Recording of Daniel Schachter's A 1. This piece uses traditional electronic technique and emphasizes on musical gestures. The sounds are mostly synthetically constructed and are heard throughout the piece.

Recording of Paul Geladi's 888: Acht minuten achter acht netten vissen. This work is for 8 mono soundtracks, supplied as 4 stereo pairs. The soundtracks are in finished form and should be mixed according to a set of instruction given by the composer, on an 8 channel mixer to stereo or quadro configuration loudspeakers. The piece is for live performance. The 8 mono tracks are to be reorganized in 2 groups of 3 and 5 tracks each and the tracks do not have to start synchronously, allowing for an incredible amount of performance interpretations.

Recording of Larry Austin's Accidents two: Sound projections. For piano and computer music. This work extends and substances the original compositional and real-time performance approach from an earlier work. There is an open form, invoking highly evolved improvisational formats and extends the musico-technical resources from the live electronics piece towards hypermedia and subsumes the actual sounds from the original work.

Recording of Milan Slavicky's Adventus. The main source of inspiration for this composition was a Czech liturgical tune from Renaissance times which used to be sung during Advent. Its unusual melodic form and great poetic quality inspired a bow-formed composition which uses mostly different vocal phrases of this song, an imitation of an organ sound and finally a tower bell transposed into lower and lower register.

Recording of Patricia Elizabeth Martínez's El alma al curepo. This piece is a for piano and tape. It is divided into three sections: Mirrors, modified or deformed reflections of two musical situations; Puzzle, a musical game; and Tout de suite aprs, a transitional section which end the piece. This work arises from a conceptual study on "the search for identity" which crystallizes in the various composition criteria of development in each section.

Recording of Roger Doyle's Alphabet. Electroacoustic composition utilizing low environmental sounds, more prominent electronic sounds in both fragmented and extended forms, and exploration of stereo effects for different sounds at certain points within the piece.

Recording of David Jaffé's American Miniatures. This piece features voice, percussion, mandolin, electronics, and various acoustic instruments.

Recording Jens Heldman and Erik Mikael's Anchorings / Arrows. This piece is based upon recording made from traditional instruments: clarinet, saxophones, cello, violin, trumpet, trombone, guitar, flute, and a mezzo-soprano voice. The sounds have all been subjected to different forms of computer transformations made with the VAX-11/750 at EMS and the AudioFrame Workstation at Diem.

Recording of Adrian Moore's ...And by his suggestion... This work uses traditional electronic technique to create futuristic sounding synthetically built sounds, along with manipulated voice.

Recording of Claudio Lluan Antiguas Preguntas ( Ancient Questions). This piece is for female voice, eight instrumental groups, and electronic chat. The piece is based on a fragment of a quencha hymn from which only the text has come down to us. The poem, is organized in questions, which describe the scheme of the Incas' cosmos.

Recording of Maggi Payne's Apparent horizon. This was an attempt to convey an aural impression of the sensations. Sound sources consisted of transmissions from/through space and were from Space Shuttle and Apollo missions, satellite transmissions, and shortwave radio broadcasts. Often the composer chose sections that were full of static and distortion - signals which were reaching unintelligibility. There are Morse Code "crickets" at Bryce Canyon and static "rain" at the Canyonlands. Processing includes heavy equalization, convolving, extreme sample rate conversions and time compression/expansion. This is the third piece in a series of pieces which are based on transformations of human-made or generated sounds, the previous two being Airwaves (realities) and Liquid Metal.

Recording of Emmanuel Madan's Aram Nal. Aram Nal is a popular Punjabi expression meaning "restfully, peacefully, without hurting". The piece is the product of two contrasting inspirations: firstly, the sound of Balinese Gamelan Gong Kebyar, and the passage between contrasting spaces. The crescendo throughout the piece is the form.

