Arctic Monkeys  ­ The Demos vs.

 The Album

Justin Morey
Leeds Metropolitan University
j.morey@leedsmet.ac.uk

1
 and music industry press to addressed by comparing the
Abstract research,   including the   dissemination   by   fans approaches   of   the   two
comparative   technical of   the   band   of   copies   of producers   concerned   and
analysis,   interviews   with demos across MySpace and the   studios   that   they   used.
Arctic Monkeys first album,
the producers, and analysis other   user   generated A   technical   comparison   of
‘Whatever   People   Say   I
of   reception.   The   latter content   and   social some  of  the  recordings,  to
Am, That’s What I’m Not’
approach   leads   to   a networking   sites.   These compare   stereo   image,
(2006) was prefigured by a
discussion   of   questions   of demos,   recorded   between differences   in   spectral
collection of demos, which
authenticity,   in   particular July   2003   and   November emphasis,   tempo,   apparent
were   widely   circulated   by
whether   there   is   such   a 2004   were   given   away   by distortion and phase issues,
fans on MySpace and other
thing   as   an   authentic the   band   on   CD   to   fans will also be discussed. This
social   networking   sites,
recording   process,   and after   gigs,   and   the will lead to a discussion of
and which created not only
how   far   this   can   be subsequent free distribution how far authenticity and lo­
a   substantial   audience   for
perceived   by   an   audience. of   these   songs   over   the fidelity   are   linked   in   the
the   first   album,   but   one
It   is   proposed   to   develop internet was seen by many minds of listeners, and also
which was already familiar
these   areas   more   fully   in commentators   as of how far it is possible to
with alternative versions of
future research. fundamental   not   only   in make   correct   judgments
a   number   of   the   album
building   a   substantial   fan about the recording process
tracks prior to its release.
1 Introduction base for the band, but also through aural analysis.
in   presenting   a   new   DIY
In this paper it is proposed The   Arctic   Monkeys model   for   success   in   the 1.1 Assumptions
to   investigate   the album,  Whatever   People music industry.
qualitative   differences While   issues   of
Say I Am, That’s What I’m The   success   of   the
between the demo and the reception will be discussed
Not  was   released   on   23rd demos   in   establishing   an
commercial   releases,   from later in the paper, I feel that
January 2006, selling more audience  for the band also
the   point   of   view   of   both it   is   appropriate   at   this
than   360,000   units   in   its meant   that   many   of   the
the   listener   and   the point to note my subjective
first week, a new record at debut   album’s   listeners
opinions   on   both   sets   of
producer.   The   paper   will the time for a debut release were   already   familiar   with
recordings,   and   the
also   explore   how   the in the UK. Prior to that the alternative   recorded
assumptions   that   I   had
technical   and   creative band   had   seen   their   full versions   of   many   of   the
made   about   the   recording
process and environment of commercial   release,   ‘I   Bet tracks. As a result, there is
process as a consequence of
the demo studio differ from You   Look   Good   On   The disagreement as to which of
both my listening, and my
that of a larger commercial Dancefloor’   reach   number the   recorded   versions   is
experience   as   a   producer
facility,   and   how   this 1 in the UK singles chart in more authentic, with many
and   engineer   at   a   project
impacts   on   the   finished October   2005.   The   record listeners   preferring   the
studio   which   had   more   in
record.  won   the   prestigious apparent   immediacy   and
common   with   the
Mercury   prize   for   UK spontaneity   of   the   demo
environment   where   the
It will be suggested that a album of the year in August versions   to   their   more
demos were recorded, than
range of research methods 2006,   and   it   was   one   of polished   cousins   that
the   more   “professional”
is   an   appropriate   way   to only   two   albums   released appear on the first album. It
environment   where   the
gain   a   useful   perspective by   independent   record is the intention in this paper
album   was   created.   My
on a recording or series of labels to appear in the Top to investigate, then, how far
subjective opinion was that
recordings.   As   such   it   is 50   Global   Best   Selling these qualities can be seen
many   of   the   demo
proposed   to   highlight   the Albums Chart for 2006. to be affected by recording
recordings   had   a   certain
variety   of   approaches The groundwork for this process,   environment   and
intimacy,   immediacy   and
taken in the course of this success   was   widely practice.   This   will   be
energy  that   was  lost   to  an
attributed in national, music
extent   in   the   album producer   had   allowed   for
2  Reception 3  Authenticity
versions,   despite   being composites   to   be
clearly superior in terms of constructed   from   multiple Although   anecdotal Much   of   the   language
recording   quality   and takes,   with   additional evidence had suggested that used by fans in praise of the
clarity   (particularly   in timing correction employed I   was   not   alone   in   my demos   suggests   that   they
comparison   to   the   digital through   careful   editing   on appreciation of the demos, I perceive   them   as   in   some
distortion   apparent   on   the the   DAW.   This   in   turn investigated   the   responses way   more   authentic   than
demos   in   their   mp3 suggested   the   use   of   click of   fans   to   the   album the album versions. Moore
format). Being aware of the tracks,   possibly   involving recordings in comparison to (2002,   p210)   notes   that
time   constraints   usually changes   in   tempo   to the   demos   by   looking   at authenticity   is   “ascribed,
involved   in   creating   a preserve   dynamic   feel,   to views   posted   on   a   variety rather   inscribed”,   and   that
demo,   I   had   assumed   that allow   for   easy   editing of   fan   forums,   and   also “intimacy…and immediacy
they   had   been   recorded between   takes.   My looked   at   the   critical (in the sense of unmediated
virtually live with minimal subjective   view   was   that reception   for   the   album forms of sound production)
editing,   although   the the   time   taken   on   this where the demos had been tend   to   connote
separation on the vocal and process had sapped some of mentioned   in   the   review. authenticity”.   (Ibid,   p211).
