Today we’d like to introduce you to Matt Sim.
Hi Matt, thanks for joining us today. We’d love for you to start by introducing yourself.
“So, I’m Matt Sim, a mixing and mastering engineer. I started with stereo formats and, in the past few years, have ventured into Dolby Atmos and Sony 360 formats. Depending on the project, I might handle both mixing and mastering for Stereo and Atmos, or just one of those roles. Since 2020, I’ve been completely freelance, working remotely from my home studio. It’s working out great! I love multitasking, and I often have to switch between multiple projects. Having a studio set up exactly the way I want is ideal. I can switch from Stereo to Atmos in a flash, and revisions are almost instantaneous since I’m working 100% in the box.
I actually started out at Berklee College of Music, and then I jumped right into the deep end in New York City. I spent a decade as the in-house mixer at the legendary Hit Factory NYC. Seriously, that place was epic – the epicenter of the NYC music scene! I was lucky enough to work with tons of A-list artists, producers, and engineers there. Now, I’m on my own, a gun for hire, you could say. People seek me out when they want really fast turnaround times and high-quality, commercial mixes. I’m also working closely with Warner Music Asia as their in-house Dolby Atmos mixer, as well as Universal Music and Sony Music globally. I’ve worked on over 3,500 projects, racked up over 9 billion streams, and I’ve finally started to make a name for myself as a mixer globally. There aren’t many mixers from Asia who’ve won a Grammy and have a global portfolio like mine.
While I was at the Hit Factory, I got to work with some seriously awesome artists – think Post Malone, Big Sean, Idina Menzel, Desiigner, Billy Porter, Pusha T, and so many more; the list goes on and on. As a freelancer, I’ve worked with The Chainsmokers, Illenium, Yuqi from (G)I-dle, Jon Bellion, X Ambassadors, and artists from all over the world like Aya Nakamura, Jackson Wang, A-Lin, and even Jojo Siwa, to name a few.
I’ve been really fortunate to receive some recognition recently. In 2025, I won a Grammy for Best Global Music Album for Matt B’s “ALKEBULAN II” album. I’ve also been nominated for Best Engineered Album at the Golden Melody Awards (the Chinese Grammys) a couple of times. I’ve had tracks hit the top 10 on the Billboard Latin & Billboard US Dance Airplay charts. Throughout my career, some of the tracks I’ve mixed have gone Gold, Platinum, and even Diamond and charted high on regional charts. I’ve won a few Asian Pop Music Awards and the Golden Indie Music Awards. Oh, and I even have a MAMA award for Best New Asian Artist – Mandarin for Anson Lo. Back in 2020, I was even nominated for a Billboard Music Award for Illenium’s “Ascend” album.
Before that, I was nominated for a Grammy four times while I was working at the Hit Factory NYC, so it’s been a pretty wild ride.
Outside of the mixing and mastering, I co-designed the APS/Germano Acoustic AEON II studio monitors in 2017. Although they’re discontinued, I learned some valuable lessons in designing and building pro audio products, as well as marketing and promotion. I was also featured in the Sennheiser Pro Talk series and Audiomovers Interviews. I’m endorsed by a bunch of cool audio brands, like IK Multimedia, Izotope, Audeze, and more. And to top it off, my studio is a certified Apple Digital Mastering studio and a full-on 7.1.4 Dolby Atmos studio.”
Can you talk to us a bit about the challenges and lessons you’ve learned along the way. Looking back would you say it’s been easy or smooth in retrospect?
Definitely not! There are always ups and downs, and I’ve had moments where I wondered if my career was over and if I should move on to something else. I think my main struggle is client relationship management. I’ve always found it a bit challenging to find new clients and keep the old ones. I’m lucky that referrals and word-of-mouth have kept me pretty consistently busy over the years, thanks to all the credits I’ve racked up. But even then, during the slower times, I still feel insecure, and the thought that people might be forgetting me creeps in.
