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With its on-the-fly, anything-goes sensibility, dub music is a veritable sweetshop of ear candy-inspiring production techniques, and chief among them are delay and reverb spins.
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Do keep the processing or edit very fleeting, though – this is meant to be ear candy, not a grand stylistic statement.
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Alternatively, bounce the whole mix down to a single track, slice it up there by hand, and cut it into the main mix as required. The idea is to create a jagged, chopped-up ‘break’ at a meaningful point in the arrangement – just before or at the end of a chorus, perhaps, or at the very end of the whole track – and all you have to do to make it happen is stick your glitching plugin of choice on the master bus, and automate the bypass to switch it in and out at the right moments. If you really want to surprise your audience, though, stuttering or rhythmically gating the entire mix (or all of it bar the vocal or lead instrument) for a beat or two, just once or twice in the track, is a surefire way to do it. Stutter and glitching effects, as generated by the likes of Sugar Bytes Looperator and Illformed Glitch 2, or composited by hand in a sampler or on-track, can work well as ear candy when applied briefly to individual sounds. To apply it as an ear candy element, simply make it very short – a bar or just a couple of beats – and layer it in as an integral background component behind the rest of the mix, rather than positioning it as an obviously focal part.įor riser source material, rendered synths and white noise are the go-to options, but why not try a timestretched guitar chord, orchestral stack, choir or other manipulated real-world sound? Load your sample onto an audio track or into a sampler, line it up or stretch it so that it starts and ends at the right points on the timeline, then use automation in the DAW to ramp up the volume, pitch, filter, distortion and/or any other parameters that might add to the excitement. In general terms, a riser is a sustained sound that ‘rises’ in volume, pitch and/or filter cutoff frequency from start to finish, culminating in an ‘event’ of some sort – the drop in a dance track, the chorus in a pop track, the introduction of a key vocal, etc. Risers are commonplace in dance music, used to elevate builds and enhance transitions but short risers can make for great ear candy in any musical style. There’s no shame in taking this prefab approach, especially if you use plugin effects and editing to make those samples your own but you’ll undoubtedly get more satisfaction out of rolling your own audio confectionary using synthesisers, found sounds, punctuative instrumental recordings (percussion hits/scrapes/shakes, guitar chops, keyboard stabs, etc) and other original source material.Īlmost any synth can be pressed into action for this sort of thing, but those built on wavetables are particularly amenable, thanks to the complexity of their raw tones, as are chiptune orientated instruments such as Plogue’s chipsounds and Impact Soundworks’ Super Audio Cart, which are ideal for introducing evocative fast-arps and other sparkling retro noises. The easiest way to work a bit of ear candy into a track is to plunder a few sample libraries for sound effects, throw them into the mix at appropriate points and just see what sticks.