Recording of Frederick Semeniuk's Neanderthals in a telephone booth. This piece takes a telephone voice from AGT telephone lines in Canada and processes the messages using multiple effects and sound manipulation. The work starts off simple and progressively gets more complex, which resembles the exaggeration of technology and understanding our world of communication, which may seem strange to Neanderthals or even kids. AM5477 and Audiotrack were used to create this work.

Recording of Pedro Pablo Pedroso Baltazër's Nexos II. The intention of this piece is to fuse acoustic and electronic textures, which listeners can recreate. This is a piece within a series of pieces for different ensembles and electronic instruments.

Recording of Simon Hall's Les oiseaux, le feu, sacre bleu! The sound material in this piece is rather diverse ranging from orchestral instruments to bell and wineglasses. These sounds are combined with synthesized sounds and material samples from Stravinsky's "Rite of spring", "Firebird"; and Buddy Rich and Maynard Ferguson Big Band cds. The structure of this piece is essentially one of continuous development.

Recording of Paul Geladi's Organ peace III. Organ Peace III is based on sounds made by a wind organ driven by an electrical fan. Organ Peace #1 (Geladi-Steels, Hof Ter Beke, Wilrijk, 24 June 1977) was for live unprepared wind organ and Organ Peace Number 2 (Bruul, St Baafsabdij, Gent, 14 May 1992) was for live prepared wind organ. The present work is based on digital treatment of the live recordings from Organ Peace Number 2. It is about 8 minutes long. The end part (time 2min 10 sec to 7 min 30 sec) can also be performed live. For this purpose, a recording of raw sounds is provided. The live part can be purely live or mixed with the prerecorded part (the tape keeps running while the live part is performed). Live performance: The base material for this is provided as a recording of about 2 minutes long. This recording is treated by rock-and-roll editing or brushing on a digital or analog machine. The rules for doing this are: timing is form 2 min 10 sec to 7 min 30 sec. It may be a good idea to mix in the prerecorded part to get a feeling for timing. …

Recording of Richard Karpen's The Other. This work resembles the difference between reality and hallucination, and in regards to being a composer, hearing imaginary music from within. There are several excerpts from the second and fourth movements of Beethoven's Seventh Symphony and a short excerpt from his fourth. The excerpts have been manipulated using Csound or SNDWARP unit generator.

Recording of Jonty Harrison's Ottone. This work is for brass and electronics. The sound of pulsed air is explored with electronic processing introduces the piece. Slowly more sound, harmony, and communication is added between the ensemble and the electronics. The sounds of doors, squealing balloons, and spinning cans stay in the background while the brass plays unusual harmonies and melodic figures.

Recording of Roberto Valera's Palmas (Palms). This work is for voice and electronics. This work contains spoken word, electronics, field recordings, and pre-recorded sound. The work has a more mysterious sound environment and differing electronics sounds complementing the speech.

Recording of Bernard Donzel-Gargand's Papier en cage. In relation to dance, photoelectric cells are installed in the choreographic space and allow the dancer to interpret sound events, to create his music in real time. SAMI (computerized musical assistance system) is used by linking MIDI of an eight-input intelligent Analog/Digital converter, and a user interface written in MAX. The sampled sounds ​​are transmitted via MIDI to a Macintosh, then after transformation to a sound generator.

Recording of Eric Lyon's Paradigms I: softly through the night. The Paradigms series reflects the results of a constant effort to increase the expressive effectiveness of computer music. Paradigms I is a strict attempt to expand small sounds into larger ones. Each sound heard in the work draws its origins from 8 synthetic "friends" each comprising 8,192 samples. A mix of mixing, editing, processing and aesthetic evaluation led to the final result.

Recording of Eric Mulard's Parfum d'ombres. This piece uses traditional electro-acoustic technique to manipulate sound.

Recording of Serge Morand's Parfums d'Axiome. This piece uses sound manipulation and dynamics to explore the possibilities of processed sound. Throughout the piece the sounds seem as if they have musical conversation.

Recording of Juan Blanco's El Parque Embrujado (danza - pantomima).

Recording of Warren Burt's Parts of speech (the new consonants). This work takes samples from the composer's friends, speaking in their native languages. The piece also features two incredibly intense and tiny "splicing operas", one by Ray Hughes and an excerpt from Flash Gordon. The background sound was a monaural recording and the voices were fed through a malfunctioning pitch to voltage converter, and the resulting electronic accompaniment.

Recording of Paul Dolden's Physics of seduction, invocation #3. For cello and tape. This work explores different styles of playing and cello performance. There is an additional element of rapid change within amplitude and sonic density.

Recording of Spyros Faros' Piano se trikorfo vouno.

Recording of Michael Kapoulas's Portraits. This piece uses traditional electronic technique to change the fundamental sounds used. There is metallic and harsh sounds, short static sound bits, long sustained harmonies, and many large changes in dynamics.

Recording of Philippe Blanchard's La primitive. This piece also has another title "La primitive ou Evocation de la dernire journee de Paul Cezanne" The idea of ​​the piece is to draw a parallel between the painter's death one stormy afternoon and the burning of the magnificent Sainte Victoire mount, a sacred symbol. With the smell of ashes, there is the image of death and destruction that man imposes on his evolution. The music is a tribute to the Revox and to acousmatics, for the first sound we discovered from these machines: the magnetic tape moving around the reel.

Recording of Pablo Cetta's ...que me hiciste mal... This piece refers to the fragmentation of 33 famous tangos, which are utilized in the piece. There is a brief dialog between two characters, played by popular tango singers. When these tango are electronically processed they take on a new significance.

Recording of Pekka Siren's Radiocaravan. This piece is based on international short wave news sending captured by Finnish radio in South Finland during the August '92 collapse of communistic Soviet regime. Documentary sounds are used to build a sounding planetarium radio composition which composes radio itself. Radio voices, noises and music are used as material and as an instrument for a new composition.

Recording of Tamas Ungvary's Recollections n°1. The tension is obvious during the introduction where sheer inner aggression pounds the listener by means of sonic noise bursts. During the subsequent piano sections the irritation remains, the unsettled rhythms, the apparent harmonicity becoming increasingly dissonant until the next burst. It was the quiet in the internal storm which never ends. Ungvary has created a moving piece. May he never reach Zen. The sound material was produced with UPIC system.

Recording of Carlos Mauricio Bejarano Calvo's Repliement. This work proposes the configuration of an "object" that folds successively, a temporal material that unloads on itself. This fundamental feature houses the metaphor of the skin. The skin of the labyrinth that bends and reflects, at the same time, flows towards the exterior bending.

Recording of Thomas Bjelkeborn's Repsnagel. This work is divided into two sections. There is manipulated singing and electronically built sounds.

Recording of Maggi Payne's Resonant Places. The sounds are natural sounds recording in various resonant spaces found in location in the San Francisco Bay Area. Some of the naturally occurring resonant frequencies are emphasized by equalization and signal processing and some sections have additional synthesizers. This new perspective lifts listeners from the aural space into a completely new soundscape exploring the possibilities of these spaces.

Recording of Yves Potvin's Retour d'appel. The use of voice and rhythm is the foreground of this piece. There are electronically built sounds and percussion which allow for the rhythmic aspect of the vocal part to have added complexity. Often times the voice is either syncopated or in unison.