It's a good luck charm". The album was primarily recorded at Stankonia Recording Studio in Atlanta, Georgia, the studio used by OutKast for their previous albums. Additional recording took place at The Dungeon Recording Studios, The Slumdrum Dreamhouse, and King of Crunk in Atlanta, Dungeon East Studios in Decatur, Georgia, Instrumental Zoo in Miami, Florida, and Kush Studios in Palm Island, Florida. Big Boi discussed the Stankonia studio's environment in an interview for "The Guardian", calling it "comfortable but gritty enough to get you in a state of mind of being raw and ready to kill stuff", while noting that the sessions were accompanied by "some candles, a little red light, maybe some crunk juice and a cigar; every now and then perhaps a little 'purple'". While searching for a new record label, he completed recording for the album. The album was mastered on May 27, 2010. In an August interview, Big Boi said that he planned to co-produce each of the album's tracks, with production also being handled by Organized Noize, Boom Boom Room Productions, Scott Storch, and Lil Jon. Noted for using synthesizers, electric pianos, samplers, and drum machines in his music, musician and frequent OutKast-collaborator Sleepy Brown contributed with production as a member of Organized Noize and with vocals to several tracks. Big Boi has said that he incorporated various musical elements to the album, with "something from every genre, every funk, beat, loop, horn, whistle. We got it all on the record". He has described "Sir Lucious Left Foot" as "a funk-filled extravaganza! You know, layers and layers of funk with raw lyrics and a lotta honesty". Big Boi also worked with other guest artists, including Jamie Foxx, T.I., and B.o.B. André 3000 was to appear on three tracks, and produce a track for Yelawolf. Big Boi was introduced to Yelawolf's music through his younger brother and invited him to record after seeing him perform. The track "Follow Us" features Vonnegutt, an act from Big Boi's Purple Ribbon label. He originally proposed a rock-influenced track for Yelawolf, but was persuaded by him to send the instrumental for "You Ain't No DJ". According to Yelawolf, he "wrote like 64 bars and turned in the huge verse", which was edited down to 16 and eight-bar parts of his original verse for the finished song.