its   staging   suggested the   energy   from   the While   there   was   certainly Moore   (2002)   offers   three
overdubbing   in   a   vocal performances in the pursuit not   a   universal   preference ways   in   which   this
both.   I   had   attributed   the of accuracy, particularly in for   one   set   of   recordings authenticity   tends   to   be
apparent   looseness   or the   case   of   vocal   delivery over   the   other,   there ascribed:
“participatory and performance. certainly   seemed   to   be   a i. The   apparent
discrepancies” (Kiel, 1987) I believe it is relevant to strong   preference   for   a authenticity   of   the
to   the   engineer   not discuss   my   assumptions, number of the demos as the artist’s   mode   of
employing   a   click   track, because while my research definitive version. While it expression   in   terms   of
and   guessed   that   a proved some of them to be is   perhaps   not   surprising his/her own experience,
relatively   humble correct or at least plausible, that hardcore fans of a band unmediated   by
environment, not dissimilar it   also   revealed   some   of would prefer the demos for technological   trickery
to   the   kind   of   rehearsal them to be very wide of the no   other   reasons   than   a or fakery.
room a young band would mark.   The sense   of   ownership   and ii. The validation
typically   frequent,   had producer/practitioner   as   a familiarity,   the   language of   the   listener’s
allowed   the   band   to   take listener   will,   inevitably, used   in   expressing   the experience   through   a
ownership of the recording make   assumptions   about preference   is   in   itself sense   of   connection
space   and   perform recording   process,   and   the interesting.   Words   such   as with the artist’s mode of
unselfconsciously.   The level   of   accuracy   in   my energy,   passion   raw   and expression.
pace   at   which   the   tracks own   assumptions   will,   I edge   reoccur,   as   does   a iii. The   execution
would have been recorded, hope, help to highlight why particular preference for the of   musical   style   or
meanwhile,   had   prevented this   is   problematic,   even vocal   delivery   on   certain genre,   which   can   be
boredom   or   fatigue when   it   is   done   in demo   versions.   The   music perceived to belong to a
becoming   a   problem,   and combination   with   detailed critics   who   express   a tradition   of   artists   to
promoted   the   sense   of technical   analysis.   It   also preference,   also   tend   to whom   authenticity   has
immediacy   and   energy   in leads   to   questions   of   how concur, with the critic Tim previously   been
these recordings. far   the   reception   for   a Jonze   (2006)   commenting ascribed.
The album versions, by recording can shed light on in   his   NME   review   “the
comparison, sounded much its production. tidier  production  here   fails Arctic   Monkeys   have
tighter. I had assumed that to   add   any   more   life   to certainly found authenticity
the   time   available   to   the those   snarling   [demo] ascribed   to  them   under   all
versions”. of   the   above   terms.   The
lyrical   content,   with   much has suggested that there are research,   but   some   of   the Dancefloor’ in the purpose­
use of vernacular language, certain sonic characteristics differences   analysis   has built   listening   room   at
delivered   in   a   regional common   to   garage   rock, revealed   will   be   discussed UMASS   Lowell   revealed
accent,   and   often   in   the and   this   will   be   addressed here, particular with regard the demo to be harsh to the
form   of   a   first   person further   in   the   technical to   how   this   might   impact point   of   ear   fatigue   in   the
narrative   offers   both analysis,   particularly   in on reception. mid range, while the album
“authenticity of expression” relation   to   which   set   of Comparison   of   the version   had   considerably
(Ibid.   p214)   and recordings   belongs   to   this recordings   reveals   that more   separation   of
“authenticity   of tradition   more   than   the staging is relatively similar; instruments   across   the
experience” (Ibid. p220), as other.  two guitar parts are present stereo image, and a greater
do the simple arrangements Further   to   Moore’s most of the time, and both apparent   depth   from   front
and   “live”   sound, discussion, there is another producers   decided   to   pan to   back.   A   visual
suggesting   a   relatively way   in   which   authenticity these   left   and   right   of comparison   of   the
unmediated   style   of can be ascribed to the band, centre   respectively, waveforms   confirms   the
production   to   the   listener. which   could   be   described although   there   is   a   greater demos are louder, as did the
Music   critics   such   as as  authenticity   2.0.   The apparent   width   of need   to   reduce   the   demo
Hasted (2005) have tended nature   of   the   method   of separation of the two guitar version   wav   (supplied   by
to place Arctic Monkeys as discovery of the demos, via parts in the album versions. Alan Smyth) by 4.3dB  for
the next link in a chain of UGC   sites   ranging   from Vocal,   kick   and   snare   are its   highest   peak   energy   to
independent­spirited,   raw­ MySpace to fan forums and positioned   centrally,   with be   consistent   with   the
sounding   bands   after   The peer­to­peer   file   sharing the rest of the kit appearing album   version   for   the
Libertines,   and   stretching networks,   renders   the across   the   stereo   image   as purpose   of   comparative
back to bands such as The demos   authentic   by   being dictated   by   the   hard spectral   analysis.   The
Clash.   Interestingly,   the unmediated   by   the   music panning   of   the   overhead ambience   on   the   vocals   is
band   themselves   have industry   either   in  terms   of mics,   with   the   main apparently   subtler   on   the
publicly   distanced supervision   by   a   producer difference   being   that   the album   versions,   but   more
themselves   from   any or   promotion   by   a   record drum   kit   imaging   is   from noticeable   and   with   a
connection   to   The label   or   other   marketing the   drummer’s   point   of longer decay on the guitars
Libertines,   allying company.   The   role   of   the view   in   the   demos,   and and   drums,   while
themselves   instead   to   the producer of the demos has from the audience point of separation of instruments is
American   garage   rock also   been   largely   ignored, view in the album versions. clearer   on   the   album
tradition,   recent   notable with   even   the   band’s Notable   differences   on versions,   and   the   bottom
exponents   of   which   have wikipedia entry making no listening are that the demo end is fuller. The sound of
included The White Stripes mention of  Alan Smyth in vocal   sounds   brighter   and the snare drum in the demo
and   The  Strokes.  This  can this   context.   As   such,   the louder   in   the   mix   than   its recordings   suggests   that
be   evidenced   by   anecdotal demo   recordings   can   be album   counterpart,   the phase   cancellation   leading
