Stargate then went to work putting Dean’s wailings into traditional song structure. Eriksen worked the box, using Pro Tools, while Hermansen critiqued the playbacks. On Eriksen’s Apple Cinema Display screen, small colored rectangles, representing bits of Dean’s vocal, glowed green, and he briskly chopped and rearranged them, his fingers flying over the keys, frequently punching the space bar to listen to a playback, then slicing and dicing some more. The studio’s sixty-four-channel mixing board, with its vast array of knobs and lights, remained idle, a relic of another age.
