During six weeks in the studio, The Strokes' gritty sound became the emphasis of the sessions. The band usually recorded songs only once, based on Casablancas's preference for "raw efficiency". RAT effects pedals and overdriving amplifiers were used at times, "taking sounds, disintegrating them and then bringing them back". The band wanted things to be only slightly stressed, with no heavy-handedness in terms of studio effects; only distortion and reverse echo were widely used. Throughout the process, Raphael improvised off the reactions that he got from the group. At one point, he had to cope with the threat of eviction from his Transporterraum studio, but once The Strokes received backing from RCA, time and money were no longer pressing concerns. The label's A&R delegate initially did not like what had been recorded and felt that the album was not going to be professional enough. The producer and the band were given complete control only when Casablancas persuaded the delegate by playing him some of the new material on a boom box.
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