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The recording of The Love Below began at André 3000's Los Angeles home, using Pro Tools software, in addition to a drum machine, keyboards and various synthesizers. He enjoyed the atmosphere of recording at home instead of a studio, saying to XXL, "it didn't start in the studio because if you have a bunch of people around, they're coming from the party and I'm in there singing falsetto .
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Those vibes didn't match." His initial sessions were hampered by his inexperience with Pro Tools and, unaware how to edit his recordings, he opted to record songs such as "Pink & Blue" in their entirety. Other gear used included an Avalon VT737 SP and AD2055 EQ and AD2044 compressors for his vocals. After creating five songs, he informed Big Boi of the solo project he had been working on. īig Boi had already recorded some songs when André 3000 had contacted him, but after their conversation he decided his next project would be Speakerboxxx. Describing his approach in the studio, Big Boi later commented to XXL, "the idea was just to keep it funky, keep it jamming, it's always bass-heavy. And lyricism, it's all about lyrics, taking pride in your pen and your pad." His favorite song to record was "Unhappy". He spent several days working on "Unhappy"'s hook before driving to his mother's home and playing the song in her driveway, to which she responded enthusiastically. At some point in the recording, the project moved to OutKast's Stankonia Studios in downtown Atlanta, which had been used to record OutKast's previous release and namesake. John Frye, the studio manager and an engineer, would later recognise that much of the media attention surrounding the album's recording was concerned with André 3000 and Big Boi's working relationship and why they had chosen to record separately. He concedes that both enjoyed working solo and were doing so more frequently, but they continued to share and critique each other's music.
John Frye also describes how the format of the projects changed rapidly. Initially intended as two separate solo releases, they decided to merge their work and create a soundtrack album as André 3000 had initially intended. The duo then began preparing to work on a motion picture, but reconsidered and compromised by interpolating background noise into songs, such as the slamming of car doors and footsteps.
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