LDV49.1

At that time, recording techniques were quite different from those of today. For example, the editing was done by cutting the tape with demagnetised scissors, and the splices were made using small pieces of adhesive tape. How did you work during these sessions? It depended on the pieces. Generally speaking, I like to play the whole piece several times, even if I have to do some patches afterwards if necessary. But in some cases, for very fragmented passages, we recorded the piece in sections, which also helped us to change registration more easily. Though the editing process may seem a little ‘home-made’ today, the technicians mastered it very well. The tapes ran quickly, which made it possible to perform the edits with great precision. The choice of takes was made as we went along. Georges Kisselhoff, the sound engineer, had good musical knowledge and did some things himself. I remember the editing sessions: Kisselhoff would start singing. Very well, by the way – he had a fine bass voice. I have excellent memories of this recording, which had a certain ‘amateur’ side to it . . .