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

Recording of Maggi Payne's Aeolian Confluence. In this work, distortion is utilized in many technical ways. This piece is a soundscape, which results from using electro-acoustic technique such as: real time mixing on the Ling seismographic filter, intermodulation distortion, heterodyning, and time delay.

Recording of Alain Basso's Affranchi. This piece involves discourse between two sets of sounds, all of which are from sound recordings. The first set of sounds is comprised of aggressive tool and machine sounds, while the second set of sounds comes from soundscapes with more peaceful elements. As the composition progresses, the two sets of sounds mingle in a violent unison, while gradually a third element comes to weaken this turbulence: human breathing, calm and deep, described as a reminder of the essential in the middle of the agitation.

Recording of Atsushi Yamaji's Ajikan. This piece is music for a funeral. Its ceremonial landscape is on a method for deep meditation in native religion and for harmonizing with universal nature. Therefore, it is a requiem for a soul after death and a periodic divine providence of nature.

Recording of Elsa Justel's All. This work is for double Bass and interactive electronic system. We don't see everything we see, nor do we hear everything we listen to. The piece was composed as part of the Experimental Workshops "Mixture" in Paris. The aim of the workshops was to research and develop the possibilities of interactive systems. The research aimed to put the SDA system, into operation for the first time. The mechanism of this system allows the performer to trigger samples stored in the hard drive through a MIDI system.

Recording of Pablo di Liscia's Alma de las orquestras. This work uses computer generated sounds. The timbral development of this work is based on exploration of the diverse degrees in affinity arisen from the mixing of digital transformed acoustical sounds, and synthetic clones of them by the other. Decomposition of digital recordings is used (orchestras playing compositions by Schoenberg, Mahler and Debussy) mainly through band-pass filters, and the further spectral reconstruction. The materials generated were mixed and spatialized to produce several layers of considerable complexity.

Recording of José Sosaya Wekselman's Alturas, Fuego, Granizo… This work has many sine tones creating harmonies, voice giving dialogue, along with electronically created sounds which add texture and gesture.

Recording of Jean-Louis Poliart's Les amants tragiques de Sarajevo. The composer was tragically inspired by the war in Sarajevo, specifically the banality in the news coverage of the "tragic lovers of Sarajevo". The composer describes this work as programmatic music with death creeping into the soundtrack along with warrior sounds and moments of sweetness, meditation, and ending with a funeral march.

Recording of Johannes Goebel's Après les grands tours. This piece is a reference to tours that have crossed the Alps with the use of walking sounds and spoken word taken from "Germania" by P. Cornelius Tacitus.

Recording of Elio Martusciello's Aspettando Nmesis (en attendant Nemesis). This piece uses the sounds of some old toy instruments, ambient bells, clocks and other objects which are processed though computers or samplers. In addition, the use of an old tape on which first compositional attempts where created and reproduced into small fragments that are embedded into the structure of this piece.

Recording of Brigitte Robindore's L'autel de la perte et de la transformation. This work illustrates an archetypal event in the evolution of the inner life where man has to face loss. It is not just an ordinary loss, as distressing as it may be, but the voluntary sacrifice of something very dear. The UPIC system does not reveal all its possibilities during the first approach. With time the sounds begin to be electronically processed and revealing the possibilities of electro-acoustic technique.

Recording of Jose Halac's Ball sincretismo 4. For trombone and computer. The composer says this about his work: "It reveals the direction of your searching's in order to define your music: "to compose with the attitude of an improviser and to improvise with the attitude of a composer". It is not clear here what is composed and what is improvised, but this is precisely what makes this work charming. I find, more important, a taste for sound; and, more important yet, a taste for form."

Recording of Jürgen Bräuninger and Ulrich Süsse's Le bass de auf a bourges du dat. It is a work for saxophone, bass clarinet, and electronics. There are speech snippets which are accompanied by free improv from the saxophone and clarinet, while processed and manipulated recording of these instruments play in the background.

Recording of John Palmer's Beyond the bridge. This work is built from a system of grandiose and multi-dimensional forms: the large triadic structure is translated through fantastic combinations between the three main sections giving three independent spatial layers, which are the cello, cassette N+1, and cassette N+2. The single note, D, is emphasized by the notes creating independent harmony. The cello symbolizes a journey that begins in a very distant place (cassette N¡2 located outside the room), and gradually gets closer to finally return to its initial place.

Recording of Randall Smith's The black museum. This piece emphasizes a strong dynamic structure which brings together the use of such elements as the ephemeral, the fleeting, and the use of rushes and sudden outbursts. Overall, the piece is full of unexpected encounters where sound illuminates the eye through the ear. There are 9 movements: Entrance, Exhibit 1, Exhibit 2, Exhibit 3, Exhibit 4, Exhibit 5, Exhibit 6, Exhibit 7, and Exit.

Recording of Eric Lyon's The blistering price of power. It is for flute and electronics. This piece samples outside sources and changes the sound construction to accompany the flute. There is times when the electronics provide a percussive effect and guidance for musical transitions. The flute uses the full range of the instrument, contemporary technique, and explores different musical styles.

Recording of Jonas Broberg's Buccharelli's Lamento. The piece was composed in December '92 and January '93 at E.M.S. in Stockholm. The sound material was generated on a Serge Modular analogue synthesizer. The work is based upon the idea of stopping for a moment in the bustle of everyday life, taking a break to find space for contemplation. Soon, however, distractions and shifting impressions from the opening of the composition reappear. Although the material was generated electronically, the spirit of the piece is closer to Musique Concréte. "Buccharelli's Lamento" was premiered at a concert of Swedish Electroacoustic music at Florida International University in February 1993.

Recording of Simo Lazarov's Cardiofonia. This work is an interactive sound space composition. The Work is based on really cardiographs modulated by sounds. The used sounds from different human emotions. Interactive multitrack version is available by the participation of audience.

Recording of Daniel Amadeo Zimbaldo's Cartas desde el Real Hospital de Lunáticos. Work for soprano, flute, violin, violoncello, piano, percussion, and tape. Based on the book "Mrs. Caldwell habla con su hijo" by Camilo José Cela, the work tells the story of a mother who writes letters evoking her own dead son with particular lyricism. This evocation generates rhythms of tension and rest. The dissociation of reality is symbolized by the different timbres of the acoustic instruments; the predominance of an inner life given to fantasy is expressed by the electroacoustic material.

Recording of Gabriel Jorge Cerini's Caruso, rompiendo las aranas. This work is intended to emulate a phrase which was translated to a sound so high and full of resonance (produced by) Caruso (opera singer) that can broke the chandeliers of a great Opera Theater. The intersection between these two different "feelings" were the core of the composer's composition. The sound were produced by a synthesizer Kawai k1 and programed in a hardware sequencer Kawai Q 80.

Recording of Frank Pecquet's Cello & Co. Tihs work is for flute, horn, cello, piano, and electronics. Instrumental writing was done with the help of PatchWork software and sound samples were processed on SVP and by Sim. The electronic sounds come exclusively from acoustic sounds with electronic processing. Real-time synthesis applied to the cello alone manifests the direct, almost spontaneous link between the sounds of delayed synthesis and the acoustic sounds, while the synthetic piano indicates an intermediate level between the processed sample and the instrumental sound. The real pianist creates a new alternation in instrumental playing and ranges.

Recording of Eric Cordier and Jean-Luc Guionnet's Chants Wers. It was created using traditional electronic techniques and processed sound.