Tell us about yourself and how you got into music?
Music is something that’s been with me for as long as I can remember. As a child, I’d settle down to mess around with any instrument I could get my hands on, which tended to vary due to having a musically-inclined father. As I got older, I became fascinated with how music was arranged, produced and engineered – not just how, but why. Playing live instruments and wanting to know the engineering behind it led me to listen to varied styles, being raised on everything from Irish Folk to Dire Straits to Cajun Music, as well further influences from my brothers stemming from The Prodigy to Wet Wet Wet and Blue
Around the age of 12 I was played ‘Fat of The Land’ by The Prodigy, and that pretty much blew it up for me. The diverse electronic sounds combined with live instrumentation seemed like a perfect balance to me, and led me on the path I still continue on today
Tell us about The Bee
The bee was never meant to be a logo, representation of me or even a brand image – it was simply something that fit my perception of my output well. Bees are pivotal to our everyday life, but also have a sting that results in hurt or pain; this was exactly how I wanted my music to be received. I wanted my output to become pivotal to someone’s everyday life, but also provide anger that would enable an outlet. I’d then go on to realize a million other connotations; contributing uniquely as an individual to a larger being (etc), but that was down to opinion. Then, as I produce my own artwork, I simply had to make each piece graphically appealing to anyone who laid eyes on it, which was the toughest part
How did you start using FL Studio & what does it mean to your productions?
Having tried a host of other DAWs, I found them too structured and rigid. As I developed, I found I wanted total control over every element available to me; be it automation of a knob or obnoxious pitch bends in a piano roll. FL Studio 7 was the first version I had tried, and I was hooked. The UI was unique, staring at a screen for hours on end had never been so fun, and the legacy pattern blocks made workflow such a breeze – I instantly fell in love. The unique pricing structure, free lifetime updates, and unrivalled forum interaction felt like home to me – the IL team are always on hand to assist, question and provoke, something I’ve not found anywhere else. The ‘Draft’ sound is owed largely to FL Studio, as I wouldn’t be able to replicate my workflow within any other software. I wouldn’t even want to try
Tell us about your production environment & toys?
In the box is where most of my work occurs, largely due to FL’s nature of managing anything I port to it, be it high powered synth libraries to back-room developed VSTs. I have a few plugins I naturally dive in on, as well as an extensive library of samples built over time. My external environment is very minimal, loose and unhinged. I own one piece of hardware (a Korg Microkorg Vocoder) within a treated room, laced with one microphone and 6 guitars of various bodies (and a bonus accordion). I prefer to work with what I have, rather than be surrounded by analogue gear, and I also run entirely off of Adam A7x’s
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