Computer based interactive systems have their development started at the late 1960s, initially involving computer-controlled analogue synthesizers in concerts or installations, going through the 1970s with the use of real-time algorithmic languages for music composition and generation, and finally at the 1980s with the MIDI standardization came to support common musical concepts such as time, expressive control, and the design and implementation of custom interactive systems.

Creating music with computers found its place into many musical genres, including pop, rock, techno, disco, jazz, and music for film. It is no longer confined to the aesthetics that emerged in the 60s and 70s from the experimental works of Electronic, Acousmatic and Musique Concréte.

However, music improvisation using computers still seems an esthetical challenge and under explored multidisciplinary area where the design of new controller interfaces, real-time sound synthesis and processing techniques, music theory, cognitive science, algorithmic composition techniques, and existing models of improvisation (computer and non-computer based) converge into new interactive music-making paradigms.

Computer music improvisers have therefore in front of them a myriad of practices and know-how's, several as old and rich as the history of music making, and also a half-century- old tradition, that of computer music, where the integration of computer systems in the musical improvisation suggests how state-of-the-art information technology approaches can enhance traditional limitations and influence in the conception and implementation of new improvisation models !

With all these technological capabilities, percussionists are not anymore only limited to experiencing rhythm, but also can explore at the same time the realms of melody and harmony, which can make them, in essence, one virtual man band!