evidence   of   Arctic seen   to   be   the   band’s demo   guitars   are   harsher, to   comb   filtering   has
Monkeys playing covers of version. and the demo mixes sound occurred between the close
songs   by   both   bands   in more   muddy   and   louder kit   mics   and   the   overhead
their   fledgling   live 4 Comparative than   the   album   versions, mics.   This   is   especially
performances,   and   more having been compressed to apparent   in   ‘Mardy   Bum’
recently with a performance Analysis the   point   of   noticeable where   there   are   audible
of The Strokes ‘Take It Or It is intended to produce clipping   distortion.   A phasing   problems   on   the
Leave   It’   for   a   live a   detailed   comparative comparative   listen   of   both drums   in   the   chorus
performance on French TV technical   analysis   of   both versions   of   ‘I   Bet   You sections.   Spectral   analysis
in   2007.   Shepherd   (2007) sets of recordings in future Look   Good   On   The of an excerpt of ‘A Certain
Romance’ confirms that the bypassed,   allowing   this faster.   This   revealed   that demos plus a few early live
album   version   has   less clipping to occur. clicks   were   used   in   the recordings   make   up   the
energy in the “muddy” low demo   recordings,   although collection know as Beneath
mid   250­380Hz   frequency they   usually   seemed   to   be The   Boardwalk,  originally
range,  while the demo has disabled   by   the   final distributed   by   the
more energy in the “harsh” chorus.  It  also  showed  the photographer and friend of
mid range frequencies of 1­ band’s   relative the band, Mark Bull, on his
4KHz.   Comparison of the inexperience,   because website,   but   which
two   recordings   with   a although  they  were  clearly subsequently   became   very
goniometer   reveals   that using a click to keep tempo widely   distributed   across
album version has a wider consistent, they can also be the   internet.   Seven   of   the
stereo image than the demo heard   to   drift   ahead   or demos   recorded   with   Alan
version.  behind   at   a   number   of Smyth were re­recorded for
Shepherd   (2007)   has points.   This   perhaps Whatever People Say I Am,
suggested   that   sonic explains the loose sound of That’s   What   I’m   Not.   In
characteristics   of the   demo   in   spite   of   this future   research,   I   will
recordings considered to be tempo   mediation.   The undertake   a   detailed
in   the   tradition   of   garage Figure 3. Logarithmic spectral album   versions   vary   much examination   of   four   tracks
plot of “A Certain Romance”,
rock   include   a   narrow more   in  tempo,  suggesting as   case   studies,   namely   ‘I
album version, verse 1, bars 1­
stereo   image   and that   they   were   recorded Bet   You   Look   Good   On
4 
significant energy in the 1­ without   a   click,   although The   Dancefloor’,   ‘Mardy
2KHz   range,   which   would the   exception   to   this   may Bum’,   ‘When   The   Sun
allow   the   conclusion   that be ‘I Bet  You Look Good Goes   Down’   (originally
the   demos   are   sonically On The Dancefloor’ which entitled   ‘Scummy   Man’)
more authentic to a garage is   at   a   steady   103BPM and   ‘A   Certain   Romance’.
rock   tradition,   while   the except for the instrumental Of these, the last three were
finesse   of   the   album   in introduction and its reprise all recorded by Alan Smyth
terms   of   frequency   range, near the end of the song. If on   his   fifth   and   final
separation   and   consistency anything,   the   album session with the band on 2 nd
of   ambience   suggests   a versions   are   also   played November   2004,   while   ‘I
grander   production   scale slightly   faster   than   the Bet   You   Look   Good   On
that   might   be   attributed   to demos,   suggesting   that The Dancefloor’ was one of
classic   rock.   The   apparent perceived energy is not due three tracks recorded at the
digital   distortion   of   the to tempo in these cases. previous   session   on   28th
demos also places  them in July 2004. For the purpose
the   more   lo­fi   tradition   of Figure 4. Logarithmic spectral
plot of “A Certain Romance”,
5 The Demos  of   this   paper,   some
garage rock; I had assumed examples of key differences
album version, verse 1, bars 1­
this   distortion   had   been in   approach   and   result   in
4  5.1  Introduction
created   by   file­sharers   in these   recordings   will   be
converting   the   demo   CDs A   comparative   analysis   of Arctic   Monkeys discussed.
to   mp3.   Alan   Smyth   had tempo was also conducted, recorded   demos   on   five
to   discern   whether   or   not different occasions between
shared   this   view,   but   his 5.2 Environment
subsequent   analysis   of   the one   of   the   reasons   for   the August   2003   and
November   2004   at   2Fly I visited Alan Smyth at
original   ProTools   sessions perception   of   greater
Studios,   Sheffield, 2Fly   Studios   on   14th  July
revealed that a limiter plug­ energy   in   the   demo
engineered   and   produced 2008   to   look   at   the
in   had   been   inadvertently recordings   was   simply
by   Alan   Smyth.   These recording   environment  and
because   they   were   played
to interview him about the total   absorption   coefficient AC30 preset in the case of
processes   involved   in of   the   room   suggests   a the rhythm guitar), with the
creating   the   Arctic reverb time of between 0.26 amps used more to give the
Monkeys   demos.   Smyth and 0.35 seconds at 1Khz, band   the   sense   of   playing
was   able   to   show   me   the with   this   time   lengthening together in one room, as not
original   ProTools   sessions at lower frequencies.  all   band   members   always
for the demos in question to wore   headphones.   The
verify the recording, editing drums were recorded using
and   mixing   techniques a  set   of  Shure   drum  mics,
detailed   below.   He   also with   a   standard   set­up   of
answered   supplementary one mic on kick, toms and
questions   via   email   as   my hi­hat,   two   overheads,   and
research continued. 2Fly is a   snare   miked   top   and
situated   within   a   single Figure 2. Live Room, 2 Fly bottom.   Jamie   Cook’s
storey concrete building in Studios, Sheffield (Morey, guitar   would   usually   be
the   courtyard   of   a   large 2008) overdubbed   later   in   the
Victorian   industrial session,   and   vocals   were
building   called   the 5.3 Recording overdubbed   in   the   small
Stagworks,   which   is Process   ­ vocal   booth   using   a   Rode
currently split into a variety Figure 1. Exterior, 2 Fly NT2 mic via a TLA Fatman
Tracking
of   work   units.   2Fly   is Studios, Sheffield (Morey, preamp.   All   sources   were
essentially   1   large   room 2008) At   each   of   these fed   into   ProTools   via   a
with   an   angled   dividing sessions,   three   or   four Soundcraft   Spirit   Studio
It   is   a   basic   and
wall  separating   the control tracks   would   be   recorded desk,   but   were   monitored
functional   working
room   and   live   area.   The and mixed in one long (12­ and processed “in the box”.
