Q It Up: How long have you been using your current multi-track audio editing program? Which one is it and why did you choose this one? What version are you using? For you, what are the pros and cons of your DAW? Have you worked with other programs? What did you like/dislike about them? Would you like to switch to another DAW? What other editing software do you use -- a separate one for 2-track editing perhaps? Please add any other comments you might have on the subject.
John Weeks, John Weeks Voiceovers: I currently use Adobe Audition CS5.5 on my Mac Mini. The first "digital" system I used was a Roland back in the mid 90s. I can't remember the model, but it was a big rack mount unit that was built like a tank. From the Roland I moved on to another Roland (The VS 880). Then I moved on to Vegas Pro, which is the multi track companion to Sony Soundforge. I like it, but decided to change in 2001 or 2002 to something more common (in the world of radio), Cool Edit Pro. I upgrade to Adobe Auditon 3.0 several years later and to CS5.5 when I made the move to the Mac Mini about 4 years ago. I'm comfortable with AA CS5.5 and see no need to switch to anything else. It pretty much does everything I need it to do. I especially like the spectral view for removing mouth noises and other unwanted sounds without affecting the surrounding audio.
CJ Goodearl: Way overkill for VO work and light production but using and love Pro Tools 12.3 for about 5 months. Love the little improvements like super-fast mp.3 ripper and gain function right on the audio graphic. Using because I know Pro Tools, and if it ain't broke... (you know.)
Rafe Sampson, Sampson Media Inc.: I use Adobe Audition 3.0 for multitrack editing. I’ve had it for at least 8 years I believe. It does everything I need, and more, and I have no ‘cons’ to report. Simple, intuitive, and the effects rack is excellent. The AA plug-ins are quite good, but I also use Waves Diamond plug-ins, which are stellar. I can’t think of a reason to switch to another DAW, especially given that I would have to relearn all the tricks and shortcuts I use with AA. I don’t like the idea of the subscription/cloud based CC versions that Adobe lives off of now. I’m old school…buy the software, don’t pay monthly rent on it.
I’ve demoed Pro Tools (expensive for negligible improvement over AA) with a huge learning curve. Also Cubase and Cakewalk, but they seemed like a less intuitive ‘foreign language’ compared to AA. More music composition than VO or production. Overall, for recording and for editing and multitrack mixing/mastering, I think with just a few exceptions, they all do about the same things, with some subtle differences in features. If it ain’t broke (or lacking in features you NEED) don’t fix it.
I do all my recording and editing of my VO in Sound Forge 9.0. I’ve looked at a lot of other programs over the years (and decades) but can’t find any that work as well as SF for what I do. I find it a bit quicker to edit on the fly, than with AA. Also, the batch processor in SF is outstanding. Since I do a ton of e-learning material and other long-form scripts with many individual files, I use the batch processor a lot.
Overall, for recording and for editing and multitrack mixing/mastering, I think with just a few exceptions, they all do about the same thing, with some subtle differences in features.
Archer: In 1995, I switched to editing on a PC with Cool Edit. Previously, I'd been mastering on DATs and editing on MiniDiscs for broadcast purposes, and still using multi-track tape. I stopped using tape when Cool Edit Pro 2.1 made multi-tracking flawless on hearty PCs. Today, I use its wicked stepchild, Adobe Audition CS-6, and find it faster, more accurate, more efficient and crashless. For simple long-form two-track editing, I throw back to a lightning-speed 2-track version of Cool Edit 2000 and use "mix-paste" for segues if needed. From Audacity to Pro Tools, I've tried them all, but always go back to Cool Edit and Adobe Audition because, for me, I get much more done much faster.
Jay, Voice Master LTD: I use Sony Soundforge Audio Studio 10. My original purchase was version 7. I use this software mostly for light voice over and production. I have been using this software or a version of it for over ten years. I would not change DAWs at all. This has more than what anyone would need and it not complicated with tons of useless hard to find plug-ins. As you can tell I have over the years tried free versions of software as well as full versions. Most are difficult to learn or fall short of what I need. For the price point as well as its flexibility, SONY SoundForge Audio Studio 10 is what I use. If I have the need to do more than a few tracks, I can always move up the chain to the full version of SoundForge, now made for both the PC and Mac!
