Recording of Diego Dall'Osto's Digital Secrets. This work is separated into six movements titled with roman numerals and was a commission of the Goteborg Opera House, for the homonymous ballet of Jacopo Godani. The composition is based on rhythmic formulations characterized by brass and percussion timbres, manipulated by computer processing.

It makes use of the MIRY program which allows the computer to " listen " and response to the actions of the clarinetist. The software creates rearticulations and transformations of the musical material it " hears " from the clarinet thus creating a real-time improvisational dialogue between the performer and the computer. Despite the limited capabilities of small computers, the system is able to produce interesting musical responses by focusing on perceptually salient aspects of the live performance. The computer only deals with the simplest and most basic musical elements - patterns of pitch, dynamics, and durations, yet these sufficient resources for musical interaction with a live performer. A digital eclogue explores a series of textures articulated by changes in orchestration and levels of clarinet activity. The clarinetists is free to interact improvisationally with the computer's responses - establishing a unique relationship whereby the performer is both determining and responding to the output of the computer.

This work was premiered September 15, 1984, as winner of the 1984 Newxomp Competition. It is the second of three pieces which together form a set. The piece is dedicated to my daughter S. Michelle, whose singing voice provided a model for many of the synthetic voices, and also to my old friend and teacher, Mr. John R. Brasher.

Recording of Manuel Rocha Iturbide's Atl. This is a work for digital tape, and the sound of the piece were made digital audio software Turbosynth and Sound designer. It was mixed down in a 24-track studio at the Center of Contemporary Music of Mills College. The composer states, "By means of transforming and working with the same sound object, I arrived to the conclusion that I could open and reveal it through time. The methodology of working with only one sound would define then the structure of the whole piece, and would give coherence to the composition in terms of timbre. My first experience in this direction was with my tape piece ATL, where I made all the sounds except one, starting from the manipulation of a 7 seconds sample of a small water stream. Other composers have made pieces with water sounds which are very compelling, but non that I know have made a spectra-morphological research about a portion of a water stream sound. In this way, all the micro-characteristics of the original sound object as it's chaotic rhythm and its hidden spectral qualities are enlarged. In a way, this works exactly as fractal theory in Chaos, where micro …

Recording of Gonzalo Biffarella's Alf Tia (para flauta y soporte digital). Alf Tua is a work for transverse flute and electronics. The electroacoustic part is composed entirely of sounds that we had previously searched for and recorded together with the flutist. In the live version the instrumentalist plays along with the playback of a CD.

Recording of László Dubrovay's Concertino für digital klavier und digitales orchester. This Concertino for piano and tape uses a special tuning system (36V2; 1/6 tone). In this version, the piano uses three differently tuned strings for one note. The orchestration is produced by a Yamaha DX II FD synthesizer under the control of a Macintosh computer. The piece consists of three movements, like a traditional concerto. All chords are precisely determined.

Recording of Alcides Lanza's Ektenes III. For clarinet, tape, and digital signal processing. The tape part was realized by recording clarinet tones, multiphonics and short improvised sequences in digital format and then processed utilizing an Akai S1000 digital sampler and the software programs Sound Designer II and Audiomedia II in a Macintosh computer system. all pre-recorded clarinet sounds were performed by Jean-Guy Boisvert.

Recording of Bill Schottstaedt's Mars Music. “Mars Music” was composed at the Stanford University Center for Computer Research in Music and Acoustics during Autumn 1978. It was realized on a System Concepts Digital Synthesizer using programs written by the composer, among others. The only synthesis technique used is frequency modulation. Broken into three pieces, it was used along with music composed by Michael McNabb, as the soundtrack of “Mars in 3-D,” a National Aeronautics and Space Administration film directed by Elliott Levinthal, of photographs taken by the two Viking Mars Landers. “Mars Music” was realized on the System Concepts Digital Synthesizer, a powerful music synthesizer acquired by the Stanford Center for Research in Music and Acoustics. The only means of synthesis used is frequency modulations. The synthesizer was controlled by two digital equipment corporation computers—a PDP-6 and a KL-10.

