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.

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

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 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 Tamas Ungvary's Grattis with epilog. The swedish word "grattis" (congratulations) with its two different vowels and four different consonants piqued the composer's imagination. The composer's recorded and digitalized voice serves as the source material for the first part of the piece. Using various, mostly self-designed, real-time programs which were controlled with a three-dimensional touch-sensitive input device called a Sentograph. In addition, the composer I developed two programs, one which generated sound (GLIDE) and another which manipulated sampled sound (S-GLIDE).

Recording of George Skip Brunner's Women in black. For electronics, manipulated voice, and violin.

Recording of Maria Cristina De Amicis' Aura. This work explores the sonic possibilities of processed percussion and electronics.

Recording of Manuel Rocha Iturbide's SL-9. For digital tape. Sl-9 is named after the comet that hit Jupiter in 1994. This piece was made with granular synthesis techniques, with Barry Truax's granular synthesis system (The DSP DMX-1000 controlled by a PDP Micro 11). The samples used for the time granulation were popping sounds of fire, drops of water, and the ocean. The idea was to make a programmatic piece where a comet hits a planet, and brings to it water, an element which will probably bring life to it.

Recording of Klaus Roder's Kristallisation 6. This work uses a small tape machine with voices, birds and kitchen noise are to be heard. A short, only a few seconds lasting part of this recording returns in continuously varied shapes. The original as well as electronically produced imitations of it are repeated constantly. Simultaneously new tones and sounds are added. So the repetition becomes accentuated in several ways. A special accent is given by the sounds of the 'Haaner Kirmes', a local fair, with its typical noise - its loudspeaker voices and noise of the engines of the roundabouts.

Recording of YeeOn Lo's Portrait of Timbre as a wild Wooddove. The composer describes this composition as having grown out of Gerard Hopkins' "Peace," which reads: "When will you ever, Peace, wild wooddove, shy wings shut / Your round me roaming end, and under be my boughs? When, when, Peace, will you, Peace?" The composer drew inspiration from Magritte's painting "La Grande Famille" (in which a huge "inverse" silhouette of the bird rising from a troubled, dark sea is depicted). Starting with random number sequences and the McGill instrument waveforms, the piece was composed using privately developed software.

Recording of Hans Ulrich Humpert's Construction in micropolygons.

Recording of John Palmer's Regne-Kyo. In Buddhism, Renge (the lotus flower) symbolizes the simultaneousness of cause and effect (the flower and the seed pod) and the ability of self-purification (the blossoms in the muddy swamps). Kyo means Sutra (teaching) and Sound as a vibration; it represents the thread, the continuity of all things. Musical gesture is highlighted within piano and electronics. The two instruments are continuously interrelated in an asymmetric alternation of actions and reactions constructed within two superimposed layers.

Recording of Elio Martusciello's Proiezioni. This work is described by the composer as a musical tribute to cinema; it is an integral part of an audiovisual project with the film and video research collective "Cane Capovolto" by A. Aiello. This project uses as sole sound and visual source only those instruments and objects (projectors, cameras, reels, etc.) which are related to Cinematographic Art. Concerning the musical part, these old instruments (with their noisy metallic mechanisms and the light sound of long films) offer the composer a rich palette of colors and evocative sonorities.

Recording of Joseba Torre's Mas libre y màs cautivo. For electronics, and acoustic instruments. This work tries to approach two matters of preoccupations in relation with the musical script: The first concerns the elaboration of a deductive process applied in same way to pitches and durations and the second deals with the compositional development. Two pitches and two durations will only be the ideas chosen to be the generator constituent of the five unbroken parts which are dividing the piece. That consists in two antagonistic interpretations.

Recording of Milton Estevez's Patch 13. For tape. The basic material was built among others during a period of research carried out in the studio of the European Center for Musical Research in Metz, in this case on the old analog synthesizer AKS. The frequencies of the patch were manipulated in an improvisatory way and recorded on eight tracks, based on non-symmetrical but related tempos, fixed in advance for each improvisation. After mixing, the eight tracks were mixed on two tracks.

Recording of Sarah Peebles' Visibles. For electronics and pre-recorded processed sound.