in an open C. I tried two or three things and then picked up the baby Martin, which was about a third above his guitar, soundwise. And I turned down the first string to a D, and tuned up the bass string to a G, which made it an open-G tuning, except for the fifth string, which was standard. Did some counter fingerpicking with him, just did a little backward roll, and lucked into a lick. And that turned into that little roll, and we cut it, just Paul and I, two guitars. Then we started to experiment with some other ideas and so forth. At the end of the day, we were still on the song. Garfunkel was amblin' around the studio, hummin’, and havin’ input at various times. They were real scientists. They’d get on a part, and it might be there [unfinished] six weeks later. On my guitar, they had me miked with about seven mics. They had a near mic, a distant mic, a neck mic, a mic on the hole. They even miked my breathing. They miked the guitar in back. So Roy Halee was a genius at getting around. The first time we were listenin', they killed the breathing mic. And they had an ambient mic overhead, which picked up the two guitars together, I suppose. And so, I was breathin', I guess, pretty heavy in rhythm. And they wanted to take out that noise, and they took it out and said, 'Naw, we gotta leave that in.' That sounds almost like a rhythm on the record. So they left the breathin' mic on for the mix. I played Tele on it and a Twelve-string, three or four guitars on it. I was doing different guitar parts. One was a chord pattern and rhythm pattern. Did the Dobro lick on the regular six-string finger Dobro—not a slide Dobro. I never heard the total record until I heard it on the air... I thought: That’s the greatest record I heard in my life, especially after the scrutiny and after all the time they spent on it and breakin’ it apart musically and soundwise and all of it. There was some magic in the studio that day, and Roy Halee captured it. Paul and I had a really nice groove. The song has only one drumbeat, and played during the 'lie-la-lie' refrain. The session drummer Hal