Harrington’s work with singer and rapper Rod Wave exemplifies this new trend.
Instead, artists develop their vocal parts to these beats with only their trusted engineer in the room. This trend has been going on for a number of years, and in rap and particularly trap it is steered by another trend, which is that producers now make beats completely independently from the artists, and often don’t even meet them. The above‑mentioned artists thrive on a personal relationship with a trusted person in the studio to help them get their vocals and musical ideas down. Among them are Patrizio Pigliapoco, who is engineer and mixer for Chris Brown, Bainz for Young Thug and Gunna, Tillie Mann for Migos and Lil Baby, and Todd Hurtt for Polo G, while examples outside rap include Josh Gudwin for Justin Bieber and Stuart White for Beyoncé.
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Travis Harrington is talking about his work with singer and rapper Rod Wave, and his point has been echoed by several other engineers in the Inside Track series who have built long‑standing working relationships with particular artists. Many artists are now in the studio with just the engineer, who has to bring other skills to this partnership as well, like being able to produce and mix.” But what’s happened more recently, particularly in rap, is that the relationship between the engineer and the artist has come more to the forefront. “In the music industry the relationship between the producer and the artist used to be central.
Travis Harrington was the engineer who made it work. Rod Wave’s chart‑topping album Soulfly was not only recorded in hotel rooms, but mixed and mastered on the road too. Rod Wave (left) and Travis Harrington recording in a hotel room in Mobile, Alabama.
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