opcode whats new in vision and opcode studio vision 4.5 1999

7/30/2019 Opcode Whats New in Vision and Opcode Studio Vision 4.5 1999

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Whats New in Vision 4.5

for Vision and Studio Vision Pro

Version 4.5

.pdf Supplement

Opcode Systems, Inc.365 East Middlefield Rd.

Mountain View, CA 94043(650) 429-2400

http://www.opcode.com

Copyright 1999 Opcode Systems, Inc. All rights rese rved. This document may not, in whole orpart, be copied, photocopied, reproduced, translated or converted to any electronic or machine

readable form without the prior consent of Opcode Systems, Inc.


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Table of Contents

Opcode Manual Template iii

TABLE OF CONTENTS

CHAPTER 1: Introduction 1

PART ONE: New Information 2

CHAPTER 2: Automation 3

Who Should Read This Chapte r? ........................................................3

How Automation Events Work ............................................................3

Recording Automation Events .............................................................4

Basic Recording .............................................................................4Tip for Recording Plug-In Automation.........................................4

Viewing and Inserting Automation Events.........................................5

Automation Events in the List Window .......................................6

Automation Events in the Strip Chart..........................................6

Tracks and Pulse Window Strip Charts ...............................6

Graphic window Strip Chart ..................................................8

Notes about Audio Volume ...........................................................9Audio Volume and Pan in the Faders Window..................10

Changes in the Way Vision Handles Faders ....................................11

Removal of Fader Events .........................................................11

Visual and Audible Effect ............................................................11

Copy Faders and Audio Channels .....................................................12

Example 1: Basic Console Str ip..................................................13

Example 2: Solo, Phase Invert, and a Send ...............................13

Example 3: EQ Enabled ..............................................................14Example 4: A Plug-In ...................................................................14

Copy Faders and Faced Plug-Ins .....................................15

Types of Automation Events ..............................................................15

Automation ...................................................................................16

EQ Band Paramete rs ...................................................................18

Low and High Cut .................................................................19

Low and High Shelf ..............................................................19


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iv Opcode Systems, Inc.

Parametr ic ............................................................................ 19

Plug-In Paramete rs ..................................................................... 19Moving(andCopying)Plug-InAutomationDataBetweenSequences

20

Plug-In Paramete r Values ................................................... 21

Plug-In Paramete r Names ................................................... 21

Using the Same Plug-In Multiple Times ........................... 22

MIDI ............................................................................................. 22

MIDI Controller Data .......................................................... 22

Oth er MIDI Events .............................................................. 22

CHAPTER 3: ReWire 23

Who Should Read This Chapte r?...................................................... 23

About ReWire ..................................................................................... 23

Configur ing your System for ReWire ............................................... 24

Example 1: Using Vision with ReBirth ............................................. 25

Launch ing Vision and ReBirth ................................................... 26

Quitting Vision and ReBirth ....................................................... 26

Example 2: Using Vision with Retro AS-1........................................ 27

Setting Retro AS-1s Audio Output ............................................ 28

Additional ReWire Notes ................................................................... 29

ReWire Inputs .............................................................................. 29

Enabled ReWire Channels in the Audio Instruments Window..29

Enabling and Disabling ReWire Channe ls ............................... 29

Mono/ Stereo Status of ReWire Channels ................................ 29

ReWire and Synchron ization ..................................................... 29

Active in Background ................................................................. 30

CHAPTER 4: File Management Changes 31

Viewing the file path .......................................................................... 31

playing audio files ............................................................................... 31

File Management Menu .................................................................... 32

Label ............................................................................................. 32

Example: Labeling Files ...................................................... 34

Copy to Folde r ............................................................................. 35


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Table of Contents

Opcode Manual Template v

Tip for Using Copy to Folder ...............................................36

Move to Folder .............................................................................38Rename .........................................................................................39

Find File ........................................................................................40

CHAPTER 5: Strip Silence and Slice Audio 41

Slice Audio ...........................................................................................41

Auto-Separating with Slice Audio ......................................................41Strip Silence vs. Slice Audio...............................................................43

Strip Silence Dialog Box.....................................................................43

Silence Thresh old ........................................................................43

Minimum Dur ation ......................................................................44

Attack Time ..................................................................................45

Release Time ................................................................................46

Attack Time Exam ple .........................................................................46

Use Zero Crossings.............................................................................47

CHAPTER 6: Other New Information 48

Maximum Fader Position...................................................................48

Lock Event SMPTE Times .................................................................48

Removal of Sound Manager and Yamaha CBX................................49

Strip Chart ............................................................................................49

Graphic Window ..........................................................................49

Notation Window .........................................................................49

Velocity Scale.......................................................................................50

Velocity Scale in the Instrument Window.................................50

Settings Window .................................................................................50

Real-Time: Solo Audio and MIDI independe ntly.... ... . 5 0

Tracks Window ...................................................................................51Cursor Display .............................................................................51

Rearranging Plug-Ins by Ver tical Dragging .....................................51


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vi Opcode Systems, Inc.

PART TWO: Features and Functions that have Changed 53

CHAPTER 7: The Console Windows 54

About Consoles ................................................................................... 54

Opening a Console Window.............................................................. 54

Basic Console Window Anatomy...................................................... 55

The Basic Console Channel ....................................................... 55

Creating a Console Snapshot......................................................... 58The Console Window Menu ............................................................. 58

Channel Width ............................................................................. 58

Narrow .................................................................................. 59

Wide ...................................................................................... 59

Audio Sends ................................................................................. 59

Plug-Ins ........................................................................................ 60

EQs ............................................................................................... 60Show Selected Fader Info........................................................... 60

Show All Fader Info .................................................................... 62

Show Remote Devices ................................................................ 63

Show Masking Tape ................................................................... 64

Naming an Instrument vs. using Masking Tape .............. 64

Fader Remotes Enabled ............................................................. 65

Maste r Instrument ...................................................................... 65

Console Name ............................................................................. 66

Build Console From .................................................................... 66

Selected Tracks Ins truments ............................................. 67

Build Console From All Instruments In Use..................... 67

Build Console From MIDI Instruments In Use................ 68

Build Console From Audio Instruments In Use ............... 68

Build Console From Audio Instruments ........................... 68

Build Console From Enabled Rewire Channels ............... 68Clear Console .............................................................................. 68

Save Console Layout ................................................................... 68

Save Console Layout As... .......................................................... 69

Load Console Layout .................................................................. 69

Fader Grouping .................................................................................. 70

Selecting Multiple Faders .......................................................... 70

Moving Faders as a Group ......................................................... 71


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Absolute Fading ....................................................................71

Proportional Fading..............................................................72Snap Fading ...........................................................................73

Rearranging Console Strips ...............................................................74

Dragging Str ips Horizontally......................................................74

Dragging Plug-Ins Ver tically ......................................................75

CHAPTER 8: The Faders Window 77

About Faders .......................................................................................77

The Faders Window............................................................................78

Fader Values .................................................................................78

Fader Sliders ................................................................................78

Instrument, Device, Channel Number and Controller ............78

Tempo Fader Assign ...................................................................78

Tempo Fader Range ....................................................................79

Send/ Receive Settings Display ..................................................79

Send Settings .........................................................................79

Receive Settings ....................................................................79

Fader Display Mode ....................................................................80

Fader Functions ..................................................................................80

Using Faders to Remap MIDI Controllers ................................80

Using Fader s to Control Ins trument Velocities ........................80

Copying Fader Settings ...............................................................81Changes in th e way Vision Handles Faders .....................................81

Removal of fader events ...........................................................81

Visual and Audible Effect ............................................................82

Notes About Audio Volume and Pan .........................................83

Changes in Copy Faders .............................................................83

