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34 JONATHAN MILLER dons his wellies for a trip out into the Suffolk countryside to pay a visit to Monkey Puzzle House, a keenly priced residential recording studio of much merit. �� Puzzle House is a new, purpose-built residential recording studio. We have created a studio that encapsulates all that is – or was ��onkey – good about the classic studios, ironed out their faults using modern means, and added essential new technologies, thereby creating an affordable, cuttingedge facility.’ That's what the website says, anyway. Of special interest is the studio’s very reasonable quoted daily hire rate of £250 (including an engineer) – especially when one sees what gear one gets access to within its scenic surroundings. Long And Winding Road Situated on a rural crossroads on the outskirts of the quaint Suffolk village of Woolpit, an initially unassuming Victorian flint-fronted cottage fronts an adjoining dark wood-clad barn that is also typical of the area’s architectural vernacular – the Monkey Puzzle House residential studio itself. Monkey Puzzle House is also home to studio owner Rupert Matthews, an affable and relatively young individual who clearly lives and breathes his craft, having bravely put his money where his heart is. Step through a side entrance from a gravelled courtyard and one immediately finds oneself in an expansive country-style kitchen – the hub of Monkey Puzzle House, with doors leading directly to the beautiful control room centred around a recently installed Solid State Logic AWS 900+ Analogue Workstation System and attached to an eye-catching and spacious live room. Mathews starts here: “The last studio I built – as part of a multimedia business in a leased farm property down in Surrey – had doors that went from the control room through into the live room, which I never really liked. Another studio I worked in... was the same, as was Ridge Farm, so, here, to draw people out of the control room, the process of walking into the live room gets people trapped in the kitchen; they’re still involved in what’s going on, or feel they’re listening comfortably, but it certainly makes the control room space feel a lot bigger for a room that’s not actually huge, even though it’s a comfortable room to have a bunch of people hanging around in. Besides, not AUDIO MEDIA MAY 2009 having the stereotypical sofa behind the desk means there’s not always someone behind you, so you don’t have to turn around every few seconds to hear what they’re saying. "By putting the sofa in front of the desk you can kind of see what they’re saying without having to change what you’re doing too much. So the kitchen really helps – something I haven’t seen anywhere else; it just seemed the right thing to do, so I went with it.” Just Have A Little Patience Matthews’ interest in recording dates back to his Sussexbased childhood: “…through having played in bands, and being the person that always brought along the tape deck and Dictaphone to the session, putting it in the corner, and working out that hiding it under blankets and things somehow made it sound better!” Such experimentation soon had Matthews hooked, quickly moving onwards and upwards in the recording world, courtesy of an unspecified two-track Ferrograph tape machine, before settling on an audio-cassette-based four-track upon which he started recording local bands: “That was going pretty well; then, at the beginning of the ’90s, I borrowed some money from my folks and bought an ADAT, eight microphones, and a tiny little mixer – not an incredible choice of equipment, but I started charging people for a recording.” Matthews’ much-needed break came soon after: "When I was at college – I would have been 16 at the time – I was recording a band on my own equipment, doing Led Zeppelin covers, which I was really excited about, just on the basis of them being a bloody great band who had always recorded well. I was struggling a bit with the drums, trying to make them sound really good. �
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