| Revision as of 05:21, 18 February 2008 editEvanCortens (talk | contribs)253 edits Reference cleanup← Previous edit | Revision as of 13:28, 18 February 2008 edit undoRich257 (talk | contribs)Extended confirmed users19,185 editsm More reference cleanupNext edit → | ||
| Line 1: | Line 1: | ||
| {{Wikify|date=February 2008}} | {{Wikify|date=February 2008}} | ||
| {{Notability|date=February 2008}} | {{Notability|date=February 2008}} | ||
| The '''stutter edit''' is a musical technique in which samples are reorganized, broken down, and spliced together, then given a ] and ].<ref>Trupiano, Joe |
The '''stutter edit''' is a musical technique in which samples are reorganized, broken down, and spliced together, then given a ] and ].<ref>{{cite web|author=Trupiano, Joe|title=The Art of Glitch|url=http://www.samplelogic.com/artofglitch/artofglitch.htm}}</ref> | ||
| Used in ], the stutter edit allows for the composition of not only the common 16th notes, but also 64th notes and beyond—far beyond. Stutter edit notes can go beyond 2,048th notes and can be measured in milliseconds.<ref>Harrington, Richard |
Used in ], the stutter edit allows for the composition of not only the common 16th notes, but also 64th notes and beyond—far beyond. Stutter edit notes can go beyond 2,048th notes and can be measured in milliseconds.<ref>{{cite web|author=Harrington, Richard|title=Reveling in the Human Side of Electronica|url=http://www.washingtonpost.com/wp-dyn/content/article/2006/12/21/AR2006122100461_pf.html}}</ref> As a result, these extremely short, fast groups of notes are often placed into the spacing of an eighth or sixteenth note in an otherwise “normal” bar, creating rhythmic accenting and patterns that call attention to a particular section. These patterns can be placed at the beginning of a bar, or towards the end for a more syncopated sound. | ||
| == Creation == | == Creation == | ||
| Due to the extremely rapid rhythmic bursts, after a certain rhythmic point—i.e. the 128th note—some stutters begin to sound like a tone rather than a short percussive beat. Traditional stutter edits splice percussive vocals or drum loops because they begin as rhythmic rather than constant tones. These percussive, on-the-beat areas are known as attack transients, and are usually no longer than an eighth note. The splicing of percussive samples results in a more attention-getting sound than it would with a single sustained pitch.<ref>Alexander, Jason Scott. |
Due to the extremely rapid rhythmic bursts, after a certain rhythmic point—i.e. the 128th note—some stutters begin to sound like a tone rather than a short percussive beat. Traditional stutter edits splice percussive vocals or drum loops because they begin as rhythmic rather than constant tones. These percussive, on-the-beat areas are known as attack transients, and are usually no longer than an eighth note. The splicing of percussive samples results in a more attention-getting sound than it would with a single sustained pitch.<ref name="AJS">{{cite web|author=Alexander, Jason Scott. |title=Fractal Tendencies|url=http://remixmag.com/tech_features/remix_fractal_tendencies/}}</ref> Stutters also often reduce notes within bars, beginning with 32nd notes, then reducing to 64th and 128th or something similar. | ||
| Stutter edits involve such minute numbers that they cannot be created within one program. Often, separate plugins are necessary to tweak the edit to the desired level, and then import it back into the primary program, known as the ] (DAW). It is in part due to this that the stutter edit is such a time-consuming process. Along with splicing and cutting the individual sample, the sample is often taken out of the DAW, sometimes to a differently formatted program or plugin. This means that upon importing the edit back into the DAW, further editing is required to achieve the desired effect.<ref |
Stutter edits involve such minute numbers that they cannot be created within one program. Often, separate plugins are necessary to tweak the edit to the desired level, and then import it back into the primary program, known as the ] (DAW). It is in part due to this that the stutter edit is such a time-consuming process. Along with splicing and cutting the individual sample, the sample is often taken out of the DAW, sometimes to a differently formatted program or plugin. This means that upon importing the edit back into the DAW, further editing is required to achieve the desired effect.<ref name="AJS"/> | ||
| == Pioneers == | == Pioneers == | ||
| Line 24: | Line 24: | ||
| *'''Glitch:''' Intended for the cousin of the stutter edit, the glitch edit, this audio manipulation plugin splices sound into defined patterns. The program is highly malleable, and can accommodate many different styles and choices. However, because of its range of effects, it is recommended either for the very patient or the more experienced user.<ref>http://www.hitsquad.com/vocal/about814.html</ref> | *'''Glitch:''' Intended for the cousin of the stutter edit, the glitch edit, this audio manipulation plugin splices sound into defined patterns. The program is highly malleable, and can accommodate many different styles and choices. However, because of its range of effects, it is recommended either for the very patient or the more experienced user.<ref>http://www.hitsquad.com/vocal/about814.html</ref> | ||
| The glitch edit is less about rhythmic synchronicity and intended more to jar and “wake up” the listener. Glitches also use sustained harmonic samples, as opposed to the percussive samples used in stutter edits. Usually in short bursts of sound; the glitch is almost always syncopated, placed on weaker beats to grab attention.<ref |
