Recording of Frank Schweizer's Feuerwasser. This work is the experiment to combine kinds of radio samples with the use of traditional electronic composition. It is trying to connect a chain of associations in an abstract music. The musical parts of the work consist of concert material, but in the combination of them the result is more than the individual parts.

Recording of Kristi Allik's Skyharp: Eulogy for an elm tree part II. This work is for electronics and manipulated sound. There are many plucked string sounds, fragments of voice, wind chimes, bells, pre-recorded sound, and synthetically built sounds. The piece begin very atmospheric and slowly begins to introduce the instruments and eventually becoming sonically dense, then resulting to stillness.

Recording of Matt Ingalls' Silent Cacophony. "Silent Cacophony" consists entirely of manipulated vocal sounds through Barry Vercoe "C Sound". Originally for 4 speakers, it was mixed to stereo with binaural filtering from Tom Erbe "SoundHack". The pre-recorded audio includes unprocessed coughing that with time slowly begins to become electronically manipulated until the sound begins to create harmonies and new interactions.

Recording of Pierre Sainte-Marie's Scuz. This work designates a vagrant in a particularly dilapidated state and who is reluctant. This piece is therefore, dedicated to the itinerant, to those who lose themselves more and more because of society. The work contains varying melodic motifs and repetitive rhythms. The inspiration is from American Jazz music and Funk, which is represented with electronical built sounds.

Recording of Paul Geladi's 888: Acht minuten achter acht netten vissen. This work is for 8 mono soundtracks, supplied as 4 stereo pairs. The soundtracks are in finished form and should be mixed according to a set of instruction given by the composer, on an 8 channel mixer to stereo or quadro configuration loudspeakers. The piece is for live performance. The 8 mono tracks are to be reorganized in 2 groups of 3 and 5 tracks each and the tracks do not have to start synchronously, allowing for an incredible amount of performance interpretations.

Recording of Roland Cahen's Iguane Café. It is ballet music for a show by Bruno Genty, this work takes place in the jungle. After a plane crash some survivors arrive at a café where the action is located. This piece is made up of synthetically built sounds, which help provide more direction to the story.

Recording of Kiyoshi Furukawa's Swim, Swam. This work is for acoustic instruments and electronics. There is lot of variety on how the instruments interact with the electronics. The piece begins very harmony focused and timeless, eventually the clarinet and electronics begin to grow with more movement and communication; sometimes in agreement, unison, or independent. There is also a manipulated voice repeating the pattern continuously, however, the electronics are changing the tone.

Recording of Bruno Capelle's Gabrakan. This piece is built on the principle of false periodicity. It is a rhythmic or even polyrhythmic work. Formulas are gradually being built, robbing those that preceded them and which will in turn be destroyed. The clear polyrhythm is due to the differentiation of the timbres of the morphologies used. The general shape of this piece can be summed up as a “great” tension - relaxation.

Recording of Serge Morand's Parfums d'Axiome. This piece uses sound manipulation and dynamics to explore the possibilities of processed sound. Throughout the piece the sounds seem as if they have musical conversation.

Recording of Michael Kapoulas's Portraits. This piece uses traditional electronic technique to change the fundamental sounds used. There is metallic and harsh sounds, short static sound bits, long sustained harmonies, and many large changes in dynamics.

Recording of Gabriela Ortiz's Magna Sin. This piece consists of of five rhythmic-melodic section. The tape functions as any other instrument and requires synchronization with the percussionist. The main components are tape, steel drum, flute multiphones, metal objects, guitar strokes, other percussion instruments, and all of these sounds are electronically manipulated.

Recording of Robert Dow's Le Lethe. The piece features tape and flute. Overall, the piece is quite slow and eerie. The tape and flute are consistently together and there if often times contrasting fragments of sound in between the unison tape and flute.

Recording of Gilles Mercier's Metamorfosis del sonido. This piece uses orchestral instruments and electronic processing and sounds. The electronic sounds are uses to create harmonies, ambient soundscapes, dialogue, and interruptions.

Recording of François Giraudon's L'invisible. This piece is for strings, live processing, and tape. L'invisible is based on the transfusion and possibilities of concrete sounds of double bass, violin, and synthetic sounds.

Recording of Francesco Giomi's Chromatism. This piece is for tape and is a suite of 6 small pieces. The starting point of the work is the author's research on the analysis of electroacoustic music based on the concept of the sound object. The piece also incorporates some experiences in the field of the interaction of music and images.

Recording of Yves Potvin's Tengo un Tango. This piece uses samples from tangos and merges then together to tell a musical story. There is also added piano sounds, strings, speech, electronic sounds, and electronic technique's to give the piece more direction and blend.

Recording of Eduardo Polonio's ChC. This piece has overall is very dynamic and full of different electronically produced sounds.

Recording of Gustavo Chab's Mirada Rosa. The materiel gives a meaning and a temporal reference serving as a point of departure and aesthetic meaning that the author has labored in relation to time and the work. The materiel acts and dilutes itself. Through the three sections of the piece, create a ensemble of electronic voices which modulates to finally transform into a real choir.

Recording of Claudio Lluan Antiguas Preguntas ( Ancient Questions). This piece is for female voice, eight instrumental groups, and electronic chat. The piece is based on a fragment of a quencha hymn from which only the text has come down to us. The poem, is organized in questions, which describe the scheme of the Incas' cosmos.

Recording Jens Heldman and Erik Mikael's Anchorings / Arrows. This piece is based upon recording made from traditional instruments: clarinet, saxophones, cello, violin, trumpet, trombone, guitar, flute, and a mezzo-soprano voice. The sounds have all been subjected to different forms of computer transformations made with the VAX-11/750 at EMS and the AudioFrame Workstation at Diem.

Recording of Bernard Fort's L'impatience des limites. This piece uses traditional electronic technique. The sounds include water, breathing, and electronically manipulated sounds.

Recording of Werner Cee's Droptrap. The sounds used in the piece are exclusively produced by the composer's instrument for six water drops. This music has been recorded directly onto a DAT. Every object is provided with a contact microphone, thus enabling amplification of the noises produced by the drops. These are transmitted to a sound mixer and then to four signal processors.

Recording of Dimitry Pavlov's The life of colour. This piece is exploring the relation between music and color. There are 8 sections of this piece: Introduction - The Act of Birth; The Yellow Madness; The Dark Blue - Mechanical antihumanitarian; The Green - Absolute Calmness; The Red Magic Ritual; The Red and Yellow - Adagio; The Orange - Energy of the Red and madness of the yellow combine; The Purple - Synths and the end.

Recording of Ambrose Field's Geosphere. This piece keeps you on the edge of your seat for its entire duration with its unpredictability. Geosphere is based on systems of rotation and recurrence, modeled on an analogy of planetary motion. Geosphere plays with your perception, your imagination, and your memory.