Live-streaming and trailer placements, ahoy!

Posted on Leave a commentPosted in Livestream, Production music, Reason, Tutorials

So – about that live-stream I mentioned last time? Well… I had a blast! Thanks so much to everyone who turned up, and for those of you who missed it… here’s a link to the archived version on Youtube.

Unfortunately, due to some encoding issues on my end (at least, I’m presuming that’s the case), the video gets pretty garbled at points during the second half. The audio remains fine throughout, but I hope to have this problem sorted for next time.

(For anyone interested: I was streaming to Twitch using OBS – I decided to try using the Apple Hardware x264 encoder (because hardware encoding = better, right? RIGHT?!), only to realise that hardware encoding with an integrated video processor was a really dumb choice. I’ve since switched to the “vanilla” x264 encoder and set the profile to “veryfast”, and tested it under a similar CPU load which performed without any hitches… so hopefully that’ll do the trick)

For anyone who just wants to check out the result of this two hour music making session – look no further!

Also – I was careful during the creation process not to use a huge amount of external samples or protected sounds, outside of some lovely free drums from Samplephonics and a patch from Tom Pritchard’s Vast Refill (which is an outright STEAL for $9.99, in my honest opinion). I got in touch with both guys to double-check that I’d be ok to post the project file, and they both gave me the go ahead so… if you’re a Reason 8 user, here’s the project file! Please note that it uses a few Rack Extensions, so you’re likely to end up with at least a few RE placeholders in there.

I fully intend to make live-streaming a regular thing, and I’ve got a few ideas in mind for what I’d like to do next. I won’t be writing a new song live every week (because, yeah, realistically that might be a bit much), but I’d love to dive into some old songs to examine techniques, talk about sound design, and generally open the floor up to discussing stuff while I’m in my studio. I’m tentatively slating the same time next Wednesday (24th Feb, 7pm GMT) for a “dissection” session (where I’ll examine one or more old tunes, open to requests), so we’ll see how it goes! I’ll post a confirmation once I’ve had some time to think about it.

If you want to join me for the next session, head over to my Twitch channel and be sure to subscribe!

SO. While I was busy waffling on and insulting my audience during my live-stream (still not entirely sure what possessed me to insinuate that part of my audience may have been dicks but, hey, there we go), I got a rather interesting e-mail confirming that one of my trailer cues from last year had been placed in a trailer for a film called Identicals. You can check out the trailer below – my music starts right around the studio logo at 0:24, and continues throughout.

So… yeah, you know. No big deal.

*shakes uncontrollably*

Traces: Out Now

Posted on Leave a commentPosted in Music, Production music, Subscribers, Traces

Traces, my first Bandcamp subscriber-exclusive release of 2016, has just been released. If you’re already a subscriber, you can download it immediately.

Traces is a mixture of previously unreleased production music and other collected works written during 2008 – 2014.

Naturally, Traces is available to download in your format of choice via Bandcamp. If you’re still on the fence about the whole subscription thing, I’ve put together a mix containing clips from Traces which should give you a good taste of what Traces has to offer.

I’ll be bumping up the price of subscriptions on the 10th January, so you’ve still got a chance to get an early-bird subscription in for the rest of 2016 if you’re interested in hearing what other exclusive goodies I’ve got in store for the rest of the year.

Bandcamp subscriptions

Posted on Leave a commentPosted in AdFi, Distant Activity, From Out Of Nowhere, General, Lightfields, Music, Obscurer, Pieces, Production music, Subscribers

So… I realise it’s been quite a while since I last posted a proper update here.

To be perfectly honest, I had been planning on waiting until I gave this site a complete overhaul, but I figured it had been such a long time since my last update that I should probably elucidate some of the ideas I’ve got for next year. So – here goes!

2015-12-17 17.03.21

Starting in 2016, I’m going to be using Bandcamp subscriptions. Basically, what this means is that – for an annual flat fee – you’ll have access to the following.

