Opcode Studio Vision

[memyselfandus]

The ability to have nested timelines ("precomposing comps") inside each other. Or something Would be a great feature request.

Random note: also multiple independent play cursors that have their individual set of parameters for tempo subdivisions and transposition, even play direction. Would be ideal inside Live clips and similar. Once you see that in action it's totally "HUH why isn't this implemented in... pretty much anything."



A great little inspiration app on iPad, that

Also? Or independent play cursors without multiple nested timelines for playback with multiple tracks? The app allows you to play the same thing multiple ways.

Studio Vision allowed you to compose multiple and separate sequences with multiple (any) time signatures.. multiple ways...

That app is badass! coolest thing ever. I hope to see it in a daw soon! not the same thing though

[deastman]

Can Fugue Machine do anything multiple Live Clips can't?

No, but the workflow to accomplish something similar is much more convenient in Fugue Machine.

But less satisfying than using your own ingenuity to push a DAW in different directions.
Live is good that way

I have Live and I have Fugue Machine. I don't see it as either/or.

[memyselfandus]

This is pretty cool and nostalgic

Opcode Users Group

http://web.archive.org/web/200310201640 ... om/opcode/

[memyselfandus]

This manual includes the enhancements found in the final version 4.1 in 1998. before it was bought and discontinued.


http://www.houseofsynth.com/hos-downloa ... t-1998.pdf


This chapter summarizes the new features and enhancements found in version
4.1 of Vision and Studio Vision Pro

The Acadia audio system (new in 4.1) provides advanced processing and rout-
ing capabilities for ASIO-compatible audio hardware. Included with Vision are
Opcode ASIO drivers for Sound Manager and Digidesign Direct IO (supporting the
Audiomedia III and other PCI audio cards from Digidesign, see the Vision
“read me” file for a complete list).

The Acadia audio system provides:
• 4 bands of real-time EQ per audio
channel;
• 4 VST plug-ins per audio channel;
• 4 sends per audio channel, routeable
to outputs or busses;
• 16 nameable audio busses for sub-
mixes and routings.

Following is a description of the other
audio systems included with Vision and
Studio Vision Pro:

• Sound Manager
This audio system supports audio recording and playback through the Apple Sound Manager.Although most users will use the Acadia audio system because of its advanced processing capabilities, the Sound Manager audio system is provided for Mac users with 68K processors.

In addition, if you have files from earlier version of Vision, created with the Sound Manager audio system, you may want to continue using that audio system for compatibility reasons.

DAE (and TDM)

This audio system lets you record and play audio with Digidesign audio hardware.Although DAE support is included with both Vision and Studio Vision Pro, only the Audiomedia II/III are supported with Vision’s DAE. Users of other Digidesign hardware (including TDM systems) who want DAE support must use Studio Vision Pro.

NOTE: If you have an Audiomedia III, or one of the new PCI audio cards from Digidesign, you can use the Acadia audio system via the “Digidesign Direct IO” driver by Opcode, taking full advantage of its advanced processing and routing capabilities.

• Yamaha CBX
This audio system, which is included only with Studio Vision Pro, provides playback and recording of multiple tracks of audio with either the Yamaha CBX-D3 or CBX-D5.

PLUG-INS

There are now three types of plug-ins supported by the various audio systems in
Vision and Studio Vision Pro. Following is a description of each. Adobe Premiere Plug-Ins
Premiere plug-ins, which are accessed by choosing DSP>Premiere Plug-Ins offer processing of audio files that does not occur in real time. You can use these plug-ins with either Vision or Studio Vision Pro, and they can be used with any of the audio systems.

VST Plug-Ins
VST plug-ins, which are assigned in the Console Window, offer real-time processing of audio channels. You can use VST plug-ins with either Vision or Studio Vision Pro—but, they are only available when using the Acadia audio system.

TDM Plug-Ins

TDM plug-ins, which are assigned in the Console Window, offer real-time processing of audio. TDM support is only included with Studio Vision Pro when using DAE. To use TDM plug-ins you must have TDM-compatible Digidesign hardware.

DSP COMMANDS IN VISION
The following DSP menu commands are now included with Vision:

• Fade/Crossfade
• Pitch Shift
• Formant Shift
• Time Scale
• Adjust Audio Tempo
NOTE: Audio-to-MIDI and MIDI-to-Audio are not available in Vision. To get these
commands you must upgrade to Studio Vision Pro.

