Professional mixing that brings your vision to life. Matt’s work engineering for some of the industry’s leading artists has given him the experience and skills required to help you take your music to the next level.
Matt’s career began in 2011 when he started an internship at Sir Elton John’s Rocket Music Studio in London. Once completed Matt was offered a position at the studio and would go on to become Rocket Music’s in-house engineer, mixer and studio manager for nine years. During this time Matt had the privilege of working with some of the music industry’s leading artists, producers and writers including Elton John, Gorillaz, Lily Allen, Q-Tip, Anne-Marie and MistaJam to name a few.
In 2021 Matt took his in depth studio knowledge and put it to use designing and building his own bespoke mix studio, where he now works from mixing artists across multiple genres.
Selected credits include;
Elton John - ‘The Lockdown Sessions’ Album - Engineer (Tracks 5, 6, 8)
Gorillaz - 'Song Machine, Season One: Strange Timez' Album - Engineer (Track 6)
Clavish - 'No Interview' - Mix Engineer
Benjamin A.D - ‘MOOD:’ EP - Mix Engineer
Hare Squead - ’Superweird’ EP - Mix Engineer (Tracks 1-4, 6, 7)
Honey Mooncie - ‘Should’ve Been You’ Single - Mix Engineer
Cameron Bloomfield - ‘The Morning After’ EP - Mix Engineer (Tracks 1, 2, 6)
Junodream - ‘Isn’t It Lovely (To Be Alone)’ EP - Mix Engineer (Track 3)
Whilk & Misky - ‘My Round' EP - Recording & Mix Engineer
Jake Issac ‘We Used To Dream' EP - Recording & Mix Engineer
Extended showreel and work examples are available upon request.
Tell me about your project and how I can help, through the 'Contact' button above.
- Elton John
- lily allen
- Rina Sawayama
- A Tribe Called Quest
- Maverick Sabre
- Jake Issac
- Ella Eyre
- Andreya Triana
- Whilk & Misky
- Ms Dynamite
- Joel Baker
- Benjamin A.D
- Cameron Bloomfield
- Rachel Foxx
- Liv Dawson
- Rejjie Snow
- Hare Squead
- Honey Mooncie
- Alexandra Burke
- Lauren Aquilina
- Cat Burns
- Aida Lae
- Ash Olsen
- Kojey Radical
- Young Adz
- Elton John
- Lily Allen
- Lily Allen
- Lily Allen
- Lily Allen
- Lily Allen
- Econoline Crush
- Lady Christmas
6 Reviews - 1 Repeat ClientEndorse Matt Doughty
It has been a great experience working with Matt, he's a talented mixing engineer who's really easy to communicate with. I'll come back for future songs for sure.
Matt is a complete professional and an eclectic talent. An absolute star.
I've worked with Matt multiple times now because he is so efficient and professional. Great communication, great turnaround, great at addressing notes. He's truly made the process so easy each time. I fully recommend him!
Matt is such a professional. He was succinct in addressing notes, attentive and precise. He really took the sound of my track to a whole new level while always keeping in mind with my own preferences. He's an absolute star.
Matt is the best, don’t look any further. Absolutely spot on mix, super fast, no messing about, reliable AND he’s a really sound guy ( excuse the pun )
Matt has mixed a handful of my projects and each time I have been extremely happy with the result. He is professional and easy to work with, I will definitely use his service on my future projects!
Interview with Matt Doughty
Q: Analog or digital and why?
A: Digital. Although I come from an analog background working in a studio with a SSL G series console and vintage outboard such as Urei 1176’s, I now mix completely digitally as the instant recall and flexibility allows me work quicker and more efficiently.
Q: What do you like most about your job?
A: Working on great music everyday.
Q: What questions do customers most commonly ask you? What's your answer?
A: I’m often asked how I want the files exported, wet or dry? The answer is both! I like to approach a mix as picking up from where the client left off so I require the files to be exported fully wet. That includes all processing (EQ, compression etc), effects (reverb, delay etc), tuning, levels, panning and automation. In addition I also like to have the files dry but tuned. This give me an extra option should I need it.
Q: What's the biggest misconception about what you do?
A: That it’s all technical and there’s no creativity involved. For me creativity informs all decisions in a mix.
Q: What questions do you ask prospective clients?
A: I like to ask them about their reference mix, specifically what they like and don’t like about it. I also ask about what direction they want me to go with the mix and if there’s any other references they have.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Taking the time to organise the files you’re sending to a mixer will make the process run much smoother and quicker. Appropriately naming the tracks, cleaning up edits, adding fades and putting the files in a folder labelled with the the bit depth, sample rate and tempo are some good steps that can help.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: MacBook Pro, Neumann KH310 monitors, Grace M905 monitor controller, UA Apollo interface and (this might be pushing it a bit on a desert island) a soundproof acoustically treated room.
Q: What was your career path? How long have you been doing this?
A: I started an internship when I was 19 at Elton John’s Rocket Music studios, and over the next 8 years I climbed up the traditional studio ladder of intern to assist to engineer to mixer. In 2020 I went freelance and build my own mixing studio that I now work from. I’ve been working for over 10 years.
Q: Which artist would you like to work with and why?
A: Kaytranada, purely because I’m a huge fan of his music.
Q: Can you share one music production tip?
A: Before using any processing like compression and EQ to solve an issue always ask yourself is there an alternative way to address it. It could be finding more appropriate drum samples, adjusting synth and sampler parameters, switching mic’s and adjusting mic positions, maybe even adjusting the arrangement. I find in the production stage this can lead to more creative results.
Q: What type of music do you usually work on?
A: I work on wide range including R&B, Hip Hop, Electronic, Dance, Indie and Pop.
Q: What's your strongest skill?
A: Understanding the artists vision.
Q: What do you bring to a song?
A: A fresh perspective while also honouring the artists intended vision for the song.
Q: What's your typical work process?
A: I start by getting familiar with the clients reference mix and make notes about the areas I feel I need to focus in on and the areas that I should be more hand off and preserve what’s already there. I’ll also have a conversation with the client before I start about the vision they have for the record and the direction they want me to go in. We’ll also discuss how I like the files to be exported, as I usually like to have the option for both fully wet and dry files to use. Then once I’ve received the files I’ll start prepping the session so that everything is organised and structured the way I like it. I then mix until I feel happy to sent a first version to the client.
Q: Tell us about your studio setup.
A: A couple of years ago I was lucky to have the opportunity to build my own mix studio from the ground up. This meant I was able to design and build the room to my exact sound isolation and acoustic specifications. I’m incredibly happy with how the room has turned out as it allows me to hear a great level of detail in the music and create mixes that translate well. In terms of equipment I keep it fairly minimal as I mix in the box so my speakers are my main pieces of equipment. My room is centred around my main Neumann KH310s monitors with a KH 750 sub and all aligned and calibrated with Neumann’s MA 1 system. I also have a pair of Amphion One18’s powered by their Amp700, that I like to switch onto to get a different perspective.
Q: What other musicians or music production professionals inspire you?
A: Mix engineer’s such as Manny Marroquin, Jaycen Joshua, Serban Ghenea and Tony Maserati to name a few have been big inspirations to me.
Q: Describe the most common type of work you do for your clients.
A: My main work is mixing, with some occasional mastering and editing involved.