Recording of Tommy Zwedberg's Face the Music. This piece is made for solo trumpet and tape. The trumpet plays without any electronic manipulation. The trumpet has also been used as material to make the tape part. In the piece there is also a piano as a concrete material to the tape part.

Recording of Ross Harris's Shadow Music. A single sound source--an orchestral chord--is used to generate all the materials and sonority of this piece. The work is in one movement in which the source undergoes continual transformation through speed changes, modulation, and filtering. The devices used to make this work: variable speed tape playback, filters, ring modulation, and tape recorders.

Recording of Lothar Voigtländer's "Variation und collage" for voice and tape. The text is from a poem by F. G. Lorca. The human voice serves at primary sound material (murmurs, screams, editing, deformations). There are few synthetic sounds that were created through the use of the ARP synthesizer.

Recording of Douglas Lilburn's Of time and nostalgia.

Recording of Akil Mark Koci's Filigran 4.

Recording of Iván Patachich's Ludus Sinteticus. This composition includes synthetic sounds and contains nine part of form that contrast in atmosphere and construction to each other. Two fundamental structures characterize the composition: a successively built block of clusters and a kind of percussion-rhythmic structure.

Recording of Mark Schubert's Merchants. This piece is a progression from single isolated events to total unification of all sounds. The method of doing so involved simple mixings of the different sounds (first individually presented), extending the events with loops, rapidly splicing different timbres together, and finally using tape echo, blending all the sounds into a climactic ending.

Recording of James Needles's Lyric Density I. This piece is the first in a series of three works which explore the development of density from a steady-state sound into a more defined lyric and linear statement. In this initial movement, short and abrupt crescendos promote areas of high attack density often veiled by a continuous foreground or background sound.

Recording of Peter Beyls's Rothko. "The most important tool that the artist shapes through his constant practice is the belief in the ability to produce miracles when they are needed.” – Mark Rothko, “Possibilities” 1947 The 3 parts that constitute the work have a different macro-structure. They have a fundamental common interest in the color of sound. The work evolves from an extra-musical point of view: my interest for painters of colorful American plans, in particular Newman and Rothko. Both emancipate and materialize the color factor as the essential object of their work. In the work of Rothko, the hand that paints can always be felt through an acute logic of austerity, in the long run. The evolution of character of Rothko's work: his early works are based on a concrete starting point and his "transcendental rectangles" make up the central period of this work, the remarkable crystallization between content and form gives his work a preponderant place in post-war abstract painting. The electronic work "Rothko" confronts us with the form and certainly not the content of the work of Mark Rothko. I want to emphasize, however, that I did not pursue the idea of translating the image into sound. …

Recording of Alfredo Marcano Adrianza's Dencias. “Dencias” was realized at the Laboratory of Electronic Music (CICMAT) of Buenos Aires. The work is conceived as a large surface of electronic sounds that appear and disappear in different harmonic combinations, on a resonant background of delicate character, formed by percussion sounds of instrumental origin. The slow, somewhat hypnotic unfolding of the work is sometimes interrupted by the violent appearance of fortissimo attacks.

Recording of José Vicente Asuar's Amanecer. “Amanecer” is formally a very simple work. Through this and other works, I try to project the possibilities of electroacoustic music in a sonorous universe where harmonic intervals prevail and a formal concept not far from impressionism. For a long time I experienced, as other composers have, new possibilities of sound and structure, matter and musical form, with electroacoustic sounds. I have not abandoned the search, but I want to choose some things in works that are simple and easy to listen to for any auditor. This is the reason of being of works like “Amanecer”: a break in the path of a creator. From a utilitarian point of view, “Amanecer” is thought of as music for ballet, as an introduction to some work of greater encouragement that is still to be written.

Realized at the Institute for Psychoacoustics and Electronic Music (IPEM) in Ghent.

Recording of Ludmila Frajt's Nocturno.

Recording of Emmanuel Van Weerst's Mimoïde.

