About

I’m Matty Harris. I mix and master records in Los Angeles.

Nearly two decades behind the desk, 490+ verified credits, and a room built to make one decision at a time. I started out playing drums in bars at fourteen; I’ve spent every year since getting closer to the same thing — making records sound like the ones that made me want to do this.

20+ yearsBehind the console

Los AngelesMy own room

Independent artistsWho I build this for

Matty Harris in his Los Angeles mixing and mastering studio

My goal is simple. Help independent artists compete with major labels — at a price they can actually pay.

I’m Matty Harris, a seasoned music mixing and mastering engineer with nearly two decades of experience. Over the years, I’ve collaborated with a diverse array of artists, including big names like Travis Barker, A$AP Rocky, Carly Rae Jepsen, Cuco, and numerous others.

Throughout this journey, I’ve had the privilege of working with talented artists from various corners of the globe. Witnessing their remarkable successes has been incredibly fulfilling.

But the records I’m proudest of aren’t the famous ones. They’re the ones made by artists who paid for the mix themselves, out of their own pocket, because they believed in the song — and then watched it hold its own next to anything else on the playlist.

Verifiable

The part you don’t have to take my word for.

Every number here is checkable on a third-party profile, not a claim I made about myself. That’s deliberate.

490+Verified credits · Muso.ai

Top 1%Mastering engineers · Muso.ai

20+ yrsProfessional experience

CertifiedApple Digital Masters studio

100+Five-star client reviews

Apple also gave me my own curator playlist — “Matty Harris: The Engineers” — on Apple Music.

The long version

How a drummer from New England ended up here.

AGE 14

Playing bars and clubs, learning to listen

I toured with jazz, blues and calypso bands as a teenager and picked up a few awards along the way — including best drummer in New England. Everything I know about groove, arrangement and when a part is doing too much started there, not in front of a screen.

BERKLEE

Music Production & Engineering

I went to Berklee College of Music to study Music Production and Engineering, and learned from some of the most accomplished mixing and mastering engineers working. It’s also where I stopped thinking of engineering as the thing that happens after the music.

BOSTON

Staff engineer in the city’s best rooms

Recording and mixing, every day, on other people’s records. The unglamorous years that make the difference — thousands of hours of hearing what works and, more usefully, what doesn’t.

THE BREAK

The first independent album to hit #1 on iTunes

In Boston I met Sammy Adams. I produced and mixed his album, and it became the first independent album to reach #1 on iTunes — no label, no radio budget, just the record. That’s the moment the whole idea behind this business started making sense to me.

LOS ANGELES

Moving west, working at that level

Within a year of moving to LA I was working on records at the top of the chart, including the Grammy-winning “Stronger”. Major-label rooms teach you a standard. What they don’t teach you is how to give that standard to someone who isn’t signed.

2019

One of 21, from 500, in France

I was chosen from five hundred submissions as one of twenty-one engineers flown to France to study with Jaycen Joshua and Dave Pensado — two of the most decorated mixers alive. A week of having your decisions pulled apart by people that far ahead of you changes how you work permanently. It did for me.

Matty Harris with Dave Pensado — With Dave Pensado

Matty Harris with Jaycen Joshua — With Jaycen Joshua

NOW

My own room, and mostly independent artists

These days I work from my own studio in Los Angeles — Bettermaker mastering hardware, Avalon and Locomotive on the front end, Kii Three monitoring in a Trinnov-corrected room. Recent records include Cousin Stizz, Lil Yachty, Cuco, Rhea Raj, Daffy and ericdoa — alongside a great many artists you haven’t heard of yet.

How I work

Four things I won’t move on.

Independence is worth protecting.

I’m a firm believer in artists staying independent, and I’ve watched enough deals to mean it. If you own your masters and your record sounds like a major-label release, you have leverage you can’t buy back later. My whole pricing model exists to make that possible.

You get me. Not a team, not an assistant.

Every mix and every master is done by me personally, in my room, start to finish. Nothing is farmed out, nothing is run through an algorithm. When you email about a revision, the person changing it is the person who made the decision in the first place.

Mixing and mastering belong in the same room.

Most services hand back a mix and stop. But the mastering is where a mix either survives or falls apart, and knowing where the record is going changes how I mix it. That’s why every mix here includes the master — not as an upsell, as the actual job.

I’d rather tell you the truth about your song.

If the arrangement is fighting itself, or the vocal take isn’t the one, or mastering can’t fix what’s wrong — I’ll say so. It’s a harder conversation and a better record. You’re paying for judgement, and judgement you can’t disagree with isn’t worth anything.

Selected credits