During these years, some of the most significant changes are the increasingly rapid appearance of new sound recording and sound processing technologies and an even greater democratization of the means of production. For example, signal processors develop incredibly fast: relatively affordable reverb, equalizers and harmonizers are available in vast quantities.

The personal computer becomes an essential tool in sound creation and a number of software programmes dedicated to recording and sound processing are found everywhere. These are amongst the important factors which help define the emergence of a new generation of composers. Digital technologies change how composers approach sound, as they allow for an essentially unlimited number of treatments with little or no degradation in the of sound quality (contrary to analogue storage formats).

Simultaneously, an interesting phenomenon occurs. Artists working in other genres or artistic fields also have access to these new technologies and use them in the exploration of new and fertile territories. This leads to the emergence of a number of new or hybrid æsthetics and genres, in which these new means are used in varying degrees and to various ends. It should however be noted that while some of these genres have more or less clear roots and history — improvisation, industrial music, techno, lo-tech, electronica, etc. — the methods and sounds are fresh.

These new technological tool also allow the creation of massive sound performances and installations by such artists as Bill Fontana and Alvin Curran.