After this, came the recording of "Faisceaux-Diffractions" (for 28 instrumentalists), made in Paris at the begining of the 70's by the "Ars Nova" ensemble (from which the Director, at this time, was the French composer Marius Constant) conducted by Boris de Vinogradow. It was published in the "Inedits ORTF" collection, distributed by Barclay. This record won the "Prix de l’Academie Charles Cros" for Jean-Claude Eloy in the category "Musique Contemporaine", in 1974.

Then came the album for his first large composition in the electro-acoustic field :"Shânti", which was released in 1975 as a double album - under a specially adapted version – by the French company "Erato", as an original production of the Elektronische Musik Studio from the WDR in Cologne.

"Gaku-no-Michi" (an electro-acoustic work of epic proportion, realised at the Electronic Music Studio - "Denshi Ongaku Studio" - of NHK-Tokyo) was released in 1979 as a double album (again under a specially adapted and abridged version made with the help of Eloy, taking into account the specific length of LPs) by the company ADES, in Paris, under the label : "Musique Française d’Aujourd’hui" (MFA) - a label created by the Ministry of Culture from France. This record, most particularly, received warm and numerous reviews. Among them was a very rare event for contemporary music : "front page" coverage given by the French newspaper "Le Monde" and its critic, Jacques Lonchampt.

In the 80's, a double album of Eloy’s work : "A l’Approche du Feu Méditant" (for a Gagaku orchestra and two choruses of Buddhist Monks singers), was released by "Harmonia Mundi". Again, this album was published under the label : "Musique Française d’Aujourd’hui". The performance was the one realized in Tokyo, and the performers were members of the Gagaku orchestra "Tokyo-Gakuso", some soloists were from the Imperial Court orchestra (Togi Kanehiro), with Buddhist Monks choruses from the Tendai and Shingon sects.