With every track that is released into the world, whether single or album, there are elements that are behind that track, besides the producer and the artist, there is an engineer on the track that brings you that crystal clear sound. When your system in your car bumps the bass clear and leveled or when the Club your frequent plays your favorite track, behind all that is a person who spends countless hours in front of a computer making that track sound perfect. With the help of different equipment and the major assistance of Pro Tools they provide the mastered track that is then shipped to the label or the radio station.

In Miami or more specifically Circle House Studios, there is one engineer that has practically had his hands on almost all the chart toppers that came out of Miami since Hustlin’ by Rick Ross. After that, this engineer exploded onto the scene from being an intern to becoming Head Engineer in only a short time. Ben Diehl has worked on projects for DJ Khaled, Rick Ross, Brisco, Ace Hood, Billy Blue and many others in the Miami movement; if you heard music from any of these artists then it’s quite possible he mastered them. Between Khaled’s album ‘We Global’ and Ace Hood’s ‘Gutta’ that were just recently released, a lot work on those albums was done by Diehl. He is the go to engineer for Khaled, E-Class, Big Chuck, and many others. Ben Diehl is the talented, extraordinary engineer of the Miami movement.

This is an exclusive interview with Ben Diehl that you will only read here on 24hourhiphop.com.

24: First and foremost can you let everybody out there know who you are if they don’t already know?

Ben: I’m Ben Diehl, head engineer at Circle House Studios. I do a lot of work for Poe Boy, Khaled, Ace, pretty much all of Miami, all the local acts and a lot of people out side of Miami as well. I’ve been at Circle House for 3 years and I pretty much ain’t going anywhere anytime soon.

24: Let’s get into your history, where did it all begin for you?

Ben: Well I was born in Delaware and I moved to Orlando to go to Full Sail. I had been doing music for a while in Delaware and in Philadelphia, but I finally went to school in Full Sail in Orlando. I got my degree in engineering and I got a Bachelors Degree in Business and then after that I came to Miami. (A)Bebe [Lewis], at Circle House, gave me an internship, he gave me a shot here interning for a couple months and while I was doing that I got linked up with Khaled and Poe Boy. I did some things for Rick Ross’ first album and it really came at the right time because around that time is when the movement had just started and within a month of being in Miami ‘Hustlin’ blew up, so it was perfect timing. I was just hitting it off well with everybody and I put in a lot of hard work and it’s really starting to pay off. 2 to 3 years into it its starting to all make sense I just came down at the right time and fucked with the right people.

24: What was the first project you actually put your hands on?

Ben: Really it was Khaled’s listen I linked up with Lou Diaz from the Diaz Brothers and he kind of took me in under his wing. By doing that I really just assisted with the session, but at the same time sometimes they needed little recording sessions here and there and Khaled is the type of person that wants to get things done right then. That paid off because here I am now three albums later and I’m doing a lot of things for him.

24: So let’s get into your engineering process what exactly are the elements that you use when you break it down?

Ben: Really I have to give credit to Lou Diaz because he schooled me. I kind of stole his style out of love, of course, but we do shit a little more aggressive because Miami shit has to be crispy. With Khalid he wants to hurt speakers, he wants to break speakers. A lot of shit I learned in school, a lot of theory has been thrown out the window and I just go with what works with the project, I just go as aggressive and big as possible big is the biggest word possible. E-class is always like it’s not big enough, the shit has to be humongous and that’s where we’re at right now, just making sure it’s loud clear. You have to realize a lot of shit we do is going to go to the ghetto clubs with the cheap systems and people still have to be able to hear that shit. As far as theory it depends on the record and what it calls for it’s all about the vibe and where you want to take it, I have to make it original and new, but also put my creative side to it as well.

24: Can you break it down to us as far as process from the program to how long it takes you?

Ben:I mean it’s no secret. You can tell somebody how you work, but at the end of the day if they don’t have an ear for it, I mean it’s hard to say, but so easy to do. When I’m in front of the Pro Tools making sure everything is right, the clap is slapping the shit out of you and the kick is punching the fuck out of you and at the end of the day that’s what most people want from Hip-Hop, especially down south Hip-Hop. Timing, it depends sometimes if it’s well recorded, well done, and well produced. We did ‘Get Like Me with Billy Blue and Brisco and to mix it down it took four hours, I recorded it though, so I already knew what I wanted to do. The same thing goes for Ace Hood and Brisco ‘Don’t See Ya’ll.’ I only had four hours to mix it because Khaled wanted to lay it that night, J Rock produced it well so it made my job easier. The harder thing is shit that isn’t well produced and wasn’t well recorded and they want it to sound like a hit record. We have a saying in engineering, ‘Shit in, Shit out,’ if it sounds like shit coming in it’s going to sound like shit going out, you can only polish a turd so much. It all depends sometimes I’ve spent 14 hours and come in the next day and spend more time on it because your ears are a bit fatigue, but sometimes the best shit is the shit you can’t get done right away.

24: So it’s quite obvious that you’ve handled everything that comes through Circle House.

Ben: For the most part, some guys bring there own engineers and there are a couple of other engineers that work out of here, but the majority of the stuff bought in here especially within the camps I mentioned I have that creditability with them. It’s really them being comfortable and it’s a trust issue like Khaled, he’s doesn’t want anyone to leak his shit, so part of my job is making sure when it’s with me that doesn’t happen.

24: Since you are a part of engineering, how do you feel when the song or album is leaked?

Ben: Honestly, it hurts sells, but the way I see it everybody’s shit is going to get leaked regardless if it’s the week before it comes out because shit gets sent to magazines and to mastering. It hurts the industry because we have to take pay cuts, it’s hurting the game you look at albums that are selling gold and they would have sold 2 or 3 million a couple of years ago because people had to buy the CD. Some of the leaks like Lil Wayne that definitely helped his project with all his songs coming out, sells still did well when the album came out, but it does hurt the game that’s why I take so much pride into making sure were straight, I don’t even have a version of a song to be leaked just out, it’s just that serious. I know one time Khaled sent me to Atlanta to give Young Jeezy a song because he didn’t want it sent through email. We take the extra steps to make sure everything is safe, you have so many people out there who are breaking into people’s emails so you just have to be one step ahead of them because all they want to do is fuck up your money.

24: So basically you are the engineer who is pushing all the Miami music out, everything that is coming out of Miami can you say you practically have had your hands on it and you’re responsible for the crystal clear sound?

Ben: I don’t want to sound to conceded, but I’m definitely a piece of the sound and right now I’m still grinding trying to better myself. I don’t feel like I’m the best yet, but I will be and I feel like when that happened people will really have a problem, but for the most part yeah I fucks with everybody and it’s a good thing. I don’t want to discredit anybody out here doing there thing, but like I said I’ve been blessed.

24: If anyone wanted to get in contact with you for your engineering services how would they go about doing so?

Ben: They can call me on my cell directly, but don’t call me asking me to ship your shit to Khaled or E-Class or Joe Blow, it is what it is, I mean you really want to get some shit done we can do it, if your shits hot the right people will hear it. You can reach me at (302) 249-3633 or my email is bdehil@gmail.com I don’t really have a myspace and I’m willing to work with people.

24: Thank you for providing 24hourhiphop.com with this exclusive long overdue interview, do you have any last words for you current or future fans and clients? Shout outs?

Ben: Just come see me and we can see what we can do. Shout outs to Circle House Studios, Bebe, Khaled ,Ace, E-Class, Billy Blue, Brisco, just everybody I fuck with. Keep your eyes open, I’m going to do some more shit for you.