In this brief paper, the author investigates the potential for using software synthesis code as a way of documenting the technical means of a work's realisation. He notes that one of the many reasons why Karlheinz Stockhausen's work Kontakte has achieved canonical status is the ready availability of detailed information about the works realisation. He argues that technical and creative documentation can play an important role in the reception history of a work, and also play a crucial role in terms of study, teaching and education. This is especially so in the case of electroacoustic music, where many composers produce works without scores, sketches or other creative process documentation.