Recording of Gliniak Bartlomiej's Neumo Progremodum. This work was composed in two stages: the beginning stage was creating synthetic sounds and the second stage would be electronically manipulating them. The technical processed includes digital sampling, digital sound synthesis, and electronic effect processors.

Recording of Michael Longton's Frédéric. The source material for “Frédéric” is the last movement of Chopin’s Sonata op. 35 in B-flat minor. The movement in its original form may be one of the first musical essays on the phenomenon of “critical speed” at which music shapes or events may lose their identity and merge with the surrounding field while conversely, other shapes may emerge from the field. “Frédéric” simply explores – in its not particularly systematic way – the geography of this frontier. “Frédéric” was realized at the electronic/computer-music studios of the University of Victoria, using the “Synclavier” synthesizer manufactured by New England Digital Corp, of Norwich, Vermont, USA. This is a mini-computer-controlled digital synthemixer with 16 digital oscillators and four-channel output. Data may be input either from a terminal or from a keyboard (in this case only the keyboard was used). The material was mixed through a TEAC mixing board and recorded on Scully and Teac tape machines (2, 4 and 8-track). A DBX noise reduction unit was used at all stages except the final mic. Recording tape was Scotch 206 and 207.

Recording of Manuel Rocha Iturbide's, Frost-clear energy saver. This piece is made from digital manipulation of a sample recorded from the motor a refrigerator. The fundamental hum taken from the refrigerator is a fundamental note for the chord structure. The sounds hear from this recording include digital tape, double bass, and amplified refrigerator.

Recording of Carlos Cerana's Huellas digitales (Digital tracks). This work is for B-flat clarinet and tape. The The electro-acoustic sounds have been obtained by means of digital processing of clarinet sounds performed by the author. These are the tracks to which the title refers. The work consists on five sections, named upon the fingers. The original title is also the Spanish idiom for "finger prints".

Recording of William Kleinsasser's In the tube. This work explores the world of sound that results from digital transformations of saxophone performance. There are jets of air, flutters, multiphonics, and clicking sounds. The manipulations were using MAX as a control for a digital sampler/panning and MIDI-controlled reverb unit.

Recording of Patrick Fleury's Reflux. This piece was completely generated on the New England Digital System at Marseilles. Then, the composer transformed all the basic materials in the analogy-mixing studio at IPEM de Gent. Studio of realisation: Groupe de Musique Experimentale de Marseille for the generation on New England Digital System. Institute voor Psychoacustica en Elektronische Musiek for all treatments and mixing.

Recording of Egils Bebris' Mercurial sea of voices fluttering. This work metaphorically suggests the idea that one has fallen in the river and is being swept downstream into the ocean. There are six movements: The Fall, Immersion, Mercurial Stream, River, Ocean, and Flood Tide. All the sound materials originate from a solely the human voice. The technique includes digital sampling, MIDI controlled digital signal processing though software algorithms.

Recording of James Dashow's Disclosures for cello and computer performed on cello by Francesco Dillon. Disclosures was composed for several cellist friends of the composer; the computer part was realized at Centro di Sonologia Computazionale (CSC) of the University of Padova using the composer's version of the MUSIC360 program for digital sound synthesis (B. Vercoe); post-synthesis digital mixing was completed with ICMS (G. Tisato). Disclosures has been recorded on a NEUMA CD, Boston, MA., with Francesco Dillon, cellist.

Recording of Pablo di Liscia's Alma de las orquestras. This work uses computer generated sounds. The timbral development of this work is based on exploration of the diverse degrees in affinity arisen from the mixing of digital transformed acoustical sounds, and synthetic clones of them by the other. Decomposition of digital recordings is used (orchestras playing compositions by Schoenberg, Mahler and Debussy) mainly through band-pass filters, and the further spectral reconstruction. The materials generated were mixed and spatialized to produce several layers of considerable complexity.

