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    Because of the limited selection of studio effects then available, sounds had to be created at the source, so we tried different guitars, amps and microphones and various unusual locations in the studio building — recording overdubs for "Street Fighting Man" with Charlie playing an African tom-tom in the stairwell.When recording songs played on acoustic instruments, Glyn would use a mic set-up similar to the one he used with Traffic. While some of my favorite albums were made in huge studios with big budgets, I'm also very excited about records made under less ideal circumstances.You won’t hear it on their recordings or even in their live performances.

    Some songs, like "Sympathy for the Devil", went through many different styles and feels before the band settled on a final version.Mick treated me as a lackey and I was very wary of Keith.Charlie was set up in the permanent drum booth on the right hand side of the studio (seen from the control room), with three other booths built out of screens in the center of the room, to accommodate Mick, Keith and Bill.In the large area in front of the control room window we put the piano, the Hammond organ and a booth for Brian.This still left enough space for acoustic set-ups and overdubs.

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