Yes pleasezvenx wrote:I would gladly send you a copy of the manual if you want undertake this task.memyselfandus wrote:Can someone put together a detailed list of these specific features so we can put in detailed feature requests for reaper or other daws? Please
rsp
Opcode Studio Vision
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- KVRAF
- Topic Starter
- 5175 posts since 29 Apr, 2006
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- KVRAF
- Topic Starter
- 5175 posts since 29 Apr, 2006
Vision pro had audio to midi conversion back in the 90's.... Interesting. Anyone know what other daw was first at having audio to midi conversion?
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- KVRAF
- 14477 posts since 16 Feb, 2005 from Planet Earth, Somewhere
Actually found them online:
http://www.tufts.edu/programs/mma/emid/ ... dioRef.pdf
http://www.tufts.edu/programs/mma/emid/ ... s/MIDI.pdf
rsp
http://www.tufts.edu/programs/mma/emid/ ... dioRef.pdf
http://www.tufts.edu/programs/mma/emid/ ... s/MIDI.pdf
rsp
sound sculptist
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- KVRAF
- 6159 posts since 4 Dec, 2004
I'll agree with ED here.
Things we no longer have always seem better. I think if you could run Vision side by side with many modern products you may find it doing some nice or unique things, but still coming up way short overall.
@memyselfandus: Your never ending quest for daw features is pretty fun to watch.
Things we no longer have always seem better. I think if you could run Vision side by side with many modern products you may find it doing some nice or unique things, but still coming up way short overall.
@memyselfandus: Your never ending quest for daw features is pretty fun to watch.
Last edited by LawrenceF on Wed Jan 27, 2016 3:40 pm, edited 1 time in total.
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- KVRAF
- Topic Starter
- 5175 posts since 29 Apr, 2006
Greatness. I welcome others to put together a good detailed request as wellzvenx wrote:Actually found them online:
http://www.tufts.edu/programs/mma/emid/ ... dioRef.pdf
http://www.tufts.edu/programs/mma/emid/ ... s/MIDI.pdf
rsp
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- KVRAF
- Topic Starter
- 5175 posts since 29 Apr, 2006
Vision pro back in the 90's
Open the Audio-to-MIDI window in the DSP menu. You'll want to choose the appropriate template for the sound file you are using, and set the range as close as possible to the actual range of the soundfile for faster processing (see Figure 7).
• Once the MIDI notes have been generated, you can edit those notes (in terms of pitch level or pitch bend) in any way you want, as long as you don't add or subtract notes from the original. (You can play the MIDI notes back along with the audio to test the line -- see Figure 8.) Select the MIDI notes and audio file in the Track Overview window, and choose MIDI-to-Audio in the DSP menu. Choose the functions you want to process and hit OK. Studio Vision Pro will take the changes you made to the MIDI notes and apply them to the original sound file. This produces an audio event with the same sonic characteristics as the original but a completely new melodic shape. You will probably want to delete the MIDI notes so that they don't play back with the audio.
Open the Audio-to-MIDI window in the DSP menu. You'll want to choose the appropriate template for the sound file you are using, and set the range as close as possible to the actual range of the soundfile for faster processing (see Figure 7).
• Once the MIDI notes have been generated, you can edit those notes (in terms of pitch level or pitch bend) in any way you want, as long as you don't add or subtract notes from the original. (You can play the MIDI notes back along with the audio to test the line -- see Figure 8.) Select the MIDI notes and audio file in the Track Overview window, and choose MIDI-to-Audio in the DSP menu. Choose the functions you want to process and hit OK. Studio Vision Pro will take the changes you made to the MIDI notes and apply them to the original sound file. This produces an audio event with the same sonic characteristics as the original but a completely new melodic shape. You will probably want to delete the MIDI notes so that they don't play back with the audio.
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- KVRAF
- Topic Starter
- 5175 posts since 29 Apr, 2006
Studio Vision in the 90's
PITCH SHIFTING
If you want to harmonise at a set, parallel interval, the best DSP function to use is Pitch Shift.
