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'Ambient Glitch Vol 2' from ProducerLoops.com features a fine selection of dark and dirty 24-bit atmospheric loops and samples. Ideal for Ambient, Glitch, Hip Hop, Trip Hop, Dubstep, Drum and Bass, Grime, Industrial and Soundtrack producers.
'Ambient Glitch Volume 2' was produced for ProducerLoops.com by ultra-experienced sound designer, Jeff Rhodes. Jeff has worked extremely hard to provide you the most original and inspiring glitch content possible.
This product includes loops and samples that will work within the following genres: Ambient, Glitch, Gothic, Hip Hop, Trip Hop, Dubstep, Drum and Bass, Grime, Industrial and Techno.
Tempos range from 75 BPM to 165 BPM, with the majority of loops falling in the 90-120 BPM range.
About the Producer:
Jeff Rhodes has been working as a professional sound designer and soundtrack producer for just over a decade now. He is particularly well-known for his three "Pro Sessions" loop libraries that were released through M-Audio. He has also released another six products independently with Todd Milne, with whom he co-founded Perimeter Sound Arts.
Jeff relies on his diverse interests in not only music & audio, but the visual arts too, to guide his muse. Constantly looking to change his style/sound without losing the defining elements. Jeff has found working in audio to be an endless journey of discovery.
Please note, the MP3 demo was created in ACID Pro 4.0 using selected loops and samples from the ACIDized WAV version of this pack. No additional material was used and no effects were added to the parts. It was left dry to give you a real indication of what's included and the kind of tracks you can make using this material.
Jeff Rhodes, producer of Ambient Glitch Vol 2, describes the production process:
"Fascinated equally with sound, as well as with musical compositions, heavy/glitchy/industrial/lo-fi type material was of great interest to me. By learning to use 'bit crushing' techniques, instead of just distortion, "improper" use of beat choppers to get a more lo-fi sound, and even learning to overuse compression as an effect, I was able to put together what you hear in this sample pack.
Ultimately, combining it all, along with some weird artifact-like percussion, and some stuttery repeats, I was able to harness some of that elusive *glitch* power. To me, *glitch* doesn't have to be dizzying and headache inducing at every step, sometimes it's just a little quirky, organic - yet a little unsettling. But in the end, it need not get in the way of the actual mood being portrayed, or the music being made."
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