There are two new items in the Settings Window, both related to audio. They include:

• Sustain audio across segments When checked, audio events played from a sequence event last for their full duration—even if the referenced segment or sequence stops playing. If you uncheck this option, the audio will stop playing when the sequence event ends, or when it reaches the
loop end point (if it is set to repeat).

• Audio edits occur...Select “immediately” from this pop-up menu to have audio edits reflected
almost instantaneously for playback. Choosing this option does, however, cause audio edits to interrupt audio playback briefly. If you instead select “smoothly,” edits are reflected more slowly, but with no disruption in audio playback.

It is now possible to specify any number of Audio Instruments (up to 128) by choosing Number of Instruments>Other from the menu in the Audio Instruments Window.This feature is available to all audio systems but is most important to the Acadia audio system.

When using Acadia, the number of Audio Instruments determines the number of audio events that can sound at any one time, and the amount of RAM used for audio buffers.


Edit

I guess there was a version 4.5 before being discontinued

http://www.tufts.edu/programs/mma/emid/ ... ewin45.pdf

[memyselfandus]

Interesting Max connection

"In 1989, IRCAM licensed it to Opcode Systems, which sold a commercial version in 1990 named Max (developed and extended by David Zicarelli). As the software was never a perfect fit for Opcode Systems, the firm ceased actively developing it in the mid-90s. The current commercial version of Max has since been distributed by Zicarelli's company, Cycling '74 (founded in 1997[5]), since 1999.[6]
Various synthesizers and instruments connected to Max.

Puckette released a fully redesigned free software computer program in 1996 named Pure Data (Pd), which, despite several fundamental differences from the IRCAM original, is superficially very similar and remains an open-source alternative to Max/MSP.

Max has several extensions and incarnations; most notably, a set of audio extensions to the software appeared in 1997, derived partly from Puckette's subsequent work in Pure Data. Named Max Signal Processing (MSP), or for the initials of Miller S. Puckette, this add-on package for Max allowed manipulatingng digital audio signals in real-time, allowing users to create their own synthesizers and effects processors (Max had formerly been designed to interface with hardware synthesizers, samplers, etc. as a control language using Musical Instrument Device Interface (MIDI) or some other protocol).

In 1998, a direct descendant of Max/FTS was developed in Java (jMax) and released as open-source.

In 1999, Netochka Nezvanova released nato.0+55, a suite of externals that added extensive real time video control to Max. Though nato became increasingly popular among multimedia artists, its development stopped in 2001. Canadian media artist David Rokeby developed SoftVNS, a third-party package for visual processing in Max, and released it in 2002.

In the meantime, Cycling '74 developed their own set of video extensions. They released a major package for Max/MSP named Jitter in 2003, which provides real-time video, 3-D, and matrix processing ability.

In addition, several Max-like programs share the same concept of visual programming in real time, such as Quartz Composer (by Apple) and vvvv, which both focus on realtime video synthesis and processing. Pure Data also remains widely used.

A major update to Max/MSP/Jitter, Max 5, was released in 2008. It included a revamped user interface and new objects."

https://en.wikipedia.org/wiki/Max_%28software%29

[memyselfandus]

Opcode's Studio Vision Pro
Feature List


Consoles

Supports VST* compatible real time effects.
Console strip input now configurable from MIDI, Audio Instruments, Inputs, Outputs and Busses
4 DSP plugin Inserts available per console strip.
Full Bussing feature available, 16 Busses in total
Optional Mini Gain faders are available on each console strip for certain EQ types
EQ Edit window with graphic representation of EQ curve.



Saveable Templates for VST* banks and programs from within effect edit window.
Configurable Master Fader.
4 Aux sends available for each strip.
EQ available on each audio console strip
On/OFF and EQ Edit window open buttons are optional
Preference to view instrument colors on console fader.
Smart overdub so consoles or controllers can be recorded without destroying note data.

Audio Enhancements

Support for ASIO compatible sound cards.
Recording from anywhere in the audio chain directly.
Adds support for VST* compatible real time effects
Adds new items to DSP menu (Pitch Shift, Formant Shift, Time Scale, Adjust Audio Tempo)
Allows naming of Audio Instruments, Inputs, Outputs and Busses
Select Unused - allows selection of all unused audio events in file.
8-24 bit support in DSP and playback.



Stereo file support in all DSP including Premiere style plug-ins.
Ability to import/export new QuickTime 3.0 types.
Improved zooming and expanded waveform for tight edits.
DSP processes on selected audio.
Crossfades
Auto naming of files option to improve speed.
New Crossfades dialog with maximum control.

