Travis Heidelman on SoundBetter

If you're after the indie pop sound of someone who's engineered and vocal mixed for Claire Rosinkranz and produced songs for indie pop artists like Aimee Vant, Tiffany Houghton, Jay Alan, or Mom Rock, I'm the guy for you.

Travis Heidelman's experience and skillset outpace his young age. In the time he's taken up production, he's produced a variety of genres including pop, rock, folk and otherwise. His productions earned placements on playlists and stations such as Discover Weekly, Art Not Algorithms, and Breaking Sound Radio. He's studied songwriting and production under the likes of Susan Rodgers, Kara DioGuardi, and Josh Zegan. He's experienced and capable of producing projects remotely and in-person. While he specializes in vocal production, that skillset is often applied in the context of a full production.

Travis takes great care to make sure he's a match for every project, attempting to extrapolate the client's "bar of acceptability" by their listening habits, musical upbringing, and by getting the best semblance of the vision before the project begins.

Contact me through the green button above and let's get to work.

Credits

4 Reviews - 1 Repeat Client

Endorse Travis Heidelman

by Steve Dresser
Verified
A++++++++. Very happy with the work and communication!
by Steve Dresser
Verified
Travis is a real pro with comping and editing vocals. Great attention to detail! Will hire again.
by Steve Dresser
Verified
Travis was very easy to work with. Quick response, good communication, and most importantly did amazing work comping and editing vocals for me.
by James October
Travis is an incredible producer and engineer. His vocal engineering is top tier and will make you sound perfect on your record. He also delivers amazing tracks as well as mixes.

Interview with Travis Heidelman

Q: What's the biggest misconception about what you do?
A: That vocal tuning is not an art form. I've met a load of people who see melodyne on a project and have a small panic attack. The majority of records made in the past 20 years use some form of tuning and time correction. Those that have not in large part used extensive comping from an incredible number of takes, so much so that lines could be split up by words and words could be split up by syllables. Either approach requires a refined, intentional commitment to making a performance the best it can be.
Q: Can you share one music production tip?
A: Don't let the demo hold the project back from what it could be. Have a vision, have a plan, but music is bigger than the sum of its parts, and leaving room for change can make a project way more exciting!
Q: What's your typical work process?
A: I tend to be a very involved producer. I really believe in putting in a strong foundation to build off of in production, including making sure that the songwriting is its strongest before getting too far into the project. In terms of stages, the first pass will sound pretty robust, and then the last 10% is a combination of formal vocals, edits, and a general process of turning over every stone to really make a banging record.
Q: Tell us about your studio setup.
A: The theme of my studio setups seem to be "bedrooms converted into studios." My main rig is a space containing acoustic treatment and studio desk with two sets of very different monitors that balance each other very nicely. My mains are 6" woofers that have wonderful depth and bass, the other is a set of HS5's that are kinda flat and in the face, without a ton of low extension. Usually, if I can get it to work on both, the mix and production sounds really good. I have an 88 key keyboard, a good selection of mics, and a great apollo x series converter. Also a fan because electrical equipment makes spaces toasty.
Q: What other musicians or music production professionals inspire you?
A: Love the work that OzGo did on Troye Sivan's "In A Dream" EP. I've also been adoring the mix and production work on Holly Humberstone's music these days. Such good work supporting really great songs.
Q: Describe the most common type of work you do for your clients.
A: My work tends to center around vocal production. The work I did in this role is what expanded my work into broader production and mixing.