Albert Mata had a love for finding new music and listening to albums on repeat for hours, so when he arrived at San Diego State University, studying music with an emphasis in classical guitar was a natural place to land. It’s also where he concluded that his interest was focused on being in the studio and behind the glass rather than on a stage.
That realization led straight to Arizona's Conservatory of Recording Arts and Sciences and then to Ocean Studios in Burbank where he became Chief Engineer. During that time, Albert was able to learn from — and to work with — some amazing producers and engineers such as Bob Rock, Eddie Kramer, and Neal Avron, and in sessions with bands like 311, Fall Out Boy, and The Rocket Summer. "That’s where my love for making sounds and getting creative with the art of audio started."
Naturally, Albert moved into television with work on Glee, American Horror Story, and The Glee Project. His work as a studio recording engineer and mixer includes Mandy Moore, Sara Bareilles, Social Distortion, and Euge Groove, and that’s the proverbial tip of the iceberg.
“When I met my Accidental Sound (ACS) partner Johnny O’Neill, I was excited by his ability to write trailer score, so we embarked on this new endeavor together. His experience in trailer editing, and my experience recording and getting sounds, meant that we both saw the potential for something special." That’s when ACS was born. “We’ve been loving it ever since!”
“I'm a metalhead at heart and I love the huge production that comes along with some of these albums and bands. At the same time, now more than ever, I appreciate hearing great trailer design and score. I especially love the horror genre because it lends a lot of freedom for unique sound design, so I tend to put that style in a lot of my cues.”
"There are composers like Marco Beltrami and his score for A Quiet Place where the horror sound design and composition are taken to a whole new level. His ability to blend so seamlessly with the story is aspirational for me, for sure."