I'm a trained mix engineer who specializes in chopped and screwed music, R&B slowdowns, and Southern hip-hop beat production. Most recently, I created 50 beats for theme music in NPR's "Invisibilia" podcast.
I build space in my mixes and warm up "thin" beats and vocals. I believe whatever the style, a mix can still have punch in the low-end and a clear, artfully blended vocal line on top. I love to take the listener to space with subtle reverb and delay effects.
My background is in downtempo Southern hip-hop and ethereal R&B. As a working audio engineer in Brooklyn, I've also worked in folk, reggae, EMD, and have assisted on label sessions and live recordings with artists such as Whitney (Secretly Canadian Records) and Juke Ross (RCA Records).
I also provide professional podcast editing services on a budget.
Would love to hear from you. Click the contact button above to get in touch.
15 Reviews - 3 Repeat ClientsEndorse Connor Lafitte
Conner was excellent to work with. Very professional.
Literally such an amazing and talented gentleman. There are no critiques I can offer him because he was punctual, timely, precise, fully knowledgable, and extremely courteous throughout the entire process. I look forward to the day I have the pleasure of working with him again.
Connor is talented, communicative and reliable. Not the last time. Will be back.
Connor killed it! Super cool chopped and screwed remix.
Outstanding work. Lots of understanding, patience and efforts. A lot of time was spent to find solutions to MY problem. A real fixer in need. I do recommend, highly.
Is there a better word for "Perfect"? Connor works fast and he is very creative and professional. I am a regular now. Connor is one to keep in your production team.
Fast, excellent communication & most importantly Great Work!
Connor did an amazing job of handling the projects we were working on. He's fast and attentive, and his work brought a level of aesthetic that the songs really benefited from. He's also great with editing and mixing, he helped with additional mixing on one of the tracks that needed it and brought the song to a higher level.
Very professional, worked with me every step of the way, listened, and followed through. Excellent!
Connor chopped and screwed a song of mine and I'm more than impressed. He is quick to delivering, very professional yet kind, and a creative mind.
Connor is extremely talented and understood exactly what I wanted. I made a mistake with the files and it was no problem, he delivered everything within the timescale he set. Will be using again for my project. Thanks man!
3rd or 4th time working with Connor. He is very professional, responsive and very fast. He always takes the time to explain his techniques. Will work with Connor again.
Connor always delivers impeccable job. And fast. He always gives detailed report about what he did. Very technical and knowledgeable. Thank you Connor.
Extraordinary work. Very fast delivery. Great communications. Already many repeats.
Dont hire anyone else
Interview with Connor Lafitte
Q: Can you share one music production tip?
A: Good mixing starts with sound source and levels. Don't get lost in the plug-ins.
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I was an assistant engineer on a session with singer-songwriter Juke Ross with no advance warning and successfully set up and tracked four songs in a day.
Q: What are you working on at the moment?
A: I'm working with a Baltimore-based producer on an R&B EP.
Q: Analog or digital and why?
A: I worked in a fully analog studio, so I've heard every argument on this. Here's the scoop: Digital sucked for a long time, so engineers were right to criticize the "coldness" of in-the-box mixing and praise the warmth of a Neve console. But in recent years, certain companies like Universal Audio have made plugins that emulate audio with such fidelity that it's simply not worth spending $10,000 or more on a full suite of analog gear. Does that mean I wouldn't buy myself a Studer analog tape recorder if I had the money for upkeep? You know I would. But at the end of the day, analog won't make bad music sound better, and digital doesn't make good music sound bad. Focus mostly on your own capacity to make quality music regardless of the equipment you have, and you'll never go wrong.
Q: What's your 'promise' to your clients?
A: I promise you will be surprised at how lush and full a chopped-and-screwed remix can sound.
Q: What do you like most about your job?
A: The music. I spend all day immersed in what people use to pump themselves up for love, sex, sports, and dancing.
Q: What questions do customers most commonly ask you? What's your answer?
A: Can I work with just a full-mix .wav or .mp3? Absolutely. If you already have a mix you like, chopping and screwing it will affect the sound enough that it's not absolutely necessary to remix it from stems.
Q: What's the biggest misconception about what you do?
A: When I chop and screw a song, I'm not making a new beat. Everything I bring to a remix, sonically, was in the original files. I'll let you know if I'm adding instruments.
Q: What questions do you ask prospective clients?
