the only difference is that acid sucks because it is useless, not because it is l33t. if renoise ever becomes l33t, it will still be really powerful. 
another thing i’ve been wanting to add about glitch… no offense to the author, but if this kind of tool ever gets mainstream, then obviously a lot of songs will sound very similar and it will lose its charm, and idm will become very very boring and “glitch” effects will be about as common & overused as amen breaks are in jungle. “glitches” will no longer be awesome because everyone will be doing it and it will be boring and we will have to think of other ways to make music interesting.
i mean i know people will think of other ways to make music interesting… but i’m just sayin
Funnily enough, there’s a discussion about this going on over at the “We are the music makers” forum right now… a discussion triggered by Glitch, haha. (Have I created a monster?)
http://forum.watmm.com/index.php?showtopic=22764
Anyway, I don’t take any offense to this kind of talk. I’m fully aware of the problems myself. As with all helpful tools, there is always a risk that people will abuse and overuse it, and it will quickly become boring and clichéd sounding, just like the amen break.
These kind of “glitch” effects are already very common in IDM style music, you can hear them everywhere. Certain people overdo it and other people do it very nicely. There are even tons of similar VSTs out there, granulizers, beat re-arrangers, etc.
As I mentioned in the description of Glitch, it was not created to be a lazyman’s tool for instant music creation. The strength of these kind of tools comes from using them in creative, inventive and subtle ways. For example, anyone can load up DFX:BufferOverride and make some great noises, but it’s actually a completely different matter trying to fit the results into your music in a nice way.
I think with any genre of music there will always be the people who totally abuse every trick in the book, making terrible generic, formulaic crap, but at the same time there will always be people using those same tricks, but making something totally fresh with them.
Regardless, it’s cool to be talking about this kinda stuff right?
yeah… i just wonder what music is going to sound like in 50 years… is it going to sound TOTALLY different, or is it just going to sound kind of similar to what we have today? and who will be the innovators of the progress? i don’t know how everybody else on here feels, but my personal goal is to hopefully BE one of those innovators eventually… make a song or an album that sounds totally different than anything anybody else has ever done… but not different in an abstract, “that’s nice”, kind of way, different in a “holy shit, that’s beautiful” kinda way 
one of my favourite musicians is still goldie… i have yet to hear to this day any songs from any artist that match the rhythmic complexity or attention to detail of his songs, especially his timeless album. it’s too bad he hasn’t released an album in about 7 years and i don’t know if the new one he’s been talking about is ever going to come out 
yo, using something like this puts you at a higher level of composition, the more you work on it to make it better will only define this even further.
as long as a person does not use this as a leaning post, it will not be shown.
the ppl that believe doing all of this by hand is the right way to do it, must have never heard about COMPUTERS!@
people are so attached to the old form of composing music and the ideologies of it. that they will never give up their “real world instruments” and so in every form you will see a resistance to music technology.
you never heard sixteenarmedjack?
he uses acid 3.0
ARC is that next step you are waiting for. Keep an ear out for it.
what is ARC?
It’s the next step. Surely. 
Well, I could write essays on this, but until you hear it nothing I say will wash…
But, very briefly —>
Most people listen to one song at a time. Why not 4? Or 12? The results, if crafted sensitively, are amazing. Unlike anything I’ve ever experienced before. Endless goosebumpery. Genres mean nothing anymore.
However, I make no promises for ARC being ‘the next big thing’ - but then again Glitch isn’t necessarily that either. This is all testing and evolution, ARC presents another serious possibility.
For now, most people are still having lots of fun with Glitch… it will become tired and limmited later on…
well… i know that the live version of Orbital’s “halcyon” where they play bon jovi & belinda carlisle at the same time gave me MAJOR goosebumps the 1st time i heard it, and every time after that for about 2 years including when i went to see them play live 
edit: but what does ARC stand for?
as far as i know “Addicts Rehabilitation Center” 
Just wanted to quickly post a couple of exports I made from Renoise while working on the VST version of Glitch.
http://illformed.org/users/dblue/code/glit…itch_lusine.mp3
http://illformed.org/users/dblue/code/glit…h_evil_shit.mp3
Not sure when it’ll be ready. I’ve still got a few things to add, some bugs to iron out, etc., but I’m making pretty good progress on it considering I only started playing around with the VST a few days ago.
Tobybear’s Delphi VST SDK template was a total lifesaver for this project!
Good stuff dblue, hope you get everything in order. Can’t wait to try it (haven’t even looked at the command line version yet, but those samples sound promising. Are you just having on/off switches for the different variants? Or are there parameters to be tweaked? 
