So, let’s talk about Rahsaan “Cus” Stephens – he’s like the behind-the-scenes magician in the music world. He’s got this amazing knack for sound engineering that has really put him in the spotlight. From the late ’90s, he’s been climbing up the ladder, impressing everyone with his skills across different music styles.
Think about it, he’s worked with heavyweights like Notorious B.I.G., Rakim, and Ice Cube – that’s some serious street cred right there. But his big moment came when he played a crucial role in shaping Big Pun’s “Capital Punishment” album. It went double platinum and even got him a Grammy nom – talk about leaving your mark!
And he’s not slowing down either. He’s been part of Grammy-nominated projects with stars like Chrisette Michele and Fantasia. His touch on albums like “Milestone” and “Out Of Control” has just added more fuel to his already blazing reputation.
But get this, he’s not just a studio guy. Nope, he’s also killing it on the live scene. He’s been the go-to sound engineer for tours featuring names like Chrisette Michele, Vivian Green, and even R. Kelly. People rave about the quality of sound he brings to the stage – it’s like he’s got some kind of magic touch.
Rahsaan “Cus” Stephens is one of those unsung heroes in the music biz. His talent, passion, and hard work have not only gotten him Grammy nods but have also shaped the sound of today’s music scene. And this exclusive interview feature will spill even more beans on his amazing journey.
BSM: How did you start working with artists like Notorious B.I.G., Rakim, and Ice Cube in music production?
Rahsaan “Cus” Stephens: “Concerning BIG, Rakim, and Ice Cube, I was plugged into these particular artists through producer DJ Clark Kent. I started engineering in ’95 and ran into Clark a few times as an assistant engineer before stumbling upon him in ’97. We spoke in a session, and he distinctly said, ‘I’ma give you a shot.’ From then on, I became his personal engineer. So, anything he produced, I more than likely engineered it.”
BSM: What was it like getting a Grammy nomination for Big Pun’s “Capital Punishment” album? And how was it working with Big Pun ?
RCS: “I was connected to Big Pun through a producer named Domingo. At that moment, I was mixing everything he did. Through a mix-up, there was another engineer booked to mix that session. I alerted Domingo, and he called the office at Unique Recording and switched it over to me. As far as the Grammy nod, I was elated. Truly in a grateful state, especially upon hearing that the album sold well enough for a plaque to hang on the wall. As you see, getting work back then was contingent upon which producer you were connected to. The buck stopped with them due to the power they had to decide who they worked with.”
BSM: What did you do on Chrisette Michele’s albums “Milestone” and “Out Of Control,” and how did it impact your career?
RCS: “As far as Chrisette’s last two albums, I mixed them both. Having a relationship with her management is what brought me to her. For “Milestone,” I was in the room with her executive producer and producer during that process. We were out in Miami at Circle House. For “Out of Control,” I had full control. I was mixing by myself in NY overnight. Each night, I’d show up at the studio at about 10 p.m. and mix until 12 noon the next day. This went on for several days.”
BSM:. Tell me about your role as a sound engineer on Fantasia’s Grammy-nominated album and working with her in the studio.
RCS: “Concerning Fantasia, I was with producer Kwame. We actually didn’t ‘fully’ mix that song. We were sent the vocal session and added the music as just a 2-track mix. The purpose was to see if we could get the placement on the album. Upon submitting it, they loved it. We were expecting further instructions so we may go ahead and mix it. J Records responded that they liked it exactly how it was. Not “mixed,” and just a 2-track music mix. A Grammy nod for that was nice since I am now recognized in the R&B world.”
BSM: How do you approach sound engineering differently for studio albums versus live performances?
RCS: “The approach for studios has similarities to live performances, but a barrage of differences. In the studio, you’re able to take your time and experiment. Live shows are similar to recording a song straight to a plate like in the 1940s… you get one shot! The knowledge of leveling with different dynamics such as compression is one and the same, yet the EQing is a different kind of monster. Not too much boosting of EQ is involved in a live show. You’re mainly ringing out live mic channels by tucking most frequencies to escape any sort of feedback, whether dealing with the monitors on stage or the front of house speakers for the audience.”
BSM: What challenges have you faced as a sound engineer, and how did you overcome them?
RCS: “There are daily challenges. Sometimes, you can be in a situation where you don’t have everything you need, like recording drums, and there aren’t enough mics or mic pre-amps. You don’t know what room you can be placed in. The capabilities of a place can fall short of what’s necessary. A speaker can be blown. Cables can be full of static. Inputs and outputs on a machine may be out. ETCETERA… but you endure. You just do your best. You need eight cables and only have four good ones? Do everything twice to compensate for those four that aren’t working. Just get it done no matter the hassle you face.”
BSM: Share any memorable moments from collaborating with Fantasia, Chrisette Michele, or other artists.
RCS: “I have no memories with Fantasia because she and I never met (although I wish we had. I’m sure it would’ve been a delight). But Chrisette… she was a treat. I’ve recorded Chrisette and have done an entire live tour with her. Phenomenal. By far the greatest voice I’ve worked with. Goosebumps. And I have worked with Marsha Wash, so that says something. Chrisette remade ‘Hello’ by Adele. She has background vocals that are layered in groups of 4 for each voice. A main note… a mid, a high, a low. So, maybe 16 stacks of vocals for each background part. Upon completion, she asked me to remove the music and put it out acapella. Just a lushness of her voice providing the instrumental which she actually sounded like. I once turned to her manager while she was in the middle of recording and whispered, ‘She can’t be human.'”
BSM: What makes your approach to sound engineering unique, and how do you ensure excellence in your work?
RCS: “What may make my approach unique is I try to serve the room I am working in the same energy it gives. If in a new environment, I play a song that I mixed that I know sounds good. This way, I can walk around the room and figure out the sweet spots. When receiving files from a newcomer of a song to mix, I immediately set the song up and route the tracks to how I operate. Most engineers work differently. I take what’s given and set it up to where it’ll suit me so I can start fresh, in a way. This way, I can give my best performance on my terms.”
BSM: How do you balance an artist’s style with your creative input during production?
RCS: “Well… most artists have their method of how they record. Adjusting to their styles is key to getting them to create at the maximum level, almost like me accommodating someone to feel at home. Since I haven’t worked with everyone, I do not know how many operate. Complementing them on the fly where I am clueless as to how they are used to creating is vital. Then, you have to deal with their behaviors as well as their creative juices. It can become a struggle when not on the same page. But, that’s one of the things you gotta acquire which is not in the engineer’s handbook.”
BSM: What are your future career aspirations in music production, and any exciting projects on the horizon?
RCS: “Future career aspirations include a couple of things. I’ve mentored many throughout my career so teaching may be the natural order of things. Possibly overseeing products of labels to ensure the quality is on par. As far as projects are concerned… I got some mixes from an artist named Immaculate. A dope duo with heavy bars. An emcee named Kumbaya on Def Jam. She’s amazing. A few albums in the cut with Frank Lucas Jr. Great music. An eclectic, alternative artist with Marcus Giavanni. A Kwame project. A Greg Nice project. As usual, some cool pop stuff. Too many artists to name with the inclusion of R&B too.”
