Recording of Paul Geladi's 5 Cookie jars and a broomstick. The piece is based on percussive sound. These come from 5 cookie jars and a broken aluminum broomstick found in a garbage container. All the sound were recorded with a SONY ECM 979 stereo microphone.

Recording of Ioannis Kalantzis' 3b. The composer used the bassoon in a rather post-classical way. The composer also used characteristics, which functions as a point of reference, by replacing a melodic subject with a single minor 3rd interval. Furthermore, the sentimental content that an interval expresses was explored. Such as, a minor 3rd (with a grace note-pattern), while giving different colorings around the content of this interval. The electroacoustic material comes entirely from bassoon sounds.

Recording of Ron Averill's Aes * Aurichalcum * Galmei. For electronics and pre-recorded manipulated sound.

Recording of Bor Turel's Amarcord - Dreams (les rêves). This piece is the second movement of the work "Amarcord" that the composer describes as a trilogy of sonorous memories. This work was conceived as a combination of electronic, electroacoustic, and ambient instrumental recordings that were all produced in the years from 1976 to 1996.

Recording of Jean-Louis Belmonte's Angel. This work uses traditional electronic techniques to change pre-recorded sounds to create a soundscape. The metallic ring sound is a continuous sound throughout the work, therefore the listener becomes familiar and begins to draw attention to the sounds changing outside of this familiar sound. Yet, there are still moments with the attention is brought back tot he metallic sound and a brand new collection of sounds and environment is introduced.

Recording of Daping Qin's Aniox. A fantasy surrounding the theme of animal voices, Aniox is an exploration of the musique concrete bridge between music and noise. Four animal voices are treated as instruments: sad cock, cheerful dogs, innocent birds and angry lions. The main role is played by the roster. The work falls into two sections. The first section develops from the statement of the rooster's plaintive whine to an innocent birdsong and gradually changes to a deep sigh. After a brief pause, the opening drumbeat recapitulated to lead the same material through rhythmic variation toward the second section's climax, led by the lion's angry howl.

Teodoro Pedro Cromberg's Añoranza de lo Dionisíaco. The title references to the importance of sensorial experience (dionis’aco) in concrete music creation, opposite to the microcomposition in the land of sonora synthesis, that is more rational (apol’neo). In this way, both working modes are contraposed all over the piece, though clearly limited sections with short silences or for the clear identity of different sonorous-musical materials. The last section highlights the characteristic motives of the piece in textual or variegated mode.

Recording of Stephan Dunkelman's Aquaera 1. This work has been separated into 8 tracks that come together in unison to create the piece as a whole, exploring sonic elements from the real world. The work was commissioned by empreintes DIGITALes. The composer gives special thanks to Phil Billen, Annette Vande Gorne, and Marie-Jeanne Wyckmans.

Recording of Alcides Lanza's Arghanum V. Arghanum (Gk. organon), Arabic name for the byzantine organ. The composer, himself originally from Argentina, has based some harmonic, melodic and gestural aspects of the work on a few notes of a very popular Argentinian tango [El Monito, by Julio de Caro]. The work also includes natural sounds sampled via an AKAI S900.

Recording of Pavel Kopecký's Autumnal Allegro. Using the sounds formed by different types of sound synthesis – aditive, FM, fractal, etc. creating color vividness and contrast with particular music passages. Connecting effect processors at final modifications made possible to realize the movement and localization of the direction and depth. At close look at the tectonics of the composition reveal any contrasted blocks, which are combined in motifs and which created formally more free imagination form.

Recording of Wes Richard Wraggett's By the hair of the temple dog. For viola and tape. In India the mongrel dogs that run wild in the cities and countryside can often be found wandering the grounds of sacred temples. The 'tape' part includes a number of sounds recorded at various locations throughout India. The piece is in four continuous sections: 1: Initiation, 2: Promise of the Purple Gecko, 3: Antenna, 4: Turning/Returning.

Recording of Helmut Zapf's Canto del aria (for oboe). This work uses oboe and electronics.

Recording of Milton Estevez's Cantos Vivos y Cantos Rodados. This is a work for chamber ensemble and electroacoustics. It was commissioned by the Institut für Neue Musik der Staatlichen Hochschule für Musik, Freiburg. This work premiered by the Hochschule Ensemble.