  • Immediate access to my entire Bandcamp back catalogue, including all bonus extras. This means that you’ll get access to my independent solo albums (including Distant Activity, Lightfields, Pieces, and Obscurer), along with all the tasty bonuses – i.e. for now, the audiophile & extended versions of Pieces.
  • Full access to all future Bandcamp releases (including all extra bonuses) while your subscription is active. As soon as I release anything, you’ll be notified and will receive full and immediate access to the music in your format of choice.

“But Adam!”, I hear you say. “All of your Bandcamp music is Pay-What-You-Want! Why would I pay for an annual subscription when I can already download your music for free?“.

That’s a fair question – and I guess besides the obvious “I like money and I need your support to sustain my extravagant Fabergé egg addiction“, I should probably throw in something extra… which leads me nicely onto:

  • Access to an ongoing series of SUBSCRIBER EXCLUSIVE releases.

“But Adam!”, I hear you say. “What the hell. Why are you going to lock future releases behind a paywall?”.

That’s another fair question – again, I guess besides the obvious “I like money and I need your support to sustain the lifestyle to which my cat has become accustomed”, I should probably explain what sort of thing I have in mind for these exclusive releases, and what that means for my future album releases.

First up: All of my future “main” albums/EPs will still be available as PWYW releases to all non-subscribers. The extra content (bonus tracks, alt. masters, instrumentals, etc.) will be subscriber only, but the main meat of the albums/EPs will still be available in the exact same manner as before.

The reason for making this bonus content subscriber-exclusive is two-fold: obviously, there’s the aforementioned “I like money” angle. Also, my current process of manually e-mailing out codes to people is pretty archaic, and it’s only going to get worse as I release more bonus content (which I absolutely assuredly will be doing). By doing this, it’ll automate the entire process. For anyone who’s received a dodgy code or couldn’t get the bonus content to download properly, this will probably come as a welcome relief.

Secondly: I should probably explain what sort of thing I have in mind for “subscriber exclusive” releases. Here are some of the ideas I’m working on:

  • Previously unreleased production music
  • Unreleased, re-mixed/re-mastered archive material
  • Music from my “October sessions”
  • Hardware jams and extended sessions

…and so on. Basically – music that I’m really, really, really happy with, but wouldn’t fit into a “standard” release.

I understand that, right now, it sounds like this requires a bit like a leap of faith as there is no guarantee of the kind of material I’m going to be releasing as exclusive content. That’s totally fair. What I will say is that I have at least three releases planned for next year, two of which are going to be subscriber exclusive. As soon as I release some sort of exclusive content, I’ll make it available for non-subscribers to stream so you can at least get a taste of what to expect.

Onto the pricing: Annual subscriptions are going to be set at £15, but until the first exclusive release I’m going to enable early-bird annual subscriptions at £10. The first exclusive release will be coming in January. So.., right now, grab yourself a nice Christmas treat 😉

On a personal note, this is all a bit of an experiment for me – much like the unorthodox release of Pieces, I want to try something new out. I want to make sure I’m not standing in the way of people who want to listen to my music, but I want to say “thank you” to people who choose to support me. For most people, the appeal of Bandcamp subscriptions is in gaining access to a musician’s entire back catalogue – and I guess that’s still the case here… but I really like the idea of sharing my less heavily publicised output with people who really want to check it out. So, that’s the plan.

You can check out my Bandcamp subscription page here.

October compositions

Posted on Leave a commentPosted in And All Is As It Should Be, General, Music, Pieces, Production music

Wow. I’m still quite overwhelmed by the response to Pieces. Thank you so much to everyone who has checked it out over the past couple of months, it really means a lot that it’s been such a popular release… especially given the experimental nature of it’s release! So far it looks like the audiophile master hasn’t been a massively popular choice (though, I must admit, I suspected that would probably be the case), but I’ve been overwhelmed at the response to choosing to release it as a PWYW compilation. Thank you so much to everyone who has bought it through Bandcamp, and I hope you’re enjoying the bonus tracks!

