Andy Samberg, Jorma Taccone and Akiva Schaffer of The Lonely Island, with mix engineer Jason Goldstein at Downtown Music Studios’ Neve 8014 console
For those familiar with Saturday Night Live in recent years, the “SNL Digital Shorts” are synonymous with wickedly funny, boundary-pushing, and often outrageous musical sketches. These shorts, the brainchild of The Lonely Island, a comedy trio comprising SNL actors and writers Andy Samberg, Akiva Schaffer, and Jorma Taccone, have become a cultural phenomenon. Their unique blend of hip-hop, R&B, and pop sensibilities, infused with sharp satire and absurd humor, has given rise to a distinctive catalog of Lonely Island Songs that resonate with audiences worldwide. In May 2011, the group’s second album, Turtleneck & Chain (Universal Republic), dropped, showcasing collaborations with a star-studded lineup including Akon, Justin Timberlake, Snoop Dogg, Rihanna, Michael Bolton, Beck, Nicki Minaj, and Santigold, further cementing their status in the music and comedy spheres.
The creation of lonely island songs is a multifaceted process, often involving individual and collective recording sessions in their personal studios and even within the walls of NBC’s 30 Rock offices. When it comes to refining and mixing these tracks, The Lonely Island sought the expertise of veteran mix engineer Jason Goldstein (jason goldsteinmixer.com). Goldstein, renowned for his work in hip-hop and R&B with artists like The Roots, Ludacris, and Jay-Z, proved to be the perfect collaborator to bring their comedic musical vision to life.
Goldstein recounts his initial interview for the project, emphasizing The Lonely Island’s deep engagement with their music. “The guys are very into their records and they know exactly what they want,” he explains. Their primary concern was understanding Goldstein’s workflow, particularly his “in the box” mixing approach, which intrigued them given their demanding schedules. The collaboration spanned from late October to early April, during which Goldstein utilized his home studio equipped with a MacBook Pro, as well as commercial studios with Pro Tools HD and HD Native setups.
Goldstein’s role extended beyond mixing, encompassing editing, file compilation, arranging, pitch correction, and vocal tuning. He notes, “I did all the editing and compiling of files, and arranging, pitching and tuning, as well as mix the record, and I did a number of vocal overdubs.” The genesis of Turtleneck & Chain involved The Lonely Island soliciting beats from various producers and holing up in a Southern California rental house during an SNL hiatus in the summer of 2010. There, they laid down the foundation of the album using Pro Tools LE 8 with diverse audio interfaces. Goldstein faced the challenge of working with these initial recordings, often consisting of vocals layered over a 2-track beat, requiring him to “reverse-engineer all the edits” before commencing the mixing stage. The entire album production, from recording to mixing, relied on Pro Tools, utilizing versions 8 LE, 9 HD, and 9, along with Complete Production Toolkit 2, across HD TDM, HD Native, and laptop-based systems.
File sharing and communication were streamlined through cloud-based solutions. Goldstein details, “They would send me emails or we’d have phone conversations about things that they wanted. I set up a Box.net account, an Internet drop-box, and they just accessed mixes as I threw them up and made comments.” This system also facilitated the incorporation of guest vocals, with The Lonely Island uploading files to designated website areas for Goldstein to integrate into the mix.
For in-person mixing sessions, Goldstein favored Downtown Music Studios in SoHo, Manhattan, describing it as his “go-to studio.” He would bring sessions on a FireWire drive to Studio A, which boasted a newly installed 16-channel Neve 8014 analog console alongside Pro Tools HD4 and HD Native setups. Goldstein highlights the seamless workflow enabled by Downtown Music Studios matching their equipment to his own. “Once I was able to open an entire session in my house [and] enter into that exact same session at Downtown, my world just became 100-percent creative.”
The release of Pro Tools 9 with the Complete Production Toolkit 2 was a game-changer for Goldstein’s work on Turtleneck & Chain. He explains that prior to this, limitations in low-latency plug-ins and the complexities of latency compensation hindered the creative process. Pro Tools 9 eliminated these obstacles, allowing him to work fluidly across different Pro Tools formats.
In a more in-depth Q&A, Goldstein further elucidates his crucial role in shaping the sound of lonely island songs. He emphasizes the dual nature of their comedic music: “Best known for the precisely choreographed and over-the-top visual humor of their ‘SNL Digital Shorts,’ the other half of the Lonely Island’s comic equation comprises the music itself.” His task was to refine tracks from various sources into cohesive, polished pieces, navigating tight schedules and logistical complexities while maintaining a streamlined “in the box” workflow.
Goldstein details how he landed the Lonely Island gig, mentioning a connection through Universal Republic and the advantage of being New York-based, like the trio. The in-person interview, a rare occurrence for him, underscored The Lonely Island’s meticulous approach. He notes, “They definitely did their homework. The guys are very into their records, and they know exactly what they want.”
Scheduling mixing sessions around The Lonely Island’s SNL commitments and other projects posed a significant challenge. Goldstein recalls, “Both Andy and Akiva are writers so from Wednesday through Sunday, they’re usually gone. Jorma left the show, but he directs movies and other stuff. And Akiva had a baby in December. So getting those three guys in a room for any length of time was an exercise in frustration and logistics.” Despite these hurdles, in-person sessions were crucial for solidifying ideas.