Copy Faders and Audio Channels.......................................84

CHAPTER 9: The List Window 85

Opts Menu ...........................................................................................86

Song Track ............................................................................86

Keep Sequences End-to-End ...............................................86

Lock Event SMPTE Times ..................................................87

Inser ting Events ..................................................................................87


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Performance Track List Windows ............................................. 87

Notes ..................................................................................... 87Audio Event .......................................................................... 88

Patch ...................................................................................... 88

Text-type ............................................................................... 89

MIDI...................................................................................... 89

Automation submenu .......................................................... 90

EQ Band Parameter submenu............................................ 92

Plug-in Parameter submenu ............................................... 92

System Exclus ive ................................................................. 93

Sequence Events submenu ................................................. 94

Meter Track List Windows ........................................................ 94

Inserting Meter Changes in a List Window ...................... 94

Inserting Key Changes in a List Window .......................... 95

Inserting Markers in a List Window .................................. 95

Tempo Track List Windows ....................................................... 95

List Window Menu ............................................................................. 95Auto Scroll (Shift-4) ............................................................. 96

Jump to Selection (Command-J) ........................................ 96

No SMPTE............................................................................ 96

Absolute SMPTE.................................................................. 96

Relative SMPTE ................................................................... 96

Set Default Location ............................................................ 96

View (Option-V) ................................................................... 96Play Edited Note .................................................................. 97

Show Event End Times ....................................................... 97

Show Event Durations ......................................................... 97

Show Release Velocities ...................................................... 97

Editing Events in the List Window................................................... 97

Event Times and Moving Events .............................................. 98

Re-ordering Simultaneous Events ............................................. 98

CHAPTER 10: The Strip Chart 99

What is the Strip Char t?..................................................................... 99

Opening the Strip Chart ........................................................... 100

Defining the Strip Char t Contents........................................... 100

Strip Chart Contents ........................................................................ 101


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Table of Contents

Opcode Manual Template ix

Modifying Events in the Str ip Chart ........................................101

The Strip Ch art Tools .......................................................................101The I-Beam Tool (Select) ..........................................................101

The Pencil Tool ..........................................................................101

The Variable pop-up...................................................................101

Scale .....................................................................................102

Add Amount ........................................................................102

Max/ Min Limit ...................................................................102

Legato ..................................................................................102

Thin ......................................................................................103

Compress .............................................................................103

The Edit Shapes Pop-up ............................................................104

Straight ................................................................................104

Free ......................................................................................104

Parabola ...............................................................................104

Flat........................................................................................105

Random ................................................................................105Oscillator Shapes ................................................................105

Non-Continuous Events in the Strip Chart.....................................106

Using the Strip Chart ........................................................................107

Velocity and Release Velocity ...................................................107

Duration ......................................................................................107

Tempo .........................................................................................108

Markers.......................................................................................108Patches ........................................................................................109

Text-type submenu ....................................................................109

MIDI submenu ...........................................................................110

Automation submenu ................................................................112

EQ Band Parameter submenu..................................................113

Plug-in Parameter submenu .....................................................114

Using the Density Setting .........................................................114

Multiple Tracks and Channe ls in the Strip Chart ..........................115Resizing and Zooming the Strip Chart............................................116

Resizing th e Strip Char t ............................................................116

Zooming Vertically in the Strip Chart......................................116


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Vision & Studio Vision Pro - Whats New in 4.5 1

CHAPTER 1: Introduction

Hello, and welcome to Whats New in

Vision 4.5.

The information in this manual is takendirectly from the Vision 4.5 MIDI andAudio Reference manuals. Theres beensome editing, but after r eading this, thebig books that come in the box will seemlike old friends .

The purpose of this document is toacquaint you with whats new in Vision4.5. If you already know every feature thatVision 4.2 has to offer ( as we're sure youdo), this supplement will get you up tospeed on the new stuff you can do withVision 4.5.

This manual consists of two parts.

Par t One: Complete ly newinformation.

Part Two: Features and functions thathave changed enough that you canthink of them as new.

Please take a look at this document (espe-cially Part One). Its shor t; we promise.


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New Information 1

2


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CHAPTER 2: Automation


RECORDING AUTOMATIONEVENTS

Basic Recording

Automation is r ecorded just as MIDI con-troller information is recorded. There arethree basic steps.

Record enable a track.

Press Record.

Move a fader.

Alternately, you can drag or type in the

numeric field of an automatable

parameter.

The two main differences between record-ing automation data now and recording

controller data in previous versions are:

You can now automate many, many

more parameters. For example, EQand plug-in parameters can be auto-mated. For a complete list, seeTypesof Automation Events (pg. 15) .

Moving a fader assigned to a MIDIcontroller used to generate faderevents (in vers ions of Vision prior to4.5). This action now generates con-

troller events ( or other automationevents) d irectly. For details, seeChanges in the Way Vision HandlesFaders ( pg. 11) .

Tip for Recording Plug-InAutomation

To get a finer range of values for face-less plug-in parameters, hold down th eOption key while adjusting its sliders.

When th e option key is not held down,moving the mouse by one pixel alsomoves the parameter s lider one pixel.Paramete r sliders (for faceless plug-ins)are 88 pixels wide, so there are 88 possi-ble values for the parameter .


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5 Opcode Systems, Inc.

When th e option key is held down,moving th e mouse ten pixels movesparameter slider one pixel. This increasesthe number of available values for theparameter to 880.

Of course , you can type any numberwithin the parameters r ange into itsnumeric field.

VIEWING AND INSERTINGAUTOMATION EVENTS

Figure 1.1: Strip Chart contents menu

Figure 1.2: List window Insert menu

Figure 1.3: Automation-type submenus

The Strip Chart contents menu and theList window Insert menu both include thesubmenus shown in Figure 1.3. All of thetypes of automation discussed in th ischapter are in these menus.


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Figure 1.4: MIDI submenu

Figure 1.5: Automation submenu

Figure 1.6: EQ Band Parameter submenu

Figure 1.7: Plug-in Parameter submenu

The Plug-in Parameter submenu appearsonly if there are plug-ins ass igned in th ecurrent sequence file. You mus t assign aplug-in (in a Console) before you caninsert or view automation events for th atplug-in. For information abou t how toassign plug-ins, please see page 47 in yourAudio Reference Manual.

Automation Events in the ListWindow

For information about automation eventsin the List Window, see yourMIDI Refer-ence Manual.

Automation Events in the StripChart

For more information about automationevents in the Strip Chart, see yourMIDIReference Manual.

Tracks and Pulse Window Strip Charts

In the Tracks and Pulse windows, theStrip char t intelligently allows you toinsert only appropriate automation events.

For example, if you're inser ting plug-inparameter events, at least one instrumentin a selected track must h ave th at plug-inassigned to it in order to get a pencil.


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If your Console looks like th is:

Figure 1.8: Console setup

...and your Tracks window looks like this:

...youll have the following results.

Figure 1.9: Plugin 1 Bypass on a MIDI track

The pencil tool is not displayed when aMIDI track is selected and an audio auto-mation parameter is displayed.

Figure 1.10: MIDI controller on a MIDI track

The pencil tool is displayed when a MIDI

track is se lected and a MIDI controller isdisplayed.

Figure 1.11: Plug-in parameter on an audio

channel with no plug-in assigned

As shown in Figure 1.8 on page 7, there isno plug-in assigned to Bus 1 (the selected

tracks instrument). So, the pencil tool is

Selected Track Strip Chart contents


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not displayed when Track 3 is selectedand a plug-in parameter is chosen in theStrip Char t.

