Plenty of producers use FL Studio. Among those I can think of off the top of my head are Feed Me, Porter Robinson, Mat Zo, Madeon, Savant, and BT; deadmau5 and Steve Duda have also used it on-and-off in their work.That aside, choosing a DAW should not be about what major artists use it, or how popular they are; DAWs are about workflow and, to some extent, the quality of the DSP behind them. All “serious” DAWs will have the same core capabilities– the ability to record audio, MIDI support, plugin support (the most common being VST, though Logic and Pro Tools use their own proprietary formats), the ability to automate parameters within a sequencer window, and a mixer. With that in mind, your choice of DAW should be a reflection of what you plan to do with it.
FL is an excellent option for electronic music producers looking for a highly modular software with detail-oriented workflow, and Ableton Live is a close second (though its DSP is not as polished as others on the market). If you’re a mix engineer, Logic or Pro Tools are both optimized well for recording scenarios. Mastering engineers are often finicky about their DSP, and tend to use DAWs that pay more attention to transparent summing and gain changes; some of the best summing engines on the market are those of Pyramix and SoundBlade, two relatively unknown DAWs that pay careful attention to audio fidelity and the elimination of distortion artifacts caused by rounding errors in the summing process.
If your intent is to compose electronic music (what I consider myself to do inside a DAW), my lineup of options to compare and contrast would be as follows:
1) FL Studio
Advantages: highly modular (BT once described it as “a DAW meets a modular [synth]”); some of the most well-designed workflow tools on the market for composition.
2) Ableton Live, with Max For Live
Advantages: optimized for “live” performance (read ‘clever manipulation while I let the merry-go-round run its course’); a steep learning curve at first, but worth the inherent organization that comes with it; a host of well-thought-out factory instruments and effects that, while menu-oriented and finicky to learn, are relevant starting points for all sorts of crazy sound design; Max For Live is a beast of a programming environment, if you want to expand your composition to the Xenakis-Schaeffer tier of sonic wizardry.
3) Logic Pro
Advantages: intuitive; comes with the best selection of factory instruments and effects out of any DAW (particularly their Delay Designer); browser facilitates navigation by tags as well as directories.
Advantages: easy-to-manipulate I/O routing (e.g. feedback loops) not capable in other DAWs; ReWire allows for initial sketching of ideas to become full-on productions within another sequencer, while still including the option of a native sequencer and mixer; architecture and layout of the factory instruments and effects are profoundly useful for beginners trying to learn the basics of digital music composition.
Supplemental plugins and software
1) NI Reaktor
More powerful than Max For Live, and an industry standard shell that can run as a VSTi inside host sequencers with VST support
A few well-designed, reputable VST synths and effects, to be learned holistically and used as go-to plugins
3) If you produce on a PC, the number of free VSTs on the market is rather astounding; though the buggier ones are also usually the free ones.
If you wish to produce electronic music, We from agen bola recommend the same lineup, but with Ableton Live first, and suggest a copy of Komplete.
If you are planning on recording and mixing your band or others, consider a Pro Tools setup with some McDSP and Waves plugins; or, if you’re on a budget, start with Logic.
TL;DR, don’t worry about who uses what, and for what reasons; instead, viva la choice! Everyone’s workflow is different, which is why competition in this market is a healthy thing. Researching what the industry standards are capable of and choosing a software to suit your needs (within reason– financially or otherwise) is the best way to go on all fronts.