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Benedict is a mix engineer, record producer, and composer with over 30 years of experience, 100+ albums, and awards for film (and game) scores.
Benedict grew up in a musical house. His father (Guildhall London, cathedral organist, choirmaster, harpsichord) was playing Bach, Scarlatti, Palestrina, Handel, and Mahler on his valve hi-fi, harpsichords, and clavichords he built for sale, while Benedict was trying to listen to Deep Purple and Duran Duran with those terrible orange foam headphones we all had in the 80s. All that music soaked in.
He left school wanting to be a record producer, like Alan Parsons. He trained for a while in a small commercial recording studio, making jingles for a regional AM radio station. Not as sexy as the people he knew in Indie band studios, but Benedict learned the value of working quickly, finishing, and publishing.
Benedict trained himself with synths, seeing others in the studio were afraid of them. It was only a matter of time before he started writing his own material to give purpose to his activity. A couple of years and cassette releases later, Benedict had calls from several Indie record labels (with distribution to Majors).
VST became the thing, and it wasn't long before Benedict started making his own VST synths and effects. For some years, he ran his line called SynthStudio Pack, which became reasonably well-known.
Mostly these days, he focuses on mixing and artist development. He has a very strong belief in getting the basics right, as no building stands well on poor foundations.
Reverb is an often largely misunderstood part of how recorded music works.
Rather than being an added extra, the space in which a piece of music takes place, is as much part of the music as the guitars or drums.
Changing the reverb space can alter the final piece as much as changing any of the other sounds in the mix.