As a young band you have pride in being able to do that, but by your third record you naturally want to start crafting things in the studio.

A good reason for these unusual sounds is to avoid doubling, unless it's for a deliberate desire for something special. I brought my Eventide 2016 to Rancho, which is a great, versatile, variable reverb. I love how much of an infiltration that stuff is.”So what, then, about the apparent QOTSA influences in various songs? I wasn't confident initially that I could cut it, but I just went for it, and picked the microphones and the microphone preamps and instruments, and before I knew it I was engineering and mixing.”All contents copyright © SOS Publications Group and/or its licensors, 1985-2020. So how would he tackle a move into the producer's chair with British indie superstars Arctic Monkeys?Josh Homme and the Arctic Monkeys share a love of distorted guitars and rocking out, but other than that they come from completely different musical universes. So that was really useful for cleaning up the sound here and there.”Homme's Pink Duck studio looks, according its owner, like a "bordello from the cowboy days” on the inside.Homme signed off at this stage, as his presence was demanded for other projects, which is why James Ford produced the band during the Mission Sound sessions. I can do that as well, but you'd better be a good band! I have a bunch of reel‑to‑reel tape recorders at Pink Duck, and often will rent a Studer half‑inch on which I'll put a four‑track head, to record stuff on, typically drums, percussion and bass, and dump that into Pro Tools.

He too found himself thrown into engineering because he wanted to have more creative control of his work. I respect that eagerness to craft songs. I brought my Decca mastering limiter, and a Neve 33609, and some of the Thermionic Culture stuff, like the Culture Vulture and the Rooster. Another area we worked on that they hadn't tried was in applying the kitchen sink idea to a track like 'The Jeweller's Hands'. So I played and sang a thing or two here and there on the record, but it was not really for me to do.

In fact, there are three songs that are so good that I could not believe that they are not on the record, and they were also the fastest songs. "For as long as I've known the Monkeys, they've always wanted to play that most dangerous of games, which is to grow and change with each record that they made, while retaining their sense of themselves at the centre of it. If you risk nothing, you get nothing. The frenetic rhythms have been greatly slowed down, with the band instead doing a lot of slow, low‑down riffing, and often striding waist‑deep into prog‑rock territory.

But there's a way to do all things. The latter aspect may have to do with the presence of Johannes, who also travelled to New York, at the request of the band, for the sake of continuity.Johannes: "I couldn't really bring a lot of gear to New York, so I kind of interpreted the aesthetic with whatever gear was there in the studio. Afterwards there was more exploration and carving of the many textures and layers that the guitars and other instruments could offer.”Homme: "For the Monkeys, the best thing in the studio is to play together as a quartet.

Arctic Monkeys arrived in 2005 with a blast. And the staging point for something classic is to find a weird chemistry, so that just the meeting in itself is a story to be told. "You're constantly enticed by labels and fans to sort of mimic yourself.

So I said: 'You bastards, you are going to make it seem as if I was the one that got you to slow down. One is called 'Catapult', which to me is the pinwheel between their last two records and this record, because it has a foot in each territory musically, and it has more hooks than a bait shop. but I always recorded myself as a kid, using reel‑to‑reel tape recorders, sound‑on‑sound techniques, early Portastudios, and so on, and I always managed to catch an amazing vibe and feeling and spontaneity in the process. The studio also had a nice 24‑track tape machine, and I tracked the rhythm section — bass, guitars, drums — live to tape, and loaded it into Pro Tools, comped takes together or kept the whole take. Also, we have this saying in the Queens which goes: 'This is where most bands stop, and this is where we start.' I used the Heil PR30 on the electric guitars, because it has a nice crunch to it, or again the Sigma, sometimes a Coles ribbon, sometimes the Violet Designs Amethyst. There is great stuff made now, and there was certainly great stuff made then. It's filled with gear that I have been collecting for a long time. "Josh and I are really into engineering,” agrees Johannes, "and over the years we have worked together on many projects, from the Desert Sessions to QOTSA's album Era Vulgaris. The three tracks on the album produced by Ford are in the same vein as the Homme‑produced material, both musically and sonically. A few plug‑ins were really useful, like the Izotope Vinyl plug‑in, which changes the frequencies to emulate old records. More recently, singer Alex Turner and fellow band members Miles Kane and James Ford pursued their love of '70s orchestral pop as The Last Shadow Puppets.Throwing Homme and the Arctic Monkeys together was always going to result in something unusual, but few people will have been prepared for the Monkeys' third album, Humbug.

You don't know anything if you have not tried it or are just too scared to do it. "Much of the slowing down and the expanse came directly from the band itself.

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