Figure 1.12: Plug-in parameter on an audio

channel with a plug-in assigned

As shown in Figure 1.8 on page 7, there isa plug-in assigned to the selected tracksinstrument (Audio 1). So, the pencil tool

is displayed when Track 1 is se lected anda plug-in parameter is chosen in the StripChart.

When more than one track is selected andthe Strip Chart contents displays a valuethat is only appropriate for one (or more)of the instruments on the selected tracks,

the pencil tool is displayed.

Figure 1.13: Strip Chart with multiple instruments

selected

In Figure 1.13 and Figure 1.14, two tracksare se lected: one MIDI track, and oneaudio track (assigned to Audio 1, whichdoes have opCHORUS assigned). Thepencil tool does appear in th e Strip Chart.

However, when you draw information intothe Strip Chart in this type of scenario,information is only inser ted on the appro-priate instrument. In this exam ple, plug-in

parameter events are inserted only onAudio 1.

Figure 1.14: Drawing Plug-In Parameter events

with multiple instruments selected

Graphic window Strip Chart

The Strip Chart in the Graphic windowworks slightly differently.

In the Graphic Window, the Strip chartwill always show a pencil. If you attemptto insert an event that is inappropriate forthe selected track, or if the tr ack is multiand more than one of the instruments in


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the track would be appropriate, a dialogwill appear asking you which instrumentyoud like the events to be inserted on.This dialog will display only appropriateinstruments.

Figure 1.15: Graphic window Strip Chart with

inappropriate contents

In the above case, the tracks instrumentdoes not have the specified plug-inassigned to it. As soon as you draw in theStrip Chart, the following dialog appears .

Figure 1.16: Set Insert Instrument window

The only instrument available in the pop-

up is Audio-1, because it is the only instru -ment with opCHORUS assigned to it (asshown in Figure 1.8 on page 7).

NOTE: If a MIDI controller had beenselected in the Strip Chart Contents pop-up,the instrument pop-up in Figure 1.16would have shown all MIDI Instruments.

After inserting events assigned toAudio-1, the track becomes a multi track.

For more information about viewing andinserting events in the Strip Chart, see

yourMIDI Reference Manual.

Notes about Audio Volume

The Maximum Fader Position setting(see page 89 in yourAudio ReferenceManual for Acadia user s, page 173 inyourAudio Reference Manual for DAE

users) determines the uppermost value ofan audio volume fader in the Consolewindow.

It also determines the uppermost valuefor aud io volume displayed in the StripChart.

Strip Chart contents Selected tracks instrument

Track is now multi


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For example, when th e Maximum FaderPosition is set to +6 dB and Audio Volumeis selected in the Strip Char t Contentspop-up, the Strip Chart looks like th is.

The range is from - to +6 dB. A horizon-tal line is also drawn (for your reference)at 0 dB.

However, regardless of the MaximumFader Position setting, Audio Volumeevents in the List window can always havevalues up to +24 dB in Acadia mode or+6 dB in DAE mode. Values above thecurrent Maximum Fader Position settingcan never be recorded; they can only beinserted in the List window.

The Maximum Fader Position settingshould be made at th e beginning of yoursess ion and left at that setting for theduration of the sess ion.

The Maximum Fader Position settingdoes notdirectly affect audio volumeevents or the perceived volume of anyaudio events . Instead , it allows you tomanually adjust audio volume more flexi-bly. This setting can be consideredcosmetic, because it affects only theappearance of the Consoles, Faders win-dow, and Strip Chart.

If you lower the Maximum Fader Positionduring a sess ion, visual settings in theConsoles, Faders window, and Strip Chartmay appear misleading as a resu lt. How-ever, the audio volume events themselveswill not be affected, and audio will soundas it did before th e change. The Listwindow always displays numeric valuesaccurately, so audio volume events in theList window will appear as th ey did beforethe Maximum Fader Position wasadjusted.

Audio Volume and Pan in the FadersWindow

As in previous versions of Vision, audio

volume and pan can be displayed in theFaders window and controlled by itssliders.

Audio pan now has a range of -100.00 to100.00, and aud io volume now has a rangeof - to the Maximum Fader Position (asset in the Audio Preferences dialog box).However, displayed numeric values in theFaders window are still 0-127.

These values are mapped to the appropri-ate range of values for the se lectedparameter . In the case of audio pan, 0 cor-responds to -100.00 (left) and 127corresponds to 100.00 (right). For audiovolume, 0 corresponds to - and 127 cor-

responds to the Maximum FaderPosition.

If you wish to see the correct numericvalues for these parameter s, use the Con-soles rather than the Faders window.


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CHANGES IN THE WAY VISION

HANDLES FADERS

Removal of Fader Events

In previous versions of Vision, fader swere a type of interface between you andyour MIDI controller data.

Figure 1.17: The old way

Faders s till act as an interface, but nowthey generate data directly. Instead of cre-ating a fader event assigned to anotherparameter (such as a controller), fadersnow create automation events.

Figure 1.18: The new way

In short, weve eliminated the middle-man by completely removing faderevents.

Visual and Audible Effect

In most cases, the visual and audibleeffects of recorded fader movements willnot change. In fact, faders themselveshave become much more flexible. Forexample:

Open the Faders window and assignthe first fader to control pan for an

instrument.

This example uses JD-800-1.

Record enable a track.

Press the Record button.

Click on the fader and drag it backand forth to record pan information.

A fader set up like this...

...used to generate an event like this(in the List Window).

A fader set up like this...

...will now generate an event like this(in the List Window).


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Press the Stop button and open theList window.

You can see the pan events in the List

window.

Notice that these are not fader events

assigned to pan; they are pan events.

Press Play

Watch the first fader move just as yourecorded it.

Disable the first fader by clicking onits selector dot.

Enable a different fader and set it toJD-800-1 Pan.

Press Play.

Now the new fader moves to the

recorded pan events.

You could also ass ign a Console channelto JD-800-1 and the pan fader in that con-sole would move in unison as well.

Although th is example uses a MIDIinstrument, the same pr inciples applywhen dealing with audio instruments.

See yourMIDI Reference Manual formore details.

COPY FADERS AND AUDIOCHANNELS

The Copy Faders command is an excel-lent way to create a fader snapshot to

put at the beginning of your sequence.Inserting an initial setting for each fader isvery important, but it is often overlooked.

For example, you might use volumefaders to create a fade out at the end of asong, with each instruments volume set-ting ending at 0. The first time th esequence is played, it sounds correct.After the sequence ends, you press playagain, but cant hear anything. If you letthe sequence play long enough , youllhear only the fade out.

This happens because, at the end of thesong, each instrument receives a volumesetting of 0. If the res no volume data at

the beginning of the sequence, the instru-ment doesnt know to change its volumeuntil the firs t volume event of the fade out.Creating a set of initial volume settings (asnapshot of the Console and Faderswindows) will alleviate this problem.


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Of course , the same principles apply tomutes and solos, send levels, pan, EQparameters, plug-in parameters, etc.

For basic information about Copy Fad-ers , see yourMIDI Reference Manual.

Copy Faders now includes many moreparameters than it used to. Following aresome scenarios. These figures include

Console strips and the events that appearin the List window after using CopyFaders.

Example 1: Basic Console Strip

Figure 1.19: Copy Faders Example 1

Phase Invert, EQ Enable, Mute, Solo, Vol-

ume, and Pan will always be copied foreach audio channel, regardless of anyother parameters.

Since there are no sends or plug-insassigned, no events are written for thoseoptions.

Example 2: Solo, Phase Invert,

and a Send


In example 2, phase invert and solo havebeen turned on, and a send has beenassigned. Note that th e List Window dis-plays Send 1 Level regardless of thedestination of the Send (it doesnt saySend to Bus 1 Level).

No send here; no send level event.

No plug-in here; no plug-in parameter events.


