Digital technologies, perceived here as musical sources, contribute to transforming music creation and to informing and recreating performance practice. As digital technologies for sound production rapidly evolve, they themselves can become archival sources; they also quickly become obsolete and, on some occasions, are no longer readable. This represents a highly problematic issue for archiving, and raises two key questions: how do we translate the thinking behind live electronics into programs like Max MSP? And how do we document creative processes for future preservation in archives? In 2014, the Italian composer Adriano Guarnieri began to collaborate with the research centre Tempo Reale to translate his live electronic ideas into patches using Max MSP by Cycling ’74. Francesco Giomi and Damiano Meacci, both from Tempo Reale’s team, assisted with the production of live electronics in Guarnieri’s scenic cantata Lo stridere luttuoso degli acciai (2014). This chapter aims to explain the processes deployed by the Tempo Reale team to perform the live electronics sections of this work by Guarnieri through their documentation procedures, considering the ephemerality of digital technologies, the importance of preserving live electronics in musical works, and the difficulties in incorporating these traces into the archive.