Four Tet refers to Syntrillium's Cool Edit Pro as "one of the greatest pieces of software ever made " at 3:30 of this YouTube video from the Red Bull Music Academy New York 2013 series.

In this interview by Total Guitar with Andrew Stockdale, he says that he recorded his first EP as Wolfmother with a program called Cool Edit.

"The only software I use is [Syntrillium] Cool Edit because I love the way you can push it and it doesn’t seem to even try to fight you. It just gives up and is like “Alright, if you want it to sound wrong, that’s your problem."

In this Q&A Hainbach talks about how he started out making music at around 23:30 and at 25:58 he talks about using cool edit pro and how it inspired a lot of what he does now.

"I then rebuilt and expanded his original track, replacing some elements and adding others, like the acoustic bass part, hoping to capture the grotesque charm of his original demo while updating the sonics and giving us the flexibility to mix individual elements and deliver stems. César told me that those noise blasts are actually based on a recording of throwing a handful of wire coat hangers into a tiled bathroom, with the resulting recordings then time-stretched by absurd amounts using early and crude-sounding algorithms in Cool Edit Pro. I tried to replicate that grungy, chainsaw-like tone using modern technology but could never get it to sound as "awesomely awful" as the original, so in the end I just grabbed those sounds from his original mixes and tried to clean them up as best I could."

In this video Benn is talking about how he used to make music 20 years ago. He talks about using cool edit pro to master and add effects to his tracks at around 3:05

In this video at 0:53 he said that uses Cool Edit Pro

Cool Edit Pro can be identified in this picture from Omnia's Instagram

In their UK Adapta interview, they briefly talk about some of thie gear:

"Q: Do you have any favourite equipment or software?

A: We like to use our oldies stuff, like Cubase VST 32 or Cool edit pro and also vintage synths like Juno 106, or old Casio keyboards toys."

Abernethy composed on Digital Performer 4 on a Mac G4 that sits alongside an 80-channel Otari Status console, working with mostly original samples. “We were using three Mac G4s, one Dell PC, BIAS Peak, Cool Edit Pro, two E4-X2 samplers and three ASR 10s,” he explains. “We put our samples into the proprietary Sony sound tool, which has its own MIDI player, and then programmed our sequences within the tool.”