„Somebody is trusting you with their art” — interview with Benni Dumville

Hi Benni, thank you so much for taking the time; we’ve been really looking forward to having this chat with you!

How would you introduce yourself to those who haven’t heard of you?

I’m Benni Dumville, my studio is the Roadhouse Recording CO. I don’t remember why I chose that name, but it stuck. Maybe I’ll change it one day…

I’m based in Teddington in South West London. The studio is set up in a loft conversion at my home. It’s a comfortable and inspiring space to work in, though it definitely has some quirks and character being in a residential building.

The space has gone through a few different revisions over the years, but I recently completed a fantastic, full renovation of the room.

I used to work out of commercial studio facilities, both assisting and running my own sessions, but these days I work mostly from home. I can take on all kinds of audio projects, from voiceover recording, to full creative production work. Tracking guitars and vocals, right through to mixing a finished record.

The space is very versatile but recording drums can be a challenge! It’s possible, I’ve done it before, but I would prefer to track those in a studio that’s more suitable, then bring everything back here to finish.

More recently I’ve been doing a lot of video-centric work, though I would love to rebalance things and spend more time making records again soon.

 

Working in a residential building can sure be a tough one. What are your challenges?

The main challenge is that the building isn’t soundproof. I’ve put a lot of effort into treating the rooms as best I can, without major construction work or shrinking the space. Monitoring and recording sound great, but sound does still leak in and out of the space. That’s perfectly normal, of course; I am in a house after all, not a purpose-built, commercial facility — or a serial killer’s basement — but it does mean some extra consideration needs to be made when recording.

Sound leaving the space has never really been much of a problem as I don’t monitor or record anything at crazy volumes. These days all of my amps are feeding loadboxes — sadly, 120-watt heads raging through a 4x12 is just not feasible.

In the past when I have recorded drums here, obviously it has been pretty loud. That is unavoidable. I just made sure to manage those sessions carefully, making sure we were getting great takes, moving through the material efficiently, and keeping it to daytime hours. The sheer volume of a drummer smashing the tubs isn’t the only issue though.

The room I use to track in is pretty small and awkwardly shaped. It works fine for most jobs, but isn’t really ideal for capturing a great drum sound, and it also takes a lot of extra time and effort just to get the kit and mics set up within the confined space.

Sound coming in from the outside world is more of an issue. Now and then an unwanted musical guest can pop up in the background of a recording — a passing car, a barking dog, planes, or even the rain on the roof. It’s not a big deal, in my opinion. It’s usually very faint, and there is only so much I can control at the end of the day.

You just have to be professional and work with the environment. Be aware of what you’re listening to — you’re already listening to the artist perform, it’s just one extra thing to focus on. It’s never a bad idea to grab some extra takes just in case, and if there is a problem there are a lot of tools and plug-ins available these days that can help with background noise. You just have to work with it, there are worse problems to have!

Tell us the story of how you built your own space!

This current version of my studio is by far my favourite, so let’s talk about that. Last year I decided it was time to explore some options for new monitors. I’d been using EVE Audio SC307s for about eight years, and I realised I had grown bored of them. Everything was starting to sound kind of dull and uninspiring to me. I’d go to other studios and hear high-end speakers with stunning clarity and detailed midrange information.

It left me longing for something better.

I was very lucky to be able to demo around 10 different sets of speakers in my room, which helped me to land on the PMC 6. Accurate, detailed, and revealing, but still enjoyable to listen to for long hours. Plus, PMC are lovely people to work with. It’s been great joining the PMC family.

When you spend a lot of money on expensive speakers, you want them performing at their best, which means tackling your room acoustics. There was definitely room for improvement in my space, so I decided that it was time to address the issues. I needed proper access to the walls and ceiling, so over the Christmas 2024 period, I began the process of disassembling the studio and completely emptying out the entire room.

I definitely underestimated how much work that was going to be, and so by the time the room was empty I decided I may as well take the opportunity to improve on every aspect of the room as I could. I painted the walls a new colour, sealed up gaps in the floors and corners, and fixed a few other structural issues with the room, and hired a local carpenter to build a custom three-bay rack and a new amp shelving system for me.

For acoustic treatment, I got hold of as many GIK acoustics monster panels as I could. They are the thickest panels they make, and I basically brute forced my way to a more controlled space by covering my ceiling and one of my side walls with them, then added more panels on stands to deal with the room’s unusual shape. I don’t have a proper back wall or a left-side reflection point, so the mini gobo panels give me some flexibility. I can move them around when I need to. I’m really pleased with the results, it sounds excellent.

