Recording of Peter Beyls' It always takes a short time. The work combines tape music and spoken words live with electronic transformation of vocal material. This work is a version for tape alone. The electronic sound material as well as the original sounds were used and structured on 4 tracks. The vocal material, spoken by Herman Sabbe, consists of a textual structure by the Belgian artist Yves Desmet. This material has been intensively manipulated, with particular attention to the purely sonic aspects of language. The resulting sounds are semantically meaningless although a musical compilation of the text content can be detected at times. In the first part, colored noises and textures of gradually increasing complexity were used. The central part is built on the exploitation of sounds similar to those of the percussions and almost at the end of the work a continuum with slight fluctuations in the colors and the dynamics is growing.

Recording of Eduard Artemiev's Peregrine. The composer wrote this work under the theme of "pilgrims" and attempted to combine electroacoustic music with the energy and instruments of rock music. The main sounds in this piece are electronic as well as a soprano voice.

Recording of Barry Truax's Sonic Landscape No. 3. This work was created for four computer-synthesized soundtracks. This piece is intended to create a sound environment that surrounds the listener and envelopes them in an acoustic space of changing dimensions. Most of the sound structures used in this composition are synthesized with the P0D7 program for non-real-time synthesis.

Recording of Peter Tod Lewis's Perpetusa. A 4-Channel Tape Presentation in Four Movements. In electronic music, a typical "patch" (system interconnection) will comprise an audio signal and audio/sub-audio, AC/DC controls, where various parameters of the former are modified at specific points in the signal path by the latter. In the present work, these details may be of interest, in that the signal is one of the source materials for an earlier work, Gestes II, while the controls are voltages derived from Gestes II itself. This principal patch for Perpertusa produced a proliferation of sonic materials so baffling I had at first no idea how to proceed, yet so compelling I was forced to the task. Began with small structural units (which abound in this work, where virtually every moment partakes of a structural gesture) and crept towards larger ones. Towards the end of the work, a "new" idea, as of the sound of horns or tubas, is heard. It is none other than the signal, the source (whose torn and bleeding manifestations we have been listening to all along) at last unmodified. This mournful blare (from the fortress itself) signals the conclusion and summing up.

Recording of Georges Boeuf's Champs.

Recording of Denis Smalley's Ouroboros

Recording of Patrick Lenfant's Syrrhapte

Recording of William Buxton's For Dance

Recording of Lewis Nielson's Traveler

Recording of Alain Savouret's Valse molle

Recording of Iván Patachich's Funzione acustico

Recording of Shoko Shida's Lazy Garnet

Recording of Emmanuel Ghent's Brazen.

Recording of Peter Tod Lewis's Ekstasis

Recording of William Hawley's Wave (for kiyoko)

Recording of Vassilis Risiotis's Eroptycha II

Recording of Knut Wiggen's Deux études

Recording of Rainer Boesch's Drama

Recording of Teresa Rampazzi's Canti per checca.

Recording of Ryszard Klisowski's Cadenza

Recording of László Dubrovay's Kyrie for tape.

Recording of László Dobos's Playing with Piano. The piece consists of six parts and includes electronic piano.

Recording of Manuel Enríquez's Viols II. A stringed instrument, both with and without bow, is the sole source of sound.

Recording of Hubert Howe's Kaléidoscope, for electronic tape.