I have been dilly-dallying with music production software ever since I downloaded a free copy of Cool Edit way back in high school.
It was kind of bulky, but I decidedly adored it.
I unexpectedly had a powerful programme in my grasp that could do all kinds of musical things that I had never imagined possible.
I could harmonize my own tones, give them dissimilar ambiences and effects, layer different tracks on top of each other, play things backwards - you name it.
By the standards of today's best classical music production bundled software, It wasn't very strong, but at the time it categorically blew me sideways.
Producing music was a goal of mine at the time.
I even commenced going to school to start a classical music industry career.
One of my family was heavily concerned in the classical music industry as a local performer in Wales.
Even though he was not really making a course out of it, he did have a nice tidy additional income from his shows.
I did not have the right stuff to be a musician, but I did have an ear for music.
I could take a good track and make it more fitting - a skill that all music producers need.
I determined to contribute money to make money in some weighty music production software about the time I left high school.
I was a realist.
Although the telecommunications wasn't quite up to what it is today, I still knew that classical music production programmes were the way of the future.
Purchasing racks and racks of studio accessories was prohibitively high-priced - specifically for an aspirant sound recording engineer like myself.
The bundled software for music production cost several hundred pounds, but this was hardly anything compared to the prices of goods sound registration gadgets.
What I did not realise at the time was how many different varieties of music production bundled software there are, and how different the results were between them.
A typical music production program could run anywhere from 50 pounds to 500, I know to have the same features.
Some were actually classical music recording and mixing programmes, designed to do diversified tracks and clean up the sound quality.
Others were designed for electronic classical music recording artists.
They had classical music sampling, advanced effects, and MIDI possibilities.
I slowly realised that if you desired to be a recording architect, you needed to have one of everything and be able to do it all.
You couldn't very well have someone come into your studio and not able to acquire the equipment he needed.
I determined to learn it all.