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Digital Subscriptions > MusicTech > Aug-18 > IMAGE-LINE FL Studio 20


FL Studio is 20 and it’s celebrating with version 20! Andy Jones gets fruity and examines a genius history that has given it a huge DAW user base…


We’ve said it before and we’ll say it again: there’s never been a better time to hop on board the music production wagon, especially in terms of the sheer number and variety of DAWs out there. Most recently I’ve looked at the latest versions of Cubase and Reason – two very different beasts but the absolute pinnacles of their years of development – as well as newish kids on the block like Mixcraft and Tracktion (and very nice they are too). FL Studio is a two-decade old piece of software that also seems to have won the hearts and minds of much of the music production community, especially Stateside.

As we’ll see later, FL Studio started almost as a game – many of its early adopters certainly produced on it rather like they were playing a video game. It’s always been ‘the easy sequencer’ to make tunes on quickly – too quickly according to some of its early detractors. However, like all DAWs, it has become something of a production powerhouse over the years, yet tried to keep that simplistic ethos that won it so many fans at the start. It’s a hard line to balance – how to add professional features without compromising ease of use – but with consistently good updates, its makers, Image-Line, seem to have walked that tightrope. That’s possibly down to a vocal user community who will certainly shout if they don’t get what’s required and it’s a community that has also stood by the software, perhaps in gratitude at one of Image-Line’s policies which it is celebrating within this all-new release, FL Studio 20.

Key features

Mac and PC DAW with super-slick interface for easy song creation

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About MusicTech

In response to the ever-growing world of sound design, we highlight many of the best tools of the trade to equip you to experiment yourself, step-by-step guides to various processes, plus interviews with those whose careers have been built in the world of professional sound design. Elsewhere, we speak to former Stereophonics drummer Javier Weyler, whose company Breaking Waves facilitate the sonic needs of filmmakers in innovative, creative ways. We also talk to mix engineer Giles Barrett about his boat-based studio and head inside Nottingham's newly-opened Mount Street Studios. Along with our usual range of in-depth reviews we see our tutorial section expand once more as we welcome a brand new Reason series. We hope you enjoy the issue!