For more detailed information on how this patch works, I suggest reading the patch notes for “Malty Glitches.” In summary, this patch uses the idea of filter glitches used in the “Beer Glitch” algorithm of the Empress reverb to affect the output of a delay w/ mod module (set to tape, as the distortion/crunch of the tape setting interacts very well with the filters, to my ears).
The signal path is stereo throughout.
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Left, momentary — sets the tap tempo of the delay and the glitching (the glitching has an independent clock divider, see below)
Middle, latching — turns on the low-pass filter’s randomize setting; a pixel will light and begin to fluctuate when this is engaged
Right, latching — turns on the high-pass filter’s randomize setting; a pixel will light and begin to fluctuate when this is engaged
Feedback — controls the feedback of the delay; depending on the tap tempo, this will begin to oscillate at various settings (generally at ~.750)
Mod rate and depth — controls for the delay’s modulation
Mix — wet/dry mix
Glitch clock divider — sets the speed of the glitches relative to the tap tempo of the delay; a pixel indicates when the “glitches” occur
Glitch glide — sets the speed of the glide between glitches; highly interactive with glitch speed (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)
Glitch mix — this sets the amount of the delay that passes through the filter network; I found as I was developing the patch that if the entire delay was sent through the filter network, it might sound very cool but the distinction of the repeats was lost amidst the rhythmic qualities of the glitching
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)
Lo damp & hi damp — dampening/tone controls for the reverb; each uses a shelving filter (from the tone control module) to provide +/- 18 dB of cut or boost.
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)
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