It's fast, very powerful and easily customizable, the interface is logical and attractive, and I find myself enjoying using it, even during long, difficult projects. In the mid-90s full digital audio recording, editing and playback was added, and it's become a favored tool for many music professionals who regularly work in the media. Back then it was a basic MIDI sequencing program, which grew gradually, as everything else did, feeling its way ahead, responding to what many musicians and composers discovered they needed and requested. The main exception we've made for several years now is the encomium I posted about Mark of the Unicorn's " Digital Performer" (I usually call it "DP"), the musical tool I've used the longest, since 1984. I t's very unusual for me to feature any specific musical tools on the website. Most fields seem to move that way, in bursts with plateaus, it may be just a mark of the "human condition", as we reach out to new methodolody and tools, first adventurously, then moving back for more perspective. It's been a rather long and boring period in electroacoustic music for several years, as we regroup and polish ideas that were defined a decade or more ago.
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