Recording of Jospeh Hyde's Seven Waves. This piece is for instrument, live electronics, and pre-recorded tracks. The flutist in this recording uses lots of extended technique, while the electronics are bases on a Csound system. The pre-recorded track is made up of manipulated flute and voice sounds. Electronic amplification is used on the flute for clicking keys, and mysterious whistling tones. The live electronics similarly function as a kind of microscope, picking out elements of the flute part and bringing them to the foreground.

Recording of Christopher Penronse's Manwich. There are many samples which are integrated into this piece. The synthetically built sounds help to smooth the transitions between these differing sound sources. Therefore, the piece is able to take the listener through so many different sound spaces.

Recording of Jürgen Bräuninger and Ulrich Süsse's Le bass de auf a bourges du dat. It is a work for saxophone, bass clarinet, and electronics. There are speech snippets which are accompanied by free improv from the saxophone and clarinet, while processed and manipulated recording of these instruments play in the background.

Recording of Mark Canfield-Taylor's Shadow dance carnival. This work uses samples from operas, voice, and electronic sounds to create an eerie soundscape. With the use of traditional electronic technique the sounds are able to manipulated to fit into this soundscape, creating a dense sound texture.

Recording of Daniel Park's Piatek. This work uses voice in different languages and styles, which are interrupted by fragments of electronics. The synthesized sound are very still and have many harmonies. The segments of speech are either processed and put through effects or kept as is containing little to no digital processing.

Recording of Eric Lyon's The blistering price of power. It is for flute and electronics. This piece samples outside sources and changes the sound construction to accompany the flute. There is times when the electronics provide a percussive effect and guidance for musical transitions. The flute uses the full range of the instrument, contemporary technique, and explores different musical styles.

Recording of Eduardo Polonio's A-roving. This work begins with a reading of Lord Byson's "So We'll Go No More a Roving" and a story which is spoken in Spanish, about the architecture of Rome. The sounds are both pre-recorded and synthetic; there are nature sounds, sounds from inanimate objects, and synthetically built sounds.

Recording of Joseph Hyde's To the last syllable (one). This work is for four voices and tape. This work is sonically dense; there's no way the listener can hear everything at the same time, so they are left to pick their own way through. The text is an amalgam of hundreds of sources, whilst the tape employs recognizable sounds to tell a story of its own. All these threads are interleaved and overlaid into a rich and complex narrative tapestry.

Recording of Eric Lyon's Never Mare fun of a man's cooking.

Recording of Roberto Doati's Testa Arcaica. For electronics and voice. The basic material for digital processing is coming from the recording of "Weep, weep, mine eyes", a 5 voices madrigal by John Wilbye (1574-1638). The different degrees of transformation of the vocal sounds performed by Marianne Pousseur, and the live voice articulation are conceived according to a semantic division of the poem.

Recording of Roberto Doati's Pigra giornata. For solo voice and tape ad libitum. The formal structure is coming from a well-known Billie Holiday song: “Don’t Explain”. Each note of the song becomes a quotation from the same or other songs by Billie Holiday and jazz musicians considered by the singer true human and musical reference points. Computer programs written by the composer are used to transform, both in time and timbre, the songs fragments. The tape (ad libitum) contains a cymbal roll which follows the voice for the whole work.

Recording of Åke Parmerud's Grains of voices. The piece is composed as a continuous flow where thematical ideas and voices are formed. The opening of the piece uses the biblical words of genesis where "darkness" and "light" has been substituted with "silence" and "sound". The second part of the piece has the theme of memories of childhood in the form of lullaby's and children's songs from different country's. The next section carries the theme of prayers through the combination of the provocative poetry of A. Ginsburg, a Hindu evening prayer, a Balinese and a Fijian priest, and finally a New Delhi citizens right demonstration. The last section of the piece is born as a slow transformation from the dramatic to the ritual music.

Recording of Joshua Fried's About Howard Johnson/Affirmative. This work uses MIDI in unusual ways. Sound modules become a silent controller of analog gates, and continuous controllers manipulate digital processors in real time. When channel gates are triggered at an even rate, one obtains the well-known strobe effect of slowing down, stopping or even reversing the apparent motion of a rotating object. As trigger cycle and loop cycle move out of phase, bits of sound seem to wander from speaker to speaker through the space. This work also functions as a study for live performances that will process found sound with a combination of selectable algorithms and performer control.