Whilst it’s probably not technically “perfect”, it is a huge, noticeable improvement, and at some point you have to stop chasing theory and lines on a graph, and just learn to work with your room.

Once the treatment was up, I began moving all the equipment back in, completely repatched the studio, rebuilt the guitar, amp, and pedal rig, and integrated a new RME interface so that I can feed the PMCs digitally. Overall it was a massive job and took way longer than I expected, finishing up in early May 2025, but the results are incredible, I’m so pleased.

The space is beautiful and looks a lot less like a hoarder's storage room and more like a professional studio space. It’s inspiring and comfortable to work in. There are a few more pieces of gear I need to “finish” it off… but we’ve all heard that one before. I’ve mostly been doing the video jobs since I finished the space, but I can’t wait to make some records in here.

 

For someone to be this invested in the studio world, you must have an interesting background. Tell us about your musical upbringing!

My musical origin story isn’t as interesting as many others! When interviewed, a lot of people talk about having musical parents or family who instilled a deep passion for music at an early age. I didn’t really have that.

It was through friends that I ended up listening to a lot of rock and metal growing up, and being in London meant that I could easily go to gigs and shows. I taught myself how to play guitar, and explored the basics of music production.

Around that time, London had a really vibrant and growing underground dance music scene, which was completely different to anything happening in the mainstream, so I found myself making a lot of my own music and DJing Drum and Bass and Dubstep at parties and clubs.

I was always more drawn to the idea of working with other artists and musicians, though. Helping to guide them along the musical process, shaping their sound to create the best version of their work. That led me to study record production at university, but if I’m being honest, I don’t really remember much of the course or the experience. It was when I finished studying and got to work in real studios that things started to click for me.

 

You know what, being self-taught actually makes your origin story even more interesting!

It is cool being self-taught… but I do wish I was a better player! But who doesn’t, right?

After your studies, how did you end up in these above-mentioned studios?Did you do a lot of internships?

I’ve actually never done an internship. When I finished university, I started emailing as many studios as I could, enquiring about intern positions or even assistant jobs. Now that I receive those types of emails myself, I realise most of them are generic and dull to read. I’m sure mine were the same, which is probably why I didn’t get many responses!

One place that stood out to me was Titan Studios in Watford, where a lot of bands that I liked seemed to be working. I sent an email, and before I knew it, I was driving over to meet the owner, Steve Sears Jr.

Steve had previously played in bands like Cry For Silence and Spycatcher, but had reinvented himself as the go-to guy for production and mixing within the doom, stoner and sludge metal genres, as well as receiving acclaim for working with UK punk icons, Gallows.

At the time, the Watford and Hertfordshire area had a thriving rock and metal scene, and Titan was almost like a hub for all of those bands to rehearse and record at. It was amazing: Gallows, Lower Than Atlantis, SikTh, THE HELL, Krokodil, and loads more were always in and out.

Steve’s best friend, “Vman,” a hugely talented guitarist who was always around, went on to join Slipknot as their new bassist after Paul Gray’s passing. It was an exciting environment with so many connections to different bands across all areas of rock and metal.

Steve became a great early mentor. I learned a lot assisting him on sessions and helping with the daily running of the studios and rehearsal rooms. He threw me in the deep end!

I think the second time I even stepped foot in Titan he had me running a session on my own. It wasn’t long before I was bringing in my own clients. I also worked closely with a lot of the other people based at Titan. I recorded a lot with Jack Kenny, a local drum teacher who also played in loads of bands. I did a bunch of cool projects with Lags from Gallows and would help the Lower Than Atlantis guys out, who ended up with their own recording studio within the Titan facility.

Unfortunately, Titan eventually had to close, and everyone has since spread out across the country, so sadly we don’t see each other that often.

After Titan I worked as a freelance assistant at various West London studios. At one point, I was effectively on call for five or six different places. It was chaotic and the hours were often brutal, but I got to work at some cool studios and see more records being made. Most of the time I was just assisting rather than contributing creatively, but I learned a lot about meticulously perfect pop production just by observing. Looking back, I’m grateful for the mix of experiences. Both sides of my journey have shaped the way I approach music production today.

 

 

So I can see, that style-wise, your main cup of tea was rock and metal. Are these the styles you prefer working on, or you like to explore and work outside of this comfort-zone?

