About Collin Stanley Dwarzski
Who I Am
I’m Collin Stanley Dwarzski — a Detroit-born, New York–based music producer, audio engineer, and TV Film production professional whose life has been shaped by sound, story, and the people who help make both possible.
A great-aunt’s ukulele was the first instrument to hit my hands in a Polish-American neighborhood of Southeast Michigan. Soon came guitars, drums, bass, and piano — and from that moment forward, music was the only compass I needed.
Sellers Hall, Eastern Michigan University, 2006
Detroit taught me grit.
New York taught me precision.
Both taught me heart.
Over the past 15 years, I’ve built a creative life that moves fluidly between stages, studios, and film sets — a hybrid career defined not by choosing one path, but by following the spark wherever it leads.
What Inspired Me to Work in Music, Film & TV
PJ’s Lagerhouse, Detroit, MI, 2013
From the day I plugged into my first amplifier, everything got bigger: the sound, the possibility, the sense that I could make something real out of noise and emotion. I grew up inspired by the Detroit music lineage — MC5, The Stooges, The White Stripes, Motown, P-Funk — artists who understood that rawness is a virtue and volume is a language.
That sensibility carried me through years of performing in blues, indie rock, metal, punk, folk, hip-hop, and R&B groups. Every genre taught me a philosophy. Every stage taught me another way to tell the truth.
Film arrived later, but it felt familiar from the start. The choreography of a set — the timing, tension, collaboration.. When I began working as a Production and Location Assistant on projects for Netflix, NBCUniversal, Apple TV, Warner Brothers, and more, I realized I’d stepped into another form of storytelling. A visual one. A collective one. A living one.
Music sharpened my imagination. Film sharpened my discipline. I never wanted to choose between them — so I didn’t.
Experience Highlights
Music Production & Audio Engineering
My studio and performing life spans more than a decade of producing and engineering across New York’s independent and professional recording worlds including Mirrortone Recording Studio and Pencil Factory Recording Studio.
Producing at Tempermill Studios, Ferndale, MI
Collin as Head Recording Engineer at Mirrortone Studios, Manhattan, NYC
15 + years of performing and recording experience
Over 27 millions total streams on streaming platform (spotify, apple music, etc.)
140 + credits including producer, guitar, recording engineering, Bass, piano, etc.
Skilled in audio engineering, songwriting, arrangement
On-Location, NYC, Not Suitable for Work,
TV PRODUCTION 2025
TV & Film Production
As a member of Teamsters Local 817, I’ve contributed to productions across New York and New Jersey with credits including:
Not Suitable for Work (Hulu)
Bupkis (NBCUniversal)
Sweethearts (Warner Bros.)
Asphalt City (Sculptor Media)
Dear Edward (Apple TV)
Eleanor the Great (Maven Screen Media)
Guns Up (Millennium Media)
In location management, I support creative teams by scouting, coordinating, and securing the environments where stories take shape. It’s equal parts logistics and intuition — a craft that rewards calm thinking, clear communication, and old-fashioned hustle.
Client Projects:
Across music, sound, and film, I’ve worked with a wide range of major networks, studios, and artists including:
With Karmila at Flux Studios, NYC, AES Afterpart, 2023
With Maya at Mirrortone Studios, NYC, Nov. 2024
My Creative Philosophy
I believe creativity begins with people.
Studios and film sets both run on trust, respect, and shared purpose. I step into every project as a collaborator first, technician second.
I believe imperfection is character.
Fuzzy leads, trembling vocals, gritty room noise — these are living textures. They tell the truth in ways perfection can’t.
I believe in the power of place.
A guitar tone carries the DNA of the room it was born in. A film scene absorbs the soul of the street it’s shot on. My work in both fields is anchored by an awareness of atmosphere.
I believe story is everything.
Whether producing a track or locking down a location, I ask the same question:
What helps the story breathe?
Then I chase that answer with everything I’ve got.