EXAMPLES OF OUR WORK
KOTIK – RED RUM (FULL PRODUCTION)
CHRIS RIGGO – 1WTTM (RECORDED, MIXED, MASTERED)
AFRODITE – MAKE YOU MINE (RECORDED, MIXED)
BYPASS – FREEFALL (RECORDED, MIXED, MASTERED)
RAH RAH – NAH YEAH FR (MIXED, MASTERED)
KOTIK – RISKED IT ALL (FULL PRODUCTION)
KEEMA PATRA – SPOOKY
“Music is an art form that takes more than artificial intelligence to produce an outstanding result. Like becoming a surgeon or a high-profile lawyer, there are no shortcuts to finishing a task. As a creative person, I have understood that to finish an outstanding composition, one has to step out of their comfort zone. That means opening oneself up to errors in the recording process and learning about one’s limitations while simultaneously figuring out how to overcome a creative obstacle. My principal focus isn’t just to ensure that your songs receive radio plays or digital streams but that you leave with a composition that fulfills you by just listening to it. If we can appreciate the hard work and perseverance behind a finished song, that’s when music becomes art.” – Benjamin Kotik, founder
OUR STORY
South Slope Recording really came as an idea rather than a fully-formed company. I was 18 years old at the time and wanted to bring my production and post-production skills to the next level. From recording my high school classmates on an SM58 microphone to now obtaining access to 3 studios (2 available at the moment) and thousands of dollars worth of equipment, my love for creating music has continuously gotten stronger. My team and I focus on giving every new artist that comes our direction a comfortable and friendly space to record, while maintaining a constructive and professional approach to their ideas. We are also open to discuss other aspects of making music outside of solely production such as publishing and promotion.
When it comes to mixing, I believe that every instrument on the record (including the artist’s voice) should retain color and the respective dynamic. Unless requested, my initial approach is never focused on how much I can filter out an artist’s vocal; rather, I think about what I can bring out of the artist’s vocal that is already embedded in the recording, which can further complement the overall composition. I try to stay as far away as possible from excessive use of compressors or equalizers. If there isn’t a specific purpose to adding a third compressor or a second equalizer to a vocal recording, then there’s no need to put them there in the first place.
Mastering is a very separate process from mixing. I usually make a separate project file for just mastering, so I can fully focus on blending dynamics correctly while raising loudness. A vital part of mastering isn’t just blending dynamics with loudness, but making sure that the final result qualifies to get played in any given space. That is why every recording will always have a low cut filter set to at least 20Hz. Unless requested, I never aim to distort the record or attempt to make an excessive difference between attack and release points in the dynamic range. For streaming, my aim for loudness tends to move around -8 to -11 LUFS short term.
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