Recording of November's Eve. Tombeau à Pierre Schaeffer. This work's sound source is made up of stretched metallic sounds, both processed by electronic FX's and as the original recordings. The work was all a contribution the the memorial concert for Pierre Schaeffer.

Recording of Erik Peters' Biography. For electronics utilizing traditional electro-acoustic technique. This work is made up of 12 parts: 1. Prologue, 2. Ritournelle I, 3. Entre pre et fils. 4. Ritournelle II, 5. Vue sur la grande vallée, 6. Trios amis, 7. Ritournelle III, 8. Entre un homme et une femme, 9. D'un endroit pas trop loin des cimes des arbes, 10. Ritournelle IV, 11. Antipatio, and 12. Epilogue.

Recording of Jacky Schreiber's Oh!...Impotencia. For electronics. The concept of this piece is written as: we remain in the hope of differentiating between two realities, the real and the virtual. This music aims to fight impotence and understand any of these two realities. It's like a dinner where each dish adapts to each person.

Recording of Alejandro Martinez Figuerola's Vaciando el hueco. For electronics and manipulated pre-recorded sound. Perception of the state prior to an act of musical creation while only waiting to say what is said through a specific organization of sounds.

Recording of Rodrigo Segnini's Pekuek II. Pekuek's series is an essay that reflects the high points of the interaction between the composer and some close friends. A collage of the moments through which the composer intended to benefit from their tastes (without them knowing it and without abandoning mine), keeping the idea that, despite the disunity, we were getting closer.

Recording of John Elmsly's Whispering Island. For computer generated sounds. There are colorful legends about the feuding Maori whose fighting formed the volcanic island of Rangitoto; these sound-carvings from Rangitoto are not programmatic, though the stories are part of the spirit of the place, as are the more physical aspects of sight and soundscape. The raw sound material was recorded on the island (a rock pool at the water's edge), and is heard near the end of the work. Utilization the POD system and real-time granulation of sampled sound.

Recording of Joseph Hyde's Into the blue. This work begins with an opening soundscape made up entirely of untreated natural sounds. The rest of the work is a deconstruction of this scene, exploring the intimate relationship between the aural sense and the subconscious, in particular the relationship between sound and time. These works are purposely limited to the aural domain, to allow the listener to close their eyes, shut off the outside world, and concentrate instead on what is going on inside. SoundHack and AudioSculpt processed the sounds, and OSC DeckII for mixing.

Recording of Walter Prati's L'utopia ed il paradisso. Utopia and Paradise is originally a work for 8 double basses and live electronics. Having a group of 8 double basses is a utopia, hence the title of the piece. In order to realize this work the composer played the instrument using that recorded sound material for the piece. The work is dedicated to the Liberation period in Italy. Utopia is a new conception of society, the paradox is the current social and political situation in Italy.

Recording of David Horta's Paradiddles. For electronics and tape. The electronic sounds in this piece were created and controlled on a Synclavier. The piece is based on the interaction between the rhythmic patterns of the percussionist playing live and those of the band. It is a permanent dialogue between the patterns of synchronization and the contrast. The percussion part on this recorded version was played by Tristan Taboada.

Recording of Gonzalo Javier Biffarella's Mestizaje. This work uses a pre-recorded vocal fragment of around 4 seconds and a 2 second pattern of a harp were used to create this piece.

Recording of Elio Martusciello's II vento silenzioso. This work is a soundscape created with electronic sounds and processing.

Recording of Paul Geladi's The Beauty and the Bourges. For electronics and manipulated sound, created using traditional electro-acoustic sound.

Recording of Frank Pecquet's Frissons Acqueux.

Recording of Yasuhiro Takenaka's King and Queen. This work's title is derived from Henry Moore's sculpture and sonically describes the relationship between the saxophone part and the tape in accordance with the King and Queen. The tape part was produced using Dyaxis II.

Recording of László Dubrovay's La symphonie des Hongrois. This work uses samples of orchestral performances and electronics.

Recording of Alcides Lanza's Ektenes III. For clarinet, tape, and digital signal processing. The tape part was realized by recording clarinet tones, multiphonics and short improvised sequences in digital format and then processed utilizing an Akai S1000 digital sampler and the software programs Sound Designer II and Audiomedia II in a Macintosh computer system. all pre-recorded clarinet sounds were performed by Jean-Guy Boisvert.

Recording of Christian Banasik's Dressing old words new. For baritone saxophone and tape (version II for bass-clarinet and tape). The structure of the piece is based upon formal characteristics and idiomatic expressions of the 76. Sonnet by William Shakespeare which was analyzed by pitch to midi converter and computer programs. The sound of the recitation was transformed and produced metric-rhythmical patterns and pitches thus generating the material for the composition. The basic patterns are integrated in original form, varied, or completely abstracted and again reduced.

Recording of Andrew May's The twittering machine. For flute, violin, and electronics. The instruments within this work use contemporary extended technique. There is also sound from multiples flutes including low flute.

Recording of Mia Schmidt's Aï∂a ∂omi. The spoken word, on which the composers short composition for tape "a rose is a rose" is basing, transfers two antithetical messages. The poem "rose is a rose" written by Gertrude Stein is a love- poem. The composer added sentences, taken from newspaper articles discussing the brutality of the pornographic industry. The poem is represented by this overtone-spectrum in form of sinus-tones or slightly modified sinus-tones. The sentences from the newspaper articles are normally spoken.

Recording of Blas Payri's Unheimlickes wasser. This work uses spoken word, electronics, and pre-recorded sound to create a sonic environment which tells a story and holds suspense.

Recording of Antonio Fernandez Ros' Terracota. This piece was realized after taping the conversation between two people in the Veneto region in Italy. Both speaking in Veneto dialect and talk about the meaning of land, tradition and language. This conversation was later edited (with no electronic modification) and together with the edition of other elements, was turned into a dramatic portrait of the protagonists. The secret or clue of this piece lies in the sound and meaning of spoken language. All the other sonic elements act purely as support to what is already contained in the words and expressions used by the protagonists.

Recording of Diego Dall'osto's Dialodiadi. The composition is conceived like a dialogue between flute and clarinet, and the same in a virtual form, produced by means of the VL1-Yamaha (virtual acoustic synthesizer), which is based on "physical models" for reproducing acoustic instruments. The piece is in six parts, each is called "DIADE" if the dialogue is between a real instrument and his virtual "projection" (es. real flute and virtual flute), or "DUO", if the dialogue is between a real instrument and the virtual version of the other (es. real clarinet and virtual flute).

Recording of Eugeniusz Rudnik's Thème: G-M-E-B. The 4 letters of the title encode Experimental Music Group of Bourges, one of the most important centers in the world dealing with electronic music founded in 1970 by Françoise Barriere and Bernard Clozier. Games with the human voice are the primary sources of humanity in the field of music, seems to say Eugeniusz Rudnik.

Recording of Jarmo Sermila's ...Novelar de amor. For electronics and trumpet.