Anyway, I thought it’d be a good idea to let you know what I’m planning on doing this month. October has been a pretty special month for me over the past few years, and I plan on continuing this semi-tradition this year. But first, a little background.

In October 2011, I started working on a few ambient re-workings of existing tracks. I continued working on new tracks in a similar style once I’d re-worked three tracks. These tracks became And All Is As It Should Be, which was then released in 2012.

In October 2012, I wrote a large collection of songs that would later form the backbone of Pieces. A lot of these tracks were picked up for production use, and a lot of these tracks were used on Pieces. Two of these remain unreleased (last time I counted!), and I’m sure they’ll make an appearance at some point.

In October 2013, I wrote a few songs that… erm… I’m keeping to myself for now. I don’t want to sound cryptic, but I will say that they formed the foundation of what I’m hoping will be a future release. I also wrote some more tracks for Pieces.

And this year, I plan on writing lots of short ideas, similar to what I did back in 2012. I have no idea what I’m going to do with them, and I have no idea what style they’ll take. So far, it’s going in a direction I hadn’t anticipated… which is great! Who knows where this idea will take me.

Propellerhead Reason artist feature

Posted on 2 CommentsPosted in Distant Activity, Geekery, General, Lightfields, Music, Production music, Reason

As you may or may not know already, I tend to use Reason an awful lot in my own music – whether it’s solo works or production music, Reason pretty much forms the backbone for everything I do these days. In this video I talk a little bit about my background, my Reason use, some of the sounds I use, and I also dissect one of my production tunes, quickly detailing my process when it comes to quickly getting ideas down and fleshed out.

Huge thanks to Ryan and the folks over at Propellerhead Software for putting this together!

There’s a little bit of amusing history behind this video, as well – I’d originally been interviewed by Ryan in late 2010 for an artist feature in 2011 but, unfortunately, this fell through as a result of Record & Reason being merged into one product line. During my original interview I’d made constant references to using Record & Reason together, so my interview was more or less obsolete within a couple of months of me doing it. Whoops! Thankfully, we did a new interview in late 2012, and I made sure to avoid mentioning anything besides Reason… though the temptation to jokingly mention that I’d switched over to Rebirth was pretty tempting.

A new collaborative song and some general updates

Posted on Leave a commentPosted in Civil Protection, FiXT, Music, Production music, Reason

It’s been an incredibly busy past few months, which was all rounded off nicely with a week-long holiday in Rhodes last week. I got back on the 10th, and I’ve been a busy bee since getting back. I’ll be working on some patch design projects starting from the beginning of next week, so I figured I’d spend some time working on something I’ve wanted to do for a little while now.

Below is a collaborative song entitled Take My Hand, written & produced by both myself and the ever fantastic Tom Pritchard, featuring the excellent vocal stylings of Holly Nelson (aka A Million Tiny Architects).

The song itself is a free download, with an MP3 link included on the Soundcloud page itself if you’d rather download an MP3 over a more hefty WAV file. I’m thrilled to have been a part of this song, and I can’t thank Tom & Holly enough for bringing me on board with this. I’m hoping that, along with our previous collaboration Contrails, there will be plenty more collaborations like this in the future.

So, that’s what I’ve been doing since I got back from Rhodes. Since my last update around the release of Icarus I have been incredibly busy with a couple of other projects – one of which is currently available.

Following in the footsteps of my FiXT production album Chase The LightI once again had the pleasure of working with FiXT on a follow-up entitled Chase The Light Vol. 2. Volume 2 features a slightly harder sound to it over Volume 1 in my opinion, but here’s what FiXT had to say about the album itself.

