Michel Redolfi's first recorded work presents his Sonic Waters material, both in dry versions as prepared in the studio and wet versions as recorded live at underwater concerts. The dry versions are of course much cleaner, with burbling electronics and some delicately processed flute and harp work. The ethereal music quietly drifts and is almost like new age music in places, with rippling arpeggios in the flute and harp, and spiral electronic gestures from the synclavier. The music is designed with pure timbres of clearly defined sound spectra (such as the flute and harp) in order to have similar sound qualities both broadcast in air and underwater, where sound travels much faster and is heard through the skull's bone conduction rather than through the eardrums. Part three of "Music for Salt Water" shows Redolfi's interest in microtonal music, which will continue to be part of his music in later works such as Pacific Tubular Waves. Because the wet versions were recorded live, there is some extra musical material that can both enhance the experience (as with the snapping of the shrimp in the last concert excerpt, familiar to anyone who has been in tropical waters), or detract from it (some very dated announcements at the beginning of the concert excerpts). All of the live material contains fluid water sounds in addition to the electronics, and Redolfi recommends headphone listening to simulate more completely the underwater listening experience. Redolfi has continued to refine the underwater concert experience, incorporating multimedia and performance work more and more into the music.