environment.   According   to
control   room   is 14   hour)   day.   Drums,
Alan   Smyth,   the   premises
approximately   3.6   x   3m, rhythm   guitar   and   bass 5.4 Recording   &
was originally acquired as a
and   the   live   room would be recorded together
rehearsal   space   for   his Editing   Process
approximately   5.5   x   4.5m, in   the   live   area   with   Alex
band,   Seafruit,   and   the
with   a   small   triangular Turner   usually   singing –   Time   and
studio   still   has   the   feel   of
vocal   booth   built   into   one an inexpensively converted
along   unmiked   while Tempo
corner.   Acoustic   treatment playing   guitar.   It   was
rehearsal   space,   or,   as   he Time   constraints   were
consists  of frames  covered possible   to   verify   this
puts   it,   “it’s   a   bed­sit clearly an important part of
with carpet  and filled with process  by listening to the
basically   with   recording the   recording   process   and
off cuts of climbing jacket drum overhead tracks of ‘I
equipment in it. I thought it final outcome at 2Fly, with
filling   in   both   the   control Bet   You   Look   Good   On
was   homely”   (Smyth, four   live   takes   being   the
room   and   live   area,   and   a The   Dancefloor’   where
2008) maximum that Alan Smyth
large carpet hanging on the there   was   minimal   audible
would record for each song.
rear   wall   of   the   control bleed   of   bass,   guitar   and
The   first   of   these   takes
room.   Various   shelves, vocal. At the time the band
would generally be used to
boxes and discarded pieces had   small   practice   amps,
listen   to   how   the   band
of equipment in both rooms and   while   these   were
performed   the   track,   and
make   for   “a   lovely sometimes   miked   up,   the
then   assess   how   far   they
diffusion”   according   to guitar sounds on the demos
would need the guidance of
Alan   Smyth.   Using were created using the Amp
a click track. According to
approximate values for the Farm   plug­in   in   ProTools
on   DI   tracks   (the   Vox
Smyth   (2008)   during   my On The Dancefloor’ and ‘A produce   a   relatively the   process.   Final   masters
interview with him: Certain   Romance’   both consistent   recording,   and would normally be run off
“If   it   felt   tight,   but   it follow a click until the last bass   player   Andy at   the   end   of   the   day’s
should   be   tighter,   I chorus   and   instrumental Nicholson’s   playing   in session.
would   give   them   a coda   respectively   (at particular needed additional
click,   but   just   for   the 102BPM   and   140BPM). correction   to   improve 6 The Album 
first   minute   or   so.   If   I With   ‘Scummy   Man’,   the timing,   although   both   of
had   to,   I   would   design (drum­free)   intro   was these practices became less
6.1  Introduction
the click track to allow recorded in free time, while common   in   the   later
the   band   to   speed   up the   rest   of   the   song   was recording   sessions   as   the Whatever  People Say I
and slow down”. played   to   a   click   that band’s   experience   and Am,   That’s   What   I’m   Not
changed   tempo   for   verse technical   competence was   recorded   at   Chapel
Smyth   (2008)   provided and   chorus.   With   ‘Mardy improved. Studios,   Lincolnshire   over
further   justification   of   this Bum’,   Smyth   used   a 15 days in September 2005,
methodology   in   a technique   which   he 5.5 Mixing   and engineered by Ewan Davis
subsequent email: describes   as   ‘variable and   produced   by   Jim
Mastering Abbiss.   Much   of   the
“The   reason,   I   didn't click”   where   he   tapped
think   the   songs   ever along   to   the   band’s   initial With the demos, Smyth process   of   tracking   and
sounded   settled   at   the take,   recorded   without   a adjusted the mix during the mixing   is   described   by
beginning   and   for   me click,   and   designed   a tracking   process.   Drum Abbiss in an interview with
the earlier part of a song variable   click   track   which sounds   were   EQ’d   on   the Paul   Tingen   for   the
must settle comfortably replicated the way the band desk prior to recording, but September   2006   issue   of
so that everyone knows naturally speed up and slow any   dynamic   processing Sound On Sound magazine,
when   the   next   beat's down,   but   allowed   for was   done   within   ProTools and he has responded to my
coming!!   (Band greater   tightness   and and   incorporated   into   the additional   questions   about
included!)   Don't   forget consistency between takes. monitor mix from tracking this session via email.
