This paper first achieves a rapid historical survey of the technologies of electroacoustic music, analog and digital, creating a complex bric-à-brac (hodgepodge) fundamentally constitutive of the studio/stage experience. Then, the article presents various currents trends (recent interfaces, keyboards, MPE). The new possibilities of the current generation of equipment may, at last, be able to offer very good performative possibilities to the digital music studio, perhaps allowing a renewal of some of the most interesting analog practices. This complex situation can be understood and perhaps mastered with two conceptual approaches, the vocal and the percussive models. In turn, this leads towards an ecological approach to electroacoustic music practice and analysis.