Recording of Ragnar Grippe's L'arbre égayé. The title, "L'arbre égayé," refers to "the cut tree," but the composer does stress that it also means "the reviving tree." This reference to a cut tree is intentional as a tie-in and homage to the composer's experience (20 years prior to the composition of this piece) at Groupe de Recherches Musicales de l'ORTF in Paris under the direction of Pierre Schaeffer. As Grippe explains: "This piece - without any overambitious zeals - is a hommage to the school, where I think I got my first real knowledge of electro-acoustic music. Why cut? A tree which has been cut, is not dead, but can now grow even more beautifully after it's been mended. I think that the composer somewhat always composes the same piece, only the refinement gets more and more articulate throughout the years." Regarding technical aspects, the sound sources - from Synclavier and MIDI-modules - are mostly custom-made, with an aim to get an electro-acoustic "object-sensitive" character, much in the philosophy of GRM. The piece is to a certain extent recorded with RSS (ROLAND SOUND SPACE), which the composer discusses as enabling the sources to exist in a virtual space, extended above …

Recording of Frank Schweizer's Ari. This piece focuses on sound manipulation, pre-recorded audio, and voice with many moments of stillness and transparency.

Recording of Charles Mason's The Artist and His Model. This work is for cello and CD. There pre-recorded sound and acoustic instruments which come together. The equal interchange influence, and modeling between the live cellist and the tape makes them in constant flux.

Recording of Philippe Moënne-Loccoz's Aspérites. This piece use traditional electronic techniques to manipulate sounds and create a dense musical atmosphere.

Recording of Spyros Faros' At night they call the dragons. This piece is inspired by rock music. There is also samples which have been utilized to give the piece direction and stability such as the train signal and speech heard throughout the piece.

Recording of Rodrigo Cicchelli Velloso's Autumn space. This piece relates to the coexistence of the differently contrasting and even contradictory elements we experience in Autumn. The technique used to create these sounds was based on the DSP functions available on the computer used. It is mainly a radical process of filtering transposed sounds by boosting frequencies.

Recording of Gerald Eckert's Aux mains de l'espace. The various processes generated in this work appear in different states at different points in the piece and will be integrated into their respective temporal environment. Generated sound points are given independent, audible sound movements within an acoustic space, and create a spatial-perspective quality. This is achieved through special distribution over the loudspeakers and through a diminishing echo. An integral part of the composition process is in the analysis of the intended formal and aesthetic conception and the sound results of the Synlab.

Recording of Elzbieta Sikora's B.D. This piece is about the idea of living in a cartoon. The sound sources are from cartoons and orchestras along with acoustic instruments and electronically buildt sounds which help give dialogue to the musical story.

The work is based entirely on the bells of the Basilica in Quebec City as recorded by the World Soundscape Project at Simon Fraser University during a cross-country tour in 1973. The three bells are heard at their original pitch, as well as an octave lower and a twelfth higher, but all of these versions are stretched in time, often to twenty or more times their original duration. The extended versions allow the listener to hear out the inner harmonics inside the bells, and in moving inside the sound it seems as if we are entering the large volume of the church itself. The piece is an elaboration of a section of the composer's work Dominion (1991), for chamber ensemble and two digital soundtracks, which is based on soundmarks from all across Canada. Basilica is available on the Cambridge Street Records CD Song of Songs. The 8-channel version of this work was created with the DM-8 computer-controlled diffusion system. Technical note: The work was realized using the composer's PODX system which uses the DMX-1000 Digital Signal Processor controlled by a PDP Micro-11 computer. The principal signal processing technique involves time stretching of the sampled environmental sound with software for real-time …

Recording of Hildegard Westerkamp's Beneath the forest floor. For tape. Beneath the Forest Floor is composed from sounds recorded in old-growth forests on British Columbia's westcoast. It moves us through the visible forest, into its' shadow world, its' spirit; into that which effects our body, heart and mind when we experience forest.

Recording of Katharina Klement's Brandung 1. This work uses only recorded sounds from basic material. This composition is in two-channel and sounds travels from both sides. The piece is based off of a sonnet by F.G Lorca.

Recording of Jorge Rapp's Argentina. This work uses sounds from two sources: one acoustic and the other electronically generated by a DX7. The acoustic material is predominant and has been processed with traditional techniques. It is made up of three parts: in the first, the acoustic sounds are strongly evocative; in the second, the electronic sounds develop continuously; and the ones of acoustic origin provide transitions. In the third the dramatic quality increases as the acoustic materials comes to the foreground once more.