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 of Yves Potvin's Liguits rom. This work is for voice and electronics.

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.

Recording of Grant Willis' Spectral Densities. This work is a drone or even meditative style piece, remaining very still throughout and using pre-recorded audio to create harmony and texture.

Recording of Alain Basso's Acetone. It was created essentially from sounds representative of landscapes and festivities in Haute-Savoie, this piece explores the limits of the possibilities of sound mutation. The idea is to exaggerate certain acoustic characteristics, to better control the expressiveness of these sound objects, but without losing their original nature. Thus, the listener is projected into a lyrical world, while measuring the gap that separates him from real sources that can often be identified.

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 Roderik De Man's Vision. This composition is based on themes from the work of the Frisian painter Boele Bregman. He started out with a figurative and poetical approach of painting, later develop an abstract style. These aspects of his work form the basis of the composition: the idealism at the beginning of his career (boy soprano); the terror of war and meaningless speeches of politicians; and the final resignation and consolation found in his work (aria for baritone).

Recording of Lelio Camilleri's Arcades. This work is for electronic and pre-recorded manipulated sound. This work uses traditional electronic technique to change the sound characteristics of pre-recorded sound and use of musical space and movement, accompanied by electronically produced track.

Recording of Philippe Blanchard's Katastrophe. This work uses field recording of nature and animal sounds, voice, electronic and acoustic instruments, and pre-recorded sound. There is a big emphasis within musical transition, which at times is silence. The use of electronic technique also allows for musical space and sound travel.

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 Jean Piche's Cyber-Cerbère. This work is for electronics and electro-acoustic technique.

Recording of Janine Elliot’s Pattems of nature.

Recording of Franco Degrassi's Mostar.

Recording of Annette Vande Gorne's Le Ginkgo. This electroacoustic composition is a narrated work with a significant amount of low voice audio in French. It is described and expanded upon in the following words (translated from original French text): A man walks to meet himself...: From the secure and unequivocal void of eternity without future to the proliferation of passionate, ephemeral life, with an uncertain future, except that its swirling column will m 'carries irresistibly towards a love'. The Poet takes us on an inner journey, that of a lifetime, in which each of us can situate ourselves, recognize ourselves, identify with the narrator. Narrative, linear and structured, seems to be an ideal form for this progression of being. I therefore extracted from the original short story the key phrases of each stage of the journey, and took, in order to preserve its linear character, the party of simple reading, monotone at the beginning and going by becoming animated. The musical form is derived from the words and the structure of the text along three axes: That of time which, long non-existent, fixed, outside of man, gives itself a "hic et nunc", then a past and a future, and accelerates, …