band recorded Storm the Studio, their replacement debut album, at The Slaughterhouse in South Yorkshire, F2 Studios in London and at Drive Studios. It was mixed and mastered at London's Townhouse Studios. The Sound Defence Policy, presumably a pseudonym for Dangers, is credited for the album's production. Nix Lowrey The Quietus later noted how the material on Storm the Studio was rumoured to be the subsequent resurrection and "reshaping" of the material destroyed in the fire, although the band recreated what their debut album was supposed to have been like on their second album Armed Audio Warfare (1990), which takes its name from the proposed debut album and among its tracks includes alternate versions of several of the songs on Storm the Studio, some in the form of remixes and others in the form of unreleased original versions. Composition Production Storm the Studio makes heavy usage of sampling, with samples being collected onto a Casio DA1 DAT machine and then moved to a fully expanded Akai S1000. Band member Marcus Adams explained that unlike contemporaneous artists who use sampling, who Adams felt were doing it "because it's hip [...] because Public Enemy do it," Meat Beat Manifesto used sampling "because it's a magpie thing [...] it's like pop art. The pop artists used to take other peoples' work and make it into their own, and we see sampling as doing that, we don't see it as 'we'll use that because it's a hip sound at the moment'." Rather than primarily use music as a source for samples and influence, Storm the Studio was influenced by television and uses numerous samples of television shows and news items. According to Adams, the band would occasionally "get a track ready on the sampler so that we can sync that with the timecode, then the sampler is cued in so that when you play a record or tune in the television and as the track is running on, we can make samples which immediately go in time with the track." This allowed the band to capture certain television dialogue samples and edit them unit they were in sync with the track. One journalist noted that "[t]he way in which Dangers and Adams generate samples incorporates a random element - this makes it stranger still that the samples seem so carefully chosen." Jack Dangers enjoyed sampling sources that much of their audience would recognise, hence