Elkind knew that a major label would be unlikely to accept a pitch from a woman, so she approached her friend, the distinguished musician, conductor and producer Ettore Stratta, who was then a producer working in the A&R division at Columbia Records, and it was he who successfully presented the project to the label on their behalf, leading to a two-album recording contract with Columbia Masterworks, a deal that lasted until 1986. Crucially, it gave Carlos and Elkind ownership of their recording masters, and Elkind was able to negotiate what she described as "a very nice royalty", possibly because the label didn't have to invest a large sum up-front, and didn't expect that the album would sell many copies. Columbia had launched an album sales campaign named "Bach to Rock,” though it had no album of Bach's works in a contemporary context in its catalogue. They were given a small advance from the label; Elkind recalled they were offered $1000, Carlos told an interviewer they were given about $2500 ), a relatively modest sum, given that the average recording budget for a major pop album at this time was about $10,000. Columbia granted Carlos and Elkind artistic freedom to produce and release the album. Carlos performs with additional synthesizers played by Folkman and with Elkind as producer. The recording process was long, exacting, complex and extremely arduous, because the monophonic Moog could only play one note at a time. Due to the limitations of her equipment, every instrumental part in each score had to be recorded separately, and then each successive part was layered over the previously recorded parts on Carlos' eight-track recorder. All the parts were coordinated by recording each one in time with a click track, which was eventually erased. Remarkably, biographer Amanda Sewell reports that Carlos only rarely wrote down the complex combination of control knob settings and cable connections (or "patches") used to create specific sounds on the Moog, and that she was able to memorize and recall nearly her entire "library" of patches at will. This tortuous recording process was made even more difficult by the notorious tendency of the early Moog oscillators to drift out of tune -- by her own account, Carlos was often only able to record one or two measures of each part before the Moog went out of tune, and she claimed she sometimes even had to bang on the