the   band   were   still   17 Smyth   assembled   a onwards. Smyth noted that
and  were   pretty ragged master   track   from   the   2­3 he   liked   to   automate 6.2 The
compression   rates   and
if   left   to   their   own takes   recorded   with   his Environment
devices!   However   it click method of choice and attack   times   “especially
with vocalists that go from Chapel   Studios   is   a
always   sounded   much with   the   integrity   of
loud   to   soft…it   lets   the well­appointed   residential
more   exciting   if   I   let component   sections
thing   breath”.   Any   reverb recording   studio   facility
them go click free when preserved.   Jamie   Cook’s
or   delay   effects   were   also situated   in   the   village   of
they   started   to   pull guitar   parts   were
added within ProTools, and South   Thoresby,
away, there was always overdubbed   (but   this   was
a combination of mastering Lincolnshire.   Studio   1,
a   point   in   each   song due   to   his   daytime   work
plug­ins,   including   Sony where   Arctic   Monkeys
where   this   would commitments   rather   than
Oxford   Inflator   And   EQ recorded   the   album   is   a
happen,   not   always   the any   production
and   Waves   C4   Multiband former   Wesleyan   chapel
same point in each take, consideration) as were Alex
Compressor,   were   applied converted   by   Munro
just   when   it   felt Turner’s  vocals, but again,
to   the   master   bus.   Smyth Acoustics. The live room is
natural”. due to time constraints this
preferred  to send the band approximately 12m x 6.7m
was   generally   a   composite
away   for   an   hour   or   two x 5.5m high with carpeted
Of   the   four   tracks   in of   two   takes.   Sometimes
while working on the final and wood flooring, as well
question in this case study, Smyth   copied   and   pasted
mixes, with them returning as   a   range   of   drapes   and
analysis   of   tempo   showed sections   of   backing   if   the
to   the   control   room   for acoustic screens to alter the
that ‘I Bet You Look Good band   had   been   unable   to
approval towards the end of room ambience and isolate
the sound of the performers of preamps when recording overdubbing lead vocals he comment   about   the
when   recording.   The the band, with half the mics was   “very   quick,   we’d recording process:
control   room   is   5mx   6m going   through   the   Amek generally   do   a   warm­up “"[A]   Certain
and has also been treated by desk   in   the   control   room, take and a couple more  to Romance"   incidentally
Munro   Acoustics   (with and   the   remainder   via choose   between.”   Other my   favourite   song   on
additional   “tweaks”   by Massenburg,   Telfunken   or overdubs   were   not the LP, was recorded all
other   specialists   over   the API external mic preamps. numerous,   and   mainly live   in   one   take.   Alex
years) for optimal listening. The drum recording was consisted   of   “occasional wanted   it   to   be   special
achieved   using backing   vocals,   percussion &   wanted   a   "warts   &
6.3   Recording considerably   more   mics and organ” (Abbiss, 2008) all"   version.   I   was   a
than the demo. Kick drum Having discovered Alan little  wary  of  this, as  I
Process   ­
and   toms   were   double Smyth’s   variable   tempo wanted it to be as good
Tracking miked   in   addition   to track   method   when   I as it could be, but said
According   to   his overheads   and   room   mics. interviewed   him,   I   asked OK lets try it. Myself &
interview   in   Sound   On The   snare   was   miked   top Jim   Abbiss   if   had   had Ewan   (engineer)   then
Sound,   the   process   of and bottom, “with an AKG employed   similar   methods sat   transfixed   as   they
recording the album shared 451 placed at the side of the when recording the album. played an amazing take
some   features   with   those snare   drum,   heavily He replied: with   no   mistakes   all
used   on   the   demos.   The compressed   to   give   front through.”   (Abbiss,
band played live together in and to bass [kick drum] and “A couple of songs had 2008)
one room (including Jamie snare.”   (Tingen,   2006) clicks just at the start to set
Cook,   who   didn’t   have Guitar and bass amps were a tempo and then we faded 6.5  Mixing   &
other work commitments to also   double   miked,   and them   out   of   the   guys’
Mastering
be  concerned  about  at  this vocals   were   recorded   with headphones, but I didn’t do
stage in the band’s career), valve   Neumann   M149 this   with   any   of   the   four   Unlike   Alan   Smyth,   who
but   with   the   guitar   amps through   a   Urei   1176 songs   in   question,   they had   to   track,   mix   and
placed   in   booths   and   the compressor.   Jim   Abbiss were   all   free   time.   Matt master in a day, Jim Abbiss
bass   amp   placed   in   a used   ProTools   for Helders has naturally good was   able   to   conduct   his
corridor   to   provide recording   “as   a   tape consistent tempo.” (Abbiss, mixing   sessions   at   a
separation.   The   musicians machine   and   for   quick 2008) different location (Olympic
had  their  own  mini­mixers editing,   very   much   the Studios,   London)   with   a
to   tailor   their   headphone same   way   people   used Analysis   confirmed different   assistant   (Barny).
mix   to   their   own razor   blades   years   ago”. Abbiss’s   comments, Mastering   was   not   a
preferences.   Alex   Turner (Ibid) although   other   than   the consideration   for   Abbiss,
chose to sing live on a few introduction and its reprise, with  this  being undertaken
by   George   Morino   at
of   the   songs,   for   which 6.4  Recording the remainder of ‘I Bet You
additional   baffling   was Look   Good   On   The Sterling Sound, New York.
Process   –   Time While Smyth had mixed “in
used   to   allow   for   better Dancefloor’   is   at   a
isolation   of   the   vocal & Tempo metronomic   103   BPM, the box”, Abbiss had opted
recording.   The   recording I   asked   Jim   Abbiss suggesting that Abbiss may to go for a manual mix on a
schedule   allowed   for   one about   the   number   of   takes not   have   remembered vintage   EMI   TGI   16
day for the tracking of each he did when tracking each events   correctly   for   this channel console, with some
song,   with   a   day   at   each song   for   the   album.   He song.   He   also   emailed   me sub­mixing   in   ProTools.
