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Photograph by Chris McKay/Getty Images for Jingle Ball 2012.

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If you haven’t yet heard the Justin Bieber song “Thought of You,” it is alone a amount of time. It’s the ninth clue on Bieber’s third album, Believe, and while it has yet to hit airwaves as a single, its earworm abeyant is undeniable. There’s article blissful about the way all the sounds appear in and alpha allure together, a alloy of bathetic synths, handclaps, and sirens. The song demonstrates the awe-inspiring mix of bliss and attention that now characterizes pop music: Every agenda sounds focus-group activated and clean-cut to perfection. You get the faculty that the man abaft the clue is allotment composer, allotment gem cutter, and allotment assignment sergeant.

Katy Waldman is a Slate agents writer.

The man abaft “Thought of You” is Ariel Rechtshaid. He is a 32-year-old music biographer and ambassador who has formed with a conspicuously assorted set of artists, including Usher, Cass McCombs, Snoop Dogg, We Are Scientists, Glasser, and Theophilus London. He masterminded the 2005 platinum-selling carol “Hey There Delilah” by the Plain White T’s and is a adept aerialist in his own right: He played guitar and sang for a ska-punk bandage alleged the Hippos in aerial academy and afterwards helped barrage an indie bedrock outfit, Foreign Born. As a producer, Rechtshaid isn’t as able-bodied accepted as Max Martin, Dr. Luke, or David Guetta (they’re the kings of production, he’s still a prince), but a cord of astute partnerships, including an advancing accord with Philadelphia-based hit-maker Diplo, makes him an artisan to watch. He lives in Los Angeles, area like abounding in the business, he uses the audio assembly software Pro Tools to compose, edit, and mix sounds. But, he told me in an account recently, he’s additionally abounding his flat with added old-school technologies: guitars and synths, boom machines, and analog recording equipment. “I’m big into arena and recording everything, afresh reviewing it, acid out moments that feel acceptable and bringing them together, aloof seeing what comes of it,” he says.

While Rechtshaid’s songs accept the deliberate, micro-managed feel of a lot of avant-garde pop music, they appear about through experimentation. Rechtshaid builds songs from the arena up, afterwards a accurate eyes in mind. He describes messing about with chords on the piano or guitar, about throwing in boom tracks, active aggregate through assorted distortions. One of his rules is not to echo himself. That agency aggravating to outrun not alone the alleged “formula”—a archetypal hit’s blueprint adventure through intro, verse, pre-chorus, chorus, lift, bridge, and outro—but his own instincts. “I accomplished at a assertive point that aggregate I knew, all my intuition, consistently got me to a abode that I could predict,” Rechtshaid explains. “That’s beneath alarming than aback article capricious happens.”

What’s the best abnormal song he’s anytime formed on? He credibility to “Climax,” by Usher, which he describes as “all astriction and absolute little release.” Restless for a apathetic jam but cogitating for a club track, the song throbs and smolders instead of “arcing” like a accepted R&B tune. (It additionally aloof claimed the cardinal three atom on the Pazz and Jop 2012 Singles chart).

But on a basal level, Rechtshaid says, advancing the capricious aloof comes bottomward to authoritative counterintuitive choices sound-by-sound—reaching for sample B aback he wants to use sample A. That he takes pride in rarely deploying the aforementioned complete alert shows how far pop music has appear from the canicule aback every hit consisted of guitar, drums, bass, and maybe keyboard. (For comparison’s sake, today’s accepted audio assembly software includes added than 75 basic instruments. These can be adapted to actualize bags of sounds—not counting all the sounds you can aggregate by recording absolute instruments, active them through filters, and applying assorted furnishings such as fades and echoes. A distinct agreement on Pro Tools can abutment up to 256 accompanying tracks, and the archetypal pop accident layers at atomic 30. Overachievers like the Pink song “Raise Your Glass” absorb added than 90.)

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As a music fan and as a producer, Rechtshaid is genre-fluid. He loves Nirvana and Kurt Cobain; he admires Britney Spears for absolution songs that feel “clear and abridged and 100 percent communicative.” Some of his heroes accommodate the Ramones, Fleetwood Mac, and Joy Division because “they accept their own sounds” and “when the song comes on you can acquaint whose it is.”

At times he comes aing to abstinent that his own works allotment any artful at all. He believes his job involves accepting central a band’s headspace and channeling its appropriate spirit—because “every artist, every project, should be unique.” If a accepted affair does breathing his work, it may be some adaptation of Ezra Pound’s admonition to accomplish it new. “I strive to actualize music that doesn’t complete like annihilation else,” he says. (At one point I ask him how it feels to reinvent the caster every time he sits bottomward to write. He replies that it’s apparently not acceptable for his brainy health.)

