Haydn Bendall: Freelance Lecturer

** A BIG CONGRATULATIONS TO HAYDYN FOR WINNING AUDIO PRO'S 2009 INDUSTRY EXCELLENCE AWARD FOR "BEST STUDIO ENGINEER" **

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In spite of being somewhat loathe to organise a curriculum vitæ I have bowed to subtle and consistent pressure to write something. I suppose one may call it a sketch of not only about work but also my attitudes and some of the circumstances that I suspect had something to do with shaping them.

Although always passionately interested in music, I had not an inkling that I would one day be fortunate enough to earn my living from this practically all consuming hobby. As a student I had my sights on medicine or teaching. I was working towards these ends after a two years spell at Orange, a state of the art Ampex 4 track studio in New Compton Street – now demolished! I studied for a degree in sociology whilst I was working for the piano manufacturer Steinway & Sons as a piano tuner/technician. Psychology proved to be, at the time, fascinating – particularly research into asylums and institutionalisation. Thus recording studios.

Ken Townsend and Mike Gray from Abbey Road agreed to employ me part time for a while until a full time vacancy appeared. After a year of working most evenings, nights and weekends, Ken, to my amazement, offered me full time employment. The idea was that I would be taken on for a three-month probationary period. I was tremendously excited although as the first day for me to report for work, as an employee, was April Fool’s Day there was a little voice saying to me “is this real?” As it turns out I was never told whether or not I got the job. I still get the little voice!

I was employed for over 17 years at Abbey Road, the last ten of them as senior engineer leaving in 1991, I think, to pursue an independent career.

As a result of working at Abbey Road for such a length of time I was introduced to quite possibly the widest selection of music and productions that any studio in the world could offer. This huge palette develops attitudes and tastes that tend to become more and more catholic as time progresses. More often than not I’ve found, much to my pleasure, that my preconceived ideas about a particular style of music have been turned upside down, or at least sideways.

I spent some considerable time working with Eric Woolfson, helping to develop three of his musicals, Gaudi, Gambler and Poe. This involved not only extensive programming, arranging, recording and mixing but also co-ordinating and consulting with sound designers, light designers, directors and various technicians within the theatre as well as of course the artists and ensembles for stage and cast CDs.

Inevitably people are going to say, “Who has he worked with then?” I personally don’t think these lists are particularly illuminating, rather like the league tables published for schools and universities that do not necessarily measure their suitability for certain students. I know that all of the tremendously talented artists I have worked with over the years would make fantastic records with or without my intervention. I know that, you know that, every other musician, producer and engineer knows that but few will publicly shout about it.

What is one to do? Give in, I suppose.

So, the following is an incomplete list of people that I have had the pleasure of working with.

A:
A House, Adele Bertei, Aha, Alan Parsons, Al Stewart, Angelo Badalamenti, Arif Mardin, Andy Latimer, Andrew Powell , Anne Dudley, Adam Faith, Abus d’Anges Heureux, Alexis Strom, Alan Tarney, Alison Moyet,

B:
Be Bop Deluxe, Beautiful South, Bond, Bill Nelson, Bruce Welch, Bill Myers, BA Robertson, Bonnie Tyler, Balanescu Quartet (The) Bobby Colomby, Bill Ross, Brian Gascoigne, Barbara Dickson, Billy Childs

C:
Camel, Captain Sensible, Chris Hughes, Cliff Richard, Colin Campsie, Climie Fisher, Colm Wilkinson, Carole King, Colin Vearncombe, Czech Philharmonic Orchestra, Chris Rainbow, Clare Teal, Chris Botti, Claude Francois

D:
Dave Gilmour, David Bedford, David Essex, Distant Cousins, Damon Albarn, Damian Draghici,

E:
Elaine Page, Elton John, Everything But The Girl, Eddie and the Hot Rods, Eric Woolfson, Erann David Drori, Erica Wexler, Eliana Tomkin, Fleetwood Mac, Flair

F:
Flesh for Lulu, Fiachre Trench

G
George Martin, Gary Moore, George Fenton, Greg Lake, Greenpeace, Gavin Greenaway, George Benson, Gary Kemp, Guy Barker, George Macfarlane, Gil Goldstein, Gigi d’Alessio, Georges de la Rue

H
Hans Zimmer, Herbie Flowers, Helen Terry, Ian Stanley, Inti Illimani, Il Divo,

J
Jason Halliday, Jeremy Lubbock, Jon Kelly, John Leckie, John Miles, John Williams, Jonathan Tunick, Judy Collins, Justin Haywood, Joey Tempest, John Parricelli, Jamie Cullum, Jennifer Crestol, John Lubbock, Jacques Revaux,

K
Kate Bush, Kiri te Kanawa, Katie Melua,

L
Limahl, Labi Siffre, Lara St. John, Let’s Active

M
Magazine, Marc Almond, Magnus Fiennes, Michel Van Dyck, Michael Kamen, Mike Howlett, Mike Batt, Mike Oldfield, Mike Hedges, Mrs. Mills, Maya Fiennes, Mitch Easter, Mick Hucknall, Michele Zarrillo, Michel Sardou, Martin Doepke,

N
Neneh Cherry, Naked Eyes, Nick Ingman, Norman Newell, Niki Nicolai,

P
Paco Pena, Pat Metheny, Patrick Mimran, Paul Mcartney, Pet Shop Boys, Propaganda, Paul Carrack, Peter Wafa-Abela, Peter King, Peter Skellern, Paul Buchanan,

R
Red Noise, Richard Hewson, Richard Niles, Robert Fripp, Robin Gibb Rush, Roy Harper, Robin Millar, Roger McGough, Ron Wood, Ryuichi Sakamoto, Reflex, Ralph Salmins, Robert Meadmore, Roberto Alagna,

S:
Sharon Benson, Sarah Brightman, Shelleyan Orphan, Siouxsie and the Banshees, Sky, Steve Booker, Steve Harley, Steve Gray, Sonny Okosun Sting, Sammy Hagar, Steve Mack, Stefano di Battista,

T:
Trevor Horn, Tina Turner, Tony Mansfield, Tony Visconti, Tori Amos, Toyah, The Adverts, The LA’s, The Hollies, Terry Britten, The Shadows, The Creatures, The Undertones, Thomas Hampson

WXYZ:
Willard White, XTC, Yusef Islam

Travel has always been a truly enjoyable aspect of my professional life and I’ve worked extensively in Europe, North America and Australasia. I was a consultant to Whitfield Street Studios and I find the lecturing I do at various universities in Britain particularly stimulating. I’m also involved in writing a fair amount for various professional magazines. I’ve been invited to design a course and lecture at the Gateway Professional Development Training College for the Sound and Music Industries. Some rather desperate colleagues co-opted me on to the Music Producers Guild Board of Directors in September 2005 and I’m pleased to say that I’m now in the fortunate position of being represented by Rebecca Duncan, who I’m sure can provide a more pertinent overview than I, about most things!

Many thanks for ploughing through all this.