Here is a fantastic interview with Benge, aka Ben Edwards, I found on Metamatic.com. In it, he discusses many topics, from his expansive arsenal, studio, recording of Interplay, and much more.
You may know him best for his collaboration with the legendary John Foxx. Their collaboration (Interplay) is set to be released March 21st, 2011. We can’t wait. Or better yet, you might know him as a full-time member and analog tweaker with John Foxx & The Maths. You can see some of his many performances found throughout this site.
He first came to my attention when I read an interview he did for the UK magazine, Future Music. It was one of those “collector series” they were running back then. I became a fan when I purchased his Twenty Systems album which highlighted 20 years of synthesizers with 20 different synthesizers. Twenty Systems is an analog fetishist’s dream come true. Not only does it feature some great synthesizer work, but it also has visuals and many notes to accompany every track. Aural and visual candy all in one. A friend of mine asked me once if he could borrow it. He was shocked when I gave him a scowl and the obligatory school boy response of “get your own, man!” He was lucky I even let him touch it.
John Foxx has called Benge a modern day Conny Plank. Remember, Foxx worked with Plank while he was a member of Ultravox. So, that comment alone is enough to make you want to learn more about Benge, right? Conny Plank was involved with much of the great music coming out of Germany in the late 1960’s-1970’s. It’s the music that has inspired many of us. From Stockhausen to Kraftwerk, the larger than life Plank played a role. Therefore, I couldn’t think of anyone else better to make that comparison to. If you’re making electronic music or even listening to it, it wont be long before Benge becomes a household name.
Metamatic : What synths do you enjoy using the most, and why?
Benge : My favorite synth has to be the Modular Moog system [3C] that I got about fifteen years ago. It was made in 1967 and to me still sounds bigger and better than anything that has been made since. It is a good example of someone getting the technology right at the beginning, as it was from the first ever generation of commercially available synthesizers [along with the Buchla systems, also made in America in the late 1960’s]. It seems to me that almost every synth since has been a compromise of that original idea, although there have been some other instruments that have introduced some new facilities that the big modulars could not do. For example, the Yamaha CS80 is a massive polyphonic synth from 1976 that implemented playing more than one note on the keyboard in a really good way. Then in the 1980’s some of the digital computer-based systems were pretty amazing, such as the Fairlight and Synclavier. They are all on my Twenty Systems album, and most are on Interplay.
There were a few other synths we kept going back to on the album as well, in particular the Arp Odyssey, because John loves that one and knows it so well. The one that really surprised me was the Crumar Multiman, which is a cheap Italian string and piano synth from the mid 1970’s, but we kept going back to it because it just seemed to fit in and cut through on the tracks. It’s all over the album, nearly as much as the Moog Modular. And there are two drum machines that we used a lot on this record, the Linn LM1, from 1980 and the Roland CR78, which was the machine John used a lot on the Metamatic album.
Metamatic : Can you please run through the equipment that was used on Interplay, expanding on what each item is and does – and why it was chosen?
Benge : All of this stuff is in the studio and is connected up to a big patch bay, the idea being that you can then use short patch cords to make connections between things, and you can combine them together in interesting ways. For example, if you want to play a Minimoog synth through an MXR flanger and then put that sound through a tape delay and then send the result to a compressor and distortion box, then you don’t need to scrabble about round the back of the equipment and change all the leads around, they are all ready connected to the patch bay, so you can just use four short cables and you have a brand new set of sounds. Everything is labeled up on the patch bay using a number code and then there is a sheet with all the relevant instruments and effects units.
Firstly I will tell you about the synths we used and go into a bit of detail about some of them:
The Odyssey is one of John’s favourite synths and he really knows it inside out. I love them too, but he was getting sounds out of it I had never heard before. He likes to torture it! We used it for a lot of the electronic sound effect type things on tracks, like wooshes and squeals. Also for quite a few lead lines and bass lines, using it’s matching sequencer. It sounds great through a phaser and distortion pedal. It’s all over the Metamatic album too.
Crumar Bit 01
The Multiman is a seriously underrated synth. Actually its a ‘multi-instrument preset synth’ and not a proper synthesiser because you don’t have control over every parameter of the sound. But it still sounds amazing, it really fits in to a mix, and we kept on coming back to it on loads of tracks. I paid £60 for it a few years ago, and you can still find them cheaply out there.
The Yamaha CS80 is one of my favourite synths of all time, it’s just totally mad. Inside it is all discrete point to point wiring of all the thousands of connections. It is the synth that Vangelis made famous who reputedly had sixteen of them, and bearing in mind they cost about £8000 each in 1976 gives you some idea of how much he liked them. Listen to Blade Runner to hear it in all its glory.
We used the Fairlight for some of the drum sounds on the record, but unfortunately it broke down half way through recording the album and I’m waiting to get it fixed.
Hohner Pianet T
The Pianet was used on the backing track for Interplay which I recorded at my house where I also have a piano. While recording there was a massive thunderstorm and we decided to leave it on the song along with the instruments.
Mira used the MS20 for the main synth line in Watching a Building on Fire.
When Gary Numan came to the studio to shoot the interview for his his last DVD I got to meet him and show him round the synths. Sadly he sold off all his years ago. He told me that he used to have nine Minimoog’s because when they played live he liked to have the sound set up on the synth and not have to change the settings after each song, because the Minimoog has no memories. He also played the main synth line from Cars on my Polymoog, and he forgot how the top two notes went. So we were like “I think it was these two…” “No, maybe it’s these…” “Wait a minute, it was these two…” etc.
We used the VP330 on the album a few times. It is a vocoder, which is a synth you can sing into and it turns you into a robot-voice. It’s pretty cheesy but good fun, and actually is brilliant if you put other sounds in instead of a voice, for example a drum loop which we did a bit on the record as well. It was used by Laurie Anderson on O Superman and also by Kraftwerk quite a bit.
Of all my synths I think the Moog Modular is my favourite. Somehow it just sounds bigger and better than anything else, and considering this was pretty much the first synth ever made [in the mid – late 60’s] that’s not bad going. I’ve added some racks of modules from some newer companies [Moog stopped making them in the 80’s] and this is now a really powerful system. It’s on most of the tracks as the central bass line or melodic sequence.
For the rest of this fantastic interview, please make sure you go here.