As for the hits themselves, anniversary one has its own agent story. Sometimes an artisan will alarm and appeal a clue from scratch. Sometimes the alarm comes afterwards Rechtshaid has already been dabbling with a few account and has a portfolio to vend. Sometimes he brings an artisan what he thinks will be a admirable fit and the artisan rejects it. Sometimes, afterwards that, the two activate an ad-lib brainstorming affair that produces radio gold.

“Thought of You” arose in a about contingent, adventitious way. According to Rechtshaid, he and Diplo accustomed a alarm from Usher requesting a meeting, so the two of them began alive up a ambit progression and some boom tracks. Aback they played the alpha song for the star, though, anybody agreed that its accent acquainted hardly too bright. Usher, who is aing to Justin Bieber, gave Rechtshaid his absolution to present the clue to the Bieber camp. Admitting Rechtshaid didn’t apperceive abundant about the Canadian sensation, he accomplished out to the singer’s aggregation aloof afore jetting off to the Caribbean to almanac reggae with Snoop Lion. The day he got back, he rushed into his aboriginal Bieber affair with actual he hadn’t accustomed abundant anticipation to for weeks. But none of that mattered; Justin admired “Thought of You”; Rechtshaid went home the aforementioned day and began tightening, cutting and abacus effects. A few canicule later, he recruited Eric Belinger to address the top band (the melody and lyrics), some of which Bieber would adapt and riff on during recording. The accomplished affair came calm “remarkably quickly,” Rechtshaid recalls.

Courtesy Ariel Rechstaid.

But what absolutely goes into a hit like “Thought of You”? For Allotment 2 of our interview, I best out a few of the song’s best arresting sonic elements and asked Rechtshaid to explain how he accomplished that sound.

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Slate: Any accepted comments about your goals for the song afore we get to the specific sounds?

Ariel Rechtshaid: I was attempting to amalgamate elements that didn’t fit. Dreamy guitars with actuality claps, pitched dancehall airhorn with babyish voices, affiliated rhythms with disco orch hits, blue bass with a lot of distortion. In the end it was a appealing awe-inspiring track. Fun but unusual. Eric Belinger absolutely angry it in with a cool addictive top line.

Slate: Great. I’m activity to ask you about the sounds that action at assertive credibility in the song.

Slate: The song starts with a afresh agenda that’s array of a adroit drone. 

Rechtshaid: It’s a guitar bend angled with an ARP Solina (string synth from the ’70s).

Slate: Afresh there’s an aftereffect that sounds like a animal articulation crescendoing. 

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Rechtshaid: It’s a about-face bang of Justin adage the aboriginal chat (“girl”).  It’s accomplished by abandoning the chat (“girl” in this case), press a reverb off of the antipodal word, and afresh flipping the reverb around. The end aftereffect sounds like a apparition abscess up and the chat (“girl”) boring forming.

Slate: A bass band comes in with Justin. It’s absolute crackly.

Rechtshaid: It’s a bass guitar heavily adulterated through a bottomward pedal. I use ZVEX bristling behemothic to accomplish what you alarm the “crackle.”

Slate: At the aforementioned atom again. Are those handclaps? Why handclaps?  

Rechtshaid: Yes, I was messing about with rhythms and anguish up putting the catch on the upbeat, kinda like a actuality thing.

Slate: A bit later, a low, alveolate complete is alternating amid two notes.

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Rechtshaid: That’s a few things calm aperture up in a filter:  My voice, guitar, piano, and some synth pads are all aggregate together.

Slate: In the pre-chorus—is that a kid’s articulation shouting yeah?

Slate: At the alpha of the additional verse, I apprehend an ethereal, afloat effect. I anticipate it’s captivation one note, but the accentuation is alteration as the ballad continues.

Rechtshaid: That’s my articulation angle up and bottomward amid two addendum singing “ooh.”

Slate: During the bridge, a lot of the layers band away. What apparatus makes those bell-like ambit sounds?

Rechtshaid: It’s my Mason and Hamlin cocked piano filtered and with reverb.

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Slate: What’s accident with the siren appropriate afore the choir comes aback in?

Rechtshaid: That’s a complete that accidentally came out of my Prophet-5 synth. Love the alternation of old analog synths.  It makes advancing up with new account easy.

Slate: What about the cyberbanking beeping addendum against the end?

Rechtshaid: Added fun with the Prophet-5.

Slate: Acquaint me about the attachment complete that finishes it out.

Rechtshaid: That is a archetypal dub/dancehall air horn cut up and pitched up gradually. I like how it brings the song to a close.

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This account has been abridged and edited.

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