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Example 3: EQ Enabled


In example 3, EQ Enable has been set toOn. As a result, Vision checks the On/ Offstatus of each of the 4 EQ bands.

The first band is turned On, so Visionincludes the settings for each of its param-eters when the faders are copied.

Each of the remaining bands is turnedOff, so Vision does notcheck the settingsfor any of their parameters .

In general, if a parameter is se t to Off,none of its sub-parameters will be copied.

However, the sub-parameters of disabledparameters can still be recorded andinserted (in the List window or StripChart).

Example 4: A Plug-In

The Copy Faders command does notcopy plug-in parameter settings when a

Console (or th e Faders window) is active.

Figure 1.22: Copy Faders with a Console window

active

As you can see, the plug-ins bypass statusis copied. Plug-in bypass is not considereda plug-in parameter. None of the plug-in

parameters (Dry/ Wet, Filter, etc.) havebeen copied.


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If you wish to copy a plug-ins parametersettings, make the plug-in edit windowactive before choosing Copy Faders. Thiswill copy only plug-in parameter data.

Figure 1.23: Copy Faders with a Plug-In Edit

window active

If a plug-in (with automation dataassigned to it) is removed from a Console,

a warning dialog will appear .

Clicking Cancel will leave the plug-in inthe Console. Clicking OK will remove theplug-in and all automation data assignedto it.

Copy Faders and Faced Plug-Ins

When used with the plug-in edit windowof a faced plug-in active, Copy Faders includes values for all 1024 of the plug-insparameter s. Of course , you can delete thevalues for any parameters that are notactually in use by the specified plug-in.Parameters that are not in use usuallyhave values of 0. See page 21 for more

information about faced plug-ins.

TYPES OF AUTOMATIONEVENTS

There are several types of events th at can

be automated. They include: Audio volume;

Audio pan;

Mute and solo;

Send levels;

Plug-in bypasses;

Phase invert;

EQ enable;

EQ band parameter s;

Plug-in paramete rs ;

MIDI controller data;

other continuous MIDI events,including velocity scale, pitch bend,

aftertouch , and poly aftertouch .

Unless otherwise noted, these events canbe ass igned to Audio Instruments, Bus-ses , Inputs, or Outputs, referred to asaudio channels .


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Automation

The Automation submenu contains thefollowing types of events:

Audio Volume

Audio Volume events effect the play-back volume level of AudioInstruments, Busses, Inputs, andOutputs.

Audio volume events can have valuesranging from - to +24 dB. However,since the Maximum Fader Pos itionsetting defines the maximum value

that can be displayed in the Consoles(or the Faders window), audio chan-nels in Consoles can only have valuesranging from - to the MaximumFader Position setting. The Maxi-mum Fader Position can be 0, +6,+12, or +18 dB. This setting is definedunder Audio>Audio Preferences .

For information about MaximumFader Position in Acadia mode, seepage 89 in yourAudio Reference Man-

ual. For information about MaximumFader Position in DAE mode, see

page 173 in yourAudio ReferenceManual.

In previous versions of Vision, audiovolume events had the same 0 to 127range that MIDI volume events have.When files created in previous ver-sions of Vision are opened intoversion 4.5 (or later), their audiovolume events (or fader eventsassigned to volume for an audioinstrument) are rem apped to takeadvantage of the new range of audiovolume values .

Audio Pan

Audio pan events effect the placement

of audio events in the s tereo field (leftto right).

Audio pan events can h ave valuesranging from -100.000 to 100.000.These events work just like MIDI panevents, but can be much more spe-cific and are assigned to audioinstruments.

MIDI events h ave pan values from -64to 63 (which adds up to a total of 128possible settings, just like all otherMIDI controllers). In previous ver-sions of Vision, audio pan events hadthe same values. When files created


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in previous versions are opened intoVision 4.5 (or later ), audio pan datawill be remapped to take advantage ofthe full -100 to +100 range.

In addition to the increased sensitiv-ity, having audio pan displayed withthis range makes it easy to distin-guish at a glance whether youredealing with audio or MIDI pan data.

Audio pan events are displayed withtwo decimal points in the Consoleswindow and with th ree decimal pointsin the List window.

Mute and Solo

Mute and Solo events control the on/off status of the chosen Ins trumentsMute and Solo settings.

Unlike most of the other commandsin this menu, Mute and Solo canaffect Audio orMIDI Instruments.Keep in mind th at these events affectInstruments rather than tracks.

For more information about the simi-larities and differences between

tracks and instruments when mutingand soloing, please see yourMIDIReference Manual.

Send Levels

Send level events control the level ofaudio sent to a specific send. Sendsare addressed by number , so even if

you change the output of a send, theautomation data will remain.

Send level events can have valuesranging from - to +24 dB.

Plug-In Bypass

Plug-in bypass events control thestatus of the chosen plug-ins bypassbutton.

These events can have values of Off

or On. When set to off, the plug-insbypass button is out, and th e plug-ineffects the audio that passes th roughit. When set to on, the plug-in bypassbutton is in, and the plug-in isbypassed (and does not effect theaudio).

For more information about bypass-ing plug-ins, see page 51 in yourAudio Reference Manual.



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Phase Invert

Phase Invert events control the statusof the chosen audio channe ls phaseinvert button.

These events can have Off or On val-ues. When se t to off, the audiochannels phase invert button is out.When set to on, the audio channelsphase invert button is in.

For information about the function ofthe phase invert button, see page 55in yourAudio Reference Manual.

EQ Enable

EQ Enable events control the On/Off status of the se lected audio chan-nels EQ, so their values can be On orOff. When set to On, the audio chan-nels EQ toggle button is in. When setto Off, the audio channe ls EQ togglebutton is out.

EQ Enable Off events override EQBand Enable events. In order for anindividual EQ band to be h eard, bothits toggle and the main toggle mustbe on. However, writing an EQEnable Off event does not actuallywrite EQ Band Enable Off eventsfor the EQ bands; it simply overridesthe current setting for each band.

EQ Band Parameters

Each of the five EQ band parameters canbe applied to each of the four EQ bandsdiscretely. The types of EQ band parame-ters are:

Frequency

Controls the frequency of the speci-fied EQ band. Values can range from20.00 Hz to 20000.00 Hz.

Gain

Controls the gain of the specified EQband. Values can range from -18.00 dB to +18.00 dB.

Width

Controls the width of the specifiedEQ band. Values can range from 0 to4.00 octaves.

Type

Allows you to change th e EQ type forthe specified band. Clicking on theEQ Type setting opens a pop-upmenu with all five EQ types.

For an explanation of the various EQtypes, see page 71 in your Audio Ref-erence Manual.

EQ Enable events control this button

EQ Band (1 and 2) Enable events controlthese buttons


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Enable

Enables and disables the chosen EQband. EQ Band Enable events canhave values of Off and On.

Each of these EQ Band Parameters canbe written for any EQ Band, regardless ofthe bands type. However, it is importantto recognize that not all parameters canactually effecteach EQ type. EQ types canbe effected as follows:

Low and High Cut

Low Cut and High Cut cannot beeffected by the Gain or Width parame-ters . In the EQ Edit Window, bandsassigned to either of these types do nothave Gain or Width sliders.

Low and High Shelf

Low Shelfand High Shelfcannot be

effected by the Width parameter. In theEQ Edit Window, bands ass igned toeither of these types do not have a Widthslider.

Parametric

The Parametric EQ type can be effectedby all parameter types. In the EQ EditWindow, parametric EQ bands h ave all

three possible sliders.

NOTE: All EQ bands, regardless of theirtype, can be effected by EQ Band Type, EQBand Enable, and EQ Band Frequencyevents.

