Once when we were working in Atlanta, we didn’t have space for the gobo, so the studio assistant stood behind Gunna and held up the gobo in his hand, while Gunna’s engineer, Flo Ongonga, was recording him. “A lot of the time people will be talking to each other or on their phone during the takes, so it’s not an ideal acoustic environment. Our job is to capture that, maintain sonic integrity and make the end result sound as amazing as possible. You will be surprised at how fast the rappers move! Sometimes the entire vocal is laid down in less than an hour. “No words get written down or entered into a phone ever, by anyone. “Thug or the other rappers work out their rap in the control room, which usually is full of people, because it adds to the vibe,” Bainz explains. A relaxed vibe is imperative, and sonic corruption a problem to be solved after the event. But Atlanta rap culture completely ignores the old paradigm.
There used to be a time when the red light ruled - make a noise or enter a studio when it is on and you’re dead meat - and artists would come into the studio with carefully prepared songs, with chords and lyrics written down and laboured over for weeks or months. Thug often spends a lot of time chopping up the beat in Pro Tools and rearranging it, to get the exact structure he wants.”Īngad Bains, aka Bainz, works primarily in the Atlanta rap scene.
The beat is loaded as a 2‑track into my Pro Tools recording template, and they start improvising over it. Young Thug, Gunna or another rapper from YSL Records comes into the studio, and they choose a beat to work with. Here, he talks us through his mix of Young Thug and Gunna’s hit single, ‘Ski’. Traditionally educated in the art of recording, Bainz has had to adapt to Atlanta rap’s studio culture.
0 kommentar(er)
