By 1994, it was becoming increasingly evident that the future of electroacoustic composition resided in the use of general-purpose computer workstations. The MIDI protocol and its limiting event descriptors had long been a hindrance to a sound-object approach to composition. In many ways, the earlier analog studio had been more conducive to experimentation with sound. MIDI separated the control aspects of composition (MIDI scores) from sound generation (MIDI synthesizers and samplers), and a vital link was lost. It was becoming more difficult to control synthesizers that, ironically, could generate increasingly complex sounds. With the computer power attained by 1994, software synthesis and processing tools offered an attractive alternative. We used Csound (Vercoe 1986), the grande dame of such systems, as the basis for constructing a new system, one to which all processing functions of the traditional studio would be ported, so that they could be offered to the composer in a digestible and intuitive form. Given Csound's terse command-line interface, this was easier said than done. The new system had to be responsive and not require that the composer be particularly knowledgeable in the theories and practices of audio processing. In other words, the system had to accommodate the composer more than the computer-music programmer. Yet, as the composer would grow to use more sophisticated techniques, the system also had to allow for an elegant shift to a more complex relationship with the inner resources of Csound programming. After the new system, called Cecilia, had been in use for a period of time, it became evident that a practical and responsive interface helped not only the neophyte. Many, if not most, sound-processing tasks in electroacoustic music (particularly in musique concrate and acousmatic music) rely on a relatively well-known subset of audio-processing techniques. In the end, it turned out that Cecilia's philosophy of preset modules, covering the usual time-based and frequency-based audio processes, was contributing to explosive productivity for seasoned composers as well as for neophytes. We approached Csound as a serious production tool for electroacoustic and computer music. Furthermore, our use of the language was biased toward the production of sound-object oriented composition (sometimes called musique concrete), where sound is obtained, more often than not, from previous recordings, then submitted to complex chains of transformations, and finally reorganized into compositions using a fairly traditional multitracking and mixing environment. In a general sense, Cecilia can be thought of as a composition-management system, because it brings together under one roof the many programs needed to run a successful composition session. It offers many tools of its own when needed, but it tries to employ tools that are already available on the various computer platforms used by composers.