previous albums, A.B. enlisted Selena y Los Dinos band members, Pete Astudillo and Ricky Vela, to help with the writing process. The result included a mature sound for Selena with experimental recording and production than her previous works. It was the final album featuring production and songwriting by Astudillo, who subsequently parted with Los Dinos to pursue a solo career. Recording Amor Prohibido was recorded at Manny Guerra's studio in San Antonio, Texas, and was engineered by Brian "Red" Moore. The production of Amor Prohibido lasted six months beginning on September 17, 1993. The recording schedule was squeezed in around touring commitments and the opening of Selena's boutiques, as Selena's husband and guitarist Chris Pérez recalled: "I don't even know how we managed to find time to make the next album." According to Vela, progress stalled and the band had to rush to finish production because of an approaching deadline. It then took two weeks to complete post-production. Vela said that it was common for the band to rehearse all of the music in advance of the recording sessions, as the band's production sequence remained unchanged for Amor Prohibido. Selena and the band recorded their parts in the studio after they had first perfected them during pre-production. A.B. would then arrange and mix them, using an AKAI MPC60 II for timing and tempo control before studio mixing instruments were used. It took two weeks for Selena to record the album's ten tracks. Pérez provided an evocative account of working with Selena during the sessions for Amor Prohibido. Pérez wrote how Selena never complained in the studio, adding that the singer was never recalcitrant towards changes. Selena would often arrive at the studio during the album's production, "hum her part a little", and then proceeded to the mall informing the band not to worry because she would "know what to do when [the band is] ready to record." Nevertheless, Pérez explained that the band never had to approach Selena on changes in the studio as she disciplined herself and tracked her vocals while requesting a second take in order to "add little harmonies she'd create" during recording. A.B. described his own creative process during the sessions in a 1994 interview with KMOL. He would use a tape recorder to hum a melody before creating a title and concept of a song. If he caught himself humming a tune the next day