• Select the vocal line that you want to harmonise in the Track Overview window and copy it to a new track.
• Open the Pitch Shift DSP window and choose the interval you want to transpose the line to. Check Maintain Voice Character (version 3.5 only) to avoid 'munchkinising' the sound, and hit OK. This will create a new sound file that's a transposed version of the original (see Figure 6).
• With the original file on one track and the transposed version on another, on playback you will get an incredibly tight, smooth vocal harmony.
PITCH SHIFTING
If you want to harmonise at a set, parallel interval, the best DSP function to use is Pitch Shift.
• Select the vocal line that you want to harmonise in the Track Overview window and copy it to a new track.
• Open the Pitch Shift DSP window and choose the interval you want to transpose the line to. Check Maintain Voice Character (version 3.5 only) to avoid 'munchkinising' the sound, and hit OK. This will create a new sound file that's a transposed version of the original (see Figure 6).
• With the original file on one track and the transposed version on another, on playback you will get an incredibly tight, smooth vocal harmony.
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- KVRAF
- Topic Starter
- 5175 posts since 29 Apr, 2006
CREATING A PATCH-NAME LIST
If you get a new synthesizer and there is not yet a Librarian module in Galaxy (Opcode's editor/librarian software) or a patch name document in OMS for it, you can create your own patch name list in Vision, Studio Vision Pro or Overture 2.x.
• Define the device in your OMS Studio Setup and run a Test Studio to make sure that the device is sending and receiving MIDI signals.
• Go to the Names window in the Windows menu of Vision or Studio Vision, and single-click on the icon for your device in the Device column -- if it's not there, check that the OMS Studio Setup has been made current.
• Double-click on the Patch Name Document column for the new device; this opens up the Patch Name Document window. Single-click on the patch name column for the first patch number (which defaults to 0). This will highlight the field and allow you to type in the name for that patch number.
• Repeat this procedure for all the patches you want to list. If you have multiple banks in your device, you can configure them in the Add Bank window in the Patches menu. When you've entered all the patch names, click OK and then save the document. This will take you back to the Patch Names from OMS window.
• At this point you can Subscribe to this document in the Names menu as though it was loaded from a synthesizer: select the device in the Names window and choose Subscribe from the Names menu -- select your new Patch document and hit Open. Once you've done this, the names you entered will be available to you in the patch name window next to the Trumpet icon.
If you get a new synthesizer and there is not yet a Librarian module in Galaxy (Opcode's editor/librarian software) or a patch name document in OMS for it, you can create your own patch name list in Vision, Studio Vision Pro or Overture 2.x.
• Define the device in your OMS Studio Setup and run a Test Studio to make sure that the device is sending and receiving MIDI signals.
• Go to the Names window in the Windows menu of Vision or Studio Vision, and single-click on the icon for your device in the Device column -- if it's not there, check that the OMS Studio Setup has been made current.
• Double-click on the Patch Name Document column for the new device; this opens up the Patch Name Document window. Single-click on the patch name column for the first patch number (which defaults to 0). This will highlight the field and allow you to type in the name for that patch number.
• Repeat this procedure for all the patches you want to list. If you have multiple banks in your device, you can configure them in the Add Bank window in the Patches menu. When you've entered all the patch names, click OK and then save the document. This will take you back to the Patch Names from OMS window.
• At this point you can Subscribe to this document in the Names menu as though it was loaded from a synthesizer: select the device in the Names window and choose Subscribe from the Names menu -- select your new Patch document and hit Open. Once you've done this, the names you entered will be available to you in the patch name window next to the Trumpet icon.
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- KVRAF
- Topic Starter
- 5175 posts since 29 Apr, 2006
ASSIGNING MIDI CHANNELS TO DEVICE MODES
Many MIDI devices access their patches in different modes: Patches, Performances, rhythm, and so on. It is an inherent limitation that you can only send to one mode at a time for any given MIDI channel. You can, however, set up Vision so that certain channels of the device will always be set to certain device modes -- so that, by switching between various MIDI channels, you can access all the different modes on your device at any given time.
