Recording of Tamas Ungvary's Nine Fingerprints. In these impromptus the border between the church organ and computer music domains seems to fade. These pieces were edited out of several spontaneous recording sessions. During those recording sessions, a Sentograph controlled IGMA parameters, the remaining three outputs of the second FingerprintR were used to change the Overtones, Brightness and Articulation parameters. These organ instrument spaces were implemented on the SY99, using waveshaping, FM and complex waveform additive synthesis.

Recording of Simo Lazarov's A little breath symphony. This work is made of breath sound sources and electronics. Made up of 5 differing movements; 1. Highly, Highly - Higher and Higher: 2. Deeply, Deeply - Deeper and deeper: 3. Going up - Levitation: 4. High & Deep - Scerzo-High & Low: 5. Up & Down - Allegro - Up & Down.

Recording of Wes Richard Wraggett's Icarus strictures - Chants of the Apocalypse.

Recording of Rajmil Fischman's Cold fire. This piece is the first of a cycle of three pieces for string quartet and tape. The tape part was produced at Keele University studios on a Composers’ Desktop Project system. Most of its material consists of two main sources - a recording of ice cubes falling into a glass of water and a blow-torch - which were manipulated and processed in order to create diverse textures as well as gestural material. In spite of its remote timbral origin, the tape interacts with the string quartet either by merging and enhancing spectral areas of its morphology or by providing contrasting rhythmic elements which act as counterpoint to the gestural discourse of the quartet. Cold Fire received 2nd prize ex aequo in the instruments and tape category of the First International Competition of Computer Music “Pierre Schaeffer,” Accademia Musicale Pescarese, 1998. It was issued on CD, MV001-1998-SIAE, Accademia Musicale Pescarese, Italy. Performances include the International Mediamix Weekend, York, 1996 (Vlns: Nicky Haire and Rachel Eaton; Vla: Clare Catchpole; Vlc: Peter Nicholson; Cond: Hector Macandrew) and the Australian Computer Music Association conference 1996, Queensland, Australia (Kiros quartet).

Recording of James Dashow's First Tangent to the Given Curve. This work is for piano and electronic sounds. The title of the work comes from an essay by Michel Serres, which captures rather nicely the sense of the music, the sense of the composition.The musical relationship between the computer and piano is rather precise. The pitches provide the basis for the sounds, which were created by the MUSIC30 software by the composer.

Recording of Ron Averill's This is the sound of my dreams. Work for percussion, flute, and electronics. This work emphasizes communication between flute and percussion, while exploring differing sound textures with electronic processing and sounds.

Recording of Elsa Justel's Feuillage de silence. The composer dedicates this work to his father who helped inspire the concept behind the piece. The composer compares the job of a musician to that of a gardener when honing their craft, by experimenting and manipulating nature in a non-destructive way in search of something beautiful.

Recording of Victor Lazzarini's Vozes Dentro. This work is made up of three movement: Cidade Irreal, O Moinho dos Cantos, Vozes Dentro. Vozes Dentro is a trilogy, which examines different aspects human voices sounds. The first piece is a study of different types of textures, which are transformed into vocal-like sounds.

Recording of Wilfried Jentzsch's Kyoto Bells. This work was commissioned to mark the 1200th anniversary of the founding of the city of Kyoto and premiered there in 1994. The sound material is based on four bells of different sizes which the composer had brought with them on their first returning trip to Japan in 1993.

Recording of René Uijlenhoet's Wedge. Music for two audio tracks. The composer describes this piece as being about sounds that wrench other sounds loose as well as frantically racing sounds or stationary sound planes. The piece was inspired by the rhythms and loops in Pierre Schaeffer and Pierre Henry's early Musique Concrète montages. Wedge was created with synthetic sounds from a variety of sources, as well as a pair of distorted bass clarinets and a manipulated cymbal.

Recording of Robert Scott Thompson's Rust. This is a work for computer which combines various kinds of metallic sounds - and their transformations, as well as other sounds sources such as clarinet, flute, and Tibetian and Gregorian chants. Both the acoustic and synthetic sounds have been subjected to various types of digital signal processing.

Recording of Patrick Lenfant's Archée. The main material in this work is fire, an "electonic" fire made from exclusively analog wave generators. The second material is "time" and is an essential part of the work. This piece belongs to a collection of works the composer calls his "electronic sound paintings" which consist of pieces that suggest to the listener an image of the chosen model by stylizing it using electronic sources.