The collaborative process for lonely island songs involved The Lonely Island acting as executive producers, sourcing beats from various producers in a “standard pop route.” Their summer retreat in Southern California was instrumental in developing concepts and recording vocals. Goldstein describes their unique approach to beat selection and editing: “They picked beats that they liked, married a bunch of concepts to them and bunkered down at the house in Southern California…They would grab a quarter note or an eighth note or a bar, or whatever it was—a half a bar from this section or that section—and create sections out of that.” This unconventional editing required Goldstein to meticulously reconstruct their edits before mixing.
The Lonely Island’s vocal organization impressed Goldstein, contributing to a smoother workflow. He explains, “I was very pleasantly surprised at how well-organized their vocals were—very well labeled. It made the record flow better.” Prior to bringing in guest vocalists, The Lonely Island created reference tracks, even mimicking the intended guest artists. Goldstein notes, “They [did] references for Nicki Minaj or Michael Bolton or Beck, or any of the other guests.”
While some collaborations were pre-planned, others evolved organically. The Michael Bolton feature on “Jack Sparrow” was specifically conceived for him, while other songs were more open to guest artist selection. Once guest artists were confirmed and recorded, Goldstein received multitracks, which he then assembled, reverse-engineered, and mixed.
The Lonely Island’s songwriting process mirrors their SNL sketch creation, with detailed scripting of songs, including inflections and ad-libs. Goldstein elaborates, “They scripted [the songs] like they’d do an SNL script…They script it directly and precisely—down to the inflections, the number of tracks, where the ad libs go. It’s just like a sketch on SNL in that respect.”
The humor in lonely island songs is paramount, even within the framework of polished pop music production. Goldstein emphasizes, “You have to keep in mind that the records are jokes and they’re supposed to sound like these amazing pop records or a grimy Beastie Boys record or Jay-Z, or whomever they’re emulating. But the most important thing is the joke.” This comedic focus influenced his mixing approach, prioritizing vocal clarity to ensure the jokes landed effectively on first listen. He explains, “So first and foremost, you have to get the joke the first time…I had to stay away from certain types of delays I would normally use, or vocal effects, because they would step on the next line.” While The Lonely Island embraced effects, their application was carefully considered to enhance, not obscure, the comedic timing.
Goldstein acknowledges The Lonely Island’s production skills, citing Jorma Taccone’s intentionally lo-fi production on one track as an example. He remarks, “One of the songs is supposed to sound like two guys in a bedroom who just got a brand-new keyboard for the first time. Jorma actually produced that entirely…He wasn’t supposed to sound like Rodney Jerkins; he was supposed to sound like a 16-year-old kid who got his very first MPC, or whatever.” This willingness to embrace and satirize varying production styles is a hallmark of lonely island songs.
The Turtleneck & Chain project coincided with the advent of Pro Tools 9, which significantly impacted Goldstein’s workflow. He notes the challenges of working with large sessions in Pro Tools LE and the transformative effect of Pro Tools 9 in handling complex projects. “Yeah, and that was really great because I was using Pro Tools LE, and some of these sessions were massive with the background vocals by the time I got the tracks…When Pro Tools 9 with the CPTK2 came out, I was able to work in any of those formats seamlessly.”
Goldstein’s commitment to “in the box” mixing is absolute. He recounts his transition from outboard gear to fully digital mixing, driven by advancements in plug-in technology and the introduction of VCAs and trim automation in Pro Tools. “When I committed to going into the box, I fully committed. I was never a hybrid mixer…But I decided I wanted to mix in the box. A couple of plug-ins came out that allowed me to emulate that background noise that you get from consoles and outboard gear…And once VCAs and trim automation became available [in Pro Tools], I just jumped in. Now I am 100-percent in the box—every bit of it!”
Downtown Music Studios’ appeal for Goldstein lies in its accommodating environment, excellent acoustics, and client-friendly atmosphere. He appreciates the seamless integration of his system with the studio’s setup, making it his preferred mixing location in New York City. “It’s very accommodating of my particular way of working. It’s a great-sounding room. The clients love it. I love it down there. It’s my first choice of studios in New York at this point.” He further praises the studio’s facilities and the expertise of chief engineer Zach Hancock.
Goldstein mixed in Studio A, utilizing the Neve console and his preferred JBL 6328 monitors housed at the studio. The studio’s equipment mirroring his own setup minimized logistical hurdles, allowing him to focus solely on the creative aspects of mixing lonely island songs. The portability of his laptop-based setup even extended to mastering sessions at Sterling Sound, enabling on-the-fly vocal adjustments.
Reflecting on the Turtleneck & Chain project, Goldstein highlights its New York City roots and the rewarding nature of working within the local music community. He concludes, “I’m in New York, and I love it here, and it’s starting to pay off, being loyal to the city and the people who are still here. I would never have gotten this gig if I were in L.A.—ever.” This statement underscores the significance of local connections and the unique creative ecosystem of New York City in the realm of music production, particularly for projects as distinctive as lonely island songs.