• From the Windows menu in Vision or Studio Vision Pro, or the OMS Names window in the Options menu of Overture 2.0 or later, open the Names window.
• Select the device that you want to reassign, go to the Names menu and select Show Channels. Studio Vision will then list all the various channels of the device in the names window.
• In the Device Mode column, assign different channels to different modes.
At this point, if you go to the Trumpet icon in the control bar you will see different names when you select different MIDI channels.
Many MIDI devices access their patches in different modes: Patches, Performances, rhythm, and so on. It is an inherent limitation that you can only send to one mode at a time for any given MIDI channel. You can, however, set up Vision so that certain channels of the device will always be set to certain device modes -- so that, by switching between various MIDI channels, you can access all the different modes on your device at any given time.
• From the Windows menu in Vision or Studio Vision Pro, or the OMS Names window in the Options menu of Overture 2.0 or later, open the Names window.
• Select the device that you want to reassign, go to the Names menu and select Show Channels. Studio Vision will then list all the various channels of the device in the names window.
• In the Device Mode column, assign different channels to different modes.
At this point, if you go to the Trumpet icon in the control bar you will see different names when you select different MIDI channels.
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- KVRAF
- Topic Starter
- 5175 posts since 29 Apr, 2006
RECORDING FROM AN EXTERNAL SEQUENCER
Imagine that you've created songs in an external MIDI device's built-in sequencer and want to record them into Vision. Here's what to do...
• Go to the Setups menu and check 'Input Map Enabled'.
• Open the Input Map Window and choose 'Make one line per channel' from the pull-down menu in the title bar.
• In the Options menu, set the Receive Sync mode to either External Beat Clock or MIDI Time Code, depending on what kind of timing data your external sequencer actually sends. Set the Receive Sync Device to be the external sequencer that's sending the data -- make sure that the device has been defined as one that sends sync in your OMS Studio Setup. If you have a Studio 4 or MIDI Time Piece interface/patchbay, choose that instead. Note that in the 3.5 versions of Vision and Studio Vision Pro, there's a new Sync Options window which consolidates most of the above functions.
• Open the Record filter window in the Setups menu and choose All Except, then click the check box for Tempo. Filtering the Tempo data will allow for more accurate transcription when recording multi-channel data.
• Put the sequencer in Wait For Note mode, record-enable a track, click the Record button (or hit the tab key) and begin playing your sequencer. When the external sequencer has finished playing, hit Stop (or the return key).
The data from your external sequencer will be recorded all in one 'multi' track. If you select this track and choose Separate Multi Track from the Edit menu, each channel will be placed in its own track and you can assign them to different MIDI devices and patches, and edit the data exactly as if you had created the sequence in Vision itself (see Figure 5).
Imagine that you've created songs in an external MIDI device's built-in sequencer and want to record them into Vision. Here's what to do...
• Go to the Setups menu and check 'Input Map Enabled'.
• Open the Input Map Window and choose 'Make one line per channel' from the pull-down menu in the title bar.
• In the Options menu, set the Receive Sync mode to either External Beat Clock or MIDI Time Code, depending on what kind of timing data your external sequencer actually sends. Set the Receive Sync Device to be the external sequencer that's sending the data -- make sure that the device has been defined as one that sends sync in your OMS Studio Setup. If you have a Studio 4 or MIDI Time Piece interface/patchbay, choose that instead. Note that in the 3.5 versions of Vision and Studio Vision Pro, there's a new Sync Options window which consolidates most of the above functions.
• Open the Record filter window in the Setups menu and choose All Except, then click the check box for Tempo. Filtering the Tempo data will allow for more accurate transcription when recording multi-channel data.
• Put the sequencer in Wait For Note mode, record-enable a track, click the Record button (or hit the tab key) and begin playing your sequencer. When the external sequencer has finished playing, hit Stop (or the return key).
The data from your external sequencer will be recorded all in one 'multi' track. If you select this track and choose Separate Multi Track from the Edit menu, each channel will be placed in its own track and you can assign them to different MIDI devices and patches, and edit the data exactly as if you had created the sequence in Vision itself (see Figure 5).
