The Record Producer
Page 40
Chapter 3
Production Theory
Aaron moved in with the studio’s head engineer, and worked closely
with him for about a year. The studio also provided him with a
production suite on the top floor of the building. We donated some
equipment to the cause and pressured Aaron to get to work.
Meanwhile, Chris and I were consumed with post-production on a full-
length motion picture in Pittsburgh. In August of 2002, I received a
call from Aaron. He informed me that he was having trouble
completing the album. Production wise, he felt he needed more
human feel in his beats. (At this point he was still using electronic
drum sequences) Aaron agreed to come to Pittsburgh so that we
could discuss a new production strategy. Chris and I were still doing
live sound, editing the film, and working part time jobs to pay off the
developer that built our recording studio. We decided that this would
be a good time to build a home studio. Chris found a great house in
Mt. Lebanon and we moved the gear into it on September 1st. The
following week, Aaron showed up with the plan.

Aaron's Production Strategy

Step 1 - Design a lead.

Chris was to help with sound design. Aaron felt that the best place to
start would be to use an oscillating line from his Novation Supernova
(an analog modeling synthesizer).