It wasn't long before composers in Paris also began using the tape recorder to develop a new technique for composition called musique concrète. This technique involved editing together recorded fragments of natural and industrial sounds. The first pieces of musique concrète in Paris were assembled by Pierre Schaeffer, who went on to collaborate with Pierre Henry.
On 5 October 1948, Radiodiffusion Française (RDF) broadcast composer Pierre Schaeffer's Etude aux chemins de fer. This was the first "movement" of Cinq études de bruits, and marked the beginning of studio realizations and musique concrète (or acousmatic art). Schaeffer employed a disk-cutting lathe, four turntables, a four-channel mixer, filters, an echo chamber, and a mobile recording unit. Not long after this, Henry began collaborating with Schaeffer, a partnership that would have profound and lasting effects on the direction of electronic music. Another associate of Schaeffer, Edgard Varèse, began work on Déserts, a work for chamber orchestra and tape. The tape parts were created at Pierre Schaeffer's studio, and were later revised at Columbia University.
In 1950, Schaeffer gave the first public (non-broadcast) concert of musique concrète at the Ecole Normale de Musique de Paris. "Schaeffer used a PA system, several turntables, and mixers. The performance did not go well, as creating live montages with turntables had never been done before." Later that same year, Pierre Henry collaborated with Schaeffer on Symphonie pour un homme seul (1950) the first major work of musique concrete. In Paris in 1951, in what was to become an important worldwide trend, RTF established the first studio for the production of electronic music. Also in 1951, Schaeffer and Henry produced an opera, Orpheus, for concrete sounds and voices.