![\"British](\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2023\/10\/Phaeleh-interview-feature-image-synthax-audio-uk.jpg\")
<\/h2>\nElectronic music wizard Phaeleh<\/a> gives us an insight into his musical universe and the role of RME Audio for production and mastering.<\/h2>\nMatthew Preston, aka Phaeleh<\/strong> is a Producer, DJ and multi-instrumentalist based in Bristol, UK. Known for combining ethereal, atmospheric soundscapes with DJ-friendly beats and powerful basslines, his music frequently carries an introspective, often dreamlike quality, seamlessly transitioning between high-energy dancefloor anthems and more introspective home-listening.<\/p>\nWe sat down with Phaeleh<\/strong> – pronounced \u2018fella\u2019 – for a chat about his music and career to date, and why he chooses to base his studio around RME audio interfaces.<\/p>\n <\/p>\n
![\"Phaeleh](\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2023\/10\/Phaeleh-DJing-Budapest-02.jpg\")
DJing, Dubstep and Ableton Live<\/h2>\n
\u201cI\u2019d probably describe it as emotive and atmospheric electronic music, with its roots in dubstep, garage and ambient,\u201d Phaeleh<\/strong> reflects on his sound. \u201cIt does tread a fine line between the dancefloor stuff – with weighty subs and heavier beats – and also more cinematic chilled out tracks, which are definitely more suited to home listening.\u201d<\/p>\nA classically trained musician, Phaeleh<\/strong> has been producing since 2006. Despite being an accomplished grade 8 guitarist, his commercial releases tend to sit very firmly in the electronic camp: expertly crafted synth sounds coalesce with heavily processed FX loops and tight drum samples, weighty sub bass, and often haunting vocals.<\/p>\nFirst coming to prominence as part of the UK\u2019s emerging dubstep scene in the late 2000s \/ early 2010s, critically-acclaimed releases like 2010\u2019s Fallen Light<\/em> album and 2011\u2019s The Cold in You<\/em> EP provided a blissed out counterpoint to the heavier and dissonant sounds that the genre would increasingly become more known for, with tracks like Afterglow<\/em> and In The Twilight<\/em> finding their way into many a dubstep-purist\u2019s DJ set.<\/p>\n\u201cI first started hearing dubstep around 2005,\u201d Phaeleh<\/strong> says of the then fledgling genre. \u201cMostly from friends based in London at the time, who were experimenting with their own takes on the sound. I think by 2006 I was listening to a lot of mixes, and catching DJ sets where I got to experience it on a proper sound system, and I was very much hooked. At that point in time, the tracks were so heavy, but had so much space. I loved that combination and it really resonated with me.\u201d<\/p>\n <\/p>\n
\u201cthe tracks were so heavy, but had so much space\u201d<\/h2>\n
<\/p>\n
Whilst the word \u2018dubstep\u2019 would eventually become something of a meme – with teenagers around the globe flooding SoundCloud and YouTube with in-your-face LFO wobbles via a cracked copy of FL Studio – in its heyday the genre was more of an umbrella-term for producers experimenting with 140bpm \u2018half-time\u2019 beats; dark and melancholic soundscapes; and heavy use of sub and \u2018dread\u2019 bass.<\/p>\n
An unmistakeably British phenomenon \u2013 with strong influences from the Jamaican and Caribbean sounds of roots and dub-reggae, as well as UK favourites like Jungle and drum n bass \u2013 the style would quickly spread to global appeal. As a result, Phaeleh<\/strong>\u2019s popularity as a producer led to DJ bookings around the world (including a legendary set at the Outlook Festival in Croatia back in 2011), with another US tour stapled for 2024.<\/p>\n\u201c99% of my sets are DJ sets, using CDJs and a DJ mixer, which are obviously the least stressful in terms of setup,\u201d Phaeleh<\/strong> tells us of his live shows.<\/p>\n\u201cMy early Phaeleh<\/strong> sets from 2006 to 2009 were all on Ableton, as I only started playing on decks in 2009. But I\u2019ve also done more intense setups with guitar loopers, synths and drum machines with Ableton running a lot of stuff I\u2019ve put together in Max\/MSP alongside it. This briefly included a live drummer and keyboard player alongside me.<\/p>\n\u201cI actually have the most fun doing full hardware sets, but sadly it\u2019s not really viable for touring as there isn\u2019t really the budget to do it without losing a ton of money.<\/p>\n