Plug-In Parameters

The Plug-in Parameter submenu listsall plug-ins that are ass igned ( to any audiochannel) in the sequence. For example:

Figure 1.24: Source of Plug-in Parameter submenu

...then the Plug-in Parametersubmenu looks like this.

If the Console looks like this...



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After you select a plug-in in the Listwindow or Strip Char t, another pop-up

menu appears to the right. This menu dis-plays the selected plug-ins parameters.For example, if you select opECHO, youmight see the following (in the Listwindow):

Dry/ Wet is the default parameterbecause it is the first parameter of theselected plug-in. Clicking on Dry/ Wetwill produce a pop-up menu th at containsthe selected plug-ins parameters.

Figure 1.25: Plug-in parameter event in the List

Window

Figure 1.26: Plug-in parameters in the Strip Chart

If you open the opECHO plug-in edit win-dow, you will see that the parameter s

listed in the pop-up menu correspond tothe parameters of the opECHO plug-in.

Figure 1.27: opECHO plug-in edit window

Vision can automate up to 1024 parame-

ters pe r VST plug-in.

Moving (and Copying) Plug-InAutomation Data Between Sequences

Plug-in automation data can be copiedfrom one Vision file to anothe r as long asthe specified plug-in is in both files. Plug-

in automation data can also be copied to anew file if. the specified plug-in is in yourVision Setup file. To include a plug-in inyour Vision Setup file, simply assign theplug-in to the appropriate audio channel(in a Console) and choose File>Save asSetup. For more information about theVision Setup file, see yourMIDI Reference

Manual.

Plug-inparameters


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Plug-In Parameter Values

All plug-in parameters, regardless of theirranges in the plug-in edit window, willhave values between 0.0000 and 100.0000in the List window. The plug-in parame-ters range of possible values in the plug-in edit window is mapped onto this scale.When the plug-in parameter automationevents are played back, they are mapped

back to th e appropriate range of values inthe plug-in edit window.

For example, the opECHO Feedbackparameter can have values ranging from0.000000 to 1.000000. A value of 0.696067in the opECHO edit window correspondsto a value of 69.6067 in the List window.

This system can be confusing for parame-ters with other value ranges. Forexample, the opECHO Rhythm parameteruses a note size as its setting. If yourecord a value of 5/ 16, the list window dis-plays 55.6818. During playback, th is ismapped correctly back to the original 5/

16 value, but the value is hard to under -stand in th e List window. In th is case , itsprobably best to either r ecord your datareal-time or draw it in the Strip Char trathe r than inser ting events in the Listwindow.

Plug-In Parameter Names

Figure 1.28 shows the plug-in edit windowfor opRING, which is a faceless plug-in.Faceless plug-ins have very simple userinterfaces. The names of parameter s forfaceless plug-ins are shown in the ListWindow and the Strip Chart.

Figure 1.28: opRING plug-in edit window

Figure 1.29 shows the plug-in edit windowfor fusion: VINYL, a faced plug-in.Faced plug-ins have much visually cus-tomized user interfaces.

Figure 1.29: Fusion: VINYL plug-in edit window

Names of parameters for faced plug-ins

are not sh own in the List Window or StripChart. Instead, parameters for these plug-ins are referred to by number. All avail-able parameters, from 1 to 1024, areaccessible.



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In addition, the Copy Faders commandincludes values for all 1024 parameters of

any faced plug-ins. Of course, you candelete the values for any parameter s thatare not actually in use by the specifiedplug-in. Parameters that are not in useusually have values of 0.

Using the Same Plug-In Multiple Times

A single plug-in can be used more thanonce (in the same sequence file). Itsappearance in the Plug-in Parameter sub-menu varies depending on how it is used.

Figure 1.30: Source of Plug-in Parameter submenu

Both the opALIGN and opECHO plug-ins

are used twice in th is configuration.

OpALIGN is used twice in the same audiochanne l, so its two separate instantiationsare given two different names: opALIGN#1 and opALIGN #2. OpALIGN #1 refersto the lowest-numbered slot whereopALIGN is used. In th is case , opALIGN

#1 applies to th e first plug-in assigned toAudio-1 and opALIGN #2 applies to th e

third plug-in ass igned to Audio-1.

OpECHO is used once on each of the twoaudio channels, so the two separateinstantiations are not given differentnames.

MIDI

MIDI Controller Data

All 128 MIDI Controllers can be auto-

mated, just as th ey could in previousversions of Vision. MIDI Contr ollers, likeother automation parameters, are usuallycontrolled us ing the Faders or Consolewindow.

For more information about MIDI Con-trollers , see yourMIDI Reference Manual.

Other MIDI Events

Velocity scale, pitch bend, aftertouch, andpoly aftertouch can also be automated.For more information about these events,see yourMIDI Reference Manual.

...then the Plug-in Parametersubmenu looks like this.

If the Console looks like this...


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CHAPTER 3: ReWire

Vision now includes ReWire support. Thispowerful feature allows audio signalsfrom ReWire com patible applications tobe routed directly through Visions con-soles, providing the same sends, plug-ins,and EQs you have access to with anyother audio signal in Vision.

WHO SHOULD READ THISCHAPTER?

This chapter applies to Acadia users withReWire-compatible applications.

ABOUT REWIRE

Visions implementation of ReWire allowsthree very important functions.

Audio Streaming

ReWire allows up to 64 channels ofaudio to be routed (real-time) fromone application to another.

Sample Accurate SynchronizationAfter Vision and your ReWire-compat-ible soft synth detect each other,sample-accurate sync happensautomatically.

Transport Functionality

The transport controls of all ReWire

compatible applications in yoursystem are automatically linked. Youcan press play, stop, etc. in any appli-cation and all will perform in sync.

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CONFIGURING YOUR SYSTEM

FOR REWIRE

Follow these simple s teps to configureyour system to work with ReWire.

Put the ReWire extension in yourSystem Folder>Extensions folder.

Install a ReWire compatible

application for use with Vision.This could include ReBirth, a ReWire

compatible software synthesizer, or any

other ReWire compatible application.

See the following sections for examples

of how to use Vision with Rebirth and

Retro AS-1 via ReWire.

Allocate more RAM to Vision.ReWire requires that additional memory

be allocated to Vision before it is

launched. Vision may crash or hang if it

doesn't have enough memory to load

when launched with ReWire installed.

With several VST plug-ins in your plug-

ins folder, allocating 30,000 to 35,000K

for Vision is usually sufficient.To increase the amount of allocated

memory, quit Vision (if it is open) and

single-click on its icon in the Finder.

Choose File>Get Info and enter a higher

number into the Preferred Size field (in

the Memory section of the Window).

Close the window and launch Vision

again.

For more information about RAM and

Acadia mode, see page 86 in yourAudio Reference Manual.

After launching Vision, open th e AudioInstruments window. Scroll to the bottom

of the window. Following th e Instru-ments , Inputs, Outputs, and Bussessections is a fifth section for your ReWirecompatible application(s).

Enable the ReWire channels you wantto use in Vision.

For more information about enabling

inputs and outputs in Acadia mode, see

page 39 in your Audio ReferenceManual.

NOTE: Enabled inputs and outputs con-

sume valuable CPU resources.

Therefore, to preserve CPU resources,

enable only the inputs you plan to use.


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EXAMPLE 1: USING VISION

WITH REBIRTH

When using Vision and ReBirth togethe rvia ReWire, the two applications are auto-matically synced. ReWire takes care ofthis for you; you dont need to se t Visionor ReBirth to send or receive MIDI BeatClock or MIDI Time Code when working

with ReWire. All necessary information istransmitted via the ReWire extension.

ReBirth 2.01 is recommended when us ingthe ReWire extension with Vision 4.5.Also, as previously discussed, make surethat you have enough memory allocatedto Vision.

