I use Stutter Edit in most of my productions, usually adding some variety and action at the end of phrase.
It works as an accent, buildup or just breaking the monotonous trance rhythm.
The usability of sequenced effects
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- KVRAF
- 4589 posts since 7 Jun, 2012 from Warsaw
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Tricky-Loops wrote: (...)someone like Armin van Buuren who claims to make a track in half an hour and all his songs sound somewhat boring(...)
Tricky-Loops wrote: (...)someone like Armin van Buuren who claims to make a track in half an hour and all his songs sound somewhat boring(...)
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- KVRian
- 1324 posts since 30 Oct, 2003 from Pacific NW, USA
I remember when BT first started introducing what would become the ubiquitous "stutter edit" phenomenon in club music, and back then the meticulous edits were done directly to audio. Even through he made the production technique wildly popular, it could be heard on early IDM albums by experimental artists like Richard Devine, Aphex Twin, and others.
I've found that stutters and glitches are like spices... sometimes you only need a little bit for a powerful effect. As DJ Warmonger mentioned, these types of edits work particularly well as accents and rhythmic variations. I like finding ways of using the technique in a way that doesn't sound over the top or obvious. Other times I use it to extremes for ear candy that can be inserted in buildups and drops.
I've found that stutters and glitches are like spices... sometimes you only need a little bit for a powerful effect. As DJ Warmonger mentioned, these types of edits work particularly well as accents and rhythmic variations. I like finding ways of using the technique in a way that doesn't sound over the top or obvious. Other times I use it to extremes for ear candy that can be inserted in buildups and drops.