Recording of Benjamin De La Fuente's Ce doux nectar fleurant le miel. This work was made using pre-recorded audio and with the utilization of electronic processing, the sound are transformed.

Recording of Michael Rosas Cobian's Rumbos. Etudes 94. Rumbos is translates to pathways in a ambiguous or mysterious manner. Three basic sound sources are used: a sample of a squash game, an attack of a cello col legno and a metal strike; and a single technical device: the Akai sampler. The feature of 8 point loop facility which is used extensively in this work.

Recording of Antonio Alcazar Aranda's Transformaciones. The work has four parts. In Cristaux et noix; timbre evolutions of the material occur along its duration. Lethanie has minimal changes between melodic cells and small dislocations rhythms, which bring slow transformation. In Ondes rigides. certain flows and reflux are presented through rhythmic compressions and expansions united to a gradual opening in the pitch field. Finally, Dilatation, is a very slow evolutionary model which, accommodates itself to an ever wider sound space.

Recording of David Prior's Struggle. This work uses electronics to change characteristics of pre-recorded sound fragments.

Recording of Michał Talma-Sutt's Shadows. This work uses recordings of brass instruments, wind instruments, inanimate objects, and electronics. Then by using traditional electro-acoustic technique, the stereo listening environments become very complex, by making sounds sound distant or close, and ever panning the sounds from left to right, then combing these two techniques to allow for sound to travel.

Recording Ipke Starke's Hado. This piece mostly consists of three pre-recorded sound sources: water, fidgeting with small inanimate objects, and voice. The sounds begin transparent and virtually unprocessed, but with time being to change with the more processing.

Recording of Andrea Libretti's Dada. The piece develops according to a Dadaist reconstruction project of the recited text, previously analyzed and dismembered. The first part is only consonants, followed by only isolated and interpolated vowels. Subsequently, the development of the envelope of amplitude and frequency of the speech begins to take shape, to arrive through various degrees at the complete recitation of point 11 of the "Manifesto dadaista sull'amore debole e l'amore amaro " by Tristan Tzara. All the material used is from the sampling of the recitation of the text.

Recording of Rainer Bürk's Des ombres de la nuit. The composer went to the Frauenkirche in Esslingen together with organist Christoph Bossert to record sounds from the organ of the church. They treated the organ in many ways, the results mostly sounding dark and uncanny, just like the atmosphere of the environment. There was the clatter of the action and the pedals, the howling and whistling of the organ-pipes. The piece wants to re-create some of the eerie atmosphere in the dark, lonely and cold church.

Recording of Patrick Ascione's Suite blanche pour les temps nouveaux. THis work is for electronic and computer sound. This work uses electronic and heavily processed sound to create a dense musical texture, the sounds are delivered in fragments. When the sound texture changes in a quick sense bringing new sounds into the work, this work has both transparent and harsher sound providing sonic variety.

Recording of Adrian Moore Landscape / Perspective 1. This work is for electronics, created by using traditional electro-acoustic technique.

Recording of Wes Richard Wraggett's Symbology. This work is for electronics.

Recording of Charles Nichols' Stasis. This is an interactive piece for soprano, MIDI violin, computer programming, and sampler. The count of steps on the MIDI pedal tells the computer which section to perform, while the pitch information received tells the computer which gestures to perform. The gestures are preprogrammed, but in some instances the computer randomly chooses the length or speed of the gesture, or the ordering of the musical material within predetermined limits. The computer drives a sampler which is loaded with samples of the soprano mixed and convoluted with samples of the violin.

Recording of Carlos Cerana's Three short pieces. This work is for clarinet and electronics. There are effects put on the clarinet which allow for the illusion of different sound environments and tone colors. The tape also provides texture, harmony, and an accompaniment for the clarinet.

Recording of Riccardo Dapelo's Kindergarten. This work is for piano and tape. This work is based on the opposition of two sound elements: a child's voice and the timbre of the piano. These sound are accompanied with synthesized sound. The tape flow, with sudden accelerations from piano timbre to child voice ending in a vocal sounds. ( as an exponential "crescendo" ). Piano and tape try to create a perspective illusion, leaving and approaching themselves, alternating foreground presences and background shadows.

Recording of Maria Francesca Ancarola Saavedra's Eolico 2. This work is for electronically processed voice and electronics.

Recording of Karl Friedrick Gerber's IM011194.GFA. This work uses certain percussion instruments and electronics to create an immersive environment with various instruments being played simultaneously with the help of samplers, recorders, and tape.

Recording of Werner Cee's Solitude / Like a motherless child. This work is for voice, double bass, and electronics. The vocal part of this piece is electronically processed, to create a harmonically dense piece, which unfolds into a transparent sound full of musical gesture.

Recording of Werner Cee's Braindrops. This work is an interactive, audio-visual performance. The installation makes spatial-temporal patterns of the impact of raindrops falling on various sound-making surfaces, creating a complex multitude of generated sound and light structures. Various psycho-physiological signals of the subject are measured using sensors and correlated. Changes in the individual's psycho-physical state are thereby fed back into the audio-visual event itself (biofeedback).

Recording of Vladimir Komarov's Genesis. This work is for electronics and synthesized sounds.

Recording of Hans Tutschku's Nachts. For cello, bass clarinet, percussion and 4-track tape. Poems of Georg Trakl are put in correspondence the world of musical means to make an illustration of the text. Moreover, the tape is composed from recordings of instruments (cello, bass clarinet, percussion) and the voices of actors and singers. For each of the instruments I recorded four layers, each describing an independent rotation around the audience. I work the same way with texts. Moreover each instrument is played "live" which brings an additional layer. The notes are derived from three four-note chords that reproduce the scale.

Recording of John Elmsly's Drift. The tape part uses real-time granular synthesis to processed viola samples. Bowed and plucked sounds has been treated in this way to produce a large-scale mosaic of sounds to background the solo viola part, which explores playing techniques involving small changes in pitch. Such as, fingers, in closer than normal position, produce rhythmic patterns on very small intervals and create a very fluid melody in the upper reaches of the instrument.

Recording of Bruno Capelle Poèmes acousmatiques. This work uses mostly synthetically made electronic sounds and pre-recorded material. The sound are combined together so specifically that truly makes this work a sound poem. The use of electro-acoustic materiel allows for the music to travel within your own stereo listening field sound may appear on the left or right, or move around the space; the sound also differ in the execution of delivery sometimes a gradual transition or very rapidly. The use of field recordings, piano, and objects help bring familiar sounds.

Recording of Mathew Adkin's Melt. Melt is the description of a train journey. The work is based on the mediation between: regular movement and impulse, and raw sounds or computerized sounds. The basis of the work is live recordings of trains, metro announcements, crowds, synthesized sounds with characteristics of natural sources, and synthesized sounds. Throughout the work, the sounds of the real world mix with the synthetic equivalents of the dream world, like a traveler falling back in and out of a dream day.

Recording of Elizabeth Hoffman's Tesserae. This work is for stereo and computer generated sounds. This work emerged from numerous mosaic-like bits, resulting from experimentation. Techniques include frequency modulation, additive synthesis, filtering, and linear predictive coding. Many of the elements heard in this piece are reminiscent of natural sounds because of such techniques. The sound sources include spoken words and purring noises--the latter used at times as a filter excitation source.