A: What images come to mind when you picture someone listening to your remix? The setting you have in mind will really inform what direction I take the mix. Someone listening to your remix in their car while smoking a blunt is different than the backtrack to a yoga class.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Think about what attitude you want to project in a remix and what musical elements work to create that attitude. If you know that, you can work backwards beautifully. It saves an immense amount of time.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Numark MixTrack 3, MiniMoog, Studer A800, LA2A, and I suppose a Macbook to process it all.
Q: What was your career path? How long have you been doing this?
A: I was a funk singer in my late teens who did chopped-and-screwed live sets at a college radio station. I quit my job to intern at Studio G Brooklyn, a professional recording studio, in 2017, where I interned and began assisting on label sessions. I've been mixing hip-hop professionally since 2015. I have run my own studio and audio production company for content creators, Connor Lafitte Audio, since early 2020.
Q: How would you describe your style?
A: I bring a mix underwater but nobody drowns. I create an ethereal, swimming effect with double-tracking and reverb without dominating the headspace or deafening anyone.
Q: Which artist would you like to work with and why?
A: Boi1da or 40. Drake's team at OVO are all experts at borrowing a single sonic element from another genre to bring a fresh attitude to their beats. Their taste is broad and they've made a mark in the game for it.
Q: What type of music do you usually work on?
A: People come to me who are fans of downtempo hip-hop and R&B. Even when I remix for a folk band, they come to me because they want to capture an element of that genre.
Q: What's your strongest skill?
A: Finding a groove. Almost anything can make you nod your head, but some songs are focusing on the wrong parts. I find the right parts by playing with the speed to find the right groove.
Q: What do you bring to a song?
A: I bring attitude. You can unlock most music by slowing it down. In most cases, clients want to fill out the emotion of a song with a remix: if it's hard, make it go harder. I can find that emotional key faster than almost anyone.
Q: What's your typical work process?
A: I typically receive stems from clients and spend time prepping a quality pre-mix. I'll gain-stage, fix any phase issues, and carve headroom in mono before any touch-ups with panning. If I'm chopping and screwing, I'll spend some time finding the right speed and groove for the track before I bounce down the full mix and prepare to chop it up. Depending on a client's needs, I can do live chops on vinyl which I then edit afterwards, or I can imitate a live DJ-Screw style set with some light FX and double-tracking. If I'm mixing for a client, I'll then plan out several mixing sessions to work through from the rhythm section up to the vocals. I'll send samples of mixes to pinpoint a sound before finishing out the entire mix.
Q: Tell us about your studio setup.
A: I primarily mix in the box and work from a small workstation. I can work from any DAW, though I prefer Logic X. I use a full suite of plugins for editing and mixing. Highlights include IzoTope Ozone, FabFilter ProQ 3, and UA's Studer A800 emulator. I sometimes use a small 500-series outboard chasis for field recording, including a Serpent Audio Chimera (LA2A emulator) and a unique 1980s RadioShack Realistic Reverb. I have a UA Apollo Twin for IO. I have a small vocal booth which I use for re-amping and a BeezNeez Mahalia stereo pair.
Q: What other musicians or music production professionals inspire you?
A: DJ Screw, obviously. It's not hyperbole to say he introduced a new sonic dimension to popular music. Audio engineers and even popular bands had experimented with tape delay, pitch alteration, double-tracking, etc., but none tied these techniques together into a brand. DJ Screw showed that slowing a track could introduce new overtones and harmonics, highlight polyrhythms, and fundamentally change the vocal dynamics. Without introducing any new instruments, you create an entirely different song. In affective terms, that's similar to the multitrack engineering styles of 1960s "wall-of-sound" producers like Phil Spector (or arguably even George Martin). I aspire for the warm analogue sound and natural dynamic range exemplified by those oldies, and while I mostly remix in the box (all on my computer), I have a full suite of plugins to emulate tape, optical compression, and other hardware.
Q: Describe the most common type of work you do for your clients.
A: I primarily work as a remix engineer on chopped-and-screwed mixes. I specialize in the southern hip-hop production techniques made popular by DJ Screw: panned reverb, double-tracking, and full-mix slowdowns. When I chop and screw, I'll first build a clean full mix, double-track it, and spend some time slowing it down to find a new groove and hidden overtones. The speed of the slowdown will determine the overall feel of the remix more than anything. I'll then clean up the phase, "chop" it up to the level desired by the client, and fill out the mix with an outboard reverb chain. Since chopped and screwed mixes imitate a live DJ performance, I approach my chops from a theatrical standpoint: how am I changing the emotional effect of a track by slowing it down? What attitude does the remix aim to project? I always provide a sample before I dive too far into mixing to make sure I've captured the right attitude for a client. If I can capture that, 99.9% of the time, the remix falls into place beautifully.