I’ve never really limited myself to working with specific styles or genres. For me, the enjoyment comes from if I connect with the artist, the song and their ideas, and if the working relationship is a creative and fulfilling experience for everyone involved.

My own musical taste is quite broad. I love everything from metal to vintage country music and modern pop, each for different reasons. Sometimes it’s the emotion and storytelling, or it could be a savage riff in a wild time signature and dropped tuning, or the clarity, polish, and technical excellence of a modern production.

If a project taps into any of those things, I’m usually excited to work on it. But ultimately, I’d be happy to dive into any genre as long as I connect with the music and can appropriately contribute to it. Sorry, I should say: except for Ska-Punk.

 

 

Haha, I think I’ll pass asking about that :)

So you’re working and have worked in a lot of styles. What are the projects you're most proud of?

Lately I’ve been working on a lot of video projects, which has been a chance to flex a whole new set of creative muscles through animation and video editing, all whilst collaborating and building relationships with brands. Many of the projects are tied to the pro-audio world and related companies — you may have seen me working with Make Noise Pro Audio — which, of course, is a natural fit, but some have been far more left-field. I’ve done collaborative projects with Ryobi, a power tool manufacturer, and Pit Viper, a sports sunglasses brand — so in a somewhat unexpected twist, I guess you could say that I am a semi-endorsed, semi-amateur action sports athlete… maybe.

That stuff is all fun, but for “most proud of” and best story to answer this question with, I’d have to go back a few years.

My friend Mike, who had been in a successful UK rock band called Lower Than Atlantis, found himself at a crossroads when the band split up after over a decade of constant riff writing, touring, and releasing records. Mike was in a difficult place trying to figure out what to do next and how to do it alone as a solo project.

Meanwhile, I had been putting together a more serious home studio — including a Buso desk — whilst assisting my way through various West London studios.

We decided to team up and work together on whatever this next musical project would be, setting the goals of creating an EP, getting him signed, and hard launching the project with UK radio play.

We basically locked ourselves away for a month straight in my studio. Mike would bring in the songs and his production and bounce ideas off of me before we locked in and committed to recording vocals. We went incredibly deep, into such granular detail on the vocal production, sometimes spending an entire week on a single song: tracking, editing, rewriting sections, experimenting with new melodies and harmonies, scrapping whole parts, and starting again…

It was intense, but an immensely satisfying experience, and a lot of fun to be able to do that with a close friend. I’m grateful for that experience and I’m sure we both learnt a lot from it.

The project became HEADACHE. It was a combination of styles with a strong, central “lo-fi” character, yet without compromising the overall quality of the production, which we tried to push towards the standards of modern pop, especially in the vocals.

The goals that we established at the beginning of the project were all achieved very quickly. Labels started to take notice almost immediately, and all of a sudden we found out that the first single would be debuted on Radio 1 that very next day — even though it still needed mixing! I had to work quickly to deliver that. It was pretty stressful, but we got it over the line.

We went on to make and release a second HEADACHE EP, and had began work on a follow up. It was that post-covid era and Mike had plans to start touring the new music too, but record label politics began to get in the way of creativity, until it eventually ground the whole project to a halt. It was all boring corporate and administrative stuff that sucked the joy out of the project for us both, so we stopped. There’s certainly no bad blood or any dramatics, and Mike is still a great friend. I really value the time we spent making those records.

These days Mike has built his own amazing studio in the Kentish countryside and is smashing it as producer with his own roster of artists, which is brilliant to see!

 

 

I can see, you take all these projects to heart greatly.

Yeah, I always make the effort to connect with a client’s project and offer up my best efforts. Somebody is trusting you with their art. It’s important to take that seriously. Not every project requires me to be deeply involved in a creative way. I’m happy to engineer and follow someone else’s vision, but if I feel like I can’t contribute to a project in a meaningful or appropriate way, I’d rather not take the project on.

 

For someone who was quite focused on audio work, how did video enter the picture? (pun intended)

Working freelance in the creative field, you need a broad skillset, so I’ve always dabbled in graphic design and video work. Things really picked up when I was doing test work with Solid State Logic. They would send me prototypes of upcoming products to thoroughly test, abuse, and try to break. Andy at SSL planted the idea of creating my own YouTube videos to showcase the product’s features. It meant that there would be launch-day content ready to go, but with a bit more depth and insight than a standard sales rep could offer. Those videos went down really well, which opened the door to more projects and eventually led to me now handling all the video content for Make Noise Pro Audio’s socials.