The music industry is very seasonal, you know? Sometimes I could be mixing 20 songs in 5 days, and most of this year, I was looking at a two-week waiting list! But during the slower times, I might only be mixing 3 songs a week, or even less. Not having a proper commercial studio or physical space is probably a disadvantage, since I don’t get to meet people in person. Maybe if I did, I’d have even more clients, who knows? But honestly, when I’m swamped, I don’t mind that at all, because I really don’t have time to chat or hang out at a studio, especially when labels and clients are constantly hitting me up for mixes and revisions.
And let’s be real, without a studio manager, responding to all the inquiries, doing negotiations, dealing with contracts, and chasing payments is a total pain.
Alright, so let’s switch gears a bit and talk business. What should we know about your work?
“What do you do, what do you specialize in?”
“I’m a mixing and mastering engineer, and I’ve been doing this professionally for 14 years now since college. While I started with stereo formats, I’ve really dove deep into immersive audio formats like Dolby Atmos and Sony 360 Reality Audio in recent years and became a specialist in this area. So, I handle everything from traditional stereo mixes to creating fully immersive mixes. Depending on the project, I’ll either handle both the mixing and mastering, or focus on just one of those. Since 2020, I’ve been fully freelance, working remotely from my dedicated home studio in Taipei & Hong Kong, which gives me a lot of flexibility.”
“What are you known for?”
I’m becoming known for delivering high-quality, mainstream radio-friendly mixes with a really fast turnaround – the kind that can make your songs worthy of a Grammy nomination or a Billboard chart placement. Especially when it comes to immersive formats like Dolby Atmos, there aren’t a ton of experienced mixers out there, so I’ve carved out a niche for myself in that space. What also sets me apart is that I’m something of a sonic chameleon. My time in New York exposed me to so many different genres and sounds that I can adapt to pretty much anything a client throws at me. I can deliver anything from old-school Wu-Tang Clan-type hip-hop mixes to full-on Illenium-style EDM, or even a sweet Chinese ballad or a BTS-type K-pop track, depending on the client’s vision. I think my first Grammy win, in the “Best Global Music Album” category, really reflects that versatility and my ability to work across genres and cultures.
“What are you most proud of?”
“That’s a tough one, but I’d have to say winning a Grammy in 2025 for Matt B’s “ALKEBULAN II” album was a huge moment. I had been nominated 4 times prior and it’s not easy to win at all! It’s definitely a validation of all the hard work, thank you to Jesus as well. Aside from that, I’m proud of the consistency I’ve maintained over the years, working with such a diverse range of artists, from Post Malone and The Chainsmokers to artists like Aya Nakamura and Jackson Wang. And also all the other awards and recognition I’ve received over the years, like MAMA, Golden Melody Awards, Golden Indie Music Awards nomination and Billboard Music Award nomination. Seeing tracks that I’ve mixed go Gold, Platinum, and even Diamond is always a rewarding feeling.”
“What sets you apart from others?”
“I think a few things set me apart. First, my experience – I’ve worked on over 3,500 projects and racked up over 9 billion streams, so I’ve seen a lot and learned a lot. Second, my background – spending a decade at the legendary Hit Factory in NYC gave me invaluable experience and connections. Third, my versatility – I’m comfortable working in multiple genres and formats, and I’m always eager to embrace new technologies. Fourth, that I’m a very technical mixer. A lot of mixers are more artistically and emotionally inclined, whereas I lean more to the technical side. This is also crucial because it’s easier to explain to the clients and labels why the song should be mixed that way and technically what I can do to fix or help the song based on our current production. And finally, my global perspective – being based in Asia and working with artists from all over the world gives me a unique understanding of different musical styles and trends. And let’s be real, there aren’t many mixers from Asia who’ve won a Grammy and have a global portfolio like mine.”
Do you have recommendations for books, apps, blogs, etc?
I think billboard Hot 100 playlist is what keeps me improving and learning. I just listen to music and all day looking for inspiration and ideas.
Pricing:
- Stereo Mixing $1500 and up
- Stereo Mastering $150 and up
- Atmos Mixing $1000 and up
Contact Info:
- Website: https://mixbymattsim.com
- Instagram: https://www.instagram.com/mix_by_matt_sim/
- Other: https://open.spotify.com/playlist/37H67LjoCusGRluFHUE7Wl?si=2a5a1cb65adf4058
