1995, and was done by computer and then transferred to magnetic tapes, since the arrangements involved more instruments and the channels at that time were limited. The first recording problems involved the bass guitar. Russo wouldn't approve Marcos Pessoa's work. Trilha found a solution in Arthur Maia, who would refine the desired parts. Bruno Araújo, another Legião Urbana supporting member, also played the instrument, apart from Russo himself. Besides, Trilha recalls having to deal with the unpredictability of Russo, never being able to predict whether he would like something or not. The vocals became another problem: not used to that kind of music (compared to his work with Legião Urbana), Russo disliked the first recording, abandoned the studio for some time and cancelled sessions. He was also lacking confidence due to the accent he believed he had. In order to work his way around it, he took private Italian lessons. By the time of the album's release, however, Russo said in an interview with International Magazine that "their [Italians] singing style is very similar to mine" and that their thematic was similar to that of Legião Urbana, "which is that thing of speaking about ethics, love songs that have a social background... Always that thing of the subject confused with the world, trying to solve the matters of the world". "Passerà" was one of the first songs Russo showed Trilha. About it, the keyboardist commented: Many other songs were recorded (a total of 21 were conceived for the album), however, they didn't have their arrangements ready and were cut from the final track list. They were later finished and released on O Último Solo, his first posthumous solo album. Equilíbrio Distante came out in December 1995, a month before Russo had to return to the studio to commence work on those which would be the last Legião Urbana albums. Cover art The album cover features drawings by Giuliano Manfredini, Russo's son (who was 6 around that time), in textured paper. They depict the Sugar Loaf, the Maracanã Stadium, the Colosseum and the Tower of Pisa (spelled Tower of "Pizza"). The booklet came shaped as a small book per Russo's idea, containing initial letters inspired by 19th century typography. It also had pictures of Russo's ancestors and pictures resulted from his research. The artistic director Egeu Laus said that was the first time a Brazilian album featured such a graphic project.