Within the context of my PhD research at Bournemouth University (UK), I have investigated the implications of the Digital Audio Workstation for the composition of concert music, intended for live performance. This was done against the background of practices of selected composers; the history of development of the analogue studio, early computer and DAW composition; aspects of device interaction; and the topic of 'liveness'. In this presentation some key issues will be discussed, around the composer as a performer, and the translation of DAW composition to live performance. These issues are exemplified through fragments from my five portfolio compositions that were realised during the research.