Recording of Ron Averill's Painting legs on a snake. This work refers to an exercise in futility, which describes why the composer came to appreciate piano composition. Many literary works of the 19th century deals with the piano reflecting a dissatisfaction linked to the timbre of this instrument, which sparked questions about tonal modes and tone color. Rather than composing a tonal piece on the piano, modified already existing piano works were put through the NEXT computer and organized to create this work.

Recording of Stephen Montague's String Quartet n°1 in memorian Barry Anderson & Tomasz Sikorski. This work is for string quartet, live electronic device and computer. Barry Anderson's music was based primarily on the post-Webern idiom, dominant but elegantly crafted, and at its best brilliantly orchestrated by computerized sounds. Sikorski's mode of expression was minimalist. The inspiration for the work is within the composers style, and uses short thematic fragments and the harmonic material of their works: ARC de Barry Anderson (1987) and Holzwege 'Paths to Nowhere' are used.

Recording of Eric Mulard's La Loupe d'Orme. This work is for electronics, voice, and pre-recorded audio. The elm is a slender tree providing soft and hard wood. The elm burl is the most central part. It is the most precious space because it is rare and complex. To the eye, the elm magnifying glass offers a kaleidoscope of forms of relief, figures, circles, all at once harmonious and yet elusive in their contours. It depends on the viewing distance from the material.

Recording of Eric Lyon's The blistering price of power. It is for flute and electronics. This piece samples outside sources and changes the sound construction to accompany the flute. There is times when the electronics provide a percussive effect and guidance for musical transitions. The flute uses the full range of the instrument, contemporary technique, and explores different musical styles.

Recording of Carlos Farinas' Orbitas elipticas. The Orbis Musicae program, developed at EMEC by Ruben Hinojosa, is based on the conception of the elliptical orbital motion of a planetary system, which generates sound frequencies. Then real-time sound generation with a chromatic scale and a pre-established configuration and MIDI output (the program allows 16 MIDI outputs). The piece is an optimal generation function of the five rises and falls. FM sources (DX7 II) were used in only three main objects, each with different attacks, envelopes and spectra, so as to keep the polyphonic lines generated by the program as clear as possible.

Recording of Mesias Maiguashca's Sacateca's Dance. By designing a digital instrument, generator of sound objects, which produces synthetic sounds of a particular quality, the composer was able to capture the original sound of the metal object. The cello interconnects these spectra through continual shifts of their partials. Then, the Radio-Baton controls the color changes of the soloist and projects the sound into space.

Recording of Mesias Maiguashca's The Nagual. This work is inspired by the first four books by Carlos Casta–eda on the practice of magic among the Yaqui Indians in Mexico. The technical starting point of the cycle was a metal construction. This instrument consists of a framework on which metal objects are hung on nylon threads; these are then 'played' with a bow or mallet and amplified using contact microphones. There is a dialogue between the sounds played "live" by the two players and the sounds of the "virtual sound object" reproduced from a tape.

Recording of David Jaffe's Terra non Firma. This work is for 4 cellos and a conductor. The piece commemorates the San Francisco earthquake of 1989. The instruments quiver with grunts, buzzes, jolts and wobbles. The cellos go one step further by undermining the sense of losing balance as they slip and wiggle from note to note, tugging and groaning without ever finding a rest. Fragments of different musical styles (polka, waltz, tango...) are thrown around like debris and everything is constantly unstable.

Recording of Andrew Lovett's Jacob Dreaming. This work is intended to be a free, improvisatory piece. The sequences are started and stopped, following the player rather than the player having to follow the tape. The first fifteen bars of the piece was recorded and edited with a Dynxio digital editing system and put through Eventide H3000SE processor. This sample was then manipulated and processed using a max application. The resulting sounds were recorded to DAT.

Recording of Elsa Justel's All. This work is for double Bass and interactive electronic system. We don't see everything we see, nor do we hear everything we listen to. The piece was composed as part of the Experimental Workshops "Mixture" in Paris. The aim of the workshops was to research and develop the possibilities of interactive systems. The research aimed to put the SDA system, into operation for the first time. The mechanism of this system allows the performer to trigger samples stored in the hard drive through a MIDI system.