\u201cI learned to mix on vinyl, and used to play out using Serato, as it meant I could play my music and that of my friends without needing to wait for things to get a vinyl release.<\/p>\n
\n\nPhaeleh – Afterglow (feat. Soundmouse)<\/h4>\n
Matthew Preston, aka Phaeleh<\/strong> is a Producer, DJ and multi-instrumentalist based in Bristol, UK. Known for combining ethereal, atmospheric soundscapes with DJ-friendly beats and powerful basslines, his music frequently carries an introspective, often dreamlike quality, seamlessly transitioning between high-energy dancefloor anthems and more introspective home-listening.<\/p>\n We sat down with Phaeleh<\/strong> – pronounced \u2018fella\u2019 – for a chat about his music and career to date, and why he chooses to base his studio around RME audio interfaces.<\/p>\n <\/p>\n \u201cI\u2019d probably describe it as emotive and atmospheric electronic music, with its roots in dubstep, garage and ambient,\u201d Phaeleh<\/strong> reflects on his sound. \u201cIt does tread a fine line between the dancefloor stuff – with weighty subs and heavier beats – and also more cinematic chilled out tracks, which are definitely more suited to home listening.\u201d<\/p>\n A classically trained musician, Phaeleh<\/strong> has been producing since 2006. Despite being an accomplished grade 8 guitarist, his commercial releases tend to sit very firmly in the electronic camp: expertly crafted synth sounds coalesce with heavily processed FX loops and tight drum samples, weighty sub bass, and often haunting vocals.<\/p>\n First coming to prominence as part of the UK\u2019s emerging dubstep scene in the late 2000s \/ early 2010s, critically-acclaimed releases like 2010\u2019s Fallen Light<\/em> album and 2011\u2019s The Cold in You<\/em> EP provided a blissed out counterpoint to the heavier and dissonant sounds that the genre would increasingly become more known for, with tracks like Afterglow<\/em> and In The Twilight<\/em> finding their way into many a dubstep-purist\u2019s DJ set.<\/p>\n \u201cI first started hearing dubstep around 2005,\u201d Phaeleh<\/strong> says of the then fledgling genre. \u201cMostly from friends based in London at the time, who were experimenting with their own takes on the sound. I think by 2006 I was listening to a lot of mixes, and catching DJ sets where I got to experience it on a proper sound system, and I was very much hooked. At that point in time, the tracks were so heavy, but had so much space. I loved that combination and it really resonated with me.\u201d<\/p>\n <\/p>\n <\/p>\n Whilst the word \u2018dubstep\u2019 would eventually become something of a meme – with teenagers around the globe flooding SoundCloud and YouTube with in-your-face LFO wobbles via a cracked copy of FL Studio – in its heyday the genre was more of an umbrella-term for producers experimenting with 140bpm \u2018half-time\u2019 beats; dark and melancholic soundscapes; and heavy use of sub and \u2018dread\u2019 bass.<\/p>\n An unmistakeably British phenomenon \u2013 with strong influences from the Jamaican and Caribbean sounds of roots and dub-reggae, as well as UK favourites like Jungle and drum n bass \u2013 the style would quickly spread to global appeal. As a result, Phaeleh<\/strong>\u2019s popularity as a producer led to DJ bookings around the world (including a legendary set at the Outlook Festival in Croatia back in 2011), with another US tour stapled for 2024.<\/p>\n \u201c99% of my sets are DJ sets, using CDJs and a DJ mixer, which are obviously the least stressful in terms of setup,\u201d Phaeleh<\/strong> tells us of his live shows.<\/p>\n \u201cMy early Phaeleh<\/strong> sets from 2006 to 2009 were all on Ableton, as I only started playing on decks in 2009. But I\u2019ve also done more intense setups with guitar loopers, synths and drum machines with Ableton running a lot of stuff I\u2019ve put together in Max\/MSP alongside it. This briefly included a live drummer and keyboard player alongside me.<\/p>\n \u201cI actually have the most fun doing full hardware sets, but sadly it\u2019s not really viable for touring as there isn\u2019t really the budget to do it without losing a ton of money.<\/p>\n \u201cI learned to mix on vinyl, and used to play out using Serato, as it meant I could play my music and that of my friends without needing to wait for things to get a vinyl release.<\/p>\nDJing, Dubstep and Ableton Live<\/h2>\n\u201cthe tracks were so heavy, but had so much space\u201d<\/h2>\n
Phaeleh – Afterglow (feat. Soundmouse)<\/h4>\n