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.

Recording of Andrew Lewis' Ascent. For electronics. This process was initiated by the nature of the opening sounds of the piece, which were the first to be developed. Ascent moves freely across a spectrum of musical approaches, from the purely abstract to the more cinematic: at one extreme, the exploration of texture and of static pitch structures dominates; in the middle ground, evocations of irregular rock formations, undulating topography and large geological masses are prevalent; while at its most representational, important ideas are the elements.

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Recording of Aquiles Pantaleao's Materialma. An evolving sonic soundscape for electronics.

Recording of Cheryl E. Leonard's Truck. This work utilizes pre-recorded sound of the inside the engine of an ancient truck. A faded blue, shaped like an old milk truck perhaps, it lacked a door on the passenger side and if it were possible for inanimate objects to have emphysema this would be a textbook case. There is digital distortion used for this work.

Recording of Sarah Peebles' Visibles. For electronics and pre-recorded processed sound.

Recording of Milton Estevez's Patch 13. For tape. The basic material was built among others during a period of research carried out in the studio of the European Center for Musical Research in Metz, in this case on the old analog synthesizer AKS. The frequencies of the patch were manipulated in an improvisatory way and recorded on eight tracks, based on non-symmetrical but related tempos, fixed in advance for each improvisation. After mixing, the eight tracks were mixed on two tracks.

Recording of Warren Burt Dronesz. This piece is from a large collection of drone pieces. The purpose is to stay in one harmonic world for a very long time. In order to establish a complex harmonic structure, changing series of chords would fade in and out. In the first section, the harmonies are bases around subharmonic relationships. In the second section, small intervals result in just intonation intervals. There is also "noisebands" which are cluster chord harmonies.

Recording of Takehito Shimazu's 〇✕△☐. For this composition, the composer produced a special computer program written in C and Assembler computer languages. The purpose of this program was to create sequential data as a means of reflecting, defining, and executing the form of the piece. The composer chose to include a randomizing element in this program in order to more closely simulate human performance of the material performed by the computer element. In terms of form, this piece consists of 5 parts, but these parts are intended to be less than distinct in their separation from each other. The 5 parts are meant to reflect the four shapes indicated in the title of the piece (〇✕△☐, or Circle x triangle square) and a final unification of these shapes. Each of the four shapes found in the title has a part of the composition dedicated to it; the fifth and last part of the composition unites these 4 figures. Performance of this piece features a computer accompaniment paired with a live performer. This pairing allows for a conversation between a moderately inflexible computer accompaniment and a live performer's comprehensive grasp of emotion and timing in musical performance. As a result of …

Recording of Stefano Giannotti's Giovanni e gli alfabeti. This work is based on the theme of language sound richness and includes various alphabet phonetics from different languages. The main focus of the piece, however, is the singing of Giovanni, who performs a song in his dialect and tells stories about his youth. The piece is available on CD.

Recording of Trevor Wishart's Blue Tulips. This work is built on a recording of an old woman's voice and is more like a documentary in style. The story recounted provides all the material for the piece, which becomes a short study in sonic transformation and variation.

Recording of Victor Lazzarini's Vozes Dentro. This work is made up of three movement: Cidade Irreal, O Moinho dos Cantos, Vozes Dentro. Vozes Dentro is a trilogy, which examines different aspects human voices sounds. The first piece is a study of different types of textures, which are transformed into vocal-like sounds.

Recording of Wilfried Jentzsch's Kyoto Bells. This work was commissioned to mark the 1200th anniversary of the founding of the city of Kyoto and premiered there in 1994. The sound material is based on four bells of different sizes which the composer had brought with them on their first returning trip to Japan in 1993.

Recording of Ricardo Arias' 94 eleciones. Inspired by the fascination of the fashionable spectacle of biodiversity. Within the tropical forest, psittacine, quickly show their invasion of acoustic space with repetitive and annoying messages. Sound recordings made in the forest and recordings of paid political advertising. The composer was devoted to cutting and assembling in sequence fragments of electoral sound borders and joining mixed unaltered vocalizations of birds and other animals.

Recording of Wes Richard Wraggett's Icarus strictures - Chants of the Apocalypse.

Recording of Agnieszka Waligorska's 6th day. This work is for electronics, voice, pre-recorded manipluated sound, and saxophone.

Recording of René Uijlenhoet's Wedge. Music for two audio tracks. The composer describes this piece as being about sounds that wrench other sounds loose as well as frantically racing sounds or stationary sound planes. The piece was inspired by the rhythms and loops in Pierre Schaeffer and Pierre Henry's early Musique Concrète montages. Wedge was created with synthetic sounds from a variety of sources, as well as a pair of distorted bass clarinets and a manipulated cymbal.

Recording of Robert Scott Thompson's Rust. This is a work for computer which combines various kinds of metallic sounds - and their transformations, as well as other sounds sources such as clarinet, flute, and Tibetian and Gregorian chants. Both the acoustic and synthetic sounds have been subjected to various types of digital signal processing.

Recording of Patrick Lenfant's Archée. The main material in this work is fire, an "electonic" fire made from exclusively analog wave generators. The second material is "time" and is an essential part of the work. This piece belongs to a collection of works the composer calls his "electronic sound paintings" which consist of pieces that suggest to the listener an image of the chosen model by stylizing it using electronic sources.