My name is Matt Lederman, and I love to mix. I have over 15 years experience in recording studios. I am currently based out of my own mix/production space, which has a mixture of analogue and digital equipment, in addition to a wealth of unique & vintage keyboards and sonic manipulation toys.

My tastes in music are vast and varied. My aim as a producer and mixer is always to get the best sounding results for your creative vision. There is nothing I enjoy doing more than sitting down at my mix desk and digging deep into a session. I see mixing sessions as similar to working on a puzzle - we have a "picture" in mind, and the goal is to find the best representation of that image.

I am always interested in collaborating with artists, either on arrangements, songwriting, or general sounds & textures, should your project call for it.

I am available for mixing, mastering, producing & sound editing/audio post-production.

My credits include

Gear highlights

  • ProTools 10
  • Logic X
  • UAD
  • Sound Toys
  • BAE 1073MP
  • AEA RPQ500
  • JHS Color Box
  • DocDerr
  • dbx 160a's
  • SPX900
  • Grace Designs m501
  • Echoplex 2
  • Tubeplex
  • Juno 6
  • Prophet 600
  • Moog Voyager
  • Farfisa MiniCompact
  • Wurlitzer Model 112
  • Peluso LE47

Genres I specialize in

Terms of Service

I am extremely easy-going and flexible. Just let me know what you require, and we'll figure it out!

Reviews of Solaris Sound / Matt Lederman

  • Default-avatar11 months agoby

    MRCH went with Matt for our single "Spin" and it's the best sounding piece of music we've ever put out. We were instantly pleased with Matt's talent and he was very patient with us during revisions. The song has now been featured in a Ford/Pitchfork web series, The Guardian and several other
    outlets with all of them praising on production quality!

  • Default-avatar12 months agoby

    The first time I worked with Matt he mixed my bands debut EP. After hearing the results, we decided to work with him on our full length album. He's an outstanding engineer and producer that will help your project reach its full potential.

  • Default-avatarover 1 year agoby

    Matt engineered and mixed the Statue Park album "The Cities We Planned, The Cities We Made" for us in 2013. It remains the best-sounding chunk of music I have ever put to tape, an impressive piece of sound-work. A great talent. I would not ever hesitate to ask Matt to engineer or mix for me again, and in fact, I just did.

  • Default-avatarover 1 year agoby

    My experience working with Matt on various projects has been very rewarding. He's mastered the technology, but even more importantly has a very natural musical ear. Matt's easy to work with and does what's right for the project, not his ego.

  • Default-avatarover 1 year agoby

    I have worked with Matt on three different albums. I've been more than satisfied each time. He is the hardest-working engineer / mixer / producer I know - totally dedicated to his craft. And very talented too.

  • Default-avatarover 1 year agoby

    Matt is an excellent mixer/producer. He has an immense understanding of sound, and he is a natural musical talent. Knowing his instinct for good taste makes working with him easy. He's always matched my level of investment/passion for a any project I've brought to him. Full of ideas, and open minded.

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Interview with Solaris Sound / Matt Lederman

What was your career path? How long have you been doing this?
I began as a musician who slowly got more interested in the people who would mix the shows and record the albums. This led me to years of working behind the board as a live sound engineer, running a music venue, and touring the world with a number of different bands. The venue I ran had high ceilings and a great natural sound, so I took that opportunity to invite bands in to record during the daytimes. And from there I discovered a love of recording & mixing, and began setting up my own space to do so. I've been recording & mixing records since 2005.
Analog or digital and why?
Both. I like the tactile feel of working on an analog console. I like pushing faders and twisting EQ knobs. But I also love the recall of a digital system, and being able to work on something quickly, and then coming back to it the next day without any reset, etc. Each system has it's pros and cons, and I believe it really depends on the project as to which is best to use.
Tell us about your studio setup.
Mostly digital with lots of analog toys. I will typically mix in ProTools but will run tracks through any number of devices depending on what we are going for. Today we ran some guitars through the filter of my Moog Voyager, followed by a FreqBox and Phaser. We also did live dubs on some vocals using an Echoplex and a Memory Man. But I am equally equipped to mix completely in the box if we want, as I am fully equipped with the UAD suite of plug-ins, as well as tools from FabFilter, Plug-In Alliance, Addictive Drums, etc. The studio is meant to be a bit of a playground. We are surrounded by keyboards and they are always on, so when an idea strikes, or if a client needs to express a musical idea quickly, we are ready to go.
What other musicians or music production professionals inspire you?
In general, what inspires me can change from day to day. I try to keep an open ear to new music and new artists. The albums that have been blowing my mind in the last year have been: Oneohtrix Point Never - "Garden Of Delete" This is a mind altering piece of modern composition. //// Chelsea Wolfe - "Abyss". John Congleton gets crazy sounds..! //// Kendrick Lamar - "To Pimp A Butterfly". The world needs more jazz in it's rock and hip hop. //// Here We Go Magic - "Be Small". Perfect songwriting, and proof that a song doesn't always need flashy production to be amazing. //// Erased Tapes - This label is putting out some excellent music from Olafur Arnalds, Nils Frahm, Dawn of Midi, etc. Minimal compositions and beautiful soundtracks. ///// Lee Hazlewood - "There's a Dream I've Been Saving". A beautiful box set by one of pop's most under-rated producers. //// Other than that - my "go-to's" are: - Miles Davis: for his experimentation, openness to collaboration, and his "no-bullshit" attitude with regards to trying anything he wanted. - Steve Reich: if "Music For 18 Musicians" was the only piece of music I had to listen to for the rest of my life, I think I would be ok with that. - Brian Eno: while his pop albums are masterpieces and his ambient work changed the shape of music, his writings and philosophical thoughts on how to use the studio as an instrument have shaped my approaches to my own work.
What are you working on at the moment?
I'm working on a album by a great Montreal band called Holy Data. They are made up of members of bands like Parlovr and Sunset Rubdown. The songs are fantastic and I expect great things in the future for them.
Can you share one music production tip?
Always pay attention to your gain staging. It's often the most overlooked aspect of a mix.
What type of music do you usually work on?
Pop/Rock/Electronics that leans towards experimentation & sonic manipulation
What's your strongest skill?
Communication. A successful project often begins with a clear understanding of the client's goals. I will usually start any project by having an open conversation with the artist about the music that inspires them, the way they hear their own music, their vision for the music, as well as my vision for what I can do for their music.
What's your typical work process?
When I receive a session or stems from a client, I take the first hour or so organizing it - labelling song sections, coloring, assigns instruments to busses, and getting a general template going. I try to listen to the song a few times with faders up and unprocessed, occasionally muting or soloing tracks along the way. This is to get a sense of the song as a whole and to figure out the important elements that I may need to focus on. Afterwards, I will hone in on any particular areas that might need fixing, ie. tuning, timing, extraneous noise, but once that is out of the way, it's off to the mix. Depending on the artist I'm mixing, my process can work in any number of ways, but typically, I will focus on getting what is the root of the track sitting right along with working on vocals.
Describe the most common type of work you do for your clients.
Mixing. With modern communication what it is, an artist can be located literally anywhere in the world and we can still work on mixes in relative "real time". Using dropbox, google docs, email, skype, etc. it is easier than ever to work with an artist remotely on their project.