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Image Line has jumped from version 12 to 20 with its latest release of FL Studio. They haven’t suddenly got bad at maths - this year is the DAW’s 20th birthday. And there’s some big news. 20 years is a long time in music technology and FL Studio, which started life many moons ago as FruityLoops, has just turned two decades old.

It’s massively more advanced now than at launch, having evolved into a fully fledged music production suite some time ago. In recent years it has had big overhauls like the vectorisation of the interface to allow resizing on huge displays, and some of the most advanced touch screen support available on any music platform. Long Time Coming What has been a constant over its history was its sole availability on the Windows platform - until now, that is. Back in 2015 when we met up with the Image Line team at Musikmesse they showed us an Alpha (i.e. Very early) version of FLS working on Mac OS X. We kept tabs on it for a while, but after a couple of years things seemed to have gone fairly quiet. The company remained committed to bringing it to the Mac, but rewriting or porting every part of it including all the plugins was a massive job.

But now it’s here - 64-bit native, with support for Mac VST and AU plug-ins, complete project exchange with the Windows version and also third party plugins as long as they are installed on both systems. The Mac and Windows versions are functionally identical barring minor setup differences.

We must also mention Image Line’s almost uniquely generous licensing policy of lifetime free updates. That means you’ll never pay for updates to your version, and also now if you already own a Windows license, it will unlock the Mac version too. Look And Feel FL Studio, it’s fair to say, has a rather different approach to workflow than many other DAWs.

It’s a bit more esoteric than a Logic or Pro Tools for example, with its own way of doing things. Frankly it does so much that there’s not space to list it all here but a visit to the site will provide an exhaustive list. It uses different paradigms too. The main area is called Playlists, and holds Playlist tracks, which can contain MIDI, audio or automation.

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Clips and instruments can be routed to different mixer tracks, or one MIDI clip could trigger every channel rack instrument. These concepts - and other specific workflows it uses - will be familiar to experienced FLS veterans but do take some getting used to for newcomers. A Cubase user can figure out the basics of Logic for example pretty quickly but maybe here it's slightly trickier until they have invested a little time. That’s not a negative - products are different - but just an observation.

Power users will be glad to hear that the Playlist Track limit has increased from 199 to 500. While still not unlimited, this makes it much less likely that even the largest project will hit the limit. There’s also now support for multiple time signatures in a project, with the playlist switching seamlessly as it encounters time signature instructions during playback. There’s more flexibility with arrangements now, as the Arrangements menu allows you to manage multiple Playlist versions of the project - working ideas, sound design, versions and so on.

You can now “consolidate” - or freeze - tracks, sending selected audio or pattern clips to a single audio clip in several different ways. Automatic Plugin Delay Compensation now works across all parts of the DAW including audio recording, metronome, mixer FX slots and more. The main Toolbar is redesigned and now editable. They’ve even found time to bring back a couple of classic features including the Graph Editor and Sampler Channels. Mixer track count has increased from 104 to 125, new mixer layout presets are available and the comprehensive bundled plug-in set has been tweaked with multiple models receiving updates. Amongst these are many interface tweaks, 64-bit compatibility where it was lacking, and much more. There have been a great many small changes to various parts of the DAW, and a full list is available on the site.