Recording of Gerald Eckert's Klangräume 2. This is a work for piccolo and tape that examines both the instruments and electronics as well as the combination of graphics and sound/timbre. The aim was to create a relationship between graphical constructions and sound.

Recording of Gilles Gobeil's Là où vont les nuages.... The composer states: "This "super-instrument" that the Midi system allows gives access to a host of sounds - simple or complex - which envelop and accompany the timbre of the Martenot waves but while remaining subject to the sensitivity of the performer's playing."

Recording of Stephan Dunkelman's Signallures. The composer tried to stage two ways of touching (percussion and friction) and moving (trajectories in the width or depth of the stereophonic field) a sound element. To unite each touch with a type of trajectory and, by modulating them, establish their breaking points and their angles of harmony. Signallures was produced in 1991 at the studios of Musiques & Recherches (Ohain, Belgium) and premiered in April 1991 during the concert of the SEM (Studio voor Experimentele Musiek) in Antwerp, Belgium. Signallures was a finalist in the Luigi Russolo Competition (Varse, Italy, 1991). It was recorded in 1996 on the disc ÇAcousmatica, 2nd International Meetings of Young Composers of Acousmatic Music, Acousma (CD 1296). Accompanying text is as follows: "Exhume from oneself all that trembles. To play with what slips away. Diving, certain of his failure. Waking up in yourself a little less cold."

Recording of Jacques Tremblay's Oaristys. This work is made up of 6 small movements: L’appel du désir, L’approche, Étreintes et voluptés, Pulsion animale, L’éclatement, and Désinence. It is a work for electronics that includes several pre-recorded sounds. The composer states that the subject of this work is eroticism.

Recording of Javier Alvarez's Mambo a la bracque. The composer based this work on the famous mambo number: Caballo Negro (Black Horse), by the Pérez Prado. The composer wanted to create a mosaic of this piece by taking it apart and re-assembling it to create his own new piece. He included other electronic sounds to act as "glue" in holding it all together.

Recording of Gunner Moller Pedersen's Biotop I. The composer based this work on the idea of environmental health, specifically that of frog habitats. The composer uses the sounds of a pond biome to remind the listener of the importance of protecting nature from man made changes.

Recording of Anatoly Kisselev's Praise the lord. For tape, electronic instruments, computer, mixed choir, and voice. This work uses fragments from the choir work "Our Father" by the composer.

Recording of Consuelo Diez's Mujeres. This work is the first movement of: "Sabor a Cristal". Starts with exaggerated high electronic timbres that go dissolving, giving space to a quieter area, mild and soft, which surrounds the listener, where some sounds that are built out of the composer´s own recorded vocal expressions and have been computer processed, emerge. The instruments used are: synthesizers (Oberheim, Yamaha), sampler (Akai), Macintosh SE computer with six different programs, and several effect units.

Recording of Consuelo Diez's Maternidad. Several microtonal pitches from scales made specially for this work, mix together with sounds which come from samples. It ends with a development of a melody that appears and disappears fragmentarily in other movements of the piece and that here decomposes into an irregular form till it gets lost. The instruments used are: synthesizers (Oberheim, Yamaha), sampler (Akai), Macintosh SE computer with six different programs, and several effect units.

Recording of Eric Lyon's Low flying unicorns.

Recording of Fabio Cifariello Ciardi's Finzioni (for violin and quadraphonic playback system). Author compositional research is focused on the possibility to interact with listener's sonic memory. In the tape part, timbre memory is explored through a slow and irregular interpolation, which prolongs tone ending the solo introduction and recalls some figures previously played by the soloist. The interplay with our memory of instrumental gesture is stimulated by artificial granular articulations of transformed violin samples, but also by samples of unorthodox violin articulation between natural violin samples articulated in an artificial way.

Recording of Patrick Ascione's Chants Sphériques. This work exploits the mobility and successive metamorphoses of characteristic spatial figures. The sounds move according to various configurations specific to their meaning, but also inside these "frames of spaces" already in motion, or sometimes even outside these frames. Sound is therefore here to space, what color is to form for the painter. Original version is for 16 speakers.

Recording of Alain Basso's Acéré. The intention was to create a piece about war. Different object sounds were recorded in the studio, to have a wider palette of percussion sounds. The idea is that these percussions gradually change. As in the repetition of a 'kata', a movement sequence in martial arts, the concentration becomes more intense and the sounds increasingly sharp, by playing on the harmonics they contain. To give a feeling of space to this movement, transformed soundscapes create an atmosphere with a progressive opening and a greater perception of the human presence.

