Recording of Christopher Brady's North sanpete. This work utilizes a wide variety of sound sources which are unprocessed or have been electronically altered and organizes them together in a balanced manner. There are radio samples, field nature recordings, voice recording, acoustic instruments, everyday inanimate objects, and synthetic or electronically processed sounds.

Recording of Roberto Brandwayn's Passacaglia de la gran ciudad. This work makes use of the Passacaglia, a form which uses a constantly repeating melodic line as a structural basis. In the "Grand City Passacaglia", a series of 9 sounds, including silence, is exposed to the listener. This series inaugurates a repeating cycle, on which will develop variations and create new textures; that gradually make it indecipherable and lead it to chaos. For the technical realization, alterations of the waves created with a synthesizer, voice recording, and samplers are used.

Recording of Paul Geladi's Variable densities. Consists of 3 parts: start, middle, and end. Start and end are delivered in their finished form as digital stereo recordings, which are meant to be assembled by the performer. The duration of middle is undetermined. The only requirement is that there is a decreasing density as time progresses. The parts may be assembled in advance into a stereo mix or played live and mixed in any combination or order, as long as average density decreases. The same version of middle should never be used twice.

Recording of Stéphane Roy's Crystal Music. Material substances and sound substances have never been so closely associated as in the acousmatic genre. Crystal Music, which proceeds from this genre, is a music of shapes, colors and materials profiled by kinetic energies and put into perspective in the interior space of the work. Like art glass, the material has been expanded, molded, transmuted in the blast furnaces of experimentation. Like crystal, it is carved by the imagination which gives its transparencies the power of illusion.

Recording of Jan Oleszkowicz's Impromptu. "Impromptu" was created for synthesizer and tape. The material for the synthesizer solo was partially improvised.

Recording of Manuel Rocha Iturbide's Transiciones de fase. This works is for brass quartet and computer. The intention of this composition is to explore the timbre possibilities of brass instruments, and to present in the piece different states of sound, as a natural element. The electronic sounds, were mixed beforehand, but there is live electronics (IRCAM next station). One part of the sounds processed in the studio were treated with a vocoder, using stretching and cross synthesis. The other sounds were created by analysis and re-synthesis of brass samples, using the IRCAM program or granular synthesis. In the DSP control parameters reverb with filtering, harmonizer, two spatialized delay patches, and random algorithms are used. All events are triggered by the performers with 4 midi pedals.

Recording of Philippe Moënne-Loccoz's Complainte Apocalyptique. This work is developed around the torments, fears and abominations that people can cause through their anxieties and ideologies. The sounds merge, distinguish themselves, then transform into a great diversity of colors and timbres with electronics. The materials are an assembly of electronic sounds and recordings shaped over time. This lament is the musical discourse resulting from a visceral anthropological observation, the end bringing the song of appeasement, humble and human.

Recording of Rajmil Fischman's Sin los cuatro. This work is for tape and was composed using a Composers’ Desktop Project (CDP) computer workstation. Most of its material consists of two main sources: a recording of ice cubes falling into a glass of water and a blow-torch. These sound sources are manipulated and processed in order to create diverse textures as well as gestural material.

Recording of Juan Carlos Vergara Solar's Mister X. This work is for electric guitar, percussion, woodwind, brass instruments, voice, and analogue synthesizer samplers. The beginning section is between anguish and a difficult situation of his spiritual ideas. Sound of bells occur while the voice is trying to come into the foreground. During the second part, continues glissandi and modulation begins to develop until the impact is reached.

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 Dante Feijoo's Dessins dans le ciel. This work uses electronically built sounds, which contain very harsh analogue sounds. These harsher sounds captivate the listener and offers a changes from the stillness of the bas of the sound structure.

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 Michel Tetreault's Ad vitam aeternam. This work is for electronics and pre-recorded sound. By using traditional electro-acoustic technique certain effects have allowed for pre-recorded sound fragments to transforms and change throughout the piece. While listening to these sound, fields recording of differing sonic environments are playing.

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 Rodolfo Caesar's A noite em concha. This work is for electronics created with electro-acoustic technique.

Recording of Gerald Eckert In sich ohne Ausweg. The inspiration for this work came from the composer's involvement with the visual arts. The question arose whether and to what extent plastic surfaces and small structures were transformed into tonal formations, using Fourier analysis, sounds could be generated based on the idea of an (optical) relief. It is a purely digital synthesizer, whose basic structures were created using PPP (an algorithmic composition language).

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

Recording of YeeOn Lo's The song of peace. This piece uses synthetic acoustic instruments and pre-recorded audio to create a soundscape, which create a connection between unprocessed sound and sound which was been processed beyond recognition.

Recording of Gianantonio Patella's Linee agitate. This work is for electronics. It uses pitch alteration, time stretching, and electronic manipulation; pre-recorded samples of acoustic instruments are used to create a soundscape.

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 Alessandro Cipriani's In Memory of a Recorder. The composer is interested in the passage from the written tradition to the electroacoustic one. This piece uses two sequences of harmonics and multiphonics of the bass recorder as its only source material. This work is organized into three sections and uses Real-time granular synthesis and blocks reading technique. The idea in the piece is to subdivide an instrumental recorded sequence into blocks of one to three seconds and to play it back following a score that describes which blocks to play, and how.

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 Kui Dong's Flying apple. This work concerns an unfinished childhood dream where a walk is taken through a colorful and unspoiled world. By listening for what best fits the overall concept for the piece, the use of timbre reminds an oriental scent. This algorithmic composition was composed on DMIX, Daniel Oppenheim's software package for Macintosh, and was programmed with extreme nesting patterns, forming a simple idea which then grows into a complex pattern.