The glitch edit is less about rhythmic synchronicity and intended more to jar and “wake up” the listener. Glitches also use sustained harmonic samples, as opposed to the percussive samples used in stutter edits. Usually in short bursts of sound; the glitch is almost always syncopated, placed on weaker beats to grab attention.<ref name="AJS"/> | ||
| == References == | == References == | ||
Revision as of 13:28, 18 February 2008
 | Template:Wikify is deprecated. Please use a more specific cleanup template as listed in the documentation. |
 | The topic of this article may not meet Misplaced Pages's general notability guideline. Please help to demonstrate the notability of the topic by citing reliable secondary sources that are independent of the topic and provide significant coverage of it beyond a mere trivial mention. If notability cannot be shown, the article is likely to be merged, redirected, or deleted. Find sources: "Stutter edit" – news · newspapers · books · scholar · JSTOR (February 2008) (Learn how and when to remove this message) |
The stutter edit is a musical technique in which samples are reorganized, broken down, and spliced together, then given a rhythm and time signature. Used in electronic music, the stutter edit allows for the composition of not only the common 16th notes, but also 64th notes and beyond—far beyond. Stutter edit notes can go beyond 2,048th notes and can be measured in milliseconds. As a result, these extremely short, fast groups of notes are often placed into the spacing of an eighth or sixteenth note in an otherwise “normal” bar, creating rhythmic accenting and patterns that call attention to a particular section. These patterns can be placed at the beginning of a bar, or towards the end for a more syncopated sound.
Creation
Due to the extremely rapid rhythmic bursts, after a certain rhythmic point—i.e. the 128th note—some stutters begin to sound like a tone rather than a short percussive beat. Traditional stutter edits splice percussive vocals or drum loops because they begin as rhythmic rather than constant tones. These percussive, on-the-beat areas are known as attack transients, and are usually no longer than an eighth note. The splicing of percussive samples results in a more attention-getting sound than it would with a single sustained pitch. Stutters also often reduce notes within bars, beginning with 32nd notes, then reducing to 64th and 128th or something similar.
Stutter edits involve such minute numbers that they cannot be created within one program. Often, separate plugins are necessary to tweak the edit to the desired level, and then import it back into the primary program, known as the Digital Audio Workstation (DAW). It is in part due to this that the stutter edit is such a time-consuming process. Along with splicing and cutting the individual sample, the sample is often taken out of the DAW, sometimes to a differently formatted program or plugin. This means that upon importing the edit back into the DAW, further editing is required to achieve the desired effect.
Pioneers
The creator of the stutter edit is Brian Transeau (BT), well known in the trance and electronic music arena. His latest project, a software company called Sonik Architects, gives other electronic musicians the opportunity to make the stutter edit their own, with original plugins Stutter Edit and Break Tweaker. Other notable artists to use the stutter edit include Hybrid, Aphex Twin and Autechre.
Programs and the glitch edit
As a relatively new technique, for most, the stutter edit is a trial-and-error process. However, there are new programs and plugins emerging to make creation faster and simpler:
- Stutter Edit: Created by BT himself, Stutter Edit works with Logic Pro. The goal is to allow stutter edits in live DJ performance, and to echo BT’s signature edit.
- Break Tweaker: Also by BT, Break Tweaker works in the composition field, allowing for more crisp formation of very small notes, called micro-notes. Break Tweaker simplifies the micro-note creation, thereby simplifying the time-consuming trial-and-error process involved.
- ReCycle: By software company Propellerhead, this program can change tempo independent of pitch. Unlike the slow, deep bass or fast chipmunk speak that often results from simple tempo changes, ReCycle allows pitch to stay constant, making it useful for stutter edit creation.
- ACID: Sony’s DAW, like ReCycle, keeps time and tempo separate from pitch. In addition, the latest ACID has the ability for multi-track recording, looping, and MIDI sequencing, three essentials in electronic composition.
- Buffer Override: This program compresses buffer size, resulting in the desired stuttering sounds, especially those similar to the sound of a vocoder.
- Glitch: Intended for the cousin of the stutter edit, the glitch edit, this audio manipulation plugin splices sound into defined patterns. The program is highly malleable, and can accommodate many different styles and choices. However, because of its range of effects, it is recommended either for the very patient or the more experienced user.
The glitch edit is less about rhythmic synchronicity and intended more to jar and “wake up” the listener. Glitches also use sustained harmonic samples, as opposed to the percussive samples used in stutter edits. Usually in short bursts of sound; the glitch is almost always syncopated, placed on weaker beats to grab attention.
References
- Trupiano, Joe. "The Art of Glitch".
- Harrington, Richard. "Reveling in the Human Side of Electronica".
- ^ Alexander, Jason Scott. "Fractal Tendencies".
- http://www.hitsquad.com/vocal/about814.html
- http://www.apple.com/pro/profiles/bt/
- http://www.harmony-central.com/articles/tips/recycle_signal_processing/
- http://www.sonycreativesoftware.com/products/product.asp?pid=384
- http://www.hitsquad.com/vocal/about814.html