Writing and work in the studio are co-dependent on each other. The integrity of the work can only exist when these two elements are combined. For example, during the performance or when listening to the recording. Thus, reading the score or listening to the recorded elements (sampler, hard drive, DAT tape,...) will only give an incomplete idea of the work.

With a view to coherence, the electronic part is directly connected to the instrumental materials. Except for the concrete sounds, all the transformations and all the pre-recorded sounds come from the score and are therefore in direct relationship with the sound elements of the work. This idea is akin to a 'spiral'. The electronic part nourishes itself from the instrumental with the instrumental sometimes becoming audible in the electronic chaos. This axiom has been the condition 'sine qua non' for the use of the electronic medium in keeping with the instrumental.
These sounds are extracted from pre-recorded fragments, then manipulated, sometimes rendered unrecognizable, and then returned to the musical discourse. I then try to assign them a specific role: contrapuntal, rhythmic, also morphologic; as a single accompaniment to highlight the instruments. (Jean- François Cavro)