end for set­up and breaking thought the average for the back   after   the   initial Abbiss   also   suggested   that
down   respectively.   Jim band was four takes, and if interview   with   an timing   correction   and
Abbiss used a combination Alex   Turner   was interesting   additional editing   was   kept   to   a
minimum:
 “If a take can be nudged quite as consistent as in the “authentic”   in   terms   of shown that while the album
in a couple of places to album   versions.   Similarly, Abbiss   performing   a versions   felt   slower   than
sound   better   while a   combination   of   time,   to traditional   manual   mix, the   demos,   the   actual
keeping all the dynamic correct any phase problems, harking   back   to   standard difference   in   tempo   was
&   sonic   character   of technique   and   equipment studio practice  in the  days minimal. It is worth noting
that   original   “magic” has   led   to   much   clearer before SSL desks and other that according to the band’s
take then I do it rather drum   recording.     Spectral automation.   The   question official   website,   Arctic
than   re­recording,   but differences may be at least does remain, though, as to Monkeys   played   59   gigs
my   goal   is   never   a partly   due   aesthetic how  much  automation and between their last recording
“perfect”   grid­aligned choices, but in the case of other   “in   the   box” session with Alan Smyth in
result”. (Abbiss, 2008) Alan Smyth, it may also be mediation   occurred   in   the November   2004,   and   the
due   at   least   partly   to ProTools   sub­mix   prior   to commencement   of   the
7 Conclusions monitoring   on   nearfield its   break­out   to   the   EMI album   sessions   in
speakers   with   limited   bass TGI 16 desk. September   2005.   It   is   this
definition,   leading   to In   terms   of   the intense   performing
7.1  Recording,
boosting   in   the   more reception   of   the   demos   as schedule,   then,   that   led   to
Mixing   & audible   low   mid   range   to having   more   energy   or the   apparent   tightness   of
Environment improve   apparent   bass passion,   it   is   perhaps   not the   album   versions,   rather
definition,   with   a the recording process itself than   Abbiss’s   technical
Some of the conclusions
consequent  boost in the 1­ that   has   created   these mediation.   This   touring
drawn   from   this   research
4KHz range to prevent the differences,   but   a schedule had also created a
would   be   of   little   surprise
mix from sounding muddy. combination   of   both   the problem for Abbiss, in that
to   recordists   or   producers.
There   is   a   consistency environment   and   activities the   band   had   been
Certain   elements   of   the
of practice across demo and around   both   sets   of accustomed   to   playing   the
sonic   differences   between
album versions, in that the recordings,   and   the   band’s songs   more   quickly   and
the   recordings   can,   quite
majority   of   elements   were development   as   musicians. aggressively   as   their
reasonably, be put down to
tracked   live   into   ProTools Abbiss says in his interview technical   accomplishment
the   range   and   quality   of
in both cases, and a similar with   Sound   on   Sound increased,   which   led   to
equipment available to Jim
small number of takes were (Tingen,   2006)   that   the Abbiss having to work with
Abbiss,   whether   it   be   pre­
recorded,   from   which mics, amps and drums were the   band   to   rein   in   these
amps   and   mics,   or
composites   were permanently   set   up tendencies,   and   take   the
compressors, EQ and other
assembled.   What   is throughout   the   15   days   of sound and feel back to what
outboard. The live room at
interesting is that counter to recording. Given that there had   been   captured   in   the
Chapel   Studios   gave
my assumptions, and those was   minimal   technical   set demos.   Abbiss   confirmed
Abbiss   the   option   of
of   many   fans,   the   album up   during   each   day   of this   approach   to   me   via
recording and incorporating
versions   have   undergone recording,   and   the   band email:
the   room   ambience,
far less technical mediation recorded virtually the same “ It is something myself
although he may have used
by   the   producer   than   the number   of   takes   of   each and   Lawrence   Bell
this   in   conjunction   with   a
demos.     Overdubbing   was song as they had done when [head   of   the   band’s
high   quality   reverb   unit.
confined   to   some   vocal recording   3­4   different label, Domino Records]
Alan   Smyth   had   to   mix
recordings   and   additional songs in a day with Smyth, both felt was necessary.
drums   recorded   in   a   live
percussion   and   keyboard there   is   the   question   of The   guys   had   been
room with DI’d guitars and
parts, and timing correction what was going on in each touring and playing the
vocals   recorded   in   a   very
was  kept  to the  minimum. recording session when the songs  faster   and  faster,
small booth, so it is perhaps
Even   the   album   mixing band   were   not   performing and   in   most   cases   the
not   surprising   that   the
process can be seen as more the   take.   My   analysis   had lyrics   had   become
ambience   doesn’t   sound
 garbled and the grooves some   part   of   the   album I would suggest that the You   Look   Good   On   The
of   some   of   the   tunes recording   sessions   for   the choice   of   location   for   the Dancefloor’   and   ‘Mardy
lost. So I wanted to get previously   demoed   songs album   sessions   had   also Bum’;   it   was   intervention
the feel back and allow involved   working   with   the contributed   to by the band that had vetoed
Alex   to   get   his   words band   to   curb   their   natural performances   that   in   some this   process,   as   they   had
out”. (Abbiss, 2008) urge   to   play   the   songs cases seemed to lack some felt that it would be ripping
harder   and   faster.   It   is of   the   edge   of   the   demo off   fans   to   sell   them
This   process   had   not perhaps   this   factor,   then, versions.   In   my   interview remixed   and   repackaged
been   achieved   to   the rather   than   technical with   Geoff   Barradale,   the versions of songs that they
satisfaction   of   Lawrence mediation,   which   has   lead band’s manager he noted: had already downloaded for
Bell in the case of the song the   audience   to   perceive “It   was   a   town   record free.
