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 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 Raul Minsburg's El otro Espejo. This work offers a type of action, sound, and in a sense, form of some works of the '50s and '60s made with analog equipment; but here made with recent equipment, digital and especially with a synthesizer having additive synthesis, which interferes with all the sounds of the work, including a kind of voice, at the end of the work. There are several sections that create a specific relationship of density, polyphony, and texture due to the interaction between these same elements.

Recording of YeeOn Lo's Duo concertant - le conte du troubadour. This work begins with a highly theatrical noisy environment. Throughout the piece the music transforms from layered, mobile imaginary to a soft, introspective soliloquy on the piano melding into a meditation about nature. The beginning plucked-string sound are derived from samples. All the other sounds, except the piano, are digitally synthesized.

Recording of Rodrigo Cicchelli Velloso's Cymbal: reminiscencia. The piece is divided into two movements: Ostinato and Reminiscences. The first begins with a repeated phrase, performed by a pair of cymbals, punctuated by strong attacks. As this short talk progresses with the cymbal intervention becoming hectic and irregular, the initially limited spatial perspective widens when the first cymbal strike occurs. As the piece develops, new sounds enter the scene, interacting with each other and creating a dense musical texture. One of the important characteristics of the piece is the simultaneous exploration of different materials with very particular and contrasting spatial behaviors.

Recording of André Serre-Milan's Musica par ninos (1). This work is part of a collection of piece translating to "music for children". The piece uses electronic sound and pre-recorded electronically manipulated sound. There is a childish sound to this piece, which incorporates harmony, texture, and electronic orchestration to create a fun and upbeat sound environment for the listeners.

Recording of Simon Hall's Transcending the body & soul... The name was inspired by the source materials of the piece: brass instruments, percussion, bodily sounds, and samples from American soul artists. The sounds sources are then treated and transformed acousmatically using a whole range of analogue and digital technique. The intention is to take the listener on a series of contrasting soundscapes and to create links to the present sound world.

Recording of Rodolfo Acosta's Si tan solo fueramos libres. This work is for guitar and electronics. This work explores the possibilities of electronically manipulated guitar and a wide variety of traditional electroacoustic technique.

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 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 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 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 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 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 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 YeeOn Lo's Three postludes in One movement. Each postlude attempts to explore a different range of timbre, texture, and sonority, with an overall goal of joining synthetic and natural sound. The piece was realized completely by digital means on a general purpose computer using four techniques: synthesis by analysis, convolution with various types of impulse responses, shaping, and mixing.

Recording of Jean-Marc Weber's Inside Outfide Ghatam. This piece is built from concrete sound elements of which we can only see a few snippets of the raw state. The transformations and progressive mutations of the basic sound material transcribe and reflect the inner voices / internal paths.

Recording of Atsushi Yamaji's Ajikan. This piece is music for a funeral. Its ceremonial landscape is on a method for deep meditation in native religion and for harmonizing with universal nature. Therefore, it is a requiem for a soul after death and a periodic divine providence of nature.

Recording of Wes Richard Wraggett's Spoils. This piece uses traditional electronic technique to manipulate sounds creating an evolving atmosphere.

Recording of Youliana Tochkova's Tableau.

Recording of Francesco Galante's Metafonie. The title is an expression to convey different states of perception of sound material, in particular the use of wideband critical spaces in music. The purpose of this piece is about listening to different conditions of change in sound. There are massive and soft sounds; simple pitches and closed sounds; very high and low regions for the acoustic spectrum; electronic sounds and simulation of instrumental timbre; dramatic and ecstatic sound textures, etc.

Recording of Judy Klein's Elements 1.1: Sulphur, phosphorus; diamond. The composition is based upon ratios between the multiple vibrational frequencies of sulphur and phosphorus molecules and the single molecular vibration of the diamond. These ratios are used in fractal-like algorithms to generate every aspect of the music. The piece was realized on a NeXT, using C-Sound music software.

Recording of Hubert Howe's Meditation. This work is based entirely on 19-tone equal temperament. Meditation, as the title implies, is a slow, contemplative work that begins from a single tone, combines it with other tones, builds to larger/ faster materials, and ultimately returns to the tone at the beginning. The basic sound is a vocal-like tone produced by three-carrier FM synthesis. There are five sections in the piece in a palindromic relationship and a 2:1 tempo change between each, increasing at first and then decreasing.

Recording of Thomas Gerwin's Objektklangstudien. This piece uses sound from a single object and utilizes electronic manipulation to alter the original sound.