Recording of Daniel Schachter's A 1. This piece uses traditional electronic technique and emphasizes on musical gestures. The sounds are mostly synthetically constructed and are heard throughout the piece.

Recording of Orlando Jacinto Garcia's 3 pièces pour double basse et bande. Was written for bassist Robert Black and completed in the summer of 1990. The tape part was made using the bass player's recordings of brief musical pieces (i.e. tremolos, harmonics...) which were then digitized by the composer, sometimes transforming and mixing the material in layers of sound. The second of the three pieces is characteristic of a genre of glissandos, register changes, and also long holds both on tape and for the live double bass part. Great care as to the correctness of tone and the control of timbre is necessary on the part of the double bass player.

Recording of Herbert Mitschke's 4 in 1. This piece uses traditional electro-acoustic technique to alter recording sounds and explore musical possibilities.

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 Paul Geladi's 5 Cookies. This piece is based on percussive sounds that come mainly from 5 cookie jars and a broken aluminum broomstick. It is a reworked version of "5 cookie jars and a broomstick" from 1995.

Recording of Scipio di Agostino's 5 Interazioni cicliche alle differenze sensibili. This work consists of 5 untitled movements. This composition was written for string quartet and computer processing. The string instrumentals are not meant to sound like their traditional timbre and instead have become something that is algorithmically conceived and interactively regulated.

Recording of Jeffrey Faustman's 5 little things mother taught me. This work is a collection of five miniatures composed from three sound sources: the soprano voice from Edgar Varese's "Poem Electrique", the composer's voice, and a radio broadcast. The movements are titled: 1. Cantare, 2. Tedium, 3. Traumen, 4. Distance, and 5. Escape/Hallucination.

Recording of Jeffrey Faustman's 5 little things mother taught me. This work is a collection of five miniatures composed from three sounds. Most of the material was generated from a single sample of an analog recording of a soprano voice - the soprano voice from Edgar Varese's POEM ELECTRIQUE "to be exact. The other two sound sources are the composer's voice and a radio broadcast.

Recording of Agostino Di Scipio's 5 Piccoli Ritmi. For tape music with computer-processed guitar sounds and voice. This work divided into 5 short section, each announced by Spanish voice. The text being read is from a poem by H. Maturana. The sounds are derived from mixing and processing concrete sounds. The processing techniques includes an interactively operated method of real-time recursive granulation and time-shifting. Feedback controls were utilized, so that amplitude and density of the output sound affect the time shift ratio and the pitch in the algorithms.

Recording of Xavier Garcia's 6 regards sur L. This piece uses voice and manipulates the sound to create unsettling and technical passages. There is a wide use of the music technique of spatialisation.

Recording of Gonzalo Biffarella's Los 7 Espejos. This work was composed for 6 instruments and electronics. This work is based on the idea of the computer "mirroring" each of the instruments presented in the piece. The composer purposefully makes the instrumental material stray from their traditional sounds, creating a confusing listening experience for the audience.

Recording of Warren Burt's 7 excerpts from "visual haïku". "Visual Haiku" was a set of 16 computer pieces made for Robert Randall's "Visual Haiku" project in 1994. All the music was made on various computer systems using software such as Band-in-a-Box, Sound Globs, M, Cool Edit and so on. Each of the "Visual Haiku" used algorithmic processes to assemble music which loudly and proudly proclaimed bad taste and slavish obeisance to commercial musical models, in keeping with the neo-Warholian aesthetic of Randall's work. "Visual Haiku" appear on the 2 CD set "Randelli's Selection" - on Scarlet Aardvark CD No. 47 A and B, available from www.warrenburt.com.

Recording of Sten Hanson's 8 variations sur une polska de Hammerdal. This work is part of a series called "recycling" where material from traditional music is brought into the world of electroacoustics and made to fit into that genre of music. This piece specifically uses material from a polka and is played with a willow flute. The recording of the willow flute was made 40 years ago and is the only one of its existence.

Recording of Rodrigo Cicchelli Velloso's 15° harmonico. For harmonica, piano, and tape. This piece develops a series of variations of the initial piano sequence. Most of the sounds in the electronic part are taken from the samples of the piano itself, but a flute and various percussion instruments have also been used. These sounds have been reworked using different filtering techniques, to impose a harmonic relationship commonality between instrumental and electronic writing.

Recording of Ricardo Arias' 94 eleciones. Inspired by the fascination of the fashionable spectacle of biodiversity. Within the tropical forest, psittacine, quickly show their invasion of acoustic space with repetitive and annoying messages. Sound recordings made in the forest and recordings of paid political advertising. The composer was devoted to cutting and assembling in sequence fragments of electoral sound borders and joining mixed unaltered vocalizations of birds and other animals.

Recording of Paul Geladi's 888: Acht minuten achter acht netten vissen. This work is for 8 mono soundtracks, supplied as 4 stereo pairs. The soundtracks are in finished form and should be mixed according to a set of instruction given by the composer, on an 8 channel mixer to stereo or quadro configuration loudspeakers. The piece is for live performance. The 8 mono tracks are to be reorganized in 2 groups of 3 and 5 tracks each and the tracks do not have to start synchronously, allowing for an incredible amount of performance interpretations.

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 Michel Frigon's Les 5000 roses. This moment is part of an impressionist suite for flute, percussion, and tape inspired by St.Exupéry's 'The Little Prince'. This movement evokes the journey of the Little Prince through the sands and rocks to a road that leads to men. Arrived in the middle of a rose garden, he realizes that his rose is no longer unique in the world and lying in the grass, he cried.

Recording of Agnieszka Waligorska's 6th day. This work is for electronics, voice, pre-recorded manipluated sound, and saxophone.

Recording of Harry-Ed Roland's N.A.M.A.: "booty" don't walk. The composer dedicates this work to the memory of Michael Schleiter. The inspiration behind this piece is the experience of the composer living as a person of color and continuing to deal with inequality everywhere he goes. The work is about "creating inequality and its seemingly intrinsic hypocrisy and irrational fears".

Recording of Mara Helmuth's Abandoned Lake in Maine. This work's compositional process uses technology to return the listener closer to nature, and into new relationships with nature. The composer's software, instruments, and algorithmic programs were used to create much of the material. The sources for this piece are recorded sounds of the loon in its environment and a naturalist's voice. This work uses field recordings of Maine.

Recording of Joshua Fried's About Howard Johnson/Affirmative. This work uses MIDI in unusual ways. Sound modules become a silent controller of analog gates, and continuous controllers manipulate digital processors in real time. When channel gates are triggered at an even rate, one obtains the well-known strobe effect of slowing down, stopping or even reversing the apparent motion of a rotating object. As trigger cycle and loop cycle move out of phase, bits of sound seem to wander from speaker to speaker through the space. This work also functions as a study for live performances that will process found sound with a combination of selectable algorithms and performer control.

Recording of Cornelis Tazelaar's Abrasch. This piece is made entirely with the Granular system's output as a sound source, but is not a pure granular piece due to the program used to make it.

Recording of Daniel Almada Abrazos. For cello, double bass, and electronics.