‘Mardy   Bum’,   which   had greater   energy   or   edge   in and   we   made   it   in   the
led to the band re­recording the demos, where, although countryside,   which   just 7.2  Producer   As
it while on tour in Germany the band were harnessed to didn’t   fit   –   it   was
Author
on 11th November 2005. As a click track for at least part available  and  we  could
Jim   Abbiss   was   not of   each   recording,   they get it done”. (Barradale, Some   of   these
available   for   this   session, were playing at the limit of 2008) conclusions   raise   the
Alan   Smyth   recorded   the their   technical question   of   the   extent   to
band   at   Telstar   Studios, accomplishment   as This   reveals   the which   either   producer   can
Munich,   again   employing musicians   at   that   time, pressure   on   the   band, claim   authorship   for   the
his   variable   click   track whereas the album sessions management   and   label   to recordings.   It   could   be
method   from   the   demo had   required   a   curbing   of get   the   album   released argued   that   Alan   Smyth,
sessions: this energy. It perhaps also before   the   intense   interest through   his   technical
“Album   version   of suggests   why   a   preference created  in the band by the mediation,   had   shown   the
Mardy   Bum   was has   been   expressed   by   the demos   began   to   dissipate. band   their   potential   at   a
definitely   done   to   a audience   for   the   vocal The   demos   for   an   album point in their career where
variable   click   to   slow performances in the demos; ordinarily   function   as   a their  musicianship  was  yet
them down!  They'd got Alex Turner had developed blueprint   for   the   band   and to quite reach the standard
so   used   to   playing   it a   vocal   delivery   that   was the   producer,   but   in   the that  the demos implied. In
that it was miles to fast suited   to   live   performance case   of   Arctic   Monkeys, this   way,   the   demos   not
and   ruining   the   song. in front of an audience, but they   also   acted   as   a only   provided   a   sonic
The   same   technique   as which had lost some of the blueprint   for   the   audience. blueprint for the band, but a
[the   demos]   was intimacy   of   the   recordings The   awareness   of   this   by template   for   the   live
employed   but   it   was   a realized   in   Alan   Smyth’s both label and producer can performance   of   the   songs.
lot harder as they really cosy vocal booth. This can be seen in their intervention As   Geoff   Barradale
wanted to race away in be evidenced not just in the to   insure   consistency commented:
places”. reception   to   both   sets   of between   the   album “When   you   put   a
recordings,   but   in   Jim recordings and their widely recording   down   it   kind
Abbiss   notes   in   his Abbiss’s decision to use the appreciated   demo of finalises it. Once the
Sound on  Sound  interview demo  intro  to ‘Where  The forebears.   Geoff   Barradale ban   knew   what   the
that there no pre­production Sun Goes Down’, and edit also   revealed   that   Jim songs were going to be,
was done for the album, so it   on   to   the   front   of   the Abbiss had originally been they   had   nailed   them
I   would   suggest   these album version in preference contacted   to   remix   the live   within   a   week   or
comments   from   both to   the   recordings   made original   demo   recordings two”. (Barradale, 2008)
producers would lead to the during the album sessions. for   the   album   release,   and As such, Smyth can be
conclusion   that   at   least had done so for both ‘I Bet seen to have a greater claim
to   authorship   in   his
productions   than   Abbiss. that   would   suggest   these band   and   the   producer,   as for the listener to a finished
The   album   was   a   more recordings   are   the “technical   mastery…is recording, especially if that
collaborative   effort,   with definitive   or   authentic equated   with   artifice” listener is a fan of the artist
different   assistants   for expression   of  the   songs   in (Moore, 2002, p213). Thus, in   question.   This   also
tracking   and   mixing,   and question,   and   yet the   album   version   of   ‘A perhaps   explains   the
mastering   realised   by considerably   more Certain   Romance’   will   be disappointment by listeners
another   person   in   another manipulation   of   these seen   as   the   less   authentic with some of Alex Turner’s
country.   Alan   Smyth   had source   recordings   appears expression   despite   being vocal   delivery   on   the
had   to   fulfil   all   of   these to have been employed than recorded   entirely   live   by album;   it   is   not   an   exact
functions   in   a   highly on the album versions. My the   band   in   one   take.   A match   for   the   demo,   and
compressed timeframe, and study   of   these   recordings careful listen to this version some   of   the   nuances   that
yet his role as producer of has   shown   that   it   is   not reveals  in the few seconds they   have   come   to   know
the demos has been largely until   the   producers   have of silence at the beginning and   love   have   gone
ignored by fans and critics revealed their methodology the   voice   of,   presumably, missing.
alike.   By   contrast,   Jim that   a   true   picture   of   the recording   engineer   Ewan One   issue   of   an
Abbiss   had   the   task   of process can be understood. Davis saying “shall I keep ethnographic   approach   in
creating   an   album   that However,   without   critical rolling?”,   an   attempt my   methodology   remains
remained as true as possible listening, technical analysis perhaps by the producer or the   reliability   of   the
to   the   recorded   version   of and a study of reception, I band   to   inscribe   this witnesses,   not   because   of
the Arctic Monkeys already suggest   that   it   would   be version   as   immediate   and any intention to mislead on
familiar   to   their   audience, difficult   to   formulate   the authentic. their part, but because it is
but with a separation, and a necessary   questions   to Brian   Eno   makes   the quite possible to remember
frequency   and   dynamic unpick   the   recording following   comment   about details   incorrectly,
range   more   acceptable   to process.   I   therefore   offer the studio : especially, as in the case of
radio   broadcast.   As   such, this multi­faceted approach “The effect of recording the   interviewees   here,   two
his   most   significant as   a   reasonable   model   for is that it takes the music or more years have elapsed
mediation   was   to   ensure the investigation of the art out   of   the   time since   the   events   in
that the band remained true of record production. dimension and puts it in question.   But,   like   the
to   the   original   blueprint My research so far leads the space dimension. As model   proposed   by   Davis
established by Alan Smyth. me   to   agree   with   Moore’s soon   as   you   do   that, (2008)   of   the   production
When   Geoff   Barradale view   that   authenticity   is you’re   in   a   position   of analyst   as   detective,   the
described Abbiss as “a safe ascribed   rather   than being   able   to   listen analysis tools available to a
pair  of  hands”,  I  took  this inscribed.   The   demo again   and   again   to   a researcher should allow for
to be indicative of the need version   of   ‘A   Certain performance, to become either   confirmation,   or
for   a   producer   who   could Romance’   sounds   more familiar   with   details reveal  the need  for further
precisely focus his creative authentic   to   listeners you   had   most   certainly investigation.
and   technical   energy   to   a because   the   relative missed   the   first   time
brief,   which   required   an amateurishness of the band, through, and to become Acknowledgement
adherence to an established Kiel’s   “participatory very fond of details that
template. discrepancies”, continues to weren’t intended by the s
shine   through   in   spite   of composer   or   the I   would   like   to   thank
7.3  Methodology   & Alan   Smyth’s   mediation. musicians”. (Eno, 1983, Jim   Abbiss,   Geoff
These   same   listeners   will p127) Barradale   and  Alan Smyth
Authenticity
find the album versions less for   agreeing   to   be
It is interesting that the authentic   by   virtue   of   the This   is   true   for   the interviewed   as   part   of   this
reception   for   the   demos professionalism of both the producer,   but   equally   true
often   involves   language
research, and Dr Bob Davis
References  Kiel, Charles (1987) 
Participatory Discrepancy
Tingen, Paul. 2006. Jim 
Abbiss – Producing 
for his help and advice.
