There was one that we mainly used and then there was one that we really didn’t use a lot because producers would work out of that room, but we were using that room. This was probably one of my first songs working with him. You worked with Seth Firkins on this track. There’s more city life here, and a lot of people that want to be artists and be in the music industry. Back home it’s very simple and slow-paced.
There’s a studio everywhere, especially in the city. I definitely felt like engineering could be my career when I moved to Atlanta and I just saw how many studios there were.
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He really pushed me just to expand my learning within music, whether it was learning how to play the piano, or record, or anything like that.
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I took more to recording at that time because my dad previously was trying to show me how to work Pro Tools and how to record. The program taught us a bunch of different fields within audio, like soldering cables, live sound recording, making beats. I was working for really thought I was good at it and told me I should look into engineering, so that’s what sparked my interest. I would do radio drops for them and we would record on Adobe. What made me first want to become an engineer was working at the radio station, 98.7 KISS FM.
When did you know you wanted to become a sound engineer? In this edited excerpt of her Fireside Chat with Christina Lee on Red Bull Radio, Kesha Lee shares the stories behind the tracks that paved the way for her to become one of hip-hop’s most in-demand engineers. Last summer, Billboard’s Hot 100 chart featured five songs she recorded, including Playboi Carti’s “Magnolia,” Migos’ “Bad and Boujee,” and, of course, Uzi’s “XO Tour Llif3.” In 2014, after graduation, mixtape mavens DJ Drama and Don Cannon hired Lee as an in-house engineer for Means Street Studios, where primary task was to record their oddball Generation Now signee, Lil Uzi Vert, and breakout hits like “ Money Longer.” But as Uzi’s universe and influence grew, so did Lee’s. While still in school, Lee would record Gucci, along with the impressive number of artists he discovered, like Migos and Young Thug. Lee’s big break was when local trap god Gucci Mane added her to the small stable of engineers at his studio. Just five years after learning the basics of audio engineering at Atlanta Institute of Music, Kesha Lee was recording some of hip-hop’s brightest and boundary-pushing young stars.
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