Meet Matthew Weiss (born in Philadelphia) who has engineered different albums and hundreds of B-sides with Akon. He has also worked with numerous creatives such as; Rick Ross, Swae Lee, SisQo’, Jeremih, Chris Brown, Tory Lanez, Nicky Minaj, Becky G, Dizzee Rascal, Anitta, Farruko, Ozuna and so on.
Matthew once partnered with Kanye West’s engineer ‘Andrew Dawson’ to run a commercial recording facility, amidst other chain of events that has earned him the ability to speak and interpret the sonic language of moving faders like the back of his palm
We feel so honoured to have you as a guest on our weekly series dubbed; “ODDYSCOPE” featuring industry heavyweights, influential figures, and creatives.
Q. Tell us about yourself and your musical background.
My family is made up of artists and musicians. I started making music in high school, and studied music composition in college.
Q. Which other Mixing and/or Mastering Engineers do you see as a source of inspiration and why?
Q. What makes you different from every other mixing engineer out there?
We’re all inherently different, we all have our own styles. I’m a big fan of perfect imperfections, and that influences the way I handle reverb, distortion, dynamic manipulation. I’m also not afraid to do whatever a record takes – I might change drums and add background vocals, I might do nothing at all. I keep my eyes on the result.
Q. What is the most difficult problem you’ve encountered during mixing and what did you do to conquer those trying times?
Q. Assuming a 10 years old kid asked you to advise him on the best way and/or approach to nail a very dynamic mix, what will be your response?
Q. Tell us about the role you played on the project that got you a Grammy nom’?
I did overdub recording for Bunny Sigler on The Othello Project.
Q. As a recordist and mixer for multi-platinum artist such as “Akon” …how did you guys connect? …and what’s it like working with him?
Q. How do you balance the business side of audio engineering and the creative aspect?
I get help. Hiro manages me now, so a lot of the time he is hitting the pavement. I try to stay out of the money talks and landing gigs as much as possible so I can be focused on the creative side of things. But I’ve also been doing this a long time so certain business things like managing my books is just second nature to me at this point.
Q. There’s a new development in the industry with regards to Audio Engineers earning royalties/percentage for additional contribution to a project, which is totally outside the scope of mixing and/or mastering. What’s your take on this?
Q. One of the most challenging aspect of mixing is getting the low-end to translate over variety of playback systems, How should an aspiring audio engineer solve the dark art behind Kicks, 808 and Bass?
Unfortunately, the only real solution to that is to have really good low end monitoring, and to learn your monitoring so you can predict how it translates. There’s a product called Slate VSX that emulates a variety of playback environments, I highly recommend that because the controlled studio emulations have great low end, and then you can switch over to emulation of a car or a club and immediately get a new context for your low end in an uncontrolled environment.
Team ‘Oddy Jay’ wishes you all the best with love from Lagos, Nigeria
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Instagram – @WeissSound
Management – HirOshima@konvict.io