it [...] but it grew on me. I really started to like it. [...] But, my first reaction to it was, 'This is really queer'", Rodgers recalled. The producer then "handed [my] apology [to Madonna] and said, 'you know... if it's so catchy that it stayed in my head for four days, it must be something. So let's do it", thus the song was finally recorded. Madonna was very eager to release her work with Rodgers, despite "Borderline" being a top-ten hit at the time; "not that I didn't love Reggie Lucas and 'Borderline' [...] but the thing is, when I put out my first record it didn't really do that well. [...] So it kind of had a resurgence right at the time we were going to release 'Like a Virgin'", she recalled. Of the recording process, Billy Steinberg commented: When Madonna recorded it, even as our demo faded out, on the fade you could hear Tom saying, "When your heart beats, and you hold me, and you love me..." That was the last thing you heard as our demo faded. [She] must have listened to it very, very carefully because her record ends with the exact same little ad-libs that our demo did. That rarely happens that someone studies your demo so carefully that they use all that stuff. We were sort of flattered how carefully she followed our demo on that. Jason Corsaro, the record's audio engineer, persuaded Rodgers to use digital recording, a new technique at the time which Corsaro believed was going to be the "future" of recording because test pressings always sounded consistent. To ensure this, Corsaro used a Sony 3324 24-track DASH recorder, and a Sony F1 PCM adaptor for the stereo mix; Madonna recorded her vocals inside a small, wooden, high-ceilinged piano room at the back of Studio C, also known as Power Station's "R&B room". Corsaro then placed gobos around her while using the top capsule of a stereo AKG C24 tube microphone, with a Schoeps microphone preamplifier and a Pultec equalizer; "that was part of the Power Station way — nothing was subtle and everything had a particular sound", the engineer recalled. Once the track was approved, Robert Sabino added the keyboard parts, playing mostly a Sequential Circuits Prophet-5, as well as some Rhodes piano and acoustic piano; Rodgers also played a Synclavier. Madonna, although not required, was present every