Out Getting Ribs Amp Settings

Original Gear

Guitar

Fender Standard Telecaster (Mexican / 'MIM'), Arctic White finish, circa late-2000s production — identified as 'Mexican Telecaster' in the published account of Marshall's East Dulwich home demos and photographed on stage repeatedly through the Zoo Kid / early King Krule era (Letterman 2013, Field Day 2013). The often-cited vintage 1960s Fender Jaguar was bought later on a Japan tour AFTER 6 Feet Beneath the Moon and is NOT the guitar on this recording.

Pickups

Stock Fender Mexican Standard Telecaster single coils (bridge + neck) (bridge)

Amplifier

Vox Valvetronix AD100VT (100W modeling combo, 2x12) — the only amp physically documented in his bedroom recording environment via The Guardian photo of his home studio. Clean amp model selected, likely one of the Fender 'Black 2x12' or Tweed voicings in the Valvetronix model set.

Channel

Clean model, gain off

Tuning

Standard E (E A D G B E), no capo. (Some later fan tabs transcribe Open D or DADF#BE, but live footage from 2011-2013 shows standard tuning and the jazzy upper-structure voicings are idiomatic in standard.)

Pickup Selector

bridge

Strings

Unknown

The 2011 Zoo Kid single was recorded in Marshall's bedroom with friends Francis North and Thelonious McCabe. The 2013 album version was co-produced by Archy Marshall with Rodaidh McDonald (The xx, Savages), partly engineered by Andy Ramsay (Stereolab) at his Bermondsey studio, with additional tracking at his mother's house in East Dulwich. McDonald has said his production role was mostly 'amplifying the stuff [Archy] had done as demos, really ripped, just wetted up, reverbed-out stuff' — i.e., the original bedroom guitar take was preserved and polished rather than re-amped. Some producers analyzing the track argue it may even have been tracked direct into an interface with the Valvetronix's spring reverb model on.

Amp Settings

Playing Technique

Hybrid pick/finger attack, light and slightly behind the beat, rubato feel. The track is built on rootless upper-structure jazz voicings — minor 7, minor 9, half-diminished (m7♭5), and maj7 shapes played high on the neck with open B and high-E strings ringing as drones against the fretted notes. Ascending dyad patterns (3-2-0 / 0-2-0 / 2-0 on the top strings) sit over open bass notes. Dynamics are static and hushed; no strumming crescendos. Chet Baker and Bill Evans harmonic influences, which Archy has repeatedly cited. Tempo ~78 bpm, 4/4, ambiguous D major/minor tonality.