UK composer Adam Fielding has been crafting evocative albums of downtempo breaks and ambient soundscapes since 2008, with the well-known UK breaks label Distinctive Records having just released his third full-length, Icarus. While not working on those albums, Fielding produces instrumental soundscapes for Film/TV/Video Games, and FiXT is proud to present this second volume of Fielding’s Chase The Light series. Picking up where Vol. 01 left off, Vol. 02 contains eleven cuts of iridescent Electronic Rock/ Breakbeat that incorporate hints of dubstep, ambient, and more.

On top of that (did I mention that I’d been busy?), I also spent a good chunk of the last two months producing & mixing my band Civil Protection‘s debut album, Stolen Fire. It features a much more organic sound over our debut EP, and is focussed much more on atmosphere & mood (as evidenced by a clearly reduced dependence on vocals) with a much more post-rock feel to it. I’m very excited about this one, and I can’t wait to share it with you later in the year when I’ll also be touring with the Civil Protection chaps. For a taste of the album, there are some demo versions of a few album tracks on the Civil Protection Soundcloud page.

I’ve got a few more musical projects in the pipeline outside of those mentioned, and later on this week I’ll have something very cool to share with all of you. Until then, I hope you enjoy my recent offerings, and I’d like to extend a huge “thank you” from the bottom of my heart for everyone who has supported Icarus following it’s release. So… thank you! See you later in the week :]

December update: Icarus, production albums and all that fun stuff

Posted on 1 CommentPosted in Album 3, And All Is As It Should Be, Icarus, Music, Production music

I can’t believe I’ve left it so long since I last updated this site – as I’ve said before, that’s normally a good sign and this is no exception. I’ve got some great news.

Album 3 has a name, one confirmed single and is – more or less – complete!

My next full-length album is called Icarus, and it pretty much encapsulates everything I find enjoyable about modern electronic music – full of absorbing, interesting textures, detailed sound manipulation and – most important to me – solid tunes and genuine emotion. If you’re into hyper-compressed, aggressive-for-the-sake-of-being-aggressive, substance-over-style throw-away tunes then I’d strongly suggest looking elsewhere. But if you’re into genre-crossing music with a heavy organic edge that rewards repeated listening you’re going to be in for an absolute treat. The composition and production of the album itself is more or less complete and, having been working on it for so long, I must say that it’s a strange feeling to know that it’s finished. Well, I say “finished” – there’s still plenty of work to be done on the actual release-side!

The first single from Icarus will be the title track. The Icarus single will feature a wide variety of remixes from some incredibly talented musicians and myself. It’s due out in Q1 of next year, and I’ll be providing further updates regarding the single and the album itself as the release dates draws closer.

Also… just to settle some confusion: For those wondering why I keep referring to my upcoming album as my “third album” despite And All Is As It Should Be being, technically, my third artist album… that’s simply because this is my third full-length album of completely original material. AAIAISB was completely new material, though a good chunk of it consisted of re-interpretations of older works. I’m no less happy with it as an album than my other full-length releases – far from it! In fact, I put most of it together around this time last year and, as such, the album itself goes remarkably well with the current UK climate… the nights are drawing in, the frost and bitter cold is taking hold and it’s a great time for some chilled introspection. If you haven’t checked it out already then I’d strongly recommend doing so as it is a rather good accompaniment to this particular season (if I may say so myself!). Another reason I keep referring to Icarus as “album 3” is simply because, when I started writing it, it was the third album I’d been working on! Needless to say, I’ve been at it for a while.

In addition to all this Icarus-related excitement, I’ve been working on a huge selection of production tunes (for TV, film, advertising, radio – that kind of thing) in the past few months which has, I’m pleased to say, found a home! Just to clarify: this is in no way related to Icarus whatsoever, though there are obviously elements of my production music that carry over into my own solo work.

I’ve also been working on some more synth-pop inspired music lately which is, again, completely unrelated to Icarus or my production music. There’s a track up on my Soundcloud page called “There Is No Turning Back” which should give you a good idea as to what I’m going for but, again, I’ll be providing more information as this project develops. Stay tuned!