This further allowed the reintegration of Acoustic sounds to allow for the reintegration of Acoustic sounds through carefully sampled computer based musical instruments. (Schwartz, S. 1993.).This is particularly true in terms of the graphic signal-processing software which when it came out allowed for real-time MIDI control allowing the post modern composer to use this system even with limited technical knowledge. Chadabe, J, 1997).The availability of of such techniques and the further advent into the market of the Yamaha DX-7 MIDI keyboard in 1985 and of hard disk recording and editing softwares were all set to revolutionise Electronic music. (Schwartz, S. 1993.).The nineties further paved the way for more interactive computer-assisted performance and the release of the multimedia CD-ROM meant that the MIDI sequencing programmes were all set to expand to include digital audio. Chadabe, J, 1997). This is in contrast to the position of technology available for the electronic composers back in the 1940’s. where as the musicians were still struggling with amplifiers (for example John Cage’s Imaginary Landscape no.1 (1939)).Towards the fifties there was the Radio-diffusion-television upon which the modern musique concrete is based upon.The founders of the French version of the Groupe de Musicque Concrete included the likes of Messiaen, Boulez and Stockhausen. Another studio opened very soon under Karlheinz Stockhausen and made generous use of electronic sound generators and modifiers.