I've sort of pushed Tim [Simenon] backwards because I'm still very happy to use Pro 24. It's the program I've got and we regress to that for my convenience. I find it's got a certain number of variables to help you work, but not too many.
— Guy Sigsworth, Bomb the Bass, 1991
Pro 24 is simple, and it's quick. Cubase is as well, but we've just never got round to buying a copy. Pro 24 does the job, it does what we need a sequencer to do and we really don't need anything more complicated. It depends what you use it for; some of the new generation of sequencers are great, but I actually like the limitation of only 24 tracks.
— Jack Dangers, Meat Beat Manifesto, 1993
- "Beats Working" Tim Goodyer, Music Technology, Jul 1991, pp. 26—32
- "Message In A Sample" Phil Ward, Music Technology, May 1993, pp. 36—42
- "Thinking Of Going 24-Track?" Tony Hastings, Sound On Sound, Jul 1986, pp. 42—44
- "Software Tracking" Simon Trask, Electronics & Music Maker, Sep 1986, p. 32
- "Steinberg Pro 24" Mark Jenkins writing as Tony Mills, International Musician & Recording World, Oct 1986, pp. 93—95
- "Steinberg Pro24 III" Simon Trask, Music Technology, Jul 1988, pp. 72—74
- "Steinberg Pro24 Version III" David Hughes, Sound On Sound, Aug 1988, pp. 74—75