Die Raum-Klangkomposition „Semaphor“, die in einer Kooperation von Gerriet K. Sharma,  Susanne Fröhlich und dem IEM entstanden ist, hat eine bemerkenswerte Kritik bekommen. Das Stück für IKO und Helder Tenor Blockflöte wurde nicht nur überwiegend am IEM entwickelt, sondern auch für Fröhlichs Solo-CD im CUBE von Frank Schultz aufgezeichnet. Über das Stück heißt es:

"...Finally, there comes a spatial sound composition, Semaphor[,…] It is a co-composition with the sound artist and composer Gerriet K. Sharma for Helder-Jahn tenor recorder and icosahedra l loudspeaker (a kind of 3D sound experience developed in Graz). The idea is to turn the idea of the recorder’s sound picture upside down. Depth and dimension are crucial: on the first disc is a stereo version, with a slightly reduced dynamic range, but the second disc version is binaural and full-dynamic. Headphone listening is requested and, I would posit, required, and the second version is more immersive. Lasting some 24 minutes, Sharma’s electronics are the very definition of what makes a fine composer of electronic music: the realization that less is more. The sounds selected have a unique power to them, and enabling them to spread in time as they do, slowly emerging and receding, enables the listener fully to become one with them. Even registrally, this concept applies: A bass note that seems to seek to invade one’s insides appears after a higher-pitched plateau, the result being both fulfilling (in terms of the registral sound space) and articulatory (in terms of structure). [….] this final item was recorded at CUBE in Graz’s Institute of Electronic Music and Acoustics (IEM), where a production and reproduction system for periphonic fields, comprising a 24-channel loudspeaker space, seemingly creates new worlds of sound."