Jackson Publick describes the Venture Bros. production process in his Comicon Postgame and Production Journal:
Recording takes the better part of a day and leaves me with hundreds of audio tracks to sift through. Generally, I’m given a disk (or two) of the tracks, I take them home or to the Astrobase, load them into iTunes, and start listening. I write down the name of the track next to its corresponding line in the script and then hand this off to our sound engineer. This takes hours upon hours and is often incredibly frustrating. Sometimes because I have to pick between two excellent, different takes of the same line to decide which is funnier, and other times because no matter how many versions I listen to, there just doesn’t seem to be a ‘right’ one. Also, hearing your own voice over a set of headphones, no matter what character you’re pretending to be, is…kind of embarrassing. All attempts to condense this process have been fruitless: 9 times out of 10, the track we thought was the best one on the day we recorded it turns out not to be upon a second, private listen. And lots of times the first take of a track that I recorded eight times because I didn’t think we were getting it right turns out to be the best of the lot. Anyway, the sound engineer takes this marked up script, pulls the noted tracks, cleans them up and trims them, and then lays them all out in script order in Pro Tools. Which brings us to the slug:Slugging in this case (the term means something completely different in most other productions) is the process of editing said Pro Tools project to create a sort of Venture Bros. radio show. I sit with the engineer and more or less imagine what the pace of the show will be. We pull tracks together that were recorded hours apart, overlap them and so forth, in order to try to make the show sound like live conversation. When we hit a part of the script where big action is described, I have to kind of imagine how long that action would take, and we leave that part silent (unless of course henchmen are screaming during the action, or Brock is grunting or something). When our little radio show is all edited and sounds right, we check the time. If it’s over 23 minutes, I have to start cutting stuff then and there. Or, if it’s over but not by too much, I have to at least start seriously thinking about what’s going to be cut during the next two phases: storyboard and animatic.