Al Peterson, Radio America Network: I've used lots of DAW programs along the way - my current favorites are Mixbus for Windows and Ardour for Linux. But for longevity, I've used Cool Edit Pro since the late 1990s when it was a Syntrillium Software product. Way back in the day, I asked them if I could be a beta tester to help fine-tune its functionality for radio and they took me on. And CEP 2.1 is still the editor of choice here at Radio America. Because there no longer is any active development on CEP, it is showing its limitations when compared to more modern DAW software. For example, the timestretch function generates lots of glitches, even on slowdowns as small as 2 percent. It lacks the ability to use VST plugins, and it can’t open formats such as MP2, OGG, FLAC or AAC without iffy third-party DLLs. And because the developers didn't anticipate Windows 7, 8 or 10, the program gets wobbly running under these operating systems. I've tried running it under WINE (the Windows emulator for Linux), but screen redraws fall apart. CEP ran best under Windows XP, and I fear Win7 may be the last OS it can handle. I'd switch to Audition in a moment, but IMO, its blanketed with a lot of features irrelevant to radio production that just get in the way.
In spite of these problems, CEP is still the one that moves fastest under my fingers for producing long-form talk programming. It's easy to teach to interns when they join us every summer, and that Easter Egg is still hilarious (Help>About, then click on the silver ball bearings in the "CEP" logo).
Andrew Frame, BAFSoundWorks: According to the e-mail with the serial number key, since June 20, 2003. The station had an Orban when I started, moved to Cool Edit 1.2, then Cool Edit 2.1 before I left. I purchased my own, and still use Cool Edit 2.1 every day.
I stayed with it because I have too many instances when I have to pull up old sessions for some minor change. I also didn't like where Adobe took the interface when they brought out Audition. It was to match up with the rest of the product line, but it was clunky and cluttered for my taste.
The one downside to Cool Edit is the inability to edit in spectrum view - something needed once in a blue moon. This was added to Audition, but when Adobe went to cloud-subscriptions, but that business model eliminated any desire to "upgrade".
I also use Audacity extensively for import-export. It will handle the newer file formats that Cool Edit doesn't have converters for. Some folks balk at Open Source software, but Audacity has an excellent recording and rendering engine.
Audacity allows for single/two-track editing in the multitrack window. Cool Edit does as well, but the ability to toggle to a separate edit window was a brilliant move by the original designers. There's no need for separate editor and multitrack DAWs.
In an ideal world, I'd like to see Cool Edit's older, cleaner GUI on Audacity's newer engine, and the whole thing ported to Linux. Until then, I'll maintain a dedicated Windows machine and keep Cool Edit cranking out the hits.
Dave Cockram, Indie88, Toronto, ON: 15+ years. I started in 1999 and used the 4-channel SAW (software audio workshop). It was crap, but it never crashed! Then Cool Edit, then Adobe Audition, then Soundscape, then Pro Tools. Now I only produce in Pro Tools. But that’s a serious love/hate relationship. I love the precision editing in pro tools. I like the layout. I like the control. Once I produce something, I use Adobe Audition to code meta data for Wide Orbit. I really think it doesn’t matter what you use…it matters what you make.
Rick Bednar: I have used Orban Audicy for many years and much prefer it over anything else presently "on the market". One of the many things I like about it is the built-in mixing board that allows you to mix with audio board-like "pots" rather than mixing with a mouse. The instruction book that came with it is excellent - the system is easy to learn and use - plus there is a wonderful effects bank "built in". It's too bad the system is no longer being made, but there is still a "band" of loyal Audicy users that "post in" on the Internet. I think most parts are still available and there are people who will repair your Audicy if need be.
A final note: I remember several years ago buying a used Audicy from a radio station - they had switched to a "newer" audio editing system - and when I stopped by the station to pick it up, the chief engineer said to me, "would you please get this Audicy out of here as fast as you can? The entire staffis upset with me for selling it!"
Norm Kelly, CMG, Dayton, OH: I use Adobe Audition 1.5, and have used it pretty much since it debuted. I guess in tech terms, it’s probably the equivalent of using a cell phone from the ‘90s, but “if it ain’t broke….”
I have tried other variations of Adobe, including CS6, which is installed on all of our prod machines, but I still prefer my trusty old 1.5.
Only one other time, when I was working a gig in Morgantown, WV, did I think about using something else, which was Pro Tools. One guy in the building swore by it, and I thought it looked pretty freaking cool, so I asked him to give me a brief tutorial, and afterward, my head was spinning. I’m sure I could’ve mastered it in due time, but there’s nothing I need to do that I CAN’T do in Adobe 1.5. Simple, powerful, super-easy to navigate and even do some advanced things on.
