Episódio 6

The second movement, and a different kind of difficulty. The orchestra is call and response here, and Yvette is answering players who are not in the room. "It's so tricky to match feeling when you don't see people. You have to be psychic."

The workaround is the scratch guitar from the Brooklyn session, pushed up loud enough to hold the rhythm together. It changes her playing immediately: "that's crazy how differently it made me play." It also raises the question the whole session lives under. In a different world she would have been in an isolation booth with the orchestra and that first take would be the record. But then you would have no options, and this series is about what the options buy you.

From there it is tone work and honest self-editing. Keeping a take but killing the run inside it. Pulling the delay off so the chords lock tighter. Chasing the grit back through the chain to find it is the Ruby all along: "that sounds like candy." Then the last tone, the floaty section that will get nudged in the mix rather than replayed, and the sound effect built to swallow the final chord and carry into the next movement.