Jimmy Page: Having been a studio musician, I’d seen drummers really playing their hearts out, and they’d be in this little booth, which was totally dead so there was no sound reflective surfaces whatsoever, and it would just sound like they were hitting a suitcase. They were quite frustrated when they’d hear the drum sound, even though you weren’t party to hearing playbacks sometimes when you were a studio musician. Actually, you didn’t know who you were gonna play with, ‘cause they’d just come walking through the door. You were a hired hand, and so you didn’t really have any say, and the drummers wouldn’t be able to say, “Well, wouldn’t it be better if…” ‘cause that wasn’t necessarily your job, unless you were asked to. So what I knew was that I could see what a frustrating role it would be for drummers, and a drum is an acoustic instrument, and it has a tone to it, and I knew that in the recordings that I loved from the past that there was certainly an ambience that was used in the drums. It wasn’t just a close mic and no ambience within a room. And certainly with the recording of John Bonham, who was a master craftsman and a genius of drum technique, and his technique of tuning the drums, you could hear them projecting, and it was so important to be able to capture that with overhead mics, you see? It’s not necessarily rocket science, but all of the work that I’d done in the studio, and especially the studio discipline, just really came out, so it was an apprenticeship.