Clif Norrell is a Grammy-nominated American record producer, recording engineer, music mixer, and musician. He has worked with many prominent artists including Bruce Springsteen, R.E.M., Jeff Buckley, No Doubt, Rush, Faith No More, Shania Twain, Mick Jagger, Dave Grohl, Sting, Paul McCartney, Gavin Degraw, Joss Stone, Selena Gomez and The Police.
Norrell was nominated for two Grammy Awards and two TEC Awards for his engineering work on Springsteen's 2012 album Wrecking Ball and its single "We Take Care of Our Own", as well as an additional TEC Award nomination for his work on Sting's album 57th and 9th. Norrell has been featured in many articles, books, and music conferences. Norrell also mixed the first commercial music-only release in Dolby Atmos immersive sound format for the 25th Anniversary edition of R.E.M.'s Automatic For The People album.
Starting with a long background as a trained trumpet player and guitarist, Clif began his studio career at the legendary Ocean Way Recording in Los Angeles, the world's most awarded recording studio, in the mid 1980s under the mentorship of renowned audio guru Allen Sides. Throughout his years there as staff engineer, Clif honed his skills while working with superstars like Bruce Springsteen, Prince, Beastie Boys, Van Halen, and many others. He also learned his craft by working with such legendary producers and engineers as Arif Mardin, Glyn Johns, Andy Johns, Norman Granz, and many other top contemporary producers. Starting out in the era when analog recording technology was at its peak and digital technology was just starting to be more widely used in studios, Norrell continues to incorporate vintage analog tape recorders and processing together with the latest in digital audio advancements to achieve the sound and feel he and the artists envision for each project.
|R.E.M.||Automatic for the People||Engineer, Mixer||1992|
|Bruce Springsteen||Wrecking Ball||Engineer||2012|
|Rush||Test For Echo||Engineer||1996|
|Faith No More||King for a Day... Fool for a Lifetime||Engineer||1995|
|Anouk||Hotel New York||Producer||2004|
|Sting||57th and 9th||Engineer||2016|
|Sting||At The Movies||Mixer||1999|
|Miley Cyrus||Start All Over||Mixer||2007|
|The Replacements||All Shook Down||Engineer, Mixer||1990|
|Echo and The Bunnymen||Evergreen||Mixer||1997|
|Needtobreathe||Rivers in the Wasteland||Engineer||2014|
|RDGLDGRN||RDGLDGRN LP||Engineer, Mixer||2013|
|Noisettes||What's The Time Mr. Wolf||Producer, engineer, Mixer||2007|
|Indigo Girls||Indigo Girls||Engineer, Mixer||1989|
|Indigo Girls||Nomads Indians Saints||Engineer, Mixer||1990|
|Widespread Panic||Ain't Life Grand||Mixer||1994|
|Widespread Panic||Bombs and Butterflies||Mixer||1997|
|Rollins Band||Come in and Burn||Engineer, Mixer||1997|
|Rollins Band||Get Some Go Again||Engineer, Mixer||2000|
|Rollins Band||The Only Way To Know For Sure||Producer, engineer, Mixer||2002|
|Rollins Band||Nice||Engineer, Mixer||2001|
|No Doubt||"Making Out" from Rock Steady||Engineer||2001|
|The Refreshments||Fizzy, Fuzzy, Big and Buzzy||Producer, engineer, Mixer||1996|
|Billy Idol||The Devil's Playground||Engineer||2005|
|Selena Gomez||Kiss and Tell||Mixer||2009|
|Selena Gomez||"Live Like There's No Tomorrow" from A Year Without Rain||Mixer||2010|
|Serena Ryder||Live||Mixer, Mastering Engineer||2002|
|Little Birdy||Hollywood||Engineer, Mixer||2006|
|Skunk Anansie||Post Orgasmic Chill||Engineer||1999|
|John Hiatt||Perfectly Good Guitar||Engineer, Mixer||1993|
|A.R. Rahman||Infinite Love||Mixer||2012|
|Anvil||Juggernaut of Justice||Mastering Engineer||2011|
|The Jayhawks||Tomorrow the Green Grass||Engineer||1995|
- "Test For Echo Tourbook - Cygnus X1.net".
- "2013 Grammy Nominations: The Full List".
- "28th Annual TEC Awards for Outstanding Creative Achievement". Archived from the original on December 7, 2013. Retrieved April 16, 2014.
- "SXSW -Shorties Session: The Studio Experience".
- Mixing, Recording, and Producing Techniques of the Pros by Rick Clark.
- "API Works – Clif Norrell".
- "Recording Henry Rollins – AudioTechnology Magazine" (PDF).
- "Spatial audio is the most exciting thing to happen to pop music since stereo". Ars Technica. Retrieved February 23, 2018.