As the workshop progressed, the notion of accuracy evolved, moving from the accuracy of the note to the accuracy of emotion, colour and expression. The same applies to electro, which needs a high volume to bring out the details of a sound, these details making all the difference between a botched work and a sound that is original and personal to the creator. For Christian Sebille, of course, there is no question of doing things by halves, and the fact of cohabiting with untreated and unsound acoustic instruments was a challenge for him. Christian had to get out of his comfort zone, a comfort he found again in part during the stage concert at the Ördögkatlan Festival, where the open-air stage, set up in front of a large audience, required a sound system for all the instruments. This meant that the electro musician found himself in a configuration that was more familiar to him, with the possibility of sound feedback and control easier to implement. And even if the finesse of the playing was there in the various workshops, rehearsals and previous acoustic presentations, this performance with sound showed just how much finesse, modernity, space, sensations, décor and feeling this instrument and its mastery by a virtuoso of this means of expression can bring. For the electric guitar, the challenge was to strike a balance between the volumes of the accompaniment and those of the solo parts. Amplification not only affects the volume of the ensemble but also increases the dynamics of the instrument. The workshop helped us to find the ideal location for the amplifier so that it could play a balanced part in the orchestra, being heard by everyone and sufficiently by the guitarist himself, which led him to find specific nuances in his playing that were refined during the work together. My role was to ensure a balance between all the players without restricting their expression too much. When I was recording the soundtrack, I asked Attila to add a free voice to one of the pieces he accompanies on stage. I asked him to step out of his role and become a rock soloist, using distortion and letting his imagination run wild. This sequence made an undeniable contribution to the film's music as a whole. 127