Recording of Jeffrey Hass' Liaisons. This piece uses traditional electronic technique and creates a futuristic sounding musical space.

Recording of Eric Lyon's The afterbirth of appollo. This work is for electronics and has a lot of noise elements. The synthetic sounds are harsh and posses an analog sound. This sound feels continuous and even though there is movement in the sound, the construction continues to stay the same. There is a true representation of electronic sound in this work, instead of shying away from the noise, this work embraces it and explores the importance of balance and musical transitions.

Recording of Michel Redolfi's Songes drôlatiques. Audio and visual suite inspired by the "Drolatic Dreams" of Rabelais' Pantagruel. The sound production calls for two elements: the voice of Michael Lonsdale performing in unprecedented registers and bodily sounds produced by the dancers. Added to this are throbbing metal, creaking wood, gurgling liquids and any substance relating to Rabelais' sound environment. Thus, virtual flesh, mysterious pharynx and imaginary mechanics compose for the ear a nightmarish saraband where the excess is appropriate.

Recording of Jorge Rapp's Biosfera una. In this piece natural sounds which are playing all around us are combines with the human beings that reside with it. This environment is accomplished by using sounds from nature, animals, and people and our continuous soundscapes. Contrast and camouflage relations prevail, where human voices become the foreground; these encounters culminates with guttural animal sounds.

Recording of Elio Martusciello's Limite inferiore sinistro. The matter of elimination, that is to say the sound of the rustle of a magnetic tape, constitutes the acoustic nature of this composition. The sole use of a tape recorder-mixer as a sound generator, gives a sufficient result for the creative operation, and ultimately to the gesture of the component. In all this hides a subtle complacency, a game of perspectives where this plan relegated to the bottom at the musical level and pushed further with the advent of new digital technologies, is here recovered and invested with a new dignity.

Recording of Kim Hedas' Good morning love, it's springtime in my heart! Although this piece's may give off a certain idea to the sound environment you would expect, the piece is harsh, contains unsettling sound, and unpredictable sound direction. With a very specific sound quality this piece explores the harmonies and the characteristics of metallic objects, sounds, or instruments.

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 Gliniak Bartlomiej's Neumo Progremodum. This work was composed in two stages: the beginning stage was creating synthetic sounds and the second stage would be electronically manipulating them. The technical processed includes digital sampling, digital sound synthesis, and electronic effect processors.

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.

Recording of Juan Carlos Pampin's Apocalypse was postponed due to lack of interest. The title refers to an idea about the state of the art within the 19th century. Algorithms written with the COMMON LISP language controlled the rhythms and production of synthesis sounds to create different textures and densities. Sound generation techniques include: Karplus-Strong Modeled Attack, Additive Synthesis Generated Body and Filtered Noise Drop. The structure of the work is that of a continuous transformation where each object is condemned to mutate over time, these mutations take place in the short and long term during the piece.

Recording of Michael Ward-Bergeman's Hershe Tube Rundown. This piece consists of a variety of vocal and environmental samples created by the composer. All other timbres are generated from Digital Keyboard's Synergy. There is a constant rhythm to this piece and fun almost child-like energy throughout.

Recording of Karl Friedrick Gerber's Beautiful Numbers. The work is a result of the composers experiments with algorithmic composition written with the "GFA Basic" language. The real-time improvisation program is controlled or "conducted" by altering numbers of preselected so called discrete vectors. These vectors represent states in the space of sequences formed by counting integer values in cycles. Various midi events are generated to control the sound modules. The piece was concerned for dance improvisation and has a very smooth flow with a mood of simple beautiful structures and intervals.

Recording of Jean-Marc Weber's El Fuego. This work is for electronics. This work uses aeolian mouth sound and electronically-made sounds to create an evolving work. It uses time repetitive motifs which begin to fade in and out, leading to the work abrupt ending.

Recording of Jan Pascal Alagna's C'est en forgeant. Sound allegory around the forge, fire, and the transformation of energy, of acoustic exploration of the last forge still in activity in Marseille. Based on the recording of sounds from the forest of pastre, an allegoric journey is offered where the various stages of transformation of metal, water and fire are presented. Other sound's include the Kalevala, Greece index, Gamelan, etc. These instruments represent the historical tradition enlightened by the myth of the blacksmith.

Recording of Augusto Valente's Triptyque pour I'avenir. This composition is for tape and based on the poem L'Avenir by Henri Michaux. The words being transformed beyond recognizability are the main factor of this piece. The challenge posed on the composer was to explore the boundaries between the text and using electronics to portray the text. There is a outlining of language occurring in the beginning with stuttering. Then with time the electronics use of manipulation create a journey of sound alteration.

Recording of YeeOn Lo's Hommage a Glenn Gould etudes for a virtual musician. This work is a set of studies for computer, and it is a result from the composer's algorithmic composition. The algorithm uses a small set of inputs such as chord progressions, some formal functions for growth and decay, and simple rules to achieve a controlled aleatory. Then set operations were implemented to achieve unity through appropriate repetition. There are percussive sounds, piano, strings, flute, and electronics.

Recording of Edmund J. Campoin's Losing touch. This work is for vibraphone solo and tape. The use of a pre-recorded vibraphone samples allowed for additional instruments through analysis and re-synthesis with the aid the IRCAM program. Then with the use of the Mosaic program, 50 tuned drum were created. The second aspect of the composition used Patchwork to isolate all of the numerical sets made from factors of 120. There numerical sets are used as durations. Additionally, Patchwork is used to analyze the database and isolate sets where the circular permutations of a rhymical placement and pre-designed harmony.

Recording of Mathew Adkins' Clothed in the Soft Horizon. The work presents a communitive interaction between electronically built sounds and the original unprocessed sounds, which are modelled after water droplets and the motion of a wave that builds, crashes, and breaks. This use of processed and unprocessed sound is the overall bas of the work and also the Spectro morphological design of many of the individual sounds. Overall, the work is both a physical representation of the flow and motion of the water and a personal response to it.

Recording of Simon Hall's Hit me! The main body of the piece is in two sections. The first is based on stretched and transpositions of the number of vocal and instrumental gestures, and the second is intentionally more abstract and less obviously derived from the source material. These sound materials derive from James Brown song samples. Then, the samples are developed using a variety of digital techniques to create an electroacoustic sound environment.

Recording of Simon Hall's Taking the Gliss... This work is for bass trombone, tape, and live electronics. The intention of this piece for bass trombone is to explore some of the different kinds of possible glissandos and the role electronics can play. The tape part is exclusively from brass and vocal sounds, which are electronically manipulated using a range of analogue and digital techniques. Yet most of the piece focuses on the instrumental domain through out the piece.

Recording of Michael Ward-Bergeman's Children in the Garden. This piece is created using solely electronically-made sounds. The sounds are made up of instruments using the technique "frequency modulation synthesis" to resemble the sound of acoustic instruments. This almost 8-bit sound piece helps paint the titles picture.

Recording of Christopher Brady's Hiddent Chambers. This work is a soundscape which has an acoustic sound that helps to covey a sense of space and is structurally consistent.

Recording of Mattew Burtner's Incantation. This work is a soundscape made from synthetic sounds and electronically manipulated pre-recorded sound.

Recording of Daniel Bernstein's Golem. This work is for string quartet and electronics.