Award-winning Alt/Indie/Rock mixing—shoegaze is a sweet spot. I specialize in mixes that feel expensive: strong balance, punch, depth, and detail—built to translate from studio monitors to earbuds to phones without losing energy. My credits include 100s of millions of streams, #1 radio records, and top playlist placements across multiple genres.
I’m a production-minded mixer with 20+ years full-time experience—especially strong with real instruments (drums, guitars, bass, vocals) and hybrid productions. I work in Stereo and Dolby Atmos formats.
If your tracks are well-recorded, I’ll elevate them. If they’re not, I know how to rescue what matters and still deliver something release-ready.
I bring a recording-informed approach to mixing: arrangement-aware balance, controlled dynamics, and detail that makes the record feel bigger without getting brittle or messy.
I’ve built my career as an independent producer/mixer, but I’ve also worked in top-tier studios internationally—so you get a practical, high-level approach without the ego.
Awards include multiple Juno Awards, CCMA Record Producer of the Year, 5 SOCAN #1 Awards, plus several China Music Industry Awards.
Selected credits: Softcult • An April March • Elita • Rolling Quartz • BANNERS (Island/Universal) • Aidan Gallagher • Nelly Furtado • XO-IQ (Nickelodeon) • 曲婉婷 (Nettwerk/Universal China) • Shawn Desman (BMG)
Click Contact with your rough mix + 1–3 references and I’ll reply with a clear quote and next steps.
Click the 'Contact' above to get in touch. Looking forward to hearing from you.
Credits
Discogs verified credits for Chris Perry (2)- An April March
- Various
- An April March
- Rhea's Obsession
- Colecovision
- Various
- Wanting
- Glenda Rush Calzado
- Robbie Lane & The Disciples
- Car Go Zoom
- Noisecore Freak / Murder By Static
- Rhea's Obsession
- Wanting
- K.I.D (Kids In Despair)
- Michael William Gilbert
- Michael William Gilbert
- Michael William Gilbert
- The Whittingtons (2)
- An April March
- An April March
- An April March / The Curtain Society
- An April March
- An April March
- The Curtain Society
- An April March
- An April March
- Robbie Lane & The Disciples
- Jester's Destiny
- Splinter Cage
- An April March
- Various
- Various
- Sustain (10)
- Car Go Zoom
- An April March
- Dr. Minz And The Chronic Harmonic
- Dizzy Spell
- Almaz Tefferi*
- Rational Youth
- Trance To The Sun
- Various
- Chicklet
- Infernäl Mäjesty
- Rational Youth
- An April March
- Noisecore Freak / Murder By Static
- Various
- Various
- Translucia
- Sparrow Orange
- Beef Terminal
- Various
- Beef Terminal
- Noisecore Freak
- Various
- Chicklet
- K.I.D (Kids In Despair)
- K.I.D (Kids In Despair)
- Various
- Various
- Michael William Gilbert
- Michael William Gilbert
- Michael William Gilbert
- Trouser
Endorse Chris Perry158 Reviews - 32 Repeat Clients
check_circleVerifiedChris minimized extensive rumbling noise and improved the tone and presence of this podcast episode drastically!
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Chris is one of the best in the business.
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Chris excels again with another creative and engrossing Dolby Atmos mix interpretation!
check_circleVerifiedChris has mixed multiple productions of mine already, and every time I love what he kept the same and love what he changed ! His technical ear and his taste are on point every time !
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I'll never tire of giving Chris a 5-star rating. He went out of his way to tackle the project before going on vacation, provided all the stems needed to finish in his absence, and STILL worked on it when he returned. I wish all engineers were this amazing to collaborate with!!!
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He has a great ear, and the depth and clarity in his upmixes are always super!
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His upmixes always sound better than my upmixes, which is why I am very happy with his services!
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Excellent sound engineering as always, and we really appreciate the speedy delivery. Thank you!
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Excellent work as always, with a quick turnaround.
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Chris was super accommodating of our request for the repair of audio containing substantial static and even provided insight on the language norms of the Japanese guests featured in this episode.
check_circleVerifiedChris is my guy he gets the job done at a high level.
check_circleVerifiedChris always gives me the extra support I need, that extra detail on the mix before and after the master which helps me understand how I can improve, or help his process. It's truly appreciated.
