Mobtown Studios is an artist-friendly recording, mixing and mastering studio owned and operated by Matthew and Emily Leffler-Schulman.

We moved the studio from Washington, DC to downtown Baltimore in 2006 with the intention of providing a warm living room environment in which local artists and bands could record affordably and comfortably. In 2008, construction was finally complete and we opened our doors to the Baltimore music and recording community.

The studio is located in a light-filled 1890s rowhouse in Baltimore’s historic Charles Village neighborhood, near Penn Station and the Station North Arts District. Our 1000 square foot facility was masterfully planned by acoustical engineer Julien Robilliard (Fraunhofer-Gesellschaft) and employs a variety of innovative and modular acoustical treatments to shape your sound.

Mobtown occupies a niche between the sterility and prohibitive costs of large commercial big-box studios and the limited flexibility often found in home studios. (While we firmly believe that amazing things can happen in a basement with a laptop, nothing can replace a finely tuned room run by a producer or engineer with a trained ear when you want the sound and experience of a professional studio.)

We offer an organic mix of vintage and modern in both our gear and our approach. We believe that the war between analog and digital is a bogus one in an industry that is continuously evolving. Each has its place and Mobtown bridges the gap as a hybrid studio.

We also love to find new possibilities in unconventional instruments. Whether it’s an African xylophone, a Quaker oatmeal box or a century-old pump organ, if it can make noise, it can make music.

Matthew Leffler-Schulman

Producer

Mat has spent the better part of his life fascinated by manipulating and recording sound. It began almost 20 years ago while recording bands with a Tascam 4-track in the basement. He continued with a BS from the renowned Music Recording program at Middle Tennessee State University and went on to work with Warner Bros. Records in the 90s. Known as a “musician’s producer”, he’s a trained drummer (and plays in a few Baltimore bands), plays synthesizers and takes great pride in his collection of DIY theremins, vocoders and tube preamps. He listens to an eclectic and diverse range of music and has produced/mixed/mastered everything from field recordings of Metro trains to indie rock to hip hop.

Alex Champagne

Engineer

Alex has been actively involved in the Baltimore music scene for over 10 years. His experience both as an engineer/producer and musician/songwriter helps artists feel comfortable in the studio, enabling him to effectively capture a great performance. Along with a keen understanding of arranging and producing songs, Alex has a penchant for unorthodox ideas, instruments and locations to record (why use a concert hall reverb effect, when you can record in an actual concert hall?). His experimental side is built on a solid foundation of conventional recording methods learned studying Audio Engineering & Studio Management at the University of Maryland.

Eric Fuller

Engineer

Eric began recording live music 10 years ago and shortly thereafter began experimenting with multi-tracking. Since then he has been recording and mixing music at his small studio in Riverdale, MD, and more recently has honed his craft here at Mobtown. His skills as an arranger, songwriter, and multi-instrumentalist are helpful at all stages of the recording process, as is his love for blending seemingly disparate sounds and styles. As a musician, he seeks an ever-deeper knowledge of music theory, but is careful not to let it impinge on his soulful, expressive guitar style, which can be heard in recordings by his various bands from the DC metro area (Serious Lee, Deep Sea Diver, Communist Bakesale).