Recording of Elio Martusciello's Cattura magica. The disappearance of a sound, of its form during its metamorphosis, change, transformation, never corresponds to a total absence, since it always leaves a trace. It is a musical tribute to Pink Floyd and the acoustic nature of this composition is constituted by their music.

Recording of Nicolay Apollyon's CellOrganics. For Cello and ISPW. This work uses the timbre of the solo cello extended through computer signal processing and synthesis. The instrument generates the electronic sounds in real time under the soloist's direct control, offering a wide range of sonic possibilities. The signal processing and synthesis include live sampling, real-time granulation and spatialization. The computer tracks the pitch and amplitude envelopes of the input signal of the cello.

Recording of Jean-Louis Poliart's Le chant des pistes. For electronics. The Dreamtime is this very distant period, this lost paradise of which the Aborigines still speak, during which each thing and each being had a soul, from which emanated a vibration, a sound, a music. Instant lighting where everything is possible in total harmony starting from the simplest things. This primitive and virgin period unfolds in melodic tracks that lead to other perceptions, to different emotions. Dreamtime is a three-part cycle: Prelude, Madelgaire le Souffle, and Le chant des pistes.

Recording of Juan Reyes' Choi-Hung. This is a piece for flute sounds and modeling of timbres from the far east. In particular the sound of the Shakuhachi. The timbre, for the most part, was achieved through Spectral Modeling Synthesis. The focus pointed on controlling the sound of wind and the vibrations of the wood. The inspirational sources for the piece are a Shakuhachi performance and a subway station in Hong Kong. This piece was composed at MOX - Center for Advanced Computation at Universidad de Los Andes in Bogota, Colombia.

Recording of Jon Christopher Nelson's A Chris Mann Mambo. A Chris Mann Mambo (1996) for computer-generated tape is an electro-clip based upon a recording of Chris Mann reading one of his poems. The tape material is all derived from this source recording.

Recording of Antonio Moliterni's Ciclopeo. This piece was written for bass Clarinet processed in real time and electronic sounds previously orchestrate. Each note played by the musician was chosen arbitrarily from harmonics fields called “Dominions” such as occurs in “Le Marteau sans Maitre”, this formula allowed the construction of phrases according to the player criteria.

Recording of Mihail Afanasiev's The Circle of Existence. This is an opening of the new way of the author's expression. The syntheses of instrumental and studio thinking and the use of synthetic instruments. The fragment of the quartette of the composer V.Belyaev, with whom the composer studied with in conservatory, is used in composition.

Recording of Andrew Peggie's Les cloches buissonnières. This work (The truanting bells) was approached as a multi-track improvisation. However, after the first track was recorded the music suggested a kind of manic organ chorale prelude in the manner of JS Bach with a sort of mock cantus firmus. Subsequent tracks moved into and out of the suggested tonality at random. This piece was realized on relatively primitive equipment: Korg M3R and Roland Super-JX synthesizers with MIDI links to a Amiga computer running the sequencing program Music-X. All the synthesizer sounds were previously developed and/or edited by the composer, with very few preset sounds used.

Recording of Anders Vinjar's Coil. This work attempts to lead the listener on a journey which unravels present and distant perspectives on space and time. All the sounds are created with sound-synthesis language. Amongst the techniques which have taken part in forming the piece are various types of cross-synthesis, amplitude-modulation, cross-synthesis based on FFT and LPC-analysis, and granular signal processing. These techniques aid in forming the piece and create a piece between noise and tone.

Recording of Alexei Rozen's Collage turbo. This is an electronic piece for tape and features parts of music by the following composers: Garry Moore: Dallas Warhead, Tommy Zwedberg: Big Brass, Luigi Nono: La Fabrica Illuminata, Pierre Boulez: Le marteau sans maitre, Nicolaus A.Huber: dasselbe ist nicht dasselbe, and Luciano Berio: sequenza (I, III, V).

Recording of Roland Cahen's Le complexe du simple. This piece is a study, which puts in prospect elementary and complex states in the music and the sound construction. This opposition is taken both vertically and horizontally. These two states are complementary and dialectic in music. Simple very few elements are a rest and complex ones taken as a magnifying process. It is also a piece about the composer's personal nostalgia: a sewing machine, which their grandparents travelled around with. As this forgotten mechanic abandoned in an attic, the composer's editing cisors, other instrument made for confection were mostly left in a draw.