 

Which Buso desk are you using?

I have the Studio XL desk, in a black-birch finish. Before that, I had another desk from one of your competitors, but I found it very uncomfortable to work at for long periods of time.

It had a few strange design choices. The keyboard shelf was so low it crushed my legs when I sat down, even with my chair lowered. Yet, the desktop surface was so high that I constantly had to be reaching up at a strained angle to use my mouse and keyboard. On top of that, the shelf for your speakers and screen was even higher, and I had to continuously crane my neck to look up at the screen. Honestly, it was awful. I hated working at it, and I’m pretty sure it aged my body and joints by about 10 years!

I came across the Buso desks and thought that they looked fantastic. I spent a lot of time talking to the Buso team, explaining my situation and ergonomic nightmare. They discussed options and provided dimensions so I could be certain that a new desk would actually be a real improvement. They were very helpful, and of course very convincing. More recently I added the Buso padded armrests to the desk too for some extra comfort.

No more craned neck and unhappy joints since then?

Haha no more joint pains and bad back from the desk… just from getting older!

 

 

So, we’ve covered your musical influences, but who influenced your work and approach from the audio engineers' perspective?

This is always a difficult question for me. I’m unsure I really have any clear-cut, true musical influences or heroes. Don’t get me wrong, there is a lot of music I really love, and people whose work I love, but I just tend to not idolise people. Although there is probably one who does come close, Waylon Jennings. He was one of the original outlaw country stars, breaking free of Nashville’s rigid and factory-like system of making records in the 1970s, and blazed his own trail.

Artists weren’t allowed to write their own music, or even play their own instruments, everything was so strict and controlled. Waylon was part of a group who said no to that. He was an amazing singer and songwriting, and played guitar like nobody else, using a phaser pedal for a distinct and almost psychedelic sound. I named my cat after him.

On the work side of things, I look to my friends and peers for inspiration. I know so many people who are brilliant at what they do. It’s inspiring to see my friends succeed in the industry. But I won’t start name dropping, I would only forget somebody important!

 

Perfectly understandable, I also find myself slowly getting out of the habit of name dropping. I always forget someone!

Too many talented friends to remember them all!

 

Tell us about the gear in the studio! Are we right to assume, you use no analog mixing consoles?

I’ve only worked on a small handful of consoles — Audients, Soundcrafts, an API once, some older Mackie’s, the Toft ATB and SSL’s AWS. There might be a few others I’ve forgotten, but the truth is I don’t have loads of experience working on consoles. It’s a shame because I really love the workflow and immediacy of having everything laid out in front of you.

If I had to pick a favourite, though, and even without having worked on one, it would be the SL 4000 series from Solid State Logic, and I’m including the full range of 4K A, 4K B, 4K E, and 4K G in that! I’ve spent a small, but not insignificant amount of my life researching the history of Solid State Logic and the 4000 series consoles. It’s such a fascinating story, and one that completely redefined both the sound of modern music and the way in which records were made. Its influence is still felt today, even in an evermore digital world.

I actually began compiling the story into a multi-episode, documentary-style project called The History and Legacy of the SL 4000. It became a gigantic and complicated task so it’s on hold for now, but it’s definitely something I want to return to in the future.

 

Anyway, in my studio — as you might have guessed — I do not have a console! I do have a nice collection of gear though, and I suppose you could say that this is a “hybrid” studio setup. The idea is to have a really solid front-end, so that I can capture fantastic sounding recordings on the way into the DAW, whilst being able to then use the same gear during mixing, by patching in as hardware inserts.

I’ve got 16 channels of pre-amps (way more than I really need) including 2 channels of Neve 1073, 2 API 512v and eight of SSL’s PureDrive. The other four come from my RME interface, which have actually been pretty handy to have around. I’d love to add a pair of SSL’s brand new Revival 4000 channel strips soon too… I’m sure you can guess why.

For EQ and compression I’ve got a good mix of 500 series and rack units, with some more API and SSL, Mäag, some lovely variable MU compressors from Locomotive Audio and IGS, and an old Urei 1178, just to name a few.

 

 

The final bay of the rack is where the effects live. I’m a big fan of the crusty charm of early digital gear, so I’ve got a Lexicon PCM80, Yamaha SPX990 and the OTO BIM and BAM to scratch that itch. Alongside that I’ve got a pair of Dolby 361s and two sliding trays packed with weird and quirky pedals, perfect for creating unique sounds in production.

