This is perhaps best put to use on There’s No Room For You Here, a song that sounds somewhat out of place on the album due to its grandiose arrangement. While other tracks on the album like In The Cold, Cold Night and I Want To Be The Boy To Warm Your Mother’s Heart use organs and piano for a fuller and richer tone, no recording technique was more effective in adding scope to Elephant than multi-tracking. With the pitch on the Whammy pedal set an octave down, White’s menacing riff was suddenly given a ton of weight and depth – an effect also used on the opening beats of The Hardest Button to Button. Instead, Jack White used a semi-acoustic 1950’s Kay Hollowbody guitar and ran it through a Digitech Whammy, one of the few post-1960’s pieces of gear used on the album. Released as the album’s lead single, the song’s iconic bass riff was actually recorded without a single bass guitar. This challenge saw the duo incorporate an instrument not yet heard on a White Stripes song: a bass guitar (or so it seemed).įew rock songs in the 21st century have had the impact and legacy of Seven Nation Army a sleek and sinister descending riff that has since been etched into the minds of literally everyone across the globe. The less you do, usually the better it sounds.” Crafting Their Sprawling SoundĬooped up in the retro-tinged confines of Toe Rag Studios, Jack White acted as the producer for Elephant, wanting to specifically explore just how big of a sound two artists could create, while being limited to just eight individual tracks per song.
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Speaking with Sound On Sound in October 2003, Watson spoke on how high-end, modern recording gear can at times negatively affect the process: “You don’t need to f**k around with stuff because if it sounds good in the room, if you’re using the right microphones in the right positions it should sound good in the control room as well. Not only did the antiquated equipment provide the songs with some ham-fisted gritty warmth, it also helped the duo’s streamlined, on-the-fly recording process. Utilising a beaten-up eight-track tape recorder, an 18-input Calrec M-Series mixer and the plethora of weary microphones laying around Toe Rag – including an old STC 4021 microphone more commonly known as a ‘ball and biscuit’ – The White Stripes were able to create fourteen songs over the space of ten days that dripped vintage allure.