BEN MATTHEWS INTERVIEW 17th May 2005

Ben Matthews is best known as guitarist and keyboard player with British rockers Thunder. However Ben's skills as an engineer are equally respected and during the making of the recent Storms Over Still Water, he was drafted in as emergency replacement for Ewan Davies, after Ewan was taken ill. Ben kindly agreed to answer a few questions about his experiences working with the Mostlies. Read on...

How did you become involved with engineering and mixing on Storms Over Still Water?
The owner of the Chapel studios called me and asked if I fancied doing a bit of mixing for a band he was working with at the studio. The previous engineer had been taken ill and he was in a bit of a tight spot as the band needed to finish the album. I was asked at around 5pm and I just made it for last orders in the pub by the studio.

What were your first impressions?
Sir Bernard Chumley from Little Britain and then a very poor Andy Pipkin. Any band that wants to meet me in the pub before we start recording can't be all bad

The band members believe there is a definite elevation in the recording quality compared to their previous recordings, particularly regarding the drum and guitar sound. Do you agree that Ewan made a good job of the recording from a technical point of view?
Ewan did a great job recording the tracks, but I would expect that from him as he practically lives in that studio and knows it inside out. He also worked on the last Thunder album and other projects I have recorded at the Chapel so I knew what he is capable of.

How much of this is down to Chapel Studios highly acclaimed live room and extensive vintage mike/hardware collection?
I think a large part is down to the equipment and room however unless they are used properly the best equipment in the world is not going to help.

How much would you hold ProTools HD responsible?
I am a fan as it allows a lot of freedom in the way you record, keeping takes and compiling is much more efficient than it used to be in the days of tape. It obviously shapes the sound as it is the thing that converts the audio into digits but there is so much more involved in the recording process that you wouldn't call it responsible for the sound of the record.

How difficult was it for you to take up the reigns and how do you think the band coped with the pressure at that point?
Walking into a session that is already underway is probably the toughest situation you can face in the studio; I find humour is a good way to diffuse any tension. I think the band was feeling the pressure a little as they were unsure if they were going to finish in time.
I think that once we got going and we found we all got on that this subsided.

Can you give some background to your engineering skills and who you have worked with in that capacity.
I started as an engineer when I was twenty, taught by Kenny Denton, who recorded just about everybody you can think of. I've worked with many great artists in the studio, indeed some of my hero's, but I never
told them at the time. Peter Green, Jeff Beck, Mick Taylor, Cozy Powell, Duran Duran, to name a few but the list does go on.

How does engineering work compare to playing? If you had to make the decision to do one or the other which would it be?
To be fair I don't think that question really requires an answer does it?

As engineer how important would you say your attitude towards the band is?
It is fundamental to running a good session; there can be a lot of pressure in a recording studio so the last thing you need is a problem with personnel.

As engineer how much do you think you are responsible for the over all sound?
You can only record what you are given, so it is pretty much an even split with the band.

Mostly Autumn has been criticised for its element of seriousness. Do you think this came through or would you say humour was an integral part of studio life for them?
Perhaps they should set up a web cam in the studio, as I saw no signs of seriousness at all!

Click here for part two.

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