Mateusz "Matheo" Schmidt
Award-winning music producer and composer of film music. Author of over 30 studio albums and multiple winner of diamond, platinum and gold awards in collaborations both in Poland and around the world. In the field of film music, he has created music for such blockbusters as "Jak być gangsterem" (1 million viewers), "Akademia Pana Kleksa" (3 million viewers) which can boast one of the 5 highest attendance results in recent times in Polish cinema and its sequel "Kleks i wynalazek Filipa Golarza" (1.5 million viewers). He has also produced for Netflix, being responsible for, among others, the music for the film "Jak kochałam gangstera". For a decade, he has also been known for providing sound for events of the largest European martial arts federation KSW.
Mateusz's music is characterized primarily by sophisticated and unusual colors and unconventional solutions defined by an unconventional approach to sound and sensitivity. Both from the perspective of modern sound design and the symphony orchestra, to the sounds of original ethnic and electronic instruments.
Mateusz
"Matheo"
Schmidt
Award-winning music producer and composer of film music. Author of over 30 studio albums and multiple winner of diamond, platinum and gold awards in collaborations both in Poland and around the world. In the field of film music, he has created music for such blockbusters as "Jak być gangsterem" (1 million viewers), "Akademia Pana Kleksa" (3 million viewers) which can boast one of the 5 highest attendance results in recent times in Polish cinema and its sequel "Kleks i wynalazek Filipa Golarza" (1.5 million viewers). He has also produced for Netflix, being responsible for, among others, the music for the film "Jak kochałam gangstera". For a decade, he has also been known for providing sound for events of the largest European martial arts federation KSW.
Mateusz's music is characterized primarily by sophisticated and unusual colors and unconventional solutions defined by an unconventional approach to sound and sensitivity. Both from the perspective of modern sound design and the symphony orchestra, to the sounds of original ethnic and electronic instruments.