Feb 13, 2026 · 1 hr 25 min · 18 segments
John sits down with Danny L Harle to discuss how he wrote, recorded and produced the album Cerulean. Danny L Harle is a British producer, artist and composer. One of the most sought-after songwriters…
Danny L HarleGuest
John KennedyHost
But before we start on that, I want to ask you one of the questions that's come through via Patreon.
Hello to Tara Pasvir who says, how do you approach adding ear candy? I really liked that on Mix with the Masters, you showed that you edited these very creative delays, sweeps and reverb throws for the vocals on Caroline Polachek's Fly to You.
How would you go about doing something like this? Do you experiment freely until you find something that works or do you have quite specific ideas for it?
uh it sort of relates to what we were talking about earlier which is that funny relationship between uh spontaneous spontaneity and these kind of longer processes that it takes to make these things that sound spontaneous on fly to you that that track that's being referenced the it all sounds very like everything's bouncing off each other in this kind of light-hearted way the way in which i sort of come up with ideas like that for reverb throws and things is that you just get a sense of of where you'd like to hear something so it's like if someone's singing on the downbeat like one two three four
ooh
like on the downbeat then maybe it would be exciting to hear something on the sort of 16th note before that downbeat.
So I hear where I want to hear something and then I experiment with what that thing is.
One of the good things about Logic, I would say, is that it's quite chaotic and sometimes it produces unexpected results, especially with the flexi tools that sometimes make things play at different pitches or stretches things unnecessarily.
So it's actually in its jankiness that some of the creativity can come out of it.
So as a result, sometimes when I try and make a reverb throw, it'll come out at a different pitch.
So there's an element of in the process, some of this ear candy stuff is sort of discovered, but it comes from a skeleton of a sort of spontaneous response that I've had.
But before we start on that, I want to ask you one of the questions that's come through via Patreon.
Hello to Tara Pasvir who says, how do you approach adding ear candy? I really liked that on Mix with the Masters, you showed that you edited these very creative delays, sweeps and reverb throws for the vocals on Caroline Polachek's Fly to You.
How would you go about doing something like this? Do you experiment freely until you find something that works or do you have quite specific ideas for it?
uh it sort of relates to what we were talking about earlier which is that funny relationship between uh spontaneous spontaneity and these kind of longer processes that it takes to make these things that sound spontaneous on fly to you that that track that's being referenced the it all sounds very like everything's bouncing off each other in this kind of light-hearted way the way in which i sort of come up with ideas like that for reverb throws and things is that you just get a sense of of where you'd like to hear something so it's like if someone's singing on the downbeat like one two three four
ooh
like on the downbeat then maybe it would be exciting to hear something on the sort of 16th note before that downbeat.
So I hear where I want to hear something and then I experiment with what that thing is.
One of the good things about Logic, I would say, is that it's quite chaotic and sometimes it produces unexpected results, especially with the flexi tools that sometimes make things play at different pitches or stretches things unnecessarily.
So it's actually in its jankiness that some of the creativity can come out of it.
So as a result, sometimes when I try and make a reverb throw, it'll come out at a different pitch.
So there's an element of in the process, some of this ear candy stuff is sort of discovered, but it comes from a skeleton of a sort of spontaneous response that I've had.
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