Launch Vision.

For ReWire to work properly, Vision

must be launched before Rebirth.

Under Options>Sync Options, put acheck next to Remote Start.

This will enable you to play and stop

Vision from ReBirths transport controls.

You can control ReBirth from Visions

transport controls even if Remote Start

is not checked.

Visions play button begins to flash.

Launch ReBirth.

Open the ReBirth file that you wish to

work with, or begin a new file.

In Vision, choose Windows>AudioInstruments.

Scroll to the bottom of the window, and

you will see something like this:

Enable any ReBirth channels (inputs)

you wish to use. Remember, each

enabled input requires RAM, so its best

to enable only the inputs you plan on

using. These inputs usually correspond

to the ReBirth sounds you are using.

Open a Console.

Choose Build Console From>EnabledReWire Channels from the Console

window pop-up menu.

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Press Play in either Vision or ReBirth.

Vision and ReBirth begin to play in sync.

Look at the Console you set up instep 7.

ReBirths audio appears in the appropri-

ate Console channels.

While listening to the song, set upyour mix and assign any sends, plug-

ins, EQs, etc., that youd like.

Launching Vision and ReBirth

It's important to launch Vision beforelaunching ReBirth 2.0 (or h igher) withReWire ins talled. If you launch the appli-cations in the incorrect order, youll seethis dialog:

If this d ialog appears, quit both applica-tions and then launch them in the correctorder.

Quitting Vision and ReBirth

Vision cannot be quit while ReBirth isopen when us ing the ReWire Extension.

If you try to quit Vision while ReBirth isopen, the following error message willappear:

Click the OK button and then quitReBirth before quitting Vision.


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EXAMPLE 2: USING VISION

WITH RETRO AS-1

Using Vision with Retro is somewhat dif-ferent than using Vision with ReBirth,because Retro is a software synthes izerthat must be triggered with MIDI. To trig-ger Retro with MIDI, you must h ave theRetro AS-1 OMS Driver in your System

Folder>OMS Folder.

After ins talling the Retro OMS driver,choose Studio>MIDI Cards and Inter-faces in OMS, which will update yourOMS setup to include Retro AS-1.

After Retro AS-1 is included in your OMS

Studio Setup, save your setup and go toWindows>Instruments in Vision. Openthe Instruments Window popup menu andchoose Make from Studio Setup. ClickMake to include Retro in your list ofMIDI instruments.

For more information about configuring

Retro AS-1 with OMS, please see yourRetro AS-1 manual.

The following example shows how to useRetro with Vision via ReWire (when Retrois installed and configured in OMS).

In Retro AS-1s control panel, selectPlug-In from the Audio Output pop-up

menu.

Figure 2.1: Retro Control Panel

Selecting Plug-In enables Retros out-

puts to work with ReWire. If any other

option is selected in this pop-up,

Retro AS-1s audio output will not be

routed through Vision.

Plug-In does not refer specifically to

VST plug-ins; you must choose thisoption whether or not you plan to use

VST plug-ins.

In Vision, assign your MIDI tracks toRetro instruments.

In this example, were assuming that you

already have MIDI notes assigned to

Retro AS-1.

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Open the Audio Instruments window,and scroll to the bottom to see your

Retro inputs.

Enable any Retro channels you wish touse. These inputs should match the

Retro MIDI channels that youre using (in

step 1).

Remember, each enabled input requires

RAM, so its best to enable only the

inputs you plan on using.

Open a Console. Choose Build Console From>Enabled

ReWire Channels from the Console

window pop-up menu.

Press Play, and youll hear your MIDItracks.

Look at the Console you set up instep 4.

Retros audio appears in the appropriate

Console channels.

While listening, set up your mix andassign any sends, plug-ins, EQs, etc.,

that youd like.

Setting Retro AS-1s AudioOutput

If Retros Audio Output is set to some-thing other than Plug-in when youlaunch Vision (with ReWire installed),you will see th is dialog box.

See step 1 on page 27 for an explanation.


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ADDITIONAL REWIRE NOTES

ReWire Inputs

ReWire channels are referred to asinputs in Vision. An audio signal out-put in anoth er application (like ReBirth )is sent via ReWire to an input in Vision.

For documentation purposes, input andchanne l are synonymous when discuss-ing ReWire.

Enabled ReWire Channels in theAudio Instruments Window

By default, the only enabled ReBirth orRetro input (in the Audio Instrumentswindow) is the Mix (or Main) input.The Mix input includes all audio from theapplication. Other ReWire applicationsmay or may not have a Mix channel; it isup to the manufacturer to decide.

You can also enable individual ReWireinputs. Th is is useful if you want to mixeach channel separately, but it doesrequ ire more RAM.

NOTE for ReBirth Users: In addition toindividual inputs and a general Mix input,ReBirth also includes an 808 Mix and a

909 Mix input.

If you enable an individual input while theMix input is enabled, you may hear theindividual channel on its own input andthe Mix input. This could cause an unde-sirable doubling effect. However,

ReBirth and Retro automatically removeall enabled individual inputs from the Mix

input. Other ReWire applications maybeh ave differently; again, it is up to th emanufacturer to decide.

For example, if Retro AS-1 Main andRetro AS-1 Ch 1 are enab led, theRetro AS-1 Main input will contain onlythe signal from Retro channels 2-15.

Enabling and Disabling ReWireChannels

You cannot enab le or disable ReWirechannels while playing. If you need toenable or diable a ReWire channel, stop

playback before making the change.

Mono/Stereo Status of ReWireChannels

You cannot ch ange ReWire channelsmono/ stereo status. Each channels

mono/ stereo status is determined by themanufacturer and cannot be modified.

ReWire and Synchronization

When the ReWire extension is located inthe System Folder>Extensions Folder,Visions Send Sync option does notneedto be enabled to sync Vision with otherReWire compatible applications. Allrequired synchronization information iscommunicated between applications viathe ReWire extension.

CHAPTER 3: ReWire


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However, if you wish to control Visionfrom the transport controls of another

application (such as ReBirth), you mus tcheckRemote Start under Options>SyncOptions.

When Remote Start is checked, Visionsplay or record button star ts to flash, indi-cating th at it can be controlled from anexternal source. For more information

about Remote Start, see yourMIDI Refer-ence Manual.

Active in Background

Active in Background is r equired whenusing Vision with ReBirth via ReWire, and

it is automatically checked whenever theReBirth Engine extension is enabled.

CHAPTER 4: File Management Changes


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VIEWING THE FILE PATH

To see the entire file path of an audio file,hold down the Command key and click onthe file. You can command- click any-where on the waveform or the file name.

PLAYING AUDIO FILES

NOTE: This feature is only available in

Acadia m ode. DAE does not support play-back in the File Management window.

Audio files can now be played directlyfrom the File Management window. Toplay an audio file in the File Managementwindow:

Select the file you wish to play (byclicking on it).

Click the Play button.

Listen to the audio file. A small vertical

line follows playback in the audio

waveform.

When you are finished, click the Stopbutton.

You can also make playback skip to a dif-ferent point in the audio file by clickingwhere youd like playback to continue.



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FILE MANAGEMENT MENU

Label

Label allows you to apply one of theFinders labels to the file. If a single file isselected when you choose the Label com-mand, the following dialog box appears.

Figure 2.2: Label dialog box with a single file

selected

File name : The nam e of the file isdisplayed here. This information isread-only; the files name cannot bechanged in th is window. For informa-tion about renaming audio files fromthe File Management window, seeRename (pg. 39) .

