Recording of Peter Beyls' It always takes a short time. The work combines tape music and spoken words live with electronic transformation of vocal material. This work is a version for tape alone. The electronic sound material as well as the original sounds were used and structured on 4 tracks. The vocal material, spoken by Herman Sabbe, consists of a textual structure by the Belgian artist Yves Desmet. This material has been intensively manipulated, with particular attention to the purely sonic aspects of language. The resulting sounds are semantically meaningless although a musical compilation of the text content can be detected at times. In the first part, colored noises and textures of gradually increasing complexity were used. The central part is built on the exploitation of sounds similar to those of the percussions and almost at the end of the work a continuum with slight fluctuations in the colors and the dynamics is growing.

Recording of Jorge Rapp's Un Tiempo, Un Lugar. This piece was composed in the composer's studio and CICMAT. This work reflects dramatic moments of the Argentine history during the decade of the 70's. It was composed from electronic sounds and acoustic sounds of instrumental origin and social environment, processed in the laboratory of the CICMAT and in own studio. The acoustic sounds inhabit with melodic rhythmic impulses of electronic origin, fusing or contrasting between them. It consists of five sections, these interlace without a breath in between to a growing tension that declines towards the end.

Recording of Eduard Artemiev's Peregrine. The composer wrote this work under the theme of "pilgrims" and attempted to combine electroacoustic music with the energy and instruments of rock music. The main sounds in this piece are electronic as well as a soprano voice.

Recording of Hildegard Westerkamp's Whisper Study (for two electroacoustic sound tracks). Whisper Study is based on the sentence "When there is no sound, hearing is most alert" (a quote from the Indian mystic Kirpal Singh. Except for the distant horns, all sounds were derived from the composer's voice, whispering the above sentence and the word "silence." Whisper Study started out as an exercise in exploring basic tape techniques in the analog studio of the 70s and using the whispered voice as sound material. Eventually, it became a piece about silence, aural perception and acoustic imagination. Whisper Study explores the place or moment where sound ends and its image begins. The poem "When There is No Sound" by Norbert Ruebstaat was written in direct response to the original version of Whisper Study. The poem in this version is spoken by the composer inside a soundscape of icicles and footsteps in snow, which originally was created for her radio series Soundwalking on Vancouver Co-operative Radio in 1978/79. Eventually this section was mixed with the last part of the original version of Whisper Study.

Recording of Wes Richard Wraggett's Cetacea Suite.

Recording of Julio Martín Viera's Skolyon. The piece was composed using the ARP 2600 synthesizer among other analog technologies.

Recording of Lothar Voigtländer's Méditations sur le temps. Based on a poem by Eugène Guillevic entitled "Le temps." The electronic composition is divided into three parts, each one preceded by sentences from the poem. These three quotes are suggestions for musical meditation and not programmatically to be understood in the narrower sense.

Recording of Lothar Voigtländer's 3 elektronische Studien. The basis for the composition are the poems of the poet Erich Arendt. The poems were written around 1925 in his Expressionist creative period. Accordingly, the compositional means: concrete musical material is mixed with electronic sounds to achieve a strongly expressive and suggestive associative effect. It is less thought of as a "setting" of the texts, but should be added to the often strongly symbolic language formulations as a different, musical dimension. The vocals and the piano usually work live. The piano is mostly treated as unrecognizable - this is to achieve a seamless insertion into the electro-acoustic sound material. In a performance, both piano and singer can be electro-acoustically amplified and to a lesser extent technically manipulated (reverberation, iteration, etc).

Recording of Rainer Boesch's Drama

Recording of László Dubrovay's Kyrie for tape.

Recording of Barry Truax's Sonic Landscape No. 3. This work was created for four computer-synthesized soundtracks. This piece is intended to create a sound environment that surrounds the listener and envelopes them in an acoustic space of changing dimensions. Most of the sound structures used in this composition are synthesized with the P0D7 program for non-real-time synthesis.