Recording of Petros Theodorou's Topos-2 or paradise has no apple-tree. The work is based on a series of works by Herman Blaut entitles "Paradise Has No Apple-tree". The musical piece has kept the initial title, but added the phrase "TOPOS-2", the meeting point of two artistic forms. There is a dream-like, purely "psychoanalytic" dimension to this work, with the harmonic complexity and electronics. This work is made up of five sections: White canvas, First draft, The child-painter, Fear, and The work of art.

Recording of Jônatas Manzolli's Pendulos.

Recording of Eric Cordier and Jean-Luc Guionnet's Chants Wers. It was created using traditional electronic techniques and processed sound.

Recording of Daniel Park's Piatek. This work uses voice in different languages and styles, which are interrupted by fragments of electronics. The synthesized sound are very still and have many harmonies. The segments of speech are either processed and put through effects or kept as is containing little to no digital processing.

Recording of Robert Grassi's !Freedom anyway. Instruments include sampler akai s1100, tx 802 and Yamaha dx7 synthesizers, and effects from the spx 1000. The samples used where Jaco Pastorius, Michael Hedges, Santana Lard, Miles Davis, Steve Reich.

Recording of Philippe Moënne-Loccoz's Vision urbaine II ou Annecy… et moi aussi! This work discusses the dissatisfaction from a composer's point of view and adds musical touches. These added changes makes these atmospheres resonate, which makes the work more alive, timeless, and technical.

Recording of Mark Canfield-Taylor's Shadow dance carnival. This work uses samples from operas, voice, and electronic sounds to create an eerie soundscape. With the use of traditional electronic technique the sounds are able to manipulated to fit into this soundscape, creating a dense sound texture.

Recording of Pekka Siren and Agnieszka Waligorska's Streetscapes-Matera. This work takes recordings of everyday life and add sounding provocations, including: train, elephants, jungle birds, Eskimos and laughing children, and a barking dog quartet. This imaginary mix was played in the streets with multiple speakers and recorded with peoples reactions. The final recording is a large demonstration of sounds mixing reality and imagination onto a canvas of sounds given back to the people.

Recording of Daping Qin's Nang Maa II. This piece uses sounds from drums, manipulated voice, horns, wind instruments, and string instruments. The drums sound chant-like, which mirrors the singing which has been stretched and electronically processed. There are many instruments and electronic sounds providing a denser soundscape and adding complex harmony.

Recording of Dieter Kaufmann's Grand jeu. Throughout this piece the accordion needs to find its identity. The pathos of "serious" music and an experimental position, he fights against his mirror image which is reflected to him by the loudspeakers. All the sounds of the band are produced in the "accordion sound factory", They have been transformed and worked in the studio to become the counter-image of the accordionist. The composition is made up of three scenes: sketch-waltz, sketch-tango, and czardas.

Recording of Jürgen Bräuninger and Ulrich Süsse's Le bass de auf a bourges du dat. It is a work for saxophone, bass clarinet, and electronics. There are speech snippets which are accompanied by free improv from the saxophone and clarinet, while processed and manipulated recording of these instruments play in the background.

Recording of Christopher Penronse's Manwich. There are many samples which are integrated into this piece. The synthetically built sounds help to smooth the transitions between these differing sound sources. Therefore, the piece is able to take the listener through so many different sound spaces.

Recording of Luigi Ceccarelli's Doppio solo. It is for saxophone quartet. There is a lot of effects and contemporary technique. All the different instruments explore range, sound, different tonguing techniques, and simply using the mechanical structure and sounds. The electronic effects enhance the acoustic instruments and support the overall direction of the piece.

Recording of Rainer Bürck's Ta-Ju. The player can freely carry out his actions in the given control fields, whereby he can choose at will from the different possibilities that are listed in the respective field, which consists of various extended musical techniques. The player is, in a broad sense, responsible to the tape to respond to. A good performance is only achieved when the soloist's playing with the tom-tape together gives some musical meaning.