DAW’s bypass button to undetectably turn the effect on and off at will. Sugarbytes Turnado Need a reason to use the built-in knobs on your keyboard controller? If your controller has a set of 8, you’ll love.

Like Glitch Bitch above, Turnado starts you out clean with no effects. After assigning your keyboard knobs (or by just using the virtual ones on the interface), you can twist your way to a huge collection of effects like loopers, pitch effects, filters, gates and way more. Unlike most of the other effects in this article all the individual processes are highly tweak-able.

When you click the edit button on any of the 8 effects, and elaborate display of parameters will appear for each. Sequencing effect patterns is not really Turnado’s intention, even with it’s “Dictator” function, it’s meant more to be used in a live manner by recording the knob movements via automation while the song plays back. In most DAWs however you can easily write blocked/snapped automation to trigger the 8 different effects as I did in the audio example below. Loomer Sequent gives you filters, delays, gating, loopers and more that can be chained together in different ways. You place virtual cords between these effect blocks like you would on a modular type synthesizer. Each of the different modules have their own separate step sequencer that can be set independently for creating long constantly changing patterns.

The Looper effect block is definitely the standout of the various ones within it. Not only do you set the triggers on the built-in sequencer, but things like reverse, pitch, pitch decay, and length. Many of the parameters allow you to modulate them with randomizers too.

There’s a great “Crossfade” knob in Sequent that allows you to move between the totally unprocessed sound and the fully processed. You can patch this together in the plug-ins router. In the example file and image below I used the Crossfade knob to do exactly this. Conclusion Each one of these great effects have demo versions, so check them all out and make your own decision. For simple quick and easy stutters/glitches try Looperator and Glitch Bitch.

But for more elaborate ever changing effects try either Sequential, Turnado or Sequent. Thanks for reading! Editor's Note: We've featured iZotope's and in previous articles about glitch and stutter effects.

And although they're not given proper mention in this article, we do recommend you check them out as well!

Over the last decade, Toby Emerson has established himself as a premier beatmaker and producer of electronic sounds. Through his production company,, Emerson has sold over 45,000 copies of original beats and audio sample packs and forged a reputation for creating cutting-edge audio sample libraries. His original tracks and remixes have been used by some of today’s most successful DJ’s, including,, and. Emerson’s music can be heard on on popular video games like, and.

His electronic compositions include elements of progressive, trance, breaks, electro and house. We sat down with Emerson to discover what inspired the exciting and innovative sounds in Modern Grooves by Black Octopus. How do you hope people might use this library? What styles do you think it will fit well in? The main styles are based on house music—electro, deep, progressive—and breaks.

I hope the pack will provide something for artists of all skill levels. For the more advanced users, I hope they can use the presets as a starting point and then tweak the sounds to create something original.

For rappers or people wanting to just jam out ideas in the studio, I tried to lay out the patterns in a musically logical way—someone could jam out full tracks on the fly just by switching between the patterns using a keyboard or MIDI controller. Which BreakTweaker features do you use most frequently? The function in BreakTweaker is huge for me. I love the simplicity of being able to select a specific note, and then go to town sculpting it without a ton of automation.

Editing is so much faster and easier with the MicroEdit Engine, and I think we need to see more of that in the future. I also love the pitch function in MicroEdit—there are some really neat patterns in there that can transform the sound into something new.

I also love how the generator has three layers that can be used as a synth or a sampler. The synth is a very powerful workhorse—it can do tons of crazy stuff with all the included waveforms, which people might miss unless they dig deeper into it. Has BreakTweaker inspired any new sounds and beats that you wouldn’t have found otherwise? Yes definitely! Using the pitch function on certain notes has allowed me to stumble upon new sounds that I wouldn’t normally have discovered. BreakTweaker is great for creating glitchy fills—functions like “Octave”, “Minor”, and “Cherries” bring in glitched-out notes that still have musical qualities.

How did you get to be the beatmaker you are today? I took piano lessons at a young age, but I didn’t get into electronic music until the age of 16. I bought a copy of and it was game over from then on. I never liked the 9 to 5, and I thought it would be great to work on music-related projects for a living. It took me a long time to get there, but now I can happily say that I’m focused full-time on. What are the first steps for developing a new groove?

Does it start with a specific sample, a rhythmic idea, or does it evolve out of experimentation? I often find myself starting with the kick drum since it’s the main backbone of the track—especially in electronic music. Another important element is finding a snare or clap that fits nicely with the kick. It’s amazing how a mix will fall into place once these two elements are working well together.

After I have some basic drums programmed, I like to build up a simple bass part, synth melody, or rhythm on top and go from there. When you develop samples, are you sampling real instruments, vintage synths or combing through vinyl? When I create samples, I use synthesizers and field recordings and combine them depending on the sound. I try to work on sounds within context of a loop—it’s easy to create something that sounds great by itself, but getting it to work in a mix with other sounds is a whole different story.

How do you integrate samples and synthesis when programming tracks? A field recorder is a great addition to any producer’s toolkit—layering real-life recordings with synth sounds can really add an organic flavor to the sound. What makes a hook “addictive?” Great hooks consist of one part of something familiar and one part of something new. If you have a great sound, a simple part is better—you can let the sound speak for itself.

What equipment is really important to your studio? I recently picked up a, which an amazing-sounding luxury synth. I have an, which is very versatile and can make a wide range of sounds. And although I have an insane amount of software, I tell people who are starting out not to get overwhelmed with too much software—it’s more important to limit their tools and really learn what they have. Over the years, my collection of tools has turned into somewhat of an unhealthy obsession. Some of my favorites include,, Sugarbytes Effectrix,,,,,,,,, —and too many others to list. What sets Black Octopus libraries apart?

I have over 10 years of experience working with sample packs, so I try to make libraries that I would find useful for producing music. I focus on quality when I create packs—I want producers to feel inspired when they use Black Octopus samples. Sometimes I spend an hour crafting a single kick or snare sample. What are some other Black Octopus sample libraries that might work well with BreakTweaker? The sample pack is huge—it features over 5000 sounds for electronic music including drums, one shots, synths, loops, FX and more. If you’re just looking for kick drums, Monster Kicks is great.

I really liked working with synth samples in addition to the built in synth, so there’s also a large collection of synth sample packs. Tell us more about the tutorials and education that Black Octopus has developed. We hope to launch an in-depth tutorial section on our website soon so we can share some of our knowledge with other producers. We offer some project files on our site, which serves as a learning resource—it’s great to explore a project and see how it’s put together. Sweet Home 3d Roof Download. We also have some basic instructional videos on our YouTube channel.

What direction is EDM headed, and what sounds and styles do you hear people gravitating towards? Currently, I like deeper sounds that aren’t as in your face—I see that style becoming more popular as a contrast to in-your-face, fist-pumping EDM. But I can still appreciate a gut-punching electro banger. I like music that really blurs the lines between genres and has something new—there are an infinite number of new sounds waiting to be discovered, so it’s great when I hear somebody push the envelope.