Matt Butler


Matt Butler on SoundBetter

Internationally recognized music producer and recording/mixing engineer from London. I was chief engineer at A.I.R. Studios London & Montserrat, now a freelance producer and mixer. I’ve worked with many of the world's finest artists and musicians including Paul McCartney, Rush, Mick Jagger, Mark Knopfler, Corey Hart & John Martyn.

I currently work independently with musicians, bands, and artists across the world, developing a large and diverse list of clients. My work has earned #1 Bestseller status on Billboard, Amazon and iTunes & has made many hits & awards for clients in France, Italy, Spain, The Netherlands & Portugal. I also enjoy leading advanced Producer/Recording/ Mixing Masterclasses, especially for the Abbey Road Institute.

I lead my own band of studio musicians to focus on songwriters and pride myself on being easy to work with, highly motivated, & focused on giving the client the best results possible. I am proud of the huge variety of music that I have made. Music is a collaborative endeavor! I have great experience in working with singers for their best vocals. No project is too big or too small, & you can count on clear, timely communication.

I was the first producer in the UK to use my 24-bit Pro Tools rig to record a band live on the studio floor and continue to adapt & stay ahead of the curve in music. I also work extensively with Tape as well as Pro Tools, Logic & Ableton, mixing in Dolby Atmos 3D also. As a Producer, I work for the vision to bring your project to life: musically & logistically – with the experience and know-how to work with a team of musicians to get the best performances possible. I enjoy relationships with every major studio in the UK.

I'd love to hear about your project. Click the 'Contact' button above to get in touch.


Interview with Matt Butler

  1. Q: What are you working on at the moment?

  2. A: Just wrapped up producing and recording a single with Ricky Duran, American recording artist and runner-up on The Voice.

  3. Q: Analog or digital and why?

  4. A: I often smile when I recall the days of tape and all the ‘analogue warmth’, when in reality we were all hoping to get as much clarity and definition out of it as possible! It was certainly a time to recognise the compromise that tape brought. For example a dilemma might have been: do you brighten something low level going down to tape deliberately so that you can wind the top off later and so reduce the hiss?! Making tape copies with reference bounces to enable further tracks to be recorded (such as in a typical linked-up twenty-four track tape machine production) let you know immediately how precious a tape generation was and how difficult to maintain quality working with analogue tape is. We wanted multi-tracking chiefly to allow decisions to be extended, especially with no ‘undo’ facility. Digital solved many problems and I was truly excited when Pro Tools arrived. But I led a comparison between tape and 16 bit Pro Tools with a highly respected band and we all agreed that tape was a more accurate reproduction. However, 24 bit Pro Tools bridged this gap considerably and I made a large investment and began to persuade clients of the advantages that working this way brought. Of course today working with Tape or indeed with analogue gear ‘outside of the box’ is relatively rare, which is an answer to the question itself. If I have the budget and consider the client willing, I like to track with tape and add further to the arrangement using Pro Tools. It was not always easy to enjoy the ‘interface’ of using Tape to focus on overdubs. For example, a soloist might perform or compose his overdub with the limitations of Tape –or even the engineer – factored in; even leaving gaps purely to assist the drop-out. I noticed the joy when Hard Disk Recording lessened this problem considerably, particularly working with piano. However, we soon reached a stage where performers were relying on the editing facilities of Hard Disk work too much and now if I use tape to track, I witness musicians with a definite added concentration, knowing that shifting that semi-quaver is not that easy! This concentration I have found to be advantageous.

  5. Q: What do you bring to a song?

  6. A: Experience with many of history’s finest songwriters. Witnessing and putting into practice both skill and the belief that it will turn out to be the definitive version. Knowledge that often ‘Plan A’ will work out best, whilst deciding how far off the beaten track we could venture to prove this. Songs are a communication to an audience; writers will sometimes know exactly how they want a song to turn out to get a message across, more often they expect their work in a studio to enable the song to evolve. Either way, confidence in our work has to be established quickly and then steps for a song’s evolution be achieved with determination and relative ease. Shaping a song can sometimes be made harder for reasons where distractions arrive and focus & priorities are lost. A method that factors in time & energy for ‘creative happy accidents’ is one used by the experienced Producer: allowing a clearly creative person the right space where their complete attention is given, always pays dividends. When an arrangement is working well it is felt by many involved, reasons why an arrangement is failing are not immediately obvious and the solution might take experience & energy. Putting on a stage production often involves the dilemma of ‘from page to stage’ – that is, something that appeared easy during preparation does not work as expected when a performance is undertaken. This can also be said of song writing: a common problem might be the vocal not ‘sitting’ on a track, which requires direction to both avoid and solve the dilemma. There might be a thin line between rehearsing a song to enable the take to be great and thrashing it out so much that no matter how wrong it is, “the arrangement ain’t gonna change now”! The success of the whole thing depends on how the song turns out. It’s always important to recognise the early stages of a song –why someone wrote it – as well as the next stage after a recording, usually how someone is going to promote it. I like to hear the opinions and gauge the energy of as many people that will be involved along the path that the song might follow, to ascertain any definite objectives that need to be met.

  7. Q: Describe the most common type of work you do for your clients.

  8. A: Producing, recording, mixing, arranging, and writing.

  9. Q: What's your 'promise' to your clients?

  10. A: Clients recognise very quickly that I involve myself with their business in a serious and heartfelt way. There is in fact no other way to succeed, especially with long collaborations and repeat results. The work we set out to do can shape entire careers, make important moments for the audience and not least bring incredible opportunities for future careers. I will never ignore this.

  11. Q: What do you like most about your job?

  12. A: Variety. Music is a fascinating and powerful force and any form of it can have an incredible effect. It is actually quite rare to have enjoyed and worked on such variety, but I take it all on board, especially as the humans that create music as well as their audience can be fascinating! From the inception of an idea of a song, through to witnessing the audience participation in a show that truly moves them is a journey with equal excitement and satisfaction at every stage.

  13. Q: What advice do you have for a customer looking to hire a provider like you?

  14. A: Most of all my advice is that they have to trust their instincts. There is a great deal of serendipity making music, especially creating it for the first time. My experience brings a lot to the table. Clients can be involved with musicians that are perfect for the task, the studio that is right for them and an arrangement that makes an important product for them and their audience. Sessions can be planned, results obtained and great mixes provided, all much easier when we are filled with confidence. If working with someone like me shapes that confidence from an early moment, it can be a tremendous advantage for the Production.

  15. Q: How would you describe your style?

  16. A: Musical. Conscientious, determined, no-nonsense and above all professional. Not to forget experience of the technical side also!

  17. Q: Can you share one music production tip?

  18. A: Perhaps to always bear in mind that Production is teamwork as it is just one link on the journey for the product. It pays to remember that we all want the same thing. Preparation can be vital and we often ‘work backwards’ from what is required for the product finding the steps to achieve this. Don’t ignore even minor concerns about what you are hearing that “might not be a worry tomorrow”: the chances are it will be of greater concern in the morning!

The Drive Up To Your Place/Shelina

I was the Writer and Producer in this production

Terms Of Service

You will receive a detailed explanation of terms based on the service you hire me for.
50% non-refundable deposit; 2 revisions for a total of 3 mixes included
Turn around time varies on project

Gear Highlights
  • Pro Tools
  • Logic
  • Ableton & Dolby Atmos 3D
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