Several factors contribute to the emergence of small but powerful computer music workstations, either as single units in a larger network of computers, or as standalone computer music systems. The current state of hardware and software development has reached a level of sophistication that makes it possible to have access to computer power and programs previously only available on larger computers for a fraction of the price. Major sound synthesis software systems have been rewritten in the C programming language, contributing to their portability and extensibility. This affects systems built within the UNIX environment, as well as those built upon other operating systems, since C has become a significant development language across operating system boundaries. Recent developments that allow for the writing and reading of standard operating system soundfiles make the necessity of designing and maintaining separate soundfile management systems virtually obsolete. The implementation of a variety of userinterface styles to computer music applications has made the creation environment much more accessible to musicians as a whole, and to composers in particular. These factors, combined with decreasing prices for powerful microcomputers, larger and faster disk drives, and the availability of high-quality, lower-cost sound conversion systems, point in a new direction: powerful, dedicated machines for individual artists, smaller computer music facilities, and larger systems based on networks of semiindependent computer music workstations. In order to identify the practical considerations pertaining to the implementation of such a system, it is useful to address the issues in the context of an actual computer music studio installation. The system described has been designed and realized, con-