I was deeply involved in the making of the album with Jean-Michel Jarre throughout the recording process.
Technically, I had made the sequencer that you hear throughout the album (the Matrisequencer 250), as well as a drum machine (the Rythmicomputer).
I had designed a method of synchronisation that used a track on the tape recorder to record several sequences synchronised with each other, and always locked to my drum machine.
My sequencer drove an ARP 2600. An input for the ARP keyboard allowed the sequences to be transposed in real time, which not only allowed the sequences to be transposed, but also the pitch of the notes to be modulated while the sequencer was running.
In this way we were able to produce the music in a very unusual way.