Simon Moro is a music producer & mixer with over two decades of experience. He has trained with two of the industry’s best: David Kahne (Paul McCartney, Imogen Heap, Lana Del Ray, Jeff Buckley) and Michael Brauer (Coldplay, Grizzly Bear, The Rolling Stones). He has had ARIA nominated work, #1 debuts.
Simon’s approach is always Artist Focused Production. His strong attention to the emotional essence of a song, balanced with an understanding of the technology acts as a bridge between what you can imagine, and what comes out of the speakers.
Note: My fees include studio hire costs. Contact me for specifics.
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- Anthony Callea
- Silvie Paladino
- Harrison Craig
- Jimmy Davis
- Ariela Jacobs
- Natalie Gauci
- Fraser A. Gorman
- Lisa Miller
- Caitlin Harnett
- Sammy J & Randy
- Mike Waters
- Lanie Lane
- Vance Joy
- Fem Belling
- Jemma Nicole
- Sony Entertainment
- Universal Music Group
- Mushroom Records (Group)
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Interview with Simon Moro
Q: What advice do you have for a customer looking to hire a provider like you?
A: Mixing and mastering is a creative process. We are artists just like you. Talk with us before working with us. While I'm happy enough to work on a project with email only communication, I much prefer to chat on Skype and get to know what an artist is about, what their goals are, their concerns and their sense of humour :p It requires a lot of trust to have someone work on your song, and it's important for me to know the artists I'm working with are exciting to be working with me, knowing that they'll get what they want, and enjoy the process.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: DAW, Grover Notting Code 101 monitors, SSL Sigma, Control surface with at least 8 faders.
Q: What was your career path? How long have you been doing this?
A: I finished high school in 1999 as an aspiring singer songwriter. I studied audio production in 2000 and have worked solidly ever since.
Q: How would you describe your style?
A: Artist focussed, song driven production. My goal is to increase the chances of a song connecting with listeners, industry folk and radio. The listener should only hear the song. The finished song. They should never be expected to 'imagine its potential', or to be distracted or turned off by an average mix or production.
Q: Can you share one music production tip?
A: Start by getting the composition right first. When issues are compensated for down the track, the song will always suffer. It's often easy to tell when a song was written around a 'cool sound' or loop... What's better, is when a great song is written before the 'cool sound' or loop... Then, anything you add is about reenforcing that killer song, rather than compensating for lack of a good song.
Q: Tell us about your studio setup.
A: I have a hybrid mixing rig that's based on Michael Brauer's Multi Bus approach, with a few of my own tweaks. I use the SSL Sigma for mixing. I use a Vintage Designs VDC or Neve 33609 on the A Bus, Distressors or my Gem Audio Preceptor T into an IGS RB500ME Pultec Style EQ on the B Bus, a Manley NuMu on the C Bus, and a Focusrite MixMaster on the D Bus. My vocal mult is generally a blend of a few channels which include: Avalon 737, Focusrite ISA 430 MkII, Amek CIB, Joe Meek VC1Q, TLA VP5051 and a custom Federal AM864. I also use a Publison Fullmost for presence. For my drum slam compression, I generally use my DBX 160SL, but sometimes a TK Audio BC2ME or Focusrite Green. Effects wise, I'm a big fan of the UAD and Eventide plugin reverbs that I couple with a my hardware reverbs including a 1960s EMT140 Plate, TC Electronic Reverb 4000, Yamaha Rev 1, Orban 111b and Reverbalux Telray style echo/reverb. I also use a Desper Spatializer for 3d panning and placement of those 'extra and ambient' sounds. Pretty cool box! On my mix bus, I generally use my Gem Audio Preceptor T or TK Audio BC2ME, TK Lizer EQ, Kush Audio Clariphonic, Elysia Karactor and IGS Tubecore 3U. I have some other bits and pieces too such as an Avalon 747, which is great for pop.