This passion for material realisations also found an outlet in the domain of sound recording. In the second phase of Bach recordings, in the late 1980s, he became fully involved in Igor Kirkwood’s sound balances and was extremely demanding over the question of microphone placement. His infallible ears worked wonders. He modified the positions, seeking the ideal point, until he achieved ‘the sound of the body and the sound of the pipe mouth’. The result is sparkling! 35 ANDRÉ ISOIR
RkJQdWJsaXNoZXIy OTAwOTQx