Matt Robertson

Bjork, Cinematic Orchestra


Can you tell us a little bit about yourself and what you do?

I am a composer and producer. My own projects are mainly electronic based, working with a small collective of vintage and not so vintage synths. I have a slight addiction to Eurorack Modular…and tape machines….

I also work as a Musical Director for various artists, most recently including Björk and the Cinematic Orchestra. This work is more on the logistical sides of music production, and is definitely a challenging part of my job!

I do some orchestration and arrangement work for film projects too – which is a completely different discipline

What is your background and how did you get to where you are today?

My background is in messing around with synths! I found an MS10 in a skip when I was at school and never looked back. I had some amazing music teachers at school that always encouraged me to write and record things.

I had the opportunity to work at Strongroom studios in London in the late 90’s, which was an amazing place to be. It was just at the time when people were moving from using analogue tape to using ProTools, and so to see that transition was really interesting. I think both are great ways to work, and both have unique things to offer both the artist and the producer. I also met some amazing people there – Neil Mclellan and Damian Taylor, who both have been instrumental in my music career and creative vibes generally. My work there was in tech support, but I seemed to end up working on a lot of musical projects too.

When I left there, I kept in touch with the people I met, and Neil asked me to do some work on the Prodigy album “Always Outnumbered, Never Outgunned” which was a really good experience. A huge amount of material that I generated never got used, but a few bits did, and it was a period of long studio days and Liam trying a lot of stuff out. We had a good time. Damian also worked a lot on that project, and he later introduced me to Björk, who he was touring with at the time. She asked me to help out with some Brass arrangements for her Volta tour and that led to me working with her as MD and playing synth for the Biophilia tour, and also some work on the current Vulnicura tour. Working with her, and the amazing team of people she has around her, musicians and tech people and sound guys, has been really inspiring and educational.

What other speakers did you try before choosing PSI Audio?

I had tried various speakers out over the last year or so, and one of the problems is that you really do have to try things out in your own environment and live with them for a little while to make an informed decision. I have had my current speakers for 15 years, and know them inside out, but the time had come to move one, and there were some areas that I really wanted to improve on.

The low end sounds really tight but also fun! The top end is super revealing but not tiring to work on all day.

Most new monitors these days sound pretty impressive on a first listen, so you really have to hone in on what you want out of a pair of speakers. For me there is always a compromise – you want accurate monitors to mix on, and more vibey monitors to write on! I found it really difficult to find a good balance of the two things, but the PSI A21s do the job for me. The low end sounds really tight but also fun! The top end is super revealing but not tiring to work on all day. A lot of projects I work on these days dont really have a clear difference between the “writing” part and the “mixing” part. Everything happens at the same time. So it’s really important for me to have monitors that fulfil both these criteria. I’m really happy with the PSI’s!