The only “con” I can think of with 1.5 is the lack of being able to save things directly from the program into Wide Orbit, like you can do with CS6. I still choose to dub things in ‘real-time’ so it’s not even a con to me. That ability does help our board-ops, who are able to do dubs from within CS6 while they’re running their on-air board, but for me, that’s not an issue.
Gord Williams: This is a really good question. My DAW has dual roots. If you call it Ardour I have been using it, though perhaps not as seriously for over seven years.
I felt that Linux was not quite ready for full time use and a multitrack DAW was not to any particular advantage initially.
Then I became aware of Mixbus which is a branch of Ardour developed by Harrison who has been a dominant force in mixing consoles since the seventies. I realized that this combined with Cadence from the KXStudio distribution, was what I was looking for. I wanted a simple way to deal with getting a clean well modulated voice track out quickly if desired, and have faculty to do some overdubbing and adding sounds after the fact. The result for me is both answer one, voice track, and answer two, fully realized production.
It could get crazy as I can change the environment with compressors, eq's, limiters that are external to the DAW with Cadence but the idea was to stay within the DAW and away from plugins. Plugins are so much a part of the Ardour paradigm that it does seem almost counter intuitive to how things started.
I bought my copy of Mixbus about six years ago but really put it into full time Production four years ago. Cadence was not up to speed yet or I wasn't quite with it. I tried Mixbus in Windows for a while, but found Jack underperforming, with significant xruns.
Once I got the combo right with Cadence running Jack as more elegant mouse monkey's solution other than what is commonly used, I haven't looked back.
BD Nance: I have used ADOBE products since they bought Syntrillium, about 30 years now. But for the last 3 years I have used Adobe CS6. It has a solid interface and I like the end product it delivers. PROS: The creative openness it offers. CONS: It is NOT very user friendly and very pricey. I also use Sony Sound Forge Studio 10. Mostly for pre-voice production, as it does not offer multi-track. If it did, I would use it more.
Phil Shirakawa, CHUO 89.1 FM: I was taught Adobe Audition in college (Algonquin College, class of '11) and have been lucky enough to have it at every job I've been at since. I love it. Our station, CHUO-FM also encourages our volunteers to learn Audacity, as it's free and accessible. I find that one to be a bit more difficult to fine tune things. It's great for individual files and conversion, but that's where my praise ends. When I worked in News, we had a Burli setup. That program is extremely practical in its editing, and so strong in its file sharing and feed aggregation aspects, its lack to fine-editing power can be forgiven. I've debated setting up a Pro Tools rig for the home studio, but can't bring myself to invest in it.
Howard Hoffman: Five months. That’s when I switched to Logic Pro X after 13 years with Pro Tools.
Quite honestly, Pro Tools got to a point where I had to go into Terminal to close down about six background processes on my iMac. It still crashed, but not as often, though the lack of functionality or support whenever Avid or Apple upgraded still drove me nuts. (Their newer time correction plug-in is also dreadful.)
It finally dawned on me last year that I should get a DAW program made for AND by Apple – but even at their lowered $200 price point, I still needed to bring the price down. Costco to the rescue. As I anticipated, they knocked 20% off the cost of iTunes gift cards for the holidays, so my total cost for downloading Logic Pro X was $160. Merry Christmas. I took the savings and the money from selling my Digi surface on eBay to nab a Mackie-refurbished Control Pro and I’m one happy camper. I’m still learning and teaching it new tricks, but I’m doing so without any memory error popup windows or iffy $500 upgrades ($299 if I use a friend’s .edu email).
For single-line editing, it’s Twisted Wave. For quick editing or reamplifying music for my internet station Great Big Radio (www.greatbigradio.com) which runs on Windows, it’s Audacity.
Mike: 6 Years. Started with Pro Tools 8. Didn't really have much of a choice. I went to school to become an audio engineer, and this was the software I had to use. Although it turned out pretty good since it landed me a job. Currently using Pro Tools 10. Pros: Easy editing, routing flexibility and familiarity. Cons: Not 64bit, crashes more often than other DAWs, weak midi capabilities, Avid is a cut throat horrible company.