).
There are gonna be quite a lot of parameters which you will be able to fine tune. There are currently over 30 sliders with quite a few more to come. 
There are obvious things such as how big each slice of audio is (the divisor), master volume, master dry/wet mix, dry/wet mix for every effect, volume for each effect, settings for each effect itself depending on what the effect does (bit crush amount, modulation frequency, etc). There are also options to change the probability of each effect being randomly chosen. For example, if you don’t like a certain effect you can set its probability to very low, or turn it off altogether.
On top of those there are also some other fine controls for things such as the amount of click removal (how much each slice of audio is quickly faded in/out to remove clicks in the output), a kind of envelope to further affect the sound of each slice - hard to explain but it kind of fades out each slice a certain way, and makes really interesting stuttering beat type sounds.
I am also planning to add even more controls to each individual effect, such as stereo panning position and probably a filter (lowpass/highpass), so you can really tweak the hell out of it to get the perfect sounds.
Anyway… it sounds pretty complex, but I’m also gonna try to include a good set of presets so people can get started quickly, and probably the option to load/save presets (even though Renoise does this by default, it’ll be for the “other” people, hehe).
whew
Great. =)
About slice size, is it possible to have a GUI with waveform display, showing the audio captured to buffer, and then adjust slices by hand?
Meaning in a grid that correlated to host tempo, and then being able to timeshift/overlap slices, exchange them and so on.
This would be great for swing time, with groove presets and whatever else.
For me, I’m mostly interested in 2 things. Anything that can make it interesting spatially, and having a fadeable offset/length (much like you can in Ableton Live) that is configurable (i.e. for each slice in this case).
Also anything like doubletime, triplets, quadruplets, pentuplets, if they can be more controlled than the grain and repeat in SupaTrigga for instance.
Like what if you could designate a triplet to start at slice 9 or something. Or be kept between slice 9 and 15. Then it’d be a sort of half or quartertime triplet that would mesh slices in some way. I don’t know!
The point I guess is to have as much control as possible, whilst still allowing for something ‘magic’ to happen. Like playing a guitar, and finding that a certain way of plucking a string will yield a special timbre.
Also having the effects be added to individual, specific slices, sort of like the object editor in Samplitude, would be cool.
And a ‘freeze slice based on last output’ thing, if you liked a particular one, and want to make sure it doesn’t change.
Any of these would be a dream come true.
Damn. I’m sad I never learnt to code more than ActionScript.
These sound great. Anxious to hear them.
Nevermind the other people. I can see this as the most fantastic glitch-like VST effect ever made, forcing hundreds, nay thousands to convert to Renoise.
You thought you were done answering silly questions?
Are you dead? Then you can learn.
With a family and social life, music, drawing and work, there’s not much time left.
I got kind of inspired by this thread, so I installed DevC++, started learning some OpenGL and made a small stupid demo of my own (I’ll put it up some day when my server works). Anyway, DevC++ is pretty good and has pretty much support since it uses the GNU compiler. After a quick search I found a link here, describing how to get VSTs running in DevC++
http://www.cs.tut.fi/sgn/arg/paulus/vstsdk.txt
Maybe there’s even devpacks for VSTs that can be downloaded straight from DevC++… I’ll check when I come home.
-
Borland Delphi 6 Personal Edition.
A little old now but still kickass, and also totally free! A little easier to get to grips with than C++ too, though I do plan on using C++ eventually.
http://www.borland.pl/downloads/delphi6per…hi6personal.exe -
Tobybear’s VST SDK Delphi Template.
I started with his excellent template which provides all the VST wrapper functions you need to get started. Then it’s just a case of reading a little about how the SDK works, and inserting your own algorithms.
http://www.tobybear.de/d_template.html -
Nope. Tobybear’s template and the SDK, and my own silly ideas.
Audio algorithms are really not a big deal once you get down to the very basics of it. When using the SDK each sample is provided in the range -1 to 1. 0 is silence and 1/-1 are full volume depending on the phase of the sample. If you imagine looking in soundforge or something, the range 0 to 1 would be all the samples above the center line, and 0 to -1 would be everything below.
Then you just apply some kind of mathematics to the samples to change them. For example, if you want to lower the volume by 50%, you simply multiply the sample values by 0.5.
Things like lowpass/highpass filters are a little bit more complex, but really not a LOT more.
You can find a lot of nice algorithms (mostly in C++ though) at http://www.musicdsp.org . There’s also the KVR Audio DSP coders forum at http://www.kvr-vst.com/forum/viewforum.php?f=33