Performance Monitor Window

Displays CPU, RAM and Hard Disk performance graphically.



Open button on Control Bar will display info without Performance Window being open.

Pulse Edit Window

Multitrack, multinote step editor makes adding notes to a rhythmic grid easy.
Columns can be hidden, resized or reordered.
View multiple instruments in one window.
Each line is a specifc note number (view can be set to only show lines with data).
Set playback quantize individually for each track. Quantize can be set to groove or grid.



User adjustable grid size.
Velocities can be shown by height in grid.
Velocities can be edited by dragging top of note.
Can edit all selected note data at once.
New tool- Magic Drumstick for mass inserting or deleting of notes.

Input Effects

New built in arpeggiator that uses new playback quantize for rhythm.
Both effects can be synced to sequence counter.
Arpeggiator features Up, Down, Random, Alternate and Latch modes.



All effects are recordable into Vision DSP
Repeat input extended to follow playback quantize.
Or, effects can be run without sequence playing.

Strip Chart in Track Overview

Toggle to display strip chart in Track Overview or Pulse Edit window.
All edits apply to selected tracks.
New Compression tool to scale values between upper and lower limit.
Continuous controller oscillating tools for creating gating sweeps.



Zoom in into specific areas for fine edits.
Growable / resizeable windows.
Legato changes- extend releases into next attack or shorten notes for zero overlap.

Select and Modify

More intuitive design.
Includes Transpose, Quantize, Move Events, Modify Events, Set Instrument, Substitute, Reassign and Delete
Now includes audio in selection criteria.
Ability to edit by any command available in Strip Chart.
Works across all data in sequences, segments and tracks.
Command to Batch assign faders to controller and vise-versa.



Now a window instead of a dialog so it can be open at all times.
Settings can be saved as a Template.
Drum Map transpose
"Add To" button to easily create harmonies and echoes.
Transpose redesigned for greater flexability and power

General Enhancements

User choosable textures for windows and dialogs.
Reworded and redesign of all dialog features for clearer, easier use.
Redesign of all windows and dialogs.
New resizable large counter window with ability to choose font, size and display.
All preferences combined into one window called "settings".
Cursors move ahead on paste for faste repeat pasting.



Help buttons in dialogs.
Template files for saving settings externally.
Ability to overwrite controller data without losing notes.
Bar limit increased to 9999 from 999.
Finer Tempo resolution control.

Quantize Enhancements

Playback quantize to any value including grooves.
Ability to quantize controllers.
Quantize on input to any value.
Grooves can be pasted and copied within any file.



New templates for remembering settings.
Improved user interface.
Quantize individual tracks.

Segments

Sequence window redesigned with moveable columns.
Loops can be rounded to the nearest bar or set to start/end at any point.
Top level sequences can be referenced and edited directly
Mute both MIDI and Audio events.
Create and name Segments from a simple dialog.



Editing segment will edit all instances that reference it.
Loops can be graphically resized and set.
Double clicking on segment will open up default edit window instead of Track Overview.
Choose number of repeats.

Key Equivalents

Map key equivalents for everything including DSP and Premiere functions.
Command-arrow keys nudge pitch (up/down) and attacks in time (left/right).
Redesigned window for MIDI keys.
Pitch can be nudged by semitone, scale degree, map or octave.



A key command to cycle around the cursor tools in each window.
Time can be nudged by units, metrically or SMPTE.
A select next tool command.
Nudge settings are user definable.

http://web.archive.org/web/200008160559 ... _001.shtml

[memyselfandus]

"OS9 LIVES FORUM REMARKABLE COINCIDENCE DEPT.

If anyone here doesn’t know of and subscribe to Bobby Owsinski’s “The Big Picture” music production blog, you’re missing a very entertaining and educational weekly experience.
Bobby Owsinski is a long-time recording engineer, author, blogger and all-around human encyclopedia of all things recording. Trust me, try it… you’ll like it!

Now, the coincidence part: A few postings/days ago, I noted that Dave Oppenheim’s working at Avid was finally bringing some looong overdue MIDI features to PT.

In an item in Bobby’s blog of 5/26/15, he describes the “Programmed Hi-Hat Feel Trick” using PT. The trick involves using PT’s random pencil tool to randomly modulate volume level and EQ (both level and center freq.) to “humanize” an otherwise mechanical sounding Hi-hat track, thereby helping the groove to well… groove!

Watching him demo this YouTube screen video using PT, I immediately noticed the amazing similarity to StudioVision. In fact, the process was absolutely identical to the way it would be done in SVP! The random pencil tool and automation control tracks he finds so useful in PT were in fact introduced in StudioVision many, many moons ago!