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Chris transformed an unlistenable audio track full of pops and static to a clean, crisp miracle. Thank you, Chris!
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Working with Chris was wonderful. He mixed, mastered, and tuned the vocals on my band’s debut single; the results exceeded all our expectations.
Chris brought a whole new dimension to the track, seamlessly blending the snare, kick, vocals, guitars, and bass together. The balance and the interaction between elements was superb, his attention to detail is next to none.
I can’t recommend Chris enough. We’re beyond thrilled with the outcome and can’t wait to work with him again in the future!
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Exceptional! His attention to detail is second to none, and he's a terrific guy as well. Always recommend
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Chris never refuses to try a fix, and often he makes magic! He transformed a quite severely reverberant podcast track and smoothed out numerous content edits seamlessly.
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Chris always does an excellent job with deliverables that enhance and bring out the best in the music!
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Chris is a beast ! I will definitely be coming back !
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Chris transformed a weak recording into a professional broadcast.
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This was my first time having a song mixed by Chris and he absolutely crushed it ! The vocals very super crisp, drums tight and the bass did exactly what it needed to do ! He really understood the song, the references. He was also easy to work with regarding our (very small) modifications requests
Interview with Chris Perry
Q: What's your 'promise' to your clients?
A: Clear communication, organized deliverables, and a mix that competes sonically with commercial releases while still sounding like "you".
Q: What's the biggest misconception about what you do?
A: That great gear (or a preset chain) equals a great mix. The outcome comes from decisions: arrangement awareness, balance, dynamics, and knowing what to leave alone.
Q: What questions do you ask prospective clients?
A: What are your reference tracks, and where is this song going—streaming, radio, sync, vinyl, social content? That tells me how to approach balance, impact, and deliverables.
Q: Can you share one music production tip?
A: Commit earlier. A few intentional parts performed well will beat 100 layers every time. If everything is “big", nothing is.
Q: What type of music do you usually work on?
A: Alt/indie/rock and pop-leaning indie, especially guitar-forward or hybrid productions. I also have a long track record in mainstream pop/R&B.
Q: What are you working on at the moment?
A: A mix of stereo singles and album projects—mostly alt/indie/rock with a lot of shoegaze recently! plus occasional Dolby Atmos deliverables when it makes sense for the release.
Q: Analog or digital and why?
A: Both. Digital gives me the precision, speed, and recall modern projects need. Analog is for selective color and depth when it actually improves the record. I’m not “analog for the sake of analog” - I’m results-first.
Q: What do you bring to a song?
A: Perspective and decision making. I’ll enhance what’s already working, solve what’s holding it back, and get the track to a release ready place without losing the artist’s intent.
Q: Tell us about your studio setup.
A: A focused hybrid mix environment built around accurate monitoring and reliable conversion, with selective analog processing for tone. The goal is translation and consistency—so the mix holds up everywhere.
Q: Describe the most common type of work you do for your clients.
A: Stereo mixing and production-minded editing (vocals, timing, cleanup), often on projects with real drums, guitars, and hybrid elements. Atmos is available when needed.
Q: What's your strongest skill?
A: Hearing the path to “finished” quickly. What matters, what doesn’t, and the fastest way to get the record there without overworking it.
I was the Mixing Engineer in this production
- Spit It Out by Softcult
- Serial Killer by Elita (binuaral Atmos-listen on headphones only)
- Other Woman by Danyka
- Mixing EngineerAverage price - $450 per song
- Dolby Atmos & Immersive AudioAverage price - $300 per song
- Mastering EngineerAverage price - $70 per song
- Vocal TuningAverage price - $50 per track
- Podcast Editing & MasteringContact for pricing
Mixes include: Unlimited revisions, standard alts+subgroup stems. Typical lead time is 7-10 days. Mixing doesn't include Tuning, Editing etc. Audio sent after mix starts subject to additional fee.
- Focal monitoring + Burl B2 conversion
- Dangerous analogue summing + SSL Fusion for colour
- Studio One 7 / Pro Tools Ultimate / Logic
- Melodyne Studio + Revoice Pro.
Atmos (Spatial) mixes discounted for stereo mix clients!