Label: The files current label is dis-played here. Click on the label popup

to see the your options:

Figure 2.3: Label Pop-up

The options in the Label popup echothe Finders Label options. Choosinga Label here will label th e file in the

Finder. Comments: The files current com-

ments are displayed in this field. Youcan also type here to add commentsto the file in the Finders Get Infowindow.

PART 6: Advanced Audio Techniques


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If more than one file is se lected when theLabel command is chosen, the dialog box

looks like this.

Figure 2.4: Label dialog box with more than one

file selected

If the file doesnt already have alabel: If the file does not yet have alabel in the Finder, it will be given th elabel assigned h ere . This pop-up is

the same as the one sh own inFigure 2.3.

If the file already has a label:

If the file already has a label, its labelwill either experience no change orbe changed to the label selected inthis pop-up (as specified).

Replace/ Append :

This pop-up refers to the files com-ments . Selecting Replace will deletethe old comments for all selected files

and replace them with the commentstyped in th is window. Append willadd the comments typed in thiswindow to the comments alreadyassociated with the file.

Comments : Type in th is field to addcomments to the file in the Finder .How these comments are treated is

affected by the Replace/ Append setting.

It can become very difficult to keep trackof audio files that are used in multiplesequences . The following example sh owshow to use the Label command to helpkeep track of your files.



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Example: Labeling Files

Imagine you have a folder that h as manyaudio files and three Vision documents,each referring to several of the audio files.Some aud io files ar e used by one, two, orthree sequence files, and some are notused. No files h ave labels or comments,and you need a way to easily distinguishwhich audio files are used by which

sequences.

Open the first sequence file.

Go to the File Management windowand choose Select All from the pop-

up menu.

Choose Label from the pop-upmenu.

Make the following settings.

Click OK.

Now all the files used by the firstsequence are orange in the finder.

Open the second sequence file.

Repeat steps 2-4 with the followingsettings.

Now the files used only by the first

sequence are orange, the files used only

by the second sequence are brown, and

the files used by both sequences are

red.

Open the third sequence file.

Repeat steps 2-4 with the thirdsequence file, making the following

settings.

Now the files used only by the first

sequence are orange, the files used only

by the second sequence are brown, and



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the files used only by the third sequence

are blue. All files used by more than one

sequence are red. In the Finder, select a red file and

choose File>Get Info.

You might see the following.

The Comments field tells you exactly

which sequences use the file.

In addition, if a file is not used in anysequence, it will appear with no label.

Copy to Folder

Copy to Folder puts a copy of the

selected audio file(s) into the specifiedfolder. Like the Copy command in theFinder, Copy to Folder leaves the origi-nal files untouched.

The Copy to Folder command can beused to easily round up all of the filesused in a sequence and put them in one

folder.

If one file is selected, you will see thefollowing.

Figure 2.5: Copy to Folder dialog box

Provided that there is enough space onthe selected volume and the re are no fileswith the same name in the destinationfolder, th e selected files will be copied.You will then see a dialog prompting you

to replace all audio event references tothe original file with references to the newfile.

Clicking Replace will change thesequences audio event references so thatthey point to the new (copied) file. Click-ing Cancel will leave th em untouched.

The process is slightly different if youselect more than one file. First you will be

prompted with th e dialog box sh own inFigure 2.5. Then Vision asks you whetheror not you want to replace event refer-ences for each of the files you copied(individually).



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For th e first file, the dialog looks like th is.

ClickReplace to change the sequencesreferences to that (s ingle) audio file so

that th ey point to the new (copied) file.ClickReplace All to change the refer-ences to all selected audio files so thatthey point to the new (copied) files. ClickCancel to leave references to that ( sin-gle) audio file untouched. ClickCancelAll to leave all references untouched.

If you respond with Cancel or Replace,the references for that file are adjusted(or not adjusted) as you specified. A simi-lar dialog box, referring to the next file onthe list, appears.

Figure 2.6: Copy to Folder dialog box

ClickReplace to change the sequencesreferences to that (s ingle) audio file sothat th ey point to the new (copied) file.ClickReplace Remaining to change thereferences to all remaining selected audiofiles so that they point to the new (copied)

files. ClickCancel to leave re ferences tothat (single) audio file untouched. Click

Cancel Remaining to leave all refer-ences to remaining selected filesuntouched.

NOTE: Once you respond to the dialog boxfor a specific file, that files references areupdated immediately. The file will not beaffected by choosing Replace Remaining

orCancel Remaining in subsequent dia-logs. Replace Remaining orCancelRemaining affectonly the currently listedaudio file and all files that have not yetbeen referred to specifically.

Each file will show the dialog box inFigure 2.6 until you reach the last

selected file in the list. At that point thedialog box looks like th is.

Click Cancel to leave references to theaudio file untouched.Click Replace tochange the sequences references to theaudio file so that they point to the new(copied) file.

Tip for Using Copy to Folder

After using the Copy to Folder com-mand, your File Management window willcontain twice the number of audio files itdid before using the command.



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Figure 2.7: File Management window before using

Copy to Folder

Figure 2.8: File Management window after using

Copy to Folder

The number of files has doubled becausethe window includes the original files andthe newly copied files. In most cases, thisis undesirable from an organizationalstandpoint.

You can easily clean up the File Man-agement window by choosing Select

Unused followed by Remove from List(both in the File Management windowmenu).

Choose Select Unuse d, and any audiofiles which are not referenced by the cur -rent sequence file are selected.

Figure 2.9: After choosing Select Unused

Choose Remove from List, and those filesare removed from the File Managem ent

window.

Figure 2.10: After choosing Remove from List

For more information about SelectUnused, see page 299 in your Audio Ref-erence Manual. For more informationabout Remove from Lis t, see page 299 inyourAudio Reference Manual.



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Move to Folder

Move to Folder moves the selectedaudio file(s) into the specified folder .Unlike Copy to Folder, Move to Folderdoes affect the original files.

Move to Folder automatically updates allreferences to the audio file so that theypoint to the file in its new location.

After selecting one or more audio filesand choosing Move to Folde r, the follow-ing dialog box appears.

If all the selected files and the destinationfolder are on the same volume, the filesare moved to the selected folder.

You cannot move files across volumes .This is a function of the Macintosh operat-ing system. If you select a folder on adifferent volume when using Move toFolder, you will be pr ompted with the fol-lowing dialog.

Click Cancel to abandon the procedure.Click OK to copy the file(s) to theselected folder. After the copy procedureis complete, you will be prompted toreplace references to the original file withreferences to the new file. SeeCopy toFolder (pg. 35) for details.

After using Copy to Folder or Move toFolder, you may want to command-clickon the file name to see th e entire file path(for verification). See page 31 for details.



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Rename

The Rename command changes thename(s) of the selected audio file(s) inthe Finder, as well as in the File Manage-ment window.

The name of the file(s) will be changed,but files rem ain in the same folder. All ref-erences in the sequence are updated to

refer to the files new name.

If only one file is selected when youchoose Rename, you will see the follow-ing dialog box.

Type the new name for the file. The nameis updated in the File Management

window (as shown in Figure 2.11). Thename of the file is also updated in theFinder.

Figure 2.11: Flashy Loop in File Management

If you select more than one file beforechoosing Rename, you will see the

following.

The files new name can be typed into th isdialog box.

Click Cancel All to leave the names of allselected files untouched. Click Cancel toleave the name of the current file (the filenamed in the dialog box) untouched, butproceed to the next file for renaming.Click OK to update th e nam e of the file inboth the Finder and the File Managementwindow and proceed to the next file.

If you click Cance l or OK, you will see thisdialog box.

Click Cancel Remaining to leave thenames of this file and all remainingselected files untouched. Click Cancel toleave the name of the current file (the filenamed in the dialog box) untouched, butproceed to the next file for renaming.