Up on the Buso are my peripherals and controllers, with the SSL UF8, UF1 and UC1 as the centrepiece. I love working on them, they’re great. I’ve got a bunch of shortcuts and macros set up for editing, and I use the faders for writing automation. I usually throw one of the SSL channel strip plug-ins onto every track in a DAW session, and the UC1 lets me sculpt sounds really quickly. To the right, I have two Stream Decks which handle even more macros, but also give me control over all of my MIDI equipped hardware. So instead of rolling across the room to change which amp a guitar is feeding into, I can just trigger it straight from Stream Deck.

 

 

Amazing….so if in the future, you decided to eventually add a mixing console to this stunning setup, maybe that would just….complicate things? Or make them easier?

Yeah, I think that it would definitely complicate the setup! I’m not sure I could just add in a console, it would be a case of rebuilding the studio again and designing the room and routing around a console workflow. It probably wouldn’t be something I would consider doing here, it would be something for a new studio in a new room with some more space, and a bigger live room where I could track drums and even a whole band. I would love to do mix work on a console, but I am perfectly content with my hybrid setup. It might happen one day, who knows? I think it would be cooler if I can get back to doing more audio projects, and work from more studios that have consoles.

 

Must’ve been quite some time to amass this array of beautiful gear. I can imagine stepping into the studio still feels like entering a candy shop :)

It’s taken a long time to build up the collection, over 10 years probably! It’s kind of an endless cycle of buying, selling and trading equipment and never really having much money in the bank. Things have really come together in the last couple of years though, and I’ve got a really amazing collection of microphones, outboard, pedals and guitar amps. The only thing I’ve not really got into is vintage synths!

 

After the studio tour, I think I’d love to hear a bit more about your approach to workflow!

Whether I’m working on audio or video, I want things to be fast and immediately accessible. I want to be able to capture ideas quickly, or switch pieces of equipment and effects on the fly. A little ironically, I do have a lot of controllers and peripherals, but nothing kills creativity faster than technology getting in the way.

With that in mind, most of my studio is designed around a seamless workflow. I can plug a guitar into the studio pedalboard and switch between a variety of amps at the touch of a button, or I can just as easily patch a line signal from the DAW — or even a live vocal — into those same pedals and amps, with all of the correct signal conversion handled automatically. I’ve got zero latency monitoring set up in both the live room and control room, and from my desk I have direct control over the parameters of numerous pedals and digital effects. There’s a lot happening behind the scenes, so that when I want to do something I don’t have to think about how I would actually do it. I just do, and it works.

My Buso desk fits into this mindset by providing a comfortable area to work from. I can spend long hours working without feeling like I’m fighting against furniture. The layout and desk space makes sure everything I need is within easy reach, and I can stay focused and keep creativity flowing. Obviously it also looks great in the room!

 

Where do you stand on the analogue vs. digital debate? How do you see the future of analogue equipment?

To be honest I am tired of it even being a debate. People are allowed to have their own preferences when it comes to what tools they want to use to get the job done. The “pro-audio” corner of the internet can be pretty toxic, with self-appointed experts and “influencers” who have no real credentials, presenting worthless and often misunderstood advice as fact — and the analogue vs. digital argument is easy pickings for them to stir things up and make an endless amount of drivel content about. Plug-ins are great. Analogue gear is great.

Personally, I do think that most well-engineered hardware has something extra that plug-ins can’t quite sonically match. But at the end of the day I really don’t think it matters what you use. If the song is good, if the engineering is good, if the production and mix are good, the audience will not care and definitely won’t be able to tell if it was made with a £10,000 vintage compressor or a stock plug-in.

I like hardware not just for the sound it offers, but for what it adds to the process of making music. A vocalist might not care that they’re being tracked with a U67, into a 1081, compressed with an 1176 and an LA-2A, then finished with a Pultec — but they will feel it. They will love the sound of their voice in headphones. It will inspire them, make them more confident, and encourage a much better performance. That is very difficult to do when recording a microphone plugged straight into an interface, living on the promise of it sounding better later after you apply some plug-ins… oh but we can’t do that just yet or incur latency and overload the CPU!

 

 

Pardon my French, but that was beautifully put.

Half the battle is won if you’ve got a great front-end. Capture something that already sounds the way you want it to, and then once it’s in the DAW, you can always refine it further with plug-ins anyway — just, you will likely be making smaller tweaks, whilst the mic direct into interface user could be trying to add more “emotion” or “flair” into a flat performance, with some questionable EQ curves and an overly long plug-in chain.

