Award-winning Bespoke Composition & Production with London studio.
Dom Howard has been writing, producing and performing music since 2001. Since his early releases in 2007 on Ranking Records, he has gone on to release on Deep Medi, Hospital, Tectonic, Circus, Navy Cut and Counter (Ninja Tune) among other labels. His performances have taken him on live & DJ tours across the world as Ruckspin, one half of Author, and as producer/engineer for Submotion Orchestra.
Dom's production and mix engineering skills have been in demand from independent clients such as Troumaca [Brownswood], Equals [Fresh Selects] and Alex Clare [Universal / ETC]. He has recently contributed to post-production on projects from XOA to Peng Shui, and has started a new project creating lo-fi dub-techno as Leo James.
Dom also composes bespoke work for production libraries and a range of other clients. He has fulfilled briefs for NinjaTune (JIM), Multiverse, EMI, and Edition Peters, ranging from classical compositions to ambient electronica, from film trailers to award-winning music for corporate clients.
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Interview with Dom Howard Music
Q: Describe the most common type of work you do for your clients.
A: Bespoke Production & Mix Engineering
Q: Tell us about your studio setup.
A: Small but perfectly formed. It meets all the needs of a modern production project, from the perfectly acoustically treated sound-proofed room, to the choice items of outboard such as the stereo pair of Empirical Labs Distressors.
Q: What type of music do you usually work on?
A: Cinematic Electronic Downtempo
Q: How would you describe your style?
A: Soulful electronic music with plenty of bass and classical/jazz influence.
Q: What was your career path? How long have you been doing this?
A: Training in classical music since age 6, then being drawn to the electronic side of production age 14, I've now been working in the industry professionally for over 15 years.
Q: Analog or digital and why?
A: Both have strengths and weaknesses - it's all about the needs of the client and the project. If you need flexibility, digital is the way to go. If you want character and feel, then it's a lot more important to break 'out of the box'.
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: Being the producer for Submotion Orchestra has been quite a ride. Mixing front-of-house for 10 years with them has had me mixing in venues all around the world from the Royal Albert Hall to a Roman amphitheatre in Croatia. Working with Ninjatune on some of their big projects has also been a real highlight for me.