Cli k OK t d t th f th fil i Fi d Fil


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Click OK to update th e name of the file inboth the Finder and the File Management

window and proceed to the next file.

NOTE: Remember, once you respond to thedialog box for a specific file, that files nameis updated immediately. The file will not beaffected by choosing Cancel Remaining insubsequent dialogs. Cancel Remainingaffects only the currently listed audio file

and all files that have not yet been referredto specifically.

All files will show the dialog box inFigure 2.12 until you reach the lastselected file in the list. At that point thedialog box looks like th is.

Figure 2.12: Rename dialog box

Click Cancel to leave the name of the cur-rent file untouched. Click OK to updatethe name of the file in both the Finder andthe File Management window.

Figure 2.13: File names updated in the File

Management window

Find File

Normally, if you rename an audio file ormove it to a new location, Vision is smartenough to find it. But if an audio file getslost for some reason, choose Find File todisplay a dialog box asking you to locatethe missing audio file.

Once you locate a lost audio file, you must

save the Vision file to update its pointer tothe audio files new name or location.

If you cancel the Find File dialog box, theVision file wont update its pointer to theaudio file and youll be asked to find iteach time you open the sequence file.

In previous vers ions of Vision Find File was called Where Is .

CHAPTER 5: Strip Silence and Slice Audio


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Vision & Studio Vision Pro Audio Reference Manual 41

The Strip Silence command and dialogbox includes a new option called Slice

Audio.

SLICE AUDIO

Vision can automatically separate d igitalaudio into use ful regions us ing the SliceAudio command. When Vision sepa-rates audio, it breaks a long audio fileinto several small events based on the cri-teria in the Strip Silence dialog box. Thisis useful for several reasons:

You can easily copy and paste smallsections of audio (such as a particulardrum sound, or an oft-repeated vocal

line). You can quantize individual events

(such as separate drum hits in arecorded drum track) to be used assamples.

If youre syncing to tape and are play-ing back digital audio using only thesess ion sample rate, breaking audio

into smaller events means there isless likelihood of digital audio driftingout of sync with audio on tape .

To auto-separate , select Slice Audio in theSlice Audio/ Strip Silence pop-up menu.

AUTO-SEPARATING WITH SLICE

AUDIOThe Slice Audio command can be used toseparate one long audio event into severalshort events (based on th e silence in theaudio file).

To slice audio, first de termine what ampli-

tude level should trigger the beginning ofan event. Then, determine how long theamplitude must s tay below this level for anew event to be generated . Finally, deter-mine the desired attack time for the newevents.

To auto-separate an audio event:

Make sure either Fast or HighResolution is checked in the

Audio>Waveform Display

submenu.

The Slice Audio procedure will not func-

tion if the waveform display is turned off.


Select the desired event(s) or range of Click the Slice Audio button


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Select the desired event(s) or range ofevents you wish to affect.

In this example, weve selected a vocalpart. Well split this part into individual

words.

Figure 2.14: Audio before slicing

Choose Audio>Strip Silence/SliceAudio.

Vision opens the Strip Silence dialog

box.

Figure 2.15: Strip Silence Dialog Box

Set the desired Slice Audioparameters.

Make sure that Slice Audio is selected in

the pop-up menu.

The Strip Silence dialog box is discussed

in detail in Strip Silence Dialog Box

(pg. 43).

Click the Slice Audio button.

Vision slices the audio into several

small pieces.

Figure 2.16: Audio after slicing

Audition the audio slices.

To audition an individual slice, first select

the slice you want to hear.

Then, press option-spacebar (+)to hear your selection.

If youre not happy with the results,

choose Edit>Undo Slice Audio and use

a different set of Slice Audio parameters.

When the audio signal goes above thethreshold, Vision begins a new event. Assoon as silence (as defined in the StripSilence dialog box) is recognized, Visionwaits for the next point when th e audiosvolume goes above the threshold. At thatpoint, the first event ends and anotherevent begins.

IMPORTAN T NOTE: Slice Audio willstrip any silence at the beginning of theselected audio away. Compare Figure 2.14on page 42 andFigure 2.16 on page 42 tosee an example.



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STRIP SILENCE VS. SLICE

AUDIOTry making some settings in the StripSilence dialog box and applying them toan audio file with Strip Silence selected inthe pop-up menu.

Then choose Edit>Unde Strip Silence andselect Slice Audio in the Strip Silence pop-up menu. Dont change any other set-tings; click Slice Audio.

You should see results like these :

Figure 2.17: Using Strip Silence and Slice Audio

As you can see, slicing audio results in thesame beginning points for events, buteach event continues until the beginningof the following event. When strippingsilence, each audio event ends as soon asits volume falls below the s ilencethreshold.

STRIP SILENCE DIALOG BOX

When you select one or more audioevents and choose Audio>Strip Silence/Slice Audio, Vision opens the StripSilence dialog box.

Figure 2.18: Strip Silence Dialog Box

As can be seen in Figure 2.18, the StripSilence dialog box contains many ele-ments. These are d iscussed in thefollowing sections.

Silence Threshold

Use the Silence Threshold numerical toset the noise floor for th e Strip Silence /Slice Audio operation ( in decibels). Youcan set th is number between -96 dB and 0dB.

When using Strip Silence, values close to

-96 dB will strip away very little if anyaudio, since even the slightest amount ofnoise will be above the noise floor. Valuesclose to 0 dB will strip away near ly all ofthe audio. Generally, a value between-40 dB and -20 dB is appropriate for mostapplications.

Starting with one long event like this...

...gives this result if Strip Silence is chosen...

...or this result if Slice Audio is chosen.


When us ing Slice Audio, values close to Minimum Duration


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g ,0 dB or -96 dB will generate few events. In

most cases, values between -40 dB and-20 dB will generate many short events.

As shown in Figure 2.19, when youchange the Silence Threshold, Visionillustrates it graph ically in the audio wave-form display.

Figure 2.19: Graphic Feedback of Threshold Level

As an experiment, enter a different valuein the Silence Threshold numerical and

preview the e ffect in the Graph ic Win-dows waveform display. Feel free toexperiment with different thr esholds.Once you gate or auto-separate audio withthe Strip Silence/ Slice Audio com-mand, you can audition itif youre nothappy with the results, undo the com-mand and try a differen t Threshold Level.

Minimum Duration

Besides setting a th resh old level, youmus t also tell Vision how long a signalmust remain below that thresh old beforestripping it away or allowing the genera-tion of a new event. Use the MinimumDuration numerical to set the amount oftime the s ignal must stay below thethreshold level before its recognized as

silence. You can set th is number between10ms and 1,000ms.

When working with Strip Silence, longsettings will strip areas be tween phrases,but not the br ief pauses between words ordrum beats ( for example). Short settingswill strip areas between words or even syl-lables. Of course Slice Audio will not s tripaway the silence, but it will generate asimilar number of events. Values around100 milliseconds make a good startingpoint.

As shown in Figure 2.20, setting a smallerduration results in more (but sh orter)audio events th an setting a longerduration.

2. Audio that stays in this region for at

least the amount of time specified by the

Minimum Duration parameter will be silenced.

1. A Silence Threshold of -12 dB is indicated

graphically by the horizontal lines in the

Graphic Windows waveform display.


Attack Time


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Figure 2.20: Effect of Different Minimum Duration

Settings

Feel free to experiment with differentminimum durations. Once you gate orauto-separate audio with the StripSilence / Slice Audio command, you canaudition itif youre not happy with theresults, undo the command and try a dif-feren t Minimum Duration.

tt c

Use the Attack Time numerical to set theamount of time it takes for the audiosignal immediately following a str ippedsection to regain its full volume. Allowablevalues are between 0 ms and 1,000 ms (1second) . The length of the attack tim

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