Hi, I'm George and connecting with the soulful thread in every piece of music I play is priority number one...if it's grooving then I know we're headed in the right direction. Dad used to say, "If you look out into the crowd and they're shaking their asses and moving their feet then you're doing your job" and for me, truer words were never spoken.
My goal is to make the drum track feel so good that the rest of the musicians have an easy job and I have 35+ years of experience to do just that. I am easy to work with, kind, polite, respectful and know when to be quiet and do the work. Over the years my clients have given me the most amazing feedback in regards to my thoughtful, honest approach and sensitivity in the recording studio, I love making records.
Send me a note through the contact button above.
- Charlie Hunter
- Morgan James
- Charlie Musslewhite
- The City Champs
- Victoria Victoria
- Wil Blades
- Robert Walter
- Ruthie Foster
- Alexa Rose
- Chris Robinson Brotherhood
- Drew Foust
- Elizabeth King
- Billy Harvey
- Neal Casal
- Will Sexton
- Gary Jules
- Jesse Aycock
- Sha Na Na
- Sensational Barnes Brothers
- Dedicated Men Of Zion
- Jesse Mae Hemphill
- Theotis Taylor
- Ryan Lee Crosby
- Joe Bourdet
- Joel Plaskett
- Kenny Brown
- Jake La Botz
- Willie Farmer
3 ReviewsEndorse George Sluppick
There's a lot of great drummers, and then there's George Sluppick. I went with George because I'm familiar with his work with names like Charlie Hunter, Wil Blades, Chris Robinson Brotherhood, and more. George quickly responded to my request and recorded in a professional studio in under a week. The tracks are phenomenal. He's extremely pleasant to work with, he seeks feedback about his ideas, and is a person of the highest professionalism. I look forward to working with George again and again.
I can't say enough great things about George. He is one of the most musical drummers I've ever had the pleasure of working with and his sense of taste and style bring something really special to any session. The fact that he is a complete professional and a wonderful human being is icing on the cake. I can't recommend him highly enough.
I can't say enough about George's talent and enthusiasm. I've had the pleasure of working with George both in a music production context and on a business level, and I've always been impressed with his seasoned professional ability, as well as his passion and commitment to doing things the right way. I hope to work with George again in the future!
Interview with George Sluppick
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: Drew Foust just released his record that I played on and it's fantastic!
Q: What are you working on at the moment?
A: Currently working on a record with Charlie Hunter
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Iajhi Hampden is a very talented drummer
Q: Analog or digital and why?
A: Yes to both. We've come a very long way in the last few years and I tell people if they want to spend the extra money on tape, then great but at this point the equipment nowadays sounds incredible, it's hard to tell the difference.
Q: What's your 'promise' to your clients?
A: I'm not happy until you're happy
Q: What do you like most about your job?
A: the freedom to create something sonically beautiful with good people
Q: What questions do customers most commonly ask you? What's your answer?
A: Do you read music? No.
Q: What's the biggest misconception about what you do?
A: That it's easy
Q: What questions do you ask prospective clients?
A: Are you sure you want a Memphis feel in your music?
Q: What advice do you have for a customer looking to hire a provider like you?
A: To not take advantage of my kindness!
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: 1920 Ludwig snare, 1965 Rogers drum set, Apollo, KM84 and 20" Istanbul Agop "Mel Lewis" ride cymbal
Q: What was your career path? How long have you been doing this?
A: Began playing drums at age 4, my dad was my first teacher...had my first performance at 7 yrs old and at that point I was totally hooked. By the time I was in my teens I had become a regular on Beale Street and caught the attention of the great blues guitarist Albert King who asked me to audition for his band then gave me the gig. I was 19, thus began my touring career. I made some of my first records a few years later and have been doing it ever since.
Q: How would you describe your style?
A: Laid back, soulful, deep in the pocket feel, similar to players like Levon Helm, Howard Grimes and Roger Hawkins.
Q: Which artist would you like to work with and why?
A: Joe Henry and T-Bone Burnett make great records, as do Tchad Blake and Mitchell Froom
Q: Can you share one music production tip?
A: Don't be afraid to play the first thing that comes into your head...trust your instincts.
Q: What type of music do you usually work on?
A: Everything from blues to soul to gospel to rock-n-roll
Q: What's your strongest skill?
A: Working with others, being a team player and having confidence in my ability and what I can bring to a session.
Q: What do you bring to a song?
A: I have a really good feel that comes from Memphis...growing up on Beale Street, listening to blues and soul music as a kid and playing in bands with my dad definitely instilled a love for groove music, so try to make everything I play have that same sensibility.
Q: What's your typical work process?
A: I love getting the music beforehand, shedding it at home, making sure I have my parts down then going into the studio and knocking it out. If the client wants me to play a particular groove that's on a recording they've sent then I will do my best to match that but generally people want me to do my own thing, in which case I will try to stay true to the original vibe but with my voice.
Q: Tell us about your studio setup.
A: I have recently relocated to Greensboro, NC and my tracking room is in a state of flux at the moment but my normal setup is very simple...eight mics...kick, snare, hat, rack, floor, stereo overheads and a room mic all running into an Apollo and I'm using LUNA software, everything sitting in a treated with Audimute Sound Absorption and Isolé panels. Since the move, everything has been in storage, so I've been tracking drums with my good friend Benjy Johnson at his wonderful studio, Earthtones Recording here in Greensboro and his setup is what you would expect from a full production studio. Coles, AKG, Neumann, Shure, Telefunken, Beyer...the works and our turn-over time is same day for two or three songs.
Q: What other musicians or music production professionals inspire you?
A: Aaron Sterling is a friend and I'm always bouncing ideas off him cause his insight is very valuable. Also a wonderful drummer and producer named Aaron Steel has been a great resource. Dave McNair, amazing mastering engineer and producer, Billy Harvey, Bruce Watson, Charlie Hunter, Benjy Johnson, Mick Tanton, Adam Dorn, Steven Wolf...lots of people have helped guide me along the way.
Q: Describe the most common type of work you do for your clients.
A: My work varies from project to project...everything from full 10-12 song albums to shorter EPs down to singles, ranging from blues, pop, americana, rock-n-roll, gospel to straight up R&B / soul. Generally people who know what I do will hire me for more soulful sessions but I love it all.