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- KVRAF
- Topic Starter
- 5175 posts since 29 Apr, 2006
REPLACING MIDI EVENTS WITH AUDIO EVENTS
Obviously, this tip is only relevant to MIDI + Audio sequencer owners! This is what to do if you have a sequence with a MIDI drum track and you want to replace it with some sampled drum sounds that you've recorded to your hard drive.
• Separate the different MIDI notes in the drum track, as above.
• Import your drum soundfile into Studio Vision (Option+[H]), select it, and copy it -- this writes it to the clipboard.
• Open the Graphic edit window for the MIDI drum track and select the MIDI notes that you want to substitute with the audio file.
• Open the Substitute window in the Do menu. Click the 'Replace each selected event with the contents of the clipboard' radio button, and hit Substitute. Studio Vision will then put the audio file drum sound from the clipboard into the sequence in place of each MIDI note.
• Repeat this procedure with the other MIDI drum notes and different audio files and you can create a new audio drum part in place of the original MIDI file. Once you have substituted audio files for all the MIDI tracks, you can select all the audio tracks and choose Mix audio from the audio menu. This will create a single track of all the audio files which will play back well from hard disk.
Obviously, this tip is only relevant to MIDI + Audio sequencer owners! This is what to do if you have a sequence with a MIDI drum track and you want to replace it with some sampled drum sounds that you've recorded to your hard drive.
• Separate the different MIDI notes in the drum track, as above.
• Import your drum soundfile into Studio Vision (Option+[H]), select it, and copy it -- this writes it to the clipboard.
• Open the Graphic edit window for the MIDI drum track and select the MIDI notes that you want to substitute with the audio file.
• Open the Substitute window in the Do menu. Click the 'Replace each selected event with the contents of the clipboard' radio button, and hit Substitute. Studio Vision will then put the audio file drum sound from the clipboard into the sequence in place of each MIDI note.
• Repeat this procedure with the other MIDI drum notes and different audio files and you can create a new audio drum part in place of the original MIDI file. Once you have substituted audio files for all the MIDI tracks, you can select all the audio tracks and choose Mix audio from the audio menu. This will create a single track of all the audio files which will play back well from hard disk.
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- KVRAF
- Topic Starter
- 5175 posts since 29 Apr, 2006
Version 2.5
INPUT MAPPER
Now, this is cool. By setting up an input map to respond to different incoming channels, it is possible to route the outputs of two or more keyboards to different modules, complete with keyboard splits, if required. The serious stuff starts when you trigger sequences from incoming events, resulting in instant Wavestation-type patterns. Since you aren't constrained by the type of data in a sequence, you can trigger not only notes, but MIDI controllers too. The number of applications for this feature are legion -- it could perhaps be utilised to recreate vector synthesis by producing volume fades to blend a number of instruments at each keystroke, or to trigger special phrases, or even synth patch edits. Different triggering options allow you to re-start the sequence each time a note is played or wait until it finishes before starting again. In gated mode, the sequence plays only while a note is held down. Simultaneously-played notes start and transpose separate copies of the sequence, and since you can record the results into a track, you can create a layered cacophony of looping mayhem, recalling the power (if not the bulk) of sync'ed-up analogue sequencers.
Custom layered instruments, featuring favourite combinations and/or transpositions, can be created. In overflow mode, a number of synths can be used together, by specifying the number of voices each can produce -- you can create complex multi-instrument chords or reduce a polyphonic synth to a single note in this way. Patch details are retrieved from OMS, but can be edited using the Name editor. While this is pretty good, it's no substitute for an integrated process that discovers your patch names and stores them along with the SysEx data needed to recreate them -- as does Steinberg's Cubase Studio Module.
Quantise is well implemented, with strength, sensitivity, smear, shift, and swing settings mapped against either a grid or groove. Notes can also be quantised on input or on playback.
