In stereo and mono.
While investigating the “Beer Glitch” algorithm, I developed a delay, but I found myself thinking: What if this was applied to a very different sort of sound? One of the advantages of ZOIA is that I can find out! And I really liked the outcome.
If you want to know more about how these glitchy filters work, please read my patch notes for Malty Glitches.
This patch serves two purposes; one is to create a type of filtered fuzz. But as the fuzz can be switched off, this patch can also be used to apply this filtering scheme to your signal path for applying it to other effects (or your dry signal… in very subtle settings with a high glide time, I think it adds a very pleasant sense of “movement” to a clean guitar or piano).
The signal path of the stereo version (identified “Malty Fuzz S”) is stereo throughout. The mono version (identified “Malty Fuzz M”) uses the left input and left output.
A special thanks to my patrons on Patreon for their support: Rob Flax, Stepan Grammatik, brockstar, Mats Unnerholm, D Sing, Will Scott, drew batchelor, Miguel, Steve Bragg, Joab Eastley, Tomi Kokki, Mitch Lantz, Ben Norland, Daniel Morris, Roman Jakobej, Mark Crosbie, Steve Codling, Timothy Cleary, Soren Made, and Ken Luke!
If you would like to support my work on ZOIA, please visit patreon.com/chmjacques
Left, latching — turns the fuzz off and on
Middle, latching — turns on a boost before the fuzz (this also affects the signal path when the fuzz is turned off); since it is before the fuzz, it adds gain more than volume to the output, allowing you to switch back and forth between two different gain levels
Right, latching — turns on the filters’ randomize settings (whether the low-pass or high-pass or both are randomized can be selected with pushbuttons, see below)
Fuzz gain — sets the input gain of the fuzz
Fuzz volume — sets the output gain of the fuzz
Mix — this is actually a mix between the amount of the signal path (fuzz or clean) that passes through the filter network, allowing you to tailor how much or how little the filters affect the output
Glitch rate — sets the speed of the glitches; a pixel indicates when the “glitches” occur
Glitch glide — sets the speed of the glide between glitches; highly interactive with glitch rate (at higher rates, the gliding should be set lower, or you may not notice any change)
Glitch tone — determines whether the glitches favor the low-pass (close to 0) or high-pass (toward 1) signal paths. At 0 or 1 there will be no change; you can use this to set a filtered reverb sound, or a stepped filter reverb sound (when randomize is engaged)
Low-pass frequency — sets the frequency of the low-pass filter (the Empress setting sounds to be somewhere between 1200 and 1500 Hz)
Random range — sets the range of the randomized filter setting; with the low-pass filter, this randomization occurs between the filter setting and 27 Hz. This control allows you to tailor how far the randomized filter tones deviate from the frequency setting; larger values will allow the filter frequency to drop closer to 27 Hz (which can be very bass-y)
Resonance — sets the resonance of the filters
Low-pass frequency — sets the frequency of the high-pass filter (the Empress setting sounds to be somewhere between 1200 and 1500 Hz)
Random range — sets the range of the randomized filter setting; with the high-pass filter, this randomization occurs between the filter setting and 24 kHz. This control allows you to tailor how far the randomized filter tones deviate from the frequency setting; larger values will allow the filter frequency to rise closer to 24 kHz (which can attenuate all volume)
0:00 — Introduction
1:05 — Comparators, probability gates, patch structure
5:25 — Direct cloning vs. seeking inspiration, models as opportunities, playing to ZOIA’s strengths
8:20 — Malty Glitches walkthrough
16:30 — Malty Repeats walkthrough
19:10 — Malty Fuzz walkthrough