This article presents a full analysis of Crosstalk - a piece for tape by Michael Vaughan (1989). The methodological approach employed here develops its concepts and techniques from those of Music Semiology and Spectromorphology. The former provides the concept and method of semiological neutral inference - as applied by Nattiez. The latter - developed by Smalley - offers tools and a terminology for the characterisation of timbre and temporal functionality within the musical work.