Recording of Trevor Wishart's Red Bird. The resources available for its realization were-6 semi-professional TR (all stereo) (Revox A77s), a portable Nagra stereo TR, microphone recording equipment (but NO soundproofed recording facilities), and a 12-in, 4-out mixer. The only filters available during most of the period of composition were the EQ controls on the mixer. Specific source-sounds are chosen to solve specific problems in the realization in sound of the preconceived form scheme. In generating source-material, composed music and specially-constructed improvisation procedures are used, among other things. A special feature of the piece is the transformation of one sound into another (e.g. "Lis" to birdsong). The aesthetic of the composition demands that such transformations appear "natural" i.e. that they appear to be no more than recordings of strange real-world events. This places severe restrictions on the techniques, which may be used to archive such transformations. Most are done using a combination of performance and classical tape-techniques.

Recording of Reynold Weidenaar's Sweet Jesus and the Honkies. Sounds were processed by multiple delay, equalization, echo chamber, overload distortion, phasing, expansion, flanging, cross-channel penning, tape scrape flutter, editing, variable speed, multiple generation, feedback, and tape delay echo. The recording machines used included one 4-track tape recorder and three 2-track tape recorders.

Recording of Bruno D'auzon's Par La Fenêtre Entrouverte. This piece, varying in articulation, draws its basic materials from the four types of sound sources generally used in electroacoustic composition (concert sounds, electronic sounds, musical instruments, human voice). The initial sampling however remains intentionally restricted within each of these categories (concrete: sustained percussions on a resonating body; electronic: three fixed frequencies, a glissando; instrument: string, isolated percussions and bow maintenance; voice: two sustained sounds , tonic and breath). The work of variation was therefore essentially situated at the level of studio manipulations. It consisted of a "transformation" of the basic materials in each of the sequences and even within them while keeping a permanence of "timbre" and causality. The articulation systems are provided by a permutation of shapes and melodic profiles between two or more initial objects as well as between their developments. The piece concludes, after a final isolated variation (very reduced in time and dynamics), in the progressive superposition of the hinge variations in abrupt sequences that come closer and closer then in a tutti crescendo .

Recording of Reynold Weidenaar Reynold's Twilight Flight.

Recording of Franck Royon le Mee's Taksim.

Recording of Peter Beyls's Rothko.

Recording of Eugenio Giordani's E'Tape. The composition is a study on the available possibilities offered by the properties of interconnection of the analog systems for sound production at the LEMS (Electronic Laboratory for the Experimental Music). Besides this, E-Tape explores two different techniques of spatialization of the sound through the standard quadraphonic reproduction. The piece is formally organized into various sections, each based on a certain type of synthetic sounds material, characterized by an introduction (presentation of the materials) and closed by a final recapitulation. All the material used in the various sections come out from sequences of filtered, ring modulated, reverberated sounds, and a lot of cutting tape. One of these sequences, turns out like a kind of thematic element since it is several times reused and developed during the whole composition. This “pseudo-thematic” element was generated from a special frequency modulated process including three periodic waveform and a random generator. The circular spatialization is realized in two different way: the first one was used four ring modulator arranged as sequential gate for the control of four independent loudspeaker. The other method employs the equal delays of the four independents heads of an AMPEX AG-440: the source is fed …

Recording of Theresa Rampazzi's With the Light Pen. The equipment used is an I.C.M.S. video terminal relayed with the IB IMB 370/158 computer. This device was designed by the engineer Graziano Tisato at the Computing Center of the University of Padua. Bessel functions applied by Rampazzi.

Recording of Lucien Goethals's Pluriversum. Work was produced at IPEM, using 2 sequencers. The materials were sinusoidal, square and triangular waves, and the transformations were filtering, transpositions, frequency modulation, manual editing. Quarter-tone composition, constructed from a single basic figure of 24 sounds, whose multiple transformations are organized in 49 sequences, divided into 3 sound layers. The variable superposition of the 3 layers can give rise to a considerable number of slightly different versions of the same composition. It is the continual interpenetration of a number of systems related by their sound substance but at the same time autonomous, each having its own structure and periodicity. This work is dedicated to Françoise Barrière and Christian Clozier.

Recording of Joseph Dorfman's The Stones of Jerusalem, in three sections, "Galeed"--based off of Genesis 31; "Altar"--based off of Exodus 20; and "Tables of Testimony"--based off of Exodus 31 and Exodus 34.