Recording of O Powers' Gamma Orionis. This piece is based on the metaphor of a journey through different regions of sound. There are seven regions, starting in Cityscape (with its Domes, Power Plant, and Spires), and moving outward through Wasteland, Dark Forest, Mesa, Mountain, Desert, and finally arriving at Ocean. This approach provided both a series of sonic contrasts and an overall direction to the work. The sounds were created with a Yamaha TG77, controlled by Digital Performer running on a Macintosh, with Lexicon digital reverberation and a sequencer.

When I realized the electronic music of "Astratto", in the 1986, I already founded with other composers the S.I.M. (Società di Informatica Musicale) in Rome , and we worked about the design of a digital systems controlled by host PC and based on the application of the TMS 32010 16/32 bit DSP Texas Instrument. It was one of the first world application of this new technologies in the field of electronic music. At that time one of the DSP systems was controlled by an 16bit Host Pc. The DSP system, called Fly system, was interfaced with the host and with a musical keyboard (no MIDI interface) and I worked with simple real time routines written in TMS 320 assembly that I already experimented in a my previous digital piece. In the case of "Astratto" we have already improved the possibilities of the synthesis by table look oscillators and the record / play system from the musical keyboard, and multiple complex events can be recorded in the same time. So I could realized the music in real time mode, and to record the note-events on the Host PC. (24 real time enveloped oscillators can be computed at 16khz of sampling rate). …

Recording of James Aikman's Hyper mix: sent to analyze lifeforms. The work combines digital sampling/editing of non-musical sound sources, including stationary exercise bicycles, rowing machines, clangorous weights, and a basketball scrimmage, with digitally sampled and edited musical source material (harp, flute, trumpet, voice, saxophone, drums, and full orchestra). Frequency modulation synthesis and digital effects processing are also used in this work. This piece refers not only to various activities of physical education, but also to the hectic stereo mixing procedure.

Recording of Barry Truax's Wings of Fire. For cello and digital soundtracks. This work uses Wings of Fire by B.C. poet Joy Kirstin. In the work, the lover addressed in the poem is personified by the instrument which is also the source of all the material used to create the tape part. This material consists of short fragments of bowing on the bridge of the instrument, natural and artificial harmonics, snap pizzicato, and col legno attacks. The sounds on tape that resemble bowed notes are in fact synthesized using digital resonators that model the behaviour of a string, each tuned to the pitch of one of the cello's open strings. These resonators are used to process both the cello sounds and text such that at certain moments the voice and instrument merge as one.

"Timbral" was realized partly at the Magyar Radio Electronic Studio and partly at the Radio Belgrade Electronic Studio. The work in the studios involved diversity of technical equipment, both analog and digital. Though almost any sound is attainable by means more sophisticated equipment to day, nevertheless it could be maintained that every kind of equipment possesses undesirable consequences of the use of analog and digital techniques simultaneously, the blending of sounds in the piece was mainly accomplished vertically, not horizontally. Thus a possible critical variety was turned over to the enrichment of the sound palette. By emphasizing the importance of timbre (what the title derives from), it did not become dominate as a decoration but kept the role of an important constructive principle.

This piece is originally for live 8-tape track mixer, the various tracks constituting as many terminals that the interpreter can play. The version presented here is a mix made in the studio. The sounds on the tape are deliberately left pretty raw, so as to be flexible in mixing and broadcasting. In order to offer interesting gaming possibilities, they also come from a wide variety of sources: concrete sounds, analog and digital synthesis, and digital processing, made at the Pierre Henry Association's Studio Son / Ré, and at the Center for Music Experiment. from the University of California San Diego.

"Philately" is about role reversal. The work, based on the following poem by Yehuda Amichai studies the distancing and convolution of materials between two performers. The computer and live performer interact to create an intertwined situation of invertible counterpont. "Philately" employs real time interaction between the oboe and the computer. The computer sounds combine synthesis and digital filtering techniques that are all rooted in two digitally recorded oboe tones (one a long D4 with crescendo, the other a double trill on E-flat5). Hardware includes a Roland VP70 pitch tracker, a Mac for MIDI processing, and a Mac SE/30 with Digidesign SA Card and an Akai S1000 for digital processing.