Braidwood, Stefan. 2006.  and The Power Of Music.  Kasabian And Arctic 
Arctic Monkeys: Whatever In Cultural Anthropology, Monkeys. Sound On Sound
People Say I Am, That’s  Vol. 2, No. 3 (Aug., 1987), Magazine. Cambridge.  
What I’m Not (Album  pp. 275­283. Oxford.  Sound On Sound Ltd. 
Review) (Available at:  Blackwell Publishing (Available at: 
http://www.popmatters.co Mella, Pete. 2005. Arctic  http://www.soundonsound.
m/pm/review/arcticmonke Monkeys Interview  com/sos/sep06/articles/jim
ys_whatever/ Last  (available at:  abbiss.htm?print=yes Last 
accessed 12th December  http://petemella.blogspot.c accessed 12th December 
2008) om/2006/11/arctic­ 2008)
Davis, Bob. 2008.  Creative  monkeys­interview­oct­ Unknown Author(s):
Ownership And The Case  2005­l2sb.html (Last 
Of The Sonic Signature  accessed 12th December  http://www.arcticmonkeys.
Or, I’m Listening To This  2008) com (last accessed 12th 
Record And I Don’t Know  Moore, Allan. 2002.  December 2008)
Whodunit. Proceedings of  Authenticity As 
the 4th Art of Record  Authentication. In Popular http://www.arcticmonkeys.
Production Conference,  Music (2002) Volume  com/forum/viewtopic.php?
UMASS Lowell, Dec.  21/2, pp. 209­223.  t=4911
2008 Cambridge. Cambridge 
Eno, Brian. 1983. The Studio  University Press. http://www.arcticmonkeys.
As Compositional Tool. In  Moylan, William. 2002. The  com/forum/viewtopic.php?
Cox &Warner (Eds.).  Art of Recording:  t=4772
2004.  Audio Culture pp.  understanding and 
127­130. New York.  crafting the mix. London.  http://www.arcticmonkeys.
Continuum. Focal Press. com/forum/viewtopic.php?
Hasted, Nick 2005. Year Of  Murphy, John. 2006. Arctic  t=5742
The Arctic Monkeys. The  Monkeys: Whatever 
Independent (Newspaper).  People Say I Am, That’s  http://www.arcticmonkeys.
London. Independent  What I’m Not (Album  com/forum/viewtopic.php?
News And Media Ltd.  Review) (Available at:  t=6031
(Available at:  http://www.musicomh.co (Last accessed 30th July 
http://www.independent.co m/albums/arctic­ 2008)
.uk/arts­ monkeys_1205.htm http://www.arctic­
entertainment/music/featur Last accessed 12th  monkeys.com/music.php
es/year­of­the­arctic­ December 2008)
monkeys­519609.html). Shepherd, Becky. 2007. The  http://www.chapelstudios.
Jonze, Tim. 2006. Arctic  White Stripes, Garage  com
Monkeys: Whatever  Rock, And The
People Say I Am, That’s  Production   of http://www.geocities.com/t
What I’m Not (Album  Retrospectivity. ransporterraum/frames.ht
Review). NME. London.  Proceedings of the 3rd  Art ml
IPC Media. Available at:  of   Record   Production
http://www.nme.com/revie Conference,   Queensland http://www.ghettorecorder
ws/arctic­monkeys/7837   University of Technology, s.com/welcome.html
Last accessed 12th  Brisbane Dec. 2007 http://www.mardy­
December 2008) bum.com/forum/index.php
?topic=104.0
 http://www.mardy­ with   the   permission   of   the
bum.com/forum/index.php copyright   owners,   but   the
?topic=34.0 author   would   like   to   make   it
http://www.mardy­ clear   that   he   has   neither
bum.com/forum/index.php verified   this   nor   used   this
?topic=13.0 website   to   gain   access   to   the
songs in question.
http://en.wikipedia.org/wik
i/Arctic_Monkeys
(Last accessed 12th 
Discography
December 2008) Arctic Monkeys. 2006. ‘A 
Certain Romance’ on 
Whatever People Say I 
Notes   On Am, That’s What I’m Not. 
Interviews Domino
Arctic Monkeys. 2006. ‘I Bet 
Jim   Abbiss   answered   my You Look Good On The 
interview   questions   via   email Dancefloor’ on Whatever 
on 1st October 2008, and added
People Say I Am, That’s 
additional thoughts via another
What I’m Not. Domino
email on the same day. Geoff
Arctic Monkeys. 2006. ‘Mardy
Barradale was interviewed on
Bum’ on Whatever People
30th  September   2008.   Alan
Say I Am, That’s What I’m
Smyth was interviewed on 14th
Not. Domino
July   2008,   and   answered
Arctic Monkeys. 2006. ‘When 
additional questions via email
The Sun Goes Down’on 
between 21st July 2008 and 5th
Whatever People Say I 
November 2008. In this paper,
Am, That’s What I’m Not. 
I   have   attributed   quotations
Domino
made   by   the   interviewees   to
Strokes, The. 2001. ‘Take It 
the speaker in question. I have
Or Leave It’ on Is This It. 
omitted   transcripts   of
RCA
interviews and the emails that
formed   part   of   the   research
process from the references to
protect   the   contact   details   of
the   subjects,   and   because   the
reader will not have access to
this material.

Notes   On
Discography
The demo versions of the
songs referred to in this paper
are  available  at  the  following
website:
http://www.arctic­
monkeys.com/music.php

The   website   claims   that