Faders (vertical sliders) and Consoles (horizontal sliders) are graphical mixer representations which can be configured to send out MIDI controllers to the instrument(s) of your choice. A great Vision feature allows you to automatically build a Console from currently-selected tracks. With up to 32 Faders, and four Consoles of up to 24 channels each, basic mixing applications are unlikely to pose a problem, but I felt restricted by not being allowed to perform simple tasks such as label sliders, create a custom layout, or send SysEx strings to tweak my synths. Maybe this could be added in a future release? Each slider can be remotely controlled, and with tempo as an option, recording accelerandos and ritardandos with, say, a mod wheel, becomes far easier than dragging a mouse or using the keyboard.
INPUT MAPPER
Now, this is cool. By setting up an input map to respond to different incoming channels, it is possible to route the outputs of two or more keyboards to different modules, complete with keyboard splits, if required. The serious stuff starts when you trigger sequences from incoming events, resulting in instant Wavestation-type patterns. Since you aren't constrained by the type of data in a sequence, you can trigger not only notes, but MIDI controllers too. The number of applications for this feature are legion -- it could perhaps be utilised to recreate vector synthesis by producing volume fades to blend a number of instruments at each keystroke, or to trigger special phrases, or even synth patch edits. Different triggering options allow you to re-start the sequence each time a note is played or wait until it finishes before starting again. In gated mode, the sequence plays only while a note is held down. Simultaneously-played notes start and transpose separate copies of the sequence, and since you can record the results into a track, you can create a layered cacophony of looping mayhem, recalling the power (if not the bulk) of sync'ed-up analogue sequencers.
Custom layered instruments, featuring favourite combinations and/or transpositions, can be created. In overflow mode, a number of synths can be used together, by specifying the number of voices each can produce -- you can create complex multi-instrument chords or reduce a polyphonic synth to a single note in this way. Patch details are retrieved from OMS, but can be edited using the Name editor. While this is pretty good, it's no substitute for an integrated process that discovers your patch names and stores them along with the SysEx data needed to recreate them -- as does Steinberg's Cubase Studio Module.
Quantise is well implemented, with strength, sensitivity, smear, shift, and swing settings mapped against either a grid or groove. Notes can also be quantised on input or on playback.
Faders (vertical sliders) and Consoles (horizontal sliders) are graphical mixer representations which can be configured to send out MIDI controllers to the instrument(s) of your choice. A great Vision feature allows you to automatically build a Console from currently-selected tracks. With up to 32 Faders, and four Consoles of up to 24 channels each, basic mixing applications are unlikely to pose a problem, but I felt restricted by not being allowed to perform simple tasks such as label sliders, create a custom layout, or send SysEx strings to tweak my synths. Maybe this could be added in a future release? Each slider can be remotely controlled, and with tempo as an option, recording accelerandos and ritardandos with, say, a mod wheel, becomes far easier than dragging a mouse or using the keyboard.
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- KVRAF
- 7540 posts since 7 Aug, 2003 from San Francisco Bay Area
I had forgotten about the audio to midi feature. I'm not sure if I ever used that.
I'm surprised that modern DAWs don't all have the ability to manage multiple sequences in one project. That really seems like such an obvious feature. I spend a lot of time in Adobe software such as After Effects and Premiere Pro, and they allow you to have multiple timelines and nest them inside each other. Even Audition has multiple timeline management. I'm not sure why this isn't common in DAWs.
I'm surprised that modern DAWs don't all have the ability to manage multiple sequences in one project. That really seems like such an obvious feature. I spend a lot of time in Adobe software such as After Effects and Premiere Pro, and they allow you to have multiple timelines and nest them inside each other. Even Audition has multiple timeline management. I'm not sure why this isn't common in DAWs.
Incomplete list of my gear: 1/8" audio input jack.
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- KVRAF
- Topic Starter
- 5175 posts since 29 Apr, 2006
http://web.archive.org/web/200902111714 ... ision.htmlls1xxx wrote:Just was reading that the Windows Version can run on XP Sp3. I came across a site that had a download link but can't find it anymore. Anyone?