As for the future of analogue equipment, I don’t think it’s going anywhere. Our lives may be dominated by digital technology, but music and sound will always be an analogue experience for humans, and so we shall keep reaching for analogue equipment… at least until the era of cybernetic implants arrives anyway. Cue the theme from Terminator!

What’s interesting is how analogue gear has come back into favour with newcomers. We’ve had companies like Behringer, Warm Audio, and others churning out low-cost recreations of the classics for a good while now. They can be very enticing for novices, but more often than not is a false economy leading to eventual buyers remorse. The products are made so cheaply and cut as many corners as possible, rarely delivering a close representation of what they claim to be copying.

 

 

So am I right to assume, you’ve had your share of bad experiences with them?

Absolutely, I am speaking from both personal and shared experiences with my peers. The low-price point and promise of “authenticity” can be tempting, but the cracks soon show. A lot of these products sound fine at first, especially in isolation, but the illusion shatters when you spend time working with them seriously. With these cheap pre-amps or microphones, you begin to notice odd resonances, a kind of “plastic” quality to the audio, and it ends up taking longer and longer to get a useable sound. Then, when it comes time to mix, the vocals you tracked on the £500 “Neumann Killer” 47 clone suddenly don’t sit right in the mix, and you spend hours throwing plug-ins at the vocal, trying to massage it into better shape.

I’m convinced many of these companies are less concerned with the actual circuit design and sound of their products and are more focused on making gear that looks familiar. They can capitalise on nostalgia and chase the trend of whatever piece of vintage equipment has recently become popular.

Internally, so many corners are cut to drop the price, and generic components used, that often they don’t reflect the originals at all. It’s become a bit of a race to the bottom. Who can make the most, and make the cheapest clones? All whilst marketing them to beginners, who understandably just want to get their hands on “classic” gear.

On the flip side, there has been a rise in higher quality clones from companies like Audioscape and United Studio Technologies. They do seem to be putting some effort into their products, which sit at a higher price point, but not so high that it completely locks out newcomers. Recently, I’ve seen plenty of people building their first studios who happily save up to spend the extra on something that might actually be good. That’s great to see, it makes the industry more accessible, but it also forces basic engineering techniques onto customers, who have to learn how to use the equipment correctly. That knowledge is harder to pass down these days, with fewer people getting their start in a commercial studio environment, but that’s an entirely different topic!

The big buzzword right now is “digitally-recallable analogue” — fully analogue hardware with digital control of all parameters and a connection to your studio computer so that you can save and recall settings instantly.

On paper it’s a brilliant idea. No more manual recall sheets and the ability to use real analogue gear as if it were a plug-in. I think that the reality is a lot more complicated, though. It opens the door to a whole new mess of technical issues, downtime, and an enormous burden on manufacturers to provide endless software updates and technical support.

I’ve tried a fair bit of the recallable gear that’s already available, and so far, every single piece has had unacceptable connectivity and clocking problems. I couldn’t use an analogue compressor because its firmware needed to be updated, but it was also failing to connect to my Mac — ridiculous!

SSL have just announced their Oracle console — a fully recallable analogue desk. I work closely with SSL, so I know how much time and effort they put into getting things right. I’m excited to see how Oracle performs, and how they trickle that technology down into new products. I think that it will be a slow and methodical process to add it to products where it would actually be useful, rather than shoehorning it into every new product going forward.

That being said, personally I’m not that fussed about it, and I know a lot of other working engineers who feel the same way. We’ve been manually recalling equipment for over half a century, and we’ll keep doing it. Lots of mixers just leave hardware parked at their preferred settings and print through it anyway. Digitally recallable analogue will definitely have its place, but I don’t think it’s about to completely replace traditional workflows any time soon.

Honestly, it’s another thing I am tired of hearing about! A lot of YouTubers and audio “influencers” preach it as the inevitable and soon-to-be future, and it’s cute that they are so passionate about it, but most of them spend all their time making content and not making records. Why they’d even want walls of instantly recallable gear when they’re not actually running sessions, I do not know.

And hey, I’m sure it won’t be long before someone gives us an AI-controlled 1176 anyway… Cue Terminator theme again.

 

Haha, well I hope we won’t come to that.

Benni, I’d like to thank you very much; it’s been a huge joy to have had this talk with you, and now it is my honor to ask from you a song for our Buso playlist!

I’ll go with HEADACHE — “broke.” This is the one we got straight onto radio!