Other programs used include: Sonar 6, Reaper 4, Cubase 8 Pro, Ableton Live 9 Standard and I've played around with Reason. For the most part with the exception of the older version of Sonar, they crash far less often and give me less trouble on both my PC at home and my Mac at work. I use Live 9 at work in addition to PT because I find working in the clip view to be easier when it comes to writing/producing jingles. The only thing I don't like about them is lack of familiarity compared to my 6 years spent with PT, but that will change over time.
Working with PT 10 at work is fine for what I do. It can be annoying when I'm working with a big session and I have to constantly print tracks to free up RAM, but if it ain’t broke don't fix it. I use Cubase at home for Rock and Metal music and Ableton for EDM.
Gear isn't everything but it isn't nothing either. I probably wouldn't have a job if we were still in the good old days of analog tape. Technology is your friend.
Scott Shafer, iHeartMedia, Waco, TX: I'd say around 8-10 years. At the time we were Clear Channel, and they had paid for a blanket license for each market, so we use Adobe Audition, which originally started out as Cool Edit Pro. Now using Audition 3.0.
For me, I think Adobe 3.0 is hard to beat. It's very user friendly, and makes producing spots very easy. I don't think commercial application was what they had in mind when they created it, but it works well for that. There is only 2 cons I can think of: 1) 3.0 has no side-chain compression available, and 2) I did not want to go to the cloud based version when Adobe offered it as an upgrade. I like paying for and owning the software, not leasing it. However, I asked one of my co-workers about the cloud based version of Audition he has for his home studio and he loves it.
I've tried a variety of DAW's: Samplitude, Orban, Sonic Solutions, Cool Edit, Cool Edit Pro, Ableton, Pro Tools Express a.k.a. Pro Tools First. I think it's really application based. They all have their pros & cons. Some are maybe more feature rich than others. If you're a musician, Ableton is a great creative tool. But I think Pro Tools is really the go to for most folks. I prefer Audition for commercial production because I know the program and it really works great for that. I started using Pro Tools Express that came with some hardware I bought; it was a great way to get introduced to the PT platform. I've since downloaded the free PT First. One thing in Adobe's CS6 and PT is you can use side-chain compression, where in Audition 3.0 you can't. So if I'm doing a club type spot or concert promo, I can duck the music track instead of jockeying the fader or use fader automation -- I prefer the side-chain though.
Would you like to switch to another DAW?: I don't think so, I like Audition 3.0 (Call me old school. I mean...Ol' Skool.)
What other editing software do you use -- a separate one for 2-track editing perhaps?: That's the cool thing about Audition, you can click the track over into what is called the transform window or edit view, which is a two track editing window and edit and add effects. So no other software is necessary.
I think it's important to be knowledgeable about different Digital Audio Workstations, especially if you change markets from time to time. The 2 main platforms that iHeartMedia uses are Adobe Audition, and the national imaging guys I think prefer Pro Tools. Either way, there are many DAWs available to you, so if you are just getting started, most software companies like Avid and Adobe have trial versions you can download and demo. If you are doing just audio, I would suggest PT and Audition. If you plan on doing more with audio and video, go the Creative Suite route from Adobe, they integrate the A/V platforms inside the software. FYI, you can drag and drop some A/V files into the Audition multitrack and it will show you the video and separate the audio on a different track.
Dale McCubbins, 90.7 FM, Bowling Green, KY: I used the $99.00 Cool Edit (1st edition), till we got Adobe Audition 1 bundled with our then new on air software. When we upgraded to Simian, AA3 came with it so I got that upgrade, and I've been using it between 5 &10 years now.
Tried out AA5… LOTS of bells and whistles; but it didn't really have anything I couldn't live without. As a small listener supported radio station, we stretch a dollar till you can see through it, so I really haven't been able to justify spending the bucks to go to the current edition.
AA3 is my workhorse, it gets the job done.
Von Coffman, Bonneville Radio Group, Salt Lake City, UT: What DAW? There is a question that gets battled back and forth between producers daily. Hell, just in my cluster alone there are varying opinions. But the question you ask “me” is… what do I use?
I use SAW! Before you scream “what”? This ain’t your Daddy’s SAW. I converted over to SAW Studio about 13 years ago and haven’t turned back. The speed is blinding, its ultra-stable, the sound is brilliant, and in the Radio biz, speed is almost everything. Let’s face it; if ya need more than 48 tracks to produce a commercial, you’re doing something REALLY wrong. The Sound is different than most of the rest… it has a smoother quality to it… almost reminiscent of an analog sound without the tape hiss. The mixing view is designed to emulate a high end large format studio console and not one built for a computer geek. I use two monitors, with the console view dedicated to one monitor. This makes the working environment scream!
