had changed his mind, although later interviews with Bowie suggested otherwise. While producing other Bowie records, Visconti found that new ideas were flowing at a consistent basis and because of this, sometimes they tended to be forgotten. In order to counteract this, he kept a two-track tape running at all times. Murray recalled: "Tony had the insight to see what was happening in rehearsals so he just switched on the tape machines and let them run." Visconti himself later recalled: "It came in handy so many times...because we'd get lost. We'd start with an idea then go in the wrong direction, and after an hour we'd say 'How did this start again?'" During the sessions for Low, Visconti became frustrated with the lack of studio staff present at the Château. At Hansa however, he was assisted by in-house engineer Eduard Meyer, whom Visconti recalled was critical in maintaining a positive atmosphere. Likewise, the mood during "Heroes" was brighter and more optimistic than the sessions for Low. Bowie in particular was in a healthier state of mind. He and Visconti would travel around Berlin frequently and one on such occasion, they met Antonia Maass, a local jazz singer who would go on to provide backing vocals on "Heroes". Recording process According to biographer Thomas Jerome Seabrook, the recording process for "Heroes" began at a very quick pace, following along from Lows process, with the basic backing tracks for side one being completed in just two days. Although he fed Davis's drums through his Eventide H910 Harmonizer on Low, Visconti used it sparingly on "Heroes", only during the mixing stage, and as such, the drum sound is atmospheric to the room; Davis also added congas and timpani to his set to take advantage of the large studio space. Visconti gave high praise to Davis, calling him "one of the best drummers I've ever worked with," further calling Alomar and Murray "amazing musicians...you'd just throw a few chord changes at them and they'd run with it." In an interview with NME later in the year, Eno said the initial phase of recording was "all done in a very casual kind of way." Bowie gave "very brief instruction", then the band would play. Hesitant at first, Eno found the process surprisingly effective, with most tracks being done in one take. Eno stated, "We did second takes, but they weren't nearly as good." Overall, Eno