Haydn Bendall on SoundBetter

Finding it so uncomfortable trying to sell myself. Just a few names: Pat Metheny, Luther Vandross, Chris Botti, Kate Bush, Beach Boys, Roy Orbison, McCartney, Massive Attack, Dave Gilmour, Gary Moore, XTC, loads of orchestral work too. Various awards and stuff gained along the way, don't like them at all, or the competitive aspect of prizes. ))

Born in 1951, no immediate plans to die. 46 years experience as a recording engineer, mixer and producer. Eighteen years at Abbey Road, the last ten of those as the chief engineer. I left in 1990/1991 to work independently.
Have a base studio. Live room including a vast selection of drums, Yamaha piano, Rhodes, Wurlitzer, Hammond, tons of percussion, it's a beautiful studio, I love it so much!
Still do a lot of recording at Abbey Road, AIR, British Grove and Snap! but I always mix here, in our studio. I love working with real music and musicians/orchestras and singers that can truly play and say something. Neverending fun and discovery!
All the great artists and musicians that I have worked with; I'm not responsible for "nailing" that sound, they are. I just try to reveal as much of their artistry as I can. I'm so full of admiration for so many peers in our business, our passion.
I also lecture and give workshops in Universities and studios around the world as well as on-line, which I do enjoy very much, although I do view myself as a constant and consistent student.

The skill is in the simplicity. ))

I'd love to hear about your project. Click the 'Contact' button above to get in touch.

Credits

1 Reviews

Endorse Haydn Bendall

by Sally Herbert
Haydn is one of my absolute favourite producer/engineers to work with. He has an ability to make everything sound perfect from drums to a full orchestra. He always allows the ability and natural sound of the players to shine through. He also has a lovely rapport with everyone he works with, putting us all at ease.

Interview with Haydn Bendall

Q: What are you working on at the moment?
A: Finished producing and engineering a project for Universal and Disney of famous Disney film tunes, played by the Royal Philharmonic Orchestra and various world famous soloists a few months ago. Recorded at AIR, mixed in our studio. I'm mid way through an album with Labi Siffre and pre production work on an album with Paul Buchanan. Also producing, recording and mixing an album for Andrea Bocelli, to be released in mid November. Plus, always doing loads of individual overdubs/recordings/mixes for various projects, friends and clients.
Q: What questions do customers most commonly ask you? What's your answer?
A: Q. How much. A. Depends
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: Oh, so many! Ryuichi Sakomoto "The Last Emperor" recorded and mixed it. Ask me in ten minutes time and there will be a different response I'm afraid! I'd like to be especially proud of whatever I am doing tomorrow.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: I don't know to be honest, I haven't looked but I'm positive there are.
Q: Analog or digital and why?
A: Recording through analogue mixers to PT then mix digitally in the box. Why? Because I think it gives the best results all round, no compromise anywhere. Very comfortable with this process.
Q: What's your 'promise' to your clients?
A: To do my best.
Q: What do you like most about your job?
A: The fascination with the whole process. The interaction with artists, musicians, clients, record companies. The complete emotional and intellectual absorption in mixing.
Q: What's the biggest misconception about what you do?
A: That technology can be substituted for talent.
Q: What questions do you ask prospective clients?
A: What would you like from your venture, track, album. What do you want?
Q: What advice do you have for a customer looking to hire a provider like you?
A: Well, to look for some sort of musical, ambition and personal empathy.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: A coffee machine.
Q: What was your career path? How long have you been doing this?
A: I started at Orange studios in Soho, then Abbey Road for eighteen years. left there about thirty years ago but still work there a tremendous amount. I've been doing this for about forty eight years.
Q: How would you describe your style?
A: Musical, transparent, nothing unnecessary, focussed, warm, open, clean, sensitive.
Q: Which artist would you like to work with and why?
A: John Lennon - need you ask why?
Q: Can you share one music production tip?
A: It's never my music. It's always the musicians. If I wanted to make my album, I would but I don't!
Q: What type of music do you usually work on?
A: Mmmm, mainly musician/artist driven rather than any "production genre" type thing. Hard to be specific but most of my work involves a very musical content. Not necessarily sophisticated but heartfelt and cared for music. Any music can be wonderful, is wonderful when portrayed by talent and honesty.
Q: What's your strongest skill?
A: Understanding people, music, fears, ambitions and obviously the technical aspects of studio recordings and mixing. Quick analysis of all those things at the same time!
Q: What do you bring to a song?
A: Hopefully a transparency to reveal the music as eloquently as possible, whatever the genre. A focussing of structure, rhythm, harmony, perspective, depth and emotional weight. That is always my aim. Still trying very hard as I always imagine that the best thing I'll do will be my next project!
Q: What's your typical work process?
A: I always record in to Pro Tools at 24bit 96kHz, whether here or any other studio in the world. I will always try and specify Prism ADA8X convertors. I tend to do 75% of eq and balance on the recording and the rest on mixing. I care a lot about microphones and microphone positioning (that's what happens when one is brought up at Abbey Road, surrounded by those amazing artists and engineers). I very rarely compress or limit on the recording unless it is for a particular effect. never use compression to control level, tend to use it more as a harmonic/colour tool. I always mix "in the box" for so many reasons!!
Q: Tell us about your studio setup.
A: Beautiful. A Harrison 2824, modified to get rid of all the FET stuff. Great mic amps, eq on this mixer. Pro Tools HDX system, Prism ADA8X Convertors (still my absolute favourite). Two marvellous sets of monitors. B+W powered by a Bryston amp and ATC SCM25. Wonderful Yamaha grand piano, Wurlitzer, Rhodes, Hammond, Drums (loads), percussion, Gtr amp (Fender). The live room can accommodate comfortably drums, keys, bass, gtrs with excellent separation. The control room door is often open to let fresh air and birdsong stream in! Lots of windows. Love this place.
Q: What other musicians or music production professionals inspire you?
A: So many! In awe of so many in so many genres. It's difficult to have forty eight years of experience and not gain a very wide appreciation of so many people and talents.I suppose, above all, I'm attracted to those who have a very real musical sensitivity. I love melody.
Q: Describe the most common type of work you do for your clients.
A: Very varied but the most common scenario is to record and mix tracks and albums. I do also record stuff for others to mix and I often mix stuff others have recorded.

Mixing EngineerAverage price - $700 per song
ProducerAverage price - $1000 per song
Recording StudioAverage price - $350 per day
Live drum trackAverage price - $300 per song
PianoAverage price - $300 per song
Acoustic GuitarAverage price - $300 per song
Electric GuitarAverage price - $300 per song

Two mix revisions included. A typical turn round time would be 10-14 days, depending on schedules. Naturally I'd give a delivery date from the outset. Engineering is included in the production fee.Ta!