Why not Pro Tools or Adobe Audition? In a nutshell… too slow. Yes, you can work in MP3 and SAW does not. But you’re really not working in MP3. So I work in WAV and then convert the file if it needs to be sent out. It only takes a few seconds. But with the size of today’s Email servers you can easily get away with sending WAV… usually.
But Pro-Tools and Audition come with all those plug-ins!
And your point? SAW is VST compatible and it works like a charm. At some point with all those plugs-ins you reach a point of diminishing returns and FUNDS.
Would I change? Not a chance. If you have had the privilege of really working with SAW Studio you understand.
And I love hearing clients who have recorded at other facilities, say “I can’t believe how fast you can edit sound”, all while scratching their heads.
Michael Shishido, 94.7 KUMU, Honolulu, HI: We've been using Adobe Audition exclusively for the last 4 years. Audition seemed to be the most intuitive and reasonably priced. We have AA on a number of computers throughout our station. I have Audition CS 6 (Build 8.1) on my main production computer. Others will catch up later and are still on CS 5.5.
It's easy to use and intuitive. We're not creating a Justin Timberlake album. It's radio production. So really, anything more than what you get in some of the basic programs is overkill. You wouldn't buy a Cadillac to take a ride to your neighbor's house down the street. But you do drive across town now and then, and a Lexus makes more sense in that situation.
I've used Audacity a little bit. For a few months we had Pro Tools at one radio station I was at. I've tested Sound Forge & Acid. My first taste was with a very early and very complex program. I don't remember the name because I rarely ever used it. No one at that station did. But in 1995 or so, we all jumped on a very early Orban DAW that was easy to use and fairly easy to figure out. So it's been about 20 years since I've had to use a razor blade to splice anything.
Audacity was super easy. I had it at home because I needed to do production on the cheap and it did everything I needed it to do. That was in 2004 or 2005. It lacked a bit of the sophistication, ability, and intuitiveness. Maybe that's changed by now. I haven't really gone back to it since then. Pro Tools, on the other hand, was the Cadillac. Far too much program for a radio station. I do know a few people who've taken the time to learn it and they love it. I just don't think any radio station needs that much ability day-to-day, to justify the cost.
I'm very happy with Audition. I have it at home as well. Audition is more than a radio station needs. But it has a few very good abilities that make it great for radio. The one feature that comes to mind is the time squeeze app. Everyone in radio uses it. The one in Audition preserves the sound of the original extremely well.
What other editing software do you use -- a separate one for 2-track editing perhaps? It's Audition in every studio at our radio station. That's pretty much an engineering call. Some of the other people who do production have used and prefer other programs. But if everyone had their choice, it would become quite a challenge for engineering/IT to maintain all those licenses. So we chose one and stuck with it.
Radio moves at 800 mph. You want something that producers can use quickly and effectively. And for newcomers coming into a radio station from across the street, you really want them to hit the ground running. So even if they used a different program before, the learning curve on Audition isn't very steep.
I'm interested in reading this to see if anyone is using any of the available apps for the iPad to do radio production. I don't know if Garage Band is the answer to that. I haven't had the need so I haven't explored it. But I'd love to see what others are doing.
Dave Savage, Creative Services Group, iHeartMedia: The first DAW I was proficient on was the DSE 7000 in ’96 then the Audicy. I loved that machine! I’m currently on Adobe Audition Creative Cloud, been with it since ’98 when it was Cool Edit. Some people in our shop use Pro Tools and that’s great for them. I actually had PT installed on a Mac in my studio about 10 or 12 years ago but it just seemed like overkill for knocking out a voice over music or quick tags, which at that time was probably 80% of the work I was doing. Unless they stop upgrading AA or some other DAW comes along that blows it away, I really don’t see myself changing at this point.
The advantages have been ease of use, once past the initial learning curve, and that the program is complete without the need for a lot of 3rd party plugins. Most versions have been stable, with the exception of Audition 2.0, and in previous companies and generations, the developers were really great to work with. I dislike that Adobe hasn't gone with OMF to make everything cross platform compatible, and dislike more that you can't buy the latest version, only lease through the cloud. I've never found the need for a separate 2 track editor as it's built in, and the audio editor I use for instructional video is the basic one built into Camstudio. I'm about to "join the dark side" as we are adding Pro Tools to some of our studios. If students are going to see it in the industry, we might as well teach them about it so you'll hire them!
