Collin Ingram on SoundBetter

Radio ready mixing, editing, and production from a seasoned professional with hundreds of satisfied clients. I take pride in using the best gear, excellent communication, and not finishing your project until you're 100% happy with the results.

Hey I'm Collin. I'm the head engineer at BandCave Recording in Denver, Colorado. In the decade I've been a professional producer I've racked up millions of Spotify plays and hundreds of credits including - Elway, Old Sport, Arliss Nancy, If You Drive By, Moral Law, Ari Lennox, Harpoon the Whale, and Sour Boy Bitter Girl. Records I've produced have been released on a long list of prestigious labels including - Red Scare Industries, New Age Records, Convulse Records, and Anchorless Records. My passions mostly lie in Pop Rock, Punk, Hardcore, and Hip Hop but I routinely have a blast working on genres as diverse as a Mexican Regional and Congolese Gospel.

I never view working on music as transactional. Yeah, some money is gonna need to change hands so I can keep the lights on at the studio but my real reward is helping you realize your creative vision. As such I've always viewed communication as the most important part of my relationship with clients and always offer unlimited revisions.

I run one of the biggest and busiest commercial studios in the Rocky Mountain West. Know that your mixes will be through a laundry list of industry standard equipment in a professionally designed control room because you deserve the best.

I can't wait to hear your project and help it reach it's fullest potential!

Send me a note through the contact button above.

Credits

Discogs verified credits for Collin Ingram

Various
Old Sport
Old Sport
Arliss Nancy
Oryad
Old Sport

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Interview with Collin Ingram

Q: Analog or digital and why?
A: I run a hybrid setup. My mix bus is fully analog, my drum bus and lead vocal bus are mostly analog, and then everything else generally happens in the box.
Q: What's your typical work process?
A: When I get a mix job my first step is loading in the multi-tracks and listening to everything several times as I organize and color-code the session. I'll tweak faders and do some preliminary gain automation until I have a static mix (no plugins) that I'm happy with. Usually I'll call it day at that point and spend the evening listening to any reference material the client provides. The next day I'll get all the analog processing routed and, well, mix the song. I'm a big believer that revisions are a crucial part of the process so I'll print off a Mix 1 and then wait for notes from the client. We keep doing that on repeat until everyone is 100% happy with the finished product.
Q: Tell us about your studio setup.
A: I'm the head engineer at a fairly sprawling studio complex in Northeast Denver. I mostly work out of our Studio A which includes an immaculately treated control room with tons of cool amps and analog gear and an 800 square foot live room that I use to get awesome drum recordings. Our A room has Barefoot Micromain Monitors which I've fallen in love with and really helped me make the transition from a producer-who-can't-really-mix to an actual mix engineer.
Q: What other musicians or music production professionals inspire you?
A: A.G. Cook, Will Yip, Jack Antonoff, Dan Greene, Corey Coffman
Q: Describe the most common type of work you do for your clients.
A: On an average day I'm doing either full stack producing or mix engineering. I've recently started taking on more and more vocal and drum editing work which is a nice change of pace.