Recording of Gottfried Michael Koenig's Terminus II

Recording of Bohdan Mazurek's Bozzetti.

Recording of Bogusław Schäffer's Symphonie. Both in its original conception and in its accomplishment, of which a considerable part of the credit goes to Mr. Bohdan Mazurek, sound engineer of a remarkable creative experience, the Symphony comprising four parts, presented, in accordance with the idea of ​​the composer, of the structural arrangements, techniques, transposition processes, time relationships and aesthetic and auditory principles which vary from part to part. The work in the studio was made from a score which did not have to take account of the sound situations, but which had to constitute a bridge between the composer and the director, sound engineer. The diagram of the Symphony constituted a system of signs offering a rather distant relation to their musical representation, conventional signs, homologous to a certain extent only to the unfolding of the work. The following electronic devices were used in the composition of the song: sound generators, square wave generators, sawtooth wave generators, white noise generator, pulse generator, filters, ring modulator and amplitude discriminator. The work on the Symphony in stereo was completed in the spring of 1966.

Recording of Jon Appleton's Chef-d’œuvre.

Recording of Jan W. Morthenson's Neutron star. This work is based on thermodynamics. The sensation of gravity and compression is represented by acoustic means. The whole sound mass breaks up into glissandos and is dissolved in an echo giving an illusion that the imaginary event has taken place in space. The great quantity of impulses and the focal point in "Neutron Star" necessitated the use of a computer (SAAB D-21), which has itself produced the electronic impulses (with frequencies chosen by a random generator) and been programmed to let the impulses appear at on the whole fixed intervals.

Recording of Jon Appleton's Chef d'oeuvre.

Discover for me this fabulous world of electro-acoustics; this world that allows us to accurately retain the slightest gesture, to multiply the sound sources to infinity, to put things and distant sounds side by side and thus to create magical worlds of unheard-of expressiveness. Rainer Boesch