College professor with 11+ years of experience in Ableton and Logic Pro. I Specialize in EDM, Hip-Hop and Pop.

Find out more about Matt

• 1) When did you first develop a passion for music and your favorite instrument?

  My passion for music started early. One of my most vivid childhood memories is listening to my first CD, Hybrid Theory by Linkin Park, and being completely captivated by the production. From there, I became obsessed with collecting and exploring all kinds of music. It wasn’t until fifth grade, though, that I picked up an instrument. My older brother had just joined the drum line, and to me, he was the coolest person alive, so naturally I followed his lead. I began teaching myself his routines by watching videos and counting down the days until I could join the drum line myself. At 14, I finally got that opportunity and enrolled in the nationally ranked program at Father Ryan High School. That experience was foundational. It taught me discipline, precision, and how to build dynamic compositions, skills that ultimately became the backbone of my journey into music production.

• 2) Is there a particular type of music or artist that you listen to on a loop without it driving you crazy?

  Artists like Sam Gellaitry, Mr. Carmack, Tennyson, and Polyphia (just to name a few) create music that’s incredibly addictive to me. Their composition, arrangement and sound design are full of depth and detail. Their songs are like onions, with layers that reveal something new every time I listen. Sometimes I’ll choose to zero in on a specific element I usually overlook like subtle harmonies or background textures and it feels like I’m hearing the track for the first time all over again. It’s music like this, endlessly rich and re-listenable, that inspires me to create with the same level of nuance and intention every day.

• 3) Explain to us the most difficult or riveting course you could personally give to a student of music.

  In my experience, there isn’t one single concept in music production that’s universally difficult. What clicks for one person might completely stump another. Some students grasp things like EQ or side chaining right away, while others struggle with the same concepts but flourish in others. It really depends on how each individual’s brain is wired. That said, one of the most exciting lessons I could teach would be on mixing—specifically creative, advanced mixing techniques that intersect with sound design. With the endless tools, VSTs, and innovations available today, there’s always something new to discover. I especially love when a student asks, 'What’s your craziest sound design trick?' or pushes me to dive deep into a synth. It’s in those moments that I see production from a fresh perspective—and in turn, I grow as a more well-rounded producer myself.

• 4) What do you think is the most complicated instrument to master and why?

  Having only truly mastered one instrument in my life (drums), and having dabbled in others like piano, bass, and guitar, I can’t confidently say which instrument is the hardest due to lack of experience. That said, in the world of music production, I’d argue that mixing is one of the most difficult things to master.
  
  For those who may not know, mixing in simple terms is the process of making each individual track in a song sound clean and balanced so the entire song feels cohesive and “glued” together. What makes mixing so tricky is that there’s no one-size-fits-all approach. Every song is different, made up of unique sounds, and the relationship between those sounds requires very specific treatment and attention to detail. On top of that, listener fatigue sets in after about half an hour of critical listening, which makes it incredibly hard to consistently achieve clean mixes, even at a professional level.
  
  After over a decade of producing and mixing, I still run into situations where I feel stuck and unsure how to fix an issue with clarity in a track. More often than not, the solution is stepping away, giving my ears a break, revisiting techniques that have worked in the past, and allowing myself to experiment.

• 5) What are your keys to success?

  Setting clear goals, finishing what I start, and practicing consistently with intention every day are my keys to success. Don’t get me wrong, music production is incredibly fun (more fun than any video game I’ve ever played), but it’s not something you can casually drift through if you want to truly level up your skillset. It requires focus, persistence, and patience. Once you get past the first few years of consistent practice, improvement becomes harder to notice. Things like consistently achieving clean mixes or creating advanced, unique sound design don’t happen overnight. It’s a slow burn that builds over many years of dedicated, intentional practice.

• 6) Name three musicians you dream of meeting in your favorite bar in the early hours of the morning. Explain why.

  I’d love to meet and hang out with Sam Gellaitry, Tim Henson of Polyphia, and Prince. Each of them is a master not just in one area, but across many. Whether it’s composition, production, or their command of a specific instrument, they’re all incredibly multifaceted, talented, and insightful musicians. There’s something about the way they write melodies, arrange songs, and tell such rich stories without relying on bells, whistles, or gimmicks that keeps me in awe every time I hear their music. I’d love to pick their brains not just about music, but about life in general. They all seem like genuinely cool people to talk to.

• 7) Provide a valuable anecdote related to music or your days at music school.

  Early in my career while on tour, I was having a conversation with someone about the nuances of music production and how difficult it can be at times. They introduced me to a psychological phenomenon called the Dunning-Kruger Effect, and it completely changed the way I look at not only music production, but life in general.
  
  The Dunning-Kruger Effect is a cognitive bias where people with low ability in a specific area tend to overestimate their competence, while experts often underestimate theirs. This happens because those with less experience lack the self-awareness to recognize their own shortcomings, while those with more experience understand just how much there is they don’t know.
  
  Since that conversation, I see the Dunning-Kruger Effect everywhere. Music production is such a vast and expansive practice that no one can ever truly master it 100 percent. There’s always something to improve. Understanding that keeps you sharp, humble, and constantly pushing boundaries.
  
  I remember a point in my career when I felt bored with music production because I thought there was nothing left for me to improve. That mindset led to writer’s block. I stopped experimenting and avoided approaching things as a beginner, not out of boredom, but out of fear. Looking back now, that mindset was incredibly juvenile. I can easily revisit the music I was making then and hear the massive difference in quality and confidence compared to my work today. It’s a never-ending journey, and that’s what I love most about music production.

• 8) What are the little touches that make you a Superprof in music?

  Aside from my musical background and experience, I think what truly makes me a Superprof is my ability to connect with people. I genuinely enjoy meeting people from all walks of life and talking about just about anything, as long as I feel like I’m learning something about them or even about myself in the process.
  
  That’s why I love tutoring. I don’t approach it like a traditional instructor delivering a lecture that students have to frantically take notes on. I see it more as hanging out and learning together. I like to think my students feel the same way and see me not just as an instructor, but as a friend.