This article examines six works from the repertory for harpsichord and electronics. A wide variety of possibilities are illustrated to suggest ways of composing for such mixed resource works. The author defines ‘local' considerations which seek to extend but not to break the live instrumental presence, whilst ‘field' transformations place these in a landscape or environment. The various possibilities of local and field combinations between the two poles of live harpsichord and electronics are examined and contrasted between the works. The responses of composers to the sound morphology of the harpsichord in the various works are also contrasted.