What’s Wayne’s vibe like in the studio? Wayne’s a studio genius, to be real. I probably learned the bulk of what I know from him. He doesn’t know exactly what it is that I’m doing on Pro Tools, technically, but he’s been the studio so much that [it's natural]. If he looks at his waveform he’ll know what word it is. And I’m not gonna lie, I sit at Pro Tools all day and I can kinda give you a basic idea of where a word is but he’ll know exactly. He’ll point at the screen and say “that’s where I said ‘soul’.” And he just knows what he wants. Most artists leave it up to the engineer. Wayne’s gonna come out and tell you, “put flange on this, make this part do that.” He’s one of the only people I know that really works like that, that’ll really be on you and trying to get the songs done. We’ll hit the studio at about 11[PM] and we’ll be there until 11[AM] the next day. Everyday. And this is a man who really doesn’t have to go to the studio everyday. He’s already done enough. He’s working like he’s a new artist.
With Wayne I was only a recording engineer [initially]. I mixed “Steady Mobbin” with Gucci and a few other songs but it really wasn’t about mixing. It was about recording. But that’s one thing that I learned from Wayne. He’s the one that got me into mixing, because he would sit there for hours and work. We would would work so hard on a song that his vocals were basically mixed [already] before we even sent it out for a mix. The only thing I didn’t have was the multitrack. I could play you the original copy of his vocals and they’d sound just as good as what you ended up hearing, because we worked so hard on them already.