This paper reflects upon the practice-based research of its author and collaborators by examining aspects of musical performance and representation in two recording projects. The first of these identifies a research problem in the recorded communication of an 'acousmatic' performance piece. The second project examines the recording of classical piano repertoire in alternate interpretations: one as 'authentic', the other as a highly manipulated work which progresses the investigation of the representation problem through multiple recording techniques and 'DSP orchestration' in post-production. The paper concludes that this then offers a promising route for audiences to experience and reinterpret the music by interrupting their spontaneous assumptions about the recordings.