Composers in these studios, based on mainframes, without human interface, were forced to studying computer programming and defining many detailed parameters. It was the less troublesome for composer-formalist, who assumed such strictness. Nowadays even composer-improvisator touching such programs as Max, M or GRM Tools or using digital editing system not have to be a programmer and his freedom is not very constrained. Some years ago I held a belief that in art new techniques do not kill old ones and they could coexist. It was probably true in 70-th.
Today facts are rather against such mining.
Of course, even to day some composers use a scissors for cutting a sound, and all Moog modules to produce it, but contemporary technology of electroacoustic music is dominated by computer technique. That is again and again recurrent question. One point of view is that musical idea arises irrespective of the technical means, only its realisation depends on technique. On the other hand musical idea comes often from a gesture, from being in touch with definite instrument, from sound possibilities, and these are closely connected with technology. In my opinion, return a keyboard to electroacoustic music studio in late 60-th has changed many in music of this time.