Dom Morley is a Grammy Award winning producer and mixer based in his own Oxfordshire (UK) studio.

Dom's recent productions include albums by Mull Historical Society and El Born, as well as singles for Saint Saviour, Julie Diano and Dear Stars. He has recently mixed albums for Solomon Grey (Decca), Weaver (which debuted at #6 in Japan), and Harry Collier (Kubb) amongst others, and many singles including Ernest Ranglin, Whicha Mirrors & Drunk Souls. He also engineered on Amy Winehouse's number 1 "Back To Black" album, Mark Ronson's "Version" and "Record Collection", the Grinderman (Nick Cave) debut album and singles for Adele, Morrissey, & Estelle. Other recent mixes include Sting's 5.1 "Live at Durham Cathedral", Colin MacIntyre's "The Water", the Million Dollar Quartet OCR, and the soundtrack for the upcoming British film 'Gozo'.

Dom has also engineered or mixed for The Staves, Rumer, Keane, Birdy, Lemonjelly, Jet, Jeff Beck, Sting, I Am Kloot, The Verve, Live8 (DVD) and Underworld, as well as working with The Police on the pre-production for their world tour and recording and mixing the audio for the 5 "Intros" and "Input/Output" series for Channel 4 and Island Records.

Dom has also recently undertaken a sound design project, providing all the sounds for the Samplephonics 'Dirty Modular' Kontakt instrument ("Great waveform library. Excellent sound" MusicRadar / "great sound quality of waveform library" producerspot.com).

My credits include

Gear highlights

  • ProTools HD
  • Wall of modular synths(!)
  • Telefunken V72
  • Royer 121
  • Summit

Genres I specialize in

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Interview with Dom Morley

Tell us about a project you worked on you are especially proud of and why. What was your role?
Amy Winehouse's 'Back To Black' album, that I engineered. I think we made something very honest that connected with a lot of people. I'm particularly proud that a lot of people really enjoyed the sound of that album, which was obviously my bit!
Analog or digital and why?
Both. The sound of analogue, and the flexibility and speed of digital. If you can find a way to use both in your workflow then I think you've got the best of both worlds.
What do you like most about your job?
That moment when you listen back to a finished mix and you know you've nailed what both you and the client wanted out of the track.
What questions do you ask prospective clients?
Who are your influences? Can you send me some songs that have a similar sound to what you are aiming for?
What was your career path? How long have you been doing this?
I spent 8 years at Metropolis Studios in London as an in-house engineer, and then went freelance in 2007.
Which artist would you like to work with and why?
The Pixies were the band that first inspired me to make records, so it would have to be them.
Can you share one music production tip?
Auto-tune removes a little of the humanity in a vocal. Use it sparingly.
What type of music do you usually work on?
It really varies - and I try to keep it quite varied as well, as I feel that's how I stay fresh and inspired. I can be electronic music, folk, pop or rock - my CV spans quite a lot!
Tell us about your studio setup.
I have a mixing / recording studio in Oxfordshire with a wall of modular synths! I also have guitars and a few other interesting instruments to hopefully provide a bit of inspiration for the people that come up and work with me. I run ProTools HD (with a UAD Octo card) and have a selection of mics, premaps, compressors, eqs etc as I'm still a fan of outboard processing.
What other musicians or music production professionals inspire you?
I found Phil Spector and Tony Visconti incredibly inspiring producers to work with. The way they worked with arrangements I found fascinating, and I learnt a lot from them.
Describe the most common type of work you do for your clients.
Producing and mixing is what I spend most of my time doing. I sometimes engineer recording sessions for clients, and sound design and writing are becoming bigger parts of my schedule these days.