When he recorded, he set the mic where the guitar breathed best: a few inches from the sound hole angled toward the pickguard, so the rasp of his thumb and the shimmer of the treble strings would both be present. He played standing, because he wanted the guitar's body to move with his chest. He made three takes. The first was tidy but cautious. The second unfurled like a conversation. The third was where something happened — not virtuosity, but the tremor that comes when your hands remember an exact moment and your heart follows.
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