Currently I’m working with ADOBE AUDITION CS-6 for Mac ($399), and am pleased to say that it is a joy to create with, and that’s saying something because as anyone who has experienced previous versions can tell you, the upgrade process swings like a pendulum from “yeah baby” to “what happened?” [Version 1.5 was decent, 2.0 was clunky and crashed a lot, version 3 was amazing, version 4 (which I think was actually 5.5) was a huge step backwards. For whatever reason they took away much of the arsenal that many of us had come to rely on.] That said, I’m happy to report CS-6 is a lot like version 3 - simply awesome! I’ve spent some time on PRO-TOOLS, and while it is indeed a great system, I find AUDITION to be just as capable. It does everything I demand of it.
If there is a downside, it is ADOBE’s customer service. The few interactions I’ve had were frustrating to say the least. You quickly get the feeling that “they have your money, not your back.” That may seem blunt and mean spirited, but I’ve given this problem the light of day in hopes that ADOBE’s management will give this area the attention it sorely deserves, because the product is solid. We just need a support staff that actually “supports” those of us in the field. Before I frighten prospective buyers, let me say this, I (thankfully) haven’t had to call for support since upgrading to CS-6.
If there is one feature I wish AUDITION included, it would be MELODYNE, which has long been integrated in STUDIO ONE. I downloaded a trial version of the latter a couple years back and nearly gave them my money; however, there is a feature that ADOBE has that STUDIO ONE does not, or at least didn’t at the time and it’s a tool I simply cannot function without. Especially considering that I use it on literally every session. In edit view depress SHIFT D to change the screen to the “spectral analysis” view, and with a little practice you begin to see pops, clicks, breaths, and lip smacks with ease. Removing these imperfections is as simple as highlighting the problem area and striking COMMAND U to heal, or DELETE to completely erase the problem. There’s even a paintbrush tool for touch-ups.
As platforms go you’ll find ADOBE AUDITION CS-6 handles all the major file extensions. It comes loaded with plenty of practical and useful presents, it recognizes AU, VST, and VST 3 plugins, and allows for customizable shortcuts, which as any producer will tell you, is the secret to speed and fluidity where workflow is concerned.
I’m happy to answer (to the best of my ability) any further questions you may have regarding AUDITION CS-6. Just ping me at
Bill Carroll, WBQB/WFVA, Fredericksburg, VA: We, as a company, have been using Syntrillium’s Cool Edit Pro (last version made) since it came out actually for quite a few years now and love it! I’ve used its new owners, Adobe’s Audition, many times outside of the station and like that too since they bought out Syntrillium and continued the basic look, feel and benefits of Cool Edit Pro into their own style, BUT CEP is very easy to use and offers many powerful editing, layering and mastering tools and in my opinion is perfect for radio production. Anything more than that would be a waste of valuable time putting together a creative piece and you wouldn’t use much more of what another DAW has to offer. CEP is perfect for what I do on a daily basis and when used properly, creates a mixdown of masterpieces that has won me many awards over the past 4 years.
I’ve thought about upgrading to Audition but to me there’s no reason to. Why put unnecessary stresses of a learning curve when Audition really is the same DAW just with added bells and whistles not needed for what I do every day. I’ve looked at others and have used others like Reaper, Audacity and Pro Tools and like them for different reasons although I feel that Audacity isn’t powerful enough for some of the really intricate creative pieces I sometimes tackle. Pro Tools isn’t radio friendly at all and belongs in a music recording studio. Although I’ve used Ableton, and like what it offers and is perfect for creating music more than just everyday audio editing, I just don’t have a need for it on a regular basis like I do with Cool Edit Pro. CEP is my go to whether it’s a simple 2 track creation or a 15 track creative piece for both voice audio and music. The flexibility, ease of use, tools, benefits and overall sound it has is exactly what I need for practically every project put in front of me.
George Johnson: In a Galaxy long long ago; it all began with Cool Edit Pro… a free download, off the internet, into my Dell Windows 95 Computer, and I was hooked. Since then, I've grown from these basics of digital editing to an IMAC, and Pro Tools. Chasing technology is like chasing fashion; you can never keep up. I settled into a good pair of Levi's a long time ago. "K.I.S.S" (Keep It Simple Stupid).