This demo is a perfect example of just ONE of the countless reasons I still use SVP. Actually, comparing the density of all of the packed-in data in the PT window with the equivalent layout in SVP, the SVP screen is far clearer, customizable and more readable-at-a-glance than PT. The huge amount of CPU overhead that goes into all the colors, shadows, animations etc, in the modern PT (and OSX) is flashy and pretty, but ultimately no more functional than SVP in OS9.

So what’s new in modern DAWs? Not as much as you’d think apparently…"

Look HERE:

http://bobbyowsinski.blogspot.com/2015/ ... 7s+Blog%29

[mothballs]

Damn you rotten forum people. All this talk about SVP has rekindled my addiction. I thought I was finally over it but now I'm on the hunt for a working G4 and a download source for Mac OS 9.

I'm sure I have the software buried away somewhere in the archives. There's that old MOTU midi interface I never use - pretty sure that had OS 9 drivers ... Now what about some kind of audio interface? I think I have some kind of Digi card somewhere and I just remembered I have 2 old Samplecell cards as well ... this is going to be fun. SVP will live again!

[memyselfandus]

Damn you rotten forum people. All this talk about SVP has rekindled my addiction. I thought I was finally over it but now I'm on the hunt for a working G4 and a download source for Mac OS 9.

I'm sure I have the software buried away somewhere in the archives. There's that old MOTU midi interface I never use - pretty sure that had OS 9 drivers ... Now what about some kind of audio interface? I think I have some kind of Digi card somewhere and I just remembered I have 2 old Samplecell cards as well ... this is going to be fun. SVP will live again!

let us know! Maybe make a video

[fmr]

This manual includes the enhancements found in the final version 4.1 in 1998. before it was bought and discontinued.


http://www.houseofsynth.com/hos-downloa ... t-1998.pdf .../...

Edit
I guess there was a version 4.5 before being discontinued
http://www.tufts.edu/programs/mma/emid/ ... ewin45.pdf

All of the above quoted were not key elements for Vision and Studio Vision. Opcode was already catching up with competition at this time, and was trying to keep up to date with the minimum requirements in the audio department at this time. Vision and Studio Vision peculiarities that made them unique were all already there since version 3. Version 4, unfortunately, only added bugs and some features that all of the others already had. Opcode was already agonizing...

[zvenx]

Version 4 was fine, it was version 4.5 that had issues. If I remember correctly it was rushed out the door around the Gibson acquisition and Opcode tried to fix some of the bugs and got a cease and desist from Gibson from doing so.
To this day I still have on an old 'mac', SVP 4.2 I believe which and 4.5.. 4.2 from memory being the far more stabler one.

rsp

[memyselfandus]

Max for studio vision

http://music.columbia.edu/cmc/courses/g ... tarted.pdf

[memyselfandus]

Version 4 was fine, it was version 4.5 that had issues. If I remember correctly it was rushed out the door around the Gibson acquisition and Opcode tried to fix some of the bugs and got a cease and desist from Gibson from doing so.
To this day I still have on an old 'mac', SVP 4.2 I believe which and 4.5.. 4.2 from memory being the far more stabler one.

rsp

cease and desist from Gibson for trying to fix bugs for people who bought studio vision?
They must of had a reason for wanting the software gone? weird

[memyselfandus]

Opcode also released some really cool music training software in 1998

The software included pitch intonation assessment including 1/4 tones (microtonal) up to 1/16 of a tone! simply by singing back into the computer.

[fmr]

Version 4 was fine, it was version 4.5 that had issues. If I remember correctly it was rushed out the door around the Gibson acquisition and Opcode tried to fix some of the bugs and got a cease and desist from Gibson from doing so.
To this day I still have on an old 'mac', SVP 4.2 I believe which and 4.5.. 4.2 from memory being the far more stabler one.

rsp

cease and desist from Gibson for trying to fix bugs for people who bought studio vision?
They must of had a reason for wanting the software gone? weird

There was something strange in all the Opcode buyout process. Gibson buried the software, and even refused some propositions to buy it. They even refused to release OMS code to allow further development of OMS by independent developers (led by former Opcode developer and alleged OMS creator Doug Wyatt - you can read more here. http://www.sonosphere.com/saveoms/). There was a public petition going on about this. It seemed like it was some sort of personal vendetta, and Gibson only wanted to make sure Opcode legacy would vanish from the face of the earth.

Such a waste