When Audition was still Cool Edit a lot of radio guys jumped on the bandwagon. It was either free or very inexpensive and loaded with everything we had in the high end studios. With the advent of things like Garage Band, Logic, etc that tend to be directed more at musicians the straight voice-over guys & gals had to contend with a lot of unwanted or at least unnecessary features. And while Audition will still to that with Loops, etc. it is really a great and straight forward audio editor.
I was on the verge of moving to ProTools when I came across the Audition Beta. The learning curve for me was something I was not looking forward to and after using Audition/Cool Edit for what seems like an eternity it was godsend.
My 2 cents worth.
I've noticed that most ProTools users I talk to tend to fit in one of three categories:
A) They started using it back when it was the only decent thing around and can't / won't switch
B) Someone else uses it, and they need to be compatible with them
C) They're locked in to a certain TDM or RTAS plugin not available elsewhere
This is, of course, highly subjective, but I think there's some merit to it.ProTools isn't really selling on its feature set or workflow; it's selling because it's ProTools.
This is a pretty common fate for old work horses -- They started out in simpler times, but have been forced into a kind of accelerated evolution, growing both wings, tails and extra sets of legs in order to compete. As such, they're always at the risk of being overtaken by younger DAW:s whose development can be guided by more updated design imperatives. A good case of this would be Ableton Live, which is built upon the simple premise that "the music never stops."
Personally, I hope that the Audition team sees the potential in building the ultimate "Photoshop for sound," and rather than shying away from geeky features like the spectral editor, instead chooses to embrace them and evolve Audition into a pure-bred noise shaping studio -- the best of its breed. Now, more than ever, us sound designers want to create truly unique sounds, and that requires a bit more work than just slapping a flanger onto a pitched-down giraffe and calling it a day.