Hendrix was not as confident a singer as he was a guitarist, and because he strongly disliked anyone watching him sing he asked the engineers at Olympic to construct a privacy barrier between him and the control room. This created problems when the studio lights were low, and the engineers were unable to see him, making his visual cues and prompts difficult to communicate. As was the case at De Lane Lea, Hendrix's penchant for using multiple amplifiers at extreme volume drew criticism and complaints from the people living and working near to the studio. Olympic tape operator George Chkiantz recalled: "Sometimes, it got so loud we'd turn the booth monitors off and there was really very little difference." Chkiantz noted that reactions to Hendrix's music were not always positive: "I seem to recall a lot of musicians, a lot of people, saying, 'I can't see what all the fuss is about myself', or 'I don't know how you listen to all that noise; I'd be scared to work with him' ... Chas was convinced that he was on to something. Not everyone was convinced that Chas was right." Another issue that complicated the sessions were the large number of female fans who would show up at the studio wanting to watch the Experience record. As a habit, Hendrix would indiscriminately tell people where they would be on any given day, which led to large groups of fans following him everywhere. Olympic employees were tasked with keeping them under control and at a safe distance so as to not unduly burden the recording process. Chkiantz commented: "It was extraordinary. I worked with the Stones. I worked with the Beatles. I worked with Led Zeppelin. I was not as jumpy; it was not as difficult as with Hendrix. It was something of an open house. Hendrix was not difficult at all, but I personally would have preferred not to have loads of girls lurking in the woodwork."