Recording of David Arzouman's Humpty Dumpty's Unfortunate Diversion. This common nursery rhyme from Mother Goose is a variation of one of the oldest and most universal stories on earth. Its curious images, seemingly nonsensical, work as profound symbols. Humpty is a personified egg. This represents the potential birth of each individual’s higher spiritual faculties. To be on top of a wall is to be equipoised between the various worldly dualities. The image of a fallen, shattered egg is an apt metaphor for the spiritual, mental, psychological, and physical fragmentation that results from failing that test of balance. The task of restoration, though seemingly impossible and certainly beyond the scope of worldly power (all the king’s men), is nevertheless not explicitly ruled out by this verse. In this composition, the fall of Humpty Dumpty is symbolized by the opening descending piano tones. The successive tones become increasingly fragmented spectrally and temporally. The sustained chord that remains is both a record of the fall and, like Ariadne’s thread, the way of returning. The premise for the piece is that each tone that was fragmented must be made whole in order to move one step closer to the original estate, which is represented …

Recording of Claude Hermitte's Musique et Minorités. Three main parts which include: Erdélyies: sensations in the "country of the forest", Kurdies: impressions of the situation of the Kurds, Cigányies: about the Gypsies and marginalization, Csángó: feelings about the forced assimilation. The voices in Hungarian, Gypsy, Csángó languages have diversified melodies, rhythms and sounds. SzŽkely, gypsy and csángó songs become "sound lines" (with synthetic sounds and sounds processed by machines) and conveying emotion. Depth, tension. A sound tribute to persecuted minorities, to their popular traditional music and to the warmth of their ancient magic waves.

Recording of Joseph Lloyd Anderson's In Mosaic. This work is for digitally manipulated voice. This piece explores the possibilities of electronically manipulating the voice and mouth sounds. The piece begins with a granular synthesis sound, taking tiny grains and layering them at different speed, phases, volumes, and frequencies. This same process is done for the mouth sounds, but the grains are further apart creating space and more transparency.

Recording of Philippe Blanchard's Brasse Coulée. This is a piece for electronics written using traditional electro-acoustic techniques and sound samples.

Recording of Elsa Justel's Fy-Mor. This piece is divided into ten consecutive sections which show a character of movement, brilliance, rhythm, and humor. The material of the piece is derived from sounds of kitchen tools and the mouth. This is a MCO (concrete music by computer) piece.

Recording of Nicolas Verin's Transe metal. It is for tape alone. The work uses SYTER for the sound transformations (essentially based on the same percussion instruments as those used in concert) as well as sound synthesis. Certain percussion sounds have been added, in order to preserve the compositional intentions. This piece is based on a metaphor of the idea that all sound originates from a transfer of energy. The percussive object communicates its dynamics to the struck sound body (mainly metals) and likewise, the sound resulting from this percussion generates its electro-acoustic modification.

Recording of Nicolas Verin Courant statique. The time of the work is devoted to an exploration of several paths linking two extremes of sound matter: balance, held almost immobile; and movement of volatile particles. Several other masses are added, creating a heaviness, an expectation, gradually generating tension, until the breaking point where they explode in a flash, in a shower of sparks, which will soon be extinguished. This piece was created using electronic technique.

Recording of Eric Mulard's Voltiges. This piece take voice and mouth sounds which are accompanied by sound effects. The sounds transform and eventually sound almost fully synthesized. The piece is very transparent and allows for the processing to become the main purpose of this piece.

Recording of Annette Vande Gorne's Tao, 5ème élément: Terre. This piece is inspired by Taoism which creates an acousmatic writing based on materials, energies, and transformations. Repetition, flow-reflux wave, gate (opening and closing), breathing, corpuscles, rotation - they are puts through effects. The effects favor modulations, meta-morphoses, and musicalize and differentiated in real time. This version is a reduction of the original intended for stereo radio listening. The 8-track version requires a minimum of 12 or 16 speakers.

Recording of Thomas Bjelkeborn's On yer nose. Instead of synthesizing a lot of material, one tiny concrete material is used as a starting point. From this the composer developed a series of sounds and transformations which they tried to keep close to the original sound and the behavior of that sound in its original context. Through various mixing processes borderline materials are created on the verge to more consistent contexts, but very much related to the original material and to what that material could cause in its original context.

Recording of John Celona's Voce mod. This work is for flute and electronics. The electronics is composed of synthesized sounds and often has similar movement to the flute. The flute uses extended technique and legato tones. Both sounds blends and worth together through out the piece.