From its outset, mixed music with live electronics poses constraints in terms of its dissemination and preservation. These stem inherently from the low practicality and swift obsoletism of the devices, mainly analogue and digital with tangible interfaces, applied to transform the sound. Much research has focused on this field and with a consensus that recovery through migration to a digital environment represents an effective means of overcoming the disappearance of this repertoire. Having that said, following extensive research on this subject, we highlight the still existing gaps, such as the lack of documentation, the centralization of difficult to access resources and obstacles use for those seeking to interpret pieces in the genre. As performers, our intention is to bring the performative act to the center of the discussion on recovering repertoire featuring live electronics. Through a case study based methodology, we recovered two pieces and furthermore illustrate how the performance decisions molded the creation of new content for electronics. Following this work, we conclude that turning the performer and the performance into guidelines for the reconstruction of the electronic sections enabled us to reconfigure the processes and reach beyond their technicity. Thus far, our research points to a different perspective both on how we may develop these processes and how to produce more accessible and easier to use solutions that expand musical possibilities, thereby opening the path for deeper study and consolidation.